Round of Your Life

Golf drama “Round of Your Life” wears its Christian faith on its sleeve, but its approach is less a screaming street preacher and more the oh-so-nice kid who keeps inviting you to a meeting of the Fellowship of Christian Athletes at school. The latter actually happens in the film, made all the more palatable for its teenage boy target given that the invite comes from a pretty girl.

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When Texas high school freshman Taylor Collins (Evan Hara) intentionally whiffs his tryout for the golf team, he disappoints his PGA retiree dad (Boo Arnold) and pro golfer and amateur jokester brother Tucker (writer Tim Ogletree). When Taylor’s father is hospitalized after a car accident caused by a texting teen, Taylor feels guilty and tries to get back in the good graces of Coach Wilson (Richard T. Jones), and the family prays for their father’s recovery.

Screenwriter Ogletree gives himself all the best lines — and an unnecessary romance with sweet nurse Minka (Katie Leclerc) — but at least the humor distracts from several bland performances elsewhere. Director Dylan Thomas Ellis has made a gentle, inoffensive film that preaches as much about the power of prayer as the dangers of texting and driving. “Round of Your Life” is unlikely to result in any conversions — to faith, golf or focused driving — but at least it won’t have viewers throwing their clubs in anger.

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‘Round of Your Life’
Not rated

Running time: 1 hour, 31 minutes

Playing: Starts June 21, Laemmle, Glendale

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Swinging Safari

Swinging Safari is an Australian comedy by acclaimed filmmaker Stephan Elliott (The Adventures of Priscilla, Queen of the Desert) with a star-studded cast of actors also from Down Under. It is set in the summer of 1975 in Nobbys Beach, a suburban coastal little town where white families fought boredom the best way they could; meaning spending their free time at the beach, surfing, barbecuing, gossiping and drinking. All while the kids were running around mostly unsupervised.

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Swinging Safari is filled with colorful characters and a dead whale, but the protagonist and narrator are 14-year-old Jeff Marsh (Atticus Robb). He is the “different” kid, an outsider, a thinker. He’s quieter and not as wild as the other teenagers around him. On his birthday he receives a camera, and he decides to capture everything that happened in Nobbys Beach at that time ‘in the hope that one day [he] could edit the madness together and answer the question what was going on through [their] poor misguided heads.’ And, this is pretty much the premise of Swinging Safari. In the course of a summer, Jeff will discover himself and learn more about the changing world around him where everyone was concerned for, one reason or another, about the giant blue whale that washed up on their beach.

Jeff also makes home movies with a group of children living in his cul-de-sac, and he introduces us to the three families who ‘live, surf and cross the lines together.’

First, we meet the Hall and their chaotic lives. Keith (Guy Pearce), a salesman earning pennies, and Kaye (Kylie Minogue), an alcoholic housewife, who lives in a rundown house with their six kids who are practically untamed and are actors or stuntmen in Jeff’s movies.

Then we meet the Joneses who have ‘the biggest car, house, and hair.’ Jo (Radha Mitchell) and Rick (Julian McMahon), are a very flamboyant couple living in a flashy mansion full of “exotic things” with their daughter Melissa (Darcey Wilson). Melissa, or Melly, is described as ‘invisible’ as she also is different from the pack, being shy, clever, kind or good-hearted. She wants to see the world and does not want to grow up becoming like her parents or typical Nobbys’ residents. She is Jeff secret crush, and they share many things, in particular, scars on their arms due to a freak accident – one time their modern fabric pajamas caught fire – and so they have been nicknamed the ‘flammable children.’

Lastly, we meet the Marshes or Jeff own family. His parents are Bob (Jeremy Sims), a sales representant overstuffing their home with all kinds of products, and Gale (Asher Keddie), whose life consists of, basically, only playing tennis, shopping and chatting.

Apart from the depressing news of the dead whale making its way around the country, Nobbys Beach is almost secluded from the rest of the world and all the children in the film are pretty much delivered to themselves – aside from the little guidance their school manages to give them – and so, Jeff educates himself through movies. This part of the film, or the “kid with a camera trope,” had some Me and Earl and the Dying Girl vibe – or any movie of the sort really! – as Jeff 100 % fits the “genius precocious cinephile” stereotype, we are accustomed to seeing on screen. Thus, there are numerous montages of his DIY shorts and their making-of where we see the youngsters improvising stunts and dangerous practical effects. This part of the film will please many viewers and is quite relatable as we are shown kids being kids and having the time of their lives. Swinging Safari is very much an ensemble piece where the whole cast is competent, but the kids are all really fabulous in their individual roles.

