Day and night, Leo (Félix Maritaud) roams the woods and streets of Strasbourg, looking for johns and, sometimes, love. In Sauvage, both quests turn out to be filled with violence for him—a violence that writer-director Camille Vidal-Naquet isn’t afraid to expose as not just alluring but irresistible. It’s also a specifically queer form of violence, in the sense that desire here doesn’t adhere to some kind of norm—some predetermined aim, prospect, or destination. It’s the violence of cruising as a way of life. Vidal-Naquet embraces the unavowable ugliness of all desire, particularly the violence of queer desire. He understands that where there is queer desire, there is queerphobia. The film firmly grasps the tendency of so many queer men—the characters in this film could hardly be reduced to “gay”—to make pleasure contingent on ever-increasing risk, or on a numbing pursuit for more.
Despite some awkwardly staged and gratuitously graphic sex scenes that tip Sauvage’s hand as a first feature, namely a threesome gone wrong involving Leo and a pair of cartoonishy lookalike boyfriends sporting mohawks, the film is of a piece with a string of recent films that deal with queer sexuality head-on, among them Stranger by the Lake, Eastern Boys, 4 Days in France, and Elle, all of them French, and all of which follow a character’s seemingly nonsensical death drive. But Sauvage is perhaps closer than any of those daring films to João Pedro Rodrigues’s O Fantasma in the way that the plight of its main character seems to involve a regression to some kind of bestial state. If O Fantasma’s main character eventually becomes more or less a living extension of the garbage he collects, Vidal-Naquet’s antihero flees to a forest precisely when given the palpable chance to clean up his act.
Before Leo meets a generous older man, Claude (Philippe Ohrel), who’s adamant about taking care of the young sex worker, his life is one of relentless repetition: cruising, fucking, doing drugs, and getting hurt. And at each iteration it’s as though he loses a piece of his physical self, making him all the more desperate for the love that a fellow hustler, Ahd (Eric Bernard), clearly isn’t able to give him. In one sequence, classical music wafts from the car of a potential john parked in a woodsy area of Strasbourg where Leo and other hustlers hawk their wares. Leo heads for the vehicle, like clockwork. It’s then that Ahd warns him to never get into “the pianist’s car.” Ahd says that the pianist is into blood and torture, then asks him if he’s into that sort of thing. Leo doesn’t answer, but Vidal-Naquet eventually responds for him after the pianist’s car approaches Leo when the hustler is at his lowest point.
We sense Leo increasingly tempted to get inside the pianist’s car throughout the film, even though he knows he’ll most likely not come out of it alive. It’s an uncanny motif, accompanied by the deceivingly soft notes of a piano, redolent of Stranger by the Lake’s stagnant body of water, whose pull becomes exceptionally enticing once someone has drowned in it. Eventually, Leo does get into the pianist’s car, and when he spills out of it, he resembles some kind of human waste, covered in slime and blood. But he’s still alive, and ready for the next vehicle.
Sauvage is ultimately a tale about how those who spiral so far out of control become blind, if not immune, to the severity of their symptoms. This is dramatized to astonishing effect in the film’s most memorable scene, where a battered Leo, sporting a checkered shirt that brings to mind coagulated blood, visits a doctor (Marie Seux). The woman proposes that he try something to get him off the drugs he’s been using and he genuinely questions why he should ever want to stop using crack. Leo is unable to fathom another way of life, one that chases something other than perpetual self-destruction and its many pleasures.
Unable to reason with Leo about the benefits of changing, the doctor asks him to undress so she can examine him. As she touches and, mostly, listens to his body, something happens to Leo, which gives way to the most unexpected of embraces. It’s a rare instance for any film to be able to prick an audience with such rawness, and in such disarming fashion. Though the embrace doesn’t repair much for Leo, or convince him of anything, it’s in this one moment where Sauvage stops trying to be cool or provocative, waving the panacea for a man’s agony with a kind of honesty that even Rodrigues’s O Fantasma couldn’t claim for itself.
Cast: Félix Maritaud, Eric Bernard, Nicolas Dibla, Philippe Ohrel, Lionel Riou, Marie Seux Director: Camille Vidal-Naquet Screenwriter: Camille Vidal-Naquet Distributor: Strand Releasing Running Time: 102 min Rating: NR Year: 2018 Buy: Video
Review: Zombieland: Double Tap Shrugs Toward the End of the World
Behind the film’s self-awareness and irony is a hollow emotional core.1.5
“Double tap,” the belated Zombieland sequel’s namesake, refers to the rule of shooting a zombie more than once in order to ensure that it’s dead. Like the rest of the rules devised by the series’s dweebish protagonist, Columbus (Jesse Eisenberg), it’s spelled out in large on-screen text, an amusingly self-aware touch in the original 2009 film that has, a decade later into our irony-poisoned present, lost its luster.
Part of that is because the sequel highlights these rules more frequently and prominently, injecting them with flashy text effects that are more distracting than funny. But it’s also because self-awareness doesn’t feel nearly as refreshing as it did in 2009, with seemingly every big studio movie nowadays winking and nodding at audiences, trying to swaddle us in layers of protective irony (that writers Rhett Reese and Paul Wernick went on to script the vacuous Deadpool films is no accident). Zombieland: Double Tap effortlessly operates in the same groove as the original, but that’s less a compliment than a measure of a failure to evolve.
Revising the world of Zombieland feels like returning to a television program you gave up on watching; though the cast has aged, the character dynamics remain largely the same, if slightly more exaggerated and perhaps overly familiar. Boisterous gunslinger Tallahassee (Woody Harrelson) is a little more cartoonish now, while Little Rock (Abigail Breslin) is all grown up. She’s more than old enough to drive, and thus old enough to run away with a pacifist hippie, Berkeley (Avan Jogia), prompting Columbus, Tallahassee, and conwoman Wichita (Emma Stone) to track her down. They’re a makeshift family now, despite still referring to one another by the city aliases that were meant to prevent getting too attached.
