Dreams and Nightmares
Reviews and Comments by Ken Burke
I invite you to join me on a regular basis to see how my responses to current cinematic offerings compare to the critical establishment, which I’ll refer to as either the CCAL (Collective Critics at Large) when they’re supportive or the OCCU (Often Cranky Critics Universe) when they go negative.
Opening Chatter (no spoilers): The 2020 Presidential Election’s not officially over until all the litigation, certifications, Electoral College procedures (and Trump denials) are concluded, but, at the risk of losing any of my few remaining readers (for the 3 or 4 of you still out there, I continue to appreciate your support), I’ll just note with the above photo (of Oakland, CA’s Grand Lake Theater, to complement the one I always use very far below in the Other Cinema-Related Stuff section of each posting during this pandemic) for my satisfaction with what I’m sure will be the final result when the overall vote count as well as the individual states' tallies confirms a Biden victory. All I can hope for now is a reasonable, peaceful transition (as well as for a couple of Democrat victories in the Georgia Senate runoffs, early January 2021), but maybe we can put some of the current rancor behind us with this "editorial reply" from 1976 (sorry I couldn’t find a video clip, yet this text is quick to read; but, if you’d like to see Emily Litella actively pontificating, here she is). Now on to cinematic-matters.
Proxima (Alice Winocour, 2019) Not Rated
After a huge-posting-catastrophe when trying to get my Tenet review locked in place last week (at 12:30 AM that Thursday, as I was finishing formatting of the 12th paragraph of review commentary, some glitch happened that deleted all of the previous formatting—except for everything from the TCM suggestions on to the end—leaving me with only rough draft text in place, requiring another 3½ hours to get all of the paragraph justification-editing, colorization of the text, inserting of the links back together, so I was in no mood to focus on something this week which would take as much time and effort on my part as getting that Tenet review together), I wanted a straightforward film to explore (along with some easy time-travel-talk in the Short Takes section) so I chose a 2019 French story, Proxima (streaming on Amazon Prime [$6.99 for HD] and a few other platforms), about a female astronaut forced to choose between her dreams of accomplishments in the distant skies and the sorrow of her little daughter facing Mom’s departure for months; it’s a pleasure to watch, easy to follow (especially compared to Christopher Nolan’s latest excursion in cerebral-complexity), a very humanistic story not needing a lot of explanatory detail. I’ll acknowledge I now have further local theatrical options, but as coronavirus infections are on the rise again in my area (not as bad as in much of the rest of the globe, thankfully) I’m going to continue to be leery of enclosed indoor spaces shared with lots of others, so don’t be surprised if I continue to mostly focus on streaming options in the weeks ahead. Also, in the Short Takes section I’ll offer suggestions for some choices on the Turner Classic Movies channel (but too much extra text for line-justified-layout like you see here [Related Links stuff at each posting’s end is similarly-ragged], at least to be done by this burned-out-BlogSpot-drone—oh, ye tedious software!) along with my standard dose of industry-related-trivia.
Note: Thursday, November 12, 2020 12:19 AM This week I'm relieved to say everything posted properly; I hope to see you next week with intended reviews of Oscar-possibilities from streaming sources, Jungleland (Max Winkler), Sophia Loren in The Life Ahead (Edoardo Ponti). Time to sleep.
Here’s the trailer for Proxima:
(Use the full screen button in the image’s lower right to enlarge it; activate
that same button or use the “esc” keyboard key to return to normal size.)
If you can abide plot spoilers read on, but this blog’s intended for those who’ve seen the film or want to save some $. To help any of you who want to learn more details yet avoid those important plot-reveals I’ll identify any give-away sentences/sentence-clusters like this:
⇒The first and last words will be noted with arrows and red.⇐ OK, now continue on if you prefer.
