No Good Deed
Film Review by Kam Williams
It is usually a bad sign when a movie studio decides not to preview a picture for film critics. In the case of No Good Deed, Screen Gems claimed that it was refraining from doing so in order to prevent the spoiling of a surprising plot twist. Well, the butler did it! (Just kidding.)
Skeptical, I had to wait until opening day to see it. And while the movie is by no means a masterpiece, I’m happy to report that it’s nevertheless a tautly-wound nail-biter which keeps you on the edge of your seat from beginning to end. And yes, there is a humdinger of a revelation during the denouement, not a totally preposterous development but rather a plausible one which was merely cleverly-concealed.
The movie marks the theatrical directorial debut of Sam Miller, who is best known for Luther, the brilliant BBC-TV series featuring Idris Elba in the title role for which he won a Golden Globe in 2012. The two collaborate again here, with Idris playing Colin Evans, a serial killer who, at the point of departure, slays a couple of prison guards during a daring escape from a Tennessee prison.
He makes his way to his girlfriend Alexis’ (Kate del Castillo) house in Atlanta only to murder her, too, when he learns she’s already involved with another man. Colin remains so blinded with rage as he drives away that he crashes his stolen car into a tree along a suburban country road.
He subsequently knocks on the door of Terri Granger (Taraji P. Henson), an attorney-turned-stay at home mom whose husband (Henry Simmons) has conveniently just left town with his father away for a weekend golf getaway. Against the former prosecutor’s better judgment, she lets the tall, dark and handsome stranger enter the house, and it isn’t long before there’s trouble in paradise.
After all as the proverb suggested by the title warns, “No good deed goes unpunished.” Accordingly, Terri and her two young kids find themselves in the clutches of a desperate maniac until the protective mother’s maternal and survival instincts kick into high gear.
No Good Deed was ostensibly inspired by The Desperate Hours, a suspiciously-similar Broadway play starring Paul Newman which was first adapted to the big screen in 1955 starring Humphrey Bogart, and remade in 1990 with Sir Anthony Hopkins. Thanks to Mr. Elba’s menacing intensity, a potentially mediocre variation on the theme ends up elevated into a tension-filled gutwrencher his loyal fans won’t want to miss.
The urban-oriented audience at the screening I attended talked back at the screen a lot in the way that engaged black folks do, and they even applauded heartily as the closing credits rolled, surefire signs that the studio has a hit on its hands, conventional critics notwithstanding.
Very Good (3 stars)
Rated PG-13 for violence and profanity
Running time: 84 minutes
Distributor: Screen Gems
To see a trailer for No Good Deed, visit:
I Am Eleven
Film Review by Kam Williams
11 is that awkward age when most boys are bashful and self-conscious about their cracking voices while the girls are gangly and getting their first period. If you’re wondering what today’s kids are thinking about as they negotiate their way through that stage of life, you can easily find out from I Am Eleven, a delightful documentary marking the directorial debut of Genevieve Bailey.
The peripatetic Australian circumnavigated the globe to talk to children about everything from family to teasing to romance to war to intolerance to poverty to nature to their hopes for the future. Ms. Bailey found 22 young subjects to focus on over the course of her travels which took her to 15 countries.
Art Linketter coined the phrase, “Kids say the darnedest things,” ages ago and that hasn’t changed much, judging from the quotable bon mots served up in this film. Among the movie’s stars are Remi, an introspective boy from France who doesn’t mince words. “I don’t like racists,” he announces sternly, adding, “To know that there are still some people who differentiate between humans depending on race, that’s completely absurd.”
Relatively-innocent, but equally-endearing, is Remya, an orphan from India who freely admits that she didn’t even know what an interview was before being approached to participate in the project. In fact, Bailey is the first foreigner she ever met. Nevertheless, it doesn’t take long for the vulnerable waif to open up how she feels hurt whenever “someone is bullying me or shouting at me or telling lies about me.”
One adolescent I found particularly fascinating was Jack, an elephant whisperer from Thailand. He explains how the behemoths he works with are capable of healing. “Elephants can change the chemicals in your brain,” he suggests matter-of factly. “If you have a headache, all you’ve got to do is put your head to an elephant’s head and, within seconds, your headache just goes away.”
Pearls of wisdom from the mouths of babes uttered with such heartfelt conviction that you want to believe them, even when you’re a little skeptical.
Excellent (4 stars)
Unrated
In English, French, Japanese, Mandarin, German, Swedish, Berber, Thai, Malayalam, Hindi, Dutch and Bulgarian with subtitles.
Running time: 94 minutes
Distributor: International Film Circuit
To see a trailer for I Am Eleven, visit
Wetlands
(Feuchtgebiete)
Film Review by Kam Williams
Helen Memel (Carla Juri) has had hemorrhoids for as long as she can remember, an unfortunate affliction she probably developed as a result of a combination of probing herself and practicing very poor hygiene. For the headstrong rebel has made a habit of ignoring her mother’s (Meret Becker) sensible advice, such as to not sit on a public toilet seat.
Instead, Helen tends to go to the opposite extreme, taking a kinky pleasure in coming in contact with whatever bodily fluids might have been left behind by strangers in the ladies’ room. The sexually-insatiable 18 year-old also enjoys experimenting with everything from cucumbers to carrots to pulsating shower heads in a neverending quest for the next climax.
She even flirts shamelessly with her BFF, Corinna (Marlen Kruse), who’s straight and already has a boyfriend, Mike (Bernardo Arias Porras). But Helen is so curious and driven by lust that she fantasizes about seducing him as well.
