Friday, August 25, 2023

The Lesson: A moody page-turner

The Lesson (2023) • View trailer
3.5 stars (out of five). Rated R, for profanity and expliciy sexuality
Available via: Amazon Prime and other streaming services

Memories of the first act of Ira Levin’s play, Deathtrap — transformed into a terrific 1982 film by director Sidney Lumet — surfaced while watching this nasty little character piece.

 

While Liam (Daryl McCormack, background) watches with dismay, Sinclair (Richard E.
Grant, left) crueslly tells his son, Bertie (Stephen McMcillan) that he'll never amount to
anything. The boy's mother Hélèle (Julie Delpy) offers no rebuttal.


Scripter Alex MacKeith’s similarly twisty drama telegraphs its intentions with the first words spoken by arrogant novelist J.M. Sinclair (Richard E. Grant), during a live interview: “Great writers steal.”

The only questions are who will do the stealing, and from whom. And while both answers soon may seem obvious, it’s best not to make assumptions.

 

Classics scholar Liam Somers (Daryl McCormack) is hired by Sinclair’s wife, Hélène (Julie Delpy), to help their son Bertie (Stephen McMillan) sharpen his writing skills, in order to improve the young man’s chances for university admission. After establishing a worthy talent for this assignment, Liam is hired full-time, and invited to live in the lavish Sinclair estate’s guest cottage.

 

Although at first blush this seems an average posting, the atmosphere is tense, the family dynamic quite brittle. Sinclair enjoys belittling his wife and son; the former responds with calm detachment, while the latter clearly fears his father. Liam is warned, early on, never to mention the Sinclairs’ older son, Felix.

 

Bertie’s cowering nature in his father’s presence notwithstanding, the boy is uncooperative — even dismissive — under Liam’s gentle efforts at guidance, although the boy is grudgingly impressed by his tutor’s “party trick.”

 

Liam has a form of eidetic memory that allows him to remember a complete literary work — sonnet, poem, short story — if triggered by a brief quoted passage.

 

Although an acknowledged fan of Sinclair’s work — Liam wonders if that has any bearing on why he was hired by Hélène — his relationship with the author initially remains formal and distant. Sinclair is trying to finish his newest novel — after a lapse of many years — and, after hours, Liam also is struggling to complete his first novel, titled Tower 24.

 

A droll scene follows: Liam — able to see Sinclair in his study, from the guest house’s bedroom window — tries desperately to match the author’s late-night pace … but, ultimately, falls asleep at his desk. Upon waking the following morning, Liam is chagrined to see that Sinclair still is hard at work.

 

Bertie eventually thaws. Warning Liam not to touch the poisonous blossoms of a particularly lush rhododendron, the boy further explains that “It’s basically a weed; nothing can grow around it.” Liam realizes — as do we — that the boy isn’t really speaking about the bush.

 

A rhododendron also is known as a Rose Tree, which just happens to be the title of Sinclair’s novel-in-progress.

Friday, August 18, 2023

Heart of Stone: Sinks just like one

Heart of Stone (2023) • View trailer
2.5 stars (out of five). Rated PG-13, for action violence and brief profanity
Available via: Netflix

An original thought would die of loneliness in this film’s derivative script.

 

Gal Gadot can’t be blamed for wanting to strike while her star wattage is bright, but she should choose her projects more carefully. 

 

The calm before the storm: This seasoned MI6 team — from left, Bailey (Paul Ready),
Rachel (Gal Gadot), Parker (Jamie Dornan) and Yang (Jing Lusi) — will encounter
serious trouble after arriving in Lisbon.


I’ve also long been wary of poor title credits, as it’s almost always a sign of equally bad things to come … and this film has truly terrible opening credits.

In fairness, it’s not the worst way to spend two hours, for undiscriminating fans of kick-ass spyjinks. But scripters Greg Rucka and Allison Schroeder begged, borrowed or stole everything here from superior predecessors … and director Tom Harper’s over-reliance on sub-par CGI doesn’t help.

