Tuner, now playing in theaters throughout Israel, is an offbeat, interesting drama and crime caper, with some funny moments.
Entertainment
Review: A family braces for the worst, unsentimentally and with nuanced charm, in ‘Renoir’
Japanese filmmaker Chie Hayakawa isn’t afraid to look death in the eye. The writer-director’s 2022 feature debut, “Plan 75,” imagined an unsettling future in which the elderly are offered a subsidy by the government to be euthanized. For her follow-up, she travels into her own past, drawing from memories of her father’s battle with cancer.
But while “Renoir” features no sci-fi elements, the nearness of oblivion remains just as prominent. Shorn of sentimentality, this gentle drama follows a quietly observant fifth-grader who feels the grim shadow of mortality all around her. How the character will absorb that realization is anyone’s guess — including Hayakawa’s.
Newcomer Yui Suzuki stars as Fuki, who lives in a nondescript Tokyo suburb in 1987. Her soft-spoken dad, Keiji (Lily Franky), is suffering with terminal cancer in its final stages, the emaciated man spending as much time in the hospital as he does at home. Fuki’s mother, Utako (Hikari Ishida), doesn’t seem very despondent, though: One senses an emotional exhaustion that comes from preparing so long for the inevitable that she’s now mostly numb, her anticipatory grief having given way to frayed nerves.
Fuki’s pre-mourning process is equally complicated. Outwardly, she shows no signs of being devastated by her dad’s imminent passing, happily playing with him, almost in denial of his fate. But “Renoir” subtly suggests the impressionable girl is more aware than she lets on, surrounding her with random reminders of death. Local news breathlessly reports on random domestic murders. Even when Fuki gets away from the city, the camera lingers on her watching a campfire’s dying embers. The film derives its title from the girl’s interest in “Little Irène,” a painting by influential French impressionist Pierre-Auguste Renoir. She asks if Renoir is still alive. No, he’s dead too.
Hayakawa pulls from her childhood in multiple ways for her sophomore feature, which premiered in competition at Cannes last year. “Renoir” takes place in 1987 specifically because that’s the year she turned 11, and, like her protagonist, she was infatuated with “Little Irène.” But there’s a refreshing absence of nostalgia in Hayakawa’s conception of Fuki and her quizzical processing of her father’s fatal illness.
For school, Fuki writes an essay about her wish to be an orphan. She becomes obsessed with hypnotism and mind-reading, an unorthodox strategy to create a sense of control. And, occasionally, she wanders into daydreams that Hayakawa presents so matter-of-factly that viewers may sometimes be unsure if what they’re seeing is actually happening. In “Renoir,” Fuki’s flights of fancy are as naturalistic as her everyday life — a sharp reminder that, for children, imagination and reality are often indistinguishable.
If death has been integral to Hayakawa’s two features, it’s society’s callous reaction to aging that is her primary focus. “Plan 75” eschewed dystopian-thriller conventions to ponder how Japan might one day treat its senior citizens, viewing them as little more than a drain on resources. “Renoir” makes a similar point within a memory piece. Keiji is the one dying, but it’s telling that Hayakawa centers the story on Fuki and Utako, who each, in their own way, seem more concerned about their own personal dramas.
As Keiji’s situation grows more dire, Utako enters the orbit of Toru (Ayumu Nakajima), a workplace advisor with whom she’s instantly smitten, pondering pursuing him romantically. Ironically, Toru preaches the importance of good communication skills in the office, a lesson the film’s guarded family would be wise to heed. While Utako hides her feelings for Toru, Fuki begins a secret odyssey in which she impulsively joins a phone dating service, engaging in conversations with a creepy college student (Ryota Bando) who pushes her to meet in person. This potentially traumatic subplot is the closest “Renoir” gets to traditional suspense, but even here Hayakawa adopts a muted approach, sidestepping shock value for bittersweet commentary about young people’s confusion around love. Both Utako and Fuki chase after human connections fraught with danger, each trying to insulate themselves from the tragedy waiting at home.
