Back to school with The Re-Education of Molly Singer

Let’s go back and fix things. Movies have built on that premise for years. Countless sci-fi films. Comedies like Back to School and 21 Jump Street. (The Stephen Chow franchise Fight Back to School may be the funniest example.) Half of the road trip movies are journeys to the past to reconcile or avenge. In a way, even a comedy like No Hard Feelings forces it star to confront mistakes in her past.

And now there’s The Re-Education of Molly Singer, a Lionsgate comedy dumped onto digital and on-demand platforms September 29. Starring Britt Robertson as Molly, a self-destructive young lawyer working, or avoiding work, at a firm run by Brenda (Jaime Pressly), it’s the work of horror director Andy Palmer (Camp Cold Brook) and writers Todd Friedman and Kevin Haskins.

Bright, broad, and only intermittently witty, Re-Education is like a community college version of No Hard Feelings. After Molly loses an important case, Brenda fires her, then offers her a job coaching her socially maladjusted son Elliott (Ty Simpkins) through his freshman year at college.

Molly drags along her buddy Ollie (Nico Santos), gets a room in a converted firehouse, and reverts to the same drunken partying that got her fired. She also sort of fixes up Elliott with Lindsay (Good Trouble star Cierra Ramirez), gets him into a fraternity, does something or other with her life and dreams and goals, and successfully defends herself against charges of kidnapping.

This last plot twist hinges on a pervert who’s been taping everything at the firehouse, and a sort of slapstick chase to get the evidence to court on time. It’s the sort of writing you’d find on the old Nickelodeon series Victorious, which made me wonder: who wants to watch this?

Really, what is the audience for Re-Education? It’s shot like a TV sitcom or a Beach Blanket Bingo movie, it’s filled with worn-out stereotypes (dumb jock, horny cougar, gay buddy), it tackles issues of absolutely no interest to college students, and it’s almost never, ever funny.

Robertson puts in a committed performance, leaning on her character’s grating personality even as it makes her less sympathetic. So does, surprisingly, Pressly, who is quick and efficient. Everyone else seems to be playing a version of a role copied from some other teen-oriented comedy.

Slapdash, visually dull, with a nondescript soundtrack, The Re-Education of Molly Singer falls short on so many levels it doesn’t even qualify as fluff.

Credits

Director: Andy Palmer. Writers: Todd Friedman, Kevin Haskins. Cast: Britt Robertson, Ty Simpkins. Nico Santos, Cierra Ramirez, Holland Roden, Wendie Malick, Jaime Pressly. Photo: Britt Robertson, Ty Simpkins, Cierra Ramirez. Courtesy Lionsgate.

In theaters, on digital and on demand: September 29, 2023

Posted in Comedy, New Releases | Leave a comment

Barber: Private eye blues in Dublin

Slow-paced and dignified, Barber plays by genre rules. Set in Dublin, the story follows private eye Val Barber (Aiden Gillen) as he investigates the disappearance of a young co-ed. It’s a mystery more interested in character than plot, one that offers very little in the way of action or suspense.

Director Fintan Connolly, who co-wrote the script with producer Fiona Bergin, understands the detective formula. A former cop, Barber antagonizes crooks and police alike. Like most movie private eyes, he’s hard-bitten, heartbroken, the keeper of secrets, and last resort of the exploited.

Barber harbors a pretty big secret that is telegraphed early on, one that affects his private life as much as his work. Bergin and Connolly saddle the detective with additional problems: Kate (Aisling Kearns), a slightly brain-damaged and demanding daughter; Monica (Helen Behan), a needy ex-wife who’s in a disappointing relationship; and Tony Quinn (Liam Carney), Barber’s nemesis, an angry, abusive cop who’s on the take.

Other characters from the past haunt Barber, but in true hardboiled fashion he soldiers on. Clues lead to Eunan Brady (Nick Dunning), a high-profile politico under Quinn’s protection. Barber keeps asking the wrong kinds of questions, despite the target on his back.

Fans of the genre will find enough to enjoy in Barber. Connolly tries to take a realistic approach to the plot. The chases, stake-outs, interrogations, and clues are all reasonably convincing, if not especially fresh. Dark alleys, quiet pubs, the occasional mansion or high-end restaurant could have come straight out of an Irish Chandler novel.

Barber’s character is not especially compelling, at least the way Gillen portrays him. Even so, the plot forces him to confront issues in his life he’s tried to avoid. And by continuing his investigation despite risk to her personal and public life, Barber eventually takes on heroic characteristic.

