Reviews: Norberto Leo Butz shines in “Give or Take,” Wallace Shawn is in a Less than Festive “Festival” and a Creepy, Haunted “House”

Reviews: Give or Take, Rifkin’s Festival, The House 

Give or Take (c) Obscured Pictures

Film: Give or Take 
In Cinemas (Quad Cinemas in NY on Friday) 

Stage actor Norbert Leo Butz finally gets a film role that spotlights the talents we theatergoers have known since he stole the Broadway production of “Thou Shall Not” from star Harry Connick Jr. Butz has always played slightly flighty characters in musicals, like the lead in the musical adaptation of “Big Fish” – and in “Give or Take” he plays Ted, an equally free spirit, who has to deal with the death of longtime partner, Kenneth, as well as Kenneth’s estranged son, Martin (Jamie Effros). The big dilemma is the Cape Cod house the couple shared, but since they weren’t married, Martin has to decide if he wants to sell the house, with prodding by real estate agent Patty King (Cheri Oteri) or continue to let Ted live there. Director Paul Riccio and Effros wrote the script, and while there are touching moments of heart-to-heart conversations, the actual plot of the story feels rather contrived just to ramp up the drama, which all could have been solved with one frank conversation. Ted is the loose cannon here as his grief makes his unpredictable reactions both nonsensical and yet totally believable thanks to Butz’s itchy but sympathetic performance. Effros also has some fine moments as the conflicted son, especially when he hears about a kinder side to his father he never witnessed growing up. Although the story may take some questionable detours, the resolution feels right and just. The performances elevate the movie into a worthwhile, emotional and funny family drama. 

Oscar Nominations 2021-22

Oscars (c) Oscars.com

And the Nominees Are 

Surprises in Green

Best Picture 

BELFAST 
CODA 
DON'T LOOK UP 
DRIVE MY CAR 
DUNE 
KING RICHARD 
LICORICE PIZZA 
NIGHTMARE ALLEY 
THE POWER OF THE DOG 
WEST SIDE STORY 

The Interested Bystander’s Final 2021-2022 Oscar Nominations Predictions

Final 2021-2022 Oscar Nominations Predictions 

Dune (c) Warner Bros / The French Dispatch (c) Focus Feature / Don't Look Up (Netflix)

This year, the Oscars will be subtitled the Timmys as Timothée Chalamet is the actor will be in the most Best Picture nominees. Of course, I do think there’s going to be a big surprise of “The French Dispatch” sneaking into the Best Picture category. But even if three Best Picture nominees may be a reach, he is the only performer with a significant role in two: “Dune” (lead) and “Don’t Look Up” (supporting).  The sad news is poor Timmy himself won't be nominated.

So, here are my final predictions for the Oscar Nominations, coming out in tomorrow, Tuesday, Feb 8.

Film Shorts: Catching Up on the Most Salacious Films of 2021: Porn! Pigs! Nuns! Cars! Wig?

Reviews: Red Rocket, Benedetta, Pig, Titane, Dear Evan Hansen

Titane (c) Neon

Film: Titane 
On Streaming 

One of the most visually stunning and disgusting movies of the year certainly grabbed headlines when it won the Palm d’Or at the Cannes Film Festival. “Titane,” Julia Ducournau’s second feature (after 2016’s “Raw”), is daring and not like anything you’ve ever seen. But it begs the question, is explicit body horror in film just a way to distract you that there isn’t much of a story. Ducournau has found a willing and daring participant in Agathe Rousselle, who plays Alexia, a woman who has a titanium plate in her head after a car crash injury when she was a kid. This may explain her obsession with cars and why, as an adult, she works as a model, dancing and writhing on cars at car shows. And yes, she does, in between being a serial killer, have sex with one car (to be fair, it is the sexiest cinematic car since “Christine”). But, why this car and why at this moment in her life? How has Alexis survived up to now if her life is always ramped up to 10? Ducournau doesn’t give us answers as much as clues that don’t add up. The movie does calm down in the second half as Alexia meets Vincent (Vincent Lindon), the most sympathetic character of the film. The shift in story is welcomed (no spoilers here) but is Alexis now no longer fixated on cars or murder? Or is it just convenient for what little plot there is? A lot of “Titane” doesn’t make much sense, but again, is your brain registering anything besides the crazy visuals on display? I’m sure the answer may become apparent after another viewing, but like a lot of early David Cronenberg or David Lynch films, I don’t ever need to see “Titane” again. 

Review: In “The Hang,” Taylor Mac Invites You to a Kiki about Socrates

The Hang (c) Maria Baranova

Theater: The Hang 
At HERE 

Premise: Well, I’ll try. Taylor Mac plays Socrates as a sort of mermaid King Lear hybrid channeling the spirit of Madeline Kahn. Socrates is sentenced to death for, among many things, his homosexuality and questioning of societal norms. At first, we think it’s a party to celebrate his life as Ryan Chittaphong, playing Plato, is documenting the event, which will ultimately become a piece about Socrates called “Apology.” Socrates shames Plato for this and pleads with him to “put down that device,” which in this production is a typewriter he wears around his neck (but we get the modern reference). Themes such as virtue and the value of the plays of Aristophanes (specifically his play “The Clouds,” which was about Socrates) are debated at this party as each guest, as well as each member of the band, gets to take center stage to sing, play or celebrate. But what we soon realize is that the gathering might all be in Socrates’ mind as he is slowly being poisoned by the hemlock he has ingested.