What’s behind all the bizarre behavior? It might be explained by the trauma the poor child suffered as a consequence of her parents’ divorce. She’s desperate for the two of them to reconcile, and has been acting out since the separation, filling the void by deliberately seducing boys with a whiff of her very carnal feminine scent.
Directed by David Wnendt, Wetlands is a surreal, coming-of-age adventure which keeps you guessing whether what you’re watching is real or merely the product of the horny heroine’s fertile imagination. The picture is based on Charlotte Roche’s erotic thriller, “Feuchtgebiete” which was the best-selling novel in the entire world for the month of March, 2008.
A non-stop sexcapade revolving around a literally and figuratively filthy hedonist who puts a whole new spin on the term “dirty girl.”
Very Good (3 stars)
Unrated
In German with subtitles
Running time: 104 minutes
Distributor: Strand Releasing
To see a trailer for Wetlands, visit: https://www.youtube.com/watch?v=g3PRY13WiwM
The Identical
Film Review by Kam Williams
What if Elvis Presley’s stillborn twin had survived his mother’s pregnancy rather than passed away during delivery back in January of 1935? That is the alternate reality contemplated by The Identical, a faith-based musical marking the underwhelming directorial debut of Dustin Marcellino.
Unfortunately, Dustin tapped an Elvis impersonator to star in his revisionist version of events, a dubious decision that comes back to bite him whenever Blake Rayne isn’t singing and shaking his hips onstage. The first-time actor plays both Ryan Hemsley and his identical sibling, Drexel (Elvis), in this fictionalized account of the life of the King of Rock and Roll.
The speculative endeavor’s point of departure is Decatur, Georgia during the Depression, which is where we find poverty-stricken sharecroppers Helen (Amanda Crew) and William Hemsley (Brian Geraghty) fretting about how they’re going to provide for their twin newborns. The answer to their prayers arrives soon thereafter, at a revival meeting pitched under a big tent by Reverend Reece Wade (Ray Liotta), a Pentecostal preacher with a soulful of hope and a barren wife (Ashley Judd).
The Wades’ desire to start a family conveniently dovetails with the Hemsleys’ having one more baby than they can reasonably afford. So, with God as their witness, Reece and Louise agree to adopt Ryan before surreptitiously slipping out of town and back to Tennessee. Meanwhile, Helen and William announce the missing boy’s death to friends and relatives, and stage a faux funeral, complete with an empty casket.
Reece proceeds to raise Ryan in the church with a career in ministry in mind although, given his great vocal chords, the kid proves more comfortable in the choir than the pulpit. He finally rebels in his teens entirely by enlisting in the military, leaving not only his domineering dad but a budding sweetheart (Erin Cottrell) behind. By contrast, Drexel, who was also blessed with powerful pipes, is allowed by the Hemsleys to pursue his passion, and naturally blossoms into the nation’s next singing sensation.
Will the twins ever learn of each other’s existence? If so, will they be able to forgive their folks for having separated them at birth? And will Ryan ever enjoy an opportunity to take his own shot at fame and fortune?
These are the probing questions posed by a production so flawed in terms of plot, dialogue and performances that it ends up unintentionally funny at practically every juncture. Regrettably, The Identical flunks the basic plausibility test, whether in terms of its farcical reimagining of race relations in the Jim Crow South or its equally-silly staging of sophomoric car chases straight out of The Dukes of Hazzard.
To paraphrase a Presley classic: Wise men say, only fools rush in to see a one-trick pony revolving around an annoying Elvis look-a-like.
Fair (1 star)
Rated PG for smoking and mature themes
Running time: 107 minutes
Distributor: Freestyle Releasing
Altina
Film Review by Kam Williams
Altina Schinasi (1907-1999) was lucky enough to be born with the proverbial silver spoon in her mouth. The youngest of three girls, her parents were Sephardic Jews of humble origin who immigrated to the U.S. from Turkey in the late 19th Century.
Thanks to the tobacco fortune soon amassed by their industrious father, the sisters were raised in the lap of luxury on the Upper West Side of Manhattan. Although headstrong Altina wanted for nothing, she proved to be something of a rebel, opting to study art in Paris after graduating from a prestigious prep school, rather than follow the conventional path of a pampered debutante.
That was just the first of many unorthodox choices on the part of the free-spirited trendsetter en route to making her mark on the world not only as an artist and inventor, but as a feminist and civil rights advocate who would march with Dr. Martin Luther King. She was also a bit of a Bohemian in terms of her private affairs, being admittedly driven by insatiable urges stronger than the societal taboo against adultery.
Tawdry scandals aside, Altina accepted four proposals of marriage over the course of her life, the last from the Cuban artist Tino Miranda, a handsome hunk less than half her age. Though then well into her golden years, she had her Latin lover marveling at her “stamina of a 25 year-old.”
Besides a healthy libido, Altina was perhaps best known for designing the harlequin eyeglass frame, a cultural contribution for which she won the 1939 American Design Award. Still, the talented Renaissance woman‘s accolades for her innovations and sculptures brought her less satisfaction than doting on her two sons, Dennis and Terry.
All of the above is recounted in entertaining fashion in Altina, a reverential biopic directed by Peter Sanders (The Disappeared). The fascinating documentary’s only flaw is that it leaves you wanting to learn more about its intriguing subject.
A frustrating tease of a tribute that seems to merely scratch the surface of an overprotected child of privilege-turned-irrepressible bon vivant.
Very Good (3 stars)
Unrated
In English and Spanish with subtitles
Running time: 80 minutes
Distributor: First Run Features
To see a trailer for, visit: