Timmy Failure: Mistakes Were Made (2020) ☆☆☆(3/4): Not a failure at all

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“Timmy Failure: Mistakes Were Made”, which is currently available on Disney+, is a witty and whimsical comedy film which will entertain not only its target audiences but also other audiences out there. While it is as broad and simple as you can expect from the adaptation of a popular children’s book series, the movie has lots of wit and charm on the whole, and I came to enjoy its numerous quirky moments more than expected in addition to cheering a lot for its little young hero.

At the beginning, we are introduced to Timmy Failure (Winslow Fegley), an 11-year-old boy who has lived alone with his single mother Patty (Ophelia Lovibond) in a neighborhood of Portland, Oregon since his father walked away from them several years ago. While he does not hang around much with other kids in his school, Timmy has an imaginary 1500-pound (around 680-kg) polar bear friend named Total, and he and Total have run a detective agency in his imagination while looking for any case to be solved in the neighborhood, which seems to be full of crimes and bad guys according to his imaginative viewpoint.

The main source of humor comes from how serious Timmy is about running his agency, which is incidentally named Total Failure Inc. He really wants to help his economically struggling mother, and he firmly believes that he will earn lots of money for her as solving more cases. When he receives a small request from one of his schoolmates, he is absolutely serious about that, and that incidentally reminds me of how I have often amused others around me with my stiff and serious attitude as deadpan as Timmy’s.

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Usually busy with her work, Patty lets her son be himself with his imaginary world, though that often results in some headaches for not only her but also his schoolteachers. In case of Timmy’s classroom teacher Frederick Crocus (Wallace Shawn), this grumpy old dude constantly gets annoyed and frustrated thanks to Timmy, and we are not so surprised when he finally reaches to a breaking point later in the story. In case of Timmy’s school counselor Mr. Jenkins (Craig Robinson), he is more tolerant of Timmy’s quirkiness despite being disregarded by him during their first meeting, and he actually encourages Timmy to do more detective work, while also indirectly making him more interested in doing study and homework.

We also get to know several notable classmates around Timmy. Although he recently stopped working along with Timmy, Charles “Rollo” Tookus (Kei) finds himself associated with Timmy again, and there is a little amusing scene where they try to go inside a certain big bank as wearing ridiculous disguise. While it is clear to us that Molly Moskins (Chloe Coleman) has had a crush on Timmy, Timmy is too occupied with his detective work to notice that, and it subsequently turns out that he has some uncertain feelings toward Corrina Corrina (Ai-Chan Carrier), whom he has regarded as a sort of arch-nemesis connected with anything criminal in the city.

And then Timmy faces what may be the biggest trouble in his whole life. For going around here and there in his neighborhood, he has used a segway which his mother recently got for free by chance, but that segway is suddenly disappeared while he is working on another case, and he must find it as soon as possible before his mother comes to see what happened to that segway.

Meanwhile, Patty becomes quite friendly with a police officer named Crispin (Kyle Bornheimer), and Timmy is not so pleased about this change. Although Crispin turns out to be more generous and magnanimous than he seems, Timmy continues to be hostile and watchful to this nice guy because, well, he cannot trust any police officer as your typical gumshoe dude.

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The mood becomes a little more tense and serious when our young hero has to face some dose of harsh reality, but the movie, which is based on Stephan Pastis’ popular children’s book series of the same name, does not lose any of its quirky spirit as gliding from one funny episodic moment to another, and director/co-producer/co-writer Tom McCarthy, who writes the adapted screenplay with Pastis, did a good job of maintaining the dry but cheerful sense of humor around our young hero and other characters around him. Yes, they are indeed more or less than broad caricature figures, but they are presented with enough sensitivity and personality at least, and we even come to accept the frequent presence of that big polar bear although we know well that it is merely a piece of our young hero’s boundless imagination.

It surely helps that the main cast members play straight as much as possible. While Winslow Fegley, who is the younger brother of Oakes Fegley, brings considerable plucky spirit to his character, the other young performers in the film including Ai-Chan Carrier, Kei, and Chloe Coleman are effective in their respective roles, and several main adult performers including Ophelia Lovibond, Craig Robinson, Kyle Bornheimer, and Wallace Shawn provide extra colorfulness to the story.

Compared to McCarthy’s previous film “Spotlight” (2015), which garnered the Best Screenplay Oscar for him besides winning the Best Picture Oscar, “Timmy Failure: Mistakes Were Made” may look frivolous in comparison, but it distinguishes itself well compared to other similar films for children thanks to the good efforts from McCarthy and his cast and crew members. In short, this is not a failure at all, and it is certainly another solid entertainment from Disney+.

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Standing Up, Falling Down (2019) ☆☆☆(3/4): Billy Crystal still has it

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I could not help but become a bit nostalgic as watching Billy Crystal in “Standing Up, Falling Down”. While considerably dialing down his distinctive comic persona here in this small comedy film, he still knows how to engage and then tickle us, and he is as effortless as he was in many best moments in his long career including when he hosted the Oscar ceremony more than once (Remember how much he delighted us right from he came into the stage at the beginning of the 2012 Oscar ceremony?).

The movie mainly revolves around a struggling stand-up comedian named Scott (Ben Schwartz), and the opening part shows us how miserably he has been at the dead end of his career. No matter how much he tries hard, he does not generate much laugh from whoever is listening to him because his materials are not so funny from the beginning, and then it turns out that he is not actually performing at a comedy club.

