Review: Rosewater

by Trevor Kirkendall

★★

“Rosewater” comes to us from first time writer/director Jon Stewart. Yes, that Jon Stewart, host of the long running satirical news program on Comedy Central “The Daily Show.” I must admit, I didn’t think that Stewart had what it takes to tackle such a deep and important topic in his first film. But after watching “Rosewater,” I think I was right because it seems he may have been a little in over his head.

The film stars Gael García Bernal as Maziar Bahari, an Iranian born journalist living and working from England. While working for Newsweek, he’s sent to Tehran in June of 2009 to cover the presidential elections, but was ultimately detained and charged with being a spy. Stewart was drawn to this story because Bahari was actually interviewed on “The Daily Show” just a few days prior to being detained in Tehran. They used his appearance on his show against him during his interrogations not fully understanding that he was on a comedy show. I guess Stewart must have felt partly to blame for it, even though he wasn’t the one asking Bahari any question.

Nevertheless, Stewart has documented Bahari’s story on film and adapted Bahari’s own memoirs into the film’s screenplay. Having never wrote or directed a film before, “Rosewater” definitely feels like the work of a novice. Stewart’s artist choices to deliver exposition are a bit misguided. He’s also stretching for material for the subplots as well. Once Bahari is detained, the film hits the breaks and nearly comes to a complete stop. Stewart stretches the runtime out with a couple unneeded subplots that feature Bahari talking to his deceased father and sister in his cell.  An interesting choice, but one that never lives up to what it probably could have been.

And what could “Rosewater” have been? It probably could have been a very powerful commentary on the 2009 Iranian election protests. It could have been a good explanation to American – or any Western nation – audiences about the politics of the nation. The news broadcasts show the nation’s people excited about being involved in a free and open election, but their elections are just barely free. Why is that? Stewart had a platform to show us, but he never does.

Instead, we’re raced through the elections and through the protests to get Bahari into jail. But once he’s there, we’re just treated to one scene after another of interrogations with his captor Javadi (Kim Bodnia). Bahrain never knew his name, so we just goes by how the man always seems to smell: like fresh rosewater. They don’t want Bahari harmed because they need his face to be broadcast over Iranian television denouncing the West. Therefore, they can’t physically torture him, only talk to him. This is interesting for the first few scenes, but it’s certainly not enough to hold over an audience for the entire duration of a feature length film. The movie only runs a 103-minutes, but it feels so much longer than that.

It's certainly an interesting topic to tackle for a first feature, but there are many areas in which the film could have been improved. I hope that Stewart chooses to continue making movies rather than spend his entire career behind the Comedy Central news desk. He does show his talent from behind the camera, but the subject matter that makes up "Rosewater" is a bit tough for a first timer. But Stewart certainly showed he's not afraid to tackle such a serious subject despite spending the lion's share of his entire career as a comedian. If he doesn't continue to make films, I hope they do illustrate important issues such as this. He's ability to tell a story will improve over time. Not everyone can hit a home run on their first at-bat in the Majors. Stewart falls into this category, but he's not alone. 

Review: Whiplash

by Trevor Kirkendall

★★★★

As a former high school band member – or “band dork” as we were so affectionately known as amongst the popular cliques – and as a one-semester music major in college, there are many elements about “Whiplash” to which I can relate. Musicians practice and practice and practice to be the best they can be on their instruments. And when they’ve finished practicing, they practice some more. It’s a ritual that will drive just about anyone insane. What’s worse is when you have an instructor or teacher who demands perfection at all times. You may think you’re giving it your all, but they’re telling you you’re not. Whether or not we can consider this to be bullying is a completely different question. Instead, “Whiplash” focuses on the emotional challenges of striving for perfection.

Andrew Neiman (Miles Teller) wants to be one of the great jazz drummers of all time, like Buddy Rich. He’s enrolled at the Shaffer Music Conservatory in New York because it’s the best music school in the country. There, he catches the eye of Terence Fletcher (J.K. Simmons), the director of the school’s top jazz ensemble. He invites Andrew to try out for a new alternate drummer spot in the band. Andrew knows that studying with Fletcher and performing in his band is exactly where he needs to be.

But it’s not all that easy for Andrew. Fletcher is a cruel and unyielding teacher. He demands absolute perfection for all members of his ensemble, including Andrew on his first day. Not only is Fletcher demeaning to his students, he’s also physically abusive. He’s not afraid to slap Andrew right across the face when Andrew can’t tell him if he’s just slightly ahead or behind the tempo. He’s also not afraid to hurl chairs across the room at Andrew either. But Andrew knows he must play in this band. So he dumps his girlfriend (Melissa Benoist) and moves out of his dorm room and into a practice room. There, he practices every chance he gets – through blood, sweat and tears, literally – to become one of the greats, and to try and win over Fletcher.

“Whiplash” is one hell of a relentless movie going experience. It’s a ride unlike anything else you’ll see this year. I’m sure there’s some naysayer out there who will try and tell me that some big budget CGI infested sequel or franchise installment is a better experience, but that’s just not the case. This film comes from 29-year old writer/director Damien Chazelle. After one picture, I can already tell you he’s going to be someone you’ll want to pay attention to.

