Insomnia File #45: The Pyramid (dir by Gary Kent)


What’s an Insomnia File? You know how some times you just can’t get any sleep and, at about three in the morning, you’ll find yourself watching whatever you can find on cable? This feature is all about those insomnia-inspired discoveries!

If you were having trouble getting to sleep at one in the morning, you could have turned over to TCM and watched the TCM Underground premiere of a low-budget oddity that was first released in 1976, The Pyramid.

The Pyramid is a collection of disjointed scenes, some of which are unsettling, some of which are rather amateurish, and some of which are oddly poignant.  It’s perhaps as strange a film as a film about hippies in Dallas could be.  The film opens in North Dallas, with a disturbing scene of an old man having a heart attack while driving his car and crashing into a school bus.  (As far as school bus crashes go, it was almost as disturbing as the one that would later open Dennis Hopper’s Out of the Blue.)  Two reporters show up to cover the carnage — supercool L.A. Ray (Ira Hawkins) and his cameraman, Chris Lowe (C.B. Brown).  In the style of Medium Cool, they’re both detached from the tragedy and the carnage around them.

The film moves on from the school bus crash, which is never again mentioned once L.A. and Chris file their story.  We get a series of scenes that may or may not be connected.  L.A. argues with a woman who might be his wife.  Chris wanders around Dallas and tries to film people talking about their lives.  At one point, Chris and L.A. drive through Dealey Plaza and Chris stares back at the Book Depository Building.  At a party, Chris tells a random woman that both Jesus and Richard Nixon were Capricorns.  L.A. and Chris smoke weed while driving around.  Later, they take part in a slow motion flag football game with a group of hippies.  An old man in a steam room suggests that everyone should imagine being dead.

Chris and L.A. stumble across a shoot out involving the police.  A young black man is gunned down by the cops.  L.A. spends several minutes loudly vomiting.  They go to an abandoned church that is sitting in the middle of the countryside and talk to an old man who says that he’s had religious visions.  Back at the station, Chris’s boss accuses Chris of shooting out-of-focus footage and accuses him of being pretentious.  Chris is fired.

L.A. disappears from the film for a while as Chris wanders around with his camera.  Chris interviews a hog farmer who is worried that he’s going to lose his hogs.  He covers a vacuous fashion show in the backyard of a Highland Park mansion.  In Oak Cliff, he stops to stare at a rooster.  (For the record, the Oak Cliff neighborhood of Dallas is famous for its roosters.)

Chris meets a “confrontational therapist” named Merleen (Tomi Barrett).  Merleen screams at a middle-aged man until the man starts screaming back, his entire body shaking as if he’s become possessed.  Chris meets with his friend Bubba and asks if this is the way that we want the world to be.  People gather underneath a makeshift pyramid.  An astronaut is interviewed about conducting ESP experiments in space.  The real-life suicide of newswoman Christine Chubbuck is crudely recreated and then not mentioned again.  The entire cast appears gathered around a pyramid and starts to sing.  Meanwhile, the sun rises over the Dallas skyline….

The Dallas skyline and the sun rising over it is a sight that’s often seen in this film.  As a Dallas native, I enjoyed that part of The Pyramid.  Even though the film was made long before I was even born, I still saw plenty of familiar sights in The Pyramid.  It’s rare that I get to watch a movie and yell out, “Hey, I’ve driven through that tunnel!”  That part of the movie was fun.

The Pyramid was an odd film.  Just from my own research, I discovered that The Pyramid was filmed over the course of at least two years.  If nothing else, this confirmed one of my main suspicions about the film.  Though production on the film started in either 1972 or 1973, it still features a recreation of Christine Chubbuck’s 1974 suicide.  That would seem to suggest that the film itself was kind of “made up” as things went along.  (It also potentially explains why the suicide is never again mentioned after it rather abruptly happens.)  That certainly explains why the film is such an episodic and disjointed experience.

What’s the film really about?  Your guess is as good as mine.  In many ways, it feels like a Texas version of Medium Cool but it’s also obvious that the filmmaker’s had grander goals in mind than just paying homage to Haskell Wexler’s classic portrait of alienation.  As you can tell by looking at the advertisement at the bottom of this review, The Pyramid was advertised as being “a positive mystical experience.”  The ad also states that “For this engagement, the theaters have been energized with pyramid power.”  The film suggests that we’re all connected to each other and that we need to seek out and embrace the positive, lest we become so consumed by all the negative and hate that we end up like Christine Chubbuck.  It’s a message that’s both naive and kind of sweet.  Whatever else can be said about this movie, it can’t be faulted for a lack of sincerity.

The Pyramid‘s a mess but I kind of liked it.  Of course, I have a weakness for low-budget passion projects.  Whatever flaws this film may have (and it has many), it’s obvious the someone really felt that they had something important to say with this film.  It’s not necessary to agree with the film’s conclusion to respect director Gary Kent’s commitment to bringing to life his own vision.  That said, it bears repeating that The Pyramid is definitely a flawed film.  The acting is frequently amateurish.  The sound quality is far from perfect.  The narrative momentum starts to seriously drag during the 2nd half of the film.  But it has its strengths too.  The shots of the Dallas skyline are impressive and there are a few cinema verite sequences that are interesting from a historical point of view.  (This film basically is a time capsule of the early 70s.)  In the end, it stays true to its own bizarre vision and there’s definitely something to be said for that.

