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Classified (2024)
bang, boom, dud
Greetings again from the darkness. Spy-thrillers typically fall into one of two categories: complex and smart (TINKER TAILOR SPY, 2011) or action-packed (KANDAHAR, 2023), although many combine the two elements quite successfully (MISSION: IMPOSSIBLE, 1996). This film from director Roel Reine and screenwriter Bob Derosa slams us with action sequences while only teasing us with bits of what could have been a clever story.
Aaron Eckhart stars as ultra-talented (dangerous) operative Evan Shaw. Yet despite his particular set of skills, it turns out Evan doesn't even know who he works for ... or at least who the guy he works for (limited screen time Tim Roth) works for. And he is somehow blissfully unaware that a young lady, Kacey Walker (Abigail Breslin) is following him. Evan always carries a sketchbook. He uses it to decode the messages he receives in the classified section of old school newspapers (the ones printed on paper), and to draw the areas and people he crosses paths with - think of it as pretty incriminating evidence of his past deeds.
At first neither Evan nor us viewers know the point Kacey is trying to make, but she certainly exposes the sham structure he's been working under and puts them both in mortal danger. The team sent to end Evan is led by a guy carrying a GPS device and barking orders while sporting a horrible haircut. This leads to too many shootouts to count, each with some of the worst aim that we've ever witnessed - either that or Evan is a superhero. His flesh and blood are revealed at one point disproving the superhero theory, but it should be noted that some of the worst electronic music you've ever hear plays over action sequences.
On the bright side, some of the cinematography belongs in a better movie, as does Mr. Eckhart. The final shootout goes so overboard, I actually felt a bit sorry for Aaron Eckhart, the professional actor. It's a high-octane spy thriller with lots of gunplay for those seeking more booms and bangs. For those looking for the cleverly woven multi-faceted spy plot, it's probably best to keep looking.
Releases on VOD and digital on October 22, 2024.
Woman of the Hour (2023)
evil dude with a camera
Greetings again from the darkness. As a lonely woman, being told you have the look of a model is a welcome compliment. As a runaway living on the streets, having a young man show an interest in you is a welcome development. As a single woman moving into an apartment and having a charming young man help move your furniture is a welcome occurrence. As a struggling actress, getting cast on a hit show is a welcome gig. What do all of these situations have in common? They feature vulnerable women who crossed paths with Rodney Alcala, an infamous serial rapist and murderer. This is the first feature film directed by uber-talented Anna Kendrick and it's a doozy.
Director Kendrick also stars as Cheryl Bradshaw, the struggling actress whom we first meet in one of her endless rounds of auditions where she doesn't get cast due to her physical appearance. It's one of a series of misogynistic scenarios that play out in this film written by Ian MacDonald and based on the true story of evil Rodney Alcala (played here by Daniel Zovatto). The film is set mostly in the late 1970's, although it bounces around a bit. We first see Alcala charming a woman in 1977 Wyoming by using his camera and photographic skills to instill a level of comfort and entice her into his car. Very little violence is shown on screen, but the aftermath is - leaving no doubt that Alcala is a monster.
Beyond the murders, what made Rodney Alcala headline-famous, was his 1978 appearance on "The Dating Game", a very popular TV show at the time (only we don't get to hear the iconic theme song, and there's no kiss thrown at the end). By pure coincidence, the bachelorette questioning the three bachelors that day was Cheryl Bradshaw. As the host of the show, Ed Burke (not Jim Lange, played by Tony Hale) adds to the misogyny of the times, while the hair and make-up ladies quietly cheer on Cheryl as she re-writes the second half questions exposing her level of frustration at playing an item of desire for three men. With no shortage of creepy or horrific moments, the film's best sequence involves Cheryl and Alcala walking through a poorly lit parking lot after an excessively awkward post-show drink. This sequence alone proves Ms. Kendrick's mettle as a filmmaker - the tension is nearly unbearable.
Rather than a straightforward re-telling of a psychopath's tales from the 1970's, the film adds layers by reminding us of what women faced in that era - from subtle lack of value to outright abuse and constant concern for their safety. Even Cheryl's interactions with her neighbor (Pete Holmes) displays challenges faced in ordinary settings. The 1979 San Gabriel segment with the runaway (Autumn Best) is both true and chilling, and yet further proof of how much leeway an educated white guy like Alcala could get away with (he had been previously questioned by police in 1977). If somehow you reach the end of the film and aren't totally sickened by Rodney Alcala, just try and keep it together while reading the last few slides regarding his trail of destruction - and just how courageous that final runaway proved to be.
Premieres on Netflix on October 18, 2024.
Goodrich (2024)
Keaton juggles
Greetings again from the darkness. The heart definitely skips a beat when the phone rings late in the night, awakening us from a deep slumber. Andy Goodrich groggily answers the call to hear his wife inform him that she's checked herself into rehab and then ending the call with, "I'm leaving you". It doesn't take long for us to realize the real problem. Andy seems to be the only one unaware that his wife too frequently swallowed prescription drugs and chased them down with a bit of booze. Over the next few days, Andy is almost too late in recalling that his 9-year-old son has a peanut allergy, and discovers that his 9-year-old daughter (yep, twins) hates to be late for school and likes a glass of water on her bedstand at night.
Writer-director Hallie Meyers-Shyer (HOME AGAIN, 2017, daughter of filmmakers Nancy Meyers and Charles Shyer of PRIVATE BENJAMIN and FATHER OF THE BRIDE fame) shows us that Andy (Oscar winner Michael Keaton) has always been somewhat absent from his family, choosing instead to pour his heart and soul into the art gallery he owns. It's a business that once flourished, but now struggles month to month. The old saying goes, 'when it rains, it pours', and Andy is experiencing an emotional and emergency flash flood. The twins, precocious Billie (Vivian Lyra Blair) and quiet Mose (Jacob Kopera), need their dad to crash-course the whole parenting thing, while he also tries to salvage his business. Andy decides to lean on his adult daughter Grace (Mila Kunis, BLACK SWAN, 2010), who also has always felt distant from and let down by her father.
Now, you might be questioning 73-year-old Michael Keaton as the dad of fourth grade twins, but he easily passes for sixty-something here, and his unique blend of dramatic and comedy talent makes him one of the few who could pull this off. His frenetic energy plays right into the role and we accept him as a guy who hasn't been good at 'family' but has the heart to make the effort when he must. The scenes between Andy and Grace are the best, as both Keaton and Kunis work to elevate the material. Supporting work comes from Michael Urie ("Shrinking") as a gay single parent who is a bit over-emotional, Danny Deferrari (SHIVA BABY, 2020) as Grace's opposite-from-Andy husband, Kevin Pollak as Andy's business manager, Carmen Ejogo ("Your Honor") as a feminist singer and a last gasp hope for the gallery, Laura Benanti as Andy's rehabbing wife, Poorna Jagannathan as Grace's doctor, and Andie MacDowell as Andy's ex-wife.
The lesson here is keeping the important things in life as a priority, which is a relatively simple and heavy message, and fortunately the cast (especially Keaton) can handle it. There are enough laughs included - the best involves Halloween costumes of Warhol, Frida, and Dali - to balance the bleak elements and the cliches; however, personally I could have used a bit more of absent dad reconnecting with pregnant daughter. Still, watching Keaton's Andy come to grips with his lifelong self-centeredness makes this one worth watching.
In theaters beginning October 18, 2024.
Stolen Time (2023)
earn a lot, care a little
Greetings again from the darkness. There are very few topics more frustrating than when the drive for profits exceeds the importance of care and treatment. Documentarian Helene Kladawsky details how this has occurred in Canada by focusing on the efforts of dedicated attorney Melissa Miller. Of course, we all know this issue is not isolated to Canada, but in fact, is an ongoing problem in the United States, as well as other countries. However, the decision to narrow the coverage allows for a clearer understanding of the challenges.
