Author: Dennis Hartley

This year’s Tribeca Film Festival is being presented with one foot in the virtual world, and the other in the real world. While the brick and mortar portion of the festival wraps up tonight, you will still be able to watch select titles from this year’s TFF catalog through Wednesday, June 23^rd via Tribeca At Home. The Online Premieres section has select new films, shorts and documentaries, as well as a showcase of VR selections, podcasts and games programming. For the full catalog and ticket information, click here.

I’ve got a few more reviews to share this week for my TFF 2021 wrap-up. Hopefully, some of these films will be coming soon to a theater (or streaming platform) near you!

Bitchin’-The Sound and Fury of Rick James (***½) – They broke the mold when James Ambrose Johnson Jr. (aka Rick James) came into the world. In his documentary (headed for Showtime later this year), Sacha Jenkins wisely debunks the caricature popularized by Dave Chappelle (“I’m Rick JAMES, bitch!”) right off the bat, clearing the way for an honest, down-and-dirty portrait of the gifted (if maddeningly self-destructive) singer-songwriter-musician-producer (he died in 2004). Viewers only familiar with his personae from the late 70s onward that yielded hits like “You & I”, “Mary Jane”, “Bustin’ Out”, and “Super-Freak” may be surprised to learn about his formative mid-60s Canadian period, when he hung with the likes of Joni Mitchell and Neil Young and explored folk, psychedelia and hard rock (all of which he later incorporated into his unique brand of “punk-funk”). Slickly produced, fast-paced and thoroughly engrossing.

Brian Wilson: Long Promised Road (***½) – It’s been a long, strange trip for Beach Boys founder/primary songwriter Brian Wilson. After a 2-year streak of hit singles about sun, surf, cars and girls (beginning with the 1963 release of “Surfin’ U.S.A.”), Wilson hit a wall. The pressures of touring, coupled with his experimentation with LSD and his increasing difficulty reconciling the heavenly voices in his head led to a full scale nervous breakdown (first in a series). Still, he managed to hold the creeping madness at bay long enough to produce the most innovative work of his career (Pet Sounds, in 1966). Wilson’s roller coaster ride was only beginning, with a number of well-documented ups and downs (personal and professional); but his unique creative faculties remained intact. Considering what he has been through, it is amazing Wilson is even alive to tell the tale.

Brent Wilson’s documentary borrows the “Comedians in Cars Getting Coffee” concept, following Rolling Stone editor Jason Fine and Brian Wilson as they cruise around L.A., listening to Beach Boys tunes. Fine gently prompts Wilson to reminisce about the personal significance of various stops along the way. Most locales prompt fond memories; others clearly bring Wilson’s psyche back to dark places he’d sooner forget. What keeps the film from feeling exploitative is the fact that Wilson demonstratively trusts Fine (they are longtime friends). A sometimes sad, but ultimately moving portrait.

Buddy Guy: The Blues Chase the Blues Away (***) – If this straightforward, by-the-numbers documentary about blues man Buddy Guy seems destined for PBS…that’s because it is (set to premiere in July as an episode of American Masters). Not that there’s anything wrong with that; especially if it helps introduce the man and his music to a new generation of fans. A “musician’s musician” (especially for guitar players), he is one of those artists whose influence is more recognizable than his name (e.g. Hendrix, Clapton and SRV). The Louisiana-born Guy recounts how he was initially inspired by John Lee Hooker, then developed his own fiery blues style working the Chicago club scene (cutting his teeth with the likes of Muddy Waters, Howlin’ Wolf and Otis Rush). Admirers like Carlos Santana and John Mayer also chip in. A solid bio of a great player.

Creation Stories (**) – Nick Moran’s manic, hyper-kinetic biopic about Creation Records founder Alan McGee (who spearheaded the Britpop explosion of the 1990s) plays like a mashup of 24-Hour Party People and Trainspotting. This is not surprising considering the screenplay is co-written by Trainspotting author Irvine Welsh (with Dean Cavanagh). The narrative is framed by McGee (Ewen Bremner) telling his life story to a journalist. Cue the flashbacks, starting with McGee’s modest early successes in the 80s with acts like The Jesus and Mary Chain and My Bloody Valentine and culminating with his mentorship of Oasis in the mid-90s. The film moves too quickly for its own good, giving you no real sense of who McGee is (apart from establishing that he is an “outsider”). Another major hurdle is Bremner, who remains the most unintelligible actor in the English-speaking world (even for a Scotsman). Subtitles really would have helped. As much as I dug Moran’s 2009 Joe Meek biopic Telstar, I am afraid this one is a letdown.

Father of the Cyborgs (***) – The story of pioneering neuroscientist Dr. Phil Kennedy is like a real-life version of Michael Crichton’s The Terminal Man (with more than a touch of Blade Runner). Kennedy invented the “neurotrophic electrode” brain implant device-a tiny glass cone with gold wires designed to artificially process and interpret brain signals. Ideally, the function of the implant is to enable activation of critical pathways that might be otherwise blocked by motor disease or paralyzing injuries. In the 1990s, Kennedy famously tested his invention on a young man who had complete “locked-in” paralysis, teaching him to control a computer with his mind. This prompted ethical debates, which ignited anew in 2014 when Kennedy had electrodes implanted in his own brain (all in the name of science). David Burke’s documentary recounts Kennedy’s experiments and delves into all the associated issues in this fascinating profile.

Larry Flynt for President (***½) – Director Nadia Szold’s wild documentary about the Hustler magazine publisher’s infamous 1983 bid for the White House makes Milos Forman’s 1996 biopic The People vs. Larry Flynt look like a Saturday morning cartoon. An ever-polarizing public figure, Flynt (who died earlier this year) was paralyzed from the waist down after a would-be assassin shot him in 1978. After several years of painful recovery, Flynt began to incorporate more sociopolitical satire into Hustler, which led to his presidential campaign. He ran as a Republican (with a rather progressive agenda and a healthy sense of irony). Szold had access to a trove of previously unreleased footage by a film crew that followed Flynt around on his campaign trail. She also documents his high-profile First Amendment court battle with religious Right demagogue Jerry Falwell. At turns hilarious and harrowing (harrowing in the sense of how Flynt’s purely performative flirtation with politics presaged Donald Trump and the MAGA cult).