What Happens: (As you consider watching Proxima, because this is a French film you know you’ll have to deal with reading subtitles if, like me, you’re not bilingual, but given this story’s about an international team heading into space a good bit of the dialogue’s in English anyway [along with a little Russian and German] so please don’t let reading some of what’s spoken be a hindrance to your decision about watching this uplifting movie.) We learn Frenchwoman Sarah Loreau (Eva Green) has dreamed of being an astronaut ever since she was a little girl, now has an opportunity to fulfill that quest by being chosen to be among 3 who will spend a year on the International Space Station in preparation for building a base on the moon from which to launch humanity’s first trip to Mars (along with American team-leader Mike Shannon [Matt Dillon], Russian Anton Ocheivsky [Aleksey Fateev]). However, complications arise both on the professional level—Mike’s not convinced she has the stamina for such a rigorous ordeal, would prefer to replace her with her male backup—and the personal one because she’s divorced from German astroscientist/husband Thomas Akerman (Lars Eidinger) but would have to call on him for the duration of her absence to care for their little daughter, Stella (Zélie Boulant-Lemesle), with the further stress of the girl upset she’ll be away from Mom for this long block of time (despite being proud of Sarah’s accomplishments so far). In fact, the training does take its toll on Sarah, but she pushes herself beyond her initial physical limitations, due to being in great shape, to accomplish the tasks put before her, with Mike slowly coming around to respect her resilience even as he’s still not sure she’s an ideal candidate for such an historic mission.
Thomas and Stella make their one-allowed-visit to the remote Star City training facility in Russia to see Sarah, but it ends badly as the child runs away from Mom, not willing to condone what’s she’s hesitant to accept, leaves with Dad before Sarah wakes up the next day. Eventually, though, Mike becomes more supportive, especially when Sarah’s devastated Thomas and Stella are given one more opportunity to visit but miss their flight so when they arrive she’s already in her final quarantine, can only talk to them from behind a glass wall. ⇒Stella’s upset Mom had promised Stella she’d let the girl see the blast-off-rocket before it launched so on the night before departure Sarah sneaks out of quarantine, gets Stella, takes her out to a field where they can see the looming vehicle, then brings the kid back to the compound, thoroughly disinfects herself in the showers, takes her place with the crew later in the morning with Thomas and Stella watching with the rest of the crowd as the rocket lifts off on its trajectory, with Sarah well-comforted in the capsule by a small photo of Stella.⇐
So What? After its release in France last year, Proxima’s won some nominations and awards at various festivals, was in consideration to be France’s entry in the Oscar race for Best International Feature Film, a great recognition for 2019's global releases (lost out to Le Misérables [Ladj Ly] for the nomination, which, in turn, lost to Parasite [Bong Joon-ho] for the prize), is just now coming to the U.S. for streaming ($6.99 in HD on Amazon Prime, also available on other platforms), certainly is unique in focusing on the difficulties women face in various national/global space programs unlike other fine films that concentrate on the pressures (The Right Stuff [Philip Kaufman, 1983]) or near-disasters (Apollo 13 [Ron Howard, 1995]) men must overcome while their wives maintain family stability back on Earth, let alone the triumphs men have had in conquering our moon (Apollo 11 [Todd Douglas Miller, 2019]), so to have a story (even a fictional one) that humanely addresses what a woman faces both from resentment by some of her male colleagues (not to mention Sarah’s mother who told her being an astronaut is no job for girls, along with Sarah’s superior, Wendy Hauer [Sandra Hüller], who agrees to help look after Stella but voices her own concerns about Sarah being part of this lengthy expedition) and guilt due to assumptions about abandoning her near-universal-"job" of homefront duties while her spouse makes the headlines (as with Mike’s wife, Naomi [Nancy Tate], seeing after their 2 young sons back in Houston while her husband’s far away in outer space) is a welcome addition to narratives we’ve seen previously about the challenges of extraterrestrial-travel, adding these seemingly-mundane-but-emotionally-demanding-domestic-considerations to the slim catalogue of a woman triumphing in deadly-offworld-conditions such as Dr. Ryan Stone (Sandra Bullock) finally making it back to Earth alive in Gravity (Alfonso Cuarón [Oscar’s Best Director that year] 2013; review in our October 9, 2013 posting)—with recognitions coming to both actors, Bullock for Oscar’s Best Actress, Green for the same race at France’s César and Lumiere Awards, although neither won for any of those nominations (Bullock did triumph for her role from other organizations). In another honor, though, the movie’s credits includes photos of the many actual women astronauts.
