VICE – movie reveiw

VICE

Annapurna Pictures
Reviewed for Shockya.com by: Harvey Karten
Director:  Adam McKay
Screenwriter:  Adam McKay
Cast:  Christian Bale, Amy Adams, Jesse Plemons, Steve Carell, Sam Rockwell, Lily Rabe, Alison Pill, Shea Whigham, Eddie Marsan, Tyler Perry, Justin Kirk
Screened at: DGA, NYC, 11/23/18
Opens: December 25, 2018
Vice - Poster Gallery
Adam McKay is nothing if not a patriotic critic of United States policy.  With his adaptation of “The Big Short,” he took on the folks who gave us the worst recession since the Great Depression.  With “Revolt of the Yes Men” he and his fellow directors struck at corporate crimes for Big Business’ efforts to fight climate change.  “Anchorman 2” showed the man’s ability to make a light movie just for fun, though he is probably critical of any newscaster who came after Walter Cronkite.  Now he does it again with a satire that has elements of Michael Moore’s hard-hitting humor but tempered in his depiction of former Vice President Dick Cheney to such an extent that you might think at times that he is simply neutral about the man’s “accomplishments.”  “Vice” is a most delightful description of Cheney and his times beginning in 1963 and ending with the closing of the Bush administration where he watches the Obama inauguration from a wheelchair, pretending for the photographers that he is not completely disgusted with the afternoon’s activities.

As played by Christian Bale, who gained forty pounds for the role (not a wise choice considering that this could put him in league with the Veep who had five heart attacks), Cheney influences President George W. Bush to such an extent that journalists and pundits believe that he is not just the man behind the throne but the guy who is actually serving as President of the United States.  Cheney is a master manipulator, using his street smarts to get Bush to give him more power than any preceding Vice President ever enjoyed.  In fact he had been so aggressive in his determination to influence American foreign policy that he may have made the big decision to move troops from Afghanistan into Iraq, the kind of mistake to which the U.S. had become accustomed–not such our policy toward Vietnam but dating back to colonial days when patriotic countrymen strung up those dreadful witches.

Though his approval rating when he left office was 13%, you’ve got to wonder where the people who became the rank and file of the Tea Party were. Surely more of us, particularly in the red states of course, are willing to defend anything the Republican Party does, even tolerate a serial liar and womanizer simply because the person occupying the Oval Office is doing what they want him to do.  Cheney himself notes that like Nixon, he believes that anything the President does is ipso factor legal.

McKay, who wrote the script as well as directs, reaches back to 1963 when the Nebraska-born, Wyoming-living politician attended Yale and later the University of Wyoming getting a graduate degree in Political Science.  McKay brings us to the Nixon and Ford administrations where he pushes his way into getting appointed as White House Chief of Staff, then in 1978 becomes the sole Wyoming representative in the House where he is reelected five times, then Secretary of Defense during the George W. Bush presidency.  He has time even to become the CEO of Halliburton which, by coincidence no doubt, won many government no-bids contracts to supply war needs in Afghanistan and Iraq.  It’s little wonder that when he resigned from Halliburton—whose stock rose 500% at one point—he was given a separation sum of $22 million.

Much is made of the domestic life of the man.  He is given hell by his wife Lynne Cheney (Amy Adams) during the early years of their marriage for being a drunk and getting into bar fights, but soon enough he shapes up to watch his star rise and see the pride that Lynne takes in him.  His wife, surprisingly, does not want him to accept an appointment from Bush to be his running mate since the job is considered ceremonial—or in more colorful terms as John Nance Garner once put it, “not worth a bucket of warm spit.”  Little did Garner realize that a manipulator of the sort that Cheney was could actually set policy, which would be officially announced as the thoughts of the President.  The only character who shines as much as both Bale and Adams is Steve Carell, a busy man indeed, who can emcee an evening of Saturday Night Live and now just as effectively portray Defense Secretary Donald Rumsfeld.

