Documentary Review: Archaeologist Could Rewrite American Prehistory if he saves an Ancient Site from his Fellow Texans — “The Stones Are Speaking”

Anyone with just a passing appreciation of American archaeology has heard of a Clovis point or stone tool. That’s an ancient spear point dating from a people and an era that for generations has been considered “The First Americans,” arriving 12-13,000 years ago.

The first Clovis points were found near the town of that name in New Mexico in the 1932. The so-called “Clovis First” doctrine has been archaeological orthodoxy for decades, and challenges to it have invited heated debates that only recently have bent towards acceptance that humans migrated to North America earlier, perhaps much earlier than that.

“The Stones Are Speaking” is a documentary about work on one site in Texas that seemed to settle the argument once and for all, and about the heroic archeologist who sweet-talked the owners of the Gault Site, an hour north of Austin, and who fought to save the site from “collectors,” looters and owners looking to cash in on an historic treasure trove.

We meet and hear how Dr. Michael B. Collins got interested in archeology, his years of experience in academia and in the field, working on sites around the world. But the work that would put him in the history books involved his rediscovering a long-known and roughly handled “pay to dig” portion of a farm where collectors could be sure of finding ancient artifacts.

Collins, an expert in evaluating “the scraps people left behind,” identified that this Gault farm on Buttermilk Creek site was not just filled with Clovis-era artifacts, but that it showed evidence of habitation and stonework — including primitive art — going back thousands of years earlier.

“The Stones Are Speaking” features interviews with assorted experts and local volunteers, and with Dr. Tom Dillehay, an archaeologist who was one of the first to put a dent in the “Clovis first” dogma via digs in South America that revealed  that the accepted Ice Age Bering Strait migration from Asia wasn’t the first arrival of humans in the Western Hemisphere.

But the heart of “Stones” is Collins himself, celebrated for his dogged work, his mentorship and for getting access to this site from a “cantankerous” cash business operating owner and the later relatives who got hold of the land with similar ideas about how to profit from it.

Collins spent years talking to the last owners — Doris and Howard Lindsey — negotiating a price, trying to raise funds and find someone or some entity to buy this land for a park.

“We got knocked down a lot,” one of Collins’ fellow researchers marveled at this effort to buy land for science and to preserve history in conservative Texas. “But Mike kept getting back up.”

Despite first-time feature filmmaker Olive Talley’s many pains to paint the Lindseys as “regular folks” and reasonable people, the film can’t avoid portraying them as backhoe-happy opportunists, the villains of the story.

In terms of cinematic sophstication, Talley’s simply crafted documentary sits a lot closer to PBS than the cut-and-paste hackery of The History Channel (no “Ancient Aliens,” alas) on the historical doc spectrum, but closer to what a well-funded local PBS affiliate would produce than a slicker national PBS production in terms of polish.

But her film manages the important things well enough — updating viewers on the status of the “Clovis First/Bering Strait” debate and the hard facts that have caused that theory to evolve, bringing more attention to this site and the scientists (including one figure in particular) who insisted it needed saving, and reminding one and all the uphill battle science faces in a state and a country where baiting and bashing science has become political sport.

Cast: Dr. Michael B. Collins, Tom Dillehay, Kenneth Garrett, Karen Collins, Jon Lohse, Jill Patton, Doris and Howard Lindsey.

Credits: Scripted and directed by Olive Talley. A Gault Film release on Amazon.

Running time: 1:25

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Movie Preview: Keanu is Aziz Ansari’s “budget guardian angel” — “Guardian Angel”

Sandra Oh and Seth Rogan also star in this profane, in more ways than one, angel-poking comedy.

October 17.

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Movie Preview: A Secret Mission sends Civil War commandos down “Resurrection Road”

A Civil War thriller on a budget? What not?

This one drops June 6.

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Movie Review: “Worth the Wait?” Worth tracking down

What’s not to like about “Worth the Wait?”

A series of interconnected love stories that fit together well enough, a blend of the romantic, the cute and the sad, there’s no heavy lifting in any of this. It’s never laugh-out-loud funny or all that surprising. But it plays.

A movie star is keenly aware of her rep as a diva actress whom “men leave” is forced to work with a director she has “history” with.

A teenager tries to hang onto her first love in the face of open disapproval from the stern uncle who raises her.

A young couple races to the hospital in that uncle’s ride share — mother-in-law in-tow — for the birth of their child.

