Stream of the Week: FRUITVALE STATION – the human moments that define a life

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FRUITVALE STATION

The emotionally powerful Fruitvale Station explores the humanity behind the news. If, as I do, you live in the San Francisco Bay Area, you know what happened to Oscar Grant. Returning to the East Bay after 2008 New Year’s Eve revelries in San Francisco, the unarmed 22-year-old was handcuffed and lying on his stomach when he was mortally wounded by a transit cop’s gunshot. Oscar Grant was African-American. The transit cop was white. Multiple cell phone videos of the incident went viral on New Year’s Day. Fruitvale Station opens with one of those shaky videos.

But the beauty and strength of this impressive film is that Fruitvale Station is not about the incident and its political fallout – it’s about the people involved, in their workaday and familial roles to which all of us can relate. It follows the fictionalized life of Oscar Grant as he lives out what he doesn’t know is his last day.

Writer-director Ryan Coogler’s Oscar Grant is a complete and textured character. Oscar is a charming guy, a loving father and the fun dad/uncle who children love roughhousing with. He’s remarkably unreliable as a boyfriend, son and employee. He’s done a stretch in San Quentin, and he’s got a temper. He’s capable of random acts of kindness. He’s a complete package of decency, fecklessness, irresponsibility and possibilities. Would he have turned his life around if he hadn’t been at Fruitvale Station that night? We’ll never know. And that’s the tragedy laid bare by Fruitvale Station.

Although it’s a tragedy with some heartbreaking moments, Fruitvale Station isn’t a downer – it’s too full of humanity for that. Neither is it a political screed; Coogler lets the facts speak for themselves and the audience to draw its conclusions.

The acting is first-rate, especially Michael B. Jordan as Oscar, Melonie Diaz as his girlfriend and the great Octavia Spencer as his mom. Equally, important, the supporting cast is just as authentic.

It’s was stunning debut feature for then 27-year-old filmmaker Ryan Coogler,  (Coogler is also an African-American from the East Bay who was roughly the same age as Oscar Grant.)  Coogler, of course, has become one of the top American filmmakers with Creed and Black Panther (both also with Michael B. Jordan).

Fruitvale Station was justifiably honored at both the Sundance and Cannes film festivals, and played Cinequest.  Fruitvale Station is available on DVD from Netflix and Redbox and streaming from Amazon, Vudu, Google Play, YouTube and Xbox Video.

HELMET HEADS: engaging characters can take a light comedy a long way.

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HELMET HEADS

Engaging characters can take a light comedy a long way.  (And light comedy can take social commentary a long way, too.)  That’s the case with Neto Villalobos’ amiable comedy Helmet Heads (Cascos Nomados).

Mancha (Arturo Parda) buzzes around San Jose, Costa Rica, as a motorcycle delivery driver and canoodles with his girlfriend Clara (Daniela Mora). Mancha hangs out with his buddies from work. Clara tends a pack of 700 wild dogs on a mountainside outside the city. There’s a job crisis at Mancha’s employer, and Clara is moving to another town – so Mancha faces some choices.

The core of Helmet Heads is the bro-buddy camaraderie of the drivers. They all know each other by nicknames (and not their real names). “Mancha” means “Stain” and refers to the protagonist’s prominent facial birthmark. I especially loved the ever-blissed out Chito, the bombastic Gordo and the conveniently/inconveniently diabetic Gato. I was surprised to learn that most of the cast are non-actors and some are motorcycle delivery drivers.

Freedom’s just another word for nothin’ left to lose. These guys, especially Mancha, value their independence, but Helmet Heads reminds us – usually slyly – that their place in Costa Rica’s society is insecure, even fragile. Even with the social comment, Helmet Heads is pretty funny throughout.

There is also a sex scene unlike any I’ve seen. The sex is conventional, but the setting is not.

[Oddly, I flashed on another motorcycle messenger movie, the 1981 French thriller Diva, even though that is an entirely dissimilar movie – sleeker production values, a Hitchcock homage, an iconic chase through the Paris Metro, etc.]

I saw Helmet Heads at Cinema Club Silicon Valley, with a post screening Q&A with director Neto Villalobos.. I’ll let you know when and if Helmet Heads can be streamed.