 

Gadot stars as Rachel Stone, the “mousy” tech member of an MI6 team that includes experienced agents Parker (Jamie Dornan), Yang (Jing Lusi) and Bailey (Paul Ready). They’re introduced during a mission taking place at a ski resort atop a mountain in Italy’s Alpin Arena Senales, tasked with “extracting” Mulvaney (Enzo Cilenti), “Europe’s most wanted arms dealer,” who has surfaced for the first time in three years.

 

Careful planning goes slightly awry, so Rachel is forced to improvise in the field — much to her colleagues’ concern — by getting close enough to clone a baddie’s cell phone. Then things really go wrong, due to the intervention of a mysterious young woman (Alia Bhatt) who is following a different agenda.

 

Rachel therefore is forced to display her true talents as a seasoned member of The Charter, code-named Nine of Hearts: a hyper-capable agent embedded in this team without the knowledge of anybody in MI6. She saves the day — while taking care not to be seen doing so, by her three colleagues — thanks to off-site assistance by Jack of Hearts (Matthias Schweighöfer) and “The Heart,” an immersive, quantum computer AI interface capable of split-second judgment calls based on the highest probability of success.

 

Think Waze or any other satellite navigation system on steroids, able to alert Rachel to human hazards, in addition to feeding her geographical telemetry via special goggles. Suddenly need a snow bike or parachute? The Heart will guide Rachel appropriately.

 

The Charter, divided into four teams code-named for the 52 cards in a deck, is an off-books organization whose agents clandestinely step in “where governments fail.” (That’s a phrase we’ve heard before.)

 

The fact that Rachel has concealed her actual talents for four years — particularly from Parker, Yang and Bailey — seems a bit of a stretch, but we gotta roll with it. The greater good is paramount, as the King of Hearts (Sophie Okonedo) stiffly informs Rachel, during a subsequent de-briefing (a lecture we’ve also heard many times before).

Friday, August 11, 2023

The Beanie Bubble: Bursts with fun

The Beanie Bubble (2023) • View trailer
3.5 stars (out of five). Rated R, for profanity
Available via: Apple TV+
By Derrick Bang • Published in The Davis Enterprise, 8.11.23

On June 3, 1999, a massive truck was side-swiped and overturned on Atlanta’s I-285 during rush hour, spilling its contents onto the freeway.

 

The payload: a massive shipment of “Stretchy the Ostrich” Teenie Beanie Babies, bound for a McDonald’s outlet.

 

"Success," insists Ty Warner (Zack Galifianakis), "is 1 percent inspiration, and 99 perecent
presentation." New business partner Robbie (Elizabeth Banks) plays along, when the
two prepare to make a splash at their first collaborative toy fair.


Rather than stop to determine if the driver was all right, or call 911, numerous motorists — according to an Associated Press wire story — “leaned from their cars to scoop up the Beanie Babies with one hand, while they kept rolling with the other hand on the wheel.”

Co-directors Kristin Gore and Damian Kulash open their engaging film with a re-enactment of that chaotic scene, albeit with a bit of dramatic license: full-size Beanies, a wide variety of styles, and drivers exiting their cars to grab an armful.

 

The Beanie Bubble — scripted by Gore, from Zac Bissonnette’s 2015 non-fiction book, The Great Beanie Baby Bubble: Mass Delusion and the Dark Side of Cute — is a dramatized account of the toy craze that captivated folks during the latter years of the 20th century, and early 21st. It’s a deliciously scathing indictment of both speculative greed — on par with the 17th century Dutch tulip craze — and the Svengali-like sway an entrepreneur held over three key women in his professional and personal life.

 

Although there’s no doubt Ty Warner was an incredibly gifted businessman with acute market sense, he also exploited and subsequently abandoned talented colleagues who deserved equal credit for his company’s success. Given that two also became lovers, Gore and Kulash’s entertaining film shines a well-deserved light on the fact that success, in this case, required a village of four.

