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. **.  

LIZZIE BORDEN TOOK AN AX

LIZZIE BORDEN TOOK AN AXE (2014 Lifetime telefilm). Director: Nick Gomez.

Lizzie Borden (Christina Ricci) is arrested and put on trial when her father, Andrew (Stephen McHattie of XIII) and stepmother Abby (Sara Botsford of Murder By Phone), are axed to death about an hour apart in their own home. Lizzie's sister Emma (Clea DuVall) sticks up for her sister but has nagging doubts, and the whole town turns against them. This look at the famous, unsolved murders offers nothing new, has stick-thin characters, provides little motivation, and is awash in a rock score that is not only inappropriate but gives the whole project a mindless veneer. The acting is okay enough, although to be fair to Ricci she really isn't given much of a character to play. Lizzie's alleged lover, actress Nance O'Neil [Transgression], is briefly portrayed by Andria Wilson, but there is little about Lizzie's possible lesbianism or how it may have influenced prosecutors. The movie gets a lot wrong about the case -- it's as if the writer just threw together a script based on conjecture and other movies and didn't do any research.

Verdict: Not much to this by-the-numbers look at an infamous murder case. **.

THE TRUTH ABOUT JANE

Ellen Muth as Jane

THE TRUTH ABOUT JANE (2000 Lifetime telefim). Writer/director: Lee Rose.

Jane (Ellen Muth) is a sixteen-year-old high school student who realizes for sure that she is gay when she is intimate with, and falls for, another student named Taylor (Alicia Lagano). Although Jane's parents are liberal and have gay friends, they don't react well when their daughter comes out of the closet. The Truth About Jane is well-intentioned and well-acted -- Stockard Channing [Twilight] and James Naughton are excellent as the parents, and Muth and Lagano are also terrific -- but it has an oddly dated quality, although it does expose the evils of homophobia and bullying. There is an unfortunate underscoring of "pity those poor gays" that doesn't quite mesh with modern day Gay Liberation attitudes, and it's interesting that the Parents of Gays in the group PFLAG introduce themselves the way alcoholics do at AA, creating an probably unintended corollary between homosexuality and alcoholism! Kelly Rowan plays a sympathetic teacher who also turns out to be a lesbian, and a comparatively subdued, out of drag RuPaul [Charles] has a nice turn as Jane's mother's gay friend, Jimmy.

Verdict: Nice enough as far as it goes... **1/2.

THE LOVE OF HER LIFE aka A WOMAN'S RAGE

THE LOVE OF HER LIFE (AKA A Woman's Rage/2008 telefilm). Director: Robert Malenfant.

Allison (Cynthia Preston) is a deranged woman who can't let go of her ex-boyfriend (Cameron Bancroft). When she discovers that he's engaged to another woman she murders him, and then murders his sister so that she can take her place. She winds up moving in with the dead man's fiancee (Brandy Ledford) and her teenage son, Scott (Alex House), feigning friendship with the boy so she can do as much damage as possible. The acting is more than okay, but this is a lesser entry n the "psycho-bitch" sweepstakes, and the climactic confrontation between the two women is abrupt and utterly flat -- a big build-up to nothing.

Verdict: Very minor-league study of obsession. *1/2.

THE PRICE OF A BROKEN HEART

THE PRICE OF A BROKEN HEART (1999 telefilm). Director: Paul Shapiro.

When Dot Hutlemeyer (Park Overall) discovers that her husband Joe (Timothy Carhart) is having an affair with his secretary, Lynn (Laura Innes), whom he's fallen in love with, she sues Lynn for alienation of affections. This is based on a real case in North Carolina. The deck seems to be a little bit stacked against the mistress, although the wife doesn't come off as completely sympathetic -- or realistic -- either. The verdict in the case is surprising to say the least. While the story is told in flashbacks, various men and women comment on the proceedings in a bar-restaurant. Interesting, thought-provoking and absorbing movie is well-acted by all.

Verdict: Some people just can't let go. ***.

THE PERFECT NEIGHBOR

THE PERFECT NEIGHBOR (2005). Director: Douglas Jackson.

Donna (Barbara Niven) has moved in with her Aunt Grace (Linda Darlow) right after murdering the married man who refused to leave his wife. Now she's set her sights on her aunt's neighbor, handsome TV exec William Costigan (Perry King), who's married to Jeannie (Susan Blakely). Donna is a psycho-bitch if ever there were one, and she's very well played by Niven, an attractive actress whose face turns ugly and bestial whenever she's angry -- which in this movie is often. While not as good as director Jackson's similar telefilm The Perfect Assistant (2008), this still holds the attention.

Verdict: Not somebody you'd want for a neighbor. **1/2.

NOT OUR SON

NOT OUR SON (1995 telefilm). Director: Michael Ray Rhodes.

