Tuesday, June 27, 2017

A baby-faced getaway driver

Baby Driver wants to be hard-bitten, but seems trapped by its sleek style.

Thanks to an error in judgment, Baby (the main character in the new thriller Baby Driver) drives getaway cars for a soft-spoken but ruthless Atlanta crime boss who's skilled at staging robberies. When I saw the trailer for director Edgar Wright's movie, I got excited. Maybe we could add something with real kick to the summer slag heap.

But Wright (Shaun of the Dead) has made a movie that's mostly froth, a crime fantasy posing as a thriller with hard-boiled performances from a cast that includes Kevin Spacey (as a no-nonsense criminal mastermind); Jamie Foxx (as a psychopathic thief); John Hamm (as an exiled Wall Street wheeler-dealer); and Eliza Gonzalez (as the girlfriend of Hamm's character).

None of these characters show much by way of originality; Spacey's performance feels like a bit of a reiteration. As is often the case, he's playing the smartest, meanest guy in the room. Hamm actually was scarier as a ruthless ad man in Mad Men. Here, you get the feeling that he's trying too hard to pull out all the stops.

If Wright wanted a baby-faced character to play Baby, he could have done no better than Ansel Elgort, who has the kind of face that registers boyish innocence. Elgort never loses our sympathy.

So here's the gimmick: Elgort's Baby carries multiple iPods, each loaded with music to fit whatever mood or pursuit in which he happens to find himself. Music also drowns out the hum of tinnitus from which he suffers, a malady acquired in a car accident in which, as a child, he lost his parents.

Baby is devoted to the memory of his late mother, a singer by trade. He's been raised by a foster parent (CJ Jones), an aging deaf man for whom the adult Baby has become chief caretaker.

A ton of music turns Baby Driver into a juke box of a movie featuring tunes from a variety of artists, spanning numerous pop styles. We're talking Blur, R.E.M, Barry White, Martha Reeves and the Vandellas, Queen and more. Baby lives behind a set of earphones.

Wright leavens the proceedings with romance. Baby falls for a waitress (Lily James). Baby indulges a cornball dream in which the two of them will hit the open road with nothing but music, each other and an endless horizon of new possibilities.

Naturally, Doc opposes Baby's departure from the group of rotating felons who carry out his intricate plans. Doc sees Baby as his good-luck charm. He won't let him go.

If you like car chases, you'll get your fill, but for me, even creatively handled car chases have diminishing returns. Here's another movie in which shifting gears becomes a metaphor for assertive expression.

Of all the performances, Foxx's proves the most unsettling. His character -- named Bats -- suggests real danger, as opposed to the kind of faux, pulpy menace everyone else exudes.

If you've seen movies by Quentin Tarantino or Nicolas Winding (Drive), you may find a glib familiarity in Wright's movie, a sense of amoral hipness that, like one of the tires in this film, seems to be losing tread from wear.

For all its attempts at juxtaposing Baby's sweet dreams with the hard-core aspirations of the movie's band of miscreants, Baby Driver has no more staying power than an air kiss. The longer it goes on, the more fleeting its fleetness becomes.

'Okja:' A very big pig movie


Once you know that Okja is a pig the size of a hippopotamus, you'll understand that the movie named after her isn't going to be a typical affair. It's also worth knowing that Korean director Bong Joon-ho (Snowpiercer and The Host) isn't trying to turn Okja into an updated version of Babe, the endearing Australian charmer from 1995.

Ever ready to expose greed and deception, Bong has made a movie about the ways in which a callous corporation exploits both the pig and the pig's keeper, a quietly determined Korean girl named Mija (An Seo-hyun).

Early on, we learn that the Mirando company has created enormous genetically modified pigs. Wanting to keep the pigs under wraps for a decade, the company sends each animal to a far-flung keeper. The keepers are responsible for raising the pigs. Mija is one of those keepers.

It soon becomes clear that Mija, who lives in the mountains with her grandfather, has developed a strong Bond with Okja. Okja servs as Mija's constant and loyal companion. The two play together, and Mija believes that her grandfather plans to purchase the pig so that Okja can continue her idyllic life in Korea.