What Chazelle has delivered with “Whiplash” is something that’s so mature and so polished that it never comes across as a first feature. It’s so well refined that you could tell me Soderbergh directed it and I probably would have believed you. His script is razor sharp. Screenwriters are told to get in their stories late and get out early. They’re told to trim as much fat off the story as possible, and to tell the tale with the bare minimum. Most writers ignore these rules – see, or rather don’t see “Transformers” 2, 3 or 4 for this example – but Chazelle has followed these tips and it works extraordinarily well. The film begins and ends at just the right times. And everything in between is utterly necessary in order for Chazelle to get his story told correctly.

Teller only continues to impress with each performance. This will go down as the performance for which all future roles will be compared. It’s mind blowing how good he is in this film. Every time he steps behind the drum kit, he delivers such a powerful performance that leaves you breathless. He may not actually be playing these drum parts in real life – I’d be equally shocked and impressed to find out he did – but he sells it to you nonetheless.

While Teller’s character is the star of the story, Simmons is the star of “Whiplash” without question. Simmons has spent years on screen in minor roles in all kinds of films. The superhero fans will no doubt remember him from the Sam Raimi “Spider-Man” films J. Jonah Jameson. He also seems to appear in just about every recent film from the Coen Brothers and Jason Reitman too. He’s always memorable in all of his roles, but you’re never ever going to forget him after watching this triumphant performance in “Whiplash.” From the first frame he appears in till his last, Simmons commands every square inch of the silver screen in a way I haven’t seen any actor do in many, many years. He’s a textbook antagonist. In his mind only, nothing he does or says is wrong. And you hate him for all his actions. There are no likable qualities about this villain. He is mean and downright vile. Simmons doesn’t want you to like him either. In fact, he wants you to hate him with every ounce of energy you have. He makes it very easy to do this. This is a historic cinematic performance; one for the ages.

“Whiplash” is a transfixing cinematic experience. It’s a blistering film full of intense and emotionally bruising moments that will stay with you long after you’ve left the theater. The most impressive attribute of this film is its ability to take your breath away at multiple times. This is most true during the film’s final 10-minute climax. Not only does it leave you breathless, but also leaves you sweating alongside our hero and begging for more once it’s over. It's not often that I’m rendered speechless after a film, but I don’t think I said more than four or five words after leaving the screening. “Whiplash” is absolutely entrancing and unlike anything else you’ll see this year.

Review: Birdman

by Trevor Kirkendall

★★★★

“Birdman” is a true original. It’s a rambunctious dark comedy that plays more like the lucid dream of a schizophrenic rather than a straightforward story. And I loved everything about it.

Michael Keaton stars as Riggan Thompson, a washed up Hollywood movie star whose most famous days are behind him. He’s most famous for playing a superhero named Birdman in a highly successful franchise. He’s trying to reinvent his career by adapting, directing and starring in his own play on Broadway. As the story begins, Riggan is having difficulties with one of his supporting actors. An accident gives Riggan the chance to replace him. Thanks to help from his costar Lesley (Naomi Watts) and his agent/best friend Jake (Zach Galifianakis) Riggan is able to get Broadway superstar Mike Shiner (Edward Norton) in his play.

Shiner’s presence initially invigorates Riggan, but subsequently starts driving him insane. Shiner is here to steal the show away because he’s the top Broadway star and despises actors from Hollywood. Shiner also complicates matters when he shows an interest in Riggan’s daughter Sam (Emma Stone), who is trying to restart her own life following a bit of a rough patch. 

Talk about a film that just bursting with originality. "Birdman" is an exhilarating film to watch thanks to the wonderful and very original vision of filmmaker Alejandro González Iñárritu. Originality is nothing new for Iñárritu. He’s directed some films that were very innovative at the time of their release, such as the fantastic “Amores Perros” and the shuffled up narrative “21 Grams.” This is yet another masterpiece to be added to his very successful career. His script is brilliantly crafted alongside his recent writing partners Nicolás Giacobone and Armando Bo, and new writer Alexander Dinelaris. There isn’t one second of uninteresting dialogue or unnecessary filler.

The film is frantically paced and refuses to let up. It’s nearly two hours in length, but it never feels like it. The frantic pace is punctuated by a spastic jazz score from Antonio Sanchez, a Mexican jazz drummer who has never composed for film before. The music sets the tone for the film better than anything else I’ve seen this year. It’s as unyielding as the script.

One of the most original ideas about “Birdman” is the decision to make the film appear as though it’s been captured in one seamless take. Emmanuel Lubezki is the cinematographer tasked to make this happen, and he’s pulled it off beautifully. Lubezki is the cinematographer who captured all the breathtaking shots from last year’s “Gravity,” and I believe he has outdone himself here. Both are certainly challenging films to make, but “Birdman” doesn’t have the same reliance on CGI as “Gravity.” With the exception of a couple cuts right at the beginning and the end, the entire bulk of the narrative shows no visible cuts. The camera is in a constant state of motion.