Disappointed and depressed, Scott decides to return to his hometown in Long Island. While his mother Jeanie (Debra Monk) wholeheartedly welcomes her son’s return, his father Gary (Kevin Dunn) does not look that excited mainly because Scott refused to join the family business for pursuing his stand-up comedian career several years ago, and his younger sister Megan (Grace Gummer) greets her brother with some playful barbs on his failing career.

Thanks to a close friend of his currently running a local comedy club, Scott gets a chance to perform at the comedy club, but he still finds himself struggling to think of any good joke, and he comes to wonder whether he made a right choice when he decided to leave his hometown as well as his ex-girlfriend, who married one of their high school friends not long after their breakup. As coming to learn of how she has lived well with her husband during last several years, Scott cannot help but feel wistful and regretful, and he soon comes to consider getting any possible chance to approach to her.

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Meanwhile, Scott happens to get himself associated with Marty (Billy Crystal), a middle-aged guy who is one of the usual customers of a local bar where Scott drops by during one evening. Their first encounter is not so pleasant at all, and Scott is just mildly annoyed by Marty’s drunken behaviors, but, what do you know, they subsequently meet each other again when Scott goes to a local clinic for his ongoing skin problem.

After being helped a bit by Marty at that point, Scott encounters him again unexpectedly, and they quickly befriend each other as spending more time together. While he is often too loud and boisterous whenever he gets drunk, Marty is a fun guy to hang around with, and Scott comes to like him more as getting to know more of him. As he casually admits, Marty is your average alcoholic who fell off the wagon after his second wife died some time ago, and he has also been estranged from the children from his first marriage, who were quite hurt by how he inadvertently ruined his first marriage.

Never hurrying its plot, the screenplay by Peter Hoare leisurely doles out one small funny moment after another while Scott and Marty continue to have a fun time together. At the end of their another drinking night, they happen to smoke marijuana outside, but then they are caught off guard when someone comes upon them unexpectedly, and that leads to one of the most humorous moments in the film.

While coming to discern more humor in his life and people around him, Scott slowly regains his groove, and, not so surprisingly, he comes to entertain a small group of audiences at the comedy club more than expected. They say misery is not so far from comedy, and now he realizes how humor can be utilized for not only his audiences but also himself.

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I must point out that Hoare’s screenplay stumbles more than once during its rather contrived last act. While a scene associated with the unresolved feelings between Scott and his ex-girlfriend is not that convincing in my inconsequential opinion, what happens shortly after the bitter scene between Marty and one of his children is artificial to say the least, and I wish the movie delved deeper into Marty’s personal demons behind his better sides.

Anyway, director Matt Ratner handles the story and characters well enough to compensate for these and other weak points in the film, and the main cast members of the movie are solid in their respective roles. While Crystal deftly balances his character between humor and pathos, Ben Schwartz, who also dials down himself a lot compared to his flamboyant recurring role in TV sitcom series “Parks and Recreation”, diligently carries the film along with Crystal, and the other notable cast members including Grace Gummer, Debra Monk, and Kevin Dunn also hold each own small place well around Crystal and Schwartz.

On the whole, “Standing Up, Falling Down” is familiar and predictable to the core, but it is supported well by enough humor and poignancy, and I was constantly entertained by the comic interplay between Schwartz and Crystal. Although he has been less active in his filmography during last 10 years, Crystal still has it, and I hope he will accept more opportunities to appear on the screen in the future.

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Premature (2019) ☆☆☆(3/4): One summer romance in Harlem

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“Premature”, which won the Someone to Watch Award at the Film Independent Spirit Awards early in this year, is a modest but intimate tale of young romance set in the Harlem neighborhood of New York City. Mainly revolving around a young African American women who happens to fall in love when she is about to take a crucial forward step for her life, the movie casually flows from one episodic moment to another along with its heroine, and that is more than enough for compensating some unpolished spots in its overall result.

At the beginning, the movie observes Aryanna (Zora Howard) and her neighborhood friends enjoying their another casual summer day. As a young aspiring writer, Aryanna is soon going to attend a college outside New York City for honing her writing skill, but she wants to enjoy her remaining free time during this summer as much as she can, and we get an amusingly lively moment when she and her friends flirt a bit with several African American lads who happen to be around them.

When Aryanna and her friends continue to enjoy their free time at a park in their Harlem neighborhood area, Aryanna comes to notice a young and handsome African American man named Isaiah (Joshua Boone), and it does not take much for them to feel something mutual as they interact more with each other. When they come to meet again not long after that, Aryanna finds herself more attracted to him, and Isaiah is also willing to move onto the next step along with her as they enjoy a little private time together on a riverside.

Eventually, Aryanna spends a night at Isaiah’s small residence, and Isaiah shows more of himself as approaching closer to her. As a lad who has aspired to become a musician as good as his father, he surely knows how to set the right mood for their first night with music, and we accordingly gets a tender love scene which palpitates with sensitivity and sensuality as a piece of jazz music is played in the background.

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After that point, Aryanna begins to consider living with Isaiah, but, of course, there soon come a number of complications. Her single mother, who has always wished the best for her daughter, is not so pleased with how frequently Aryanna spends nights outside, and Aryanna, who has been not so amused with how her mother has moved onto one man to another for years, becomes more distant to her mother while not talking that much about her ongoing relationship with Isaiah, and we are not so surprised when she later comes to decide to leave her home and then starts to stay in Isaiah’s residence.

