Movies

MAPS TO THE STARS: biting Hollywood satire and Original Sin

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Mia Wasikowska and Julianne Moore in MAPS TO THE STARS
MAPS TO THE STARS

David Cronenberg’s Maps to the Stars is funny, dark and disturbing, but is ultimately unsatisfying.  The disturbing part shouldn’t surprise us, Cronenberg having been responsible for the exploding heads in Scanners, the auto accident sexual fetishes of Crash (1996) and the nightmarish druggy hallucinations of Naked Lunch.  But Cronenberg’s most recent A History of Violence and Eastern Promises have been very accessible, albeit with striking violence.  Maps to the Stars lures us in with a brutally witty show biz satire, and then clubs us with the most twisted family violence.

John Cusack and Olivia Williams play a rich Hollywood couple who had unknowingly committed their unique form of Original Sin, which has resulted in two damaged and dangerous kids.   Julianne Moore plays a needy and neurotic movie star grappling with middle age and her own family heritage.  These are people who take astonishing privilege for granted and treat their minions in contempt.   They react to the most even the most horrific tragedies by assessing how it will affect a book tour.  Cusack’s faux-shaman-to-the-stars ponders fixing the worst possible PR disaster by going “on Oprah and pulling a Lance Armstrong”.

What makes this such a nasty show biz satire, is that the eveil doesn’t just come from the Hollywood suits.  Here, the talent and the creatives are just as biz-oriented – always focused on box office, their fees, and cut throat competition for the next career-enhancing and remunerative gig.  There is very smart humor and lines like, “You know, for a disfigured schizophrenic, you’ve got the town pretty wired”.

Brilliant as always, Julianne Moore is a very good sport here (even with a fart gag).  The most memorable performances are by the very underutilized Olivia Williams (The Ghost Writer, Hyde Park on Hudson) – always teetering with desperation just under the surface – and Evan Bird, a monstrous teen star who isn’t to blame for how he is.  Cusack and Mia Wasikowska are also very good.  I just can’t figure out the appeal of Robert Pattinson, who is in this move to be a love interest, and doesn’t add anything special.

Although there’s a lot to enjoy about Maps to the Stars, it just doesn’t pay off. There’s very disturbing violence, some involving children, and sending up Hollywood foibles with the level of sickness in these characters, just isn’t worth it.

Maps to the Stars, after a blink-and-you-missed-it theatrical release, is available streaming on Amazon Instant Video, iTunes, Vudu, YouTube, Google Play and Xbox Video.

5 TO 7: what does she see in him?

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Bérénice Marlohe and Anton Yelchin in 5 TO 7
Bérénice Marlohe and Anton Yelchin in 5 TO 7

Let me start by saying that I’m apparently not the audience for the romance 5 to 7; I didn’t like it, but my female companions all enjoyed it.

A struggling Manhattan writer in his late twenties meets a ravishingly beautiful married Frenchwoman who is ten years older.  As we all know, the French are more open-minded about sex than are Americans.  She invites him to conduct a discreet affair – discreet because the romance is restricted to the two hours between 5 PM and 7 PM, the hours that she is not with her family.  He is played by Anton Yelchin (Chekov in most recent Star Trek , Like Crazy).  She is played by the stunning French actress Bérénice Marlohe (Skyfall).

And here’s the problem – the woman is rich and privileged and she’s played by Bérénice Marlohe.  This character can have any man she wants (Marlohe even could snare James Bond himself in Skyfall.) Why is she interested in this callow loser?  We just can’t connect the dots.

I blame writer-director Victor Levin (creator of Mad About You and one of the team behind Mad Men) for writing that is contrived – at a higher level than network sitcoms, for sure, but still contrived.   5 to 7 does has its moments.  When the young guys finds himself at an intimidating dinner party at his lover’s apartment, he finds that the other guests are Julian Bond (!),  famous maestro and an iconic chef – the real guys in celebrity cameos.  And New Yorker editor David Remnick plays himself in another cameo – all very witty.  Glenn Close and Frank Langella show up mid-movie as his parents, and hilarity ensues for ten minutes or so.   But then Yelchin’s loser man-boy comes back on-screen, and I just couldn’t suspend disbelief.

There’s a suitably sentimental ending.  I suspect that there’s a gender divide on this movie.  Women seem to enjoy it, while men seem to be disgusted by it.

