Rum, Sweat and Rain Soaked Love Story in Global South

Stars at Noon (2022) - Denis Margaret Qualley gives it all in a Claire Denis's Nicaragua set political intrigue, Stars at Noon, based on Denis Johnson's novel from the 1980s. In order to frame this in context, one has to wonder the filmmaker's intent on setting it in the now - during Covid 19 era. The Sandinista Revolution by FSLN versus the US backed Contra made Nicaragua the literal hell on earth in the 80s, which Johnson personally observed to write about, first conceived as a nonfiction then in fictional form.

Some forty years later, Ortega is still in charge as he serves the 4th term as the president, the economy is still in shambles, corruption and military/police oppression on activists are still being widely reported. The US intelligence and international conglomerate operatives are still very much present, and on the lookout for neighboring Costa Rica and other nations in Central America for possible disturbances. As she explored the white privilege and colonialist mentality still present in Africa with White Material, one can read Denis's new film through those eyes - a pervasive influence of the Global North playing out in an old, tired, cat-and-mouse international intrigue set in Central America, John le Carré style.

Qualley plays Trish, a self-proclaimed journalist who might have had noble intentions in coming to Nicaragua, but now marooned in sweltering purgatory with her resources cut off and passport confiscated, survives by turning tricks on a local law enforcement and political small potatoes for any types of favor, influence, money (both cordóbas and dollars), shampoo, air conditioner or just a decent shower. In her tiny bareback summer dress, she is always guzzling copious amount of rum and throwing Karen tantrums when her Spanish fails to communicate. She meets Daniel (Joe Alwyn) at a bar in the Inter-Continental Hotel, the bastion for all the white guests. Daniel says he works for an oil company executive. Giving him a tip that the sleek local interest he was meeting is a Costa Rican undercover cop, she hooks up with Daniel, and together, they move into a squalid motel Trish is staying in. They both know that they are in over their heads in a foreign country and they need to get out the dodge before they get arrested or worse, killed. It turns out the unassuming CIA agent (Benny Safdie) she meets on the road, wants Daniel and offers Trish safe passage to the Costa Rican border.

Qualley's wide-eyed, frizzy haired Trish, spitting out ridiculously hard-boiled noir lines is a revelation. If this film doesn't make her a big star I don't know what will. Alwyn is adequate as a hunky whitebread love interest, just to be dragged around by his nose. And Safdie is fantastic as cunning G-man. Eric Gautier's energetic cinematography skillfully captures the oppressing tropical climate and humidity glistening on Qualley's skin.

Stars at Noon doesn't quite work as a global intrigue espionage thriller, nor does it as a Claire Denis film. It's too old fashioned and plot and dialog heavy. Nevertheless, I can see the merit in Denis's comment on the pervasiveness of white colonialism in Central America where idealism and good intentions has gone to die. But it's an enjoyable ride in that 'rum, sweat and rain soaked, sexy love story in the jungle way' and I don't mind it.

Throwback to the Golden Age of the New Hollywood

Uncut Gems (2019) - Safdie I gotta admit, now I am in full Safdie Bros. team. It took me this long to see Uncut Gems but I am convinced that the Safdies will save American cinema. A total throwback to the good old days of New Hollywood, where gritty Nooo York movies ruled, Uncut Gems tells the few days of NY jewelry dealer Howard Ratner (Adam Sandler). He is in deep shit since he owes money all over town via gambling problem. He has uncut opal rock the size of your fist coming in from the Ethiopean jew connection. He is expecting a big payday unless the goons get to him first.

Tension filled, constantly moving camera and close ups resemble early Michael Mann and Sydney Lumet with films such as The Thief and Dog Day Afternoon (lensed here by Darius Khondji). Sandler is marvelous as da playa whose wheeling and dealing digs deeper into his grave by the minute, so are the supporting players that includes Lakieth Stanfield, Judd Hirsh, Eric Bogosian, Julia Fox, Kevin Garnett and Weeknd.

Uncut Gems is real gem of a movie. Yes it is stressful and at the same time wickedly funny. Definitely one of the best American films I've seen recently.

Good Time for Whom?

Good Time (2017) - Safdie

I understand what Josh and Benny Safdie are going for. From what I've seen and heard, their films are all about small moments - not narratively gregarious, concentrating on small encounters, naturalistic settings, characters in motion. And there are quite few of those moments in Good Time. When they work, they work great. But does the movie work as a whole? I'm not so sure. Good Time has many things going for it - solid performances by wide eyed Robert Pattinson, playing a small time crook taking charge over his mentally handicapped brother (Benny Safdie), heart pumping score, 16mm gritty cinematography... But it also is very unsatisfying especially when there is no one you can root for. Pattinson's Connie is a hard character to sympathize with, as he works his charm over various women and resort to violence when things get dire. I get that he cares for his retarded brother but there is no indication of his background or what his real motives for the bank robbery is - in short, who he is.

OK, so those moments. Loved the interaction btwn Pattinson and Safdie in the bathroom of Pizza Hut after their robbery has gone horribly wrong. Loved the teen black girl in the house in Queens where Connie invites himself into. It's very unlikely that a sassy, pot-smoking black teen would be hanging out with an older white stranger, but I let that go because their interactions are really great. Loved the idea of breaking into an amusement park at night. But that moment's also somewhat tampered by that Somali actor (Barkhad Abdi) who is in everything now- the treatment he gets (from Connie) was almost racist.

People stop comparing Good Times to 70s NY movies. The Safdies ain't no Lumet. Their aim is quite different- it's smaller and narrower. But it's as if they don't ever wanna bite off more than they can chew. If getting those couple of moments are their aim for two hour movie, that's fine. But I feel they are putting emphasis on the wrong things- for instance, extensive (and surely expensive) aerial shot of the city in the beginning and following Connie's car on the street from aerial view. Good Time feels like as if they are afraid to tackle something bigger, grander things. I don't know. I guess I don't like their timid ways.