Category Archives: Family Issues

Japed crusader: Griff the Invisible **

August 8, 2015 Dennis Hartley

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on August 27, 2011)

While the “outsider” is a well-established archetype in film, a new sub-genre has emerged in recent years. It’s perhaps best described as “Revenge of the Nerds: The Millennial Generation Re-boot”; a little bit mumble core, with a touch of character study and magical realism (steeped in hipster irony). The protagonist is usually a quirky, socially awkward daydreamer who pines for love and understanding, but despite best efforts to connect, comes off as, well, a dork.

Frequently, our hero or heroine is ridiculed and/or bullied by others, prompting deeper retreat into a private universe, or the creation of an alter ego who then (figuratively or literally) “defeats” their tormentors. Think: Office Killer, Welcome to the Dollhouse, Amelie, Secretary, Muriel’s Wedding, Ghost World, Lars and the Real Girl, Napoleon Dynamite, Eagle vs. Shark and Scott Pilgrim vs. the World. Now you can add Australian import Griff the Invisible to that list.

20-something Griff (Ryan Kwanten) is an introverted Sydney office drone one or two symptoms shy of an Asperger’s diagnosis. The more he tries to make himself “invisible”, the more he incites the office bully (Toby Schmitz) to cruelly prank him in front of his co-workers. Poor Griff hasn’t figured out that most basic tenet of social anthropology-the more you assimilate, the less attention you draw to yourself . His only solace comes in the form of an alter ego, “Griff the Protector”. A legend in his own mind, Griff the Protector is a nocturnal crime-fighter, who takes names and kicks ass.

The Sydney police have been receiving numerous complaints from Griff’s neighbors about some weirdo running around at night wearing a rubber superhero suit, peering into windows and creeping people out. “Oh no, you’re not doing it again, are you?” asks Griff’s concerned older brother Tim (Patrick Brammall), implying that Griff has had a history of difficulty delineating reality from fantasy.

You can tell that Tim (the “responsible” sibling) cares about his brother, but is at the end of his rope as to how he’s going to drag Griff out of his arrested development and into adult life (kicking and screaming) . Besides, he has his own life to live, with a career, a bright future and a new girlfriend named Melody (Maeve Dermody).

However, as we get to know Melody, we wonder if she’s hooked up with the “right” brother. For example, whenever Tim starts prattling on about plans for the future, Melody tends to drift off, fixing her gaze on an indeterminate point somewhere on the horizon. And when it’s time to say “good night”, her quick pull away when Tim tries to give her a peck doesn’t bode well for the couple’s future, either.

The only time Melody gets jazzed is when she’s alone, reading up on particle physics. She has become obsessed with the possibilities of passing a human body through solid matter. She has been practicing the trick on her bedroom wall; needless to say, she’s been sustaining head injuries-which could explain the “drifting off” thing. So, are these two kooks (Griff and Melody) going to end up together?

This is the first feature film for writer-director Leon Ford, and while it’s a bit uneven, Kwanten and Dermody have great screen chemistry and lend charm to the film. However, the characters, as written, teeter precariously between “endearingly quirky” and “mentally ill” (you’re torn between cheering them on and wishing someone would whisk them both off for a psych evaluation).

That aside, Ford’s film is a diverting enough 90 minutes, as long as you don’t set expectations too high. And the film’s message, which is something along the lines of: Who cares what people believe about you, as long as you have someone in your life who truly believes in you…is certainly an encouraging one, nu?

Animated, Armageddon, Family Issues, Sci-Fi

Facebookopalypse now: Summer Wars ****

August 8, 2015 Dennis Hartley

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on February 5, 2011)

Don’t be misled by the title of Mamoru Hosoda’s Summer Wars-this could be the Gone with the Wind of Japanese anime. OK…that’s a tad hyperbolic. But it has drama, romance, comedy, and war-centering around a bucolic family estate. Maybe- Tokyo Story meets War Games? At any rate, it’s one of the better animes of recent years.

The film opens with echoes of Weird Science, as we are introduced to a couple of nerdy teenagers, geeking out in the virtual world of “Oz”, a global cyber network where all users (from individuals to governments) communicate and conduct business via avatars. Kenji (voiced by Michael Sinterniklass) and his pal have part time jobs working for the network (something techie…it’s all big magic to me).

Anyway, the boys are pretty sharp at what they do; Kenji is also a math whiz. When it comes to relating to the opposite sex, however, they are relatively clueless. Kenji has a crush on of their classmates, Natsuki (Brina Palencia), but has no idea as to where to take it from there. Imagine his surprise when Natsuki invites him along on a visit to see grandma out at her family’s sprawling country estate, where the clan is gathering to celebrate the spry matriarch’s 90^th birthday.

