Category: Reviews Page 36 of 65

Glass: Please be warned that I may talk about the end of this movie, so don’t read on if you’re saving up to watch it and be surprised. I saw “Glass” the day it opened and it’s still keeping a slim hold on the #1 box office spot for the third week. Estimates are that it has earned an additional $9.5 million in ticket sales, which would bring its total earnings to $88.7 million.

I’ve been trying to decide what to say about “Glass,” M. Night Shymalan’s return to the big screen after “Split” 3 years ago (2016). I loved “Split.”

I was very happy that the director who gave us “The Sixth Sense” (1999), “Unbreakable” (2000); “Signs” (2002); “The Village” (2004), and “Lady in the Water” (2006) was back with a winner in 2016 and, hopefully, “Glass” would be the winner in 2019. I may not be quite as fanatical about Shymalan’s success as the two screenwriters who wrote “A Quiet Place,” Scott Beck and Bryan Woods. They showed pictures on Twitter of every ticket stub for all of M. Night Shymalan’s pictures since the very beginning. [“The Sixth Sense,” “Unbreakable,” and “Signs” have sold over $1.3 billion in ticket sales, and Shymalan also was the creative mind behind television’s “Wayward Pines.”]

I’m a Shymalan fan, but I have to confess that my loyalty waivered a bit after “Lady in the Water” with Paul Giametti and Bryce Dallas Howard. I was only too happy to get back on the bandwagon after “Split” hit theaters 3 years ago. I was truly rooting for “Glass” to be just as good as “Split.”

The performance by James McAvoy in “Split” was nothing short of fantastic. “Glass” would revive the character with 24 multiple personalities that McAvoy brought to life so vividly in “Split.”

Fortunately for me here in Austin (Texas), a history” of the inter-relatedness of the characters was shown at the Alamo Drafthouse on Slaughter Lane just before the main feature. “Glass” was a merger of Shymalan’s biggest hits: “Unbreakable” with Samuel L. Jackson and his case of osteogenesis imperfecta (brittle bone disorder) and Bruce Willis as a hooded superhero survivor of a train wreck with McAvoy in “Split.” We also got a now-grown-up Spencer Treat Clark as Willis’ son. [Clark expressed gratitude that Shymalan was so loyal to his actors and had re-cast him as an adult after his first appearance as a child in “Unbreakable.” (He laughingly said he expected to hear that one of the Australian Hemsworth brothers got the role in 2019).]

So, it is with a great deal of reluctance that I have to say that I was disappointed in “Glass.” There is one scene where Anya Taylor-Joy goes to the sanitarium where James McAvoy is confined and asks to talk with him. It is strange that she would WANT to talk to him, since he held her prisoner in “Split” and terrorized her, but she survived.

JUMP-THE-SHARK MOMENTS

The head psychiatrist, played by Sarah Paulsen, is heard telling the young girl from the film “Split” that she cannot possibly talk to her former captor—and then, in a complete reversal, there Anya is, talking to him. Why? How? What?

Then there is the scene in “Glass” when all three of the bad guys are brought into the room to talk with Paulson (see a slight amount on the trailer above).

Only one of the three is chained, and that is Bruce Willis. Why wouldn’t James Mcavoy be chained, as he is clearly the most dangerous of the three? (Jackson is in a wheelchair and appears to be catatonic) Also weird: the drum music used in the background; the pacing of the entire scene gave us a very draggy scene.

For the keen of eye, the usual cameo—a la Alfred Hitchcock—is Shymalan at a stand that sells cameras. He says he “used to hang out with some shady types at the football stadium in his youth.” Thanks to the Alamo’s history lesson, I remembered that, in the movie “Unbreakable,” his cameo appearance cast him as a drug dealer at the stadium where Bruce Willis’ character David Dunne is a guard.

So, the scenes in Raven Hill Memorial Psychiatric Hospital were generally difficult to explain or understand and some key scenes really dragged. David (Bruce Willis) is being treated for delusions of grandeur. He remains locked up until a scene where he inexplicably takes 3 runs at the metal door and manages to break free. (Say what?)

Samuel L. Jackson as Mr. Glass has everyone convinced he is practically a vegetable when, in reality, he seems to be able to get out of his cell at will (something that is also never really explained.) And the operation Glass is to undergo on his brain, we are led to believe, is ineffectual because he switches out some glass lenses in the equipment the night before. Highly unlikely. He’s brilliant, yes, but he’s not a physician (although all 9 of Shymalan’s family, including his wife are either MDs or PhDs.)

The fight outside the sanitarium between Willis and McAvoy seems extremely unrealistic and hokey, especially when Willis’ son shows up and is about as ineffectual at helping his father as humanly possible and with McAvoy loping along like he is in a “Planet of the Apes” sequel. Who really thinks that the much younger McAvoy (i.e., “the Beast”) is going to be truly challenged by Willis? The “precipitating event” that we see (i.e., a scare in the water when he was a young boy) is anti-climactic.

COMIC BOOKS

Shymalan likes comic books. This script says, “Superheroes are based on people like him” and, “Everything can be explained away, yet it exists. Some of us can bend steel and don’t die from bullets.” But, later, this line is inserted, “There just can’t be gods among us.” Paulsen’s specialty is treating patients who think they are super-heroes. (I wondered if there was a lot of work for a psychiatrist who only treated Superhero wannabes.)

CAMERAWORK

The camera work at the end, when three characters are shown sitting in the Philadelphia train station, was off-putting and jerky. One wonders how anyone is going to know to come flocking to the train station in the first place. Way off the chart of believability.

TWIST ENDINGS

Shymalan is well-known for surprise or “twist” endings and tries for a double twist here, which I won’t reveal, although he has said, “The negative thing about the twist (ending) is that it’s all people are occupied with; all the gentleness in the movie is being overshadowed by the flashy cousin in the sequined vest taking center stage.” In this film he tries for a double surprise ending as we come to learn that Mr. Glass was much smarter than his keepers. It may be for the best that both Samuel L. Jackson’s character and Bruce Willis’ character are dispatched by film’s end, but it seemed pretty arbitrary. Still, I’m glad that he bit the bullet and did not leave us thinking they’d show up again in a film this implausibly plotted.