Like a Rolling Stone: The Life and Times of Ben Fong-Torres (***) – Nothing against Ben Fong-Torres, but I approached this film with trepidation. “Please, god,” I thought to myself, “Don’t let ‘Fortunate Son’ be on the soundtrack.” Thankfully, there’s credence, but no Creedence in Suzanne Joe Kai’s documentary, which despite the implications of its title is not another wallow in the era when being on the cover of the Rolling Stone mattered, man. OK, there is some of that; after all, journalist and author Ben Fong-Torres’ venerable career began when he first wrote for Rolling Stone in 1968. By the following year he was hired as the editor and wrote many of the cover stories. Fong-Torres quickly showed himself to be not only an excellent interviewer, but a gifted writer. His journalistic approach was the antithesis to the gonzo stylists like Lester Bangs and Hunter Thompson in that his pieces were never about him, yet still eminently personal and relatable. Just like her subject, Kai’s portrait is multi-faceted, revealing aspects of Fong-Torres’ life outside of his profession I was not aware of (like his activism in the Asian-American community, and how it was borne of a heartbreaking family tragedy).

Settlers (***) – Writer-director Wyatt Rockefeller’s sci-fi drama is Once Upon a Time in the West on Mars. The story centers on 9-year-old Remmy (Brooklyn Prince), who lives with her settler parents (Sofia Boutella and Jonny Lee Miller) at a remote homestead. Following an attack by hostile parties and subsequent arrival of a drifter who claims that the homestead rightfully belongs to him, Sofia’s life (as well as the family’s dynamic) changes drastically. The story takes place over a 9-year period; with Nell Tiger Free playing 18-year-old Remmy. Not wholly original, but smartly written and well-acted, with great production design and cinematography (exteriors were filmed in South Africa).

The Price of Freedom (***) – From a 2016 piece I wrote in the wake of the Orlando nightclub mass shooting:

You know what “they” say-we all have a breaking point. When it comes to this particular topic, I have to say, I think that I may have finally reached mine. I’ve written about this so many times, in the wake of so many horrible mass shootings, that I’ve lost count. I’m out of words. There are no Scrabble tiles left in the bag, and I’m stuck with a “Q” and a “Z”. Game over.

I wrote that five years ago; if anything, it seems gun violence in America has increased. Let’s put it this way…it’s an ongoing and complex issue. This timely documentary from Judd Ehrlich focuses on the political angle, more specifically the political influence of the NRA. How did the gun lobby become so powerful? Taking an evenhanded approach, Ehrlich has politicians, victims of gun violence, and NRA representatives all weighing in. He also offers an absorbing history of the NRA, pinpointing how the organization transitioned from hobbyists to lobbyists. There are no easy solutions; but as Ehrlich reminds us, there is a generation of young people like Parkland school-shooting survivor-turned activist Emma Gonzalez who are out there providing light at the end of the tunnel.

Wild Men (***) – Every film festival has at least one quirky road movie (it’s a rule). Danish director Thomas Daneskov’s (wait for it) quirky road movie concerns Martin, a white-collar worker who flips his lid and heads to the Norwegian hinterlands to gather nuts and berries (sans wife and kids). After a day or two, failing to bring down any wild game with his homemade bow and arrow, he’s craving protein and heads for the nearest convenience store (looking like a cross between Dilbert and Hagar the Horrible). Unfortunately, he’s forgotten his wallet and despite honest intentions ends up in an altercation with the manager and ultimately on the run from the cops. Fate puts him on a path with an injured drug runner, and a male bonding/buddy film ensues. An entertaining dramedy with a Coen Brothers vibe, mixed with typically deadpan Scandinavian humor.

Previous posts with related themes:

Notes from Tribeca 2021: Week 1

More reviews at Den of Cinema

—Dennis Hartley

Like other film festivals that had to cancel their “real world” event due to the pandemic, Tribeca kept the spirit and mission of their programming alive last year by devising inventive “virtual” solutions for carrying on. I’m happy to report that Tribeca 2021 (running now through June 20^th) is being presented with one foot in the virtual world, and the other in the real world (remember theaters, waiting in line and the smell of popcorn?).

I have received virtual accreditation for this year’s TFF, so I will be sharing reviews over the next several posts. The good news is that you can also attend some of this year’s TFF screenings and events via its virtual hub, Tribeca At Home. The Online Premieres section has select new films, shorts and documentaries, as well as a showcase of VR selections, podcasts and games programming. For the full catalog and ticket information, click here

Hopefully, these films will be coming soon to a theater (or streaming platform) near you! Let’s dive in:

9/11: One Day in America (***) – Tribeca is premiering this 72-minute pilot episode of an upcoming 6-part National Geographic Channel series. There have been quite a few documentaries recounting the horrors and heroics of that day, but I think this is the most affecting one I’ve seen to date. Much of the footage may be all-too-familiar, but director Daniel Bogado’s compelling, minute-by-minute network narrative-style reconstruction gives equal import to intimate testimonies of survivors and the broader historical context.

Kubrick by Kubrick (***½) – To someone unfamiliar with Stanley Kubrick’s oeuvre, a cursory glance at the director’s catalog (13 movies over a 46-year span) might prompt head-scratching as to all the fuss concerning his impact on the medium. But great artists are defined by the quality, not the quantity of their work. Kubrick was notoriously averse to granting interviews, so it has been largely left up to film scholars to mull over the ultimate “meaning” of 2001: a Space Odyssey or Eyes Wide Shut. Writer-director Gregory Monro had access to rare audio-only interviews Kubrick granted to French film critic Michael Ciment over a 10-year period. He cleverly incorporates Kubrickian visual language, rounded off by archival interviews with creative collaborators. Not a definitive portrait of the artist, but likely the closest we will ever get to Kubrick “in his own words”.

Last Film Show (****) – Child actor Bhavin Rabari gives an extraordinary performance in writer-director Pan Nalin’s moving drama. Set in contemporary India in 2010, the story centers on Samay, a cinema-obsessed 9-year-old boy who lives with his parents and younger sister. He is frequently beaten by his father, who is embittered by having to support his family as a railway station “tea boy” after losing his cattle farm. He forbids Samay to watch movies unless they are “religious” in nature. This of course drives Samay to play hooky from school and sneak into the local theater whenever possible. Eventually he befriends the projectionist, who takes Samay on as a kind of protégé, in exchange for the delicious school lunches that Samay’s mother packs for him. There are obvious parallels with Giuseppe Tornatore’s Cinema Paradiso and Francois Truffaut’s The 400 Blows, but Nalin puts his own unique stamp on a familiar narrative. Gorgeously photographed and beautifully acted, this is a colorful and poetic love letter to the movies.

