Capsule Reviews: Kedi; A Ghost Story; Spider-Man: Homecoming; Marjorie Prime

A Ghost Story, Spider-Man: Homecoming, and more

Kedi

Kedi

Turkey. Directed by Ceyda Torun.

I knew that Islam reveres cats, but Istanbul takes that reverence to a whole ‘nother level.

The documentary Kedi portrays the stray cats of that ancient capital as a dominating force. Director Ceyda Torun ostensibly focuses on seven such cats—Aslan Parçasi, Bengü, Deniz, Duman, Gamsiz, Psikopat, Sari—to keep things easy to follow, but they stand in for the city’s entire feline population as a whole. The cats’ influence on the day-to-day life of Istanbul seems to equal that of their human compatriots, and Torun gets some remarkable footage (much of it shot at cat level) as they beg for food at restaurants, steal fish from outdoor market stalls, commune with people at cafés and street-corners, come and go as they please, and generally be, well, cats. I’m in awe of the patience Torun must have exhibited during filming. “Like herding cats” became a cliché for a reason.

But, as enchanting as an eighty-minute-long cat video or a visual travelogue of Istanbul would be, Kedi isn’t merely these things. It occurred to me that in an American city, a population of strays this large and visible would be considered a public nuisance. Torun interviews a number of people whose lives intersect with the cats’ in various ways—phrases like “owners” or “masters” or even “human companions” lack accuracy when describing these relationships—and it seems like Istanbul’s residents (these residents, at least) regard the felines almost as fellow-citizens whose claim to the streets of the city is as valid as the humans’ own.

A Ghost Story

A Ghost Story

United States. Directed by David Lowery. Starring Casey Affleck, Rooney Mara.

Casey Affleck dies and then becomes a cartoon-style ghost (a white sheet with two eyes painted on it) and stares at the changing world around him for an hour and a half.

About half this movie is really, really good. Mostly these are the bits where things actually happen. Unfortunately the other half is as dull as dirt, unless you’re the sort of person who fetishizes on spending five minutes watching Rooney Mara eat pie.

Also, I’m glad that Will Oldham showed up at the end of the second act to lecture the audience on the themes of the film, because I wouldn’t have been able to figure out what the movie’s about otherwise.

Spider-Man: Homecoming

Spider-Man: Homecoming

United States. Directed by Jon Watts. Starring Tom Holland, Michael Keaton, Robert Downey Jr., Jacob Batalon, Laura Harrier, Zendaya, Marisa Tomei, Jon Favreau.

The Marvel creative team took an odd approach to Spider-Man’s first solo outing in the MCU: they made it as much about the Avengers (specifically, Iron Man) as it is about the friendly neighborhood web-head. The screenplay roots the origins of Michael Keaton’s villainous Adrian “Vulture” Toomes in the aftermath of the first Avengers film. The dominant relationship of the narrative is between Peter Parker and Tony Stark. In fact, Stark spends so much time in RJD’s patented “alpha-male-douchebag” mode that he effectively serves as the antagonist of the first half of the film.

It really doesn’t help that director Jon Watts doesn’t bring anything to Homecoming’s action and effects scenes that I haven’t already seen in a bunch of other superhero movies. Lots of herky-jerky camera work, incoherent CGI fight sequences, and the requisite footage of recognizable landmarks being destroyed. I hope everybody learns from Patty Jenkins’ work on Wonder Woman that it is indeed possible to construct an action sequence that’s both exciting and easy to follow.

Beyond that, I have a bunch of nitpicks that don’t really matter much. Tom Holland is the perfect Peter Parker—he’s Hollywood handsome but able to pull off geeky awkwardness; unfortunately the script places Parker at a STEM-oriented specialty school (even Flash freaking Thompson is a nerd here!), thus undercutting his outsider status. Was it really necessary to point out how hot Marisa Tomei’s Aunt May is more than, say, zero times? Did the screenwriters really not realize how lame a certain supporting character’s last-five-minutes-of-the-film twist was?

The good news is enough works to make Homecoming worth watching even if it doesn’t exactly transcend its issues. I already mentioned Tom Holland. Michael Keaton delivers one of the year’s best performances, and I loved how the screenplay entwined his motivation with social commentary. Best of all, they got the tone of the non-effects and action sequences exactly right. Spider-Man works best as a local hero, keeping the streets of New York safe, and having a blast while doing it. Leave the world-saving to those whose powers, resources, and experience are more suited to the task. You know, people like Tony Stark.

Marjorie Prime

Marjorie Prime

United States. Directed by Michael Almereyda. Starring Lois Smith, Jon Hamm, Geena Davis, Tim Robbins.

One of the programs I had for my Commodore 64 when I was a kid was “Eliza.” It was a conversation simulator, kind of like a chatterbot: you’d type in sentences, it would respond. The conceit was that Eliza was a “Rogerian psychotherapist” and you were its patient. “I am dissatisfied with my life,” you’d tell it, and it would respond “Why are you dissatisfied with your life?” It wasn’t really artificial intelligence; it just spat whatever you said back at you.