Still, Barber is so low-key viewers will have plenty of time picking apart plot points or questioning characters’ choices. Covid leaves a pall over the production. Masks appear and disappear, you can spot social distancing posters on hospital walls, and the entire film has an emptiness recognizable from pandemic times.

Dublin looks beautiful in Owen McPolin’s cinematography, and several grace notes lift the film out of the ordinary. Like the map of Dublin behind Barber’s office desk, or the slightly askew help from his secretary Oxana (Irma Mali). What distinguishes Barber the most is the fact that its lead characters are believably troubled people who are just trying to do their best.

Credits

Directed by: Fintan Connolly. Written by: Fiona Bergin & Fintan Connolly. Produced by: Fiona Bergin. Starring: Aidan Gillen, Aisling Kearns, Gary Lydon, Helen Behan, Deirdre Donnelly, Liam Carney.

In theaters and on demand September 22.

Photos: Aiden Gillen as Val Barber. Courtesy Brainstorm Media.

Posted in Drama, Uncategorized | Leave a comment

Asteroid City review: Aliens out West

Years and years and years ago Wes Anderson made Bottle Rocket, a clever comedy about hapless crooks who are outwitted by a smarter crook. It was modest, unassuming, and confident, with excellent production design and cinematography and smart performances by the Wilson brothers and James Caan.

Flash forward three decades to Asteroid City, a leaden, overstuffed piece of whimsy about UFOs or something in the American Southwest. Or, if you belong to a certain school of critics, a brilliant take on existential dread. Anderson, like his followers, has swallowed the hype.

People do fall for Anderson’s affectless shtick, some over and over. Maybe it’s the kitsch, the pastels, the airless compositions, the insect-like line deliveries, the swirl of cultural allusions crowding every scene. Maybe Anderson’s followers identify as outsiders, underappreciated influencers, so-square-they’re-hipsters.

Me? I’m tired of complicated camera movements that end up meaning nothing. Or giant sets designed to look like giant sets. Or the Tinkertoy editing. Or talented actors reduced to speeding through clotted dialogue while trying not to emote.

I’m especially tired of Anderson’s attitude towards all this. When he played a Kinks song in The Darjeeling Limited, it complemented the narrative. Although weirdly out of place, it made sense. It didn’t feel ironic or snarky or cruel.

The Western themes in Asteroid City, on the other hand, are treated in a manner I find downright malicious. The starchy, too-tight clothes; the campfire putdowns; the pathetic hoedown — Anderson seems to hate everything about the West, from the endless horizons to the grit-covered picnic tables. When he sticks a distorted Slim Whitman singing his big hit “Indian Love Call” in the background of people bickering, he’s condemning it the same way cultural insiders mocked it for decades. Slim’s “weird,” and aren’t you cool for noticing?

And hey, how about all those call-outs to Warner Bros. animation? Not just the Road Runner landscapes. There’s that madcap chase, police speeding after a car, guns blazing, sirens howling, bisecting the frame and going nowhere. If you miss the joke the first time, you’ll get a few more chances to savor it because it’s an allusion! It’s punctuation! Maybe the West in that period just didn’t seem real. Maybe it was like a cartoon.

And all that mania about aliens! With the military and everything. Maybe that affected adults trying to have relationships, you know, people like movie stars and scientists and single dads who take photographs. Maybe that all means something.

In his best work Anderson seems attuned to adolescence, the push-and-pull of romance, the short but focused attention spans, the bewilderment over the larger world. Here the kids are snotty brats testing each other over pointless trivia.

Not that the parents are any better. Like their kids they’re terrified of sex, they resent authority, they have no answers. Wrap that up in cotton-candy colors and splash some mean-spirited music over it and you’ve got Asteroid City, a black hole of a movie that sucks pleasure right out of you.

Directed by Wes Anderson. Screenplay by Wes Anderson. Story by Wes Anderson and Roman Coppola. Produced by Wes Anderson, Steven Rales, Jeremy Dawson. Director of Photography: Robert Yeoman, A.S.C. Production Designer: Adam Stockhausen. Film Editor: Barney Pilling, A.C.E. Additional Editor: Andrew Weisblum, A.C.E. Costume Designer:  Milena Canonero. Music by Alexandre Desplat.

Cast: Jason Schwartzman, Scarlett Johansson, Tom Hanks, Jeffrey Wright, Tilda Swinton.

