New releases 3/19/19

Top Hits
Mary Poppins Returns (Disney family adventure sequel, Emily Blunt. Rotten Tomatoes: 79%. Metacritic: 66. From Manohla Dargis’ New York Times review: “Bathed in nostalgia, “Mary Poppins Returns” is being framed as a homage, and there’s clearly some love here. Mostly, it is a modest update, one that has brushed off the story, making it louder, harsher, more aggressively smiley. It picks up several decades after the 1964 film “Mary Poppins” — starring the sublimely synced Julie Andrews and Dick Van Dyke — concluded.” Read more…)

Spider-Man: Into the Spider-Verse (animated comic book action feature, Shamek Moore. Rotten Tomatoes: 97%. Metacritic: 87. Well, how about this? A New York Times Critic’s Pick! From A.O. Scott’s Times review: “‘Spider-Man: Into the Spider-Verse’ contains a vital element that has been missing from too many recent superhero movies: fun. Most of the better specimens of the genre, as well as the worst, assume a heavy burden of self-importance: the future of the planet, the cosmic balance of good and evil, the profit margins of multinational corporations and the good will of moody fans all depend on the actions of a gloomy character in a costume… My point here is that this animated reworking of the Spidey mythos is fresh and exhilarating in a way that very few of its live-action counterparts — including the last couple of ‘Spider-Man’ chapters — have been. Its jaunty, brightly colored inventiveness and its kid-in-the-candy-store appetite for pop culture ephemera give ‘Into the Spider-Verse’ some of the kick of the first ‘Lego Movie.'” Read more…)

Braid (horror/mystery, Madeline Brewer. Rotten Tomatoes: 88%. Metacritic: 60. From Glenn Kenny’s New York Times review: “It’s a hard knock life for Tilda [Sarah Hay] and Petula [Imogen Waterhouse], two of the young women of ‘Braid,’ a jumpy thriller written and directed by Mitzi Peirone. Their only moments of repose are at the film’s opening, and even those aren’t too relaxed.” Read more…)

November Criminals (crime/drama, Chloë Grace Moretz. Rotten Tomatoes: 0%. Metacritic: 31.)

New Blu-Ray
Mary Poppins Returns
Spider-Man: Into the Spider-Verse

New Foreign DVDs
The Quake (Norway, action/drama, Kristoffer Joner. Rotten Tomatoes: 81%. Metacritic: 70. From Bilge Ebiri’s Vulture review: “John Andreas Andersen’s The Quake, a sequel to the excellent 2015 Norwegian disaster film The Wave, should be required viewing for all of today’s Hollywood franchise jockeys. It shows you how to make one of these things without sacrificing your characters’ souls [or your own, for that matter].” Read more…)

Holiday (Denmark, crime/drama, Victoria Carmen Sonne. Rotten Tomatoes: 76%. Metacritic: 80. From Glenn Kenny’s New York Times review: “[Writer/director Isabella] Eklof subsequently inverts revenge conventions in a way that dares the audience to call it perverse. She has cited the cinematic extremist Ulrich Seidl [‘Paradise: Love,”’ ‘Import/Export’] as an influence: As with that filmmaker, it’s hard to tell whether she intends to communicate something genuine about the human condition, or just shovel hostility at her audience.” Read more…)

Becoming Astrid (Sweden, bio/drama, Alba August. Rotten Tomatoes: 96%. Metacritic: 71. A New York Times Critic’s Pick. From Jeannette Catsoulis’ Times review: “Long before she found fame with the ‘Pippi Longstocking’ series, the Swedish children’s author Astrid Lindgren had an unplanned pregnancy that changed her life. In ‘Becoming Astrid,’ the Danish director Pernille Fischer Christensen uses that formative event as a fulcrum, building a lightly fictionalized portrait of the young Lindgren [played by Alba August] from its emotional and practical fallout.” Read more…)