But even grandpa can't be trusted: He has no intention of keeping Okja from becoming someone's dinner -- or in the case of this pig, dinner for a multitude of consumers.

The company is represented by its CEO Lucy Mirando (Tilda Swinton); a fading TV celebrity (Jake Gyllenhaal); and the company's smooth-talking flak (Giancarlo Esposito).

It doesn't take much italicizing by Bong for us to know that this trio -- coupled with Lucy's twin sister (also Swinton) -- represents the soulless evil of contemporary life.

An animal rights group led by the super-sincere but still conniving Jay (Paul Dano) also joins the fray, a group with its own agenda.

I can't say that the giant animated pig looks exactly like an inflated version of the real thing, but it quickly becomes apparent that Okja has a heroic, self-sacrificial streak that makes her even more of a pal to Mija. Only the motives of animal and girl show anything close to unalloyed purity.

A simple plot finds company reps traveling to Korea to bring Okja to New York for a competition to determine which of the company's many genetically modified pigs qualifies as best of the breed, a major PR stunt.

The rest of the movie follows Mija's efforts to reunite with Okja and return to the uncorrupted simplicity of mountain life.

The grown-up, non-pig performances tend toward exaggeration bordering on caricature. Gyllenhaal, for example, speaks in a distractingly odd voice. Always clad in shorts, his character looks like a demented kid who has gone off the rails at summer camp.

Don't mistake Okja for a kids' movie, though. Among other dark moments, Bong includes a harrowing trip to a slaughterhouse where Okja is supposed to meet her terrible fate.

Fat with thematic intentions, Bong's movie never quite scores a bullseye. It should be seen as a kind of irresistible oddity that hammers home its message (or messages) without much finesse but is made watchable by the bond between a girl and a pig that only the cruelest carnivore ever would want to eat.

The point: In a world dominated by commerce and self-interest, the real pigs are all walking on two legs.
Okja bows on Netflix and is available in limited theatrical settings.

Thursday, June 22, 2017

A documentary about a jazz great

Chasing Trane chronicles the life and artistry of saxophonist John Coltrane.

If you were making a documentary about jazz genius John Coltrane, you'd be tempted to find a style that matched Coltrane's musical inventiveness. That might be a mistake because genius in one form doesn't necessarily translate into genius in another.

Director John Scheinfeld (The U.S. vs. John Lennon) chose the opposite direction, and the result is a straightforward documentary that salutes Coltrane's talent without reaching high levels of distinction on its own.

Despite that, Scheinfeld's Chasing Trane stands as a worthy addition to the liturgy of jazz on film, as well as a movie that charts racial issues inextricably imbedded in Coltrane's story. He grew up in the Jim Crow South.

Coltrane died of liver cancer in 1967 at the age of 40. During his short life, Coltrane went long on accomplishment: He played saxophone with Miles Davis, Dizzy Gillespie, Thelonious Monk and with his own band.

Chasing Trane reminds us of Coltrane's prodigious skills, a sense of musical creativity so expansive that he could make a jazz classic out of The Sound of Music song, My Favorite Things, a tune that easily could slip into triteness and often has. Coltrane's rendition of that tune is more than an interpretation, it's a re-invention.

Many regard Coltrane's Love Supreme album as a masterpiece of musical and spiritual creativity, as well as an affirmation: Coltrane cared more about honing his artistry than he did about audience acceptance.

In Love Supreme, Coltrane often can be heard playing with controlled frenzy, filling almost every second of a solo; it's almost as if he's racing against time, trying to leave no sound unexplored.

If you listen to Love Supreme don't ignore McCoy Tyner's piano, every bit the equal of Coltrane's sax, and I don't say that to slight drummer Elvin Jones and bassist Jimmy Garrison, who also played on what became a landmark album.

As the story unfolds, we learn about Coltrane's two marriages, the heroin addiction that he kicked and his exploration of Eastern spirituality.