 

Much of this saga’s depiction here is accurate; other key details are — shall we say — massaged. Gore and Kulash are up front about this, opening with a cheeky text block that reads “There are parts of the truth you just can’t make up. The rest, we did.”

 

Their film unfolds in a non-linear fashion, bouncing between multiple timelines that depict how Warner (played here by Zack Galifianakis) meets and soon relies upon Robbie (Elizabeth Banks), Sheila (Sarah Snook) and Maya (Geraldine Viswanathan).

 

Robbie — at loose ends, stuck in an unhappy marriage — enters Warner’s life in 1983, just as his fledgling toy company achieves its first breakthrough: plush cats that are deliberately under-stuffed, to make them more cuddly and lifelike. The two become lovers and partners, with Robbie’s sharp business acumen quite instrumental in building the Ty brand.

 

Banks deftly captures the nuanced thrill of a woman given an opportunity to emerge from an unhappy shell, to become a mover and shaker. Robbie becomes dynamic, playful and (so she believes) firmly in control of what blossoms into an exciting career. She’s also the only person who can stand up to the often imperious Warner; Banks’ steely sideways glance gets plenty of action.

 

The Last Voyage of the Demeter: Medium-well stake

The Last Voyage of the Demeter (2023) • View trailer
3.5 stars (out of five). Rated R, for strong gory violence
Available via: Movie theaters

This is a genius idea for a horror film.

 

Bragi F. Schut and Zak Olkewicz’s script expands upon a portion of a chapter from Bram Stoker’s Dracula, wherein newspaper clippings detail the strange case of a Russian schooner that runs aground at the Yorkshire seaside town of Whitby, during a ferocious late-night storm. The sole person aboard is the ship’s captain, dead two days, and lashed to the wheel.

 

Larsen (Martin Furulund) desperately tries to light a lantern, amid a raging rain and wind
storm. Alas, he won't like what the illumination ultimately reveals...


His recovered log book recounts the strange and ultimately horrifying events that took place on the Demeter, after it left the city of Varna a month earlier, bound for London.

Schut and Olkewicz take us aboard the doomed vessel, granting faces and personalities to the crew — most of them well played by the multinational cast — while, um, taking some license with Stoker’s version of his malevolent vampire.

 

There’s no way this Dracula could subsequently move about London in the guise of an ordinary-looking man. But Schut, Olkewicz and Norwegian director André Øvredal aren’t required to adhere religiously to Stoker’s 1897 classic; their goal is simply to frighten the hell out of us.

 

They succeed, to a degree; the atmosphere, gruesome shocks and period authenticity are excellent. But Øvredal is too self-indulgent; his lethargic pacing works against the story’s suspense. He should have let editors Julian Clarke, Patrick Larsgaard and Christian Wagner do a better job. This pokey two-hour horror flick would have been far scarier if, say, 20 minutes shorter.

 

Instead, each fresh burst of gory violence is telegraphed by a mile (and Bear McCreary’s ear-splitting synth score doesn’t help).

 

The story begins as the Demeter takes on its final cargo: a series of large wooden boxes, one of them bearing a dragon seal that prompts a strong response from a newly hired hand, who resigns on the spot. He’s replaced by Clemens (Corey Hawkins), a well-spoken doctor seeking travel to London. First mate Wojchek (David Dastmalchian) warns that this “dandified” fellow better pull his weight, but the ship’s captain (Liam Cunningham) has good reason to accept his presence.

 

Once at sea, Clemens proves remarkably capable; he also befriends the ship’s cabin boy, Toby (Woody Norman). These two are by far this story’s most interesting characters, with whom we immediately bond; both are well played by Hawkins and Norman.

 

Among his various duties, Toby has been placed in charge of the ship’s animal cargo (future meals for the crew, while at sea). The boy is assisted by Huckleberry, his faithful black Lab.

