AQUARIUS: spirit, thy name is Sonia Braga

Sonia Braga in AQUARIUS
Sonia Braga in AQUARIUS

In the Brazilian character-driven drama Aquarius, Sonia Braga plays Clara, the last owner of a beachfront condo who hasn’t sold out to a developer who owns the rest of the condos.  The conflict is between Clara, who refuses to sell and those her want her to.  But Aquarius is really about Clara, and it takes its time setting up her character; it’s 26 minutes before we even see the developers.   We must understand her to understand her motivation – and her will.

Aquarius moves through scenes with a lifeguard at the beach, with girlfriends at club, at family parties,  not to move the plot, but to invest in revealing aspects of Clara’s character.  Having conquered cancer, lost her husband, raised children and built an artistic career, Clara has some mileage on her – enough to know what she wants and needs. Having earned the authority to live her life as she pleases, Clara is a wilful free spirit.  And, as everyone finds out, she is absolutely fearless.

It’s a career-capping performance for Sonia Braga, still luminous 40 years after Donna Flor and Her Two Husbands.  Mid movie, there’s a scene when Clara’s adult children try to have an awkward conversation about the financial benefits of selling the apartment.  She doesn’t make it easy for them, and their long-submerged feelings about their father and their mother surface.  With piercing observations and cold-eyed disappointment, Clara is as masterful over her children as when they were infants.  It’s hard to imagine a better movie scene this year.  Braga is brilliant.

The young Brazilian television actor Humberto Carrão is exceptional as Clara’s ever smiling foil Diego, whose youth and punctilious civility mask a capacity to engage in any tactic, even very dirty tricks.

I viewed Aquarius at the Mill Valley Film Festival.

Aquarius is critical of the political status quo, and the Brazilian government’s refusal to submit it for the Best Foreign Language Picture Oscar has created a controversy detailed in this New York Times article.

Stream of the Week: MEET THE PATELS – a documentary funnier than most comedies

MEET THE PATELS
MEET THE PATELS

Meet the Patels is both a documentary and a comedy – and ultimately, a satisfying crowd-pleaser. Over several years, filmmaker Geeta Patel filmed her own brother Ravi and their parents in their quest to find a wife for Ravi. Ravi and Geeta’s parents were born in India, had a traditional arranged marriage which has resulted in decades of happiness. Their American-born kids, of course, reject the very idea of an arranged marriage. But Ravi finds the pull of his Indian heritage compelling enough to dump his redheaded girlfriend and try to find a nice Indian-American girl. His parents try to help him with unbounded and unrelenting enthusiasm.

Meet the Patels is very funny – much funnier than most fictional comedies. It’s always awkward when parents involve themselves in their child’s romantic aspirations. That’s true here, and produces some side-splitting moments. It helps that the Patel parents are very expressive, and downright hilarious. The dad is so funny that I could watch him read a telephone book for 90 minutes, and the mom is herself a force of nature.

We learn that the Patels of Gujarat have adapted an entire menu of marriage opportunities unfamiliar to mainstream American society: a matchmaking profile system called “biodata”, matrimonial fairs, “the wedding season” and more.

Meet the Patels has its share of cultural tourism and the clash of generations. But it is so damn appealing because it’s much more than that – it’s a completely authentic saga of family dynamics, dynamics that we’ve all experienced or at least observed. The family members’ mutual love for each other drives family conflict and, finally, family unity.

I saw Meet the Patels at the Camera Cinema Club last year, and it had a brief theatrical run in the Bay Area. Meet the Patels is available to stream from Netflix Instant, Amazon Video, iTunes, Vudu, YouTube and Google Play. It’s hilarious and heart-warming, so don’t miss it.

Just for Halloween…

PEEPING TOM, coming up on Turner Classic Movies and better than PSYCHO
PEEPING TOM – even better than PSYCHO

If you’re in the mood for a seasonal scare, I suggest you revisit last year’s Scare Week from The Movie Gourmet.  I programmed six horror films from different decades and from different countries.  Even folks who normally avoid the horror genre will find someone to enjoy here. I don’t like Gore Horror, so there’s relatively little blood and guts.  All six movies are available on home video.

And for more current horror, check out 2015 at the Movies: low-budget, high quality horror.

BORGMAN
BORGMAN

THE HOUSE ON PINE STREET: does she really see a ghost?

Emily Goss in THE HOUSE ON PINE STREET
Emily Goss in THE HOUSE ON PINE STREET

So here’s the thing with every movie ghost story – either the ghost is real or the protagonist is crazy enough to hallucinate one. The beauty of The House on Pine Street is that the story is right down the middle – ya just don’t know until the end when the story takes us definitively in one direction – and then suddenly lurches right back to the other extreme.