A Sino-Malaysian businessman who needs to get home to his stern dad/boss is trapped in the Kia cab with them, because it’s a “ride share.”

Then an emergency room doctor catches the businessman’s eye, setting up one a magical day and night-long “date.”

It’s also worth adding that “Worth the Wait” showcases Seattle at its most photogenic and Kuala Lumpur as a bucket list visit.

The collection of bittersweet romances stars that “To All the Boys I’ve Loved Before” pixie Lana Condor. She’s Seattle emergency room doc Leah, half swept-off-her-feet by handsome Kai (Ross Butler), who has to admit he “almost threw up” at the childbirth that almost took place in that Kia.

“So I’m a lot tougher and stronger than you,” she teases him. He quips “I’m 100% OK with that!”

She’s leery of relationships — long distance ones especially. But here they go.

That’s the theme of the movie. “Will it be worth it if things don’t work out?”

That young pregnant couple (Karena Ka-Yan Lam and Osric Chou)? They lose the baby. Can their relationship recover? “Will it be worth” all the heartache” to “try again?”

Ali Fumiko Whitney plays Riley, who loves social media prankster Blake (Ricky He). But prom and graduation are coming up. They’ve been seeing each other for a year and she’s never dared tell grumpy ride-share driver Uncle Curtis (Sung Kang of the “Fast and Furious” franchise).

That’s nothing. Kai starts a long-distance romance with Leah without telling her that the real reason he’s sticking with this mergers and acquisitions gig in Malaysia is that he’s scared to disappoint his boss, his bullying firm-founder dad.

Action star Amanda Yan (Elodie Yung, Elektra on TV’s “Daredevil,” “The Hitman’s Bodyguard”) is shooting a new thriller in Seattle. But her director has fled, and she’s not aware her ex (Andrew Koji of “Bullet Train” and “Gangs of London”) has taken the gig until he shows up at a press conference.

Characters have secrets and issues and connections which are sometimes familial, sometimes set up in support groups and sometimes underexplained.

The comedy isn’t of the side-splitting variety, with dopey prankster Blake taking tumbles (“Not my first roof!”) and blundering into a “Let’s secretly set up your uncle with a ride-share blind date.” scheme.

But every poignant scene works. The couplings and the dilemmas they face are believable and plausible. Even the people behaving like jerks have their reasons.

Light romances and rom-coms have proven so difficult to pull off in recent years that whenever one comes along that works well enough, you can’t help but whisper “Hallelujah,” even if you can’t quite justify shouting it.

Rating: PG

CastL Lana Condor, Ross Butler, Elodie Yung, Karena Ka-Yan Lam, Ali Fumiko Whitney, Ricky He, Osric Chou and Sung Kang

Credits: Directed by Tom Shu-Yu Lin, scripted by Maggie Hartmans. A Tubi Original (on Tubi).

Running time: 1:42

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Movie Preview: Family ties are celebrated and tested in “Autumn” in Portugal

This festival friendly debut feature by Antonio Sequeira  earns a June 2 release.

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Movie Preview: Henry Golding revives his One Great Relationship via drugs — “Daniella Forever”

Beatrice Granno has the title role in this festival darling, a sci-fi romance scripted and directed by Spanish filmmaker Nacho Vigolando, who gave us “Timecrimes.”

XYZ Films is unleashing “Daniela Forever” July 11.

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Movie Preview: Josh Duhamel’s gone “Off the Grid,” Kinnear and Stormare aren’t Having It

An engineer/physicist flees his old research job as it was weaponized, and now the guys in charge want him back.

This action pic from the director of “Alone” opens June 27.

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Netflixable? A Return to “Fear Street” for a dull and forgettable “Prom Night”

Return we now to “Fear Street,” where R.L. Stine set up shop to appeal to older kid readers and which Netflix dove into for not one or two, but a three film series four years ago.

The first three films had a steady falling off in originality and wit as they marched through the horrific history of a village called Union (1666) that split into two towns — Sunnyvale and Shadyside — victimized by its bloody legacy, revisited in in 1978 and 1994.

“Fear Street: Prom Night” is set between ’78 and ’94, serving of a slice of 1988 nostalgia amidst the carnage of the most conventional “dead teenager movie” of the lot. It’s a short but stumbling stagger from one uncreative killing after another as competitors to be Shadyside High’s prom queen are hacked up by a masked, raincoated nut with a knife — and axe.