Kenji is hit with an even bigger surprise when Natsuki introduces him to her family as her “fiancee”. Flustered at first, Kenji decides (correctly) that he should probably play along. After apologizing for springing this on him, Naksuki begs Kenji to go along with the ruse for the duration of their visit; she just wants to avoid getting hounded by nosy relatives on the subject of matrimony. This actually gives the socially awkward Kenji an instant entree with the eccentric but loving clan. He has some consternation when Natsuki’s “first crush” suddenly shows up-her brooding, James Dean-ish uncle (J. Michael Tatum), who is the long-estranged black sheep of the family.

Late one evening, Kenji receives a cryptic text message, challenging him to crack a complex equation (which is like catnip to a math nerd). After pulling an all-niter, he solves it. Unfortunately, he soon discovers that he has been duped; by solving the math problem, he has unwittingly enabled a malicious AI program to hack into the Oz network-and sees his photo plastered all over the TV news as a wanted cyber-criminal (much to his newly adopted family’s chagrin).

As the virus begins to methodically assimilate the avatars belonging to millions of users, it exponentially gains more control over the grid, wreaking increasingly insidious infrastructural havoc worldwide as its power grows. Soon the stakes become even higher-and in true anime tradition, the mantle of saving the earth falls on upon the diminutive shoulders of our geeky hero and his friends (with unexpected help from grandma, who proves that in times of crisis, it’s those old school social networking skills that really count).

Although a number of the narrative devices in Satoko Ohuder’s script will feel familiar to anime fans, it’s the humanistic touches and subtle social observations (reminiscent of the films by the great Japanese director Yasujiro Ozu) that make this such a worthwhile and satisfying entertainment. Director Hosoda began his career in the genre back in the early 90s, working at Japan’s highly respected Toei Animation studio as an animator. This is only the second feature-length anime he has overseen; his first was the outstanding 2007 fantasy-adventure, The Girl Who Leapt through Time. Judging by these two films, he has a very promising career ahead of him.

Dramedy, Family Issues, Sports, Troubled Teens

Lawyers, sons and money: Win Win ***1/2

August 4, 2015 Dennis Hartley

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on April 2, 2011)

Back in my wintry Alaskan radio days (back in the 20^th Century) there was a corny old one-liner that I wasn’t too proud to recycle once or twice as a weather forecast zinger:

“In fact…it is SO cold, that as I drove past the courthouse this morning on my way to work…I spotted a lawyer who actually had his hands in his own pockets.” (SFX rim shot)

I don’t mean to insinuate that a “lawyer” is, by definition, an opportunistic, self-serving type; what profession doesn’t have its “bad apples”? There are a lot of straight-shooting idealists out there practicing law. But I think we can all agree that that there are very few attorneys who have never met a loophole or “gray area” they couldn’t eyeball from outer space-with their glasses cracked.

You get a vibe that attorney Mike Flaherty (Paul Giamatti), the lumpy middle-aged protagonist of writer-director Thomas McCarthy’s new film Win Win, likely began his law career as one of those straight-shooting idealists. He’s an amiable fellow and a solid family man who devotes a good portion of his free time coaching the local high school wrestling team. There’s a noticeable deficit of statuettes in the trophy case, but Mike and his assistant coach (Jeffrey Tambor) try to keep up the positive reinforcement.

It’s too bad that Mike can’t turn some of that positive reinforcement back onto himself. While out for a morning jog with his friend Terry (Bobby Cannavale), he suffers a full-blown anxiety attack. Once the paramedics leave, Mike sheepishly opens up to his concerned pal (also an attorney) about the financial worries that have been keeping him up nights. Mike also confesses that he’s envious that Terry has amassed a relative fortune through his own successful law practice. Terry does his best to empathize, but as he is still reeling from a recent divorce, he’s anxious and depressed himself.

When one of his clients, an elderly man named Leo (Burt Young) is declared legally incapacitated, Mike comes up with a brainstorm for turning this “loss” into a “win win”. In order to pull it off, however, Mike will have to dive headfirst into one of those “gray areas” that I referenced earlier. After a brief wrestling match with his conscience, Mike offers himself to the court as Leo’s legal guardian. Leo can continue to live in his own house, and Mike will check in on him.

The judge raises an eyebrow, but grants him guardianship. So how does the “wrestling with his conscience” part figure in? Mike is fudging just a wee bit…and his wife (Amy Ryan). He actually intends to put Leo in an elder care center (a nice one, of course), so he won’t really be fussing with taking care of him, per se. Oh-and he’ll sort of “pocket” the monthly $1500 stipend Leo’s estate pays him for being a guardian. But, as long as Leo is content, and Mike is making some extra money to help support his own family, everybody wins-right?

Mike’s scheme runs like clockwork-until a potential spanner in the works named Kyle (Alex Shaffer) rolls into town. He’s Leo’s teenage grandson, who, despite his taciturn nature (quick to deflect any questions about his parental situation) ingratiates himself with Mike’s family-especially after he turns out to be a gifted wrestler.