Jennifer (Emily Goss) is a very pregnant urbanist, who reluctantly moves from her dream life in Chicago back to her whitebread hometown in suburban Kansas. Unlike Jennifer, her husband hadn’t been thriving in Chicago, and Jennifer’s intrusive and judgmental mother (Cathy Barnett – perfect in the role) has set up an opportunity for him in the hometown. They move to a house that is not her dream home AT ALL, “but it’s a really good deal”.  Jennifer overreacts to some crumbling plaster.

Jennifer is pretty disgruntled, and, generally for good reason – her mom’s every sentence is loaded with disapproval. Her mom’s housewarming party would be a social nightmare for anyone – but it’s too literally nightmarish for her. One of the guests, an amateur psychic (an excellent Jim Korinke), observes, “the house has interesting energy”.

Then some weird shit starts happening: knocks from unoccupied rooms, a crockpot lid that keeps going ajar. And we ask, is the house haunted or is she hallucinating? Her sane and sensible and skeptical BFF comes from Chicago to visit as sounding board, and things do not go well.

Co-writers and co-directors Aaron and Austin Keeling keep us on the edges of our seats. Their excellent sound design borrows from The Conversation and The Shining – and that’s a good thing.

The Keelings also benefit from a fine lead – Emily Goss’ eyes are VERY alive. She carries the movie as we watch her shifting between resentfulness, terror and determination.

The total package is very successful.  I saw The House on Pine Street at Cinequest, and now it can be streamed from Amazon Instant, iTunes, Vudu, YouTube and Google Play.

Movies to See Right Now

Jumpy the dog and Ethan Hawke in IN A VALLEY OF VIOLENCE
Jumpy the dog and Ethan Hawke in IN A VALLEY OF VIOLENCE

We’re at the beginning of a very promising Fall movie season .

  • Mascots is the latest mockumentary from Christopher Guest (Best in Show) and it’s very funny. Mascots is playing in very few theaters, but it’s streaming on Netflix Instant, too.
  • John Travolta, Ethan Hawke and Jumpy the dog sparkle in the spaghetti western In a Valley of Violence.
  • The highly original documentary Tower retells the story of a famous mass shooting without dwelling on the shooter.  Only at the Landmark Shattuck in Berkeley.
  • The indie drama Men Go to Battle is an insightful tale of two brothers that exceptionally illustrates the QUIET of pre-electric and pre-motorized North America. Men Go to Battle is available to stream from Amazon Instant, iTunes, Vudu, YouTube and Google Play.
  • If you are entertained by the epically disgusting, you can catch the horror comedy The Greasy Strangler before it hits the midnight cult movie circuit. The Greasy Strangler can be streamed from Amazon Instant, iTunes, Vudu, YouTube and Google Play.
  • The end of the thriller The Girl on the Train (starring Emily Blunt) is indeed thrilling. But the 82 minutes before the Big Plot Twist is murky, confusing and boring.

My DVD/Stream of the Week is Our Kind of Traitor, a robust globe-trotting thriller, enlivened by a lusty Stellan Skarsgård and played out in a series of stunning set pieces. Our Kind of Traitor is available to rent on DVD from Netflix (and coming soon to Redbox) and to stream from Amazon Instant, Vudu, YouTube and Google Play.

On Halloween Eve, Turner Classic Movies is bringing us a campy Vincent Price horror classic from 1959, The Tingler. It has a scary premise – a parasite embedding itself in people’s spine and feeding on them – unaware until they feel a tingle AND THEN IT MAY BE TOO LATE! When finally revealed, the grown parasite is VERY scary-looking. Conveniently, the infested can weaken the parasite by screaming.

Vincent Price and his co-star in THE TINGLER
Vincent Price and his co-star in THE TINGLER

And on November 3, TCM plays the great political comedy The Dark Horse (1932). If you think that political handlers, dumb candidates, spin and sex scandals are creations of contemporary politics, you need to see this gem from 84 years ago.

Guy Kibbee and Warren William in THE DARK HORSE
Guy Kibbee and Warren William in THE DARK HORSE

TOWER: a most original and important retelling of a story that we thought we knew

TOWER
TOWER

 

Tower is a remarkably original retelling of the 1966 mass shooting at UT Austin.  Tower is a tick-tock of the 96 minutes when 49 people were randomly chosen to be shot by a gunman in the landmark tower 240 feet above the campus.  That gunman is barely mentioned (and may not even be named) in the movie.

Tower is director Keith Maitland’s second feature. What makes Tower distinctive and powerful it’s the survivors who tell their stories, reenacted by actors who are animated by a rotoscope-like technique (think Richard Linklater’s Waking Life).  Telling this story through animation, dotted with some historical stills and footage, is captivating.

