summer 2016

The Infiltrator

Video posted on by moviebloke

(USA 2016)

Bryan Cranston has come a long way from his stint as Tim Whatley, Jerry Seinfeld’s dentist. He’s an excellent choice to play Robert “Bob” Mazur, a U.S. Customs agent who in 1985 went undercover as fictitious New Jersey money launderer Bob Musella to work his way into the trafficking network of Colombian drug czar Pablo Escobar. With the assistance of fellow agents Emir Abreu (John Leguizamo) and Kathy Ertz (Diane Kruger), Mazur—to use his words—“followed the money” instead of the drugs. It led to one of the biggest drug busts in American history.

Based on Mazur’s memoir The Infiltrator: My Secret Life Inside the Dirty Banks Behind Pablo Escobar’s Medellín Cartel, director Brad Furman—whose mother, Ellen Brown Furman, wrote the script—lets Cranston go absolutely apeshit with his character. It’s impossible not to draw parallels between Mazur and Breaking Bad’s Walter White; it’s glaringly obvious that both characters are essentially family guys who choose a dangerous double life that consumes them to the point of losing who they are—not to mention their lives. This plays out exquisitely in a scene where a cartel member (Simón Andreu) who knows Musella spots Mazur and his wife, Evelyn (Juliet Aubrey), having a quiet anniversary dinner at a restaurant.

The Infiltrator is a good movie. Despite occasionally feeling like an episode of Miami Vice, it nonetheless has an intensity that slowly comes to a boil, and when it finally does: BOOM! The moral dilemma of betraying the people not only who come to trust Musella but also welcome him into their lives adds a dramatic slant that movies like this tend to lack. I was riveted. Considering its subject matter, though, The Infiltrator doesn’t exactly move fast. It’s more of a low key character study fueled by what’s going on in Mazur’s head. Benjamin Bratt, Yul Vazquez, and even Olympia Dukakis turn in great performances. There are some dark, funny moments along with some really unsettling scenes—like a weird voodoo ritual, an out-of-nowhere drive-by, and murder on the dance floor. It remains to be seen how memorable The Infiltrator proves to be, though.

127 minutes
Rated R

(AMC River East) B

http://www.theinfiltrator.com

Home3

Absolutely Fabulous: The Movie

Video posted on by moviebloke

(UK/USA 2016)

Absolutely Fabulous, one of my fave TV shows, was fresh, edgy, and bloody hilarious in its day—the dog’s bollocks, if you will. Stateside, it’s proven to be too much for prime time network television: ABC and FOX both abandoned plans to adapt it, the latter as recently as 2009 (http://www.tvtonight.com.au/2009/05/fox-rejects-ab-fab-remake.html). As executive producer Jon Plowman noted, “[t]he trouble with doing Ab Fab in America is that it will have to end with Edina and Saffy hugging, Patsy giving up drink and drugs, and them all hugging mum. It won’t work. It’ll be too nice.” (http://www.telegraph.co.uk/news/celebritynews/3153677/US-remake-for-Absolutely-Fabulous.html). Hold that thought.

Since the end of its original BBC run in 1995, Ab Fab’s few revivals have consistently fallen short. I was skeptical about a full-length movie 25 years on. While not the disaster I feared it would be, Absolutely Fabulous: The Movie still isn’t the knees up full Monty I wanted.

Eddy (Jennifer Saunders), Patsy (Joanna Lumley), Saffy (Julia Sawalha), even Mrs. Monsoon (June Whitfield) are the same, which is great—who doesn’t love them? They each have some good lines and some bright moments. Pats hasn’t lost her signature deadpan snarl, and the animosity between her and Saffy is still very much alive. The problem, however, is that the world has changed, which is partly why Ab Fab doesn’t have the same impact. For one thing, Eddy and Patsy’s irrelevance is really irrelevant today. They’ve become anachronisms; their antics ring more tired and pathetic than funny after awhile. Worse, everything about their fashionable world is passé. A prominent figure in the plot is supermodel…Kate Moss? The many celebrity cameos—Jerry Hall, Jean Paul Gaultier, Dame Edna, and Joan Collins to name a few—are fun, but none of them are setting any fires these days. Aside from Jon Hamm and Rebel Wilson, the faded glory here is enough to book Hollywood Squares for a month solid.