[SPOILER ALERT:  In the epilogue, the two main characters run into each other years later with their families.  His  new wife doesn’t have a clue that her hubby had been involved with this woman.  In real life, no way THAT happens.]

IT FOLLOWS: scary…because you haven’t seen this before

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IT FOLLOWS
IT FOLLOWS

The Movie Gourmet doesn’t watch many horror movies, but I really liked the inventive, scary and non-gory It Follows.  19-year-old Jay (Maika Monroe) has sex with a guy who then tells her that he has passed on to her a kind of supernatural infection – a monster will follow her and kill her if she doesn’t pass it on to someone else.  The monster shambles along at zombie speed and takes the form of a different human being each time.   It’s terrifying – there’s a constant sense of dread and a convulsive shock every time It appears.

Writer-director David Robert Mitchell has created a very scary horror film with an excellent soundtrack and a minimum of makeup, special effects and hardly any blood.  It’s even more frightening that she’s being stalked by something that usually looks normal.

Before the screening, I had to sit through several trailers from the horror genre.  There was NOTHING in those trailers that I hadn’t seen before in The Shining, The Exorcist or a multitude of less elevated films.  I have to note the contrast with It Follows, which is definitely something that you haven’t seen before.

The very talented actress Maika Monroe is almost always on-screen and she proves that she can carry a movie.   I first noticed her in At Any Price , where she played the son ‘s girlfriend. That role was especially well-written – beginning as a simple teen from a broken family looking for some fun, her journey takes several surprising turn – and Monroe’s performance was memorable. Until fairly recently, Monroe was pursuing a professional career in freestyle kite surfing.

All the acting is good in It Follows, but Keir Gilchrist is especially good at portraying the ACHING sexual frustration of a teenage boy.

It Follows has a wonderful sense of place.  It is set and was shot in the Detroit suburbs, the rural lakefront and the decaying inner city.  The extraordinary High Lift Building in Detroit’s Water Works Park serves as the exterior for the climactic set piece.

But the key to It Follows is its originality –  without expensive f/x or disgusting gore – it’s likely the best horror movie of the year.

GOING CLEAR: THE PRISON OF BELIEF: a devastating expose

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GOING CLEAR: THE PRISON OF BELIEF
GOING CLEAR: THE PRISON OF BELIEF

HBO is airing Going Clear: The Prison of Belief, documentarian Alex Gibney’s devastating expose of Scientology.  The indictment of Scientology as dangerous cult is stunning.  Gibney is sunshining an amazingly rich reservoir of source material: we hear from several  former Scientologists, including the former chief spokesperson, the former top deputy to the Chairman of the Board, along with former believer director Paul Haggis and the John Travolta’s original Scientology handler.

Gibney begins by tracing the journey of Scientology’s founder, L. Ron Hubbard and reviewing the organization’s history.  Now I knew about the science fiction writer Hubbard, his book Dianetics and even the E-meter.  But I sure didn’t know about the Sea Org with its billion-year employment contracts, the Scientology Navy and the bizarro theology with invisible Thetans, volcanos and H-bombs.  Nor had I seen the North Korea-style cult-of-personality spectacles featuring Chairman of the Board David McCavige.  And I hadn’t heard about the church’s opposition to same-sex marriage.

Then come the really scary stuff.  We hear from former Scientology officials who testify that they have been incarcerated in the Rehabilitation Project Force –  a concentration camp on a top floor of the Scientology’s Los Angeles HQ and in what is essentially a prison camp in Florida to “re-educate” suspected heretics and backsliders.  And there is testimony about the prisoners being separated from their children, who are shunted off to Cadet Org.  One official offers personal testimony of his assignment to break up Nicole Kidman’s marriage to Tom Cruise and to alienate her children from her.  It’s horrifying stuff.  And it’s a riveting viewing experience.

Alex Gibney is one our very, very best documentarians.  He won an Oscar for Taxi to the Dark Side, and he made the superb Casino Jack: The United States of Money, Enron: The Smartest Guys in the Room, Client 9: The Rise and Fall of Elliot Spitzer and Mea Maxima Culpa: Silence in the House of God.  (He can’t seem to pass up a really long movie title – but Going Clear etc., came from a book title.)

If you’re asking “How can smart, able people fall into this stuff?”, then I recommend finding a film that I reviewed at Cinequest 2015 – The Center.  Upon its release, The Center should become the perfect narrative fiction companion to Going Clear.

