CHALLENGERS (2024)

April 25, 2024

Greetings again from the darkness. Director Luca Guadagnino continues to prove that he excels at making gorgeous-looking movies featuring gorgeous-looking actors. Previous proof includes SUSPIRIA (2018), CALL ME BY YOUR NAME (2017), A BIGGER SPLASH (2015), and now this latest, with a screenplay by Justin Kuritzkes. If you are looking for a film that oozes flashy style and sex appeal, you’ve chosen the right movie. You can even pretend it’s a tennis movie, though you’re not likely to fool anyone.

Zendaya (DUNE: PART 2, 2024, DUNE, 2021, “Euphoria”) stars as Tashi, a rising young tennis protégé when we meet her in flashback. Doubles partners and best friends, Art Donaldson (Mike Faist, WEST SIDE STORY, 2021) and Patrick Zweig (Josh O’Connor, EMMA., 2020) are immediately smitten by Tashi’s stunning looks and equally stunning tennis talent. She toys with the boys as they strive for her attention … leading to a hilarious and surprisingly escalated encounter in a hotel room. It’s the first, but not the last time a sexual encounter plays a part with these three. It’s likely the Intimacy Coordinator was on set most every day of shooting.

As best I can tell, the story covers about a 13-year period from juniors to the professional level, although the tennis balls bounce on the court less frequently than the time period bounces around as the stories unfold. And actually, the tennis serves as a means to an end. The real drama and competition comes from the relationships: Art and Patrick, Patrick and Tashi, Tashi and Art, and Tashi and Art and Patrick. Yes, tennis is an integral part of this since it forged the bonds – heck, it’s sometimes difficult to discern tennis talk from pillow talk – yet it’s the personal dramas that make the film what it is.

All three leads are excellent, yet somehow Zendaya’s performance stands out … even beyond Josh O’Connor who delivers his best performance to date. Her lithe physique passes for a tennis player despite the lack of muscle tone that would accompany an athlete, yet her movements work. The players move on the court and make the strokes, while CGI handles the ball movements at an accelerated pace (reminding us this isn’t really a movie about tennis). Initially, the club dance beat of the score from Oscar winners Trent Reznor and Atticus Ross seems an odd choice, yet it becomes the perfect fit as things progress. Guadagnino re-teams with cinematographer Sayombhu Mukdeeprom to create some fantastic and creative shots, even making the tennis exciting. Editor Marco Costa deserves a shoutout as well.

With Hollywood’s overdose of caution these days when it comes to sexuality, the energy here feels a bit naughty at times. The shifting power dynamics of this trio reminds of the “Seinfeld” episode where characters discuss having “hand” in a relationship. Of course, Guadagnino takes this one much farther, although it’s every bit as entertaining. And that’s the best way to think of this – a big ol’ movie that lets us enjoy and even laugh a bit. It’s a wild ride and it’s gorgeous.

Opens in theaters on April 26, 2024

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Posted by David Ferguson

THE FEELING THAT THE TIME FOR DOING SOMETHING HAS PASSED (2024)

April 25, 2024

Greetings again from the darkness. It’s billed as a comedy, though for many, the funniest part may be in trying to remember the film’s title. Deadpan reaches a new level in this debut feature film from actor-writer-director-producer-editor Joanna Arnow. It’s tough to recall any film that more belongs to one person. Indie filmmaker Miranda July’s work is the closest I can think of, yet in comparison, her work comes closer to mainstream Spielberg than it does to this one from Ms. Arnow. None of that is meant to be harsh, it’s simply a challenge to describe this film to anyone who hasn’t seen it … or even to someone who has.

