First Glance: “Ava” (2020)

July 2, 2020 by Keith Garlington

In “Ava” Jessica Chastain plays an assassin who has a weird fascination with chatting with her targets before and after she offs them. This seems to annoy Colin Farrell who believes she has become a liability to their ‘organization’. He puts an open contract on her life much to the chagrin of her mentor John Malkovich. Toss Geena Davis and Common into the mix and you have the upcoming action thriller from director Tate Taylor.

Obviously there is more to the story (at least I hope so). But I gotta say it looks like something we have seen before. Maybe a little John Wick-ish? Regardless, Taylor puts together an interesting cast and I have no doubt Chastain will make for a tough, compelling lead. It’ll all come down to the script and whether it can carve out its own unique space in the familiar territory.

“Ava” is set to release September 25th. Check out the trailer below and let me know if you’ll be seeing it or taking a pass.

REVIEW: “Au revoir les enfants” (1987)

July 2, 2020 by Keith Garlington

“Au revoir les enfants”, which means “Goodbye Children”, is a 1987 Oscar nominated drama from French filmmaker Louis Malle. This autobiographical film is unquestionably Malle’s most personal project and its story is taken from actual events of his childhood. He wrote, produced, and directed this stirring film that grounds its storytelling in authenticity and in earned emotion.

The film is set in 1944 and almost all of it takes place at a Catholic boarding school in Nazi-occupied France. Children are sent to the school by wealthy parents in hopes of protecting them from the dangers of the war. One such student is young Julien (Gaspard Manesse). He is respected by the other kids but he’s still a bit of an outsider. He would prefer to read novels and learn piano rather than the usual horseplay the boys engage in. He’s tough and strong-minded but we also see a tender and somber side to him as well. He doesn’t like being away from home and he never seems completely happy at school.

Things at the school change when three new students are introduced. One is Jean Bonnet (Raphaël Fejtö) a quiet and unassuming boy who is quickly assimilated into the school’s routine. Jean is teased and picked on, sometimes by Julien, but he soon finds his own small place to fit in. Over time Julien becomes fascinated with Jean due to his talents in math and music. Julien is also curious after noticing several differences in how Jean is treated by the school’s headmaster and teachers. Despite some contentious early dealings, the two boys develop a respect and friendship which makes the film’s later turns all the more crushing and heartbreaking.

There are several things that stand out about Malle’s technique. First off he’s not the least bit interested in the normal Hollywood-style melodrama or cliches. He doesn’t milk emotion or stage scenes in ways that feel false. Instead he puts great emphasis on the natural flow of school life in its purest form. You get a sense that he is recollecting and expressing things to his audience. These kids look, feel, and act like kids both through their virtue and their degeneracy. Malle wants us to believe what we are seeing because it’s true and personal to him.

Another interesting thing is how the war quietly lingers in the distance for most of the film. It rarely makes its presence known other than through the occasional air raid sirens which the children hardly take seriously. But it is definitely there and we get a handful of strategic scenes that serve as a reminder. And as the film moves forward the boys are faced with several war-related moral quandaries that reveal the darker and more upsetting side of their world. It is through these moments that we the audience fully realize the loss of innocence particularly with young Julien.

It’s impossible to watch “Au revoir les enfants” without being deeply moved by its poignant story and obvious personal touch from Louis Malle. It’s a meticulously crafted film that builds up our emotional connection to the characters and then crushes them on the rocks of cold reality. The movie looks at the time and events through the eyes of these boys and it never loses that point-of-view which is vital to the story’s power. It’s such an amazing movie and a beautiful piece of film history.

VERDICT – 4.5 STARS

REVIEW: “Wasp Network” (2020)

July 1, 2020 by Keith Garlington

“Wasp Network” was going to be a tough movie to make for any filmmaker wanting to stick reasonably close to the facts. That’s because the actual true story is a tangled web of characters, organizations, and allegiances. For that reason French writer-director Olivier Assayas deserves a ton of credit for sticking close to the true account even though it makes his movie a little difficult to keep up with.