About the Michael Moore comparison: the most comical scene occurs when Bush (Sam Rockwell, who is truly funny to nobody’s surprise) tries to coax Cheney into becoming his running mate.  Cheney resists, telling POTUS that instead he could recommend a slate of people he considers worthy.  Little does Bush realize that Cheney is playing him, acting coy in order to make demands that Bush give him more policy-making power than any Vice President had before him.  Cheney is  mum on the issue of gay marriage, which a conservative Republican would surely oppose.  Could it be because one of his two daughters, Mary, is an open lesbian now living in Virginia with her wife Heather Poe?  And could that explain why Cheney broke rank with most of his fellow conservatives by supporting gay marriage?  If only the man were that decent and not the one who supported waterboarding and other methods of enhanced interrogation!  Never mind that Mary’s sister, during her own campaign for Wyoming’s rep in the House, insists that marriage is between a man and a woman.  Ah, politics.

Even serious matters like Cheney’s heart attacks are choreographed with wit.  When the Vice President falls to the floor and an ambulance is called, that’s the usual way.  In two other cases he stands with colleagues and announces casually and almost ironically that they should call the hospital.  When Cheney gets the heart of a man who dies in an auto accident, instead of praising the hero’s family he says that he is proud to have “my new heart.”  If Cheney is truly the man with the most influence on foreign policy during the Bush administration, he deserves censure for the loss of life of our fighting team and for 600,000 mostly civilian deaths in Iraq.

This is not the first satiric movie about Cheney but arguably the most incisive and best acted.  Oliver Stone directed a biographical drama using Richard Dreyfus to impersonate Cheney; in “Who is America” Sacha Baron Cohen pranked Cheney into signing a makeshift water board kit.  Ultimately you might agree that Cheney is so out of touch with common decency that you don’t need to pen a satiric book or a broadside on the screen.  He is his own caricature.

123 minutes.  © 2018 by Harvey Karten, Member, New York Film Critics Online

Story – B+
Acting – A
Technical – B+
Overall – A-

Search

  • To search for a review, click the three bold horizontal lines near the upper left corner.  In the search box, enter the movie’s title, or director, or screenwriter, or principal actor, or opening date, or even a key word.  Reviews by Harvey Karten are from select movies from February 2017 to the present.

VIVARIUM – movie review

VIVARIUM
Saban Films
Reviewed for Shockya.com & BigAppleReviews.net linked from Rotten Tomatoes by: Harvey Karten
Director: Lorcan Finnegan
Screenwriter: Garret Shanley
Cast: Imogen Poots, Jesse Eisenberg, Senan Jennings, Eanna Harwike, Jonathan Aris
Screened at: Critics’ link, NYC, 3/3/20
Opens: March 27, 2020

One of the most explosive and controversial books in recent times, David Benatar’s “The Human Predicament,” takes the view that giving birth is bad. Benatar is an anti-natalist not so much because of the usual reasons—too many people in the world leads to disastrous climate change and food shortages—but because, he believes, you are inflicting pain on your children. The happiness our children feel will is subordinate to their pain. Citing Benatar’s example, would you be willing to accept an hour of pain in return for getting an hour of pleasure? Hardly anyone would say yes. Which brings us to “Vivarium,” the word meaning a structure for keeping animals under semi-natural conditions for observation and experimentation.

Director Lorcan Finnegan, whose “Without Name” follows a land surveyor’s measuring an ancient forest, who loses his reason under supernatural conditions, is in his métier with “Vivarium,” a intriguing puzzle of a movie that will evoke several interpretations. The easy one is that the film is a satire on suburban living, which it is, not unlike “Suburbican,,” “The Burbs,” “Pleasantville,” “The Stepford Wives” and “Get Out.” However, think of the movie on deeper terms and you may agree that Garret Shanley’s screenplay is in its way a promulgation of Benatar’s book as the images on the screen for most of its 98 minutes show a young couple whose initial happiness gives way to months of continuing pain.

