There’s No Place Like Home (?)
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.
But first—even though some of you may not care for sociopolitical intrusions into a blog basically about film reviews, but please indulge me if you can—with the recent one-year-anniversary of the murder of Minneapolis citizen George Floyd by his own city’s police force as a symbol of the horrid racial/political divide in our country today—and the 50th anniversary of Marvin Gaye’s marvelously-honored 1971 album What’s Going On, I just want to acknowledge how Marvin, in the lead single from his album, was so relevant to what was going on 5 decades ago, still is even as he’s sadly no longer with us today (killed in an argument with his father in 1984). Rolling Stone magazine in 2020 ranked the album as All-Time #1 so if you’d like to hear the whole thing here it is. On to the reviews.
The Dry (Robert Connolly) rated R 117 min.
Opening Chatter (no spoilers): As I continue with my current low-level-paranoia about theater attendance (in my defense: I'm male, 73, A- blood type—all riskier for COVID than most other demographics) I’m still searching streaming options, finding some worthy ones (even if they fall short of “fabulous”), bringing results to you in hopes my comments might add to your viewing choices as well. Both of my findings this week have strong aspects, despite being able to nitpick them somewhat. The first is The Dry, giving us a pair of murder mysteries even though many of the townspeople in a rural Australian community think that not only did a local kill himself along with 2 members of his family but also the famous federal agent (Eric Bana) come to help investigate this situation is also guilty of murdering his girlfriend 20 years ago although nothing ever really connected him to that crime; this one’s available on several rental platforms, with a link within the review to help guide your possible destination. In Short Takes you’ll find a review of Oxygen, a French film (yes, subtitles, but please don’t let that put you off) on Netflix streaming about a woman who wakes up trapped in a high-tech-coffin-like-box with no idea of who she is or why she’s there. With the help of an A.I. connected to her situation she soon gets some answers but desperately needs more because her oxygen’s running out as minutes tick down. Also in that 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, tedious software!), with my short dose of industry-related-trivia.
Here’s the trailer for The Dry:
(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: Australian Federal Agent Aaron Falk (Eric Bana) has acquired some national fame due to a case he solved, seems comfortable when our story begins with him in his urban high-rise dwelling (in Melbourne, I think; matters not as he’s soon on the road for the rest of the film), suddenly is shocked to learn of the death of his old friend, Luke Hadler (Martin Dingle-Wall), along with Luke’s wife, Karen, young son Billy (which we get a hint of even before he does due to opening shots of a bleak rural landscape, a baby’s cries on the soundtrack, a bleeding woman seemingly dead inside a house) so he’s off to his countryside hometown, Kiewarra, for the funerals with the added emotional weight that Luke supposedly killed his family (sparing only baby Charlotte) in their home before taking his own life in an open field farther away. Throughout the rest of this film there are frequent flashbacks to Aaron as a high-schooler (played then by Joe Klocek), his girlfriend, Ellie Deacon (BeBe Bettencourt), Luke (played then by Sam Corlett), and Luke’s girlfriend Gretchen (Claude Scott-Mitchell)—with the 4 of them swimming in a river, hanging out around a campfire, Aaron and Ellie kissing at school, some shots lingering a bit, others just as brief counterpoints to a current situation—so just know these flashbacks exist as I’ve described them, useful to the flow of the film, rather than me interrupting this narrative flow every time there’s such a past-tense-cutaway.
As Aaron arrives for the Hadlers’ funerals he’s not exactly a welcome presence because Ellie was found dead at the river years ago on a day she was supposed to meet Aaron there so some townspeople assume he killed her—especially her grizzled-father, Mal Deacon (William Zappa), and his surly-son, Grant Dow (Matt Nable) (I’m not clear why Grant has a different surname)—even though there was never any investigation of such; however, Aaron’s dad, Erik Falk (Jeremy Lindsay Taylor), moved them away to escape harassment from Mal. Despite angry accusations from Grant and Mal, Aaron meets up with Gretchen (now played by Genevieve O’Reilly) at the funerals where sparks seem to smolder between them with Aaron given reason to hang around a bit when he’s approached by Luke’s parents, Gerry (Bruce Spence) and Barb Hadler (Julia Blake), to try to prove Luke’s innocence, even as Gerry still thinks Aaron killed Ellie and Luke had something to do with it (Luke did offer Aaron the excuse of them off shooting rabbits when Ellie was killed [not true], although Gretchen feels secure in the idea Ellie committed suicide [a later scene at Gretchen’s place has Aaron unwilling to shoot rabbits even as she does so easily—intriguing connections in this film]).