I kept thinking about Eliza while watching Marjorie Prime. The titular “Prime” is an AI and hologram set up to simulate a specific person—for example, your dead husband Walter, who when he was 40 looked exactly like Jon Hamm. The thing about Walter Prime is that he has the real Walter’s voice and good looks, but you actually have to teach Walter Prime how to be Walter, by telling him what Walter was like. This can be quite helpful if you’re Walter’s 85-year-old widow Marjorie and you’re suffering from dementia.

We’ve seen something like this before, in the Black Mirror episode “Be Right Back,” and although Marjorie Prime isn’t as dystopian as “Be Right Back” it still exhibits a certain ambiguity as to whether the interactions Marjorie, her daughter Tess, and son-in-law Jon (respectively Lois Smith, Geena Davis, and Tim Robbins) have with various Primes are indeed healthy. How creepy is it to watch an elderly parent talk with a simulation of a younger version of another parent? And while our experiences and memories make us who we are, how can someone recreate us when they don’t know the things we wouldn’t talk about? (That’s quite apart from the theory, discussed early in the film, that when we remember something we don’t remember the actual event but the way the memory went the last time we remembered it, which is why memory is so wonky.)

Fascinating, thought-provoking stuff, to be sure. However, the movie itself comes off as very actory and talky. I didn’t find this a problem, because Davis and Robbins put in career-best performances; I’m less familiar with Smith and Hamm, but they are excellent here as well. But Michael Almeryeda’s direction betrays the film’s roots as a stage play, which could alienate some viewers. Still, if you’re in the mood for a science-fiction film whose fantastical elements are so subtle you don’t realize you’re watching SF until someone throws a drink through Jon Hamm, give Marjorie Prime a try.

Star Wars: The Last Jedi

I also watched…

Star Wars: The Last Jedi (dir. Rian Johnson, 2017). Two more times!

Christmas Vacation (dir. Jeremiah Chechik, 1989) And why is the floor all wet, Todd?

Cinepocalypse: The Crescent; Housewife

A neo-psychedelic story of grief and a giallo-influenced journey into the weird

My second day at the festival (actually the festival’s fourth day overall, Sunday, November 5) included screenings of The Crescent and Housewife, the latest from Baskin director Can Evrenol.

The Crescent

The Crescent

Canada. Directed by Seth A. Smith. Starring Danika Vandersteen, Woodrow Graves, Terrance Murphy, Britt Loder. 99 minutes.

Canadian filmmaker Seth A. Smith takes a cue from 2001: A Space Odyssey and turns the Infinite into a full-on psychedelic experience with The Crescent, using an artistic technique called “paper marbling” as a symbolic element while lulling the audience into a state of emotional suggestion with dense electronic-ambient soundscapes.

Oh, and there’s a story in there as well. Recently-widowed mother Beth (Danika Vandersteen) and her toddler son Lowen (Woodrow Graves) navigate the not-entirely-metaphorical waters of grief at Beth’s mother’s remote seaside house. There they come to the attention of old, creepy Joseph (Terrance Murphy) and young, enigmatic Sam (Britt Loder), representing opposed forces who want to use Beth and Lowen—mostly Lowen—for their own ends.

I could have done without the plot’s development into a supernatural thriller complete with third-act twist, but I don’t think that hurt my overall impression of the film. Even so, I don’t think there are too many other filmmakers out there doing this kind of thing, so I’m in.

Housewife

Housewife

Turkey. Directed by Can Evrenol. Starring Clémentine Poidatz, David Sakurai, Ali Aksöz, Alicia Kapudag, Defne Halman. 82 minutes.

The giallo influence on Can Evrenol’s sophomore effort has been overstated somewhat, but it’s certainly there: primary-color lighting sources abound, and lead Clémentine Poidatz has the look of someone who should really be in a Forzani-Cattet film. The plotline—a young girl watches her mother murder her sister and father, and grows up to gain the attention of a cult called the Umbrella of Love and Mind, two events that are strongly entwined—is 100% pure Modern Weird Fiction, not too far off from a short story Tom Ligotti or Laird Barron might write.

Housewife is as weird and violent as Baskin, but largely not as unsettling: the ULM and its rock-star-ish leader (David Sakurai) are too over-the-top to take seriously (even though I’ve seen video footage of Scientology conferences bearing a resemblance to the ULM seminar we see here). On the plus side, I was impressed by the screenplay’s clever structure.

One other thing—if Clive Barker’s serious about doing that Hellraise remake, Evrenol should be at the top of his wish list to direct.

Next

On Monday, scream king Graham Skipper (The Mind’s EyeBeyond the Gates) steps behind the camera for his directorial début Sequence Break, Canada offers up a zombie-comedy with Dead Shack, and the 33mm Italian-language print of Suspiria discovered by the Chicago Cinema Society last summer finally gets its hometown screening.