“Teen Spirit” is a ‘been there, done that’ standard story of a young teenage girl who wants to break out of her humdrum existence by becoming a famous star. The pathway to stardom is an English talent contest called ‘Teen Spirit’. But she is a basic nobody who lives with her mother on the Isle of Wight (off the southern coast of England). She has a difficult to pronounce last name (her mother was from Poland). But she has a beautiful voice, even with little formal training. She wants to take on this contest, to see if she can conquer the world.

Violet Valenski (Elle Fanning) is that down-and-out farm girl, and her father left many years ago. She attends school and works at a bowling alley with her mother as a waitress. But she sings in the church choir and really breaks out in song when she feeding the pigs or tending to the horses. She finds out that the ‘Teen Spirit’ squad will be in town to select new contestants. She knows her mother will not let her go, so she finds a older guy who has heard her sing ballads at the local talent night in the bar. His name is Vlad (Zlatko Buric) and he knows that Violet could be a very amazing singer. He knows a bit about singing himself. He is a former world-famous opera star.

Violet makes the first cut, but she has to explain to her mother Marla (Agnieszka Grochowska) that she and Vlad are going to audition for ‘Teen Spirit’ for a second time. Her mother is quite angry that Violet did not come to her, and she has many suspicious about Vlad. Why does he look so disheveled, and why does he smell of alcohol? She has misgivings, but then somebody else is selected for the contestant from the Isle of Wight. So it appears that Violet will put her dreams on hold for a while longer. But there is a phone call, telling here that the other person was rejected for the show. Violet will have a pass to the final program in London to compete for the big show.

In London, Violet is ready to take on the competition. She is with Vlad, who has agreed to take her there as long as he becomes her manager. She is getting ready for the performance, and she meets one of the main leaders from the ‘Teen Spirit’ program. Her name is Jules (Rebecca Hall) and she thinks Violet could have quite a future. Even if she does not win the final competition, she offers Violet a nice record contract. Of course, she would have to dump Vlad. Jules would become her real manager, so that Violet could have all the doors opened for her…

There are conflicts and drunken fights, and televised competitions. There are people’s feeling that will be hurt, and a small town on the Isle of Wight who will ecstatic that a local girl is competing. There all sorts of things that you would normally think you would see in a movie like this. There are many fairly standard turn-of-events before the final announcement of the winner. And while that all goes on, Violet just keeps her eyes focused on what she could have if she wins the whole enchilada.

Max Minghella has taken a step out from being just a regular actor to becoming the writer and the director for “Teen Spirit”. His vision is one that has been done over and over again, and he adds very little that is new or refreshing. He does a competent job, but there is not an above average aspect to this movie. Elle Fanning is quite fetching in this role, and her voice is good enough to carry the weight of the role. She has a breathy intensity to her vocals that can be quite pleasing to the ear.  Zlatko Buric is pretty good as the down-on-his-luck former opera superstar. Rebecca Hall is also good in a very limited role.

Perhaps the best thing with this movie is that it can be paired with another movie coming out at the same time (“Her Smell”). So you can mix and mash-up these two movies as “Her Smells like Teen Spirit”…

MUSIC FEATURETTE

Watch how music producer Marius De Vries (La La Land) prepared Elle Fanning for her role in this new “Music” featurette:

This is an origin story unlike any other. What the filmmaker (award-winning director Garth Davis of ‘Lion’) is attempting to get across to the world, and he does a fair job of making his message clear, is that Mary Magdalene was a good human with substance. He does this especially with the summation at the end of his movie. Mary was a woman with great spiritual convictions who was not a prostitute but someone who followed Jesus, touched people in the name of Jesus and believed, as his apostles did. The title of the film alone may lead you to think that this is just another movie that’ll condemn and denigrate her, like so many before it has done. This feels different. It is different. It’s often said that Mary’s presence in Jesus’ life was that of a temptress. She was vilified as an adulterer to simply blame, as women often were, maybe still are.