Mike can’t believe this streak of luck. But as they say-no good deed goes unpunished. Enter Kyle’s estranged mom (Melanie Lynskey), just out of drug rehab, armed with an attorney and looking for a steady income (like the $1500 a month she could get if the court appointed her as Dad’s legal guardian). Mike’s streak could be over.

In the hands of a lesser team (McCarthy co-wrote with Joe Tiboni), this narrative that could have descended into turgid family soap. But luckily, this is Thomas McCarthy, the actor/director who also helmed The Station Agent and The Visitor. A true “actor’s director”, McCarthy coaxes pitch-perfect performances from the entire cast.

It’s refreshing to see Giamatti underplay a role for a change; he’s a fine actor, but has been known to ham it up. It’s an outstanding turn, especially in his scenes with newcomer Shaffer (admirably holding his own with the seasoned players). The development of their relationship is central to the story, and neither of them hits a false note. Ryan is a wonder to behold as always; I think she remains a sorely underutilized talent and needs to be offered a leading role immediately, if not sooner. Touching (but never maudlin), funny (without mugging) and genuinely heartwarming, this is a must-see.

Big Money, Family Issues, Thriller, Up the Workers

Sonatas for the servile class: The Housemaid **1/2

August 2, 2015 Dennis Hartley

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on February 12, 2011)

So-are you searching for that perfect date movie? Korean director Im Sang-soo’s The Housemaid would not be my first pick (unless your idea of a “perfect date movie” is, say, Angels and Insects, or maybe Crimes and Misdemeanors). However, if you are in the mood for a stylish mélange of psycho-sexual melodrama, psychological thriller, Greek tragedy and class warfare allegory, this could be your ticket.

An unassuming, angel-faced young divorcee named Eun-yi (Jeon Do-yeon), who lives in a dingy, low-rent apartment where she shares a bed with her mother, is offered a position as a housekeeper/nanny for a wealthy couple (expectant with twins) with a five-year-old daughter. Eun-yi eagerly accepts the job, exuding an almost child-like wonderment at her new employers’ palatial digs.

Indeed, this family seems to “have it all”. The husband, Hoon (Lee Jung-Jae) is impossibly handsome. Although it is never made clear as to what he does for a living (he leaves the house every day via limo, surrounded by an entourage-but that’s all we know), he definitely carries himself with that self-assured air of a Master of the Universe who is used to always getting what he wants, when he wants it.

His wife Haera (Seo Woo), is young, beautiful, and has “high-maintenance trophy” written all over her. Every night after work, Hoon cracks open a vintage bottle from his wine cellar, and after sitting down to an opulent meal with wife and child, retires to his music room to play classical sonatas (note-perfectly, of course) on a concert grand piano. Now, I can guess what you’re thinking right now-likely the same thing I was thinking: “Oh…that is so much like my life.” But, as a great lady once said (to quote Queen Eleanor, from The Lion in Winter) “What family doesn’t have its ups and downs?”

There’s one member of the household who knows about all the “downs”. She is the long-time, long suffering elder housekeeper, Byung-sik (Yun-Yeo-Jong) who is giving Eun-yi the crash-course on the family’s quirks. Outspoken and wryly cynical whenever out of the family’s earshot, Byung-sik is like the career master sergeant who knows when to salute and how much to defer-just enough to make the captain think he’s the one actually running the company.

In the meantime, Haera and Hoon, while accepting of their new employee, essentially abandon her to Byung-sik’s tutelage and set about ignoring Eun-yi’s presence with that casual, chilly aloofness the filthy rich reserve for the help. Their daughter Nami (Ahn seo-hyeon), on the other hand, reaches out to the new nanny, reciprocated in kind by a delighted Eun-yi (although we are not sure whether this bond can be attributed to the non-judgmental mind of the five year old, or to the innocence of the childlike young woman).

Things appear to be going swimmingly, until late one sultry evening-when Eun-yi is startled awake by master Hoon looming over her bed, sporting that frisky “Speedos and open silk robe” look whilst coddling an open bottle of vintage (and two glasses). One thing leads to another, and…you can guess the rest. Surprise surprise, Hoon is yet another creepy, arrogant rich prick with an overdeveloped sense of sexual entitlement-but we also learn Eun-yi may not be as “innocent” as we initially thought. And once the family viper slithers into the pit-the Mother-in-Law (a scenery-chewing Park Ji-young), all the poisons that lurk in the mud hatch out.

Gosh, one might assume from watching this film that the rich and powerful are generally concerned with little else in this life than remaining so, ever vigilant to decisively quash any threat of exposure or usurpation, no matter who or what gets hosed in the process. Then again-perhaps I’m projecting my own world view as to where the root cause of all sociopolitical evil lies…sometimes a psychological thriller is just a psychological thriller.