Last Meal (***) – There is a very clever bait-and-switch in this 18-minute short. The bait is food porn…the camera lingers over glossy, hyper-stylized, TV ad-ready close-ups of mouth-watering cheeseburgers, fries, steaks, pizzas, tacos, etc. as the narrator rattles off itemized “last meal” requests by death row inmates (some more notorious than others). But faster than you can say “Where’s the beef?” you find yourself steeping in the gruesomeness of it all. Co-writer/directors Marcus McKenzie and Daniel Pricipe literally and figuratively give you food for thought regarding the ethics of capital punishment.

Not Going Quietly (***) – You may not recognize Ady Barkan by name, but you may remember a chance encounter he had on a plane with then U.S. Senator Jeff Flake in 2017 that went viral. Barkan (diagnosed with ALS in 2016 at age 32) confronted Flake on an impending Congressional vote on a tax cut that would have negative residual effects on Medicare, Medicaid and Social Security programs that people with disabilities rely upon for health care assistance. Nicholas Bruckman’s “warts and all” documentary charts how Barkin continues to use his skills as a longtime activist to spearhead a national campaign for healthcare reform, despite the progression of his disease. Don’t pity him-he doesn’t want it. You’ll pity yourself for not being out there making a difference like this amazing person.

Poser (**½) – All About Eve for millennials. Co-directors Noah Dixon and Ori Segev’s dark satire centers on an Ohio-based emo chick named erm…“Lennon” (Aujolie Baker) with vague aspirations to become a songwriter who (when not working at her dreary dishwasher gig) buzzes around the fringes of the Columbus underground scene, ostensibly to do “research” for her podcast (that may or may not have followers). Sullen and deadpan, it’s no wonder that Lennon doesn’t have any friends. However, once she ingratiates herself with a darling of the local indie music scene (Bobbi Kitten) she begins to emerge from her shell…in a rather discomfiting way. What ensues is a cross between the (far superior) underground scene satire The Last Big Thing and Single White Female.

See For Me (***) – This tight thriller starts out like another entry in the “blind woman in peril” genre (Wait Until Dark, See No Evil, Blink, etc.) but takes a few unexpected twists and turns. Directed by Randall Okita and written by Adam Yorke and Tommy Gushue, the story concerns a stubbornly independent, blind ex-skier (Skyler Davenport) who takes a cat-sitting job at an isolated mansion. And as we all know, nothing good ever happens at an isolated mansion. Without giving too much away, suffice to say that there is a home invasion, and complications ensue. The young woman deals with her situation armed with a cell phone, her wits, and a young army vet/ace gamer (Jessica Parker Kennedy) who works for a blind assistance hotline. While not 100% original, it keeps you guessing right up to the very end.

More reviews at Den of Cinema

—Dennis Hartley

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Writers spend an inordinate amount of time sitting around and thinking about writing. To the casual observer it may appear he or she is just sitting there staring into space, but at any given moment (trust me on this one) their senses are working overtime.

Consequently, films about writers and/or writing can be a tough row to hoe (how do you parlay the seed of inspiration blooming in a writer’s mind into a visual?). Consider Caroline Link’s When Hitler Stole Pink Rabbit, of which I had no idea was a semi-autobiographical story about the germination of a writer until a screen crawl at the end informed me so.

The writer in question is Judith Kerr (who passed away at 95 in 2019, just months before the film premiered in Germany). I was an avid reader as a kid, but somehow missed Ms. Kerr’s trilogy of children’s books “Out of the Hitler Time”. First published in 1971, “When Hitler Stole Pink Rabbit” was volume one of that series (as I have come to learn).

This family-friendly drama (adapted from Kerr’s novel by Link with Anna Brüggemann) centers on 9-year-old Anna Kemper (Riva Krymalowski), who lives with her parents and her older brother Max (Marinus Hohman) in late Weimer Germany. Her mother (Carla Juri) is a classical pianist, and her father (Oliver Mascucci) is a high-profile theater critic.

As this is Berlin in 1933, the elephant in the room is one Adolph Hitler, who is on the verge of dominating the imminent election. And as the Kempers are Jewish, this is not the ideal time for them to be in Berlin. While the Nazis have yet to “officially” seize control, Anna’s dad has been an outspoken critic of Hitler for a spell and awaits the election results with consternation. Informed that he’s on the Nazis’ “list”, he takes a trip to Prague, instructing his family to meet up with him in Switzerland should Hitler prevail.

When Hitler prevails, the family must pack quickly and skedaddle. They also must pack light, forcing Anna to make a difficult choice to leave her beloved stuffed pink rabbit behind, under the watchful eye of the family’s devoted housekeeper (Ursula Werner). Soon after the family reunites in Switzerland, Anna learns that the Nazis have not only absconded with Pink Rabbit, but all the Kemper’s possessions (and burned Dad’s books).

Despite the country’s alleged neutrality, things get a little hot in Switzerland after a few months and the family moves to Paris. When word reaches the Kempers that the Nazis have put a price on dad’s head, they eventually have to flee France to merry old England.

The initial scenes of the family hiking through lush Swiss Alpine scenery suggests you may have been roped into an unofficial remake of The Sound of Music, but ultimately When Hitler Stole Pink Rabbit is better viewed as The Diary of Anne Frank with a less heartbreaking postscript. I don’t intend that as a glib observation; after all, the wartime experiences of young “Anna” mirror those of Kerr herself…this is her life story.

The film is not really “about” Hitler, the Nazis, or even WW2. Rather, it is about the resilience of children, and the power of a child’s imagination. Through Anna’s eyes (helped immensely by young Krymalowski’s wonderful performance) I found myself transported back to that all-too-fleeting “secret world” of childhood. It’s that singular time of life when worries are few and everything feels possible (before that mental baggage carousel backs up with too many overstuffed suitcases, if you catch my drift).

Certain elements of Anna’s story resonated with me in a personal way (aside from the fact that she and I both had a Jewish mother). I think it’s because I grew up as a military brat. It’s a nomadic life; not so much by choice as by assignment. In the military, you follow orders, and if you have a family, they follow you. To this day, no matter where I’m living, or how long I have lived there, I feel like a perennial “outsider”.