’71: keeping the thrill in thriller

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'71
’71

The title of the harrowing thriller ’71 refers to the tumultuous year 1971 in Northern Ireland’s Troubles.  An ill-prepared unit of British soldiers gets their first taste of action in Belfast, and the rookie Private Gary Hook (Jack O’Connell) gets inadvertently left behind in hostile territory.  Private Hook races around an unfamiliar and dangerous city at night.   He is being hunted by his own regular troops, a shadowy and sketchy military intelligence unit, the regular IRA,  the hotheaded Provisional IRA and Ulster paramilitaries – all with their own conflicting agendas.  Any civilian who helps him will be at direct and lethal risk from the partisans.

In their feature debuts, director Jann Demange and cinematographer Tat Ratcliffe take us on a Wild Ride, with just a couple of chances for the audience to catch its collective breath.  Importantly, the way Private Hook gets left behind amid the escalating chaos is very believable.  Then there’s an exhilarating footrace through the alleys and over brick walls.  Every encounter with another person is fraught with tension.  Finally, there’s a long and thrilling climactic set piece in a Belfast apartment block.

O’Connell is in 90% of the shots and carries it off very well.  All of the acting in ’71 is excellent.  Corey McKinley is special as the toughest and most confident ten-year-old you’ll ever meet.   Barry Keoghan takes the impassive stone face to a new level.  And I always enjoy David Wilmot (so hilarious in The Guard).

I thank the casting and the direction for making it easy for us to tell all of these pale, ginger characters apart.  To the credit of writer Gregory Burke, the beginning of the film economically sets up Private Hook as having the fitness and stamina to survive what befalls him throughout the night.

With all the different sides playing each other, the action (and the action is compelling) is set in an especially treacherous version of three-dimensional chess.  Some of the double- and triple-crossing at the end is breathtaking.  But what ’71 does best is putting the thrill in a thriller –  keeping the audience on the edge of our seats for all 99 minutes.

THE WRECKING CREW: the soundtrack of the 60s

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THE WRECKING CREW
THE WRECKING CREW

You have heard these guys play without knowing their names – The Wrecking Crew profiles the legendary Hollywood studio band that played on (perhaps literally half of) the pop music of the 60s.  These musicians were extremely skilled and creative – and they were fast, too, which put their services at a premium among music producers with limited studio time.  As a result they played on the recordings of Frank Sinatra (and Dino and Sammy), the Beach Boys, the Mamas and the Papas, Herb Alpert and the Tijuana Brass, Sonny and Cher, Gary Lewis and the Playboys, ad infinitum.   Plus the Hawaii Five-O theme.

You already know about The Monkees not playing their own instruments, but The Association didn’t play on a single track of their first two albums – those were all played by the Wrecking Crew.  And Roger McGuinn was the only Bird to play on Mr. Tambourine Man, with the Wrecking Crew knocking out two tracks in three hours; the Birds themselves played on Turn, Turn, Turn, but it took them 77 takes.

Filmmaker Danny Tedesco, made this film to salute his dad, Wrecking Crew guitarist Tommy Tedesco.  Glen Campbell and Leon Russell were members of the band (and we get to see a rare photo of the early 1960s Leon without long hair, beard, hat and tinted glasses).  Surprisingly, the electric bass player was female – Carol Kaye.  In The Wrecking Crew we get to hear the backstories of the standup bass intro in These Boots Were Made for Walking, the El Paso guitar lick in Something Stupid, the bass drum intro for The taste of Honey and the sax part in the Pink Panther Theme.

The Wrecking Crew isn’t a Must See, but I recommend it for those with an interest in the music of the 1960.  The Wrecking Crew is now in theaters and is also streaming on Amazon Instant Video, iTunes, YouTube, Google Play and Xbox Video. If you like The Wrecking Crew, I’d also recommend these recent films about other unknown musicians:

  • Twenty Feet from Stardom (Netflix DVD, Redbox, Netflix Streaming, Amazon, YouTube and Google Play);
  • Muscle Shoals (Netflix DVD, Netflix Streaming, Amazon Instant Video, iTunes, YouTube, Google Play, Xbox Video); and
  • Standing in the Shadows of Motown Netflix DVD, Amazon Instant Video, iTunes, YouTube, Google Play, Xbox Video).

THREE HEARTS: a man with a weak heart

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Benoît Poelvoorde and Chiara Mastroianni in THREE HEARTS
Benoît Poelvoorde and Chiara Mastroianni in THREE HEARTS

The Belgian romantic drama Three Hearts centers on the singular character of Marc, a Parisian tax auditor who has a fondness for the ladies – and they for him. He also is very conflict-averse and handles stress very badly, which has contributed to a sometimes disabling heart condition. On a business trip to a provincial town, Marc misses his train, and becomes romantically involved with a local woman. Because of circumstance, that relationship doesn’t move forward, which clears him to begin a relationship with a second woman in that town. Once he is irrevocably entangled, he learns that the two women are intimates.

In what I think is a really compelling performance, Marc is played by Benoît Poelvoorde. Marc finds himself trapped in an excruciating situation, and the only way out requires courage that he just doesn’t have. Poelvoorde is completely believable as a guy who chats up women, settles into domesticity and then is paralyzed by terror and dread. Plus, Poelvoorde has a gangly walk and often slips into outright goofiness, which effectively lightens the dramatic tension.

Now, some critics do not agree with me. Poelvoorde is not a conventionally good-looking guy. Ordinarily, you wouldn’t expect a guy like this to be able to attract a woman who looks like Chiara Mastroianni or Charlotte Gainsbourg. If you can’t jump this, you’re not gonna buy into the movie, but it worked for me. Marc does seem to one of those rugged guys who has a knack with the ladies, and the two woman characters are in windows of extreme vulnerability and are ripe to experiment outside their own relationships.

Charlotte Gainsbourg and Chiara Mastroianni are excellent as the two women. Their personalities are starkly different but they each have an immediate need that they hope Marc can fill. With the regal serenity that she can muster, Catherine Deneuve plays the character who intuits what is going on long before the others.

Three Hearts is directed and co-written by Benoit Jaquot, who recently gave us the lavishly staged and absorbing costume drama Farewell, My Queen.

One more thing – the potential for upcoming confrontation is signaled by Big Music – ominous cello notes that sound like the theme from Jaws played backwards. I saw this as wry self-mocking of the drama, and I found this device to be amusing. It’s just a little part of the movie, but people that I saw Three Hearts with found it to be off-putting.

The bottom line is that Three Hearts worked for me, and I recommend it with the caveat that some willing suspension of disbelief is required.

LEVIATHAN: the overwhelming crush of corruption

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LEVIATHAN
LEVIATHAN

The extraordinary Russian drama Leviathan is a searing indictment of society in post-Soviet Russia – and it’s one of the best movies of the year.  A Job-like Everyman struggles to protect his home from the clutches  of the town’s corrupt mayor – and he has to battle the corruption that has permeated the political and justice systems.  The very struggle takes its toll in his relationships, too, and the audience begins to wonder just how much he’s going to be left with at the end of the story.

Despite being deliberately paced and darkly themed, Leviathan is very watchable.  The characters are superbly crafted and the story is filled with “what’s going to happen next?” moments.  Writer-director Andrei Zvyagintsev and co-writer Oleg Negin are keen observers of human nature and season Leviathan with plenty of wry humor (e.g., the mayor runs his criminal Sopranos-like enterprise from a desk under a portrait of Putin).  And there’s a surprise at the end.

Our Everyman is Kolya (Vladimir Vdovichenkov), who is hotheaded and drinks too much.  He fixes cars out of his seafront home in a bleak village on the Barents Sea.  His younger second wife Elena Lyadova is cipher.  His teenage son (Sergey Pokhodaev) is a good kid, but troubled by the death of his mother.   The performances are exceptional, along with that of Roman Madyanov as the corrupt-to-his-marrow mayor.  The mayor wants to take Kolya’s property, and their battle plays out in the courts – and in extra-judicial arenas.

And then there’s the vodka abuse.  The amount of vodka consumption by virtually every character is astounding. Expect (along with your fellow audience members) to gasp and giggle at the size of the pours.

The film’s only shortcoming is the heavy-handed symbolism employed to hammer home the hopelessness of the protagonist’s struggle,  There’s a biblical quote (from Job, of course): “Can you draw out the Leviathan with a fishhook?”, and then shots of whales and of the skeleton of a long-dead beached whale.  All this isn’t really necessary, especially with the courtroom scenes, which make the filmmakers’ point exceedingly well.

Andrei Zvyagintsev has solidified his place as one of the masters of world cinema.  Leviathan is just his fourth feature, after Elena , which made my Top Ten list for 2012, and The Return, which made my Best Movies of 2004.  Elena is available on DVD from Netflix and streaming on Vudu and Xbox Video. The Return is available on DVD from Netflix.

