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TIFF 2019: ‘The Vast of Night’ Is a Thrilling Homage to ‘50s Sci-Fi

‘The Vast of Night’ draws from late-’50s science fiction and radio plays by leaving its thrills unseen and letting the audience create them instead.

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When I was in middle school, I went through a period where I was obsessed with radio plays from the 1940s, ‘50s, and ‘60s. You could find the scratchy old broadcasts preserved on cassettes here and there, and boutique publishers online had large sets on CDs. What fascinated me was the enveloping nature of the stories; they were sometimes clumsily written or acted, and usually featured overly obvious narration, but the best shows left just enough out that one’s brain could create scenes of suspense and terror more potent than had they been depicted visually. Andrew Patterson’s The Vast of Night is an homage to science fiction and horror classics of that era, and like them it benefits from withholding information, allowing the audience to create their own thrills.

Set in late ‘50s New Mexico, The Vast of Night occurs all on a single night when most of a small town is clustered in the local high school gym for a basketball game. However, the school and town have suffered from odd power outages and unexplained flickering lights; enter the fast-talking radio host Everett Sloane (Jake Horowitz). It’s probably not a coincidence that the occasionally obnoxious character is named after the fast-talking and occasionally obnoxious actor who made such an impression as part of Orson Welles’ stock company in Citizen Kane and The Lady from Shanghai. Everett takes break from his radio show to help with the recording of the basketball game, which he’ll replay at the station the following day. He’s joined by Fay Crocker (a charming Sierra McCormick), a high school student who wants his help operating a brand new tape recorder she’s just purchased.

The Vast of Night

But once the two separate — Jake going back to the station and Fay to her nightly job as a switchboard operator — an eerie aura envelops the town. Fay catches an odd mechanical clicking over her phone lines, and her friends and neighbors can’t be reached at home. When she patches the strange sound for Everett to play at the radio station, a listener calls in with a tale of having heard that sound before during secret government testing from years earlier that he’s not supposed to be telling anyone about. He thinks the sounds might be coming from somewhere high up, and the few people not at the basketball game start to notice strange objects flying in the sky.

Patterson and screenwriters James Montague and Craig W. Sanger wisely avoid showing too much in The Vast of Night. Everett and Fay barely understand what’s happening around them, and the film keeps the audience almost as much in the dark. It’s constantly withholding, but in the best possible way, making us lean forward in hopes of learning more. In the bravura call-in scene, Bruce Davis gives a compelling performance that’s done completely over the phone, and Patterson periodically cuts to a black screen throughout, giving the audience a chance to create our own visuals to accompany his story, as one would have with an old radio play. At other times, Patterson lets his camera zoom around the small town to thrilling effect.

The Vast of Night features interludes shown on an old black-and-white television, with a pitch-perfect Rod Serling impression for a fake anthology series called Paradox Theater. The film doesn’t have much of The Twilight Zone’s social politics or irony, but the framing further underscores its connection to Cold War-era America. The best science fiction from that period captured a nation simultaneously enthralled and terrified by the future it might unlock, and The Vast of Night effectively replicates those conflicting emotions. Fay and Everett are terrified of what might be causing the disturbances in town, but there’s no way they’ll give up until they find out what it is.

The Toronto International Film Festival runs September 5 – September 15

Brian Marks is Sordid Cinema's Lead Film Critic. His writing has appeared in The Village Voice, LA Weekly, The Los Angeles Times, and Ampersand. He's a graduate of USC's master's program in Specialized Arts Journalism. You can find more of his writing at InPraiseofCinema.com. Best film experience: driving halfway across the the country for a screening of Jean-Luc Godard's "King Lear." Totally worth it.

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TIFF

‘Ford v Ferrari’ Drives Fast with Little Under the Hood

A classic Hollywood drama with fast cars and a stellar Christian Bale performance that feels great despite a lack of emotional substance.

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Ford v Ferrari

Many directors always struggle with producers and other businessmen to retain their vision. What might work most for that vision may not be what focus tests and audiences have proven to enjoy, so the film gets reworked and reworked until it becomes a box office hit, and potentially retains a director’s intent. Ford v Ferrari doesn’t necessarily feel like that — this is a James Mangold film in many regards — but by the end of its story of vision and skill versus marketing and business agendas, Mangold’s latest wrestles with placing trust in an individual against an entire body of suits.

When Carroll Shelby (Matt Damon) is approached by Ford Motors to create a car fast enough to beat Ferrari at the 24 Hours of Le Mans (an annual racing event where drivers go all day and night around the same track), he is forced to fight tooth-and-nail to get the best driver for the job: Ken Miles (Christian Bale). Shelby’s fight is singular; he wants to win the Le Mans, and knows that Miles is the only one who can do it. Yet, Ford Motors is still a company with many eyes on them, and employing the hot-headed Miles as a driver could be disastrous. So begins a struggle for Shelby and Miles to have their desires met by a company looking at the bottom line. That struggle — one that underscores every decision made by the characters in the film — is what sits at the core of Ford v Ferrari, and keeps things interesting. Set that aside, however, and the film loses a lot of momentum.