Bottom Line Final Comments: Somehow, despite the many fine aspects of Proxima, it just doesn’t hit me at the 4 stars-level (hard to make these distinctions at times; this is one of them), but I do recommend it, especially if anything I’ve had to say about it intrigues you (if not, I guess you probably don’t even want to spend the price of a bargain movie ticket on it). Overall, the CCAL would also encourage a viewing, with the critics at Rotten Tomatoes giving it 82% positive reviews, the ones at Metacritic more supportive than they have been for most of what I’ve been attending to lately with a 71% average score (about as high as they usually get). It’s an endearing movie, filled with honest emotions and easily-recognizable-interpersonal-situations/conflicts even though space-travel-stories often tend to be much more dramatic: truly, Proxima’s more about science-humanity than science-fiction. As I hope you know from being a dedicated reader of this blog (if not, mystery-man Pat Craig and I sincerely encourage you to visit us whenever you can), I like to cap off each review with a Musical Metaphor, attempting to offer a final viewpoint on what’s just been explored but from an aural perspective; for Proxima, I can’t say I’ve got the perfect match (well, I rarely do, but some come reasonably close) but I do have a couple of Beatles’ tunes speaking to some of the emotions being explored on-screen, starting with John Lennon’s “I’ll Be Back” (on the 1964 U.K. version of their album A Hard Day’s Night, the U.S. 1964 Beatles ’65 album) at https://www.you tube.com/watch?v=fJSTBNTac6k, which could be interchangeable perspectives from Sarah and Stella regarding Mom’s upcoming extended absence—“You know if you break my heart I’ll go But I’ll be back again ‘Cause I told you once before ‘goodbye’ But I came back again […] You could find better things to do Than to break my heart again This time I will try to show that I’m not trying to pretend […] I wanna go But I hate to leave you You know I hate to leave you.” Yet, there’s acceptance of the coming absence to be found in Paul McCartney’s “Things We Said Today” (also on the U.K. A Hard Day’s Night album, plus the U.S. 1964 Something New album) at https://www. youtube.com/watch?v=NItAlTsPuQg: “You say you will love me If I have to go You’ll be thinking of me Somehow I will know Someday when I’m lonely Wishing you weren’t so far away Then I will remember Things we said today.” Together these songs (originally intended as lover’s laments) give me a symbolic (not literal) allusion to the dynamic tension between mother and daughter in Proxima, where the love between the 2 never fades but the reality of their situations does produce heartaches.
SHORT TAKES (spoilers also appear here)
My good friend Barry Caine (retired professional film critic, original-encourager who helped me get this blog started) was aware I’d recently read the sci-fi novel Millennium (John Varley, 1983) so he sent me his DVD copy of the adaptation, along with a somewhat-similar movie, Thrill Seekers—referred to in Rotten Tomatoes as The TimeShifters, even though they still didn’t provide any reviews for it (probably because it was a 1999 TBS made-for-TV-movie)—so I’m going to offer brief comments on them just because they sort of connect with our review of Tenet (Christopher Nolan); like Nolan’s semi-blockbuster, but in a much-more-limited (yet considerably easier to understand) manner they deal with time-dislocation (these 2 noted below go with the traditional concept of time-travel unlike Nolan’s “entropy inversion”), the former with people traveling from the distant future to our present, the latter with a jump from the near future (2070) into our present time, so together they mildly-mirror Nolan’s complex plot (although with no present to past movements as with Tenet). I've decided to not use ratings-stars here as these brief comments aren’t truly reviews, just observations.
Millennium (Michael Anderson, 1989) rated PG-13
Here’s the trailer:
Before reading further, please refer to the plot spoilers warning detailed far above.
