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Film Review: THE KING (USA 2018) ***

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The King Poster
Trailer

Forty years after the death of Elvis Presley, a musical road trip across America in his 1963 Rolls Royce explores how a country boy lost his authenticity and became a king while his country lost her democracy and became an empire.

Director:

Eugene Jarecki

Writers:

Eugene Jarecki, Christopher St. John (co-writer)

Stars:

Alec Baldwin, Tony Brown, James Carville

 

It is about time a documentary surfaced on Elvis Priestly – aka The King.

Why is Elvis nicknamed The King?  In Kevin Smith’s DOGMA, Satan claimed that he does not believe in fighting in God’s army and was therefore banished from God’s Kingdom.  A character goes to say, Elvis served in the army and that is why he is The King!  But the most appropriate reason would be that Elvis is the King of Rock and Roll.

“How does it feel to be right up there on top?” is a question asked at the start of the movie.  As much as Elvis represents the American Dream – (anyone can be what he wants if one works for it), the film accurately reveals the truth that it should be peace, love and the pursuit of happiness that one poor black woman in the film confesses.

But THE KING the movie is not so much a biography of Elvis but a history of Elvis tied  to America and its politics.  Writer/director Melecki devotes a fair amount of scene time to the debate of Elvis’ appropriation of black music.  One black interviewed says that he stole black music and never did anything for the black man.  But another says that music should not be segregated.  There are two sides to each story.

As Elvis was such a famous star, there exists much archive footage available for Melecki to choose.   Included are clips from his many films. 

A good impressive cast of stars that include Ethan Hawke have their say.  Hawke speaks with authority about Elvis as if he knew the king personally.  Other interviewees include Elvis’ best teen friend but one wonders the reason Melecki includes the folks that used to stay in the original house where Elvis grew up.  These people did not even know that it was Elvis’ house they lived in.  Melecki also includes himself in the doc as he is driven around asking questions.

It is hilarious how all documentaries include clips of President Donald Trump and very unflattering ones at that.   THE KING is no exception with Trump displayed at his lower common denominator.  The film contains a neat look at America from Canadian Mike Myers’ perspective.  Melecki puts American down at many points in his documentary.

Director Melecki’s last third of the film covers the reason why American is not great again.  Despite what Trump had said: Make America great again!”  America can only be great if it cares again.  Melecki also contrasts Elvis loyalty to the country and military to Mohammed Ali’s refusal to join the army.  “Going to jail is better than killing innocent Chinese and Vietnamese,” says Ali in the film.  Then there is the Alec Baldwin bit degrading Trump again.  It is an excellent debate.  The only problem is the film going completely off-track with the downside of America, though Melecki ties it to Elvis at the end.

The film ends sadly with the death of THE KING, sadly at the young age of 42.  THE KING is as much a story of the downfall of Elvis as it is of America.

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

 

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Film Review: BOUNDARIES (USA/Canada 2017) ***1/2

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Boundaries Poster
Trailer

Laura and her son Henry are forced to drive her estranged, pot-dealing, carefree father Jack across country after being kicked out of a nursing home.

Director:

Shana Feste

Writer:

Shana Feste

Stars:

Vera Farmiga, Christopher Plummer, Lewis MacDougall

 

BOUNDARIES is a film about breaking boundaries, not creating or keeping them.  When the film starts, Laura (Vera Farmiga) talks to her therapist about the boundary she had created with her estranged father, Jack (Christopher Plummer).  Jack has telephoned but Laura has refused to pick up.  But she eventually makes contact with him.

BOUNDARIES is a feature by writer/director Shana Feste who has made 5 or so features including THE GREATEST and COUNTRY SONG.  BOUNDARIES caters to the commercial moviegoer, hitting all the right buttons at the correct times  For the more critical filmgoer, critics included, all that transpires might be all too much.  BOUNDARIES has so far received very mixed reviews.  Hate it or love it!

Laura (Farmiga) is a single mother who lives with her son Henry (Lewis MacDougall) and a slew of stray animals she’s rescued.  When Henry is expelled from school for drawing the principal nude and her estranged father Jack (Plummer) is booted from his senior home, Laura makes a deal.  She agrees to drive Jack from Seattle to LA, where her sister (Kristen Schaal) 

has reluctantly agreed to take him in.  In return, Jack promises to pay for Henry to attend a private school, where his creativity can be nourished.

Expect lots of theatrics that will involve lots of tears and laughter.

So, Laura, Jack, Henry and a few of the furry strays head off, with Jack insisting they stop along the way to visit a Buddhist camp, a couple of old pals (Christopher Lloyd et al.) and even Laura’s feckless ex-husband (Bobby Cannavale).  Little does Laura know that Jack is selling weed from the $200,000 stash in his trunk, having a last bit of fun before the drug becomes legal.  Still oozing charisma at age 85, Jack has also cajoled Henry into helping him.

Despite its predictable Hollywood happy ending, Feste takes her audience for a ride with some good dialogue and good performances from her actors.

Christopher Plummer is quite hilarious.

Vera Farmiga is also quite hilarious

Teen actor Lewis MacDougall not only hilarious but dramatic, emotional and winning,

Of the supporting cast. Peter Fonda does what is expected as the film deals with weed.  But it is Bobby Cannavale steals the show as Laura’s ex, a real a-hole.  The films most dramatic and powerful scene involves him and Farminga, who also proves her acting mettle.

Feste’s script could be improved on the way it manipulates audiences.  But to her credit this manipulative script contains choice lines like:

“I’m so fucked up, I can’t even tell my therapist how fucked up I am.”

“I’m desperate.  Don’t tell me things are going to get better.”

“My family is awful, But they cannot help it.”

The film can also be described as an edgy family road movie.  The film includes an appropriate road movie soundtrack, pleasant to listen to especially on the road.

Director Feste admits that the film is an unabashedly autobiographical portrait of her own charming grifter dad, who was in and out of her life during her early childhood and then 

moved in with her when he became ill.  Her father (who recently passed away) has a cameo in the film as the construction guy who cops weed from Jack.

Trailer: https://www.youtube.com/watch?v=xf6qk93WHf0

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Film Review: ALWAYS AT THE CARLYLE (USA 2018) ***

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Always at The Carlyle Poster
Trailer

The iconic Carlyle hotel has been an international destination for a particular jet-set as well as a favorite haunt of the most discernible New Yorkers.

Director:

Matthew Miele

Writer:

Matthew Miele

Stars:

Woody Allen, Wes Anderson, Anthony Bourdain

Documentaries are made for varying reasons. They could be for education, to inform the world of some little known subject, to celebrate a famous person, to whistle blow or to honour a person in a biography.  ALWAYS AT THE CARLYLE, the new documentary written and directed by Matthew Miele celebrates a famous hotel – the famous hotel called the Carlyle.

The iconic Carlyle hotel has been an international destination for a particular jet-set as well as a favourite haunt of the most discernible New Yorkers.  This documentary celebrates glamour – the glamour of the hotel (the cost of a suite could go for as high as $22,000) and the glamour of the guests that have stayed there.  The list of guests includes stars Woody Allen, Wes Anderson, Anthony Bourdain, Naomi Campbell, George Clooney, Sofia Coppola, Alan Cumming and Jon Hamm as well as Presidents and dignitaries like John F. Kennedy and Ted Roosevelt.

The Carlyle Hotel enjoys the reputation popularized by recent movies like the JOHN WICK films and HOTEL ARTEMIS with Jodie Foster.  In these films, a hotel would service any client no matter what background with everyone treated fairly and equally despite any shadiness. At the Carlyle, the management declined to tap the rooms of any suspicious clientele as all hotel guests are treated with respect.  The example given is the request by the government agency to  tap the Iraqi delegation that stayed there during the Gulf War.  No was the answer.

Whatever happens at the Carlyle stays at the Carlyle.  That is the saying and understand of both the staff and guests of the plush expensive hotel.  Even the names of the celebrities are not disclosed by the staff.