FRAMING JOHN DELOREAN: a pulpy story, partly rehashed

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John DeLorean in FRAMING JOHN DELOREAN

Ever since the myth of Icarus, we have understood that audacity can take you only so far – but it often makes for a great story. The biodoc Framing John DeLorean tells PART of the story of a man whose audacious risk-taking invented the muscle car, propelled a meteoric corporate career, led him to found an automaker and to become a global celebrity and to marry a supermodel. And then to stumble into criminal prosecution, bankruptcy and divorce.

Framing John DeLorean leads through the familiar DeLorean story of his rise and flame-out and General Motors, the founding of the DeLorean Motors Company and the FBI videotaping him in a hotel room with $6.5 million of cocaine. We hear from Bill Collins – DeLorean’s engineering whiz for the Pontiac GTO and the DeLorean – and from DeLorean’s son and daughter. (But not from Cristina Ferrare, DeLorean’s celebrity trophy spouse). There a few unfamiliar nuggets, like DeLorean’s getting cosmetic surgery to enhance his jaw – and make him look like the swashbuckler that he was.

However, there’s a massive hole in Framing John DeLorean. A sketchy deal with a company called GPD is mentioned, but even with a forensic accountant as a talking head, the film doesn’t answer, or even pose, some questions that come immediately to mind. This article in Car and Driver provides more insight into the real story than does Framing John DeLorean.

The actor Alec Baldwin claims that DeLorean himself once suggested that Baldwin play him on screen. Framing John DeLorean has Baldwin play DeLorean in re-enactment scenes (along with Josh Charles as Bill Collins). The scenes with Baldwin add nothing to the film. I suspect that these Baldwin scenes were added only to use Baldwin’s drawing power to create a more marketable, not a better, film.

Framing John Delorean repeatedly asks why a narrative feature film has not been made about DeLorean and his pulpy story. But there isn’t a clear answer, and asking that question should be left to the audience of any documentary.

If you don’t know anything about John DeLorean, Framing John DeLorean is a decent primer. If you already know the story, I’d recommend the Car and Driver article instead. Framing John DeLorean is available to stream from Amazon, iTunes, Vudu, YouTube and Google Play.

Movies to See Right Now

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Summer means popcorn movies – and Rocketman fills the bill – but smart adult movies like Booksmart and The Fall of the American Empire are in theaters, too, and are at least as entertaining.

OUT NOW

  • The wildly successful comedy Booksmart is an entirely fresh take on the coming of age film, and a high school graduation party romp like you’ve never seen. Directed and written by women, BTW.
  • The Fall of the American Empire is a pointed satire cleverly embedded in the form of a heist film.
  • Rocketman is more of a jukebox musical than a filmbiography, but it’s wonderfully entertaining.
  • Charlize Theron and Seth Rogen are pleasantly entertaining in the improbable Beauty-and-the-Beast romantic comedy Long Shot.

ON VIDEO

My DVD/Stream of the Week is the documentary Stories We Tell, the brilliant director Sarah Polley’s exploration of her own family’s secrets. Which secret is more shocking, and which family member’s reaction is more surprising?
You can rent Stories We Tell on DVD from Netflix and Redbox and stream it from Amazon, iTunes, Vudu, YouTube and Google Play.

Elisabeth Moss’ powerhouse performance as a monstrously narcissistic and drug-deranged rock star Her Smell is the acting tour de force of 2019. The movie could have been a great one if shorter, but Moss makes it worthwhile watch nonetheless. Her Smell is out of theaters, but it’s already streaming on Amazon, iTunes, Vudu, YouTube and Google Play, an available on DVD from Redbox. 

And I just caught up to the hypnotically compelling Burning.  This 2 hour, 28 minute slow burn begins as a character study, evolves into a romance and then a mystery, and finally packs a powerful punch with a thriller climax. It’s a superb achievement for director and co-writer Chang-dong Lee. You can stream Burning from Netflix, Amazon, iTunes and Vudu.

ON TV

On June 10, Turner Classic Movies brings us the especially nasty noir Detour, in which poor Tom Neal is practically eaten alive by Ann Savage as perhaps the most predatory and savage female character in film noir history. One of the few Hollywood films where the leading lady was intentionally de-glamorized with oily, stringy hair.

Ann Savage and Tom Neal in DETOUR (Hint - she's trouble!)
Ann Savage and Tom Neal in DETOUR (Hint – she’s trouble!)