At any rate, writer-director Sang-soo (who based his screenplay on the eponymous 1960 Korean thriller, swapping the personalities of several principal characters) has fashioned an involving (if a little slow on the boil) entertainment. The Grand Guignol in the film’s climactic scene, capped by an enigmatic fade-out may prove a dream for some, a nightmare for others. Don’t say I didn’t warn you.

Culture Clash, Dramedy, Family Issues, Rock 'n' Roll

A shoeshine for your soul: Le Havre ***1/2

August 2, 2015 Dennis Hartley

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on November 12, 2011)

W.C. Fields once cautioned “Never work with children or animals.” I suppose you could say that Aki Kaurismaki has completely thrown caution to the wind with his new film. In Le Havre, the latest in a long line of deadpan character studies, the Finnish director weaves a deceptively simple tale about an elderly French author named Marcel (Andre Wilms) who is taking an open-ended hiatus from writing, opting instead to make a less-than-modest living shining shoes in the picturesque port town of Le Havre.

In a dryly amusing opening, Marcel andfellow shoe-shiner Chang (Quoc Dung Nguyen) stand impassively at a busy metro station, wistfully tracking the parade of shoes worn by passers-by, not unlike a dog who sits by the dinner table with infinite patience, fixing a Mesmer stare on your fork as if willing a morsel to fall its way.

Hell of a way to make a living, but it seems to suit Marcel just fine. He revels in the easygoing camaraderie among the inhabitants of his almost Utopian neighborhood, and is perfectly happy to come home to his wife Arletty (Kati Outinen) and his dog Laika (played by the director’s own pooch) to drink a little wine and enjoy a simple meal.

One day, as he is lunching down by a pier, he is startled by a commotion of police, who seem to be looking for somebody. While the police are still poking around, Marcel spots a young boy (Blondin Miguel), half-submerged in the water and obviously frightened out of his wits. Marcel quickly puts two and two together, but keeps a poker face until the police have left the area. He offers the boy food, and, as they say in the movies, it’s the start of a beautiful friendship.

The remainder of the narrative deals with Marcel’s efforts to reunite the boy (a Senegalese refugee who was smuggled into Le Havre in a shipping container) with his mother, an illegal immigrant living in London. As he keeps one eye on a highly suspicious police inspector (Jean-Pierre Darroussin) Marcel is aided by fellow villagers, who pull together to form an underground railroad, of sorts.

Although the story is set in contemporary times, the film reminded me of Jean-Pierre Melville’s WW2 French Resistance tale, Army of Shadows. There are parallel themes of loyalty, selflessness and the kind of collective idealism that seems to belong to a bygone era. Stylistically, however, Kaurismaki and Melville could not be any different. To say that Kaurismaki likes to populate his films with quirky characters is an understatement.

For instance, I’d love to know where he found Roberto Piazza, as “Little Bob”, a musician who Marcel recruits to perform a makeshift benefit concert. To look at this odd little gentleman, you’d never dream that he could rock out the way he does once he’s onstage (it’s like the first time you saw Andy Kaufman “become” Elvis). Little Bob also gets the best line (“She’s like the road manager of my soul.”).

If you are not familiar with Kaurismaki’s oeuvre, this might not be your best introduction (for that, I would direct you to his wonderful 2002 film, The Man without a Past). Jim Jarmusch absolutely worships Kaurismaki; they definitely share the same sense of humor, as well as the same sense of, er, pacing…if that helps. You’re not going to see a lot of car chases, okay? And if you can settle in with this tale’s unhurried rhythms, you might just catch the compassion and humanity at its core. Think of it as a shoeshine for your soul.

…and for your dining and dancing pleasure, here’s Little Bob:

Dramedy, Family Issues, Road Movie

The Haole and the IV: The Descendents ****

August 1, 2015 Dennis Hartley

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on November 26, 2011)

In the course of (what passes for) my “career” as a movie critic, I have avowed to avoid the trite phrase “heartwarming family film”. Well, so much for principles. The Descendants is a heartwarming family film. There, I said it. Now, let me qualify that. Since it is directed by Alexander Payne (Citizen Ruth, Election, About Schmidt, Sideways) it is a heartwarming family film riddled with dysfunction and middle-aged angst (which is how I prefer my heartwarming family films, thank you very much). Think of it as Terms of Endearment goes Hawaiian.

Despite the lush and verdant setting, Payne wastes no time hinting that there is trouble in Paradise. People who live in Hawaii get cancer, feel pain and encounter their own fair share of potholes as they caterwaul down the road of life, like anyone else. That is the gist of an internal monologue, delivered by Matt King (George Clooney), as he holds vigil in an ICU, where his wife (Patricia Hastie) lies in a coma, gravely injured from a water-skiing mishap. As he contemplates the maze of IV tubes and such keeping his wife alive, Matt, like anyone staring into the Abyss, begins taking inventory of his life up to now.