The movie has as much substance as an episode, but it’s clearly stretched to fill the time; Ab Fab episodes were only 35 minutes for a good reason. Some of the character twists, particularly Bubble (Jane Horrocks) and Marshall (Christopher Ryan), don’t make sense. Eddy gets soft toward the end: she delivers a monologue about wanting to be loved all her life, telling Saffy she loves her. Ugh. Say that again, Mr. Plowman?

I didn’t hate Absolutely Fabulous: The Movie; I got some laughs out of it. I didn’t love it, though. I could have overlooked its shortcomings had it been funnier. As it stands, I prefer Ab Fab where it fits best: in the ’90s.

91 minutes
Rated R

(AMC River East) C

http://www.foxsearchlight.com/absolutelyfabulous/

http://www.absolutelyfabulousthemovie.co.uk/showtimes

Wiener-Dog

Video posted on by moviebloke

(USA 2016)

For someone whose best-known films have words like “welcome” and “happiness” in their titles, Todd Solondz doesn’t come across as a particularly cheery guy. His stories are never sentimental or uplifting. His characters are a motley crew of hopeless geeks, unattractive lurps, and outright assholes. He exposes the worst of humanity—pettiness, cruelty, disappointment, indifference—and makes a deranged joke out of it. To some (like me), his bleak, misanthropic perspective is wildly amusing, refreshing, and compelling. Those who dig his twisted brand of cynicism should relish Wiener-Dog, his first film in five years.

Wiener-Dog follows the life of a dachshund as she passes through a succession of masters in four vignettes: Remi (Keaton Nigel Cooke), a child cancer survivor; Dawn (Greta Gerwig), a flummoxed vet assistant who runs into a former classmate, Brandon (Kieran Culkin), at a convenience store; Schmertz (Danny DeVito), a film writing professor on the verge of a meltdown over a screenplay he can’t get his agent to read; and a dying old sourpuss (Ellen Burstyn) whose cracky granddaughter, Zoe (Zosia Mamet), pays her an unexpected visit.

WARNING: Potential spoilers ahead!

Side note: the aforementioned Dawn is Dawn Wiener—whose classmates’ mean nickname for her provides the title here—from Welcome to the Dollhouse. I was apprehensive about the idea of resurrecting her and Brandon, but it works on its own without coming off as a desperate attempt at piggybacking a successful past project or playing on nostalgia.

Wiener-Dog is all Solondz, and he’s focused on mortality: sickness and death color each sketch. He starts at childhood and moves through adulthood, getting progressively glum as he leads us to a grave of sorts. Even Weiner-Dog’s name, which changes with each master, hints at where this is all going: Wiener-Dog, Doodie (as in poop), and Cancer—if DeVito’s character named her, I missed it. With just a few exceptions, everyone is terrible. This film is loaded with wonderfully sad, absurd dialogue. Remi’s father (Tracy Lett) explains the importance of breaking a dog’s will, ending the discussion on a bizarre contradictory note. In a hilarious philosophical colloquy, Remi’s mother (Julia Delphy) explains why Wiener-Dog needs to be spayed, inadvertently bringing him to the conclusion that “death is a good thing.” Brandon tells his brother (Connor Long), who has Down’s Syndrome, that their father just died from drinking, even though he said he quit a long time ago. An admissions committee interviews an applicant (Devin Druid) about why he wants to go to film school, and he can’t answer a single question. A school administrator (Sharon Washington) confronts DeVito about his negativity. Zoe explains how rare the ostrich egg she just gave her grandmother is while her grandmother’s unimpressed nurse, Yvette (Marcella Lowery), takes it away to dispose of it. In a dream sequence, Ellen Burstyn’s character has a weird conversation with multiple alternate versions of herself (Melo Ludwig) that chose to be nicer during life.

And then there’s the ending—abrupt and jarring, I literally jumped in my seat and sat there frozen for a few moments. True to form, Solondz makes it clear that no one is important in life’s grand scheme.

