Have you seen the indie film about the young ambitious-but-party-loving professional who has to move in with relatives after a heartbreaking business failure? Or how about the one where the estranged siblings are thrown back together and try to rebuild a strong relationship, in spite of their parents? Or maybe the movie where the single person or childless couple learn how much they've missed by not having children in their lives.
Adult Beginners retreads these all-too-familiar paths, but in such a pleasant way -- and with such an amusing cast -- that it's rarely tiresome.
Jake (Nick Kroll) is one of those entrepreneurial types so familiar here in Austin (although he's wheeling and dealing in NYC) ready to launch The Next Big Thing. At the peak of his fabulous launch party, however, the venture collapses irretrievably, leaving him broke, unemployed and lacking any belief that he can do much of anything successfully. Jake moves in with his sister Justine (Rose Byrne) and her husband Danny (Bobby Cannavale), out to their parents' old home in the suburbs, and he agrees to be their son Teddy's nanny in return for room and board.
At this point the movie shifts into predictable patterns: Jake learning how to care for a child, Jake dealing with nannies, Justine and Danny coping with having a self-centered man-child in their home, Jake and Justine rebuilding their relationship. I keep mixing up plot elements in my head with The Skeleton Twins (especially because of the pool element) and even In a World (unrelated: keep an ear out for Fred Malamed's voice in this movie too).
As with both those movies, the cast adds strength and interest to the more familiar aspects of the plot. Kroll and Byrne may not look much like siblings but they have the interaction down pat -- especially during/after Skype calls to their father and his wife. Byrne's character is probably the best-written of the bunch, with some lovely moments that push the role above the standard "exasperated but supportive wife and sister" cliche. I particularly liked a scene in a coffeehouse with a student she's mentoring. Cannavale's character is far more standard but he hits every note perfectly.
Screenwriter Alex Garland is responsible for a number of highly regarded science-fiction screenplays including 28 Days Later, Never Let Me Go and Dredd. With Ex Machina, which opened Friday, Garland for the first time adds directing on top of his writing credits. Ex Machina has taken the film festival circuit by storm and received accolades as a Drafthouse Recommends title. However, the more I think about it, the more I feel this movie is overrated.
Ex Machina is a richly beautiful, smart, thought-provoking work of science fiction that unfortunately suffers from a viciously sexist underlying theme. Oscar Isaac plays Nathan, a charismatic cyber genius who at the age of 13, wrote the software that would eventually become Google. He invites Caleb (Domhnall Gleeson), an employee chosen by lottery, to spend a week at his remote estate for a kind of sick Willy Wonka-esque robot nightmare tour.
Nathan explains to Caleb that he has been brought to spend the week playing the human role in the Turing Test, a standard of artificial intelligence research in which a human and an AI interact. The AI passes the test if the human can't tell he's talking to a computer. Of course, it should be obvious already that by telling Caleb he's going to speak to an AI that Nathan has blown the parameters of the test.
But Nathan's plan is darker and unclear. He spends his mornings working out and his evenings passing out drunk with very little time in between for any real scientific research, and during ominous power outages Ava (Alicia Vikander) tells Caleb that Nathan can't be trusted. Tensions mount as Caleb is so convinced by Ava that he begins to doubt his own humanity.
So why do I call it sexist? Aside from gratuitous nudity and the fratboy lifestyle Nathan leads, the premise of this film is two men sitting in judgement of an innocent woman, deciding her fate. She lives her very brief life on a leash, completely under the control of Nathan, subject to his whims and frustrations. Caleb falls head-over-heels in love with her in the blink of an eye, and then she is presented as a manipulative stereotype, using her sexual appeal to influence him.
Child 44 (2015) opens Friday and features one of the darkest plots of any Spring release opening wide in recent memory. Focusing on a string of unsolved child murders in soviet Russia, the grim mystery features the always-watchable Noomi Rapace as the film's female lead.
Since hitting it big with The Girl with the Dragon Tattoo (2009), Rapace has deservedly enjoyed a steady career in a variety of complex film roles. It's never anything but a pleasure seeing an actress of Rapace's talent at work, yet I can't help but notice that in so many of her projects, including Child 44, she is usually second fiddle to her male co-stars.