One way I coped with the constant uprooting was to retreat into my rather vivid imagination. I remember creating comic books (mostly involving adventures in outer space) featuring characters named after friends I met along the way. I also wrote short stories for my own amusement. I hadn’t thought about that in years, but was triggered by watching Anna noodle caricatures and such throughout the film (Judith Kerr also did the illustrations for her books).

Nazi Germany is something we can only hope never again occurs in any way, shape, or form. There are myriad films you can watch if you wish to steep in the utter horror of it all. But even during wartime, life goes on. When Hitler Stole Pink Rabbit is best likened to the selective recollections of a carefree childhood: no matter what the harsh realities of the big world around you may have been, only the most pleasant parts will forever linger in your mind.

(“When Hitler Stole Pink Rabbit” is currently streaming via SIFF Channel)

Previous reviews with related themes:

A child’s guide to war

Tigers Are Not Afraid & Spirit of the Beehive

Where the Wild Things Are

The Invisibles

Top 10 movies about writers

More reviews at Den of Cinema

—Dennis Hartley

“It isn’t easy to accept that suffering can also be beautiful… it’s difficult. It’s something you can only understand if you dig deeply into yourself.”

― Rainer Werner Fassbinder

An oft-quoted Chinese philosopher once proffered “The flame that burns twice as bright burns half as long”. He could have been prophesying the short yet productive life of Rainer Werner Fassbinder. Over a 15-year period ending with his death in 1982 at age 37, the German playwright, director, screenwriter, actor, producer, editor, cameraman, composer, designer, etc. churned out 40+ feature films, a couple dozen stage plays , two TV mini-series, and various video productions, radio plays and shorts.

As illustrated in a new biopic, he also snorted lots of coke, cruised a lot of rough trade, threw a lot of tantrums, and generally treated friends, lovers, and actors (frequently all one and the same) like shit. It could be argued he didn’t suffer for his art, so much as make those around him suffer for it. He was “the bad boy” of New German Cinema.

Hence the title of Oskar Roehler’s fitfully inspired Enfant Terrible, which is propelled by Oliver Masucci’s scenery-chewing turn as Fassbinder (a performance that vacillates between Bruno Ganz as Hitler in Downfall and John Belushi as Bluto in Animal House).

After several years of rushed, provocative and audience-alienating theater productions, Fassbinder declares to his long-suffering collaborator Kurt Raab (Hary Prinz) “Wherever you go is material that is about how people see their dreams and how their dreams get destroyed. The theater can’t do it. Only cinema can do it.” This launches a torrent of rushed, provocative and audience-alienating films.

Eventually critics and audiences warm to Fassbinder’s work, starting with his internationally acclaimed 1974 drama Ali: Fear Eats the Soul. The narrative thread about Fassbinder’s relationship with leading man El Hedi ben Salem (Erdal Yildiz) provides Enfant Terrible with an emotional core it otherwise lacks (as nihilism  runs through much of Fassbinder’s work, perhaps it is intended to reflect the artist himself).

Roehler cannily replicates the aesthetic of Fassbinder’s films; bold colors, the cinematography (by Carl-Friedrich Koschnick), production design (done by Roehler himself), self-consciously theatrical sets, and the use of doorways and windows to create multiple frames within the camera frame indicates that he did his homework.

Using metatheatre, Roehler and co-writer Klaus Richter draw parallels between snippets of Fassbinder cruelly manipulating actors on set and vignettes depicting his tortured personal life, but it becomes repetitive. It’s a shame they didn’t take a deeper dive into Fassbinder’s creative vision; what you’re left with is a highlight reel of his filmography sandwiched between yet another sad study in willful self-destruction.

(“Enfant Terrible” is now playing in select physical and virtual cinemas)

Previous posts with related themes:

The Baader-Meinhof Complex

Synecdoche, NY

More reviews at Den of Cinema

—Dennis Hartley

It’s been a while (like never) since I’ve seen a kickass Kickstarter-funded martial arts movie that was filmed in my back yard. Full disclosure: Writer-director Quoc Bao Tran’s The Paper Tigers wasn’t literally filmed in my back yard…but it was shot here in Seattle.

Tran subtly subverts Hollywood tropes by re-imagining The Karate Kid through the sensibilities of Chan is Missing in this tale of three friends, all former teenage kung fu champions now riddled with the baggage and creeping infirmities of middle age.

The one-time star of the trio is Danny (Alain Uy) a divorced suburban dad with a drudge office job that keeps him tethered to his cell phone, even when he is trying to enjoy quality time with his young son on weekends (his ex is not pleased). Wisecracking Hing (Ron Yuan) was specially trained in the arts of ancient Chinese healing but is now barely ambulatory due to an accident and subsisting on disability checks. Jim (Mykel Shannon Jenkins) is the most physically fit of the lot, but still suffers the odd pull, creak, or tweak.

The men have gone their separate ways in their adult lives. Danny and Hing have kept in touch, but Danny and Jim have not been on speaking terms since an incident that took place on the eve of a martial arts tournament the then-teenage trio was attending in Japan.

However, when they learn that the recent death of their beloved “sifu” (kung fu teacher) may have involved foul play, the trio decide to put aside differences, get the band back together and launch their own investigation to find the culprit and avenge (if applicable).

While that setup may sound cliché…well, it is. But what separates Tran’s film from most martial arts fare is its character development, gentle social commentary, smart (and frequently hilarious) dialog, and surprising warmth. Don’t despair, action fans…there are still plenty of fight scenes, all expertly choreographed and genuinely exciting to watch.

The three leads are appealing and have great chemistry. Even the “bad guys” of the piece are three-dimensional; particularly Danny’s long-time nemesis (played with aplomb by Matt Page (creator of the martial arts comedy web series “Enter The Dojo”). Frankly, I did not expect to enjoy The Paper Tigers so much, but I, erm…really got a kick out of it!

“The Paper Tigers” is now playing on various digital platforms.

There are “low budget” movies, and there are “no budget” movies. Not that it makes a difference in the quality of what ends up on screen; some of my all-time favorite films are low-budget or no-budget wonders. Sadly, In Action will not be joining them this evening.

Billed as an “action film” with tongue-in-cheek, In Action is predicated on a one-joke premise that its budget is so low (“How low is it, Johnny?”) that nearly all its “action” is implied, rather than shown…most of what you are watching onscreen is inaction (get it?).

