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Hey, folks. Capone in Chicago here, with a few films that are making their way into art houses or coming out in limited release around America this week (maybe even taking up one whole screen at a multiplex near you). Do your part to support these films, or at least the good ones…

I'm fairly certain that director and co-writer Jason Reitman is attempting to make a film "of the now," something that explains the way human being communicate with, judge, destroy and test each other in this hyper-connected world that should make us all feel closer to one another but instead has made people more distanced and at odds than ever before. Based on the novel by Chad Kultgen and shot in and around Austin, Texas, MEN, WOMEN & CHILDREN pulls together an eclectic and talented cast of seasoned and younger actors playing parents and their teenage kids, and makes most of the them horrible or pathetic creatures whom you never feel anything for during the course of this film.

Shall we walk through some of the wonderful characters? There's a fame-whore cheerleader (Olivia Crocicchia), whose mother (Judy Greer) is taking and posting suggestive photos of her and posting them on a website clearly viewed almost entirely by pervy men. There's the couple (Adam Sandler and Rosemarie DeWitt) who are so bored in their marriage that the husband turns to prostitutes and the wife turns to an affair (with Dennis Haysbert) via, while their son can't get aroused when he has a chance to have sex with the aforementioned cheerleader because he's been watching online porn since he was 10. Meanwhile, her mother starts dating the father (Dean Norris) of one of the high school's football players (Ansel Elgort), who has just quit the team so he can devote more time to building up his online RPG world.

Elgort's character gets involved with a timid but rebellious girl (Kaitlyn Dever), whose mother (Jennifer Garner) monitors her every computer exchange and movement (via a GPS in the girl's phone) in an effort to protect her from predators and other male demons. Plus, there's another cheerleader (Elena Kampouris) with an eating disorder and an overwhelming desire to have her first sexual experience. Her father is played by J.K. Simmons, which is one of the few cool things in the film. Seeking to provide context and a sense that all of these broken people are connected spiritually somehow is a rather misplaced narration by Emma Thompson, who gets to say a lot of really dirty words, and talk about the Voyager interstellar mission and Carl Sagan.

As seems logical, Reitman (who adapted the book with Erin Cressida Wilson) opts to represent the online world visually with what are essentially pop-up windows showing texts, emails, photos, and other bits and pieces of what the internet has to offer. And while he gets a lot of that right, he's taken such a detached approach to his storytelling that I never got a sense that he cares about these characters any more than I did. The one exception to that are the Romeo and Juliet-like couple played by Elgort and Dever, who largely ignore the technological world when they're together in favor of romantic talks and cuddling. It sounds childish, I know, but the result is we actually get to know these two and begin to care about and root for their love to be given a chance to grow.

Elgort's character is deeply torn about his father's desire and pressure to play football, and his desire to live in his own world, populated by online characters and this wonderful new girl in his life. He has the added bonus of having his mother abandon him and his dad recently and not keep in touch outside of Facebook.

I was unexpectedly moved by the plight of Judy Greer's character, who seems to want nothing more than to be close to her daughter, who is a heartless, terrible human being, and allowed the girl's photos and website to get a bit out of hand—especially when she adds an "email about private photo session" button to the site. Her realization about the position she's put her daughter in is agonizing and necessary, and Greer plays this difficult character with about as much grace and dignity as she can muster (probably more than this woman deserves).

But so much of MEN, WOMEN & CHILDREN is just flat out unpleasant, between the idea of Sandler jerking off in his son's bedroom because that's where the only functioning computer is to a host of unthinking, unfeeling teens resorting to classic bullying techniques (cyber and otherwise) on each other. As someone who has a great deal of affection for all of Reitman's works over the years—with special points to UP IN THE AIR and YOUNG ADULT—I was searching the nether reaches of this movie, trying to find a glimmer of the filmmaker's sly, often dark, sense of humor or a his thoughtful portraits of human behavior.

There is an underlying belief throughout MEN, WOMEN & CHILDREN that all of these characters have deeper thoughts going on in their heads that they can't share with those around them because it would somehow be inappropriate or they'll be made fun of. But the sad fact is that I don't believe that; more specifically, Reitman doesn't convince me that's true. In one truly awful scene, Sandler and DeWitt have an exchange concerning their respective marital infractions that rings so false, I wanted to throw my shoe at the screen out of sheer disgust with how lazily that moment is written and executed. Sadly, variations on that reaction were common while I was watching this film.