A newcomer to their group still goes by her real name, Madison (Zoey Deutch), and as a caricatured dumb blonde, she typifies much of the film’s easy, uninspired comedy. The supremely overqualified cast powers through tiresome, pop culture-laden exchanges via sheer charisma; Stone, though unfortunately reduced to playing a “jealous girlfriend” type, is particularly expressive. But returning director Ruben Fleischer, despite pairing with the usually excellent cinematographer Chung-hoon Chung, too often shoots the actors in close-up, robbing much of the film of the chemistry that the actors display in wider shots.
Double Tap also plays unthinkingly into the zombie fantasy as survivalist gun porn, even going so far as to add a Gen Z commune of idiot pacifists who melt down guns into peace symbols. This sequel, however, is too mediocre for such an idea to register with more than a shrug. The film isn’t using the concept to make a point, after all; behind the self-awareness and the irony is merely a hollow emotional core, a lack of anything to say because saying something would require ambition rather than complacent winks and nods.
Cast: Woody Harrelson, Jesse Eisenberg, Abigail Breslin, Emma Stone, Rosario Dawson, Zoey Deutch, Avan Jogia, Luke Wilson, Thomas Middleditch Director: Ruben Fleischer Screenwriter: Rhett Reese, Paul Wernick, Dave Callaham Distributor: Columbia Pictures Running Time: 93 min Rating: R Year: 2019
Review: Maleficent: Mistress of Evil Transforms Thorny Folklore into Fluff
In transforming folk metaphors into utilitarian attributes of an action hero, Disney exposes the emptiness of their product.1
“Once upon a time…or perhaps twice upon a time, for you may remember this story,” begins the voiceover narration of Disney’s Maleficent: Mistress of Evil. To its credit, the film opens by addressing the elephant in the castle: that we, as modern filmgoers, surely know this story well, through all its incarnations as old-fashioned fairy-tale romance and as insipid CG action-fantasy. But this sequel’s attempt to deflect attention from its own tiresomeness only highlights the cynicism of a corporation that insists on franchising the reboots of its adaptations—on repeating the process of filtering the imaginative irrationality of folk tales through layers upon layers of calculation.
Angelina Jolie returns as Maleficent, once one of the most deliciously evil villainesses in the Disney canon, who now—like Oz’s Wicked Witch of the West—has been reduced to a mildly grumpy environmentalist. Disney has erected a mythos around the character to explain her malevolent deeds—or rather, to expose them as truly good. Channeling themes of historical revisionism and post-colonial white guilt, the Malefi-verse positions its title character as defender of the marshlands known as The Moors and its multifarious magical inhabitants, the Dark Fey, against the incursions and crimes of the late-Renaissance Europeans who live nearby. In the film, whose subtitle has virtually nothing to do with its plot, she’s supplied with an army of fellow Feys primed to resist the destruction of their native lands by greedy humans. The deviousness suggested by Maleficent’s occasional wry, sharp-toothed smiles and curling horns is hardly on display in her actions, which have thoroughly virtuous motivations.
Mistress of Evil posits a “true story” behind the official one recorded in the Sleeping Beauty fairy tale, as rather than persecuting the princess subsequently known as Sleeping Beauty, Maleficent has adopted her and raised her. Aurora (Elle Fanning), though she’s grown up among the Fey, has fallen in love with Prince Phillip (Harris Dickinson). Throughout, we’re given little evidence of their mutual attraction beyond the fact that they’re both young humans, though Joachim Rønning’s film does attempt to elicit our sympathies for their union with an early scene that stages a YouTube-ready surprise proposal. Though she harbors doubts about this union, Maleficent initially tries to play the good mother, reluctantly accepting the match. But then, at the engagement dinner, Phillip’s mother, Queen Ingrith (Michelle Pfeiffer), frames Maleficent for the sleeping curse that befalls King John (Robert Lindsay). Wounded in the subsequent confrontation, Maleficent flees and finds herself in an enclave of other vulture-winged, goat-horned Feys, led by Borra (Ed Skrein) and Conall (Chiwetel Ejiofor).
As played by Jolie, Maleficent is less a character than a pose. Rather than suggesting potency and confidence, the character’s impassiveness conveys indifference, a disinterested neutrality that emanates from behind Jolie’s green contacts and prosthetic cheekbones. Neither Maleficent’s anger at the humans who framed her nor her muted concern for the oppressed Fey succeeds in selling the clichéd plotline concerning indigenous rebellion. As debate rages in the ranks of the outcast Fey regarding a prospective uprising against the murderous humans—the screenplay, of course, makes Conall’s plea for a moderate response to creeping genocide more appealing than Borra’s call for a revolution—Jolie’s perpetually cool persona fails to anchor our feelings in the fate of the forest’s denizens.
The rebellious Fey recruit Maleficent for the same reason that the humans fear her: the magical powers she possesses. Yet Maleficent’s powers are ill-defined, the magical green tendrils that extend from her hands little more than a reference to visual effects devised for Disney’s classic animated Sleeping Beauty from 1959. But aspects of the magic in Mistress of Evil still draw inspiration from its diluted source material: the Grimm brothers’ fairy tale classic that the animated film was based on. In that story, the wise woman’s curse not only puts the princess to sleep, but also freezes all life in the castle in place and envelops the structure in an impenetrable thorn bush. Many princes attempt and fail to forcibly enter the castle, hacking away at the bushes, but after a century, the brambles open up on their own, at last allowing a prince to enter the princess’s chamber, so to speak.