Red, White & Royal Blue: Colorless

Red, White & Royal Blue (2023) • View trailer
2.5 stars (out of five). Rated R, for strong sexual content, partial nudity and profanity
Available via: Amazon Prime

I’ve rarely seen a film this uneven.

 

Director Matthew López’s romantic comedy opens with a bit of over-the-top slapstick that suggests what follows might be relentless, frat-boy hijinks.

 

Prince Henry (Nicholas Galitzine, left) and "First Son" Alex Claremont-Diaz (Taylor
Zakhar Perez) smile politely — despite mutual antipathy — moments before they
create a horrific wedding crisis.


Fortunately, the bulk of the film instead settles into a sweet — if needlessly protracted, and highly improbable — wouldn’t-it-be-nice romantic fairy tale, set in the rarefied realm of upper-echelon U.S. and British ruling families.

But that idealistic atmosphere ultimately is destroyed by an atrociously strident, sermonesque finale that stretches credibility way beyond any level of acceptance ... and, it must be mentioned, veers wildly from the 2019 Casey McQuiston novel on which this film is based. The word “overkill” leaps to mind.

 

I can’t imagine what López and co-scripter Ted Malawer were thinking. If I wanted a lecture, I’d go back to school.

 

Everybody involved undoubtedly hoped to replicate the warm reception McQuiston’s LGBT romance novel received upon publication, but the characters and plot beats here have been simplified and sugar-coated to an absurd degree. Drama doesn’t exist without conflict, and — at an overlong two hours — López’s film becomes dull and plodding.

 

Alex Claremont-Diaz (Taylor Zakhar Perez), son of U.S. President Ellen Claremont (Uma Thurman), has long nurtured a grudge against Prince Henry (Nicholas Galitzine), younger brother of the future king of England. Alex nonetheless is sent to represent the States when Henry’s brother, Philip (Thomas Flynn), gets married.

 

The subsequent reception is highlighted by a £75,000 cake that stands taller than the White House Christmas tree. When Alex and Henry begin squabbling like a pair of 5-year-olds, we just know that cake is coming down. On top of them.

 

(This may have played in McQuiston’s book, but — as visualized — it’s a wincing display of wretched excess.)

 

The resulting media circus throws a spanner into President Claremonth’s re-election campaign, and her ongoing negotiations with the British Prime Minister (Sharon D. Clarke). In order to quell what could blossom into a diplomatic crisis, both families force Alex and Henry to feign friendship during a series of interviews and photo ops. (No hostility here, folks!)

 

Friday, August 4, 2023

Barbie: Far more than a plastic toy

Barbie (2023) • View trailer
Four stars (out of five). Rated PG-13, and needlessly, for suggestive references and fleeting profanity
Available via: Movie theaters
By Derrick Bang • Published in The Davis Enterprise, 8.4.23

This must be one of the most unusual ideas ever pitched to a Hollywood film studio. 

 

I’d love to have been a bug on the wall during that concept meeting.

 

Total catastrophe! Barbie (Margot Robbie, center) is dismayed to discover that her
perfectly arched feet have become flat. Her fellow Barbies — from left, Ana Cruz Kayne,
Sharon Rooney, Alexandra Shipp, Hari Nef and Emma Mackey — are similarly
horrified.


And yet, defying expectations — of some silly, frilly bit of toy-themed fluff akin to 1986’s My Little Pony — this film is thoughtful, audaciously subversive, and one of the most insightful indictments of gender stereotypes ever unleashed.

It’s also quite funny.

 

And pink. Very, very pink.

 

Director/co-scripter Greta Gerwig — along with writing partner Noah Baumbach — have concocted an immersive “Barbie experience” that playfully honors the iconic Mattel doll’s 64-year legacy, while contrasting her idealized realm with the harsher truths of our real world.