Ford v Ferrari

Still, the racing will grip audiences throughout. The final Le Mans challenge runs for a decent portion of Ford v Ferrari and is engaging throughout, but there are several other races and practices where Mangold’s craftsmanship as a filmmaker shines bright. Miles sits in the driver’s seat of all of these moments, and Bale’s performance is never stronger than when his character has that need for speed. Miles is a passionate driver with pure intentions, and Bale gives him a lot of wit and heart in between huge swings of emotion. It’s a performance that stands tall but doesn’t distract, instead meshing extremely well with the action.

Meanwhile, the other performances are also solid. Matt Damon is very good in the role of Shelby, though his character is quite often reserved because he has to be. When you put him against Bale, however, it’s clear that Shelby pales to the race car driver’s fleshed-out character, as we follow the latter’s family, his rejections and successes, and his pure heart. In the backdrop is a wide array of supporting actors, including Caitriona Balfe as Mollie Miles, Josh Lucas as the thorn in Shelby’s side, Jon Bernthal playing a standard Jon Bernthal role, and Tracy Letts chewing up scenery whenever he can as Henry Ford II. Letts and Lucas in particular give great caricatured performances, planting Ford v Ferrari into a more standard Hollywood drama.

Ford v Ferrari

Largely that’s the problem: Ford v Ferrari is a technical achievement with some incredible craftsmanship and performances that just never feels as great at slow times as it does when it’s moving past 7000 RPMs. It has a need for speed, and the pacing shows that, but it also doesn’t really rise very high above what’s needed to please an audience. Mangold is great at deriving emotional substance out of a subject, but a lot of that in Ford v Ferrari is left on the shoulders of Bale’s performance. Instead, the film focuses heavily on the bureaucratic side of things, and how that hinders talented people from being who they are destined to be. While fun to watch, there isn’t much more that will have Ford v Ferrari lingering with audiences. Instead, this will be a movie that resonates with racing fans and those that struggle against restrictions, keeping general audience satisfied in their big Hollywood dramas for the time being.

Editor’s Note: This article was originally published on September 14 as part of our coverage of The Toronto International Film Festival.

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‘Motherless Brooklyn’ Is a Twisting Homage to Classic Detective Films

TIFF 2019

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Motherless Brooklyn

Edward Norton writes, directs, and stars in this meditative and absorbing adaptation of Jonathan Lethem’s neo-noir novel.

In 1999, Jonathan Lethem published his fifth novel, Motherless Brooklyn, and went from being an under-read but respected postmodernist with a science-fiction bent to a writer with a growing mainstream audience. The book was an odd choice to suddenly get people’s attention — a tribute to the classic detective fiction of Raymond Chandler and Ross Macdonald, but featuring a detective with Tourette’s syndrome, and taking place in the 1990s. But Lethem’s flair for language, along with the novel’s equal portions of humor and sincere longing, made it a striking success. Back in the early 2000s, Edward Norton began developing the film, shortly after making his directorial debut. It took almost 19 years, but miraculously, Norton has made a version of Motherless Brooklyn that’s fun, engaging, and a tribute to classic detective films of the past.

Norton takes the lead as Lionel Essrog, a member of a shady detective agency that mainly takes on cases for organized crime rather than regular citizens. He has worked there for years after being rescued from a brutal Catholic school for orphans by Frank Minna (an asleep-at-the-wheel Bruce Willis), the head of the detective agency and a major contact to underworld figures. Lionel suffers from Tourette’s, as well as a smidgen of obsessive-compulsive disorder. His speech is interrupted at varying times with shards of curse words, nonsense phrases, and plays on words (he says the condition is like having “glass in my brain”). The Maryland-raised Norton isn’t an obvious choice for someone who grew up in the outer boroughs, but he brings dueling amounts of chagrin and decency. These qualities are necessary following his ticks and outbursts, which would seem obnoxious from nearly anyone else.

Motherless Brooklyn

Motherless Brooklyn opens on Lionel surveilling his own boss. Frank is meeting with an unnamed group of men, and he’s having Lionel keep tabs on the meeting so that he can burst in should anything go wrong. Of course, something does go wrong, and Frank is left with a bullet in his belly and no answers to give. In the wake of the shooting, Lionel makes it his personal quest to find out who shot his boss. The twisting plot, which grows exponentially more labyrinthine over time, pulls the burgeoning detective into a tangled web involving New York City’s development. Moses Randolph (Alec Baldwin), a power-hungry figure modeled after Robert Moses, seems to have some connection to Frank, as does Laura Rose (Gugu Mbatha-Raw), a young assistant to a Jane Jacobs-like figure who opposes everything Randolph stands for.

