Sebastian Gutierrez's genre-mashing, what's-going-on-here? delight, ELIZABETH HARVEST

For TrustMovies, one of the things that distinguishes a Sebastian Gutierrez film is how downright enjoyable it always is. His movies, no matter the genre, are just plain fun to see and hear. Several of his films, as both writer and director, are ensemble comedies of connection (Women in Trouble, Girl Walks Into a Bar), though he also ventured into would-be arty neo-noir (Hotel Noir) and even the horror genre (Rise: Blood Hunter).

Gutierrez's latest to hit theaters is a bizarre mystery puzzle entitled ELIZABETH HARVEST, which is simultaneously a very nice addition to the mash-up genre of sci-fi/horror/thriller. Once again, as with all of this filmmaker's work (Gutierrez is shown below), it proves to be enormous fun.

From its opening scene, in which a polished and very wealthy older man (the spot-on Ciáran Hinds) brings his new young bride (the lovely Abbey Lee) to his rather spectacular modern mansion and, during her tour of the premises, explains that she now owns and should feel comfortable with everything and in every room of the house -- except one -- the viewer's "Bluebeard" antennae will immediately start to wiggle. As they should.

But, oh my goodness, don't even begin to imagine that you have figured things out. That is it, so far as my spilling any "plot" beans is concerned. I will simply suggest that you stick with this movie for a wonderfully wild, visually enticing and often shocking/funny ride in which things are exactly as -- and then nothing like -- you expect.

Even the mention of a few other movies to which this one owes some thanks might spoil things, so I shall keep my mouth closed and fingers halted and concentrate instead on the performances. Mr. Hinds (above, left, and below, right) is as good as we now always expect him to be: particularly classy and rather scary, too.

Ms Lee (above, left and further above, right), with her model-slim figure and beautiful face, at first seems a tad too inexpressive. But, as the film moves on, she grows and changes -- for reasons the viewer learns almost at the same time as does her character. This is hardly an easy "role," but the actress not only takes it and runs with it, in fact, she crosses the finish line in rather remarkable fashion.

Supporting  roles (except they are hardly that; more like secondary leads, really) of the mansion's butler and maid are played by Matthew Beard (above) and Carla Gugino (below). The latter, having played in almost all of the Gutierrez's films, seems like something of a muse to the writer/director. Both actors are excellent, in Mr Beard's case, turning on a dime until we can hardly keep up with this character or what he wants.

TrustMovies often complains about the manner in which certain filmmakers choose to use exposition. Well, here, Gutierrez piles it on so heavily -- visually and verbally, using dialog, diaries, flashback and more -- during the second half of the film that it may just take your breath away. Yet, he does it all with such good humor and wit that it actually adds to the enjoyment to be had.

As I say, what goes on here, as sometimes bloody and naughty as it gets, never ceases to be great and increasing fun. And just about the time that you imagine things can't possibly get any crazier.....

From IFC Films and running 105 minutes, the movie opens this Friday, August 10, in New York City (at the IFC Center) and Los Angeles (at the Arena Cinelounge Sunset). If you're not located on either coast, no worries: The film will simultaneously open via VOD.

Streaming tip--Netflix's Ayer/Landis BRIGHT: It's more fun than most critics have suggested

Yes, you have to be willing to accept a tale of Los Angeles cops -- good ones and bad ones -- that also involves fairies, elves and orcs (the latter will be lost on older audiences unfamiliar with those Lord of the Rings movies), but once you do, BRIGHT, the latest Netflix-released movie to find its way onto the streaming miasma, is actually a lot of fast-moving-if-silly fun that simultaneously offers its own ever-timely look at and lesson on racism and prejudice. For some nonsensical reason, our critical establishment, who just loved Wonder Woman, has seen fit to pillory David Ayer, first for giving us the more-fun-than-you've-heard Suicide Squad movie and now this fantasy follow-up that traffics equally in make-believe and mayhem.

As directed by Ayer (shown at right) and written by Max Landis, Bright makes good use of both the director's past abilities regarding cop movies (Training Day and Dark Blue, which he wrote, and the fine End of Watch, which he wrote and as directed) and his newer-found ability to offer up comic book stuff in the style that it deserves: not taking it at all seriously while making it move and amuse. One can only laugh in utter derision at critics who accused Ayer of making Suicide Club unbelievable -- as though any of these goddamned super-hero/stupid-hero movie were even remotely believable? Well, "great minds" do think alike.

Meanwhile, Bright posits one of those alternate-universe L.A.s in which elves have taken over as the elite, mere humans are relegated to underling status, fairies simply fly around and occasionally get swatted, and orcs are clearly at the bottom of the food chain: think Blacks.