The first thing to know is that director Kladawsky does not take cheap shots or turn this into a stream of anger-inducing hidden videos of disgusting behavior towards those in need of care. On the contrary, she includes the frontline caregivers among the victims of corporate greed and malfeasance. The star of the show is Melissa Miller. She's an attorney, activist, and crusader, and she's very impressive as she juggles mounds of individual cases, as well as mass tort (or what we would call class-action in the U. S.).
Ms. Miller has to maneuver the applicable laws, as well as the high-priced and powerful attorneys representing the corporate entities that utilize nursing homes and long-term care facilities to generate massive profits. She explains how the mistreatment of the sick and the elderly has never generated much in awarded damages as these folks were not deemed to have much worth (likely to die soon anyway). We learn how staffing levels can be misleading. The facilities staff according to requirements, yet the daily 'no-shows' are so rampant that those on duty carry an impossible patient load, thereby making proper care impossible.
Consistent complaints received on these homes pushed Ms. Miller to focus on this area of the law beginning in 2018. Her personal experience with senior citizens motivated her to stay committed. We also learn about "chemical straitjackets", a form of drug abuse used on patients to minimize the attention required ... while also reducing any reasonable form of energy or enjoyment of life. Ms. Miller meets with Pat Armstrong, a writer-researcher on the global industry, as well as Katha Fortier, who is focused on the rights of health care workers - those easiest to blame, despite being underpaid and overworked. Ms. Miller also works with a Private Investigator who provides details needed for the lawsuits, as most family members are too emotional to comprehend the legal aspects.
One of the more interesting points made is how these high-profit facilities are used to fund pension plans, thereby making the access of data even more challenging to come by for Ms. Miller and her clients. She does note how the COVID pandemic brought the number of deaths to the headlines, meaning settlements and damages went up. She focuses her attention on three main companies, increasing the odds that progressive changes may someday be more cost-effective than court cases for those so attuned to profits. Having to spend so much time in the corner of patients and families emphasizes the cruelty of a system that values profit over human physical and mental care.
Opening in theaters on October 18, 2024.
The Apprentice (2024)
3 rules
Greetings again from the darkness. Many questions remain unanswered, but one point is clear ... Donald Trump was not 'born' this way. Ali Abbasi directs a script from journalist Gabriel Sherman (Vanity Fair, New York Magazine) and it's meant to explain the foundation of the man who would become President. Two distinct parts of the film are divided into the 1970's and then the 1980's, and that first part is infinitely more interesting and better presented.
Sebastian Stan is best known as Bucky Barnes in the Marvel Universe, but here he captures the essence of a Donald Trump many won't recognize. In the 1970's, Donald was a VP of his dad's real estate development company, and his big dreams were constantly squashed by either a domineering dad or a system that made no room for vision. This was a young (late 20's) Trump who was told he resembled matinee idol Robert Redford, and that he was foolish for trying to rescue Manhattan from the cesspool of decay it had become. In fact, Trump deserves much credit for at least dreaming of a bounce back from a city on the verge of bankruptcy.
Donald's life (and the movie) shift into overdrive once powerhouse attorney Roy Cohn (a remarkable Jeremy Strong, "Succession") summons him to his dinner table. Cohn was previously an attorney for the infamous Senator Joseph McCarthy and was the chief prosecutor in the espionage trial of Julius and Ethel Rosenberg. By the 1970's Cohn was the ultimate fixer and one of the most powerful attorneys in the country. We watch as he mentors and trains and counsels the young buck Trump by instilling his three rules: 1. Attack. Attack. Attack. 2. Admit nothing. Deny everything. 3. Claim victory, never admit defeat. These are the foundations of "the art of the deal", and really beyond that ... how to be a ruthless businessman and person.
That first awkward meeting led to a mentorship that is truly fascinating to watch on screen. Cohn pushing the eager Trump to become the shark he needs to be, all while his dad, Fred Trump (Martin Donovan) fights him each step. Stan and Strong are mesmerizing in this first hour. Stan captures Trump's familiar body language (slumped shoulders and hair fixation), while Strong hypnotizes with his steely-eyed stare. Trump mixes with powerful men like Rupert Murdoch, George Steinbrenner, and even Andy Warhol (whom he cluelessly asks if he's "successful"), and then fixates on Ivana (a terrific Maria Bakalova), ultimately marrying her ... it's the prenup agreement scene where the film shifts.
Jumping ahead to the 1980's, we find an arrogant Donald Trump ignoring Cohn's advice to slow down and reconsider the Atlantic City casino and hotel. Of course, time proves Cohn right, but by now, Trump listens to no one. An unethical approach to business dealings and his gaudy taste in everything becomes obvious at this point - from furnishings to cufflinks. Also, his treatment of family becomes apparent - not just with Ivana, but also with his brother Freddy (Charlie Carrick), who dad refers to as an "embarrassment" to the family since he's a commercial airline pilot and not a greedy capitalist in the family business. This humiliation leads Freddy to tragic alcoholism, and a brief sign of Donald's emotions.
The film's second half weakness stems from a Trump personality that is too similar to what we've been witnessing on the national level for the past decade. It's truly painful and disgusting to watch a man who cares so little for others or for what's right, and seizes on Cohn's tactic of cloaking himself in love of country to appear heroic. By this time, Trump distances himself from Cohn for a reason that highlights his lack of humanity. We also see Trump claim Cohn's three rules as his own while meeting with his biographer, and we note the roots of MAGA.
It must be noted that after the film was warmly received at Cannes, no distributors bid on it. Donald Trump had threatened a lawsuit. It took Briarcliff Entertainment to bravely step forward for the film to gain a theatrical release. Director Abbasi not so slyly opens the film with a fitting stage-setter: a clip of Watergate-era Richard Nixon proclaiming, "I'm not a crook." It's a legitimate question as to whether a movie about Donal Trump can avoid feeling a bit like a parody, even when it's not. My initial interest in the film was in comparing this early Donald Trump to my memories of him during that era - how he was presented in the media. It comes across as spot on, but of course, we would have had no concept of how Cohn was molding him. That's what this film accomplishes.
Opens in theaters on October 11, 2024.
Lonely Planet (2024)
no one to like
Greetings again from the darkness. There is no reason for me to write much about this one. I'm clearly not part of the target audience, and if I had realized ahead of time that writer-director Susannah Grant was also responsible for CATCH AND RELEASE (2006), I likely would have passed on the opportunity to review. There is a market for romantic fantasy movies, however, typically at least some of the characters are likable. Regardless, my job is not to become angry at a film (even if it happens sometimes).
Laura Dern won her Oscar for MARRIAGE STORY (2019) and here she plays respected novelist Katherine Lowe. Although she may be respected and successful, Katherine is also dealing with a messy personal life and a fast-approaching deadline for her next book. Oh, she's stressed alright. So how does a novelist who thrives in a quiet environment find the solitude she needs to write? Well, she heads to a resort in Morocco where her trip coincides with a writer's conference made up of attendees who all know her work.
One of the writers attending the conference is Lily (Diana Silvers, MA, 2019) who has dragged along her hunky boyfriend Owen (Liam Hemsworth, "The Hunger Games" franchise) who is diligently working on his first big financing deal ... all via cell phone from an area with spotty reception. He really doesn't much care for her circle of writers, and she is constantly annoyed with his frequent business calls. Have you figured out where this is headed? Lily is ambitious about establishing herself after her first novel, and Owen expends little energy in supporting her in a world he doesn't understand and has little interest in.
Lily and Owen argue, while Owen and Katherine get to know each other. Of course, you know what happens to these two relationships, and though Ms. Grant tosses in a bit of a twist in the final act, no one will be surprised at the finale. Perhaps the world needs a bit more mindless romantic fantasy these days, but we'd prefer one with characters we can root for. Is there really a big enough audience of viewers who wish to only invest surface level interest in what attracts two people to each other while ignoring their lack of character? On the bright side, Ms. Grant does follow the writing advice of one of her characters: when stuck or blocked, interject sex or death (although this is relayed much more descriptively in the movie).
Opens on Netflix on October 11, 2024.
The Last of the Sea Women (2024)
guardians of the sea
Greetings again from the darkness. They consider themselves "the guardians of the sea". My guess is that most of us have never heard of the haenyeos, the women divers on Jeju Island in South Korea. Director Sue Kim introduces us to these remarkable women who are carrying on a tradition that dates back to the 14th century.
We learn the haenyeo practice sustainable seafood harvesting. They dive "with their own air", which means no air tanks - just their lungs. Their equipment is limited to a wetsuit, a hook, and a net basket. The underwater photography is spectacular and has us diving alongside these women who admit to disliking sea urchins, which require intensive labor to get to the good part. Director Kim dedicates separate segments to a few of the women, and what we immediately realize is that every haenyeo is a tough woman living a tough life.
What we also recognize is the passion, commitment, and camaraderie. Not only are they talented divers and fisherwomen, they have a community of respect and friendship. However, the picture is not all rosy. Their tradition is being threatened on many fronts. The divers have been pushed out to deeper water due to trash in the water. They have also noted a distinct shortage of sea life from their younger days, and attribute this to the warmer water from climate change. Beyond these threats, the women are facing generational differences. Most divers are in their 60's and 70's, and very few younger women care to carry on this tradition. The haenyeo numbers peaked in the 1960's with 30,000 divers, whereas now the count is fewer than 4000.
The most recent threat to the sea and the haenyeo comes from Japan and the proposal to dump nuclear wastewater from Fukushima into the sea to minimize radioactivity. The fear is the danger to all sea life for the foreseeable future. This threat inspired one of the elder divers, Soon Deok, to travel to Switzerland and deliver a personal statement to the Human Rights Council, followed by official protests.
In addition to the group of elderly divers, director Kim introduces a couple of thirty-somethings who have joined the haenyeos, and have utilized YouTube and TikTok to document the sea changes and generate some attention for the profession. Haenyeos have been recognized by UNESCO, and their work is as fascinating as the personalities of the women. However, the long list of threats cannot be overlooked, and perhaps the notoriety this film will bring can make a difference. One of the producers is renowned activist Malala Yousafzai and it's distributed by A24.
Releasing on Apple TV+ on October 11, 2024.
Monster Summer (2024)
witchy brew for Halloween
Greetings again from the darkness. A fun-filled film meant only to entertain is always welcome. Traditionally these show up during the summer months, but timing this one closer to Halloween makes complete sense. Written by Bryan Schulz (the grandson of the late Peanuts creator Charles Schulz) and Cornelius Uliano (his collaborator on THE PEANUTS MOVIE, 2015), the film is directed by David Henrie, best known for his role in "How I Met Your Mother". It's his first feature film gaining distribution, and it doesn't disappoint.
It's 1997 on Martha's Vineyard (although it's filmed in Southport, North Carolina) and budding journalist Noah (Mason Thames, THE BLACK PHONE, 2021) is desperately trying to follow in his recently deceased father's footsteps. However, the local newspaper editor (Kevin James) wants nothing to do with the kid's ideas. Noah suspects an evil presence in town at just about the same time Miss Halverson (Lorraine Bracco, "The Sopranos") arrives for an extended stay at the B&B run by Noah's mother (Nora Zehetner, BRICK, 2005).
Not to give anything away, but witchy things start happening. Noah's baseball teammate Ben (Noah Cottrell) is night-swimming with a lady friend (Lilah Pate), and a fright leaves him "with the lights on and no one home" (as it's described). It's summertime, so baseball is a recurring theme for Noah and his friends Eugene (Julian Lerner, the new "The Wonder Years") and Sammy (Abby James Witherspoon), with familiar face Patrick Renna (THE SANDLOT) as the league umpire. The three friends begin their own investigation, but soon enough, Noah is on his own ... at least until he joins forces with retired detective Gene (2-time Oscar winner Mel Gibson). Gene has long been the subject of local rumors and mostly keeps to himself; but Noah's work piques his interest, and the two share a form of grief.
Bits and pieces of IT (2017), THE GOONIES (1995), and more recently, "Stranger Things" all play a role, and we have references to Mulder and Scully from "The X-Files", as well as a nostalgic feel that gives this more the feel of a childhood adventure than a true horror story. However, the creep factor is strong enough to earn the PG-13 rating. It should also be noted that Mel Gibson has been 'canceled' in some circles, yet he brings the necessary gravitas to elevate the film. It also seems safe to predict that young Mason Thames has a nice acting career ahead of him. Stories revolving around neighborhood legends and myths are quite common, and this one chooses to blend the supernatural with local police cases. So, if you are up for some cinematic fun times around Halloween, director David Henrie is all about treats, not tricks.
Opening in theaters on October 4, 2024.
The Outrun (2024)
conducting the sea
Greetings again from the darkness. The best movies revolving around alcoholism usually make us feel like we are intruding on someone's personal train wreck. Three that come to mind, each resulting in at least one Oscar, are LEAVING LAS VEGAS (1995), DAYS OF WINE AND ROSES (1962), and THE LOST WEEKEND (1945). This one is based on the 2016 memoir by Amy Liptrot, who also adapted the book for the screen with director Nora Fingscheidt (known for her festival favorite SYSTEM CRASHER, 2019).
Having already been nominated for four Oscars, there is little debate that Saoirse Ronan is one of the top actors of her generation. And this may be her best performance yet. As Rona, she captures the quiet desperation and loneliness that isn't always so quiet. We see Rona as the unemployed, Masters-degreed, sloppy drunk party girl. We see her as the drunken victim of sexual violence. We see her as the next-day apologetic drunk who destroys a relationship. We see her in rehab and attending AA meetings. We see her relapse. We see her strained parental relations, and we see her in near isolation in hopes of kicking an addiction that she's not even sure she wants to kick. It's heartbreaking when she admits, "I can't be happy sober." We feel for those who have experienced this with loved ones.
Living in London, Rona is all about the excitement and energy of dancing and partying and socializing ... and drinking. She says she likes how it makes her feel, ignoring the next day misery and regret. Her boyfriend, Daynin (Paapa Esiedu) is supportive and understanding, right up until the point where he's had too much of her self-destructive ways. Rona finally accepts rehab and after 90 days, she heads home to Orkney - a sparsely populated archipelago off the north coast of Scotland. Rona's parents are divorced. Her mom (Saskia Reeves) has turned to religion, while her bipolar dad (Stephen Dilane) lives in a caravan and works his sheep farm on his good days. The desolate environment lacks the constant temptations of London (though she still finds a few), and Rona hopes time in Orkney will be restorative to her health and spirit.
Filmmaker Fingscheidt makes some interesting choices. The film jumps around in time with Rona's flashbacks to moments in her past - some going back to childhood. This jumping around reflects the mental struggles she goes through in her quest for sobriety. There is also a substantial amount of science and nature included. In voiceover, Rona details the specifics of addictive drinking, as well as the mythology of seals and selkies. Saoirse Ronan is superb throughout, yet two scenes stood out for me. The first is when she meets a stranger on the street, displaying her desperation for companionship and socialization. The second comes when she explains to her mother how seaweed is her new passion (her new addiction?) and is her focus for the future.
The only thing close to being as photogenic as Saoirse Ronan is the coastal Scottish landscape. It's both breathtaking for us and claustrophobic at times for Rona as she fights the urges. Rona's job with RSPB had me doing a quick Google search for endangered Corncrakes, and though most of the film left me emotionally drained, watching Rona 'conduct the ocean' provided a welcome jolt of joy.
Opens in theaters on October 4, 2024.