Solondz called Wiener-Dog one of his “sunnier” films, and it actually is. To expect a schlocky tale highlighting the joy a pet brings is stupid considering the man behind it. Nonetheless, Solondz gets as sweet as I’ve ever seen him, especially with Dawn and Brandon. The scene where Zoe confides to her grandmother that she suspects her boyfriend, Fantasy (Michael Shaw), is running around behind her back is also touching. The “intermission” is dumb but cute, and the songs are fun. Wiener-Dog has a good life unlike those around her—she isn’t mistreated, and she achieves something none of the other characters do: immortality.

Screening followed by a live Q and A with Todd Solondz.

93 minutes
Rated R

(Music Box) B+

http://www.wienerdogmovie.com

 

Director’s Cut

Video posted on by moviebloke

(USA 2016)

Yeah…this. Hmmm. Herbert Blount (Penn Jillette) is a weird crowdfunding stalker obsessed with actress Missi Pyle, playing herself, who costars in a low budget crime-gore “movie” with Harry Hamlin and a guy named Reed (Hayes MacArthur). Blount, who is given behind-the-scenes access because he used his PayPal account to donate a large sum of money to the project, is seduced by the artistic process and secretly hijacks the film to make his own version: he wants Pyle front and center. He undermines the director (Adam Rifken), steals footage, and kidnaps Pyle to shoot new scenes with her in his basement.

A movie within a fake movie (Knocked Off), Director’s Cut is a satire of the film industry, celebrity, and the changing role of the audience. Directed for real by Rifken, it exhibits some competent technical handiwork: Knocked Off, little more than a CSI episode, looks professional right down to its angles, cuts, and color grade. A slew of cameos—some, like Jillette, former contestants of Celebrity Apprentice (Gilbert Godfrey, Lisa Rinna)—adds a smart lighthearted touch. Jillette’s longtime partner in magic, Raymond Joseph Teller, makes a fun though not exactly unexpected appearance. Pyle’s diva tantrums “off screen” are amusing. The film makes interesting and timely points about the dangers of giving artistic input and access to the general public and obsessed fans: even in an era where the tools of the trade are readily available to virtually anyone, not everyone can (or should attempt to) make a movie.

Director’s Cut just doesn’t cut it. Sadly, Jillette himself is the most disappointing thing about it. He doesn’t pull off creepy; his gentle, dulcet voice bantering lame “commentary”—like in a bonus feature of a DVD (get it?)—undermines that. Worse, his terrible “acting,” the oddly tame scenes he stages with Pyle, and his crude homemade edits of his version of the film paint him as a harmless grandfatherly dolt more than anything. The gimmick here wears out before the movie is even half over. Director’s Cut has good ideas, but it’s just not funny.

83 minutes
Not rated

(Gene Siskel Film Center) D-

https://makepennbad.com

https://youtu.be/pAuh1u-IZ3k

Blood Simple.

Link posted on by moviebloke

(USA 1985)

“If you point a gun at someone, you’d better make sure you shoot him. And if you shoot him, you’d better make sure he’s dead. Because if he isn’t, then he’s gonna get up and try to kill you.”

—Ray

 

“I ain’t done nothing funny.”

—Abby

 

“Well, ma’am, if I see him, I’ll sure give him the message.”

—Loren Visser

I snagged tickets for the first screening when a theater near me announced a brief summer run of the Coen Brothers’ debut Blood Simple. A sharp 4K digital restoration, I’m not sure whether this is the original version—a few minor edits and cuts have been made over the years, and a song (The Four Tops’ “It’s the Same Old Song,” appropriately enough) was taken out and put back in. It doesn’t matter, though, because whatever changes were made are imperceptible, as least to me. This version is exactly as sordid, labyrinthine, and suspenseful as I remember.