What you are mostly seeing onscreen are the occasionally gore-spattered mugs of co-writer-director-stars Sean Kenealy and Eric Silvera, who play (wait for it) Sean and Eric, two aspiring filmmakers who are brainstorming on their screenplay for an action movie. When government spooks hack into their laptops and mistake their story treatment for a terrorist plot, Sean and Eric find themselves embroiled in a real-life action film (of sorts).

It’s a clever concept, with spurts of comic inspiration using animation, hand-drawn sketches and toys, but Kenealy and Silvera’s histrionic acting goes to “11” and sustains that level for the entire film (which feels much longer than its actual 79-minute run time). The expletive-laden dialog leans heavily on insult humor of the Kevin Smith variety, but somehow lacks the panache (the film is reminiscent of Clerks, except without the laughs).

To their credit, Kenealy and Silvera do fully commit to…whatever this is. There’s always the possibility that they are utilizing some post-ironic meta-SXSW hipster shtick that I’m too out-of-touch to “get” (e.g., I never “got” Mr. Show, despite co-workers half my age insisting that I’d laugh my ass off. I watched several episodes …completely stone-faced).

Yeah, maybe I’m gettin’ too old for this shit…

“In Action” will be available on various digital platforms May 11.

Previous reviews with related themes:

Pointing a way to the moon: Bruce Lee hits Criterion

Ip Man 3

The Final Master

Bad Black

More reviews at Den of Cinema

—Dennis Hartley

Officially, yesterday (April 30th) was International Jazz Day for 2021. But as far as I’m concerned, every day should be Jazz Day...and not just for the music. Here’s why:

International Jazz Day brings together communities, schools, artists, historians, academics, and jazz enthusiasts all over the world to celebrate and learn about jazz and its roots, future and impact; raise awareness of the need for intercultural dialogue and mutual understanding; and reinforce international cooperation and communication. Each year on April 30, this international art form is recognized for promoting peace, dialogue among cultures, diversity, and respect for human rights and human dignity; eradicating discrimination; promoting freedom of expression; fostering gender equality; and reinforcing the role of youth in enacting social change.

Sounds like a damn fine plan to me. In honor of Jazz Day, here are 10 of my favorite cuts:

Miles Davis – “Pharaoh’s Dance” – Miles Davis is considered a “jazz” artist, but first and foremost he was an artist; one who defied categorization throughout his career. The influence of his 1970 2-LP set Bitches Brew on what came to be called “fusion” cannot be overstated. But be warned: this is not an album you put on as background; it is challenging music that demands your full attention (depending on your mood that day, it will sound either bold and exhilarating, or discordant and unnerving). Miles always had heavyweight players on board, but the Bitches Brew roster is legend: including future members of Weather Report (Wayne Shorter, Joe Zawinul), Return to Forever (Chick Corea, Lenny White) and The Mahavishnu Orchestra (John McLaughlin, Billy Cobham) – who are all now acknowledged as key fusion pioneers.

Pat Metheny & Anna Maria Jopek- “So It May Secretly Begin” – This has always been my favorite Metheny instrumental; but it got even better when I recently stumbled onto this breathtaking live version with added vocals, courtesy of the angel-voiced Jopek.

Gil Scott-Heron- “Pieces of a Man” – Gil’s heartbreaking vocal, Brian Jackson’s transcendent piano, the great Ron Carter’s sublime stand-up bass work, and the pure poetry of the lyrics…it’s all so “right”.

Digable Planets- “Rebirth of Slick (Cool Like Dat)”– I caught these guys at a Seattle club in 1993 and became a fan; a unique mashup of hip-hop with traditional jazz instrumentation.

The Style Council- “The Whole Point of No Return” – Spare, beautiful, jazzy, and topped off with his most trenchant lyrics, I think this is Paul Weller’s greatest song.

Barry Miles- “Hijack” – Memorable track from the keyboardist’s self-titled 1970 LP.

Milton Nascimento- “Nothing Will Be As It Was”– Hailing from Brazil, eclectic signer-songwriter Milton Nascimento is a world beat superstar who seamlessly blends jazz, samba, pop and rock into his own distinctive sound. This cut is taken from his 1976 album Milton, which features Wayne Shorter and Herbie Hancock sitting in.

Brian Auger & the Oblivion Express– “Whenever You’re Ready” – It’s hard to believe that the ace keyboardist and “godfather of acid jazz” is still gigging after 50+ years. In 1991, I had the honor of opening for Auger and Eric Burdon at a concert in Fairbanks, Alaska (I was doing stand-up). This cut is taken from the excellent 1973 Oblivion Express album Closer To It.

The Mahavishnu Orchestra- “Open Country Joy”— What I like the most about jazz is that it’s the most amenable of musical genres. Put it next to anything else: rock, soul, hip-hop, whatever…and then just watch how quickly it absorbs, adopts, and then shapeshifts it into something else altogether. John McLaughlin, Billy Cobham, Jan Hammer, Rick Laird and Jerry Goodman understood this. Here’s a perfect example. As the title implies, it begins as a nice country stroll, then…it blows your fucking mind. From the whisper to the thunder.

George Duke & Feel – “Love”— The late keyboardist extraordinaire George Duke was a versatile player; in addition to the 40+ albums in his catalog, he was equally at home doing sessions with the likes of Miles Davis, Michael Jackson, Third World, and (most famously) he played with Frank Zappa for many years. This cut is from Duke’s 1974 album, Feel. Zappa (credited under the pseudonym “Obdwel’l X”) contributes the lead guitar.

Bonus track!

Ryuichi Sakamoto & Kaori Muraji – “Merry Christmas, Mr. Lawrence” – While electronica/experimental musician Ryuichi Sakamoto is not considered a jazz artist per se, I hear jazz leanings in some of his compositions. This instrumental, which he composed as the main theme for Nagisa Oshima’s eponymous 1983 WW2 drama, is one example. It’s an achingly beautiful song to begin with, but this live rendition with Sakamoto accompanying Kaori Muraji on guitar is sublime.

Previous posts with related themes:

The Girls in the Band (and a top 5 list)

Miles Davis: Birth of the Cool

Low Down

Born to Be Blue

The Savoy King

Bill Frisell: A Portrait

Django

Stormy Monday

Ryuichi Sakamoto: Coda

More reviews at Den of Cinema

— Dennis Hartley

The Seattle International Film Festival has curated its first-ever virtual program for 2021, which is running now through this Sunday, April 18th (via the SIFF Channel, available on Roku, Fire TV, Android TV and Apple TV—or online at watch.siff.net). The slate features a grand total of 219 films, including 93 feature length films from 69 countries…plus 126 short films.  I have a fresh batch of reviews to share, so let’s dive in!