The premise of Millennium* is Louise Baltimore (Cheryl Ladd)—catchy name—is part of an extraction team from 1,000 years into Earth’s future who use a time-travel-portal (the Gate) to enter our era when an airliner crash is about to happen so they use stunners to knock out the passengers who are then tossed through the portal to the future, replaced by clones who’ll be unidentified in the wreckage; this is done to gather replacements for our species because the planet’s so polluted in her time humans barely exist anymore. An existential crisis arises when a team member leaves a stunner behind which will be found by Bill Smith (Kris Kristofferson), a National Transportation Safety Board investigator studying the recent crash of 2 planes with a voice on the cockpit recorder saying the passengers are all dead already; Louise travels back to seduce Bill, keep him from finding the lost stunner but he retrieves it anyway (Dr. Arnold Mayer [Daniel J. Travanti] has another one, found after a previous mishap) so Louise returns again to explain the truth to them in an attempt to prevent some time-space-anomaly which would disrupt existence. ⇒Bill then goes to the future with Louise where they join the displaced 20th-century humans all headed for the far-distant-future (to repopulate the now-cleansed-planet) before the Gate destructs.⇐ The book was more intriguing to me, even gets metaphysical at the end regarding Sherman, Louise’s android companion (in the movie, a robot [Robert Joy]), and future society’s master computer, whereas this adaptation just seems weird and silly much of the time once we get beyond the opening horror of the colliding jetliners. Metacritic offered no reviews while Rotten Tomatoes came up with only 9, just 11% of them positive: one RT analysis, by Austin Trunick, says “Millennium plays out much like someone trying to drunkenly explain the plot of a Doctor Who episode they haven’t seen in several years.” If, after reading this, you’d want to see Millennium you’ll have to buy a DVD** somewhere because you can’t get one from Netflix nor is it available for streaming. Instead, get a copy of the book which I think is notably better.
*Not to be confused with the DVD Millennium package of the 2010 Swedish TV series based on films adapted from The Girl with the Dragon Tattoo and its 2 sequels about Lisbeth Salander and Mikael Blomkvist with almost 2 hours of extra scenes (won an Emmy in the U.S., Best TV Movie/Miniseries).
**Even that seems unlikely as Amazon lists only 1 new VHS ($44.98) or some used VHS options from $2.66 to $15.95 (plus shipping), although they do have a “Collectible – Like New” VHS for $189.95 (!), assuming you can find a functioning VHS player, so I’ll leave any buying choices to you.
Thrill Seekers (Mario Azzopardi, 1999) rated PG
Here’s the trailer:
“Thrilling” might not be a word many people would assign to Thrill Seekers (or The TimeShifters), which also isn’t available for streaming or Netflix DVD rental, although Amazon has a DVD for $7.49 (also used ones $2.76-$12.00 [plus shipping in all cases]) or VHS (But why would you want that format?) for $14.85 (used options here too, $2.65-$10), which has no reviews on RT or MC, probably due to it being a made-for-TV-movie, although this one might fare a bit better than Millennium if it were left to the critical wolves to evaluate. Tom Merrick (Casper Van Dien) is an investigative reporter for a tabloid who notes photos from various 20th-century disasters all featuring the same guy at the same age. As Tom’s on a plane to D.C. he sees the mystery man again, roots around in his luggage while he’s in the restroom to find a flier from a future travel company—Thrill Seekers—which allows time travel back to various disasters to witness them, then jump back to the future (Hmm, there’s a catchy title for a movie; I’ll see if I can come up with a script.) before dying in the tragedy, with this flight listed as one of the options (mid-air-crash; sound familiar?). Merrick forces the pilots to change course, disaster’s averted, mystery man vanishes. Thrill Seekers head Grifasi (Martin Sheen, seen only in poor-quality-video-imagery) sends a couple of thugs, Cortez (Theresa Saldana) and Felder (Peter Outerbridge), back to take out Merrick but he escapes, prevents (with help from research-colleague Elizabeth Wintern [Catherine Bell]) the crash of a Chicago subway train, but the mystery man (time-traveling-tourist Murray Trevor [Julian Richings]) dies in the process.