IMPORTANCE OF MOVIE THEATERS

One thing that I do agree with Shymalan about is the importance of the movie-going experience. I recently answered a question on Quora (about whether I’d take a million dollars if it meant I could never watch a film at a theater again) in direct opposition to 5 other responders. I don’t ever want to see movies go away, and I said so. Shymalan agrees, saying:

“I’m going to stop making movies if they end the cinema experience. If there’s a last film that’s released only theatrically, it’ll have my name on it. This is life or death to me. If you tell audiences there’s no difference between a theatrical experience and a DVD, then that’s it, game’s over, and that whole art form is going to go away slowly. Movies will end up being this esoteric art form, where only singular people will put films out in a small group of theaters.”

Shymalan also went on to share this anecdote:

[on the power of cinema] “I once wrote an article about the Nuremburg trial and on the evil of the Nazis. These people were animals. And their faces throughout the trial were like ice, except for the moment when they showed a movie in the courtroom. When the lights went down and they showed the footage of the bodies being pushed into the pits, their expressions changed and they became emotional. They were watching the events on the screen through the eyes of everyone in the theater. They were having a joint experience. They were all connected, and they saw the horror, saw that their victims were human beings, and they changed.”

I recently spoke to a roomful of 3^rd and 4^th graders at a Young Authors’ Day on January 24^th. The students were polite and generally attentive. When I switched to the trailer, projected on a large screen, for my book series (“Ghostly Tales of Route 66”) and showed a short film clip of the route, I was in the back of the room, scanning the crowd. They were mesmerized, enraptured, totally “with it,” whereas I had to contend with Susie sharing her lunch crackers with Janie and whispering to her when it was just me trying to share stories of my experiences driving from Chicago to Santa Monica gathering ghost stories. (www.GhostlyTalesofRoute66.com).

ON CRITICS

As for his reaction to the luke-warm critical reception of “Glass,” Shymalan said:

“It really doesn’t bother me because my aspiration, as I said, isn’t necessarily acceptance. But I always want to understand what’s going on. What are the principles behind the tension or the miscommunication? I want to totally get that. Then I can choose not to react to it, or react to it. My constant, in self-analysis, is to try to figure out: Am I complicit in this situation? How did I create this situation? What is my role in it? Do I want to continue that role? Do I want to change the course of that role? As long as I understand it, I’m much more comfortable with it. And I feel I’m in a strangely decent place of wanting that amount of passion [and debate] people have when they speak about the movies, and the expectations. My obligation is to figure out the bridge so that I don’t just let go of me and please them. That would be the disaster.”

He added, ruefully, referencing critics in general:

“It’s human nature. Twenty-six people love the movie, and the 27th person hates it, and the only thing you can think about is the 27th person.”

Screen Actors’ Guild Awards Spring Some Surprises on January 27, 2019

By Connie Wilson

On January 28, 2019

In Movies, Pop Culture, Reviews, Television

Mahershala Ali, winner for Best Supporting Actor at the Screen Actor Guild Awards on Sunday, January 27, 2019.

The Screen Actors Guild Awards are always high praise for those so honored because the awards are the individual being honored by his or her peers.

Therefore, it is with a certain amount of justification that I note that “A Star Is Born” did not win any awards. I did not care for “A Star Is Born.” I was mightily impressed that Bradley Cooper could (also) sing and, as a directorial debut, he did well. As for the rest of it, was there anyone among us who didn’t know that Lady Gaga could sing? And, after her appearances on “American Horror Story,” we knew she could act, as well.

But Barbra Streisand Gaga is not. Her performance opposite Cooper produced a great sound track and we all have heard “The Shallows,” which will probably win the Oscar for Best Song, but the chemistry between Gaga and Cooper, for me, was lacking. And nominating Sam Elliott for Best Supporting Actor at SAG was just odd, since he doesn’t even appear in half of the movie and his competitors were Mahershala Ali in “Green Book,” Timothee Chalomet in “Beautiful Boy,” and Adam Driver in BlackKKlansman.”

To be honest, I can’t quite understand why Mahershala Ali was considered “supporting” rather than the lead, as he was onscreen as much or more than Viggo Mortensen. But let’s just consider the screen time and achievement(s) of Chalomet as a drug-addicted teenager, Driver as a KKK member, and Ali as a pianist touring the South with Mortensen as his chauffeur.

I have to confess that “A Star Is Born” was semi-ruined by the masterminds at the Icon Theater on Roosevelt who cranked the volume up so high on a weekday afternoon that my ears nearly bled. Another admission of guilt on my part: I’m so over the entire story of “A Star Is Born.” After Barbra and Kristofferson took their swing at it back in the seventies, you could see the unhappy ending of this thing coming ten miles away.

So, let’s just all admit that “A Star Is Born” is not doing as well as the publicity it bought would have us believe. There are a couple of other films in that category this year (think “Roma”) of heavily-advertised-to-get-a-win, but let’s move forward with the TV and movie awards given out last night, which were interesting and perhaps predictive.

glenn close at the Screen Actor Guild Awards (1/27)

Image result for recent images of glenn close

I would have liked to have seen “Green Book” and “Bohemian Rhapsody” take home more than just a single award, mourned the lack of love for Spike Lee’s “BlackKKlansman,“and I’m puzzled by veteran actor Viggo Mortensen’s continuing omission from the ranks of the winners. Viggo has been so good for so long in so many roles that I thought he would join Glenn Close as the much-nominated individual (7 times in Close’s case) who finally deserved to win.

NOT SURPRISING

The “given” winners, for me, were: Rachael Brosnahan in “The Magnificent Mrs. Maisel” for best female comedy series performance, Darren Criss as the leading male in a TV series for his outstanding performance as the psychotic killer of Giovanni Versace in “The Assassination of Gianni Versace,” Patricia Arquette in “Escape from Dannemorra” as Best Female Lead in a Limited or Mini Television Series. I was not surprised to hear the ensemble casts of “This Is Us” and “The Magnificent Mrs. Maisel” announced as winners in that category. Glenn Close as Best Actress in a Drama and Mahershala Ali as Best Supporting Performer in “Green Book” were, for me, expected.