There is one scene in the movie in which cops descend and beat practically to death an orc that will put you immediately in mind of Rodney King. Will Smith and Joel Edgerton (above and further above, left and right, respectively) play the usual unlikely cop partners (with Edgerton as the first orc ever allowed on the L.A. police force). Smith seems more relaxed and willing to let his easy charm shine brighter than in recent films, while Edgerton (of Animal Kingdom and Loving, even under very heavy make-up and/or CGI, manages to grab us and move us, as ever.

The minimal plot has to do with a, yes, magic wand (called exactly that), the getting of which seems awfully important to various elves, cops, gang members and everyone else on view. Our two cops manage to meet and protect a lone woman elf named Tikka (Lucy Fry, above) who seems to have changed sides from bad girl to good, and now needs to keep that wand under her wing.

The leading naughty elf is played by Noomi Rapace, above, a talented actress with a great face who is wasted here. Much of her role must have ended up on what we used to call the cutting room floor, or she was simply given too little to do in the first place. In the very large supporting cast are actors like Ike Barinholtz and Margaret Cho (as dirty cops) and Edgar Ramírez (below) as a sexy federal-agent elf.

All told, this one's a time-waster, but it is a lot of fun and not at all difficult to sit through -- if you've a mind to and are in mood for fantasy and action.  From Netflix, Bright, running just under two full hours, began streaming this past Friday, December 22.

Guillermo del Toro's THE SHAPE OF WATER proves his richest, most successful film to date

Taking you places that movies seldom manage while creating a tightly-focused universe of dark enchantment based clearly on the kind of world in which we're forever stuck, Mexican filmmaker Guillermo del Toro (shown below) has, with THE SHAPE OF WATER, graced us with his (so far) masterpiece.

Ever more so than Pan's Labyrynth, which demanded at least some knowledge of Spain's history and the Spanish Civil War to bring its several strands together, del Toro's newest work asks that you remember or maybe just have a nodding acquaintance with The Creature from the Black Lagoon.

Even if you don't recall that "landmark" monster movie, you still should not have any real trouble understanding the theme, plot and raison d'être of this exceptional love story/fantasy that is filled to its brim with "outsiders" of every sort.

In the film's most striking and yet most subtle note, even the movie's premiere villain -- played to the hilt by Michael Shannon (above), the only actor we have today who could easily replace the late, great Boris Karloff -- is himself one of these outsiders, incapable of experiencing or feeling emotions like love and caring, yet unable to even understand what this lack means to his own place in the world. (The other outsiders here all very well know their lack and their place.)

Señor del Toro addresses the place and plight of our GLBT community, our people of color and our handicapped simply and gracefully via his movie's main characters. The gracious and comforting Octavia Spencer (above) plays one of the two janitorial staff with whom we bond at the government-sponsored "research" facility to which our creature, found in the Amazon, has been brought for "study."

The other worker is played by our main character, Elisa, a young woman who has had her vocal chords cut as a child and is now mute, played by the great Sally Hawkins (above). As with Rachel Brosnahan in The Marvelous Mrs. Maisel, I can't think of another actress who could bring all that Ms Hawkins does to this role: an inner beauty that simply glows, steely strength when required, and an openness that captivates and charms.

Another wonderful actor who possesses extraordinary subtlety and empathy, Richard Jenkins (above), plays Elisa's friend and neighbor, Giles, a gay illustrator/artist in a time in America -- the 1960s -- when the closet was still the best option. These three unite to save our creature, who is in peril of its life, and the movie's wonderful message of tolerance and love for and by not just humans but any living species is brought home as seamlessly, beautifully and cinematically as just about any in movie history.

In addition to Shannon's villainous character, we meet another scientist, played by ubiquitous and always wonderful Michael Stuhlbarg (above and also currently to be seen in Call Me By Your Name and The Post). TrustMovies would say the the film's ace-in-the-hole, performance- and character-wise would be the depiction of its creature, brought to life by actor Doug Jones (below, and oft-used by del Toro) and his incredible make-up or maybe CGI-effects, This is indeed a stunning achievement, but then all the characters and characterizations here are so good that literally no one stands out above any other.

While the plot of The Shape of Water is pretty simple -- rather typical, really -- the film is brought to fierce and gorgeous life by del Toro's wondrous imagination.

That imagination has been hugely abetted by that fine cinematographer Dan Laustsen (Crimson Peak, Brotherhood of the Wolf, and the gorgeous and engrossing Danish TV series 1864), production designer (Paul D. Austerberry), art director (Nigel Churcher) and set decorators Jeffrey A. Melvin and Shane Vieau, all of whom, save Vieau, have worked with del Toro previously.