Beans ***½ (Canada) – Writer-director Tracey Deer’s impressive debut (co-written with Meredith Vuchnich) is a bittersweet coming-of-age story about a 12 year-old Mohawk girl nicknamed “Beans” (Kiawentiio). Beans’ preteen turmoil and angst is juxtaposed with a retelling of the 1990 “Oka crisis” standoff in Quebec, which involved a land dispute between Mohawk protesters and Canadian law enforcement. Beans, her little sister, father and pregnant mother find themselves in the thick of the (at times life-threatening) racist backlash from the local Quebecois settler community. Deer’s interweaving of documentary realism (via archival news footage of the crisis) with wonderful, naturalistic performances from her cast makes for an absorbing social drama.

The Bears’ Famous Invasion *** (France) – Granted, the bruin incursion recounted in this charming fairy-tale is likely more “famous” in Italy than elsewhere (Lorenzo Mattotti’s animated film is adapted from a popular Italian children’s book that I have never heard of called La famosa invasione degli orsi in Sicilia), but the story has universal appeal. A wandering minstrel and his young daughter happen onto a gargantuan bear while seeking shelter in a cave. Lucky for them, the hungry bear is up for swapping tales (as opposed to gobbling down an obvious easy dinner). The two tales told intersect in clever fashion. An imaginative and splendidly animated family-friendly entertainment.

Deadly Cuts *** (Ireland) – Strictly Ballroom meets Eating Raoul in this twisted black comedy from writer-director Rachel Carey. A quartet of hairdressers living in a crime-ridden Dublin neighborhood are working overtime to brainstorm new “cuts” that are innovative and exciting enough to wow the judges at the imminent “Ahh Hair!” championship. The women suffer a setback when their salon is vandalized by a gang who run a neighborhood protection racket. When the gang’s oafish leader shows up at the salon demanding payment, the confrontation escalates and the women are forced to defend themselves-with extreme prejudice. Let’s just say… it’s on to the championship, girls! The film becomes increasingly more campy and over-the-top as it progresses, but it’s (darkly) funny throughout.

The Salt in Our Waters ***½ (Bangladesh) – Writer-director Rezwan Shahriar Sumit’s sumptuously photographed variation on the venerable “city mouse-country mouse” scenario concerns a metropolitan sculptor (Titas Zia) who travels to a remote fishing village in the Bangladeshi Delta for a sabbatical. Inspired by the beauty of the coast (as well as one of the young women), he begins work on new pieces. Some villagers are puzzled by his sculptures (which they view as “idols” with no practical purpose) but are hospitable to their guest.

However, when the fishermen find their nets are suddenly coming up short (due to rising tides), the recently arrived outsider becomes a convenient straw man for the “Chairman”, the local head cleric and village leader. A compelling, beautifully acted drama that makes salient observations on tradition vs. modernity and science vs. fundamentalism.

The Spy **½ (Norway, Belgium, Sweden) –Swedish director Jens Jonsson’s WW2 drama is based on a “rumored” story regarding famous Norwegian-Swedish actress Sonja Wigert. After Sonja (Ingrid Bolsø Berdal) shuns the advances of German occupied Norway’s reichskommissar Josef Terboven (Alexander Scheer), he arranges to have her father arrested by the SS (as spurned Nazis do). Swedish intelligence offers to help free her father if Sonja agrees to get chummy with Terboven so she can gather intel (they are eager to find out if/when the Germans plan on invading Sweden).

The film drags in the first half, which is essentially a series of fetes and elegant dinners where Sonja flirts and mingles with high-ranking Nazis, but eventually delivers on its “spy thriller” billing with added layers of subterfuge and intrigue. While not destined to be mentioned in the same breath as Mephisto or The Last Metro, The Spy is a stylish (if workmanlike) genre entry. The screenplay was written by Harald Rosenløw-Eeg and Jan Trygve Røyneland.

Topside *** (USA) – Be advised: This stark, intense and harrowing drama about homelessness and heroin addiction is not for the squeamish (count me among the squeamish). Co-writers and directors Logan George and Celine Held’s film begins literally in the dark underbelly of New York City…and figuratively works its way down from there. A homeless single mother (Held) and her 5-year old daughter (Zhaila Farmer) survive hand-to-mouth living in an abandoned subway tunnel. When city officials order a sweep of the subterranean community, mother and daughter are forced “topside” onto the mean streets. Not a “feel good” film, but the most gripping and heartbreaking junkie drama I’ve seen since Jerry Schatzberg’s 1971 character study The Panic in Needle Park.

Wisdom Tooth ** (China) – Writer-director Liang Ming’s drama is an ambitious feature debut–perhaps overly so. Set in northeast China, the film begins as a character study about a brother and sister struggling to make ends meet in a fishing town. The young woman (Xingchen Lyu) is an undocumented worker and on the verge of losing her hotel maid job. Her half-brother (Xiaoliang Wu) has just lost his fishing job.

When the siblings befriend the free-spirited daughter of a prosperous mob boss, the sister oddly begins to act like a jilted (lover?) once her brother and their new friend start sleeping together…but there is no explanation as to why. There is a suggestion that the two women have the hots for each other, but that thread goes nowhere fast. About 40 minutes in there is a hint that you’re now watching a crime thriller, but no thrills ensue. Ultimately the film is a wash.

For info on tickets and special events, visit the SIFF website.

Previous posts with related themes

SIFF-ting through Cinema, pt. 1

More reviews at Den of Cinema

— Dennis Hartley

The Seattle International Film Festival has curated its first-ever virtual program for 2021, which is running now through April 18th (via the SIFF Channel, available on Roku, Fire TV, Android TV and Apple TV—or online at watch.siff.net). The slate features a grand total of 219 films, including 93 feature length films from 69 countries…plus 126 short films. I will be bringing you Festival highlights over the next couple weeks. Let’s dive in!

