Film Review: BLINDSPOTTING (USA 2018) ***

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Blindspotting Poster
Trailer

 

Written and starring written by Rafael Casal and Daveed Diggs two childhood friends who grew up in Oakland, California, BLINDSPOTTING is less a structured film than a series of incidents tied together to tell a story, as manipulative as it becomes.  They felt that cinematic portrayals of the San Francisco Bay Area have constantly “missed something”.   Their flawed film wanted to draw attention to the culture, community, and sense of “heightened reality” that shape life in Oakland, high goals.   The film therefore addresses issues of gentrification, police violence, and racism.  But the film provides no solutions and only poses more questions.

The term BLINDSPOTTING is at one point explained in the film by a psychologist that it is the spot that an individual wants to see in a certain situation, which might not be the case in reality.  The brain sees one image and blocks out the other.  It is the fighting they Collin sees in many an incident.

The film opens with the probation conditions laid upon convicted felon, Collin (Daveed Diggs) after serving his term in prison.  It is a year long probation where Collin has to meet various conditions including keeping an 11 pm curfew and not get into any altercation with the law.

The film follows two childhood friends, Collin and his trouble maker white best friend, Miles (Rafael Casal), through the last three days of Collin’s year-long probation.  Collin lives in a probation house and struggles with trying to get his life in order and put his criminal past behind him, while the short-tempered and rowdy Miles searches for trouble and embraces the “street” lifestyle.  One night while waiting anxiously for a red light to change in order to get home for his 11pm curfew, Collin witnesses a white police officer (Ethan Embry) gun down a black civilian, an incident that haunts Collin over the next few days.  Immediately observable is the fact that Collin initially appears scared rather than angry at the injustice.  Miles purchases a gun which ends up in the hands of his young son Sean, an incident which horrifies Sean’s mother Ashley (Cephas Jones). Collin begins to realize that Miles’ recklessness will likely land him into trouble, and the two are set on an explosive collision course. 

When Collin was in prison, it is pointed out that Val never visits him while Miles does.  Val claims the reason Miles visits him is that he feels guilty and that he should have been the one in jail.  As the film is manipulative, it never addresses the reason Val has never visited.  But to one in prison, a visit by a friend means lots.

Collin on the other hand, is trying to keep his relationship with Val (Janina Gavankar).

These are two friends that should stay away from each other.  Things reach a boil when Miles purchases a gun, that he uses freely without restraint.  Yet the two get a job together Collin meets the bad cop, who happens to be one of the people the two have to move.

Occasionally engaging and funny, BLINDSPOTTING is original for the fact that audiences might not be familiar with the ‘Bay’ Oakland area.  Though the film shows promise, the uneven BLINDSPOTTING lacks structure and a strong narrative.

Trailer: https://www.youtube.com/watch?v=-9-HBqVbtTo

 

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Film Review: DON’T WORRY, HE WON’T GET FAR ON FOOT (USA 2018) ***1/2

Festival Reviews

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Don't Worry, He Won't Get Far on Foot Poster
Trailer
On the rocky path to sobriety after a life-changing accident, John Callahan discovers the healing power of art, willing his injured hands into drawing hilarious, often controversial cartoons, which bring him a new lease on life.

Director:

Gus Van Sant

Writers:

John Callahan (based on the book by), John Callahan (story by) | 4 more credits »

DON’T WORRY HE WON’T GET FAR ON FOOT is a comedy-drama biography film based on the memoir of the same name by John Callahan.  Gus Van Sant (DRUGSTORE COWBOY, MY OWN PRIVATE IDAHO, GOOD WILL HUNTING, GERRY, ELEPHANT) wrote the screen adaptation and directed the film.  

When the film opens, John Callahan (Joaquin Phoenix) is addressing an audience after winning some award for his cartoons.  Callahan is in a wheelchair as…

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Film Review: DON’T WORRY, HE WON’T GET FAR ON FOOT (USA 2018) ***1/2

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Don't Worry, He Won't Get Far on Foot Poster
Trailer

On the rocky path to sobriety after a life-changing accident, John Callahan discovers the healing power of art, willing his injured hands into drawing hilarious, often controversial cartoons, which bring him a new lease on life.

