ROUND UP OF NEW AND RECENT FILMS PART NINE

ROUND UP OF NEW AND RECENT FILMS PART NINE.

Hipsters (Stilyagi/2008) is a Russian musical set in Moscow in 1955. Mels (Anton Shagin) belongs to the Communist Youth League, which tracks down young people -- or "hipsters" -- who love the traitorous Western ideology, including American fashion and music. Mels falls for a hipster named Polina or Polly (Oksana Akinshina) and becomes a hipster himself (although his hairstyle looks more modern-day rockabilly -- almost like Eraserhead -- than 1950's greaser). The colorful settings and cinematography, enthusiastic cast. snappy songs (most original, although we also hear "Summertime" from Porgy and Bess), and lively dancing don't quite disguise the fact that this love story is cliched and superficial. However, the picture is good to look at and at times quite entertaining, if definitely overlong. **1/2.  

Big Eyes (2014) is Tim Burton's true story about the painter Margaret Keane (Amy Adams) whose husband Walter (Christoph Waltz) took credit for her work, culminating in a court trial. Whatever you may think of Keane's paintings of her big-eyed subjects, Big Eyes is absorbing and well-acted, one of Burton's better movies in recent years (if not exactly spectacular). Terence Stamp is also in the cast. Waltz is a good actor who almost always adds a layer of slime to his portrayals. ***. 

Dark Crimes (2016) stars Jim Carrey (pictured) as a Polish police officer (!) trying to get out of desk detail before retiring. Carrey gives a good dramatic performance and has some very strong moments, and the supporting cast is generally on target as well, but even if you accept that Carrey's character is a fuck-up, some of his actions are inexplicable. Moody photography helps a lot but this script has a whole lot of problems. Marton Csokas certainly scores as the sinister author that Carrey is certain is responsible for a brutal murder, and Charlotte Gainsbourg is fine as his girlfriend. Some of the action centers on a shuttered, sleazy sex club called the Cage. Supposedly based on a true story, this is initially compelling but ultimately a misfire. **3/4. 

Sam Claflin and Rachel Weisz

My Cousin Rachel (2017) is a creditable remake of the earlier version of Daphne Du Maurier's novel starring Olivia De Havilland and Richard Burton. This version stars Rachel Weisz and Sam Claflin and is written and directed by Roger Michell. The film is very well photographed by Mike Eley. The story retains its ambiguity.  ***. 

Who's Killing the Cheerleaders? (aka Who is Killing the Cheerleaders?) is a 2020 telefilm in which a young lady who was a high school student when some of her friends were murdered comes back to town as a teacher -- and now more cheerleaders are being killed. This is a bloodless, non-slasher slasher film that may hold the attention for a time but which flies from your memory practically before it's even over. Ella Cannon is acceptable as the heroine, as is Austin Freeman as her old wannabee boyfriend. It all seems to take place in some alternate universe, the cable land of crappy movies. From Lifetime, naturally. **.  

GOOD NEWER MOVIE: LA LA LAND

Ryan Gosling and Emma Stone 

LA LA LAND (2019). Written and directed by Damien Chazelle.

Mia (Emma Stone of The Amazing Spider-Man) is an aspiring actress going on auditions and working as a barista in L.A. She encounters jazz musician Sebastian (Ryan Gosling of All Good Things), who proves quite obnoxious at first. Gradually the two warm up to one another and begin a relationship. But both have ambitions that may interfere with the permanency of their union. And their idea of success may not be the same. Periodically they and others break into song.

Emma Stone

First let me make it clear that La La Land is not on the list of really superb musicals a la Singin' in the Rain. When Stone and Gosling dance you won't in any sense of the word be reminded of Fred and Ginger or Gene Kelly, and they both have mediocre voices. But if you take it on its own terms La La Land has its rewards. The two leads, neither of whom is conventionally attractive, give very good performances and the songs they warble are at least pleasant.

Stone and Gosling 

Linus Sandgren's cinematography is first-class, and there's an interesting opening production number on the freeway. La La Land gets high marks for being visually arresting. But the chief thing I liked about the movie is its coda, a long sequence in which Emma encounters Sebastian years later -- and as people will do -- imagines what her life would have been like had she married him instead of her husband. I think it is this finale that resonates with most viewers and has perhaps led many people to over-rate the movie. Still, it's romantic, well-acted, and good to look at. Damien Chazelle also directed Whiplash. Ryan Gosling is not to be confused with Ryan Reynolds [Green Lantern] even though they look alike.

Verdict: Not a classic but entertaining enough. ***. 

CARY GRANT, DARK ANGEL

CARY GRANT, DARK ANGEL Geoffrey Wansell. Arcade; 2016.

This updated version of Wansell's biography of Grant is a coffee table trade paperback loaded with photographs. The book keeps hinting at Grant's "dark side," which numerous co-stars, friends and directors apparently noticed, but it's never really explored in any depth, although there are details of the actor's problematic relationship with his mother. As usual, the book notes that Grant and Randolph Scott lived together even after Grant's first marriage -- Grant's first five marriages all failed, and his sixth ended with his death -- but is coy about everything else. Apparently Grant was a terrible husband until his more mellow final years. The author does a perfectly workmanlike job of exploring Grant's various film roles, his affairs, and Hollywood career, but whether Grant was gay or bisexual and desperately needed the heterosexual facade of a movie star, or whether he was just the stereotypical much-married Hollywood actor, this book doesn't reveal.  Much of the book covers very well-tread territory.

Verdict: Not bad for what it is, but there's nothing really new here. **1/2. 

THE PURPLE DIARIES: MARY ASTOR AND THE MOST SENSATIONAL HOLLYWOOD SCANDAL OF THE 1930S

THE PURPLE DIARIES: Mary Astor and the Most Sensational Hollywood Scandal of the 1930s. Joseph Egan. Diversion; 2016.

In the 1930s actress Mary Astor decided to divorce her husband, Franklyn Thorpe, apparently even before she embarked on an affair with the married playwright George S. Kaufman (whose wife was either very understanding or a complete chump). Although Kaufman was hardly anyone's idea of an especially attractive man, he apparently made Astor thrill and throb at his ministrations. Thorpe had had numerous affairs of his own, so his attitude toward the l'amours of his wife was a tad hypocritical.  There was a highly publicized custody battle over Astor and Thorpe's young daughter, Marylyn (sic), in which Astor's diaries -- which included intimate details of her numerous affairs as well as those of others -- took center stage, especially in the press. (The tomes were called the "purple diaries" because the ink Astor used at least seemed purple in color.) This made the powers-that-be in Hollywood nervous at exactly which star might be mentioned in the diaries, so a special group was assembled to convince Astor to reach a quick settlement. A fabricated diary was passed around and the lawyers each did their best to either suppress the real books or introduce passages from them in court as evidence.

This is one of two books that look at the Mary Astor custody case. I haven't read the other book, but this one is well-put-together and interesting, although after awhile a reader may grow tired of this long-ago trial, the stuff of which is so commonplace today. Astor was working on the film Dodsworth while the trial proceeded, and her co-star Ruth Chatterton, who played her love rival in the film, was one of her biggest supporters and attended the trial with her nearly every day. This is not a biography or career study, so Astor's films are only mentioned in passing. The most interesting section of the book has to do with the grown-up little girl's relationship -- or lack of same -- with her parents. Apparently Astor turned into a kind of termagant who had no interest in hearing her daughter's opinion and whose attitude seemed to be "my way or the highway." Too bad.

Verdict: Interesting look at a now-forgotten chapter in Hollywood scandal history. ***. 

CONVERSATIONS WITH CLASSIC FILM STARS

CONVERSATIONS WITH CLASSIC FILM STARS: Interviews from Hollywood's Golden Era. James Bawden and Ron Miller.  University Press of Kentucky; 2016.

I have already posted on the sequel to this book, You Ain't Heard Nothin' Yet, which came out the following year. This is Bawden and Miller's first collection of interviews with famous film folk, and frankly, this volume is superior, with some really solid and interesting interviews. There's a funny piece on the ever-eccentric Gloria Swanson in the section on silent film stars; Joseph Cotten and Melvyn Douglas being rather blunt in their pieces in the section on Leading Men; everyone from Anne Baxter to Dorothy Lamour to Anna Lee and Jane Wyman are covered in Leading Ladies; Audrey Totter and Marie Windsor have their say in Queens of the Bs; and we've got the Singing Cowboys, Gene Autry and Roy Rogers; plus a piece on Bob Hope, and a final section  on not-quite-stars like Keye Luke, Harold Russell, Margaret Hamilton, and Diane Varsi (who did Peyton Place and then pretty much disappeared because she rebelled against her studio). Other stars interviewed include Cary Grant, Kirk Douglas and more.

The stars are frequently scathing in their assessment of other actors, with Melyyn Douglas insisting that both Spencer Tracy and Fredric March were "one-dimensional" (!) in Inherit the Wind (Douglas did a TV version). Joan Fontaine comments on her sister Olivia De Havilland ("it takes two to feud"). You'll also learn that Jane Wyman got so sick of former movie goddesses being hired for her series Falcon Crest, that she laid down the law: "No more international harlots!" I didn't know that beautiful Jane Greer was once married to Rudy Vallee nor that Margaret Hamilton was nearly killed playing the witch in The Wizard of Oz and spent some time in the hospital. The book gets across that most self-absorbed movie stars are simply not normal people.

Verdict: Fun, informative book that is hard to put down. ***1/2.  

FAIR NEW MOVIE: LADY MACBETH

Florence Pugh and Cosmo Jarvis

LADY MACBETH (2016). Director: William Oldroyd.

Katherine (Florence Pugh) lives on a farm in 19th century England with her horrible father-in-law, Boris (Christopher Fairbank), her cold husband, Alexander (Paul Hilton), and assorted workmen and servants. Into her life comes a brash groom named Sebastian (Cosmo Jarvis), and the two begin a passionate affair. They manage to remove all obstacles to their happiness in ruthless fashion, and then are confronted with a sweet little boy, Teddy (Anton Palmer), who is her late husband's ward and now his chief heir ... The story that inspired Lady Macbeth was filmed once before as Siberian Lady Macbeth, and that is by far the superior picture. This version shifts the action from Russia to England, and while it remains gloomy, it loses something in the "translation." The lead performances are good, although hardly expert, and there is some interesting work from Hilton and Fairbank, as well as Naomi Ackie as the maid, Anna, and Golda Rosheuve as little Teddy's caregiver, Agnes. The concessions to modern taste don't always work well and the new ending to the story, while very depressing, doesn't pack the satisfying wallop of the original. Siberian Lady Macbeth has much more raw dramatic power than this.  When will modern film directors realize that the low-key approach isn't always the best one?