SURPRISING

I was surprised by Tony Shalhoub’s win for Best Actor in a Comedy Series playing the father in “The Magnificent Mrs. Maisel” and Emily Blunt’s win as Best Supporting Female Actor in “A Quiet Place.I wonder if Emily Blunt’s win was an acknowledgement of her 2 fine performances this year in the new “Mary Poppins” film as well as “A Quiet Place.” I was also pleasantly surprised to see Jason Bateman win in his category (Lead Male Actor in a Drama Series) for “Ozark” and Rami Malek’s win as Best Male Actor in a Leading Role in “Bohemian Rhapsody.” This makes 2 somewhat surprising wins for Rami Malek as Best Actor, adding to his Golden Globe win. Could this be a harbinger of the February 24th Oscars?

For me, Sandra Oh’s win for “Killing Eve” was a bit of a surprise, also, primarily because we have not yet been able to view it. On the other hand, it might not have been that surprising, since she picked up the Golden Globe award (as did Rami Malek) but hers was one of the few performances I have not had the opportunity to see.

INTERESTING MOMENTS

Patricia Arquette at the Screen Actor Guild (SAG) Awards on Jan. 27th.

Among the more interesting moments: Patricia Arquette thanking Robert Moeller for his investigation; Alan Alda accepting his Lifetime Achievement Award from Tom Hanks and receiving a very long standing ovation; and the rambling acceptance speech by Chadwick Boseman, onstage with the cast of “Black Panther,” that seemed as though it would never end and which did signal the end of the evening.

“The Favourite:” Not MY Favorite

By Connie Wilson

On January 5, 2019

In Humor and Weird Wilson-isms, Movies, Politics, Reviews

“The Favourite” is nominated for 5 awards at the Golden Globes. It has another 76 wins and 204 nominations for other cinematic awards.

The excellent acting in “The Favourite” is from all three of the principals: Olivia Colman as Queen Anne, Rachel Weisz as Lady Sarah Marlborough and Emma Stone as Abigail (Lady Sarah’s cousin) are 3 of its Golden Globe nominations. Also excellent is Nicholas Hoult as Harley. There are numerous nominations from various other competitions for Best Screenplay, Best Costumes, Best Make-Up, Best Direction, Best Ensemble Cast, Best Comedy/Drama, etc.

First, let me say that I knew “The Favourite” would be “different” in a weird way, because it was directed by Yorgos Lanthimos, who directed “The Lobster” with Colin Farrell (and Rachel Weisz and Olivia Colman, again). That was one of the stranger films in recent memory, but it had some very funny moments.

I anticipated similar funny moments in “The Favourite” but this film is much less humorous. (I’ve appended some memorable lines from it.),

Second let me add that I have only now researched Anne, last of the Stuart rulers (1702-1714) to determine the film’s authenticity. Throughout the film I asked myself about the French/English war in question. Only now, in looking up the history, did I find out that there was a difference of opinion about whether to fight the war on land (Rachel Weisz’s spouse, Lord Marlborough, was the head of land forces) or on sea. The movie also failed to mention a settlement in a war under Queen Anne that gave her something like 22% of a lucrative trade ferrying slaves. (Not P.C. enough?)

The information that Queen Anne gives in the script about having been pregnant 17 times: true. Only one child, a son, managed to live until 1700. Her failure to provide a male heir led to Queen Anne’s downfall as a monarch.

Third: The palace settings in “The Favourite” (Hatfield House in Hatfield, Hertfordshire) and costuming were phenomenally opulent. The costumes and make-up will be hard to beat at awards time. Add to that the sensitive acting by the three female leads and it is a film-lover’s film. Maybe not for the Marvel fans among us. Filmed on a $15 million dollar budget, it looks every penny of those millions.

STRANGE TOUCHES

https://www.youtube.com/watch?v=rJl36o_tq_c

“The Favourite” has used the credits in a weird way—presenting them like a cross-stitch at the end. It makes them hard to read. During the story various messages are displayed for the camera with odd statements like “This Mud Stinks,” “What An Outfit,” “A Minor Hitch,” “Stop Infection,” “Leave That I Like It,” “I Dreamt I Stabbed You in the Eye.” The plot does not unfurl as smoothly as that of some other films of this length (2 hours) and part of that is the presence of these weird markers. The title cards, displayed along the way are like the names of television episodes that we see on Netflix streaming services. Often, the phrase displayed will be a line of dialogue (“This mud stinks.”).

THE END

“The Favourite” really does not have a “concluded” feeling. It is a long movie (1 hr., 59 minutes) but it feels as though it (still) could go on for a while, to let us know exactly what the fate of Lady Sarah (Rachel Weisz) and her soldier husband are. Instead, it just ends.

The musical background in “The Favourite” is monotonous and odd, with almost the sound of dripping water at times. It’s a bit like a beating heart. However, the musical selections are duly noted at film’s end. (Primarily classical).

One question that I still have: was the dance that Lady Sarah (Rachel Weisz) is shown doing in “The Favourite” with a young man (which drives the Queen into a rage) a “real” dance of the time? It looked more like something from the Zoot Suit days than an early 18^th century parlor dance. Likewise, the dance that Abigail and the Queen practice in her chamber.

NOTABLE QUOTES:

Here are some lines from the nominated screenplay for “The Favourite”scripted by Deborah Davis and Tony McNamara:

“Love has its limits.”

“Sometimes a lady likes to have some fun.”

“I’ll make a killer of you yet.” (Lady Sarah, i.e., Rachel Weisz, to Abigail, i.e., Emma Stone)”

“I am a person of honor even if my station is not.” (Abigail)

“You are too sensitive.” (Lady Sarah to Queen Anne). “And you are too mean and uncaring.” (The Queen to Lady Sarah, her childhood friend become Lady of the Bedchamber and chief advisor.)

“There is no point winning a war abroad if losing one at home.”

“I’m on my side, always. Sometimes, it’s a happy coincidence for you.” (Abigail).

