DREAM SCENARIO: but it can’t be my fault, can it?

Photo caption: Nicolas Cage in DREAM SCENARIO. Courtesy of A24.

In the brilliant and utterly original comedy Dream Scenario, Nicholas Cage plays Paul, a hopelessly square, middle-aged professor of evolutionary biology, who suddenly starts appearing in other people’s dreams. At first, Paul shows up in dreams and does nothing at all (which is fitting for Paul’s personality), even failing to intervene as people dream that they’re in peril. When Paul’s students publicize the phenomenon on social media, thousands of people recognize Paul from their dreams and he goes viral.

His instant celebrity takes a turn when, through absolutely no action on his part, Paul’s behavior in the dreams becomes less benign, and the real Paul becomes associated with the threatening Dream Paul. Surely, he can’t be blamed for another person’s dreams, can he?

Dream Scenario slides from a comedy of manners into a sharply pointed parody of cancel culture, social media overkill, cognitive behavior therapy and our society’s impulse to monetize everything, not to mention today’s commercial imperative to leverage everything for micro-targeted advertising. Dream Scenario is highly intelligent and hilarious.

The guy who imagined this unique premise and all the killer moments of topical parody is Norwegian writer-director Kristoffer Borgli, whose work I haven’t seen before. This is the 38-year-old Borgli’s third feature; I can’t wait to mine his previous work and anticipate what he brings us next.

The character of Paul is not your off-the-shelf Everyman. He is, after all, smart enough to have a Ph.D., even be a tenured professor, and he’s a reliable and well-meaning, if unexciting, dad and husband. Paul has had career ambitions, now mere fantasies because we can tell right away that his social clumsiness and laziness keep him from realizing his them. He’s just too comfortable in his routines, which have become a rut.

Cage is excellent as Paul, whose natural, hard-wired response is to UNDERREACT (the opposite of most of Cage’s movie roles). He suffers each of the oddities, then indignities, then outrages ,until they reach his breaking point.

The cast of Dream Scenario is deep and excellent:

  • Julianne Richardson, as the wife who knows Paul best of anyone, for better and forworse, is stellar. Any actor who wants to learn the subtle slow burn should study Richardson’s reaction when one of her husband’s old girlfriends invites him for a coffee; Richardson lets us see her character’s building fury without a single stomp or eyeroll.
  • Dylan Gelula has an unforgettable turn as a very young woman driven by a compulsion toward a paroxysm of passion that is destined to elude her – one of the funniest movie scenes this year, and one that she has perfectly set up in earlier scenes.
  • Michael Cera is very funny as a hyper-opportunistic agency head, a paragon of insincerity.
  • The always-excellent Dylan Baker is perfect as the Cool Kid in the college town’s social set.
  • Tim Meadows is pitch-perfect as Paul’s longtime colleague/boss, who wants to dthe right thing, but can never cast side the bonds of an academic bureaucrat.

Dream Machine is one of the best comedies of the year, as funny and as smart as Barbie, which is high praise.

DVD/Stream of the Week: Joe

JoeIn Joe, Nicholas Cage plays the title character, who lives a solitary life in backwoods Texas – self-isolated by problems with anger management and booze that long ago estranged his family and cost him some time in the state pen. Somehow Joe has stayed out of trouble for years, but he’s always on a slow simmer, seemingly close to boiling over. Joe meets Gary (Tye Sheridan of Mud), a boy who belongs to a family of drifters led by a father who beats them and takes all their money to spend on cheap likker. Joe bonds with Gary, and ultimately finds redemption in a sacrifice he makes for the boy. Dark and violent, Joe is ultimately successful as a gripping drama.

Indie writer-director David Gordon Green excels at authentic character-driven Southern dramas (George Washington, All the Real Girls and Undertow). Here he brings us to a world of nasty chained-up dogs, where everyone smokes cigarettes and eats canned food, and nobody has heard of espresso or the Internet.