It initially seems that Aryanna can lean on Isaiah more, but, of course, their relationship takes a downturn as she comes to realize that he is not exactly a perfect match for her. At one point, it suddenly turns out that he is not that honest to her about his life before her, and she is understandably furious about that. While they subsequently come to have a reconciliation between them, their relationship does not feel as exciting or romantic as before, and that bitter aspect is clearly conveyed to us when they attempt a lovemaking without much satisfaction.

And there is also a certain unexpected problem Aryanna has to deal with in one way or another as soon as possible. Quite conflicted about whether she should tell Isaiah about this matter or not, she becomes more uncertain about her relationship with him than before, and this consequently leads to more conflict and estrangement between them.

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While its last act is rather rough and uneven due to a few jarring moments including the one showing a sudden heated argument between one of Aryanna’s friends and Isaiah on the social status difference between African American males and females, the movie still engages us mainly thanks to its vibrant urban atmosphere by the courtesy of cinematographer Laura Valladao, and I also enjoyed a number of lively scenes spontaneously generated among Aryanna and other characters around her. To be frank with you, it was sometimes a bit difficult for me to understand the rapid exchanges among them, but these exchanges do not feel forced or artificial at all, while also reminding me of what I observed during my brief tour in New York City in early 2004.

In addition, director/co-writer/co-producer Rashaad Ernesto Green draws the good performances from his two lead performers. As the heart and soul of the film, Zora Howard, who also wrote the screenplay with Green, is compelling even when her character does not seem to express anything, and she and Joshua Boone, who is also convincing in his part, have a nice low-key chemistry between them during their several key scenes. In case of several other substantial supporting performers including Tashiana Washington, Alexis Marie Wint, Imani Lewis, and Michelle Wilson, they are solid on the whole, and Wilson is particularly good when her character instinctively comes to sense what Aryanna has been hiding from her character for a while.

In conclusion, “Premature” works as a leisurely but sensitive mix of coming-of-age drama and romance tale, and Green, who previously made a feature film debut with “Gun Hill Road” (2011), shows here considerable skill and competence as a good filmmaker. Although it does not break any new ground, his movie achieves as much as intended, and it will be interesting to see what may come from him during next several years.

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Honey Boy (2019) ☆☆☆1/2(3.5/4): Memories of his traumatized childhood

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Alam Har’el’s first feature film “Honey Boy”, which won the Special Jury Prize when it was premiered at the Sundance Film Festival early in last year, looks closely into the painful childhood memories of one troubled young man still struggling to understand and accept the origin of his anger and torment. As we observe more of how much he suffered and struggled during his very unhappy childhood, we come to feel more of the deep personal pain and rage churning inside its autobiographical tale, and the movie eventually comes to move us a lot as a part of an ongoing healing process in real life.

When we are introduced to Otis Lort (Lucas Hedges) at the beginning, this 22-year-old lad is working on the set of some Hollywood blockbuster film as its lead actor, and then we see how messy his life has been through a dizzy sequence alternating between his busy shooting schedule and his wild private life accompanied with frequent drinking. Not so surprisingly, he soon has a big car accident during another rough night of his, and, due to his heavily drunken state as well his aggressive altercation with police officers, he is subsequently ordered by the court to go to a rehabilitation center instead of going to prison.

Not long after he enters the rehabilitation center, Otis comes to learn from his therapist that he has the clear signs of post-traumatic stress disorder (PTSD), and he is understandably flabbergasted by this diagnosis. After all, he is not a war veteran, and, as far as he can remember at present, there is not anything particularly traumatic in his whole life.

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Nevertheless, the therapist advises Otis to reflect more on his childhood memories, and, as leisurely spending time along with his fellow patients in the rehabilitation center, Otis gradually come to face what has been repressed somewhere in his mind for many years. 10 years ago, young Otis, played by Noah Jupe, was a promising child actor, and his father James (Shia LaBeouf) usually worked as his chaperone on the set, but James was not a very good dad to young Otis for many reasons. Although he stopped drinking for four years after inadvertently becoming a sex offender because of his alcoholism, James was usually neurotic and aggressive as trying to get many things in his life including his son under control, and his frequent outbursts of emotional or physical violence always hurt young Otis’ feeling a lot.

Despite James’ abusive behaviors, young Otis desperately tries to hold onto his father mainly because there are not many people paying attention to him. While his mother, who left James some time ago, is usually absent, some nice guy who happened to get associated with young Otis via the Big Brothers mentoring program is quickly pushed out of the picture thanks to James’ petty aggression, and the only consolation for young Otis comes from a young sex worker living in the same motel where he and his father are currently staying.

Fluidly going back and forth between its two time points, the movie vividly illuminates the strong but deeply problematic emotional bond between young Otis and his father. Sometimes the mood is rather playful between them, but James, who clearly envies his son’s growing success, often feels the need to remind young Otis of who is the boss, and young Otis does not question his father’s bullying authority much – until there finally comes a moment when he comes to decide that enough is enough.

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As many of you probably know already, the screenplay by Shia LaBeouf is inspired by his own life story, and it is evident to us that writing this screenplay and then playing the fictional version of his father is a sort of self-therapy for him. While expressing his old pain and anger through fiction, he also attempts to understand and make his peace with his father, and the overall result is both successful and therapeutic thanks to not only the honesty of his writing but also Har’el’s thoughtful handling of mood, story, and characters. While the flashback scenes in the film are usually filled with bright ambience thanks to cinematographer Natasha Braier and composer Alex Somers, they are thankfully devoid of any cheap sentimentality, and that is the main reason why several moments of raw emotions later in the film work.