How so? Watch the progress, or regress, of a young couple on the cusp of life; Gemma (Imogen Poots) and her boyfriend Tom (Jesse Eisenberg). They’re looking for a dream house, white picket fence and spacious rooms, of course, because that’s what America is about. Gemma, an elementary school teacher, is good with her class, putting them through an exercise that has them identify with winged creatures. Just after dismissal she runs into one of her pupils who discovers two dead birds who have fallen out of their nest shortly after birth, a time that finds the young birds with open mouths tasting their first pangs of hunger. Perhaps they have just bird brains or maybe they can tell already that life is a vallis lacrimarum.

When Gemma and Tom consult Martin (Jonathan Aris), a real estate agent whose oddball behavior should have them running for the hills, they are escorted by him to a development called “Yonder,” where they behold a labyrinth of ticky-tacky houses, all painted puke-green. (Great set design by Julia Devin-power.) Impressed by the spaciousness inside number 9, they are surprised to note that the agent has disappeared. Set to go home, they wind up driving in a circular fashion, always landing back on number 9. Life is a circle, isn’t it? They take in a baby deposited in a box outside, a brat who grows daily, who imitates the actions of his, or its, foster parents, screams like the devil, and speaks in a voice not like Linda Blair’s Regan in “The Exorcist,” but like a grown man. Tom is ready to kill. Gemma has not reached that stage but hates the kid’s calling her “mother.” “I’m not your f******mother!”

Already the suburban dream has been smashed. The desire to have a child? Gone. The boxed-in togetherness of the trio drives both off the wall, the child being the only one who, despite screams, is looking to learn. Benatar’s prescription is swallowed with a vengeance, as relative moments of happiness are dissolved into hellish suffering. Like many other psychological thrillers, “Vivarium” begins with a light touch, moments of humor, dissipating in the second half, just as weird as the opening but loaded with misery.

This is a low-key sci-fi adventure with almost bloodless smidgens of horror which, with the crackerjack acting especially of Imogene Poots with Jesse Eisenberg in almost a supporting role is entertaining and enlightening. A fine performance from child actor Senan Jennins, who looks and acts something like CBS’s Young Sheldon, delivering the goods. Think before you marry or before you trust that a long-term relationship is heaven on earth. Think before you have children. Think before you believe suburban life is a cure-all or protective cocoon for life’s misfortunes. The universe is indifferent to you and so is your real estate agent.

98 minutes. © 2020 by Harvey Karten, Member, New York Film Critics Online

Story – B+
Acting – B+
Technical – B
Overall – B+

BLOW THE MAN DOWN – movie review

BLOW THE MAN DOWN
Amazon Studios
Reviewed for Shockya.com & BigAppleReviews.net linked from Rotten Tomatoes by: Harvey Karten
Director: Danielle Krudy, Bridget Savage Cole
Screenwriter: Danielle Krudy, Bridget Savage Cole
Cast: Morgan Saylor, Sophie Lowe, Margo Martindale, June Squibb, Annette O’Toole, Marceline Hugot, Ebon Moss-Bachrach
Screened at: Critics’ link, NYC, 3/20/20
Opens: March 20, 2020

Early on we see a sign in one house “Bed and Breakfast,” which coyly hides the term “Bordello,” which would have completed the alliteration. The real problem is that if the Bed and Breakfast place were really open for innocent enough tourists, where would they get the business? The small town in Maine is utterly provincial, and to top it off the area is regularly snowed in with damp weather that might make London seek like a climatic dream. This is a bad location for tourism but a good one for mystery. Bodies turn up including one of a hooker, but the real interest of writer-directors Danielle Krudy and Bridget Savage Cole is the dark secret that involves not just the madam but a trio of elderly women who appear ready for redemption.