After a first act spent introducing everybody and setting the tone, the film takes an unexpected (not so kid friendly!) turn, and from there, everything changes for our protagonist and Melly, who is also genuinely affected and saddened by the mistreatment of the whale. They already felt trapped but, now more than ever, are determined to escape their close-minded sunny bubble. It is the kind of movie where everybody has an opinion on everything and, of course, they are all in discordance: delightful and predictable. So, things fall apart, but it makes the characters realize that changes are happening or need to happen, and, then, the film ends with a bang (literally!)

Swinging Safari might be best appreciated as a slice of life or an “exotic trip to 70’s Australia” for outsiders and, although everything is extremely caricatured for the fun of it, it really captures the moment, a lifestyle and a people that did or did not exist. It feels like a project consisting of many true moments stitched together to make an unbelievable story with a lost environmental message and parents doing the best they can to force their children into adulthood the wrong ways. Therein lies, perhaps, the biggest mistake of the film, as some would argue that they should have stuck with either telling the kids story or the parents one as it was confusing and made no sense rating-wise. Originally titled ‘Flammable Children,’ referring to the leading duo, they regrettably opted to retitle the film Swinging Safari, as it is the name of a song the parents listened to at one pivotal moment. It again put the adults (and their irresponsible behaviors) at the center which might be misleading considering this is very much “the story of Atticus Marsh the summer when a great blue whale washed up on the shore.”

Furthermore, although the final product is pleasing, there were many cringing moments, and it is a movie that would easily disappoint – if not offend – some viewers with the portrayals of heavily stereotyped Australians and various cliches pilling on (on top of the “exoticism” or other tone-deaf aspects of the film). Others will point out the few blatant anachronism mistakes or the lack of a tight narrative or storyline.

However, Swinging Safari displays some exceptionally great production design with wonderful props and decors. The costume, hair, and makeup were, likewise, delightful and, overall, the film is visually pleasing. [Oh, and it also has a good soundtrack full of nostalgic and good vibrations!]

The descriptions and narration are highly entertaining, and better than average, even though it might be a bit intense, particularly in the beginning, for those not found of voiceover.

It is a bit hard to tell what kind of film Swinging Safari wants to be. Again, it could have easily been a great PG or “family friendly” coming-of-age movie, but few scenes make this impossible. So, it is safe to assume that the best way to seeing this film is as a partly autobiographical ode to the children of the 70s destined to any adult/mature viewer craving a bit of nostalgia (even if it is a fake one!) or just looking to spend a good time watching a campy comedy that would be fun, well-done and engaging despite the usual problems that accompanied such films (very little regards for facts, logic or political correctness).

Although Swinging Safari was released in Australia in 2018 to very mixed reviews, time will tell if it manages to become an Aussie cinema classic for international audiences as it has many things in its favor but failed to dig deeper, where it could have, without losing its fun. But, in the end, what Swinging Safari lacks in the story is made up in originality and a satisfying art direction.

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Burn Your Maps

Director: Jordan Roberts With: Vera Farmiga, Jacob Tremblay, Martin Csokas, Suraj Sharma, Ramon Rodriguez, Taylor Geare, Virginia Madsen, Jason Scott Lee, Tserenbold Tsegmid. Release Date: Jun 21, 2019

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“Burn Your Maps” is one of those movies that’s glib and facile and threadbare all the way through, then the ending sort of gets to you (you’d have to be made of pretty stern stuff if it didn’t), so you think back over what you’ve seen — and it’s still a crock. The writer-director, Jordan Roberts, seems drawn like a magnet to overly manipulative feel-good genres. This is another of those dramas about a couple who have lost a young child, and it’s ripping them apart, but watching them go through the motions of a healing that won’t take, the audience feels just about as removed from their pain as they are.

I’m not suggesting that this is an invalid subject for a movie, only that it’s not one you want to see treated with on-the-nose therapeutic shallowness. When we first meet Alise (Vera Farmiga) and Connor (Martin Csoka), whose baby daughter died 10 months ago, they’re in couples’ therapy, and the tensions between them are already at full boil. They’re discussing the fact that they no longer have sex; he’s the one who wants to, she’s the one who doesn’t. But that’s not the real conflict. It’s that she’s in a rage (at him, but really at the universe), and he’s mired in male-victim self-pity. He’s trying so hard to play the good husband that he can’t accept that his compassion isn’t working.