Photo Courtesy of Roger Do Minh/Pop. 87 Productions/Focus Features. ©2022 Pop. 87 Productions LLC

Posted in Comedy, New Releases | Leave a comment

The lost dreams of Past Lives

Quietly devastating, Past Lives follows two childhood friends as they face the paths their choices have left them. Made with remarkable skill and precision, it is a wrenching account of how dreams die.

Childhood friends in Seoul, Nora and Hae Sung separate when Nora’s parents emigrate to Canada. Twelve years later they reconnect over the internet, Nora pursuing a career as a playwright, Hae Sung studying engineering after compulsory military service.

It takes another twelve years for the two to meet in person, when Hae Sung (now played by Teo Yoo) visits Nora (Greta Lee) in New York City. By now Nora has married Arthur (John Magaro), who is understandably anxious about his wife seeing her childhood sweetheart.

Writer and director Celine Song’s screenplay strips the film’s plot down to narrative basics. Romance in movies is built around delay, the inability of its leads to find happiness together. Song mines this element expertly (24 years is a long time to wait), building plausible reasons for Nora and Hae Sung to separate and reunite.

But Past Lives is more than a romance, it is a clear-eyed examination of how two characters (and by extension, a third) turn into people they never expected. Headstrong, impetuous, Nora finds her way changing as the world constricts around her. Stalwart, patient, Hae Sung must accept how his choices have shaped him. And Arthur learns that he can never truly know his wife, no matter how long they are together.

Song’s background in theater is clear in her  elisions. The script glides from moment to moment, condensing and expanding time. Nora’s affair with Arthur unfolds in a few, brief scenes that stretch across years. Song isolates key moments between young Nora and Hae Sung, holding on situations that will reverberate throughout their lives.

Nora and Hae Sung are searching for a past that may never have existed, at least not the way they understand it. “This is where I ended up,” Nora admits to herself as one point.

Cinematographer Shabier Kirchner singles out these two characters in a teeming world. He frames Nora so that her memories become our memories. A tilt down from the Seoul skyline finds two young children climbing stairs. Years later, a similar tilt from the Manhattan Bridge finds two old friends walking along an East River path. Precise but unassuming, Kirchner continues a string of excellent work that includes Bull and Small Axe.

Keith Fraase’s editing is key to the movie’s success, never more so than during the final scenes. And the music by Christopher Bear & Daniel Rossen maintains Song’s elemental style.

In a story about choices, Song has made all the right ones. No movie this year shows the hurt of lost dreams like Past Lives.

Written & Directed by Celine Song. Produced by David Hinojosa, p.g.a., Christine Vachon, p.g.a., Pamela Koffler, p.g.a. Executive Producers: Miky Lee, Hosung Kang, Jerry Kyoungboum Ko, Celine Song, Taylor Shung, Christine D’Souza Gelb. Director of photography: Shabier Kirchner. Production designer: Grace Yun. Edited by Keith Fraase. Music by Christopher Bear & Daniel Rossen.

Cast: Greta Lee, Teo Yoo, John Magaro, Seung Ah Moon, Seung Min Yim.

Photo courtesy A24.

Posted in Asian, Drama | Leave a comment

Palmanova and Aquileia: touring two UNESCO sites in Friuli

This year the Far East Film Festival celebrated its twenty-fifth year in Udine, Italy. A medieval town about an hour northeast of Venice, Udine offers theaters, shops, and an array of restaurants and cafés. It is the largest town in Friuli, part of an autonomous region known as Friuli Venezia Giulia.

Famous for its white wines and cured hams, Friuli borders Austria, Slovenia, and the Adriatic. From Alpine mountains to Adriatic lagoons, it is an area of distinctive beauty and history.

Most visitors to FEFF find their day filled with screenings, master classes, talks, concerts, and networking parties. But for those with extra time, Friuli offers a wide variety of touring possibilities.

Excellent roads, buses, and trains connect Udine with the rest of Friuli. You can visit vineyards, take a prosciutto tour, or wander through estates in nearby towns like Cividale.

This year I was fortunate enough to visit Palmanova and Aquileia, two UNESCO sites close by Udine. Either or both would be excellent destinations for tourists. The tour was arranged by OpusLoci, a project of the Chamber of Commerce of Pordenone-Udine that connects artisans, restaurateurs, hoteliers and local producers along UNESCO Heritage sites in Friuli Venezia Giulia.

About a half-hour away from Udine is Palmanova, a striking fortress town that dates back to the 16th century. Because of its strategic importance, straddling the mountains to the north and the Adriatic to the east, Friuli was occupied again and again over the years. Romans, Huns, Lombards, Franks, Venetians, Hapsburgs, and Napoleon Bonaparte all took part in ruling the area.