“Blow the Man Down” is a sea shanty sung in the opening scene with delightful harmony by a group of grizzled fishermen, and another shanty will serve to bookmark this movie, which was awarded best screenplay at the Tribeca Film Festival. The script is an original, nicely combining a detective story with a look at an ambiance of a part of America not often seen in the movies.

Priscilla Connolly (Sophie Lowe) and Mary Beth (Morgan Saylor) do not look like sisters and what’s more, despite their kinship they exhibit different personalities. When their mother dies, the sisters are determined to continue the fish business, though Mary Beth, unlike her sister, talks often of wanting to bolt from the town. They have occasional chats with their mother’s pals Susie (June Squibb), Gail (Annette O’Toole), and Doreen (Marceline Hugot).

Mary Beth, always the adventurer, picks up a guy at the bar, becoming anxious when she sees a gun in the glove compartment and a trunk filled with blood. He calls her “cute,” touches her leg, finally attacking her, resulting in his being harpooned in the neck and as dead as a punctured lobster. You and I would probably plead self defense, but the defender instead informs her sister who help in burying the body in the deep.

The person of major audience interest is Margo Martindale as the town madam, Enid, longtime friend of the trio of elderly ladies, any one of whom could serve as the lead in Joseph Kesselring’s play “Arsenic and Old Lace.” Nobody will mess with Enid until somebody does, when her three pals, after hearing that one of her hookers has been shot in the head. Gayle Rankin performs as a character who is one of Enid’s workers, and Will Brittain pounds the beat as Justin, a young police officer who has a liking for Priscilla and, in one scene as you think that he will collar the two sisters, he instead follows up his undeaclared courtship by accepting an invitation to the sisters’ fish dinner.

At our time, when women are increasingly empowering themselves, “Blow the Man Down” serves as another example of how the sisterhood look out for one another. The film does not try to satirize small-town living or houses of ill repute but accepts the flaws of this remote coastal village of Easter Cove without judging.

90 minutes. © 2020 by Harvey Karten, Member, New York Film Critics Online

Story – B
Acting – B+
Technical – B
Overall – B

YOU GO TO MY HEAD – movie review

YOU GO TO MY HEAD
First Run Features
Reviewed for Shockya.com & BigAppleReviews.net linked from Rotten Tomatoes by: Harvey Karten
Director: Dimitri de Clercq
Screenwriter: Dimitri de Clercq, Pierre Bourdy, Rosemary Ricchio
Cast: Delfine Bafort, Svetozar Cvetkovic, Arend Pinoy, Omar Sarnane, Laurence Trémolet
Screened at: Critics’ link, NYC, 1/25/20
Opens: February 14, 2020

 

“You Go to My Head,” the title taken from the 1938 song by J. Fred Coots, is about the nature of identity, with the specific exploration of what happens to a woman who has lost her memory and whose life is taken over by a lonely architect who convinces her that he is her husband. As we watch the two performers,Kitty (Delfine Bafort) and Jake (Svetozar Cvetkovic) engaging in a slow burn, appearing together in most of the film’s nearly two hours, we are likely to wonder what will happen when Kitty, whose real name is Dafne, recovers her memory. Will her new insight lead her to embrace her life, which despite its inauthenticity involves a sizzling romance, or will she abandon the man who saved her life, disgusted by the perverted game he is playing and sending him back to the loneliness he has endured for years?

Jake is an architect living in the Sahara—actually filmed in a house that must have once been featured in Architectural Digest magazine. When he discovers that a slim, beautiful, blond woman has been the victim of a car accident killing the man who had driven the car, he carries her back to his home, nurses her back to health, and pretends to be her husband. Though Kitty, the fictitious name he had given her, is eager to recall events in her life, she is slowly falling in love with her “husband,” exhilarated by the life she shares with him under the clear desert skies. Convincing Kitty has been easy as he has given her the clothing of the woman who had once shared his domain, even putting a wedding band on her finger while she is asleep under a doctor’s sedation.

