No. 54 (2023) WERNER HERZOG: RADICAL DREAMER. Perth; THE REV. Film Festival July 16th.

 

Film No. 54  (2023)  July 16th.  12:45 PM  LUNA LEEDERVILLE,  Cine 1, Leederville.

 

"There is something about him that is so hypnotic. " (Nicole Kidman talks about Herzog, one of her favourite people in film today).

SUBMISSION: (Thomas von Steinaecker) Santa Barbara International Film Festival.

The Legend that is Werner Herzog; it's all here. For Herzog "diehards" there is probably nothing new revealed in RADICAL DREAMER. But I feel sure that the 100mins they spend, mainly in the care of the man himself, will be an hour and twenty minutes well spent. 

The true value of Thomas von Steinaecker's thorough feature documentary is the ease with which he has Werner on-side. The true test of a biographical documentary of this nature is the depth of investment by its subject. Herzog is at total ease with Steinaecker's camera. So while each phase of our subject's filmography is recalled, Werner gently relays his intimate recollections, with detail and clarity. The thing about those special moments on camera is, he is often on the location where the events took place. A ski-field above Munich is the base for multiple stories. It's where he spent some of his childhood in the care of a single, penniless mother. 

We get a sense of the mind of a master as he describes insects and butterflies filling his head when he drives for extended periods of time. He describes these events as he sits behind the wheel, moving along the streets of his native LA. His self imposed exile from his native Germany to the U.S. makes interesting fodder in his story.

Yes, I was engrossed with RD. Revolutionary, New Age or Radical could  all be used to describe this gentle, single-minded artist. Which for me begged the question, how did a man of such temperament continue to collaborate with the volatile actor, Kinski? Films, the likes of AGUIRRE, WRATH OF GOD and STROSZEK are classics, but to view Kinski in all his "disruptive beauty", as this documentary does, which begs my initial question. It was all a part of what made Herzog tick. He loved to be challenged and he was never fazed by taking risks. 

For me, an insight into a film maker I've admired from afar, was as nourishing as the films of his I've so enjoyed.  10GUMS.

       

No. 55 (2023) OPPENHEIMER. UNITED ARTIST'S INC. Preview July 18th.

 

Film No. 55  (2023)  July 16th.  6:45 PM  EVENT CINEMAS,  VMAX Cine 1,  Whitfords.

"Why? Why? How about because this is the most important thing to happen in the history of the world!" (Lt General Leslie Groves lets fly as he and Oppenheimer try to recruit a potential scientist who inquired as to why his participation in The Project is important).

NOMINEE: The Most Anticipated Film (Christopher Nolan) Hollywood Critics Mid-Season Awards. 

So, a warning re this brilliant film; don't be fatigued or "slightly off your game" when you attend. If you ignore this warning, the 3 hour run time, the information you'll need to absorb and Nolan's signature time swivel tropes could make your cinema visit a trial. But, let me tell you, OPPENHEIMER is an outstanding film for all sorts of reasons. All sorts!!

IMDB's introductory summary of the film goes: "The story of American scientist J. Robert Oppenheimer and his role in the development of the atomic bomb". There are no untruths here, but the depths to which Nolan takes us in relation to J Robert's brilliance both intellectually and emotionally, mean that, this statement simply does not do the film justice. The description may give an unsuspecting viewer the impression that it may be a biopic of the, "colour by numbers" variety however this is no "tick the boxes" tale.

I read that the film represents Nolan's interpretation of Oppenheimer's passion for science, his two key loves (wife Kitty and lover Jean), his relationships with The President, Senator Lewis Strauss and General Lesley Groves, and then finally, his compassionate composure and the reaction of U.S. government agencies to his connections to communism. Well, the film uses techniques to exemplify all of these themes, but I believe the facts were precisely that, not Nolan's tampering's . The film used the book, American Prometheus: The Triumph and Tragedy of J Robert Oppenheimer by Kai Bird and Martin J Sherwin as its foundation for fact. President Truman calling Oppenheimer a "pussy" as J Robert left the oval office after their first meeting may have been added for dramatic purposes, but the facts, over all, stand up. 