“Vice” Is Not An Adam McKay Fun-Fest: Be Warned

By Connie Wilson

On December 29, 2018

In Local, Movies, Of Local (Quad Cities') Interest, Politics, Pop Culture, Reviews

Adam McKay’s new film “Vice” focuses on the Vice Presidency of Dick Cheney under George W. Bush. The director of “The Big Short” previously helmed “Anchorman” (2004), “Talladega Nights” and “The Other Guy.” McKay wrote and directed this film and is nominated as both Best Director and for Best Screenplay among the 6 nods from the Golden Globe awards.

The true wheat amongst the chaff here is Christian Bale’s amazing transformation from, well, Christian Bale, into the heavyset, overweight, middle-aged, follically challenged Cheney. Hats off to the make-up crew!

Amy Adams also received a Golden Globe nod for Best Supporting Actress and Sam Rockwell for Best Supporting Actor for playing a somewhat clueless George W. Bush.

Given the fact that McKay wrote for “Saturday Night Live” in 1975 and has a partnership with comic talent Will Ferrell (“Funny or Die” is their channel), this is more in the spirit of “The Big Short” than of his previously silly films, but is not nearly as story focused

THE GOOD

Obviously, when this many nominations are given for acting, the acting is great. (Not to mention the make-up.)

As for the screenplay, it is crammed with so much that you will drown in numbers, figures, and much, much more. It was not the movie I thought I was going to see, as I thought that Hollywood directors had this “FOCUS! FOCUS!” part down, (whereas my screenplay efforts are always accused of containing too much and being all over the place, even when they win awards).

For the “good” list, let’s just mention some of the superlative performers (besides those already mentioned above) who put in an appearance:

Steve Carrell – his wife was an early improv partner of McKay’s. He plays Donald Rumsfeld.

Alison Pill – she had a fairly large role opposite Sarah Paulson on the clown episodes of “American Horror Story.” She plays Mary Cheney (the gay one).

Justin Kirk – You will recognize Justin Kirk, who plays Scooter Libby, from “Weeds.”

Jesse Plemons – Kurt – Jesse was in both “Fargo” and “Breaking Bad.” I did not like the way in which his character was integrated (or not integrated) into the plot, and I was always told that “voice over” was lazy writing. So much for that advice.

Tyler Perry – Yes, THE Tyler Perry, plays Colin Powell

So, the cast? Uniformly good. I watched a documentary (Errol Morris) on Donald Rumsfeld called “The Unknown Known” at the 2017 Chicago International Film Festival and Rummy comes off as just as big an SOB here as he did there.

THE BAD

The acting cannot overcome the incessant barrage of facts and data, some of which are incidental to the story. We all know that there is a drug epidemic going on, but why do we see close-ups of a victim being treated with NarCan, for example, or forest fires in California? For that matter, why did Gerry Fraser photograph it in such a herky-jerky fashion that it was like rewatching Costa Gravas’ “Z”, (which pioneered hand-held camera work) or “The Blair Witch Project.” The close-ups were not fun for the audience.

There’s just too broad a net thrown over this whale. It may be nominated for Best Picture, but it was a disappointment to me, as we drove around on Christmas Day for an hour and fifteen minutes trying to get in to a 3:10 or 3:55 showing, only to ultimately give up.

The political implications and message did not offend me, a journalist (Yahoo Content Producer of the Year 2008 for Politics) who did not much care for George W. Bush and thought him incompetent, but Republicans won’t like it. As for me, the film is too jam-packed with too much detail to carry the plot of how Cheney became our “acting President,” (whether he ever earned the honorary title or not).

By Connie Wilson

On December 14, 2018

In Books, flash fiction, Reviews

“Bloodshot & Bruised: Crime Stories from the South & West” by Travis Richardson Entertains

(* A 180 page collection of short stories, many of them award-winning)

Travis Richardson grew up in Oklahoma, but currently lives in Los Angeles—which, (judging from some of the lines in his short stories within this slim (180 pp.) volume),he doesn’t really like all that much. But it’s where the action is, in writing and in film.

Travis has directed a handful of short films and written many award-winning short stories, such as “Incident on the 405,” which was a nominee for both the Anthony and Macavity Awards for Best Short Story, or”Quack & Dwight,” which was a Finalist in the ScreenCraft Short Story Contest, as well as a Finalist for the Derringer Award and a nominee for the Macavity and the Anthony Awards for Best Short Story.

This collection of crime stories consists of 16 short stories and some (“The Day We Shot Jesus on Main Street,” or “Real-Time Retribution”) are REALLY short.

As a fellow short story writer, I can empathize with the need for some sort of organizational principle.

What should it be?

In my own case(“Hellfire & Damnation,” Vols. 1, 2 and 3) it ended up being the crimes or sins punished at each of the 9 Circles of Hell in Dante’s”Inferno.” In Travis’ case, it ended up being the geographical area of the country where the stories are set.

It’s tough to come up with a logical organizing principle for a series of short stories,especially if, as in Richardson’s case, you are dealing with Oklahoma and L.A.

In my own case, I had to be inspired to write stories that dealt with limbo,lust, gluttony, avarice & prodigality, wrath & sullenness, heresy, the violent, the fraudulent and treachery. But Travis had to come at it from a different angle. I think it works here, and I salute him for his efforts. (Mine pre-date the many works by the likes of Dan Brown that focus on Dante’s “Inferno” but nevermind about that...)

What were the”best” stories in this collection?

While all are enjoyable, it is tough to call a story of only 101 words a complete “short story.” Flash fiction, yes. A short story only if in that category. That super short one is the final story in the book, and it is not my favorite.

So, what IS my favorite?

Within”Bloodshot: Tales from the South,” I liked these in no particular order: “The Proxy,” “Cop in a Well,” “A Bro Code Violation,” and “Maybelle’s Last Stand.”

Within”Bruised: Stories from the West” I liked “Incident on the405” and “Not Sure Which Way I’m Headin’.”

The entire collection goes down easily and well; I finished it one 4-hour sitting. I enjoyed the plots that were the most fully developed, which is probably why I’m aiming my praise at those longer stories.

One thing I’ve noticed as a short story writer of about nine volumes is that the “surprise” or satisfactorily “concluded” ending is hard to pull off—[and gets harder with every story written.] There are only so many ways to”surprise” a seasoned reader, and don’t we writers know it!