Director Mile has assembled a varied cast of interviewees to shed light on the hotel.  Besides the stars mentioned, the hotel staff, many of whom have spent their entire lives working there.  These include Kim of Room Service, Ernesto the doorman, Helal the waiter and several of management from sales to decor designer.

The film reveals the uniqueness of the Carlyle, in the words of both sides, the clientele and staff.  The art decor, the personal friendliness, the class, the care taken and style are a few of the factors.  The staff also speak of their favourite encounters.  George Clooney (who also speaks to the camera in an interview) and John F. Kennedy top the list of the staff’s favourite guests.

What is a hotel without some wicked scandal?  The hotel staff is asked about Marilyn Monroe and Kennedy and about many young and super gorgeous twenty-somethings that enter the hotel doors.  Fortunately, the staff is discreet.

The film’s highlights are the performances that take place at the hotel’s cafe.  A seat is reputed to cost at least $150 with a minimum of a $75 order.  One of the most popular performers is Bobby Short who is shown performing in a brief clip.  His performance and the hotel are also featured in Woody Allen’s film HANNAH AND HER SISTERS.  Woody Allen is also featured playing the clarinet in the cafe.

ALWAYS AT THE CARLYLE is entertaining fluff.  The film celebrates celebrities.

Trailer: https://www.youtube.com/watch?v=chbAw9uNV8U

Film Review: THE UNSEEN (Canada 2016) ***1/2

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The Unseen Poster
A man who abandoned his family now risks everything to find his missing daughter, including exposing the secret that he is becoming invisible.

Director:

Geoff Redknap

Writers:

Geoff Redknap, Geoff Redknap

Stars:

Aden Young, Camille Sullivan, Julia Sarah Stone

 

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Film Review: SICARIO: DAY OF THE SOLDADO (USA 2018) ***

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Sicario: Day of the Soldado Poster
The drug war on the U.S.-Mexico border has escalated as the cartels have begun trafficking terrorists across the US border. To fight the war, federal agent Matt Graver re-teams with the mercurial Alejandro.

Director:

Stefano Sollima

Writer:

Taylor Sheridan

Stars:

Benicio Del Toro, Josh Brolin, Isabela Moner

 

Italian director Stefano Sollima takes over the director duties from Denis Villeneuve in the SICARIO sequel, both films written by Taylor Sheridan.  The director’s imprint makes a difference with the sequel, a solid one at that playing more like a no-nonsense action suspensor.  In case one is wondering, the film translating to English would read: Hitman: Day of the Soldier.

The film’s trailer shows the film’s key scenes where the task and thus the subject of the film is at hand.  It is an operative that has no rules, and one that is as dirty as it gets.

The film is as current as it gets with Trump wanting to build a wall between the border of the the U.S. and Mexico.  The setting is the U.S. Mexican border where illegal aliens are crossing the river to get into the States.  The drug cartels are, according to the film, smuggling terrorists across the U.S. border.  When the film opens, a terrorist attack has just occurred with innocent Americans killed.  The Americans want revenge and hire CIA agent Matt Graver (Josh Brolin) from the first movie to start a drug war. so that these drug lords will destroy each other.  Graver hires undercover operative Alejandro Gillick (Oscar Winner Benicio Del Toro) to kidnap Isabela Reyes (Isabela Moner), the daughter of a drug lord, in a false flag operation designed to incite war between rival cartels.   The mission goes awry when it is discovered by the Mexican government, prompting Graver to order Reyes’ execution.  When Gillick refuses, he turns rogue to protect her as Graver assembles a new team to hunt them both.  

One of the film’s extended segments shows Isabela in school having a schoolyard fight with another girl who she punches in the face.  At the principal’s office, she challenges the principal to expel her.  Her toughness is clear but after her kidnapping, all she does is scream and get scared.  It is puzzling the reason Isabel is shown to be tough unless it is to show the trauma she is going through while being kidnapped.  The film also omits any scene with her father, Carlos Reyes.