Scheinfeld interviews a variety of people about Coltrane -- his children, fellow musicians (Sonny Rollins), cultural commentators (Cornel West) and fans (Bill Clinton). Yes, that Bill Clinton, the former president whose saxophone skills never prompted anyone to call him a musical genius.

I can't say that Chasing Trane is a great film, but it's a decent film about a great artist, and, as such, deserves to be seen.

Tuesday, June 20, 2017

'Transformers' stomps on coherence

Another helping of chaotic action from director Michael Bay.

It's fairly common for fantasy movies to ponder the imminent destruction of the Earth and all its inhabitants. Why we need outside (often alien) help to accomplish such devastation puzzles me. We seem to be doing a pretty good job of wrecking the planet ourselves.

Still, it's no surprise that Transformers: The Last Knight again puts the planet under extreme threat. Unfortunately, the movie -- directed by Michael Bay -- misses the point: We all probably should be wondering about the durability of a culture that has now produced its fifth movie based on a line of toys.

I'd like to tell you more about Last Knight, but that won't be easy because the plot stumbles its way through a variety of set pieces that span the movie's taxing two-and-a-half hour length.

If noise were art, Bay would be the Leonardo Da Vinci of movies. He specializes in a brand of visual and aural overstatement that can turn images into a form of cinematic shrapnel.

Bay tries to expand the series' reach by beginning in the Dark Ages, a time when knights fought with heavy swords and dodged streaking fireballs that were catapulted in their direction.

Having already been trashed in another summer movie, King Arthur returns to fight off a barbarous horde. On the verge of being decimated, the Knights of the Round Table only can be saved by Merlin (Stanley Tucci). Tipsy from alcohol in this telling, the fabled magician has a staff that can summon transformers to help vanquish the forces of evil -- or some such.

Don't hold me to every detail in this review because attempting to follow a movie as scattered as Last Knight can feel discombobulating, like trying to balance your checkbook while riding a rollercoaster.

After its Medieval prolog, the movie leaps ahead 1,600 years. The Earth faces grave danger. Among other things, savior robot Optimus Prime has returned to his home planet of Cybertron to search for his maker. Once he arrives home, Prime discovers that Cybertron has fallen on hard times. According to a sorceress named Quintessa, Cybertron only can be saved by sucking the life out of Earth.

If your head doesn't hurt by now, keep reading. If you'd rather stop and do something more constructive (rearrange your sock drawer, say), you have my blessing.

As part of its metallic furor, Last Knight also tells us that the US military has declared war on all robots. Not so fast, says Cade Yeager (Mark Wahlberg), an inventor who remains loyal to his robot allies. Cade befriends Autobots, helpful to humans, as opposed to Decepticons, not helpful to humans.

Isabela Moner plays a young woman who also loves Autobots. She becomes an occasional tag-along partner for Wahlberg's Cade. She also drops out of the movie for extended periods.

I'll spare you a guided tour of the Transformer universe. Know, though, that about half way through, Wahlberg -- more or less the movie's lead -- joins forces with a British character named Vivian Wembley (Laura Haddock). She's a Medievalist who knows how to recover Merlin's staff, which holds the key to ... well ... something or other.

Did I mention that there's also a talisman with mystical properties? Talismans are always helpful in movies because just about everyone wants to get hold of one.

The movie makes room for an extended appearance by the estimable Sir Anthony Hopkins. He portrays Sir Edmund Burton, an overly demonstrative nobleman who eventually tells us that Wahlberg's character is "the last knight" of the title.

I have to admit that the movie's final act contains some decent pulp imagery involving an attack on the Earth by what looks like a giant coral reef.

Every now and again, John Turturro, a refugee from the previous movies, makes a cameo appearance from Cuba, where his character presently is located. Turturro could be the first actor ever to have to make phone calls (really) to the main plot in order to make his presence felt.

There's also a small robot that seems to be a dilapidated, trash-can cousin of R2-D2. A late-picture underwater, submarine sequence that arrives after the movie already has sunk.

Attempts at humor are so ham-handed that they're easy to spot amid all the flying debris.