Har’el also draws wonderful performances from her three main cast members. Never making any excuse or compromise on his character, LaBeouf is utterly compelling in an intense nuanced performance which is completely different from his other recent performance in “The Peanut Butter Falcon” (2019), and it is really nice to see him finally being matured more to be a better actor after making many mistakes and troubles in his life in addition to appearing in those abominable Transformers flicks. On the opposite, Jupe, a young talented British actor who has drawn our attention via his notable supporting turns in “A Quiet Place” (2018) and “Ford v Ferrari” (2019), is an equal acting match for LaBeouf in every minute of their scenes in the film, and his poignant performance is effortlessly connected with the humble performance by Lucas Hedges, who appropriately steps back for Jupe and LaBeouf while functioning as the main supporting ground for their performances.

Overall, “Honey Boy”, whose title is incidentally derived from LaBeouf’s nickname which was given by his father as shown in the film, leaves an indelible impression on us a harrowing personal cri de cœur, and you will be moved by the tentative but hopeful emotional resolution presented at the end of the film. To be frank with you, I do not know how much LaBeouf was really helped and healed by the movie, but, considering what I observed from the film, it looks like he is ready and willing to move onto the next chapter of his life and career, and I can only wish the best for him.

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All the Bright Places (2020) ☆☆1/2(2.5/4): An earnest young adult romance drama

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Netflix film “All the Bright Places” is an earnest young adult romance drama about two troubled adolescents with each own issue. While I appreciate its somber and sensitive approach to its dark subjects including grief and mental illness, the movie is often hampered by its rather thin narrative and characterization, and that is a shame considering the good efforts from its two engaging lead performers who deserve better in my humble opinion.

The movie, which is set in some city in Indiana, begins with an atypical Meet Cute scene between Violet Markey (Elle Fanning) and Theodore Finch (Justice Smith) during one early morning. While Theodore is jogging along a street, he happens to notice Violet precariously standing on the ledge of a bridge, and he promptly climbs upon the ledge because she seems to be about to jump from the bridge, though she says that she is not actually going to kill herself.

After this accidental meeting between Violet and Theodore, we come to gather how things have been gloomy for Violet during last several months. She and her older sister had a terrible car accident, and she is still struggling with not only her older sister’s death but also her following grief. Her parents understand well her ongoing problem, but they cannot help but feel frustrated as the distance between them and her seems to be widened day by day.

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Discerning that Violet really needs some help, Theodore embarks on actively approaching to Violet. After contacting with her on the Internet, he interacts with her via a number of quotes from Virginia Woolf at first, and they come to talk more with each other. When Violet happens to draw unwanted attention from their classmates at one point, he quickly distracts them via one showy action, and he also volunteers to be her partner when their teacher announces a special assignment for his students.

Although she is not particularly willing to do the assignment along with him, Violet eventually agrees to join him mainly thanks to Theodore’s persistency. They are supposed to select and visit several interesting places in their state for their assignment, and Theodore has already had one certain place in his mind. He soon takes her to that spot, and, though that spot in question does not look that special to her, she finds herself drawn to his spirit and personality as being soothed by the bright and peaceful atmosphere surrounding them.

Of course, as already shown to us during the first act of the movie, Theodore has his own issue to deal with. Due to his frequent mood swings and erratic behaviors which may be resulted from bipolar disorder, he has been ridiculed and ostracized by many schoolmates, but he is not particularly interested in getting help, and that certainly frustrates his school counselor, who genuinely tries to have a real conversation with Theodore but usually fails due to Theodore’s adamant refusal.

Although occasionally showing his private moments, the movie does not delve that deep into the darkness inside Theodore’s mind. While it seems that his mental illness was originated from domestic violence in the past, we do not get to know much about his family life except his caring older sister (We never see their divorced mother, who is always busy outside due to her work), and their shared history of domestic violence is only mentioned during one brief scene between them later in the film. Now I am reminded of what Pauline Kael once wrote: “Explaining madness is the most limiting and generally least convincing thing a movie can do.”

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When Theodore and Violet unexpectedly spend a night together at one remote spot they visit together, their relationship becomes more intimate than before, Violet wants to help him as much as he has helped her, but she only comes to realize that she cannot help him that much just like others around him. Around that point, the screenplay by Jennifer Niven and Liz Hannah, which is based on Niven’s novel of the same name, thankfully avoids any cheap sentimentality, and director Brett Haley, who previously directed “Hearts Beat Loud” (2018), and his crew members handle the finale with enough restraint.

As the main center of the movie, Elle Fanning and Justice Smith are charismatic enough to carry their film together. Fanning, who has been one of the most talented actresses in her generation since her memorable turn in Sofia Coppola’s “Somewhere” (2010), is often poignant as she deftly expresses the churning emotions behind her character’s detached façade, and Smith, who recently appeared in “Jurassic World: Fallen Kingdom” (2018) and “Detective Pikachu” (2019), is effortless in his dynamic romantic interactions with Fanning on the screen.

While I cannot recommend it due to its several notable weak aspects including its superficial depiction of several substantial supporting characters (The other notable main cast members in the film including Luke Wilson and Keegan-Michael Key are seriously under-utilized as mostly stuck in their thankless roles), “All the Bright Places” is not entirely without charm mainly thanks to the commendable performances from Fanning and Smith. It is surely sincere to the core, but I wish that it handled its story and characters with a little more depth and consideration.