The film is divided into five chapters, each named for the key “other” characters (not named Ann). Arnow stars as Ann, and the opening scene finds her in bed next to the much older Allen (Scott Cohen). It’s here we discover she’s age 33 and has been Allen’s submissive since age 24. In fact, two of the chapters are named “Allen”, and Ann even suggests they were “destined to be together”. She makes this proclamation after a couple of attempts to try a modern approach to dating, each creating complications for her. These ventures are presented as vignettes and include a musician, a sleepover with her sister, a role-play costumer, dating app (mis) matches, and a film buff with a love of pickled herring.  To cap it off, these interactions provide a certain symmetry with Ann’s soulless work at a generic corporation. Imagine being rewarded with a one-year acknowledgement after you’ve worked there more than three years. You are getting a sense of Ann’s personality … somewhat less than memorable.

Ann is slumpy and frumpy, and her deadpan delivery masks a sharp wit and a spark that rarely comes through to others. As she begins the foundation of a more traditional relationship with Chris (Babak Tafti, “Billions”), her path to self-discovery seems to open up … although that path may or may not surprise you by this point. Some of the vignettes are shockingly brief, and many feature Ann in an exposed (literally) state of vulnerability. As the vignettes zip by, watching this isn’t dissimilar to scrolling through a feed. Joanna Arnow’s real life parents (David Arnow, Barbara Weiserbs) play her parents here, and serve up the only raised voices in the film as they sing an animated version of “Solidarity”. And no, Ann’s relationship with her parents is not much different than the rest of her life. At times, this ‘comedy’ feels like a beatdown, but leaves us with one key life lesson: pay attention the first time you ask, “What college did you go to?”.

Opens April 26, 2024

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Posted by David Ferguson

THANK YOU, GOODNIGHT: THE BON JOVI STORY (2024, doc)

April 23, 2024

Greetings again from the darkness. Documentaries on bands, singers, and musicians have become very popular over the last few years, and although filmmaker Gotham Chopra has focused mostly on sports in his previous work, he dives right in with a four-part HULU series covering the forty years of stadium rockers Bon Jovi and their electric lead singer Jon Bon Jovi (nee John Bongiovi). This is not the first documentary on the band, so Chopra takes an unconventional approach. The series jumps around (and weaves back and forth) through the years, with the band’s 40-year anniversary tour acting somewhat as a structuring device, along with Jon Bon Jovi’s struggle with his voice.

Contrasting with a traditional chronological trip through the band’s history, this approach requires a bit more concentration from the viewer. It also makes all four episodes ‘must watch’ TV in order to get the full backstory along with Jon Bon Jovi’s (JBJ) personal journey. It is recommended that those interested commit to all four episodes, as the clips, photos, and interviews are mostly previously unseen. To assist with the overview, this review will break down each of the episodes separately.

Episode 1: New Jersey vs Everybody

The only way this could begin is by reintroducing the 1980’s hair band with clips of their live shows and videos. We then jump to 2022 as JBJ explains the band has rented the now unused Meadowlands Arena for their rehearsals for a mini-tour (15 shows) to prepare for their 40th anniversary celebration. He also discusses his voice struggles and the surgery for his vocal cords. Chopra takes us back to JBJ’s childhood and high school, and we learn about his first couple of bands, along with the crucial role played by (1978) The Stone Pony and Southside Johnny and, of course, Bruce Springsteen in Asbury Park. Four additional key elements discussed here are JBJ commenting on his commitment to the craft of songwriting, the start of a beautiful affiliation with sound engineer Obie O’Brien, the partnership with Richie Sambora – a perfect blend of voice and guitar expertise, and the opportune gap created by the breakup of mega-band Van Halen. We hear very little actual music.

Episode 2: Nowhere to Everywhere

The first (of 15) shows occurs in Omaha, and we also get the first bit of the modern-day Richie Sambora interview. The band reminisces about the early days on the road, and the make-or-break nature of their third album. Of course, they need not have worried as “Slippery When Wet” sold millions and established the band as king of the rock anthem with huge singalong hits, “You Give Love a Bad Name” and “Livin’ on a Prayer”. The band also hit at the peak of MTV, and the combination of hair, catchy tunes, and JBJ’s blinding smile drove their album and ticket sales higher and higher.  In this episode, we learn about the hiring of agent Doc McGhee, the formation of the Make a Difference Foundation, and playing Russia on the global tour. There are flash cuts between different versions of “Livin’ on a Prayer”, and it’s the first we hear of issues with band cohesion.