In this volume we have these stories: “The Day We Shot Jesus on Main Street” -“An inspired train of thought about how mega-churches are the opposite of Jesus’ examples and how nothing, not even a blasphemous stunt, would get members to see this.” (Synopses from the author).

“The Proxy:” “Thinking about the country’s drug epidemic, the moral issues involved, and how much somebody would sacrifice for a family member.” I could see this as a film with Clint Eastwood as”the proxy” and Clint’s new movie (“The Mule”) sums up how I would expect him to appear as the lead.

“Cop in a Well” – “Written with the idea of having a character escape an impossible situation.” One of the first and one of the best.

“A Bro Code Violation” – “I hunted deer a few times in Oklahoma. What I remember most is standing still and freezing.” Also good and lengthy.

“Here’s to Bad Decisions: Red’s Longneck Hooch” – “I could hear an announcer dictating the downfall of a character while selling his product. I had to write it.”

“Getting the Yes” – “Written not long after I was engaged, it has nothing to do with my wife and more about anxiety of the ring being good enough.”

“Damn Good Dad” – “A sad take on meth addiction and skewed priorities. I had heard stories about families suffering burns while trying to provide extra income.”

“Tim’s Mother Lied” – “I sent the story to Shotgun Honey as a noir children’s sale. They sent notes that it didn’t work, so I rewrote the story straight from the child’s point of view. It turned out better.”

“Maybelle’s Last Stand” – “Not sure of the origin, but I remember a vision of a blurry, menacing man sauntering up to a porch, not unlike Once Upon a Time in the West.“

“Because” – “The working title was ‘The Boy Who Didn’t Read.’ I saw the story from the middle first with the robbery and then broke down the reasons why it happened.”

“Incident on the 405:” “I pictured two women from two different worlds colliding on Los Angeles’ biggest parking lot.”

“Quack & Dwight:” “I worked on multiple drafts to get this story right and enlisted the aid of an L.A. County Prosecutor and an expert in child services. Also, the editor, Kenneth Wishnia, called me out on putting too much starch in the Jewish meal.”

“Final Testimony:” “Started out as a longer piece that got compressed into this story. I saw a desperate cop who sacrificed everything for a case, and it could be for nothing.”

“Not Sure Which Way I’m Headin'”: “I’d wanted to write about the 1992 Los Angeles riots for quite a while. When I moved to L.A. in the late ’90s, people talked about O.J. and the riots all the time.”

“The Movement:” “I wanted to set the story with the Bohemian Club, but research proved to be difficult since it is a secretive society. So I opted for the nearby Russian River in an area where I used to work.”

“Real-Time Retribution” : “I thought of a man in an impossible situation and how he might get out of it with some pride. A fun exercise in compression.”

The very first story (and nearly all in the first half of the book) uses a lot of slang and idioms. Example: “This is a right-to-carry state, and if you don’t carry—-well, that says a lot about your character.” There was also an expression that football coach Hayden Fry of the University of Iowa, a transplant from Texas, used to use: “That bird won’t fly.” (Only, in Hayden’s case, it was “That dog won’t hunt.”) I still remember how Fry’s references to a “high-porch picnic” was incomprehensible to Iowans, but natural to a native Texan—or Oklahoma— native.

When I was writing “Hellfire & Damnation,” Vol.I, I wrote a story entitled “Amazing Andy, the Wonder Chicken.” I showed it to David Morrell, who quickly took the wind out of my proud sails by saying that he “didn’t like the use of idioms” or some such.

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Nevermind: I liked it then, and I like it now, in Richardson’s stories. (There’s quite a bit of it in the first 10 stories, so my advice would be: “Don’t show these stories to David Morrell!”) It just goes to show how different writers have different standards and there is no ONE “right” way to write.

Richardson’s work is heavy on action and right on the money for description: not too much (hundreds of words describing a bicycle leaning against an ivied wall in one Joyce Carol Oates short story!) and not too little. His stories and characters are interesting and plots are his forte.

All-in-all, a very nice collection of short stories. Try them. You’ll like them!

Cabo Return and “The Kominsky Method” on Netflix

By Connie Wilson

On November 29, 2018

In Mexico, Pop Culture, Reviews, travel

With over 800 flights canceled out of O’Hare and Midway in Chicago, the trip back to the United States from Cabo San Lucas could have been a nightmare.

It wasn’t. Our plane was one of the few that “got out” of the airport and we arrived home slightly later than we anticipated, but not that late, really.

Since our return we’ve been watching Michael Douglas and Alan Arkin in “The Kominsky Method” on Netflix, which is clearly aimed at the “mature” generation. The themes include prostate problems, E.D., death of one’s spouse, children who are drug-addicted and require rehab, dating in one’s golden years, and failure to pay taxes.

Took this one while waiting for the tram to drive us back to 1711.

The durable Michael Douglas and Alan Arkin have some good lines in the series, with Nancy Travis as the love interest for Douglas. Episode 6 is the best of the series, but you have to learn the backstory of the characters to get there.

“The Green Book” Film Gives Hope for Racial Harmony

By Connie Wilson

On October 31, 2018

In Movies, Reviews

Genre: Drama

Cast: Viggo Mortensen, Mahershala Ali, Linda Cardellini, Sebastian Maniscalco, Dimiter D. Marinov, P.J. Byrne.

Director: Peter Farrelly

Writers: Nick Vallelonga, Brian Currie, Peter Farrelly.

Length: 130 minutes

“The Green Book” was a book that actually existed in the sixties South, one which would tell black citizens where they could (and could not) stay while traveling. Its correct title was “The Negro Motorist Green Book,” written by Victor Hugo Green and published annually from 1936 to 1966 as a guide outlining where black travelers in the South could stay, eat, and receive services during the days of Jim Crow. Set in 1962, the racism that “The Green Book” explores was real. The characters who traveled the South together for two months on a concert tour were also real.

Viggo Mortensen, who stars opposite Mahershala Ali as Ali’s chauffeur on his piano tour of the South, pointed out on September 11th in Toronto that the message of tolerance and learning to exist side-by-side with those who may be different from us is still very relevant today. While the green book of the title may be gone, the racism in this country is not.