“Renoir” may be a delicate wisp of a film, but it’s flecked with thoughtful questioning about whether childhood’s sorrows leave permanent scars on us as adults. Suzuki exudes the fragility and buoyancy of adolescence, playing Fuki as someone constantly imbibing the world, rarely revealing what she’s doing with that stimulus. The simplest moments resonate the strongest, such as when the moody 11-year-old holds a balloon over the balcony of her family’s high-rise apartment, casually releasing her grip so that it tumbles to the ground far below. Does it speak to a desire to jump herself? “Renoir” won’t say, but the character is so poised you feel confident she’ll survive her father’s death. Who knows: Maybe years from now, she’ll even make a touching, emotionally astute movie about it.
‘Renoir’
In Japanese, with subtitles
Not rated
Running time: 1 hour, 56 minutes
Playing: Opens Friday, June 5 at Landmark’s Nuart Theatre
Movie Reviews
Film review: ‘Tuner’ mixes classical music, crime, and Dustin Hoffman | The Jerusalem Post
It co-stars Dustin Hoffman in a story of a young piano tuner, Niki (Leo Woodall), a former music prodigy with perfect pitch who suffers from hyperacusis, a condition that makes him extraordinarily sensitive to loud noises.
In a series of events that are a bit improbable but that seem quite credible while you’re watching, Niki discovers his finely tuned hearing gives him a great talent for safecracking, which brings him to the attention of a crime gang.
It features a clever, often surprising screenplay, co-written by its director, Daniel Roher (who won an Oscar for the documentary, Navalny) and Robert Ramsey. There are also wonderful performances from the cast, which also includes distinguished actress Tovah Feldshuh of Nobody Wants This and Fauda star Lior Raz.
The characters have a nice, funny raport
When Tuner opens, Niki is working in a piano-tuning business in New York with a former musician, Harry Horowitz (Hoffman).
The beefy, laconic, young man treats the garrulous, wisecracking Harry with respect, listening patiently to all his jokes and stories about the good old days when he worked with jazz greats.
These two have a nice rapport, as Niki drives Harry all over the New York area in an old van and eats in diners with him.
Niki does the work while Harry sits on a sofa, critiquing him.
The two stick out like sore thumbs in the many mansions where they work on spectacular pianos that haven’t been played in decades, for clients who ask them if they can also repair toilets and modems.
Harry, who never made much of a living despite his talent, has fallen on hard times, and he and his wife, Marla (Feldshuh), are barely scraping by. Niki is also broke.
Recognizing what a great musician Niki is, Harry tries to cajole him into playing again, but the younger man refuses, living an isolated life and trying not to draw attention to himself.
The three incidents that set the plot in motion
Harry has forgotten the combination to his safe and needs to open it. When Niki goes on YouTube to look at a video on how to do it, he discovers that his sensitive hearing makes him a genius at safecracking.
Harry becomes ill and, due to a mess with Medicare, suddenly falls into a huge debt; and Niki meets Ruthie (Havana Rose Liu), an extremely ambitious pianist and composing student, who is astounded by his perfect pitch.
Soon, Niki’s talent for safecracking draws the attention of Uri (Lior Raz), an Israeli who runs a bogus security company, where he uses his knowledge of his client’s homes and passwords to steal what he contends are minor trinkets, but which add up to big money for his gang, much like Jon Hamm’s character in the Apple TV series, Your Friends and Neighbors.
Raz hams it up as a character who fits the stereotype of the obnoxious Israeli in the US, and lords it over his supposedly bright accomplice, Yoni (Gil Frank), and his much dimmer nephew, Benny (Nissan Sakira).
Much of the comedy in the movie comes from Uri browbeating the two, and if you can understand the Hebrew, it’s even funnier than the subtitles.
Criticisms of Tuner
Niki’s romance with Ruthie, which develops quickly, feels a little convenient at times, though the screenplay paints a realistic picture of the competitive world of high-level music students. You know, for most of the movie, that eventually Niki will reveal to her that he was once a great pianist, and when it comes, it’s something of an anti-climax.
After Hoffman’s character gets sick, he disappears from the rest of the movie except for a couple of scenes, and that’s too bad. It’s great to see Hoffman having fun as Harry, and the scenes where he and Niki banter help humanize the younger man, making him more likable and less self-centered.