Since 1966, we’ve suffered through lots of mass shootings.   The UT Tower shooting was especially shocking at the time and prompted the questions about what drove the “madman” to his deed.  But, fifty years later, what’s really important today is how the event affected the survivors – what was what like to live through this experience and how it lives with them today.  That’s the story that Maitland lets them tell us – and in such an absorbing way.

I saw Tower at the Mill Valley Film Festival.  It opens theatrically in the Bay Area today at the Landmark Shattuck in Berkeley.

TOWER
TOWER

MEN GO TO BATTLE: getting away from an obnoxious brother the hard way

MEN GO TO BATTLE
Timothy Morton in MEN GO TO BATTLE

In the indie drama Men Go to Battle, it’s 1861 and two bachelor brothers are sharing an especially unprosperous farmstead in rural Kentucky.  Brash and loudmouthed, brother Francis (David Maloney) confidently plunges into one foolhardy scheme after another.   His quiet practical brother Henry (Timothy Morton) picks up the pieces.  Not one to use words to express his feelings, Henry has finally had enough of Francis and simply leaves for the Civil War without notice.

Observing Francis is plenty amusing, because of his unerringly wrongheaded impulses. But the stone faced Henry, for whom still waters run deep, is much more interesting – we wonder what he is thinking and what he is going to do.  Once he’s made up his mind, he is decisive and resolute.  In a remarkably powerful scene on the morning after the Battle of Stones River (Perryville), he wordlessly decides about war and about his part in it.

Men Go to Battle is the first feature for director and co-writer Zachary Treitz.   His co-writer is the actress Kate Lyn Sheil (Sun Don’t Shine, House of Cards), who has a small acting part (as does indie director Amy Seimetz).

Visually, much of movie is way too dark (as in you can’t see what is going on).  But Men Go to Battle does an exceptional job of illustrating the QUIET of pre-electric and pre-motorized North America.

[Note: Some critics have described this movie s “Civil War Mumblecore”. Indeed, it’s a low-budget indie made by thirty-somethings and the male actors DO mumble a lot. But I despise the Mumblecore genre because the stories are about underachieving slackers who are navel gazing and whining about first world problems. That’s not the case here. This movie is about a real family relationship, and there is no entitlement or snivelling, so it’s NOT Mumblecore.]

Men Go to Battle is available to to stream from Amazon Instant, iTunes, Vudu, YouTube and Google Play.

DVD/Stream of the Week: OUR KIND OF TRAITOR – Skarsgård steals this robust thriller

Naomie Harris and Ewan McGregor in OUR KIND OF TRAITOR. Photo courtesy of the San Francisco Film Society.
Naomie Harris and Ewan McGregor in OUR KIND OF TRAITOR. Photo courtesy of the San Francisco Film Society.

Our Kind of Traitor is a robust globe-trotting thriller, enlivened by a lusty Stellan Skarsgård and played out in a series of stunning set pieces. A meek Everyman (Ewan McGregor) is a tag-along on his high-powered wife’s trip to Cairo. Nursing a drink after a tiff with said wife (the sleek Naomie Harris from 28 Days Later… and a couple of Bond films), he is inveigled into joining a crew of partying Russians and becomes entangled in an intrigue that puts entire families at stake – including his own.

It turns out that our protagonist has been randomly plucked from the humdrum by Dima (Skarsgård), the top money launderer for the Russian Mafia, who is trying to get British intelligence to help his family escape from his murderous colleagues. The story having been adapted from a John le Carré novel, the dour British spy (Damian Lewis from Homeland) on the case is being hindered at every turn by a thoroughly corrupt British law enforcement and intelligence bureaucracy, with the rot reaching up to Cabinet level.

The very best thing about Our Kind of Traitor is Stellan Skarsgård’s performance. Dima is loud, flamboyant and profoundly course. Skarsgård has filled his career with brooding roles, but here he gets to play the life of the party, and he is hilarious – and steals the movie.

Our Kind of Traitor also looks great as it takes us from Russia (shot in Finland) to Cairo (Morocco) to Switzerland to London to Paris. Director Susanna White is a veteran (21 directing credits on IMDb), but Our Kind of Traitor is her first big budget action movie. The success of the film revolves around a series of spectacular set pieces, and White pulls it off masterfully.

Our Kind of Traitor isn’t as good as the best of le Carré’s work (Tinker, Tailor, Soldier, Spy, for instance), but it’s damn entertaining. I saw the final four plot twists coming, but by then I was hooked, so I still enjoyed the film. And, adapting to the post-Cold War world, le Carré may have become even more cynical.