Names like Senator Lewis Strauss (Robert Downey Jr), Albert Einstein (Tom Conti), Klaus Fuchs (Christopher Denham) and  Niels Bohr (Kenneth Branagh)  all feature on screen in key dramatic moments shaping J Edward's story. But no one compares with Cillian Murphy's, Oppenheimer. Murphy is in close up often. His lean, blue-eyed features reflect a vulnerability so important to the gravity of who and what this man was. Murphy is surely the early frontrunner for an individual Oscar gong in 2024. The fact a 46 year old actor captures the 12 year time phase changes (a Nolan signature) so convincingly, it's testament to his talent.  

My 300 odd words here, hardly do this dense film justice . If 181 minutes is simply too long, no matter the subject (particularly if the subject is the tale of how a weapon of mass destruction  comes to be).  Or if a reminder of why U.S. politics reeks of nepotism and corruption bores you. Or if battling through another Nolan maze of time adjustments is not your "cup of tea", then don't go. But if this piece of American history holds some interest, Chris Nolan is one of your favourite film makers, or you simply wouldn't miss a cinematic masterclass for "quids", you'd better line up for a ticket. The biggest screen near you will present your best value.    11GUMS.   

  

No. 52 (2023) I LIKE MOVIES. Perth THE REV. Film Festival July 14th.

 

Film No. 52  (2023)  July 14th.  7:30 PM  LUNA LEEDERVILLE,  Cine 5, Leederville.

 

"Sorry, I just think you should make films that matter to you!" (Lawrence justifies his contribution ( which is way off topic) to the discussion of the class video assignment.

WINNER: (Chandler Levack) Best Film, Panavision Spirit Award for Independent Cinema. NOMINEE: (Chandler Levack) Audience Award Glasgow Film Festival.

I'm a big fan of films like, I LIKE MOVIES (ILM) . I more than like them, I love them. The sad thing is, the only time we get to see films like ILM is at annual, obscure film festivals like Rev; a Perth (West Australian) based, 5 day event. Luckily, ILM is gaining a cult following world-wide as I type. 

This tale, so tender, is yet another vehicle along the 'coming of age" cinematic highway. Already I hear a groan; not so fast I say. Isaiah Lehtinen's Lawrence will win you over, Im sure of it. And like all the good Life's Lesson dramas we begin by disliking Lawrence. He's a brash, overconfident young film-maker whose passion for movies isn't matched by any actual output of the films he boasts so freely that he has the potential to make (failing the first 3 minutes here).

The more we get to know Lawrence, the more we are convinced he is "Batting out of his League" in so many areas of his life. That his dream to attend NYU's prestigious media program is simply unattainable for a film-maker who creates next to no films, is just one example. Enter two of the best women mentors first time director Chandler Levack could have created. Lawrence's video store boss Alana (Romina D'Ugo), and his loving mum Terri (Krista Bridges) together give Lawrence the inevitable awakenings that polish this rough diamond of a boy, and film for that matter, into the gems they are!

I recently saw NO HARD FEELINGS. Jennifer Lawrence, it seems, will recover the millions she pumped into this silly "coming of age" musing. I LIKE MOVIES is a small Canadian production, made for one twentieth of the NHF budget, while pushing the same emotional buttons. I LIKE MOVIES is so, so, so, much the better film. Beg, borrow or steal to find a showing. Maybe not steal!  11GUMS.  

 

No. 51 (2023) CITIZEN SLEUTH. July 12th.

 

Film No. 51  (2023)  July 12th.  4:45 PM  LUNA LEEDERVILLE,  Cine 5, Leederville.