New American Back Catalog DVDs (post-1960)
Wanda (1970, independent feminist drama, Barbara Loden. Rotten Tomatoes: 93%. From Roger Greenspun’s 1971 New York Times review [requires log-in]: “It would be hard to imagine better or more tactful or more decently difficult work for a first film. I suppose it is significantly a woman’s film in that it never sensationalizes or patronizes its heroine, and yet finds her interesting and not [as it might have] just interestingly dull. But I like it best because it seems at home with its idioms, close to its action, opening up only rarely [during a model airplane meet, in the fatal bank job] and to moments of genuine insight and not admiration-begging cinematic claptrap. Wanda is a small movie, fully aware of its limits, and within those limits lovely.” Read more…)

Esther and the King (1960, Biblical epic, Joan Collins.From Bosley Crowther’s 1960 New York Times review [requires log-in]: “The beautiful Bible story of Esther has been thumped into a crude costume charade in Raoul Walsh’s CinemaScope-and-color, Italian-made ‘Esther and the King.’ The best to be said for this chromo, which opened at the Palace yesterday, is that it drives one more spike into the coffin of these synthetic biblical films.” Read more…)

New Documentaries
On Her Shoulders (human rights, refugees, genocide, sexual violence. Rotten Tomatoes: 98%. Metacritic: 84. A New York Times Critic’s Pick. From Ken Jaworowski’s Times review: “Alexandria Bombach’s direction and editing are exceptional; she captures images that are both subtle and formidable. Her film is, first and foremost, a profile of [Nadia] Murad [survivor of an ISIS massacre of members of the Yazidi religious minority in Iraq] and her mission. Yet it’s also a comment on the media and on government aid.” Read more…)

Hillbilly (sociology, rural America, media stereotypes, resource economics. Rotten Tomatoes: 88%. From Kevin Crust’s Los Angeles Times review: “Los Angeles-based journalist and filmmaker Ashley York, born and raised in the mountains of eastern Kentucky [the evocatively named Meathouse Holler to be specific], returns to Appalachia to question the media depiction of the region’s residents, while also tracking the 2016 U.S. presidential election, in the documentary ‘Hillbilly.’ Co-written and co-directed with Sally Rubin, the film is a far more sympathetic portrait than J.D. Vance’s best-selling ‘Hillbilly Elegy,’ taking a more descriptive than analytical approach.” Read more…)

Rob Harmon’s Picks 5/12/15

Rob_photo_031715_WebHoliday (Dir. George Cukor, 1938)

When you were a child, did you have a secret place — a special kind of ultra-secret-type place — that you generally did not share with adults? Maybe you had a few? If you had siblings maybe you shared one, or with friends and neighbors? But with grown-ups — those overly-serious, sometimes grim sorts of people who seemed to carry the weight of the whole world on their backs — they usually didn’t get it, right?

HOLIDAY is not a film about children or childhood, but about adults still caught up in its eddy. It is a film about people – dreamers and nonconformists – who don’t seem to fit in anywhere else. It’s about finding your place.

Three of the main characters in HOLIDAY – grown-siblings Linda, Ned, and Julia Seton (Katharine Hepburn, Lew Ayres, and Doris Nolan, respectively) — once shared such a private place when they were children — a playroom buried within the heart of a big, stuffy Fifth Ave. mansion, comfortably decorated by their long-since-deceased mother, and stocked with toys, musical instruments, puppets, and even a small trapeze. Now, years later, each sibling deals with their stifled dreams of youth in a different way: Ned drowns his sorrows in a constant stream of alcohol, Julia resents being reminded of the past at all and looks instead to a future of financial security and wealth, and… Linda? Well, she keeps the fire burning, literally and figuratively, in that secret spot, the playroom, where the influence of her dimly-remembered-but-beloved-mother is still strong, and that of her tyrannical financier father is, thankfully, minimal.

I’m getting ahead of myself. Ages before J. D. Salinger and Wes Anderson wove tales of the whimsical and wounded outcasts of New York’s elite there was George Cukor’s sparkling 1938 romantic comedy HOLIDAY, adapted for the screen by Donald Ogden Stewart and Sidney Buchman from Philip Barry’s 1928 play. (Hepburn had, incidentally, been an understudy for the role of Linda on Broadway, while Barry would later write his hit play, THE PHILADELPHIA STORY, with Hepburn in mind for the lead role, which she, of course, ended up playing.)