The convoluted plot will surely turn off some viewers, as did the more gonzo plot of last year’s Under the Silver Lake, but it’s a key component of all noir-inflected mysteries. The core books in the genre were written around WWII through the Cold War, and they illustrated a world gone mad — where the protagonist could never trust the word of another, and there was always more crucial information being hidden than he could ever real. The sense of disorientation that accompanies prime noir novels and films is a feature, not a bug.

Norton loses some of the wonderful strangeness of the novels ‘90s settings by setting it in the ‘50s, but it fits the story well, and some of the New York development details make more sense in mid-century. There are perhaps some tangents that could have been pruned involving various jazz clubs, and Bruce Willis’ phoned-in turn as Lionel’s mentor is an utter shame, robbing the film of some much-needed emotional moments, but Norton’s own performance makes up for many of the shortcomings, and he strikes up a charming rapport with Raw. Motherless Brooklyn can’t come close to topping its source material, but it’s still a lively mystery that might make you wish they still made this kind of detective story.

Editor’s Note: This article was originally published on September 11 as part of our coverage of the Toronto International Film Festival.

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‘Dolemite Is My Name’ Is a Return to Form for Eddie Murphy

Eddie Murphy is back and in fine form as the creator of a hit Blaxploitation film, though the film doesn’t always live up to his talents.

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Dolemite Is My Name

It’s hard to remember the last time that Eddie Murphy was good in a movie, so it’s with great pleasure that I can report that he’s back and actually trying in Dolemite Is My Name, a new film for Netflix about the creator of the wildly successful blaxploitation hit, Dolemite (1975). It’s a fairly conventional piece of work, and much of the humor surrounding Rudy Ray Moore’s Dolemite act doesn’t hold up any more, but there are still enough laughs and palpable passion from Murphy to make it a worthy story.

It’s the early 1970s when we first see Moore trying to pressure a DJ (Snoop Dogg) into playing some singles. Moore thinks of himself as a renaissance man — someone who has worked every facet of the entertainment industry — and wants to do it all, like his idol, Sammy Davis Jr. But his music dreams never went anywhere, and the closest he ever came to success was working in a record store. At nights, he gets five minutes of stand-up time before introducing acts at a local club, though he often stretches his time limit.

After a run-in with a homeless man who tells braggadocious stories about the hardest man he ever met (the improbably named Dolemite), Moore adopts the same rhyming style and crafts a stand-up act in which he puffs himself up and trash talks others mercilessly, all while dressed like a dandy pimp. The character is an instant success at the club, and soon Moore is taking his new act on the Chitlin Circuit, where he’s joined by Lady Reed (Da’Vine Joy Randolph), a singer with her own stage persona.

Raunchy comedy records that reach the Billboard 25 follow, though Moore is interested in something even bigger: the movies. He hires playwright Jerry Jones (Keegan-Michael Key), who is interested in respectability and social issues, and has him write the story for a blaxploitation crime film starring his Dolemite character. Along the way, Moore enlists actor D’Urville Martin (Wesley Snipes, having a lot of fun) as the film’s director and villain, while assembling a crew mostly made up of his friends — talented people who know nothing about making a movie.

Dolemite Is My Name

Dolemite isn’t as well-known now as some of its more famous Blaxploitation peers, but the film was a major success among black audiences, who came out to see it in droves in major cities. Though Murphy is often in comedic mode throughout, the awe Moore displays from people finally wanting to see something he has made is touching. Murphy also gives a performance that manages to channel Moore’s speech patterns as Dolemite, without ever slipping into parody.

Meanwhile, screenwriters Scott Alexander and Larry Karaszewski excel at dramatizing the uncertainties and inevitable failures that come with the ultra–low–budget film production, but they’re oddly incurious when it comes to Moore’s personal life. We never understand where his desire to be a jack of all trades comes from, and his responses to a life full of failures are only briefly covered. The two excelled at writing complicated real-life characters in earlier successes like Ed Wood (1994), The People vs. Larry Flynt (1996), and Man on the Moon (1999), yet they don’t give Moore the same in-depth treatment. The director, Hustle & Flow’s Craig Brewer, doesn’t help matters either. He can’t make the visuals and period details of those earlier bio films, and never really displays any directorial flair, while some of the supporting performances are perfunctory at best.

But it’s Eddie Murphy that people will want to see, and he’s at least in fine form. Perhaps this film, as well as his upcoming Coming 2 America (also directed by Brewer), will help to usher in a new era of Eddie Murphy movies that aren’t terrible. One can hope.

This article was originally published on September 13, 2019, as part of our coverage of the Toronto International Film Festival.

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