Without question “Wasp Network” will resonate more with those who either remember or read up on the real events that inspired it. In its own way it tells the story of the Cuban Five, a group of men sent to Miami by the Cuban government to infiltrate anti-Castro exile factions in the 1990s. Some of these groups sought simply to inspire the Cuban people to stand up against Castro’s regime. But others were terrorist outfits funded by drug money and targeting Cuba’s tourist industry. The Cuban Five were to spy on the various groups and report the findings to the Cuban government.

Photo Courtesy of Netflix

Taking from a 2011 Fernando Morais book “The Last Soldiers of the Cold War”, Assayas attempts to cover a lot of ground. His structure feels episodic, focusing big chunks of his film on individual players and then weaving the numerous narrative threads together in a tangled yet fascinating final act. Sometimes his storytelling seems more didactic than dramatic as it straightforwardly lays out the facts. Yet it has a palpable emotional center, putting as much emphasis on the personal sacrifices and consequences as the politics of his story.

A terrific Édgar Ramírez provides our entry point, reminding us of how good an actor he is when given quality material. He plays René González, a pilot in Havana who swipes a plane and defects to Miami leaving behind his wife Olga (Penélope Cruz) and their young daughter Irma (Carolina Peraza Matamoros). René begins a new life in the States, joining a covert anti-Castro group to help other defectors boating over from Cuba. Meanwhile Olga is left alone and struggling to put food on the table. This moral haze hangs over much of the film’s first half.

The next person we meet is Juan Pablo Roque (Wagner Moura), a pilot himself and high-profile Cuban celebrity. He too defects, actually swimming from Cuba to Guantanamo Bay. Once granted asylum he moves to Miami and joins the exile group. Unlike René, Juan Pablo lives a lavish lifestyle winning over and marrying a young beauty named Ana Margarita (Ana de Armas). But she (and we) soon learn that Juan Pablo is a man of many secrets.

The third key player is Gerardo Hernandez (Gael Garcia Bernal) who works directly with the Cuban government. He’s sent to Miami to oversee the Wasp Network’s infiltration of the militant groups. Of the three he’s the one we learn the least about. Bernal’s performance is solid, but his character could have used more attention. Ultimately it’s René who resonates most. His story packs the most personal stakes in large part thanks to Cruz’s Olga who ends up being our emotional anchor. De Armas doesn’t fare as well. Her performance is excellent, but its hard to tell if Assayas is most interested in her as a character or as eye candy.

Photo Courtesy of Netflix

Things ramp up when the exile group’s goals fully come into focus. We get tense scenes revealing drug smuggling from Columbia. Assayas even covers the 1997 Havana hotel bombings. Even more layers are added when the CIA gets involved and we get defectors among the defectors. It certainly makes things harder to follow and keeping a running tab on who’s who is a challenge. At the same time the craft behind the camera is evident and there are several visual choices to admire.

I can’t deny the film’s faults, especially for those with no familiarity with the true events whatsoever. So take my advice – do some quick reading on the backstory before watching. It will lessen the confusion and open up a lot of what Assayas is doing. With “Wasp Network” it’s fair to say he may have bitten off more than he can chew. But I appreciate the ambition and I’m glad he took the route he did rather than playing it safe.

VERDICT – 3.5 STARS

First Glance: “Greenland” (2020)

June 30, 2020 by Keith Garlington

It’s been a rough run for Gerard Butler but you gotta hand it to him. He keeps making movies. During this spell of not-so-great films he has fought terrorists, Egyptian gods, mind-controlling gamers, even a planet-killing superstorm. So it shouldn’t surprise us to see him take on fragments of a comet careening towards earth in what is deemed (and you probably guessed it) an “extinction level event”. Gulp!

Look I get it, disaster films are a dime-a-dozen. But I’m not going to lie, a part of me has always found them to be entertaining. Even the dumber ones (and there are plenty of those) offer me at least some degree of entertainment. Butler’s last disaster flick “Geostorm” was a glaring exception. It was genuinely terrible and I’m hoping this one doesn’t follow suit.

“Greenland” is releasing August 14th. Check out the trailer below and let me know if you’ll be seeing it or taking a pass.