 

"There is logic to everything that happened out there on the highway. There are many different ways you can find your way to the truth" (Emily has a hard truth told to her by someone far more experienced in True Crime podcasting than herself).

NOMINATION: (Chris Kasick) Local Heroes Competition 2023.

Podcasting has become the new multi-media epidemic in the landscape of both professional and amateur broadcasting. Just by having a smartphone, everyone has the ability to produce a podcast. True Crime is the theme to which most potential broadcasters are attracted. So, a suggestion; inexperienced podcasters with ambitions of working in the realms of True Crime, should watch CITIZEN SLEUTH. You'll be doing yourself a favour. 

Chris Kasick (UNCLE NICK) tells the story of Emily Nestor and the machinations that revolve around her creation, Mile Marker 181. This True Crime podcast focuses on the death of Jaleayah Davis who passed away on the side of a highway in West Virginia near the mile marker 181. The freakish circumstances of Jaleayah's passing obsessed Emily.  She convinced herself that Davis was murdered and, as Sarah Koenig did with SERIAL, she resolved to uncover the truth. You know what's coming next? Well, you might be surprised. 

Instead of becoming the "An Anatomy of a Podcast" story, Kasick takes us to places not even he is prepared for. The charismatic Emily, with time, family money and recording equipment in ready supply, accepted Kasick's request to be the subject of his film. She seems the sort who'd be up for some added publicity. It can't hurt can it? And that's the thing. Emily has no idea, as she explores this tragic incident that occurred at Mile Marker 81, how much hurt is in store. She's convinced she's doing good. She is about to comprehend what can be the truth for an AMATUER sleuth.   

Klasick's raw but competent film, has become a marker for potential True Crime podcasters with aspirations. He had no idea, while filming, what kind of marker he was creating. This becomes evident as Klasick plays a key role in helping Emily to open her eyes. His brief cameos, late in the film, exemplify his influence. Based on an interview conducted with both Emily and Klasick, Emily's life lesson is not lost on her. Klasick has done her a massive favour in creating CITIZEN SLEUTH.  10GUMS. 

       

No. 49 (2023) JOY RIDE July 8th.

 

Film No. 49  (2023)  July 8th.  2:40 PM EVENT Cinemas, Cine 9   Woodlands W.A.

"If you do not know where you come from, then how do you know who you are?" (Chao, Audrey's contact in China plants a seed of doubt in her mind).

NOMINEE: (Adele Lim) Audience Award; Headliners. SXSW Film Festival 2023.

JOYRIDE is a real test for a crusty, rusted-on narrative driven film lover like myself. But then again, I didn't mind, CRAZY, RICH ASIANS. 

Here, it's more of the same, but I just couldn't find the love that most other punters are finding for this "machine gun" delivered, feisty, "go you girls" road movie. But I do love the non-white, non-straight, non-male foundation that continues the momentum first established by CRA.

Adele Lim (Writer: CRAZY RICH ASIANS) directs her first feature here. She has a T.V. background as long as your arm (REIGN, ONE TREE HILL). Her long suit comes in working with young talent and young person themes. JOYRIDE gives her the licence to thrive in this sphere. Ashley Park (Audrey) and Sherry Cola (Lolo) play buddies who team with another couple of sassy mates Stephanie Hsu (Kat) and Deadeye (Sabrina Wu) to take a road trip through middle Asia to find Audrey's birth mum. There are friendship disputes, there are males who need to be taken down a peg, and there is Kat's tattoo. It's a SOMETHING ABOUT MARY shock image. It's funny enough. 

The actual conclusion is a surprise and beautifully handled. Seemingly at odds with the crassness and shock tones of previous scenes. A small pack of tissues rather than a box might suffice. Audrey does reach her destination, but it's not what she, or any of us are expecting. It was sweet, heartfelt stuff.  The 5 minute resolution prior to fade-out then titles is "pat".