After all, what family doesn’t have its ups and downs? On the “up” side, Matt is financially set for life, as an heir to and executor for a sizable chunk of prime, undeveloped land on Kauai, held in a family trust (thanks to genuine Hawaiian royalty buried in the woodpile a ways back). On the “down” side, his workaholic nature has precipitated emotional distance from his wife and two daughters. His 17-year old, the sullen and combative Alexandra (Shailene Woodley) is at boarding school; and precocious 10-year old Scottie (Amara Miller) is in hot water for antics like cyber-bullying a classmate, and bringing disturbing photos of her comatose mother to school.

In the past, Matt’s wife has served as the buffer between him and the day-to-day daughterly drama, but now that she is incapacitated, it’s all landed in his lap. He may be a respected pillar of the community, but now finds himself akin to the proverbial deer in the headlights. After awkwardly putting out Scottie’s fires, Matt decides that he will need to enlist the assistance of her older sister for riot control.

Besides, he figures it would be best to keep both of his girls close by, should the worst happen. As if this weren’t enough on his plate, Matt is also up against a pending deadline to sell the family’s land to a real estate developer. He is being egged on by a sizable coterie of cousins who (a couple anti-development dissenters aside) are eager to milk this potential cash cow for all its worth.

Then, the bombshell lands. The bombardiers are his daughters, who let it slip that, completely unbeknownst to Dad, Mom had been getting a little action on the side with a younger man (Matthew Lillard). And he’s a real estate agent, no less (shades of American Beauty). Poor Matt. He’s no sooner steeled himself for the looming possibility of becoming a grieving widower who must stay strong for his kids, but instead finds himself cast as a blindsided cuckold.

Flummoxed, Matt demands confirmation from his wife’s friends, who fess up. Although he has no real idea what he wants to say (or do) to him, Matt nonetheless decides that he must track down his wife’s lover (it’s a guy thing). With Scottie, Alexandra and her boyfriend (Nick Krause) in tow, he embarks on the patented Alexander Payne Road Trip, which in this case involves hopping a quick flight to Kauai.

While the setup may feel somewhat familiar (like the aforementioned American Beauty meets Little Miss Sunshine), or even rote, in Payne’s hands it is anything but. Yes, on one level it’s another soaper about a middle-aged male heading for a meltdown, but every time you think you’ve got it sussed, Payne keeps pitching curve balls.

His script (which he co-adapted with Nat Faxon and Jim Rash, from the novel by Kaui Hart Hemmings) consistently hits the sweet spot between comedy and drama, giving us characters who, in spite of (or perhaps, due to) their contradictions and flaws, are people to whom we can all easily relate to. The film also showcases Clooney’s best work in years; it’s the closest he has come thus far to proving that he may indeed be this generation’s Cary Grant, after all.

This is one of the first knockouts on the autumn release calendar, and one of the best films I’ve seen this year. There are many reasons to recommend it, not the least of which is a bevy of fine performances from the entire cast. Lillard shows surprising depth, and it’s a hoot to watch veteran character actors like Robert Forster and Beau Bridges doing that voodoo that they do so well. I also like the way Payne subtly utilizes the Hawaiian landscapes like another character in the story, much in the same manner he employed the California wine country milieu in Sideways. After all, it is only when human beings are set against the simple perfection of an orchid (or a grape) that we are truly exposed as the silly, needlessly self-absorbed and ultimately inconsequential creatures that we really are.

Biopic, Drama, Family Issues, Politics

Chalkhills and children: Oranges and Sunshine ***1/2

July 30, 2015 Dennis Hartley

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on November 5, 2011)

It was often said that the “sun never sets on the British Empire”. While that may have been an accurate cartographic assessment, there was a time or two along the way when His Majesty’s Government had a total eclipse…of the heart. In February 2010, British PM Gordon Brown issued an official apology for one of these hiccups, a child migration policy implemented from the 19^th century through the late 1960s. It is estimated that more than 130,000 children were affected. According to a CNN article from last year, the group at the tail end of the practice is known as the “Forgotten Australians”, who were shipped off starting just after WW II:

The so-called “Forgotten Australians” were British children brought up by impoverished families or living in care homes who were shipped to Australia with the promise of a better life.

But many ended up in institutions and orphanages, suffering abuse and forced labor. They later told of being kept in brutal conditions, being physically abused and being forced to work on farms. Many were wrongly told they were orphans, with brothers and sisters separated at dock side and sent to different parts of the country.

This Dickensian scenario continued to flourish under the auspices of the British government until 1970, which was when the final “shipment” arrived (the Australian government has since apologized as well for its part in the three decade-long collusion; whether or not the various church and charity organizations involved at the grass roots level have admitted same is anyone’s guess). However, as some of these children might have recited at one time or another, “For every evil under the sun, there is a remedy or there is none.”