Bay doesn't whip up many edge-of-the-seat moments. Maybe that's because it's difficult to generate real suspense when the series -- like this movie -- feels as if it never will end.

Monday, June 19, 2017

The hero of 'The Hero' is Sam Elliott

A veteran actor gets his shot at a lead role.
If you find Sam Elliott's wizened face intriguing, you'll love The Hero, a slender movie about an aging Western actor who has been reduced to making commercials for barbecue sauce. Director Brett Haley has given us a movie that's all Elliott all of the time -- much of it in large close-ups of the actor's face.

No matter what role he's playing, Elliott's deep, sonorous voice seems to speak only one language: cowboy. In The Hero that's almost the entire point.

Haley directed Elliott in I'll See You in My Dreams, which teamed him with Blythe Danner. This time, he casts Elliott as Lee Hayden, an actor best known for a movie called The Hero.

When he's not working -- which is most of the time -- the 71-year-old Lee hangs out with an actor (Nick Offerman) with whom he once starred in a little-seen television series. They watch Buster Keaton movies and smoke marijuana.

The screenplay, by Haley and Marc Basch, adds a few wrinkles, one serious. Early on, Lee learns that he has pancreatic cancer. Looming mortality prompts Lee to try to make amends with his estranged daughter (Krysten Ritter). He hopes his ex-wife (Katharine Ross (Elliott's real-life wife) might be able to help.

Lee also begins an affair with a younger woman (Laura Prepon) he meets at the house of his dope-smoking pal. She's a stand-up comic. Prepon and Elliott work well together, although there's no particular reason for their May-December relationship, other than to add spice.

As it stands, The Hero showcases Elliott. The camera loves his face; it's almost as if Elliott's trademark of an overwhelming mustache mops up any of the script's loose ends.

It's arguable that The Hero is more about Elliott's iconic countenance than it is about the character he's playing. The Hero evidently was written specifically for Elliott, and if Haley wanted to honor the actor, he's done a good job of it.

Look, the estimable Elliott certainly deserves a lead role, and no one would argue that he's unable to carry The Hero, often on his own. He's a pleasure to watch, but a little more movie would have been welcome, too.

Thursday, June 15, 2017

'Rough Night' founders -- badly

A strong cast can't save this formulaic and unfunny comedy.

It doesn't matter that the raunchy comedy Rough Night was directed by a woman. It also doesn't matter that Rough Night employs a group of talented actresses that includes the fiercely funny Kate McKinnon.

And while we're on the subject of irrelevance, you should know that it's equally unimportant that Rough Night gives us a much-needed opportunity not take Scarlett Johansson seriously or that the movie makes no fuss about a gay theme with Zoe Kravitz and Ilana Glazer playing former lovers.

Similarly, Jillian Bell's portrayal of the gal pal who Johansson's character has outgrown since the two bonded during dissolute college days is of little consequence.

It doesn't even matter that the movie follows a well-tested formula for crass comedies.

All of these things could have made a difference had this comedy about former college classmates who gather for a bachelorette party in Miami been either perceptive or funny. Maybe, Rough Night isn't funny precisely because of its inability to get close to anything that might be called incisive.

An attempt to darken the comedy -- the women accidentally kill a man they believe to be a male stripper -- isn't handled with enough wit or finesse to save the day. No Weekend at Bernie's, Rough Night arrives on screen as a painful misfire.

Any movie that resorts to cocaine snorting for one of its running gags -- as this one does -- immediately declares itself ineligible for any awards involving imagination.

Even the brilliant McKinnon, who plays an Australian visitor to the US, can't hit the necessary high notes, and the movie leaves us wondering what motivated the filmmakers to encourage McKinnon to channel her inner Naomi Watts.

Although designed as an ensemble comedy, the movie revolves around Johansson's Jess, a woman who has left her hard-partying college days behind to run for the state Senate. Once in Miami, Jess quickly sheds her sense of propriety to join what's supposed to be a fun weekend of clubbing hopping and debauchery.