Verdict: Stick with the more faithful Yugoslavian version. **1/2. 

DISCOVERING BETTE DAVIS

Davis with Baxter, Monroe and Sanders in All About Eve

DISCOVERING BETTE DAVIS. 

This documentary on the great film star is part of a British TV series entitled Discovering Film. This is a fair to moderate look at Davis, briefly recounting her origins, and discussing her roles in such films as Of Human Bondage, Dangerous, Now, Voyager, The Letter, All About Eve and What Ever Happened to Baby Jane? Author Sarah Gristwood offers some interesting comments on Davis, whereas photographer Curtice (sic) Taylor offers an unlikely anecdote and the mere observations of a typical fan boy. Other interviewees include Ian Nathan, editor of Empire -- who incorrectly pronounces Davis' first name as if she were Bette Midler -- and a London film critic, who is generally credible but also offers up some inaccuracies: Davis did not make "several" films with Joan Crawford (aside from Baby Jane there were just the few aborted scenes in Hush ... Hush Sweet Charlotte) and when the critic suggests that Margo Channing wasn't one of the "central" characters in the film you wonder if he's even seen All About Eve. Lots of clips, but this is hardly essential viewing for Davis fans or even anyone who wants to learn more about her.

Verdict: Bette deserves better. **. 

JONATHAN

Jannis Niewohner

JONATHAN (2016). Director: Piotr J. Lewandowski.

Jonathan (Jannis Niewohner) lives on a farm in Germany where he takes care of his father, Burghardt (Andre Hennicke), who is dying of skin cancer. Jonathan gets little help from his Aunt Martha (Barbara Auer), a bitter woman who has had something against her brother for years. Then the cause of this tension appears in the form of Ron (Thomas Sarbacher), a handsome old friend of Burghardt's who moves in with the family. Now what's going on here? Yes, this is yet another movie in which a "self-hating homo" makes a decision to marry a woman and it has negative consequences for virtually everyone. Jonathan won't be satisfied until he gets answers from his father about his mother, whom he barely knew before she died, but when he finds out Ron was Burghardt's lover (apparently Martha had a thing for Ron as well), he isn't at all pleased. Jonathan is well-acted and handsomely produced, with excellent photography and a sensitive score, but it is also slow and rather contrived, and the script seems twenty years old. It's another movie in which the characters avoid confrontations and really talking to one another because the filmmakers fear the movie will come off like a soap opera. Frankly, a little dramatic soap opera-ing might have helped this picture, which is a little too low-key. Some viewers were mightily disappointed that Niewohmer, the sexiest German actor to come down the pike since Horst Buchhollz, only gets to do love scenes with the lady caregiver (their relationship is another contrived development); however, the two gay lovers do get it on in a hospital bed at one point.

Verdict: Comes so close to being special but misses the boat. **1/2.

DEBRA PAGET, FOR EXAMPLE

DEBRA PAGET, FOR EXAMPLE (2016). Writer/director: Mark Rappaport.

Debra Paget was one of a legion of Hollywood contract players who did star in several movies but never really became stars. This strange documentary looks at her career, and shows clips from her -- and others' -- movies. This short documentary -- if you can call it a documentary -- has no interviews with people who knew or worked with Paget, including Paget herself, who is still living. Instead her alleged thoughts are voiced by an actress throughout the film. Paget's official birth was in 1933, which would have made her only fifteen in her first movie, with the much-older Richard Conte as her love interest (as he would be again in House of Strangers.) Paget looks older in some films, and in others she clearly is a child doing love scenes with older men. Paget was often cast in exotic roles as island princesses and the like, then got to play "bad girls" in B movies such as Most Dangerous Man Alive. She was a good enough actress, and certainly attractive, but not often given the opportunities that might have netted her awards or a bigger career. 

Journey to the Lost City

Debra Paget, For Example says little about  Paget's personal life aside from her marrying a wealthy Asian (after two previous failed marriages) and retiring from films at 29. Not only does this documentary fail to provide titles for some of the movie clips (aside from a list at the end), it doesn't even mention that Paget was the sister of Lisa Gaye, who was a well-known actress herself. Paget's most famous movie is The Ten Commandments, but she was also in such films as Tales of Terror, Les Miserables, Belles on Their Toes, and Fritz Lang's Journey to the Lost City, in which she danced in a remarkably sexy and revealing costume. Paget's leading men included Louis Jourdan, Jimmy Stewart, Robert Wagner, Cornel Wilde, and Elvis Presley, who wanted to date her, and she also worked with Edward G. Robinson, Jeff Chandler, Vincent Price, Michael Rennie, and many others. The documentary is padded with mini bios of other people Paget worked with, such as Lang.

Verdict: Interesting if uneven and incomplete look at Hollywood starlet. **1/2.

