Movie Nation

Movies and movie makers generally play by a set of rules. A story unfolds and a mystery unravels, and at some point it all starts to make sense. We count on it.
“Borgman” breaks that covenant. Dutch director Alex Van Warmerdam’s film isn’t conventional in any sense of the word. A serial killer thriller, vampires and demons saga, Biblical allegory? It could be any of these, or something even more inscrutable.
Jan Bijvoet has the title role, and we meet him underground. A local priest and two toughs are stabbing stakes into the ground, rooting Camiel Borgman and his kind out from their hiding places.
Borgman makes his getaway, warns his subordinates (Van Warmerdam plays the older one, Ludwig) from their buried hideaways, they split up and Borgman stumbles off into a wealthy suburb.
A bearded hobo, he appeals to Marina (Hadewych Minis) as if they’re old friends, calling her his “nurse.” Her brutish husband (Jeroen Perceval) isn’t having it, but Marina, as if under a spell, hides and feeds Borgman and gives her access to her home, her beautiful nanny (Sara Hjort Ditlevsen) and her young children.
When the adults aren’t around, Borgman enchants the kids with a weird, witchy bedtime story, “The White Child.” When adults are around, Borgman seems to fester illnesses, short tempers, personal disasters and vivid, murderous nightmares.
Borgman summons his “team,” which kills those who might interfere with his plans — a doctor, for instance, or gardener. The means of disposing of the bodies is haunting. They fill buckets with cement, stick the victims’ heads in them and sink them in a lake — floating upside down, anchored to the bottom.
The fact that a couple of Borgman’s helpers show up as greyhounds (shape shifters?) in one scene could be worth noting.
Van Warmerdam explores an odd interpersonal dynamic by stressing this family with a quietly disruptive, oddly charismatic weirdo. He makes this story utterly engrossing even as we start to wonder, deeper and deeper into the story, if the director is ever going to explain what’s going on here.
A hint — he doesn’t. Another hint, Camiel’s first name. That’s the first name of one of the seven archangels in Christian and Jewish mythology. When Borgman mutters “Jesus is a bloody bore, only interested in himself,” (in Dutch, with English subtitles) perhaps he has first-hand knowledge.
In any event, “Borgman” is a chilling, cryptic film that commands your attention even as its writer-director devotes much of his attention to keeping you from figuring it out. It says something that even though Van Warmerdam won’t follow the rules, we still want to play the game with him.

MPAA Rating: unrated, with graphic violence, sexual situations
Cast: Jan Bijvoet, Hadewych Minis, Jeroen Perceval, Alex van Warmerdam
Credits: Written and directed by Alex Van Warmerdam. A Drafthouse Films release.
Running time: 1:53

Mark Strong is such a great Brit-villain (“Sherlock Holmes,””Kick-Ass”) that
he landed a part in that clever bad-guys-drive-Jaguars commercial that’s been
making the rounds since the Super Bowl.
So he’s cast against type as the hero of “Anna,” a solid if unsurprising
thriller about a “memory detective” on a tricky case.
“Mindscape” is the name of the agency that uses John Washington (Strong). In
the not-so-distant future, psychics are taken seriously because of their ability
to mind-meld with subjects and wander through their memories with them. Their
work is commonplace enough to be accepted by the courts.
John, a psychic who has suffered the loss of his wife, is eased back into the
work by a boss (Brian Cox) with the case of a rich teen (Taissa Farmiga) who has
stopped eating. John revisits her memories with her and solves that problem in a
flash. But Anna is a compelling subject, flirtatious, clever and with stories
about a nightmarish life with mom and stepdad.
“I’m not a sociopath,” she purrs, “just smart enough to think like one.”</P>
John listens to Anna’s pleas, “You’re all I have.” And down the rabbit hole
of her memory he goes — from one of the many boarding schools she quit on into
the more distant past.
Is she manipulating her memories and his experience of them? Are her parents
(Saskia Reeves, Richard Dillane) trying to keep her quiet?
Is John’s boss in on it? They cast Brian Cox in the part, and let’s face it,
Brian Cox probably drives a Jaguar.
First-time director Jorge Dorado learned his chops on the sets of movies by
Guillermo del Toro and Pedro Almodovar, and he wrings as much suspense out of
the memory flashbacks as he can. “Anna” was originally titled “Mindscape” and
has a hint of such earlier films as “Dreamscape” and even TV’s “The Mentalist”
about it. Anna is under constant surveillance, but those cameras have many blind
spots that conveniently mesh with “accidents” that happen on the estate where
she lives.
Strong is a compelling lead, and is subtle enough to get across John’s rising
paranoia without chewing the scenery.
But what little suspense the script confures up is frittered away in the
performances, particularly young Miss Farmiga’s. The younger sister of the
formidable Vera Farmiga gives flat, rushed and unconvincing line readings,
especially in her paragraph-long, exposition-packed monologues.
Is that by design? Is this a clever teen “acting” to manipulate her memory
detective?
The actress should be better at masking that, if that’s the case. And if it
isn’t, she should be just…better.

