J.B. Spins

Jazz, film, and improvised culture.

Monday, September 25, 2017

Stopping Traffic: The Movement to End Sex-Trafficking

Sex-trafficking is not just a Third World phenomenon. It very definitely happens here, because this is where the money is. Men are also victims, as well as women and young girls and boys. Intellectually, we accept these facts, but we do not act like they have sunk in emotionally. Activist-filmmaker Sadhvi Siddhali Shree, the first North American Jain monk (she sometimes also uses the term nun) and a survivor of sexual abuse, forces viewers to examine rampant human trafficking in directly personal terms throughout Stopping Traffic: The Movement to End Sex-Trafficking (trailer here), which opens this Friday in New York.

It is hard to imagine anything more harrowing than the childhood of abuse survivor Dr. John A. King. He wasn’t trafficked per se, but his parents horrifically abused him and repeatedly pimped him to their friends. As a result, he can well relate to the experiences of trafficked women who are raped twenty or thirty times per day. Thailand remains the trafficking capitol of the world, but Houston and Los Angeles are also major hubs, while Afghanistan is a special category unto itself.

Unfortunately, sex-trafficking is a growing business in Vietnam, where it personally touched television host (and co-executive producer) Jeannie Mai, who discovered the daughter of her family’s neighbor had been sold into servitude at a hostess bar. Shree interviews a few such celebrities in Stopping, but they are personally involved and invested as activists. That definitely includes the eternally cool Dolph Lundgren, who appears with the first two minutes.

In fact, Lundgren sort of throws down the gauntlet, categorizing sex-trafficking as a massive collective failure in empathy. It is hard to argue otherwise when you hear the stories survivors tell. Survivor-activists like Karla Jacinto (who estimates she was raped over 42,000 times) really demand to be heard—and those who refuse tolisten are deliberately keeping themselves obliviously ignorant.

Watching Stopping Traffic really throws into stark relief how misplaced the majority of contemporary activism has been. Just imagine if the thousands who will show up at a congressman’s office to protest legitimate political differences instead gathered outside the Thai embassy to insist on stronger crack-downs on trafficking or at strip clubs and massage parlors where trafficked women have been forced to work in the past, to demand assures they are not currently involved in trafficking. We might actually start making inroads against a truly evil crime, instead of heightening the divisiveness of current discourse.

Shree and her battery of experts make the stakes painfully clear. Trafficking is also very definitely a women’s issue, because young girls are particularly at risk. This is a disturbing, enraging, yet maybe slightly hopeful documentary that will stick with you, pricking your conscience. Highly recommended, Stopping Traffic opens this Friday (9/29) in New York, at the Cinema Village.

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The Sound: Toronto’s Haunted Lower Bay Station

Even though it is allegedly haunted, Toronto’s moth-balled Lower Bay subway station is strangely recognizable. It has often doubled for other subways in movies like Don’t Say a Word, Bullet Proof Monk, and the Total Recall remake. It was only operational from late February 1966 to early September of the same year. Supposedly, it was closed because of design flaws rather than the rumored death of “The Woman in Red,” but when was the last time a government agency closed a big expensive public works project just because it was poorly laid out? An intrepid paranormal investigator ventures down to debunk the station, but she might be getting in over her head in Jenna Mattison’s The Sound (trailer here), which opens this Friday in Los Angeles.

Kelly Johansen believes in the power of twitter rather than ghosts. She has built a large following disproving supposed hauntings. Sometimes her rational worldly explanations come as a relief to the not-so-haunted-after-all. In addition to her smart phone, she also has a lot of gear for measuring high and low frequency sound waves, which are usually part of her logical explanation for ghost sightings. She will lug it all down to the shuttered Lower Bay station (sans permission, of course), where her initial readings are off the charts.

It is quiet down there—too quiet—and the infrasonic sound waves are dangerously low. Prolonged exposure will cause nose bleeds, drowsiness, and eventually madness. By the way, Lower Bay was also built over a Potter’s Field and next to a mad house. These are two significant items that turn up in the google search Johansen probably should have conducted before rushing off to Toronto. At least the wifi is strong down there. The same will not be true for her state of mind.

The cool thing about The Sound is that it takes a credible shot at fusing technology with the supernatural. Instead of being part of the logical scientific explanation, the ultra-low frequency sound waves might just an indicator of uncanny juju afoot. Plus, the station itself and the warren of support tunnels are massively creepy. Frankly, this film ought to discourage further attempts at urban exploration, because it looks incredibly sinister and dangerous.

Mattison and her design team of Jim Goodall and Iskander Alex Sayapov have created a massively eerie subterranean environment, but their work is somewhat sabotaged by Rose McGowan’s lifeless lead performance. Yes, Johansen is supposed to be slowly succumbing to the effects of the infrasonics, but even in the safety of her Detroit apartment (more likely that’s Grosse Point), she is a rather dull, pedestrian presence. Johansen also behaves rather contemptuously towards the little boy and his grandfather (played by the great Stephen McHattie) in the prologue sequence, which further hampers our feelings of suspense and tension when she finds herself in supernatural harm’s way. Still, we can always count on crafty and colorful vets like McHattie and Christopher Lloyd (as a weirdly diligent maintenance man) to liven things up.


The Sound is a pretty impressive example of horror movie mise-en-scène, but it is not McGowan’s finest hour. Still, genre fans have been able to look past wooden performances before. It is worth doing so again in this case, because Mattison shows so much potential as a filmmaker. Recommended for horror enthusiasts looking for new talent, The Sound opens this Friday (9/29) in Los Angeles, at the Arena Cinema.

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Veronica Ngo’s Tam Cam: The Untold Story

This Vietnamese fairy is a lot like Cinderella, but the slipper is golden rather than glass. There is also more death and reincarnation. As if that were not promising enough, Veronica Ngo (soon to be even more famous as the star of Star Wars: The Last Jedi) adds demons and Braveheart-style battles in her adaptation. The Cinderella step-sister has it particularly hard, but karma will do as it does in Ngo’s Tam Cam: The Untold Story (trailer here), which opens this Friday in select cities.

Poor Tam is bullied rotten by her nasty step-mother Di Ghe and vain step-sister Cam, but she gets encouragement from a Joel Grey-like Fairy Godfather. There will indeed be a royal ball, open to all, where the disinterested Prince (and acting Regent) will chose a bride. Di Ghe conspires to keep Tam away, but her Fairy Godfather gets her there in time to try on the fateful slipper.