The script by Sheridan opens the film up for many subplots.  One is the young Mexican who is an expert on the area around the border, and who is hired to guide the illegal aliens across the border.  His character is smart, merciless and yet vulnerable with a family he cares for.

Benicio Del Toro and Josh Brolin make the movie.  They play hard-ass characters who are violent, determined and efficient sicario (hit-men) in what they do.  Christine Keener does well as Graver’s boss who is just as brutal in the execution of her duties.  The screen lights up when these characters come head to head in confrontation.

If this SICARIO makes money, the ending prepares the audience for yet another sequel.  There are plenty of potential and opportunities for more action packed stories.  If Brolin, Del Toron and Keener are in for another SICARIO, that would indeed be a good thing.

Trailer: https://www.youtube.com/watch?v=Pymm6cmE9uQ

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Film Review: LEAVE NO TRACE (USA 2018) ***

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Leave No Trace Poster
Trailer

A father and his thirteen year-old daughter are living in an ideal existence in a vast urban park in Portland, Oregon, when a small mistake derails their lives forever.

Director:

Debra Granik

Writers:

Debra Granik (screenplay by), Anne Rosellini (screenplay by) | 1 more credit »

Stars:

Thomasin McKenzie, Ben Foster, Jeffery Rifflard

 

LEAVE NO TRACE is another strong female character drawn adventure drama after her successful WINTER’S BONE.  Written and directed by her and based on the book My Abandonment by Peter Rock, the film premiered at the 2018 Sundance Film Festival.[2][3] Bleecker Street will release the film in the United States on June 29, 2018.[4]

The summarized plot tells the story of a father and his thirteen-year-old daughter .  Will (Ben Foster) is an ex-military who has lost his faith in humanity for reasons not disclosed.  When the film opens, he and daughter Tom (Thomasin McKEnzie) live in an isolated existence in a vastly urban park in Portland, Oregon, (the film was shot in Eagle Fern Park in Clackamas County) when a small mistake derails their lives forever.  They are taken in by social services.

The film contains several embedded messages.  The first and foremost is the question on homeschooling.  Will and Tom live an isolated existence at the film’s start, living in conditions unacceptable by normal Americans.  Tom sleeps in close proximity with her dad.  Though this is a no-no, nothing sexual occurs.  To is home schooled.  When interrogated about this, The interrogator admits that Tom is advanced in her schooling though cautioned that she lacks the social aspect of education.  But director Granik eventually pushes Tom towards normal life which she has not experienced.  Tom loves the social and interactive aspect as they are slowly integrated into society.  Until Will escapes with Tom back to square one.  When an Will has an injury, Tom is forced to choose between the two lifestyles.

LEAVE NO TRACE is Granik’s gentler more accessible film.  There is much kindness depicted in this movie than in WINTER’S BONE.  The truck driver and other strangers that encounter Will and Tom are always more than eager to help them.  

Both actors Ben Foster (THE PUNISHER, X-MEN) and Thomasin McKenzie deliver believable an human performances, worthy of any audience’s sympathy.

As far as anticipation goes, one keeps wondering where everything is leading to and how everything will end.  One can predict some friction between father and daughter when she makes her stand on independence. “The same thing that is wrong with you is not wrong with me,” is the all important line Tom confronts Bill with.  And the reply; “I know.”   The film moves on a different tangent when the father is an understanding and caring one.

The film contains a few originally performed songs with original music by Dickon Hinchliffe.  The cinematography of the vegetation and fauna of the national parks is effectively captured by Michael McDonough.

LEAVE NO TRACE is that rare film that proves that confrontation in a story need not always be resolved by shouting, screaming and cheap theatrics.  Here, the confrontation is resolved with reason and understanding.  And the film succeeds as a quiet yet effective drama of human inadequacies that sort themselves out.

Trailer: https://www.youtube.com/watch?v=_07ktacEGo8

 

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Film Review: MARLINA: THE MURDERER IN FOUR ACTS ****

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Marlina the Murderer in Four Acts Poster
Trailer

Marlina lives quietly in Sumba until one day a man named Markus and his gang tries to rob her house and she kills him. Eventually, she is haunted by Markus, and her life turns in 180 degrees.