MONSTROUS NATURE: ENVIRONMENT AND HORROR ON THE BIG SCREEN

MONSTROUS NATURE: ENVIRONMENT AND HORROR ON THE BIG SCREEN. Robin L. Murray and Joseph K. Heumann. University of Nebraska Press; 2016.

Ah, here we have another university press film book that reads like a term paper. Monstrous Nature purports to analyze and dissect films that deal with nature-gone-wrong, but it has less to do with looking at actual films than in examining different trendy theories. Monstrous Nature is typical of film books in which the authors are not that "film-aware," and not that interested in how movies are put together, nor the different elements that make these films great or poor. The movies mentioned in the book are only a springboard for discussions on such as climate change (giving examples of what they call "Cli-Fi cinema), feminism, and even cannibalism! It's not that these discussions are necessarily without interest, nor that the authors on occasion don't make interesting observations, but the writing is dry and often pretentious. However, the book may alert you to some films you were unaware of and may want to check out.

Verdict: A college thesis masquerading as a book. **.

SOME ENCHANTED EVENINGS

SOME ENCHANTED EVENINGS: The Glittering Life and Times of MARY MARTIN. David Kaufman. St. Martin's; 2016.

Mary Martin went to Hollywood early in her career, but although she appeared and even starred in a few movies, she was dissatisfied with her film work and had much greater success on Broadway. Like many artists, this very talented woman lived for her work, and had a problematic, but ultimately loving, relationship with at least one child, her son Larry Hagman, famous as "J. R" on Dallas. Martin's marriage to her son's father did not last long, but she had a much longer union to her second husband, the mostly gay Richard Halliday, who guided her career when he wasn't alienating people with his temper and his alcoholism. Her shows included One Touch of Venus, South Pacific, Peter Pan, The Sound of Music, and for my money made the best Annie Oakley when she did Annie Get Your Gun on the road and for television. Some Enchanted Evenings also looks at Martin's work in less successful shows, such as the musical Jennie, and the play Legends, in which Martin was teamed with Carol Channing. The book hints at a "special relationship" between Martin and Janet Gaynor (Gaynor's husband, interestingly enough, is the only person quoted in the book who knocks Martin), as well as Jean Arthur, without ever really elaborating.When a reporter spoke to Martin about Larry Hagman, and asked what it's like having an icon for a son, she responded, "My dear, my son is a star. I am an icon." Although the author mentions his husband in the acknowledgments, the book does on occasion betray a kind of amusingly old-fashioned take on LGBT issues.

Verdict: Exhaustive, well-researched, imperfect, but very readable bio of the venerable entertainer. ***1/2.

CAFE SOCIETY

Jesse Eisenberg

CAFE SOCIETY (2016). Writer/director: Woody Allen.

"First a murderer, then a Christian -- what did I do to deserve this?" -- Rose.

Bobby (Jesse Eisenberg) moves from Brooklyn to try his luck in 1930's Los Angeles, where his uncle Phil (Steve Carell) is an agent. Bobby becomes friends with Phil's secretary, Vonnie (Kristen Stewart), unaware that she is his uncle's mistress. Later Bobby opens up a New York nightclub with his gangster brother, Ben (Corey Stoll of Dark Places). But can Bobby outrun his heart and Ben the law? Cafe Society is a pleasant Woody Allen movie without Allen in the cast. Wisely recognizing that he could no longer play the naive young man starting out in life, Allen cast appealing Jesse Eisenberg as his surrogate, and it was a smart choice. You can just hear Allen saying the dialogue in his inimitable way as we watch Eisenberg play his part, and play it well, although the better-looking man plays the real, shrewd Allen more than his usual nebbish on-screen persona -- another wise choice. The gangster stuff is as tiresome as it generally is in Allen's movies, but there are some fine performances, especially from Jeanne Berlin [The Heartbreak Kid] as Mother Rose and Ken Stott as her husband. The picture is handsomely produced, with Vittorio Storaro's cinematography especially breath-taking. Cafe Society is a nice enough picture, but it's still a minor effort with a somewhat unsatisfying conclusion and a protagonist who can be annoying at times. The cast-off spouse of one character is completely forgotten, which is pretty typical of Allen since his split from Mia Farrow and even before. Eisenberg is certainly better in this than he was in Batman V Superman: Dawn of Justice.  Storaro's exquisite work was also seen in such films as Exorcist: The Beginning.

Verdict: Great to look at, with a highly pleasant lead actor, but no great shakes when all is said and done. **1/2.

ON SONDHEIM: AN OPINIONATED GUIDE

ON SONDHEIM: AN OPINIONATED GUIDE. Ethan Mordden. Oxford University Press; 2016.

