Insanity handled with inventiveness, sadness and glee in Jason James' ENTANGLEMENT

We've seen a number of "crazy love" stories down the decades but few have come to the problem with quite the oddball enthusiasm and determination to figure out the puzzle as ENTANGLEMENT, a new indie film opening in a limited theatrical run this week. As directed by Jason James, shown below, and written by Jason Filiatrault, the movie begins with a suicide attempt interrupted by the doorbell and proceeds from this alternately scary/goofy premise onward to even more frightening and funny matters.

The writer and his director have conceived their film as a kind of gleeful look at possible insanity from a mass of differing -- but mostly amusing -- angles. While this may put off folk who feel that mental illness/suicide should never be treated amusingly and/or cavalierly, TrustMovies must admit that he sometimes finds this can work rather well. (And as a former suicide-attempt, many decades ago, he feels he has a right to his opinion.)

Entanglement uses everything from bits of physics (it possesses its own version of "string theory": see poster at top and the photos toward the bottom), friendship, fantasy (complete with some charming animation), parenting and an almost-adopted sibling to tell the tale of a grown man named Ben -- played by the always interesting and goofy Thomas Middleditch, shown at top and below -- who has a load of trouble coming to terms with things like growing up and accepting responsibility.

Into his life comes a very pretty mystery woman named Hanna, who just may be that nearly-adopted sister. Hanna is played by the versatile and ever-commanding Jess Weixler, who here turns in another first-rate performance that keeps us, and Ben, on our toes. By turns charming, sexy, sweet and bizarre, Weixler has seldom seemed as alluring and/or maybe a little dangerous (except, of course, in Teeth).

Also on hand but relegated to background material -- as so often happens in films to any poor young woman who carries an unrequited torch for the hero -- is a young and pretty neighbor of Ben's named Tabby. Fortunately Tabby is played with enough wit and charm by Diana Bang, below, right, to keep her character in the foreground after all.

These three leads pretty much keep the movie on its oddball course, as we slip and slide along with Ben, finding our way toward unraveling the entanglement that is his mind and life. The movie has connections aplenty, even including that delivery man who rings the doorbell initially and finally appears again in what very well might be a more important role.

Fortunately our two Jasons do not work with a heavy hand. These connections and possibilities are suggested rather than belabored, and the movie comes to its conclusion more quickly, confidently and lightly than you may expect.

Performances are all they need be to brings this rather delicate, bordering-on-precious fable to life. Mr. Middleditch (of Silicon Valley and The Bronze) uses his innate goofiness abetted by just enough charm and appeal to make a pretty good hero of Ben, while Weixler and Bang offer interesting versions of woman as both help-meet and hindrance.

From Dark Star Pictures and running a just-right 85 minutes, Entanglement opens this Friday, February 9, in ten cities across the country, including New York (at the Cinema Village) and Los Angeles (at Laemmle's Monica Film Center). To see all currently scheduled playdates, cities and theaters, click here and then scroll down. And if you're not near any of these ten cities, the film will also be streaming on many of the usual outlets, as well.

Vanity, thy name is James Fanizza, who writes, directs and stars in new GLBT film, SEBASTIAN

Yes, SEBASTIAN does indeed smack of what we used to call a "vanity" production -- having been written, directed, starred in and co-produced by one, James Fanizza. Mr. Fanizza (shown on poster at left, top, and at bottom, right) is an attractive blond fellow and not a bad actor if only a so-so writer and director. His co-star, the chunky/hunky Alex House, who plays the eponymous secondary character, comes off a bit better because he has been given less "acting" to do and does what he has with a certain appealing reticence.

Adequately shot on video by Kalen Artinian, this Toronto-set tale is basically the same-old/same-old so far as way too many gay movies are concerned. Coincidence-prone and featuring a "hero" who is pretty much a shallow, lying asshole (who seems totally unaware of this fact), the movie does finally provide some sort of an explanation of why this guy is the way he is. Trouble is, that explanation seems every bit as manufactured as the rest of the movie.