The fact that Reitman rarely repeats himself in terms of his subject matter or even themes means that I don't suspect that MEN, WOMEN & CHILDREN marks some sort of shift into subpar filmmaking from him. I have no doubt he's got plenty of great movies yet to make (both as director and producer), but this one is going to go in the record books as a loss—of time and effort. In all likelihood, you'll leave the theater feeling empty and dirty, which seems oddly appropriate for this movie.

It's tough not to eventually fall for the subject of THE DOG, a rough-around-the-edges, slightly sickening documentary about the life and brief fame of John Wojtowicz, who in August 1972 robbed a Chase Manhattan bank in Brooklyn to get enough cash to pay for his male lover's sex change operation. The 14-hour ordeal resulted in a near riot of the thousands of spectators who gathered to watch the scenario play out and brought to light a great many gay-rights and gay discrimination issues in its wake. If this story sounds familiar, it should. Three years after the incident, the robbery and its colorful players were made into the acclaimed film DOG DAY AFTERNOON, with Al Pacino playing Wojtowicz. And hopefully now I have your attention.

When I use the word "sickening," I'm referring to the way the New York City media, police and the fine citizens of mid-'70s Brooklyn treated Wojtowicz and those close to him simply because he was gay—not that Wojtowicz was any kind of saint. Filmed over 10 years by co-directors Allison Berg and Frank Keraudren, THE DOG dives headfirst into his past (his mother still alive, alert and one of the most terrible human beings you'll ever hear speak the English language); the events leading up to the robbery; and the aftermath, which included a relatively short time in jail (six years) followed by Wojtowicz attempting to capitalize on the fame that the event and movie sparked.

Wojtowicz's health was in rapid decline during the final few years of interviews, and it's actually shocking to watch him lose weight and appear older than his mother by the end. But there's no getting around the fact that, despite all of his base desires and odd, stalker-like behavior with his male and female "wives," (he legally married a woman before a series of ceremonies with men) Wojtowicz (the nickname "the Dog" didn't seem to stick until after the movie) was a man of great complexities and an unstoppable passion for self-sabotage. And while it may take a while to warm to him, his course language, and his sometimes delusional view of the world, it's almost impossible not to be pulled into his life and all its dramas.

Co-directed by Allison Berg (a veteran of MTV's "Teen Mom 2") and Frank Keraudren (THE LAST CIGARETTE), THE DOG captures not only does its subject justice, but also paints an affectionate portrait of New York gay culture at the time, which was a combination of emerging pride and constant vigilance from homophobic attacks. The homosexual community didn't actually know how to handle Wojtowicz—some thought he was a terrible representative, while others were impressed and inspired with his living such an open lifestyle. The film gets it all right, and while there are a few contradictions is accounts of certain key events in Wojtowicz's life, that seems perfectly in line with the way he lived it. THE DOG is one of my favorite docs on the year so far.

Making sense out of chaos is one of the toughest jobs a documentary filmmaker has, especially when using mostly newer interviews about events that took place nearly 40 years ago. But director Rory Kennedy (the daughter of the late Robert Kennedy, who helmed GHOSTS OF ABU GHRAIB and ETHEL) has pieced together LAST DAYS IN VIETNAM, a gripping, heartbreaking and occasionally enraging account of the period leading up to the evacuation of Americans from Vietnam as the North Vietnamese Army descended toward the U.S. embassy in Saigon.

Detailing both the mood stateside, as the disgraced Nixon administration transitioned to the Ford regime, as well as the state of affairs as it appeared North and South Vietnam might be on the verge of peace, marking the end of the war, Kennedy talks to dozens of great subjects, both American and Vietnamese, those who made it out and those who didn't, who retell the story that culminated behind the walls of the embassy with thousands of Vietnamese attempting to get airlifted out via helicopter for fear of being captured or killed by the North Vietnamese for collaborating with Americans.

What emerges is a sometimes shocking account of Ambassador Graham Martin foolishly refusing to even consider the possibility that Saigon would be overrun until it was far too late to use an effective means to evacuate both American personal and the thousands of Vietnamese to working for the U.S. who also needed to get out. Various military types (mostly retired Navy and Marine officers) give vivid descriptions of the unprecedented sights and sounds while watching chopper after chopper land on their ships every 10 minutes or so, unloading entire families with no idea where they would go after this and only a single suitcase among them.

LAST DAYS IN VIETNAM finds stories in the smallest corners of Saigon where independent Vietnamese pilots would grab junky helicopters and pick up their own families to take them out to see whether waiting carriers would actually allow them to land. Since the many of these choppers were on one-way trips, the soldiers would then have to push the small vehicles off the side (you've likely seen the photos). The sheer volume of footage of these events is astounding. Yes, there were a great number of news crews on hand, but every story being told seems to have accompanying film, which is incredible.