I saw Our Kind of Traitor earlier this year at the 59th San Francisco International Film Festival at a screening with director Susanna White. If you’re looking for an intelligent summer thriller for adults, this is your movie.  Our Kind of Traitor is available to rent on DVD from Netflix (and coming soon to Redbox) and to stream from Amazon Instant, Vudu, YouTube and Google Play.

IN A VALLEY OF VIOLENCE: a drifter with PTSD and his dog find Travolta in the Old West

valley-violence

Writer-director Ti West brings some new touches to the spaghetti western in his mostly successful In a Valley of Violence.  Ethan Hawke plays Paul the drifter, passing through town with his fly-catching dog Abbie.  He runs afoul of the local bully, which unleashes bloody (and, in one instance,  gruesome) revenge.

Right away, the music and the opening titles tell us that we’re watching a spaghetti western.  The dramatic rock formations and thirsty scrub of New Mexico work, too.  But this is a 21st Century take on the genre, with a protagonist suffering from PTSD.  Guilt-wracked, he becomes bent on revenge but remains ambivalent about the killing that his vengeance will require.  There’s also a bad guy with a conscience (but not enough of one).  And the superb final shootout is unlike any that you seen in another dusty street.

John Travolta is exceptional as the town marshal, burdened by wisdom enough to know that he is surrounded by idiots and perhaps to be entangled in their fates.  The marshal is well-seasoned and perceptive.  He reads every character with pinpoint accuracy.  He is one tough, crafty and ruthless hombre, but his actions are motivated by what must be done, not by empty machismo.

As befits a spaghetti western, the end of In a Valley of Violence (including the really violent parts) are filled with dark humor.   James Ransome is very funny as the compulsively foolish town bully, springing relentlessly from one bad choice to another.  One of the bad guys picks the most nail-biting moment to resist fat-shaming: “Don’t call me Tubby – my name is Lawrence”. The film’s highlight may be the LOL dialogue between Hawke and Travolta as they try to navigate not killing each other, all while stalking each other through the back streets.

Abbie the dog (played by Jumpy) is especially endearing and fun to watch.  She even rolls herself up in her blanket by the campfire.   In a Valley of Violence’s credits include the Dog Trainer, three Animal Wranglers and a Vulture Handler

In a Valley of Violence isn’t a perfect film.  The event that motivates the vengeful onslaught is predictable and upsetting to dog lovers.  And, other than Travolta and Hawke, the actors seem like they are modern folks dragged out of a Starbucks and dressed up in cowboy gear.

For what it’s worth, In a Valley of Violence’s climactic gunfight is historically consistent.  Contrary to the tradition in movie Westerns, very few of the Old West gunfights were of the “quick draw” variety.  The real cowboys, outlaws and lawmen tended to sneak up on each other and fire from cover.  When they did approach each other in the street (as here), their guns were usually already drawn.

I’ll watch ANY spaghetti western, but I found In a Valley of Violence to be a particularly successful one.  The dark humor and the performances by Hawke, Travolta and Jumpy are plenty reason to see In a Valley of Violence.

Movies to See Right Now

CHEVALIER. Photo courtesy of Strand Releasing and San Francisco Film Society.
CHEVALIER. Photo courtesy of Strand Releasing and San Francisco Film Society.

The beginning of a very promising Fall movie season kicks off today.

Mascots is the latest mockumentary from Christopher Guest (Best in Show) and it’s very funny.  Mascots is playing in very few theaters, but it’s streaming on Netflix Instant, too.

The end of the thriller The Girl on the Train (starring Emily Blunt) is indeed thrilling. But the 82 minutes before the Big Plot Twist is murky, confusing and boring.

My Stream of the Week is also the Most Overlooked Movie of 2016: Chevalier is a sly and pointed exploration of male competitiveness. Director Athina Rachel Tsangari is obviously a keen observer of male behavior. Both men and women will enjoy laughing at male behavior taken to extreme. I sure did. Chevalier is perhaps the funniest movie of 2016, and it’s on my list of Best Movies of 2016 – So Far. I’m hoping that its popularity explodes now that it’s available to rent on DVD from Netflix and to stream from Netflix Instant, Amazon Instant, iTunes, Vudu, YouTube and Google Play.

We seem to have a major election coming up, so Turner Classic Movies is blessing us on October 26 with four of the absolute best political movies ever: The Last Hurrah, All the President’s Men, The Best Man and The Candidate.

And several rungs down in movie quality, on October 22 TCM will play The Killer Shrews from my list of Least Convincing Movie Monsters, in which the voraciously predatory mutant shrews are played by dogs in fright masks. Yes, dogs.

The Candidate - Robert Redford learns that running for elected office has its disadvantages
THE CANDIDATE – Robert Redford learns that running for elected office has its disadvantages