Day: June 24, 2015

By Joe Bendel. Remember the Reagan commercial warning there might be a bear in the woods, so we should prepare for every contingency? Well, there really is a grizzly in this forest and he is super pissed off. Even Billy Bob Thornton might not be enough to stop him in David Hackl’s guilty pleasure Into the Grizzly Maze, which opens this Friday in New York.

Rowan the recently paroled ex-con had no intention of telling his sheriff’s deputy brother Beckett he was back in town, but an untimely brawl foiled that plan. The only reason he slunk home was to find his old friend, Johnny Cadillac. The Native American guide had not been seen since taking a dicey group of poachers into grizzly country. As Rowan heads off in search of the buddy who is probably pretty darned dead by now judging from the prologue, Beckett’s deaf zoologist wife Michelle also ventures out to monitor some of the bears she has tagged. Although she refuses to talk about the years she spent in a Ukrainian boarding school, Beckett fell for her hard, swearing off hunting to please her.

Soon the remaining pieces of a group of illegal loggers are found. Basically, they are just a couple of hands still attached to their chainsaws, but even Sheriff “Sully” has to admit this was no boating accident. Slightly concerned, Beckett rushes into the forest hoping to find his wife and brother. Kaley, the town doctor who happens to be Rowan’s ex, tags along, so they will have a fourth hand for bridge. Unfortunately, once they all awkwardly reunite, the bear cuts off their escape route, forcing them to traverse the treacherous Grizzly Maze. Meanwhile, understanding this is one highly motivated bear they are dealing with, Sully recruits the services of Douglass, a weird creepy guy hunter, who has a particular thing for bears.

So yes, the bear is definitely the smartest character in Grizzly Maze. Yet, despite the conspicuous CGI grizzly attacks, there is a primal effectiveness to the film. The colorful supporting cast certainly helps, particularly dudes like Scott Glenn and Billy Bob Thornton. As soon as we see them, we know what to expect from Sully and Douglass, respectively. To be fair, the latter is given a bit of backstory, but it basically boils down to: he hates bears.

As Beckett and Michelle, Thomas Jane and Piper Perabo look suitably outdoorsy, but James Marsden’s Rowan maybe not so much. It is also a shame Adam Beach is so quickly dispatched as poor Cadillac. Still, Bart the Bear is fully capable of carrying the film as the predator known as “Red Machine” in some listings.

To recap, Grizzly Maze has a big honking bear, much death and dismemberment, and Billy Bob Thornton. It’s rather fun in a meathead kind of way. Recommended for B-movie fans with modest expectations, Into the Grizzly Maze is already available on VOD and opens this Friday (6/26) in select theaters.

LFM GRADE: B-/C+

Posted on June 24th, 2015 at 5:49pm.

By Joe Bendel. How we depict the President of the United States in film and television says a lot about how we view the office. In Air Force One, Harrison Ford kicked a terrorist off his plane. In 24, David Palmer had one of his cabinet secretaries water-boarded without a second thought. Sadly, when Samuel L. Jackson assumed the role of Commander-in-Chief, he spends most of the time complaining he is cold and his feet hurt. Yet bad guys are still out to get him in Jalmari Helander’s Big Game, which opens this Friday in New York.

William Alan Moore is a particularly lame duck chief executive, in route to a G8 pre-summit pre-conference, as part of his presidency’s sad endgame, but his flight will get suspiciously bumpy thanks to an inside saboteur. We can tell by looking at him, Morris the senior Secret Service agent is obviously a traitor. He once took a bullet for this POTUS, but Morris has come to wonder why, especially with his mandatory retirement looming.

Still, it seems like a drastic step for Morris to cast his lot in with Hazar, a wealthy Mid East psychopath, who wants to hunt down the President, so he can stuff and mount him as his trophy. Unfortunately, when Moore is forced to eject from Air Force One, his only ally on the ground will be Oskari, an under-sized Finnish pre-teen trying to prove his mettle in a rite-of-passage survival excursion. He is young and annoying, but he is still more resourceful than Moore. Meanwhile, the White House crisis room is buzzing, but it is not clear all the senior staffers are on the same page.

Big Game is billed as a throwback action thriller, but it never throws-down hard enough. There are way too many cutesy scenes of the kid trying communicate with Moore through a couple of tin cans and a string and not nearly enough old school beatdowns. In fact, several of the signature action sequences are rather gimmicky looking.

Most disappointingly, Helander never lets Jackson cut loose. We want to see him get righteous on the villains, but instead he just whines and projects uncertainty. Man, if ever there is a time to cowboy up, this is it. Frankly, he is rather put to shame by all the colorful character actors underutilized in the DC scenes, particularly the grizzled Ted Levine, snarling along as best he can as General Underwood.

As was true of his prior film, Rare Exports, Helander again starts with a promising high concept, but his execution lacks edge. In this case, we are promised plenty of Die Hard-esque action, getting sentimental Odd Couple shtick in its place. Still, the remote Nordic scenery is quite impressive. Despite having plenty of elements in place, it just never clicks. For those looking for some PG-13 action that feels even younger, imperfect though it might be, Big Game opens this Friday (6/26) in select theaters.

LFM GRADE: C

Posted on June 24th, 2015 at 5:48pm.

By Joe Bendel. June, Annie, and Isa are three half-sisters sharing a common mother. Since they are all roughly the same generation, it is easy to conclude their childhood was somewhat chaotic. When their hippy dippy mother meets an untimely end through a diving misadventure, they are brought to together for an awkward reunion. Either supernatural forces or mortal madness (or both) will further complicate the process in Sarah Adina Smith’s Midnight Swim, which opens this Friday in New York.

Dr. Amelia Brooks’ home is nestled right on seemingly placid Spirit Lake. Supposedly, it is so deep, divers have never reached the bottom. One day, Brooks went down to explore its depths and never resurfaced. According to legend, there is ample precedent for such tragedy. The locals tell of the Seven Sisters who all drowned as each jumped in to save their proceeding siblings.

On their first night, the half-sisters host their old school chum Josh, who is now an eligible single dad. After enough wine, he leads them in a séance trying to raise the spirits of the Seven Sisters. At the time, nothing happens, but strange incidents soon begin piling up. Dead birds start littering the grounds and mysterious time-lapse footage appears on June’s digital camera. She had been documenting their homecoming for some sort of hipster documentary and denies any involvement with the eerie sequences. However, there is something a little off about June.

Of course, it is hard to judge the half-sisters’ degrees of dysfunctionality. None of them seems all that together—and for good reason. As we know from their nostalgic lip-synching, they were raised on the happy platitudes of the New Seekers’ “Free to Be You and Me.” Since then, they have learned the world is not a place where horses run free. Nor does it revolve around their self-esteem.

Smith plays it coy, giving viewers just enough reason to maintain their supernatural suspicions. The legend of the Seven Sisters is particularly compelling, especially when retold by Shirley Venard playing a local amateur folklorist. It feels like the kind of place-specific urban legends every kid grows up with, while holding obvious resonance for the characters. Wisely, Smith is not slavishly beholden to the “found footage” aesthetic. There are times when we completely forget June (or someone or something) must be filming what we are seeing, but it would not have betrayed her Spartan approach to throw the audience a few more ambiguously paranormal bones.

The perfectly cast Beth Grant is terrifyingly crunchy granola as Dr. Brooks, seen in home movies and the like. Ross Partridge is also surprisingly engaging as Josh, despite the film’s very female-centric perspective. Yet strangely, the three co-leads never create strongly differentiated identities for the three half-sisters. Perhaps that is a function of their shared problematic upbringing. Could it be they are actually not separate entities unto themselves, but are in fact the personification of the splinters of a fractured identity? That seems unlikely in the dramatic context of the film, but it sounds cool.

In fact, Smith’s execution is quite accomplished, provided viewers appreciate genre cinema that suggests instead of shows. She masterfully creates a mood of mystery and hard-to-define dread. The backstory is also unusually effective and there is a keen sense of place. Recommended for those who prefer their ghost movies in an art house bag, Midnight Swim opens this Friday (6/26) in New York, at the Cinema Village.

LFM GRADE: B

Posted on June 24th, 2015 at 5:48pm.

By Joe Bendel. In a simple Chinese peasant’s world, no good deed goes unpunished. In the world of Chinese actor Chen Jianbin, a supporting cast-member’s drug bust can be used to cancel the release of his directorial debut. Arguably, their worlds are not as different as they might initially appear. However, one might well debate just who exactly is referred to in the title of Chen’s A Fool, which screens as an opening day selection of the 2015 New York Asian Film Festival, in advance of China Lion’s upcoming theatrical release.

Latiaozi is a salt-of-the-earth goat-herder, who is scrimping to get by after giving Li Datou, the village wheeler-dealer, a sizable bribe to facilitate his grown son’s release from prison. So far, Li’s lack of results makes things rather chilly for Latiaozi at home. The last thing he needs is an adult half-wit following him home like a stray dog. However, Latiaozi and his Muslim wife Jinzhizi are reluctant to turn him out into the cold, lest he freeze to death on their property.