Johnny Case (Cary Grant) is a free-spirited businessman returning home to New York from a winter holiday to tell his friends — the bohemians Prof. Nick Potter (Edward Everett Horton) and his wife Susan (Jean Dixon) — the great news: He met a woman named Julia and he plans to marry her. The only problem is that when he shows up at her house he finds it to be the aforementioned Fifth Ave. monolith – confusing, really, since she had neglected to mention that she came from money… – but he takes it all in stride, even when sparks fly between he and Julia’s nonconformist, spitfire of a sister, Linda. While dipsomaniac brother Ned looks blearily on, Johnny does his best to sell Julia’s stuffed-shirt of a father as he unveils his big plan: to retire young and enjoy himself a little, before returning to work later, when he really knows what he wants out of life. The problem is, not only that father-in-law-to-be is upset, but even Julia doesn’t seem so hot on the idea. Meanwhile, Linda waits in the wings….

HOLIDAY shares many of the characteristics of screwball comedies of the 1930s: the theme of heavy, stilted patriarchy, money, and social pressures squaring off against free-thinking and free-wheeling, middle-class values, and, of course, the war of wills between a headstrong male and female as they careen towards the altar, the tension running through the audience more a question of, not “if,” but “when” and “under what circumstances” will this man take this woman to be his lawfully-wedded… etc., etc. Holiday, in fact, is a perfect example of a strong ending made more memorable merely by staving off plot-resolution until the very last few frames.

HolidayHOLIDAY has even more than many of the best screwball comedies: there is a note of melancholy and even distress which underpins Linda’s and Ned’s precarious positions within the family and New York society, while there is a strong undercurrent of yearning for both Johnny and Linda, two free-spirits struggling to be free, and to be together.

Even so, and as the film’s title would  suggest, there is a carefree and ludic air to the proceedings: Grant and Hepburn are both magnificent (one of their four on-screen pairings), even performing a few athletic tumbles together, while Horton and Dixon lend admirable support as the sort of unflappable, upstanding best friends that everyone wishes they had. Ayres, in a performance which would help land him the part of Dr. Kildare and effect a resurrection of his then-stalled career, is excellent in the challenging role of loving-but-pathetic Ned. Cukor’s direction is sensitive and draws out the tenderness of Linda and Johnny’s plight.

What a movie! What an ending! (Someone please pass me the kleenex….)

***Today, May 12th, is Katharine Hepburn’s birthday!***
***May also marks the 30th birthday of Best Video!***
***Every day is a holiday… at Best Video!***

Hank Recommendations 11/20/12

(all available for the coming holidays in Hank’s Pics)

Thanksgiving is upon us, making it a time to give thanks for, among other things, movies.

Family, of course, has its place in this holiday, but after the meal is over and you’re tired of staring at old Uncle Charlie’s nostril hairs, it’s time to put the movie in. Here are my suggestions of films you might not otherwise think of that will help make your holiday a thankful one. Which is to say, if HOME FOR THE HOLIDAYS, WHAT’S COOKING? and FLY AWAY HOME are not available, then check out any of these other films, some tried-and-true, others off-beat but all on-target.

THE KIDS ARE ALL RIGHT — What? A contemporary adult family film where the family isn’t dysfunctional? What are movies coming to? Well, this family may not be dysfunctional, but it’s certainly unconventional: two teens and parents who happen to be lesbians. The son and daughter are appropriately rebellious kids, call their parents “mom and mom” instead of “mom and dad,” and the parents, hippy-ish Julianne Moore and breadwinner Annette Bening—like any other parents—have their squabbles, are typically concerned with paying the bills while keeping their psycho-drama buttoned up, and, above all, are concerned that the kids are all right. These are characters that any parents and children (and who does that leave out?) can identify with.