Sadly, even after she marries the Prince, Tam is not allowed to live happily ever after. Prodded by the evil Magistrate, Di Ghe murders Tam and convinces the Prince to allow Cam to care for him, as Tam supposedly would have wanted. However, Tam constantly reincarnates as birds or trees to save the shockingly unintuitive Prince from the Magistrate’s assassination attempts. Unfortunately, all appears lost when the Prince’s trusted lieutenant betrays him in battle, but Tam and the Fairy folk are still looking out for him.

The original tale of Tam and Cam takes a turn that is grislier than just about anything you will find in Perrault, Basile, or the Brothers Grimm. Ngo is probably wise to file down that sharp edge, but she adds plenty of hack-and-slash action and demonic brimstone. Frankly, it is pretty impressive how many narrative balls she manages to juggle, thereby securing a number of featured roles for members of 365, the Vietnamese boy band she produces.

Actually, the boys aren’t bad hacking away at each other. Ha Vi certainly comes across as a sweet innocent as Tam, whereas Ninh Duong Lan Ngoc convincingly plays against type (she was the endearing lottery ticket seller in Jackpot) as the catty Cam, but nobody out vamps Ngo as the wicked stepmother. Forget about Jolie in Maleficent or Blanchett in the recent live-action Cinderella, because they pale in comparison to Ngo’s flamboyant villainy.

She can also direct. Ngo and Diep The Vinh capitalize on Vietnam’s stunning natural vistas (at least as seen from a drone’s eye-view) to give the film a real epic feel. Her war scenes have grit and the CGI is a little wacky, but still better than you would expect.

It is hard to dislike Tam Cam, because it is one of those kitchen-sink kind of film, where crazy stuff is constantly thrown in, for the sake of our entertainment. Arguably, the fact that it maintains a consistent sense of narrative logic is a tribute to Ngo. It is wild, tragic, romantic, melodramatic, sometimes a little goofy, and most importantly fun. Recommended for fans of fairy tales and Ngo, Tam Cam: The Untold Story opens this Friday (9/29) in Orange County at the Regal Garden Grove and in San Jose at the AMC Eastbridge.

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AlphaGo: Artificial Intelligence’s Grudge Match with Humanity

Forget Billie Jean King and Bobby Riggs. The stakes were much higher in the grudge match between DeepMind’s Go-playing artificial intelligence and Go master Lee Seedol. You can probably blame science fiction publishers for that. We’ve rarely published novels that feature a thinking program saving the day. Scientists can envision a world where A.I.’s help clean the dishes, but the Singularity remains a pretty scary proposition, so it was more than just professional Go players who were rooting for Lee. The epic five-game match is documented move-by-move in Greg Kohs’ AlphaGo (trailer here), which opens this Friday in New York.

There are so many potential variations in Go, it is considered more of an artform than a mere board game. It represents a far more complex programming challenge than chess. The AlphaGo program would also be far more legitimate measure of the state of the technology than the A.I. that defeated Kasparov. That program had the benefit of the experience of several chess masters, who helped teach it. AlphaGo would have to learn the game all on its own.

It learned pretty quickly, easily dispatching Chinese-born European Go champion Fan Hui in straight sets. It was a tough loss, especially his treatment in the Go press, but it put Fan in a unique position to understand the significance of the project. He subsequently signed on as a technical advisor to the program. However, Lee Sidol would be a different matter. Recognized as one of the most brilliant and unconventional players ever, everyone assumed he would cruise to victory. However, the real suspense will come from Lee’s valiant effort to scratch out a split.

Kohs clearly had unfettered access to the DeepMind team throughout its matches with Fan and Lee. While he did not have the same entrée to Team Lee, the Korean world champion still becomes the film’s genuinely heroic figure. We understand in no uncertain terms the pressure he endures as he carries the hopes of his country, the Go playing community, and basically the entire human race. The film also benefits greatly from Fan’s insider insights from serving as a player, coach, and judge in the AlphaGo story.

Kohs captures a lot of humanity in a film about artificial intelligence. The doc also might help alleviate some of our worst HAL-9000-esque fears regarding A.I. Yet, in moments of candor, even committed members of the DeepMind team admit a part of them was rooting for Lee out of human solidarity—so maybe we should go back to being paranoid after all. Highly recommended for viewers who enjoy popular science and games of strategy, AlphaGo opens this Friday (9/29) at the Village East.

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Sunday, September 24, 2017

Nanfu Wang’s I am Another You

Few documentary filmmakers have so fully committed themselves to their subjects as Nanfu Wang. Although the Chinese-born Wang was still relatively new to America, she willing joined a charismatic drifter, living rough on the streets to document his way of life. The survival skills she learned from Dylan Olsen would stand her in good stead when she returned to China to profile human rights activist Ye Haiyan, becoming a fugitive from state-sponsored thuggery, along with her subject. Ironically, Wang’s remarkable Hooligan Sparrow brought her to Utah, where she would pick-up Olsen’s story. Fate definitely seems to take a hand in Wang’s I am Another You (trailer here), which opens this Wednesday in New York.

If you have not seen Sparrow yet, this review will keep. Go watch it on Netflix, iTunes, or wherever right now. Seriously, it demands your attention that urgently. On the surface, IAAY appears to be something completely different. Olsen presents himself to be a Steinbeckian character, who prefers open roads to the rigid structure of academia and corporate America. Mindful of the lack of freedom in her native Mainland China, Wang finds his conception of freedom challenging, but also compelling. In fact, she spontaneously decides to join him on his intentionally aimless travels, suspecting there will be a film in it.

At first, the experience is almost uniformly positive. She always feels safe with Olsen and she is constantly impressed by how many people offer them help, several of whom even invite the itinerant backpackers into their homes. However, when Olsen starts expressing contempt for those who offer them assistance, Wang becomes disillusioned with her traveling companion. They go their separate ways, she films Sparrow at great risk to her life and liberty, and subsequently takes the unfinished film to a Sundance workshop in Park City, Utah (home of Sergio’s Authentic Mexican Food). Providentially, she meets and interviews Olsen’s father John, a devout Mormon police detective specializing in sex crimes. From the father, Wang would learn about the son’s dark side that he largely managed to keep hidden during their time together.