REVIEW: “Eurovision Song Contest: The Story of Fire Saga” (2020)

June 30, 2020 by Keith Garlington

Will Ferrell works in absurdity the way Leonardo da Vinci worked in oils or Michelangelo in marble. It’s his chosen means of artistic expression, and like paint across a canvas, nuttiness on the screen is his creative language. Unfortunately for Ferrell there haven’t been many Mona Lisas or Davids. And “masterpiece” isn’t a word I would normally associate with his movies. Yet still his special brand of “art” finds an audience and occasionally hits its mark.

His latest is the Netflix Original “Eurovision Song Contest: The Story of Fire Saga”, a surprisingly tolerable comedy that sees Ferrell working his routine while his co-stars steal the show. As with many Ferrell films the concept is ludicrous which is a part of its charm. It also has him playing a character we’ve seen him do before – a lumbering lummox with good intentions but seriously low brain wattage.

Ferrell plays Lars Erickssong, a middle-aged man still living with his father in Húsavík, Iceland. Since he was a child all he has wanted to do was represent his country in the Eurovision Song Contest. For us uniformed westerners, it’s an international song competition that has been held annually since 1956 (due to the COVID-19 outbreak this year’s event was cancelled for the first time since its creation). Whether this film aims to be a parody or a celebration, I’m still trying to figure it out.

Photo Courtesy of Netflix

Much to the chagrin of his grumpy, disapproving father (Pierce Brosnan), Lars’ only goal in life is to win Eurovision with his music partner and childhood friend Sigrit (Rachel McAdams). Of course it comes at the expense of the normal things that come with growing up – getting a job, making a living, getting married, starting a family. His tunnel-vision also keeps him from seeing that his infinitely more talented co-singer loves him. Then again she’s not the sharpest knife in the drawer. After all, she does believe in wish-granting mountain elves.

But I digress, Lars and Sigrit enter their band Fire Saga into a national competition to determine Iceland’s submission to the Eurovision Song Contest. If they (by some unthinkable miracle or cataclysmic tragedy) win, then it’s off to Edinburgh to compete against Europe’s best. As you probably guessed Fire Saga is pretty terrible thanks to Lars and his ludicrous costume designs and stage gimmicks. So wacky mishaps and a crazy turn-of-events or two are all but guaranteed.

The film is directed by David Dobkin who previously worked with McAdams and Ferrell on “Wedding Crashers”. Dobkin made his name directing music videos and can see it in the film’s numerous musical numbers. Most notably is a “song-along” at a party stacked with cameos from past Eurovision participants. It’s a goofy mix of silliness and song that weirdly fits the overall tone.

Photo Courtesy of Netflix

While Ferrell may be tromping familiar ground, he manages to make some of these roles work because of the indubitable earnestness of his characters. You never doubt their sincerity regardless of how stupid they may seem. But it’s McAdams who ultimately steals the show. People tend to forget that she possesses impeccable comic timing. Just look at her work in “Midnight in Paris” and more recently “Game Night”. She never overdoes a reaction or underplays a gag. She’s terrific. And I have to mention Dan Stevens playing a hedonistic, over-charged Russian playboy who is hysterically over-the-top in every scene. I challenge you not to laugh at his antics.

Unfortunately, like so many modern comedies “Eurovision” doesn’t know when to stop. It gets bogged down in the second half and its two-hour plus runtime could have used a 20-minute trim. Also Ferrell (who co-wrote the script with Andrew Steele) just can’t resist tired and lazy jokes about male privates and patently dumb lines like “Let’s go sex nuts.” These are the moments when you can see the movie working. The film also suffers from an underwritten love story (I’m still trying to figure out what Sigrit sees in Lars) and a throwaway villain who makes no sense whatsoever.

Yet the movie still gets its hooks in you. For every scattered eye-roll moment there are two scenes that will bring a smile or a laugh. And any opportunity to see McAdams once again doing straight comedy is a major plus. Its warm and optimistic ending makes for a good payoff and I would give it one full star just for Molly Sandén’s gorgeous song “Husavik (My Home Town)”. While it’s far from great, “Eurovision” is a light and surprisingly entertaining counter for much of what passes for comedies these days.