The lesbian hook is politically correct, but also refreshing and entertaining. And the story is simple. Out of their questing rebelliousness, and longstanding curiosity about their identity, the kids decide to look up their parent’s sperm donor, who turns out to be a freewheeling yet down-to-earth organic farmer and restauranteur (Mark Ruffalo). Through the kids, he gets to know the parents, and finally enough to know what he doesn’t have himself. When he starts adding his own child-rearing suggestions, Bening tells him: “When you’ve been a parent for eighteen years come and talk to me, okay?” But beneath his virtues he’s an entrepreneur who’s instinctively interested in short cuts, and when his intense interest attaches to one of the parents, that’s where familiarity crosses much too far into intimacy.

One of the virtues of this dramatic and humorous film, with its highs and lows of a family life that you’ll find yourself eager to follow, is that it gives you a very concrete sense of a what an unconventional family is like: it’s a little unusual, but it’s just like yours. Movies aren’t the only thing that’s universal.

RETURN TO ME — This film not only has heart, it’s about a heart—the one David Duchovny’s wife, after dying in an auto accident, posthumously “donates” to Minnie Driver, while leaving Duchovny to grieve. Until, that is, he coincidentally meets and falls in love with Driver, who wins Duchovny’s heart, but then has to tell him she’s also carrying his wife’s. This unusual film is infectiously and thankfully low-key. Its charm and believable writing, along with winning characters (including Driver’s grandfather and great-uncles who run the Italian restaurant where Driver is a waitress) enable it to sidestep plot cliches and easy sentimentality, although it is inevitably (no pun intended) upbeat. Don’t be reluctant to donate your attention.

FINDING FORRESTER — A popular black basketball-playing student, playing it safe with his peers by not displaying his brilliant writing gifts, befriends a legendary writer who’s long hidden his own talents away as a recluse in the Bronx tenement neighborhood. Sean Connery, as the curmudgeon writer and Rob Brown as the student are gifts enough in this well-directed story that deals, in the best Hollywood mainstream fashion, with issues of family, integrity and originality. Rob finds his writing voice, Sean finds a personal connection to a world he’s long shunned, and you’ll find a film that, in its own elevated writing, makes you feel cozily entertained and intelligent at the same time.

CAST AWAY — If watching Tom Hanks on a desert island for over two hours is not your cup of mango juice, think again. For one thing, it’s only the middle section that we spend on that bare and menacing but beautiful atoll, and while we’re there, mystery and suspense unfold, with Hanks’ point of view frighteningly and touchingly limned. This, we come to realize, is “Survivor” in a very good mainstream Hollywood film. But what this film most has going for it is its decidedly non-Hollywood touches, as it moves toward a climax and denouement that could have gone any number of Hollywood ways but winds up being neither contrived nor sentimental. The film takes pains to extend the notion of an island castaway to the question of what must be “cast away” (the actual two word title of the film) and what one should be thankful for keeping. The film ultimately has the feeling of being psycho-dramatically true, while being philosophically intriguing. And, having been forced to become used to Dolby overload in most movie soundtracks, no music in that middle section, with only the constant sound of the deceivingly benign South Pacific surf, is a definitely refreshing approach that effectively underscores Hanks’ isolation and perhaps provides compensation for an overload of dinnertime conversation.

TWO FAMILY HOUSE — On Staten Island in the ’50’s, newly-married Buddy Visalo buys a down-at-the-heels two family house in hopes that the second floor rental will underwrite his dream of opening a bar and becoming the venue’s crooner. But his wife, who has already made him skip a post-War singing audition with Arthur Godfrey (Julius La Rosa got the gig instead) as a condition of their marriage, conveys to Buddy where she’s coming from: namely, the terra firma of domestic and financial practicality. And the second floor “family” turns out to be no help either: a volatile penniless Irish drunk married to a pregnant woman from Russia who speaks little English. Through years of setbacks and disappointments, of sometimes literally bruising battles to open his bar and sing his own song, Buddy dreams on. Yes, this golden-hued movie with authentic, heart-felt writing and gold-plated characters starts off on nostalgic pathways we’ve trod before; but if you think you know where it’s going, you’re wrong. The characters deepen, the plot takes interesting turns, the nostalgia sweeps us through darker, uncharted regions until, without losing its gentle incisiveness, the film racks up the realistic cost of pursuing your dreams. Highly recommended for the post-modern MOONSTRUCK and MARTY crowd.