IAAY is often quite absorbing and sometimes genuinely moving, but its ostensive subject is almost the least interesting element. It is not Olsen who fascinates us, it is how Wang and his father relate to him. The senior Olsen is a caring family man, yet he allowed his son to embark on his homeless wanderings. Through his interview segments, viewers will come to acutely understand why he made certain choices and the emotional costs they have entailed. Similarly, it is surprisingly provocative to watch Wang’s evolving perception of the events she captured, as she gains greater background context on her former traveling mate. Perspective is always crucial in documentary filmmaking, but IAAY provides a case study of why that is so.

Even though IAAY is only Wang’s second documentary feature, her story would already make a great movie. She has gone where the stories take her and the mere fact that she is there has made her part of them. She is a truly gutsy independent filmmaker, for whom we have boundless respect. Granted, IAAY is not remotely as harrowing as Sparrow (thank God), but it is a smart and surprising film. Highly recommended, I am Another You opens this Wednesday (9/27) in New York, at the Quad Cinema.

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Saturday, September 23, 2017

Fantastic Fest ’17: Tiger Girl

This could be awkward. Tiger and “Vanilla the Killer” are all about laying smack-downs on grabby, harassing men. Devin Faraci, the social justice warrior accused of sexual assault is allegedly exactly the kind of guy they are out to punish. Yet, their film will be screening against a background of noise and controversy generated by news the festival organization tried to quietly slip Faraci back into the organization through the back door. It is fair to say people were not happy. Tiger and Vanilla would know how to handle this problem, but getting their own lives together is an entirely different matter in Jakob Lass’s Tiger Girl (trailer here), which screens during the 2017 Fantastic Fest.

Vanilla wanted to be a cop, but her first attempt at the physical exam ended badly. While waiting to re-apply, she signs on as a trainee with a well-equipped security firm. She is still pretty mousy, so she needs to be saved from the cloddish Theo (a successful police academy applicant), whether she admits it or not. Fortunately, Tiger is on the scene, thanks to a borrowed taxi cab. Around the second time Tiger saves her from a thuggish punk, Vanilla starts to realize this could be the start of an empowering friendship.

Soon, Vanilla snags a security uniform for Tiger, which gives them a virtual license to harass yuppies and misogynists. Vanilla practically idolizes Tiger, so it hurts when her two squat-mates-slash-lovers refuse to accept her. Suddenly, Vanilla is in no mood to accept perceived slights, spurring her to sabotage her somewhat promising security career. Just as she starts escalating her violent antics, Tiger begins to rethink her anti-social behavior.

Frankly, Tiger Girl could have been a challenging film about growing up and accepting the benefits of the social contract, but it is undone by its problematic conclusion. For the sake of crowd-pleasing, Lass more or less accepts Vanilla’s reckless attacks on innocent passersby.

Regardless, it is quite a showcase for the ferocious talents of Ella Rumpf, who previously made quite an impression as the older cannibal sister in Raw. As the tough but vulnerable Tiger, she physically resembles a young Kristen Stewart, but her command of her craft is much more advanced. She truly commands the screen. Obviously, Vanilla has to be meeker and more impressionable, but the extreme disparity between the fiery Rumpf and the Maria Dragus’s hollow-on-the-inside Vanilla hardly seems unfair.


There are several fight scenes interspersed throughout Tiger Girl, which is presumably why it was selected by both Fantasia and Fantastic Fest. However, fans will be disappointed Lass cuts away from a fight with a high-kicking martial arts-trained gallerist, played by the striking (in both meanings of the word) Helga Wretman. Ultimately, it does not add up to as much as Lass hoped, but it certainly announces Rumpf as a major talent to contend with. Earning a qualified recommendation, Tiger Girl should be quite an ironic screening experience when it plays tomorrow (9/24) and Monday (9/25) at this year’s Fantastic Fest.

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Friday, September 22, 2017

The Houses October Built 2: Blue Skeleton Strikes Back

This is one area where it is definitely more socially favorable to receive rather than give. Most folks can accept the healthy catharsis of enjoying a good scare, but if you dig scaring people, you are probably some kind of mean bastard. It makes you wonder about the people who work at “extreme haunts.” Most of them probably just want to entertain their patrons, but the shadowy group known as Blue Skeleton is something else entirely. At the end of the first film, Blue Skeleton had entombed Brandy in a coffin and were just about to cover it with dirt when the cops arrived. Now known on the internet as “Coffin Girl,” she will reluctantly join her cash-poor friends and fellow Blue Skeleton survivors on another tour of the heartland’s most distinctive haunted houses in Bobby Roe’s The Houses October Built 2 (trailer here), which opens today in New York.

The October franchise is an interesting attempt to combine the found footage horror movie with reality travel programming. As in the first installment, Brandy and her jerky pals will tour some real-life haunts and in some cases, talk to the actual proprietors. Not surprisingly, it is hard to get the mix right, but some of the attractions, like the zombie run and a cerebral zombie apocalypse role playing scenario look like a great deal of fun.

Unfortunately, it is never all that scary to watch them tour the real world, fake haunts. However, we periodically see ominous signs Blue Skeleton is out there, watching them. It should therefore surprise nobody when it turns out they are the people behind “Hellbent,” the extreme haunt all the professionals are talking about in hushed tones.

For the most part, Roe and co-writer-co-star Zack Andrews follow the same playbook they used for the first film, but that option will not be available to them if they come back for another sequel, because of a game-changing climax. It is also striking how little actual on-screen gore can be seen in these films. Yet, the sequel has some admittedly creepy moments.

To increase the meta-ness, all five Scooby Mystery team members play their namesakes. They deserve credit, because they really nail that bickering, bantering camaraderie, which is so tough to fake. We definitely believe they have been through a lot together. Brandy Schaefer is particularly compelling as “Coffin Girl.” She is absolutely not a victim, but she also has an understandably limited tolerance for extreme shenanigans.

October 2 isn’t the scariest film you will ever see, but it might give viewers some ideas for road trips. As an added bonus, we also get to watch champion competitive eater Takeru Kobayashi scarfing zombie brains. It is hard to formulaic a precise reaction to the sequel, but we are definitely curious to see where it might go from here. Recommended as an eventual stream on Netflix or Shudder, The Houses October Built 2 opens today (9/22) in New York, at the Village East.