Real-life pianist Don Shirley, Jamaican-born, is applauded and congratulated for his virtuoso performances before all-white audiences, but the impeccably attired and well- mannered Shirley is forced to stay in forlorn motels and flophouses when offstage. His two sidemen, Russians who drive separately in their own car, inform Tony that Shirley could have remained in Manhattan and played any number of more enlightened venues, but he purposely chose to travel the South, serving as a sort of one-man sign of hope for the downtrodden African American residents of the South. Nowhere is that made more clear than in the scene when the two stop by a field where laborers gaze at this successful man as though he is from another planet. The fact that he is being driven by a white driver who opens his door for him and dances attendance on him is certainly something that they have not seen before.

The Green Book with Viggo Mortensen and Mahershali Ali at the Chicago Film Festival.

In one short scene at a YMCA, Tony bribes two cops to let Shirley go after what looks to have been a gay hook-up. This theme is never fully explored. Earlier in the film, Shirley has mentioned a marriage that did not work out when combined with his career commitments. There is also an angst-ridden scene between Ali and Mortensen where the pianist asks, “If I’m not black enough, and I’m not white enough, tell me, Tony, what am I?” You sense that there is much about his privileged life that is not satisfactory nor ever likely to be in the United States of America. You wonder if the final heart-warming scene really played out quite the way it is presented, just as you wonder about whether Ali is really playing the piano.

The ironies and injustices mount with depressing regularity the longer the tour continues in the South. In one encounter with racist police in Mississippi, Shirley saves himself and Tony from a racist jail cell only by a phone appeal to none other than then-Attorney General Bobby Kennedy. There’s also a letting-off-steam interlude when the pair goes to a black honky-tonk and Shirley gets down musically for the first time. The piano interludes that appear to show Ali in action are extremely impressive, whether he is playing polite jazz at a Southern country club (that subsequently refuses to let him eat in the dining room) or surrounded by African American bar patrons in a smoky hole-in-the-wall.

In addition to the injustices and the flat-out harassment, we see scenes where Tony introduces Shirley to Kentucky Fried Chicken for the first time (in Kentucky, no less) and others where he makes the classically trained pianist aware of the great popular musicians of the day being played on the radio, like Aretha Franklin and Chubby Checker. Tony and Shirley are both stand-up guys, and that helps them to become true friends, once they get to know each other. The scenes where Ali helps Tony write romantic love letters home to his loving wife (well played by Linda Cardellini) and his two sons are both sweet and funny at the same time.

The dynamic of these objectively mismatched men is almost like that of The Odd Couple. The formal, uptight Don Shirley is gradually loosened up by the more uncouth, working-class stiff, Italian-American Tony “Lip” Vallelonga (Viggo Mortensen) once they grow to know one another and understand each other. It gives the audience hope that, without the constant stirring of the pot by those who get off on divisiveness and discord, we all may come to live in harmony by opening our minds and hearts and freeing ourselves of rank prejudice.

The human interchange, enlivened as it is by two fine actors in top form, makes “The Green Book” go down easily. It was the audience favorite at the Toronto Film Festival and it was one of my two favorite amusing, uplifting films of the CIFF,( the other being Melissa McCarthy’s “Can You Ever Forgive Me?”) You can watch just so many films about drug-addicted teen-agers before you need to recharge your batteries. In these troubled times, this is the kind of film that will leave you feeling that there is hope for mankind, whether the future proves that hope true or not.

“Wildlife:” Actor/Writer/Director Paul Dano’s First Directorial Effort

By Connie Wilson

On October 30, 2018

In Reviews, Uncategorized

Genre: Drama

Director: Paul Dano

Writers: Paul Dano, Zoe Kazan, based on Richard Ford’s book

Cast: Carey Mulligan, Jake Gyllenhaal, Ed Oxenbould, Bill Camp

Length: 144 minutes

British actress Carey Mulligan (“An Education,” “Never Let Me Go,” “The Great Gatsby”) stars in Paul Dano’s directorial debut, “Wildlife,” opposite Jake Gyllenhaal. The “Hollywood Reporter” recently named her one of the 8 “Best Actresses Working Today” and she is very good in this film.

Gyllenhaal, too, is always a dependable leading man, to the point that audiences take him for granted. He was one of just 8 actors to win a Golden Globe, a SAG award, the BAFTA and a Critics’ Choice award and then not be nominated for an Academy Award for the part (“Nightcrawler” in 2014). Other notable Jake Gyllenhaal films: “Donnie Darko,” “Brokeback Mountain,” and “Southpaw.”

Carey Mulligan does a fantastic job of portraying a 1960 housewife and mother (son Joe in the film is 14), who is forced to figure out how to keep herself and her son afloat when the somewhat irresponsible father figure (Jake Gyllenhaal) suddenly decides to go off to fight fires 40 miles away from their home in Great Falls, Montana. The pay? $1 an hour. He had been working as a golf pro, but got fired for betting with the golfers. He is called and offered his job back, but doesn’t take it. The other opportunities in town are few and far-between.

THE GOOD:

ACTING

The acting in this one is top-notch. It is shown through the eyes of the son (Joe, played by Ed Oxenbould of Australia) and he does a credible job of a son watching his parents marriage collapse (although he looks nothing like either parent). Jerry Brinson (Jake Gyllenhaal) is always good, and he’s good here, within the constraints of the script. Some critics feel it is Carey Mulligan’s best performance to date (although I’d vote for “Never Let Me Go”). Bill Camp who plays Warren Miller, a wealthy car dealership owner (who comes on to Mulligan when Jerry leaves), is also good in his part.

ART DIRECTION & SET DIRECTION

Miles Michael and Melisa Jusufi did a great job of recreating 1960-era Great Falls, Montana. Kudos to them.

CINEMATOGRAPHY

Diego Garcia gets to photograph Montana, which director Dano described as “a divine, beautiful place.” He does a fine job.

THE BAD:

The film started at 6 p.m. At 7 p.m.. I wrote in my notes, “This is really boring so far.” It is true that there was a small amount of time at the outset of the film given over to presenting Carey Mulligan with a Career Achievement award, but, still, only 44 minutes remained for something interesting to happen.

