American Fable (Peyton Kennedy, Richard Schiff, Kip Pardue, dir. Anne Hamilton)
I saw this movie at the Las Vegas Film Festival last June, when I was sort of surprised to see that it had been a favorite at other, more prominent festivals, because it struck me as the kind of amateurish first feature that gets into second-tier festivals and then disappears (it's now being released by IFC Films, although without much promotion). It's a weird sort of pseudo-fable (per the title) set sometime in the 1980s in the rural Midwest, about a young girl who befriends the banker sent to foreclose on her family's farm -- who happens to be held captive in an old silo after being attacked by her father. Their relationship, patterned after fairy tales in which children are lured in by imprisoned witches and monsters, makes no sense in the context of the story about economic struggles and familial tensions, and Richard Schiff, generally a welcome presence, has no idea how to play his character, who is a combination of a pragmatic corporate climber and a beguiling trickster. There are some lovely shots of Midwestern countryside that show a bit of writer-director Anne Hamilton's influence from her mentor Terrence Malick, but the acting is awkward and often flat-out bad, the story is a haphazard mix of social realism and ethereal wonder, the period setting is completely unconvincing and pointless, and none of it amounts to anything at the end. Available on Amazon and elsewhere.
Chasing Bubbles (documentary, dir. Topher Cochrane and Alex Rust)
I've complained before, both here and elsewhere, about low-budget films that feel like watching someone else's home movies, and the documentary Chasing Bubbles
, funded on Kickstarter and distributed for free online via Kentucker Audley's No Budge and elsewhere, is the epitome of that annoying byproduct of widely available filmmaking technology. Director Topher Cochrane crafts a loving tribute to his friend Alex Rust (who's credited as co-director thanks to the use of his copious personally shot footage), but the result is of value only to Rust's friends and supporters, an entirely insular collection of vapid vacation videos. A successful day trader who came from a wealthy family, Rust decided in 2008 to quit his job and sail around the world, despite having no sailing experience. He seems like a nice (if obliviously privileged) guy, and he clearly had a great time during the three and a half years he spent traveling on his boat, picking up various friends (both new and old) along the way. But there's nothing more than a rich, entitled bro's vacation footage, artfully edited, going on in this movie until the very end, after the sailing trip is over. Spoiler alert, I guess: Rust died about a year later, while on another trip, but not even in some ironic or poignant way that recontextualizes the preceding footage. He was a friendly guy who had a good time and died too young, and everyone who knew him liked him. That makes this a lovely way for his friends and family to send him off, not something that should play to a general audience. Available on No Budge.
Deadly Virtues: Love. Honour. Obey. (Megan Maczko, Edward Akrout, Matt Barber, dir. Ate de Jong)
This unpleasant piece of torture porn from the U.K. came out on home video overseas two years ago but is just now making its way to the U.S. It reminded me a bit of the equally distasteful Mexican thriller Honeymoon
, which I wrote about
in this space last month, and which is similarly bare-bones and similarly exploitative and ugly. In this case, a man invades a suburban couple's home and holds them hostage for a weekend, torturing and imprisoning the husband while forcing the wife to playact a relationship with him. The filmmakers frame this as some pseudo-feminist empowerment narrative, which is blatant bullshit and borderline offensive, really. Aaron (Akrout), the psychopath who breaks into the couple's house, threatens rape, ties them up, cuts off the husband's fingers and makes the wife model fetish outfits for him, is really just there to teach Alison (Maczko) to stand up for herself and leave her abusive husband Tom (Barber). Sure, Tom cheating on Alison and smacking her around is bad, but there's no way that it's worse than torture, maiming and sexual assault. This kind of false moralizing doesn't work in Saw
movies, and it certainly doesn't work in this low-budget production, which also suffers from terrible sound (the dialogue is often difficult to hear), mediocre performances and bland visuals. Any serious impact the story might have had gets thrown out during the absurd climax and even more ridiculous coda, setting up the main villain as some sort of savior of trapped women. Neither he nor the movie can credibly fill that role. Available on Amazon and elsewhere.