In its way, Sebastian represents a side of gay life that's all too present and is, I suppose, a kind of reaction to the past hundred or so years of repression, transgression and adjustment to being "different." Even so, the movie remains a bit of a bore, especially when set against so many other, better GLBT films of recent times. One of its supporting actors is Katya Zamolodchikova (aka Brian McCook, below), who starred as Katya on RuPaul'sDrag Race.

Although there is some witty dialog on display, too much of the talk sounds like it came from a self-help manual. At time the film appears to be counting down every last gay cliché in the book, coupled to a bunch of self-improvement tropes and (as even its own characters point out) a tele-novela -- but without any of the latter's high gloss. Toward the finale, which provides enough angst to fill a dozen films, Fanizza's film descends into full-out melodrama.

At best Sebastian is a adequate time-waster. At worst, it's yet another reason some of us gays often avoid "gay" movies. Oh, yes, and about that quote atop the DVD box art, "And it does get steamy", don't get your hopes up. This one's about as "steamy" as that pasta from yesterday that you've just taken out of the fridge. From Wolfe Video, the movie hits the street on DVD tomorrow, Tuesday, February 6 -- for both purchase and rental.

Brian Crano's adult rom-com, PERMISSION, explores a few do's-and-don't's for couples

I hope that Tao Ruspoli, creator of the recent doc, Monogamish, has the chance to see PERMISSION, the new rom-com-drama by writer/director Brian Crano, because the concerns of each film are similar enough -- even if the roads taken by the two movie-makers prove very different. Crano's latest full-lengther (after his remarkable debut with A Bag of Hammers from 2011) is all about what happens to a 30-something couple -- who've been together practically since adolescence and who have never had sex with anyone except each other -- when a drunken pal one night suggests that they at least try another sexual partner before cementing their relationship with marriage and/or children.

Mr. Crano, pictured at left, is smart enough not to make things too easy for our very attractive couple, played with ever-evolving surprise, wit, charm and great appeal by Rebecca Hall and Dan Stevens. (shown below and on poster, above). Both actors have already shown us numerous times, how versatile and adept they are, so this is yet another feather in the caps of both.

Though they manage to rather quickly find attractive playmates outside their relationship, their ability to adjust to the newness and thrill of all this, as well as to the jealousy and fear involved is seeing your partner stray, are given their due--and then some.

She -- a music student as well as teacher -- finds a very hunky young musician (French-Canadian actor François Arnaud. below, right) to bed and maybe more,

while he -- a furniture maker with a thriving business -- quickly turns an older-woman client (Gina Gershon, below) into a bedmate, as well as his tutor into a new world of sex, drugs, and letting go. (How good it is to see Ms Gershon given a role with some variety and surprise, and then see her fill it so well.)

Fair enough. But where (and how and why) does our experimenting couple go from here? The journey, of course, is what lends the movie its real interest, and if Crano makes a couple of false moves in the dialog area (Stevens last line about "growing up" is one that his character would never have concluded so quickly, nor does it need to be underscored this heavily), the filmmaker manages to take a subject fraught with dangers of both overkill and under-cooking, and make of it one of the more interesting and disquieting lessons on love and relationships that the movies have provided of late.

Ms Hall (above) is a pleasure to see in one of her more lighthearted roles (initially, at least), while Mr. Stevens (below) continues to stretch and grow. A side plot involving gay partners in which one of the men wants to adopt a baby in some ways mirrors the growing change happening in the Hall/Stevens relationship. Morgan Spector, David Joseph Craig and Jason Sudeikis bring this situation to fine life.

We've seen enough films by now about open marriage, sexual experimentation, and the like -- from Design for Living through Bob & Carol & Ted & Alice to last year's Professor Marston and the Wonder Women -- that a filmmaker tackling this anew must provide some thought and depth to go along with the titillation. Crano manages this by forcing us to see that if you decide to experiment, you'd better be willing to evolve.

From Good Deed Entertainment and running 96 minutes, Permission opens this Friday, February 9, in New York City (and the Village East Cinema) and in Los Angeles (at the AMC Sunset and Arena Cinelounge), and elsewhere. Click here to view all currently scheduled playdates, cities and theaters.