Previous Insomnia Files:

  1. Story of Mankind
  2. Stag
  3. Love Is A Gun
  4. Nina Takes A Lover
  5. Black Ice
  6. Frogs For Snakes
  7. Fair Game
  8. From The Hip
  9. Born Killers
  10. Eye For An Eye
  11. Summer Catch
  12. Beyond the Law
  13. Spring Broke
  14. Promise
  15. George Wallace
  16. Kill The Messenger
  17. The Suburbans
  18. Only The Strong
  19. Great Expectations
  20. Casual Sex?
  21. Truth
  22. Insomina
  23. Death Do Us Part
  24. A Star is Born
  25. The Winning Season
  26. Rabbit Run
  27. Remember My Name
  28. The Arrangement
  29. Day of the Animals
  30. Still of The Night
  31. Arsenal
  32. Smooth Talk
  33. The Comedian
  34. The Minus Man
  35. Donnie Brasco
  36. Punchline
  37. Evita
  38. Six: The Mark Unleashed
  39. Disclosure
  40. The Spanish Prisoner
  41. Elektra
  42. Revenge
  43. Legend
  44. Cat Run

Here’s The International Trailer for Star Wars: The Rise of Skywalker!


Y’know, I could write up a thousand words or so about this trailer but let’s be honest.  That’s not why you clicked on this link.  You want to watch the damn trailer and I don’t blame you!  Here it is:

Anyway, I’m not going to pretend that I really understand every single thing that’s excited everyone else about this trailer.  I mean, it looks like an entertaining movie and Adam Driver looks really good as Kylo Ren but, as I’ve mentioned in the past, I’m not really a huge Star Wars person.  That said, this looks like it’ll have some exciting moments and I’m looking forward to seeing it.  I’m not looking forward to all the twitter debates about whether or not the film is actually good or not but that’s just a part of life.

 

 

Here Are The Hollywood Critics Association’s Nominations For The Best of 2019


The Hollywood Critics Association was, up until a few days ago, known as the Los Angeles Online Film Critics Society.  Perhaps realizing that HCA just plans looks better than LAOFCS, they announced yesterday that they were changing their name.

They also announced their nominees for the best of films and performances of 2019!  While the HCA may not be one of the major precursors of awards season, their nominations do give a fairly good picture of which films and performances are currently being touted as possible Oscar nominees.

And here they are:

BEST PICTURE

  • “1917”
  • “Booksmart”
  • “The Farewell”
  • “The Irishman”
  • “Joker”
  • “Jojo Rabbit”
  • “Parasite”
  • “Marriage Story”
  • “Once Upon a Time in Hollywood”
  • “Waves

BEST ACTOR

  • Adam Driver, “Marriage Story”
  • Eddie Murphy, “Dolemite Is My Name”
  • Joaquin Phoenix, “Joker”
  • Leonardo DiCaprio, “Once Upon a Time in Hollywood”
  • “Taron Egerton, “Rocketman”

BEST ACTRESS

  • Awkwafina, “The Farewell”
  • “Charlize Theron, “Bombshell”
  • Lupita Nyong’o, “Us”
  • Renée Zellweger, “Judy”
  • Scarlett Johansson, “Marriage Story”

BEST SUPPORTING ACTOR

  • Brad Pitt, “Once Upon a Time in Hollywood”
  • Joe Pesci, “The Irishman”
  • Shia LaBeouf, “Honey Boy”
  • Sterling K. Brown, “Waves”
  • Tom Hanks, “A Beautiful Day in the Neighborhood”

BEST SUPPORTING ACTRESS

  • Jennifer Lopez, “Hustlers”
  • Laura Dern, “Marriage Story”
  • Margot Robbie, “Once Upon a Time in Hollywood”
  • Taylor Russell, “Waves”
  • Zhao Shuzhen, “The Farewell”

BEST MALE DIRECTOR

  • Bong Joon-ho, “Parasite”
  • Martin Scorsese, “The Irishman”
  • Noah Baumbach, “Marriage Story”
  • Quentin Tarantino, “Once Upon a Time in Hollywood”
  • Taika Waititi, “Jojo Rabbit”

BEST FEMALE DIRECTOR

  • Alma Har’el, “Honey Boy”
  • Greta Gerwig, “Little Women”
  • Lorene Scafaria, “Hustlers”
  • Lulu Wang, “The Farewell”
  • Olivia Wilde, “Booksmart”

ORIGINAL SCREENPLAY

  • Bong Joon-ho & Han Jin-won, “Parasite”
  • Emily Halpern, Sarah Haskins, Susanna Fogel, & Katie Silberman, “Booksmart”
  • Lulu Wang, “The Farewell”
  • Noah Baumbach, “Marriage Story”
  • Rian Johnson, “Knives Out”