Woodall is one of the most in-demand young actors. He played a hunky love interest in both Bridget Jones: Mad About the Boy and the Netflix series Vladimir; he also appeared in the second season of The White Lotus.
He has a buff body and conventional leading-man good looks, and generally plays confident, happy-go-lucky guys, which means he is cast against type here.
Niki is the kind of role that might seem better suited for actors like Josh O’Connor, Jeremy Allen White, or Timothée Chalamet. Woodall has to work hard to convince us he is withdrawn and feels out of place in all the mansions where he tunes pianos, but his charm wins out, and soon, you come to accept him in the role.
Mixed music and mixed genres
The soundtrack features a mix of classical music and jazz, and it’s clear it was made by a director who appreciates both.
Tuner settles neatly into a mini-genre of movies that feature plot lines that combine piano-playing characters and crime, that include James Toback’s Fingers with Harvey Keitel, and Jacques Audiard’s remake of it, The Beat that My Heart Skipped with Romain Duris; Francois Truffaut’s Shoot the Piano Player with Charles Aznavour; and Eugenio Mira’s Grand Piano with Elijah Wood. It also recalls the spirit of Bob Rafelson’s Five Easy Pieces, which features Jack Nicholson in one of his best performances; here as a piano prodigy who has rejected his oppressive family and become an oil field worker.
Tuner shares some of the bleakness typical of 1970s films, like Fingers and Five Easy Pieces. At times, the movie moves jarringly between brooding, almost noir-like darkness and scenes with the chatty Harry or the bumbling gangsters.
It might have been a stronger film if Roher had gone in one direction instead of mixing genres, but it would likely have been less entertaining.
Tom Sandoval’s girlfriend Victoria Lee Robinson was arrested after the two had an altercation that involved her father being pushed into a lit fire pit.
Sandoval, known for the cheating “Scandoval” that erupted on the reality television series “Vanderpump Rules,” filed a restraining order against the model and her father J. Will Robinson (who goes by Will) over a June 3 incident that was partially caught on video. He was granted a temporary restraining order and a subsequent hearing was set for July 16.
According to court documents obtained by The Times, the altercation involving Sandoval, Victoria Robinson and J. Will Robinson happened in the early morning hours after the couple returned home from a night out at a bar. Sandoval claimed in the petition that since the two became a couple in February 2024, Victoria Lee Robinson has been violent and attacked him physically, as well as changing the passwords on his phone and social media and tracking him using Airtags.
“The most recent physical incident occurred on June 3 when [she] punched my face and injured my neck and ear. During this same incident, Mr. Robinson, grabbed me and punched an approximately 12-inch hole in the door of my spare bedroom where I was barricading myself,” reads the petition.
In a video, obtained by TMZ, that captured part of the June 3 incident, Victoria Robinson and Will Robinson are seen sitting next to a lit fire pit on the patio when Sandoval and Will Robinson begin arguing. Sandoval is heard yelling at Will Robinson before he asks Victoria Robinson if she is recording and approaches her. Will Robinson stands and wraps his arms around Sandoval, seemingly to get him to back away from Victoria Robinson, and Sandoval turns and pushes Will Robinson, who falls backward into the lit fire pit.
After Will Robinson gets back up, he rushes after Sandoval into the home while Victoria Robinson screams for the men to stop.
According to the petition, the fight escalated, and Will Robinson phoned the police while Sandoval hid inside a spare bedroom. When police arrived, the petition claims that they initially put Sandoval in handcuffs, but after reviewing footage, Victoria Robinson was arrested for intimate partner battery with physical violence.
Robinson bonded out and was released the same day. The Los Angeles Police Department was not able to confirm the reason for Victoria Robinson’s arrest.
Representatives for Sandoval did not immediately respond to The Times’ request for comment. Victoria Robinson could not be reached for comment.
According to the petition, both Victoria Robinson and her father have lived in the Los Angeles rental home with Sandoval. According to the filing, the reality star hopped between hotels and friends’ houses after the June 3 incident.