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Thursday, September 21, 2017

Woodshock: Kirsten Dunst Smokes Up

You basically have two legitimate employment options in Humboldt County: logging and marijuana dispensaries. The former is highly discouraged by the state and local governments, whereas the latter has a regulatory green light, but they certainly to ought to check out the pot shop where Theresa works. In addition to Maui Wowie, they sell a special hemlock blend. Get ready to spend a lot of time with trees and grass in fashion maven sisters Kate & Laura Mulleavy’s Woodshock (trailer here), which opens tomorrow in New York.

One day, Theresa brings home some of her special blend for her terminally ill mother, but the resulting guilt crushes her psyche. She spends whole days moping around her mother’s house or wandering the forest outside in a t-shirt and panties. Her logger husband Nick isn’t around much, because his company finally received clearance to clear a patch of old growth trees. Occasionally, she shows up to work at Keith’s Dr. Feelgood dispensary, but she is so out of it, she “mishandles” the “special blend.” She is either going crazy or perhaps the spirit of the clear-cut forest is calling out to her—most likely, it is the first option.

You have to wonder what was described on the pages of the Mulleavys’ script that convinced Kirsten Dunst this could be her next-level-up film. Did they actually write out: “Theresa walks around the forest in her underwear hugging trees, then we cut to an owl, and then back to Theresa, super-imposing a double image on top of her, to suggest her soul might be leaving her body, at which point she suddenly awakes in her bed?”

That is what the whole, maddening film is like. It is sort of a Twin Peaks without the characters, dialogue, plot, and mythology. Basically, all that leaves are some strobe lights in the woods. To be fair, Dunst has enough presence to withstand the constant, withering close-ups, but to no real end. Pilou Asbæk, drastically slimmed down from his memorable turn as the loutish Didrich in 1864, makes a convincing drunk, but he doesn’t get much else to do as Keith. At least he gets more screen time than poor Joe Cole’s Nick, who disappears for inexplicably long stretches even though they are married and live together in the house they used to share with her late mum.

When our screening ended, there were audible groans among my colleagues. Believe me, they were not chanting “Woooodshock.” We are talking about a tough slog here and there is nothing at the end of the tunnel to justify the effort. The film desperately wants to be Lynchian and Polanski-esque, but its just not happening. Not recommended, Woodshock opens tomorrow (9/22) in New York, at the Angelika Film Center downtown and the new Landmark 57 in Midtown.

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Welcome to Willits: Fighting Aliens in the Emerald Triangle

Tin foil hats—they’re not just for conspiracy nutters anymore. An alien abduction survivor will deck out his terrified niece Courtney in an aluminum foil skull cap as a defense against extraterrestrial mind control. Clearly, Courtney is one of the few sane ones her family, just as Jeremiah is really the only decent dude in the group of college friends camping not far from Uncle Brock’s cabin. These two kids really ought to get together in Trevor Ryan’s Welcome to Willets (trailer here), which opens tomorrow in New York.

Old Brock has lost it. Who knows, maybe he really was abducted, but the subsequent post-traumatic stress and paranoia have completely unhinged his psyche. Aunt Peggy either humors him or has come to share his delusions. They hope the “aliens” will not bother them while Courtney is staying with them, but when the obnoxious Zack starts prowling around their Emerald Triangle pot grove, it triggers all the wrong responses in Uncle Brock’s head. Soon he starts to suspect the understandably freaked out Courtney is acting under alien influence, so they tie her up and chuck her into the closet.

Surprisingly, the Ryans, director Trevor and screenwriter Tim, do not play a lot of is-he-or-isn’t-he, are-they-or-aren’t-they games. Notwithstanding his flashbacks, it is pretty clear from early on Uncle Brock is just completely off his rocker. Bill Sage, who is no stranger to horror movies, is perfectly cast as the crazy uncle. You could almost call it a throwback performance that is more sadly tragic (and acutely human) than scary.

However, the real highlight of the film is a series of cameo appearances from Dolph Lundgren as a fictional shoot-first-and-then-shoot-again-later TV cop (on the show Fists of Justice), whom the aliens periodically use to issue threats to Brock, at least in his head. As you would expect, whenever Lundgren is on-screen to lunacy cranks up to eleven. In all seriousness, it is time for the Academy to recognize Lundgren’s contributions with an honorary Oscar. He is a survivor, who has made key contributions to the Rocky, Expendables, and Universal Soldier franchises. He fought commies in Red Scorpion and sharks in Shark Lake. He is also a prominent activist in the real-life fight against human trafficking, which makes him more of a humanitarian and a better actor than that screeching, over-acting Meryl Streep, so there is really no excuse to deny him the recognition he is due.

So, anyway, Willets is basically a crazy-hicks-in-the-woods movie, but it has a great cast. In addition to Lundgren and Sage, Rory Culkin probably takes on the role he was born to play as Possum, the drug-addled, conspiracy theory-spouting drifter, who awkwardly tags along with Jeremiah’s shallow pals. Garrett Clayton is spectacularly obnoxious as the entitled Zack, while Anastasia Baranova and Chris Zylka are appealingly earnest and grounded as Courtney and Jeremiah.

The key art for Willets makes it look larky, but it is very much a human-scale genre examination of human foibles—until Lundgren struts on-screen. It is a relatively simple narrative, but it is distinguished by several memorably colorful performances. Recommended for horror fans and Academy members (who should also check out Lundgren in the sensitive demon-hunting drama, Don’t Kill It), Welcome to Willets opens tomorrow (9/22) in New York, at the IFC Center.

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Wednesday, September 20, 2017

Last Rampage: Robert Patrick as Gary Tison

Gary Tison secured a place in history for his family. Unfortunately, it was with the landmark death penalty case, Tison vs. Arizona. He exerted a dysfunctional Svengali-like control over his sons that made everyone suffer, particularly their victims. With their assistance, Tison escaped from prison, igniting a spectacularly ill-fated flight from justice. If ever there was a compelling argument for the death penalty, it would be Tison, who chillingly comes to life in Dwight Little’s true crime drama, Last Rampage (trailer here), which opens this Friday in Los Angeles.

While doing well-deserved time, Tison was a model prisoner, so he was duly moved to a lower security annex. In retrospect, that was a huge mistake. His three sons just sauntered in on visiting day, just like they always did, except this time they had a picnic basket full of guns. At least Tison was a loving father, albeit in a seriously warped way. His cellmate and fellow escapee Randy Greenwalt was a stone-cold sociopath. Donnie Tison, the only Tison brother exhibiting any capacity to think for himself clashes early and often with Greenwalt. Their father will also try to shift the blame for the worst of the post-escape crimes on his former cellmate, but it is hard for the Tison boys to ignore what they see with their own eyes, especially for Donnie.