In Mistress of Evil, we see the character that Disney has dubbed Maleficent deploy similar magical effects to much less metaphorical ends: She freezes a cat in the air mid-pounce to protect her were-raven familiar, Diaval (Sam Riley), and she conjures up spindly thorn branches to shield herself and Chonall from a volley of crossbow bolts. The filmmakers, no doubt, see such references to the original tale as forms of felicitous homage, but in transforming folk metaphors into utilitarian attributes of an action hero, Disney exposes the emptiness of their product. The film arranges a marriage between fairy-tale motifs and a CG-algorithm-driven plot that’s as bland and arbitrary as the one it stages between its nondescript human couple, processing thorny folklore into smooth, consumable pop culture.
Cast: Angelina Jolie, Elle Fanning, Michelle Pfeiffer, Chiwetel Ejiofor, Sam Riley, Ed Skrein, Harris Dickinson, Robert Lindsay, Warwick Davis Director: Joachim Rønning Screenwriter: Micah Fitzerman-Blue, Noah Harpster, Linda Woolverton Distributor: Walt Disney Studios Motion Pictures Running Time: 118 min Rating: PG Year: 2019
Review: Tell Me Who I Am Feels as One-Sided as the Curated Lie at Its Center
By focusing so narrowly on the Lewis brothers’ relationship with their mother, the film inadvertently minimizes the scope of their abuse.2
When Alex Lewis was 18 years old, he was involved in a motorcycle crash that left him with a severe case of amnesia. When he awoke in a hospital following the accident, he couldn’t recall where he lived or who his friends were. He didn’t even know his name. As for the woman babbling and pacing around the foot of his bed, he was taken aback to learn that she was his mother. The only thing Alex did remember was that the young man standing before him, Marcus, was his identical twin, and that they had a special connection.
Upon returning to their family estate, Marcus began the lengthy process of reacquainting Alex with the particulars of his life, as well as re-teaching him the basics, like how to tie his shoes. And through it all, Marcus did his best to present a rosy picture of their parents, assuring Alex that their mother, Jill, was “cool” and that they took nice vacations to France when they were kids. It wasn’t until after their parents’ death that Alex began to suspect that their upbringing may not have been as pleasant as Marcus suggested. And after Alex discovered a cabinet full of sex toys in Jill’s room and a photograph of him and his brother naked with their heads torn off, the horrible truth began to dawn on Alex: that he and his brother were sexually abused by their mother. Marcus would go on to confirm the abuse but refused to provide additional details, leaving his brother with questions that would haunt him for years.
Based on a book co-written by Alex and Marcus, Ed Perkins’s Tell Me Who I Am tells the brothers’ story with an Errol Morris-lite mix of expressionistic reenactments and interviews in which the subjects speak directly into the camera. Like the similarly themed Three Identical Strangers, the film parcels out disarming hints and shocking revelations at a steady clip, with a view toward maximizing the emotional impact of the material. It’s undeniably effective and affecting, escalating toward a harrowing confrontation-cum-reconciliation between the two brothers in which Marcus finally reveals the full horror of what they endured as kids: that, in addition to being abused by their mother, they were subjected to sexual assaults at the hands of multiple abusers, in what essentially amounted to an elite pedophilia ring.
In its richer, more rewarding moments, Tell Me Who I Am hints at the complex relationship between memory and identity. Alex relies on photographs to fill in the blanks in his memory, and yet, these seemingly objective recordings of the past, curated for him by his brother, are as conspicuous for what they reveal as for what they don’t. (As Alex muses at one point, “We take photos of weddings. You never take photos at funerals.”) But for a film about the power of getting a full and accurate accounting of the truth, it’s frustrating how little Tell Me Who I Am reckons with its own revelations. By focusing so narrowly on the Lewis brothers’ relationship with their mother, the film inadvertently minimizes the sheer scope of the boys’ abuse.
Tell Me Who I Am hints at the brothers having been caught up in a seemingly extensive sexual abuse ring, one involving aristocrats and at least one well-known artist, all of whom remain unnamed. It’s a scandal reminiscent of recently exposed conspiracies of silence that surround wrongdoing, such as those involving Jeffrey Epstein, Jimmy Savile, and the Catholic Church. And while Perkins’s film wants us to believe that the brothers’ saga reaches a definitive conclusion when they tearfully embrace after Alex learns about what happened to him, it leaves the viewer with a host of unanswered questions. Who exactly was part of Jill’s social circle? How extensive was Alex and Marcus’s abuse? Were there other victims?
Even a cursory glance at news articles about the men and reviews of their book suggests how much Perkins has massaged the details of the Lewis brothers’ lives to craft his sleek, emotionally punchy narrative. From watching Tell Me Who I Am, one wouldn’t know that there was at least one other confirmed victim: Alex and Marcus’s younger brother, whose existence the film doesn’t even acknowledge. By forcing Alex and Marcus’s story into such a rigidly linear narrative of redemption, the film ends up losing sight of its subjects altogether, reducing them to mere representations of its core theme: the brother who wants to learn about his past versus the brother who’d rather keep it buried.
That’s why Tell Me Who I Am’s attempt to end on a note of closure—“It’s over finally,” Alex says, as the camera tracks away from the house where he was abused—comes off as phony. Perhaps Alex feels that he finally understands who he really is, but the film leaves us with so many unanswered questions, it’s hard not feel that the picture we’ve been given of these men is nearly as misleading and incomplete as the one Marcus provided to Alex all those years ago.
Director: Ed Perkins Distributor: Netflix Running Time: 85 min Rating: NR Year: 2019
Review: The Gloss of Stuffed Is at Odds with Taxidermy’s Inherent Boldness
Erin Derham’s unadventurous aesthetic inoculates her from taxidermy’s subversive spirit.1.5
Erin Derham’s Stuffed opens with a montage of the various taxidermists she profiles throughout her documentary. This opening lays bare the film’s argument in unmistakable terms: that taxidermy is an art form, closer to the work of Tim Burton than that of Norman Bates. But it also exposes the film’s most unbearable flaw, as Derham supports her hagiographic argument by sewing together her case studies with a relentless, and relentlessly generic, score that speaks to her devotion to formula.