Designed in the shape of a nine-pointed star, Palmanova was built to defend against attacks on the Venetian Republic. Construction continued over many decades, with Bonaparte adding exterior lunettes in the early nineteenth century.

Palmanova’s unusual shape made it difficult for armies to attack. The city was additionally guarded by three double-gates (the only entryways) and a surrounding moat. The waters are largely gone, although some streams have been reintroduced. The massive gates, with their two sets of doors operated by wheels, are intact. They remain impressive, especially contrasted with the fields surrounding them.

The star shape makes driving through Palmanova a real challenge, as you often have to take a direction opposite to what you want in order to navigate the one-way streets and sharp corners.

On the other hand, it’s a wonderful town for walking. Stores and cafés are scattered along many of the streets, which lead pedestrians to a remarkable square in the center of town. Palmanova originally garrisoned as many as 5,000 soldiers at a time, but leaders built the square large enough to hold 20,000.

If you stand in the center of the square, you can see all three of the ancient gates leading to Cividale, Aquileia, and Udine. Stores and restaurants line the square, which is dominated by Duomo, completed in 1636. (Its bell tower is conspicuously low so it couldn’t be spotted by enemies outside the city walls.) Tucked away next to the Duomo is Hotel Ai Dogi, a cunningly renovated collection of buildings holding some 33 rooms. Compact but comfortable, some rooms look out onto the sun-drenched square.

The owner met us with coffee and aqua frizzante. Warm and friendly, she told us of her plans to renovate a building across the street and add another café to the hotel.

The hotel sits next to the award-winning Caffetteria Torinese, a restaurant listed in the prestigious Gambero Rosso Bar d’Italia. A glance at the menu convinced me I had to return when it was open.

Our tour guide told us that some guests stop in Palmanova while completing the Alpe Adria Cycle Route, a bike path that runs from Salzburg in Austria to Grado on the Adriatic. (The Friulian portion starts at Taraviso near the Austrian border.) If you start from the north, your route is mostly downhill. When you are done, you can take your bike on a train back to your starting point.

The Italians have worked out a superb infrastructure for bikers, with well-marked routes, staged resting areas, and restaurants and hotels geared towards bikers. Just like the rifugios that dot mountain trails, the bike paths were designed for comfort as well as exercise.

History buffs have a lot to explore in Palmanova. Museums, barracks, and tunnels show how the city evolved. On weekends it’s possible to walk through the Rivellino tunnels underneath the city’s walls. You can purchase tickets at the entrance to the gallery or at an Infopoint off the central square. Audioguides are also available.

QR codes can be found at key spots throughout the town to aid visitors. Scan the codes at the ramparts, and you can experience a 360-degree VR video through time. A different QR code will take you on a tour of the entire fortress, including the Duomo cathedral, the three city gates, a Napoleonic lunette outside the walls, and a Venetian aqueduct restored in 2015.

If you plan to visit, be aware that Palmanova hosts a UNESCO Cities Marathon in March, a comics and movie festival in June, historical reenactments in September, and Christmas events throughout December.

Not too many miles further towards the Adriatic you find Aquileia, another UNESCO site. It’s a small town of about 2,000, but it packs a powerful historical punch. Established by the Romans by 181 B.C. as a garrison for some 3000 foot soldiers, it was intended to be a storage and transportation hub with easy access to the nearby Adriatic. Local farmers supplied wine and grain. (An indigenous settlement predates the city.)

Estates, workshops, cemeteries, and a forum are scattered throughout the area, some still in the process of restoration. Our focus on this trip was one of the most important churches in early Christianity, the Basilica of Aquileia.

Built over the remains of a fourth-century church, the Basilica was enlarged in the 11th and 13th centuries. Its central floor is covered in mosaics, an art form perfected over the centuries by Aquileia artisans. At over 8000 square feet, it is the largest mosaic floor in western Christianity.

Biblical scenes like Jonah in the whale are depicted, as are a wealth of fish and fowl.  Geometric patterns symbolize fundamental Christian beliefs. It is a remarkable achievement that becomes even more astonishing as you make your way further into the church.

Ninth-century frescoes in a crypt under the main altar of the basilica detail the story of St. Mark the Evangelist, including the beheading of his followers Fortunatus and Hermagoras. After this we entered a crypt where even earlier mosaics are being excavated. And it turns out that more mosaics are being discovered throughout the town.

