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Film and the Arts
March '23 Digital Week II
- Details
- Parent Category: Film and the Arts
- Category: Reviews
- Published on Friday, 24 March 2023 00:18
- Written by Kevin Filipski
In-Theater/Streaming Releases of the Week
Inside
(Focus Features)
Willem Dafoe is pretty much the whole show in this claustrophobic story of a robber who gets trapped inside a high-tech apartment while stealing precious artworks when the electronic exits fail—and the owner, always traveling, never returns.
Director Vasilis Katsoupis and writer Ben Hopkinsan’s clever but unpleasant look at isolation and mental disintegration has unsettling moments of unease, but once Dafoe is inside his cage, there are only so many variations on survival mode before a certain torpor sets in—for the viewer as well as the protagonist. Maybe a 30-minute short would have been more pointedly disturbing, but Dafoe gives it his all, retaining interest despite the singleminded narrative.
(Uncork'd Entertainment)
Director April Wright traveled the U.S. to check in on the health of one of the last bastions of independent moviegoing, particularly in the wake of the pandemic: the drive-in. She finds a patient on its last legs but still hanging in there despite all the obstacles in its way.
Visiting 11 locations from north to south and coast to coast. Wright soaks up a lot of local color in places like the suburbs of Buffalo, where the Transit Drive-In—a place I went to many times growing up—still going. Nostalgia permeates this fascinating trip through Americana.
The Magic Flute
(Shout Studios)
Florian Sigl’s misbegotten update-cum-adaptation of Mozart’s classic opera reimagines its heroes, heroines and villains through the eyes of a young music student, who drops into the fairy-tale world conjured by librettist Emanuel Schikaneder.
There are memorable moments, thanks to some dazzling visual flourishes; too bad that the music (sung in English) doesn’t come off particularly well—only the fine French soprano Sabine Devieilhe perfectly nails the classic Queen of the Night aria. And bookending the film with mediocre pop tunes says more about the filmmakers than about Mozart.
(Roadside Attractions)
Jane Fonda and Lily Tomlin have gotten a lot of recent mileage from their comedically inspired pairing in the Netflix sitcom Grace and Frankie: first with 80 for Brady and now teaming for this intermittently funny black comedy-revenge pic about two women attending their longtime friend’s funeral to confront her unruly, prickly widower.
Tomlin and Fonda get great mileage out of writer-director Paul Weitz’s serviceable but clichéd premise, Malcolm McDowell enlivens the stock part of the bad hubby, and the movie’s relative brevity (80 minutes) helps keep it from jumping the shark before it predictably but satisfyingly ends.
4K/UHD Release of the Week
Rocky—The Knockout Collection
(Warner Bros)
The original Rocky, winner of the 1976 best picture Oscar and directed with precision by John G. Avildsen, remains the ultimate rags to (almost) riches fairy tale nearly a half-century later. Too bad its sequels got progressively more gimmicky, from II’s perfectly plausible rematch with Apollo Creed to III’s comic version of fighting Mr. T (as Clubber Lang) to IV’s “us vs. them” Cold War battle with Russian Ivan Drago. Stallone becomes less appealing with each successive movie, while Talia Shire—heartbreaking in the original—has little to do as the stories progress.
Still, there are those always exciting boxing sequences. This set brings together the first four films—and a director’s cut of IV, for their first foray onto UHD, looking superlatively grainy throughout. An extra Blu-ray disc collects the extras, mostly from the original movie but also a new, hour-long Making of Rocky vs. Drago: Keep Punching, with Stallone himself as our guide.
Leonor Will Never Die
(Music Box Films)
Marika Ramirez Escobar’s frivolous if fun feature follows Leonor, retired from the movie business, who dusts off an old script—and, after she is knocked on the head by a falling TV, actually enters her own screen story. There’s cleverness galore, but the initially diverting maneuvering between Leonor’s real and scripted lives—slyly shown in different aspect ratios—soon becomes repetitive.