It’s an unadventurous formula at odds with the documentary’s attempts to establish taxidermy as a highly complex, anti-paradigmatic endeavor involving great amounts of scientific precision, as well as creative audacity and whimsical experimentation. Derham insists so much on taxidermists’ labor being more than the mere production of replicas that her refusal to adopt a more playful aesthetic approach as she portrays the quirky imagination of taxidermists feels like equivocation. It’s as if she approached the documentary’s making with thick rubber gloves, thus inoculating herself from taxidermy’s subversive spirit.
This may be the result of a certain courting, conscious or not, of digital streaming platforms through the mimicry of impersonally glossy production values. In any case, it leaves the viewer in a position akin to that of the fussy eater trying to pick unwelcomed ingredients out of their food. We want to savor the taxidermists’ artistry, except the clichéd polish that envelops the film keeps getting in the way. It’s an artistry that’s bold by design, as the taxidermist utilizes dead matter not with the utilitarian goal of resurrecting it, but as raw material to sculpt something altogether new. If the Paris Museum of Hunting and Nature invited artists Sophie Calle and Serena Carone in 2018 to intervene in its collection of retired guns and taxidermic realism precisely because of the unusual juxtaposition of conceptual art and refurbished dead matter, moose in red gowns and all, Stuffed defines taxidermy itself as already marrying fanciful concepts with the illusion of beastly or avian resurrection.
Taxidermist Madison Rubin tells us she loves “seeing the insides and the anatomy of things” as she skins 11 ermines with the meticulousness of a sculptor, or a dollmaker. Others evoke the resurgence of taxidermy, which used to be particularly popular in the Victorian era, in these times of digital de-materialization. And some attest to the specificity of the medium—how no other art form can convey texture the way taxidermy does. Yet Derham seems more invested in glossing over the numerous chapters she’s divided the film’s narrative into than in exploring the depths of her story. Taxidermy and sustainability, taxidermy and climate change, the ethics of taxidermy, taxidermy and museums, taxidermy as a business, taxidermy in fashion—all of these get addressed too rapidly, sometimes in just a couple of minutes.
The rush feels particularly unfortunate when Derham turns her attention to rogue taxidermy, a Lynchean subgenre located at the intersection of dioramas, cabinets of curiosities, and surrealist art. Here, Calle and Carone’s red ballgown-wearing stuffed roadkill would feel right at home—that is, delightfully out of place in the world. Instead, Stuffed quickly continues in its quest of a happy, peppy denouement to match the pristine porelessness of its sheen.
Director: Erin Derham Distributor: Music Box Films Running Time: 84 min Rating: NR Year: 2019
Review: Trick Will Treat You to Meatheaded, Commentary-Free Ultraviolence
Patrick Lussier’s film is an incompetent, nihilistic exercise in gore and pseudophilosophy.0.0
In the 2000s, a film company called the Asylum flooded Blockbuster shelves with “mockbusters”: cheaply produced, straight-to-DVD knockoffs of box-office dominators with titles such as Transmorphers, Ghosthunters, and Snakes on a Train. Patrick Lussier’s horror mystery Trick feels like an Asylum spin on Todd Phillips’s Joker, as both are about marginalized white guys who paint their faces, start killing people, and become kings of the incels. But where the licensed DC spinoff is an irresponsible and irredeemable pity party for a creep, this cheap lookalike is just an incompetent, nihilistic exercise in gore and pseudophilosophy, assembled crudely from horror and cop-movie clichés.
Trick opens with a handy list of the dictionary definitions of its title, hinting at the filmmakers’ estimation of their target audience’s intelligence. Trick is also the name of the film’s villain, short for Patrick (Thom Niemann), an 18-year-old who, on Halloween night in 2015, attends a party with his classmates in their Hudson Valley town. During a game of spin the bottle—played with a knife—Trick is pressured to kiss another dude but instead starts stabbing and slashing everyone. (The subtext of repressed homosexuality is never alluded to again in the film.) Incapacitated and brought to urgent care, Patrick breaks free from his restraints and drops more bodies until police shoot him repeatedly in a hallway, knocking him out of a second-story window, neatly alluding simultaneously to both John Carpenter’s original Halloween (the defenestration) and Rick Rosenthal’s 1981 sequel (the hospital setting). Trick staggers to the river and vanishes, presumed dead.
But more killings follow, on or around Halloween, in towns downriver from the first. Detective Mike Denver, the only cop who believes Patrick survived, is played by Omar Epps, who credibly delivers preposterous dialogue like a pro. In the film’s most ludicrous killing, Trick uses a crane to swing the tombstone of an F.B.I. agent (Vanessa Aspillaga) he murdered the year before through the windshield of a car in order to smash a wounded police officer (Dani Shay) sitting inside, a scene Denver sums up to a colleague: “He murdered your deputy with the gravestone of a fed I got killed. Who does that?” Then, after a beat, “What does that?”
Good question. To be scary, a horror villain needs either to be a credible menace or tap into a more primal social fear. But Trick is just implausible. He’s resilient like Rasputin, more violent than a rabid animal. At a time when cellphones and social media are ubiquitous, no one ever got a photo of him, and his classmates can barely even describe his features, just that he was smart as fuck—like, smarter than the teachers. The film shows off his far-fetched cleverness when he kills a different F.B.I. agent (Robert G. McKay) with a Rube Goldbergian guillotine involving a sharp wire, a utility pole, and a bundle of cinderblocks. Its employment makes for Purge-level spectacle without the social commentary to back it up. The beheading is just meatheaded ultraviolence—as inane as any other aspect of Trick.
