Smurf hides her diagnosis, except from Pope. Meanwhile, J, Deran, and Craig all have big, big problems.
Jeff gets good and bad news about Vivian
Henry manages to get inside Shawshank to meet with the feral inmate found in the basement. Alan Pangborn harbours secrets.
Ulrich discovers life shattering secrets from his past. Jonas searches the caves using maps left by his father.
Elliot wakes up to a new relationship with Ray. The attack in China has repercussions all the way back to America.
Foxtel’s The Kettering Incident
Episode 3: “The Search”
Directed by Steve Krawitz
Written by Cate Shortland
* For a review of Episode 2, “The Lights” – click here
* For a review of Episode 4, “The Mill” – click here
Out among the forest surrounding Kettering, moths float about, and at home Dr. Anna Macy (Elizabeth Debicki) feels as if she can literally see the air around her. She continues to record everything in her notebook. She’s in the bed of Fergus Mcfadden (Henry Nixon). Meanwhile, Fergus has found the cellphone of missing Chloe (Sianoa Smit-McPhee). He brings it to Max and Barbara Holloway (Damien Garvey/Sacha Horler), the parents, and her brother Adam (Brad Kannegiesser) is there to hear the news, too. They have somewhere to begin now. Although they hvae no idea where the road is headed.
Anna has to contend with Dt. Brian Dutch (Matthew Le Nevez) asking all sorts of questions re: Chloe. We know his intentions. However, even without knowing everything Anna has a sixth sense about guys like him.
On the cell, Fergus listens to the voicemail from Chloe, the terrifying message. He questions Eliza Grayson (Tilda Cobham-Hervey) about whether it’s a joke. She is a good pretender. A faker, really. She doesn’t realise that tihs time, Chloe isn’t faking. What we’re seeing is the hysteria in Kettering: “I guess I just wanted to be a part of it,” says Eliza. All a sham.
Bad boy Dutch is over to see Dane Sullivan (Dylan Young) about the rest of his drugs. Now the young guy is on the hook for $10K, and the dirty cop’s not exactly the forgiving kind. He has jobs to do that need a hand. Just great.
Anna heads back to her father Roy’s (Anthony Phelan) place. She finds a map marked with spots in the Kettering forest. Out there people are searching for Chloe. A base camp is setup, all sorts of operations. When Anna winds up there nobody is exactly welcoming. Not after all that’s happened. Although she manages to muscle her way into Deb Russell’s (Alison Whyte) vehicle for a ride up to where the search parties are moving. On the way they hit a small kangaroo. Deb watches on as Anna puts the creature out of its misery with a rock to the head. Chilling, though only because Deb sees this as creepy herself. We know Anna’s probably the least capable of murder in ole Kettering.
Nobody at the search is pleased to have Anna there, not even Papa Roy. Doesn’t help she has blood all over her hands, literally. She gets the cold welcome from Craig Grayson (Ben Oxenbould) and others, as well as the semi-longing star of activist Jens Jorgensson (Damon Gameau). Nevertheless, everyone heads into the woods, protective gear on, police with their dogs alongside.
Between the trees Anna sees something red. She starts hearing noises, seeing lights in the woods. She gets stuck in the mud, calling out for “Gillian” but it’s only Adam there to comfort her surprisingly.
Dutch is at the Holloway place. Of all people to be leading that side of the investigation. Not only is he dirty, he and Barbara have an affair going on. He gathers up a piece of clothing, talks about combing through Chloe’s social media accounts. Then once he gets a moment to himself in her room he finds the package for which he’s looking so frantically. All the while Eliza has her eye on Barb and Dutch.
Husband Max is just numb. And perhaps there’s a bigger worry behind all that. We know there is a lot more to Max. Likely something sinister down the pipes.
When Adam takes Anna back to the search site, Roy shoos his daughter away. Typical. There’s only more suspicion and paranoia for Ms. Macy. Even her own father doesn’t know what to think of her innocence, or guilt. The whole town is leaning her way mostly. In some way. For Roy’s part he seems to have something to hide, too. He was a cop, sure. There are further skeletons, though.
Anna secretly discovers Deb’s cancer, seeing the chemo implant on her chest. She also suggests Anna’s attitude “sucks” and that changing it may help her fit in. But further than that Anna finds out more about the Dr. Fiona McKenzie (Kris McQuade) with whom she was trying to speak at the hospital recently. Turns out she works as a tour guide at a prison nearby.
