Monday, April 23, 2018

Punk rock and Buckminster Fuller join forces in Peter Livolsi's THE HOUSE OF TOMORROW

You won't find much odder combinations that those that come together in THE HOUSE OF TOMORROW, the first full-length film from Sundance alumnus Peter Livolsi. The two families that slowly begin to meld here could hardly be more different -- one whose father embraces religion as a kind of escape, the other pure-science-oriented who lives in one of those geodesic domes designed by architect/ environmentalist/ inventor Buckminster Fuller. The son in each family seems like the proverbial oil/water mix, as well.

If Mr. Livolsi's movie (the filmmaker is shown at left) has the whiff of manipulation -- his adapted screenplay is based upon the novel by Peter Bognanni -- the performances by the film's six leading actors are spot-on, alternately funny and moving, while the writing and direction allow those performances to carry the weight of the somewhat too telescoped story.

The result is a film that lives and breathes vitally as it unfurls before you, even if you might find yourself picking it apart once it's over and you've recovered from being in-the-moment with these terrific actors.

Sebastian (Asa Butterfield, above, seated) and his Nana (Ellen Burstyn, above, hair-cutting) live and work (as caretaker/guides) in the geodesic dome/home designed by the late, great Mr. Fuller. On a tour one day comes a church group led by a dad (Nick Offerman, below, left), his two kids, Jared (Alex Wolff, below, center) and Meredith (Maude Apatow, below, right), and some other young church members. The very small but vital interplay that occurs between Sebastian, Meredith and Jared -- just a little conversation, touching and then a boner -- leads to these kids' increasing connection with and reliance on each other.

Teen-age rebellion, planned and otherwise, is something movies have always served up, from the Rebel Without a Cause of my own teen years until now. This film, however, with its hugely different philosophies at work, as well as its two families suffering each in its own way from great loss and neither quite able to properly cope, offers an odd but enticing tale that grows wilder as it moves along.

That the movie does not spin out of control is due mostly to those wonderful performances and to Livolsi's ability to keep us hanging on in hopes that the film will not finally betray itself and its ideas/ideals. It doesn't, but due to that telescoping, a little too much goes on for its own good. Still, there are a number of lovely high points along the way. Why people sometimes act as they do, in a manner that doesn't seem to help themselves or those they love, is brought home quite beautifully in a scene between Sebastian and Meredith in a hospital waiting room, above.

How we can imprison ourselves, even in a remarkable, environmentally friendly house full of light that brings the outside in, is demonstrated very nicely, too, as is some punk rock music that, for the first time in my movie-going experience, actually made some sense -- musically and philosophically -- while advancing the plot-line along.

If you can accept a little manipulation in service to some thoughtful ideas and wonderful acting, I suspect you'll be happy to have seen The House of Tomorrow, a title that becomes more and more ironic -- and yet absolutely truthful, too -- as the movie moves along.

I wonder what Buckminster Fuller would think of the film. I 'd hope that, as surprised as he might initially be, he would also enjoy and approve. From Shout! Studios and running just 85 minutes, the movie opens this Friday, April 27, in New York City at the Village East Cinema, in the Los Angeles area at Laemmle's Noho 7 and Playhouse 7, and here in South Florida at the AMC Aventura 24, Miami.  To see the listing of all currently scheduled playdates, cities and theaters, click here.

Sunday, April 22, 2018

Modern-day Corsica comes to life (and death) in Thierry de Peretti's dark A VIOLENT LIFE

A VIOLENT LIFE, the new film from actor-turned-director Thierry de Peretti (shown below, who also directed and co-wrote Apaches), is, as was M. de Peretti's previous movie, all about the Mediterranean island of Corsica (located just above Sardinia and pretty much midway between Italy and France) -- a very short history of which is given us via the film's opening title cards.

This history tells us that the island was purchased by France (but not from whom: the Republic of Genoa) in 1768.