Mordden, who has written several informative, engaging, and highly opinionated volumes on musical theater, herein devotes a full book to the work of Stephen Sondheim. In addition to his shows, Mordden also explores the lyricist-composer's film and television work, such as Evening Primrose, Dick Tracy, and Stavisky. Mordden is an unabashed Sondheim admirer, taking a stand against his critics, and explaining what he feels is Sondheim's unqualified genius. Mordden has chapters on Sweeney Todd, Company, Follies, Gypsy, Pacific Overtures, Passions, Anyone Can Whistle, and others, and even looks at the film versions of A Funny Thing Happened on the Way to the Forum, Sweeney Todd, A Little Night Music, and Into the Woods. Mordden, as usual, writes with authority and flair, with an obvious passion for his subject. Admittedly, Mordden won't necessarily convince readers who would much prefer to listen to, say, Richard Rodgers' Younger Than Springtime than Sondheim's The Little Things We Do Together and who love The King and I much, much more than Follies or that closet queen show (as I call it), Company. Broadway was being more and more influenced by pop music -- as opposed to European style operetta and opera a la Rodgers and Lowe -- as Sondheim ascended, and nowadays most Broadway scores are pure pop and even rock. Writing strictly in an admiring mode, Mordden never acknowledges that the undeniably gifted Sondheim (Send in the Clowns; Joanna; Agony; Grateful/Sorry; Too Many Mornings; Losing My Mind; many others) can also be quite trite and tiresome at times. Arguably, Sweeney Todd is Sondheim's masterpiece. Sondheim also co-wrote the screenplay for The Last of Sheila and was a script writer for the old Topper TV show with Leo G. Carroll as Cosmo Topper!

Verdict: Solid book on the work and career of Sondheim with a little bit on his personal life. ***.

JACKIE

Natalie Portman as Jackie

JACKIE (2016). Director: Pablo Larrain.

Jacqueline Kennedy was the most famous, admired, and influential woman in the world, and that all ended in one shocking moment in Dallas in 1963. Whatever the flaws of JFK and the First Lady, neither of them deserved such a terrible fate, and I think the president's widow never fully got over what happened that day -- the suddenness, the gruesomeness, the shock and horror of it all. Jackie presents JFK's widow in all her complexities and mixed emotions as she struggles to get by in the hours and days after her husband's assassination. Natalie Portman [Black Swan] gives an excellent performance as Jackie, and there is good work from Peter Sarsgaard [The Dying Gaul] as Bobby Kennedy, Greta Gerwig [The Humbling] as Jackie's aide, Nancy; John Hurt as a priest; and Billy Crudup as a reporter who comes to interview Jackie some time after the tragedy (the main story is told in flashback). There is first-class photography from Stephane Fontaine, and a deeply poignant score by Mica Levi (some could argue that the music does most of the work). This may not be the last word on the final days of Camelot, nor on Jacqueline Kennedy Onassis, but it is a moving and absorbing picture. Portman and Levi both received Oscar nominations.

Verdict: An American tragedy. ***.

KING COBRA

Christian Slater

KING COBRA (2016). Written and directed by Justin Kelly.

Sean (Garrett Clayton) reinvents himself as Cobra films' gay porn star "Brent Corrigan" and becomes a name in the industry. His live-in boss is Stephen (Christian Slater), who seems to have feelings for Sean that go beyond their professional relationship. When Sean falls for a younger guy, he starts wondering if he's getting enough of the profits, and decides to go out on his own. Unfortunately, Stephen has trademarked the "Brent Corrigan" name and Sean finds doors closing in his face now that he can't use that popular identity. When Sean comes up against this problem with two producer-lovers, Joe (James Franco) and Harlow (Keegan Allen), they tell him that they will "take care" of the problem. Unfortunately, they do just that ... Based on a true story, King Cobra is the second of two ill-advised gay-themed films James Franco made in 2017 (the other being the biopic I am Michael). King Cobra moves fast and is somewhat entertaining, but the characters are almost all one-dimensional and unpleasant, most of the actors make the characters more "faggy" than they need to be, and the whole project seems thrown together to take advantage of the exploitative value of the material. The performances are okay, but one doubts this will be mentioned in anybody's resume. Franco co-produced the film, no surprise there. Molly Ringwald plays Slater's sister and Alicia Silverstone is Sean's mother. The real "Sean" -- Sean Paul Lockhart -- has disavowed this movie. He has also appeared in the non-porn film Judas Kiss.

Verdict: More entertaining than Stranger By the Lake at any rate. **1/2.

X-MEN: APOCALYPSE

A Really Bad Guy: Apocalypse (Oscar Isaac)

X-MEN: APOCALYPSE (2016). Director: Bryan Singer.

In 1983 Erik Lensherr (Michael Fassbender), also known as Magneto, a mutant terrorist, has been leading a quiet life with his wife and daughter when his true identity is discovered and a confrontation with police leads to their deaths. Now his mind is in the perfect place for him to team up with En Sabur Nur (Oscar Isaac of Star Wars Part VII), the world's first mutant, born in 2500 A.D., and better-known as Apocalypse. Nur wants to remake the world over by demolishing human society, and Magneto -- at first -- is only too willing to help him. His former friend, Charles Xavier (James McAvoy) and even fellow terrorist Mystique (Jennifer Lawrence) are out to stop the two men and their mutant allies. The trouble with X-Men: Apocalypse -- the sixth X-Men movie (the 8th if you count the two Wolverine films released before this one) -- is that it suffers from over-familiarity and despite a somewhat impressive main villain, lacks a really strong story or sense of desperation. This is another prequel, with younger actors completely taking over from those cast in the first X-Men -- Patrick Stewart and Ian McKellan are nowhere to be found. The X-Men comic and its many spin-offs (Apocalypse actually first appeared in X-Factor) have been published for so many decades now that the movies have their own interpretation of the characters, hence Peter (Pietro) Maximoff --  apparently Magneto's son -- is no longer a brooding, unpleasant Russian but a hip teenage American, who (as in the last film) has been reinvented to be more like The Flash. The movie's most striking sequence has Flash -- I mean, Quicksilver (Evan Peters) -- rescuing all of the students from Xavier's mansion when it explodes. I don't recall Professor Xavier ever being able to stop time in its tracks the way he does in this movie. X-Men: Apocalypse isn't bad, but it does take a long time to get started, and despite some decent effects, the pace isn't great and the action scenes not that well delineated. Fassbender, who is quite good as the conflicted Erik, has emerged as the dynamic star of the X-Men movies. Hugh Jackman only appears briefly as Logan and was given three of his own films.