Episode 3: Brothers in Arms

This episode kicks off with the 15th and final stop of the tour in Nashville. As he comes off stage, his wife tells him, “It wasn’t great”.  Being a perfectionist, JBJ takes it to heart and at that point decides he must move forward with the vocal cord surgery. It’s a huge risk that could end his career … or possibly allow it to move forward. We get the flashback to JBJ and Dorothea eloping to Vegas, as well as various versions of the band breaking up. The family nature of the band is mentioned frequently, and it conflicts with the “I’ll show you” battle of 1990 solo albums by JBJ and Richie Sambora. There is some mention of JBJ’s acting career and desire to write soundtracks, but he never loses sight of what is clear to us: he was born to be a band leader. Much more than a pretty face and booming voice, JBJ had visions for the band and was always strategizing about the next few steps. We can’t help but chuckle as he recalls the hoopla over his haircut, and his reflections on what Elvis went through. A standout point in this segment is the huge international following the band developed as ‘grunge’ took over the rock scene in the U.S. Sadly, the effects of drugs on the band are detailed here as well … including Richie heading to rehab.

Episode 4: Legendary

A fitting final episode takes the split with Richie Sambora head on. His replacement, Phil X, receives plenty of kudos for his stepping in on short notice as the band went on tour. The stress on JBJ, and his desire to carry even more of the burden, is evident. To his credit (albeit only partial credit), Richie’s interview includes an apology to the fans and “the guys”. A reunion occurs at the 2018 Rock and Roll Hall of Fame induction, but it ends there. It’s also in this episode where JBJ discusses his fundraising for Al Gore’s Presidential campaign, which served as his initial foray into politics – leading to more political activism and a heightened social consciousness.

The band’s albums and hits and tours are mentioned throughout the four episodes, but fans should know that this is an informative documentary, not a musical one. Most of the insight here comes from Jon Bon Jovi himself, as well as bits and pieces from the Richie Sambora interview. Band members David Bryan (keyboard), Tico Turner (drums), Hugh McDonald (bass), John Shanks and Phil X (guitarists), and Everett Bradley (percussion and vocals) are given time to comment, as is Bruce Springsteen. Mostly what we are left with is the high regard they each had for JBJ as a leader. The bouncing around of years and eras may be a bit challenging for some viewers, yet Bon Jovi’s music is universal and it becomes quite clear that Jon Bon Jovi cares very much for his legacy … a legacy entrenched through his 40 years of art.

The 4-episode docuseries premieres all episodes April 26, 2024 on Hulu

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Posted by David Ferguson

HARD MILES (2024)

April 18, 2024

Greetings again from the darkness. When Greg Townsend states, ‘hard work overcomes hard luck’, it’s as much a reminder to himself as it is a motivation for the boys he’s dealing with. The film from writer-director RJ Daniel Hanna (MISS VIRGINIA, 2019) and co-writer Christian Sander is inspired by a true story, and comfortably fits into the ‘inspirational sports story’ category, perhaps most similar to MCFARLAND USA (2015) starring Kevin Costner.

Matthew Modine plays Greg Townsend, a social worker at Ridge View Academy. It’s a correctional facility for troubled youths, and Greg is a teacher and mentor. When the state threatens to revoke Ridge View’s charter, Greg decides to take the four boys from his welding class on a 762-mile bike ride to the Grand Canyon. Previously termed Tour de Greg by his co-workers (or Tour de Canyon by Greg), his belief is that the trip will teach life lessons and cooperation to the boys. Without his realizing, it’s also a trip to help Greg himself deal with an ailing (and estranged) father in hospice, an imprisoned brother, and some health issues of his own. Just like in real life, everyone has stuff going on.

