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Review: Take This Waltz

2.5

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Take This Waltz
Photo: Magnolia Pictures

Take This Waltz is full of chance encounters, some less likely than a lobby with nine hundred windows or a bed where the moon has been sweating. Following a meet uncute at Nova Scotia’s Fortress of Louisbourg, Daniel (Luke Kirby) catches the perfectly abled Margot (Michelle Williams) at the airport being hauled around on a wheelchair. Seated, of course, beside her on the plane, and bound for the same Toronto street, imagine that, he calls bullshit on her claim that her legs fail her after standing upright for a few minutes, so she confesses to having problems making connections. She means layovers, yes, but writer-director Sarah Polley means, well, you know what she means, and you gather that Daniel gets the script’s subtextual drift, but because he makes money dragging a rickshaw around in order to support making art he’s too chicken-shit to bring to a gallery space, he’s practically a paraplegic, so he teases his way into the woman’s heart with super-chill abandon.

Note: If the thought of any of the above threatened to bring up your last meal, wait ’til you catch a whiff of Polley’s vision of Toronto. I know absolutely nothing about the city’s housing market, or poultry’s price per pound at Canadian supermarkets, but Polley’s boho characters live so unbelievably beyond their means—Margot is a would-be writer who doesn’t seem to actually write, and her husband, Lou (Seth Rogen), spends all day bringing chicken-centered recipes to delicious life for a cookbook he’s writing—that it’s impossible not to look at Take This Waltz as anything other than fantasy. This is confirmed by everyone’s colorful living spaces, a self-consciously overthought sense of how the hip and down and out live that feels sprung from the imagination of Juno MacGuff herself.

Because looking at Take This Waltz isn’t unlike walking through an arts and crafts store, it’s tempting to cut Polley some slack for whipping up a story whose every conceit is so obviously constructed. Every detail is contrived to signify something, if not in the present then later: from Daniel owning a rickshaw to Lou’s daily ritual of pouring cold water over Margot’s head as she showers. Five years living together and she’s never looked up, eyes open, as the second stream of water cascades over her head, so she thinks there’s something wrong with the plumbing (a plumber, natch, has never been called). The logic of the scene is blatantly screwy but ultimately beside the point, as the scene doesn’t exist to make sense, only for cheap sentiment’s sake—for Lou, once Margot has decided to leave him, to make her feel lousy for downplaying their relationship’s element of surprise.

And yet, the film works in spite of all its cute writerly and aesthetic doodling. Maybe that’s to be expected from a patchwork, as some of its panels have been labored over with more thoughtfulness than others, such as a trip to the amusement park by Margot and Daniel during which the would-be lovers ride a spinning attraction and “Video Killed the Radio Star” jarringly drops from the soundtrack; the scene, like the song, is a melancholically playful articulation of the joy and fear of transition. And, yes, Daniel may own a rickshaw just so we can have the scene in which he pulls Margot and Lou to the movies, on their anniversary no less, but the staging of the scene, in which Margot, sitting next to a giddy Lou, is forced to look at Daniel’s back for the entirety of the ride, his shirt soaking up sweat, is gorgeously framed, the emotional fraughtness of everyone’s proximity to one another made credible by Williams’s customary level of nuance.

But the film’s triumph is a candid scene where Polley lingers on Margot as she and a group of women shower following a self-defense class at the local pool. The naked female body, young and old, firm and saggy, is displayed for us without provocation, and at length, to simply convey the waltz of growing old without shame. It may seem random, but the scene, in no small part because of Williams’s expressiveness, oddly and mysteriously connects to Margot’s struggle to be with Daniel, as if the captivating parade of female nakedness somehow her gives her the license to leave Lou and mature into a new relationship.

Throughout the film, obscenely cute scenes from Margot and Lou’s playful but seemingly sexless five-year marriage are contrasted with a series of adorably scorching, will-they-or-won’t-they exchanges between Margot and Daniel, which reaches a turning point at the local pool when Daniel oversteps his bounds by grabbing Margot’s leg. Their eventual and quite libertine romantic relationship will be absurdly conveyed in a single montage sequence, scored to the great song from which the film derives its title, and though Margot’s story will culminate with a too-symbolic expression of the independence she achieves, it’s the image of the women showering naked that truly lingers in the mind as a poetic expression of a girl learning to be herself, and on her own, without regret.

