REVIEW: “What They Had” (2018)

whattheyposterChicago native Elizabeth Chomko’s bittersweet debut “What They Had” takes a look at a delicate subject but does so in a way that is sure to speak to the hearts of many who watch it. Chomko pulls from her personal experience of having a grandmother diagnosed with dementia and being part of the family struggling to deal with it. Her film captures the heartbreak while also showing a warmth and sense of humor that gives it a stamp of reality.

Chomko wrote and directed the film which instantly gets off on the right foot by putting together a superb cast. The film opens with Ruth (Blythe Danner) putting on her coat, leaving her apartment, and then vanishing into the cold Chicago night. Turns out Ruth has entered a new stage of her dementia that could end up being more than her husband Bert (Robert Forster) can handle.

Their son Nicky (Michael Shannon) calls his sister Bitty (Hillary Swank) to let her know their mother is missing. They find Ruth but the incident convinces Nicky that their mother belongs in a nursing home. He convinces his sister to help persuade their father who is vehemently against it.

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The bulk of Chomko’s film centers around this family and their attempts to reckon with the reality of Ruth’s condition. Bert, a no-nonsense devout Catholic, wants no part of “the best memory care place in Chicago” (as Nicky sells it). This adds to the already present tension between father and son. Bitty takes a more middle-ground approach which draws the ire of both Nicky and Bert.

An intertwined family drama with such a sensitive subject at its core is tricky ground. It’s even trickier when you approach it with a sense of humor. Chomko has spoken about the joy of laughter and how her family’s willingness to laugh helped them cope. Her movie gives us a really good image of how that works. “What They Had” makes you laugh in a way that can feel wrong at times but makes sense when considered in its narrative context. And Chomko deserves a ton of credit for having such a sensitive touch.

The one place the film suffers is in its well-intended effort to dig deeper into the characters. Several subplots intersect with the central story but none are really given the time and attention they need. The biggest is centered around the strained relationship between Bitty and her college-weary daughter Emma (played by a very good young actress Taissa Farmiga). The two actresses share several good scenes but you never get a good handle on their relationship. There are a few others that leave you wanting to know more.

It’s hard to not be moved by “What They Had” and its tender but true handling of its difficult subject. Perhaps most impressive is Chomko’s ability to capture the heart-rending helplessness of both Ruth and her family. You feel it in every character and every performance (again the cast is so good). But you sense it most in Chomko’s writing and you never doubt its deeply personal origins.

VERDICT – 3.5 STARS

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REVIEW: “Paris is Us” (2019)

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There are several things about the Elisabeth Vogler’s “Paris is Us” you simply can’t help but admire. Look no further than its production. Vogler shot her film over the course of three years and on a shoestring budget. Post-production was covered through a Kickstarter campaign that raised over $100,000. And to top it all off the film was picked up by streaming behemoth Netflix. That’s an encouraging story for any aspiring filmmaker.

Vogler not only directed and co-wrote “Paris is Us” but she also handled the cinematography which proves to be what the movie leans on the most. There are moments where it dazzles, bringing thoughts of a trippier “Tree of Life”. But it can also frustrate in how it sometimes muddies our ability to interpret any kind of deeper meaning. I’m also a bit conflicted on how Vogler shoots real-life city tragedies to use in the movie. More on that later.

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The film works off of a paper-thin narrative (which is funny considering there are four writing credits). Noemie Schmidt plays a lively twenty-something named Ana who lives her life fully in the moment. Her lack of ambition frustrates her boyfriend Greg (Grégoire Isvarine) who has a detailed roadmap for his life plans. It includes leaving Paris and taking a job promotion in Barcelona. He wants Ana to go with him but she is content waiting tables in Paris.

Storywise that’s pretty much the gist of it. Greg takes off on a plane for Barcelona. At the last second Ana backs out of taking a plane to join him. There is a plane crash. Is it the plane carrying Greg making this a film on grief and loss? Is it the one Ana almost boarded turning this into a study of mortality? Is it either? I lean one way but be honest I’m still not sure. I like to think the answer is there and I have yet to tap into it. But I’m not sure if the movie has enough depth to earn that reading.