THE SCRIPT

Paul Dano—who earned praise for his work in “Let There Be Blood” and “Little Miss Sunshine”—wrote the adaptation with his partner, Zoe Kravitz (they recently had a daughter). The couple met while working on “Ruby Sparks.” The script is based on a book written by Richard Ford that Dano read in 2011. It is Dano’s first foray into directing.

The script just did not make a lot of sense at pivotal points. I have to wonder if the book would have explained things in a more comprehensible, realistic, true-to-life way. As Johnny Oleksinski of the “New York Post” put it, “Too much of the screenplay doesn’t ring true.”

In another review, Brian Tallerico said, “He keeps the audience engaged purely through the believability of their characters.” That, for me, was the problem. The things that occur seem random and unlikely and are not believable IRL. Perhaps it’s the book, or perhaps it’s the screenwriters adaptation of the book, but none of the characters’ actions really came off as “believable.” This is not the fault of the acting leads, but of the script.

Starting out as a happy sixties family, the father figure (Jake Gyllenhaal) behaves in truly incomprehensible ways when he loses his job at the local golf course. Mostly, he sits in his car and sulks. I expected him to drink heavily (and he does a bit of that later), but, at first, he is sulking by himself and then—Eureka!—the golf club calls and offers him his old job back. So, naturally, in this small rural town with barely any jobs available at all for anyone, he turns the offer down, saying he “won’t work with people like that.” (WHA-A-A-T?)

It is shortly afterwards that, without any prior discussion with his wife or young son, he announces he is leaving for the fire front and will fight fires for a pittance ($1 an hour). This causes a scene, of course, (which Mulligan and Gyllenhaal do a great job playing), but it seems utterly unlikely to occur in real life. It also takes the very competent Gyllenhaal out of the film for a large portion in the middle of this movie about a disintegrating 60s family, and that is unfortunate.

Before he leaves, Gyllenhaal makes a comment about how the snow will put out the fires, eventually, and that turns out to be a big plot moment (i.e., the snow beginning to fall.). The depiction of the forest fire at the front is also very well done, but, overall, the actions of the father are so different from what a “real life” person would do that it is difficult to relate.

As Oleksinski said “(New York Post): “Dano’s movie is, in many ways, solid and admirable, but awash in ‘duh.’ Too much of the screenplay doesn’t ring true.” The ham-handed line, “It’s a wild life, isn’t it, Son?” was also not a favorite. One I did like was this one, spoken by Mulligan to her husband as he announces he is going to be gone for months fighting fires for $1 an hour: “I’m a grown woman, Jerry. Why don’t you act like a grown man?”

Why, indeed? Maybe because the book gave us more insight into Jerry’s motivations which leave his wife and son without income for an indefinite period of time. (We see Mulligan inquiring about a job as a teacher early on, and learn that there is nothing available in this remote town.)

While Gyllenhaal is away at the fire front, even more incomprehensible actions on Mom’s part occur, with son Joe along as a spectator. From upright young matron she is dining at the home of local businessman Warren Miller (Bill Camp) and flirting with the older man, her son along as an appalled witness.

When Dad comes home, HIS actions also enter the realm of the unbelievable. (*No spoiler here).

“Wildlife” was a good effort and Dano, himself, said, in an interview, that doing “a period piece” on a limited budget was quite the challenge. There is much to admire in his directorial effort, (if not in the screenplay itself.) He referenced asking Owen Moverman (“The Messenger“) for tips as he set out to direct for the first time. Maybe ask someone else to write a more coherent script next time? Because the shots of Montana are truly beautiful and the actors certainly do everything they can with such unrealistic story arcs.

“Boy Erased:” Joel Edgerton’s Writing/Directing/Acting Oscar-worthy Tour de Force

By Connie Wilson

On October 19, 2018

In Movies, Pop Culture, Reviews

“Boy Erased” (Nicole Kidman, Russell Crowe, Lucas Hedges).

Lucas Hedges is having a banner year, with starring roles in two much-talked about films, “Ben Is Back” and “Boy Erased.” “Boy Erased” is the story of the son of a Baptist minister in Arkansas who is outed to his parents (Nicole Kidman and Russell Crowe) at age 19. As the voice-over tells us at the film’s outset: “I wish none of this had ever happened, but sometimes I thank God that it did.”

The film, written by Actor/Director Joel Edgerton (“Red Sparrow,” “Loving”) from a memoir of the same name written by Garrard Conley, deals with Jarred Eamons’ real-life experiences when he is forced to attend a gay conversion therapy program. There are 36 states where such gay conversion centers are legal and over 700,000 “patients” have been treated in them.

I was immediately reminded of Michelle Bachmann’s husband Marcus in Minnesota, who, although not a licensed therapist with the state of Minnesota, ran such a Christian conversion camp. Bachmann, who ran for President (briefly) in 2012 (she dropped out of the race in January of 2012 after placing 6^th in the Iowa caucuses) once proposed an amendment to the Minneapolis Constitution that would ban gay marriage, was anti-abortion and declared global warming “all voodoo, nonsense, hoakum, a hoax.” Bachmann also helped found the House Tea Party movement while serving from Minnesota, whose actions and mind-set we see in evidence on the national scene every day.

The American Psychiatric Association has repudiated such “Christian counseling centers” and, just like Marcus Bachmann, the leader of the gay conversion center that Jared is forced to attend is not a licensed therapist. (In fact, we learn at film’s end that he is now married to a man and living elsewhere.)

Garrard Conley (author of the memoir “Boy Erased”) in Chicago. (Photo by Connie Wilson).

This is an important step up for Lucas Hedges, although he has already appeared in several Oscar-nominated films —“Ladybird,” “Three Billboards Outside Ebbing, Missouri,” “The Grand Budapest Hotel” and he was Oscar-nominated for his role in “Manchester by the Sea.” It is a foregone conclusion that this role, or his role as Ben in “Ben Is Back,” will garner him another nomination for Best Actor. The scene in his dormitory room where Jared is essentially the victim of rape is extremely good, but he is good in all of his scenes in both films. I’d pick this role, because the film, as a whole, hung together slightly better than “Ben Is Back” and, quite frankly, 3 drug addict movies in, the gay conversion theme was a change of pace. (Not to mention that Timothee Chalamet is out there this year in “Beautiful Boy,” nailing the drug addict portrayal nomination.)