Verdict: Perhaps one trip to the well too many? **1/2.

TARZAN ON FILM

TARZAN ON FILM. Scott Tracy Griffin. Foreword by Casper Van Dien. Titan; 2016.

Griffin, who previously authored Tarzan: The Centennial Celebration, is back with a new coffee table tome that focuses on the Tarzan motion pictures and the various actors (supporting cast as well as stars) who appeared in them. There is no actual film criticism in the book, although there are loads of pictures and background notes on each production. Tarzan On Film looks at the silent Tarzan movies, the serials such as Tarzan the Fearless and The New Adventures of Tarzan, and all of the films starring everyone from Johnny Weissmuller to Mike Henry and beyond, as well as chapters on the various TV series starring the Ape Man (as well as cartoon series and animated features). You'll learn that Acquanetta of Tarzan and the Leopard Woman was born Mildred Davenport and was black passing for white, and that Woody Strode was dubbed by a British actor for Tarzan's Three Challenges, among other tidbits.

Verdict: No critical analysis, but Tarzan movie fans will love the info and photos. ***.

NOCTURNAL ANIMALS

Jake Gyllenhaal

NOCTURNAL ANIMALS (2016). Director: Tom Ford.

Unhappily re-married Susan (Amy Adams), who works for an art gallery specializing in "junk," hears from her first husband, Ed (Jake Gyllenhaal) when he sends her a copy of his novel, "Nocturnal Animals." As Susan reads the book we see scenes from it played out, depicting how the wife and daughter of "Tony" (also played by Gyllenhaal) are kidnapped off of a highway by three threatening predators, and the awful aftermath of this event. Interspersed with these sequences are flashbacks to Susan's relationship with Ed both before their marriage and after their divorce, as well as present-day sequences involving her second husband and her co-workers. Is Ed's successful novel and its violent plot meant to be his revenge on Susan for leaving him for a more ambitious fellow and aborting their child? Will you care by the time the movie is over? If you can get past the credit sequence, which shows the "junk" art Susan works with and which features jaw-droppingly repellent, obscenely obese naked women, you may discover a movie that is only sporadically interesting at best. What we have here is a perfectly average "thriller" that borrows elements from countless other movies, tricked up with the flashbacks and flash forwards and the device of most of it being a novel, an idea that is itself not that original. Too many modern-day movies eschew linear story-telling and go in for a low-key approach that is the antithesis of drama. When this ends, you may wonder "is that all there is?" Over-praised, as usual, by some critics, and foolishly called Hitchcockian (which it is not), by others, it serves to prove that Tom Ford is no Hitchcock, (For one thing Hitch would never have let that opening highway scene, which is initially tense and well-done, go on for so damn long). Amy Adams' [Julie and Julia] performance is nothing special; Gyllenhaal [Source Code] is much better, and there are several flavorful supporting performances, especially from Michael Shannon [Man of Steel] as a dying lawman. This probably worked better on the printed page than as a movie. I would call this style over substance, but it's not even that stylish despite director Ford's background as a fashion designer.

Verdict: Like the exhibits in Susan's art gallery, this is pure kitsch. **.

ROUND UP OF NEW AND RECENT FILMS PART THREE

Blown Away: Nicole Eggert, Corey Haim

Here we are again, with reviews-in-brief of movies that are less than twenty-five years old.


Blown Away (1997). Director: Brenton Spencer. Predictable thriller about a young man (Corey Haim) caught in the spell of a young woman (Nicole Eggert) who wants to kill her father. Corey Feldman makes more of an impression as the man's older brother. There's a fairly good final twist. The Canadian film almost approaches porn at times. **.

Red Eye (2005). Director: Wes Craven. A young Miami hotel manager (Rachel McAdams) meets a seemingly nice guy (Cillian Murphy) at the airport only he turns out to be a creep involved in a terrorist plot, and threatens her father's life during the flight unless she does as he demands. The two leads give notably effective performances and the film is suspenseful and exciting. Oddly, the last third of the movie and the climax itself take place on the ground. ***.

Scoop (2006). Writer/director: Woody Allen. In this whimsical black comedy a magician (Allen) and an aspiring reporter (Scarlett Johansson) are contacted by a dead journalist (Ian McShane) and team up to find out if a prominent Britisher (Hugh Jackman), son of a lord, is the notorious Tarot card serial killer. Cute and suspenseful, with some very funny dialogue and good performances, the movie is basically just an entertaining throwaway for Allen. ***.