Greg encourages (begs) the local bike shop owner, Speedy (Sean Astin), to sponsor his rag-tag team of misfits. Child psychologist and Ridge View co-worker Haddie (Cynthia McWilliams) agrees to drive the SAG wagon (supplies and gear). And after welding the frames of their own bikes … and fighting with each other … the boys reluctantly agree to go on the trip.  The boys are Smink (Jackson Kelly), Rice (Zack T Robbins), Atencia (Damien Diaz), and Woolbright (Jahking Guillory), the latter being the most troubled of the group.

The trip goes about as you’d expect – with literal and emotional ups and downs. In fact, the movie itself is easily predictable and formulaic for the genre. However, it’s an inspirational and uplifting story and we find ourselves rooting for the boys to pull together as a team, and for Greg to deal with his own demons while teaching the boys the ultimate life lesson: keep going. The best movie focused on bike riding is probably the classic BREAKING AWAY (1979), and this one from filmmaker Hanna could be called, coming of age on wheels.

Opens in theaters on April 19, 2024

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Posted by David Ferguson

LITTLE EMPTY BOXES (2024, doc)

April 18, 2024

Greetings again from the darkness. Cinema trends often mirror societal trends (Superheroes being the exception), so it’s not surprising that so many movies over the past few years have dealt with dementia and Alzheimer’s in some manner. In fact, it was just 3 months ago that I watched Maite Alberdi’s Oscar nominated documentary, THE ETERNAL MEMORY, and it was only three years ago that Florian Zeller’s THE FATHER won two Oscars. As the population ages, physical and mental limitations become more prevalent, and it’s the cognitive difficulties that are causing the most challenges for caregivers and medical professionals.

Max Lugavere and Chris Newhard co-direct this documentary that focuses on Max’s mother, Kathy, who is displaying all the symptoms of dementia. The film opens by showing home movies of Max as a kid, and Kathy as an energetic, fun-loving mom. When it cuts to today, we find Kathy’s once lively, twinkling blue eyes are now hollow and lifeless at age 63. She’s chronically tired and her phone conversation with son Max shows her memory is slipping. Max co-authored the book, “Genius Food” with Paul Grewel, and he meets with his Los Angeles publicist to inform her that he’s moving back to New York City to spend time with his mother.

What sets this film’s approach apart from some others that broach the topic is that Max takes us on the journey with his mom as they explore possible options to improve her situation. It’s explained that she’s on a blend of Parkinson’s drugs and Alzheimer’s drugs, as that has been determined to be the best treatment for her Lewy Body Dementia – a cross between the two diseases. We are there as she fights with the doctor over the brain scan, and we sit in on some of the discussions with specialists in the field. Max tries to answer the question, “Where did this come from?”, as there is apparently no genetic trail or were no early signs (other than a propensity to collect trinkets).

It’s at this point where knowing Max’s background may affect one’s perspective on the documentary. Knowing his public support for some trendy diets and the controversy such diets have caused, moves us away from the caring son and towards self-promotion. While it’s difficult to disagree with the idea that diet and fitness are likely associated with cognitive health, he seems to quickly believe any study that agrees with his personal beliefs. It is interesting to hear the link between post-operative patients and Alzheimer’s, but the ‘adopt a dog’ segment seemed a bit of a stretch.

Many of us have experienced the impact when a loved one begins the slow decline from this silent disease. The idea of fixing the body first so the brain can recover is somewhat logical, but whether it’s red meat, vegan, kimchi, or something else … nothing has yet provided us with the glimmer of hope needed to reduce or slow the effects. Surely, some will benefit from Max taking the camera on the doctor visits and discussions with mom, but the self-promotion is a bit tougher to accept. Re-tracing the NYC locations shown in those home movies makes for a nice final touch.

Opening in NYC theaters on April 19, 2024 and expanding at later dates

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Posted by David Ferguson

IRENA’S VOW (2024)

April 15, 2024

Greetings again from the darkness. This is based on the true story of Irena Gut Opdyke who, during WWII, vowed “If I could save a life, I would.” Directed by Louise Archambault, it has been adapted for the screen by Dan Gordon, who was the playwright for the hit Broadway play. Cinema has been utilized many times over the years to shine a light on so many who acted altruistically in protecting Jews from the Nazis. Some of these heroes saved one life, while others saved hundreds. The courage of these folks deserves to be remembered.