ADAPTED SCREENPLAY

  • Anthony McCarten, “The Two Popes”
  • Lorene Scafaria, “Hustlers”
  • Scott Silver and Todd Phillips, “Joker”
  • Steven Zailian, “The Irishman”
  • Taika Waititi, “Jojo Rabbit”

BEST PERFORMANCE BY AN ACTOR OR ACTRESS 23 AND UNDER

  • Kaitlyn Dever, “Booksmart”
  • Julia Butters, “Once Upon a Time in Hollywood”
  • Noah Jupe, “Honey Boy”
  • Roman Griffin Davis, “Jojo Rabbit”
  • Thomasin McKenzie, “Jojo Rabbit”

BREAKTHROUGH PERFORMANCE

  • Jessie Buckley, “Wild Rose”
  • Kelvin Harrison Jr., “Waves”
  • Paul Walter Hauser, “Richard Jewell”
  • Taylor Russell, “Waves”
  • Zack Gottsagen, “The Peanut Butter Falcon”

BEST CAST

  • “Avengers: Endgame”
  • “The Irishman”
  • “Knives Out”
  • “Once Upon a Time in Hollywood”
  • “Waves”

BEST FIRST FEATURE

  • “Brittany Runs a Marathon”
  • “Booksmart”
  • “Honey Boy”
  • “The Peanut Butter Falcon”
  • “Queen & Slim”

BEST INDEPENDENT FILM

  • “Booksmart”
  • “The Farewell”
  • “Honey Boy”
  • “Luce”
  • “Waves”

BEST ACTION/WAR FILM

  • “1917”
  • “Avengers: Endgame”
  • “Captain Marvel”
  • “Fast & Furious Presents: Hobbs & Shaw”
  • “John Wick: Chapter 3 — Parabellum”

BEST ANIMATED FILM

  • “Abominable”
  • “Frozen II”
  • “How to Train Your Dragon: The Hidden World”
  • “Missing Link”
  • “Toy Story 4”

BEST BLOCKBUSTER

  • “Avengers: Endgame”
  • “Captain Marvel”
  • “Once Upon a Time in Hollywood”
  • “Shazam!”
  • “Spider-Man: Far from Home”

BEST COMEDY/MUSICAL

  • “Booksmart”
  • “Blinded by the Light”
  • Dolemite Is My Name”
  • “Long Shot”
  • “Rocketman”

BEST DOCUMENTARY

  • “American Factory”
  • “Apollo 11”
  • “Hail Satan?”
  • “The Kingmaker”
  • “Love, Antosha”

BEST FOREIGN LANGUAGE FILM

  • “The Farewell”
  • “Monos”
  • “Pain & Glory”
  • “Parasite”
  • “Portrait of a Lady on Fire”

BEST HORROR FILM

  • “Crawl”
  • “Doctor Sleep”
  • “Midsommar”
  • “Ready or Not”
  • “Us”

BEST ANIMATED OR VFX PERFORMANCE

  • Josh Brolin, “Avengers: Endgame”
  • Robert De Niro, “The Irishman”
  • Rosa Salazar, “Alita: Battle Angel”
  • Ryan Reynolds, “Detective Pikachu”
  • Tom Hanks, “Toy Story 4”

BEST CINEMATOGRAPHY

  • Drew Daniel, “Waves”
  • Jarin Blaschke, “The Lighthouse”
  • Lawrence Sher, “Joker”
  • Robert Richardson, “Once Upon a Time in Hollywood”
  • Roger Deakins, “1917”

BEST COSTUME DESIGN

  • Arianne Phillips, “Once Upon a Time in Hollywood”
  • Julian Day, “Rocketman”
  • Jacqueline Durran, “Little Women”
  • Ruth E. Carter, “Dolemite Is My Name”
  • Mark Bridges, “Joker”

BEST EDITING

  • Fred Raskin, “Once Upon a Time in Hollywood”
  • Lee Smith, “1917”
  • Michael McCusker, “Ford v Ferrari”
  • Thelma Schoonmaker, ‘The Irishman”
  • Yang Jin-mo, “Parasite”

BEST HAIR AND MAKEUP

  • “Bombshell”
  • “Joker”
  • “Judy”
  • “Rocketman”
  • “The Irishman”

BEST ORIGINAL SONG

  • “Catchy Song” from “The Lego Movie: The Second Part”
  • “Glasgow” from “Wild Rose”
  • “(I’m Gonna) Love Me Again” from “Rocketman”
  • “Into the Unknown” from “Frozen II”
  • “Speechless” from “Aladdin”

BEST SCORE

  • Alexandre Desplat, “Little Women”
  • Hildur Guðnadóttir, “Joker”
  • Michael Abels, “Us”
  • Thomas Newman, “1917”
  • Trent Reznor and Atticus Ross, “Waves”

BEST STUNT WORK

  • “1917”
  • “Avengers: Endgame”
  • “Captain Marvel”
  • “Fast & Furious Presents: Hobbs & Shaw”
  • “John Wick: Chapter 3 — Parabellum”

BEST VISUAL EFFECTS

  • “1917”
  • “Ad Astra”
  • “Avengers: Endgame”
  • “Alita: Battle Angel”
  • “The Irishman”

The winners will announced in December!