Cast: Michelle Williams, Seth Rogen, Sarah Silverman, Luke Kirby, Aaron Abrams, Jennifer Podemski, Graham Abbey Director: Sarah Polley Screenwriter: Sarah Polley Distributor: Magnolia Pictures Running Time: 116 min Rating: R Year: 2011 Buy: Video

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Review: M. Night Shyamalan’s Glass Is Less Than Half Empty

M. Night Shyamalan’s film is aimed at an audience from whom he cringingly craves fealty.

2

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Glass
Photo: Universal Pictures

What a difference nearly two decades makes. When writer-director M. Night Shyamalan released Unbreakable way back in 2000, the superhero genre was hardly the mass-cultural malady that it is today. An oddball take on caped crusaders and the like had a better chance of standing out in theaters, and Unbreakable was certainly one of the more eccentric uses of $75 million Hollywood studio dollars.

Shyamalan’s tale of a Philadelphia security guard, David Dunn (Bruce Willis), who, after surviving a devastating train crash, discovers he has inhuman strength and a psychic ability to predict danger, was photographed in languorous long takes, with most dialogue spoken barely above a whisper. Unbreakable was really more of a slow-burning family relationship drama—especially between Dunn and his hero-worshipping son, Joseph (Spencer Treat Clark)—than it was a men-in-tights, or, in this case, man-in-rain-slicker action flick. But a cartoonishly clothed Samuel L. Jackson did often pop up as a brittle-boned character named Elijah Price, who pontificated about comic books as if they were a socio-cultural Rosetta Stone.

In one of his patented, P.T. Barnum-esque twist endings, Shyamalan revealed that Price fancied himself Dunn’s brainiac archnemesis. “They called me Mr. Glass,” he says of his childhood torturers. And so the stage was set for a future showdown, though lower box-office receipts than expected appeared to put the kibosh on that. But now here we are with the frivolous and protracted Glass, which finally pits Dunn and Glass against each other. Though there’s one other person involved…or perhaps we should say multiple people in one.

That would be Kevin Wendell Crumb (James McAvoy), the dissociative identity-afflicted villain known as The Horde, who was first introduced in Shyamalan’s 2016 hit, and stealth Unbreakable sequel, Split. McAvoy is once again the whole show here, with the actor receiving top billing over his co-stars. He shares several scenes with Split’s damaged final girl, Casey (Anya Taylor-Joy), and he leans full-tilt into The Horde’s various personalities. Among these interior others are prim British matriarch Patricia; nine-year-old dance freak/Drake fanboy Hedwig; macho sexual deviant Dennis; and a cannibalistic savage known only as The Beast, who’s as close to a Big Bad as the film gets. McAvoy’s energy and go-for-brokeness is infectious, and it’s something Glass could use a whole lot more of.

The film’s first 20 minutes or so put Dunn, now nicknamed The Overseer, and Crumb on a collision course that eventually lands them in the same mental hospital where Glass is incarcerated. The trio’s physician is Dr. Ellie Staple (Sarah Paulson, seemingly rehearsing for her eventual role as Nurse Ratched in Ryan Murphy’s One Flew Over the Cuckoo’s Nest prequel), an icy unbeliever, so she says, in anything superheroic. It’s Staple’s goal to talk her three charges into renouncing their phenomenal powers. And talk. And talk. And talk.

Much of Glass’s running time is given over to therapy sessions in which Crumb cycles through his personas, Dunn looks alternately befuddled and constipated, and Glass lolls his Frederick Douglass-coiffed head to the side in drooling catatonia. (Is he faking his unresponsiveness? What do you think?) He’s barely the star of his own film, though Shyamalan has said in interviews that Glass is meant to reflect the character’s fragile, erudite nature, as Unbreakable did Dunn’s reluctant heroism and Split did Crumb’s anything-goes psychosis.

There’s a certain clinical elegance to the crisp digital cinematography by Mike Gioulakis, much in keeping with Glass’s eye-catching, purple-accented wardrobe (love that monogrammed cravat!). It’s telling, however, that the most striking scenes here are flashbacks to the Eduardo Serra-shot Unbreakable. This includes a terrifying deleted scene from that film in which a young Elijah Price (Johnny Hiram Jamison) rides an amusement park Tilt-A-Whirl, with bone-shattering results and to the palpable distress of his mother, played by Charlayne Woodard. She reprises her role, as Clark does Dunn’s now-grown son, in Glass’s present-day scenes.