Cast: Omar Epps, Ellen Adair, Kristina Reyes, Tom Atkins, Max Miller, Thom Neimann, Jamie Kennedy Director: Patrick Lussier Screenwriter: Todd Farmer, Patrick Lussier Distributor: RLJE Films Running Time: 100 min Rating: NR Year: 2019
Robert Forster: Winning in the Late Innings
The Oscar-nominated actor brought a sense of honor and dignity to every role he played.
David Lynch’s Mulholland Drive opens with a nighttime ride into oblivion. A limo drifts through the lightless void of the Hollywood Hills, red taillights burning in the blackness. An enigmatic woman, ebony hair and curvaceous red lips lending her the air of a tragic beauty, sits in the back by herself. The limo pulls over, and after the woman says, “We don’t stop here,” the driver aims a gun at her, but a gaggle of joyriding kids comes speeding around the curve and crashes into the vehicle. The woman climbs out of the wreckage stupefied and traipses into the hills, leaving behind the mangled metal and bodies.
Soon, a stoic detective arrives on the scene. He looks like a lawman, serious, a little sad, his face etched with the wrinkles of time. He examines the cars, offers a few terse observations, gazes out at the nocturnal city sprawling before him. It’s Robert Forster’s only scene in the film, and it’s an indelible one, imbued with mystery and menace, an attempt to explain the unexplainable. Saying fewer than 20 words and appearing in only a handful of shots, he exudes an air of wisdom and weariness—that of an indolent man who’s seen some shit and knows the horrors lurking ahead. In a film of dreamy logic and ineffaceable images, Forster’s taciturn detective acts as the final glimpse of reality before we slip into a world of Hollywood hopes and fantasy.
Forster, who died of brain cancer at the age of 78 this past Friday, was a prolific actor who experienced a remarkable second act in his mid-50s after giving a deeply empathetic and vulnerable performance as a love-struck bail bondsman in Quentin Tarantino’s Jackie Brown, a film populated by wounded characters leading unamazing lives, and who aspire to transcend mediocrity. “My career by then was dead,” Forster told the AV Club’s Will Harris in a 2011 interview. “No agent, no manager, no lawyer, no nothing…I could not believe that he [Tarantino] was talking about the Max Cherry role.”
Like so many of Tarantino’s films, Jackie Brown is replete with colorful, loquacious characters whose banter is clever, trenchant, and self-referential, but Forster’s Max Cherry is reserved and crestfallen, a man who’s settled into complacency and finds in Pam Grier’s flight attendant an unexpected inspiration. It’s one of American cinema’s great unconsummated love stories. Forster is a subtle actor, playing Max as an Everyman who chases people for a living but never seems to find what he’s looking for, and who willingly embroils himself in a dangerous situation because of love. He’s smart, self-sufficient, a decent guy, and yet for Jackie Brown he’s willing to risk his life, or whatever mundane existence he calls a life.
Forster was one of those great actors who appeared in far too few great films. His filmography is rife with bad films, though he was invariably a dependable presence in everything he did. He began his career promisingly, with a supporting role in John Huston’s Reflections in a Golden Eye, and earned renown for his turn as an ambitious and ill-fated news cameraman in Haskell Wexler’s incandescent Medium Cool. He played a private eye in 1930s Hollywood in the show Banyon (his role in Mulholland Drive almost feels like a brief homage to the short-lived series) and appeared in a slew of genre movies for the rest of the 1970s and 1980s. Of note is Lewis Teague’s Alligator, in which a gargantuan reptile terrorizes a city, William Lustig’s nihilistic grindhouse flick Vigilante, and a rare villainous turn in Delta Force, opposite the indefatigable Chuck Norris.
It wasn’t until Jackie Brown and his subsequent Oscar nomination that Forster reentered the public consciousness. The way Tarantino exhumes old, often “trash” films when crafting his paeans to moving pictures, he also has a preternatural skill for resurrecting the careers of forgotten or faded actors. Tarantino fought for Forster to get the part. When news of Forster’s death went public, the director said in a statement:
“Today the world is left with one less gentlemen. One less square shooter. One less good man. One less wonderful father. One less marvelous actor. I remember all the breakfasts we had at silver spoons. All the stories. All the kind words. All the support. Casting Robert Forster in Jackie Brown was one of the best choices I’ve ever made in my life. I will miss you dearly my old friend.”
Forster appeared in a panoply of listless films and television programs throughout the 2000s (his appearance in Alexander Payne’s The Descendants in 2011 being an exception) but became a household face again in 2018, when he took on the role of Sheriff Frank Truman, Harry S. Truman’s brother, on the third season of Lynch’s Twin Peaks. Whereas Michael Ontkean exuded a mercurial youthfulness on the original series, that of a warm-hearted, just man capable of fiery spontaneity, Forster plays the elder Sheriff Truman rather pensively, sagacious and serene. Which is to say, he acts with the wisdom accrued by experience.
Forster also appeared in a season five episode of Breaking Bad, as a vacuum store owner and “disappearer” named Ed who helps Bryan Cranston’s Walt change identities. A stable presence amid the histrionic theatrics that defined the show’s approach to acting, Forster gives an understated performance and a sense of the real-world left behind by Vince Gilligan’s increasingly combustible melodrama. Forster reprised the part this year in El Camino: A Breaking Bad Movie, the actor’s final screen credit. In a film-stealing scene, Forster stands steadfast and stoical against Aaron Paul’s desperate, bedraggled Jesse Pinkman, refusing to perform his disappearing service over a $1,800 discrepancy. The viewer is, of course, rooting for Jesse, yet one can’t help but respect the conviction of Forster’s unruffled professional. The actor brings a sense of honor and dignity to the role, as he did with every role. Forster was a safe, reliable presence, someone you trusted, unflustered, earnest, whether he was fighting monstrous alligators or swooning after air stewardesses.