Lisa Marie’s Oscar Predictions For November


Well, here we are!

We’re on the verge of the official start of Oscar season.  The Spirit Nominations have been announced.  The National Board of Review will be announcing their picks on December 3rd (I believe).  In just about a week from now, we’re going to be flooded by hundreds of different guilds and critics groups handing out awards and it will be a struggle to keep up.  With so many strong contenders this year, it’ll be interesting to see who actually emerges with the momentum.

(For instance, I don’t think anyone really took Mad Max: Fury Road seriously as an Oscar contender until it started sweeping all the critics groups in December.  And then we were all like, “Well, of course it’s going to be nominated for best picture….”)

With all that in mind, I’m going to go out on a limb with a few of my predictions below.  I mean, why not?  At this point, anything could happen.

To see how my thinking has evolved over time, be sure to check out my predictions for January, February, March, April, May, June, July, August, September, and October!

Without further ado, here are my predictions for November:

Best Picture

1917

Bombshell

The Irishman

Joker

Little Women

Marriage Story

Once Upon A Time In Hollywood

Parasite

Richard Jewell

Uncut Gems

Best Director

Noah Baumbach for Marriage Story

Joon-Ho Bong for Parasite

Clint Eastwood for Richard Jewell

Jay Roach for Bombshell

Martin Scorsese for The Irishman

Best Actor

Paul Walter Hauser in Richard Jewell

Eddie Murphy in Dolemite is My Name

Joaquin Phoenix in Joker

Jonathan Pryce in The Two Popes

Adam Sandler in Uncut Gems

Best Actress

Scarlett Johansson in Marriage Story

Saoirse Ronan in Little Women

Charlize Theron in Bombshell

Alfre Woodard in Clemency

Renee Zellweger in Judy

Best Supporting Actor

Jamie Foxx in Just Mercy

Anthony Hopkins in The Two Popes

Al Pacino in The Irishman

Joe Pesci in The Irishman

Brad Pitt in Once Upon A Time In Hollywood

Best Supporting Actress

Kathy Bates in Richard Jewell

Jennifer Lopez in Hustlers

Thomasin McKenzie in JoJo Rabbit

Margot Robbie in Bombshell

Zhao Shuzhen in The Farewell

 

Film Review: The Kitchen (dir by Andrea Berloff)


Eh.  Who cares?

I mean, seriously, do you understand what I mean?  Sometimes, you just see a film that leaves you feeling so indifferent that it’s a struggle to even think of anything to say about it.  That’s the way I feel about The Kitchen, which is neither bad enough to hatewatch nor good enough to recommend.  It’s a mediocre film, one that would be totally forgettable if not for a few remarkably inept choices made by the director and the cast.

Melissa McCarthy is Kathy Brennan.  Tiffany Haddish is Ruby O’Connell.  Elisabeth Moss is Claire Walsh.  The year is 1978 and all three of them live in the Hell’s Kitchen section of New York.  All three of them are also married to men who are involved with the Irish Mob.  When their husbands all get busted by the FBI and the new mob boss refuses to help the three women pay the bills, they team up and take over the neighborhood themselves.  With the help of their number one enforcer, Gabriel O’Malley (Domhnall Gleeson), the women prove that they can be even more ruthless than their husbands and their competitors.

And really, this should have been fun.  I’m all about girl power and I’m half-Irish.  If I was going to join the mob, I would definitely join the Irish Mob.  But, seriously, The Kitchen is not just a mess but it’s a dreadfully heavy-handed mess as well.  I knew that this film was going to suck as soon as James Brown started singing, “This is a man’s world,” over the opening credits because it was just such an obvious choice to go with.  To me, picking the song showed that the filmmakers weren’t really interested in giving too much thought to what the film was about.  Instead, they just said, “Hey, that’s a really on-the-nose choice!  Let’s go with it!”  About an hour later, Clare and Gabriel were making love while Carry On My Wayward Son blasted on the soundtrack and I found myself wondering if this film’s soundtrack was put together by listening to a random classic rock station and just jotting down the names of the first ten songs that were played.

Adding to the disappointing atmosphere of the film is a talented cast, everyone of whom appears to be acting in a different movie from everyone else.  Melissa McCarthy, for instance, gets all of the dramatic scenes but gives a comedic performance, one that feels like it’s been assembled from outtakes of the “awkward humor” bits of Ghostbusters.  Tiffany Haddish is ruthless but it’s a very one-note type of ruthlessness.  It gets boring after a while.  Elisabeth Moss gives the best performance out of the three but her character often seems to be pushed to the side.  Once Claire starts threatening to shoot people, you can tell that the film doesn’t know what to do with her.