Of course, it is not just their father who poisoned his sons’ heads. Their mother Dorothy is sort of like a Lady Macbeth-instigator, who keeps herself in a willful state of denial regarding her husband’s dangerously erratic nature. Sheriff Cooper already lost friends and colleagues to Tison, so he will have Tison’s wife and semi-estranged brother closely watched.

Rampage is a somewhat frustrating film, because it assembles some truly terrific performances in a cookie-cutter TV-movie-of-the-week package. Frankly, Robert Patrick’s charismatic ferocity as Pops Tison will be an out-and-out revelation for those who only know him as the T-1000 in Terminator 2 and subsequent self-parodying appearances. In a more distinctive film, his performance could have been a dark horse awards contender.

Likewise, Heather Graham is unusually intense playing against type as Ma Tison. It is a neatly calibrated performance that leaves viewers unsure to what extent she has been deluding herself about her beloved husband. As always, Bruce Davison is rock-solid as Sheriff Cooper, providing a grounded, moral center to the film. John Heard only appears briefly, but he makes the most of it as the “colorful,” ethically questionable Warden Blackwell. Chris Browning is also all kinds of creepy as Greenwalt, but in a quieter, clammier, low-key kind of way, which nicely compliments Patrick’s flamboyant bluster. Sadly, the Tison brothers are rather dull compared to everyone else.

You have probably seen some of Little’s earlier films, like Halloween 4 or Marked for Death, back when going to the latest Steven Seagal film in theaters was a serious option instead of a depressing joke. Most of his recent work has been in episodic television (Bones, Prison Break, Nikita), so maybe it was inevitable Rampage would have a TV vibe. Nevertheless, Little brings out the best in his cast and the film’s late 1970s period details are spot-on. It is certainly far more polished and professional looking than Do It or Die, another recent true crime indie film helmed by a TV veteran (a comparison only a handful of us truly intrepid film dissectors would ever think to make).

Patrick and Graham really do some first-rate work in Rampage, so it is a shame it will probably not be screened and covered more widely. As big-screen storytelling, it is serviceable at best, but the turns from the two well-known co-leads could change viewer and industry preconceptions of them. Recommended as a future Netflix or Shudder stream, Last Rampage opens this Friday (9/22) at the Laemmle Music Hall.

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Fantastic Fest ’17: Darkland

Ziad is a doctor, so he has prestige within the Danish establishment. He can also patch up wounds, which will be helpful for his second career as a street vigilante. Unfortunately, he doesn’t take street-sweeping seriously enough until it is almost too late in Fenar Ahmad’s Darkland (trailer here), which screens during the 2017 Fantastic Fest.

As the first-generation son of Iraqi immigrants, Zaid has triumphantly integrated into Danish society. His thuggish younger brother Yasin, not so much. After a heist goes down badly, Yasin comes looking for help from his long-suffering brother, but Yasin turns him away. The next time Zaid sees him, the comatose Yasin is in need of a plug-pulling. His pregnant pasty white girl friend Stine tries to comfort him, but he is determined to flagellate himself with guilt. He is also increasingly frustrated by what he perceives as a lack of urgency on the part of the police to find his brother’s killer. Of course, he attributes this to anti-immigrant xenophobia rather than the fact Yasin was a bottom-feeding recidivist street criminal.

Eventually, Zaid will become so consumed with rage, he looks up a few old friends who will help outfit him as a body-armored vigilante. It is never exactly spelled out, but we eventually deduce Zaid’s past is more checkered than the image he presents. Soon he starts attacking the criminal network of Semion, the local kingpin obviously responsible for Yasin’s death. Unfortunately, Zaid is too dilettantish about his payback, giving Semion ample time and space to strike back. All you kids at home need to remember your revenge isn’t finished until there’s nobody left to kill—and also, you should stay in school and study hard.

Darkland is indeed stylishly noir, thanks to the vision of Ahmad and the cinematography of Kasper Tuxen. However, it is the sort of revenge movie that is too embarrassed by its genre to let us experience the vicarious payback in peace. Instead, it keeps shoving messages down our throat about how violence never solved anything, even though the whole of recorded human history suggests otherwise.

Still, Borgen and Game of Thrones alumnus Dar Salim is searingly intense and darkly brooding as Zaid. It is a quiet but muscularly physical performance. We never accidentally overlook him as he blends into the walls, that’s for sure. Ali Sivandi also makes a worthy nemesis for him as the flamboyantly sinister Semion.

Darkland offers up a zeitgeisty guilt trip, but it still has the elements of a gritty genre picture, so it is hard to guess whether Denmark will select it as their foreign language Oscar submission. Currently, it is one the three-film shortlist, with the final decision due today. It has considerable merit, but it could have been even more compelling if it were not so misguidedly determined to be politically relevant. Recommended for fans of violent street crime dramas, who don’t mind the periodic swing into social criticism, Darkland screens this Friday (9/22) and next Wednesday (9/27), as part of this year’s Fantastic Fest, assuming they still have enough people on staff to show the films.

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Tuesday, September 19, 2017

One Mind: Life in Harmony at Zenru Chan Monastery

The isolation of Zenru Chan Monastery on Yunju Mountain in Jiangsi province is good for the soul. It looks like the monk’s quiet way of life has been untouched for centuries, even though the building was indeed damaged by Red Guards during the Cultural Revolution. They outlasted the madness, just as they will outlast the current regime, not through active defiance, but by seeking enlightenment from within and through nature. Viewers will quietly observe the Zen Buddhist monks and experience the rhythms of their monastic life in Edward A. Burger’s observational documentary One Mind (trailer here), which has three special public screenings at the Rubin Museum of Art in New York.

If you really want to appreciate the monastery’s Zen tea, you don’t just sip it. You also help harvest the harvest the leaves. This is one of many ways the Zenru Chan monks stay connected with the earth. The monastery appears self-sufficient to a large extent, which means there are no idle hands. Of course, the whole point of living there is to lose oneself in work and meditation.

Mostly, the monks go about their business without offering any commentary, but one recent arrival having the stumble shorn from his head, explains the practice of head-shaving as a means for monks to renounce and deny their individuality. While we understand the principle, fortunately for us, many of the monks display plenty of personality, often in a cherubically enlightened kind of way, which makes them quite pleasant cinematic company.