While France still owns and "rules" the island today, as a territorial collectivity, Corsica supposedly enjoys greater autonomy than some other French-controlled regions. This remains colonialism nonetheless, and so the island has been plagued or (depending on one's viewpoint) enriched ever since by it own nationalist movements which rise to the surface every so often, encouraged, as the title cards also inform us, by Corsica's young people -- mostly, as we shall see, by its young male population. With a single exception, these young men are heavy-duty macho numbskulls who then grow, as adults, into even more violent and stupid versions of their younger selves.

That "exception" would be the film's hero and main character, a young man named Stéphane (Jean Michelangeli, above), who seems initially intelligent and thoughtful but also clearly in thrall to many of his friends and relatives, younger and older. The movie is filled with conversations, philosophical and political, and while this is interesting enough, it soon begins to seem that for all these Corsicans' efforts toward would-be independence, no one knows what the fuck he (or anybody else involved) is actually doing or achieving.

Part of the problem with the movie is that it will very difficult for most audiences, even as it is for the characters themselves, to know what is going on and why. For whatever reason, the main character seems to be OK with this. (Perhaps he is so used to this being the case that nothing any longer surprises him.)

We watch and listen as the film moves back and forth in time and characters kill and/or are murdered, bombs are planted (some go off, others -- intentionally -- do not), and nothing at all is achieved. One might be forgiven for thinking that perhaps French rule isn't so terrible after all. (And this, from someone who professes to hate colonialism!)

Along the way  subjects are raised that are always worth thinking about -- "moral limits," for instance. And the film's cast of (for TrustMovies, at least) unknown newcomers is, to a man and woman, talented and believable. Toward the end, there a wonderful scene between what my spouse called "The Real Housewives of Corsica," in which the women finally get their chance to spout ideas and beliefs. The result is eye-opening, funny, and almost as disturbing (but not quite) as what we've seen and heard from the men.

Early on, when one character notes, "They'll come down heavy on us!" you may ask yourself, Who the fuck are they? By the end, you are still asking this question because the groups and sub-groups involved in all this seem beyond understanding -- at least in any manner useful to the "cause."

As sad and depressing as A Violent Life is, I'm still glad I saw it -- if only to be able to try to understand (and then fail at it) just a bit more about the Corsican "situation." The movie ends with our hero finally talking to a journalist, insisting that his real name be used, and then accepting the inevitable, whatever might occur. Of course, he and we know very well what this will likely be.

From Distrib Films US and being released to DVD via Icarus Films Home Video, the movie -- in French (and maybe some Corsican dialect) with English subtitles and running 107 minutes, hits the street this coming Tuesday, April 24 -- for purchase or rental.

Saturday, April 21, 2018

Love musicals? Try John Howarth and Michael Fields' MARYJANE: A MUSICAL POTUMENTARY

Where did this very enjoyable and surprisingly encompassing movie -- MARYJANE: A Musical Potumentary -- come from, and why isn't it receiving a more major release? To answer that first question, the film is based on a stage musical put together by Michael Fields (shown below), first produced by Dell'Arte International (where Fields is part of the staff), a theater and school located in Humboldt Country, California (and yes, Humboldt is probably best-known as the "pot" capital of the USA, if not the entire world).

Why isn't the film getting the kind of release that it deserves? Probably for a number of not-so-good reasons, beginning with the fact that it's pro pot (Bill Maher would certainly approve), which is still a no-no in certain circles, despite marijuana's ever-increasing legality. Although the film won a Best Musical award at the Oregon International Film Festival (OK: it's not Cannes), there are no "names" attached to the movie save that of Ed Asner, who
has but a very small role in the film and does not appear until nearly the finale. Despite this lack of names there are some immensely talented folk involved in the musical -- from the several people who wrote its songs, to the performers themselves, to the director/  cinematographer/editor and co-screenwriter, John Howarth, shown at right). The theater production is said to have been the most successful ever produced by this company, and it's easy enough to understand why: Its subject matter could hardly be more "right" for the location nor more topical, too, for the entire nation.