One of the few exceptions is Rapace's work alongside Rachel McAdams in Brian De Palma's sexually charged thriller, Passion (2012). After advertising executive Christine (McAdams) takes credit for an idea from her associate Isabel (Rapace), a personal and professional tug of war between the two women begins, leading to mind-bending consequences.
Adapted by De Palma from a 2010 French film (Crime d'amour), Passion is one of the few De Palma films to feature two female leads as central characters. While they might not have been the focus of his films in the past, the filmmaker has always had a knack for portraying strong and confident women onscreen. Michelle Pfeiffer's ice queen in Scarface (1983), Nancy Allen's streetwise call girl in Dressed to Kill (1980) and even Melanie Griffith's ditzy socialite in The Bonfire of the Vanities (1990) each mixed strength and sexuality in a way which suggested they were not merely an object in a man's world, but rather an equal player.
It's nonsensical that actress Michelle Monaghan isn't a bigger name in Hollywood. She is an excellent foil to Robert Downey Jr. in cult dark comedy Kiss Kiss Bang Bang, and inspires Jake Gyllenhaal in Source Code. She was even in the lauded first season of True Detective (which I didn't watch). Fort Bliss, a film written and directed by Claudia Myers, is a special treat for Monaghan fans. Instead of supporting an A-list actor onscreen, Monaghan gets her chance to lead a film.
She plays Staff Sgt. Maggie Swann, recently returned from service in Afghanistan. Maggie is an army medic, quick to respond to injuries in the field, yet thrown by the changes that have occurred while she's been abroad. Her young son Paul (Oakes Fegley, This Is Where I Leave You) has lived with Maggie's ex-husband Richard (Ron Livingston, Office Space) and grown extremely close to Richard's new wife Alma (Emmanuelle Chriqui, Entourage). Maggie expects a warmer welcome from her son than what she receives. Her father (John Savage, The Deer Hunter), also a veteran, reminds her about the story of Rip Van Winkle, and how long absences mean dealing with change upon return.
While We're Young, the new film from Noah Baumbach, touches on multiple themes in its hour-and-a-half running time, some more effectively than others. From the ethics of documentary filmmaking to choosing a childless life to the habits of Brooklyn hipsters, there's something here for almost everyone -- which is likely why the comedy feels more mainstream than Baumbach's previous works.
The lead characters, married couple Josh (Ben Stiller) and Cornelia (Naomi Watts), direct and produce documentaries respectively. They stumble into a friendship with free-spirited couple Jamie (Adam Driver, Frances Ha) and Darby (Amanda Seyfried, Mean Girls). The older couple is enamored of Jamie and Darby and their lifestyle. Why spend a weekend with your best friends who just had a baby when you can spend it taking hallucinagens under instruction from a shaman accompanied by Danny Kaye's "Inchworm" and Vangelis tunes?
It seems the time is upon us once more for another Nicholas Sparks adaptation. The master of the sentimental once again sees another one of his novels featuring lovesick characters overcoming the complexities of life translated to the big screen with The Longest Ride (2015). The story depicts two different small-town romances (one from the past, the other from the present), which share life-altering links.
If there's one thing a movie based on a Nicholas Sparks novel does very well, it's giving seasoned pros plum roles to sink their teeth into and remind fans what exactly made them legends. Paul Newman, James Garner and Gena Rowlands all enjoyed scene-stealing parts in Sparks adaptations that earned them raves, even if the films themselves floundered.
Alan Alda fills that category this time around, playing a bedridden man with regrets over his past. With so few film appearances these days, Alda's performance just might be reason enough to catch The Longest Ride. In any case, it gives me the perfect excuse to write about my favorite Alan Alda movie, The Four Seasons (1981).
"Fast, faster, and disaster"
-- Johnny Knoxville, producer of Being Evel
Generations have been affected over several decades by the spirit of legendary icon Evel Knievel. As a child growing up in the 70s, my own most prized possession was my Evel Knievel stunt cycle and action figure. "Popping a wheelie" on my bicycle was an exhilarating micro-attempt to emulate the excitement of witnessing Evel's televised stunt jumps.