Notice to Quit (2024)
sweating the details
Greetings again from the darkness. The distance between desperation and hopelessness can sometimes be very narrow, although desperate folks can make for interesting story characters thanks in part to the unexpected actions one can take when not thinking clearly. In his first feature film, writer-director Simon Hacker tackles a desperate man, only he kicks things up a notch by including a surprise visitor.
Andy Singer (Michael Zegen, "The Marvelous Mrs. Maisel) is our desperate man. His landlord is promising to evict him if he doesn't pay four months of back rent by the end of the day. Andy is sweating from both the sweltering city heat as well as the pressure to close a deal and pay his rent. Just when he is frazzled to the hilt, his ten-year-old daughter Anna (Kasey Bella Suarez) pops in unexpectedly. Living full time with her mother (Andy's ex-wife), Anna craves time with her dad before she relocates from NYC to Florida with her mom ... not recognizing her bad timing.
Andy loves his daughter, yet has no clue on how to be a father to the exceptionally bright youngster. On top of that, he has no time to devote to her today as his life is falling apart. Andy was once an actor, and gets recognized periodically for a toothpaste advertisement he did. However, these days he's scrambling as a leasing agent in the city, while also scamming a few bucks on the side with a shady appliance reseller. In other words, Andy is a hustler with no game.
Anna tags along all day, and Andy even tries to use her to his advantage a couple of times. She so wants a normal family that she'll do anything to help dad. The two of them work in a stop to see Andy's dad (Robert Klein), and it's a reminder that things are tough (and hot) all over. The day works out about how you'd expect for a guy like Andy (it's not a Lifetime Channel movie), and by day's end, he wonders if he deserves the love Anna shows him ... or is he simply the sweaty guy in a coffee-stained dress shirt trying to make ends meet.
On a side note, for any sports fans out there, retired NBA player Gordon Hayward is a Producer on the film (it's his first film credit)
In theaters on September 27, 2024.
Lee (2023)
courage
Greetings again from the darkness. Being courageous and heroic doesn't mean one must wear a cape and possess super powers. In fact, some of the most courageous folks use their words (spoken and written), their feet (for marching into battle), and as we learn here, even their eyes. Lee Miller is a famous photojournalist who used her words to get to the front lines of WWII, her feet to march with soldiers, and her eyes to decide where to focus her camera. The film is based on the biography, "The Lives of Lee Miller", by her son Antony Penrose. It's directed by renowned choreographer Ellen Kuras (her feature film directorial debut) and co-written by Liz Hannah, Marion Hume, John Collee, and Lem Dobbs.
Oscar winner Kate Winslet stars as Lee Miller, and her fierce and committed performance validates what a passion project this was for her, and just how hard she worked to bring the project to fruition. Lee Miller was a well-known fashion model, and we see her hanging out with her band of artistic friends in pre-war France. It's here where she first meets Roland Penrose (Alexander Skarsgard), and their initial intellectual bantering leads right to the bedroom. This after we hear Ms. Miller proclaim that she had ever only been good at drinking, having sex, and taking pictures. She speaks this line in 1977 while being interviewed (by Josh O'Connor, CHALLENGERS, 2024) about her life. It's this interview that provides some structure to the film, while confirming that drinking and smoking were hobbies until the end.
It's really Lee's photographs that guide us through each phase. She and Roland relocate to London during the war, and soon enough she's taking pictures under the guidance of British Vogue editor Audrey Withers (Andrea Riseborough). Continually having to stand up for herself after being rebuked for being a woman doing a man's job, Lee partners with (and ultimately befriends) Life magazine photographer David E Scherman (a surprisingly effective Andy Samberg). Their work documenting history becomes historic in itself. After hearing about the "missing", they were the first journalists to document Dachau concentration camp and the tragic prisoner trains.
Although British Vogue refused to publish the photographs as being too "disturbing", the U. S. magazine did publish, creating awareness of the atrocities. The segment that leads to the infamous photo of Lee bathing in Hitler's tubs is handled expertly. If there is a flaw in the film, it's that we never really get to know Lee's friends, so as she re-connects with Solange (Oscar winner Marion Cotillard), their meeting doesn't hit as hard as it should. Still, the cinematography from Pawel Edelman and the accomplished performance by Kate Winslet, do justice to the stunning (actual) photographs shown. There is a dramatized twist near the film's end that pays homage to Lee and her story. An early comment about Hitler is all too relevant today, and the battle scenes and photographs reinforce what courage Lee Miller exhibited.
Opens in theaters on September 27, 2024.
Wolfs (2024)
to be cool or not to be cool
Greetings again from the darkness. George Clooney and Brad Pitt are both two-time Oscar winners and are both north of 60 years old now. This latest film from writer-director Jon Watts (three Spider-Man movies) seems to ask the question: Are they still cool in a wise-cracking action movie star way? It's been twenty-three years since the two long-time friends co-starred in the first (of 3) "Ocean's" movies, and there is no doubt they were the epitome of cool then. But what about now? And does it matter? The argument can be made that it does matter since so few non-superhero and non-comic book movies are capable of drawing big crowds to the theater these days. Unfortunately, this film won't answer the question about drawing power, as a very limited one-week theatrical release will be followed by a run on Apple TV+.
The sound of shattering glass is followed by three F-words, the first dialogue we hear (and also the last). It turns out, the local District Attorney (Amy Ryan, "The Office") is justified in using the language as she finds herself in a luxury hotel room with an apparently dead, underwear-clad young man on the floor, and blood all over her clothes. Now, if you or I were in this situation, we would quickly surmise there is no way out. In contrast, a powerful politician has a phone number to call. Soon, George Clooney is at her door. He's a "fixer" or "cleaner", depending on your preferred nomenclature. He's calm and cool (there's that word again) under pressure, and claims to be the only one who can do what he does. This claim is soon shattered as Brad Pitt shows up - equally calm and cool (!) - disavowing Clooney's 'only' claim. If not for the blood and the body, Amy Ryan might be just fine with Clooney and Pitt popping into her hotel room. But that "if" looms large.
Circumstances being what they are, the two lone 'wolfs' are forced to work together. Their rivalry is enhanced by the one-liners, facial gestures, and body language that stems from Clooney and Pitt knowing each other so well. Their mission is made abundantly clear once a bag with four bricks of heroin is found ... just prior to the body on the floor springing back to life. What follows is a unique and extended (too long) chase scene through the city at night. It turns out the body/young man/kid (played well by Austin Abrams, PAPER TOWNS, "Euphoria") adds to the complication for our two fixers ... despite finding them quite cool (!).
This trio crosses paths with Poorna Jagannathan ("The Night Of") playing a Chinatown doctor they can trust, Zlatko Buric playing a nasty Albanian mob boss, and Richard Kind as the Kid's dad with a Sinatra fixation (in a clever scene). It's entertaining to see the long-time friends playing on screen rivals - both with bad backs, reading glasses, and a shared bottle of Advil. They probably aren't as witty (or cool) as they imagine, but filmmaker Watts uses their camaraderie as an asset (and also Sade's "Smooth Operator"). You'll notice a few tips of the cap to previous characters and films, including Butch and Sundance near the end. Although she's uncredited, you'll appreciate knowing that is Oscar winner Frances McDormand's voice on the phone in an early scene. Overall, it's decent entertainment while reminding us to "check the pulse."
Premieres on Apple TV+ beginning September 27, 2024.
Haunted Heart (2024)
should be called the Red Flag Cafe
Greetings again from the darkness. With any discussion or article about relationships these days, there is inevitably a mention of 'red flags' ... warning signs in a potential partner that shouldn't be ignored. Thanks to writer-director Fernando Trueba (BELLE EPOQUE 1992, CHICO & RITA 2009) and co-writer Rylend Grant, there is now a movie that offers clear examples of red flags for those who can't manage to spot them without assistance.