The tale ties in VERY loosely to the second “Fear Street” movie (there are no credited carryover characters or actors), with the focus sitting on the child of a survivor of the 1978 summer camp slaughter of the that film aspiring to overcome her family’s rep to become prom queen.

But Lori Granger (India Fowler) doesn’t stand much of a chance against Tiffany Falconer (Fina Strazza) and her “wolf pack” of mean girls, who dominate the prom queen field as they run social life and the school with the help of a few compliant bullying jocks.

But aspiring writer Lori is cute enough to catch the eye of Tiffany’s beau (David Iacono, aka Noah Centineo, The Next Generation). And with the help of her sexually ambiguous bestie, the goth/horror fan prankster Megan (Suzanna Son), maybe she can make some waves.

“Being nice and sweet don’t get you anywhere!”

As we stagger towards prom night, other high school “types” among the contestants find themselves cornered and killed. Of course, nobody — including strict Christian school principal Brekenridge (Lili Taylor) — has a clue this is going on until well into the evening, after we’ve heard Billy Idol, Laura Brannigan and Rick Astley’s Greatest Hits.

One missing victim’s boyfriend says “I’ve been with that girl two months, I know her better than ANYone!” That’s director and co-writer Matt Palmer’s film’s lone laugh.

The script does a poor job setting up possible suspects out of the assorted stereotype/archetype characters — the picked-on religious principal’s son, et al.

Child starlett Arianna Greenblatt of TV’s “Stuck in the Middle” plays the “rebel” drug dealer in class. Tiffany’s parents are played by Katherine Waterston (“Michael Clayton.” “Alien: Covenant”) and “American Pie/Election” alumnus Chris Klein.

But no characters in this are developed enough to invest in them or pin them down as suspects. At about the time Blood Red Raincoat Killer whips out a circular saw, which is as inventive as the murders get, the movie invites us to check out.

And no colorless performance, generic character or original-hits/original stars ’80s soundtrack night for the cinema’s three thousandth trip to “prom night” can compel the viewer to check back in.

Rating: R, graphic violence, profanity

Cast: India Fowler, Suzanna Son, Fina Strazza, David Iacono, Katherine Waterston, Chris Klein and Lili Taylor.

Credits: Directed by Matt Palmer, scripted by Matt Palmer and Donald McLeary, based on the book by R.L. Stine. A Netflix release.

Running time: 1:30

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Movie Review: “A Hard Place,” aka “The Evil Dead” by the Humorless and Uninspired

The biggest names in the indie horror flick “A Hard Place” are Bai Ling from “The Crow” and Glenn Plummer, who attained screen immortality with his turn in “Showgirls.” So it’s fitting that they get off easy.

They’re the recognizable faces from “The Dead Hour,” a splatter film within the film in this Godawful “Evil Dead” knockoff, glimpsed on the screen of the Dixie Twin drive-in and later watched on TV by a couple of mouth-breathers. Unlike “A Hard Place,” “The Dead Hour” is supposed to be awful.

Alas, neither movie is bad enough to be fun. The “story” is derivative, dumb and dull, about some extended Appalachian “family” protecting and protected by these humanoid briar-and-bramble zombie creatures, with dialogue generated by AI that some bubba spilt his beer on.

“What in the horror movie hell ARE those things?” “This here is Heathcliffe. He don’t move much.”

Shot in the wintry, woodsy corner of Ohio where the real Dixie Twin exists because Dixie is a local state of mind — with snow-covered scenes don’t match those with no snow left — it begins with a heist at the nearly empty (it’s winter, remember) Dixie Twin that turns murderous.

We’ve got a gang of six on the lam with an old lady gang leader (Lynn Lowery of “Shivers,” “The Crazies” and “Attack of the Corn Zombies”) telling them she knows “just the place” for them to “lay low” and go “off the grid.”

That’s how they end up on a farm, where shoot-first gang member Candy (Jennifer Stone) shoots the owner (Felissa Rose), who survives thanks to the interventions of Fish (Rachel Amanda Bryant) and for some reason tries to help them escape the fate she knows they’ve stumbled into.

The woods are alive. And hungry. And wearing wigs.

There are maybe a couple of intentional laughs in this, with sexist Hurt (Kevin Caliber) cracking that he’s got “no problem with women. I’m an ALLY!” And then there’s a random skull bounced off a barn door that’s worth a chuckle.