There are only around a half dozen locations used repeatedly in the film, but all of these -- from Elisa and Giles' facing apartments (hers is shown above) to the science laboratory (two photos up) to the giant old-fashioned movie theater (below) located just below the apartments -- are brought to such amazing, beautiful, darkly noir-ish life that they will probably remain in your mind and imagination for good.

In all, The Shape of Water comes together to form something we almost never see: a kind of mainstream blockbuster, a moving work of art, and a film that manages to show us just about everything that a single motion picture can achieve.

From Fox Searchlight and running 123 minutes, the film is playing all over the country at this point. Click here to find the theater(s) nearest you.

Lucile Hadzihalilovic's follow-up, EVOLUTION, proves another stylish, mysterious provocation

For all those hoping that more brilliant lightning might strike again, after Lucile Hadzihalilovic's earlier amazement, Innocence, I would suggests tamping down those expectations. Her new film, EVOLUTION does not begin to achieve the visual delights coupled to compelling tale that the earlier movie delivered. That said, there is still plenty to enjoy here -- visually, in particular -- if you don't mind some repetition and pacing of the snail variety. As I recall, Innocence ran a couple of hours, while this new film lasts but 81 minutes.

Content-wise, however, the bill remains unfilled. As in her earlier endeavor, Ms Hadzihalilovic, shown at right, takes us to a time and place that exists.... well, we know not where. It could be the future but it might also be some sort of dream or vision. Innocence told a story of a group of young girls and for what they were being groomed. Evolution does the same, but this time with young boys. And it is an even darker vision that the filmmaker presents this time around.

It is also a much less enticing world, in terms of the visuals on offer. Though the film takes place at the seashore, perhaps on an island, once we get inside (we stay there much of the time), the color palette is dark and drab, and although where we are appears to be a kind of  "hospital" located in a tiny village, everything looks about as clean and pristine as a shit pit. Perhaps this village's Health and Welfare budget has been decreed upon by our current Republican Party lawmakers.

The movie, like Innocence, is very spare regarding dialog. There is little of it, but the sense of mystery that hovers over all, together with the creepy visuals, help make up for this lack. Our lead character is a beautiful young boy named Nicolas (played by newcomer Max Brebant, above). In fact this village is peopled only with young boys and adult women: no young girls nor men of any age are ever seen.

What does this mean? And what in hell are the women doing to the boys? The answers slowly become clearer, if not transparent, as "mothers" (such as Julie-Marie Parmentier, above) are shown to be anything but motherly, and only one odd "nurse" (Roxane Duran, below) might possibly turn out to be a figure for good in the life of our little boy.

Evolution proves to be a very dark tale, ugly even. But it achieves its ends via quiet, disturbing images that often raise more questions than they answer. Ms Hadzihalilovic keeps us on track, however, and by the finale we can perhaps find a little hope for our beleaguered protagonist, although even this is rather "iffy," considering all that we still do not know.

What keeps the movie from resonating as strongly as it might is its very slow pace, during which -- for some of the time, at least -- we learn little that is new. Eventually this weighs the film down, especially given its dank, dark interiors and multitudinous nighttime scenes. What keeps it afloat, however, is Hadzihalilovic's fertile imagination and originality. No one that I can think of has made a movie much like either Innocence or Evolution. What's next, I wonder?

From IFC Midnight, Evolution opens this Friday in New York City at the IFC Center.  Elsewhere? Not sure, but as the film will simultaneously appear on VOD, if you want to see it anytime soon, you will surely be able.

November's Sunday Corner with Lee Liberman STAR TREK: boldly going--and going and going

"If man is to survive, he will have learned to take delight 

in the essential differences between men and between cultures. 

He will learn that differences in ideas and attitudes are a delight, 

part of life's exciting variety, not something to fear."

- Gene Roddenberry 

Netflix notes the 50 year anniversary of Star Trek, The Original Series (TOS), by its streaming appearance, sparklingly remastered, with approbation on many fronts of Star Trek's value to generations of fans. Created by Gene Roddenberry (1921-1991) TOS ran 1966-69 on NBC. Five more series followed, 13 big-screen films, web sites, Trekkie followers, books, comics, encyclopedia, toys et al (below) -- Star Trek is industry. 

The adventures of the Starship Enterprise in the 23rd century were full of optimistic can-do -- human beings working together to figure things out and fix problems, said first fan, President Obama to WIRED (see the video link at end). Earth belonged to a federation of planets and had cold war foes, but the Enterprise mission was peaceful -- to assist planets in straits or in need of problem-solving.