A bigger issue is that the film’s earnest deconstruction of comic-book mythology seems antiquated given our present glut of superhero media. It’s no longer a genre to be elevated since it has become the norm. Plus, the unintentionally hilarious way that Paulson says, “Have you ever been to a comic book convention?” is one of several signposts suggesting that Shyamalan’s geek cred is about, say, 20 years behind the times.

It certainly might have helped if Shyamalan were able to more humorously poke at his own pretenses. The wet-noodle climax in which all of Glass’s characters have a staggeringly non-epochal confrontation in a friggin’ parking lot could only have benefitted from a sense that the stars and the multi-hyphenate auteur were enjoying themselves. It’s only too appropriate that Jackson’s Glass sternly narrates this skeletally smack-a-doo finale as if he was a distressed academic lecturing attention-starved stoners.

Perhaps genuine fun is too much to ask from an artist who once wrote a po-faced tome about closing America’s education gap (put “I Got Schooled” into Google and delight, such as it is). There’s also another twist or two on the horizon, though it gives nothing away to say that the reveals amount to little more than “the real superhero…was mankind.” In the end, Glass proves to be another of Shyamalan’s pompous sermons about faith in oneself, aimed at an audience from whom he cringingly craves fealty.

Cast: James McAvoy, Bruce Willis, Samuel L. Jackson, Sarah Paulson, Anya Taylor-Joy, Spencer Treat Clark, Charlayne Woodard Director: M. Night Shyamalan Screenwriter: M. Night Shyamalan Distributor: Universal Pictures Running Time: 129 min Rating: PG-13 Year: 2019

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Review: An Acceptable Loss Is a Morally Urgent B Movie

The film is a cynical critique of American foreign policy wrapped up in an uncluttered narrative that thrives on pulpy thrills.

2.5

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An Acceptable Loss
Photo: IFC Films

Writer-director Joe Chappelle’s An Acceptable Loss is a B movie with a morally urgent message, a cynical critique of American foreign policy in the Middle East wrapped up in an uncluttered narrative that thrives on pulpy thrills. By positioning the U.S. government as the film’s primary antagonist, Chappelle takes to task the repeated killing of innocent lives as collateral damage in the hunt for terrorists and other ostensible enemies.

The ethical quandary that arises from such an operation is embodied by Elizabeth “Libby” Lamm (Tika Sumpter), a former national security adviser to Vice President Rachel Burke (Jamie Lee Curtis) who’s taken a teaching gig at a Chicago university. As Libby secretly transcribes her experiences, and faces civilians who are angry over her role in a controversial military operation in Syria, Chappelle shows a surprising empathy for the character. The filmmaker outlines that Libby’s memorializing of her experiences and her honest attempt at assimilating within a society that more or less shuns her is borne out of feelings of regret.

But An Acceptable Loss’s compelling take on moral reckoning is compromised by the distracting presence of Martin (Ben Tavassoli), a grad student who consistently exposes lapses in the storyline’s logic. Martin mysteriously stalks Libby and sets up an elaborate surveillance system in her house, but it’s never explained how Martin can operate with the skill, knowledge, and proficiency of some kind of intelligence officer. Dubiously, when Libby and Martin need each other’s help in a moment of crisis, the film oddly passes on holding the latter’s disturbingly voyeuristic behavior accountable; Libby shakes her head, and then the film drops the matter completely. For a film eager to ponder the ethics of people’s actions, it comes off as strange that Chappelle doesn’t scrutinize Martin’s own.

Still, it’s difficult not to get swept up in An Acceptable Loss’s technical virtuosity. The film’s propulsive narrative is nothing if not efficient, aided in no small part by crisp editing that relishes the fine art of cross-cutting. The dark interiors that Chappelle favors create a Tourneur-like atmosphere of dread that subsumes Libby, underlining the covert nature of her documenting her secrets; even scenes in daylight have a strangely nocturnal feel to them. This visual style complements An Acceptable Loss’s pessimistic view of America’s foreign policy, which is sustained right up to the film’s hopeful coda. The film shows that if policy is to change, it greatly helps to be supported by people like Libby, someone who had been complicit in committing atrocities but ultimately embraced her humanity.