Now and again, the movie offers scenes involving Jess's fiancé (Paul W. Downs). While the women are trying to be wild in Florida, Downs's character attends a sedate bachelor party. He and his buddies spend an evening at home in New York testing wines. Attendees include comedians Eric Andre, Hasan Minhaj and Bo Burnham, all mostly wasted.

Director Lucia Aniello doesn't do much to explore this bit of role reversal, and Downs's character quickly heads to Miami on a non-stop car trip involving adult diapers, stimulants and beer. Why adult diapers? So there's no need for him to make bathroom stops. A misunderstanding leads Jess's fiancé to believe his impending marriage may be endangered.

In Florida, the women stay at the upscale home of one of Jess's major donors. They also meet a couple of leering swingers played by Demi Moore and Ty Burrell.

Low on creativity, Rough Night at one point finds McKinnon's character feigning sex with the corpse that the women desperately are trying to hide. So, yes, this one tries everything, including a joke about necrophilia. Like the corpse, the joke dies. The movie isn't far behind.

No reason to open this book

The Book of Henry doesn't seem to know what kind of movie it wants to be and winds up abusing some serious issues.
Let me share several things that I hate to see in movies: 1. Loving but otherwise incompetent parents who are raising kids who are smarter than their elders. 2. Needlessly quirky touches -- say a house in the woods that a genius kid has assembled out of discarded household items. 3. Confusion about whether a movie wants to be kid friendly or adult serious.

Sadly, The Book of Henry commits all of these sins, the most grievous of which is its inability to encompass a variety of plot threads while also adding thriller elements about an ill-defined case of child abuse.

The Book of Henry isn't easy to write about without including spoilers, but parents who plan on taking kids should know that the movie includes the death of a child. If that ruins the movie for you, so be it. I'll say no more about it.

Director Colin Trevorrow, who wrote the screenplay for Jurassic World and who directed the well-received Safety Not Guaranteed, shifts from comedy to drama in ways that create an atmosphere that's shot through with improbabilities.

Absent much to say about the plot, I'll tell you about the characters. Eleven-year-old Henry (Jaeden Lieberher) lives with his single mom (Naomi Watts) and his younger brother (Jacob Tremblay) in a suburban New York town.

Mom works as a waitress. In addition to all his other talents, Henry excels at finance. He manages Mom's funds.

Not only is Henry a whiz at practical matters, he also holds his mother to a high moral standard, which he prosaically states: When others are being abused, we're obligated to intervene, Henry says.

Watts struggles to play a single mom who has turned her oldest son into a helpmate, a form of parental irresponsibility that sometimes occurs with single parents, but -- in this case -- has been carried to unbelievable extremes.

Watts's character seems to have only one friend, another waitress (Sarah Silverman), a woman who sports a large, flowery tattoo above her exposed cleavage, who may be an alcoholic and who hardly needed to be in the movie at all.

The movie's thriller component involves one of Henry's classmates (Maddie Ziegler), a girl who lives next door to Henry with her widowed stepfather (Dean Norris), who also happens to be the town's police commissioner.

In Rear-Window style, Henry observes the house next door and learns that Norris' Glenn Sickleman is abusing his stepdaughter. Henry documents his findings in a diary of sorts, the book that gives the film its title. He also authors a plan to halt the abuse.

Working from a screenplay by Gregg Hurwitz, Trevorrow fails to wring much emotion out of the story's soap-operatic elements. As a thriller, the movie comes across as absurdly twisted. Worst of all, it short-changes issues that deserve serious exploration.

Enough said.