All Sorts **½ (USA) – Writer-director J. Rick Castañeda’s surreal office comedy centers on a 20-something named Diego (Eli Vargas) who lives in his car. He goes to a job interview and is surprised to get hired on the spot by an eccentric supervisor named Vasquez (Luis Deveze) for a data-entry position…despite only being able to type 50-odd WPM. This is the first of many surprises at Data Mart, a company that apparently exists in an alternate universe. Castañeda’s stylized approach suggests he is of the quirky Spike Jonze-Michel Gondry-Wes Anderson school. I have no problem with “quirky” per se, but it is no substitute for narrative. Vargas and Greena Park (who plays a co-worker Diego falls in love with) are charming together, but an overdose of “quirk” drags the film down.

All Those Small Things *** (USA) – The problems of the rich and famous…we should all be so lucky? 8½ meets Green Acres inthis portrait of an aging British game show host (James Faulkner) who descends into an existential malaise after hearing of the death of a longtime friend. Moping through his fan mail, he reads a touching letter that inspires him to travel to America to pay his admirer a surprise visit (and of course, to give himself some time to mull over a life tragically misspent). He ends up in a one-horse burg in Eastern Washington…where unexpected bonds are forged, and Life Lessons are Learned. Despite teetering on maudlin at times and containing more false endings than The Return of the King, writer-director Andrew Hyatt’s dramedy made me laugh and made me cry.

Caterpillars *** (Central African Republic) – This beautifully photographed documentary focuses on two Aka Pygmies who have set up a makeshift outdoor school for the children of their village as a community service. Bereft of funds for proper school supplies, the men take a hiatus from teaching to travel deep into the surrounding forest to harvest caterpillars, which they can easily turn into a marketable delicacy known as makongo. Arduous as the harvesting is, that’s the easy part…now they have to hoof it to the big city, where they haggle with shady market vendors and deal with the racial discrimination Pygmies unfortunately face from other Central Africans. Director Elvis Sabin Ngaïbino uses a strictly observational approach, resulting in an immersive and fascinating study of a unique aboriginal culture as they struggle with modernization.

The Earth is Blue as an Orange *** (Ukraine) – “Life during wartime” is not all about soldiers, generals, and politicians. The most overlooked participants are those who did not ask to be in the thick of it…the civilians caught in the crossfire. They are not spending time obsessing over borders, strategy, or ideology. They are just trying to keep their heads down and go about with their daily lives. Such is the plight of the Ukrainian family in this one-of-kind documentary. Filmed near Donbass, Ukraine over a 2½-year period during and after the 2014 war in the region, it chronicles the daily life of a single mother and her four children. The mother is a writer, and one of her daughters is an aspiring film maker. There are times when the conflict intrudes (like when artillery shells explode much too close for comfort), but director Iryna Tsilyk avoids sensationalism and focuses instead on showing us the humanity of her subjects.

Final Exam *** (China) – This character study is about a selfless part-time teacher tenuously close to a nervous breakdown. Between his school duties, taking care of his elderly mother and constantly having to bail his ne’er do-well brother out of trouble, he has his hands full. Deliberately paced; impatient viewers should be advised this one is a slow boiler , but the denouement packs quite an emotional wallop for those who don’t mind the wait. Director Chen-ti Kuo co-wrote her screenplay with Joanna Wang.

Heist of the Century **** (Argentina) – A stoner heist comedy based on a true story? Stranger things have happened. In 2006, a team of robbers hit the Banco Rio in Acassuso, took hostages, stole $8 million in valuables and cash and escaped in a boat despite being surrounded by 200 police. They ordered pizza and soda for the hostages, sang happy birthday to one of them, and left behind toy guns and a note saying they stole “money, not love.” If that isn’t a film begging to be made, I don’t know what is. Director Ariel Winograd and screenwriters Alex Zito and Fernando Araujo have fashioned one of the most entertaining genre entries Elmore Leonard never wrote. My festival favorite so far.

Ladies of Steel *** (Finland) – Finnish humor is not for everybody, as it leans toward deadpan (think Jim Jarmusch, who cites Finnish director Aki Kaurismäki as an influence). This road movie/dramedy from director Pamela Tola (co-written with Aleksi Bardy) is a kind of a geriatric take on Thelma and Louise. Fearing that she has killed her husband after beaning him with a frying pan during an argument, a 70-ish woman named Inkeri (Leena Uotila) panics and hits the road with her two older sisters in tow. Misadventures ensue…including sexual, which is not something you see onscreen very often with actors of “a certain age”. Truth be told…there is something actually quite wonderful and liberating about it.

Strawberry Mansion **½ (USA) – To quote a former president, “That was some weird shit.” This sci-fi tale depicts a dystopian near-future where the government has figured a way to collect taxes on the unconscious (sounds like a Q-anon theory). A hangdog tax man (Kentucker Audely, who co-wrote with director Albert Birney) who specializes in auditing people’s dreams calls on an aging, free-spirited artist (Penny Fuller) to paw through her dusty collection of dream archives, which are housed on VHS tapes. As the glum bureaucrat watches her dreams, he finds that he can interact with her younger self, with whom he begins to fall in love (Brainstorm meets Harold and Maude). There’s also a subplot about a virus that invades your dreams with product placements (similar to the “blipverts” in the Max Headroom series). The movie has a few inspired scenes but feels too derivative of films like The Lathe of Heaven, Paprika, and Dreamscape.

Too Late ***½ (USA) – I am not a big fan of gore movies, but despite my initial trepidation I ended up enjoying D.W. Thomas’ horror comedy. The Los Angeles stand-up scene provides the backdrop for this tale about a long-suffering booker and P.A. (Alyssa Limperis) who works for a demanding variety show host (Ron Lynch) who owns his own comedy club. He’s a real monster. No, seriously (I’ll leave it at that). Tom Becker (who is the director’s husband) wrote the frequently hilarious screenplay, which doubles as a clever metaphor for the dog-eat-dog world of stand up. Speaking as a former stand-up, they had me at “club owner who is a real monster”.

Waikiki **** (USA) – Trouble in paradise. This intense, shattering psychological drama is about a young native Hawaiian woman (Danielle Zalopany, in an extraordinary performance) who is at a crossroads in her life. She suffers PTSD from an abusive relationship. She is temporarily homeless and living in her van. She juggles several part-time jobs, including bartending and teaching hula. One night, upset and distracted following an altercation with her ex, she hits a homeless man with her van. From this point the film makes a tonal shift that demands your total attention. A tour-de-force for filmmaker Christopher Kahunahana, who served as writer, producer, director, and editor.

For info on tickets and more, visit the SIFF website.