(L to R) Joel Edgerton, Troye Sivan(Gary), and Garrard Conley onstage during the Q&A in Chicago following “Boy Erased.” (Photo by Connie Wilson).

Let’s not forget that 2 Oscar winners are portraying Jared’s parents. Nicole Kidman is wonderful as the courageous mother fighting for the son she loves and Russell Crowe is equally good in his scenes as the less accepting minister parent. Let’s also give a shout-out to Flea (of the Red Hot Chili Peppers), aka Michael Peter Balzary, a native of Melbourne, Australia, who does a good job playing creepy conversion camp character Brandon. In fact, with the exception of Lucas Hedges, Mr. and Mrs. Eamon, conversion therapist Victor Sykes (played by Joel Edgerton) and Flea’s character of Brandon are all Australian.

Joel Edgerton and Troye Sivan (Gary) from “Boy Erased” onstage in Chicago. (Photo by Connie Wilson).

There were many “first time” directors appearing with their films in Chicago, but this outing by Edgerton, who both adapted the memoir for the screen, acted in the film, and directed the film, was far, far better than fellow actor Paul Dano’s maiden voyage in “Wildlife,” a very disappointing film. See it if you want to have seen at least one of the nominees for Best Actor on February 24^th.

“Can You Ever Forgive Me?” at the Chicago International Film Festival

By Connie Wilson

On October 18, 2018

In Movies, Pop Culture, Reviews

“Can You Ever Forgive Me” is a nice change of pace for Melissa McCarthy, who reins it in nicely as Lee Israel, an author who was arrested for forging signatures of other more famous authors and selling them as authentic. Virtually a two-person ensemble, nice support is provided by Richard E. Grant as Jack Hock.

Aside from the two leads, who actually do the selling to unsuspecting buyers via bookstores in New York City that specialize in such matters, Dolly Wells plays one such bookstore owner (Anna), Jane Curtin (“Saturday Night Live”) plays Marjorie, Lee’s crusty agent, and Anna Deavere Smith (Gloria on television’s “Nurse Jackie”) portrays Elaine, Lee’s old friend and roommate, who has left her saying, “It’s not my job any more to talk you off the ledge. It’s exhausting.”

Lee is portrayed as a failed writer who specialized in biographies (“Estee Lauder: Beyond the Magic,” “Miss Tallulah Bankhead,” “Kilgallen”). She repeats several times that she is working on a biography of Fanny Bryce, a subject that her agent finds less than appealing.

Because Lee is not doing well in the business of writing biographies of other more famous writers, she and her only friend and companion, her cat Jersey (Towne the Cat) fall upon hard times and people say things to her like, “You’re a clever woman. Figure it out” or “You go out there and find another way to make a living.” And so she does, but she runs afoul of the law and ultimately is sentenced to 5 years probation and 6 months of house arrest. [Plus, Nora Ephron sends her a cease and desist letter telling her to stop impersonating her on the phone.]

THE GOOD

Melissa McCarthy really inhabits the sad life of this 51-year-old writer-turned-forger. Lenore Carole Israel (known as “Lee”) died on December 24, 2014 at the age of 75, leaving no mourners, no family and, in addition to magazine work which largely sustained her through the seventies, three books of unauthorized biographies of women whose fame had largely passed with the passage of time. After her apprehension for the over 400 literary forgeries, Lee wrote a best-seller, “Can You Ever Forgive Me: Memoirs of a Literary Forger,” which did well, and the film version, directed by Marille Heller (written by Nicole Holofcemer and Jeff Whitty) was cast, originally, with Julianne Moore. Although Julianne Moore is an accomplished actress, the part seems more suited to Melissa McCarthy and she does a great job with it.

THE MUSIC

Those responsible for such great song selections include the overall Music Supervisor (Jack Paar), who selected songs like “I’ll Be Seeing You” and Paul Simon’s “I can’t run, but I can walk much faster” to give us the appropriate mood. Six others assisted (Adam Bennati, Ted Caplan, John M. Davis, Brad Haehnel, Nicholas Neidhart and Areli Qurarte).

THE SCRIPT

Writers Nicole Holofcemer and Jeff Whitty have given us a very witty script, which is augmented by the funny letters that Lee created. When Lee meets an old acquaintance, Jack Houk (Richard E. Grant) in a bar and they begin sharing stories of their downward trajectory in the literary world, Jack says his agent, Julia Steinberg, died. Then, he adds, “Maybe she didn’t die. Maybe she moved back to the suburbs.” One of Lee’s fabricated autographs, ostensibly from Fanny Bryce, says, “I have a new grandkid and he got my old nose. Do I have to leave him a little something extra for repairs?” Lee and Jack continue meeting in bars throughout the film and, at one point, Lee shared that this is a celebratory drinking session, not a whining one. Jack responds, “It’s hard to tell the difference with you.” As she is about to reveal her new line of work forging famous people’s signatures, Lee asks Jack, “Can you keep a secret?” to which he responds, “I’ve no one to tell. Everyone I know is dead.”

CINEMATOGRAPHY

Brandon Trost was the cinematographer. He does a great job depicting a hopeless, lonely, drab apartment and the dive-y bars that its occupant inhabits. He also did some interesting things with his camera, as in one blurry-into-focus shot in a bar. The moody sets, dimly lit, and the nice choice of music all play into giving the film a thoroughly authentic feeling of alcohol-fueled desperation.

THE BAD

I had overdosed on films about addicted teenagers, so this film was like a breath of fresh air. I will admit that I (also) took in “Flammable Children,” an Australian comedy featuring Guy Pearce and Julian McMahon to try to lighten the mood, but, after 3 drug addiction movies in a row, that mood was pretty low.

THE VERDICT

If you enjoy witty badinage and a well-written, well-photographed, script with great acting, this could be your guilty pleasure. It was mine, in Chicago on October 14^th. You’ll enjoy seeing funny woman Melissa McCarthy in a brand new light. She is one of the four highest-paid actresses in Hollywood and is a native of Plainfield, Illinois.