The cracks developing in his swimming pool—into which she indulges displaying full-frontal nudity—serve as metaphor for the crumbling of the woman’s amnesia. All takes place within the dreamy landscape of Southern Morocco exquisitely filmed by Stijn Grupping with elements of fantasy embellished by Hacène Larbi’s music with startling, climactic notes ninety-three minutes into the drama.

This is a winning job all around, co-written and directed by Dimitri de Clercq in his freshman feature—following up his 1995 film “The Blue Villa,” about a ghostly return of a man into bordello of a Mediterranean island. At the time of this review we learn that the movie has already won Best Picture in film festivals in Bogota, Houston and Orlando with nominations for cinematography, score and acting among thirty-six wins and one hundred sixteen nominations.

In English and a little French spoken by the Yugoslav-born actor and his Belgian-born partner.

116 minutes. © 2020 by Harvey Karten, Member, New York Film Critics Onlin

Story – A-
Acting – A
Technical – A-
Overall – A-

NEVER RARELY SOMETIMES ALWAYS – movie review

NEVER RARELY SOMETIMES ALWAYS
Focus Features
Reviewed for Shockya.com & BigAppleReviews.net linked from Rotten Tomatoes by: Harvey Karten
Director: Eliza Hittman
Screenwriter: Eliza Hittman
Cast: Sidney Flanagan, Talia Ryder, Théodore Pellerin, Ryan Eggold, Sharon Van Etten
Screened at: Park Ave., NYC, 2/18/20
Opens: March 13, 2020

Never Rarely Sometimes Always

In her third feature movie, writer-diector Eliza Hittman continues to explore people who are vulnerable, youths who are missing the proper guidance in life and who are put into positions that they would not have found themselves if they had the proper direction. In the director’s “It Felt Like Love,” a young woman dreams of emulating the sexual exploits of a more experience person, putting herself into a dangerous situation. In “Beach Rats” a teen “experiments” with drugs and looks to meet older men. Now with “Never Rarely Sometimes Always,” Hitmann focuses on “Autumn” (Sidney Flanigan), a seventeen-year-old girl who must deal with a pregnancy that she never wanted but with the good luck to have a friend like Skylar (Talia Ryder), who acts more like Autumn’s older
sister willing to go the distance with Autumn during a difficult time in the younger girl’s life.

After Trump was elected president largely with the support of rural Americans, voters in small towns and farms complained that city people consider them racists, sexists, homophobic and the like. We would like to think that this is true, yet as Hitmann portrays small-town Pennsylvania, at least through the eyes of people on the cusp of mature adulthood, a large number of these Americans are what they say they are not. For example, when Autumn is performing in a talent show, one guy yells out “slut” in the middle of her song, and the attendees including even Autumn’s young parents, appear to think nothing of it.

Autumn, who appears not to realize that she is pregnant until eighteen weeks have passed since her last menstrual period, tries to self-abort the fetus by taking a slew of Vitamin C pills, then punches her belly without much result save for some large bruises. Stealing some money from the supermarket with the help of her cousin, she takes a bus to New York, not even considering that she would need to get a round-trip ticket, that she lacks money for a hotel, that she would have to stay in New York two nights. On the bus Skylar is hit on by a young passenger (Théodore Pellerin), who will try to encourage Skylar to go with him “downtown” and who the girls will later exploit for money.

In this slice-of-life drama, Hittman takes us first to a rural clinic, the agent explaining that there are alternatives to abortion, that there are people who would gladly adopt the future child. Since it’s too late for Autumn to get an abortion in her area, she and Skylar take two buses toward New York’s Port Authority Terminal, going to Planned Parenthood on 44 Court Street in downtown Brooklyn, and back up to a Manhattan facility which would be able to conduct the procedure.