⇒Things really get bad after all that as Tom prevents a fire at a hockey stadium which would have killed thousands, yet this disrupts the crucial timeline into the future resulting in millions dead from a Southern California nuclear plant meltdown so the thugs must make sure the stadium catastrophe happens which they do with bombs, killing Elizabeth along the way, then Tom’s ex-wife and son at the event. Tom uses Murray’s time-travel-device (about the size of a tablet computer) to go back before Elizabeth died; together they evacuate many from the stadium before the explosions, saving Tom’s ex-wife and son (as Tom connects with Elizabeth), along with FBI Agent Stanton (James Allodi) who’ll eventually invent the time machine technology, using the device left behind by Felder (this time he and Cortez die)⇐ which is a plot point stolen from Terminator II: Judgment Day (James Cameron, 1991) where remnants of the android found after the first movie lead to the invention of Skynet followed by the machines’ war against humanity (an event changed in … II, but the inevitability of things occurring anyway [similar to the “grandfather paradox”—see my Tenet review] leads to the man-machine-conflict anyway in Terminator III: Rise of the Machines [Jonathan Mostow, 2003]); obviously Thrill Seekers (Like Back to the Future [Robert Zemeckis, 1985; damn, he beat me to the script!]) allows event-changing-scenarios but with consequences so who knows what the future will be now Tom’s changed aspects of the present (looked bad already in Sheen’s scenes).
Thrill Seekers overall plays better (for me) than the funky-looking adaptation of Millennium, but if you want a true classic about time travel, disasters decimating the human race, along with an ironic demonstration of how events in the past can’t be changed I’d recommend 12 Monkeys (Terry Gilliam, 1995) combining a fascinating concept, marvelous art direction, top-notch-performances from Bruce Willis, Madeleine Stowe, Brad Pitt, Christopher Plummer. In the meantime, here’s a Musical Metaphor to cap this all off, Cher’s “If I Could Turn Back Time” (on her 1989 Heart of Stone album) at https://www.youtube.com/watch?v=J0uhvi0194A (video from her 2002 Farewell Tour) which is actually about regrettting a broken relationship but, again, metaphorically deals with all the cinematic excursions noted here revisiting the past for the benefit of the present and/or future. Once you’ve digested enough of that sort of conceptual intrigue, then consider giving Tenet a try (if available in your area; still playing in lots of venues)—or even a second look if it eluded you the first time—as it’s the most difficult to understand of all of these (or, you could just read my likewise-confusing-review).
At least until the pandemic subsides Two Guys also want to encourage you to consider movies you might be interested in that don’t require subscriptions to Netflix, Amazon Prime, similar Internet platforms (we may well be stuck inside for longer than those 30-day-free-initial-offers), or premium-tier-cable-TV-fees. While there are a good number of video networks offering movies of various sorts (mostly broken up by commercials), one dependable source of fine cinematic programming is Turner Classic Movies (available in lots of basic-cable-packages) so I’ll be offering suggestions of possible choices for you running from Thursday afternoon of the current week (I usually get this blog posted by early Thursday mornings) on through Thursday morning of the following week. All times are U.S. Pacific Daylight so if you see something of interest please verify actual show time in your area for the day listed. These recommendations are my particular favorites (no matter when they’re on, although some of those early-day-ones might need to be recorded, watched later), but there’s considerably more to pick from you might like even better; feel free to explore their entire schedule here. You can also click the down arrow at the right of each listing for additional, useful info.
I’ll bet if you checked that entire schedule link just above you’d find other options of interest, but these are the only ones grabbing my attention at present. Please dig in further for other possibilities.
Sunday November 15, 2020
11:45 AM Bringing Up Baby (Howard Hawks, 1938) Quintessential screwball comedy: Cary Grant as an easily-befuddled paleontologist on the verge of finishing a Brontosaurus skeleton and marrying a prim woman we know isn’t a right match especially after he meets a cute, flighty heiress (Katharine Hepburn) who gets him in increasingly-embarrassing situations even as romance develops between them. Only movie I can recall featuring 2 leopards. Somewhat remade as What’s Up Doc? (1972).
Monday November 16, 2020
8:00 PM The Diary of Anne Frank (George Stevens, 1959) Based on a play of the same name and what amounts to an autobiography, young Anne’s (Mille Perkins) diary, during her family’s harsh confinement in an Amsterdam attic, a Jewish family hiding from the Nazis, simultaneously uplifting and heartbreaking (I once toured those living quarters, now a museum, for a chilling experience). Oscars for Best Supporting Actress (Shelly Winters), B&W Cinematography, B&W Art Direction.
