Friday, May 27, 2016

"Weiner"

"Weiner" Movie Review
"Weiner"
Posted on May 27, 2016 on CWAtlanta.cbslocal.com



“Weiner” (2016)


Former U.S. Representative Anthony Weiner was known as a firebrand congressman from New York. He was respected for speaking out for the middle class. He married Hillary Clinton’s most trusted advisor, Huma Abedin, and the ceremony was performed by President Bill Clinton. He was a rising star in the Democratic Party, and big things were on the horizon for him. All that came crashing down when he found himself in a texting scandal in 2011 where Weiner was shown to have had sex conversations with a number of women, often sending inappropriate pictures of himself naked. He was forced to resign amid the scandal, which, because of his name, became fodder for every comedian on TV. His life would never be the same, and his wife came close to divorcing him.

Then the unthinkable came. In 2013, Anthony Weiner decided to run for mayor of New York City. Even more amazing was that documentary filmmakers Josh Kriegman and Elyse Sternberg were given unlimited access to Weiner’s life and campaign. A funny thing happened on the campaign trail, Weiner, with the help of his wife, started to lead in the polls. Could he actually win the Democratic nomination in one of the world’s largest cities?

This is a fascinating film that is at times hilarious, cringe-worthy, and very often sad. Right from the start the filmmakers are given access that no other politician would allow. At first, I thought that he would allow the documentary because he needed the coverage to help his campaign, but as I

watched more of this film, I decided that it’s just his need to be the center of attention. I think that’s what makes this movie so engaging to watch; it’s a train wreck that is moving down the tracks, and you know the wreck is going to happen at some point. You want to look away but can’t help yourself. And that wreck does happen, in the form of more inappropriate texts, this time to a wannabe porn actress, all done after he had resigned from Congress. That the man would continue to make these mistakes is the most amazing thing about this story. In fact, if this was a fictional movie, I would probably not believe the plot. However, this is real, and we get to see every gut-wrenching moment as Anthony Weiner goes from front-runner to once again the punchline of late-night talk-show hosts.

We get to see the campaign behind the scenes with Weiner doing telephone interviews. The mounting frustration of Wiener is seen on his face as he has to answer question after question on the 2011 scandal while he tries to redirect the subject to the issues of government and his campaign. There are interviews with his campaign staff, most of whom look like they have just graduated college, and they seem passionate about Wiener and his campaign. One campaign worker talks about if Huma can forgive Anthony, then who is she to judge him. One of the more compelling scenes is where Weiner and his wife are getting upset with each other when making phone calls to raise money. Weiner’s conversations with his staff are revealing, especially as the new scandal starts coming out. It’s very apparent that Weiner considers himself the smartest man in the room, rarely taking his staff’s suggestions or plans.

While Anthony Weiner is the front and center character of the film, the far more fascinating person in the film is Huma. When the film opens, the husband and wife are playing with their child, but there is almost no interaction between Anthony and Huma. Most of the conversations that they have on camera are short, and one sided with Anthony doing most of the talking. One of the most telling scenes in the film is when Anthony has appeared on a national talk show and has lost his temper on camera. He looks very foolish on camera and after the event, he goes home to watch it on a DVR. He thinks his position is right, Huma at one point tells him point blank that he looked like an idiot on camera. There are a number of uncomfortable moments between Anthony and Huma, where he tries to engage her in conversation, or in his campaign, and she retreats more and more into the background, giving off an icy presence.

The filmmakers choose not to give us a reason or background on why Weiner would act this way (though I certainly think he is a narcissist). There isn’t any information given on his childhood, his education or even much about his years as a congressman. There are no psychiatrists interviewed to explain why he would keep self-destructing or a sociologist talking about why people and the media latch so hard onto scandals, especially about sex. Instead, “Weiner” gives an unflinching look at a man and a political life crash and burn up in flames. It’s a brilliant film that even the filmmakers are amazed at the amount of access they have gotten. Near the end of the film, one of the filmmakers asks Weiner off camera “Why have you let us film this?” Weiner doesn’t have an answer, and we don’t either, but we get a movie that is mesmerizing to watch.   My Take: Full Price

My movie rating system from Best to Worst:  1). I Would Pay to See it Again  2). Full Price  3). Bargain Matinee  4). Cable  5). You Would Have to Pay Me to See it Again

The film is playing exclusively in the Atlanta area at Landmark Midtown Art Cinemas

“Weiner” Website

Friday, May 20, 2016

"The Meddler"

"The Meddler" Movie Review
"The Meddler"
Posted on May 20, 2016 on CWAtlanta.cbslocal.com