One Mind is likely to be compared to In Great Silence and Gurukulam, the documentary following life in a Vedanta Hindu ashram (that also had an early screening at the Rubin). In each film, slow cinema and vérité filmmaking become forms of spiritual pilgrimage. One Mind is also billed as a “Buddhist documentary” rather than a “documentary about Buddhism.” There is definitely something to that, but it applies even more forcefully to the ecstatic ending of Seoungho Cho’s short documentary, Scrumped.

Viewers have reason to assume there is a large transient population at Zenru Chan, who just stay for a short time to restore their connection to nature and temporarily shut out the extraneous distractions of hyper-modernity. Yet, there seems to be a good feeling of fellowship shared by them all. That is part of what makes One Mind an aesthetically rewarding, immersive sensory experience. It is a film to take in with the eyes and ears, thanks to Burger’s own striking cinematography and the evocative natural and ambient noises modulated by sound editor Douglas Quin. Highly recommended for viewers interested in mindfulness and faith-in-practice, One Mind screens this Friday (9/22), the next Friday (9/29), and the following Wednesday (10/4), at the Rubin Museum of Art.

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Starship Troopers: Traitor of Mars

Separatist sentiment runs high among those space colonists. This time it is the Martians agitating for a Marexit from the Federation. Unlike the hardy libertarians in Heinlein’s Moon is a Harsh Mistress, these colonists are more like agrarian pacifists, who really don’t see what humanity’s war for survival against the bugs has to do with them. However, they will learn the hard way when a suspiciously sudden bug infestation overwhelms the planet in Shinji Aramaki and Masaru Matsumoto’s animated Starship Troopers: Traitor of Mars (trailer here), which releases today on DVD.

Did you know there were four sequels to Starship Troopers, two of them animated? Among B-movie connoisseurs, they are considered the gold standard of direct-to-DVD sequels. However, you can’t technically call Traitor of Mars direct-to-DVD, because it had a special Fathom Events theatrical screening. It is also something of a reunion for fans, because it was written and executive produced by Ed Neumeier, who wrote the screenplay for the first Verhoeven movie and features the voices of original cast-members Casper Van Dien and Dina Meyer (yes, her character has been dead since the first film, but that doesn’t mean she can’t still play a role). Seriously, you have to wonder how Denise Richards managed to be too busy to phone in a few lines for Fleet Captain Carmen Ibanez, but whatever.

As usual, “Mobilized Infantry does the dying, Fleet just does the flying.” Col. Johnny Rico is an officer now, but he is still all infantry grunt. Evidently, he had to make a hard choice in the previous film that saved humanity, but didn’t do his career any favors. As a result, he has been posted to the sleepy backwater of Mars to try to whip a misfit platoon of recruits into fighting shape. Of course, he is the last person Sky Marshal Amy Snapp would want on Mars, if she had foreknowledge of an alien attack, but let it proceed unimpeded to punish the Martians for their uppity behavior, which is about the size of things.

Of course, she will need a scape goat—a traitor of mars (or should that be “to mars?”). Carl Jenkins, her rival and Rico’s former high school classmate would foot the bill nicely, but he manages to get warnings to Rico and Ibanez before Snapp’s storm troopers grab him.

When it comes to military science fiction and mecha, Aramaki is the go-to animator. He has been entrusted with the Appleseed, Halo, and Harlock franchises, as well as the previous Starship Troopers animated sequel. He does spaceships and battle armor really well. It is also kind of neat to see the main characters noticeably age, albeit mostly rather gracefully. Basically, Rico now looks like Nick Fury on steroids and an all protein diet.

There is plenty of action and a number of call-backs and shout-outs to the original film. Yet, even though Neumeier doesn’t leave anyone in the lurch, his narrative ends somewhat ambiguously, without the kind of red meat payoff fans will want. It kind of feels like Phantom Menace, in that a lot happens, but our characters mostly end up back where they started, except for the Martians, who basically get done dirty.

Still, Rico and Jenkins continue to hold up as compelling characters, while Aramaki, Matsumoto, and their team create some cool science fiction visuals. Needless to say, it never remotely approaches the artistry of Loving Vincent, but it’s fun. Recommended for fans of Aramaki and the franchise, Starship Troopers: Traitor of Mars is now available on DVD.

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Monday, September 18, 2017

Loving Vincent: Van Gogh’s World, Exquisitely Animated

Forget Van Gogh’s ear. The real question is what happened to his heart. Reportedly, six weeks before his presumptive suicide, Vincent Van Gogh was calm, stable, and poised to finally glean some recognition for his work. Soon after his death, his devoted brother Theo also passed away. Sadly, Van Gogh’s great friend Joseph Roulin, the postmaster of Arles, did not know that. He tasks his somewhat dissolute son Armand with the task of forwarding Van Gogh’s final letter to his brother. As Roulin reluctantly pursues his grim duty, he finally starts to appreciate the artist he had always dismissed as a mad tramp. He will also start to ask questions about Van Gogh’s death in Dorota Kobiela & Hugh Welchman’s absolutely stunning animated feature Loving Vincent (trailer here), which opens this Friday in New York.

A lot of attention will justly focus on what a technical and artistic feat Loving Vincent represents. It does hand-drawn animation one better as the first film consisting entirely of hand-painted cells, employing oil based paints, in a style directly based on that of Van Gogh. Yet, there is also real acting to be seen throughout the film, thanks to a sort of inverse rotoscoping process, in which stills of the cast were painted over and enriched by the team of animating painters.

Frankly, seeing the iconic faces of the Roulins, Dr. Gachet, Pere Tanguy, and the Zoave will raise the hair on the back of your neck. Each time Kobiela and Welchman cleverly integrate one of Van Gogh’s masterpieces into the film, we feel an urge to applaud. Yet, Loving Vincent is more than a visual spectacle. The narrative, co-written by Jacek Dehnel, and the co-directors, is deeply resonant. Essentially, Loving Vincent becomes an Impressionist Citizen Kane, with the letter (signed “your loving Vincent”) replacing Rosebud as the Macguffin driving the investigation into the misunderstood title character.

Even though he never exactly appears on-screen, Douglas Booth gives a terrific performance as the increasingly guilt-ridden and morally outraged Armand Roulin, always seen wearing that impossibly yellow blazer. His relationship with his postmaster father (nicely brought to life by Chris O’Dowd) is surprisingly poignant and ultimately redemptive. The film even supplies some closure thanks to Dr. Gachet, Van Gogh’s jealous patron, layered over a haunting performance from Ripper Street’s Jerome Flynn.