State of Play (2009). Director: Kevin Macdonald. Based on a BBC mini-series, this follows a reporter (Russell Crowe, looking like something the cockroaches dragged in) who teams up with a blogger (Rachel McAdams) to investigate the death of a congressional aide who was also the mistress of his friend (Ben Affleck), and butts heads with his editor (Helen Mirren) as more murders occur. The leads all give very good performances, as do Robin Wright, Jeff Daniels, and Jason Bateman in smaller roles. Suspenseful, but somewhat predictable. ***.

The Social Network (2010). Director: David Fincher. The movie tells the more-or-less true story of the founding of Facebook and the behind-the-scenes legal battles that went on when the social media site promised to turn into a real money-maker. The movie is well-acted by a mostly youthful cast, and it certainly gets points for making an entertaining film out of something that (in certain instances) can be as dull as Facebook. ***.

Thin Ice (aka The Convincer/2011). Director; Jill Sprecher. An insurance salesman (Greg Kinnear) and a psychotic locksmith (Billy Crudup) wind up in a deadly situation together when the former decides to cheat an elderly client (Alan Arkin) out of a valuable violin. This black comedy is quite entertaining and unpredictable, although it turns out to be quite far-fetched as well. Bob Balaban scores as a violin dealer. ***.

Journey 2: The Mysterious Island (2012). Director: Brad Peyton. This sequel to the less effective Journey to the Center of the Earth  (2008) suggests that Jules Verne's books are actually non-fiction, so a young man and his stepfather manage to journey to the island of Verne's Mysterious Island. This in no way compares to the 1961 version, but it has its own charms, including good performances (especially from Michael Caine), excellent special effects featuring an assortment of colorful creatures, and superb scenic design. If only it didn't have that "cutesy" tone throughout. This has even less to do with Verne's book than the 1961 film. ***.

Jersey Boys (2014). Director: Clint Eastwood. Based on the Broadway show, this traces the rise and fall of the singing group The Four Seasons. Initially the sound these young actors reproduce sounds much like the originals, but then you realize (especially when you hear the real group over the closing credits) that the Four Seasons can't really be duplicated. The acting in this is okay; producer- lyricist Bob Crewe is played as a gay stereotype, and there are tiresome Italian-American cliches as well. The best scene in this long movie happens just as the closing credits begin: a terrific production number with great dancing set to "Oh, what a night!" Not a great movie, but entertaining enough. ***.

Before I Go to Sleep (2014). Director: Rowan Joffe. As in Memento, a young woman (Nicole Kidman) has a condition in which her memories disappear overnight and she has to be reminded of her own life every morning. She has a loving husband (Colin Firth) and a caring doctor (Mark Strong), but is frightened to learn that she was nearly beaten to death some years earlier and that she had a son who died. Things get more sinister and twisty after that. Well-acted by all, this is a rarity: a poignant thriller. ***.

Meadowland (2015). Director: Reed Morano. A couple's little boy completely disappears at a gas station. The movie isn't concerned with an investigation into the crime or even what happened to the child, but rather reveals the emotional unraveling of the two parents as they try to deal with their grief. By trying too hard not to be a "mere" thriller or suspense film, Meadowland -- another of these "minimalist" pictures -- doesn't become much of anything, and while well-acted, is never as moving nor as riveting as it should have been. **1/2.

Self/Less (2015). Director: Tarsem Singh. In a variation of the vastly superior Seconds, a billionaire (Ben Kingsley) buys himself what he thinks is a new young body that was grown in a lab. But complications ensue when it turns out said body actually belongs to a soldier (Ryan Reynolds) with a wife and child, and whose memories are slowly returning. Nice conclusion, and some interesting developments, but the movie tries too hard to be an action movie with a high body count and isn't all that it could have been. **1/2.

Hello, My Name is Doris (2015). Director: Michael Showalter. Doris (Sally Field), a woman of a certain age (Field was about 70), falls for a much, much younger colleague (Max Greenfield) and hopes for a real relationship with him, to the consternation of her best friend (Tyne Daly) and the delight of said friend's grand-daughter. Frankly, you have to take this likable comedy-drama with a grain of salt, as a lot of it doesn't ring true, but Field gives an outstanding performance and the others are all terrific. The film does explore the fact that seniors can fall hard for much younger people and still hope to find that certain someone. ***.

The Program (2015). Director: Stephen Frears. The rise and fall of Lance Armstrong, cancer survivor, seven time winner of the Tour de France, and a complete phony and cheat who used drugs (and pressured his teammates into same) to help him win. This operates on the level of a TV movie, with little depth or psychological probing, but Ben Foster is quite effective in the lead. ***.

Confirmation (2016). Director: Rick Famuyiwa. Fictionalized film about the Supreme Court confirmation hearing for conservative Judge Clarence Thomas (Wendell Pierce) and the charges of harassment made by former co-worker Anita Hill (Kerry Washington). This whole she said/he said scenario remains fascinating and controversial after all of these years. The movie suggests objectivity, but seems slanted in favor of Hill. 50% of the American public thought that both Thomas and Hill weren't telling the whole truth, and that's the impression I got as well. In any case, the film is well-acted and completely absorbing. ***.