For the most part, Kennedy avoids injecting or allowing too many opinions about the war itself into the film, which is fine since that's not really what the film is about. Her objective is about telling tales of making the most of a bungled mission, which means several soldiers ignored or disobeyed orders to save lives when those in command were too slow to respond.

Even the sneaky way the final Americans got on the last helicopter out is explored here, and the pacing of the storytelling is equal to any mission-based thriller out there, so kudos to editor Don Kleszy, who cut together this award-worthy chronicle. Kennedy's greatest achievement is putting a human face on events that are usually given a few seconds in any document of the Vietnam War. In particular, I was especially moved by interviews with Vietnamese men who did not get out (even though they were on the embassy property and were promised passage) and were eventually sent to re-education camps.

By keeping a professional distance but still focusing more on people than strictly the progression of events, Kennedy's LAST DAYS IN VIETNAM ends up becoming a very personal portrait of tragedy and heroism. The film is much more than a history lesson, but it's also a thorough and perfectly researched documentary that simply wants to tell its story and not be politicized. It's a truly fine effort, and a story that I'm guessing a lot of the under-30 crowd know nothing about, which is as strong an argument for viewing it as I can think of.

The one thing you should not expect from A GOOD MARRIAGE, based on a screenplay by Stephen King (adapted from his short story of the same name), are big scares. And while it's certainly not unheard of that a film based on a King story goes in a non-horror direction, when you discover that one of the lead characters of the film is a vicious serial killer, you maybe wonder what exactly you're getting into. That's a more complicated question than you may realize, but it's a fairly rewarding one if you're willing to drop your expectations and let the story run its course.

Staying fairly faithful to his story taken from the 2010 collection “Full Dark, No Stars,” A GOOD MARRIAGE uses the serial killer storyline to get at the true heart of a movie about knowing the person you're married to—or more to the point, not knowing them no matter how long you've been married. It's also a fascinating mystery, although the big question to be answered isn't who the serial killer is. We know that almost from the beginning when Darcy (the superb Joan Allen) discovers that her husband of 25 years, Bob (Anthony LaPaglia) is actually the serial killer known as "Beadie," who kidnaps women, brutally tortures and rapes them (fortunately, we are spared any of Bob's murderous actions, because these killings are not the point of the story, only the backdrop.), and sends their IDs to the police with a note from him.

Darcy and Bob have a life together that is happy, quaint and built on mutual interests like coin collecting. They have two grown children, including daughter Petra (Kristen Connolly from CABIN IN THE WOODS), who's about to get married, and their life together has become a series of routines (including one for sex) that they both seem happy with.

Darcy's big discovery of Bob's actions happens early in the film, and she's mortified, but for some reason she doesn't go to the police. Bob is out of town on business, but he figures out that she's found him out, and he does his best to explain his actions as being those of a man who has been infected by a great evil. He promises the he would never hurt her and that he's done killing, and after a strangely short time, she accepts this and things seemingly go back to normal. On the surface, Darcy seems so determined not to let Bob's activities destroy their family that she's willing to forgive and forget if things can just go back to normal. And in a strange way, I believe that a higher number of people than you might think would probably choose to do the same thing if they felt their lives weren't in danger.

Director Peter Askin (TRUMBO) and King have taken their cues from the actions and life of the BTK Killer, Dennis Rader, whose own family had no idea that he was a particularly nasty serial killer. It becomes clear at one point that Darcy hasn't so much forgotten or forgiven as much as she's tabled her husband's actions until after her daughter's wedding, which she doesn't want to spoil. But deal with it she does, make no mistake.

A GOOD MARRIAGE has a takes a couple of key turns that I did not see coming, including a third-act appearance by Stephen Lang as retired and sickly investigator Holt Ramsey who thinks he has the Beadie killings figured out and provides Darcy with much-needed validation that to not have seen what her husband was was not some flaw in her. (It should be noted that Lang is the only character in the film with a proper New England accent, despite the film taking place in Maine.)

Although their marriage sometimes borders on campy, Allen and LaPaglia (since I never watched "Without A Trace," I haven't seen this guy in years) are quite believable as this marriage-by-numbers couple whose illusion of a solid marriage is shattered by these revelations. King's observations on human behavior and motivations are scarily on point, and he develops a scenario between this couple that doesn't seem as outrageous or unbelievable as you think it might. The story is a minor effort from King, but it's also a terrific acting exercise for the leads, a thought-provoking morality play, and a loopy character study. If you're looking for something a lot different in the dramatic thriller vein, A GOOD MARRIAGE ought to do it.

-- Steve Prokopy
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