ROCKETMAN: just a jukebox musical, but that’s okay

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Taron Egerton (center) as Elton John composing Your Song in ROCKETMAN

The tagline to Rocketman pretty wells captures the movie: “A musical fantasy about … Elton John’s breakthrough years”. Emphasis on the musical fantasy. It’s not the standard showbiz biodrama like Ray or Walk the Line – it uses the form of a musical (characters bursting into song) to illustrate Elton John’s creative rise, his descent into substance abuse and his recovery.

Taron Egerton (and juvenile actors Matthew Illesley and Kit Connor) play Reggie Dwight, who must battle a pair of unsupportive parents and his pasty, pudgy, hirsute and bespectacled appearance – all while coping with being gay in an unwelcoming culture. What Reggie has going for him is that he is a musical genius. Paired with a song-writing partner, his brother-from-another-mother Bernie Taupin (Jamie Bell), he explodes into popular culture as Elton John. Suddenly making kazillions, he buys a lot of booze and drugs, and that – as we know – doesn’t usually go well…

Of course, the best reason to see Rocketman is the Elton John songbook. The best numbers are the recreated composition of Your Song and Elton’s debut at the Troubadour Club with Crocodile Rock. The latter – a magical moment – is depicted as literally magical. Tiny Dancer is fine, but my favorite screen version is still the one on the tour bus in in Almost Famous.

Taron Egerton actually sang the songs himself and did well; most importantly, he captured Elton’s on-stage flamboyance. As I wrote about Elisabeth Moss in Her Smell and Elle Fanning in Teen Spirit, given that Rami Malek just won an Oscar for lip-syncing, we should bestow a Nobel upon Egerton. 

[And when did it become okay for Bryce Dallas Howard to portray somebody’s middle-aged mom?  I’ve barely gotten used to Ron Howard having an adult child.]

Elton John’s story is a good one, Taron Egerton’s performance is convincing and appealing and two hours filled with Elton John songs make Rocketman a fun diversion.

DEADWOOD: THE MOVIE

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Timothy Olyphant in DEADWOOD: THE MOVIE

The series Deadwood ranks among the best of episodic television because of its vivid characters, along with its ruthless violence and its florid – and unexpectedly foul – language. It is the apogee of the Loquacious Western.

For fans of Deadwood, there is now Deadwood: The Movie, an affectionate update of our frontier friends – both vile and righteous. Deadwood: The Movie is just as character-rich as the series. If you already know the characters, that is. And one of the denizens utters the line, “Does brevity exist in your repertoire?

More than a decade has passed since the events of the Deadwood series. The occasion of South Dakota’s statehood has brought back merciless George Hearst with another monopolist scheme, this one based on the new technology of telephone wires. Motivated by old grudges and new greed, he threatens a spate of Deadwood stalwarts: Charlie Utter, Trixie, Sol Star, Marshal Seth Bullock, Samuel Fields and Mr. Wu.

At last, Al Swearengen’s life of dissolution has taken its toll on his health. But his personality still comes through his slurred speech, and he observes all from from his balcony – the Oracle of Deadwood.

It’s all an entertaining swan song for our favorite characters; Calamity Jane, Joanie Stubbs, Mrs. Ellsworth, Doc Cochran, Tom Nuttall and E.B. Farnum all show up, too.

Deadwood: The Movie is broadcast on and can be streamed from HBO.

DVD/Stream of the Week: STORIES WE TELL – when life surprises…and how we explain it

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Michael Polley in STORIES WE TELL

Stories We Tell is the third film from brilliant Canadian director Sarah Polley (Away From Her, Take This Waltz), a documentary in which she interviews members of her own family about her mother, who died when Sarah was 11. It doesn’t take long before Sarah uncovers a major surprise about her own life. And then she steps into an even bigger surprise about the first surprise. And then there’s a completely unexpected reaction by Polley’s father Michael.

There are surprises aplenty in the Polley family saga, but how folks react to the discoveries is just as interesting. It helps that everyone in the Polley family has a deliciously wicked sense of humor.

The family story is compelling enough, but Polley also explores story telling itself. Everyone who knew Polley’s mother tells her story from a different perspective. But we can weave together the often conflicting versions into what seems like a pretty complete portrait of a complicated person.

Polley adds more layers of meaning and ties the material together by filming herself recording her father reading his version of the story – his memoir serves as the unifying narration.

To take us back to the 1960s, Polley uses one-third actual home movies and two-thirds re-creations (with actors) shot on Super 8 film. Polley hired cinematographer Iris Ng after seeing Ng’s 5 minute Super 8 short. The most haunting clip is a real one, a video of the actress Mom’s audition for a 60s Canadian TV show.