Leviathan was nominated for this year’s Best Foreign Language Picture Oscar, and has been critically acclaimed, currently scoring 92 on Metacritic.com. ,

Cinequest: GEMMA BOVERY

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Fabrice Luchini and Gemma Arterton in GEMMA BOVERY
Fabrice Luchini and Gemma Arterton in GEMMA BOVERY

In the delightful dark comedy Gemma Bovery, Fabrice Luchini plays a guy who has left his Type A job in Paris to take over his father’s bakery in a sleepy village in Normandy. He gets new neighbors when a young British couple named Bovery moves in. The young British woman (played by the delectable Gemma Arterton) is named Gemma Bovery, and only the baker notices the similarity to Emma Bovary. But, like the protagonist of Madame Bovary, the young British woman is also married to a Charles, becomes bored and restless and develops a wandering eye. The baker rapidly becomes obsessed with the Flaubert novel being re-enacted before his eyes and soon jumps into the plot himself. Gemma Bovery, which I saw at Cinequest 2015, is a French movie that is mostly in English.

Fabrice Luchini is a treasure of world cinema. No screen actor can deliver a funnier reaction than Luchini, and he’s the master of squeezing laughs out of an awkward moment. For me, his signature role is in the 2004 French Intimate Strangers, in which he plays a tax lawyer with a practice in a Parisian professional office building. A beautiful woman (Sandrine Bonnaire), mistakes Luchini’s office for that of her new shrink, plops herself down and, before he can interrupt, starts unloading her sexual issues. It quickly becomes awkward for him to tell her of the error, and he’s completely entranced with her revelations, so he keeps impersonating her shrink. As they move from appointment to appointment, their relationship takes some unusual twists. It’s a very funny movie, and a great performance.

Gemma Bovery is directed and co-written by Anne Fontaine (The Girl from Monaco, Coco Before Chanel). Fontaine has a taste for offbeat takes on female sexuality, which she aired in the very trashy Adore (Naomi Watts and Robin Wright as Australian cougars who take on each other’s sons as lovers) and the much better Nathalie (wife pays prostitute to seduce her cheating hubby and report back on the details).

Gemma Bovery isn’t as Out There as Nathalie, but it’s just as good. The absurdity of the coincidences in Gemma Bovery makes for a funny situation, which Luchini elevates into a very funny movie.

Cinequest: THE HOUSE ON PINE STREET

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Emily Goss in THE HOUSE ON PINE STREET
Emily Goss in THE HOUSE ON PINE STREET

So here’s the thing with every movie ghost story – either the ghost is real or the protagonist is crazy enough to hallucinate one. The beauty of The House on Pine Street is that the story is right down the middle – ya just don’t know until the end when the story takes us definitively in one direction – and then suddenly lurches right back to the other extreme.

Jennifer (Emily Goss) is a very pregnant urbanist, who reluctantly moves from her dream life in Chicago back to her whitebread hometown in suburban Kansas.  Unlike Jennifer, her husband hadn’t been thriving in Chicago and Jennifer’s intrusive and judgmental mother (Cathy Barnett – perfect in the role) has set up an opportunity for him in the hometown.  They move to a house that is not her dream home AT ALL, “but it’s a really good deal”.

Jennifer is pretty disgruntled, and, generally for good reason – her mom’s every sentence is loaded with disapproval.   But she’s  a little too alarmed about some crumbling plaster.  Her mom’s housewarming party would be a social nightmare for anyone – but it’s too literally nightmarish for her.  One of the guests, an amateur psychic (an excellent Jim Korinke), observes, “the house has interesting energy”.

Then some weird shit starts happening: knocks from unoccupied rooms, a crockpot lid that keeps going ajar.  And we ask is the house haunted or is she hallucinating?  Her sane and sensible and skeptical BFF comes from Chicago to visit as sounding board, and things do not go well.

Co-writers and co-directors Aaron and Austin Keeling keep us on the edges of our seats.  Their excellent sound design borrows from The Conversation and The Shining – and that’s a good thing.

The Keelings also benefit from a fine lead – Emily Goss’ eyes are VERY alive.  She carries the movie as we watch her shifting between resentfulness, terror and determination.

The total package is very successful.  The House on Pine Street deserves a theatrical release.