Working with local cop Greg Raco (Kier O’Donnell), Aaron does a lot of probing around (with the only odd element being the shells found by the Hadler corpses were Remingtons while Luke used a Winchester), gets support from school principal Scott Whitlam (John Polson), looks over Karen’s paperwork at the school (she was their accountant), finds the word “Grant” on the back of a piece of paper, gets the idea Ellie’s hotheaded-brother might be the real killer because there was speculation Grant wanted to buy Luke’s debt-distressed-farm if it became available, although Grant denies the accusation. While visiting Gretchen, Aaron looks through a photo album, sees one of Luke holding Gretchen’s young child forcing her to admit she had an affair with Luke during his marriage, leading to her single-motherhood. ⇒After further probing, Aaron realizes Karen’s “Grant” note referred to her attempt to get grant money for the school (odd he didn't consider that earlier) because Scott had embezzled funds to cover his gambling debts, but when Aaron and Greg go to confront Scott he runs off into the powder-dry-woods near the school, threatens to set himself on fire with the ensuing blaze likely to engulf the nearby-kids, admits he killed Luke and his family—I suppose to keep Karen from exposing his previous crime, then trying to shift blame onto Luke for the deaths, although I’m not terribly clear about that aspect, nor am I really sure why Luke was assumed to be the instigator of murder/suicide to begin with (a key plot point but not one I can explain)—then flares his cigarette lighter onto himself; Aaron and Greg manage to quickly cover him, beating out the flames although this results in a hospital stay for Greg. So, Luke’s reputation is restored, Aaron’s in the process of leaving but makes a final visit to the river area where Ellie was killed, finds a backpack she stashed there years ago, reads in her journal she was planning to run away due to how Mal was abusing her.
This leads to a crucial flashback of Mal and Grant out near the river where Ellie was supposed to meet Aaron, whereupon Mal finds his daughter and kills her, for what reason I’m not clear unless he feared being exposed in his abuse. I’m also not sure if Grant had any idea of his father’s actions, so maybe his decades-long-anger toward Aaron was just the result of Dad’s lies, although Mal seems to have convinced himself of Aaron’s “guilt,” yet that might be the result of dementia because Mal, upon seeing Aaron again, confronted him as if he were the father, Erik, rather than the Falk family son. The film ends with Aaron walking along Ellie's now-totally-dry-riverbed in deep thought.⇐ So, there are some unresolved aspects of this plot (at least to my comprehension), but overall the sense of mystery, the arid atmosphere, the effectively-tense-acting all work to constantly attract your attention.
So What? I couldn’t begin to settle on a more appropriate film to review right now (not because I killed anybody in high school [although some of the girls I dated might have felt somewhat that way at times] or investigated someone else’s alleged crimes [although the guys I hung out with back in those days were considered unsavory by our principal, but that was a badge of honor for us]) because drought conditions in the fictional town of Kiewarra are deadly similar to what’s happening once again in California where rain keeps bypassing much of the western U.S. on its way east of the Mississippi River. Our farmlands are slowly, sadly turning into dust as water’s getting to be in short supply all over the state, lakes/snowpack are at dangerously-low-levels or are already dry. Actually, the drought in The Dry is more of a metaphor for how bleak things are in this rural Australian town where past and present deaths leave a pallor even impacting the presence of our protagonist as bitter attitudes remain for some in the community, assuming Aaron guilty of a crime for which he claims full innocence, even as his dead-old-friend, Luke, is now painted with that same soiled brush.
