She’s Lost Control-2014

Director-Anja Marquardt

Starring-Brooke Bloom

Scott’s Review #299

Reviewed December 14, 2015

Grade: B+

She’s Lost Control is a dark, independent drama, and the directorial debut of Anja Marquardt.

This film is one reason I proudly support independent film, as it is otherwise a film that most do not know about, and will never know about, if not for good word of mouth and award recognition- think indie spirit awards. Hopefully, Marquardt will one day be a household name.

The film is heavy yet intriguing and certainly a character study.

The film is a dark and dreary experience- some might argue depressing, centering on Ronah- a young, female, college student, aspiring towards her master’s degree in psychology, who works as a sexual surrogate in Manhattan.

The film explores her experiences with various clients, specifically, a disturbed, volatile man, who she takes on as a client. As she becomes better acquainted with Johnny, they forge a special bond, but will romantic feelings and jealousy get in the way of the therapy assigned to both parties involved?

How each of them explores their feelings is the focal point of the tale, and clearly, the feelings involved are not peaches and cream.

Ronah is not a prostitute and there is very little sex that goes on, albeit the implication is certainly there. She is nurturing and very emotionally invested and intends to become a psychiatrist one day. It is unclear whether her “boss”, a shady seeming character, is her pimp or simply employer. His role and motivations are a bit unclear.

The most interesting aspect of the film is the title and throughout my viewing of the film I wondered about the title more and more- are any of Ronah’s experiences in her mind? Is she stable or does she perhaps have some emotional or mental issues? She befriends a kind neighbor around her age and invites her for dinner- they bond. The neighbor invites her out dancing, but Ronah declines.

She also has an older female confidant- a former surrogate herself who gives Ronah tips and suggestions. Still, Ronah is lonely. Again we wonder if perhaps all is not what it seems? This is a fascinating aspect of the story. One must watch to determine the answers to questions such as these.

New York City can be a tough, unkind world and She’s Lost Control does not sugar coat an individual’s difficult existence when not blessed with family money, strings, or some other advantage. Ronah lives in a dump with holes in her shower and cramped quarters. In addition to her hardships where she lives, she is constantly kept abreast of problems concerning her brother and mother back home in upstate New York. Quite simply, Ronah is overwhelmed by her life. Might she be spinning out of control?

The dreary aspect of the film, to me, is not so much the sexual aspect. Ronah is a therapist and everything is with mutual consent.  Unfortunately, she is challenged by some of the people she encounters in her profession.

I admire She’s Lost Control (2014) quite a bit for its insight, thoughtfulness, and compelling story of a woman with a difficult life, trying to make ends meet, and aspiring to something worthwhile. She is brave, troubled, and interesting all rolled up in one fascinating lead character.

Independent Spirit Award Nominations: Best First Screenplay, Best First Feature

Selma-2014

Director-Ava DuVernay

Starring-David Oyelowo, Carmen Ejogo

Scott’s Review #248

Reviewed June 19, 2015

Grade: A-

An Oscar-nominated factual feast, set in the mid-1960s during the Civil Rights movement, Selma is a re-telling of the life and times of Martin Luther King Jr. and the struggles that black Americans endured during a tumultuous period in history including dealings with then-President Lyndon B. Johnson and the famous and important 1965 Selma to Montgomery voting rights march, which led to the signing of the pivotal Voting Rights Act of 1965.

This film reminded me quite a bit of 2013’s The Butler in both subject matter and style- ironic since originally Lee Daniels was slated to direct and instead signed on for The Butler.

Both featured a charismatic and intelligent black man struggling with racial matters.

The film, despite being an independent undertaking, looked glossy and polished and quite reflective of the time. Similar to The Butler, Selma boasts a huge cast, historical political figures, and focuses on a tumultuous era in history.

Selma features a bevy of real-life figures from George Wallis to President Johnson to the obvious leader of the Civil Rights movement, Martin Luther King Jr., and his wife, Coretta Scott King, and the casting was very well thought out.

Tim Roth, David Oyelowo, Tom Wilkinson, and Carmen Ejogo all portray their roles professionally and passionately. None of the above received Oscar nominations and I am okay with that. I did not feel that any were definite standouts from a crowded field of talent, though perhaps Ejogo could have been in the running with her understated though compelling performance.

The drama surrounding the lack of scores of expected Oscar nominations is not shared by me. The truth is, the film was included in the Best Picture category and won Best Song.

While an emotional and compelling film, neither is it a masterpiece nor will change the art of cinema, though I must stress it is a very good film.

I found Selma to be an important film- a look back on history and the shame and humiliation placed on blacks who attempted to obtain voting rights- a heartbreaking scene depicts a determined woman (played by Oprah Winfrey) being denied this right by a cold and racist authority figure as she is asked impossible and tricky questions to prove her patriotism, which of course, she cannot possibly answer correctly.

Yes, the film is directed by a black, female director (Ava DuVernay) and yes, one might argue that it has a black point of view. However, the film successfully sympathetically portrays several white characters and avoids the assumption that all white people were racist in this period.