Written by both brothers with Ethan as producer and Joel as director, everything about Blood Simple. is unique and masterful. The story starts out simple: set in rural Texas, bar owner Marty (Dan Hedaya) suspects that his wife, Abby (Frances McDormand), is having an affair and hires a private investigator, Loren Visser (M. Emmet Walsh), to find out whether he’s right. He is: Visser follows Abby and one of Marty’s employees, Ray (John Getz)—a bartender, of course—to a motel and takes photos of them in flagrante delicto. Soon after, Ray quits his job, provoking Marty to reveal that he’s onto Ray and Abby. Marty asks Visser to kill them, and that’s when things get complicated.

WARNING: Potential spoilers ahead!

Visser, you see, is a con man: he takes Marty’s money but doesn’t really kill Ray or Abby—instead, he doctors one of the photos he took at the hotel to look like they’re both dead; he paints on bullet wounds and gives the finished photo to Marty. A brilliant series of events all stemming from misunderstandings—like an episode of a demented Three’s Company—ensues, dragging all four characters into a murderous downward spiral.

Initially shown on the film festival circuit during autumn 1984 before a wide release in January 1985, the Coens’ clever mix of psychology, film noir, and seriously dark humor is unparalleled by anything else from its day—the top three films of 1984 were Beverly Hills Cop, Ghostbusters, and Indiana Jones and the Temple of Doom, if that says anything (http://www.boxofficemojo.com/yearly/chart/?yr=1984). Blood Simple. exhibits the Coens’ distinctive penchant for ridiculously well developed and eccentric characters, perfect dialogue, flawless plot layering and pacing, fierce tension that makes you squirm, misanthropy, and an innovative use of clichés—all hallmarks of their work. This film, which launched not just their careers but also those of McDormand (it’s her first gig in a movie) and cinematographer Barry Sonnenfeld, is done so well it succeeds without a big budget. It’s a solid debut that serves as a blueprint of what was to come from these guys.

95 minutes
Rated R

(Music Box) A+

http://www.janusfilms.com/films/1815

Buddymoon

Link posted on by moviebloke

(USA 2016)

Former child star David Zara (David Giuntoli) just got dumped—days before his wedding, apparently. His ex-fiancée, Frankie (Jeanne Syquia), left him an empty apartment with nothing but a lifetime supply of rosé for the reception and a bunch of hiking gear for what would have been their honeymoon in the Oregon wilderness. Enter best bud and best man Flula (Flula Borg) to pull David out of his depression: he suggests—no, insists—that the two of them take the honeymoon. What are friends for? The honeymoon didn’t sound all that romantic, anyway.

Giuntoli gives a solid performance; he plays a wounded bird forging a brave face quite well, even turning on the waterworks a couple times. It doesn’t hurt that he’s easy on the eyes. YouTube personality Borg plays his character, a “human puzzle” as David calls him, with a simple, childlike innocence and excitement (“Focus your face on this, nature!”). Like a German Einar Orn in the background of a Sugarcubes song, he banters on dramatically about mundane things while he walks around the forest recording sounds for what he says will be “the greatest song of all time, ever.”

As the title makes clear, this is a buddy movie. Director Alex Simmons, who cowrote the script with Giuntoli and Borg, keeps the mood light, focusing on the guys while they walk, talk, prank, and inevitably annoy each other. There’s a good bit of funny dialogue (Borg’s confusion with American history and culture provides much of the humor) and some bright scenes—like an encounter with a survivalist hiker (Brian T. Finney), an overnight with a group of campers led by a total babe (Claire Coffee), and a run-in with a wolf while doing mushrooms. The parallel to Lewis and Clark is mildly interesting, and the story is cute. However, Buddymoon doesn’t really soar: it’s ultimately a chick flick with guys.

80 minutes
Not rated

(Facets) C

BUDDYMOON MOVIE

Some Like It Hot

Video posted on by moviebloke

(USA 1959)

An anonymous staff writer for Variety magazine reviewing Some Like It Hot upon its initial release in 1959 said it succinctly:

“Some Like It Hot, directed in masterly style by Billy Wilder, is probably the funniest picture of recent memory. It’s a whacky, clever, farcical comedy that starts off like a firecracker and keeps on throwing off lively sparks till the very end.”