End-of-year don't-miss movie: Paul McGuigan's lovely FILM STARS DON'T DIE IN LIVERPOOL

Just how talented is Annette Bening? This actress -- who seems, so far as movies are concerned, about as good as it gets but has never yet won an Oscar, though she's been nominated four times -- keeps surprising us with each new role. Now, playing Gloria Grahame (an actress who did win an Oscar) in the new movie, FILM STARS DON'T DIE IN LIVERPOOL, she does it all over again, capturing not only Grahame's appearance but also that sweet, girlish quality that lent her performances, even as "bad girls," an extra oddball oomph.

As directed by Scotland's Paul McGuigan (shown at right), and adapted for the screen by Matt Greenhalgh from the memoir by Peter Turner (played in the film, and very well by Jamie Bell) that details his romantic relationship with Grahame during her last years, the movie manages quite surprisingly to be charming, funny, romantic and supremely moving -- even as it encompasses our heroine's terminal sickness and death.

McGuigan, TrustMovies believes, is an under-rated fiilmmaker whose skills are on display in quite a number of genres. His beginnings tended toward gangster/mystery films (the excellent Gangster #1 and Lucky Number Slevin) before moving on to a lot of TV and cable work, the under-appreciated "monster" movie, Victor Frankenstein, and now this little gem that's a wonderful combo of romance, nostalgia, joy and sadness.

Note, if nothing else, the lovely manner in which the filmmaker handles flashbacks -- opening them up into moments of surprise and often delight as the movie moves forward and backward, filling in so many of the details of this May/September affair between a still-glamorous American star touring in Britain and the young and smitten actor who becomes her paramour.

Along the way we meet his marvelous and generous family -- mom (Julie Walters, above), dad (Kenneth Cranham, below, left) and older brother (Stephen Graham) --

along with Gloria's mom (Vanessa Redgrave, below, right, and incandescent as ever) and her hurt and angry sister (Frances Barber).

At center and always present is the relationship between Grahame and Turner -- up, down, angry, joyful, hugely sexual and finally that of care-giving. In between times we come to understand both of these characters' feelings about performing (on stage and film) and, especially where Grahame is concerned, about fame. (The movie's ending is spot-on.)

There's a wonderful scene late in the film (shown below) involving the RSC and Romeo and Juliet that McGuigan and his actors render with such tender skill you'll be holding your breath.

Both Bening and Bell, the latter of whom most of us remember best as Billy Elliot, have rarely seemed more perfect, with Bell especially coming into his own as a marvelous leading man -- as kind & loving as he is sexy & manly.

Yet another film that seems to have gotten lost in the year-end, last-minute, would-be Oscar sweeps, Film Stars Don't Die in Liverpool should be on everyone's must-see list -- everyone, at least, who appreciates a first-rate love-and-family story.

From Sony Pictures Classics and running a just-right 105 minutes, after opening on the coasts at the end of last year, it appears here in South Florida this Friday, February 9, in the Miami area at the AMC Aventura 24 and Regal's South Beach 18; in Boca Raton at the Living Room Theaters, Cinemark Palace 20 and Regal Shadowood 16; in Boynton Beach at the Cinemark 14; in Davie at the Cinemark Paradise 24; and at the Movies of Delray and Lake Worth.  Elsewhere around the country? Click here and then click on GET TICKETS to view all currently scheduled playdates, cities and theaters.

Sebastián Lelio's A FANTASTIC WOMAN opens -- it's the transgender movie that's a keeper

If the name Sebastián Lelio (the filmmaker is shown below) rings a bell, it may be due to his excellent film of a few years back entitled Gloria, all about an "older" woman who was as thrilling, memorable and alive as any female character we'd seen in a long while. Señor Lelio returns now with a movie that has already garnered a nomination for this year's Best Foreign Language Film, and although my vote, had I one, would go to The Insult, I wouldn't mind at all if A FANTASTIC WOMAN took the prize. Nor would I if the award goes to The Square. All three are top-notch examples of international movie-making at its best. (I have not yet seen the other two nominees: Loveless, On Body and Soul.)