The story of Paul Kenneth Keller [Neil Patrick Harris, pictured] of Seattle, the worst arsonist in U.S. history, as seen from the eyes of his family [unfortunately sort of giving his victims short shrift]. Keller's actions resulted in millions of dollars of property damage, widespread unemployment, loss of homes, displacement of the elderly, and the deaths of three senior women at a retirement home. Although the movie suggests he had neurological problems due to an incident when he was an infant, this didn't prevent Keller from getting one of the stiffest sentences handed down, probably because everyone else rightly saw him as a sociopath. Gerald McRaney and Cindy Pickett play Keller's parents, and Ari Meyers is his sister. Although absorbing, and not badly acted -- and meant primarily to show the affects of Keller's actions and arrest on his family -- it is a bit on the superficial side.

Verdict: Arson Lite. **1/2.

BEST FRIENDS

BEST FRIENDS (2005 telefilm). Director: Michael Scott.

Beth (Megan Gallagher), a recovering alcoholic with a husband and young son, is gratified to have such a good friend as Claudia (Claudette Mink, pictured), who takes charge when things become overwhelming for Beth. Unfortunately, Claudia is a functioning sociopath, and friendship means little to her when she wants something and you're standing in her way. Neither husband, best friend, nor even children mean anything to her. This is an absorbing, well-acted "psycho-bitch" movie with an especially heartless villainess. Not bad "cat-fight" at the climax. Nels Lennarson certainly makes an impression as the sexy "bad boy" who gets involved with Claudia, to his regret.

Verdict: Entertaining teletrash. ***.

AND NEVER LET HER GO

AND NEVER LET HER GO (2001 telefilm/2 part, 4 hour mini-series). Director: Peter Levin.

Based on Queen Ghoul Ann Rule's true-crime book, this is the story of Thomas Capano (Mark Harmon) and his lover Anne Marie Fahey (Kathryn Morris of Cold Case), who disappeared one night after an argument with Capano. Rachel Ward of The Thornbirds and Night School plays a mistress that the married Capano had for twenty years; both she and Capano's wife were unaware at first of his involvement with Fahey. Olympia Dukakis is Capano's mother, who gets angrier at her other sons for telling on Capano than she is with the son who committed murder. Paul Michael Glaser is the detective on the case. Morris is excellent, Harmon is much better than usual, and the large supporting cast is mostly on the money. They probably didn't need four hours to tell this sad and sordid story, however.

Verdict: Reasonably absorbing true crime drama. ***.

A JOB TO KILL FOR

A JOB TO KILL FOR (2006 telefilm). Director: Bill Corcoran.

Jennifer Kamplan (Sean Young) has been brought in to bring an advertising agency up to speed and she's determined to do just that, even if her husband Patrick (Ari Cohen) feels neglected most of the time. Jennifer hires a go-getter, Stacy Sherman (Georgia Craig), to whip the crew into shape, and while she's no charm girl, half the time her opinions are correct. But Stacy is perhaps a little too zealous when it comes to her job and making things easier for Jennifer. Yes, this is another psycho-bitch movie with the usual homoerotic undertones. Sean Young gives a good performance, Georgia Craig is terrific, and the movie holds the attention, even if it's something you'll forget five minutes later. The two cops following a trail of bodies are annoying -- and alleged -- comedy relief. Clever wind-up, though.

Verdict: Not a movie to kill for, but what the hey? **1/2.

JUST ASK MY CHILDREN

JUST ASK MY CHILDREN (2001 telefilm). Director: Arvin Brown.

Brenda and Scott Kniffen (Virginia Madsen; Jeffrey Nordling) get caught up in every person's worst nightmare when they are accused of molesting their own children and wind up convicted and sentenced to jail due to overzealous prosecutors caught up in witch hunt fever and influenced by over-coached children who merely say what they think everyone wants them to say. Based on a true story that happened in the 80's, this is both heartbreaking and horrifying. The innocent couple spend years separated from their children, struggling to vindicate themselves. The chilling post script suggests that victims of this witch hunt are still sitting in prison. Very well-acted by Madsen and Nordling and the entire cast.

Verdict: Now this is one scary movie. ***.

PRETTY POISON (1996)

PRETTY POISON (1996 telefilm). Director: David Burton Morris.

If you're going to remake a movie, at least make pretty certain that it's going to be better than the original. The 1968 Pretty Poison was hardly a masterpiece, but it was better than this fairly dull psycho-drama. Dennis Pitt (Grant Show, who is at least adequate as an actor but not really up to some of the challenges of this role) is released from an institute for the criminally-disturbed and winds up in a small town where he encounters pretty Sue Ann Stepanek (Wendy Benson-Landes), who he is much more psychotic than he is. The well-cast Benson-Landes is a good actress who gets across the angelic sociopathology of her character. Michelle Phillips is fine as her mother, as is Lynne Thigpen [one of the worst show biz names ever] as Pitt's concerned counselor. The havoc that ensues is presented without much flair or excitement and the suspense is decidedly minimal. It must be said for his fans that even with a bad haircut Show [of Melrose Place fame] is still sexy, as is Benson-Landes.

Verdict: Good-looking stars do not a great thriller make. **.

EVERYTHING SHE EVER WANTED

EVERYTHING SHE EVER WANTED (2009 Lifetime telefilm/4 hour, 2 part mini-series). Director: Peter Svatek.

