Truth: None to be found

Truth (2015) • View trailer 
Three stars. Rated R, for profanity
By Derrick Bang • Originally published in The Davis Enterprise, 10.30.15

This film is quite intriguing, in part because its title reflects great irony: Almost no “truth” emerges here.

Having finally put their investigation to bed, the 60 Minutes team — from left, Lucy Scott
(Elisabeth Moss), Mary Mapes (Cate Blanchett), Mike Smith (Topher Grace) and Lt. Col.
Roger Charles (Dennis Quaid) — watch their colleague Dan Rather deliver the story to
TV viewers. Sadly, that won't be the end of it...

Director/scripter James Vanderbilt’s politically charged drama is based on the late 2004 events that later came to be known as “Rathergate”: the CBS 60 Minutes news piece that cast doubt on the details of then-president George W. Bush’s National Guard service.

The questions that initially fueled the journalistic investigation — whether strings had been pulled to get Bush into the Texas Air National Guard, as opposed to service in Vietnam; and whether he had, in fact, honorably completed said National Guard service — quickly were submerged beneath a rising tide of questions regarding the legitimacy of the investigation’s sources and “smoking-gun documentation.”

This script is based on Truth and Duty: The Press, the President and the Privilege of Power, the 2005 book by Mary Mapes, who produced the CBS News piece, but Vanderbilt is an unlikely candidate for such an assignment. His previous résumé is limited to crime dramas and high-octane action epics such as The Amazing Spider-Man and White House Down, and his dialog here too frequently sounds like amateur efforts to imitate Aaron Sorkin or David Mamet.

The performances are robust, and Vanderbilt has done reasonably well with this directing debut; he knows how to guide his actors through their scenes. No question, as well, that this is an important story, and one with lessons to be learned. But the narrative is frequently clumsy, the timeline occasionally confusing, and we’re ultimately left with more questions than answers (which, although almost certainly intentional, is nonetheless irritating).

On top of which, Vanderbilt makes a few glaring rookie mistakes, starting with his opening scene, wherein Mapes (Cate Blanchett) begins an intense first meeting with ... somebody. We’re inclined to assume he’s a shrink; we eventually learn, much later, that he’s a lawyer. Either way, he’s a gimmick that allows Mapes to recount her story while it’s still happening, which is simply daft.

The narrative proper begins in the spring of 2004, just as CBS broadcasts Mapes’ breaking-news story of the Abu Ghraib torture and prisoner abuse. It’s a moment of triumph — and a piece that would go on to win CBS and Mapes a Peabody Award — but, in the demanding environment of a news studio, just another assignment completed, with many more to go.

August: Osage County — A blistering summer

August: Osage County (2013) • View trailer 
Four stars. Rating: R, for frequent profanity and earthy dialogue, and occasional drug content
By Derrick Bang • Originally published in The Davis Enterprise, 1.24.14

Some children dream, worshipfully, of growing up to become just like their parents.

Other children have nightmares about that same possibility.

As Violet (Meryl Streep, left) grows increasingly annoyed by a clumsy before-meal
prayer that stumbles its way from awkward to tedious, daughters Ivy (Julianne
Nicholson, center) and Karen (Juliette Lewis) close their eyes and wait for the
inevitable explosion.

August: Osage County, adapted by Tracy Letts from his Pulitzer Prize-winning play, charts the highs (very few) and lows (too many to tabulate) of the extended Weston family, brought by unexpected tragedy to the Northern Oklahoma town that several of them fled, years ago, in self-defense.

Although Oklahoma isn’t technically a southern state — nor is it one of the plains states, despite an early comment by one of these characters — the tone here is very much in the dysfunctional Southern gothic tradition of Tennessee Williams, Beth Henley and numerous other playwrights who regard this classic American setting as less a geographical place, and more a regional attitude.

Southern families argue in a style all their own, tempers often as high as the mercury-shattering thermometers. And they don’t merely bicker; they dig at each other with rapacious delight, unerringly targeting each victim’s soft underbelly. Characters in such settings turn sniping into an art form, perhaps even an Olympic sport.

It’s impossible to imagine Northern California families quarrelling in such a fashion, no matter how strained the relations. The cadence, rhythm and circumstances are quintessentially rooted south of the Mason-Dixon line. Or thereabouts.

Be advised, then: Despite its mesmerizing script and bravura performances, August: Osage County is an endurance test in the manner of Who’s Afraid of Virginia Woolf. It’s not easy to watch people eviscerate each other for two hours, no matter how crisp the dialogue, or how striking the acting.

Most of the slicing and dicing emanates from family matriarch Violet Weston (Meryl Streep), an embittered, waspish harridan embracing old age with no grace whatsoever. Demonstrating that God does indeed possess a mordant sense of humor, Violet has just been diagnosed with mouth cancer, which has exacerbated her tendency to be a prescription junkie.

But the cancer hasn’t muted Violet’s bark, nor has it diminished her nicotine habit. Nothing is more ghastly — or darkly amusing, in a gallows humor sort of way — than watching Streep gently poke a cigarette into the less painful left corner of her mouth, and then fire it up so she can puff away.

Stoker: A chilling family affair

Stoker (2013) • View trailer 
3.5 stars. Rating: R, for violence, disturbing sexual content, dramatic intensity and brief nudity
By Derrick Bang • Published in The Davis Enterprise, 3.29.13

In Chan-wook Park’s corrosive view of the universe, blood isn’t merely thicker than water; it positively congeals the connective tissue of inherited moral putrescence.

And nurture doesn’t stand a chance against nature.

India (Mia Wasikowska) loves to play the piano; it's a great way to release tension.
Charles (Matthew Goode) also enjoys the instrument, but his fondness seems more
directed at playing with his niece ... and the resulting duets turn rather creepy.

Park, the South Korean director known for gorgeously stylized but grimly unsettling thrillers such as 2003’s Oldboy and 2009’s weirdly disturbing Thirst, has made an equally disconcerting American debut with Stoker. This new film is gorgeous to look at, with cinematographer Chung-hoon Chung creating captivating magic with every frame, but the on-screen beauty is at odds with the casual rot festering within our three primary characters.

That juxtaposition is intentional, of course, as is the undercurrent of amused detachment that laces every scene in Wentworth Miller’s gleefully nasty script. These characters taunt, torment and torture each other with an élan the Borgias would have admired, and Park orchestrates the mayhem in a manner that essentially dares us to enjoy the depravity right along with them.

Some of the humor is obvious, starting with the connotations raised by Miller’s choice of a family name — Stoker — or the affectionate nod toward Alfred Hitchcock’s Shadow of a Doubt, by naming Matthew Goode’s unhinged interloper Uncle Charlie. But we also can’t help chuckling at the enthusiastically carnivorous manner in which Goode tears into his character; rarely has evil been this charming, tempting ... and forbidden.

The film opens as India Stoker (Mia Wasikowska), recently turned 18, stands at the edge of a field, staring intently at something within. She describes herself cryptically via off-camera narration, adding a layer of poetic eloquence to a tableau that already seems vaguely wrong.

The scene shifts to an India who seems slightly younger and significantly more withdrawn; we understand that we have retreated in time, but not too much. This is her 18^th birthday, and she’s indulging in her favorite annual treat: finding the “special” present from her beloved father, who always hides it in a cryptic manner. The gift itself doesn’t matter all that much, and in fact it’s the same every year: a fresh pair of saddle shoes (definitely not an accidental choice on Miller’s part, given the shoes’ striking contrast between black and white).

No, India anticipates the thrill of the hunt, and the knowledge that her father has gone to so much trouble to please her.