So, even though Sheila Francisco is a wonderful Leonor, her movie (like Inside) might have made a more rewarding short. There’s an extremely good hi-def transfer; extras are Escobar’s commentary, interview and short film as well as a making-of featurette.
Let It Be Morning
(Cohen Media)
As in earlier works like his breakthrough, The Band’s Visit, writer-director Eran Kolirin’s latest audacious film walks a tightrope between black comedy and outright tragedy; Palestinian-born Israeli citizen Sami, returning to his hometown from Jerusalem for his brother’s wedding—and where he reunites with his estranged wife Mira, whom he’s cheating on with a colleague—finds himself stuck when the military authorities suddenly begin building a wall as part of a local blockade.
Kolirin incisively finds both humor and horror in this realistic but patently absurd situation, which doubles as a pointed satire of Israeli-Palestinian relations. The superb cast is led by Alex Bacri as the put-upon Sami and Juna Suleiman as the spirited Mira.
Goliath
(Distrib Films US)
Part preachy but exceptionally enthralling, Frédéric Tellier’s eco-thriller savvily introduces several characters—an environmental lawyer fighting for victims, a slick lobbyist for a chemical conglomerate, and a woman whose husband’s fatal illness has been caused by chemicals in the soil—to tell the complex story of how wary governments try to split the difference between safety and capitalism.
A few cringy moments take a backseat to the exciting confrontations of these wildly disparate (and often desperate) people, enacted compellingly by a cast led by Gilles Lellouche (lawyer), Pierre Niney (lobbyist) and Emmanuelle Bercot and the great Marie Gillian as women personally affected by corporate treachery and thuggery.
CD Release of the Week
L’Amant Anonyme—Joseph Bologne, Chevalier de Saint-Georges
(Cedille)
Recordings of works by a remarkable musician and composer, Joseph Bologne, Chevalier de Saint-Georges, are filling a hole in part of our music history: a Black man from Guadeloupe (then a French colony), Bologne was born to an enslaved 16-year-old in 1745 and was considered the “Black Mozart” by his contemporaries for his versatility as an instrumentalist and facility as a composer.
His attractive operatic work has been resurrected by the enterprising Haymarket Opera Company; the well-crafted music includes beguiling ballet interludes and lovely singing lines for a cast that’s headlined by the gorgeous-sounding soprano Nicole Cabell. Conductor Craig Trompeter leads a stylish performance spread out over two CDs, with a third disc eliminating the plentiful dialogue if you just want to concentrate on the lovely music. It’s all housed in a beautifully designed package.
For 25 Years, Joe Hurley has Produced His All-Star Irish Rock Revue With NY’s Finest
- Details
- Parent Category: Film and the Arts
- Category: Reviews
- Published on Wednesday, 22 March 2023 14:16
- Written by Bruce Alexander & Brad Balfour
Photo by Bruce Alexander
Joe Hurley’s 25th Anniversary All-Star Irish Rock Revue
Friday, March 17, 2023
6-8 pm
City Winery
25 11th Ave. (at 15th St.)
New York, NY
646-751-6033
A St. Pat’s Day celebration took place in City Winery’s main space with veteran rocker and producer Joe Hurley and his band, Rogue’s March. They were joined by what seemed like a cast of thousands of NYC Stars coming together to sing The Great Irish Songbook.
Founded in 2008 by Michael Dorf, City Winery is more than a music venue — it is a winery, restaurant, fine wine bar and private event space. Recently re-located to Pier 57 on the Hudson River in New York, it has excellent views of the Little Island NYC, is near the Whitney Museum, Chelsea Market, and the High Line. The location delivers a unique culinary and cultural experience for urban wine enthusiasts passionate about music. And as a venue for events—a place for happy hours, family reunions, and birthday parties. — it hosts live events most nights from concerts to comedy shows as well as including Joe Hurley with his All-Star Irish Rock Revue.