Director:

Mouly Surya

Writers:

Rama Adi, Garin Nugroho|1 more credit »

Stars:

Egy Fedly, Dea Panendra, Yoga Pratama|

It is rare that a film from Malaysia or Indonesia, less an art film at that, receives commercial release in North America.  But MARLINA: THE MURDERER IN FOUR ACTS which premiered here at the Toronto International Film Festival is a special film that comes highly recommended.

The film plays like an Indonesian western.  It opens with a sparse landscape of dried brown vegetation to an Ennio Moricone-like soundtrack.  In the distance, is a figure of a man on a motorcycle (instead of one on a horse).   Director Surya is fond of distant shots with her characters slowly moving into her frames.  Her frames are beautifully crafted, many of which could make perfect paintings.

Marlina (Marsha Timothy), recently widowed is unable to pay her husband’s funeral services.   A troupe of ugly and unforgiving men use this excuse to take her livestock and have their way with her.  

“What do you want?”  Marlina first asks them.  “I want your money, your livestock and if we have time, we will sleep with you  All seven.”  But they are not prepared for the fury of this woman, in this revenge fantasy where women are warriors and will take no shit.  The film is surpassingly relevant in these times of female abuse.

Marlina poisons them with a soto ayam (local chicken soup dish) dinner and beheads Markus, the head of the gang, as she is riding him.

Marlina the Murderer in Four Acts (Marlina si Pembunuh dalam Empat Babak) is divided into 4 roughly equal parts titled The Robbery, The Journey, The Confession and The Birth.  

The confession is the most intriguing of the 4 acts where Marlin confesses her crime to a policeman at the station who nonchalantly records the facts as if they mean nothing.  He is obviously goes by the book, having being doing the same job for too long.  The last act is the most shocking and violent, bringing the film to an exciting climax.

Though the film is a slow moving and artsy, it is no less engaging a piece of storytelling that will grab one from start to end.  Humour is deadpan and always present as Marlina takes a bus with the head of Markus to make a report at the nearest police station.  She meets a pregnant neighbour, Novi who also has man trouble.  Her husband Umbu believes her late delivery is due to the fact that she has cheated on him.  The humour is mainly local, on the practices and beliefs of Marlina’s encounters.

Surya’s film is also intriguing from the observation of the unfamiliar Indonesian country culture.  I never knew horses were common in Indonesia, but I recognize much of the local dialect as I have relatives living in Indonesia, though in Jakarta.

Marsha Timothy is nothing short of amazing in her portrayal of a women of fury who will not put up with any nonsense.  The soundtrack is impressive and includes the song “Lazuardi”, composed and performed by Jakarta indie rock band Efek Rumah Kaca.

A stylish but violent film proving Surya as a fantastic storyteller.  The film is set on an island in East Indonesia shot in the language of Malay.

Trailer: https://www.youtube.com/watch?v=Ikgy2Xukwng

Film Review: WESTWOOD: Punk, Icon, Activist (UK 2018) ***

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Westwood: Punk, Icon, Activist Poster
Trailer

The first film to encompass the remarkable story of one of the true icons of our time, as she fights to maintain her brand’s integrity, her principles – and her legacy.

Director:

Lorna Tucker

Star:

Vivienne Westwood

 

The Westwood mentioned here is Dame Vivienne Westwood, fashion’s notorious rebel.  Westwood defined the British Fashion scene for 40 years and she is responsible for creating many of the most distinctive looks of our time.  Her partner at the time was Sex Pistols’ manager Malcolm McLaren.