MPAA Rating: R for nude sexual images
Cast: Mark Strong, Taissa Farmiga, Brian Cox
Credits: Directed by Jorge Dorado, written by Guy Holmes and Martha Holmes. A
Vertical Entertainment release.
Running time: 1:38

She was a wide-eyed revelation as a child actress, giving emotional weight to films such as “Man on Fire” or even “War of the Worlds.”

But Dakota Fanning’s journey to adulthood and more grownup roles was, as it often is, a rocky one. She did supporting work in decent dramas (“Nine Lives”) then rather abruptly leapt from “Charlotte’s Web” to “Hounddog” and “The Secret Life of Bees.”

Her turns in the “Twilight” films weren’t a big career boost. But the indie work she’s done since — “The Runaways” for starters — shows a seriousness of purpose that’s encouraging.

And now, at 20, with “Night Moves,” she has best role in years. That’s the film we’ll be talking about when I interview her.

Questions for Dakota Fanning? Comment away, and thanks for the help.

He’s got that Mike Myers’ sized animation franchise to lean on — “How to Train Your Dragon 2” is due out the 13th.

But Jay Baruchel is avoiding the Myers trap by acting-acting-acting, turning up in indie films like “The Trotsky” and “I’m Reed Fish,” ensemble comedies from “Tropic Thunder” to “This is the End,” and in action pics such as “Robocop” and “The Sorcerer’s Apprentice.”

Lots of variety, though he gets cast typically as a nebbish, the nerdy guy who realizes “She’s Out of My League.”

Questions for Mr. Baruchel, who has a Cameron Crowe picture due out, and “Don Peyote” and a few other projects in the works in between “Dragon” training sequels?

Whatever the thriller “Cold in July” sets out to be, it becomes something significantly different the moment Don Johnson shows up.

What started out as a grim survive-a-criminal’s-vengeance tale, a slice of early ’80s Texas Gothic, develops a swagger the moment Ol’ Don strolls in — all cowboy books, ragtop Cadillac and southern fried private eye. He’s the kind of gunslinger who shows up in the middle of the Western, figures he makes the odds more even, bit but sure as shootin’ isn’t suicidal.

“Lotta cowboys down there,” he drawls as the “good” guys steel themselves for the big showdown with the bad guys. “You wanna rethink your math?”

“Cold in July” opens with a home invasion in which a timid framing shop owner (Michael C. Hall) shoots and kills a hooded intruder in small-town 1980s Texas. But there’s something a little off in the way the town and the cops respond. And not all of this can be attributed to “Well, it’s Texas.”

Even the postman is all back slaps and bravado.

“I hear you GOTCHA one last night.”

The cops “didn’t think you had it in you.”

Richard (Hall) is bugged by all this, rattled by every sudden noise. He knows the dude the cops said he shot has a daddy, a mean one with a prison record. And stumbling into old man Russell (Sam Shepard) as the county summarily puts the dead intruder in the ground just sets Russell off. He is all vague suggestions of this, veiled threats about that.

Next thing you know, Richard, his wife (Vinessa Shaw) and young son are under police protection, which promises to be no protection at all from a cunning killer with blood feud tendencies.

It’s along about here that Richard starts to wonder just who it was he shot in his house, just what Russell knows or doesn’t know and just what the cops are up to in luring Russell into stalking him. Something more sinister is afoot, and meek Richard is drawn into an ugly underworld where Russell knows his way around, but not nearly as well as his old pal, the private eye/pig farmer who lightens the mood and gives the coming violence a righteous, almost comical bent.

Indie filmmaker Jim Mickle, whose credits are mostly genre horror, has a hard time with tone here, jolting us from weak suspense to harrowing action to comic interlude and bloodbath finale. He basically stops the movie with each tone shift, fatal to any thriller.