After our tour we emerged from ancient Roman times into a blindingly bright present. A block or two away from the church we found Vini Donda, a comfortable restaurant spread over several rooms. Local wines and liqueurs line the walls. The attentive staff makes you feel as if you are the only guests.

We had what was called a “light lunch,” starting with a plate of fresh, herbed croccante, thinly sliced and fried. Asparagus with a creamy egg sauce was followed by ravioli stuffed with local bruscandoli and served with a butter sage sauce. Strawberry tiramisu with a golden custard topped off the meal.

On the ride back to Udine, we passed small hamlets surrounded by fields and vineyards, snowcapped mountains in the distance. The sense of traveling through time, of experiencing so many cultures, was both dizzying and rewarding.

What remain with me are startlingly blue skies, endless horizons, the comfortable cafes with their smiling customers, and a sense of serenity that is hard to find in modern times. You not only feel connected to the past, you begin to understand what life was like for those who came before.

Photos: 1) Aquileia Gate entering Palmanova; 2) the Duomo, or cathedral, off the Parade Ground; 3) Basilica at Aquileia; 4) interior of the Basilica; 5) fresco in Basilica crypt of Fortunatus and Hermagoras; 6) mosaic depicting a basket of snails; 7) fresh croccante at Vini Donda. All rights reserved.

Linkshttps://www.opusloci.it/en/ : a wealth of information on history, artisinal goods, cuisine, and hospitality for Palmanova, Aquileia, and other Friulian sites. https://www.turismofvg.it/en : How to plan your visit to Friuli Venezia Giulia, with guides for biking, boating, mountaineering, culture, and cuisine. https://www.visitpalmanova.it/en/home-english/ : maps, guides, and photos for visiting Palmanova. https://www.fondazioneaquileia.it/en : The official website for Aquileia.

Posted in Uncategorized | Leave a comment

You Hurt My Feelings: frustration for laughs

The title is as generic as the humor in You Hurt My Feelings, the latest feature from writer and director Nicole Holofcener. Once again a set of privileged folks teetering between middle and upper class deal with minor slights and aggravations that more or less work out as they (and you) think. It screened at this year’s Sundance Film Festival prior to a theatrical release on May 26.

Holofcener has an unerring eye for foibles of the aggrieved privileged: their sense that they are not receiving the respect they deserve, that rivals are somehow gettting better treatment, that the obstacles they face are unfair. “I grew up with this strange feeling that I’m better than anyone else” is a characteristic admission.

So don’t expect narrative or thematic surprises. Instead, you get expertly drawn sketches about the travails of modern life. No one likes where they are, what they’re doing, who they are. A client complains that her interior designer is pushing the wrong sconce, for example. People end up with the wrong earrings, wrong V-neck sweater, wrong coffee. We see a creative writing class from hell, a husband and wife in couples’ therapy from hell.

Holofcener’s characters put up with things until they snap. In Friends with Money, a sexy maid outfit is the turning point for Olivia, Jennifer Anniston’s character. Here, Beth (Julia Louis-Dreyfus) overhears her husband Don (Tobias Menzies) saying that he doesn’t like the novel she wrote.

Beth harbors her little secret until she blurts it out in a moment of pique. That unleashes a flood of other revelations. Her son is still angry about swimming lessons years earlier. Her husband resents his clients, her sister is angry about her job, her students haven’t bothered to read her work. Louis-Dreyfus been perfecting her tone deaf shtick for decades, and nothing here is a stretch for her. It’s like watching a vastly overqualified classical or jazz pianist play “Heart and Soul.”

Contrast Louis-Dreyfus here with her performance in the middling Netflix comedy You People. She had funnier lines there, but her performances was broader, more frantic. Here she’s tamped down, repressed, perfectly in keeping with Holofcener’s tone.

Holfencencer is working well-plowed but still fertile ground. Her script is at its best when it spins off on tangents. In her few moments, the wonderful Jeannie Berlin is brilliant as an elderly mother with possible memory problems. (Berlin has a small but telling bit in The Fablemans.) David Cross and Amber Tamblyn nail their passive-aggressive couple, and the cringes are delightful in Beth’s writing class.

The director knows where her characters shop, what they wear, what kinds of dispiriting jobs they endure. Is that enough? Does You Hurt My Feelings move beyond observation to reach genuine insights? Can a well-crafted, pleasant, undemanding find a receptive audience outside the Sundance universe?