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Mickey and the Bear (2019) ☆☆☆(3/4): As she struggles to live with her dad

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There is a vivid, palpable sense of frustration and exasperation in “Mickey and the Bear”, a small but intimate drama film about an adolescent girl who has been stuck in a small town in Montana. Through a series of episodic moments, the movie gradually lets us emphasize with its heroine’s conflicted situation, and we eventually come to understand how much she wants a better life of her own – and how much she is bound to a person she loves a lot despite those many emotional damages upon her.

At the beginning, the movie observes another usual day of Mickey Peck (Camila Morrone), a high school girl who has lived alone with her widower father Hank (James Badge Dale) in a small residence located outside Anaconda, Montana. When she wakes up to find that her father is not in their home, she is not so surprised at all, and she is soon visited by the town sheriff, who comes to tell her that her father had another rough night. When she later visits the police station for taking her father to their home, she is not particularly mad, and we come to sense that Hank caused many similar troubles before.

We gradually gather how hard and difficult Mickey and her father’s situation has been. As an Iraq War veteran, Hank has received some medical help, but it is evident that he is still struggling with physical problems as well as post-traumatic stress disorder (PTSD), and he frequently attempts to numb his pain and frustration through alcohol. Mickey has certainly tolerated her father a lot as a caring and dutiful daughter, and her father seems to appreciate that at times, but she cannot help but feel helpless and frustrated from time to time, while also hoping for getting away from her small town someday. As a matter of fact, she has been waiting to be allowed to enrolled in a city college in California after her upcoming high school graduation, though she has not saved enough money for that yet as her unemployed father often demands money for drinking.

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In addition, Mickey has currently been in a relationship with a boy named Aaron (Ben Rosenfield). They have been quite close to each other as reflected by one private scene between them, and Aaron wants to move their relationship onto the next step, but Mickey is not particularly willing to do that. At one point early in the film, Aaron gives her a certain precious present, and she shows him some gratification, but she soon sells it for getting the extra cash in addition to what she routinely earns from her part-time job at a taxidermy shop.

On one day, Mickey happens to encounter Wyatt (Calvin Demba), a British boy who was recently transferred to her high school. Mickey tells him in advance that she has a boyfriend, but, what do you know, they come to spend more time with each other, and Mickey is more attracted to Wyatt after an unpleasant incident between her and Aaron during one evening.

Meanwhile, Hank becomes more erratic and aggressive than usual, and that surely troubles Mickey a lot. She goes to a local clinic for requesting more medical help for her father, but there is not really nothing she can do, and she only gets some sympathy and compassion from a doctor assigned to her father’s case, who genuinely cares about Mickey and her situation while firmly sticking to the regulations of her system. As subsequently talking more with Mickey, the doctor sees that Mickey really needs to be helped, and she advises Mickey that she may soon face her limit because her father’s mental and physical status will get worse day by day no matter how much she tries.

Nevertheless, Mickey finds herself still emotionally stuck with her father. When she is later notified that she is allowed to enroll in that city college in California, she is certainly happy and excited, but then she reminds again of how much her father depends on her, and her father drinks more frequently than before with more troubles to be handled by her. When he suggests that they should have a hunting time along with Wyatt, Mickey is naturally concerned about what may happen, and we are not so surprised by the following outcome.

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As slowly rolling from one small moment to another, the screenplay by director/writer Annabelle Attanasio steadily accumulates the emotional tension around Mickey and her father, and there eventually comes a dramatic moment when Mickey finally decides that enough is enough after finding what her father has been doing behind her back. As cinematographer Conor Murphy’s camera calmly watches them from its static position, the mood becomes tense word by word, and that accordingly culminates to what can be described as an irreversible point for the relationship between Mickey and her father.

And it certainly helps that the movie is carried well by its two lead performers. While James Badge Dale, a veteran character actor who has diligently impressed us since his notable supporting turns in “Shame” (2011) and “Flight” (2012), is dependable as usual in his nuanced performance which conveys to us well his character’s troubled state of mine, newcomer Camila Morrone is terrific in her unadorned performance while ably complementing Dale in their scenes, and a few other main cast members in the film including Calvin Demba, Ben Rosenfield, and Rebecca Henderson are also solid in their respective roles.

On the whole, “Mickey and the Bear” is engaging to watch for its thoughtful storytelling as well as the two wonderful lead performances at its center, and it surely shows that Attanasio, who previously made several short films before making this feature film debut of hers, is another interesting new filmmaker to watch. Considering that it did not receive much attention when it was released in US in last year, the movie surely deserves some attention, and I will certainly be interested in watching what may come next from Attanasio.

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Come to Daddy (2019) ☆☆☆(3/4): Getting to know his dad again

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“Come to Daddy” is a mean but entertaining comedy thriller about one problematic father and son relationship. Because the movie depends much on a number of plot turns, I will describe its story and characters as little as possible without spoiling any fun for you, but I strongly recommend you not to read the following paragraphs if you want to enjoy it as much as you can.

The premise of the movie is pretty simple. During the opening scene, we see a young man named Norval (Elijah Wood) arriving at a remote spot in some forest area, and we come to gather that he comes here to meet his father, who has been absent for more than 30 years after abandoning his wife and young Norval for some unknown reason but recently sent a letter to Norval. It looks like he wants to make amends to his son for many years of his absence, but Norval is not so certain about what his father really wants, and he cannot help but feel nervous as walking to a house where his father has resided alone.

When Norval finally arrives at the house and then knocks on its front door, he cannot help but baffled because the old man, played by Stephen McHattie with seething grouchiness, does not greet Norval much. In the letter, Norval’s father expressed his supposedly sincere wish to reconnect with his son, but the old man, whom Norval can barely recognize probably due to many years of aging, does not seem to be that interested in how Norval has grown up and lived, let alone how Norval feels about his father at present.