In this case, the remedy arrived in the person of British social worker Margaret Humphreys, who, beginning in the mid-1980s, nearly single-handedly brought this extended period of systemic social injustice to world-wide attention, as well as reuniting hundreds of the “forgotten” children (adults by then) with their surviving parents in England. Humphreys wrote a book about this journey, which has now been adapted into Oranges and Sunshine, directed by Jim Loach.

The story opens in 1986, in Nottingham. Initially, Margaret (Emily Watson) seems an unlikely candidate for facilitating family reunions; in the opening scene, she is in fact doing just the opposite-taking custody of an infant from its distraught mother, while the police stand by as dispassionate observers. Margaret keeps her professional cool, but her eyes telegraph a pained resignation to the fact that it is one of those necessary evils that real nitty-gritty social work entails.

One night, as she is leaving her office, Margaret is approached by an Australian woman who tells her she was born in Nottingham, but had been placed into government care as an infant and shipped off to an Australian children’s home. Although she had grown up under the impression that she was an orphan, the woman now has reason to believe that she may have been lied to all those years. She pleads with Margaret to help her find her family roots. Margaret reluctantly promises to investigate, if she can find the time.

However, after another woman (Lorraine Ashbourne) in one of her counseling groups recounts an unusual story about how she was reunited in adult life with a long-lost brother (Hugo Weaving) who had also apparently been sent off to Australia not long after the siblings had been put into government care, Margaret becomes intrigued to dig deeper. Before too long, she connects the dots and a disturbing historical pattern emerges.

This is the directorial debut for Loach (son of Ken), who seems to have inherited his father’s penchant for telling a straightforward story, informed by a righteous social conscience and populated by wholly believable flesh-and-blood characters. He doesn’t try to dazzle us with showy visuals; he’s wise enough to know that when you’ve got an intelligent script (Rona Munro adapted from Humphreys’ book, Empty Cradles) and a skilled ensemble, any extra bells and whistles would only serve to detract from the humanity at the core of the story. Watson never hits a false note; she doesn’t overplay Margaret as a saintly heroine, but rather as an ordinary person who made an extraordinary difference in the world.

While elements of the story are inherently inspiring, it also has a very sad and bittersweet undercurrent. After all, these people were not only essentially robbed of their childhoods, but denied foreknowledge of their true identity, the very essence of what defines each of us as a unique individual.

As Margaret herself says in frustration to one of the now-adult migrant children (an excellent David Denham): “Everybody always thinks there’s going to be this one big cathartic moment when all the wrongs are righted and all the wounds are healed…but it’s not going to happen. I can’t give you back what you’ve lost.” Neither can a film; but like Margaret actions themselves, it assures us that there is some true compassion left in this fucked-up world. And that’s a comforting thought.

Drama, Family Issues

Daze of Heaven: The Tree of Life ***

July 29, 2015 Dennis Hartley

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on June 18, 2011)

Q: What did the Buddhist say to the hot dog vendor?

A: Make me one with everything.

Oh…wait-I’ve got another one! Q: What do you get when you cross The Great Santini with 2001: a Space Odyssey? A: Something resembling Terrence Malick’s new film, The Tree of Life. Clocking in at a butt-challenging 138 minutes, this existential opus is the most self-consciously non-commercial film to sneak into multiplexes since Charlie Kaufman’s Synecdoche, N.Y. managed the feat 3 years ago.

This is also one of those films that critics pray for every night, because it gives them an opportunity to flex their writing instrument; especially those frustrated doctors of philosophy who don’t normally get the opportunity to roll out one-sheet friendly quotes like “lyrical tone poem” and “transcendent visual feast” while parsing Justin Bieber: Never Say Never or The Hangover Part II.

Then again, so few films are green lighted any more that demand contemplation of The Big Questions (you know-like “Mr.Natural! What does it all mean?”) I think neither critics nor audiences know how to react when we do stumble across one…especially when it can’t be summarized in 140 characters or less.

If there is a signature stamp by this enigmatic filmmaker (who has directed but five films over a 38-year period) it is that inevitable POV shot (or two) where the protagonist takes a moment of Zen to contemplate the Awesomeness of Nature. It could be an event as microcosmic as contemplating a caterpillar inching up a blade of grass, or as nebulous as a lingering gaze into a clear blue sky. More often than not, it is soon followed by another example of the Random Cruelty of Fate.

In this film, Malick not only revisits those themes, but he takes a stab at answering the ultimate question-about life, the universe and everything. But (you may wonder)-does he also tell us an interesting story? Well, sort of.

There are two distinct narratives. They both “branch” (if you will) from the racing thoughts of a brooding yuppie named Jack (Sean Penn, in a largely internalized performance). The primary narrative unfolds through a random series of episodic sense memories from Jack’s childhood, growing up in a small Texas town in the 50s with two younger brothers, a loving but strict father (Brad Pitt) and gentle-spirited mother (Jessica Chastain).