“The Meddler”  (2015)


Marnie (Susan Sarandon) is a recent widow, whose husband left a substantial amount of money to live on, so much so that Marnie can buy the latest iPad without having to check her checking account balance. Marnie has moved from New York City to sunny Los Angeles to be closer to her daughter, Lori (Rose Byrne) who is a television writer trying to put the finishing touches on her pilot. Lori is recovering from a failed relationship and isn’t exactly coping with the breakup in the best way possible. Lori is an only child and therefore is Marnie’s sole focus. Marnie leaves rambling phone messages for her daughter, the kind that takes two or three attempts before Marine is done talking. Marnie thinks nothing of coming over with bagels in the middle of the morning, barging into Lori’s life without a moment’s notice. Marnie is all about giving advice, and while good at it, the non-stop stream of opinions on how Lori should be running her life is driving Lori to her wits end. Marnie does not have an off switch and thinks nothing of following Lori into the bathroom, dispensing words of wisdom at the exasperation of her daughter.

Marnie pushes the boundaries with just about everyone she meets, but it’s so bad with Lori, that Marnie even sees Lori’s psychiatrist, not to help with her own grieving but to get inside information about Lori. When Lori travels to New York to shoot her pilot, Marnie is left behind to take care of her “grandkids,” Lori’s two dogs at her house. Forced to find other distractions, especially when Lori won’t answer her phone, Marie is willing to talk to just about anybody.To fill the void of Lori’s absence, Marnie goes to her favorite place in L.A., the outdoor shopping mall, The Grove. There she meets a helpful Apple Genius, who she quickly councils on going back to school. Marnie also goes to a baby shower in Lori’s place and quickly makes her way into Lori’s circle of friends. When one of Lori’s friends mentions she never got the wedding she wanted, Marnie offers to pay for a second wedding of her dreams.

Out on one of her trips to The Grove, she unintentionally becomes an extra in a movie filming on the beach. She decides to go with the flow and stays, even having lunch with some of the cast members. As she leaves the shoot, she meets a cop (J.K. Simmons) doing security on the set. It’s a meeting that just might change Marnie’s outlook on her life.

While surrounded by a supporting cast that includes Jason Ritter, Michael McKean, Lucy Punch, Cecily Strong and Jerrod Carmichael, it’s Susan Sarandon’s film, with a great deal of help from Byrne and Simmons. Sarandon is phenomenal as the big-hearted, well-meaning Marnie. With a lesser actor, the character of Marnie would have become old quickly and her advice giving would have soon become unwelcoming, but this is a role that is tailor-made for Sarandon. Sarandon has one of those rare qualities that almost as soon as she appears on the screen we like her character, and want her to succeed in whatever quest she is on. She plays well off of Rose Byrne, making their characters back-and-forth banter feel natural. Sarandon has equally exceptional chemistry with Simmons, making their attraction to each other seem unique. Their time on the the screen makes you believe that this just might be the man who can get Marnie to believe in love again.

Writer/director Lorene Scafaria has created a world that I just loved to be a part of. While not everything works in this film, and a few actors are wasted in small parts that begged to be larger (Stong and Punch come to mind); the movie has a number of small moments that make the film seem rich and multifaceted. Scafaria obviously loves these characters, especially the opinionated Marnie. This could have easily been a mother/daughter crisis comedy film but it’s to Scafaria’s credit that it is so much more than that. It’s about finding love and purpose again after a loss. There are a couple of scenes near the end of the film that really brings this out of Marnie and through Scafaria direction, Sarandon is up to the emotional task.

As with the recent films, “I’ll See You in My Dreams” and “Hello, My Name is Doris,” “The Meddler” gives us hope that Hollywood will continue this trend of making films about strong, older women. Women that are reinventing their lives for the better. I don’t know about you but I could use some of Marnie’s advice right now.  My Rating: Full Price

My movie rating system from Best to Worst: 1). I Would Pay to See it Again 2). Full Price 3). Bargain Matinee 4). Cable 5). You Would Have to Pay Me to See it Again

“The Meddler” Website

"The Nice Guys"

My Review of "The Nice Guys"
"The Nice Guys"
Posted on May 20, 2016 on CWAtlanta.cbslocal.com



“The Nice Guys” (2016)


Set in 1977 Los Angeles, where a young boy around ten years old is up late at night. He sneaks down the hallway to his parent’s room, quietly enters and promptly pulls a nudie magazine out from under their bed. We can tell from his casualness; this is something that he does on a regular basis. As he slowly makes his way down the hallway, he glances through the window to see a car coming down the road. It is erratically weaving  back-n-forth, then quickly leaves the road, heading across the boy’s front yard at a high rate of speed. The car crashes literally through the house – entering one side and out the other, ending up in a ravine behind the house. The boy quickly heads outside to the wreck to witness a woman, almost entirely naked, has been ejected from the car and is badly hurt. The young boy realizes that the naked woman is the same woman he was looking at in the magazine. After a few moments of being stunned by his good fortune, he realizes the woman is dying and covers her up with his pajama top.