Hall is a passable lead, but easily overshadowed by the grizzled Shepard and one-liner loving Johnson.

“Cold in July” is another of those seemingly pointless period pieces. Setting it 30 years ago lets the older guys pass themselves off as fellow Korean War vets and gives the production the excuse to use VCRs and lots of rattletrap late ’70s cars. Otherwise, Texas is Texas.

This is Southern Gothic that harks more to “Walking Tall” than William Faulkner, and it turns out that is alternately too ambitious and not nearly ambitious enough.

MPAA Rating: R for disturbing bloody violence, language and some sexuality/nudity

Cast: Michael C. Hall, Sam Shepard, Don Johnson, Vinessa Shaw

Credits: Directed by Jim Mickle, scripted by Nick Damici and Jim Mickle based on a Joe R. Lansdale novel. An IFC release.

Running time: 1:46

“Maleficent” did well Thursday night and quite well on Friday. So barring a rash of critics’ warnings heeded and bad word of mouth, millions of tykes will be scared by the violence and the Jolie of this Disney misfire on Saturday and Sunday.

It should clear $60, with Deadline.com going so far as to think $70 is within reach. I doubt it, but we’ll see. As I say, reviews were poor and parents tend to be persuaded and dissuaded more than others. UPDATED — Saturday’s bump suggests this will be close to $70 million by midnight Sunday. Women made this one a hit. (Final estimate, $70 on the nose)

Seth MacFarlane’s fanboys read reviews and are staying away from “A Million Ways to Die in the West.” The trailers aren’t funny, he’s particularly dull in them. And reviews have been harsh, if not brutal. It might manage $18 $17 $16. Those are “Blended” numbers, far below the $26-28 projected. Helloooooo “Ted 2.” ($17, almost to the cent).

To further elaborate — Adam Sandler’s “Blended” opened at $18, signalling the end of his comic brand name status. So MacFarlane is managing at the beginning of his big budget/all star comedy career what it took Sandler 20 years to fade into.

“X-Men: Days of Future Past” has lost almost all its steam, suggesting this franchise is close to exhausted, despite the healthy opening weekend numbers. A 60-70% falloff the second weekend? People are over it. UPDATED — the drop is 66%, pretty bad, but it still managed another $31 $32 million thanks to a Saturday boost.

“Blended” plunged down the charts on its second weekend, “Neighbors” continues to pay off. “Godzilla” sputters toward $185 domestic when all’s in. “Neighbors” may actually be ranked higher on the charts when all is said and done Sunday midnight — both are in the $7.5-$8 million range.

“The Other Woman” cleared $80 million on its way to @$85, all in. “Chef” is clinging to the top ten, not doing huge numbers despite adding screens, week by week.
It is still not over $10 million.

“Million Dollar Arm” had legs, is sticking around the top ten and has done better than expected — $35-40, by the end of its run, $28 by midnight Sunday.

“Spider Man 2” should hit $200 million in a week or two, and won’t make much more than that, domestically. A Good long run for an indifferent film.

“Grand Budapest” is finishing its run under $60 million. “The Immigrant” added screens and lost audience. It won’t do $10.

The spring’s run of religious films are slowly fading from the top 20. “Heaven is for Real” will not quite hit $90 million, which is a HUGE deal. If “Moms Night Out” had been a better movie, it might have earned more than $9.

The reviews are in, and the big studio releases this weekend won’t be boosted at the box office by the critics, myself included.

The joyless “Maleficent” earned weak to poor notices — kind of “Oz the Great and Powerful” but a lot less fun. The experts still figure Disney will clean up with this technical exercise in post-feminist villainous motivation — in 3D.

Box Office Guru thinks “Alice in Wonderland” numbers are out of reach, but the lows $60s are.

Box Office Mojo believes — it truly believes — that $55 is the high end of expectations.

Not bad for a bad movie. It will strain to reach “Godzilla” territory, and then plummet second week onward. My prediction. $60+.

“A Million Ways to Die in the West” will call out Seth MacFarlane’s legions of fanboys. “Ted” was a smash. “Family Guy” is still on TV. MacFarlane can be funny, sort of a low comedy heir to the throne that Mel Brooks built and the Farrellys owned for years. I didn’t mind his OScar stint. He can sing, too. None of which makes him an on-camera movie star. Zero presence, just a pasty-faced nebbish who might have directed a snappier comedy than the one he co-wrote, produced, directed and stars in. He’s not funny enough to spread himself that thin.

