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Fathom Entertainment, Film reviews

One Flew Over the Cuckoo’s Nest (50-Year Anniversary) Review from Fathom Entertainment

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This is a film that has spanned the ages and captured audiences around the world. The story includes good times and bad, both of which have shed light on a variety of psychological and emotional issues. One Flew Over the Cuckoo’s Nest is five decades old and it still holds a life-changing place in my heart. I have seen this film many times, and I have read the book. Reading the book was a hard, but captivating read for me as I tuned into the words on the page and correlated them with aspects of the movie. There is light and darkness that interweave poetically in this film set in an institution full of troubled minds.

Of course, the movie is known for the mind-boggling performances of Jack Nicholson (as R.P. McMurphy) and Louise Fletcher (as Nurse Ratched), a dynamic duo whose ongoing boxing match has invigorated the film’s fans for years. Given the many events that happen in One Flew Over the Cuckoo’s Nest, I always contemplate, “What is fair?” The film is based on the novel by Ken Kesey and directed by Milos Forman. It is a masterpiece intended to be produced on stage but that touched a larger audience on-screen.

While watching the film at a local cinema in the western suburbs of Chicago with Fathom Entertainment, I could feel that the audience was enthralled. There was laughter when anticipated, and shock and awe during many emotional moments, including when Nurse Ratched puts her foot down. The abuse of power showcases the wrath of uncertainty in One Flew Over the Cuckoo’s Nest. McMurphy is the only one brave enough to challenge the system and prove Nurse Ratched wrong. But when she is wrong, she still wins. When that happens, the story takes viewers on a journey of questions and answers which lead to an outcome of tolerance deep within the narrative of the film.

Even though McMurphy’s character is a bad influence, aspects of his personality show layers of empathy especially because of his close bond with his inmates. His friendships with Billy (Brad Dourif), Taber (Christopher Lloyd), Martini (Danny DeVito), and Fredrickson (Vincent Schiavelli) form a special bond that makes the film encouraging. Even though all these characters have done wrong, there is a form of goodness and inspiration within the institution.

Despite all the frustrations, there is light for those seeking change in this setting. The changes that do occur are not just because of authority. The institution is a place of routine and structure, but through the actions of the patients, some of the rigidity is challenged. Nurse Ratched is always the one who brings down the positivity or catches those who are mischievous. Although her job involves laying down the rules,when she provokes anger in One Flew Over the Cuckoo’s Nest, it builds the notion in McMurphy to rebel. This classic film still successfully thrives in its 50th anniversary restoration. Four out of four stars.

 

Film reviews

Ponyboi Review

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This is a crime drama that feels like a LGBT pride scene meeting Uncut Gems with the setup which includes a drug dealer, a transgender individual, and operations falling apart. Altogether, Ponyboi pushes the envelope to new and invigorating heights. Directed by Esteban Arango and written by River Gallo (also one of the leads), Ponyboi has a narrative thatfocuses on trying to find a way out of hardship and abuse. No matter what the situation is, there are inevitable consequences around every corner.

The shifting tones of hopelessness make Ponyboi spellbinding. It crosses barriers that most films fail to and takes risks with openness on LGBT issues. The story is an exploration of success and failure involving legal processes. Overall, it is a vivid portrait.

River Gallo is Ponyboi, a transgender individual working at a laundromat under Vinny (Dylan O’Brien). Besides being a staff member of the laundromat, they sell drugs and work as a sex worker to make ends meet. At the same time though, Vinny takes advantage of Ponyboi. Vinny is a Jersey-boy drug dealer who has a baby on the way with his lady Angel (Victoria Pedretti). Vinny relies on taking advantage of Ponyboi and uses his abuse of power to make ends meet to salvage his (semi) wealthy life.

Ponyboi takes a turn for the worse. A wrongful death situation with a client leads Ponyboi down a horrid road on Valentine’s Day. The times when Vinny has helped Ponyboi out becomes Ponyboi s nightmare. The film transitions to a place where the characters are consistently trying to run from all their problems. This is what makes it so enticing. The wrongful operations take a toll and the performances of Gallo and O’Brien test the limitsin this non-stop thriller that makes audiences’ heads spin.

When looking at the pattern O’Brien’s performance, I realized he has shifted his acting in the LGBT category. This is the second film I have seen in this genre. He played a closeted man in Twinless which I saw at the Chicago Critics’ Film Festival and had the opportunity to interview him about. Twinless will open later this year.  That LGBT film centered on disconnect and now this one is centered around getting rich. O’Brien’s attitude shifts dramatically from one film to the next. In Ponyboi, he is a gangster who is not be be messed with.

The film is a powerful look at hardship. With Gallo’s performance as the lead and as the writer, there is an exploration of livelihood being impacted. When bad events happen, many flashbacks occur which are essential to staying hopeful aboutfinding safety from irreparable consequences. The film is riveting, dark, and colorful. There is no easy way to explain what to expect from Ponyboi because it is centered around a scenario that may seem real-world to most of its audiences, especially those who identify as transgender.

The odyssey of regret and karma are combined as two key cinematic components in Ponyboi. Gallo navigates the road of horror and the struggles a troubled past. Also, there is an underlying conflict about a choice to be made, i.e., should they reconcile with their parents and go home. Consistent abuse fuels the opportunity for a fresh slate. Ponyboi soars with heightened emotions that are mind-boggling. At times, it made me anxious,because the pace and cinematography keep the momentum over-the-top. Overall, it is a realistic cinematic achievement with layers of emotions melded with a creative narrative that makes the heart race. Three-and-a-half out of four stars.

Film reviews

Sovereign Review

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This is a different role for Nick Offerman. One where he plays a man that is against all forms of the law and foundations of the legal system and is on the run to constitute his rights without government means. Written and directed by Christen Swegal, Sovereign has meaning that weaves realism to the fullest. With a vast landscape of doing operations in an opposite matter, it continues down the road of confrontation which is written to have a form of entitlement. The film is one that has received lots of press at the Tribeca Film Festival this year, and my appreciation for Sovereign is in the narrative of beliefs. “Beliefs” that go to a point of impacting a livelihood in a concerning and visceral direction.

The film starts with a vision of criminality and truancy on many fronts. It is all in the control of a “Sovereign” citizen and father Jerry Kane (Nick Offerman). His son is Joe Kane (Jacob Tremblay). They go on the road promoting their anti-government views to encourage other ones to go in the direction of their extremist ideologies. Their norms are off and wrong. For example, when there is a scenario like a mortgage to be paid, Jerry believes that it does not exist. When Jerry gets pulled over, he believes many of his rights are being violated. As he sees it,many standards for a system of law do not apply to Jerry. His son though, sees the angles. Joe sees that his father pushes the boundaries. Especially with Joe growing up in a school system where he is home-schooled with little exposure to other ideas, he hopes to have a way out.

The film delivers that harsh dynamic of tolerance. A cinematic direction that blurs reality in a sense to keep audiences on the edge of their seats. Each choice has consequences. When the limit of the law starts to hit challenging buttons, officer John Bouchart (Dennis Quaid) comes in. He gets a sense of Joe’s situation with his father. His own son, Adam Bouchart (Thomas Mann), is training to become an officer. It is a one-of-a-kind ride of tension.

I love the dynamic of the two sets of fathers and sons. One is trying to teach his son to ignore the law, and the other one is trying to teach his son to enforce the law—the two aspects tango with political suspense. And the fueling aspect is that the harsher the scenarios get, the more of the anti-government words come into play. Offerman’s role is filled with a machine gun of words spewing ignorance and misbelief.

The landscape of wrongdoings is one that I feel carries a harsh tone when the consequences of ignoring reality finally hit. Jerry tries to get Joe to think that all systems set in place are flawedsomehow. However, Joe sees why there are rules, and the common ground is one that tumbles into rough matters in Sovereign. The matter of disbelief can only be carried out for so long before consequences must come around.

Power vs power is the bond of Sovereign. It is in the performances of Offerman and Quaid. The dynamic shifts of flowing above and below the law always hit a deficit at the surface. Sovereign builds the foundation around disaster to boil more disaster. When that happens, it is like an earthquake of heavy and irreparable matters. But which side has the higher ground?

There are two lines of dialogue that spoke to me greatly, and both come from Offerman’s performance. The first line, “That’s a system…that’s government,” and from this quote there is that core of Joe wanting to be in a different reality. This quote is saidwhen Joe wants to enroll in a school and Jerry tries to shift and blindside his son’s mode of thinking. The second line is, “We’re not engaged in commerce,” and this is when Jerry is dealing with a violation he has caused and tries to bring in his theories in order to dismiss his error. The dismissiveness and rebelliousness brings in hard lines that make it more drenching and cinematic to survive in Sovereign. A film that greases the wheel with misdirection and redefines entitlements to new heights. Three-and-a-half out of four stars.