(http://variety.com/1959/film/reviews/some-like-it-hot-2-1200419454/)

And how! I never saw Some Like It Hot—I wasn’t sure how good or even funny it would be after nearly 60 years. My expectations were zero. I’m happy to report that it most certainly is a blast—the humor still works well, and the whole thing is deliciously tongue in cheek. I loved it.

Chicago, 1929: musicians Joe (Tony Curtis) and Jerry (Jack Lemmon) desperately need work. After inadvertently witnessing the St. Valentine’s Day Massacre, they reluctantly accept a gig playing in a female jazz band headed to Florida—as female musicians, of course. Yes, in drag. Who knew sultry party girl Sugar Kane Kowalczyk (Marilyn Monroe) would be around, constantly threatening to blow their cover?

Loaded with sexual tension and humor, Some Like It Hot shows a side of the ’50s I didn’t realize existed: it’s brazen, offbeat, ardent, inspired, and totally original. Curtis, Lemmon, and Monroe are unstoppable together. The scene with Curtis and Monroe on the yacht is oddly hot. I definitely get the appeal of Monroe after seeing this—and I’ve seen in her other films, specifically Gentlemen Prefer Blondes. Not the same effect at all. Joe E. Brown is unforgettable as cracker-barrel millionaire Osgood Fielding, who tries his damnedest to woo Daphne (Lemmon).

Some Like It Hot has the absolute best final scene—if not the absolute best final line—in film history. It’s a classic that everyone should see.

In 1989, the United States Library of Congress deemed Some Like It Hot “culturally, historically, or aesthetically significant” and selected it for preservation in the National Film Registry (https://www.loc.gov/programs/national-film-preservation-board/film-registry/complete-national-film-registry-listing/).

121 minutes
Not rated

(Music Box) A

http://www.afi.com/members/catalog/DetailView.aspx?Movie=53017

Swiss Army Man

Video posted on by moviebloke

(USA 2016)

The premise of Swiss Army Man is bizarre: Hank (Paul Dano), starving and bored, is stranded on a tiny deserted island. Just as he is about to off himself, he sees a corpse (Daniel Radcliffe) in a suit wash up on the beach. It moves. It squirts water out of its butt. It talks! It has strange powers. Hank names it Manny, and the two set off to find their way home. The previews sold me, so I saw it the night it opened in Chicago.

Swiss Army Man is a strange and perplexing film. Never mind that one of the main characters is a decomposing stiff with a raging boner, a leaky ass, and a fucked up eye—as if that’s not disturbing enough. It’s impossible to discern what’s happening in reality and what’s happening in Hank’s head. The whole thing is a cross between a kid’s story and a hallucination; director Dan Kwan is so vague and hazy that even after a week mulling it over, I have no idea what happened let alone what the film is about. A girl named Sarah (Mary Elizabeth Winstead) is involved, a grizzly bear makes an appearance, and the guys bond. Hank can’t masturbate because it makes him remember his dead mother, and his father (Richard Gross) is indifferent to him. Mmmkay.

Somewhere amid the references to Jurassic Park and all the fart, poop, and dick jokes is a point. Friendship saves? Know yourself? Take risks and live life? I honsetly don’t know.

97 minutes
Rated R

(ArcLight) C+

http://swissarmyman.com

Volcano [Vulcano]

Video posted on by moviebloke

(Italy 1950)

Vulcano, we’re informed at the end of the film, is not a story about Maddalene (Anna Magnani) or her younger sister, Maria (Geraldine Brooks); it’s about the volcano, which never changes.

I can’t resist a good Italian melodrama, especially a neorealist one. Although not a major work or a prime example of the movement, Vulcano doesn’t disappoint even with its numerous flaws. For reasons not immediately revealed, Maddalene returns to her girlhood home on a Sicilian island that she left for Naples some 18 years before. A far cry from the rough and dreary yokels who inhabit the island, Maddalene is elegant, urbane, alluring, and much better dressed. She’s also got a not-so-secret career as a prostitute back in Naples.