And his movie will earn bucks — but not huge ones — mainly from those “Ted” fans. Because the reviews have been brutal. Not Adam Sandler brutal, but close enough for MacFarlane to have to stop making Adam Sandler sucks jokes. They both do.

Box Office Mojo figures this worst Western will manage $25-26 million. And the Guru thinks $28. I am thinking it could better that, but those “legions” had better not be “legion.” MacFarlane’s leading man career ends right here.

“X-Men” figures to come in second with a take in the $25-30 range. “Godzilla” fades to the bottom to the top five.

There are better movies opening this weekend, none of which have a prayer of cracking the box office top ten.

James McAvoy’s non-X-Men movie, “Filth,” is a daring, nasty “Trainspotting” turn in “Filth,” playing a dirty dirty Scottish cop with issues like you wouldn’t believe. Terrific performance.

The eco-terrorism thriller “Night Moves” is by the director of “Meek’s Cutoff, and has many of the virtues and shortcomings of that Western. Jesse Eisenberg, Dakota Fanning, Peter Sarsgaard and James LeGros star in this limited release.

“Lucky Them” is a Seattle rock dramedy that benefits from a top drawer cast — Toni Collette, Thomas Haden Church, Oliver Platt — and a grungy setting. Not a great story, but the performances and the milieu make it.

I really liked “We are the Best!” –– Swedish punk teens in 1982 — girls — coming of age and trying to form a punk band in the ABBA era. Worth tracking down this weekend.

“Lucky Them” is an indie rock’n roll romance that had a good enough script to attract decent talent, just not good enough to develop any one of its many promising threads. File it under “slight, but worth checking out,” mainly for the performances.

Toni Collette is Ellie Klug, heroine and narrator, ageing Seattle rock journalist. Closing in on 40, she’s never outgrown the habit of falling into bed with the promising young musicians she profiles for Stax Magazine. She’s a veteran of the scene who can spot talent in a street busker (Ryan Eggold). If she could only talk her boss (Oliver Platt) into letting her write about him.

All of this might be forgivable, if she’d stayed relevant. She’s still trapped in the alt-rock era she came up in. And she’s never gotten over the most promising lover-rocker of them all, Matthew Smith, who hopped in his car, drove to a waterfall and…disappeared years and years before.

“There is no WAY he would’ve jumped,” she has insisted all along, especially to her bestie bartender (Nina Arianda, sparkling in the part).

That’s the very story her embattled editor needs her to do, “pick at the scab” of her great, lost love. Find out what happened to him.

“Reclaim your place at this magazine,” Giles (Platt) charges her. So she will.

Stumbling into a onetime flirtation, Charlie( Thomas Haden Church, always funny) could be a boon. He’s a rich dabbler who longs to dabble in documentary filmmaking. He’ll assist in her quest.

An online tip — surreptitious footage of a singer who “might be” their quarry — sends them on their way, a road trip into the heart of post-Grunge Seattle and the ever-overcast Pacific Northwest.

Complicating this is Ellie’s dalliance with that street busker, Lucas (Eggold), who is either smitten or determined to get publicized in print. And Charlie is more than hoping he still has a shot with her as they revisit the scenes of Ellie’s romance with the long-missing Matthew, including where she lost her virginity to the missing singer.

“I was 14,” Charlie counters, helpfully. “She was our 46 year-old Jamaican housekeeper. Had a lot of MOLES.”

While director Megan Griffiths (“Eden,” “The Off Hours”) can be commended for avoiding turning this into something utterly predictable, the story elements and arc here are wearily over familiar. The film is part “Almost Famous,” part “Eddie and the Cruisers,” with elements of the Kurt Cobain, Tim Buckley and Jim Morrison stories wrapped up in the fiction.

But Collette always delivers fair value. Her Ellie is hard-drinking, high-mileage, slimmed down and flirting with Cougar-hood, a woman living in the trap of her world, her work and the love she lost. Platt and Arianda are on the nose.

And Thomas Haden Church makes his dyed-hair 40something bachelor a comical cliche, a bore with more money than luck when it comes to love.

Still, “Lucky Them” is rarely deep, rarely more than anything other than a pleasant enough picture you’d find at your average film festival, Netflix bound and worth downloading when it is.

MPAA Rating: R for language, some sexual content and drug use

Cast: Toni Collette, Thomas Haden Church, Oliver Platt

Credits: Directed by Megan Griffiths, screenplay by Huck Botko and Emily Wachtel. An IFC release.

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