However, at the end of ‘Mary Magdalene,’ there’s an epilogue that says Mary was present at the death, burial, and resurrection of Christ. That it was a popular misconception to even suggest she was a prostitute. More interestingly, in 2016, she was formally identified by the Vatican as an Apostle. She was their equal and the first messenger of the resurrection.

She was never truly recognized for her role in history. As the only woman amongst all of these men, she was made out to be, basically, a whore… to put it bluntly. ‘Mary Magdalene’ sets out to correct that.

We meet the young woman, played by Rooney Mara, when she’s living and working in a small fishing community. She’s about to be forced to marry someone with whom she doesn’t love, most likely, barely knows. Her father has ordered her to wed and being the sort of freethinking flower-child that she is, she bolts. Well, I got a little ahead of myself.

See, what happened is, she has seen, from afar, this Jesus fella (Joaquin Phoenix), who had gotten a lot of buzz about town. Naturally, she just had to check him out for herself.

Mary instantly likes what she sees. She’s very drawn to his charisma, his energy, and spirit. Who wouldn’t want to be around someone who loves life and spreads messages of goodwill and hope? Doesn’t hurt that he helps baptize people several times a day and therefore probably doesn’t smell of sheep dung constantly. He also promises those who follow him that a kingdom awaits them at the end of their journey. All things considered, many willingly and happily march with him toward Jerusalem, spreading the word of God and love along the way.

She wants in. The last straw for her is when her father insists there’s a demon living inside of her and almost drowns her in an attempt to force the demon out. He chillingly screams at her when she asks that she be allowed to marry on her how timeline. He accuses her of shaming her family. How dare she desire to be her own person, right? She discovers Jesus is leaving town in the morning to move onto the next so, here’s her chance. It’s now or never. She’s told she’ll never be allowed to return. Those terms are acceptable to her. She gets in line with the others, including Peter (Ejiofor) and Judas (Rahim).

Soon, she’s baptized by Jesus in what looks like water as cold as Lake Michigan in October. And now you know why actors are paid the big bucks. I would have been screaming for the green screen on that shot, but that’s me. Anyway, Jesus has asked they all spread his message to the people in his absence. ‘You go here while I get this group here,’ kind of thing. Word of what he’s capable of has gotten out so he’s swamped. Mary takes the job so seriously that she helps those who Peter cast as, ‘Beyond help.’ She comforts them, prays with them, gets them water and soothes them as they slip away into the great beyond. It’s here where Peter sees her true worth… and sees doubt in his own. He thought they were only to baptize those who could follow not waste time on those who couldn’t carry the load! He watches her show true mercy and is humbled by it.

There was something fascinating about what we see next. Jesus being hailed the Messiah. Rome catching word. His mother, the Virgin Mary, making her appearance. These things happen in the third and most intriguing act of the picture. The pacing picks up when we get here and observing Mary and Mary face one another… it seemed surreal. I’m not religious but was seduced by the idea of it. Mary gives Magdalene a bone-chilling warning to prepare herself for the loss. The words haunt her. The story doesn’t get into why Judas was who he was, only glosses over the fact that he sold Jesus out but does touch upon his guilt some in the end.

Except for the pacing and the absolutely gorgeous musical score that overpowered much of the intense dialogue, the movie, genuinely, captivated me. Mara does walk around with a dumbfounded look on her face throughout the flick that never really speaks of her maturity, but she was tender when she needed to be and had a strong presence.

Phoenix was heavy. He looked the part; acted the part. During the crucifixion, he became Jesus. He was so convincing, I’d believe we were watching a long-lost video of the historic event itself. This man who wanted only peace and love was killed for it. Incredible story. Deep film. Outstanding performance by Phoenix. A little bit of a yawner BUT, good for a matinee or cable watch. Curious? I wouldn’t miss it. Lover of music? I wouldn’t miss it. Joaquin Phoenix fan? Don’t even think about missing a chance to see this on the big screen.    

Opening today at the Harkins Shea 14 and the Mary D Fisher Theatre.