Alex (Aida Folch) is a lovely young woman who can't swim or speak Greek. So of course, she applies for a job at a restaurant on a Greek island. It's a boutique joint, just opening, owned by Max (Matt Dillon). Alex is drawn to the mysterious Max. While she's a carefree open book, he's a tight-lipped private person. A local charmer and part of the staff, Chico (Juan Pablo Urrego) tells Alex, "Nobody knows Max." Unfortunately, this doesn't deter Alex and she continues to pursue her man.
One thing respected filmmaker Trueba gets right is the look of the film. Set in 2001, the Greek isle locale is breathtaking and the cinematography by Sergio Ivan Castano takes full advantage of the seaside setting, as well as the cute café and the cast of faces the cameras adore. Aida Folch has an initial likability that reminds me a bit of Valerie Kaprisky from BREATHLESS (1983), and Matt Dillon has been a big screen fixture for more than forty years. It's really the material that lets us down here. The romance is never quite as romantic as we'd hope, and the suspenseful aspects never generate the tension that we'd prefer. Mostly we just keep asking, "What is Alex doing? Why doesn't she bolt?" The aforementioned red flags are so obvious that the big reveal barely warrants a nod, and the finale is forced to go a bit over-the-top due to the unlikely actions of Alex. In spite of all that, the Greek isles are enticing.
In theaters and On Demand beginning September 27, 2024.
Plan B (2024)
using comedy to cover up disgust
Greetings again from the darkness. The seeds of some of the best comedies are sown in real life scenarios and take advantage of the awkward reactions of everyday folks. The first feature film from writer-director Brandon Tamburri and co-writer Jean S Monpere takes on a cringeworthy situation that likely happens more frequently than we'd expect: a drunken woman sleeps with a guy and ends up pregnant from the encounter. Her decision tree is questionable leading to drama with real world ramifications. To make this palatable, the filmmakers take a comedic approach.
Jamie Lee ("Crashing") stars as Piper, the above-referenced drunken woman who bumps into her neighbor, Evan Ebert, as she stumbles back home from a night of partying. Most movie goers probably haven't seen Jon Heder on screen since NAPOLEON DYNAMITE (2004), although he has worked regularly and often since. Many will be surprised when he pops up as nice guy (and yes, quite quirky) Evan, the initially lucky neighbor in this scenario. Evan is the kind of guy who introduces himself as "a certified Uber driver", has a pet named Cat Sajak, and has had a quiet crush on Piper for quite some time. In contrast, Piper is the kind who, when she finds out she's pregnant, decides not to tell Evan he's going to be a father, and instead begins scouting for a more acceptable 'Baby Daddy'.
In order to reduce the disgusting nature of Piper's plan, comedy is infused into most every scene. Piper's roommate Maya (Subhah Agarwal, writer on "The Jim Jeffries Show") acts as a bit of conscience for her friend, yet is unsuccessful in talking her out of it. Cameron (Michael Lombardi), a regular customer at the coffee shop where Piper works, is handsome and successful, and due to the necessarily tight timeline, becomes the target of Piper's plan. Again, know that this is mostly played for laughs, including Shannon Elizabeth (AMERICAN PIE, 1999) as Cameron's 'cheesecake' loving inappropriate boss; Kate Flannery ("The Office") as the publisher who is interested in Piper's Instagram "I Spy Love"; and Tom Berenger (with blindingly white teeth) and Suzanne Savoy as Cameron's parents.
If the above description wasn't enough, nice guy Evan also volunteers to accompany Piper to her Lamaze class ... administered by a tough guy played by former NFL player Vernon Davis. Again, all of the inappropriate and insincere aspects of the story (and Piper's actions) are delivered with comedic intentions - most in an exaggerated manner. Of course, we all know how this is going to end, so it really comes down to whether you can accept the humor and the personal growth shown by Piper.
Available on VOD and Digital on September 27, 2024.
When Houston Had the Blues (2023)
a musical history lesson
Greetings again from the darkness. When the history of music in the United States is discussed, it seems most of the gushing is reserved for Memphis, Chicago, and New Orleans. Documentarian Alan Swyer puts forth a legitimate case for Houston (and its corresponding night clubs) to at least be a part of the conversation. For those who shy away from documentaries due to the stream of talking heads, you'll likely cringe at the lineup here; however, the difference is that some of the interviews go back a few years and are those who were there ... the musicians who drove the Houston influence.
Swyer breaks the film into segments so that he can organize the interviews and help us understand how the early Houston music scene was a unique blend of Blues, R&B, Country, and Zydeco. He includes an early 'roll call' of those we are going to learn about through photos and live performance clips. In fact, this leaves us eager for more of these rare visuals. Where else can you hear Billy Gibbons (ZZ Topp) discuss the influence of Lightnin' Hopkins? Or historian Billy Vera offering his insight?
It's interesting to learn about the "Texas Tenors" - the saxophone players like Arnett Cobb and Grady Gaines who had an impact. Texas music legends Augie Meyers and Marcia Ball offer commentary on some of these folks, as well as the Duke - Peacock record label. Bobby Blue Bland gets his kudos as a favorite singer, especially on his classic album, "Two Steps from the Blues". Perhaps the most entertaining segment is "The Ladies of Houston Blues" featuring Big Mama Thornton, Jewel Brown, Trudy Lynn, and Katie Webster. Thornton is especially noted for her impact as it pertains to her recording of "Hound Dog" in comparison to Elvis' version. Of course, this wouldn't be complete without a segment for "Texas Guitar Kings". Freddie King, Albert King, Albert Collins, and Guitar Shorty are all noted, as is their influence on Stevie Ray Vaughan.
Swyer wraps things up by discussing a cultural change in "When Houston Lost the Blues". Integration led musicians to leave town for national tours, private gigs, and shows at 'white clubs' where they had previously been unwelcomed. For those who enjoy a journey through musical history or for Texans hoping for a bit more respect, the film does a nice job of acknowledging those who had an impact - including those who haven't received due credit.
Available on major streaming VOD platforms - including iTunes, Apple TV, and Tubi beginning September 24, 2024.
Summerlight... and Then Comes the Night (2022)
just under the surface
Greetings again from the darkness. I've always been enamored with movies which are paced so deliberately that it can easily seem like not much is happening, when actually we drift from dark comedy to tenderness to tragedy. It's likely why I've been drawn to films from Iceland, including this one from writer-director Elfar Adalsteins (END OF SENTENCE, 2019) who has adapted the 2005 novel from renowned Icelandic author Jon Kalman Stefansson. The culture in this small village is such that folks mostly keep to themselves, and nature is a constant companion.
A three-minute opening monologue from the narrator is part poetry and part informative. We learn the village has neither a church nor a graveyard. The surrounding water and mountains provide stunning beauty around these folks living mostly simple lives. We tour the knitting factory and learn that it's actually profitable. We get to know some of the folks in the village and see how they dutifully go about their daily lives.
Director Adalsteins structures this less as a cohesive story and more as individual vignettes that tie to a theme. Due to powerful dreams, the respected CEO of the factory studies Latin and dives headlong into Astronomy and a pursuit of metaphysical knowledge. A laborer falls victim to intense lust, and his wife holds him accountable. A career law enforcement officer (and widower) doesn't understand his sensitive and artistic son, and goes to an extreme to have this son follow in his footsteps. A lovelorn clinical physician encourages a shy, quiet man to act. A local woman enthusiastically pursues her culinary dream. These are all pieces of a community populated by folks who don't wear their emotions on their sleeves - in fact, stoicism is the norm.
What we find is that obsession exists even within stoicism. And so does tragedy. And so does happiness. A lecture on things that matter has much less impact than local friends forming a band for a community dance. The town's first restaurant not only serves delicious meals, but also inspires friends to gather and support each other. Even the simplest of lives are not that simple. Emotions are brewing under the surface. And though this village seems inextricably tied to the effects of nature, what these folks share with every other corner of the universe is that happiness is fleeting, and tomorrow is not guaranteed. For those that share my appreciation for less conventional storytelling at a meticulous pace, filmmaker Elfar Adalsteins delivers.