Cage’s performance is excellent – never over-the-top and much more modulated and realistic than we’ve come to expect from him.

Sheridan, so good in Mud, might be even better here; he smolders at the abuse and neglect the family suffers at the hands of his father. He’s become a strapping kid who came employ violence against an adult, but the father-son tie keeps him from unleashing it on his despicable father. Sheridan is especially brilliant in an early scene where he playfully banters with his drunken dad and in another where Joe teaches him how to fake a pained smile to attract girls.

The biggest revelation in Joe is a searing performance by non-actor Gary Poulter as the drunken father who may shamble like a zombie, but is always cruising like a shark, on the hunt for someone to manipulate or rob. It’s stirring portrait of final stage alcoholism, where there is no moral filter anymore – he will resort to ANY conduct for some three dollar wine. There is nothing left but evil borne of desperation for a drink. Although Poulter was a reliable member of the filmmaking team, within two months after the conclusion of photography, he had resorted to his previous self-destructive lifestyle and died. Thanks to Green, he leaves one great cinematic performance as his legacy.

Joe is available on DVD from Netflix and streaming from Amazon, iTunes, Vudu, YouTube, Google Play and Xbox Video.

Joe: bad ass redemption in the backwoods

JoeIn Joe, Nicholas Cage plays the title character, who lives a solitary life in backwoods Texas – self-isolated by problems with anger management and booze that long ago estranged his family and cost him some time in the state pen.  Somehow Joe has stayed out of trouble for years, but he’s always on a slow simmer, seemingly close to boiling over.  Joe meets Gary (Tye Sheridan of Mud), a boy who belongs to a family of drifters led by a father who beats them and takes all their money to spend on cheap likker.  Joe bonds with Gary, and ultimately finds redemption in a sacrifice he makes for the boy.  Dark and violent, Joe is ultimately successful as a gripping drama.

Indie writer-director David Gordon Green excels at authentic character-driven Southern dramas (George Washington, All the Real Girls and Undertow).  Here he brings us to a world of nasty chained-up dogs, where everyone smokes cigarettes and eats canned food, and nobody has heard of espresso or the Internet.

Cage’s performance is excellent – never over-the-top and much more modulated and realistic than we’ve come to expect from him.

Sheridan, so good in Mud, might be even better here; he smolders at the abuse and neglect the family suffers at the hands of his father. He’s become a strapping kid who came employ violence against an adult, but the father-son tie keeps him from unleashing it on his despicable father. Sheridan is especially brilliant in an early scene where he playfully banters with his drunken dad and in another where Joe teaches him how to fake a pained smile to attract girls.

The biggest revelation in Joe is a searing performance by non-actor Gary Poulter as the drunken father who may shamble like a zombie, but is always cruising like a shark, on the hunt for someone to manipulate or rob.  It’s stirring portrait of final stage alcoholism, where there is no moral filter anymore – he will resort to ANY conduct for some three dollar wine.  There is nothing left but evil borne of desperation for a drink.  Although Poulter was a reliable member of the filmmaking team, within two months after the conclusion of photography, he had resorted to his previous self-destructive lifestyle and died.  Thanks to Green, he leaves one great cinematic performance as his legacy.

Season of the Witch

Okay, I’ll admit that I saw Season of the Witch because the trailer made me laugh out loud.  I thought that it might have been goofily bad enough to qualify for my list of 10 Movies So Bad They Are Fun.  Unfortunately, it’s just bad and not much fun.

Season of the Witch is a Nicholas Cage/Ron Perlman buddy movie set among the plague, crusades and witch hunts of the 13th century.  Cage and Perlman play two knights who, after slaughtering more than their share of women and children infidels, become disgusted with the Crusades.  The deserters find themselves back in plague-ridden Central Europe escorting a comely accused witch to her abbey trial.  Along the way, they encounter the cheesiest of CGI effects, the most portentous of soundtracks  and every medieval cliché.

My recommendation:  get some laughs from the trailer and skip the 95 minute version.