Autumn has no particular support from her parents, and in fact by showing us the youthful age of the father and mother in the audience of the talent show, Hitmann may be making the point that they too had babies while they were teens. Hélène Louvart films all in 16mm, from the broken-down areas of rural Pennsylvania to the chaos of New York.

Here is an ideal slice of life drama. No melodrama, no frantic behavior, with Autumn’s emotions showing only when she began to cry during a social worker’s interview. At that meeting, she is asked a series of questions such as “Were you ever forced to have sex when you did not want to” for which she needed to answer “Never, rarely, sometimes or always.” In Hitmann’s hands, the two young performers, Sidney Flanigan and Talia Ryder relate to each other as though they knew each other for a decade. But even to her cousin and best friend, Autumn never opens up. She does not tell her even that she’s pregnant, just that she has “cramps.” These are inarticulate people, the sort that just might vote for politicians who do not necessary offer much but who are grand showmen who can entertain and who do not evoke articulate responses from their audience.

101 minutes. © 2020 by Harvey Karten, Member, New York Film Critics Online

Story – B+
Acting – B+
Technical – B
Overall – B+

THE MISOGYNISTS – movie review

THE MISOGYNISTS
Oscilloscope Laboratories/Factory 25
Reviewed for Shockya.com & BigAppleReviews.net linked from Rotten Tomatoes by: Harvey Karten
Director: Onur Tukel
Screenwriter: Onur Tukel
Cast: Dylan Baker, Trieste Kelly Dunn, Ivana Milicevic, Lou Jay Taylor, Matt Walton, Christine Campbell
Screened at: Critics’ link, NYC, 3/2/20
Opens: February 14, 2020

In just 85 minutes writer-director Onur Tukel compresses three years of seemingly endless political discussion into a stagy tale spotlighting Dylan Baker, whose somber performance as a Russian spy in “The Americans,” goes against type as Cameron in “The Misogynists.” This hilarious tale, one that sends up Cameron who stands in for a type of Trump supporter that Hillary once called “deplorables,” deliberately portrays Cameron as a one-dimensional racist, homophobic, prejudiced, misogynistic citizen and voter, standing in as a the kind of person who may not express his bigoted ideas at the workplace or at home but is free to let loose in locker talk with his best male friend.

Cheering as he probably had done many times in his life, this wealthy businessman, separated for four months from his wife and living in a luxury hotel in Manhattan, is over the moon when on election night in 2016 the media calls Donald J. Trump the winner of the presidential election. His pal Baxter (Lou Jay Taylor) is a more nuanced gent, possibly a liberal at heart but seemingly able to be convinced under the right circumstances, with the right shots of Vodka and lines of coke, to find common ground with his boorish compatriot.

The Misogynists (2017)

For the most part what Cameron likes about Trump is only partly the commander-in-chief elect’s plan to build a fortress America on our southern border but mostly because this victory will symbolize man as ruler, leaving woman to cook steaks in the kitchen. Cameron cannot credibly be called the voice of the Christian Right, the Evangelicals, who may have held their noses when they voted for the developer, but more akin to the white nationalists, the anti-elitists, the know-nothings, really, like the folks in that political party who in the 1840s bonded with like-minded Protestants who feared a conspiracy to undermine their religious and political values.

Playing the part of Cameron’s straight-man, Taylor evokes the impression of a klutz who is likely in conflict with all sorts of things in his life, including his ties to his wife Alice (Christine M. Campbell), who calls him on her cell demanding that he come home, the controlling woman who is often the target of Cameron’s wrath. His own political beliefs in conflict, Baxter would like to fit in with the views of Cameron, the dominant male, but he is neither a Hillary voter nor a Trump supporter. Given the curfews that Alice appears to set down, Baxter could readily go whole-hog over to Cameron’s position that men should rule.