STATE AND MAIN — Director/writer David Mamet leaves the suspenseful gamesmanship of his HOUSE OF GAMES  and THE SPANISH PRISONER for the amusing, sometimes hilarious hi-jinks of a subject he knows well: the making (and unmaking) of a Hollywood movie, in this case in bucolic Vermont. Of course, the subject of all Mamet’s films is mendacity, scam-artistry, and gambling, and here the production crew, trying desperately to compensate for being over budget and under pressure, confronts townspeople who are also scheming and enterprising. Bill Macy is the beleaguered director, Sarah Jessica Parker the slut star ironically concerned about exposing her breasts on celluloid, Alec Baldwin the aging Lothario constantly forswearing his addiction to seducing underage girls, Julia Stiles the faux innocent hotel clerk only too willing to be seduced, and Charles Durning the mayor with a portly generosity trying to put off his wife’s nagging, social climbing excesses. Philip Seymour Hoffman and Rebecca Pidgeon are the novice screenwriter and town’s book shop owner who present a romantic interest and the movie’s only spotlight of integrity, as they try to remain aloof from the shenanigans and, parenthetically, prevent the town’s historic town hall stain glass window from being clandestinely demolished for the sake of a tracking shot. This joyous, cynical fairy tale takes us to the small town crossroads of big time filmmaking, leaving us with a wide grin at the hardscrabble process of making movies.

HOLIDAY — One of the most enduring classics is the PHILADELPHIA STORY. Not a bad choice for this occasion, but a better choice (adapted from the same playwright and starring much of the same cast) is Holiday. Like the former film, it takes place at an upper crust party where dough doesn’t necessarily make for good taste in marriage. Here Katharine Hepburn is the unmarried independent woman whose witty, earthy patter hides a yearning to be free of her high class, wealthy family. When her beautiful, chic sister brings new fiancé Cary Grant in tow from a ski holiday to introduce him to her family, Kate recognizes in the likewise witty, free-spirited Grant a kindred soul, and conflict with her beloved sister and domineering family. How this all works out at the ensuing engagement party, amid acrobatic lines of dialogue (and, literally, somersaults!) makes for superbly engaging viewing. Hepburn’s early astonishing beauty and swift timing is a match for Grant’s. As good as The Philadelphia Story is, Holiday, one of the richest and most satisfying films ever made, is a greater cause to rejoice.

THE MAN WHO WOULD BE KING — If adventure is what’s needed to breach the gap of generations, there’s Sean Connery in the historical desert saga THE WIND AND THE LION, and Frank Capra’s LOST HORIZONS, the romantic tale of a hi-jacked aircraft that crash-lands in a hidden utopian community in the Himalayas—a film that established the term “Shangri-la” in our lexicon of hope and yearning. But my top choice for adventure is John Huston’s adaptation of the Rudyard Kipling story, The Man Who Would Be King. Here Sean Connery and Michael Caine play two savvy, recently retired ex-soldiers in British India who, rejecting both England and India as being too crowded and bureaucratic, desire to employ their soldiering skills in conquering the primitive kingdom of Kafiristan. On the way to fulfilling their brazen ambition they experience bandits in the Khyber Pass, searing desert heat, freezing blizzards in the Himalayas, the resistance of their designated kingdom and, not least, a spectacular and romantic triumph that ironically strains their well-seasoned friendship. No one could ask for a more devilishly delightful duo than Connery and Caine, nor a more lavishly filmed production. If Kipling were alive today (and he is in the film, wonderfully played by Christopher Plummer), he’d give two thumbs up and a British “Huzzah!” Any of these adventure films would work for Uncle Charlie, if, despite these good movies, he’s not already dozing by the fireplace.