Before the film starts a card reads, ‘In 1922 Louise Brooks traveled from Wichita Kansas to New York City with a chaperone. Within a few years, she was to become one of the most famous film stars in the world.’ So, I had to look her up. This film is in fact inspired by a true story. Louise Brooks was a sensation up on the silver screen during the Jazz Age. Her film ‘Pandora’s Box’ was an instant classic.

In this film, Louise (Haley Lu Richardson) is headed toward New York. Her mother’s friend, Norma (McGovern) agrees to be the chaperone that accompanies her. She’s going to attend a dance class at a brilliant school. Being that she has only been in Kansas her entire life, Louise has no idea of the type of dangers that await an unsuspecting, pretty, young lady, especially the type who are spoiled and have something to prove. On the train on the first night, as Norma was sleeping, Louise slipped off and had dinner with a cute young man and his uncle in the dining car.  Louise isn’t pleased with Norma and she explains to Louise that dining alone with men could get her into trouble. It’s all in appearances. She tries to get Louise to understand that word can spread and, ‘Men don’t like candy that’s been unwrapped.’ This makes Louise laugh while Norma grows frustrated, but still, she continues trying to keep the girl straight.

On their first night in NY, Louise wants to go out, but Norma doesn’t allow her to. Dance is in the morning and she refuses to help her miss it. She takes her job seriously. By now, your eyebrow is raised and you’re curious as to what might Norma have missed when she was in her youth?

While Louise is in her dance class, Norma visits the old orphanage where she was first raised. She meets with a nun and asks if she could learn who her birth parents are. The nun tells her that all files are to be kept confidential. Norma may want to know who she is by knowing her parents but knowing she’s a child of God should be adequate enough. She tries several more times, pleading, but the sister will have nothing of it and Norma eventually leaves.

Back at dance class, the lively, independent, free-wheeling, Louise, catches the eyes of the teachers. Having left early, she heads to the soda fountain for a snack. She has caught the eye of a one Floyd (Burnap) from behind the counter, too.

When the film stays on her storyline, it’s cheerful, lighthearted and playful. When we dig into Norma’s life, one we see as less and less joyous or tranquil by the moment, we feel emptiness. The two characters are so undeniably different, it feels as if you’re jumping into two entirely different films when we hop back and forth between the storylines. To be honest, maybe two films would have been good, too. But we do learn some reasons for Norma’s negative, almost jealous attitude toward Louise having so much fun. The façade begins to crumble, and cracks show themselves as she goes back to the orphanage to try once again and retrieve her records. She finds herself engaged in a conversation with someone willing to help. He’s Joseph (Géza Röhrig). Too easily, but convenient to move the story along, with his help, she gets what she needs. After, she’s lighter… her shoulders have less baggage. Being that Norma and Joseph are now smitten with one another, we flashback to what’s wrong with Norma. FINALLY! Scenes involving her husband revealed that she has every reason to be sour toward love… and everything that goes with it. I won’t tell you what those are but there’s an incredibly intense scene where Norma confronts her husband with the kind of rage, you’d never expect Elizabeth McGovern to muster. Anger rears its ugly head again when she meets someone from her past, yet she chokes it down, once again burdening her shoulders.

Soon, Louise is going off on her own, but Norma is still there encouraging her through every moment. The future star tells her chaperone something that shocks her to her core but instead of stopping her from advancing and jumping in with what the advice of what she SHOULD do, Norma praises her charge on her strength and attempts to give her more. She’s good at keeping secrets, Norma. She attempts to steer but doesn’t sit in judgment of the direction the youngster is going. It reveals a lot about Norma’s character. She’s a good woman with good intentions. Regrettably, her morals keep her from her own happiness but as the film progresses, she does learn there’s more and when the moment comes, I’m happy to inform you she does seize an opportunity to have it all. It’s an ambitious move, but no one gets in Norma’s way when she wants something.

See ‘Chapparone’ for the characters, the acting, the history and for Blythe Danner who has one small but memorable scene. In Phoenix, see this exclusively at Harkins Shea 14.