We cut to the next day to Jackson Healy (Russell Crowe), as he is following a teenage girl as she leaves school. It would appear that Jackson is an enforcer for hire. The girl gets picked up by an older man, and they head for his house, with Jackson in tow. We wait outside the house as Jackson waits for the girl to leave. Once she does, Jackson puts on some brass knuckles, rings the doorbell and punches the guy out while saying “Stay away from young girls!”

We then cut to Holland March (Ryan Gosling), a Private Investigator. He has been hired by Mrs. Glenn (Lois Smith) to find her niece. It turns out the woman that we saw die in the car accident is a porn star named Misty Mountains (Murielle Telio), the woman’s niece. Mrs. Glenn, even though she has “coke bottle” glasses, is convinced that she saw her alive in a Misty’s living room window the day after the car crash. Holland reluctantly takes the case, even though he doesn’t believe that her daughter is alive. Holland and Jackson are about to meet up, and they will be going on one wild ride, that will involve murder, conspiracies, and quite a few drinks.

Co-written and directed by Shane Black, “The Nice Guys” is a laughed filled, action packed, good old-fashioned film noir mystery where Crowe, and especially Gosling shine. Crowe plays the straight man to Gosling’s goofy Holland. Jackson is a part that isn’t easy to do, but Crowe plays off Gosling brilliantly, giving his character a world-weary menace. Crowe’s Jackson is a man who likes that his room is above a seedy comedy club. To Jackson it’s not unusual to be holding a bag of money that apparently has been stolen from a bank but can’t be opened because the dye pack will explode. Gosling’s Holland is successful as a P.I. but, it’s in spite of himself, as the man isn’t the smartest guy in the room and is incredibly clumsy. Gosling’s character is the type of guy who wakes up in a bathtub full of water while in a suit, and it doesn’t register to him that it’s not normal. Gosling shows an incredible talent for slapstick, bringing to mind Peter Seller’s Inspector Clouseau. Some of the best scenes in the film involve Gosling just falling and he does it a lot…off roofs, down hills, and even across rooms. The supporting cast of the film is hit and miss, but one standout is Angourie Rice, who plays Holland’s wise beyond her year’s daughter Holly. Rice plays her with a fierce determination reminding me of a young Jodie Foster, someone who can hold her own with Crowe and Gosling on the screen.

Black’s script, co-written by Anthony Bagarozzi, takes us on a very complex and funny adventure into the seedy world of bars, pornography, and wait for it, car manufacturing. The dialogue is quick, witty with some great cultural references of the 70’s mixed in. The film is filled with plenty of action and Black keeps those scenes crisp and well choreographed. Cinematographer Philippe Rousselot perfectly captures the smog filled L.A. landscape full of seedy motels and comedy clubs, giving the film a colorful look at in the time of multicolored slacks and really ugly cars. Between the smog, which is almost a character in the movie and the constant cigarette smoking, the camera seems to be in a perpetual cloud, fitting the film noir style of the movie. The mood is also helped by the costume designs by Kym Barrett and the art direction of David Utley, who capture the look and styles of the 70’s.

Like Black’s under appreciated 2005 film “Kiss Kiss Bang Bang,” “The Nice Guys” perfectly captures the quirky pulp fiction style of film making. Combined with impressive action sequences, sidesplitting comedy and superb performances from Gosling and Crowe, Black has another winner that will seem a lot shorter than it’s almost 2 hours run time because it’s just that much fun to watch. I’m ready for the next case for “The Nice Guys.”      My Rating: I Would Pay to See it Again

My movie rating system from Best to Worst: 1). I Would Pay to See it Again 2). Full Price 3). Bargain Matinee 4). Cable 5). You Would Have to Pay Me to See it Again

“The Nice Guys” Website

Friday, May 6, 2016

"Morris from America"

My ATLFF review of "Morris from America"
"Morris from America"
Posted on May 5, 2016 on CWAtlanta.cbslocal.com


“Morris from America”


Film is reviewed from the 2016 Atlanta Film Festival screening.