Look, plenty of folk are finding this tight, handsome flick a little shocking with just the right mix of inappropriateness and "friends for life" tosh! I was likely hoodwinked by the 3 minute trailer. Also, I possibly need to get a life!  7GUMS.

  

 

 

No. 50 (2023) LET THE RIVER FLOW (ELLOS EATNU - LA ELVA LEVE) Saxo: Palace (Aust) Scandinavian Film Festival July 10th.

 

Film No. 50  (2023)  July 10th.  6:30 PM  PALACE Raine Sq, Cinema 6, Perth City.

"You can smell it when they come to town. They smell like Lapps" (Ester sits amongst her work colleagues, in the staffroom, listening to them make fun of locals upholding their Sami heritage).

WINNER: (Ole Glaever), 2 X Audience Award, Tromso & Goteborg Film Festivals 2023. NOMINEE: Best Feature (Ole Glaever) Seattle Film Festival 2023.

 

A film that, in two hours, takes you into a world (Norway) where the history, social connection, family and politics is placed into focus in a balanced and heartfelt manner leads to a fantastic cinema experience. LET THE RIVER FLOW is most definitely a film depicting just one of the turning points in contemporary times (70's) which has lead to a resurgence of the Sami traditions in Norway.

I've read criticisms about the film's focus. Is it a story about the saving of The Alta river or is it the repression metered out by the Norwegians on the traditional, indigenous Sami people? Well from where I was sitting it told the story of Ester (Ella Marie Haetta Isaksen), a young teacher of Sami heritage, trying to fit in (The Norwegian way) who returns home and becomes a woman. It sounds simplistic but the complications that come with discovering who she really is, played out against a background of protest and prejudices forces Ester into understanding where her loyalties really lie.

The based on real events tag preceding LTRF, refers to the campaign lead by the Sami people in the 70's and 80's to stop the damming of the Alta river. The fact the Sami's had become lionised and repressed over hundreds of years made their campaign tough. Our fictional character, Ester, a teacher, an influencer of young minds, fast-tracks us into an understanding of a silent war so few outsiders comprehend. If not taking the soft option of returning home to work, gain strong passion to campaign, wrestle with family tragedy then finally speaking her native tongue publicly, Ester may not have found real solace.

"This is the best movie I have ever experienced that tells a story that exactly captures how I have felt for years. I hope many people of all nations get to see this film; I fear that may not be the case". These are the words of an indigenous Sami, elated there is now a quality film that tells their story. There could be no more powerful a recommendation. Everything about LET THE RIVER FLOW captures the essence of quality, cinema story telling.  11GUMS.

 

 

No. 48 (2023) TOBACCO BARNS (SECADEROS). Palace Australia; Spanish Film Festival July 4th.

 

Film No. 48  (2023)  July 4th.  3:50 PM  PALACE Raine Sq, Cinema 8, Perth City.

"You can't get involved in Tobacco Barn's affairs. That is for grown ups!" (Young Vera is sad because her new friend, The Tobacco Monster, is sad. Something is happening to The Barn).

WINNER: (Rocio Mesa), New Director. NOMINEE (Rocio Mesa) Dunia Ayaso Award. San Sebastian International Film Festival.

SECADEROS is a deep, introspective coming of age film. Writer/director Rocio Mesa debuts here with a film that gives off an autobiographical feel. And while I have few criticisms of Mesa's film, I'm not sure I fully understand her message. But then again why does this whimsical film need to have a message? I'm assuming she has taken an important memory of her life, visiting her grandparents in rural Spain as a 7 year old. Perhaps it has helped to shape her to be the person she is.

Vera (Vera Centenera) and Nieves (Ada Mar) fill the screen in most scenes. Their lives parallel as girls growing up in the tobacco fields of southern Spain, at the foot of the Sierra Nevada mountain range. The region is a gift to Vera, a playground  in which to explore and run free. For Nieves it is a hindrance. She has worked hard there. She feels locked in. She dreams of "growing wings".  We meet them at a time tobacco is becoming yesterday's drug. The drop in demand means farms and their barns are becoming redundant. Both girls need to come to terms with change, something all of us face while growing up.