Director:

Gus Van Sant

Writers:

John Callahan (based on the book by), John Callahan (story by) | 4 more credits »

DON’T WORRY HE WON’T GET FAR ON FOOT is a comedy-drama biography film based on the memoir of the same name by John Callahan.  Gus Van Sant (DRUGSTORE COWBOY, MY OWN PRIVATE IDAHO, GOOD WILL HUNTING, GERRY, ELEPHANT) wrote the screen adaptation and directed the film.  

When the film opens, John Callahan (Joaquin Phoenix) is addressing an audience after winning some award for his cartoons.  Callahan is in a wheelchair as a result of a car accident involving drinking.  But Callahan is still drinking though he is attending an AA group led by Donnie Hill (a totally unrecognizable Jonah Hill).

The film unfolds in non-chronological order, centring on Callahan before and after the accident, including his rise to fame with his cartoons.

DON’T WORRY will inevitably be compared to the French film, Julian Schnabel’s The Diving Bell and the Butterfly (French: Le Scaphandre et le Papillon), a 2007 biographical drama based on Jean-Dominique Bauby’s memoir of the same name, on a man’s disability and rehabilitation.  The film depicts Bauby’s life after suffering a massive stroke that left him with a condition known as locked-in syndrome. Bauby is played by Mathieu Amalric.  Bauby is totally conscious but unable to move all parts of his body but his left eye that he used to write the memoir.   The Diving Bell and the Butterfly won awards at the Cannes Film Festival, the Golden Globes, the BAFTAs, and the César Awards, and received four Academy Award nominations and is considered by critics as one of the best films of the decade.

DON’T WORRY never reaches the high standard hit by Le Scaphandre et le Papillon but goes towards a different direction, stressing more on the emotional than physical comeback.  Whether Callahan can have sex is one of the main conditions examined.  The main difference between the two films lie in the difference in the two main characters.  In the French film, Bauby was strong and fixed on recovery while in this film, Callahan is self destructive and wallows in self pity.  This is not helped by the fact that Callahan is still an alcoholic.

The film also considers the emotions that Callahan goes through right after the accident in the hospital.  Ironically the drunk driver, Dexter (Jack Black) that caused the accident walked away with only a few scratches.  Callahan met Dexter by chance at a bar and spent the night drinking heavily and driving.  The film fails to mention what happened to Dexter after the accident.  But Callahan asks key questions like: “Why is this happening to me?” – a question that is invariably asked by probably every person undergoing such a tragic accident.  Callahan also confesses to a worker, Annu (Rooney mara) that he promised God that he would do anything and or would make a pact with the devil to become normal again.   These key emotions differentiate DON’T WORRY from the French film.

Callahan’s birth as an artist only begins at the film’s one hour mark.  A few of the cartoons are revealed to the audience and to Callahan’s credit, they are quite funny –  a kind of THE FAR SIDE by a guy in a wheelchair.

Van Sant’s DON’T WORRY encompasses the best of his ‘lonely’ films like ELEPHANT and GERRY and ‘hidden talent’ films like GOOD WILL HUNTING, offering audiences gut wrenching insight in his soulful biography of a troubled human being.

Trailer: https://www.youtube.com/watch?v=2BwxeOzSx8A

 

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Film Review: GAUGUIN (France 2017)

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Gauguin: Voyage to Tahiti Poster
Trailer

Focused on French painter Paul Gauguin’s affair with a younger lady in Tahiti.

Director:

Edouard Deluc

Writers:

Edouard Deluc (screenplay), Etienne Comar (screenplay) | 4 more credits »

 

For those unfamiliar, GAUGUIN is a famous talented French painter of the 19th century.  But Paul GAUGUIN (Vincent Cassel) was a dissatisfied painter tired of the so-called civilized world and its political, moral and artistic conventions.  So he leaves his wife and children to travel to Tahiti, Polynesia on the other side of the world with little money.

For those not well versed in Geography, Tahiti is right in the middle of the Pacific Ocean, plunked right in the middle of lots and lots of water, far away from nowhere.  It is a beautiful place with white sandy beaches (check your Google map) but the country is large enough to nurse a huge jungle.  The cinematography is never too shy to show the beauty of the island.  There are lots of gorgeous landscapes on display with shots of green, rivers, mountains an beaches.  Indeed, it would be a worthwhile place to visit for a naturalistic vacation.  Tahiti is where Gauguin is headed, consumed with a yearning for original purity, and ready to sacrifice everything for his quest. 