The seamlessness of the film’s camera movements can also be attributed to film editors Douglas Crise and Stephen Mirrione, both who have worked with Iñárritu before, most notably on “Babel.” These editors have hidden all the cuts to make the film come across as one free flowing image. Sure, there are films that have been made where everything was captured in just one take, but this type of narrative wouldn’t have worked like that. “Birdman” is eye candy for anyone who loves a well-photographed film.

Keaton has never been better. He’s had some memorable roles throughout his career, but “Birdman” will go down as his greatest performance. He’s a tormented man who just wants to be remembered for something great. We can all relate to that, right? But I’m not sure from where Keaton was able to pull such a tortured performance. Maybe he really feels this way after playing such characters as Batman and Beetlejuice? It’s probably difficult for casting directors to look at him and think audiences won’t be able take him seriously. It’s not like Keaton is in multiple movies each year. It might be very difficult for him. If that’s where this darkness is coming from, then this is the perfect role for him to tackle. He’s mesmerizing to watch.

The rest of the cast turn in equally fantastic performances that help make this one of the best ensembles assembled this year. Stone turns in a career-best performance as Keaton’s equally tormented daughter. She’ll have a lot to live up to moving forward in her career. Norton is turns in a memorable performance for the first time in a long time. It’s hard to identify a primary antagonist in the story, but Norton makes a good case and he excels at it. The scenes with him and Keaton are among the film’s most memorable. Even Galifianakis leaves behind his usual comedic shtick and actually plays the role. While his appearance isn’t altered in any way, he’s unrecognizable in his role thanks to such a solid performance.

“Birdman” is such an exhilarating ride and one of the year’s best films. This film could have easily been made just as straightforward as any other film, but it's Iñárritu’s artistic vision that makes this film so much more enjoyable. There’s a distinct amount of electricity running through this movie that’s missing in so many others. Cinema is supposed to be an emotionally moving visual art form, and so many filmmakers have forgotten this. But not Iñárritu. He continues to outdo himself time and time again. “Birdman” is his best work. And it's Keaton's best work. And it's one of the best films of 2014. 

Review: Laggies

by Trevor Kirkendall

★★★

Movies like “Laggies” make me hopeful for the future of cinema. Here we have a brand new screenwriter and an emerging director. People like to point the lack of talented women working in Hollywood, and they make an excellent point. Hollywood seems to have a misplaced aversion to hiring women in creative roles. It can’t be because of the lack of talent though. There are plenty of talented filmmakers working in the independent scene just waiting for that big call. Case in point, Lynn Shelton’s “Laggies,” a small yet very well done indie comedy.

“Laggies” follows Megan (Keira Knightley), a young lady in her mid-to-late twenties who never quite grew out of high school. She lives with her photographer boyfriend Anthony (Mark Webber) who would like to see her get a job, but doesn’t really have to courage to force her into it. Megan is just content with spinning one of those wooden advertisement signs in front of her father Ed’s (Jeff Garlin) accounting firm. Even her best friend Allison (Ellie Kemper) is concerned about her attitude toward life. Everyone just thinks she needs to grow up.

One night, Anthony proposes to her unexpectedly. Megan doesn’t know how to handle it, so she wanders off into the night and meets Annika (Chloë Grace Moretz), a high school girl looking for booze with her friends. She finds that she enjoys hanging out with them more than her boring grown up friends. She sees an opening to get away from her life for a while by telling Anthony she’s going to a career building seminar out of town. But instead of going, she moves in with Annika and her single dad Craig (Sam Rockwell). She hopes that hanging out with Annika and her crazy friend Misty (Kaitlyn Dever) will help her figure out what she wants to do with her life. But she finds out she might actually have more in common with Craig than Annika and her friends. 

“Laggies” is both funny and a genuinely heartfelt film. It’s an accurate portrayal of today’s twenty-somethings who experience what can only be called a quarter-life crisis. I know, because I’m only a handful of years removed from being there myself. The difference between Megan and myself is I actively worked. Megan does nothing else other than watch TV at her parent’s house rather than looking for a job. Let’s be honest, I would rather be doing that but people have to work.

Director Shelton’s handling of the subject is spot on. She understands the unique dilemmas of both her lead characters and is able to portray them from an unbiased perspective. We are, in turn, able to empathize equally with both Megan and Annika despite their age difference. And maybe the age differences between them and the viewer, in some cases.

Shelton’s job is made much easier thanks to an incredibly polished script from Andrea Seigel. For her first script, Seigel chose what appears to be a pretty personal topic for herself. It’s as well crafted as some of the better scripts to come out this year. All the characters compliment one another, including those in the minor roles. There’s no extra fat to trim off of this screenplay. Everything flows seamlessly: each scene, each sequence and each act.

“Laggies” is a very enjoyable comedy, but it’s not without its own minor faults. It is a pretty straightforward story, and doesn’t leave the audience with much to ponder about. That isn’t always a bad thing, per se, but it probably won’t be one of those movies you think about a year or two down the road. But I think the one thing we can take away from “Laggies” is that Shelton and Seigel are very refined storytellers who have an unlimited amount of potential in them. Whether or not they work together again remains to be seen. But if “Laggies” is any indication on what they’re both individually capable of achieving, we’re in for some remarkable films from the two of them.