Movie Review: To be Pretty, Young and Italian, Figuring It Out at “Diciannove”

Giovanni Tortorici’s “Diciannove” is a dreamy, drifting odyssey into a time in youth when one discovers the meaning of “the world’s your oyster.”

It’s about a young Italian with choices at an age when you know it all and you know nothing and you follow your impusles, figuring everything out on the way — 19.

That’s what the movie’s title means, and that’s the year we float through with our middle class Italian anti-hero, Leonardo (Manfred Marini). He will wander from Palermo to London, Siena to Turin, changing majors and colleges, getting pass-out drunk with friends and family, debating professors and reading 14th century Italian writers.

He will start writing himself, experiment with solitude and sexuality and ponder suicide and perhaps becoming a rent boy to make ends meet.

Yeah. “Nineteen.”

We meet him as his mother is the first to label him a disorganized, doesn’t-sweat-details “moron,” on his way to join his sister (Vittoria Planeta) in her shared apartment in London. A few days of drunken clubbing, getting chewed-out for not helping around the house, eating others’ food and the like and that London university degree in “business” goes out the window like the dream it was.

He applies online to a university in Siena, sets off to study literature, buys books and fails to avoid coming off as a standoffish loner.

“I want to commit suicide,” he writes and recites (in Italian with English subtitles). “I want to kill myself…I want to die…I want to croak…Snuff it…Pass away.”

Writers and their “mantras.”

Of course, it’s all a phase as this poster child for the arrogance of bourgeois youth takes exams without attending lectures, composes a jeremiad against his professor, but chickens out of distributing it, begs mom for money and gets chewed out by his dad as he walks the streets of the old city, buying books and thinking and just generally “figuring it out.”

It’s a mesmerizing movie, in its way, a chronological stream-of-consciousness dissection of a very specific “type” — Western, indulged, pretty enough to attract attention, careless with how he uses it, too removed from his contemporaries to care or commit.

Semi-autobiographical or not, our writer-director has picked his target and hit it in delivering a portrait of youth that tries everything before settling on one thing to make the “fanatical” focus of one’s life. Realizing “We’re not as interesting as we think we are at 19” is just a bonus.

Rating: unrated, nudity, sexual situations, teen alcohol abuse, smoking

Cast: Manfredi Marini, Vittoria Planeta, Luca Lazzareschi and
Zackari Delmas

Cfedits: Scripted and directed by Giovanni Tortorici. An Oscilloscope Labs release.

Running time: 1:48

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Documentary Review: A Young Woman “Prime Minister” steers New Zealand Through its Darkest Hours

There’s cold comfort for American and international audiences taking in “Prime Minister,” a new documentary about New Zealand’s first female prime minister, the woman who led the country through a horrific mass shooting hate crime, a volcanic erruption, COVID and the blowback lockdowns and mask and vaccine mandates generated.

Oh. Gullible, belligerently violent morons aren’t solely an America/British et al phenomenon.

The Kiwi country that greeted Jacinda Ardern‘s rise to power with sexist skepticism and found itself impressed with her leadership qualities and her humanity, celebrated the world over for her compassion, forward thinking and problem solving decisiveness — Nobody handled COVID better. Nobody. — found itself roiled by violent, misinformed, media-dominating protests by a noisy minority that couldn’t even spell her bloody name right. Or, as I realized researching this review, her partner and later husband’s (Clarke Gayford) name.

The Sundance award winning “Prime Minister” is an intimate portrait, an oral history of Ardern’s unexpected elevation to leadership of the Labour Party at age 37, her realization that she was pregnant while finishing up Labour’s winning campaign in 2017, having a baby in office and everything she had to contend with on the job — often bringing baby Neve into cabinet meetings and even the U.N. General Assembly.

And the film is a reflection back on her work, the challenges she faced and how she handled crisis after crisis with compassion, intelligence — getting the best scientific advice available and taking it — and decisiveness.

New Zealand’s worst-ever mass shooting, a hate crime against Muslims committed by an Australian radicalized by Trump-worshipping American online hate sites and Rupert Murdoch’s global right wing smear-o-sphere was met with efforts to comfort the Muslim community in New Zealand, a call for unity, and a sweeping ban on assault weapons and military firearms in civilian hands.

The country went along with her “kindness” ethos. The right wing punditocracy and conspiracy buffs freaked completely out.

Ardern remembers that shooting and “the longest week of my life” as she sits down for short interviews for an as-it-happens oral history project the she agreed to participate in. Her partner, Gayford, was a popular New Zealand TV presenter (“Fish of the Day“), something not mentioned here. He videoed her, questioned her and captured footage of their home life with a new baby and outside crises competing for attention.

“Crises make governments and they break governments,” she opines.

“Be really nice to see you sometime,” baby-daddy and caregiver Gayford cracks from behind the camera.

We see Ardern begin her term with a shaky coalition including an anti-immigrant fringe party, and see her decisions and determination to be open, to “tell people what you know, even when it’s not” pleasant or what they want to hear style win her a sweeping new mandate.

There’s her landmark appearance at the UN with her baby, a day when a sea of world leaders openly laughed at Donald Trump’s bragging lies about “accomplishments. And then there was her ever-so-diplomatic handling of talk show host Stephen Colbert’s questions about that expression of international mockery for the blustery Trump.

Ardern’s open progressivism and “internationalism,” eschewing “isolationism, protectionism and racism” was and is defiantly out of step with much of the electorate in the world’s democracies. That explains why she’s not in power now (We see her lecturing at Harvard.), and that the old adage she repeats about “crises make governments” doesn’t work in a media landscape dominated by lies and bad actors — Russians and Rupert — spreading them.

“Prime Minister” is thus an against the grain movie of its moment, out of step politically, and an intimate to the point of myopic doc that zeroes in on the personality it is profiling. But it’s still refreshing to see that violent, foul-mouthed right wing cranks are not simply a Northern Hemisphere problem, and to be reminded that eventually the adults in the room will stop listening to them no matter how many Murdochs, Musks and Zuckerbergs keep giving them a megaphone.

Rating: unrated, some profanity

Cast: Jacinda Ardern, Clarke Gayford, Donald Trump, Christiane Amanpour and Stephen Colbert.

Credits: Directed by Lindsay Utz and Michelle Waltshe. A CNN Films/Magnolia release.

Running time: 1:41

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Netflixable? Scientific Couple leaves “Our Times” (Nuestros Tiempos) for a More Diverse and Progressive Future

Time seems to stand still in the Mexican dramedy/romance “Our Times.” Lacking urgency and slow-footed in the extreme, its 90 minutes crawl by as it laboriously makes its points about the sweeping changes in relations between the sexes in culture and work over the past sixty years.

Two Mexico City university professors, Nora (Mexican TV star Lucero) and Hector (singer/actor Benny Ibarra) teach and put in the overtime as they try to test the limits of Einstein’s theories about space and time with this big, pricey gadget they’ve been working on.

It may look more like a Lunar Module than the device in the George Pal’s famous 1960 film of H.G. Wells’ most famous novel. But they’re both time machines.

The year is 1966 and Nora is something of a pioneer, a woman physics professor. She is patronized by all the men around her, with her department chair calling her “sweetheart” and deliveries of parts she ordered from the Soviet Union are thoughtlessly passed on to other men and eventually her husband.

A female student who idolizes her would love to be her first assistant. Fat chance of getting money for that.

But Nora and Hector are close, and with a little tinkering/rethinking they strap in wearing old leather helmets and goggles and give it one more try. Their “fifteen minutes into the future” trip turns out to have shot them 59 years ahead in time.

The plot is about them being “trapped” in this new time, fretting over a wormhole “portal” about to close as they attempt repairs. But the movie is about the different world Nora finds herself in, one with respect, opportunity and a chance to realize her loftiest ambitions.

That student who wanted to be her assistant? Julia (Ofelia Medina of “Frida,” “Before Night Falls” and “Colombiana”) is now the venerable department chair. Julia and the student granddaughter of Nora’s sister, Alonda (Renata Vaca of “Saw X”) are the only people who can know where she and Hector came from, and the place he’s most anxious to return to, “Nuestros Tiempos.”

They’re amazed that the planned Mexico City subway is now a reality, puzzled at such novel concepts as sexual identity and dismayed at the screens everybody stares into.

“A machine that hypnotizes them,” Hector wonders (in Spanish, or dubbed)?

There’s no smoking. “What do they have against smoking?” Fashions and the women who wear them are liberated.

And the university women — professors and students — don’t have time for any Hector “mansplaining” or assertions of the old gender heirarchy.

The script wanders into the seismic changes in attitudes, attire and the culture at large in all the most predictable ways. Hector is more resistant to “letting our eyes get used to this world” when the one he’s desperate to return to is dogmatically committed to holding Nora back.

That’s defensible messaging, and a few scenes of Hector’s out-of-control “mansplaining” play.

The performances pass muster.

But there’s no pace and zero urgency to this. The dated, tame sexual jokes don’t really land and the romantic twist is both touching and so old fashioned it wears cobwebs.

This hasn’t the wit of “Safety Not Guaranteed” or “Back to the Future” (a DeLorean is a rare sight gag), or the danger of “Primer” or the Spanish thriller “Time Crimes”( “Cronoscrimenes”).

And no one involved makes much effort to make the big romance at its heart play in a “Time Traveler’s Wife” or “Somewhere in Time” sense.

The good intentions are obvious, but the movie wrapped around them is a something of a bore.

Rating: TV-14, smoking, sexual situations

Cast: Lucero, Benny Ibarra, Renata Vaca and
Ofelia Medina

Credits: Directed by Chava Cartas, scripted by Juan Carlos Garzón and Angélica Gudiño. A Netflix release.

Running time: 1:30

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Movie Preview: Titus Welliver takes on Joe Hill’s “Abraham’s Boys: A Dracula Story”

Last Christmas’s “Nosferatu” remake was a Gothic Robert Eggers creep fest hit.

So now there’s a mad dash to see who else can get THEIR version of a vampire tale in front of audiences, with Luc Besson’s “Dracula: A Love Tale,” with Christoph Waltz, a Keanu Reeves “Dracula” and now this cheaper knock off based on a story by Stephen King’s horror-novelist son, Joe Hill.

Cute of King to provide a blurb for use in the trailer.

This tale takes vampire hunter Van Helsing (Welliver, of TV’s “Bosch”) to the US West to hide out in the early years of the 20th century. But the vampire finds his family.

Shudder and AMC made this and RLJE Films is putting it in theaters July 11 before it makes its way to streaming.

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Series Preview: An American Girl with “Love Actually” dreams finds London entirely “Too Much”

Megan Stalter stars in as the dim American abroad in this series that looks like it could have enough laughs, situations and characters for a 90 minute movie rom-com.

Alaa Habib, Richard E. Grant, Emily Ratajkowski, Naomi Watts, Kit Harington, Andrew Scott, Aylin Scott and Will Sharpe also make appearances and co-star in a production backed by the “Love Actually” braintrust.

A bit coarse and comically raunchy, from the looks of things.

July 10, this screens on Netflix.

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Movie Review: The Demure Charms of Aisling Bea and Billie Lourd unleashed — “And Mrs”

“And Mrs” is a bittersweet and offbeat romantic comedy of love and loss and mourning, and a most unexpected star vehicle for unfiltered Irish comic Aisling Bea, nicely paired up with Carrie Fisher’s kid, Billie Lourd.

Bea, one of the English speaking world’s greatest talk show guests, stars as a woman whose fiancé dies just before their wedding. Lost and bereft, she decides to follow through on “what Nathan wanted” more than anything else, to be married to her.

Gemma will battle friends, family, customs and her own guilty conscience to make this happen. And as she’s living in London, naturally there’s a loophole in arcane British law that allows such “necrogamy” nuptials.