Review: Cyrano, My Love Thinks Art Is Only Born of Romantic Passion
The film is imbued with an airless blend of buoyant comedy and soap-operatic backstage drama that recalls Shakespeare in Love.1.5
Alexis Michalik’s Cyrano, My Love wears its fondness for Shakespeare in Love very much on its sleeve. Though it serves up nuggets of truth, its take on Edmond Rostand (Thomas Solivérès) and the turbulent circumstances surrounding his creation of Cyrano de Bergerac is an outlandish one, imbued with an airless blend of buoyant comedy and soap-operatic backstage drama that recalls John Madden’s Oscar winner. And while Michalik positions Rostand as the story’s triumphant artist, the French dramatist is often reduced to a skittish ninny—as opposed to the pompous ass that Joseph Fiennes’s Shakespeare was positioned as—whose great art emanates not from the mind, but the cockles of the heart.
For a film so hellbent on the notion that Cyrano de Bergerac was inspired not only by actual events, but real emotions, there’s surprisingly little effort made to articulate with any specificity the conflicted feelings behind Rostand’s penning of what would become the most famous French play of all time. The initial catalyst for his play’s central conceit occurs when he steps in to help an actor friend, Léonidas (Tom Leeb), struggling to find the words to woo a costume designer, Jeanne (Lucie Boujenah), on whom he has a crush. Rostand, in one of the film’s many blatant nods to Cyrano de Bergerac, begins to feed his friend a barrage of romantic lines and relish the secrecy with which he can play out a love affair without disturbing his marriage with his endlessly patient and supportive wife, Rosemonde (Alice de Lencquesaing).
Yet, rather than teasing out the ample psychosexual baggage that should arise from the cognitive dissonance of Rostand writing daily love letters to Jeanne, his unknowing muse, while still professing, with complete honesty, that his only true love is his wife, Michalik pivots his focus to the swirling chaos of Cyrano de Bergerac’s production. With Rostand’s emotional conflict left fairly nebulous, Cyrano, My Love never quite gets to the root of the author’s inspiration, leaving its familiar theatrical farce about the troubles of mounting a stage play grounded in neither genuine emotion nor any palpable stakes.
As the hurdles that Rostand and company face in staging Cyrano de Bergerac grow bigger and Rostand writes pages to be rehearsed before the ink dries, the film introduces a parade of quirky, ostentatious characters. From the historical, such as Sarah Bernhardt (Clémentine Célarié) and Anton Chekhov (Misha Leskot), to the imagined, such as a prostitute (Mathilde Seigner) who’s foisted into the lead role of Roxane, each one is more thinly conceived than the next, with eccentricities dialed up to 11. The most egregious of these larger-than-life characterizations, however, is Monsieur Honoré (Jean-Michel Martial), the black café owner whose sole purpose is to repeatedly tap into his struggles as a minority as a means to galvanize the all-white cast and crew, who he then cheers on from the sidelines.
Cyrano, My Love’s lone performative bright spot comes in the form of a surprisingly nimble turn by Olivier Gourmet, known primarily for his dour turns in many of the Dardenne brothers’ films. Gourmet lends both humor and pathos to the play’s famous but desperate lead actor, Constant Coquelin. But while Coquelin steals the spotlight in a number of scenes, Rostand remains little more than a perpetually anxiety-ridden artist who virtually stumbles into writing a masterpiece during a helter-skelter production. And with little care given to rendering the intense emotional tumult that spurred his artistic process, all the pandemonium of Cyrano, My Love proves to be much ado about nothing.
Cast: Thomas Solivérès, Olivier Gourmet, Mathilde Seigner, Tom Leeb, Lucie Boujenah, Alice de Lencquesaing, Clémentine Célarié, Igor Gotesman, Dominique Pinon, Simon Abkarian, Marc Andréoni, Jean-Michel Martial, Olivier Lejeune, Antoine Dulery, Alexis Michalik Director: Alexis Michalik Screenwriter: Alexis Michalik Distributor: Roadside Attractions Running Time: 112 min Rating: R Year: 2018
Review: In Greener Grass, White Picket Fences Cast Shadows Like Tendrils
In the film’s world, there can be no real resistance, as the suburbs have already won.3
The opening credits of Greener Grass linger on a twitching, toothy smile covered in braces. Everyone in the film wears braces. Everyone drives a golf cart, too, and dresses in gentle pinks and blues. The lighting is soft and sun-drenched, an effect that’s most pronounced during the film’s soccer matches. In the opening of David Lynch’s Blue Velvet, the camera creeps through a suburb’s pleasant veneer to reveal the rot that festers beneath. But for Greener Grass co-directors, co-writers, and co-stars Jocelyn DeBoer and Dawn Luebbe, the very surface is the thing that’s so unsettling, a place populated by slithering, rictus-grinning meat puppets penned in by white picket fences and their own crippling need to conform.
The trouble, if you could call it that, begins when Jill (DeBoer) abruptly gifts Lisa (Luebbe) with her newborn baby as they watch their other children play soccer. This isn’t, in the film’s bizarre conception of suburbia, a particularly outrageous act. At worst, it’s overly generous, like giving someone a gift more expensive than they’re comfortable accepting; another neighbor, Kim Ann (Mary Holland), later laments that she wasn’t given the child instead. The children in Greener Grass are essentially property, status symbols to reflect upon their owners in their pristine homes and yards, all of which feeds into an undercurrent of pervasive competition that nonetheless reinforces conformity and simply not rocking the boat.