Mesa stamps herself as a director to follow. In this, her first feature, she has assembled actors with no experience, who live in the region. Her aim was always to capture all that was and is real in this region of Spain. Ada Mar (Nieves) in particular is being compared to a young Penelope Cruz. High praise indeed. And, Mar, herself is experiencing her big break in life as an actor.  

High naturalism in a film, never trying to be something it is not, takes skill and a keen eye. Ken Loach (I, DANIEL BLAKE, SORRY WE MISSED YOU) took years to master it ... So what becomes of these young ladies?  The answer to that is not told. They go on to have happy fruitful lives, I hope. Considering Vera is a version of herself (Mar) it would seem this to be the case. If you love the coming of age genre, and willing to experiment with how this style is served;  go see SECADEROS.  10GUMS.

   

   

No. 46 (2023) DALILAND. July 1st.

 

Film No. 46  (2023)  July 1st.  11:00 AM  LUNA LEEDERVILLE,  Cine 5, Leederville.

 

"It's like I've landed on another planet. I belong!" (James is asked how he is coping as Dali's personal assistant).

NOMINATION: (Mary Harron) The Golden Linden Award.

The legend that was Salvador Dali is brought to life here in a film that doesn't reveal anything new about his lavish lifestyle and the precociousness of his talent. But director Mary Harron has given an interpretation of a marriage that played a part in why the legend came to be. Barbara Sukowa's, Gala, Dali's wife, gives Ben Kingsley (Dali) a run for his money as the show-stealer!

The insight into Dali and his world of extravagance and brilliance is seen through the eyes of James (Christopher Briney), a young man with connections who is at a loose end in life. Through his naïve eyes, our mouths gape at the bursts of partying and creative endeavour (often simultaneous) that happen in the Dali apartment. James's job is to keep Dali focused on output. It is the early 70's. Dali is one of a few living artist making millions. Dali and Gala have expensive pursuits. His output needs to be prolific to maintain the expense. The film is entertainment more than a gritty insight into a period of the life of the legendary Salvador Dali.

Mary Harron has a fascination for contemporary artists when it comes to film. Her, THE NOTORIOUS BETTY PAGE and I SHOT ANDY WARHOL are better films, but she continues to give audiences a chance to glimpse  the world of prodigiously creative and eccentric people. She talks about a film (DALILAND) she has made which explores a "mad" marriage that forms the foundation for artworks that are boasted as Dali originals but which may not be. 

The production was restricted in all that it wanted to achieve. Harron could not gain approval to use images of his most iconic pieces. So if you think this film will feed that "itch" (Melting Watch, Lobster Telephone etc) then you'll be disappointed. Never the less, DALILAND is a relatively light, entertaining look a world so removed from what most of us could relate to it may as well be fantasy. It's likely some of it is, considering the number of fake Dali's there are in circulation.  8GUMS.        

No. 47 (2023) NO HARD FEELINGS July 3rd.

 

Film No. 47  (2023)  July 3rd.  12:35 PM EVENT Cinemas, Cine 9   Woodlands W.A.

"I'm an UBER driver and I'm going to lose my car. I think I'm going to lose my house" (Maddy discusses her predicament with girlfriend Sara, thus setting up her desperate need to put a plan in place).

In a cross between A Farrelly brothers and a Jud Apatow production comes Gene Stupnitsky's  (BAD TEACHER, GOOD BOYS) NO HARD FEELINGS. Described as a sex comedy, it ticks all of the boxes that go towards making a U.S. made, in your face, 100 minute entertainment package.  Jennifer Lawrence is on board, not only as the lead, but as a producer. The fact that there is a ridiculous scene depicting Lawrence, naked (full frontal) is bound to add yet another few million $$$ to the box office. A box office seemingly breaking records as I type!