Opens in NYC on September 20 and in Los Angeles on September 27. Nationwide release to follow.
Omni Loop (2024)
try try again
Greetings again from the darkness. Writer-director Bernardo Britto has delivered a modern-day cinematic rarity: a Science Fiction film without overblown special effects. Time travel is a vital part of the story, but at its core, this is a film about human emotions, and it has quite a message for viewers.
Mary-Louise Parker ("Weeds") stars as Zoya Lowe, a quantum physicist and our story's time traveler. Only this isn't the kind of time traveler you are thinking of. Zoya neither travels back to medieval times nor forward to some future high-tech civilization. See, the magic pills she found as a kid only take her back 5 days. This is less THE TIME MACHINE (1969) and more GROUNDHOG DAY (1993) ... without the laughs or Ned Ryerson.
Zoya has been diagnosed with 'a black hole growing in her chest.' Now, I'm not sure if that diagnosis is an actual medical affliction or rather a metaphor, but it doesn't really matter. What matters is that Zoya has been given a week to live, which means with those pills, she's forced to re-do every day since her diagnosis in hopes of discovering what the pills are and how they work. To do this, she collaborates with Paula (Ayo Edebiri, "The Bear"), a community college science student with access to the campus lab. For some reason, this particular lab hosts an extreme sci-fi secret that Zoya and Paula believe can help solve the mystery.
Part of the gag here is that Zoya must re-live the terminal diagnosis, blow out the candles on her early birthday cake, and then convince Paula to assist over and over again. As Zoya goes through her daily re-dos, the supporting cast around her consists of Carlos Jacott as her husband, Hannah Pearl Utt as her daughter, Eddie Cahill as a brilliant scientist, Fern Katz as her assisted-living mom, and Harris Yulin as her old college professor. We may overdose on the electronic music that plays through most of the movie, but there is a terrific message here - being there for others is so important, and we should focus on what really matters in this all-too-short life.
In theaters and on Digital beginning September 20, 2024.
Eureka (2023)
a tryptich for your mind
Greetings again from the darkness. Part of my attraction to arthouse films is the often-unconventional path to storytelling that the filmmakers take - sometimes expending more effort on the look and style than on the characters and plot. These films once only had life in film festivals, and today many also carry on in the streaming revolution. I'll go ahead and admit upfront that this latest from Argentinian filmmaker Lisandro Alonso (JUAJA, 2014) and co-writers Martin Caamano and Fabian Casas is a bit esoteric for my tastes ... although it looks beautiful.
There are three pieces to Alonso's film (a triptych) and they are not connected by character or location or time, but rather by spirit and the journey of indigenous people. The opening segment plays like a traditional western (filmed in black and white) with Murphy (Viggo Mortensen) searching for his daughter who has been taken by an outlaw. After catching a wagon ride from a nun in tattered habit, Murphy deals with the town's lady boss (Chiani Mastroianni). The segment ends abruptly, and we find ourselves in modern day with Alaina (Alaina Clifford) and her niece Sadie (Sadie LaPointe). Alaina is a Sioux reservation policewoman in South Dakota and Sadie is an upbeat basketball coach at the local high school. We ride along with Alaina on her frustrating evening route, and Sadie visits her brother in jail, and makes a final call on her grandfather. A giant pelican-type bird then takes us back a few decades to a South American jungle for the final segment. A ragtag gold prospecting crew is made up of locals trying to get rich and those trying to take advantage.
No more should (or even can) be told about these three segments, and filmmaker Alonso purposefully leaves any message up to individual viewers' perspective and interpretation. Most will agree that each segment is beautifully filmed and acted, even if a traditional story is nowhere to be found.
In limited theaters on September 20, 2024.
My Old Ass (2024)
eat your salmon now
Greetings again from the darkness. Eighteen-year-old Elliott is counting down the twenty-two days remaining until she leaves home for her freshman year of college. For anyone who was once 18 or has raised an 18-year-old, you know that 22 days is the future. Writer-director Megan Park follows up her excellent feature film debut, THE FALLOUT (2021), with a different tone, albeit another one that focuses on the stress of being a teenager.
Maisy Stella landed the role of Daphne on the series "Nashville" at a very young age, and even got to sing on the show with her sister Lennon. Her role as Elliott is her feature film debut, and she proves to be quite charming in front of the camera, with a nice screen presence. A camping trip with her friends Ro (Kerrice Brooks) and Ruthie (Maddie Ziegler) leads to a trip on mushrooms that has the friends hallucinating, while something altogether more extreme happens with Elliott. Coming face-to-face with one's future self while sitting on a log in the woods can only be described as fantastical.
Aubrey Plaza plays from-the-future thirty-nine-year-old (not 40!) Elliott, and though she doesn't have much screen time, her trademark snark fits well, and the scenes with both Elliotts are quite fun. However, this isn't the typical Hollywood body swap/share. The cool twist is that the situation allows for the age-old unsolvable dilemma: what advice would your older self give your younger self if that were possible? While attempting to walk a fine line, the wisdom passed along includes be nice to your mom and your family, and understand that "time goes by so fast". One final bit of counseling involves 'avoiding Chad'. At this point, young Elliott had no idea who Chad is or why she should avoid, but of course, she finds out quickly.
Chad (Percy Hynes-White, "Wednesday") turns out to be a college student working on the family cranberry farm. He's also exceedingly nice and Elliott struggles mightily against falling hard for him. Yes, this is the same Elliott who we've seen in intimate situations with local barista Chelsea (Alexandria Rivera). At its core, this is a contemporary story where a teenager is searching for identity and meaning. Other supporting cast members include Maria Dizzia as mom, Al Goulem as dad, and Seth Isaac-Johnson and Carter Trozzolo as Elliott's brothers - one addicted to golf, the other obsessed with actress Saoirse Ronan (complete with a funny visual).
Some cliches are almost necessary in this type of story, but a mushroom trip featuring a Justin Bieber sequence to "One Less Lonely Girl" is both funny and creative. Offering advice to one's younger self in an attempt to save her from pain is understandable, but can we figure out life at age 18 even if we cheat and get input from our 'middle-aged' self? In fact, what filmmaker Park has done is create a dual coming of age story - one for teens and one for adults. And if you don't like the messages ... well ... at least eat your salmon while it's still around!
In select theaters on September 13, expanded release on September 20, and wide release on September 27, 2024.
Here After (2024)
you seem different
Greetings again from the darkness. Screenwriter Sarah Conradt must think mothers possess superhero emotional strength, if we are to judge by her two most recent films - this one and MOTHER'S INSTINCT (also 2024). In this feature film directorial debut from long-time producer Robert Salerno, the mom is really put through the ringer - and we are right there with her.
Claire (Connie Britton, "Nashville", FRIDAY NIGHT LIGHTS, 2004) beams proudly as her fifteen-year-old daughter, Robin (Freya Hannan-Mills), plays piano in church. Claire also rolls her eyes when her ex-husband/Robin's dad (Giovanni Cirfiera) walks in as the performance nears conclusion. We learn Robin has been non-verbal since age 5, yet she's a talented enough pianist to be invited to audition for conservatory.
Claire and Robin have a loving mother-daughter relationship, although Claire seems a bit overprotective at times. Things turn bonkers when Robin is involved in a horrible bicycle accident and is dead for 20 minutes before being miraculously resuscitated at the hospital. Claire is relieved her prayers were answered, however, as so often happens with 'miracles', there's a catch. See, Robin can now speak. Only that's not the catch. Claire begins to notice Robin's personality is nothing like it was before the accident. Is this due to the trauma or something more sinister from beyond? I believe the film's title provides a clue.