To make the transfer from stage to film, Mr. Howarth has done some very clever stuff: inserting timely documentary-type interviews with police and fire department personnel (as below) who talk about the specific pot-produced problems that marijuana growing increases regarding the necessary protection of the community at large. Not to mention what weed production has done to the local ecology. Not good.

While the musical is definitely more pro pot than not, it also manages -- quite well, too -- to let us see the whole picture of a community whose very livelihood (not only for the growers and sellers but for so many other local businesses that thrive on the pot economy) has come to depend almost entirely on this product.

And yet the movie's never preachy nor finger-wagging. Instead, via one highly enjoyable musical number after another (there are said to be 16 in all), the ideas here come to wonderful fruition in the charming and funny lyrics that are also sometimes surprisingly smart and dark. (The music is good, too: often bouncy and buoyant, occasionally emotional and moving.)

Maryjane: A Musical Potumentary makes wonderful fun of its subject, as well as recognizing its many benefits. It addresses what will doubtless arrive once pot is completely legal and big business begins to put these small businesses out of business. A song such as I Am the Industry pleads in its own nasty way to keep pot illegal, while I Just Wanna Get High asks why liquor is legal but pot is not.

The adorable Humboldt Honey satirizes the hippie ladies of the town; The Rasta Tea Party offers up pot's "spiritual" side with its own side dish of satire; the beautiful What Have I Done, My Son and Child are hugely moving numbers sung with great passion and feeling.

Maybe the best of all is the spectacular song and dance set to an Hispanic style addressing the "trimmigrants": those workers, visitors and locals, who trim the marijuana and make pretty good money doing it. This particular number is a knockout.

Toward the end, as someone sings, "I'd like to teach the world to smoke in perfect harmony," you'll suddenly become aware, not just of satirizing that old Coke pop-song jingle, but also of how beautifully some of these numbers are being rendered -- in perfect harmony.

The cast could hardly be bettered -- many of them hail from the Dell'Arte alma matter -- as does the leading lady, Joan Schirle (near left and below), who is simply terrific whether acting, singing, dancing, whatever.

TrustMovies admits that he was not expecting much from this unknown-to-him little movie when he sat down to view it, and this may account in some part for his huge enthusiasm.
But only in some part.

Maryjane: A Musical Potumentary ought to have received a much wider release. Fortunately, it hit VOD just yesterday, April 20, from Green Apple Entertainment. Presented in widescreen with an aspect ratio of 16×9 (1.78) and Dolby Digital Stereo 2.0, it is now available on Amazon Prime Video, Google Play, DISH/ Sling TV, DirecTV, FandangoNow, Xbox, VUDU -- with more venues coming shortly. The movie's very good soundtrack is available now, too.

Friday, April 20, 2018

The survivor experience times six in Jon Kean's must-see documentary, AFTER AUSCHWITZ

As if the World War II Jewish Holocaust were not in itself awful enough, the continuing realization of what its few survivors (relative to the number of Jews killed) have experienced since their release from the death camps should bring any sentient/caring person up short.

First, there was the antisemitism  that greeted survivors immediately post-release. Then the need by almost everyone, Jews included, to bury the event and never talk about it.

Then, once the talk and the unfurling of its history began to occur -- via news footage, guarded and finally more open conversation, film and television documentaries -- the rise of the "denialists" claiming that the Holocaust never happened. Will the horror and shame never fucking end? Clearly not, as the subjects of this film realize by speaking out about the various genocides occurring before and after their own.

The fine and necessary documentary, AFTER AUSCHWITZ, by Jon Kean (the filmmaker is pictured above, center, with the six subjects of his film, three of whom are now deceased) joins last week's excellent doc, Nana, which addressed the life and history of but a single concentration camp survivor, as a kind of bookend pairing of a particular horror and its aftermath. Each film has much to say and says it well: Nana by showing us the mission of its main character, After Auschwitz via the varied experiences of six quite different women.

