Wayne Wang's COMING HOME AGAIN: Life and death in the Korean-American community

For those of us who've wondered why the career of Wayne Wang (Chan Is Missing, The Joy Luck Club) has never taken off the way we imagined it might (his two films preceding this one were never released theatrically here in the USA), look no further than his latest and, for my money, one of his worst, a tiresome downer entitled COMING HOME AGAIN. If that moniker sounds a tad generic, it's part and parcel of this slow-moving and obvious "art" film. 

Wang is said to prefer quiet films (hey, TrustMovies does, too!) but that is hardly an excuse for making one that seems to revel in the predictable, giving us a tale taking place in the Korean-American community of San Francisco that deals with biggies such as family dynamics, death, religion and, yes, food and cooking.

As a director, Mr. Wang (shown at left) has usually proven serviceable enough, though one might occasionally question, as here, his use choice of long shots, medium shots and close-ups. It's as a writer (with Chang-rae Lee, based on Mr. Lee's article for The New Yorker magazine) that Wang stumbles badly, offering up little more than a series of cliched incidents with dialog to match that give us the usual -- over and over again: distanced and angry mother, son, and daughter; barely-there father; and the usual death-and-dying routine (complete with vomiting, of course) that we've experienced on film time and again. The fact that these are Korean-Americans does not add much to the overall deal. Worst of all is the incredibly ridiculous exposition consistently ladled into the dialog.

Really: Would this son only now, at death's doorstep for his mom, be questioning her Korean history. Give us a break. Even given that the son was absent from the family for schooling, would he never have seen nor asked about those basketball trophies? Everything here seems too easy, too "planned." There is practically no character, let alone character development. After being with this "family" awhile, you really feel you need to introduce these people to each other. All is artsy/fartsy long takes with much staring sadly/angrily/meaningfully into the distance (by both the characters and the camera), until you just want to goose this movie into something, anything. 

The single surprising scene arrives as a kind of climax, and it is creepy, crazy and near-hilarious. It certainly gives, at last, an outlet for what seems to be the unending, everlasting guilt with which these folk are evidently dealing. I am certain I am being way too hard on this little film which, given its depressing subject matter, won't be packing in the crowds (even virtually). But as a near-perfect example of a bad movie trying for some kind of art, Coming Home Again shines. 

From Outsider Pictures, in English and Korean with English subtitles, and running 86 minutes, the movie premieres October 23 through Virtual Cinema and theater bookings in the U.S. and Canada, in partnership with Strand Releasing. Coming Home Again will not be on other streaming platforms until 2021.  

(Step)father and son bonding gone awry in Jan Zabeil's tri-character drama, THREE PEAKS

I don't have time to go back and view the beginning of THREE PEAKS all over again, but if I'm not mistaken, this movie literally has only three characters whom we see for the duration of the film: wife and mother, Lea; her son, Tristan; and her significant other, Aaron, who is trying ever harder to be the step-father that Tristan clearly needs -- even though the boy is hanging on for dear life to his birth dad (whom we never see but are made aware of via dad's persistent phone calls to his son).

In Jan Zabeil's 2017 film, just now receiving its American theatrical debut, those titular three peaks refer to the name of the mountain top to which the couple their boy goes on a vacation which takes up the final half (or more) of the film.

Yet these three peaks could as easily refer to the three characters, each one trying to be the most significant and strongest of all. Writer/ director Zabeil (shown at left),  German born and raised, has given us a most unusual movie and a very good one -- in which family dynamics turn into a life-and-death situation without anyone actually being the villain or hero.

Instead, attempts at closeness and caring -- thanks to small, incremental mistakes by an adult, along with the kind of major foolishness from a child that suddenly endangers him and his caretaker -- result in the possibility of utter destruction. The filmmaker is particularly wise in setting up the situation carefully, so that

 

we only slowly and unsurely realize the extent of how troubled is young Tristan, played with a combination of fierceness, fear and caring by the fine young actor, Arian Montgomery (shown above, left, and below, right). His imagined nemesis and actual hope, Aaron, is played with wonderful mesh of clarity, strength and insecurity by Alexander Fehling (above, right, and below, left), of Young Goethe in Love and Labyrinth of Lies).

The third wheel -- unfortunately, by virtue of how the movie is set up and executed, she is just that -- is the wife and mother, played as well as her circumscribed role allows, by Bérénice Bejo. Ms Bejo (below, right) is a fine actress, as she has often shown us, and she does a good job again here, though she is confined to the first half of the film, during which her character demonstrates a love for both her man and her son, as well as perhaps a little too much connection to that ex-husband which abets, without meaning to, some of what happens plot-wise.

Three Peaks is packed with the kind of offbeat, careful behavior found when a family divides and then opens to include someone new. Everyone is just a little on-guard, trying to do the right thing but screwing up now and then. As the film progresses and the situation becomes ever more dire, it takes on the feeling of a thriller, even as it remains a kind of character study of both Tristan and Aaron, and to a lesser extent, of Lea.

Herr Zabeil manages to keep us holding our breath, hoping for the best, even as our sympathies move back and forth between boy and stepfather. We understand how a child can lash out in unjust anger, but we can't help wishing this were happening somewhere/anywhere less fraught than here. Overall, Zabeil's move proves quite an accomplishment, mashing genres into something both provocative and new.

From Greenwich Entertainment and running a slowly engulfing 90 minutes, Three Peaks is currently set for screening in ten cities across the country, opening this Friday, June 28, in New York City at the IFC Center, and then on Friday, July 12 in Los Angeles at the Landmark NuArt. Click here and then scroll down to view all currently scheduled playdates, cities and theaters.