Religion is on display throughout the film and in many forms. Also on display is Connie Britton's RWF (in contrast to RBF). Ms. Britton excels at a constantly 'worried' look, and is well cast to play the mother role in a film written by Sarah Conradt. Of course, we do discover why Claire has been carrying around all this guilt. It's also the reason why Robin initially stopped talking at an early age. The final act works off of a tremendously interesting premise, and some will find the execution a bit too artsy for this type of movie, while others will appreciate the approach.
Opening in select theaters and on digital September 13, 2024.
The Critic (2023)
ego and power
Greetings again from the darkness. After the lukewarm reception at last year's Toronto Film Festival, and complaints about the ending, director Anand Tucker (SHOPGIRL 2005, HILLARY AND JACKIE 1998) called the cast back for re-shoots. Oscar nominated writer Patrick Marber (NOTES ON A SCANDAL, 2006) adapted the 2015 novel, "Curtain Call", by Anthony Quinn (a former film critic, not related to the two-time Oscar winner with the same name). Although I can't comment on the original version, this one provides a bit of entertainment.
The famous saying, "Everyone is a critic", holds true because everyone has an opinion (reminding us of yet another famous saying). However, this story takes place during a much different time. We are transported back to 1936 London where we find Jimmy Erskine (two-time Oscar nominee Sir Ian McKellen) is the powerful and feared theater critic for "The Daily Chronicle". He's arrogant and brusque, and super-talented with the twisting of words and turning of phrases. His reviews are eagerly awaited and can make or break a show or career - sometimes in a humiliating manner.
Erskine flaunts his ego like the cashmere scarf around his neck. He claims, for critics, "only the greats are remembered", and he fully intends to be remembered. When the proprietor of the paper suddenly passes away, his stuffy son David Brooke (the always dependable Mark Strong) likes the idea of moving on from the old ways and creating a more contemporary publication. With 40 years of loyalty, Erskine is spared, despite his continued bashing of Brooke's favorite stage actor, Nina Land (Gemma Arterton, TAMARA DREWE, 2010). Two things of consequence soon occur. First, Nina confronts Erskine to his face (a rare occurrence). Secondly, Erskine is fired after a public incident exposes the dark secrets of his life.
These two events lead Erskine to invoke a savage scheme of manipulation and deadly blackmail in hopes of regaining his job. This plan entices Nina to cut a deal with the proverbial devil. The film features a strong supporting cast, though most are unfortunately not given enough to do. Nina's supportive mother is played by the always terrific Lesley Manville (Oscar nominated for PHANTOM THREAD, 2016); Alfred Enoch (the "Harry Potter" franchise) plays Tom Turner, Erskine's live-in secretary; Nina's lover Stephen is played by Ben Barnes (who has been off doing TV and music since 2014); Ramola Garai plays Stephen's wife, while Beau Gadsdon and Claire Skinner also appear.
This is pre-WWII London and director Tucker offers nods to the times regarding homosexuality and racism, and even throws in a jab at fascism when Erskine bellows, "fascists come and go, but theater is forever." Tucker also "treats" us to quite a sight: Sir Ian in the bathtub. This is certainly a story about ego and power, but also one of morality. Does talent afford privilege? Of course it did then, as it does now. But no amount of talent or ego should quash the good in people.
Opening in theaters on September 13, 2024.
Les chambres rouges (2023)
making assumptions
Greetings again from the darkness. Many of us (perhaps too many) are drawn to the dark side - topics that dig into the ugly side of human nature that Mr. Rogers mostly avoided in his neighborhood. A quick look at the popularity of true crime shows provides proof of the fascination that corresponds to those who don't subscribe to the golden rule. Writer-director Pascal Plante has a track record of film festival success and his latest fits the mold - fascinating to watch with a twist that may have viewers questioning their own assumptions.
Ludovic Chevalier (Maxwell McCabe-Lokus) is a demented serial killer on trial for the murder of 3 teenage girls, ages 13, 14, and 16. He is facing multiple additional charges including sexual abuse, necrophilia, torture, etc. He used 'red rooms' to film these atrocious actions and then sold the recordings for profit. The opening statement from prosecutor Chedid (Natalie Tannous) stuns us with details of crimes, as well as informing us that 2 of the 3 tapes will be shown to the jury. Suspect Chevalier sits quietly in a glass cage as the court proceedings take place. However, the serial killer is not the most interesting character in this story. Seated in the gallery as close to Chevalier as possible is Kelly-Anne (Juliette Gariepy) and Clementine (Laurie Babin). We learn that it's common for serial killers to have groupies ... not unlike rock stars, movie stars, and professional athletes.
Each day, Kelly-Anne and Clementine grab their courtroom seats and take in the show. The two form an unlikely and shaky friendship. See, Kelly-Anne is a model and high stakes online poker player. She has a sophisticated, AI voice-activated computer system in her high-rise apartment. In comparison, Clementine is a simple woman convinced that Chevalier is innocent because of his warm eyes. She feels a bond to him, and assumes Kelly-Anne shares this bond and belief.
Filmmaker Plante starts us off in a similar fashion to other courtroom dramas, however this one is also part dark web tutorial and psychological case study - not to mention a peek at cryptocurrency and hacking. Like Clementine, we assume we understand Kelly-Anne's motives, but there is an old saying about when we assume. As the story develops, it's the psychological aspects that hold our attention. Stone-faced Kelly-Anne only rarely offers cracks in her façade, and Plante manages to add tension to online poker and dark web auctions.
This was filmed in Montreal in French language, though we get only minimal shots of the city. Instead, much of the time is spent on close-ups of stoic Kelly-Anne and those eyes that are so difficult to interpret. Almost no gore is shown here outside of a single screen shot inside a red room, and the atrocities are wisely left to our imaginations. However, there is one quite disturbing sequence that finds Kelly-Anne in a specific costume for one day in court. I'll admit to having to Google Kelly-Anne's username to realize that 'Lady of Shallot' is a reference to a Tennyson poem. The end could be described as a twist (depending on your own previous assumptions), and yet also open-ended enough to generate plenty of analysis and debate. Pascal Plante has delivered quite a smart and complex character in Kelly-Anne.
Opened in select theaters on September 6, 2024.
Wise Guy: David Chase and the Sopranos (2024)
Remember when
Greetings again from the darkness. Being the creative force behind what many consider to be the best TV show of all time - one that changed the face of television - is both a blessing and a burden. David Chase is that man, and his often dour disposition hides the creative genius behind "The Sopranos" (1999-2007). Oscar winning documentarian Alex Gibney (TAXI TO THE DARK SIDE, 2007; ENRON: THE SMARTEST GUYS IN THE ROOM, 2005) re-creates Dr. Melphi's office for his sit down with Chase, and it's a smooth move to encourage Chase to open up in the same setting where his creation, Tony Soprano, often let his guard down. This is not really meant as an introduction to garner new fans for reruns, but rather as a tribute to David Chase and a peek behind the curtain for hardcore fans.
Don't worry ... it's not three hours of two guys talking. Gibney complements Chase's insight with a treasure trove of clips and interviews and background details, really serving up a deep dive for those who considered this show to be must-see TV. Chase actually quotes one of the best lines from the series when he says, "'Remember when' is the lowest form of conversation". By the end of the first (of two) part, many will be amazed at just how much of the show was inspired by David Chase's actual life and large Italian family. You might also be amazed at how fragile the environment can be for even the most successful of TV shows.
Chase lets us in on some personal details, and nothing is more personal than his proclamation, "My mother was nuts." Fans will eat up the segment on Nancy Marchand, the veteran actor who played Livia, Tony's mother. Chase said Ms. Marchand just "had it" (what he wanted for the character based on his own mother). It's also interesting to learn that Chase's early career aspirations were for movies, not television. In fact, he envisioned this as a movie starring Robert DeNiro and Anne Bancroft. Of course, no one would back him, and when he converted it to a series, none of the networks had an interest either. It took upstart HBO, who at the time was only beginning the transition from Movies and Sports to series. The reception of "Oz" (1997) and "Sex and the City" (1998) set the table for HBO to give the green light to the risky venture that itself eventually set the table for shows such as "Breaking Bad".