Everything is seemingly interchangeable in Greener Grass. At a cookout, it takes a full conversation for Jill and Lisa to notice that they’re smooching and hanging on the arms of the wrong husbands, Dennis (Neil Casey and Nick (Beck Bennett), respectively. And when Jill’s young son, Julian (Julian Hilliard), inexplicably transforms into a dog, she’s horrified, but Nick, the boy’s father, seems pleased: Julian may no longer be able to take the advanced math class, but he’s now a prodigy when it comes to playing catch in the backyard.
There isn’t much of a traditional plot to the film, which plays more as a recurring series of sketches that subtly further Jill’s downward spiral. DeBoer and Luebbe let their scenes linger long past the point of discomfort, both in the length of mannered dialogue exchanges and the amount of time they hold a shot without cutting; the camera gingerly pulls out or pushes in while characters perform odd actions in the background, like perpetually folding tighty-whities or fishing out a seemingly infinite supply of pocket change. It feels voyeuristic, and sometimes it is: In one scene, a hand appears to reveal that we’re watching a POV shot, and in another, an off-screen voice begins breathing heavily and starts mock-repeating dialogue.
A schoolteacher, Miss Human (D’Arcy Carden), fixates on the deaths of American pioneers making their way to the West. In pursuit of “a better life,” they lost things along the way, as the people of Greener Grass have lost themselves in their migration to the suburbs. The film is more unsettling for its lack of an ordinary plot structure where, say, Jill might break out of her suburban funk or get everything to explode with violence in a revolt against conformity. In the film’s world, there can be no real resistance. Here, the burbs have already won, having already sent out the white picket fences like tendrils as far as the eye can see. There is no escape.
Cast: Jocelyn DeBoer, Dawn Luebbe, Beck Bennett, Neil Casey, Mary Holland, D’Arcy Carden, Janicza Bravo, Dot-Marie Jones, Lauren Adams, Julian Hillard, Asher Miles Fallica Director: Jocelyn DeBoer, Dawn Luebbe Screenwriter: Jocelyn DeBoer, Dawn Luebbe Distributor: IFC Midnight Running Time: 100 min Rating: NR Year: 2019
Review: The Cave Pays Wrenching Tribute to the Doctors Saving Lives in Syria
Its depiction of the perpetual terror of living in a war zone will stick with viewers long after The Cave’s doctors have left Ghouta.3
Feras Fayyad’s documentary The Cave concludes with what almost seems like a non sequitur: After the staff at a Syrian underground hospital are finally forced to evacuate their war-torn city, the film fades to a low-angle shot of a submerged World War II bomber plane. Kjetil C. Astrup’s camera tracks slowly past the moss-covered plane and an unexploded shell that lies nearby. Yes, it’s a 1940s bomber, and The Cave is about Ghouta, a suburb of Damascus, that’s subjected to constant bombardment from contemporary warplanes, but what does this image have to do with the ongoing Syrian Civil War?
Given how instantly recognizable this bomber is, despite its present state of disrepair, speaks to how familiar we are with the massive political and moral sins of the 20th century. Fayyad’s point would appear to be that these sins are being recapitulated today in the Middle East. It’s not only the relentless bombing and devastating chemical weapon attacks captured in the film that evoke images of Europe during the West’s greatest conflict, but also the treatment of people attempting to escape the horrors of the Syrian Civil War.
Over the image of the bomber plane, Fayyad places statistics about the tens of thousands of refugees who’ve drowned fleeing the conflict. As in the omnipresent WWII stories we repeatedly tell ourselves are warnings against ever letting such things happen again, thousands of people in the Middle East are trapped, starving, and suffocating, their homes and livelihoods destroyed by a global war being carried out over their heads.
By the time the submerged bomber appears on screen, those schooled in the history of occupied Europe (or who are simply avid tourists) may have already drawn another parallel, as The Cave, the name given to the underground hospital in Ghouta, evokes the Hospital in the Rock, the Budapest hospital built within a bunker under a hill in the leadup to WWII. From inside The Cave, where the camera keeps us for almost the entirety of the documentary, the sound of bombs is muffled, but their consequences are unavoidable. After every raid, the hospital’s dimly lit underground hallway fills up with desperate families carting the wounded, weeping mothers shoving others out of the way to check on their dying sons, and orchestral music streaming on Dr. Salim’s smartphone. The Mozart helps him focus and, he explains, replaces anesthetic, to which the hospital doesn’t have access.
Heading the small staff that operates The Cave during the years-long siege of eastern Ghouta is pediatrician Dr. Amani, a physician so superhumanly dedicated that she’d come off as an idealized abstraction in a fiction film. Fayyad doesn’t delve into her backstory, but Amani appears to come from a relatively privileged background: Her family, whom she speaks to regularly on the phone, seems to be in a safe place, and she’s well-educated and a feminist, an inclination she expresses strategically to the camera and, when necessary, to defend her occupation against overtly misogynist patients. Despite her presumed access to avenues of flight, she’s stayed behind to treat juvenile victims of bombing campaigns and malnourishment, even paying dangerous house visits to diagnose the children of women who can’t leave their homes. Though brave and generous, she’s no saintly paragon of modesty; on occasion, she rages against the regime and their allies, and the 30-year-old outwardly longs for a regular day-to-day life in which she might be permitted to wear mascara.
Fayyad saves its most graphic depiction of the consequences of the siege for the latter part of the documentary, as a chemical weapon attack perpetrated by the regime and its Russian allies sends dozens of choking people—many children—rushing to The Cave for help. Fayyad ratchets up the suspense with a booming score that crescendos as the staff gradually realizes they’re handling patients who are choking rather than bleeding, and recognizes the smell of chlorine beginning to permeate the halls. Despite the real human suffering on screen, the whiff of rhetorical construction supplied by the score and the accelerating pace of the editing makes the scene feel a bit too much like a Hollywood trope, crafting suspense out of pain.