The public deals with several incredibly weighty subjects. Mental illness, homelessness, lack of homeless shelters, the closing of libraries and the disconnect between public officials and the public. Regrettably, its delivery of these messages feels artificial, often strained. Writer/director Emilio Estevez (The Breakfast Club, Young Guns), who I expected to and was hoping would have a home run with this film, seems as unsure of himself behind the camera as he does in front of the camera. What he wants to say is necessary to hear and acknowledge and it’s important for us to consider but the script often feels stiff and farfetched as if it were Estevez himself who was legitimately concerned about how it would be perceived.

Stuart Goodson (Estevez) manages a branch of the Public Library in Cincinnati. He loves his job, loves the people who meander in the doors and loves books. Books are distinct and something tangible. When he needed something real, they helped him get sober. He tends to them the best he can when they’re defaced, which lately, are damaged with symbols of hate.

At the beginning of the narrative, we meet some of the homeless who like to come in not just to read, but to have somewhere to go, to feel a sense of community and to stay warm. As the shelters fill, they’re faced with fewer choices of where to stay in extreme weather. Estevez knows it’s important to show the library patrons in the best light possible, so we’re shown how kind-hearted and amusing they are, even mocking the situation in which they find themselves. After meeting the pompous public officials who want to oust them from their temporary home for the night, Christian Slater and Alec Baldwin, you’re on the side of Goodson’s customers even more.

On this particular day, nightfall hits and the homeless decide they’re not leaving. Some are veterans and feel the city owes them a place to sleep for the night. As people did on Wall Street, they choose to ‘Occupy’ the library. Under pressure from a pending lawsuit as it is, Goodson does his best to get them to leave, but the seventy or so people who simply want a roof over their heads and some heat for the night, aren’t going anywhere. When the story makes it to the city’s politicians and then to the news, the story gets blown up and suddenly… it’s a hostage situation?? As wannabe mayor Josh Davis (Slater) pushes the plot that Goodson is the bad guy, the very plot of the movie becomes somewhat ludicrous, to say the least.

After an hour into this two-hour movie, you’re not so much concerned for Goodson, even though Estevez is pushing you to, as you are the overall subject of the piece. The discord within the storyline of the homeless taking over a public library to stay warm is lost in filling our heads with humdrum backstories and the set-up for a trite love story that doesn’t fit. Don’t even get me started with how the homeless is characterized in this fictional account of who they are. We’re supposed to see them as the trampled and crushed… but why do they have to be depicted as psychotic, as well? That’s where this powerful theme is lost. Estevez wants to show you that humans can do better. Perhaps he should have led with that himself. 

*Check local listing for a theatre near you where you can view this film.

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Veteran actress of such remarkable films as, ‘The Big Chill,’ and ‘Being John Malkovich,’ Mary Kay Place, plays the principle role of, Diane, a woman fighting off her demons before it’s too late, in this hyper-focused study of regret.

‘Diane’ is the sad tale of an older woman in a small Massachusetts town who’s trying everything in her power to make up for the person she was in the past. She spent most of her life, casting away those who loved her for own selfish needs and is now trying desperately to please them… if they let her and if they’ll agree to her terms. She now feels the pain of losing people she once thought disposable as those around her disappear by choice or because they’ve been snatched by the cold, hard grip of death. She is doing everything she can to make up for her mistakes but not everyone is open to her desire for absolution and not everyone forgets.

She commits a lot of her free time performing charitable work such as feeding the homeless at the shelter and offering help whenever and wherever it’s needed. She spends a considerable amount of her time visiting her cousin, Donna (O’Connell), who’s in the hospital. She has cervical cancer and, feeling guilty for having wronged her when they were young women, Diane gives her most of her a lot of attention. However, the person Diane wants to help even more is the one most impervious to her overtures of altruism and goodwill. Her son, Brian, chillingly played Jake Lacy (Miss Sloane, How to Be Single). Brian is a drug attic who gets rather nasty with his mother constantly inserting herself into his life. As you watch this relationship unfold, you realize it’s Diane who has always needed help, never received any and needs some now more than ever. She showers him with the attention she always craved yet spoiled what they could have had when she ran off with Donna’s boyfriend, leaving young Brian behind.   