The film begins in 1939 as Germany invades Warsaw. A bomb drops on the hospital where Irena (Sophie Nelisse) is working. She is Polish, not Jewish, so she is sent to work in a munitions factory. Her features get her recognized by senior German officer Rugmer (an excellent Dougray Scott, MY WEEK WITH MARILYN, 2011) who reassigns her to a supervisory role over Jews working in a hotel laundry. When Rugmer reassigns her again, this time to his personal villa as housekeeper, she learns the Jews in the laundry will be sent to a concentration camp.

We are fascinated by Irena’s work to rescue and then hide these twelve people … and she does so literally under the feet of Rugmer. Obviously, this puts herself and the hidden Jews in danger, but also Rugmer, who would surely be shot were they discovered in his home. Humor is scarce here. In fact, one of the most horrific scenes you’ll ever view in a movie occurs. It’s a devastating moment and one that won’t soon be exorcised from my mind. In a rare display of levity, Irena befriends an elderly servant named Schultz (Andrzej Seweryn, SCHINDLER’S LIST, 1993) whose advice to her is to keep a low profile and ‘know nothing’. Fans of the old “Hogan’s Heroes” series will appreciate the connection.

The current issue of antisemitism gives this one a bit of a contemporary feel, as does the abortion discussion amongst those hiding. At first, we can’t help but wonder if this was for dramatic effect, although the answer becomes quite clear over the end credits. Sophie Nelisse was exceptional in THE BOOK THIEF, and she is terrific here as well, playing Irena Gut Opdyke who much later in life was honored with Righteous Among the Nations … after being imprisoned for supporting Nazis. The epilogue spells out much of what happened, and all of it leaves us with the utmost respect for this quietly courageous woman.

A Fathom Events presentation on April 15 and April 16, 2024

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Posted by David Ferguson

STING (2024)

April 11, 2024

Greetings again from the darkness. The trailer for this one makes it clear that it’s a monster movie in the vein of those Friday late night creature-features I stayed up watching as a kid … whenever I wasn’t grounded from watching TV. Australian filmmaker Kiah Roche-Turner has set this one in Brooklyn and it takes place almost entirely inside an old apartment building (the only exceptions are shots of the ice storm occurring outside).

Roche-Turner may have delivered the latest creature-feature, however, it’s not one of those that inspires empathy towards the creature. Twelve-year-old Charlotte (get it??) is on one of her adventures through the air vents of the old building when she captures a little black spider. A pet spider may be uncommon, but keeping secrets from your mother, Heather, (Penelope Mitchell, HELLBOY, 2009) and stepdad, Ethan, (Ryan Corr, THE WATER DIVINER, 2014) is right in line with the actions of an adolescent frustrated by the responsibilities of having to watch her newborn brother while the frazzled adults go about earning a living.

The film’s opening shows Charlotte’s sweater-knitting grandmother, Helga (Noni Hazelhurst, TRUTH, 2015), battling dementia and calling the exterminator after hearing loud noises in the wall. The story then flashes back four days to when Charlotte first finds the spider. Frank (Jermaine Fowler, RICKY STANICKY, 2024) sprays the building, but even as a pest expert, he doesn’t suspect what’s about to happen. Relative newcomer Alyla Brown (TRUE SPIRIT, 2023) performs superbly as Charlotte, and is stunned when the pet spider she names Sting mimics her whistle when it’s due for another meal of crunchy bugs, which leads to exponential growth.