Farmiga and Csoka are fine actors, and they make this opening work. But instead of sustaining their intensity, the film moves on to more “crowd-pleasing” elements. Alise and Connor have a teenage daughter, Becca (Taylor Geare), and a son, Wes (played by Jacob Tremblay, from “Room” and “Wonder,” who shot this movie back when he was 10), who is channeling the family trauma by taking on a fantasy identity. He has learned about the nomads of Mongolia, and starting on Heritage Day (when you’re supposed to represent one of your late relatives in front of the class), he goes to school wearing a headdress and a furry puffy uniform and his sister’s Uggs, tending a flock of “goats” fashioned out of toilet-paper rolls.

Should Wes be allowed to indulge in his role-playing? Alise says yes, Connor says no, and the fact that they disagree gives them an excuse to fight. Most of us would probably say that Wes should be allowed to play out his fantasy, but what’s annoying about “Burn Your Maps” is that it portrays the kid’s attraction to being “Mongolian” with a standard sort of sentimental absurdist indie-flick smugness. The kid has buried his pain, too, but in this case the movie practically anoints him for it. I should mention that he forms a friendship with Ismail (Suraj Sharma), one of his mom’s English-as-a-second-language students, an expatriate Indian geek who is one of those alienated-in-a-cuddly-way transplants who speaks in funny broken English that we’re somehow supposed to not find remotely patronizing. He’s like the Fisher Stevens character in “Short Circuit” played by a bona fide Indian actor, so I guess we should consider that progress.

Wes, his mother, and Ismail wind up traveling together to Mongolia, where the scenery is pristine in its primal grandeur, where Wes chases goats and rides horses, and where the film’s drama remains every bit as chintzy and telegraphed. “Burn Your Maps” is based on a short story by Robyn Joy Leff, but one may feel a distinct echo of the 2011 documentary “The Horse Boy,” in which a couple journey to the wilds of Mongolia, seeking out a shaman to heal their son’s autism. That movie was unruly and powerful; this one is coy and rigged. Yet it builds, too, to the family’s confrontation with a shaman, and Tserenbold Tsegmid, who plays him (and Jason Scott Lee, as his benevolent assistant), ground the movie in a mystic impulse that feels real. When the shaman tells Alise, and those around her, that she did not lose her baby, and explains why, you may be moved by the truth of it. But that doesn’t mean the film gets a pass. The touching reality of that moment just exposes the genial cardboard that came before.

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Toni Morrison: The Pieces I Am

I’m always interested in documentaries about writers, even though I also suspect that there’s no good reason for them to exist. Of all the arts, literature offers the least cinema-friendly action. It can be illuminating to watch a painter wielding a brush or a musician at the piano — or, for that matter, a filmmaker on set — but any time you see a shot of a scribe bent over a laptop or a yellow pad, you’re not really witnessing anything at all. They just look like they’re writing.

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And besides, the time spent watching, say, “Toni Morrison: The Pieces I Am” might be more profitably spent reading “Sula,” “Beloved” or “The Source of Self-Regard,” Morrison’s recent collection of essays on history, imagination and African-American life. That isn’t to dismiss this generous and intelligent documentary in any way, just to note that it puts itself at a certain disadvantage. Modesty, though, is among its virtues.

Writers don’t live only in their books, and Timothy Greenfield-Sanders’s film, produced under the auspices of PBS’s venerable “American Masters” series (and opening in Manhattan at Film Forum and Film at Lincoln Center on Friday) offers a look at Morrison that can complement an acquaintance with her work and inspire new reading. It’s less a biography than an extended essay, which is entirely a good thing. If you want a thorough documentation of everything Morrison has done and everyone she knows, there’s always Wikipedia. But if you’d prefer an argument for her importance and a sense of her presence, then you won’t be disappointed.

Like a good magazine profile, “The Pieces I Am” is built around an extended interview. Morrison, 88, faces the camera and reflects on her career as a novelist and editor and on the history that has informed her fiction. She has the air of both a person capable of great delight and one who doesn’t suffer fools. She is candid, funny and sometimes guarded — Greenfield-Sanders and Morrison’s friends and colleagues are scrupulous about respecting her privacy — with the charisma of someone who knows what she’s talking about.