Everything about Loving Vincent is exceptional, including the soundtrack, which might very well be Clint Mansell’s finest film work ever. To some extent, it adopts the conventions of a murder mystery, but it is a profoundly humanistic examination of art and mortality. If Loving Vincent does not at least win the Oscar for best animated feature, it may be time to seriously consider disbanding the Academy. The animation is breathtaking and the story is completely engaging on an emotional level. Kobiela and Welchman certainly did right by their subject, creating a legit work of art, with the help of their incredible team of painters. Very highly recommended, Loving Vincent opens this Friday (9/22) in New York, at the Lincoln Plaza.

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Hispanic Heritage Month: Beyond La Bamba

Ritchie Valens is reasonably credited with introducing American popular culture to son jarocho music, but there were plenty of recordings of the traditional Veracruz standard before (Xavier Cugat) and after (Cal Tjader, Mongo Santamaria) he cracked the top 40 charts with “La Bamba.” It is a tune José Luis Utrera surely knows as a scion of a celebrated family of son jarocho musicians. However, the young Utrera opts to chart his own course north of the border. Marco Villalobos & Daffodil Altan document his musical undocumented life in Beyond La Bamba (trailer here), which premieres on World Channel this Wednesday, as part of its celebration of Hispanic Heritage Month.

“La Bamba” is indeed quite representative of son jarocho. It is a traditional form of music that is infectiously rhythmic and wildly improvisational. If you are not invigorated by a son jarocho “fandango” than you are just tragically lame. How and why Utrera settled in Milwaukee of all places is never explained, but it turns out you can even find a fandango that far north.

In fact, Utrera is quickly adopted as the local son jarocho prodigy/celebrity/guru, almost like a son jarocho Wynton Marsalis, but one that holds workshops in a community center rather than the Lincoln Center. The music remains true to Utrera, even introducing him to his future fiancée. However, the conscientious Utrera misses his family and worries his aged grandfather will slip away before he is able to return.

Utrera is a nice kid, but his unassuming demeanor does not translate well on-screen. Fortunately, that doesn’t really matter, because the music is the reason to watch the half-hour Beyond. Utrera and his family, friends, and students can truly play up a storm. As a film, it is pleasant, but mostly rather serviceable, whereas as a PSA for son jarocho music, it should definitely inspire some CD sales.

Wisely, Villalobos (talk about a musical name) and Altan clearly try to minimize the issue of Utrera’s immigration status. Look, he is a wildly talented musician, so it is nice to have him here, but we can’t help think of all the even more gifted Japanese jazz musicians we know, who maintain their legal residency status, often through great hassle. Regardless, Beyond La Bamba sounds great, so give it a listen when it airs this Wednesday (9/20) on World Channel.

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Sunday, September 17, 2017

Hispanic Heritage Month: The Head of Joaquin Murrieta

Joaquin Murrieta had to be a significant Mexican folk hero, because Ricardo Montalbán played him twice, once on Death Valley Days and later in the TV movie Desperate Mission. Murrieta was the inspiration for Zorro, but he came to a bad end. Over one hundred fifty years after his death, filmmaker John J. Valadez wrestles with the Robin Hood-figure’s life, times, and legacy in The Head of Joaquin Murrieta (trailer here), which premieres on World Channel this Wednesday, as part of its celebration of Hispanic Heritage Month.

In 1853, the highwayman and/or Mexican nationalist was gunned down by a band of state-chartered vigilantes, who decapitated his head as proof. For years, they used the head as a grotesque sideshow attraction, until it was allegedly lost during the San Francisco earthquake. It was not the finest moment for California’s justice system, or Murrieta.

Although the head (preserved in a bell jar full of alcohol) was out of circulation, reports of sightings still persisted into the current century. Obviously, it is prime documentary fodder, but Valadez’s first attempt at a Murrieta doc fell through when his attempts to find the head did not pan out. Then one day, a mysterious package arrived at his home.

Valadez is maddeningly vague about a lot of details. Yes, we understand he wants to make a serious, socially conscious documentary, but when your film is constructed around a head in a jar, you have to indulge viewers’ morbid curiosity. There is no speculation as to where it came from, nor is there any attempt to authenticate it. Call us square, but shouldn’t you tell the police if you receive a severed head in the mail, even if it is from the 1850s?

In fact, Valadez readily admits he has no way of knowing if this is the real Murrieta or not, but he is content to accept it as a symbolic relic. Out of respect for the historical figure and the dispossessed people he championed, Valadez sets off on a trek to bury the head in his old stomping grounds, but he will have to drive, because obviously. Along the way, we get plenty of less than edifying American history. However, Valadez will also get an awkward reminder from his own family history that many of the Mexicans who were forced off their property by western expansionism had done the very same thing to the indigenous populations a generation earlier.

You have to give Valadez credit for keeping that part in the film, even though it is clearly embarrassing to him. Although, we would like more hard information about the head itself, the way he treats it on camera is quite tasteful and shrewd. Usually, he just shows it concealed by the box it was shipped in, which quickly takes on a sinister aura, sort of like the briefcase holding Marsellus Wallace’s soul in Pulp Fiction.

While clocking in just under half an hour, The Head of still manages to be persistently lectury. Nevertheless, it is an interesting story and it is fair to say Valadez is uniquely positioned to tell it. The adage “possession is nine-tenths of the law,” rooted in ancient Roman jurisprudence, certainly seems aptly to suited to this short doc, whether it be applied to misappropriated heads or twice-appropriated lands. It is provocative, but not knee-jerk. Recommended for those fascinated by folk legends, The Head of Joaquin Murrieta airs this Wednesday (9/20) on World Channel.

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Saturday, September 16, 2017

TIFF ’17: Simulation

They are like characters in a Persian Pirandello play, but at least they are well accessorized. Existence is absurd and tragic, yet everyone sports ultra-sparkly blue boots. It is not realistic, but it is not meant to be. Probably the only thing true to life is the gut-punching conclusion, but that comes relatively early in Abed Abest’s experimental, reverse-sequence Simulation (trailer here), which screens during the 2017 Toronto International Film Festival.