But director, co-writer and self-distributor Jason “J.” Horton (“Craving,” assorted other C-movies) set out to make an “Evil Dead” without Sam Raimi’s flair for humor and “gotchas,” without his gift for story and ear for zingers and without Bruce Campbell as everybody’s favorite horror anti-hero.

All Horton seems adept with is splatter as he puts a cast playing yokel stereotypes through shootings, chewings and bloody dismemberments at the hands of moaning monsters from the “I am Groot” family.

At least Plummer and Ling got in and out in a day, in scenes from an even worse horror movie probably shot over a day or two in L.A.

Rating: unrated, bloody, gory and graphic violence

Cast: Lynn Lowry, Rachel Amanda Bryant, Felissa Rose, Kevin Caliber and Jennifer Stone, with Glenn Plummer and Bai Ling

Credits: Directed by J. Horton, scripted by Michael J. Epstein and J. Horton. A Gianetti Films release.

Running time: 1:28

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Netflixable? Aspirational Filipino couple become “Sosyal Climbers”

“Sosyal Climbers” is a cleverly plotted but cloying to the point of cutesie Filipino romantic comedy about a young couple that stumbles into a shortcut to their hearts’ desire — getting rich.

It’s an Around the World with Netflix film that shows both evolving Filipino values and issues, and the Western influences that began with colonization and are ongoing, thanks to Western TV and cinema.

This rom-com is somewhat more sexual than most Filipino films that make their way onto Netflix, a lot more sexual than comparable Malaysian, Indian and Indonesian fare. But the genre tends to generate simplistic, lightweight and obvious stories and one dimensional characters all over Asia, outside of Japan, Korea and Taiwan.

The pun title is Filipino slang for “upper class” or posing as such. And that fits Jessa (Maris Racal) and Ray (Anthony Jennings) to a T.

They meet at a funeral, where she’s tacky and grasping enough to try and convince the mourners that the house purchase their now-dead father was just about to close is worth following through on. Ray, who weeps like a member of the family, was actually the deceased’s financial planner. As Jessa is cute, if a tad clueless, he backs her up with the family.

A romance begins — with assignations in parked cars, etc. They move in together as self-described members of “the aspirational class” (subtitled, or dubbed into English), trying to escape “the struggling middle.”

Her dream of dreams is to be wealthy. But what does HE want, she wants to know?

“I want you.” And he’s willing to do whatever it takes to make her dream come true.

She’s got to sell some houses to get rich quick. He needs to make himself and his clients wealthier by making smart investments, giving good advice and minimizing risks.

Damned if financial naif Ray doesn’t walk the couple, all their neighbors and a mobster known as Boss Gil (Raul Montesa) right into a pyramid scheme that the government busts up with arrests.

Ray and Jessa are on the hook for millions of Filipino pesos, and Boss Gil insists they pay everybody back. Their best bet for that is closing just one big mansion or McMansion sale. They team up to clean up one such place and make it more presentable. But a lot of work, a lot of wine, a lot of lovemaking and romping around the property convince the exclusive enclave where the house that they’re “Our new neighbors!”

Jessa and Ray decide to pass themselves off as Penelope and Kiefer to try to fit in. And once that lie is passed on, they figure out that there are ways to make this pose pay off — selling “housewarming gifts,” etc.

That’s the root of the comedy here, these schemes — including passing themselves off as pricey relationship counselors — to round up the millions they need to get back to square one financially.

There’s comical potential in some of the supporting characters that mostly remains potential. The situations have promise, too. But director and co-writer Jason Paul Laxamana (“Hold Me Close,” “The Ship Show”) never lets any premise, any plot twist or any character show much if any edge.

That renders the entire enterprise into pablum that flirts with insipid. We just know nothing bad will happen to these two adorable kid-con artists, and that they’ll see the error of their ways and repent. The treacly sweet performances by the leads underscore this.

Every film, even a rom-com, has to have stakes. Here those are so low and the obstacles so easily overcome — in the most Pollyannaish ways — that there’s little for the viewer to invest in.

Filipino film may be evolving in ways that plant its best films in the world cinema mainstream. But if “Sosyal Climbers” is any indication, romantic comedies and those who make them still have a long way to go to achieve surprises, laughs and love stories that translate and travel.

Rating: TV-MA, sexual situations, profanity

Cast: Maris Racal, Anthony Jennings, Ricky Davao, Carmi Martin and Raul Montesa.

Credits: Directed by Jason Paul Laxamana, scripted by Jericho Aguado and
Jason Paul Laxamana. A Netflix release.

Running time: 1:42

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