You also have to feel bad for the supporting cast, all of whom deserve better than this film.  Annabella Sciorra plays a Mafia wife who walks up to the women in the middle of the street and tells them that they’re just like Gloria Steinem and, when she shows up, you can’t help but think that Sciorra would have been a better pick for the role of Kathy than Melissa McCarthy.  Then Common shows up as an FBI agent because, for some reason, Common always plays a member of law enforcement in films like this.  Margo Matindale gets a few good scenes as an Irish mafia matriarch but her character disappears from the film far too quickly.

It’s a mess of a film.  Kathy, Ruby, and Claire’s rise to power happens too abruptly to be credible and none of the subsequent betrayals make much sense.  Appropriately, for a gangster film, it’s violent but the violence is so repetitive that it gets a little bit dull after a while.  None of the characters are really memorable enough for their subsequent deaths to generate much of a reaction.  An hour into the film, you just find yourself thinking, “Oh, hey, that dude’s dead now.  Yay, I guess.”  Much like Captain Marvel, The Kitchen often seems to only be interested in girl power as a way to disguise the fact that the script kind of sucks.  I kept waiting for one of the male gangsters to shout, “The ancient prophecy said that I will be defeated by no man!,” just so Melissa McCarthy could respond, “Yes …. by no man!” It didn’t happen but maybe they’ll get around to it in the sequel.

Film Review: She Gods of Shark Reef (dir by Roger Corman)


Ah, Hawaii!

There is no state more beautiful than Hawaii and there are no people friendlier.  When I was 17 years old, my family spent a summer in Hawaii and it was one of the most wonderful experiences of my life.  I can’t swim to save my life and I have a morbid fear of drowning but, when I was in Hawaii, I happily walked into the ocean.  Not far into the ocean, of course.  But still, everyone in my family was amazed.  Of course, eventually I saw a jelly fish floating towards me and I screamed and ran back to the beach.  (After reaching the safety of the beach, I realized that the jelly fish was actually just seaweed but still, it was scary-looking!)  Hawaii is just the type of state that makes you appreciate life and take risks.

For instance, consider the two main characters in Roger Corman’s 1958 film, She Gods of Shark Reef.  Chris (Bill Cord) and Lee (Don Durant) are brothers who live in Hawaii.  Chris has blonde hair and a good attitude towards life.  Lee has dark hair and a criminal nature.  Chris loves the ocean.  Lee loves to run guns.  After Lee kills two men, he stows away on Chris’s boat.  When the boat then hits a storm, Chris and Lee wash up on the shores of an isolated beach.  It’s a beautiful island but all Lee can think about is how he can make money off of his current predicament.  Bad Lee, bad!

Anyway, it turns out that the island is inhabited by an all-female village of pearl divers.  Everyone is excited by the arrival of two handsome, shirtless men.  Everyone except for Queen Pua (Jeanne Gerson), who doesn’t trust either one of them and who doesn’t appear to want anyone in the world to be happy.  She’s especially upset when Chris interrupts a plan to sacrifice a villager to the shark gods of the sea.  Chris not only rescues but also falls in love with Mahia (Lisa Montell).

While Chris is busy falling in love, Lee is trying to figure out a way to escape from the island before a rescue boat arrives.  Lee, after all, is a wanted criminal and the last thing that he wants is to go from being shipwrecked to imprisoned.  Lee comes up with a plan for himself, his brother, and Mahia to escape the island.  However, Lee being Lee, he just can’t overcome his greedy nature.  As quickly becomes obvious, Karma is not only a bitch but it’s a shark as well.

She Gods of Shark Reef was directed by Roger Corman.  Though the film’s low budget is obvious in every frame, Corman wisely decided to concentrate on the island’s beauty as opposed to the movie’s somewhat haphazard story.  This is one of those films where the action stops for nearly five minutes so that Corman can film a hula dancer.  But you know what?  That’s okay!  The beauty of Hawaii and the surrounding ocean carry the film.  You don’t watch for the plot.  Instead, you watch for the blue water and the green grass and the vibrant skies.  This is a film that you watch for the island scenery and the sharks.  Both of them are quite nice.

Film Review: Crawl (dir by Alexandre Aja)


Crawl is a masterpiece of the pulp imagination.

Kaya Scodelario plays Haley Keller, a swimmer at the University of Florida who has a loving but troubled relationship with her father, Dave (Barry Pepper).  With a Category 5 hurricane on a collision course with the state of Florida,  everyone has been ordered to evacuate the area.  However, Haley is concerned that her father may not have gotten the message or, being the stubborn type that he is, he may have gotten the message and just decided to ignore it.  (I could totally relate to Haley’s frustration.  When Dallas got hit by tornadoes last month, my Dad not only refused to hide in his laundry room but he also called me up to inform me that he was sitting out on his back patio watching for any twisters.)  With the storm raging all around her, Haley searches for her father.  When she finally finds him, he’s in the crawlspace of their vacation home.  He’s unconscious.  He’s wounded.  And he’s surrounded by alligators!  It’s now up to Haley to save the lives of not only her father but also the family dog.  And, of course, she has to do all of this without getting eaten by an alligator herself.  Even worse, even if they do manage to outswim the alligators, Haley and Dave are still going to have to deal with the ever intensifying storm that is raging outside.