Mr. Kean's film bounces back and forth between its thoughtful, intelligent and somewhat positive-though-always-tempered-by-reality women who now have children, grandchildren and even great grandchildren of their own. (In one of the more interesting scenes, one woman examines briefly the great difference in attitude toward the Holocaust between a survivor's children and grandchildren.) We learn these women's history, a bit about their camp experiences, and much more about what happened, as in the doc's title, after the camp.

The post-Auschwitz career of these women spans everything from teacher and social worker to fashion designer and deli-ownership. One even became the nanny to the family of actor Ricardo Montalban. Their stories, while in themselves interesting enough, are made even more so by their ideas, their passion and their exploration of subjects such as the meaning of "home." What one woman has to say about this at the film's finale proves as deeply sad as anything you'll have heard in quite awhile.

One idea gleaned from another doc covered this past week, Lives Well Lived, is how very important one's attitude toward a particular thing can be. The attitudes in this doc run the gamut and seem to account in good part for how these women have responded to life post-Auschwitz.

One thing they all seem to agree upon is the importance of keeping the memory alive of what happened during the Holocaust. No less a personage than General Dwight Eisenhower, who helped liberate one of the camps, insisted that camera footage be taken on the spot in case, years from then, anyone should attempt to say that these things never happened. How smart and how prescient he was!

From Passion River Films and running but 82 minutes, After Auschwitz opened today, Friday, April 20, in New York City at the AMC Empire 25 and will hit a number of other location throughout the country in the weeks to come. Here in South Florida, it opens next Friday, April 27, in the Miami area at AMC's Aventura 24 and Sunset Place 24, and in Fort Lauderdale at The Classic Gateway. The following week, May 4, it will play Boca Raton at the Living Room Theaters, and at the Movies of Delray and Lake Worth, and in Los Angeles at Laemmle's Music Hall 3 & Town Center 5. Click here or here and scroll down to view all currently scheduled dates, cities and theaters.

Thursday, April 19, 2018

At NYC's FIAF next week: another delectable Sacha Guitry delight, THE STORY OF A CHEAT

Lovers of classic French cinema had better mark their calendar for this coming Tuesday, April 24, when FIAF's New York City branch screens one of cinema/theater-master Sacha Guitry's enduring works, THE STORY OF A CHEAT (Le roman d'un tricheur) from 1936. TrustMovies has come quite late to discovering the films of this fellow, having just recently seen and reviewed his remarkable La Poison. As I noted earlier, and now feel even more strongly, I want to view anything by M. Guitry that I can get my hands on. The filmmaker, shown below, came from theatrical roots, which can be seen and heard in his remarkable dialog and his delightful way with words.

Sophisticated and urbane, Guitry had a grand understanding of humanity's foibles, including not only its need for hypocrisy and denial but also for bonding, beauty and love. He's a satirist who is wonderfully humane but rarely sentimental and never stupid. He sees the irony in just about everything and everyone, and this gives his work a consistent jolt of pleasure and surprise. Don't get too comfortable, he seems to be telling us, because that kick in the ass is just around the corner.

The tale Guitry tell here is one of a late-middle-aged fellow sitting at a little Parisian cafe, writing his memoir (beginning with his life as a child, above, in a family of 12) -- which springs to life as he writes and speaks. Much of the movie is told via narration (there is surprisingly little actual dialog here), and were this narration not so cleverly written and sustained via Guitry's wit and charm, we might grow weary of it. No chance of that.

How the child is suddenly orphaned and why he survives -- it involves thievery and punishment -- ought to be awful and horrifying. In Guitry's hands it is instead delightfully funny and witty, and so we follow this kid as he grows into an adolescent, then a young man and then into full maturity -- as both the "cheat" of the title (above) and yet somehow not quite a cheat at all.