Let’s face it- racism still exists, especially in the south, and in the 1960s even more so. I did not find the message of the movie in black people vs. white people terms, but rather as a humanistic struggle for rights. And the struggles continue as the film makes abundantly clear in the message of the film.

While King was a life changer to the black people of the United States, his life was abruptly cut short in his prime. One wonders how much more good this man could have achieved.

The song “Glory” is an emotional, powerful number featured in the film and especially during the marching and subsequent slaughter scenes are highly emotional and effective.

And who will not become teary-eyed as the innocent marchers are beaten and treated like cattle, simply for taking a stand? One will gasp at the senseless bombing scene that rocks a building and takes four innocent little girls’ lives away with it.

Selma successfully transplanted me to a time that was before my time and made me appreciate and capture the positive and negative experiences of a race of people that was not too long ago.

This film both inspired and moved me and taught me what a movement occurred in 1965.

Oscar Nominations: Best Picture, Best Original Song-“Glory” (won)

Independent Spirit Award Nominations: Best Feature, Best Director-Ava DuVernay, Best Male Lead-David Oyelowo, Best Supporting Female-Carmen Ejogo, Best Cinematography

Only Lovers Left Alive-2014

Director-Jim Jarmusch

Starring-Tilda Swinton, Tom Hiddleston

Scott’s Review #237

Reviewed April 24, 2015

Grade: B

Only Lovers Left Alive is a bizarre trip into the strange and unusual world of vampires.

The film, moving slowly, becomes hypnotic, grabbing me into the plot, though the plot itself seems almost secondary to the gothic mood and dark ambiance of the film.

Thanks in large part to the wonderful Tilda Swinton, who I find mesmerizing in every film role she appears in, the methodical film never completely bored me and, at times, even fascinated me.

Set in present times, Swinton and Tom Hiddleston play vampires named Adam and Eve, who are lovers separated geographically. Adam is a musician living in a vast Victorian house in Detroit and Eve resides in Tangier.

Realizing that Adam is lonely and suicidal, Eve makes the international trek to the United States to be with her love. While they begin enjoying a quiet existence immersed in music and thoughts, Eve’s rebellious sister Ava (Mia Wasikowska) shows up from Los Angeles and adds havoc to their lives.

Also, cast in the film is John Hurt, who plays Marlowe, an ancient vampire assisting Adam and Eve, but who succumbs to sickness due to tainted blood.

The film is a creative, atmospheric offering from edgy independent film director Jim Jarmusch, known for such left-of-center fare as Broken Flowers and Coffee and Cigarettes, which are visual and visceral achievements.

While not completely loving this film, feeling that the actual story is the weakest area, the magical and beautiful arrangements almost make up for any shortcomings.

Set entirely at night (when vampires are awake) and featuring several shots of Adam and Eve posed naked or almost naked in lovely, artistic angles, I think the film is going for a “look” as much as for storytelling and not completely centering on the plot.

It is also a lovely romantic film, though not in the typical sense of silly misunderstandings, comical moments, but rather in romantic artistry, as Adam and Eve connect spiritually.

Married hundreds of years ago, Adam and Eve have been inexplicably separated by thousands of miles and coasts, though the reason is not explained.

Why are they the few remaining vampires alive? Does the human race know they are vampires or simply think they are odd-looking people? They both have money to burn and pay a high cost for being vampires as they either pay a contact to steal blood from hospitals to survive or obtain the blood elsewhere.

They are tempted to bite humans but resist those urges. The film does not explain why they are two of the very few vampires left in the world nor other questions. Adam, supposedly a famous musician, is wealthy beyond words and lives in a haunted-looking mansion surrounded by music and musical instruments.

The plot holes, of course, are secondary to me. None of them matter.

The film has beautiful moments- it is musically centered and Adam and Eve on more than one occasion engage in beautiful, tender dances and the film is a pure love story, but a very left-of-center one.

I admire the film’s creativity and going where most filmmakers do not dare to go- Jarmusch dares to be different and that deserves much praise.

The negative for me was the extremely slow pacing of the film- the story almost does not matter as the film feels more like an experience in art than a “mainstream” film containing strong plot points and focus.

Only Lovers Left Alive is a different type of film and one worth admiring.

Independent Spirit Award Nominations: Best Female Lead-Tilda Swinton, Best Screenplay

Boyhood-2014

Director-Richard Linklater

Starring-Ellar Coltrane, Ethan Hawke

Scott’s Review #217

Reviewed January 19, 2015

Grade: A

Boyhood is a family drama directed by Richard Linklater that tells the story of a family’s trials and tribulations over twelve years, ranging from approximately 2002-2013.

The film uses the same actors over the entire period which enables the viewer to see the characters change over that period. What a novel idea? In this day and age of special effects, super-heroes, and animated animals, how refreshing to see a simple tale of a family told over a while.

The film’s main character is Mason Evans, Jr. played by Ellar Coltrane. We are introduced to Mason when he is six years old and in the first grade. He lives with his older sister Samantha, played by the director’s daughter Lorelei Linklater, and his mother Olivia, played by Patricia Arquette, in Texas. Mason’s father (Mason Sr.) is played by Ethan Hawke, who is divorced from Olivia.

As the years go by we see situations arise and the characters grow and develop over time similar to real-life.