Crawl is an intense and exciting film, one that clocks in at a brisk 87 minutes and which has a lot more going on underneath the surface than might be readily apparent.  Yes, this is a film about two people and a dog who are trapped in a flooded crawlspace by a bunch of hungry alligators.  And yes, I’m sure that some people will be totally boring and predictable and make a big deal about the film’s environmental subtext.  (“How many more innocent people have to be eaten by alligators before we pass the Green New Deal!?”)  But, at its heart, this is a film about relationships.  Dave has always been hard on Haley.  Haley has always both loved and resented her father.  The flooding and subsequent alligator attacks may justify the pressure that Dave put on Haley to become the best but, even more importantly, it allows Haley to show that she actually is the best and that she doesn’t always need Dave to tell her what to do.  With Dave spending the majority of the film incapacitated in one way or the other, it’s often up to Haley to keep them both from getting eaten as they try to move from one flooded location to another.  It’s up to Haley to keep fighting and fight she does.  Haley never gives up and never surrenders and, for me, Crawl is a thousand times more empowering than Captain Marvel or any of the other more obviously heavy-handed “girl power” films that have come out this year.

As directed by Alexandra Aja, there’s not a single wasted moment to be found in Crawl.  He plunges straight into the story and the film is pretty much an unrelenting thrill ride from beginning to end.  Even more importantly, Aja is smart enough to trust his audience to be able to read between the lines of this genre film without necessarily beating the audience over the head with its message.  This is a film that can be appreciated as both a thriller and a heartfelt look at a difficult but loving relationship.  This is a grindhouse film with a heart, featuring a strong and committed performance from Kaya Scodelario.  As Haley is, again and again, forced to prove her strength, she becomes a stand-in for all of us.  Crawl is genre filmmaking at its best, along with being one of the most impressive films of 2019.

Here Are The 2019 Independent Spirit Award Nominees!


Here are the 2019 Indie Spirit Award nominations!  These nominations are meant to honor the best independent films of 2019 and their announcement marks the official beginning of awards season (at least as far as this sight is concerned!)  I hate to say it but I still need to see quite a few of the films nominated below so, for now, I’ll hold off on any editorial commentary.

For those looking for some sort of evidence of how the Oscar nominations can go, the Independent Spirit Awards can be an iffy precursor, just because several of the expensive, major studio contenders aren’t eligible to nominated.  (For instance, neither The Irishman nor Once Upon A Time In Hollywood were eligible.)  That said, for the record, the two biggest Spirit nominees are The Lighthouse and Uncut Gems.  Waves and The Farewell, which have been the center of considerable Oscar speculation, did not do as strongly in the nominations as many people apparently expected.  Make of that what you will!

Here are the nominees!

Best Supporting Female

  • Jennifer Lopez – HUSTLERS
  • Taylor Russell – WAVES
  • Zhao Shuzhen – THE FAREWELL
  • Lauren “Lolo” Spencer – GIVE ME LIBERTY
  • Octavia Spencer – LUCE
  • Best Supporting Male
  • Willem Dafoe – THE LIGHTHOUSE
  • Noah Jupe – HONEY BOY
  • Shia Labeouf – HONEY BOY
  • Jonathan Majors – THE LAST BLACK MAN IN SAN FRANCISCO
  • Wendell Pierce – BURNING CANE

Best Screenplay

  • Noah Baumbach – MARRIAGE STORY
  • Jason Begue, Shawn Snyder – TO DUST
  • Ronald Bronstein, Benny Safdie, Josh Safdie – UNCUT GEMS
  • Chinonye Chukwu – CLEMENCY
  • Tarell Alvin Mccraney – HIGH FLYING BIRD

Best First Screenplay

  • Fredrica Bailey, Stefon Bristol – SEE YOU YESTERDAY
  • Hannah Bos, Paul Thureen – DRIVEWAYS
  • Bridget Savage Cole, Danielle Krudy – BLOW THE MAN DOWN
  • Jocelyn Deboer, Dawn Luebbe – GREENER GRASS
  • James Montague, Craig W. Sanger – THE VAST OF NIGHT

Best Cinematography

  • Todd Banhazl – HUSTLERS
  • Jarin Blaschke – THE LIGHTHOUSE
  • Natasha Braier – HONEY BOY
  • Chananun Chotrungroj – THE THIRD WIFE
  • Pawel Pogorzelski – MIDSOMMAR

Best Editing

  • Julie Béziau – THE THIRD WIFE
  • Ronald Bronstein, Benny Safdie – UNCUT GEMS
  • Tyler L. Cook – SWORD OF TRUST
  • Louise Ford – THE LIGHTHOUSE
  • Kirill Mikhanovsky – GIVE ME LIBERTY

Best International Film

  • INVISIBLE LIFE, Brazil
  • LES MISERABLES, France
  • PARASITE, South Korea
  • PORTRAIT OF A LADY ON FIRE, France
  • RETABLO, Peru
  • THE SOUVENIR, United Kingdom