The world is filled with cheats of all types and both sexes, we -- and our narrator -- soon learn, and these involve everyone from the woman with whom he has his first affair to his later jewel-thief mistress (above), and his even later on-paper-only wife (who eventually is to become, unknown to her, his one-night-stand). More of these cheats are female than male -- the men seeming to be the stronger and perhaps more trustworthy sex.
Based upon the two films I've so far seen, Guitry could be accused of some misogyny, I think, and probably rightly so. He's a child of his time, after all, who perhaps today would have grown out of this, at least somewhat. I may have to correct my views once I've seen more of his work. Even so, this trait does not overpower the many strengths this writer/filmmaker possesses.

Nothing is sacred here: not gambling, not sex, not childhood, not family, and certainly not the Principality of Monaco! Well, maybe friendship. That seems to be something that could stand the test of time. Meanwhile, we have some delightful locations, assignations and peregrinations to enjoy. 

Guitry's sublime sense of irony, his great skill at story-telling, and above all his love of humanity in all its sublime silliness and sadness makes this movie a keeper indeed. How lovely that FIAF is showing the film as part of its CinéSalon series, Classic of French Cinema with Olivier Barrot, the journalist and TV personality.

The Story of A Cheat will screen at FIAF this coming Tuesday, April 24, at 4pm and 7:30, with the talk by M. Barrot scheduled for 6:45pm and open to audiences at both screenings. As usual with CinéSalon, there will be a post-screening wine/beer reception. For more information and/or tickets, simply click here.

For those of you not in the tri-state area or who can't make the FIAF screening, it may be of service to know that the film also exists on DVD via Criterion and its no-frills Eclipse collection and via FilmStruck -- for purchase, rental or streaming. 

Click here for more information.

Wednesday, April 18, 2018

Creepy scares--and quite a bit more--inhabit Jeremy Dyson/Andy Nyman's GHOST STORIES

If you're looking, as TrustMovies often is, for a worthwhile and different "scary" movie, I'd highly recommend a new one entitled (not especially originally but no matter) GHOST STORIES. The ghosts here are quite interestingly connected -- and guilt-generated -- even though they appear in what initially looks like several different tales. The link between them is one of those parapsychology "experts" dead set on exploring and then debunking what might appear to the untrained eye and mind as "other-worldly."

The writer/director purveyors of this strange and alternately entrancing and disturbing movie are Jeremy Dyson (shown at left) and Andy Nyman (shown below), the latter of whom may be more familiar to viewers as an actor, which he is again here, essaying the leading role of Dr. Goodman, the fellow who would like to debunk the various tales we're going to see. How the good doctor goes about this and what happens then makes up the meat of Ghost Stories, a kind of anthology movie that turns out to be but a single story, after all.

The connections in the three-tales-within-a-tale are both obvious and barely there, but by the finale of this 97-minute movie you may be surprised at how many more associations and relationships are present here than you'll have first imagined.

By the time of its conclusion, the movie has offered a good deal more surprise and depth than expected in what would initially seem to be a mere genre piece.

The three let's-debunk-this-nonsense tales involves a night guard (Paul Whitehouse, above) at a closed-up sanitorium, a very odd and maybe paranoid young man without a driver's license (Alex Lawther, below) and a highly entitled, upper-crust twat about to become a father (Martin Freeman, two photos down).

The three give as fine and specific a performance as can be managed in the short screen time and limited character development provided. But that's quite all right because the filmmakers also offer up the requisite scares and fright along the way (nothing we haven't seen before, but nicely done) and most important a compelling and increasing sense of absolute dread -- of what, we're not even sure.

Storywise, the movie's all over the place, and yet it manages to somehow cohere, while visually it seems dark and foreboding, even in the daylight scenes. Judaism, the faith and culture, are important, too -- how much so we don't quite understand until the finale.

Oddball but finally memorable, Ghost Stories, I think, will slowly build a following and someday perhaps take its place as a kind of minor genre icon. Released via IFC Midnight, the movie opens in New York City at the IFC Center this Friday, April 20, and in Los Angeles next Friday, April 27, at the Landmark NuArt. Simultaneously with its theatrical release, the film will also be available via VOD.