Written & Directed by Nicole Holofcener. Produced by Stefanie Azpiazu, Anthony Bregman, Nicole Holofcener, Julia Louis-Dreyfus. Executive Producers: Johnny Holland, Gregory Zuk. Director of Photography: Jeffrey Waldron. Production Designer: Sally Levi. Edited by Alisa Lepselter.

Cast: Julia Louis-Dreyfus, Tobias Menzies, Michaela Watkins, Owen Teague, Arian Moayed, Jeannie Berlin.

Photo of Julia Louis-Dreyfus courtesy A24.

Posted in Comedy, Film Festivals | Leave a comment

Guy Ritchie’s The Covenant: a war story with consequences

It makes sense to approach Guy Ritchie’s The Covenant cautiously. The execrable Operation Fortune: Ruse de Guerre is a glaring example of how lazy and listless the director’s output can be. Don’t worry. GRTC is worth your time.

It’s another in a long-running cycle of war movies about US guilt, aiming for something along the lines of American Sniper but slipping closer to the Rambo franchise. Here US Army Sergeant John Kinley (Jake Gyllenhaal) is rescued from certain death at the hands of the Taliban by his Afghan interpretor Ahmed (Dar Salim). When Ahmed’s visa to the US is ensnared in bureaucracy, Kinley returns to Afghanistan to retrieve Ahmed and his family.

Gung ho in the extreme, GRTC is more than a genre exercise thanks to committed acting, a stripped-down screenplay (by Ritchie and his usual cohorts Ivan Atkinson & Marn Davies), and Ritchie’s outstanding filmmaking. He’s rarely this energized, or this careful.

Gyllenhaal gives a wonderful performance, fleshing out Kinley’s character even if it means showing the sergeant’s failings. You can see the soldier’s response to the violence he encounters in the actor’s face. Kinley is reluctant to give Ahmed any credit, in part because he’s suspicious of all Afghans. A former heroin dealer, Ahmed has a much deeper understanding of Afghanistan than Kinley will ever achieve. He’s also far more brutal.

Ritchie depicts their relationship efficiently, without forcing an emotional connection between the two and minimizing details about their private lives. Then the director stages a superb firefight between American troops and Taliban bombmakers in an abandoned mine. Tense, precise, convincing, the battle makes clear everything that’s at stake for Kinley and Ahmed.

The two go on the run across some seventy miles of hostile terrain, pursued by replenished Taliban fighters. When Kinley is wounded, it’s up to Ahmed to drag him across mountain passes to safety.

Shipped back to the States, Kinley spends weeks trying to secure visas for Ahmed, now on the Taliban’s most wanted list. It’s the weakest section of the film because it shifts the focus to military bungling rather that concentrating on Ahmed’s efforts to survive.

Kinley mortgages his business to return to Afghanistan and find Ahmed. Here Ritchie regains his footing, building first-rate sequences that unfold from three separate points-of-view. The ending is especially satisfying, even with a title reminding us that too many interpreters remained trapped and in hiding from the Taliban.

Ed Wild’s cinematography brings out the scope of Ritchie’s movie. He builds excellent extended takes while helping the director keep a firm grasp on the geography of the action. James Herbert’s editing is also very good, although the score by Christopher Benstead can be too on-the-nose.

Do we need another fictional account of a real-life incident from the Afghan war? Maybe not, but Guy Ritchie’s The Covenant is so well executed that it rises above most of its competition.

An MGM release opening theatrically April 21, 2023. Photo: Dar Salim (left) as Ahmed and Jake Gyllenhaal (right) as Sgt. John Kinley. Credit: Christopher Raphael / Metro Goldwyn Mayer Pictures© 2023 Metro-Goldwyn-Mayer Pictures Inc. All Rights Reserved.

Starring | Jake Gyllenhaal, Dar Salim, Antony Starr, Alexander Ludwig, Bobby Schofield with Emily Beecham and Jonny Lee Miller
Directed by | Guy Ritchie
Written by | Guy Ritchie and Ivan Atkinson & Marn Davies

Posted in Action | Leave a comment

Donnie Yen’s Sakra: a wuxia epic

A passion project from one of cinema’s greatest martial artists, Sakra is a wuxia of epic proportions. Adapted from Demi-Gods and Semi-Devils, the film unfolds on a tremendous scale, with towering sets, scores of extras, and phenomenal action set pieces.

Donnie Yen stars at Qiao Feng, as orphan who develops exceptional powers in the Song dynasty, a period marked by wars among several tribes. A leader of the Beggars’ Gang, Qiao is exiled after being accused of murdering his parents, teacher, and others.