Will Robinson told TMZ, “The DA did not file the case for a reason. I lifted Tom off of my daughter because he was overpowering and twisting her arm and trying to take her phone aggressively after yelling at us in a very aggressive and threatening manner.”
“This is my daughter’s home and we just want Tom as far away from us as possible and to keep his lies and drunken abuse away,” Robinson said.
“Who lives, who dies, who tells your story?” This is one of the culminating lines from Lin-Manuel Miranda’s smash hit 2015 musical “Hamilton,” but it’s also the animating force behind Michael Sarnoski’s “The Death of Robin Hood,” starring Hugh Jackman in the title role. This legendary figure of English folklore has a specific meaning attached to his name, which is synonymous with the altruistic impulse to redistribute wealth. But in his take on the tale, focusing on the end of his life, Sarnoski suggests that perhaps Robin Hood wasn’t such a good guy, even if he was robbing from the rich to give to the poor. It all depends on who’s telling the story, right?
Sarnoski burst onto the scene in 2021 with his debut feature “Pig,” in which he outfitted Nicolas Cage with a long gray wig and sent him on a dangerous quest (to find his beloved, valuable pet). He does something similar in “The Death of Robin Hood,” outfitting Jackman in a long gray wig and sending him on a quest (to achieve some kind of salvation).
But first, Sarnoski has to establish that this Robin Hood isn’t the one we remember from the movies — he’s not the dashing cartoon Disney fox, or Errol Flynn, or Kevin Costner, or Cary Elwes, or Russell Crowe, or even Taron Egerton. No, this Robin Hood is much worse, sleeping in matted filth on the moors, reduced to a feral life of constant vigilance against murderous revenge-seekers for the years of evil deeds he’s carried out with his compatriot, Little John (Bill Skarsgård).
Now called Edward, Little John has achieved some measure of domesticity, but still, he and Robin go a-murdering once again, resulting in a yet another vengeful attack from a relative of their victims. A wounded Robin ends up in an idyllic priory on a coastal island, tended to by a healer, Brigid (Jodie Comer), learning the ropes from the local leper (Murray Bartlett). In this oasis, Robin’s identity is unknown, and he finds the space to embrace a gentler side of himself, particularly with Little John/Edward’s daughter, Little Margaret (Faith Delaney).
Set on the misty outlying islands of the North Atlantic, with its blend of bloody, brutal violence, primitive spirituality and meditative tone, “The Death of Robin Hood” is situated in the realm of films like David Lowery’s “The Green Knight” and Robert Eggers’ “The Northman.” Cinematographer Pat Scola pulls some arresting images out of the fire and fog, and the score of largely traditional Celtic music by Jim Ghedi is easily one of the best of the year. The film is a fine showcase for a different kind of performance from Jackman, and Comer is always a compelling screen presence.
But “The Death of Robin Hood” isn’t as hallucinatory or weird as it could — or should — be. Sarnoski gestures at bleakness but feints from full existential crisis; he tries and fails to be witchy. Despite all the mud and blood, nothing about this film is particularly earthy or embodied. It ends up as this profoundly dull and utterly pointless commentary on the concept of narrative and mythology. “What if Robin Hood was a bad guy?” OK, what of it? The best concept that Sarnoski presents here is the hell of living in an endless cycle of vengeance, but he allows his anti-hero to escape that all too cleanly and conveniently. This Robin Hood is just an old, tired man who ultimately finds some peace at the end of his life, even if it’s unearned.
As an audience, we’re left wondering what all of this is for, and who it’s for. Why trouble the Robin Hood myth at all, and why now? One can’t help but cynically wonder if the inspiration for this project was merely the convenience of recognizable intellectual property and available financing from Screen Ireland. This theory might be creatively pessimistic, but it is a nagging question, especially when the ones posed by the film are already so stale and tired. Expect no revelations from “The Death of Robin Hood” except the one that’s announced in the title.
‘The Death of Robin Hood’
2 stars (out of 4)
MPA rating: R (for strong bloody violence)
Running time: 2:03
How to watch: In theaters June 19
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