Produced by Martin Scorsese, written and directed by film critic and documentarian, Kent Jones (this is his first narrative feature film) ‘Diane’ was a shoo-in and ended up being a darling at the Tribeca Film Festival last year, where it won several awards. The film is a fascinating character study but not one to watch if you feel you are or are possibly on the verge of, depression. Jones purposely misleads with a timeline that’s all over the place, giving you the feeling of frustration and confusion on purpose. As those closest to her pass away, she reaches out to Brian more but then you see the real Diane on display. She draws a line in the sand when he and his new wife try to shove religion down her throat. Seems everyone has their limits. She feigns that all is well but losing him to religion is a war she knows she can’t win. Is it too late to win him back?

*In the Phoenix area, see this at Harkins Shea 14

“Storm Boy” is a new movie based on a 1963 book concerning a boy growing up in a wild section of Western Australia. There was a prior movie also created, so this is a reboot of that prior version. It is a coming-of-age story of a young boy who helps raise some orphaned pelicans back in the 1950’s.  The shots of the ocean and the beach and the surrounding wildlife make up a large part of the allure of this movie. Also, the boy meets and befriends an older aboriginal native who is wise in the ways of nature and in the ways of the human heart. The story line moves from the present time back to flashbacks in the 50’s, where the majority of the plot unfolds.

In present day Adelaide (Australia), there is an older man named Michael Kingley (Geoffrey Rush) who is there to vote on a business deal. The deal is for his son (Erik Thomson), who has taken over Michael’s business now that he is retired. But the local folks do not what this deal to go thru, including Michaels’ grand-daughter Maddy (Morgana Davies). The sale of land to a mining company would ruin the land, they all say. The vote gets delayed, and Michael begins to tell Maddy of his childhood – which was near Coorong National Park. That is a home to a large pelican nesting ground.

The young Michael (Finn Little) lived a simple life with his fisherman father, called ‘Hideaway’ Tom (Jai Courtney). They lived in a small shack on the beach, across from the nature preserve. Tow would take his small boat to off shore a ways to fish. He would sell his fish in the ‘big’ city of Adelaide, and he would very often need to extend his credit with the local stores. But they all knew that Tom was good man, even if he did keep to himself. Tom was just not same after his wife and young daughter were killed in a freak auto accident

Michael meets an aboriginal man named Fingerbone Bill (Trevor Jamieson). Bill is very wise in the ways of the land and the ocean and the storms. When Bill meets Michael, a pelican has just been shot by hunters. That means a storm will be coming soon. And it does come, to drench the beach and the town. After that, Bill called Michael “Storm Boy”.  The pelican mother that died left three orphan chicks, and Michael tries to raise all three of them. He calls them Mr Proud, Mr Ponder and Mr Percival. These little hatchlings grow until they eat most of the fish that Tom can bring home. So, when they are all grown up – they need to go.

Except that Mr Percival comes back, and he wants the easy life – not to fish for his own food. But there is a day when Tom is out on his little boat in a storm, and he becomes stranded. Michael and Fingerbone Bill find a way to get Mr Percival to fly out to Bill and drop a fishing line. The other end is connected to a stronger rope. Bill pulls the rope to himself, and then Michael and Bill haul him back onto land. The pelican has saved the day! Michael becomes a local hero, and Mr Percival is well known.

Michael grows up to build a huge empire, and now his son controls it. Michael and two of his old friends have enough control over the vote to postpone getting the deal put through. So the mining company will have to wait to tear up the land, or look elsewhere. But there is not much else to say about the plot, and the actual purpose is still unclear. Except that the photography and the visual vistas of the Western Australia are amazing to see. Even at a basic level, this movie is wonderful ad campaign for the tourist bureau in the Land Down-Under.

All the actors do a very reasonable job with the roles they have been given. The story is slow and there is not much in the way of plot movement. Young Michael never has a true antagonist – a person or thing that is against his. At times you think it could be the local hunters. Then you think is might be his father is against him. Then it almost turns into a movie where Nature is against him. But none of these actually follow through with being driving force for Michael.

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