Some of the sharpest dialogue occurs between the hotel guests and a Mexican-American busboy (Rudy de la Ctuz), inviting the lad to extend his break and do some lines. While you might expect the busboy to be anti-Trump, he, like some of friends, simply did not vote. He cares not a whit what the resident in the Oval Office has in store for people like him. Best of all is the exchange of obscenities between Cameron and the two hookers, Sasha (Ivana Milicevic) and Amber (Triests Kelly Dunn), who for their part get thrown out of the cab by the driver, Cairo (Hemang Sharma) for insulting Muslim men.

Dylan Baker turns in a spot-on performance, emerging from his previous, quieter roles in “The Good Fight” on TV and “Anchorman 2.” Almost all the action takes place in a single room, the TV performing as a separate character turning itself on and off and showing clips in reverse order.

83 minutes. © 2020 by Harvey Karten, Member, New York Film Critics Online

Story – A-
Acting – A-
Technical – B+
Overall – A-

ESCAPE FROM PRETORIA – movie review

ESCAPE FROM PRETORIA
Entertainment One
Reviewed for Shockya.com & BigAppleReviews.net linked from Rotten Tomatoes by: Harvey Karten
Director: Francis Annan
Screenwriter: Francis Annan, L.H. Adams, Karol Griffiths, from Tim Jenkin’s book “Inside Out: Escape from Pretoria Prison”
Cast: Daniel Radcliffe, Ian Hart, Daniel Webster
Screened at: Critics’ link, NYC, 2/4/20
Opens: March 6, 2020

Whenever I need to have a key made I go to Bruno’s hardware down the block. Half the time the keys do not work. I twist and I turn and practically break the fragile metal. What this country needs is not more MBA’s but some good, reliable locksmiths. Now Tim Jenkin can make keys for me any time. He’s a real live character played by Daniel Radcliffe in the prison thriller “Escape from Pretoria.” He is not only a crackerjack locksmith but an author, having written the book by a similar name in 2005. I cannot tell whether Francis Annan’s movie is based closely on the contents of the book or simply inspired by the heroic plot—especially since on Amazon, the book costs $899.99. And that’s the paperback! Perhaps an upcoming movie about rare books “The Booksellers” would tell us why.

The film which is virtually bereft of women focuses on the leadership of Tim Jenkin (Daniel Radcliffe), who together with Stephen Lee (Daniel Webber) gets into trouble with white-dominated regime in South Africa when apartheid was the norm. Fifteen percent of the popular were white but dominated the 85% of people with color. The grip on the country was resisted by the African National Congress, under which Nelson Mandela eventually got elected president and now stands as one of history’s great heroes.

Some folks might be surprised to note that the ANC was a movement that enjoyed the membership of several white people, considered by the apartheid government to be traitors to their race. For example: when Jenkin and Lee set off an unusual string of “bombs” in Pretoria that liberate not explosives but reams of paper announcing the manifesto of the congress, they are caught and receive stiff sentences in a jail that was not quite as comfortable as the prisons in Norway. Jenkin gets 12 years as the leader, and his pal Lee receives eight. Inside the jail the two meet up with other whites involved in wresting the South African government away from the white leaders. These are people who from the moment they were beaten were determined to escape, notwithstanding the prospect of a sentence of another twenty-five years plus the potential to be tortured.

Theirs was a unique method. Jenkin, apparently graced with spatial skills, drew blueprints for not just one key but a successive battery of them that would lead them to the street and freedom. They keys were made of wood. As the plot thickens, the initial attempts to fit these keys into the doors would fail. Sometimes a piece of evidence would fall to the floor outside Jenkin’s reach, so we in the audience sit and hold out breaths as does Jenkin to hide the evidence from the regularly scheduled checks by the guards.

Guards were awfully mean, and not just the warden (Paul Harvey) who must be addressed as “Captain” by the inmates. They appear to hold a special animosity to whites who help the blacks.