Over at the mill, Roy lets Max know the search is over for the day. He also talks about the Sullivan place. There’s more to that land than just the UFO sightings. Something else happened out there.
Dutch goes through Chloe’s computer. He finds videos on the presence of alien life, et cetera. Also there are pictures of him, all over Kettering. She kept a nice visual log of his comings and goings. At least for a little while. Smart girl. Now, the detective heads things off with his access to her things. Sketchy, dude.
Finally, Anna goes to see Dr. McKenzie and finds out lots more. “Things started happening,” she tells Anna. “Strange cancers” and all sorts of other things. One of those cases includes Deb. All of Kettering both threatened Dr. McKenzie, plus labelled her crazy. She knew Chloe had nosebleeds. She knows more than she even lets on to Anna, only warning she ought to leave. Now. Afterwards, Anna winds up talking with Fergus across the bar, as Dutch keeps his eagle eye trained on them. She tries getting to Gillian’s files, to dive deeper into the investigation herself. Sadly, Fergus can’t understand the greater significance of what’s been happening in their quaint town all these years.
Renae Baxter (Suzi Dougherty) continues believing her daughter Gillian is out there. Her man Travis (Kevin MacIsaac) is not at all interested in entertaining those thoughts, to the detriment of their relationship. When she calls him “simple minded” and a “leech” this is more than his fragile masculinity can take. He beats her. A real piece of shit. We see a better side to Dutch, as he responds to a call that brings him to Renae’s place. His mother was a battered woman. Well, Renae is tragically typical, not wanting anyone to know. Especially not the police. Travis doesn’t respond too kind to Dutch, as he knows about the detective and his drug dealing. But Dutch isn’t a pushover. He threatens the guy, fatally, if there are any more domestic abuse calls.
To the Holloways goes Anna. She brings a bottle of wine, looking to know if Chloe had any strange marks on her skin anywhere. Barb doesn’t remember anything specific, eventually wanting her out. Although Max is a little more reasonable, it’s probably best for them all. Upstairs, Eliza is dressed in Chloe’s pyjamas, and there’s an odd moment between her and Max. An almost eerie look from him, though that could just be my eye.
Then Anna makes a big mistake. She has sex with Dutch. Or at least begins the lead into it before getting a nosebleed. In the couch, Anna finds a necklace; you know which one. This gets her quite suspicious. Immediately that puts Dutch in aggressive mode, defensive. The questions from Anna start to shed light on his shady behaviour. Glad she didn’t fall into bed with this guy.
Dutch: “Why did you come back?”
Anna: “It‘s my home”
Dutch: “You don‘t have a home”
The reoccurring “Crimson and Clover” interest comes from Anna and Gillian having loved the song, recording their own version on a tape she carries with her. Roy isn’t pleased with his daughter’s attitude or behaviour. He doesn’t like that Anna went to talk to Dr. McKenzie. You just know there is something more to it all, that Roy knows more than he leads on. He tries to push his daughter away from home, but she is not leaving. We discover more about how Renae and Roy had an affair, which is a sore spot for him. He drives Anna out his house after she brings it up.
Next day the search continues on. Roy finds Anna gone, elsewhere. Anywhere. Barb and Max spend their days apart staring out separate windows; her at home, him busy over at the mill trying to keep his mind occupied. In a pile of logs, the body of Chloe is found. Right under the nose of her father. So god damn sad.
One truly intense episode. A great chapter in this mini-series. Love this show! Great drama, lots of mystery. I dig when a show can draw things out properly, and the writers are doing a fantastic job. Next episode is titled “The Mill” and it looks extremely intense.
James White. 2015. Directed & Written by Josh Mond.
Starring Christopher Abbott, Cynthia Nixon, Scott Mescudi, Ron Livingston, Makenzie Leigh, David Call, David Cale, Benjamin Brass, Lori Burch, Scott Cohen, Adriana DeGirolami, Jeanette Dilone, David Harris, Rosemary Howard, & Sue Jean Kim. BorderLine Films/Relic Pictures.
Rated R. 85 minutes.
Producer Josh Mond has been behind a few really excellent films such as Martha Marcy May Marlene, Afterschool, and others, as well as the upcoming Christine (not a Carpenter remake). His first feature film, James White, is a little flawed, but overall an honest, raw look at the life of a New York City Millenial stuck in a brutal situation between trying to reign in his own childish behaviour and taking care of his very sick mother, all after the death of his father. In a day and age where many young people are starting to deal with the death of parents, just as every generation has before them, this is certainly a film with huge impact.