Best Documentary (Award given to the director and producer)

  • AMERICAN FACTORY
  • APOLLO 11
  • FOR SAMA
  • HONEYLAND
  • ISLAND OF THE HUNGRY GHOSTS

The John Cassavetes Award is presented to the best feature made for under $500,000 and is given to the writer, director, and producer. 2020 #SpiritAwards Nominees are:

  • BURNING CANE
  • COLEWELL
  • GIVE ME LIBERTY
  • PREMATURE
  • WILD NIGHTS WITH EMILY

Best Female Lead

  • Karen Allen – COLEWELL
  • Hong Chau – DRIVEWAYS
  • Elisabeth Moss – HER SMELL
  • Mary Kay Place – DIANE
  • Alfre Woodard – CLEMENCY
  • Renée Zellweger – JUDY

Best Male Lead 

  • Chris Galust – GIVE ME LIBERTY
  • Kelvin Harrison  Jr., – LUCE
  • Robert Pattinson – THE LIGHTHOUSE
  • Adam Sandler – UNCUT GEMS
  • Matthias Schoenaerts – THE MUSTANG

Best First Feature (Award given to the director and producer)

  • BOOKSMART
  • THE CLIMB
  • DIANE
  • THE LAST BLACK MAN IN SAN FRANCISCO
  • THE MUSTANG
  • SEE YOU YESTERDAY

Best Feature [award given to the producer(s)]

  • A HIDDEN LIFE
  • CLEMENCY
  • THE FAREWELL
  • MARRIAGE STORY
  • UNCUT GEMS

Best Director

  • Robert Eggers – THE LIGHTHOUSE
  • Alma Har’el – HONEY BOY
  • Julius Onah – LUCE
  • Benny Safdie, Josh Safdie – UNCUT GEMS
  • Lorene Scafaria – HUSTLERS

The Robert Altman Award is given to the ensemble cast, director & casting director of one film: MARRIAGE STORY – Noah Baumbach, Douglas Aibel, Francine Maisler, Alan Alda, Laura Dern, Adam Driver, Julie Hagerty, Scarlett Johansson, Ray Liotta, Azhy Robertson, Merritt Wever

The Truer Than Fiction Award, in its 25th year, is for emerging directors of non-fiction features and includes an unrestricted grant. Finalists:
Khalik Allah – BLACK MOTHER
Davy Rothbart – 17 BLOCKS
Nadia Shihab – JADDOLAND
Erick Stoll & Chase Whiteside – AMÉRICA

The Producers Award, now in its 23rd year, honors emerging producers who demonstrate creativity, tenacity and vision, despite highly limited resources. The award includes an unrestricted grant. These are the finalists:
Mollye Asher
Krista Parris
Ryan Zacarias

The Someone To Watch Award, in its 26th year, recognizes a talented filmmaker of singular vision and includes an unrestricted grant. The finalists are:
Rashaad Ernesto Green – PREMATURE
Ash Mayfair – THE THIRD WIFE
Joe Talbot – THE LAST BLACK MAN IN SAN FRANCISCO

The Bonnie Award will recognize a mid-career female director with a $50,000 unrestricted grant. The 2020 Film Independent #SpiritAwards Bonnie Award finalists are:
MarielleHeller
KellyReichardt
LuluWang

Documentary Review: Ernie & Joe: Crisis Cops (dir by Jennifer McShane)


The new documentary Ernie & Joe: Crisis Cops opens with police body cam footage of a man getting gunned down in the doorway of his own house.

Why was the man shot?  Because he was holding a screwdriver and he apparently didn’t drop it quickly enough.  Why were the police there in the first place?  They had been called by the man’s mother, who warned the police that her son was schizophrenic and that he was hearing voices.  When the cops shoot him, the man’s mother can be heard screaming in the background, begging the cops not to kill her son.  But kill him, they did.  He died for the crime of holding a screw driver while having mental health crisis.

Unfortunately, that’s a scenario the seems to be happening more and more frequently in the United States.  The police are trained to quickly take control of dangerous situations, to show no emotion, and to bark out orders.  How many times do we hear it whenever someone is gunned down for not immediately dropping whatever they were holding their hands?  “If he had just done what the police said, he’d still be alive.”  We hear that a lot but what if, like the man holding that screwdriver, you’re already hearing voices before the police start screaming at you to show them your hands.  What if you’re already disorientated and not sure what’s real and what’s not?  What then?

Unfortunately, it’s rare that the police are trained on how to deal with someone suffering from mental issues.  Ernie Stevens and Joe Smarro are two cops in San Antonio who are trying to change that.  As members of the SAPD’s mental health unit, Ernie and Joe are advocates for changing the way that the police deal with the most vulnerable members of society.  As they explain at one of their training sessions, the police academy will spend days teaching recruits how to draw and fire their weapon without devoting one minute to discussing how to deal with someone who might be hearing voices or who might be suicidal.  Ernie and Joe argue for compassion over brute force.  (Unfortunately, while some cops are seen nodding along with Ernie and Joe’s lessons, several others are seen smirking and rolling their eyes.)