All action takes place in 1979, but if the prisoners only had the patience to wait until 1994 when apartheid fell apart, Mandela would have freed all, a welcome break especially for Denis Goldberg (Ian Hart) who was serving four life sentences. Behind his large aviator type glasses fashionable at the time, Daniel Radcliffe is able to free himself without needing the magic he embraced at the Hogwarts School. He exudes a tension that should resonate with the movie audience in a film that’s not much on dialogue but which, guaranteed, will have you keyed up.

101 minutes. © 2020 by Harvey Karten, Member, New York Film Critics Online

Story – B+
Acting – B+
Technical – B
Overall – B+

THE BURNT ORANGE HERESY – movie review

THE BURNT ORANGE HERSY
Sony Pictures Classics
Reviewed for Shockya.com & BigAppleReviews.net linked from Rotten Tomatoes by: Harvey Karten
Director: Giuseppe Capotondi
Screenwriter: Scott B. Smith based on a novel by Charles Willeford
Cast: Claes Bang, Elizabeth Debicki, Donald Sutherland, Mick Jagger
Screened at: Critics’ link, NYC, 2/21/20
Opens: March 6, 2020

There are more ways to commit high crimes and misdemeanors than those we’ve seen recently at a trial in the United States Congress. Typical are large ones like bank robberies, smaller ones like street muggings. Fascinating movies have been made about the former like “Bonnie and Clyde” and the latter by the 2004 movie “Mugged.” Now “The Burnt Picture Hersey embraces an unusual crime, its execution exquisitely planned and carried out by a people with an intimate knowledge of the art world. It helps mightily that Giuseppe Capotondi, whose “La dopia Ora,” about an ex-cop and a chambermaid who meet at a speed dating event, indulges a witty, fast-talking script by Scott B. Smith and a pair of actors who are adept at the verbal sparring that is so much a feature of Charles Willeford’s noir novels.

Like Capotondi’s “La dopia ora,” (“The Double Hour”), the first part of the film features dialogue you might expect at a classy and prestigious off-Broadway theater like The Promenade and The Cherry Lane. There is not a wasted word in the repartee enjoyed by Berenice Hollis (Elizabeth Debicki) and Claes Bang (James Figueras). (Bang is Danish while Debicki’s roots are Polish and Irish.) During an extended date at Italy’s Lake Como, the American and the European delight in sparring like the candidates in the Democratic Party debates. Just when the theater audience believe that they are in for an evening of a simple romantic fling before the couple go to their separate homes, the plot spins delightfully out of control. If you are familiar with Charles Willeford’s fiction, you can see why that author’s 1971 novel from which the movie is adapted is considered by critics to be his best work.

The opening scene features art critic James Figueras in the midst of wowing an American audience in Milan, explaining a surreal painting on the wall. The painting may not look like much, yet Figueras calls it virtually a masterpiece—wrapping up his spiel with an acutely comic finale. This is where he meets Minnesotan tourist Berenice Hollis (Elizabeth Debicki), who comes on to him and is invited on a trip to the Lake Como estate of art collector and gallery owner Joseph Cassidy (Mick Jagger), who has invited Figueras to use him for a job that will leave Cassidy with clean hands.

Jerome Debney (Donald Sutherland), a recluse who is living on the estate, shows up, allowing himself to be interviewed by Figueras, the two guests charmed by the world-famous painter. At the same time Figueras figures that he can further his languishing career. He increases his creds as a critic, but far more important for him is a chance to make millions, and therein lies the thriller.
`
What does director Capotondi want us to take away from the story aside from providing us with some breathtaking chills and thrills? Probably the idea that we do not really know each other whether from simple meetings like a weekend date or even after years of thinking that we can see beneath the surface of our friends and associates. Scott B. Smith’s script is largely responsible for the wit and razzle-dazzle of the conversations, and the quartet of Sutherland, Debicki, Bang and Jagger provide the human touch that do justice to the words.

98 minutes. © 2020 by Harvey Karten, Member, New York Film Critics Online

Story – B+
Acting – A-
Technical – B+
Overall – B+