Often the battle against cancer is portrayed in an almost romanticized way. Many movies will show the devoted individuals caring for their sick loved ones as unabashed caregivers, noble, nearly saint-like. Instead of the cliched, emotionally manipulative picture many mainstream Hollywood movies paint, James White is the portrait of a young man, imperfect and stubborn, whose life is upended. He becomes caretaker to his mother while also trying to discern his own place in the world. Along the way we watch his destructive self unfolding in the emotional massacre of his life. There are portions of this film that are genuinely sweet and beautiful. Still, the ugly side of love in a time of disease is on display to make sure the honest truth never slips from our memory.
The center of this film, above its gritty real life feel, are the two major performances from Cynthia Nixon and Christopher Abbott. I mean, honestly, this doesn’t have to be your cup of tea. Although, if it doesn’t move you there may be parts of your insides made of concrete. Immediately we’re drawn into the reality of this story because of cinematographer Mátyás Erdély (Son of Saul, Miss Bala), his natural feeling lens hooks the eye. We’re able to drop into the perspective of the main character James because the camera follows closely behind him, near him, hovering over his shoulders constantly. So once we’re put in that position, Abbott’s talent further pierces us. He is enigmatic, and at the same time upfront. He’s enigmatic because there are things he’s not saying, leaving below the surface, as the drinking problem and everything else, his bravado, masks what’s truly going on. Simultaneously, the camera lets him be upfront because we see his darkest moments. And under all that machismo, there’s a sensitive part which eventually breaks through those barriers. Abbott is able to give us all the aspects of James that makes him interesting. They’re not always easy to watch, nor are they enjoyable. Sometimes you want to smack him and scream into his entitled face. But always, always he is able to command your attention with a brave, truthful performance.
Added to Abbott is the fantastic(ally underrated) Nixon. Her performance is even more exceptional, simply because of the condition she portrays. Her character, Gail, is often difficult, though loving, and many other opposites. Because the disease is ravaging her. It’s the way she shows us the disease which is powerful. It will stop you, freeze your eyes to the screen. One in particular sees her unable to speak, as she says later her brain couldn’t get the words to her mouth, and that moment between her and James is extraordinarily gripping. You’ll almost want to hold your breath.
Ultimately, the two performances together, the relationship between James and his mother, this is what drives the film. I love the look and feel of it all, but these are what makes the whole thing worth it. The threat of cancer and disease is something we all know, and if not yet then someday soon. It touches everybody. To examine the issues – such as how a child might end up having to totally care for a sick parent in an event like James experiences – can really turn heartbreaking. And no doubt, James White both character and film will break your heart to pieces.
A major aspect of why this movie is intense lies in the decision to look at how a young man out of the Millenial Generation is forced to cope with a parent dying. There are so many dumb think-pieces in the media these days, so many ridiculous opinions about the younger generations today, that we’re often forced into believing there are no serious issues at stake for Millenials – and so you know, I just barely fall into this category being born in 1985. With an intensely emotional screenplay by director-writer Mond, this movie allows us a window into a microcosm of that generation. Left with one parent, whose time is numbered due to cancer, James is confronted with trying to make dreams into reality. He’s a struggling young man that wants to be a writer, though circumstances in his life throw him into complete chaos. In an already bad economy, being a writer is a tough life decision; one I know all too well personally, being a writer (I don’t only write reviews). With his father gone, his mother on the way out, he’s almost got a limited amount of time to construct his life. And with so much time spent being there for his mother, he’s had no time to concentrate on getting himself better, he has neglected his best interests. While there’s a noble aspect to that, he is left with a gaping abyss ahead of him, and with no one there to help guide him.
This is a film about cancer, the effects it brings down upon those caring for a sick loved one. It also comes at a time where people in their twenties can relate. Because even as the older generations start to die out (Gail here is not particularly old though) and make way in a sense for the younger ones, there is an element of loss, aside from personal loss, because now we are the ones left to guide the way forward, to steer the future. And like in the case of James, not everyone is ready for the burden.
Absolutely a 4-star experience, from the cinematography and its hyperreal atmosphere, to the directing and the screenplay from Josh Mond. Hopefully Mond will go on to do more directing, apart from his great track record as producer. He is talented, and the personal nature of his writing shines through, even if things are grim, uncertain throughout. James White is difficult but necessary cinema in many ways. Aside from its raw look at something which affects us all, this film really speaks to a passing of the torch, willingly or not, from parents to children. And the torch will pass, no matter if its ugly, or if it passes silently in bed during the night.