The second thread is less tactile and much more abstract-which is where The Big Questions come in. As Jack veers off memory lane to mull over the meaning of God and life itself, his musings are accompanied by a Laserium-worthy reenactment of the Big Bang (impressively handled by a special effects team that includes legendary Kubrick collaborator Douglas Trumbull), followed by a visual Cliff’s Notes take on the origins of life on Earth. And yes, as you’ve likely already heard…dinosaurs are involved.

Now, on paper, this may look like I Remember Mama meets Jurassic Park-but it’s not anything like that at all (I’ll give you a moment to purge the image of Irene Dunne being stalked by a velociraptor). The less said about the narrative, the better-because this is a movie that is not so much to be watched, as it is to be experienced.

I think it’s safe to say that The Tree of Life isn’t like anything else currently in theaters. Hell-anyone who claims to appreciate the art of cinema has a duty to watch Terrence Malick’s films. And don’t be intimidated by any 10,000 word reviews you may come across; if you find yourself scratching your head as credits roll, here’s what you do (hey, it worked for me):

First, if you’re worried about saving face with your date (or fellow moviegoers), be sure you’re caught nodding slowly to yourself while thoughtfully stroking your chin as the lights come up. If you can swing it, an enigmatic, knowing grin adds a nice touch. Next, you must “unlearn” what you have learned about traditional film narrative.

Now, you need to visualize The Tree of Life not so much as a “movie”, but rather as a dim sum cart full of interesting ideas and Deep Thoughts that Malick is bringing to the table. You can pick any of these items that strike your fancy and arrange them on your plate as you wish, in order to make a full meal. You are in control. What you take away from the table is up to you as well; there are no “right” or “wrong” interpretations in this kind of exercise.

Now, if you’re still not feeling “full”-no worries. Take a deep breath. Take a little walk around the block; maybe stop and contemplate the Awesomeness of Nature. Then, on your way home, stop and treat yourself to a nice hot dog. One with Everything.

Dramedy, Family Issues, Writers

Staring at a blank page: Paper Man **1/2

July 16, 2015 Dennis Hartley

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on May 8, 2010)

Did you ever encounter a married couple who left you pondering: “How in the hell did those two ever get together? Did somebody lose a bet?” I would lay odds that this thought has crossed the minds of husband and wife Kieran and Michele Mulroney, because in their first effort as co-writer/directors, Paper Man, they have created a fictional married couple who leave you pondering: “How in the hell did those two ever get together?”

“Those two” are Claire (Lisa Kudrow) and Richard (Jeff Daniels) Dunn. She is a successful and renowned vascular surgeon who works at a New York City hospital. He is a not-so-successful writer, whose last book went in the dumper. Needless to say, Claire is the breadwinner of the family; she’s the “responsible” one, and a bit of a control freak. Richard is a man-child; taciturn and socially awkward, with a tendency to daydream (typical writer). There is a third member of the family-but I’m jumping ahead of myself.

Richard is struggling with a new book, and Claire has decided that setting him up in a rented cottage in the Long Island boonies will help him focus on his work. As we watch the couple getting settled in, it becomes apparent that Claire is more of a caregiver/guardian than a wife; she is not unlike a doctor clinically observing her patient.

Her exasperation over her husband’s chronic underachievement is palpable beneath her forced cheerfulness as she prattles on about her busy work schedule for the upcoming week, and then casually asks Richard what he has planned for his first week alone at the cottage. “I’ll start from the very beginning,” he says nebulously, adding “…which is a very good place to start.” Before she leaves for work the next morning, she asks him, with an air of foreboding, “You didn’t bring ‘him’ with you, did you?”

‘He’ is Captain Excellent (Ryan Reynolds). He is a figment of Richard’s imagination, his imaginary pal, ‘super-hero’, muse, conscience-that “little voice” in our heads (what…you don’t hear the voices?). Although he has assured his wife that ‘he’ didn’t come along, he “appears”, the second Claire pulls out of the driveway. “I sense danger,” he warns Richard.

This “danger” comes in many forms. Richard tends fixate on things (the couch in the cottage, for instance, really, really bothers him). Thinking too hard about his “half-dead marriage”, as the Captain refers to it. And of course, every writer’s nightmare: staring at an empty page for days on end, with no inspiration in sight.

The Captain’s early warning system goes into overdrive when Richard ventures into town on a Spyder bike and espies a young woman named Abby (Emma Stone) nonchalantly setting fire to a trash can. For some reason, this intrigues him. He follows her, and when she confronts him, Richard blurts out that he is new in town and needs a babysitter. For some reason, this intrigues her, and she says yes.

Imagine her surprise when she shows up and Richard tells her that there is no baby. He just wants her to hang out at his house while he goes out for a spell. In spite of the red flags, she says OK. In accordance with the rules and regulations of indie film, this marks the beginning of a beautiful friendship.