Filmmaker Daniel Junge was influenced enough to tell the complex story and legacy of a hero who wasn't always the good guy in his new documentary Being Evel. Junge has artistically created a thorough portrayal of an extraordinary man who was inherently flawed. Knievel's lavish spending and frequent womanizing were quite public, as were his temper and stubbornness. As a showman and king of the daredevils, Knievel set the foundation for the culture of action and extreme sports in the United States.
I Dream Too Much, which premiered at SXSW last month, brought former Austinite Katie Cokinos back to town on the festival circuit. Written and directed by Cokinos and starring Eden Brolin, Diane Ladd and Danielle Brooks (Orange is the New Black), I Dream Too Much is a coming-of-age film and a second-coming-of-age film all in one.
The story focuses on Dora (Brolin), a perky undergraduate with a poetic bent who dreams of joining her best friend on summer vacation in Brazil. Her overbearing mother has other ideas, as she wants Dora to pursue a career in law. Her assignment, then, is to spend the summer preparing to take the LSAT.
In order to satisfy her urge to travel and with the justification that it's a quiet place where she can study, Dora volunteers to care for her ailing aunt Vera (Ladd), a wealthy socialite best known as the wife of an acclaimed novelist. The trip will prove more interesting than Dora expected, and both she and Vera will find in each other inspiration and direction.
This is Cokinos' first filmmaking credit, and she has put together a charming movie that benefits most from likable, believable characters. Some of the dialogue felt awkward, particularly in early scenes between Dora and her mother (Christina Rouner). That all disappears the moment a venerable talent like Diane Ladd comes onscreen. Suffice to say she steals the show as the childless matriarch recluse who hosts a poetry club in her home (but never attends). Her poise and presence are perfect for the character, and you can see Brolin make use of her example to elevate her own performance.
Helen Mirren is perhaps the only actress of her generation who can come close to matching Meryl Streep in terms of still finding quality film roles and delivering spellbinding performances. This week, she takes on the role of a real-life Austrian immigrant, seeking justice for her family by reclaiming a lost piece of art stolen during WWII, in the drama Woman in Gold (2015). Early reviews have been mixed, yet Mirren, as usual, has been showered with praise for another stunning portrayal from the Oscar winner.
For all the nuance that Mirren no doubt brings to Woman in Gold, it surely won’t be able to hold a candle to her finest post-Queen role, as the wife of the master of suspense in Hitchcock (2012). Based on the book by Stephen Rebello, Hitchcock chronicles Alfred Hitchcock’s (Anthony Hopkins) long journey in bringing the now-classic Psycho (1960) to the screen. The film depicts the legendary director’s battles with studio heads, censors and actors over the shocking content of the movie as well as the strain it put on the relationship between his wife/collaborator Alma Reville (Mirren).
Like many films based on the making of Hollywood movies and the people behind them, Hitchcock spent many years in development (with the two leads firmly attached) while producers decided which story they wanted to tell. In the end, they opted for both.
White supremacists move to a very small North Dakota town and start buying property, encouraging their friends to do the same so they can eventually "take over" the town. You can picture the resulting documentary -- the interviews with town members, the Southern Poverty Law Center (SPLC), the tension about how this potentially explosive situation will end. But you might not predict that Welcome to Leith would skillfully show you that the situation is not as clear cut as it sounds, and show the poisonous side effects of not just hate, but fear.
The film opens with an ominous 911 call -- a woman in Leith believes herself to be in peril from men roaming the area with guns. But how did matters get to that point? Welcome to Leith backtracks to show us. It begins when Craig Cobb, whom the SPLC calls "one of the top ten white supremicists in America," buys property in the town of Leith -- three miles, 24 residents, one bar. Cobb is part of a group called the Creators and has a history of publishing personal identifiable information about people who cross him ("doxxing" before that was even a word).
After Cobb buys property in Leith -- at an unbelievably low cost -- he encourages other white supremacist group leaders to buy land there and join him, with a goal of taking over the town entirely. He donates a tract of land to Tom Metzger, founder of the White Aryan Resistance. You can guess what the neighbors think -- especially the town's lone African-American resident, whom Cobb approaches about selling land. Imagine how you'd feel to see a swastika painted on a sign on your neighbor's property. The town leaders decide to change water and sewer ordinances in a way that could possibly drive the unwanted new residents out of town again.