This talented and highly empathetic director and co-writer (with Gonzalo Maza) first allows us to meet and spend just a short time with his two protagonists, Marina and Orlando, plated respectively by Daniela Vega (below, left) and Francisco Reyes (at right with Vega, in photo at bottom), before a sudden event occurs that leaves us (and the film) with only one -- with the life of that one pulled quickly and entirely from under her.

The how and why of all this is due to the fact that Marina is a male transgender on her way to becoming fully (or as fully as possible) female. This was clearly just fine for Orlando, but it is anything but that for his surviving family, including his ex-wife (Aline Küppenheim, shown at right, below) and son (Nicolás Saavedra, at right, two photos below).

Orlando's brother Gabo (Luis Gnecco, below, left) is kinder and more understanding yet still rather ineffectual, so Marina must somehow make her way through a society that rather shows some of our own red-state cretins as not too dissimilar.

These would include the local police (below, with Marina) and even a supposedly sympathetic female investigating officer (Amparo Noguera, at left, with doctor and Marina, two photos below), who seems to have made up her mind as to what happened and why due to her own history of aiding prostitutes and the transgendered rather than to the specifics of this particular case.

Ms Vega's performance as Marina has been rightly lauded. This actress possesses an innate understanding of this kind of situation, while playing her emotions so close to the vest that she could win Molly's Game ten times over. The actress brings such a strong sense of her own inviolability and strength to the film that despite some pretty awful situations, her dignity remains intact. This makes the fact of our rooting for her so strongly rise above some merely feel-good experience.

Leilo doesn't pile on the negativity, either. He rather seems to simply show a society in which this situation is so unusual and frightening to the "normal" crowd that citizens resort to the only kind of behavior they know and are comfortable with. How discomforting it is to Marina (and the viewer) is another matter.

That our girl gets through it all -- using focus, fantasy, determination and more -- makes for a pretty wondrous movie experience. Of all the films about transgenders I've so far seen (and some of these have been quite good), A Fantastic Woman is still the best. I think it will have a long life as both a breakthrough movie and as a fine example of its own special genre.

From Sony Pictures Classics, in Spanish with English subtitles and running 104 minutes, the film, opening in our larger cultural centers last week, hits South Florida this coming Friday, February 9, in the Miami area at the O Cinema Miami Beach, at the Coral Gables Art Cinema, and in Fort Lauderdale at the Classic Gateway 4. Click here then scroll down to see all upcoming playdates, cities and theaters. 

End-of-year catch-up: Don't let Aaron Sorkin's fast-moving frolic, MOLLY'S GAME, get by you

One would expect any movie written by that wordsmith wonder, Aaron Sorkin, to revel in and rely on dialog that's fast and fun. As first-time director, he has also come through with pretty much flying colors, giving us a movie --  MOLLY'S GAME, based on the memoir by poker queen (and so much more) Molly Bloom -- in which his directorial abilities nearly match those of his writing.

Only in a scene late in the film between a difficult dad (Kevin Costner) and his daughter (the titular Molly, played by Jessica Chastain) do both writing and direction leave a bit to be desired, but by then, so terrific has been so much else in this meaty and riveting film, that I don't think you'll mind much.

Mr. Sorkin, shown at right, has taken Molly's true-life tale and from it created a fast-moving frolic about everything from sports and poker to Hollywood, celebrity, and the Jewish mafia and made it both understandable and great fun to view.

He has also assembled a top-of-the-line cast so interestingly chosen and often playing against type in rather amusing, amazing ways that his movie grabs you from angles other that mere story-line and plot surprise and manages to hold you fast throughout.

Chief among these actors is Idris Elba (above), who plays Molly's initially recalcitrant lawyer who eventually comes aboard big-time, and Michael Cera (below), who gives us what may be the ultimate take-down of the Hollywood movie star celebrity who can go from funny and charming as hell to as nasty and vindictive as you could want.

Also on board and doing wonderful work is Chris O'Dowd (below) as one of the saddest of the gamblers that surround our heroine.

Ditto Brian D'Arcy James, below, as another odd fellow who joins the pack and is so much less and then more than what he initially seems.

