All you need to know to understand this wonderful, poignant tale of life in Georgia (as in former Soviet Union) is in the credits; a special thanks to the choreographer, who couldn’t be named, but without whom the movie couldn’t have been made. That statement, which comes after the story, crystallizes it all.
Writer/director Levan Akin and newcomers Levan Gelbakhiani and Bachi Valishvili picked up a pile of well-deserved awards for their efforts. The two leads not only deliver sweetly nuanced performances, they can also dance…like, seriously dance.
This is a paced film that slowly unfolds and ultimately builds to its climax in the final few minutes of film. Sustaining that, and building the tension as it moves along is all very subtle, but effective. And without that effort, the final scene would have been cheap theatrics rather than an unequivocal statement. Forgetting the character relationships that need to be established, the audience needs that time and day-in-the-life moments to learn some history and culture to put it all in context.
This was a perfect film for Pride month, absolutely. But it’s also a great view into a world few will have experienced, even while presenting universal emotions and struggles.
There has been a wave of lock-down art recently. Well, what do you expect with a bunch of artists stuck at home with no outlet? Even the some finales (like All Rise) embraced the situation and wrote it into their tales.
Most of it has come in the form of at-home/garage concerts up till now. But, recently, a number of short video stories have begun to surface.
While there are many, these two really stood out. One for its sheer amusement and the other for its scope. Both are BBC, but I would expect them to be more generally available at some point.
What happens when David Tennant (Doctor Who, Good Omens) and Michael Sheen (Slaughterhouse Rulez) try to mount a play during the lock-down? Well, with the help of relatively unknown Simon Evans as writer/director/actor and their families, hilarity ensues. This series, comprised of 6 short episodes is self-aware, self-deprecating, and utterly irreverent. Find it…and remember to pay attention to and watch through the credits. The fun just keeps on giving while touching on the realities of the world as it is being reshaped.
There are too many people involved here to list. In several half-hour episodes, each comprised of 3 10-minute plays, you see a huge scope of pandemic life. Some of it is is funny, some uncomfortable, and some just poignant, but all are worth seeing and none are so long as to get boring.
Director/writer Wong Kar-wai (The Grandmaster) has a beautiful sensibility about film and about characters. It isn’t just about the framing, which is always impressive, it is about his awareness of the moments. He imparts emotion by virtue of how they are presented, adding a layer to the performances and story.
When paired with subtle performers like Tony Chiu Wai Leung (The Grandmaster) and Maggie Cheung (2046), the result is riveting. We swept up in their lives as they reevaluate their marriages and each other. It is always as much about the silences and what we can’t see that expands the story, sometimes even more so than what is on screen.
Beyond the story itself, Kar-wai plays some entertaining games with the film. Cheung, for instance, has an astonishing wardrobe that rarely repeats. Some characters are never fully in frame or seen from the front. Rain and smoke become motifs for emotion and thought. And the episodic nature of the film ultimately drives unexpected aspects of the tale. It is no wonder it picked up so many awards; it pulls you along with inexorable curiosity, longing, and hope.
Just a friendly reminder that the third (and final) series of Dark drops on 27 June. Start rewatching now if you want to be ready and don’t want your head to explode while trying to watch it all.
If you haven’t discovered it yet, Dark is one of, if not the most, complicated plot I’ve ever seen on a TV serial. Possibly the most complicated I’ve seen in any visual media. So far it has managed to stay consistent through two series, but following it is a Herculean task of names, time-frames, and story threads. And yet it is worth every bit of struggle and pain because it all pays off.
The 18 previous episodes that lead to the final round can only be ingested at a moderate pace (one or two episodes a night at most). If you don’t have the time, find your favorite online resource for tracking all the characters… trust me, without one, the other, or both, you will be utterly lost.
Frankly, I can’t wait to see if they can pay this all off.
Yes, here I am trying to take my mind off of the goings on in the world and with the current state of politics by watching a docu on climate change. More the fool me. In truth, it wasn’t so much a choice as what showed up, but that’s another story for another day.
As it turns out, this follow-on to Al Gore’s 2006 An Inconvenient Truth, while full of depressing realities, is also bolstered by some sense of hope. And, yes, that includes taking the current administration into account. In fact, the movie more or less revolves around the 2015 Paris COP21 meeting that delivered the biggest step toward controlling and reversing climate change to date…despite 45’s pulling the US out of it as one of the first acts of his presidency.
This documentary continues Gore’s journey from his first movie as an advocate, showing us the mechanisms behind the rousing, and terrifying, speeches. It takes us through how he has been amplifying that message and the path forward. And it shows us a man of near-limitless optimism that we can solve the problem together if we can overcome the hypocrisy and corrupt influences that have death-grips on the fossil fuel economy. Honestly, he’ll make you believe, but not without many grindings of your teeth.