Tuesday November 17, 2020
1:00 PM The Maltese Falcon (John Huston, 1941) Some claim this started the troubled-crime-tradition of film noir: Humphrey Bogart as Dashiell Hammett’s streetwise-private-eye, Sam Spade, whose life gets complicated when the takes on Brigid O’Shaughnessy (Mary Astor) as a client searching for the priceless “black bird.” A fabulous cast includes Peter Lorre, Sydney Greenstreet, Elisha Cook Jr. Masterful ‘Hardboiled-detective” story with a sense of morality amongst greed.
Wednesday November 18, 2020
12:00 PM Carmen Jones (Otto Preminger, 1954) A multiple-adaptation, starting with Georges Bizet’s opera Carmen, adapted to a Broadway musical (1943, and set during WW II) using Bizet’s music plus lyrics & book by Oscar Hammerstein II featuring an all-Black cast, a concept carried into this movie about a lusty woman (Dorothy Dandridge) who soon falls in love with an engaged guy (Harry Belafonte), many troubles ensue for both of them. Praised by some, denigrated by others; singing in the movie was dubbed, LeVern Hutcherson for Belafonte, Marilyn Horne for Dandridge, who became the first African-American Woman to nominated for the Best Actress Oscar (but lost to Grace Kelly).
If you’d like your own PDF of rating/summary of this week's review plus suggestions for TCM cablecasts, links to Two Guys info click this link to access then save, print, or whatever you need.
Other Cinema-Related Stuff: Here's something you might be interested in: (1) Warning about how roughly 70% of movie theaters could go broke without Congressional stimulus aid; (2) Theater owners now see hope with emerging coronavirus vaccine. (We've have to see how these 2 items reconcile.) As usual I’ll close out this section with Joni Mitchell’s "Big Yellow Taxi" (from her 1970 Ladies of the Canyon album)—because “You don’t know what you’ve got ‘till it’s gone”—and a reminder that you can search streaming/rental/purchase movie options at JustWatch.
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Here’s more information about Proxima:
https://en.unifrance.org/movie/45381/proxima
https://www.youtube.com/watch?v=-EyU7f_2_W4 (23:48 press conference with director Alice Winocour and actors Eva Green, Zélie Boulant, plus producer Isabelle Madelaine and 1 other
whose name I can’t make out from the host’s accent nor the relatively-useless auto-captions
at that point [doesn’t matter much, though, because they don’t say anything])
https://www.rottentomatoes.com/m/proxima_2019
https://www.metacritic.com/movie/proxima
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If you’d rather contact Ken directly rather than leaving a comment here please use my email address of kenburke409@gmail.com—type it directly if the link doesn’t work. (But if you truly have too much time on your hands you might want to explore some even-longer-and-more-obtuse-than-my-film-reviews-academic-articles about various cinematic topics at my website, https://kenburke.academia.edu, which could really give you something to talk to me about.)
If we did talk, though, you’d easily see how my early-70s-age informs my references, Musical Metaphors, etc. in these reviews because I’m clearly a guy of the later 20th century, not so much the contemporary world. I’ve come to accept my ongoing situation, though, realizing we all (if fate allows) keep getting older, we just have to embrace it, as Joni Mitchell did so well in "The Circle Game," offering sage advice even when she was quite young herself.
By the way, if you’re ever at The Hotel California knock on my door—but you know what the check-out policy is so be prepared to stay for awhile (quite an eternal while, in fact). Ken
P.S. Just to show that I haven’t fully flushed Texas out of my system here’s an alternative destination for you, Home in a Texas Bar, with Gary P. Nunn and Jerry Jeff Walker. But wherever the rest of my body may be my heart’s always with my longtime-companion, lover, and wife, Nina Kindblad, so here’s our favorite shared song—Neil Young’s "Harvest Moon"
—from the performance we saw at the Desert Trip concerts in Indio, CA on October 15, 2016 (as a full moon was rising over the stadium) because “I’m still in love with you,” my dearest, a never-changing-reality even as the moon waxes and wanes over the months/years to come.
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