To clear his name, Qiao teams up with Azhu (Chen Yuqi), unaware that she is the daughter of another martial arts hero, Duan Zhengchun (Cheung Siu Fai). When Azhu is wounded, Qiao brings her to the heroes’ gathering manor, a fortress filled with his sworn enemies, to save her life. The ensuing battle leaves both Qiao and Azhu gravely wounded.

Rescued by a mysterious hero, Qiao will be betrayed by friend and foe alike as he searches for the answers to his tangled past. Along the way he will reach a new appreciation of his true heritage.

Keeping track of the sprawling narrative, with its competing tribes and crossed family lines, is close to impossible, especially if you’re unfamiliar with the source novel. The large cast is similarly confusing, with many characters appearing and disappearing at little notice. Wong Kwan-Hing as the widowed Mrs. Ma makes a strong impression. Chen Yuqi and Cya Liu (who plays Azhu’s sister Azi) are both excellent.

The real reason to watch Sakra is Donnie Yen, whose moves here are extraordinary. The opening scene, where he battles a villainous monk in a classic restaurant confrontation, sets a high standard. Stretching throughout rooms and floors, it unleashes wire work, undercranking, vfx, and even diopters in a blur of action that’s amazing.

If there is a fault to Yen’s character, his Qiao is too perfect. He can overhear everything, runs over rooftops, survives falls and stabbings. Nothing can stop him, not even a spear in the back. For story purposes his powers are necessary; in a movie they seem too convenient at times.

This isn’t the first feature Yen’s directed, but it’s the best by far. Serious wuxia films are hard to find, at least those that aren’t satires or reworkings or combined with steampunk. In fact, you’d have to go back to Peter Chan’s Wuxia (also starring Yen) to find one as committed as Sakra.

Which isn’t to say Yen doesn’t bring a modern sensibility to the production. The cinematography and production design are both first-rate, with appropriately moody lighting and breathtaking locations and sets. Action directors are Kenji Tanigaki and Yan Hua, while Donnie Yen’s Action Team takes care of the stunts.

Sakra sometimes grinds to a halt while characters spit exposition at each other. At times the film looks too dark and gloomy. Whole stretches could be dropped without damaging the story. But even with its drawbacks, Sakra is a stunning achievement. If you have any interest in wuxia, it is a must-see. And for John Wick Chapter Four fans, it is icing on the cake.

Producers: Donnie Yen, Wong Jing

Director: Donnie Yen

Executive Director: Kam Ka Wai

Screenwriters: Sheng Lingzhi,Zhu Wei , He Ben, Chen Li, Shen Lejing, Xu Yifan

Stars: Donnie Yen, Chen Yuqi, Cya Liu

Special Star: Wai Ying Hung

Special Appearance: Wu Yue

Stars: Cheung Siu Fai, Wong Kwan Hing, Du Yuming

Special Guest Appearance: Lui Leung Wai, Tsui Siu Ming

Action Directed: Kenji Tanigaki, Yan Hua

Stunt Team: Donnie Yen’s Action Team

Photos courtesy Well Go Entertainment USA. Available in select theaters and on demand. https://wellgousa.com/films/sakra

Posted in Action, Asian | Leave a comment

The Tank review: haunting on the Oregon coast

A haunted house thriller set on the coast of Oregon, The Tank raises expectations it never quite delivers. Carefully written and shot, the movie features great production values and a strong performance by New Zealand-born Luciane Buchanan. It’s also slow, obvious, and almost completely devoid of genuine thrills.

Buchanan plays Jules, a wife, mother, and pet-shop owner who travels with husband Ben (Matt Whelan) and daughter Reia (Zara Nausbaum) to investigate a mysterious inheritance. Turns out Ben’s mother was institutionalized before she could let him know about a house and several oceanfront acres that his father purchased long ago.

The dank, boarded-up house is isolated from roads and overgrown with weeds. Despite the lack of electricity and running water, Ben decides to fix up the property with the hopes of selling it. To do so requires ignoring a plethora of clues to run away as fast as possible.

Locked doors leading to rickety basement stairs; bedroom windows nailed shut; a manilla envelope of newspaper clippings about earthquakes and unexplained deaths; sheds filled with rusty cans of bomb mixings; and most of all a concrete water tank whose lid keeps popping open — the omens pile up as Jules and Ben pretend nothing is wrong.

Writer, producer and director Scott Walker throws in overexposed, blue-tinted 1940s flashbacks that spell out in greater detail the dangers facing Jules and her family. Plus Jules starts reading diary entries that describe in guarded detail what actually happened those decades earlier.

