Authors — Howard Feinstein
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Enter Olivia: Reed Morano’s Meadowland
The response to a student’s query about any deeper meaning behind a simple cigar — for which his professor had a signature fondness — was Freud’s possibly apocryphal, and definitely overly quoted, “Sometimes a cigar is just a cigar.” Right. At times, however, it isn’t. Anything can be either real or imaginary, or perhaps occupy a middle ground. That which lies in the in-between is often the most intriguing, revealing and nuanced of all. Working from a script by Chris Rossi that she significantly revised, Meadowland’s first-time director and very experienced cinematographer Reed Morano transports us and her female protagonist, […]
by Howard Feinstein on Oct 16, 2015 -
Rumble in the Jungle: Beasts of No Nation
While undergoing mandatory initiation — some of it colorfully ritualized, some deeply humiliating — into a unit of mostly adolescent anti-government soldiers in an unnamed, junta-led West African country, pre-teen Agu (Ghanaian first-timer Abraham Attah, a natural on camera) is deposited by these potential comrades-in-arms in a fully dug grave. “You must die before you are reborn!” booms the voice of the Commandant (Idris Elba, in a tour-de-force), a man who can be either extremely sweet or violent but not much in between. Beasts of No Nation, directed by genre-magician Cary Joji Fukunaga (Sin Nombre, Jane Eyre, True Detective), has […]
by Howard Feinstein on Oct 9, 2015 -
Pop Star: Partisan
With the dark, seriously accomplished Partisan, first-time Aussie feature director Ariel Kleiman and co-screenwriting partner Sarah Cyngler have created an eerie and disturbing but highly effective hybrid that resists pigeonholing. This is a special blend, which not only pushes the envelope but rips it open as well. They sidestepped the usual: the staple of the British boarding-school coming-of-ager; the familiar genre of films about disturbed children housed in government and private institutions; and the regularly reinvented category of urban juvenile gang thrillers. Partisan is a most welcome black sheep. The film is not only about kiddies stuck in a cult; it is […]
by Howard Feinstein on Oct 2, 2015 -
Roofless: Ramin Bahrani’s 99 Homes
“America doesn’t bail out losers,” real-estate-loophole master practitioner Rick Carver (Michael Shannon) tells victim-turned-protégé Dennis Nash (Andrew Garfield). “This nation is rigged for winners.” He proceeds to milk Noah’s ark for a metaphor. “I’m not going to drown.” With rapid visuals, pounding music, characters constantly in motion, montages of exploiters in action, and his usual astute observations of processes that enable the marring of innocents, Ramin Bahrani (Goodbye Solo, Chop Shop, Man Push Cart) impeccably dramatizes the reality behind this cynical point of view. One that, as the the chasm between the 99% and the 1% widens, is especially valid […]
by Howard Feinstein on Sep 25, 2015 -
Festen: The New York Film Festival 2015
For the first time in recent memory, it’s extremely difficult to select the top of the crop at this 53rd edition of the New York Film Festival (September 26-October 11), a question of too many contenders. I am not taking into consideration the tentpole films that anchor the festival, or any big studio movies, like Spielberg’s Bridge of Spies. That’s another kettle of fish. Down below I list what I consider the crème de la crème (appropriate phrase, considering the usual Gallic slant) and review those titles briefly. Since they will all have commercial runs, I’ll be reviewing at length […]
by Howard Feinstein on Sep 25, 2015 -
Can I Get a Witness? Black Mass
According to the FBI’s former most wanted man (after Osama Bin Laden), Jimmy “Whitey” Bulger, notorious head of South Boston’s Irish-American Winter Hill Boys, ratting was the most heinous of offenses. Never mind that Jimmy (Johnny Depp) was a heartless killer and gangland powermonger: He considered loyalty a sacred bond. He did, however, define and redefine treachery to suit his own survival. He drew a distinction between his interpretations of informing — a business move in which he keeps the feds abreast of illegal actions in exchange for taking down the ruling North End Italian mob (whom he charmingly refers to […]
by Howard Feinstein on Sep 18, 2015 -
Think Piece: Listening
If only life stopped placing hurdles in their path, two heavily overqualified pals who study grad-school-level science in LA might complete an intensive private project so dear to them that they have shoved everything and everyone else aside. In Listening, longtime BFFs David (Thomas Stroppel) and Ryan (a superb Artie Ahr) are on the brink of completing a computerized electronic device that pushes debate on human behavior far beyond nature/nurture. Their invention skips directly to what could be called neuroture, the control of thought and action by unmediated stimulation of unguarded neurons in the brain. Free will occupies the space between […]
by Howard Feinstein on Sep 11, 2015 -
Railway Ties: The Golden Dream
Like us, objects and events can be photogenic–or not. Boxing matches, galloping horses, and speeding trains, for example, have proven ideal fodder for the motion-picture camera. The last of these subjects is also the oldest, going back to the pioneering Lumiere Brothers’ doc, The Arrival of a Train at La Ciotat. It was made and first shown in 1896, the first year that film was projected. The narrative of this 50-second actualité is simple. A train pulls into the station and stops; anonymous passengers disembark with the help of people standing on the platform, a few of whom then climb aboard. […]
by Howard Feinstein on Sep 4, 2015 -
Psyched: Alex Ross Perry’s Queen of Earth
In his compact, unnerving new chamber film Queen of Earth, Alex Ross Perry packs a potent, inventively off-key punch with his combo of a brilliant pre-credit emotional breakdown scene and the baroque calligraphy of the main title and the credits themselves upon its completion. He holds the face of the anguished Catherine (Elisabeth Moss) in tight close-up in the former, her hair mussed, tears and mascara forming rivulets that slowly cascade down her cheeks. Her interior pain is palpable. Off-camera, longtime boyfriend James (Kentucker Audley) tells her it’s all over, justifying his infidelity and assailing her “suffocating overreliance.” Some of […]
by Howard Feinstein on Aug 26, 2015 -
The Mommy Trek: Paul Weitz’s Grandma
“So I didn’t suffer for my art!” Feminist poet and lecturer Elle Reid (Lily Tomlin), an irreverent, confrontational carryover from the hippie era, yells defensively at Olivia (Judy Greer), a much younger former student of great promise as well as her girlfriend in a recent doomed relationship. The bitter ex has just aimed what in literary circles are insulting barbs at the seasoned author. “Writer-in-residence!” she screams outside the café where she is now waiting tables after abandoning her studies, much to Elle’s consternation. “Solipsist!” she adds to the sting. I did suffer for my art. Sort of, and not for […]
by Howard Feinstein on Aug 21, 2015