The film begins with Westwood speaking freely to the camera.  Director Tuckers knows her subject’s quaint personality and instead of asking questions with her answering lets her do the talking. “I do not like to answer questions,” she confesses to the camera. “Terribly boring.”  But Tuckers does ask her tot all about the Sex Pistols, which she grumbles about, ‘but that makes uninteresting talk.”  By letting Westwood talk, Tuckers intersperses her words with archive footage and images that are obtained on the subject.  The film surprisingly, flows very smoothly as if all the images and words matching identically.  Amidst all this, the audience learns of the origin of her design, together with watching many of her originals, many weird yet fascinating.  It is more is insightful to watch a documentary about a subject when the subject is still alive and able to speak about herself and her work to the camera.  Vivienne’s son and her manager, Carlo (both of whom do not get along) also have their say in the film.  Pamela Anderson, Christina Hendricks and Kate Moss make welcome cameo interviewees.

Despite the fact that Westwood is a worldwide known celebrity designer, Tuckers brings her down to earth by devoting a fair amount of screen time to her personal and business problems.  Her breakup with then husband Malcolm, her relationship with Andreas from Austria as well as her business problems make her a more vulnerable person.

The second half of the doc reveals Westwood as an activist for the environment.  She works with Greenpeace and is concerned about the end of humanity that comes with a dying planet.

There film blends archival footage, beautifully crafted reconstruction, and insightful interviews with Vivienne’s fascinating network of collaborators.

Director Lorna Tuckers herself spent her 20’s working behind the camera and jumping on tour buses with bands creating tour videos and music promos.  She understands the problems that come with success.  The film emphasizes Westwood’s reluctance of expanding her brad too fast.

And what is Westwood the person like?  She is shown to be bossy, fond of uttering foul language like the frequent use of the ‘f’ word and also not afraid to come down on her employees.  On a more personal level, she is shown to be a caring mother and one who would not take any nonsense from her at times, jealous husband, Malcolm.

Tuckers’s film moves along at a good pace,and her documentary makes as compelling a watch as her subject Dame Vivienne Westwood is compelling.

WESTWOOD the documentary comes to Toronto June 29 for a one week engagement at the Hot Docs Ted Rogers Cinema. 

Trailer: https://www.youtube.com/watch?v=qvYmFcAegH4

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Film Review: NORTH MOUNTAIN (Canada) ***

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North Mountain Poster
In the dead of winter a young aboriginal hunter falls in love with a fugitive ex-con and helps him fight off an army of crooked cops seeking revenge.

Director:

Bretten Hannam

Writer:

Bretten Hannam

Stars:

Justin Rain, Meredith MacNeill, Gharrett Patrick Paon

 

Made in 2015, NORTH MOUNTAIN is an almost full indigenous film from its direction, actors, setting, story and script.  

NORTH MOUNTAIN is the film’s setting as well as the area where the film’s protagonist a 30-something Mi’kmaw hunter first discovers the wounded body of a man that changes his life, also providing him some coming-of-age maturity for good measure.

Wolf (Justin Rain)is a young Mi’kmaw hunter, spends his days hunting and trapping on the isolated North Mountain.  His simple routine is disturbed when he discovers Crane (Glen Gould), a wounded ex-con on the run from the law.  Wolf brings him to his home, where he lives with his grandmother, Nan, nurses Crane back to health, and an intimate bond forms between them.  Some excitement is introduced with the arrival of a dirty cop from Crane’s past sets into motion a series of dark events that tests their relationship and changes their lives forever.  There is a huge bag of money.  Crane tries his best to remain incognito to prevent the family helping him from getting into trouble with the killers hunting him down.

It is a good story (that could be se anywhere) made even more intriguing with an indigenous setting.  A few snags in the plot involve how easily the bad guys keep finding Crane.  Best these overlooked as many Hollywood thrillers contain plot holes.  Director Hanna is also unafraid to include some violence (finger breaking) and gore to add a bit of flavour to his thriller.  The film is initially vague about Wolf’s family though everything comes clear towards the middle of the film.

“It would not be Christian if I did not look after her.” the film has minimal dialogue and each one indicates more than one bit of information.  The line for example, tells of the shopkeeper’s religion, her kind and caring nature and her relationship to the person mentioned in the sentence.