The conversation between Gibney and Chase is interspliced with clips from the show, as well as family video and pictures. Chase walks us through how the main characters were cast, and it's fascinating to watch the rough cuts of auditions - some who made it, and some who didn't (including former Cornell star RB and "Hill Street Blues" actor Ed Marinaro). This gives us a true behind-the-scenes glimpse at how things came together. We also hear from some of the show's writers who explain just how stressful things could get in the writers' room, even though HBO gave them significant creative control.
There are segments featuring Michael Imperioli, Steve VanZandt, Lorraine Bracco, Tony Sirico, and Drea de Matteo. Perhaps the most enjoyable is watching Edie Falco (who was the last one cast in the principal cast) as she explains there were no "trigger warnings" for the show. She states it was just like real life, complete with racism, sexism, misogyny, and violence. It's hilarious hearing how sensitive Sirico was about his hair, and Drea walks us through her character's ending - just after Lorraine Bracco explains what happens when David Chase invites you to dinner.
There are clips of the infamous "ducks" from the pilot, and Chase comments on the critical raves that immediately rolled in - plus the pressures of additional seasons. Writer-Producer Terrence Winter joined the show in the second season, and he's interviewed here. Winter has since gone on to write and/or produce projects such as "Boardwalk Empire" and THE WOLF OF WALL STREET (2013), the latter of which got him an Oscar nomination.
The deaths of Nancy Marchand and series star James Gandolfini are handled with grace, including a clip of an emotional Chase speaking at Gandolfini's funeral. We hear about the toll playing Tony took on Gandolfini, and how some of the cast were there for him in times of darkness and need. Gandolfini died in 2013 at age 51 from a heart attack. It's interesting to learn that Chase only directed two episodes himself - the first and the last. And speaking of the finale, we see clips of Holsten's and hear "Don't Stop Believin" while reliving how that finale shocked viewers and generated so much discussion. Chase addresses this by saying, "The truth is ..."
Premiering on HBO/Max on September 7, 2024 (Parts 1 and 2)
Hoard (2023)
can't look away from the mess
Greetings again from the darkness. I don't know why. I wish I could explain it. So many movies I admire or find intriguing are not the kind of movies that one would describe as uplifting, likable, or even watchable multiple times. The first feature film from writer-director Luna Carmoon is yet another for that category. It's simultaneously compelling and unpleasant - a difficult movie to watch with an unrelatable lead character. And yet, I couldn't turn away. The film won multiple awards at the 2023 Venice Film Festival, so obviously I'm not the only one drawn to this.
When we first meet Maria (newcomer Lily-Beau Leach), she's dumpster-diving with her mother (Hayley Squires, THE ELECTRICAL LIFE OF LOUIS WAN, 2021). Maria is around 8 years old and it's obvious her mom adores her despite being burdened with an unfortunate form of OCD. Mom is a hoarder-extraordinaire, and each evening she takes her young daughter to the streets to collect items that do nothing but add to the messy collections that make it nearly impossible to open the front door of their now disgusting home. As loving as her mother is, Maria can't help but prank her by hiding the rolls of aluminum foil from her lunchbox. Mom begins to freak out at the thought of used aluminum foil being wasted, and only relaxes once Maria pulls the wads out of her pocket.
A tragic and bizarre accident leads us to flash forward - with a visually clever transition - to Maria (now played by Saura Lightfoot-Leon, "Masters of the Air") in her final days of school, having lived with (and learned from) her warm-hearted foster mom Michelle (Samantha Spiro, ME BEFORE YOU, 2016) for nearly a decade. Although she lives a relatively 'normal' life now, Maria is a bit lost and unmotivated for the next step in life. Things shift quickly and dramatically for Maria when Michael (Joesph Quinn, A QUIET PLACE: DAY ONE, 2024) shows up. Having been a previous foster child for Michelle, he is now in his late 20's and engaged to be married. Michelle doesn't hesitate to let him move back in temporarily, innocently unaware of what this unleashes in both Michael and Maria.
This twisted psychological drama reaches new heights (or new lows) as Michael and Maria discover each other on the same wavelength. Maria's repression combines with her reverting to childhood, despite her opportunity to begin again. She finds so many reminders of her mother: a fork, chalk, foil, a bedsheet drying on a clothesline, an iron, and a dumpster, all take her back to the stage which was set early on by her mother. At times it seems like Michael is being whisked away by her, although he is unable to stop their actions. The clean ending of a movie that wallows in messiness may disappoint some viewers, but for me, I found some relief. Filmmaker Carmoon succeeds in making us uncomfortable, yet I couldn't look away.
Opening in select theaters on September 6, 2024.
Dìdi (2024)
it's in the name
Greetings again from the darkness. 'Coming of Age' films typically lean heavily into either comedy or tragedy. In his first feature film, writer-director Sean Wang (Oscar nominated for his documentary short NAI NAI & WAI PO, 2023) takes a different approach. While he certainly injects some humor, it's isolation and awkwardness - that feeling of not fitting in - that takes center stage. It's quite possible, even likely, that some of this is autobiographical for director Wang. That's a safe statement since most every teenager can relate to bits of this story.
Chris Wang (played by Izaac Wang) is introduced to us as he's blowing up a neighbor's mailbox. We don't get the full story until later, but it doesn't take long for us to figure out that this kid is trying (too) hard to fit in with his group of buddies, as they each transition from junior high to high school. It's the summer of 2008, and Chris lives with his mother, grandmother, and sister ... and he's miserable and lost.
Mom (a terrific Joan Chen, LUST CAUTION, 2007) is a talented artist, beaten down by the demands of being a single mom to two constantly bickering kids, and a demanding mother-in-law for whom nothing is ever good enough. Nai Nai (Chang Li Hua) is played by director Wang's real-life grandmother, and though her health is slowly fading, she doesn't understand the social or family dynamics of the era. Vivian (Shirley Chen) is the sister/daughter who will be leaving home for college in one month. She is constantly annoyed by her little brother's extreme pranks and immaturity, as well as the unfair judgments of Nai Nai. Their father is working in Taiwan, creating even more stress for these folks in Fresno.
Identity plays a huge role for Chris. His friends have always called him Wang-Wang, and at home he's referred to as Didi (little brother). A group of older skaters offers him his first chance to be "Chris" and 'half-Asian', and he takes it. He wants so much to be part of the big boy club, yet he fails hard when his crush Madi (Mahaela Park) initiates 'the nervous game.' He also flops at being the filmer for the skate kids, and his sister counsels with the age-old warning, "Don't do anything stupid." Of course, we know he will.
Being the summer of 2008, we see camcorders, MySpace, AOL Instant Messenger, A WALK TO REMEMBER, and flip phones, amongst other reminders of the era. It's interesting to see the first group of teens embrace the early days of social media, especially with the amateurish videos that slammed YouTube in those days. In this regard, director Wang has delivered a period piece, even if it's from less than 20 years ago. Google search also plays a starring role.
Most impressive is how the film, and the actors, capture the emotions we all recognize. Anger, confusion, and frustration are prevalent for Chris and his mother, the latter of whom gets a wonderful scene where she relays her perspective on life. It's heart-wrenching and Joan Chen nails it. As Chris, Izaac Wang details the absurd squirrel story which highlights his advanced level of social awkwardness. Included are references to Ang Lee and Spike Jonze, and the emphasis on Chris not being a stereotypical Asian-American. When summer ends, the braces come off, and Chris strolls into high school ... we easily understand why this won an Audience Award at Sundance. The digital version even includes some bonus features ('the making of DIDI').
Now available on digital and coming to Blu-ray on October 29, 2024.