Shot in the style of cinéma vérité, the film follows Ernie and Joe as they deal with cases and attempt to teach their fellow cops that brute force is not always the solution.  At one point, we watch them deal with someone who is threatening to jump off an overpass.  We also listen as Joe, a former Marne, discusses seeing a child blown up in Iraq and how he is still haunted by PTSD.  Ernie, meanwhile, is a family man who goes to church every Sunday and who is looking forward to soon retiring from police work.  The film follows them as they talk, joke, and occasionally bicker like an old married couple.  It’s a good, if somewhat low-key, documentary.  One watches it and hopes that other police departments will learn from San Anotnio’s success.

As I watched the film, I found myself thinking about Vanessa Marquez.  Vanessa was a former actress and a longtime member of the #TCMParty on twitter.  Vanessa was always very open about her own health struggles.  14 months ago, the police showed up at Vanessa’s house in South Pasadena, California.  They say they were doing a welfare check.  They say that Vanessa was in obvious mental distress and that Vanessa resisted their attempts to force her to go to the hospital to be checked out.  The police say that Vanessa pointed a BB gun at them.  Unfortunately, we only know what the police said happened but Vanessa is not her to tell her side of the story.  She was shot and killed.  At the time, it was big news but, as always happens, the media eventually moved on to something else.  After all this time, we still don’t know what really happened the day that Vanessa Marquez was killed in her own home.  We probably never will.

Watching the documentary, I found myself wondering what would have happened if it had been Ernie and Joe or, at the very least, a cop with a similar outlook and compassion who showed up at her house on that day.  Would Vanessa still be with us, watching movies on TCM and tweeting about her experiences in Hollywood?  No one can say for sure but I think she would be.

Hopefully, this documentary will serve as a wake up call for some people.  One need not lose their compassion just because they put on a uniform.  In fact, it’s essential that they don’t.

Documentary Review: American Relapse (dir by Adam Linkenhelt and Pat McGee)


In general, I usually don’t get much out of watching documentaries about drug addiction.  There’s a few reasons for this:

1. Drug addicts are depressing to watch.

2. Drug addicts are boring to listen to.

3. Since everyone knows that drug addiction is a bad thing and that there’s usually only two possible endings to a drug addict’s story — death or detox — it’s not like the majority of drug addiction documentaries have anything new or surprising to tell us.

4. I always find myself wondering about just how much the film crew is enabling the addicts that they’re following around.   There’s always a feeling that the documentary crew is more concerned with putting addicts on display as opposed to actually getting them the help that they need.  It’s hard not to feel that the point of many of these documentaries (and reality shows) is to invite the viewers to gawk and say, “My life may be messed up but at least I’m not passed out in the parking lot of Burger King with a syringe hanging out of my arm.”

Taking all that in mind, I do have to say that I found the new documentary, American Relapse, to be a disturbing and thought-provoking look at not only drug addiction but also the way that the rehab industry has become a big business in South Florida.  Frankie Holmes and Allie Severino are two former addicts who now work as — well, they’re referred to as being “Junkie Hunters,” though Allie objects to the term.  A junkie hunter is someone who searches the streets, befriends drug addicts, and eventually takes them to rehab.  Frankie and Allie both say that they’re in the business because they want to help people and save lives.  At the same time, they also admit that their industry is full of people who don’t care about the addicts that they’re claiming to help.  Instead, they’re simply looking for addicts who have good health insurance so that the rehab centers can make money off of treating them and the hunters can make money off of finding them.

As American Relapse demonstrates, there’s a lot of money to be made in rehab.  The simple act of giving someone a drug test can bring in a few hundred dollars, assuming that the person being tested has insurance.  For a rehab center to make money, there has got to be addicts to make money off of and every time that a formerly sober person relapses, that means even more money. It leads to a viscous cycle, one where people will help but only so much.

The film alternates between scenes explaining how the rehab industry works and scenes of Frankie and Allie working the streets and searching for addicts.  Frankie spends his time trying to get Conor into rehab.  Allie spends most of her time searching for a missing friend of her’s while also trying to help a homeless couple.  Adam Jasinski, who won Big Brother 9 and later went to prison for using his winnings to stet up a drug distribution network, shows up for a few minutes and acts like a dick.  Unfortunately, there are no happy endings.  By the end of the documentary, some people have died.  Others have vanished.  One of the “junkie hunters” has relapsed.

It’s certainly not a happy documentary.  It’s also a bit too long as well.  105 minutes is a long time to spend watching people who aren’t going anywhere.  (Then again, if you consider that Allie and Frankie spend their entire day doing just that, perhaps 105 minutes is not too much to ask.)  Like a lot of recent documentaries, the film occasionally tries to shake things up by inserting animation and clips from old educational films and the results are a bit mixed.  This documentary works best when it sticks to a cinéma vérité style.  Still, it’s a thought-provoking if rather depressing look at lives of intense desperation.