Gemma, a London-Irish graphic designer, was never the “big gesture” and big emotions one in her relationship to Nathan, played by Colin Hanks. He botches his first “I Love You” by prematurely playing The Partridge Family’s “I Think I Love You” on his phone. He can’t get her to commit to an early “I love you,” just “I’m very, very fond of you.”

And he later made his very public proposal awkward enough for the record books.

But when she comes back from a morning run with her mates Ruth and Mo (Susan Wokoma and Omari Douglas) and Nathan doesn’t wake up, her shock is such than when the paramedics start zipping up the body bag, all she can think to say is “D’ye think he’ll be alright?”

Her parents (Sinéad Cusack and Peter Egan) are little comfort. Talking to Nathan, whom she still “sees” now and again, helps only so much. But when Nathan’s dizzy and somewhat less than considerate (never answers her phone or texts) sister Audrey shows up at the airport for the wedding, pink haired, gay and very pregnant from the surrogacy she took on to pay the bills, Gemma has an ally, someone “who gets me.”

Let friends and family tell her this idea of “doing what Nathan wanted” is “tasteless” and absurd, just a way of not coming to grips with grief. Short-skirted, impulsive and foul-mouthed mom-to-be Audrey is down for the dare.

“Grab hold of your labia! Let’s DO this!”

Melissa Bubnic’s script leans on the tropes of romantic comedies from “P.S. I Love You” to “My Best Friend’s Wedding,” with a particular focus on “Four Weddings and a Funeral.”

A clumsy hired officiant (Paul Kaye) begins the funeral with “It doesn’t matter if we’re one or 101, we’re never ready to say goodbye,” and then goes completely off the rails with tactless jokes and self-absorbed confessions that wholly misread the room.

Gemma’s mum and her bestie Ruth are dismayed at her fool’s errand of going through the motions — catering, bookings, fitting her dress and the like.

But brassy Audrey, given a kind of dazed disconnection in between outbursts of American self-righteousness by Lourd, becomes Gemma’s wounded ride-or-die, ginning up public outrage over a judge (Harriet Walter, droll) determined not to allow a loophole to puncture 200 years of precedent and tradition.

Yes, Gemma’s online and media nickname becomes “Corpse Bride.”

Director Daniel Reisinger has a lot of story, flashbacks and “explanations” to get through, so the film is longer than it feels. Nathan and Aubrey’s childhood must be contended with (Elizabeth McGovern is the estranged mom) and Gemma’s flashbacks underscore her own “issues.”

Lourd is game, if a tad underwhelming as the “nut” who gives the picture life, but better at hinting at the heart hurt Audrey is dealing with. Bea’s grim sarcasm nicely serves the character and the picture as she gets over her fury of having to break the news to Nathan’s “only family” that he’s died in the arrivals gate at Heathrow.

Of COURSE she’ll take Audrey in.

“Hardly going to throw a pregnant woman out in the streets. It’s not BETHELEHEM, after all.”

And Reisinger and Bubnic follow nuptial-comedy specialist P.J. Harvey’s (“Muriel’s Wedding,” “My Best Friend’s Wedding”) edict that when family and friends gather for weddings, they can’t resist a sing-along, the “comfort food” of any wedding comedy ever since Shakespeare’s “Hey nonny nonnies.”

The narrative has heart and hurt and laughs and a big finish. Sure, it’s formulaic and not every scene has a proper pay off.

But in a cinelandscape where rom-coms that work are as rare as hope for a better tomorrow, “And Mrs” plays, and gives Bea another year or two’s supply of chat show anecdotes and jokes. Not that she’s needed them.

Rating: unrated, with lots and lots of profanity

Cast: Aisling Bea, Billie Lourd, Colin Hanks, Susan Wokoma, Harriet Walter, Omari Douglas, Peter Egan and Sinéad Cusack.

Credits: Directed by Daniel Reisinger, scripted by
Melissa Bubnic A Vertical release on Amazon Prime, other streamers.