As we might expect, the gruff couple warms to the idiot just about the time someone comes to claim him. For a while, Latiaozi takes satisfaction from his good deed until another group of self-proclaimed relations comes to claim the fool—and yet another. Each time the supposedly disappointed parties try to extort money from Latiaozi. It leaves the poor, unsophisticated rube in quite a state.

Chen’s A Fool arrives within the same festival season as Yuriy Bykov’s The Fool, exhibiting kinships beyond the similar title. While Bykov is more explicit in his criticism of Putin’s Russia, both films directly address the perils of being honest and guileless when living in the midst a corrupt system.

Pitiable Latiaozi does not stand a chance. Yet, his dogged earnestness exceeds all expectations. There is no question A Fool is a dark film, but it is not the proletarian passion play you might be expecting. Indeed, Chen is his own best asset. The standout from Doze Niu Chen-zer’s Paradise in Service and dozens of previous films, Chen plays Latiaozi as an achingly transparent everyman, incapable of deception and utterly overmatched by the wider world. Similarly earthy and direct, former television sex symbol Jiang Qinqin is shockingly glammed down and down-trodden looking as Jinzhizi. They completely feel like a husband and wife with a long shared history together (which, in fact, they are).

Unfortunately, Wang Xuebing’s drug-related incident was the pretext used to cancel A Fool’s Mainland theatrical distribution, but it is clear why Chen refused to reshoot his scenes with a different actor. Wang’s serpent-like charm and sarcastic edge are the X-factor that constantly kicks the film up yet another notch. Any other Li Datou would merely be a pale shadow of Wang.

The narrative of A Fool, based on Hu Xuewen’s novella, shares superficial commonalities with any number of propaganda tales about exploited peasants. Nevertheless, this is not didactic agitprop or a self-serving wallowing in the misery of others. This is a pointed yet pacey film that happens to hold a mirror up to reality while focusing on its rustic but sharply drawn characters. Highly recommended, especially for Chinese visitors to our fair city who might not otherwise have the opportunity to see it, A Fool screens this Friday (6/26) at the Walter Reade, kicking off this year’s NYAFF.

LFM GRADE: A

Posted on June 24th, 2015 at 5:47pm.

By Joe Bendel. They say confession is good for the soul, but probably not in Lee Leung’s case. He has turned himself into the authorities after failing in his divinely inspired mission. His body count is carefully documented, but there might be more to his story than meets the eye in Daniel Chan’s Cross, which releases today on regular DVD and digital platforms from Well Go USA.

The fact that co-directors Steve Woo, Lau Kin Ping, and Hui Shu Ning are all credited with helping to complete Cross over a two year period does not inspire a boatload of confidence. On the plus side, it stars Simon Yam as Lee Leung. In fact, it is not the dreary anti-Catholic diatribe we might expect, even though Yam’s serial killer is most definitely devout. Reeling from his terminally ill wife’s suicide, Lee Leung starts to kill off members who post on an online suicide forum, at their own invitation, thereby saving them from mortal sin. They are supposed to pass peacefully, so when he botches his latest assignment, he remorsefully turns and surrenders to the police.

Professor Cheung, the police psychoanalyst, starts to investigate the case, at which point the film turns strangely sympathetic towards Lee Leung. It is clear his wife’s death deeply damaged his psyche. However, he may have been manipulated by an outside agency.

Unfortunately, just as the film builds up the mystery surrounding his murders, Chan (or whoever) blithely pulls out a Jenga block, making the entire tower collapse. There are also massive timeline issues with the ultimate truth, but at least there are some nice stylistic touches in how it is revealed.

Cross definitely feels edited-together, but as usual, Yam is rock solid as Lee Leung. It largely confirms our unspoken theorem that every Simon Yam film is worth seeing. Kenny Wong Tak-bun is also terrific as Prof. Cheung, an obsessively empathetic character worthy of his own franchise treatment (which stands no chance of happening). It is also amusing to see Nick Cheung appear in a small role just as his career was igniting.

You can readily see how if circumstances had been different, Cross might have worked quite well. It is still considerably exceeds the expectations established by its reputation. While it should not be anyone’s introduction to Hong Kong cinema, Yam fans will find its consistent moodiness strangely watchable. Consider this a bemused defense more than a recommendation now that it is available from Well Go USA.

LFM GRADE: B-/C+

Posted on June 24th, 2015 at 5:46pm.