She talks about her parents, who came north as part of the Great Migration, and her childhood in Lorain, Ohio, a working-class town where African-Americans and white people, many of them immigrants, lived as neighbors. She talks about attending Howard University, where she had a good time (“I was loose,” she says with a smile) and began to turn her lifelong love of reading into a vocation. She talks about working in publishing, in Syracuse and then in Manhattan, and about rising early, as the single mother of two young sons, to work on her first novel. She talks about resisting the primacy of the white gaze, and about the challenge and reward of imagining black lives on their and her own terms.

The people who talk about her include Angela Davis, Oprah Winfrey, Fran Lebowitz, Sonia Sanchez and Robert Gottlieb, who was her colleague at Random House and became the editor of nearly all her novels. Of those, “The Bluest Eye,” “Sula,” “Song of Solomon” and of course “Beloved” receive the most attention. But the film also, inevitably, holds them at a distance. We see a few clips from Jonathan Demme’s 1998 screen version of “Beloved,” and 19th-century engravings that evoke the real-life incident that informed the book, but the difficulty of its narrative and the magic of its prose are left mainly outside the frame.

A handful of tone-deaf reviews and polemics are mentioned, including a notice in this newspaper that found her emphasis on black lives “narrow” in its focus. The mid-1980s dust-up that followed a petition signed by prominent black authors urging that Morrison be given a major literary prize is revisited, as are some of the grumpy responses that greeted her Nobel Prize in Literature in 1993. Those storms seem distant now; Morrison in the present looks like a figure who has risen above the vicissitudes of reputation. She is beyond dispute.

The absence of live controversy doesn’t entirely work to the movie’s benefit. At times, the chorus of praise from the assembled notables can make “The Pieces I Am” feel more like a banquet than a documentary. But one thing we learn about Morrison is that she loves a good party. Even though this one has been thrown in her honor, she still manages to be the life of it and, somehow, the surprise guest, too.

She has written about private pain and collective trauma as tenderly and ruthlessly as anyone, and therefore the most startling — and the most moving — thing about encountering her on screen is her buoyancy, the enjoyment she finds in being herself. In her straight-to-camera soliloquies and in earlier televised conversations (with Bill Moyers and Charlie Rose, among others) she is always serious, but also always having fun, delighting in the eddies that language makes in the currents of thought.

Of course, Morrison’s intellectual and linguistic gifts are most meaningfully encountered on the page, which is where they will live after she is gone. “The Pieces I Am” offers something else, as a dividend yielded by her achievements and her years on the earth: the profound pleasure of her company.

Toni Morrison: The Pieces I am

Rated PG-13. Literature. Running time: 1 hour 59 minutes.

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Wild Rose

"Why country?" "Because it's three chords of truth." Neon has released a final "No Place Like Home" trailer for Wild Rose, the film about a country singer that just opened in theaters this weekend (full trailer). This first premiered at the Toronto & London Film Festivals last year, and stopped by SXSW this year. Acclaimed Irish actress Jessie Buckley plays a young mother from Glasgow, fresh out of prison, who decides to give up everything and move to Nashville to chase her dreams of becoming a country singer. An "uplifting story with an original soundtrack about family, dreams and reality, and three chords and the truth." The full cast includes Julie Walters, Sophie Okonedo, Jamie Sives, Gemma McElhinney, James Harkness, and Ashley Shelton. This has excellent reviews, saying it's "crowd-pleasing" with an "unbelievably great" performance from Buckley. It just started playing in theaters - check your local art house cinema to catch it.

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Rose-Lynn Harlan (Jessie Buckley) is bursting with raw talent, charisma and cheek. Fresh out of jail and with two young kids, all she wants is to get out of Glasgow and make it as a country singer in Nashville. Her mum Marion (Julie Walters) has had a bellyful of Rose-Lynn’s Nashville nonsense. Forced to take responsibility, Rose-Lynn gets a cleaning job, only to find an unlikely champion in the middle-class lady of the house (Sophie Okonedo). Wild Rose is directed by English filmmaker Tom Harper, director of the films The Scouting Book for Boys, War Book, and The Woman in Black 2: Angel of Death previously, as well as TV projects. The screenplay is by Nicole Taylor. This premiered at the Toronto & London Film Festivals last year, and also played at SXSW. Neon will release Wild Rose in select US theaters starting June 21st, 2019.

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