Running time: 1:51

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Movie Review: Ancient China sees a Bloody Martial Arts Brawl over the “Nine Ring Golden Dagger”

The first laugh in the martial arts quest thriller “Nine Ring Golden Dagger” might be its title. It was called “Blocking the Horse” in China. And the “dagger” that was mistranslated here is a sword attached to a seven or eight foot pike.

And the second laugh is in first title to appear on the screen in it. This movie is “purely fictional,” we’re reaassured.

Those two sword-fighting sisters who struggle with a brawny sea of sworn enemies over a “Nine Ring Nation Stabilizing Golden Sword,” warriors flying with the aid of springboards and wires and shooting hailstorms of arrows and crossbow bolts and swinging clashing, clanging and cutting blades that mainly deliver survivable wounds are all just made up.

Good to know.

The Song and Liao factions are fighting over the lands of the Han Dynasty, either before or after its breakup (that’s unclear). The Song General Yang (Wue Yue) lost the titular golden dagger/sword/pike and his life in battle.

Weeping sisters Baba and Jiumei (Tianshuo Song, Xintong Zhang) resolve to retrieve it from a Liao stronghold. They dress up as soldiers and have no trouble at all passing for cute, thin fighting men or infiltrating this fortress capital and the Indiana Jones-booby-trapped room where the sword is kept.

They survive wounds and a chase by assorted minions of a security chief (Yu Kang, et al) and take shelter in a roadhouse run by a Song expat (Kai Zhang) ready to return to their homeland. A mistaken identity brawl is how they get acquainted.

“How do you know the Yang family sword-fighting technique (In Mandarin with English subtitles)?”

“Find out in HELL!”

After they figure out they’re on the same side, they’re all basically trapped there for much of the movie as waves of bad guys overtake them, and partake in the house wine before figuring out these are the droids sisters they’re looking for.

The bar brawls are impressive and alternately bloody and low comedy amusing. There’s a towering waiter and diminutive cook sight gag, a foppish foe related to the Liao dowager empress and a lot of strangely survivable slices and impalings as every time you figure that’s it, it’s CURTAINS for this or that protagonist, they somehow rally with a balm or wave of the (three) screenwriters’ hands.

There’s so much exposition and so many characters that the picture is awfully cluttered and even hard to follow before the narrative settles down in that one important location.

Choreographer Gao Meng’s fights are less impressive than the state-of-the-wirework art films in this genre, but pass muster in what amounts to an overpopulated but handsomely mounted martial arts B-picture.

Rating: unrated, lots of violence

Cast: Tianshuo Song, Xintong Zhang, Kai Zhang, Yu Kang, Liu Xinlei, You Xianchao and Wue Yue,

Credits: Directed by Feng Xiaojun, scripted by Gen Zi Qi, Xu Wen-Zheng and Chen Peng. A Well Go USA/Hi-YAH! release.

Running time: 1:34

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Movie Preview: Bondage doesn’t necessarily lead to um, a “relationship” — “Oh, Hi!”

Hand cuffs, French toast, “Give me twelve hours to show you” what a “relationship” can be like.

Who hasn’t been THERE, right?

Molly Gordon, Logan Lerman, Geraldine Viswanathan, John Reynolds and David Cross star in this kinky (ish) flirting with murderous (ish) comedy.

July 25 it is.

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Movie Preview: Florida horrors of Lucid Dreaming — “Eye for an Eye”

Whitney Peak from “Hunger Games” stars, but you will recognize a couple of other faces in this “Sandman is coming for you” thriller. 

June 20, theaters and VOD via Vertical Releasing.

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Movie Preview: Ari Aster’s take on America’s waking nightmare — “Eddington”

Joaquin Phoenix and Pedro Pascal, rivals in a Southwestern town riven by America’s poisonous political landscape and the lies that divide us.

Emma Stone and Austin Butler also star in this one, which doesn’t exactly promise cinematic “escape” from the country’s dire straits.

July 24.

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