Don't worry if you don't fully understand how poker is played. (TrustMovies' grandmother taught him the game, and he still retains a good deal of that knowledge.) Sorkin sees to it that his viewers can understand and keep up with the shenanigans enough to follow and enjoy. His great gift for burying exposition into his dialog, disguising it enough so that we learn while we enjoy, is on full display here.

In the lead role of Molly, Ms Chastain (above, with Mr. Costner, and at bottom) once again proves why she is among -- maybe the reigning queen of -- those very few actresses who combine glamour and talent in such huge quantity that, while watching her, you can't imagine anyone else being any better in the role. (This actress proved just as adept in last year's Miss Sloane, as well.)

Even if you already know many of the details of this fascinating tale, I still suspect Sorkin's film will entertain you royally. There's a lovely scene near the finale involving Graham Greene (below) as a judge who, thank god, is smarter than most of the prosecutors who surround him and makes a point that audiences these days will probably second with a standing ovation.

So why hasn't a movie this good -- smart, mainstream and hugely entertaining -- received more critical acclaim and awards? My take is that Sorkin is considered by some as just too damn smart for his own good. Which, so far as most of Hollywood's talent level is concerned, seems like looking that proverbial gift horse in the mouth. Once again, intelligent audiences -- which are keeping this movie playing at theaters across the country well past its supposed expiration date -- often know better than critics (and certainly know better than those movie-land arbiters) what is actually good for them.

From STX Entertainment and running a long but consistently engrossing 140 minutes, Molly's Game is very probably still playing in a theater near you. Click here to find one.

Vampires are back -- and LIVING AMONG US -- in Brian A. Metcalf's new mockumentary

Don't even for a moment think of comparing LIVING AMONG US -- the new film that attempts to offer a faux documentary look at the home of a family of vampires in Los Angeles, once the bloodsuckers have been "outed" via their connection to and use of a local blood bank -- with that great New Zealand mockumentary from 2015, What We Do in the Shadows, which remains one of the best, as well as the funniest, vampire films of all time. No, this sad little undead wanna-be, which is fang-free (despite the very unreliable poster image above) is instead one of those supposedly "found footage" films purporting to show us what happens when an intrepid news crew sets up shop in the vampire home in order to show the world "the real thing."

After a short beginning that looks like it might be a relatively professional job of movie-making (giving us tons of exposition via the "breaking nightly news"), the writer/director Brian A. Metcalf (shown at left) begins pushing our don't-believe-this button over and over for his 87-minute running time. Even if you accept that these vampires would actually invite the news crew into their home as public relations stunt, you must then accept the fact that thee vampires hand out a list of ground rules (no crosses, holy water, wooden stakes, garlic, etc.), every last one of which the crew breaks -- without their hosts ever bothering to check the crew's luggage. Yes, it's that kind of dumb-ass movie.

It is also one of those films in which, although the characters being filmed ask repeatedly for the camera to be shut off, it never is. And they never notice this fact. Also, our news crew can manage to install camera equipment all around the house without its ever being detected. Wow. Yes, these must be the dumbest set of of bloodsuckers in the history of the genre. With that news crew not far behind.

The dialog occasionally rings interesting and pointed, which is a blessing, especially since some very good actors -- including William Sadler (above) and the late John Heard (below, to whom the film is dedicated) are doing what they can with the script.

The most energy and fun is provided by one of the younger vamps (Andrew Keegan, below) who gooses the movie into action whenever he appears. Otherwise, degeneration sets in early and continues throughout, until we get the de rigueur scene of running through a basement full of corpses while spouting some really awful dialog. Ah, well: I guess it's good to know that some things never change.

There is one particularly ugly scene (below) of a vampire ritual featuring a nearly nude and very voluptuous young woman (could they have found an actress with a larger set of fake tits? I don't think so) as the poor sacrificial victim. So be warned. For those of us still waiting for a good modern vampire tale, well, the wait grows ever longer....

From Red Compass Media, Living Among Us opens this Friday, February 2, at the Cinema Village, New York City; Laemmle's Music Hall 3, and other theaters across the country. Click here to view the full list of playdates, cities and venues.