Given the drought circumstances, the sense our protagonist may not be all he claims to be, his misdirection when he comes upon an important clue, and the general hostility pervading much of this story, I couldn’t help but think a little of minor similarities to Chinatown (Roman Polanski, 1974 [at first glance would easily seem to be the Best Picture of that year—until you compare it to the actual winner of Oscar's top prize, The Godfather: Part II {Francis Ford Coppola}) so if my hesitations about The Dry (noted in the previous section of this review but not further explained here due to my self-imposed spoiler policy) cause you to wonder if you want to pay for renting this current crime-mystery maybe you should just navigate directly to Polanski’s detective-genre-masterpiece instead (consult JustWatch for many options of free streaming or cheap rental, or, if you prefer the physical interaction with a DVD, you can get it at Netflix in that format if you’re a subscriber to their service—you can’t go wrong with any of The Godfather episodes either). If you’re intrigued by the possibilities with The Dry, though, I recommend it for the combination of intriguing story, substantial acting, well-crafted-cutting between past and present actions, overall contemplative tone. Further, you might get clarifying-explanations of my plot-concerns if you read the best-selling-novel of the same name by Jane Harper (2016) but please excuse me of I don't probe that far into background research; however, if you’d like to hear Harper talk about this film—along with Connolly and Bana—there are 2 videos connected to it in the Related Links section far below so give a listen if you like (she used italics in her book to indicate the flashback scenes [clever tactic], but given the easily-recognizable ages of the characters in the film's past encounters you don’t really need any additional visual cues).
Bottom Line Final Comments: The Dry’s been in theatrical release in Australia since December 11, 2020, New Zealand since January 1, 2021, apparently set up for distribution in Europe (hasn’t happened yet as best I know), is now in domestic (U.S.-Canada) theaters with an opening $119,000 gross last weekend playing in only 186 venues (it’s also taken a bit over $17 million in those Down-Under-nations). If it’s nowhere close to you or you’re not ready for indoor screenings yet there are several $7-8 rental options (I chose AT&T’s U-Verse/Direct TV-on-demand) where you get access for a couple of days if you want to watch it more than once or have to put it on hold if the plumbing breaks loose in your basement (Kiewarra folks probably dreamed of floods to help their scorched territory, but even they wouldn’t want new swimming pools inside their homes, so I do hope you’re at least reasonably dry, but not parched, if you should choose to indulge in this film). That’s really all I’ve got to say (unless any conversations get sparked in the Comments box at the very end of this posting), except to note the CCAL’s quite supportive with 93% positive reviews at Rotten Tomatoes, a 68% average score at Metacritic (not bad for those ratings misers, though as I go to “press” they’ve surveyed only 21 reviews [20 for Oxygen just below]; you might check later those sites in Related Links farther below later for possible updates) so to wrap up the review I’ll use my usual tactic of a Musical Metaphor to speak (in clear/plausible/obtuse) terms about the current subject of consideration which, for The Dry, I’ve reached way back to Gene Pitney’s “Town Without Pity” (composer Dimitri Tiomkin, lyricist Ned Washington) at https://www.youtube.com/watch?v=CyzAcTUHtvg (the song’s on the soundtrack for the 1961 movie of the same name [Gottfried Reinhardt], nominated for the Best Song Oscar [lost to “Moon River”—composter Henry Mancini, lyricist Johnny Mercer] from Breakfast at Tiffany’s [Blake Edwards, 1961]), which at least was used in Reinhardt’s film, unlike another Pitney hit, “The Man Who Shot Liberty Valance,” not used in John Ford’s movie (1962) of the same name, probably would have sounded a little crass under the final credits of that ironic, melancholy marvel (also well worth your time, a truly significant western; available as a Netflix DVD, free streaming at Amazon Prime, or cheap rental on several platforms).
As for “Town Without Pity,” I understand the song’s originally about 2 young lovers being hassled by adults who “[…] talk about how bad we are,” but yet I still find symbolic connections to how so many of the Kiewarra residents easily think the worst about Aaron and Luke as assumed murderers, making it difficult to understand “How can we keep love alive? How can anything survive When these little minds tear you in two? […] No, it isn’t very pretty What a town without pity can do.” At least Luke’s situation’s given investigation and closure, but even as we see what happened with Ellie and Aaron—although he’s not privy to this significant flashback—will anyone else in this community ever know the truth? Maybe through a police-procedural TV show like CSI Kiewarra? You'll never know.