After the film, Mason Jr. is headed off to college following years of life experience including his first relationship. The other characters develop as well as we see Olivia and Mason Sr. delve into relationships with other partners, some successful, others less successful.

Where Boyhood succeeds is that it is a film about real-life that feels like a slice of Americana.

It’s a wonderful film.

The audience invests in the characters because we grow to love and care about their lives. It is comparable to seeing cousins or friends once a year and seeing what becomes of their lives over time.

This film fascinates me because it is so basic and so real that it does not need contrived dramatic situations to warrant attention. It is simply authentic and that is what makes a great film.

The film is certainly left-leaning politically speaking and I just love the current events that are brought up throughout the years by the family members.

As the film progresses we are treated to Mason Sr. commenting on his distaste of the Iraq war, the children’s anticipation of the new Harry Potter film, Mason Sr. taking the kids to a Houston Astros game, and The Beatles and Star Wars are mentioned.

Another scene sadly focuses on a returning soldier from Iraq who suffers from Post-traumatic stress disorder. These nuances make the film seem so authentic and rich.

As wonderful a job as Patricia Arquette and Ethan Hawke did neither of them had a huge, bombastic, emotional scene which would have been splendid given the talents of each, but this is a small criticism. Both are superb as struggling parents trying to do the right thing for their children as well as carve out a life for themselves.

Boyhood re-defines realism in the film as we see a family unit hope, struggle, and dream as it’s played out before our eyes.

The film does not need any overwrought dramatics as it is simply a slice of life of a group of people we come to know and love.

Everyone can relate to Boyhood.

Oscar Nominations: Best Picture, Best Director-Richard Linklater, Best Supporting Actor-Ethan Hawke, Best Supporting Actress-Patricia Arquette (won), Best Original Screenplay, Best Film Editing

Independent Spirit Award Nominations: Best Feature, Best Director-Richard Linklater (won), Best Supporting Male-Ethan Hawke, Best Supporting Female-Patricia Arquette (won), Best Editing

Foxcatcher-2014

Director-Bennett Miller

Starring Steve Carell, Channing Tatum

Scott’s Review #210

Reviewed January 2, 2015

Grade: A

Foxcatcher is a dark, disturbing, psychological thriller that achieves greatness based on its bleak look and great acting.

It is a superb character-driven story, based on true events, led by the talents of actors Steve Carrell, Channing Tatum, and Mark Ruffalo, each of whom gives an excellent performance. It is a sports film, but hardly predictable as many in this genre typically are.

The film is set in 1987. Brothers Mark and Dave Schultz (Tatum and Ruffalo respectively) are former Olympic gold medal-winning wrestlers attempting to compete in the upcoming 1988 Olympic competitions.

Despite having won a gold medal, Mark lives in squalor and is reduced to giving pep rallies at elementary schools- meant to be done by Dave- for very little money. Dave is the more successful brother- a family man living a happy existence. He is more talented than Mark and very driven. One day Mark is contacted by wealthy philanthropist John du Pont (Carrell) and invited to live with him at his expansive estate in Pennsylvania and train in his facility with other aspiring Olympic wrestlers.

John’s attempts at wooing Dave as well initially fail. From this point in the story, the film delves into psychologically dark territory, mainly the controlling, disturbing behavior of John, as he attempts to control Mark and woo Dave. John has a damaged relationship with his mother, Jean, wonderfully played by Vanessa Redgrave, in a small yet crucial role. Jean feels that John’s obsession with the wrestling world is far beneath him and their relationship is tense and unloving.

The three principal actors involved in the film are worthy of discussion as without these performances the film would not be as complex or compelling. Let’s begin with Channing Tatum- known primarily as a hunky movie star with questionable acting ability, he proves the naysayers wrong.

I cannot help but compare him to a younger Brad Pitt- it took years and many films for him to be recognized as more than a pretty face and abs to die for.

His performance is understated and calm, but nuanced in his laid-back demeanor. Sometimes anger bubbles under the surface.

Carrell is downright creepy as the affluent yet insecure Du Pont.

Throughout the film, the character just seems off somehow. Known mostly for silly comedies he is a breakout performance that, I hope, leads to similar meaty roles. Carrell shows he has what it takes to appear in quality films.

Lastly, Mark Ruffalo, who always plays interesting, everyman type characters, again emits much emotion from his character of Dave Schultz, a successful, driven, athlete who is also a dedicated husband and father.

With lesser casting, Foxcatcher would not have been as interesting.

Questions at the end of the film will arise- What were John du Pont’s motivations? What effect did his mother have on his actions? How could a man with all his power and wealth end up this sad? Were there inappropriate sexual overtures made towards the wrestlers by John?

Foxcatcher excels at portraying a dark, layered, moody, true story and teaches that wealth does not equate to happiness and in many instances, quite the contrary occurs. Foxcatcher is an immense success.

Oscar Nominations: Best Director-Bennett Miller, Best Actor-Steve Carell, Best Supporting Actor-Mark Ruffalo, Best Original Screenplay, Best Makeup and Hairstyling

Independent Spirit Award Nominations: Special Distinction Award (won)