A Kaiser in exile and a fraught love story

Kaiser Wilhelm II of Germany abdicated his throne in 1918, retreating to the Netherlands, where he lived in exile for another couple of decades. Adapted from the Kaiser's Last Kiss, a novel by Alan Judd, The Exception looks at the Kaiser's life during the heyday of the Third Reich, which the Kaiser evidently hated for its boorishness. A brilliant Christopher Plummer plays the Kaiser as a character reminiscent of a Tolstoy creation, an intelligent but mildly deluded ruler who never has accepted his fall from power. The story kicks off when the Nazis assign a German captain (Jai Courtney) to watch over the Kaiser and keep an eye out for spies. Courtney's Capt. Brandt evidently has been banished himself; he's on a punishment assignment for having gotten crosswise with the SS during a stint in Poland. The Kaiser surrounds himself with a small coterie of loyalists that includes a military aide (Ben Daniels) and the empress, a fine Janet McTeer. The story of a rueful monarch in exile is muddied by Capt. Brandt's infatuation with one of the kaiser's servants (Lily James). Director David Levaux focuses much of the movie on the relationship between the captain and the servant girl, a young woman who happens to be Jewish. Questions about the meaning of loyalty arise for the smitten Capt. Brandt, but the movie's emphasis on romance costs it some hard-edged credibility. Eddie Marsan appears briefly as Heinrich Himmler.

Two strange families, one bizarre movie

French director Bruno Dumont tries his hand at comedy, but Slack Bay is no ordinary laugh machine.

It's not easy to write a capsule description for a movie that includes cannibalism, serial killing, gender confusion, slapstick, romance, incest and what may be one of the most unusual jobs ever depicted on screen, carrying people across the shallows of a marshy bay. I'm not talking about a boat trip, but about a father/son team that literally picks people up and carries them across the water in their arms.

Directed by Bruno Dumont, Slack Bay takes us to the craggy coastal area of northern France in 1910. There, we meet two very strange families, the Van Peteghems (clueless and well-to-do) and the Bruforts (poor and mean-spirited).

The Van Peteghems live in a strange, fortress of a house overlooking the bay. The Van Peteghems embody all the pretensions of the supercilious upper classes. They are summer residents of the area. The Bruforts reside year-round on the poor side of town, hauling mussels from the sea and occasionally murdering an unsuspecting tourist by using an oar as a club.

The Bruforts are a sullen lot, and they make full use of their victims, chopping their bodies into small parts and munching on what might be called human tartare. Anyone for a foot? Perhaps a big toe?

As people disappear, two detectives roam the beach trying to determine what happened to those who have vanished. One is a corpulent man (Didier Despres) who wears a bowler and makes squishing sounds when he moves. His frequent falls usually result in a roll down one of the sand dunes that dot the beach. An assistant (Cyril Rigaux) accompanies his parade-float of a boss everywhere.

One of the charms, if that's the right word, of Dumont's movie is that the characters never seem to mesh. They are, in their way, a collection of lunatics, particularly the wealthy family, which is lead by a hunchback (Fabrice Luchini) who seems to have no control over his arm movements and whose mouth seems to have settled into a permanent droop. Luchini's Andre moves with the jangled grace of a swan in the midst of a seizure.

He has arrived at the seaside with his wife (Valeria Bruni Tedeschi). Later, he's visited by his sister (Juliette Binoche). Binoche's character is less a human than a walking aria of self-dramatizing gestures.

The Van Peteghems live in a building they have named the Tymphonium, a structure modeled on their view of ancient Egyptian architecture.

At various times, the Van Peteghems are visited by the brother of Tedeschi's character. Christian (Jean-Luc Vincent) seems to be mentally challenged, but not enough to play the role of holy fool.

Meanwhile, the poor side of town is represented by a patriarch (Thierry Lavieville) who calls himself the Eternal and his oldest son, Ma Loute (Brandon Lavieville). Ma Loute has the defiant look of a confirmed outsider.

Add to this mix a girl who dresses like a boy but who may actually be a boy, played by an actor identified only as Raph. Raph's androgynous Billie immediately is attracted to Ma Loute. She/he is thunderstruck and so is Ma Loute.

Little in this oddball world jells, but Dumont's mixture proves funny, strange and confounding, and each of the movie's mood is enhanced by the beautiful, often painterly compositions of cinematographer Guillaume Deffontaines.

Dumont mostly has made serious films (Humanite and Twentnine Palms). Though dubbed a comedy, Slack Beach has a serious substrata. Issues about class rivalry and human folly underlie the movie's bizarre whimsy. Dumont has concocted a world that exists in its own bubble-like sphere, refusing to be grounded by the confines of known realities or by customary moral proprieties. His movie is all the better for it.