I’m circling around The Tank the same way Walker’s script does. Everything is drawn out far too long: the stairway descents, the midnight forest walks, following the track of wet footprints across a hallway. It’s almost an hour into the movie before we get a good glance at what’s happening in the tank.

Until then Walker does a pretty good job evoking a sense of Oregon woods and beaches. The swaying pines, crashing surf, endless vistas of green are beautiful, but also help convey the family’s isolation and peril. You can imagine many different causes and reasons for the mysteries afflicting Jules and her family, that is until the monsters arrive.

Wētā Workshop co-founder, CEO and creative director Richard Taylor takes credit as creative lead on The Tank, but the film’s effects are surprisingly derivative and disappointing. Alien-like creatures attack from the water tank,  so slow and lumbering it takes seriously bad choices to get caught by them. Fire and bleach seem to be strong deterrents, so the only way Walker can build suspense is to have the characters run out of same and return to a creature-infested spot to get more.

On the positive side, The Tank does what it sets out to do, so if you’re looking for a haunted house with monsters this will fit the bill. Just don’t expect much more. The surprise will be an extremely appealing turn by Luciane Buchanan.

Directed by: Scott Walker
Written by: Scott Walker
Produced by: Scott Walker
Creature Effects by: Wētā Workshop – Richard Taylor
Cast: Luciane Buchanan, Matt Whelan, Zara Nausbaum, Regina Hegemann, Jack Barry, Holly Shervey 

Well Go USA opens The Tank in select theaters on April 21 and digitally on April 25. https://wellgousa.com/films/tank

Posted in Horror | Leave a comment

Ride On: a new Jackie Chan film

Thirty years ago Jackie Chan was the biggest movie star in the world. Films like Police Story, Project A, and Supercop were international blockbusters. They changed the face of action films everywhere.

Now pushing 69 (I only know because we were born days apart), Chan is no longer the daredevil hero of his youth. Stunt doubles, wires, and special effects figure heavily into his current work, which you detect during the traditional closing credits outtakes of Ride On.

Chan’s recent films like Railroad Tigers and Kung Fu Yoga were essentially “greatest hits” vehicles that repackaged situations and stunts from earlier movies. Chan admitted his age, letting younger performers carry most of the dramatic and physical weight. They were uneasy hybrids at best, especially since Chan insisted on a brightly lit, antiseptic production design.

Which leads to Ride On, a highly sentimental tale of an aging stuntman and his best friend, a horse named Red Hare. Chan is back in Miracles territory, milking his soap opera encounters with estranged daughter Bao (Liu Haocun), former costars, the billionaire who wants his horse, the hapless crooks he owes money.

Every now and then some action erupts, mostly comical. A fight in a street market. A fight on a restaurant balcony. (How many of these has he done over the years?) A fight on the balcony of the stable where he lives. Ride On unfolds in a soft, easygoing, artificial world that never tries to approach reality.

The plot has Jackie (as stuntman Luo) train Red Hare to perform in movies. Because he’s so driven, he could injure the horse and sever new ties with Bao. “Real stunt men never say no,” he tells Bao (in English no less), even though that life’s led him to penury and eight months in a coma.

Approached by an old-time friend to appear in a prestigious production, Luo insists on doing stunts the old-fashioned way, in person and without help. “Do it for real,” as he says, a false argument as Chan has been using tech for years. When it time to shoot, Luo changes his mind, saving his life and that of Red Hare.

One of the hallmarks of a Chan film was his closing action scene, usually a chase with tremendous and frightening stunts. Here Luo won’t do action, and then cries for 20 minutes while the plot works out behind him.

I don’t want to harp on one of cinema’s great figures, or bring up his increasingly problematic politics, or ask him to endanger himself. What I would like is a film with some bite, a story that actually addresses something concrete, and a style that realizes that filmmaking has changed since 1992.

There’s a moment when Bao and Luo watch clips from Chan’s old movies. In a blurry background we see bits from Police Story and First Strike and Rumble in the Bronx, those unbelievable, death-defying stunts that place him with Keaton and Canutt and cinema’s other great action stars. Chan watches with tears in his eyes, earned from decades of devotion to his craft. If only the rest of Ride On reached that level.

Written and directed by Larry Yang. Released theatrically by Well Go USA April 7. Soon to be streaming. Photos of Chan, Liu Haocun and Red Hare courtesy Well Go USA.

Posted in Action, Asian | Leave a comment