SHORT TAKES (spoilers also appear here)
Oxygen (Alexandre Aja) rated TV-14 101 min.
We’re immediately thrown into terror territory as the movie opens on a woman trapped in a small enclosure with no idea who she is or how she got there; at least she has interaction with an A.I. device who can’t open her tight box without an authorization code but is able to put her in phone contact with people who might be able to help her.
Here’s the trailer:
Before reading further, please refer to the plot spoilers warning detailed far above.
Imagine a psychological horror movie where a woman wakes up in an enclosed box, has paranoiac verbal exchanges through an intercom with her captor, the audience in high tension as to how she can ever escape. Now, shift genres a bit to thriller mode where the woman’s (Mélanie Laurent) in some sort of high-tech-enclosure (but, still about the size of a coffin) where she doesn’t know who she is, how she got there (wherever it is), and is in frenzied dialogue with her supportive A.I.—MILO (voice of Mathieu Amalric)—that tells her the oxygen supply is at 35%, she’s got less than an hour to live as it continues to decline, and the device can’t be unlocked without an access code she has no knowledge of. That’s the premise of Oxygen, a French movie (so, you know already this one may not be ideal for you if you’re claustrophobic and/or hate reading subtitles) that basically occurs in its real running time, mostly takes place in this one confined location (although we get frequent, brief flashback shots of a child, a man, nature, a mouse—sometimes dead—in a maze) which keeps ramping up the tension for us until we finally get some clarity. MILO’s constrained from giving direct answers to many of her questions, but through careful probes she finds out she's Dr. Elizabeth (Liz) Hansen, a Nobel Prize winner for her work in cryogenics, married to Léo Ferguson. She thinks she might be in this tight chamber in some hospital somewhere (though no response comes to her pounding on its walls), tries to get help from the police (at least MILO can make phone calls for her) but as they trace the serial number of her enclosure they find it was destroyed 3 years ago (?). Then she calls Léo; however, a woman answers, quickly hangs up (!). Liz is getting desperate by now as the oxygen number keeps declining so she tries using makeshift tools to break the seal on her pod, only to be pushed back by electric shocks. As we’re now about an hour into this gripping situation the mystery woman calls back, offers Liz that authorization code, but tells her if she uses it she’ll die.
⇒More explanations quickly follow: Earth is suffering from a deadly virus (sound familiar?) with total extinction of our species in 2 generations; Léo’s already dead; this “Liz” is actually a clone of the real Dr. Hansen—the woman on the phone—traveling into deep space (12 years now) to a distant planet with many other clones intended to preserve humanity on that new home (now we understand we’re in sci-fi-territory with an ultimate goal like we’ve known from previous stories such as Interstellar [Christopher Nolan, 2014; review in our November 13, 2014 posting] and Stowaway [Joe Penna; review in our April 29, 2021 posting], except this time the survivors are all clones, not humans, traveling from Earth; however, a malfunction awakened “Liz” accidently with 2 more years to go on the journey. Following up, “Liz” gets further info from MILO there are almost 10,000 clones aboard in hypersleep, including one of Léo [though a few hundred others died in a collision with an asteroid]). MILO’s set to terminate “Liz” as her oxygen’s about gone when she commands it to divert functions of some sort, allowing her to instead go back into hypersleep to be awakened on the new planet with the other arrivals. In the final shot we see the cloned Liz and Léo together, ready for their new life.⇐
This is a very intriguing movie (if you can tolerate the horrifying, seemingly-inescapable-tension of that first mysterious hour), shows how insightfully-inventive a distressed person can be even in a likely-hopeless-situation, is a bit hard to follow (at least for me) in its technical aspects at the end; nevertheless, all you have to truly care about is whether Liz’s last-chance-solution will work. The CCAL’s solidly-supportive with 89% positive RT reviews, a 67% MC average score, so consider it if you’re a Netflix streaming subscriber. Yes, my Musical Metaphor’s not exactly parallel to Oxygen’s situation but it’s close enough, Neil Young’s “After the Gold Rush” (on his 1970 album of that name) at https://www.youtube.com/watch?v=b4-oED1M_n0 (poor video, audio’s fine; live performance with David Crosby and Graham Nash, not sure when but I did see them do this at an Oakland, CA concert a few years ago [could it have been this performance?]) where “Mother Nature” was already “on the run in the 1970s,” the singer’s “hopin’ for replacement” as “Mother Nature’s silver seed [are flying] to a new home in the sun.” Oxygen has no inclusion of “a band playin’ […or] colors flyin’ All around the chosen ones,” but it gives us a clear scenario of what Elon Musk and real scientists say we might be facing far too soon, so let’s get serious about the Paris (Climate) Agreement, capisce?