The dapper Hurley led his all-star cast of singers and musicians in performing a selection of classic Irish songs — both traditional and those by contemporary composers. Performers included NY1 news reporter Roger Clark, who let loose with a rocking stage presence and led the grand finale rendition of Van Morrison’s “Gloria.” Another great New York rocker, Willie Nile, performed the late poet/performer Jim Carroll’s “The People That Died” — a song that should not be forgotten. Mike Fortunate did a killer version of Dexy’s Midnight Runners’ “Come On Eileen.”
Sheryl Marshall, whose husband was telling stories of Soho New York in the ’70s while his wife performed, provided a soulful presence to the musical festivities. Guitarist Mark Bosch — once a member of Bowie-produced Ian Hunter’s band — kept trying to edge his way in during Clark’s unstoppable punk dancing stage bombast — but the green-clad rocker held his own.
UK comic hero, the bald-headed Stephen Frost, R&B singer Carlton Smith, Austrian exotic dancer Anna Copa Cabanna, accordion player Kenny Margolis and former Meatloaf singer Ellen Foley were among the many hitting the stage. All were keeping it real for the entire show –especially legendary NYC singer Laura Cantrell. And the list goes on — Sage Leopoid of Panik Flower, Tiffany Lyons of Slyboots, James Maddock and Ricky Byrd, the guitarist from Joan Jett’s band. All jammed it up with fine renditions of songs from U2 to Thin Lizzy and The Pogues and many more.
It was a packed house with everyone dancing and singing in celebration of Saint Patty’s Day. And there was no better MC and singer than Joe Hurley to make it all happen for what became a three-hour long extravaganza.
Film Series Review—“Jeanne Moreau, Cinéaste” at Film Forum
- Details
- Parent Category: Film and the Arts
- Category: Reviews
- Published on Friday, 17 March 2023 22:35
- Written by Kevin Filipski
Jeanne Moreau, Cinéaste
Through March 23, 2023
Film Forum
209 West Houston Street, Manhattan
filmforum.org
The series Jeanne Moreau, Actrice, at Film Forum for the past two weeks, was a superb reminder of how seminal Moreau was onscreen, playing so many memorable roles in films by Francois Truffaut (Jules and Jim), Luis Bunuel (Diary of a Chambermaid), Louis Malle (The Lovers, Elevator to the Gallows), and Michelangelo Antonioni (La Notte).
The quintessential French woman onscreen, Moreau was sophisticated and sensible, intelligent and sensual. But her brilliance wasn’t relegated to merely acting, as Film Forum’s current series, Jeanne Moreau, Cineaste, collects the trio of films she directed between 1976 and 1984 to give viewers the opportunity to watch her develop her own directorial voice.
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| Lumière |
The three films are features Lumière (1976) and The Adolescent (1979) as well as a documentary, Lillian Gish (1984). Her first film, Lumière, stars Moreau as a middle-aged actress relaxing at her rural estate with three good friends, also actresses. Gentle and modest, the film at times is too casual in its observation of the intersecting relationships and attendant rivalries, affections and jealousies. But Moreau, thanks to excellent acting from her quartet and the judicious use of flashbacks, creates an insinuating portrait of the complications of womanhood.
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| The Adolescent |
The same could be said for The Adolescent, another low-key character study about complex female relationships. The protagonist, Marie, is a 13-year-old who spends the summer of 1939 with her parents at her beloved grandmother’s home in a rural village. Moreau the writer and director sympathetically shows Marie’s childish nature, budding sexuality and the growing rift between her father and mother—who soon begins an affair with the local doctor, whom Marie also has an unrequited crush on. Although the great Simone Signoret is the grandmother, the astonishing young actress Laetitia Chauveau is rightly the focus of Moreau’s camera throughout.
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| Lillian Gish |
Moreau’s interview with a movie legend makes up the entire running time of Lillian Gish, a touching portrait of old Hollywood that also includes clips from Gish’s silent-film career—including D.W. Griffith’s early epics Birth of a Nation and Intolerance. Moreau’s warmth and Gish’s very presence make this a nice hour of nostalgia for film buffs.