Sacrifice (2016). Director: Peter A. Dowling. Tora, an American doctor (Radha Mitchell), moves back to her husband's childhood home, an isolated island, where she discovers a corpse on their property and new ties to an ancient sect with murderous capabilities. This nominal horror film/thriller is well-produced and acted, even if it's plot is fairly obvious and TV-movie like. However, it does have a suspenseful and exciting climax. **1/2.

Inferno (2016). Director: Ron Howard. This second sequel to Da Vince Code has Tom Hanks rather wasted in a thriller that has him hopping around Europe to some admittedly interesting and colorful locations in order to stop a deadly plague from being unleashed by a psychotic billionaire (Ben Foster). The picture has some exciting sequences, but it just misses being a really excellent suspense film. **1/2.

The Girl on the Train (2016). Director: Tate Taylor. Rachel, an alcoholic (an excellent Emily Blunt) who can't deal with her ex-husband dumping her for a new wife, begins to bond with another woman she sees from a train window. When this woman -- who resembles the ex's new wife -- disappears, Rachel wonders if she herself may have been somehow responsible. The bouncing around in time may have worked in the source novel, but it doesn't work that well in the movie, which eventually becomes tedious. The only halfway likable character is a lady detective played by Allison Janney. The "sisterhood is powerful" sub-text doesn't quite work considering how unsympathetic most of the characters are. **.

MOONLIGHT

Trevante Rhodes

MOONLIGHT (2016). Written and directed by Barry Jenkins.

Chiron (Alex R. Hibbert) is a little boy living in a depressed black neighborhood where his mother, Paula (Naomie Harris) is a "crack whore." Chiron is befriended by a local drug dealer, Juan (Mahershala Ali), and his girlfriend, Teresa (Janelle Monae). Shy, withdrawn and spindly, Chiron is thought to be gay and is bullied, although he is treated more kindly by his friend, Kevin (Jaden Piner). Later, when the boys are teenagers (now played by Ashton Sanders and Jharrel Jerome), they have a sexual encounter. After Chiron strikes back against a homophobic bully who forces Kevin to beat Chiron, the latter does a stretch in juvie. Ten years later, now a buff and handsome grown man (Trevante Rhodes), Chiron gets an unexpected call from Kevin (Andre Holland) ... Oh, how I wanted to love Moonlight, as I was delighted that a film whose lead character was both black and gay could win an Academy Award for Best Picture in today's climate. Unfortunately, an astute critic has to separate a film as political statement from a film as art. I realize the film's problem for me was not so much its subtlety -- as it's not that subtle -- but an overly low-key approach that almost completely strips it of dramatic intensity. Fully half the movie deals with Chiron as a boy (although the death of his father surrogate, Juan, is only mentioned in passing), with a good forty minutes showing Chiron as a teen. That doesn't leave much time for Chiron as an adult, and the film ends abruptly, making many in the audience wonder "is that all there is?"

True, the lead character -- who has been so uncommunicative and disaffected for most of his life -- finally reaches out to someone, revealing the sensitivity that remains under the surface, in the last few minutes of the film, but while this has internal importance, it is not exactly "dramatic." The ending hints at things for Chiron and Kevin that may never materialize. Frankly, there are quite a few gay independent films (which have never gotten the attention that Moonlight has) that have much stronger story lines. In fact, it could be argued that Moonlight doesn't so much have a plot as a premise, and one that is never fully realized.

While a film should be judged by what it is and not what it isn't, one can't help but notice that the movie, aside from the bullying aspects which are universal, never really deals with homophobia within the African-American community -- even Juan seems nominally pro-gay. (In fact, it never really deals with Chiron's feelings about being gay or if he even identifies as such.) Aside from the adult Kevin registering disapproval over the adult Chiron's criminal career choice, the film doesn't even deal with black attitudes towards drug dealers who help decimate their own communities. In fact, it troubles me that drug dealers are portrayed sympathetically in this picture. And that there are so many black stereotypes. (To judge from Hollywood movies, including those made by black filmmakers, 90% of the black community consists of drug dealers and crack whores.)  Then there's the fact that the ending, with its intimate but non-sexual encounter, could be considered a cop-out. But far worse is the fact that virtually every character, including Chiron, is basically one-dimensional.

This last may not be apparent to the casual viewer because the acting in the film is uniformly excellent. There isn't a bad performance, and there's especially notable work from Sanders and Rhodes, and young Hibbert is amazing. While it's not at all unrealistic that a spindly gay kid could reinvent himself as a burly, macho-type, the casting of drop-dead gorgeous Rhodes could be considered pure Hollywood. Rhodes is great, but did the character have to be a kind of fantasy hunk -- as if Billy Batson had transformed himself into Captain Marvel?  And while kids do still, unfortunately, call each other, including straight kids, "faggot," everyone's insistence that Chiron is gay seems strange as he is not blatantly effeminate in his deportment. Of course a movie about a "queen" would have been a very different movie.

The low-key, "minimalist" approach of the movie obviously worked for a great many people, but I wonder if as the years pass, when the political climate may have changed, if Moonlight will still be held in quite such high regard. I have a feeling that people who normally wouldn't be caught dead seeing such a film, but who went because of its Oscar, have seen few if any LGBT movies and have little to compare it to.

Verdict: Not a bad movie by any means, with some lovely things in it and excellent performances, but for me a major disappointment. **1/2.