 

Although such progressive thoughts certainly weren’t contemplated when the first Barbie hit store shelves on March 9, 1959 — your choice of blonde or brunette — Mattel soon employed the doll as a subtle means of girl empowerment. Barbie could be anything: a doctor, lawyer or scientist; tennis champ or ace baseball player; astronaut, Supreme Court justice or even president of the United States.

 

(Granted, this was primarily marketing savvy; the actual goal was to make money. But if a little idealism rubbed off along the way, so much the better.)

 

Thus — following a hilarious prologue that lampoons the opening sequence in 1968’s 2001: A Space Odyssey — we meet pert, perky “Stereotypical Barbie” (Margot Robbie), as she wakens to enjoy another in an impossibly long line of perfect days.

 

Identically perfect days.

 

She rises, greets the Barbies in adjacent dream houses, showers beneath invisible water, enjoys breakfast while drinking invisible milk, and opens her magic wardrobe to get her outfit for the day: a bit of spin, and poof, it’s on her body. Sarah Greenwood’s production design is as amazing and colorfully inventive as Jacqueline Durran’s costumes. (Who knew pink came in so many shades?)

 

Since Barbie’s dream house has no stairs, and is open at the front, she merely steps off the edge and floats to the ground below. (Newton’s laws don’t exist in Barbie Land, nor does wind, gravity or anything else that might interfere with this realm’s pink perfection.)

 

Shortcomings: Well titled

Shortcomings (2023) • View trailer
2.5 stars (out of five). Rated R, for profanity, sexual candor and brief nudity
Available via: Movie theaters

If this film’s depiction of millennial relationships reflects reality, I fear for the future of the human race.

 

They’ll never stop navel gazing long enough to procreate.

 

Ben (Justin H. Min) and best friend Alice (Sherry Cola) try to remain unobtrusive while
spying on a mutual acquaintance.


On the other hand, if director Randall Park’s modest little indie is intended to be a comedy, it’s more irritating than amusing.

Adrian Tomine’s script, adapted from his 2007 graphic novel of the same title, focuses on Ben (Justin H. Min), a Berkeley-based, thirtysomething Asian-American plagued by life and career uncertainty. He hopes to become a filmmaker, but that isn’t going anywhere; he earns spending money by managing the Berkeley Arts Cinema, an indie movie theater with more staff than patrons.

 

In a word, Ben is a jerk: self-absorbed, condescending and stridently arrogant.

 

He lives with longtime girlfriend Miko (Ally Maki) in a nice apartment funded by her parents; she works for a local Asian American film festival. They squabble a lot, in part because of his roving eye and obsession with blonde women (“white girls,” as Miko complains). Her annoyance is reasonable, but their arguments — about that, and a variety of nit-picky nothings — always devolve into second-guessing, defensive self-justification and needlessly philosophical asides.

 

Frankly, they’re both tiresome.

 

Ben fills much of his down time by watching Criterion Collection DVDs and hanging out with best friend Alice (Sherry Cola), a queer grad student who loves hooking up but seems unable to make a relationship last. Even so, she’s quite happy with her own self: at ease in a way that Ben couldn’t even imagine.

 

Alice also gets the film’s best lines, which Cola delivers with aplomb. My favorite: “Just because I’m a hypocrite, doesn’t mean I’m wrong.”

 

Although clearly unhappy and dissatisfied, Ben seems incapable of change. It’s forced upon him abruptly, when Miko accepts an internship in New York. She practically vanishes overnight, while magnanimously allowing him to continue living in their apartment. (One wonders what her parents think of that.)

 

Suddenly “free,” Ben now is in a position to explore what he thinks he wants … starting with Autumn (Tavi Gevinson), the blonde recently hired to work at his movie theater. She’s a performance artist, although that latter word must be taken with a grain of salt; her notion of “art” is eye-rollingly outré.

 

Later to come: the bisexual Sasha (Debby Ryan), currently between relationships.