Perhaps, on the other hand, that moment of tension could be said to effectively convey some aspect of the events as the doctors felt it. Other excessively stylistic elements in The Cave, though, work against the urgency of its messaging. The handheld, intimate format of the bulk of the film is preceded by a still and distant opening shot of the Ghouta skyline, in which missiles are shown gliding into the mass of buildings and erupting into slowly moving dust and smoke. Ironically, this shot almost poeticizes the ongoing destruction of the city, its cool perspective conflicting sharply with the later close-ups of suffering bombing victims.
As the film goes on, the bombings draw closer to The Cave, part of which is actually destroyed by one raid. Samaher, the doctor put in charge of preparing the hospital’s meager rations, cooks in fits and starts, running away from the stove whenever the sound of a plane rattles the nearby wall. Many of the male members of the team chide her for her skittish, sometimes nervously playful behavior, but candid shots pick up even the even-keeled Salim crying after a rare and brief Skype call with his family. The film’s depiction of the perpetual terror of living in a war zone will stick with viewers long after Amani, Salim, and Samaher have left Ghouta.
Director: Feras Fayyad Distributor: National Geographic Documentary Films Running Time: 96 min Rating: NR Year: 2019
Review: The Addams Family Is an Ooky Show of Confused Messaging
Throughout, the film tirelessly hammers home the point of being true to yourself.1.5
The Addams family has always proudly embraced its otherness with a mix of confidence and indifference to the opinions of judgy neighbors. And Conrad Vernon and Greg Tiernan’s animated The Addams Family is no different in that regard, setting up its fish-out-of-water scenario as soon as Morticia (Charlize Theron) and Gomez (Oscar Isaac) take off to New Jersey and settle into the Goth mansion where they’ll raise their two children, Wednesday (Chloë Grace Moretz) and Pugsley (Finn Wolfhard). All, of course, with the help of their loopy Uncle Fester (Nick Kroll) and loyal servant, Lurch (Conrad Vernon), whose rocking out on the mansion’s giant pipe organ constitutes the majority of the film’s score.
With the family’s strict adherence to ceremonies steeped in their vaguely Eastern European roots, particularly the saber dance that Pugsley prepares for throughout the film, the metaphor for the immigrant experience writes itself. But The Addams Family’s targets are ultimately not the seemingly resentful bigots who fear the Addamses’ presence in their neighborhood, but an outmoded notion of suburban conformity that harks back to the 1950s. MAGA-esque indignation, which occasionally creeps in through a comment spewed from within an angry mob, is dwarfed by a distaste for, of all things, tract housing and HGTV-esque renovations.
In fact, the film’s villain, Margaux Needler (Allison Janney), doesn’t fear the Addamses for their cultural differences, but rather for the devaluing affect their eyesore of a house, perched on a hill, will have on the community of homes she’s building nearby and planning to market on her hugely popular television show. While Margaux’s town is called Assimilation, the lockstep conformity demanded here isn’t one that requires the Addamses to reject any deeply held beliefs or cultural norms, merely to apply a quick slap of paint to their home and endure a wardrobe change or two. This leaves The Addams Family feeling pretty toothless, even for a family film, as it’s unwilling to even pinpoint the true roots of the townspeople’s fears. Its eventual forgiveness of their thinly veiled jingoism, passing the enraged residents off as otherwise friendly, well-meaning people who simply fell victim to the manipulations of the greedy Margaux, only further dilutes any potentially relevant commentary.
In a subplot involving Wednesday’s venturing into Assimilation Middle School and befriending Margaux’s daughter, Parker (Elsie Fisher), The Addams Family offers an intriguing twist on the idea of the Addamses as a perfect family. When Wednesday shows signs of accepting Parker’s fashion advice, she finds in her family, particularly Morticia, the very same intolerance they’re confronted with around town. But this nugget of wisdom is soon lost in the wind when Wednesday returns home to protect her family in their hour of need. Until the finale, the film tirelessly hammers home the importance of being true to yourself, yet its ultimate resolution, one of relatively uneasy compromise, confuses even that simple point. You be you, but eventually everyone wants to fit in one way or another, so maybe change just a bit?
Cast: Oscar Isaac, Charlize Theron, Chloë Grace Moretz, Finn Wolfhard, Nick Kroll, Snoop Dogg, Bette Midler, Allison Janney, Martin Short, Catherine O’Hara, Elsie Fisher, Tituss Burgess Director: Conrad Vernon, Greg Tiernan Screenwriter: Matt Lieberman, Pamela Pettler Distributor: United Artists Releasing Running Time: 87 min Rating: PG Year: 2019 Buy: Soundtrack
Review: Catherine the Great Is an Alluring, If Shallow, Dip Into Russia’s Golden Age
Review: Destiny 2: Shadowkeep Is One Giant Leap for the Bungie Series
Review: The Addams Family Is an Ooky Show of Confused Messaging
Blu-ray Review: Bill Forsyth’s Local Hero on the Criterion Collection
Review: The Cave Pays Wrenching Tribute to the Doctors Saving Lives in Syria
Review: The Lightning Thief Struggles to Summon Epic-Scale Spectacle
Blu-ray Review: Lucille Carra’s The Inland Sea on the Criterion Collection
Review: Zombieland: Double Tap Shrugs Toward the End of the World
The Very Queer In the Dream House Explodes Expectations of Memoir
Review: Robert Fuest’s And Soon the Darkness on Kino Lorber Blu-ray
- TV6 days ago
Review: Catherine the Great Is an Alluring, If Shallow, Dip Into Russia’s Golden Age
- Games7 days ago
Review: Destiny 2: Shadowkeep Is One Giant Leap for the Bungie Series
- Film6 days ago
Review: The Addams Family Is an Ooky Show of Confused Messaging
- Video5 days ago
Blu-ray Review: Bill Forsyth’s Local Hero on the Criterion Collection