Cast: Tika Sumpter, Ben Tavassoli, Jamie Lee Curtis, Jeff Hephner, Alex Weisman, Clarke Peters Director: Joe Chappelle Screenwriter: Joe Chappelle Distributor: IFC Films Running Time: 102 min Rating: R Year: 2018

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Review: The Heiresses Is a Contemplative Look at Class

Ana Brun’s performance as Chela anchors our attention where Marcelo Martinessi’s understated visuals might otherwise lose it.

3.0

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The Heiresses
Photo: Distrib Films US

In writer-director Marcelo Martinessi’s The Heiresses, middle-aged lesbian couple Chela (Ana Brun) and Chiquita (Margarita Irún) live together in a bourgeois household with only the leftovers of its former grandeur. The house and its furnishings, Chela’s inheritance from her parents, have a dated, hand-me-down quality, and the couple is gradually selling off the expensive furniture and china to pay for Chiquita’s debts. The emptying of the house of Chela’s possessions reflects the greater emptiness that Martinessi makes the audience feel in the space, where hardly anybody but the couple appears, and where the lights seem to always be off, presumably to save money.

But selling off Chela’s inheritance is to no avail, and Chiquita ends up in what’s essentially a debtor’s prison (the bank she owes money to charges her with fraud). Chiquita had been the dominant personality in their relationship, and after she’s sent to prison Chela finds herself in an even emptier house, without much to do. When an elderly neighbor, Pituca (Maria Martins), asks her for a ride one day, and insists on paying her for it, Chela finds a new vocation, becoming a kind of unofficial chauffeur to the neighborhood’s still-wealthy ladies. Although she doesn’t have a license, she begins driving Pituca and her friends around the city, picking up a regular gig driving the younger Angy (Ana Ivanova) to visit her ill mother. Initially flummoxed by the way she has fallen from her bourgeois indolence into a working-class job, Chela begins to embrace the relative freedom offered by driving, as well as the independence her bourgeoning relationships with the other women give her from Chiquita.

Martinessi cites Rainer Werner Fassbinder’s Bitter Tears of Petra von Kant as his inspiration for the film, but The Heiresses has little of Fassbinder’s grandiose flair. This film’s characters spend more time staring contemplatively off screen than they do erupting into sudden emotional outbursts, for example, and Martinessi doesn’t accentuate the superficiality of Chela’s bourgeois home by arranging a literally glittering mise-en-scène, as Fassbinder might have done. Instead, Martinessi’s images are rather static and quite dark, relying on the natural lighting of the dimly lit house and Chela’s cramped Mercedes, the two places where most of The Heiresses’s scenes take place. The result is a film that’s more grounded—and more stylistically pared down—than Fassbinder’s performative melodramas.

In other ways, however, The Heiresses does recall Fassbinder’s drama of failed domesticity. In their shared home, Chela and Chiquita are surrounded by the signs of a disintegrating upper-middle-class patriarchy, represented in the ornaments of wealth Chela identifies as coming from her father. And like Bitter Tears of Petra von Kant, though patriarchy is a structuring absence in The Heiresses, Martinessi’s film is overwhelmingly female: Angy has an ex-boyfriend who appears in the background of a couple shots, but no man’s face is seen throughout the entire film. While The Heiresses presents an almost exclusively female world, it uses very few exterior shots, communicating a feeling of confinement—most literally in those scenes in which Chela visits Chiquita in the women’s prison.

This sense of confinement reflects on Chela personally, as well as on the women in the film more broadly. As the nouveau riche come to look over her possessions, Chela spies on them through a cracked-open door. Martinessi presents these scenes from Chela’s voyeuristic point of view, reflecting her isolation and trepidation in relation to the outside world: She’s ashamed to now be reliant on selling her family’s possessions, but she’s also afraid of making contact with anyone outside of her and Chiquita’s world.

At times, paradoxically, the visual and dramatic quietude of The Heiresses feels a bit excessive, but Brun’s performance as Chela anchors our attention where Martinessi’s understated visuals might otherwise lose it. In downward glances and semi-dazed glares, she captures a character who at once is overwhelmed by her new circumstances and emotionally shields herself from them. Slowly and ambivalently, Chela finds a sense of self apart from her overbearing partner and the legacy of her father—breaking away from, rather than merely avoiding, her oppressive circumstances.

Cast: Ana Brun, Margarite Irún, Ana Ivanova, Maria Martins, Nilda González, Alicia Guerra Director: Marcelo Martinessi Screenwriter: Marcelo Martinessi Distributor: Distrib Films US Running Time: 98 min Rating: NR Year: 2019

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