NYC Theater Review—“The Sign in Sidney Brustein’s Window” with Oscar Isaac and Rachel Brosnahan at BAM
- Details
- Parent Category: Film and the Arts
- Category: Reviews
- Published on Tuesday, 14 March 2023 14:34
- Written by Kevin Filipski
The Sign in Sidney Brustein’s Window
Written by Lorraine Hansberry
Directed by Anne Kauffman
Performances through March 24, 2023
BAM Strong Harvey Theatre, 651 Fulton Street, Brooklyn, NY
bam.org
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| Rachel Brosnahan and Oscar Isaac in The Sign in Sidney Brustein's Window (photo: Julieta Cervantes) |
By turns amusing and melodramatic, cringy and tragic, Lorraine Hansberry’s sprawling The Sign in Sidney Brustein’s Window—the author’s follow to A Raisin in the Sun, which took Broadway by storm in 1959—is an intelligent but flawed mess that still feels relevant, six unsettling decades later.
Written in 1964 and set in a West Village flat, the play follows a couple, Sidney Brustein and his wife Iris, as they come to terms with the limits of their idealism. Sidney’s latest venture, running a small Village Voice-like weekly, takes the place of his most recent failure, running a nightclub. Iris is a failed actress still desperately hoping for her big break as she slings hash at a local diner. Their days and nights are filled with smoke, drink and ongoing arguments in which Sidney devastatingly insults his wife about her lack of either acting talent or true ideals, which he usually walks back.
When they’re not at each other’s throats, Sidney and Iris welcome guests to their apartment in a revolving-door fashion, akin to a sitcom. Alton, a young radical who’s also a light-skinned Black man; David, a brooding playwright from the upstairs apartment; Wally, another longtime radical who’s running for city council; Max, a colleague who designs the the new weekly’s cover for Sidney; and Iris’ sisters—the older and seemingly straitlaced Mavis, and the younger Gloria, a “model” in Florida—all hover around the couple, each entering or exiting so Hansberry can show another angle of the couple’s volatile relationship along with the limits of being a real liberal.
As in A Raisin in the Sun, Hansberry treats serious subject matter with a light touch—not superficially but also not ponderously. The problem with The Sign in Sidney Brustein’s Window is that, unlike Raisin’s laser focus, it encompasses so much—idealism, racism, sexism, misogyny, political corruption, for starters—that it shortchanges itself. Supposedly, Hansberry might have tweaked parts of Brustein if she wasn’t battling the pancreatic cancer that would kill her at age 34 as the play’s first Broadway production was closing.
It’s rarely been rarely staged since, instead accumulating the baggage of a white elephant in intervening 60 years. Anne Kaufmann, who directed a production in Chicago a few years ago, does the honors in Brooklyn, with a nicely-paced rhythm that keeps things moving for a still too-long three hours. The particulars of the Brusteins’ world are well developed: the collective dots’ authentically lived-in set, Brenda Abbandandolo’s spot-on costumes, John Torres’ incisive lighting and Bray Poor’s imaginative sound design.
There’s the occasional directorial misstep, as when Kaufman has Iris and Mavis sit in front of the audience and watch the sad meeting between Sidney and Gloria that leads to an intimate kiss after she admits that Alton—who was head over heels in love with her—is cutting her off after discovering that she is a sex worker. Otherwise, Kaufmann makes sure that the actors honestly serve Hansberry’s words, and the harmonious supporting ensemble is led by Miriam Silverman, whose forceful Mavis emerges as fully-realized character rather than the stereotype she could have been in lesser hands.
Oscar Isaac’s Sidney and Rachel Brosnahan’s Iris are a believably authentic couple, imperfect but loving. The play’s final scene speaks shatteringly in its pauses and silences between the barely uttered words, as Isaac, Brosnahan and Kaufman get to the heart of the poetry in Hansberry’s uneven but compelling exploration of humanity.
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