Those who criticize me know nothing of an artist’s nature.  These are the words of Gauguin s he rides his horse into the jungle with barely enough provisions for a few days. Impoverished with diabetes, and solitary, Gauguin pushes deep into the Tahitian jungle, where he meets the Maoris and Tehura, his muse, who will inspire his most iconic works of art.  Tehura becomes Gauguin’s wife.  In real life, Tehura was only 13, which means that Gauguin would be stamped a pedophile in today’s standards.

The film traces the two years of Gauguin’s life in Tahiti, which is inspired by Noa Noa (meaning Fragrance) , the travel diary Gauguin wrote after his first trip to Tahiti in 1893.

Deluc’s biography is even in its pacing with no high points with a few dramatized events – the only one or two involving Gauguin’s painting like the difficulty of finding a canvas and the confrontation with his wife Tehura on hi suspicion of her being unfaithful.  Still this charged scene is conducted with restraint.  Deluc trivializes Gauguin’s sickness.  Gauguin is never shown really sick only perhaps a bit of coughing and grumbling about his energy.  But in real life, he did live till he ripe age of 54.

Vincent Cassel inhabits the role of Gauguin, delivering a steering performance showing the artist at his ugliest, unkempt, often sick and tired.  Cassel used to be a hunk and  heartthrob in his younger days with his stunning good-looks and great body as in films like BROTHERHOOD OF THE WOLF and READ MY LIPS.  His age is showing in recent films like MESRINE and GAUGUIN but he continually to do outstanding work, staring out as one of France’s greatest and most under-rated actors.  His chiseled body is still observable many a film’s scene where he has his top off.

GAUGUIN is a no-nonsense biography, told straight forward from start to finish, but praising the artist for more than his worth as a human being.  Nothing is also mentioned with his relationship with his wife and kids when he returned to France.

Trailer: https://www.youtube.com/watch?v=3HiCzb2gWo0

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Film Review: SKYSCRAPER (USA 2018)

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Skyscraper Poster
Trailer

A father goes to great lengths to save his family from a burning skyscraper.

 

Silliness is the order of the day!  Universal Studios has given a $125 million budget to writer/director Rawson Marshall Thurber who has been responsible for small films like DODGEBALL, WE’RE THE MILLERS and CENTRAL INTELLIGENCE, the latter also starring “The Rock” Dwayne Johnson.  The Rock has had two recent hits JUMANGI and RAMPAGE.  Is The Rock impervious to failure?  The ultra-silly SKYSCRAPER will put The Rock who plays a one-legged hero, jumper of buildings to the test.

The film begins with FBI agent Will Sawyer (Dwayne Johnson) attempting to save a a man who is willing to kill himself and his son, but ends up with him losing his leg.

Will is now a former FBI agent and amputee.   Will lives in the tallest and “safest” skyscraper in Hong Kong with his family.  The skyscraper itself, known as “The Pearl,” houses several floors that function as their own society, and despite the risks highlighted by Sawyer, who is the building’s head of security, his bosses insist that it is impenetrable.  True to Sawyer’s belief, the building comes under attack by terrorists, forcing Sawyer to take action.  Matters are complicated further when he finds himself framed for the attack, and his family trapped above the resulting fire line.

Among the silliness:

Will hangs from buildings using duct tape.

Will uses his metal leg many times to save the day

Will is able to climb umpteen floors with that leg of his.

Thurber’s written dialogue is just as silly.  At the end when all is over, Will’s wife Sarah tells him “You need a shower.”  “I do” is his reply”.  What a great family,” Inspector Wu retorts.  As the film involves Will also saving his two kids, “Daddy, daddy,” are two words that can be heard repeatedly during the film.

The film is noticeable short of one-liners as Will is more often that not hanging for his life from the skyscraper.