A good blend of drama, emotions with some suspense and thrills, NORTH MOUNTAIN is a well made indigenous film that should both appeal and entertain mass audiences.  Wolf uses his native hunting skills yo get better of the villains who hunt down him and Wolf for the large amount of money stolen from them.  How Crane got the money is never dealt in detail.

North Mountain is the directorial feature debut from Bretten Hannam, a Nova Scotia filmmaker, himself  of Mi’kma, Ojibweorigin while having a bit of Scottish ancestry.  He is a Fellow of the Praxis Centre for Screenwriters, Outfest Screenwriting Lab, as well as an alumnus of the Canadian Film Centre’s Screenwriting Lab.  After a wildly successful festival run and racking up multiple awards, including the Screen Nova Scotia Award for Best Feature Film, North Mountain gets a week-long engagement at The Carlton Cinema, beginning on June 29.

Shot in Mi’kmaw and English with some subtitles.

Trailer: https://www.youtube.com/watch?v=uQyhnIHEzx4&feature=youtu.be

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Film Review: AMERICAN ANIMALS (UK 2018) ***

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American Animals Poster
Trailer

Four young men mistake their lives for a movie and attempt one of the most audacious heists in U.S. history.

Director:

Bart Layton

Writer:

Bart Layton

Stars:

Ann Dowd, Evan Peters, Blake Jenner

 

Spencer Reinhard (Barry Keoghan), Warren Lipka (Evan Peters), Eric Borsuk (Jared Abrahamson) and Chas Allen (Blake Jenner) are four friends who live an ordinary existence in Kentucky.   They plan, from watching old crime movies, to to steal the rarest and most valuable books from the university’s library that are worth $12 million or so.   The film unfolds, documentary style with the real men (other actors) re-telling the stories in flashback.  Writer/director Bart Layton, redoes the similar style of his hit 2012 documentary THE IMPOSTER which had won him a BAFTA Award.

“We must suppose that AMERICAN ANIMALS  – slowly migrated by successive generations from the outer world to the deeper and deeper recesses of the Kentucky caves.”  These words inform the audience right at the start of the story.

One can tell from the film’s start AMERICAN ANIMALS is not going to be the ordinary run-of-the-mill heist film.  It begins with the word “Based not on a True Story” followed by the fading out of the words followed by the word ‘not’ faded out.  Which implies that this fictional tale cold very be a true one.  Or a true tale that could be fiction.

“There was nothing in that background that would suggest something like that might happen.  They were pretty good kids.”  says the teacher at the start of the film, as a teen puts up blue make-up around his eyes, for a disguise to commit a heist.

There is a segment in the film when the director demonstrates a textbook example on how to life the spirit of an audience.  This includes arousing music, dancing and other scenes involving throwing caution to the wind.

Well written with lots of movie references, the film’s best line after they discover the enormous value of their loot: “We need  a bigger boat.”   Another involves Eddie trying to convince his friend to decide whether to be in or out of the venture without disclosing any details of the it: “This is your red or blue pill moment.”   The RESERVOIR DOGS nod is also surprisingly funny.  Another well-written set-up involves Eddie being bright into the Dean’s office for a pep talk which turns around once Eddie turns the tables on the talk.

As one character, the professor talks about the robbers in his classroom, the chalk scribblings on the board in the background make intriguing details that might give some additional insight into the film.  These are the details and little nuances that make AMERICAN ANIMALS stand out from the many heist films.  Needless to say, the film is often smart, funny and fresh.

Barry Keoghan plays Spencer, one of the robbers.  Keoghan was discovered by director Yorgos Lanthimos in THE KILLING OF A SACRED DEER and was last seen in Christopher Nolan’s DUNKIRK.  He has that special look of a disturbed youth.  I would see any film Keoghan is in, he being one of the brightest new presence in films.  Actor Udo Kier who is fond of playing odd characters has a cameo as a ‘fence’, the person who guys valuable questionable goods.

AMERICAN ANIMALS is funny, fresh, smart and original while still playing homage to classic films.

Trailer: https://www.youtube.com/watch?v=SKvPVvy2Kn8

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