Make sure that you watch all of the end credits – there’s one more surprise, and it’s hilarious.

You can rent Stories We Tell on DVD from Netflix and Redbox and stream it from Amazon, iTunes, Vudu, YouTube and Google Play.

THE FALL OF THE AMERICAN EMPIRE: pointed satire in the form of a heist movie

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Alexandre Landry and Maripier Morin in THE FALL OF THE AMERICAN EMPIRE

In the pointed satire The Fall of the American Empire, Pierre-Paul (Alexandre Landry) chafes at his dead-end blue-collar job as an express freight delivery driver; he feels that, with his PhD in Philosophy, he has been unjustly screwed out of a much better life by the System. He may be right, but he’s also a self-absorbed putz, who is justifiably dumped by his girlfriend. But then he happens across a windfall fortune of ill-gotten cash – and keeps it. The critical questions, of course, are how he can escape from the ruthless gang and the corrupt police who want to recover the money, and how will he be able to spend the money without getting caught? Pierre-Paul is a heads-in-the-clouds intellectual, and he is totally over-matched.

Fortunately, Pierre-Paul makes the acquaintance of a criminal mastermind, Sylvain ‘The Brain’ Bigras (Rémy Girard), who has just been released from prison. Pierre-Paul also can’t resist blowing some of his newfound treasure on Montreal’s most expensive escort, the astonishingly beautiful Aspasie (Maripier Morin). She used to be the mistress of the powerful banker Taschereau (Pierre Curzi), and soon Pierre-Paul has a team of confederates with real know-how.

Veteran French-Canadian writer-director Denys Arcand portrays a society corrupted head-to-toe by the capitalist imperative to acquire more and more money. And all of the characters make a point of insisting getting theirs in American dollars. The two older guys – one a lifelong outlaw and convict and the other a socially and politically prominent banker – hit if off immediately; after all, they’re both crooks.

Arcand comes at his films from the the Left, but he skewers the doctrinaire Left with equal glee. He pokes fun at the personal foibles of individuals on the Left, but saves his savagery for the inequalities of Capitalism. While he is sending up the entire Capitalist system. he makes his points without descending into a screed. All the fun in The Fall of the American Empire is dotted with realistic – and some real – plight of the homeless – depicted neither with finger-wagging or as maudlin.

The satire fits into the formula of a heist film – the assembling of a team to pull off a job. Of course, here they already HAVE the money, and they don’t need to steal it. To get the benefit of the money, they need to launder it and hide it from tax authorities.

Rémy Girard in THE FALL OF THE AMERICAN EMPIRE

Arcand stalwarts Rémy Girard and Pierre Curzi both give superb performances. Vincent Leclerc, as a homeless man who volunteers at a soup kitchen, has an especially moving scene.

Arcand is known for his trilogy The Decline of the American Empire (1986), The Barbarian Invasions (2003 and Oscar-winner for Best Foreign Language Film) and Days of Darkness (2006 – which I haven’t seen).

While the love story between Pierre-Paul and Aspasie and the Robin Hood aspect of our heroes’ plans are fantasies, The Fall of the American Empire has an authenticity at its core – the impact of disparity of wealth in a system rigged in favor of the Haves. And it’s damn funny – progressively funnier as the money-laundering scheme takes shape. The Fall of the American Empire opens June 7 in the Bay Area, and will spread to more local theaters in June.

Movies to See Right Now

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This is a very promising summer movie season, having kicked off with the original, smart and hilarious Booksmart. This weekend, I’ll be chasing down the jukebox biodoc Rocketman. Stay tuned.

OUT NOW

  • The wildly successful comedy Booksmart is an entirely fresh take on the coming of age film, and a high school graduation party romp like you’ve never seen. Directed and written by women, BTW.
  • Charlize Theron and Seth Rogen are pleasantly entertaining in the improbable Beauty-and-the-Beast romantic comedy Long Shot.
  • Ramen Shop is a lightly-rooted dramedy about a Singaporean-Japanese family’s reconciliation. There’s also a metaphorical foodie angle.
  • The bio-documentary An American Story: Norman Mineta and His Legacy is available from PBS.