SKYSCRAPER steals shamefully from many other films like TOWERING INFERNO, THE FAST AND THE FURIOUS and most notably, the James Bond film with the mirrors climax, THE MAN WITH THE GOLDEN GUN.   The film expectedly contains lots of CGI and pyrotechnics,

The cast includes lots of Asians, obviously to cater to the Chinese market.  Will Trump slap a tariff on SKYSCRAPER?  Singaporean Chin Han plays the skyscraper’s builder, Taiwanese Hannah Quinlivan plays a sexy Chinese fighter (what is it with her hair?) and Hong Kong’s Byron Mann plays Inspector Wu.  The main villain is played by Dane Roland Møller, a terrorist.  Noah Taylor first seen as a child actor in THE YEAR MY VOICE BROKE makes a cameo as a baddie.

Will’s wife, Sarah (Neve Campbell) is not the usual dame in distress, screaming housewife.  Here, she not only speaks Chinese but can fight her way through any number of villains.  The children are the useless screaming ones that need saving.

The script calls for Will to fight both the fire and the terrorist resulting in a divided film which cannot decide which direction to go.  The fire is then as easily put out as the villain dispatched (not revealed how in the review).

SKYSCRAPER is still watchable for the less demanding moviegoer as there is always something happening (silly or not) in very scene.  At the time of writing, of 91% google users liked the film.  As long as one is comfortable at the one legged jumper, able to leap buildings!

Trailer: https://www.youtube.com/watch?v=t9QePUT-Yt8

 

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Film Review: MARY SHELLEY (Luxembourg/Ireland/UK 2017)

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Mary Shelley Poster
Trailer

The love affair between poet Percy Shelley and 18 year old Mary Wollstonecraft Godwin, which resulted in Mary Shelley writing Frankenstein.

Writers:

Emma JensenHaifaa Al-Mansour (additional writing by)

 

“There is something at work in my soul, which I do not understand,” so says Mary Shelley at the beginning of the film.  We take it that the filmmakers plan to shed some light on the topic of Mary Shelley’s troubled soul, which inevitably resulted in one of the most famous horror novels of all time – “Frankenstein”.

MARY SHELLY is a biographical drama of the famous author who wrote the book “Frankenstein” by the age of 18.  At the film’s start, the audience sees the younger Mary (Elle Fanning) reading and scribbling.  She has trouble at home, particularly in the relationship with her step-mother and sent to live with relatives in Scotland where she meets her suitor Percy Bysshe Shelley (Douglas Booth).

However, 15 minutes into film after Mary meets Percy,  director Haifaa al-Mansour decides to concentrate her film on Mary Shelley’s first love and her romantic relationship with him (full name Percy Bysshe Shelley).  The story turns out to be less a biography of the author than a period love story.  Worse still, al-Mansour’s decision to have her film punctuated with Percy’s poetry distracts the fact that the film is about Mary and not about him or his writings.

The trouble with all this is that director al-Mansour is unable to sway the audience unto Mary’s side.  There is hint of the need for female independence in these times, which is emphasized at the end when she has trouble getting her novel published.  When told by her father (Stephen Dillan) that if she goes with Percy, she would lose the love of her father forever,” one is immediately not on her side, for Mary seems young, impetuous and impertinent.   When Percy finally flirts with the younger Claire (Bel Powley) , things become clear that Percy is not the man Mary had thought him to be.  It is too late as Mary is pregnant with his child.

Elle Fanning is convincing as the independent young lady who falls into hard times, due to her own fault.  Douglas Booth is terribly annoying as the handsome rogue, Percy – but I suppose the character of Percy is supposed to be annoying. Tom Sturridge goes over the top in his portrayal of the even more detestable Lord Byron.

The scene of Mary comforting Claire in the woods under rain and thunder shows the director at her worst, going for cheap theatrics.

Al-Mansour’s film is beautifully created and shot in terms of period atmosphere both in the interiors to the dimly lit cobblestone street and vast green Scottish landscape exteriors.  MARY SHELLEY is Saudi Arabian director Haifaa al-Mansour’s second feature after she became film society’s darling with her debut feature WADJDA.  WADJA was the first film made by a female director from Saudi Arabia and the first film from Saudi Arabia o be screened at Cannes.

` But MARY SHELLEY ends up a story without a strong direction with inspiration behind Mary for her books only hinted at.  One assumes it is due to her hardships – such as the haunting of her mother’s death, her distressful love affair and loss of her in infant child.  In the end, the audience is  still left in the dark as to the understanding of what was really at work in the soul of Mary Shelly. 

Trailer: https://www.youtube.com/watch?v=T-WGaZaojFc

 

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