The women shun Maddalene, interfere with her options for legitimate work on the island, and block her from entering church to attend Mass. One crazy bitch goes so far as to kill Maddalene’s dog in a quarry. All of this confuses innocent Maria, who is unaware of her sister’s, um, vocation. Enter sexy scammer Donato (Rossano Brazzi), a sponge diver after a sunken trunk. After a few demonstrative rebukes, Maria gives in and falls in love with him. Maddalene realizes Donato is also a recruiter for a sex slave ring—and he’s got his sights set on Maria. How far will she go to protect her little sister?

The melodrama here is wonderfully overdone (Vulcano is purportedly Magnani’s revenge film after her lover, director Roberto Rossellini, dumped her and replaced her with Ingrid Bergman in another film called Stromboli). The location looks like another planet; all dirty, dry, and deserted, it works well in illustrating the desolate, loneliness of the island and Maddalene’s situation. The narration, however, is cheesy and crudely executed. Director William Dieterle throws in a bunch of odd scenes on fishing boats and underwater that come off gratuitous and not quite natural. The ending is abrupt and silly—a volcanic eruption cuts everything off. Qualunque cosa.

106 minutes
Not rated

(Gene Siskel Film Center) B-

Ferris Bueller’s Day Off

Link posted on by moviebloke

(USA 1986)

“Life moves pretty fast. If you don’t stop and look around once in awhile, you could miss it.”

—Ferris Bueller

I caught a 30th anniversary screening of Ferris Bueller’s Day Off—what a treat to see it on the big screen again! The first time I saw this was with my mother and grandmother on a school night during its original run—that says a lot about its appeal. I had no idea that John Hughes wrote the screenplay in less than a week, or that it was his “love letter to Chicago” however readily apparent that is now, or that it was one of the top ten grossing films of 1986 (https://en.wikipedia.org/wiki/Ferris_Bueller%27s_Day_Off). I do know that it’s one of his best films, and in my opinion his last truly great one.

Where to begin? Ferris Bueller’s Day Off is damn near perfect. An exquisite balance of Weird Science fluff and The Breakfast Club heaviness, it’s a fun escape fantasy anyone can relate to—calling in sick and hitting the city—that isn’t mindless. This film is hilarious, poignant in places, subversive, and in many ways so over the top, but it doesn’t insult your intelligence. The story’s holy trinity—mischievous Ferris (Matthew Broderick), quick-witted Sloane (Mia Sara), and high-strung jittery Cameron (Alan Ruck)—are spot on realistic. They’re downright cool—I’d hang out with them. Indeed, Ferris is enviable—admit it, you wanted to be him. I know I did.

The film is an interminable string of iconic scenes and lines: Ferris’s opening monologue, Ben Stein taking roll call (“Bueller? Bueller? Bueller?”), school secretary Grace (Edie McClurg) explaining to principal Ed Rooney (Jeffrey Jones) that Ferris “is a righteous dude,” Cameron’s prank call to Rooney (“Pardon my French, but you’re an asshole”), the Ferrari, the Art Institute, “Twist and Shout,” the restaurant (“The Sausage King of Chicago?”), Wrigley Field, the singing telegram, “Save Ferris,” hateful Jeanie Bueller (Jennifer Grey), Rooney’s bus ride home, and being sent home at the end of the credits. Interspersed is weighty stuff like Ferris’s realization that he and Sloane probably won’t be together after high school ends and Cameron’s meltdown—none of it out of place or trite in the context of the film. I can watch Ferris Bueller’s Day Off over and over, and never get tired of it because it’s multilayered and always brings a smile to my face.

As for Hughes’s love letter to Chicago, I must say that living here, it’s strangely satisfying to walk down the street on any given day and encounter a setting—a corner, a street, a building—that I recognize from an iconic movie that to this day I love. If you have the means, I highly recommend picking it up.

In 2014, the United States Library of Congress deemed Ferris Bueller’s Day Off “culturally, historically, or aesthetically significant” and selected it for preservation in the National Film Registry (https://www.loc.gov/programs/national-film-preservation-board/film-registry/complete-national-film-registry-listing/).

103 minutes
Rated PG-13

(Brew & View at The Vic) A

https://youtu.be/R-P6p86px6U