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One thing is for sure, Vogler definitely wants to tinker with reality or at least our perception of it. Her film constantly has the audience questioning what is real and what isn’t. This is seen mainly through the imagery which can be beautiful and hypnotic while at other times dizzying and disorienting. And then there are the sequences shot during real-life Paris tragedies. I admit to feeling a little uneasy with how Vogler shoots her movie in the middle of these emotionally-charged moments while also seeing it as pretty bold and daring. All of it is accompanied by a heavy dose of voice-over from Ana. Some of it is essential to understanding the character and it harmonizes well with Schmidt’s melancholy. But some of it is far more lightweight than it’s trying to be.

“Paris is Us” ends up being a tricky movie to review. In terms of storytelling there’s not a lot there and even at a slender 83 minutes it seems to be stretching itself as far as it possibly can. But I admit to being intrigued by the entire film. Perhaps it’s the compulsion to believe (right or wrong) that there is a lot more going on under the surface. I also like how it had me questioning almost everything I was seeing (even their relationship – real, a recollection, or an all-out dream). But this kind of movie isn’t easy to pull off, and I think “Paris is Us” shows off both the strengths and difficulties.

VERDICT – 3 STARS

3-stars

First Glance: “The Kid” Trailer

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Vincent D’Onofrio is bringing us a new variation the classic Billy the Kid story with “The Kid”. The title is a bit of a trick as the movie is more focused on a young boy named Rio (Jake Schur) who crosses paths with both Pat Garrett (Ethan Hawke) and the infamous Billy the Kid (Dane DeHaan) while attempting to save his sister from his brutish uncle (Chris Pratt).

I’m not high on DeHaan but Hawke and Pratt are certainly eye-catching. The trailer dropped a few days ago and it looks as though D’Onofrio has a good story to tell. We won’t have to wait long. “The Kid” comes out March 8th. Check out the trailer below and let me know if you’ll be seeing it or giving it a pass.

REVIEW: “Rust Creek” (2019)

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Darned GPS! You just can’t trust those things. That’s one of the earliest takeaways from “Rust Creek”, a new survival picture which right out of the gate feels like something we’ve seen several times before. But it doesn’t take long to see there is a lot more to this little independent gem than meets the eye.

Turns out “Rust Creek” is a delightfully harrowing thriller from director Jen McGowan. She along with screenwriter Julie Lipson take a fairly well known basic premise and inject it with a surprisingly restrained tone and genuine human empathy. With a fantastic use of character and setting, McGowan creates a tense atmosphere full of dread and suspense.

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Hermione Corfield plays Sawyer, a college student who decides to skip Thanksgiving with her family for a job interview in Washington DC. Along the way her GPS reroutes her around road construction, miles down a rural highway, and deep into the Kentucky hills. When she stops to get her bearings two local yokels (Micah Hauptman and Daniel R. Hill) pull up, a bit concerned about her presence in ‘them thar hills’. A scrap ensues leading Sawyer running through the cold woods with the bumpkins on her trail.

So far it sounds like fairly familiar territory, but McGowen keeps it from being too conventional. For instance Sawyer is instantly portrayed as a strong young woman with plenty of fight in her. That’s always welcomed but you can ride it too far. Instead we see that (like most of us) her strength has limits. For instance she’s no deep-woods survivalist. Soon nature and the elements take their toll both physically and psychologically. Still she is no ‘damsel in distress’. Even when there is the appearance of submission to her situation you can see the wheels turning in her head.

Corfield is a big reason it works so well. After memorable bit parts in “Mission: Impossible – Rogue Nation” and “Star Wars: The Last Jedi” this is the first leading role for the 25-year-old English actress. She’s more than able to handle the demands of the part which asks her to carry most of the load. Much of the film’s first half sees her leaning on physicality and expression while the second half gives her more dialogue to work with.