This movie is already two years old. And, let’s face it, much has happened. Not only have policies changed, but the EPA and other watchdog agencies and laws have been actively dismantled. But this is also an election year, and with a solid win, none of it has to be permanent, though sure as hell a lot of damage has been done. I want to remain with Gore and be optimistic. What’s the alternative? We can, as they say, “vote the bums out.” We can insist on logic and science to be drivers of policy and law. As the docu shows, this isn’t really a partisan divide…we just have to stop allowing certain industries from behaving like robber barons and hold accountable any who support them.
If you just avoid thinking about the hand-wavy science and focus instead on the logic, story, and message this is one powerhouse of a flick. First-time feature director Stefon Bristol co-wrote this topical and clever tale with another first-timer, Fredrica Bailey. The two shared the Independent Spirit Award for their efforts for good reason.
Not only is the tale entertaining and a nice variation on well-known theme, it’s also topical and honest about the world in unexpected ways. And, to top it all off, it is aimed at a younger audience while satisfying adults. While different in tenor and intent, this film would live comfortably with Attack the Block or Chronicle.
The film is driven by Eden Duncan-Smith (Annie). She brings a flawed, real person struggling with the realities of her life and the fact that she’s smarter than almost everyone around her. Her friends figure heavily, given life, if not quite as much depth, by new-comer Dante Crichlow and up-and-comer Johnathan Nieves (City of Angels). But as her older brother, Astro (Luce) adds a number of important and challenging levels.
This isn’t an easy film to watch, especially right now, but it is probably exactly what you should be watching. It is clever, entertaining, and even funny at times, but it also exposes aspects of reality that is rarely tackled with such honesty and sympathy. It also has a near-perfect ending for its purpose. You can think of it as a science-fantasy tackling of Waves or Do the Right Thing, but that would lead you a bit astray as well. Maybe it’s closer to being Run, Lola, Run in Flatbush if you still need a touchstone. But, really, it is its own story, and you should see it. And I know I’m looking foward to seeing what Bristol and Bailey come up with next.
On the surface this new streamer is a fairly standard, if cleverly told, story of 50s middle-America dealing with paranoia and possible invasion (by who and what are unknown). We’ve seen this many times before, and new director Andrew Patterson and his writers, James Montague and Craig W. Sanger don’t shy away from that fact. Indeed part of what sets this film apart is that they lean into it, framing the entire story in a Twilight Zone-like box.
I’ll come back to the story and presentation, but it’s first worth noting the cast, led by Sierra McCormick as a believable 16 year old in over her head, but afraid of nothing. She is backed up by a less heeled, but solid, Jake Horowitz as the two unravel and pursue the mystery that drops in their laps. Horowitz channels James Dean while McCormick is something like a super-charged Nancy Drew as they scramble with equipment and have frequent dashes across town at an unrelenting pace. In a small but focused role, Gail Cronauer (Te Ata) is the only character to steal back the camera for a while from the two leads, delivering and extended and haunted tale full of emotion.
Now let’s get back to the presentation. Because, despite all these praises, the story is really fairly obvious and nothing new. What keeps you intrigued, even during the slower or overloaded segments (like the opening 20 minutes of setup and dialogue) is the direction and cinematography. Patterson squeezed the story to remove all moments of breath, but not so much that it feels rushed so much as normal. Even with Horowitz’s mumbling around his cigarette, which could get frustrating as a listener, it feels right and real and nothing of any import is missed.
But the real question, and nod, I have goes back to that framing. I don’t know if it was in the original script or, if during development or in the editing room, they realized they were doing pure homage and needed to find a way to set it apart to do their work justice. I lean heavily toward this latter suspicion since it was all done in post and changed none of the movie. They knew what they were doing with the story, but needed a way to tip that to the audience and reframe it so it wouldn’t feel stale and tired. And, in fact, the opening, closing, and few reminders, make it more fun and let you go with the flow.
However, it has an ancillary effect of leaving you wondering if it was part of the plot or only part of the presentation. And this is where I was a little more frustrated with the choice. The story doesn’t rise to the level of needing any meta-layers or messages. And 50s-style horror doesn’t particularly have a lot to say about the human condition that isn’t on the screen in big flashing neon. So the framing is a nice artistic choice, but a forced one for the story itself since it is merely a comment and never used. Add to this the ending, which can be read more than one way, and you’re left with one too many unanswered aspects…or at least I was.
To see these performances and a new set of voices entering the cinematic fray, this really is a movie worth seeing. It isn’t perfect, but it is crammed with promise and definitely put together with deft hands. And it is entertaining, enough so that I wanted to examine these other aspects rather than just taking it just for what it is. Watch for these people in the future, they’re sure to be coming up with something new and interesting.
Back in 1957 Budd Schulberg wrote a script that was disturbingly prescient; though it would seem to presage Regan more than 45 in the arc of it all. Still, his understanding of the power of media was spot on. I can only imagine that he’d be disappointed to learn that B-rolls and hot mic’s no longer seem to matter, and their truth can’t shake the machine.