When we first meet Morris (Markees Christmas), he is being taught about old-school rap from the 90s by his father, Curtis (Craig Robinson). Right from the start, we see that they have a great relationship, as Morris keeps teasing his father for his choice of music and his rapping style. Morris’s kidding hits a little too close to the bone and Curtis sends him to his room, where Morris practices his own form of rap. Soon a bored Curtis, knock on Morris’s door to get him for a trip into town for ice cream. As they walk we realize that this isn’t America but somewhere in Germany, and both father and son are a long way from home.

Curtis, a single father, works as a professional soccer coach. Morris is still trying to get his bearings in a town where he stands out and has trouble fitting in with the local kids. He is being tutored by a young woman named Inka (Carla Juri) who gets along well with Morris, trying to get him speak more German but also go out into the world and experience life, instead of staying in his room writing rap songs. Inka assigns Morris homework that he must go and check out the local community center that has programs for teenagers.

Morris is content to be on his own at the center, staying off to the side writing his songs, while the rest of the teens play basketball or talk. He is even subject to a bit of racial profiling when a couple of the kids try to get him to join their basketball team, assuming that just because he is a black kid from America, that he is interested or good in the sport. While sitting alone, Morris notices a teen girl who seems to be the center of attention of both boys and girls. She sees him and decides to find out just who he is. Her name is Katrin (Lina Keller), a German girl who smokes cigarettes and acts much older than her age of 15. She is out of Morris’s league, but he doesn’t know that, and his attempts to impress Katrin could just change his life forever.

“Morris from America” is a combination of a fish out of water story and a coming of age film that cares about its subject. The heart of the movie is the relationship between Morris and his father. We never actually find out what happened to Morris’s mother, but we do know that she was the love of Curtis’s life. The father is struggling to stay active in Morris’s life. It’s tough to stay on good terms with his son as he matures, wanting to spend more time with girls than hang out with his father. Curtis is also struggling with keeping track of Morris, not knowing quite when to pull the reigns on Morris’s adventures. Morris is trying to adjust to the dynamic of his father is starting to act more like his parent and less like his pal. Curtis is constantly reminding his son, that they are in this experience together because they may be the only two black men in this city.

Craig Robinson does a masterful job as the single father who loves his son and is willing to make this experience in a foreign country work. Robinson has the just right about of smart ass in him to make his caricature credible while also showing that his character has a sweet and loving side. I loved his interactions with Markees Christmas and their timing together is about as good as it gets, making their scenes seem believable and at times, moving. Christmas is a breath of fresh air for a film that rests almost solely on his back as his character is in virtually every scene. His portrayal of Morris is more complicated than what he lets us see of his character from the start of the film. As the movie goes along, we realize Morris is much more complex than we first thought, and it’s a credit to Christmas’s acting that we see this slowly and not at all at once. Christmas has the tough job of anchoring film about a thirteen-year-old boy who his homesick for America and is trying to impress a girl who is far more mature than he is. His portrayal of Morris around Katrin gives us the idea that Morris isn’t as confident as he lets on when he is around the girl, and this could be a rocky, painful ride.

Writer/director Chad Hartigan script places a high importance on music as it’s the way that Morris and his father can communicate with each other. The scenes where they talk about their love of music are brilliantly funny. Hartigan spent quite a bit of time picking the songs for the film, and they help create the essence of the film. It’s said that music is the universal language of mankind, and it’s no more evident in this movie as cultural, age and language barriers are broken, helping the film’s characters connect.

There are a couple of things I didn’t like about the film. Hartigan pulls out the race card a number of times to make Morris more sympathetic, something that isn’t always needed.  Technically there are several occasions that Hartigan used a couple of pinhole fade shots to transition to different scenes that just seemed out of place with the rest of the film and drew my attention away from the movie itself.

Overall, this is a movie that works due to its highly creative storyline, great chemistry between Christmas and Robinson and a script that treats its characters like they are living, breathing people. Hartigan has created a world that feels real while being charming, funny and at times, moving.  Let’s hope that someday Morris does become a rap star, because he has quite a bit to say.    My Rating: Full Price 

My movie rating system from Best to Worst:  1). I Would Pay to See it Again  2). Full Price  3). Bargain Matinee  4). Cable  5). You Would Have to Pay Me to See it Again

“Morris from America” played to a packed house at this year’s Atlanta Film Fesitval and won two prizes at this year’s Sundance Film Festival, the Waldo Salt Screenwriting Award and a Special Jury Acting Award for Craig Robinson. After its winning performance at Sundance, the distribution rights were bought by A24, which plans on distributing the film to theaters later this year.

My ATLFF Red Carpet interview with director Chad Hartigan

“Morris from America” Website