Suggestions for TCM cablecasts
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 for U.S. Pacific zone 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.
Thursday May 27, 2021
10:30 AM The Producers (Mel Brooks, 1967) First version, later adapted to a successful Broadway musical (spawning another movie). Flimflam artist/stage producer Zero Mostel, nervous accountant Gene Wilder seek riches by getting too many investors for a show doomed to fail, Springtime for Hitler by ex-Nazi Kenneth Mars, starring wacky hippie Dick Shawn. But, it’s seen as satire, becomes a hit. Excellent balance keeps this as hilarious, not repulsive; Oscar for Best Original Screenplay.
Friday May 28, 2021
9:15 PM The Best Years of Our Lives (William Wyler, 1946) A highly-deserving Best Picture Oscar winner (along with a cluster of others including Best Director, Actor [Frederic March], Supporting Actor [Harold Russell], Adapted Screenplay, Film Editing, Scoring of a Dramatic or Comedy Picture, plus an Honorary Oscar to Russell, an actual WW II vet amputee), focused on the difficulties of 3 returning G.I’s each with individual problems (a marvelous example of deep-focus-cinematography by Gregg Toland; I once got a chance to talk with Wyler about his intentions with this visual style).
Wednesday June 2, 2021
12:30 PM Summer of ’42 (Robert Mulligan, 1971) Romantic coming-of-age story set in New England during the U.S.A.’s early WW II years as a teenager (Gary Grimes) becomes fascinated with a young woman (Jennifer O’Neill) married to a soldier who’s just shipped out; she’s nice to the boy but makes none of the advances he dreams of while one of his friends furiously pursues a local girl. What must come next is terribly heartbreaking but I won’t spoil it for you. Won an Oscar for Best Original Score.
5:00 PM The Gold Rush (Charlie Chaplin, 1925) A celebrated success of a great cinema master, even as a silent movie (music and intertitles), as The Tramp’s in the Klondike seeking his fortune, finding many challenges instead, comedy mixed with pathos. Contains the boot-for-dinner scene,
the Oceana Roll dance, plus the teetering cabin scene (it also stars Georgia Hale, Mack Swain).
If you’d like your own PDF of ratings/summaries of this week's reviews, 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: In quick fashion, here are some extra items you might like: (1) Spiral takes the Saw franchise past $1 billion globally: (2) Amazon buys MGM for $8.45 billion. As usual for now 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 my reminder you can always search for streaming/rental/purchase movie options at JustWatch.
Related Links Which You Might Find Interesting:
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Here’s more information about The Dry:
https://www.ifcfilms.com/films/the-dry
https://www.youtube.com/watch?v=J6aJ399U-QE (10:50 interview with director/co-screenwriter [with Harry Cripps] Robert Connolly and actor Eric Bana [both are among the movie’s 5 producers also]) and https://www.youtube.com/watch?v=h6qLrae5-VU (15:01 interview with Connolly, Bana, and original novel author Jane Harper).
https://www.rottentomatoes.com/m/the_dry
https://www.metacritic.com/movie/the-dry
Here’s more information about Oxygen:
https://www.netflix.com/title/81277610
https://www.youtube.com/watch?v=o-bJG_l_Qgk (5:02 ending explained; spoilers of course)
https://www.rottentomatoes.com/m/oxygen_2021
https://www.metacritic.com/movie/oxygen
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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. But, just as we can raunchy at times (in private of course) Neil and his backing band, Promise of the Real, on that same night also did a lengthy, fantastic version of "Cowgirl in the Sand"
(19:06) which I’d also like to commit to this blog’s always-ending-tunes; I never tire of listening to it, then and now (one of my idle dreams is to play guitar even half this good).
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