ON VIDEO

My Stream of the Week is my choice as the best movie of 2017.  In the deeply emotionally affecting and humane Spanish film Truman. Truman had only a brief US theatrical run. It’s now streaming on Amazon, iTunes, Vudu, YouTube and Google Play.

Elisabeth Moss’ powerhouse performance as a monstrously narcissistic and drug-deranged rock star Her Smell is the acting tour de force of 2019. The movie could have been a great one if shorter, but Moss makes it worthwhile watch nonetheless. Her Smell is out of theaters, but it’s already streaming on Amazon, iTunes, Vudu, YouTube and Google Play, an available on DVD from Redbox. 

And I just caught up to the hypnotically compelling Burning.  This 2 hour, 28 minute slow burn begins as a character study, evolves into a romance and then a mystery, and finally packs a powerful punch with a thriller climax. It’s a superb achievement for director and co-writer Chang-dong Lee. You can stream Burning from Netflix, Amazon, iTunes and Vudu.

ON TV

On June 4 Turner Classic Movies will present The Night of the Hunter, which really should be rated among the greatest American films. Robert Mitchum plays one of cinema’s most chilling villains, serial killer Reverend Harry Powell. He’s a terrifying combination of religious fanaticism, depraved greed and misogyny. But wait until he runs into Lillian Gish (25 years after her heyday in silent films)! This is the only film directed by actor Charles Laughton, and it is brilliant, as is the cinematography of Stanley Cortez.

Later on June 4, TCM will air Woodstock: The Director’s Cut chronicling the most iconic rock concert ever, also a pivotal social and cultural phenomenon. Performers include: Joan Baez, Crosby Still & Nash, Arlo Guthrie, The Who, Sha Na Na, Richie Havens, Joe Cocker, Country Joe and the Fish, Jimi Hendrix, Sly and the Family Stone, Santana and (wait for it…) Ten Years After.

Robert Mitchum in THE NIGHT OF THE HUNTER

Stream of the Week: TRUMAN – how to say goodbye

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Javier and Ricardo Darin in TRUMAN
Javier Cámara and Ricardo Darin in TRUMAN

Here’s my choice as the best movie of 2017.  In the deeply emotionally affecting and humane Spanish film Truman, Tomás (Javier Cámara) leaves Montreal to pay a surprise four-day visit to his longtime friend Julián (Ricardo Darin) in Madrid. Julián has been battling cancer and has just received a very grim prognosis. Julián has chosen to forgo further treatment, and his cousin and caregiver Paula (Dolores Fonzi) is hoping that Tomás can talk Julián out of his decision.

Julián is a roguish bon vivant, although now hobbled by illness. Tomás is a responsible family man. As the four day visit unfolds, Tomás tags along as Julián cavalierly settles his affairs. Because of the circumstances, even the most routine activity is heavily charged with emotion. Julián, who has always been a wild card, is now a tinderbox always on the verge of erupting into some socially inappropriate gesture. Julián is particularly focused on arranging for adoption of his beloved and ponderous dog Truman.

Julián is a wiseacre, but his reaction to a moment of kindness from an very unexpected source is heartbreaking. Julián goes to say goodbye to his son, and then the learn a fact afterward that make this encounter exponentially more poignant. Truman has an especially sly ending – the granting of one last favor, however inconvenient.

TRUMAN
TRUMAN

The Argentine actor Darin is one of my favorite screen actors: Nine Queens, The Secret in their Eyes, Carancho, The Aura. As a man living under a death sentence, Julián has adopted a bemused fatalism, but is ready to burst into rage or despair at any moment, and Darin captures that perfectly.

I was blown away by Javier Cámara’s unforgettable performance, at once creepy and heartbreaking, in the Pedro Almodovar drama Talk to Her. Cámara is a master of the reaction, and his Tomás stoically serves as the loyal wing man to a friend with hair trigger unpredictability, often in a state of cringe.

The Argentine actress Dolores Fonzi (The Aura) is excellent as Paula, whose caregiver fatigue finally explodes.

Packed with bittersweet emotions, Truman is never maudlin. The Spanish director Cesc Gay, who co-wrote Truman, has created a gentle and insightful exploration into how people can say goodbye. There’s not a single misstep or hint of inauthenticity. Again, Truman is one of the best films of the year.

Truman had only a brief US theatrical run. It’s now streaming on Amazon, iTunes, Vudu, YouTube and Google Play.

(Note: The crappy trailer below fails to capture all the humor and deep emotion in this film.)