Based on a true-crime book by Ann Rule, this is the sordid and pathetic story of Pat Allanson (Gina Gershon), who always wanted to live a genteel life on an estate modeled after Gone With the Wind's Tara. To that end she becomes a mistress of manipulation, and tries to poison as many people as Lucretia Borgia, including her own sister! Naturally the main characters are made far more glamorous, attractive, and dynamic than they were in real life. While no one could argue that Gershon is a great actress, she's more than acceptable as the sociopathic Pat. Gershon is backed up by a large, talented cast including Victor Garber as her father-in-law and Martin Donovan as a crippled patient who falls in love with her. "Pretty-boy" Ryan McPartlin as Tom Allanson gives a credible performance but he certainly looks and sounds nothing like the double-chinned "good ol' boy" he's portraying. Whatever its flaws, Everything She Ever Wanted is completely absorbing, fascinating, chilling, suspenseful, and ultimately disgusting.

Verdict: Solid true crime thriller illustrating the "banality of evil." All it needed was a stronger central performance. ***.

TOO LATE TO SAY GOODBYE

TOO LATE TO SAY GOODBYE (2009). Director: Norma Bailey.

Rob Lowe [pictured] stars as Rob Corbin, accused of murdering his wife, Jenn (Stefanie von Pfetten), in this telefilm based on the true-crime book by the mistress of ghoul, Ann Rule. This was the case where the wife supposedly committed suicide and where her Internet lover, unbeknownst to her, turned out to be female. The deceased woman's sister, Heather (Lauren Holly), nags at the cops to get at the truth, but she discovers that a woman Corbin dated in college years ago also committed suicide the same way. Michelle Hurd is Detective Ann Roche. This is a pretty superficial treatment of the story and is frankly nowhere near as riveting as accounts of the case on non-fiction television programs. Lowe gives another low-key, rather dull performance that he seems to specialize in.

Verdict: Watch The Staircase Murders instead. **1/2.

CIRCLE OF FRIENDS (2006)

CIRCLE OF FRIENDS (2006 telefilm). Director: Stefan Pleszczynski.

Maggie (Julie Benz, pictured) returns to the town where she grew up for a funeral, and discovers that several of her old high school class mates have recently died in accidents. Or were they accidents? One of the victims is her late husband. She renews a relationship with old boyfriend Harry (Chris Kramer) and tries to get a detective (Peter Dillion) to seriously investigate the situation. Does it all have something to do with a photograph of a picnic years before? This is a suspenseful mystery that doesn't telegraph its conclusion too obviously, and is well-acted by [almost] all; Nicolas Wright leaves no stereotype unturned in his dreadful portrayal of Rodney, an obviously gay fashion designer. The murderer-unmasking scene is a bit abrupt and unreal.

Verdict: A pleasant, somewhat intriguing time passer. **1/2.

PRAYERS FOR BOBBY

PRAYERS FOR BOBBY (2009 telefilm/Lifetime). Director: Russell Mulcahy. Based on a true story. Teleplay by Katie Ford from a book by Leroy Aarons.

Bobby Griffith (Ryan Kelley) comes out to his family in 1979 California, and they all seem to take it well except for his overly religious mother, whose well-meaning but homophobic attitude only adds to his sense of isolation when he sees his boyfriend with another man -- leading to his suicide at 20. Mary Griffith (Sigourney Weaver) makes it her business to learn why not all churches and religionists believe that homosexuality is a sin, and discovers that what she was taught was based on bigotry and distortion. This is a "safe" gay film that, while admirable and well-intentioned, is also a bit patronizing -- and like something made thirty years ago. In one scene at a meeting of PFLAG --Parents and Friends of Lesbians and Gays -- the parents all talk of how they knew their children were "different." Not only does this help foster stereotypes about the very diverse gay community, but isn't the whole point that gay people aren't different? Although Weaver of the Aliens series is a little self-conscious at first, she eventually manages to give a first-rate performance -- probably the best of her career. Kelley and the rest of the cast are all on target.

Verdict: Gay Lite, perhaps, but not without value. ***.

THE TWO MR. KISSELS

THE TWO MR. KISSELS (2008). Lifetime cable premiere. Director: Edward Bianchi.

This is based on a book about the true-life murders of two brothers, Andrew and Robert Kissel. [Dateline and other programs have covered these murders extensively.] Robert was murdered in Hong Kong -- it's no secret that his wife is currently serving life there for his murder -- and Andrew in his home in Greenwich (an arrest was recently made in the case). The story is irresistible -- money, sex, greed, infidelity, two brothers who both come to a similar end for different reasons -- but while this telefilm is undeniably fast-paced, entertaining and generally well-acted, it's also on the superficial side. John Stamos (pictured), one of the producers, is not perfect casting as the somewhat weaselly Andrew Kissel, who robbed his own condo board of millions of dollars and probably cheated the wrong people, but his performance is professional, which is true of the rest of the mostly unknown cast. Whatever one thinks of the Kissel brothers, an added tragedy is the effect their deaths had and will have on their young children.

Verdict: Neat time passer. ***.