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Anyway, the old man lets Norval stay in the house, and Norval gradually becomes more uncomfortable as spending more time with the old man, who continues to show more of his mean and callous side. When they have a dinner together, the old man comes to learn that Norval is a recovering alcoholic, and then he does a rather unpleasant act just for galling Norval, who still feels that dangerous craving for alcohol just like many other alcoholics. After the dinner, Norval tells about how much he has been successful in his professional field, but it does not take much time for the old man see through Norval’s words, and that accordingly leads to another moment of shame and humiliation for Norval.

While we come to wonder more about what the old man really wants from Norval, the movie slowly begins to explore that dark area of toxic masculinity. Regardless of whether that letter is sincere or not, the old man seems to be very angry and bitter just because Norval is not tough and manly enough in his viewpoint, and the movie steadily dials up the level of tension on the screen as Norval keeps getting pushed and bullied by the old man. Does he really want to reconnect with Norval? Are all these unpleasant behaviors of his actually the reflection of his twisted fatherly love?

Deftly balancing itself among a number of different possibilities during the first act, the movie depends a lot on the unnerving interactions between its two main cast members. While Elijah Wood, who is no strange to desperately cornered heroes as shown from “Grand Piano” (2013) and “Open Windows” (2014), is believable as his character is pushed into more confusion and nervousness, Stephen McHattie surely has lots of fun with his increasingly sinister role, and they are riveting whenever their characters happen to push and pull each other on the screen.

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After an unexpected moment of surprise, Norval finds himself becoming a lot more nervous and disturbed than before, and the screenplay Toby Harvard, which is developed from a story idea from director Ant Timpson, accordingly throws a number of disturbing signs including a strange noise which seems to be coming from somewhere inside the house. It looks like the old man has some secret behind his back, and a certain famous quote from Shakespeare at the beginning of the film comes to feel more ominous than before.

I do not dare to delve into what will be eventually revealed later in the story, but I can tell you at least that Timpson and his cast and crew members did a fine job of holding our attention to the end. Although the movie loses some of its narrative momentum for an understandable reason during its last act, it still makes us keep guessing what may happen next, and it eventually comes to us as your average twisted noir tale packed with darkly ironic moments including a crucial scene where Norval finally seems to get what he has privately yearned for many years.

The few other main cast members in the film besides Wood and McHattie hold well each own spot. While Martin Donovan and Michael Smiley function well in their respective substantial supporting roles, Madeleine Sami provides some comfort during her brief appearance in the middle of film, and Ona Grauer is also solid as a feisty prostitute who unintentionally tumbles into a circumstance way over her head.

In conclusion, “Come to Daddy” is a modest but efficient genre piece which delivers its wry fun and thrill as much as intended. To be frank with you, I may recommend it to my father someday, and it will be interesting for me to observe how he will respond to it. Well, dad, you have often disappointed and disillusioned me a lot these days, but you are not that lousy in comparison.

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Come As You Are (2019) ☆☆☆(3/4): They simply want to get laid…

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“Come As You Are” is about three dudes with disabilities on a quest for getting laid for the first time in their life. While it is sometimes as naughty as its story promise suggests, the movie is actually pretty sweet and likable as handling its story and characters with care and respect, and it surely earns its expected life-affirming finale in the end.

The movie opens with another usual day of Scotty (Grant Rosenmeyer), a 24-year-old quadriplegic lad who has live with his serious case of disability throughout his whole life. While he has been taken care of well by his caring single mother Liz (Janeane Garofalo), Scotty has been recently quite frustrated with his disabled body beyond his control as feeling more of his growing sexual desire, and he is understandably not so willing to talk about that with his mother although she has been accustomed to seeing his certain body part for years.

Scotty’s daily life usually revolves around a facility for persons with disabilities, and that is where his best friend Mo (Ravi Patel) works. Although he is visually impaired, Mo has been pretty well-adjusted to his disability as shown from his first scene in the film, and we later see him how he works along with the receptionist of the facility without much difficulty.

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Not long after Scotty arrives at the facility, a young paraplegic man named Matt (Hayden Szeto) comes, and their first encounter is not so pleasant as Scotty becomes pissed about Matt happening to have a therapy session with a certain female employee to whom he has been attracted. Besides, Matt looks more handsome and confident in comparison, and Scotty cannot help but become petty when Matt happens to be around him again later.

Meanwhile, Scotty comes to learn of a certain place which may provide the solution to his sexual desire. In Montreal, Canada, there is a brothel ready to provide sexual services to persons with disabilities like him, and, after doing some online research on this place, he becomes quite determined to go there by any means necessary. When he suggests his plan to Matt, Matt is not particularly willing to join Scotty, but then he also comes to feel his own need for sex more than before, and Scotty promptly embarks on planning their secret road trip to Montreal along with Matt and Mo, who is reluctant at first but agrees to join Scotty and Matt in the end because, well, he is also eager to have his first sexual experience.

While our three heroes manage to leave their neighborhood without being noticed by Scotty’s mother and Matt’s parents, their following quest turns out to be bumpier than expected. They have already hired a person who will drive a big van for them, but Sam (Gabourey Sidibe) soon sees through their lies right from the beginning, and their plan is on the verge of being canceled when Scotty becomes a bit too rude to Sam at one point. They eventually arrive at a place they are going to stay during the first night of their road trip, but then Sam turns out to have a serious medical condition, and that leads to a series of farcical moments including the scene where our three heroes try to drive the van for themselves (Guess who will take the wheel, by the way?).