The half-century milestone is a good point to tally up Star Trek's actual contribution to science and social progress. In all its dated glory it looks and feels like comic book adventure mixed with bible reading -- not for adults as much as select watching with children to help them process current events about war, peace, progress, and human behavior. It's a Roddenberry celebration of infinite diversity in infinite combinations. Original Star Trek took time to catch on. It took a letter writing campaign to get it renewed for a third year. NBC insured its failure in 1969 by cutting the budget and scheduling it when its young audience wouldn't be there to watch. It found its footing in syndication in the 1970's late day thru supper (ritual at my house) and in later series.

Star Trek TOS, our focus here, based its subject matter on the space race, cold war, atomic fear, anger at endless war, dated 1950's social morays, and gender/race inequities; it drew its energy and optimism from JFK's New Frontier, LBJ's Great Society, and confidence in our ability to solve anything. It was a time in American life when it seemed the family of man could unify in Gene Roddenberry's humanist federated world government that would be multi-cultural, interracial, moral, embracing of science, learning, and the spread of freedom. Some of the subject matter was controversial in the late 60's -- tactics were employed to foil the script censors such as pushing boundaries in one area to distract from another knowing the former would be cut and the latter let stand.

The multi-national and-planetary officers of the Star Ship Enterprise ( "wagon train to the stars") and their bonds of affection, irritation, and loyalty led the series to be about humanness as much as science or politics. In the lead was dashing ship's commander, James T. Kirk -- William Shatner, still working in his mid-80's. Pointy-eared First Officer Spock, half-human/half Vulcan scientist from Federation planet Vulcan is much beloved; his emotionless affect steered the crew thru problem-solving with beams of logic -- Leonard Nimoy, actor/director, deceased in 2015. Nimoy/Spock was eulogized by NASA and influential in inspiring space science and travel. Dr. Leonard "Bones" McCoy, was chief medical officer, an emotional Irishman -- DeForest Kelley, died at 79 in 1999. The perpetual heat between Bones and Spock underlined the tension between emotion and logic in problem-solving.

Lieutenant Uhura ('uhura' means 'freedom' in Swahili) put a woman on the bridge at a time black women characters were mostly servants and never real-life astronauts or military officers. Uhura and Kirk had the first U.S. inter-racial screen kiss --Nichelle Nichols is now in her 80's. While Scottish Engineer Scott, James Doohan, is also deceased, two other command crew are busy today: Russian Ensign Pavel Chekov, the placement of whom on the bridge previewed a peaceful end to the Cold War -- Walter Koenig, 80, his parents Russian Jewish emigres, has had a long career as writer, director, teacher, actor; and Sulu, George Takei, 79, is an activist and spokesperson for gay rights and politics, especially as an advocate for former internees of Japanese-American internment camps following Pearl Harbor. His busy life and bits of Star Trek are documented in "To Be Takei" on Netflix.

The extent to which the series imagined our modern high tech era (despite having missed the internet) is described here in a recent article by NASA physicist, David Allen Batchelor, Goddard Space Flight Center, a Star Trek fan, along with colleagues. Batchelor lists the devices familiar to series watchers such as communicator (below), transporter, tricorder, warp drive, cloaking device, replicator, phaser, et al -- describing what came true, is in the pipeline, or is still wishful thinking. His article includes a 1976 photo of the unveiling of NASA's space shuttle named 'Enterprise' in honor of the series and in the presence of many original cast attired in their 1970's bell-bottomed best.

Roddenberry made magic embedding imaginary space tech into plots. In "The Enemy Within", a transporter (used to move crew back and forth between ship and land) malfunction causes Kirk to be both duplicated and divided resulting in one weak captain and the other maniacally strong. Bad Kirk wreaks havoc on board ship while good Kirk grows passive, indecisive. The transporter repaired, the two captains are sent thru and come back as one. But Kirk has seen shocking parts of himself -- his decisive command authority from his dark side (below) and kindness and empathy from the good side. Spock, half-human, half Vulcan, explains he uses his reason to manage his own two warring halves; likewise Kirk must also manage his negative and positive traits to function as their commander.

In "Balance of Terror", Kirk discovers that a string of Federation outposts is being destroyed by a predatory Romulan bird-of-prey ship. The Enterprise attacks, launching a game of wits between well-matched competitors. Kirk finally cripples the Romulan ship, outwitting its captain who expresses regret: "You and I are of a kind. In a different reality, I could have called you friend." Maintaining a 'balance of terror' is offset with regret that one's enemy would be a peer and friend in other conditions.