With Elia Kazan at the helm, and a solid cast, the story is a swift couple hours about the rise and fall of Andy Griffith’s Lonesome Rhodes. Griffith is more than a little larger than life and broad in his performance (and perhaps a little loud) but it works. And he does manage to slip levels into there. Patricia Neal is a conundrum in the tale, being both the instigator of it all and his rock, but then somehow diminishing into a more typical female stereotype of the era. It works, in its way, but is also the weakest aspect of the story.
In a surprisingly quiet and atypical role there is Walter Matthau and also a very young Lee Remick, among others. And watch out for Mike Wallace and Walter Winchell playing themselves.
A Face in the Crowd is a compelling movie even more than 60 years later. Sure it is a little stagey, but the points are amazingly on target, and the journey clips along so quickly that it pulls you to the inevitable end without lagging.
Here are a few more streamers. Two worth your time and one that is entirely up to your sense of humor. Then again, I suppose they all depend on your sense of humor, but let’s just say I found the first two to have more of an easy entry and wider appeal, but that may just be me…
The Great (Hulu)
If The Favourite had spawned a series, in style and concept, this would have been the result. I know it is actually based on different IP (a play) but you can’t help but see the parallels, especially with Nicholas Hoult (The Current War) in one of the leads.
But this is really Elle Fanning’s (Maleficent: Mistress of Evil) moment, her chance to take the reins and reign as an adult. Watching her navigate her world, and the absurd situations, is a riot and, at times, terrifying. Helping her along in her conspiracy to bring sanity to Russia are Sacha Dhawan (Doctor Who) and Pheobe Fox (Eye in the Sky). And Belinda Bromilow (Doctor, Doctor) and Sebastian De Souza (Medici) add a wonderful counterpoint and humor to it all. Even Charity Wakefield (Doctor Who: The Return of Doctor Mysterio) and Adam Godley (Umbrella Academy) add a sort of caustic and clever nastiness. Honestly, there are too many good performances to call them all out. If you’re up for some (sort of) period comedy, this one is worth the effort.
Upload (Prime) A little bit science fiction, a little bit rock-n-roll… ok, more a little bit Sleeper with a huge dash of Her, though both with backflipping twists on the approach. Robbie Amell (ARQ) and Andy Allo (Pitch Perfect 3) drive this show wonderfully. Allo, in particular, skips through emotional changes like a quick-change artist. Creator Greg Daniels brought his Parks and Rec comedy chops, but with a bit more restraint, to sell this entertaining satire that also comes with a nice mystery embedded. The first series is a solid start, but while it gets to a pause-point, it definitely ends on some serious cliffhangers. Fortunately, it is already renewed, so you won’t be left hanging forever.
Avenue 5 (HBO)
Yeah, I’m sorry, I just don’t get the appeal of this one. And it’s not because Hugh Laurie (The Night Manager) isn’t great fun. Nor is it that Lenora Crichlow (Collision) doesn’t manage to balance out the craziness. It’s that the writing and, particularly, Josh Gad (Little Monsters) just don’t know how to set limits that keep it all fun.
What could have been the black humor counterpart to Aniara, turns into a broad comedy mess without much to say for itself.
It isn’t perfect, and it’s certainly predictable in many ways, but The Half of It is also down-to-earth and earnest in the best possible sense. And I say this even with the framework of Cyrano with echos of Love, Simon and Hedvig and the Angry Inch paving the way. Director/writer Alice Wu (Saving Face) really came through in her Sophomore outing. She navigates the sea of high school awakening and romance with confidence, honesty, and a good dash of fantasy to allow for dramatic moments. But she never loses credibility, despite the well trod ground.
Much of the success here goes to the three leads. Leah Lewis (Nancy Drew) as our Cyrano is heartbreakingly lost in her world, trying to balance life and family. Daniel Diemer, is surprisingly effective as a “inarticulate jock” with hidden capacities. And Alexxis Lemire, as the object of affection, walks an interesting line without stumbling. With Wu’s guidance, each of them manages to remain both aware and innocent, intelligent, but naive. In other words, very much of their age rather than adults playing at being teenagers.
This is where the movie sets itself apart from another similar outing in 10 Things I Hate About You. 10 Things, while practically a classic, leans into its classical underpinnings and loses the pretense of reality. The Half of It leans more into life, and embraces the joy and the suck (at least to a degree) that is being a teenager in love.
There is also one wonderful bit part worth mentioning, as it is a real standout. Becky Ann Baker (Girls), as Lewis’s teacher, has a few fabulous moments that also serve to expose the town at large with a few brushstrokes.
Make time for this one, if you haven’t already. It will put a smile on your face without rotting your teeth. And the story, humor, and moments are certainly worth revisiting again down the road.