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Constantly maintaining its lightweight tone, the screenplay by Erik Linthorst, which is based on Belgian film “Hasta la Vista” (2011), leisurely drives from one narrative point to another like many other road trip movies. When our three heroes arrive in Chicago later in the story, they happen to get a jolly good time with Sam at a bar as music is being performed nearby, and it does not take much time for us to discern something mutual being developed between Sam and one of our three heroes. Around the point where these four main characters finally arrive in Montreal, the mood becomes rather bittersweet after one hidden fact is melodramatically revealed, but director Richard Wong, who also served as the editor and cinematographer of his film, and his main cast members find a right balanced position between comedy and drama, and that is the main reason why two crucial scenes during the last act are as effective as intended.

Considering that there have recently been lots of talks and discussions on characters with disabilities played by non-disabled performers, I guess the movie will probably receive some understandable criticism, but Grant Rosenmeyer, who also participated in the production of the film, Ravi Patel, and Hayden Szeto give good performances with considerable chemistry among them, and they also are supported well by several fine veteran performers around them. While Gabourey Sidibe, who has steadily advanced since her Oscar-nominated debut performance in “Precious” (2009), holds her own small place around her three male co-stars, Janeane Garofalo has a good wordless moment when her character comes to know more about her dear son through one of his video clips, and C.S. Lee and Jennifer Jelsema are also well-cast as Matt’s concerned parents.

Overall, “Come As You Are” is quite predictable and conventional in its drive course, but it fairly works well on the whole in terms of story and characters, and I enjoyed the engaging performances from its fine main cast members. Although I am still not so sure about how it will be regarded by the audiences with disabilities similar to the ones presented in the film, it has its heart in the right place at least, and I hope they will appreciate that.

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Buffaloed (2019) ☆☆☆(3/4): Who can stop her?

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I could not help but root for the plucky heroine of Tanya Wexler’s new comedy film “Buffaloed”. Sure, what this young lady does as reaching for her big ambitious American dream is morally and legally questionable to say the least, but it is lots of fun to watch how she really tries hard to overcome obstacles in front of her, and the movie works as a cheerfully sharp satire on the nasty and sleazy side of American capitalism.

At the beginning, we meet its heroine Peggy Dhal (Zoey Deutch), and she tells us about how much she has aspired to be rich and successful since she was very young. Even during that time, she gave a confident presentation on how she would succeed and get out of her shabby neighborhood in Buffalo, New York, and she sincerely believed that she could accomplish anything as long as she was equipped with will and determination, but, alas, things did not go particularly well for her. She yearned for good higher education, but her economically struggling family could not help her much, and that eventually led her to an illegal deed which consequently resulted in several years of imprisonment.

Nevertheless, Peggy still does not lose any of her hope and dream. During her prison time, she teaches herself more on economics, and she also gets some real lessons from some other inmates including Frances (Lusia Strus) and Backer (Lorrie Odom). When she is subsequently released on parole, the situation still does not look that optimistic for her with lots of debts on her and her family, but she is determined to do anything for solving this financial trouble, and then there comes an opportunity when she happens to get a phone call from a debt collector on one day. Discerning how clumsy the debt collector is, she comes to think that she can do better, so she promptly goes to where that debt collector works, and that is how she comes to meet a sleazy guy nicknamed Wizz (Jai Courtney), who has been handling a bunch of debt collectors in his small but successful agency.

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Although she has no experience in debt collection, Peggy impresses Wizz enough to get hired by him, and we accordingly get a brief presentation on how Wizz and his employees work. Once he purchases small and big debts from local banks at reasonably cheap price, his employees are demanded to collect money from those debtors as quick and much as possible, and Wizz’s agency has been so far the most lucrative one in the town despite several competing agencies.

Because she is promised that her debt will be erased if she becomes the No.1 employee within a short period of time, Peggy diligently and enthusiastically work on a bunch of debtors assigned to her, and she soon finds that she is natural for this job. No matter how much those debtors try to make an excuse or evasion, she always finds a way to corner and push them hard, and it does not take much for her to surpass many other employees in Wizz’s agency.

However, once she sees how much she has been disregarded by Wizz and his cronies, Peggy decides to start her own debt collection agency, and the movie cheerfully depicts how she establishes her agency step by step. After getting some fund from her caring brother, she recruits a number of various employees including Frances and Backer, and she and they soon commence their work at a place which was initially a cheap beauty parlor.

Thanks to her employees’ diligent efforts coupled with her cutthroat business tactics, Peggy’s agency quickly rises with growing success and profit, and that is surely not welcomed much by Wizz, who is willing to stop his new competitor by any means necessary. After an incident reminiscent of that immortal bloody moment of “Carrie” (1976), Peggy becomes more determined to beat Wizz, and she soon finds herself resorting to dirty tactics, while also making others around her more concerned than before.

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Although the mood eventually becomes a little more serious as already announced to us via the opening scene, the movie does not lose any of cheerful spirit under Wexler’s good direction, and the overall result feels like a more amiable version of “The Wolf of Wall Street” (2013). It goes without saying that Peggy is often selfish and opportunistic as driven by greed and ambition, but we still like her nonetheless as understanding what makes her tick, and it certainly helps that Zoey Deutch, who was quite hysterical in her scene-stealing supporting turn in “Zombieland: Double Tap” (2019), imbues her character with lots of charm and pluck. We do not approve of everything Peggy did in the name of success, but we still root for her, and you will probably smile when she is ready to go further after getting another valuable life lesson.