Abest starts with the third act and then rewinds to the second and first. Yes, it ends badly, but that is what you should expect if you’ve been dragged down to an Iranian police station. Living in Abadan near the Iraqi border means the Iran-Iraq War remains high in people’s consciousness, even for Abed and his two delinquent friends, Aris and Vahim, who are all far too young to have served. They have been arrested for causing disturbance of the home of Esi, a well-to-do merchant who is plenty old enough to remember the war.

The exact nature of their relationship is sketchy, but you probably would not call them friends. For obvious reasons, the tell-tale signs are double or triple coded, but we start to suspect Esi is somewhat openly closeted and the three young punks are pretending to be on the down-low to get close to him for nefarious, non-sexual purposes.

The action takes place on a stripped-down stage that is Spartan to the point of being surreal. Despite the deliberately “staged” presentation, Abest’s restless camera and distorted sound effects constantly bust us out of the proscenium arch. He does everything humanly possible to undermine the on-screen drama, yet somehow we get pulled in anyway.

Simulation partly derives its potency from the hot-button issues that divide contemporary Iranian society. Regardless of his sexuality, we can infer Esi is relatively wealthy and more secularly inclined in his values. On the other hand, Abed and company have little prospects, but even though they hypocritically indulge in alcohol and drugs, they most likely voted for Ahmadinejad, if they were old enough.

Despite playing a character at least twenty years older than himself, without the benefit of special make-up or costuming, Daniyal Khojasteh is terrific as old Esi. It is a portrayal of rage and dignity that leaves a deep impression. As Abed, Aris, and Vahin, Abest, Majid Yousefi, and Vahid Rad personify alienated malevolence, but Abest somewhat humanizes his namesake through Abed’s relationship with his adoring niece.

Frankly, Simulation is considerably more accessible than it sounds. There really isn’t that much not to get. However, Abest’s bold aesthetics will inevitably put off many viewers. Nonetheless, it is rather invigorating to watch him go for broke and mostly pull it off. Highly recommended for adventurous viewers, Simulation screens again tomorrow (9/17) as part of this year’s TIFF.

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Friday, September 15, 2017

Barenholtz’s Alina

He played a zombie in Night of the Living Dead and is widely recognized as the man who discovered David Lynch and the Coen Brothers. Producer-distributor Ben Barenholtz’s place in film history was already secure before he directed his first narrative feature at the youthful age of eighty. Manoel de Oliveira was still regularly cranking out films when he passed away at an untimely 106, so who’s to say how many more films Barenholtz might have in him? In any event, his directorial debut is rather notable. The title character will sip tea at the Russian Samovar and learn something about herself and her dear mother in Barenholtz’s Alina (trailer here), which opens today in New York.

Her mother never speaks of her father or their time together in New York, so Alina sneaks off to find out for herself, under the pretense of visiting Cuba on a rumba pilgrimage. It turns out her childhood friend degenerated into a gold digger with loose morals. However, Maria, a bartender at the Samovar proves to be a fast but true friend. She will help Alina follow her father’s trail, but in doing so, she inadvertently introduces the naïve Russian woman to some really smarmy cads, with money and bad intentions.

On the plus side, she also introduces herself to a big, boisterous Italian family, whose paths tangentially crossed those her father. The brooding grandson David rather turns her head and vice versa. There might be something brewing there, assuming history does not repeat itself.

As one would expect from the Ukraine-born Barenholtz, his film has a good feel for the Russian diaspora community, as well as the streets of New York City. Unlike terminally cute indies, the tone is darker and grittier than viewers might expect, but very true to the immigrant/migrant worker experience.

Darya Ekamasova (probably best known in America for The Americans) is quite remarkable as Alina. It is a forceful yet very vulnerable performance, which certainly sounds very Russian, doesn’t it? She shares a pleasant rapport with David Atrakchi’s David—and the rest of his big fat Italian family. On the other side of the spectrum, Grisha Reydler is charismatically sinister as her exploitative boss.

Alina is a nice film, distinguished by its assured ensemble and Barenhotz’s low key, but distinctive style. The soundtrack’s blend mix of classical, jazz, and Latin tracks well suits its seasoned sophistication and sounds terrific. Modest in scope but packing a potent after-kick, Alina is recommended for mature indie audiences when it opens today (9/15) in New York, at the Landmark Sunshine.

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Infinity Chamber: Dystopian Prison Break

Frank Lerner is in prison, but perhaps his mind can set him free. In this case, that is not a New Age platitude. His fully automated, near future dystopian prison is forcing him to relive his final day of relative freedom within his own subconscious. However, he is also looking for clues that would explain his increasingly desperate situation in Travis Milloy’s Infinity Chamber (trailer here), which opens today in Los Angeles.

After a long day of drudgery, Lerner was blasted by secret intelligence agents just as he was ordering java in Gabby’s inviting coffee shop. He next wakes up in a granite and steel prison cell, with only Howard, his AI minder, for company. Howard’s primary responsibility is to keep Lerner alive, but he is also programmed to defend himself if the prisoner gets destructive. Aside from maintenance requests, he is firewalled from the outside network, but Howard can still tell there was something dodgy about Lerner’s processing.

After breakfast, Lerner is zapped back into his head, but he has a reasonable degree of autonomy to change his actions and investigate his environment. It doesn’t always make sense that all this information would be imprinted on his subconscious, but it is such a heady head-trip, we just go with it anyway. There are elements of the coffee shop Lerner obsesses over, including Gabby, with whom he starts to carry on an unlikely romantic relationship. With her help, he will develop an escape plan, which will take on urgency when Lerner starts to suspect he has been abandoned to die in his cell.

Chamber is a really nifty science fiction chess game that dexterously exploits the claustrophobic nature of its limited sets and locations. As one of the smarter dystopian films in recent years, it is largely character driven, even though two of its three characters are not, in the strictest sense, human. In terms of motifs, it even bears some comparison to Nozim Tolahojayev’s animated short film adaptation of Bradbury’s There Will Come Soft Rains.

As Lerner, Christopher Soren Kelly makes a refreshingly smart and humanistic everyman. He also forges some really terrific chemistry with Cassandra Clark, who is surprisingly poignant as Gabby. The circumstances are almost incredible, but their relationship feels real.

Milloy addresses some deep, sophisticated themes, but he always keeps viewers keenly aware of the ticking clock. Arguably, it represents the best sort of speculative fiction that does not require extravagant special effects to realize its vision. Very highly recommended, Infinity Chamber opens today (9/15) in Los Angeles, at the Arena Cinema.

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