More reviews at Den of Cinema

—Dennis Hartley

Here’s a lament I’ve been hearing more often than not: “I can’t find anything new and exciting to watch on “_____” (insert the digital streaming platform that you have developed a deep and abiding love/hate relationship with during the pandemic).

Buck up, little camper…there are so many new and exciting things you can watch over the next several weeks (in the comfort of your living room) it will make your head spin.

At the risk of having my critic’s license revoked, I confess in front of God and all 6 of my readers that I have only seen 3 of this year’s 8 Best Picture nominees. Then again, the Academy and I rarely see eye-to-eye. Apparently, I’m not alone these days:

When this year’s Oscars best picture envelope is opened, viewers might not be on the edge of their seat to see if “Nomadland,” “Mank” or “Promising Young Woman” — or another contender — is named. Instead, they might be scratching their heads. Although the pandemic has left households paying for more streaming services than ever, the majority of the best picture nominees at the Oscars are unknown to entertainment consumers.

Over the years, this has been a recurring problem for the Oscars, which is one reason why, in 2010, the Academy expanded the best picture race to up to 10 nominees to allow for more populist titles to enter the mix. But this year’s lack of awareness comes with a perplexing twist. Since the pandemic has shut down most movie theaters, the majority of the best picture Oscar contenders — including “Sound of Metal,” “The Trial of the Chicago 7” and “Minari” — are currently available to rent or stream on Netflix, Amazon and other platforms. […]

Beyond the lack of consumer awareness, there are other hurdles for the Oscar telecast this year, including a mandate that nominees must show up in person, causing concern among executives, publicists and talent who are still cautious about the pandemic. Despite the challenges, this year’s nominees are the most diverse class ever, with 70 women receiving a total of 76 nominations, and nine of the 20 acting nominations going to people of color.

(via Variety)

Here’s hoping the industry sorts itself out. I am happy to report that I have seen the Oscar nominees for Best Short Film-Animation and Best Short Film-Live Action. And as of this weekend, you can catch them via Shorts TV’s presentation of the Live Action, Animation and Documentary Oscar Nominated Short Film Category nominees (in theaters and virtual). From their press release:

The program will be available in over 200 screens across 50+ theatrical markets including New York and Los Angeles and due to theaters being directly affected by the COVID-19 pandemic, through virtual cinematic releases with a portion of proceeds benefiting the local theaters that are unable to be open during the release. This is the only opportunity for audiences to watch the short film nominees in theaters before the Academy Awards ceremony on Sunday, April 25, 2021.

I would advise parents that the animated program is a mixed bag that includes several selections that are not suitable for young children. I have not had time to preview the documentaries, but here are my reviews of this year’s Live Action nominees:

Feeling Through **** (USA, 19 mins) – This beautifully acted “after hours” piece concerns a troubled NYC teenager (Steven Prescod) looking for a place to sleep after staying out late partying with his buds. He encounters a deaf-blind man (Robert Tarango) standing on a deserted street holding up a sign asking for help. Hesitant at first, the teen agrees to help the man get to a bus stop. As the evening progresses the pair develop an unexpectedly deep bond. A moving treatise on empathy and compassion. Written and directed by Doug Roland.

The Letter Room **½ (USA, 33 mins) – Oscar Isaac (Inside Llewyn Davis, Ex Machina) stars in this character study about a lonely prison guard who is transferred to the “communications” division of the facility, where he screens inmate mail. Despite being told by his supervisor to skim for red flags and not dwell on personal details, the guard becomes fixated on one woman’s deeply passionate letters to her boyfriend who sits on Death Row yet never writes in return. The premise is interesting, and the acting is fine, but the film meanders and has a weak ending. Written and directed by Elvira Lind.

The Present ***½ (Palestine, 25 mins) – The premise is simple: As a surprise gift for his wife on their anniversary, a man goes shopping for a new fridge with his adorable young daughter in tow. If this were a sitcom, my next line would be “unexpected hi-jinks ensue” …but as the man and his daughter are Palestinians living in the West Bank, they must navigate heavily guarded checkpoints, segregated roads and moody, unpredictable soldiers who essentially treat them like suspected terrorists at every turn. And as writer-director Farah Nabulsi deftly illustrates in her affecting allegory, there is nothing funny about the seemingly unsolvable impasse in the region.

Two Distant Strangers ***½ (USA, 29 mins) – A cartoonist (Joey Bada$$) hooks up with a beautiful woman (Zaria Simone). In the morning, he awakens and heads for his own apartment to tend to his dog but is asphyxiated while being restrained by a racist cop (Andrew Howard) who has wrongly accused him of theft. Not a spoiler…because he reawakens in the woman’s apartment, sets off as before and ends up getting killed again in a slightly different scenario…but by the same cop. The cycle repeats, over and over. Will he ever make it home? Co-directors Travon Free and Martin Desmond Roe’s riff on Groundhog Day is an obvious allusion to the impetus behind the Black Lives Matter movement (reinforced by a heartbreaking roll call in the credits).

White Eye *** Israel, 20 mins) – Writer-director Tomar Shushan’s drama centers on an Israeli man who espies his recently stolen bicycle one evening, locked up outside of a meat processing plant. He calls the police, who tell him that unless he can provide proof of ownership, like a purchase receipt (he can’t), they are not authorized to cut the lock. They suggest he wait around and see if “the thief” shows up, then call them back. The man finds out that the bike belongs to an employee at the plant, an Eritrean immigrant who insists he bought the bike fair and square (although he cannot produce a receipt either). A well-constructed Solomon-like parable about judgement and empathy.

For more info on ways to view the Short Film programs, check out the ShortsTV website.

…and one more thing

Like many organizers of brick-and-mortar events that were scheduled for 2020, the staff of the Seattle International Film Festival (which usually opens mid-May and runs 3 weeks) were caught short by the pandemic last year and faced with some tough decisions:

That was then, this is now: The good news is, over the past year SIFF has rallied and curated its first-ever virtual festival for 2021, which runs from April 8th to April 18^th (via the SIFF Channel, available on Roku, Fire TV, Android TV and Apple TV—or online at watch.siff.net). The slate features a grand total of 219 films, including 93 feature length films from 69 countries. Additionally, SIFF will be streaming 126 short films. Beginning with next week’s post, I’ll be sharing highlights as I plow in! For info on tickets and more, visit the SIFF website.

Previous posts with related themes:

Mank

Judas and the Black Messiah

The Trial of the Chicago 7

More reviews at Den of Cinema

— Dennis Hartley