The original Star Trek offered 79 of these stories on unique planets in weird situations, some frivolous, some badly written, hammily acted, and decorated with silly paper mache props. But many episodes contained some unsubtle nugget of wisdom whether it be about power and its abuse, friendship, empathy for the stranger, the unknown, and the like.

In later iterations of the Star Trek universe, mid-century optimism has struggled, the mood frayed around the edges, no longer suitable for kids but aimed at those who have matured in a world of roiling threat.

It's fitting to end this weekend with mention of the uber-capitalist Ferengi (below) who appeared often in Star Trek series The Next Generation and Deep Space Nine. Writer/producers Ron D. Moore and Ira Steven Behr of Outlander were major contributors to both. Behr, showrunner for DS9, will release a documentary about it in 2017 and he wrote the Ferengi sacred code-- 285 'Rules of Acquisition', the bedrock of Ferengi society. A few of the code's uncanny tenets are: 'when in doubt, lie'; 'once you have their money, never give it back'; 'always exaggerate your estimates', and the formula for the velocity of wealth is 'rate divided by time = profit'.

The Ferengi of Planet Ferenginar were entirely devoted to unregulated capitalism, profit, trade, and swindling of the innocent. Workers benefits were frowned on -- they would interfere with worker exploitation. The Ferengi were unremorseful misogynists; they pressed women into the sex trade. After a Ferengi died he would meet up with the Blessed Exchequer who would dispatch him to the Devine Treasury or the Vault of Eternal Destitution, depending on his net worth. The alt-right Ferengi were too ridiculous to be political threats to the Federation. Likewise our 2016 comic-book villainy now requires similar dispatch to footnote status plus regulation to minimize harm to victims.

It may be that our young, broad-shouldered nation is experiencing adolescent growing pains following our post-WWII late twentieth-century growth spurt and burst of optimism. Original Star Trek offers moral support for the energy it will take to muster new national maturity. Star Trek TOS is not entirely dated after all (the cold war and mini-skirts are back in style); keep a lookout for some kids to share its infinite varieties with.

Note:  In this video, President Obama talks to WIRED about the true meaning of Star Trek....

The above post is written by our 

monthly correspondent, Lee Liberman.

DVDebut: Miguel Llansó's Ethiopian-set sci-fi festival hit, the kooky, charming CRUMBS

What a pleasure it is to see a post-apocalyptic narrative set in something other than the burnt-out drudgery of a wasted planet. While CRUMBS, the first full-length feature from director Miguel Llansó, takes place partly in a desert-like locale, much of the movie offers the verdant, hilly landscapes of Ethiopia, a country I warrant most of my readers have rarely seen on film and never traveled to themselves.
Nor have I.

This alone makes Crumbs worth a look for film (and geography) buffs. There's more, too, for the movie is often as goofy and sweet as the look on its director's face (Señor Llansó is shown at right). In concept and in its often remarkable visuals, full of odd juxtaposition and connections that don't quite adhere, Crumbs is a treat for jaded filmgoers fed up with post-apocalyptic emptiness, violence, horror and depression. To take their place, the filmmaker has come up with a hero like no other we have seen, embodied by a very particular actor named Daniel Tadesse (shown below).

Tadesse, with his misshapen body and handsome, expressive face (the camera roams over both of these) plays Gagano, a collector of scrap and any other items that might come his way -- the film is full of what we might call "collectibles": present-day artifacts that one hopes may gain value over eons to come -- and these bizarre pieces (from a Teenage Mutant Ninja Turtle figurine to a Michael Jackson record to a Baby Jesus creche piece) seem to have done exactly that.

Gagano lives with his true love Birdy (the graceful Selam Tesfayie, shown foreground, above) in an non-working bowling alley they now call home. And... Well, that's mostly it. There's little plot to speak of here, and what incidents there are -- a visit to a so-called "witch,"  the appearance of a very perverse Santa Claus (below) and a someone-or-other wearing a Nazi arm band (further below) who seems to menace our hero but not really -- only serve to attenuate an already thin tale.

As clever and visually enticing as Llansó has made his movie, this viewer at least felt the plotting and execution to be inordinately slow. While this does give us time to try to piece together a meaning to it all -- What's that spaceship doing up in the sky for so long without moving? Where do our twosome's food and water come from? What's real here (if anything) and what isn't? -- there is not much meaningful that I could piece together.

Still, I enjoyed very much the look of the film, and the performance of Tadesse, below. Because the movie is a mere 68 minutes, the DVD also offers two other short films by Llansó, both starring this unusual actor.

Crumbs, released via IndiePix Films as another in its "highly-curated collection of the best independent films from around the world," hits DVD this Tuesday, November 3, for sale or rental, with its digital debut following close at hand on November 17.