So-is this yet another quirky, navel-gazing dramedy, a la Lost in Translation or Me and You and Everyone We Know, offering up a wistful and pithy examination of lonely, desperately unhappy people yearning to connect amidst the vast desolation of a cold and unfeeling universe, set to a requisite soundtrack of lo-fi pop and angsty emo tunes? And was I a tad gob smacked that Ellen Page or Zooey Deschanel were nowhere in sight? Yes, and yes, pretty much.

That being said, I still didn’t mind spending two hours with these characters, thanks to the sensitive direction and excellent performances, particularly by Daniels and Stone. Lisa Kudrow is always fun to watch, and I was surprised by Kieran Culkin’s touching turn in a small supporting role.

The Mulroneys seemed unsure how to best end the film, but I’m willing to grade them on a curve since this is their first collaborative writing-directing effort (Kieran Mulroney is the younger brother of actor Dermot, if you care). Perhaps they are staring at a blank page, cooking up their next project. I hope Captain Excellent is looking over their shoulder.

Behind the Music, Culture Clash, Dramedy, Family Issues

Mopey white guy with guitar, pt. 2: Wonderful World ***

July 7, 2015 Dennis Hartley

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on January 16, 2010)

Wait a minute…didn’t I review this film last week?

Well, sort of…

Can blue men sing the whites?

Or are they hypocrites for singing woo, woo, whoo?

Oh Lord, somebody help me!

-The Bonzo Dog Doo-Dah Band

There was a famous children’s radio show that ran on WOR in New York from the late 1920s through the late 1940s that became infamous when it was rumored that the host, Uncle Don Carney, had once signed off with his signature cheery goodbye to the kiddies, then (not realizing that his microphone was still “hot”) immediately wisecracked, “There! That oughta hold the little bastards!”

I remember listening to it back in the 70s on an LP of legendary broadcasting bloopers compiled by Kermit Schaefer. I was disappointed to learn in later years that the gaffe was actually faked for the album (although most of the other cuts were genuine). Still, the enduring popularity of the urban legend says something about the appeal of the subversive cynic hiding behind the clown face.

This concept has spawned a sub-genre of films that can be traced back to the 1957 Elia Kazan entry, A Face in the Crowd, in which Andy Griffith stars as a backwoods conman-turned media superstar whose vitriolic disdain for his public belies his image as a benignly goofy, “family-friendly” entertainer. Tony Richardson’s 1960 film adaptation of John Osborne’s cynical and scathing portrait of a fading vaudevillian (Laurence Olivier), The Entertainer also deserves a mention. More recent films like Bad Santa, Shakes the Clown and Death to Smoochy have toyed with the same theme. Wonderful World, the directorial debut from Joshua Goldin, fits right in.

“The only crime left in the fucking world is negative thinking,” laments Ben Singer (Matthew Broderick) who holds the view that everything is fixed, yuppies are the root of all evil, and we’re all doomed anyway…so why bother. A failed children’s singer (his sole album long relegated to the dusty cutout bins of history), the divorced Ben now works a dead-end job as a proofreader. When one of his co-workers chastises him for not sharing in the congratulatory excitement surrounding the news that another co-worker (an aspiring actor) has just landed his first television acting gig, he dismisses the scold with a shrug and says “I don’t delude myself with hopes and dreams.” He’s a real piece of work.

Interestingly, however, he does have friends. He participates in a weekly after-hours jam session in the back room of a music store with some pals, and proves to be a decent guitarist; it makes us wonder why he’s squandering his talents. As the music store owner observes, “That’s a shame, to be good at something no one cares about…” (as a blogger, don’t I know that feeling). His roommate Ibu (Michael K. Williams) a Senegalese immigrant, doesn’t let Ben’s chronic glumness dampen his own perpetually sunny disposition, and considers him a friend, despite all of his negative waves.

Ben does approach a state approximating enjoyment when he spends time with his precocious 11-year old daughter (Jodelle Ferland); although his rampant cynicism is markedly straining their relationship and becoming a source of concern to Ben’s ex-wife (Ally Walker). Ben seems quite happy to continue wallowing in his half-empty glass bubble of apathetic detachment, until a series of unexpected and personally challenging events shakes up his world, not the least of which in the person of Ibu’s sister (Sanaa Lathan) a Senegalese national who shows up on his doorstep one fateful day.

While this is familiar narrative (the self-pitying mope gets snapped out of his myopic torpor by the Free-Spirited Other), writer-director Goldin gives it a fresh spin. I expected things to go in another direction (another black comedy about a bitter children’s entertainer); but was pleasantly surprised by the warmth and humanity at its heart. Broderick gives a nuanced performance that I would put up there with his work in Election. Lathan does a lovely job, as does Williams (you may recognize him from HBO’s The Wire). Wonderful World may not be a major film, but it is a rewarding one.