There are a series of one-liners, early, that suggest a freshness beyond just the fact Jennifer Lawrence is on board playing a slutty, girl next door. The script has potential, I was thinking 20 minutes in. But, alas no. It's a silly farce about Jennifer's, Uber driving Maddie, needing a car. Her quick fix method to achieving this is to work for a wealthy couple, Laird (Matthew Broderick) and Allison (Laura Benant) in an "undercover op" to date their 19 year old son and bring him into the real world. Get his head out of his devices and him, off his bed. Silly, yeah? Well I told you!

The thing is, there have been plenty of silly premises (40 YEAR OLD VIRGIN, THERE'S SOMETHING ABOUT MARY) that have worked. The script and the melding of that script with performances of note is often the key. Here, the script (second half) and the chemistry of Lawrence and Barth-Feldman (19 year old Percy) never reaches great heights. The "it sort clicks" notion is non-existent. But hey, I'm a stuffy, middle-aged critic; plenty of younger gen cinema goers are loving NHF. 

And as for "that beach scene"; featuring Jennifer in all her glory. Go, girl - she is brave, considering the scene didn't enhance the narrative in any way. It played more as a publicity stunt. Maybe even an add-on because the rushes were not promising, perhaps. In fact, it was from the moment a loose, flying foot took the wind from naked Jennifer's diaphragm that the film began to deflate. 

I had a bit of fun with NO HARD FEELINGS.   7GUMS.

        

 

  

No. 44 (2023) CHEVALIER. June 14th.

 

Film No. 44  (2023)  June 14th.  2:30 PM  EVERYMAN,  Cine 1, Stratford Upon Avon, U.K.

 

"Monsieur, I fear this will not be a kind place to such a boy" (Joseph's first headmaster warns his father that the colour of the young boy's skin will be noticed).

NOMINEE: Best Feature Film (Stephen Williams) International Narrative Competition.

Joseph Bologne was a prestigiously talented performance artist from the eighteen hundreds. You don't recognise the name? Well, what if I use the name, Chevalier? There, that "rings a bell" doesn't it?  Well, here is a Hollywood-ish take of the young man who battled a prejudiced society (France) in the pursuit of fame and ultimate recognition. 

Bologne was described by U.S. founding father John Adams as "the most accomplished man in Europe". After all, Balogne, AKA Chevalier de Saint-Georges excelled as a fencer, composer and virtuoso violinist. He competed, created, and performed at the highest level, in the grandest city (Paris) of them all. It was inevitable that a film matching the quality of his exploits would be made; and here it is! So does it hit the hights of a 4 to 5 star film? No, not really but this not a criticism. 

It's "Reader's Digest" narrative on the legend of Joseph Bologne makes this more accessible to the masses. I hope I'm not being too harsh because the quality of the production is classy. As far as period dramas go CHEVALIER covers all bases. Director Stephen Williams comes  straight from TV dramas (THE WATCHMEN, RAY DONOVAN). It's his first feature in nearly 20 years (SOUL SURVIVOR). Writer, Stefani Robinson (ATLANTA, FARGO) gives a a competent spin, with a slick script. Ultimately it is comfort cinema. The easiest type of movie to watch on a cold, wet Sunday afternoon.

The legendary meeting CHEVALIER had with Mozart while in concert, and his tempestuous relationship with Queen Marie Antoinette (Lucy Boynton) just prior to the storming of the Bastille, help to form a couple of key scenes. They are brilliantly entertaining and tightly cut. However his dangerous liaisons with an already married, Marie-Josephine (Samantha Weaving) pan out predictably. And while Weaving may seem to have the voice of an angel, it is British soprano Grace Davidson's effortlessly, captivating voice.  

Hey, just because I like my cinema stories to have an edginess to them, nothing should be taken away from the durably, entertaining, CHEVALIER.  8GUMS.