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This is also where the film works the hardest to defy traditional stereotypes. Sawyer is unknowingly rescued by a meth cooker named Lowell (Jay Paulson). This unexpected dynamic leads to some interesting perspectives on rural poverty, the meth epidemic, and several other social issues. A local sheriff (Sean O’Bryan), who is set in his backwoods ways of doing things, adds yet another wrinkle to Sawyer’s situation.

At a key point “Rust Creek” surprisingly pivots from its seemingly conventional survival-thriller mold to a more dialogue-driven character exploration. It can be a slow boil but most importantly it never loses its suspense. McGowen makes sure her film offers us constant reminders of the looming dangers to Sawyer making it easy to invest in her and her plight. That’s a mark of a good thriller.

VERDICT – 4 STARS

4-stars

First Glance: “The Intruder” Trailer

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Over the past few days we looked at the trailers for “Ma” and “Greta”. Here is the third 2019 movie featuring a unexpected actor/actress playing a creepy terrorizing nutcase. This time it’s Dennis Quaid who plays the psychopath. In this eerie looking psychological thriller a young couple buys a country home only to find the past owner (Quaid) hasn’t quite let it go.

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The first trailer has a pretty twisted vibe to it and it’s a hoot watching the freaky wild-eyed Quaid come unhinged. Let’s hope this effective trailer translates to an even more effective feature length film.

“The Intruder” hits theaters May 3rd. Check out the trailer below and let me know you will be seeing it or giving it a pass.

REVIEW: “Paddleton”

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I always have time for a Mark Duplass movie. And while not all of his films land as firmly as they could, the ones that do always manage to pull me in. I’ve always appreciated his aversion to big Hollywood formula. His movies operate on a small budget, tend to be short but economical, and usually have a warm and intimate center. That definitely holds true for his latest (and the first film in his new exclusive deal with Netflix) “Paddleton”.

The movie begins with Michael (Mark Duplass) getting test results from his doctor which reveal a large mass in his stomach. His fears are proven true after seeing an oncologist – he has terminal cancer. Unable to bear the thought of hospitals, radiation and side effects, he chooses a controversial alternative to chemotherapy – a prescription that essentially helps a cancer patient end their life before the disease does.

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Michael seeks the help of his neighbor and best friend Andy (Ray Romano) to help him go through with it. The buddies are like two peas in a pod – kinda homely and a tad eccentric. They have longstanding traditions of watching Kung fu movies, cooking pizzas, and putting together puzzles. Oh, and then there’s Paddleton, a racquetball-like game they made up and play together at an abandoned drive-in theater.

The closest pharmacy willing to fill the prescription is in a small tourist town some six hours away. So Michael and Andy head out on a road trip made up of quirky conversations, an ostrich farm, a dryly hilarious pharmacist named David (Kadeem Hardison) and meditations on their favorite movie “Death Punch”. But more importantly it opens up these two characters and the endearing and routinely funny friendship at the core of the film.

Romano is just the right fit to play Andy, an insecure worrywart by nature with a disdain for smalltalk (and for David), yet he’s undeniably tender-hearted and quietly devastated by his friend’s plight. Duplass is just as good playing a variation of the comedy straight man. His Michael is a tad more level-headed but not without his own peculiarities.

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Duplass and Romano have a sharp, witty chemistry and what makes it stand out most is their improvisation. Duplass’ script offers plenty of room for the two stars to play off each other and director Alex Lehmann is smart enough to let them. It’s not surprising since Duplass and Lehmann did the same thing in 2016’s “Blue Jay”, an underseen drama/comedy featuring its own healthy dose of improv.

The film’s early playfulness all but disappears in its final 20 minutes as “Paddleton” blindsided us with an emotionally earnest and deeply affecting ending. It left me looking at the film as a whole through an entirely different lens. I’ve seen it a second time now and the themes of loneliness, friendship, and mortality stand out even more profoundly now. I get why a lot of people won’t be as enamored with “Paddleton” as I am. But what can I say? I’m an unabashed fan of its simplicity, its humor, and its heart.

VERDICT – 4.5 STARS

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