VERDICT – 3 STARS

REVIEW: “The Truth” (2020)

June 29, 2020 by Keith Garlington

When it comes to the new French-Japanese family drama “The Truth”, they had me at Catherine Deneuve, Juliette Binoche, and Ethan Hawke. Toss in that it is written, directed and edited by acclaimed Japanese auteur Hirokazu Kore-eda and you have one of my most eagerly anticipated movies of the year. With such craft in front of and behind the camera, it’s hard not to be drawn to its potential.

“The Truth” marks Kore-eda’s first movie shot outside of his native Japan. It’s also his first film since winning the Palme d’Or at Cannes for his 2018 gem “Shoplifters”. This time he sets his story in the beautiful City of Lights and sports a star-studded cast. But Kore-eda never forsakes his arthouse roots or loses sight of the deep personal focus his films are often known for. You’ll also find him exploring many of his signature themes and fascinations while maintaining the warm, curious, and observant gaze you’ve come to expect from the distinguished filmmaker.

In a delightful bit of meta casting, 2-time César Award-winning French screen legend Catherine Deneuve plays a 2-time César Award-winning French screen legend named Fabienne Dangeville. The film opens with Fabienne giving an awkward interview to promote the upcoming release of her memoirs ironically titled “La Vérité” (or “The Truth”). Fabienne is instantly defined for us – a brash and unapologetic diva who at 70-years-old still feels her star status affords her special consideration. As you would expect Deneuve handles the character masterfully, infusing Fabienne with sincerity and spirit yet with a subtle air of self-imposed misery.

Photo Courtesy of IFC Films

In less capable hands Fabienne could have easily become a caricature. But neither Kore-eda or Deneuve allow that to happen. Instead we are given a layered and complex character whose star may be fading but who still possesses the allure of celebrity. She can be haughty and unbearable making her ripe for disdain. This becomes especially true once it’s revealed she neglected her family for the sake of her career (and still brazenly defends doing so). But she’s far from one-dimensional and Deneuve’s performance reveals cracks of vulnerability.

Binoche is a sublime presence playing Fabienne’s long-suffering daughter Lumir. She’s a screenwriter living in New York with her second-tier actor husband Hank (Ethan Hawke) and their precocious daughter Charlotte (Clémentine Grenier). The three arrive in Paris for the launch of Fabienne’s book and immediately old mother-daughter tensions resurface. Things move from a slow simmer to slow boil after Lumir reads her mother’s book and finds it to be far from “The Truth”. When confronted Fabienne coldly responds “I’m an actress. I won’t tell the naked truth.”

From there Kore-eda patiently let’s his story play out. It may seem like the movie is idling along with nothing much happening. But it’s quickly evident that Kore-eda is carefully unpacking his characters through the organic flow of everyday life. By simply watching and listening we learn that everyone is in some way wrestling with the past and they all seem to have something to hide. It neatly fits with Kore-eda’s lingering interest in family dynamics specifically between parent and child.

Photo Courtesy of IFC Films

Kore-eda is a master of subtlety and observation, but he also has a sly sense of humor. He builds his movie around the production of Fabienne’s new film, a sci-fi arthouse oddity titled “Memories of My Mother”. These amusing scenes get us out Fabienne’s posh but stuffy Parisian estate and onto a movie set where Kore-eda pokes fun at the quirks of filmmaking while relishing the joys of creativity. At the same time the characters are always front-and-center and their stories are steadily moving forward. There’s an glaring analogy between Fabienne’s new movie and her mother-daughter drama back home, but it’s handled with sure-handed smarts.

Kore-eda pulls off a lot with “The Truth” including making a film that is indelibly French through and through. It’s a beguiling chamber piece where every line drips humanity and his characters are the chief focus. It helps to have talents like Deneuve and Binoche whose natural fluency with dialogue is unmatched. Even Ethan Hawke’s Hank, who seems like a flighty tag-along at first, is fully fleshed out and given a surprising amount of depth.

“The Truth” is a treat for those of us who love sitting back and watching great performers act. Binoche is one of our best working talents and Hawke has for years now consistently made interesting choices. But Deneuve is the star (as she should be). She has worked steadily since her debut in 1957, but it has been years since she was given such a meaty role. Her self-referential confidence and complete command of her character shows she hasn’t missed a step. And Hirokazu Kore-eda is not only smart enough to utilize this caliber of on-screen talent, he also writes the kind of engaging material that enables them to shine.