The other main cast members surrounding Deutch are also fine in their respective supporting roles. While Lorrie Odom and Lusia Strus are colorful as Peggy’s colleagues/friends, Jermaine Fowler, Judy Greer, and Noah Reid provide some gravitas to the story as the more sensible characters in the film, and Jai Courtney, who has never been better than here in my humble opinion, has a juicy fun with his obnoxious alpha male character.

Although the screenplay by Brian Sacca, who incidentally plays a minor supporting character in the film, delivers the ending in a way a little too easy, it still remains sharp and funny enough to engage us, and Wexler, who previously delighted us with “Hysteria” (2011), deftly handles a number of good comic scenes including the ones involved with a certain kind of junk food. This is surely a lightweight stuff, but it is packed with enough spicy barbs to be savored, and I may want to taste its delicious moments again.

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Buñuel in the Labyrinth of the Turtles (2018) ☆☆☆(3/4): An animation film on Buñuel

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Spanish animation film “Buñuel in the Labyrinth of the Turtles” is the interesting presentation of Luis Buñuel at an early point in his life and career. While it may not surprise you that much if you are a longtime admirer of Buñuel’s works like me, the film is still compelling in its humorous depiction of the production process of a documentary film Buñuel and his colleagues struggled to make at that time, and it is even touching as we later come to see more of the importance of that documentary to Buñuel and his colleagues.

The film begins its story in Paris, 1930, when Buñuel shocked and enraged many audiences with his first feature film “L’Age d’Or” (1930). Although it may look relatively less striking than his great short film “Un Chien Andalou” (1929) at present, “L’Age d’Or” was regarded as something so controversial and subversive at that time that even the Vatican considered the excommunication of its producer as shown from a brief scene in the film, and, not so surprisingly, Buñuel subsequently found himself in trouble as no producer was particularly willing to work with him.

While Buñuel (voiced by Jorge Usón) struggles to move on with his life and career, he happens to receive an ethnographic book on the Lar Hurdes region of Spain, and he soon becomes interested in making a documentary in that region. Although Salvador Dalí, who previously worked with him “Un Chien Andalou”, refuses to give him any financial help, Ramon Acin, an anarchist sculptor who is another close friend of Buñuel, happens to be able to finance the production of the documentary after winning a lottery by chance, and they soon embark on the production process along with their writer Pierre Unik (voiced by Luis Enrique de Tomás) and their cinematographer Eli Lotar (voiced by Cyril Corral).

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During their first days in Lars Hurdes, the situation looks fairly promising although there are a number of obstacles for Buñuel and his colleagues. While they are allowed to stay in a small monastery outside a village called La Alberca, they always have to wake up early for shooting their documentary in a more impoverished and isolated area, and Acin is not that pleased as Buñuel casually spends a considerable portion of their modest production budget on several expensive things including a new car to transport them back and forth between their staying place and the shooting location.

When Buñuel and his colleagues arrive at a small community which is going to be their main place for shooting, they are shocked and dismayed to behold shabby and miserable human conditions observed from the residents. As they shoot one thing after another, the actual shots from their documentary are intercut with this process, and the resulting contrast between animation and live action film on the film is pretty striking to say the least.

While he and his colleagues try to make their documentary as realistic as possible, Buñuel does not care that much about being truthful, and we get several amusingly uncomfortable moments which show us how far he is willing to go for his artistic vision. At one point early in the story, he tries to shoot a chicken being brutally slaughtered, and, as shown from an actual clip from the documentary, he manages to capture the process vividly on the camera. In case of those two poor mountain goats, he willingly has them get cornered and then killed just because that will make the scene more dramatic, and, again, he surely gets what he wants in the end.

Of course, Buñuel comes to clash more with Acin, who gradually runs out of patience as Buñuel goes a bit too far at times. There eventually comes a point where Acin finally decides that enough is enough, but then Buñuel finds a way to continue the shooting of their documentary, and that leads to a seemingly sentimental moment which ends with a wryly humorous touch.

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Meanwhile, the film also explores a bit on Buñuel’s childhood period. While his wealthy father might have a role in making young Buñuel interested in art and cinema, he constantly remains to be a stern, disapproving figure hovering over Buñuel’s subconsciousness, and Buñuel is still yearning for the approval and recognition from him. In case of his mother, we get a funny dream scene where she appears in front of him as a certain well-known holy figure, but I must say that I was a bit disappointed that the film does not delve that deep into Buñuel’s lifelong foot fetish, which, accordingly to him, was originated from none other than his mother’s foot.

Although the animation style of the film may look a bit too broad at first, Director/writer Salvador Simó, who adapted Fermín Solís “Buñuel en el laberinto de las tortugas” with Eligio R. Montero, did a commendable job of bringing enough style and mood to his film, and I enjoyed those occasional surreal moments which reflect well Buñuel’s artistic imagination and sensibility. I like a decidedly surrealistic scene showing elephants walking on their impossibly long legs, and I was also amused by a scene depicting Buñuel and his colleagues’ accidental encounter with a group of local disabled people.

In conclusion, “Buñuel in the Labyrinth of the Turtles” is an engaging glimpse into Buñuel’s life and career, and it did job well with care and respect. I wish it could show and tell more in longer running time, it still feels solid and sufficient on the whole, and it is definitely something you cannot miss if you have ever seen any of those interesting works of Buñuel.

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