Although it’s not necessary, there are additional elements to the story that occur around the whole rapidly-growing spider. Charlotte’s stepdad is the building super and an aspiring comic book artist. In an effort to bond with her, Ethan illustrated the story she created about her biological father, whose deadbeat nature mother Heather has withheld from her. Their neighbors consist of lonely widow Maria (Silvia Colloca, VAN HELSING, 2004) and oddball science geek Erik (Danny Kim, “Born to Spy”), the latter of whom exposes Charlotte’s clandestine arachnid pet to the parents. The final player here is frugal and grumpy Gunther (Robyn Nevin, RELIC, 2020), who apparently owns the building and lives with her sister Helga. Ms. Nevin has a face made for horror films (and I mean that as a compliment) and gets to go full out in her one big scene with Ethan.

 As you’d expect, some of these folks meet a grisly end, while others are more fortunate. There are enough kills for those that lust for such moments, and enough creepiness and chuckles for everyone else. It does take a while for the arachnid rampage to begin, but there’s enough suspense to keep us around.  Most will appreciate Brad Shield’s cinematography as the camera worms it’s way through the claustrophobic hallways and air ducts of the building. The origins of the spider might be missed by those who aren’t paying close attention, but it’s a brilliant touch. And even though it’s a bit of campy horror, the dayglo red used in the fake blood is among the worst you’ll likely ever see. The film is quite a bit different from the 1990 cult classic ARACHNOPHOBIA, but the lesson in keeping moth balls on hand could someday come in handy. Over the opening credits, “What a Way to Die” by The Pleasure Seekers acts as a foreshadowing of events, and in keeping with the film’s title, there are a couple of “stingers” for those who stick around.

Opening in theaters on April 12, 2024

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Posted by David Ferguson

THE ABSENCE OF EDEN (2024)

April 11, 2024

Greetings again from the darkness. “It’s us or them.” That’s a line spoken by one of the ICE officers after a particularly physical and dangerous altercation with an illegal immigrant. In this particular instance, the words ring true. However, writer-director Marco Perego and co-writer Rick Rapoza show both sides of this coin that has generated so much passionate debate among politicians and the citizenry. The film strives to show the humanity of all involved, and how a lack of humanity can cause more problems than it solves.

Garrett Hedlund (MUDBOUND, 20 17) stars as Shipp, a new ICE recruit. We see him volunteer to be first in the “Taser Training” so that he knows what the recipient experiences. He’s a man of few words, though he seems smitten with his girlfriend Yadira (Adria Arjona, MORBIUS, 2022), a single mom who may or may not be withholding pertinent information. Shipp’s more experienced ICE partner, Dobbins (Chris Coy, THE KILLING OF TWO LOVERS), is the one who speaks the line of dialogue quoted above. Dobbins has a singular view of his job and of those crossing the border illegally, while Shipp is a bit more confused on how best to handle things.

The other key story here revolves around Esmee (Zoe Saldana, Gamora in the Marvel Universe). She’s an exotic dancer in Mexico until her self-defense against one customer goes sideways and she’s forced to flee. Her trek to the border finds her protecting a young girl, and then getting dragged into the underworld. There is a scene with a drug dealer that features one of my cinematic pet peeves. Why is it when a drug dealer gives a phone to someone and tells them to keep it on at all times, they never furnish a charger? I can understand a lack of respect, but that phone isn’t going to last long without a charger. Just a minor rant that I often need to release after a movie.

Director Perego is a renowned conceptual artist and he’s married to Zoe Saldana. Together they depict the realities at the U.S. southern border. ICE is working to follow guidelines, while immigrants are in search of a better life. Things sometimes don’t work out well for either. We see the ICE raids and we see the daily struggles of immigrants. Despite this, there seems to be no solution in sight, so the conflicts carry on day after day.

Opens in theaters on April 12, 2024

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2 Comments | Drama | Tagged: , , , , , | Permalink
Posted by David Ferguson

IN FLAMES (2024, Pakistan)

April 11, 2024

Greetings again from the darkness. One of the unheralded roles movies can play is to help us better understand various cultures around the world. It’s important to grasp the challenges others face based on where they live. The first feature film from writer-director Zarrar Kahn takes us to Pakistan and elegantly lays out cultural traditions that may have even outlasted laws that have passed.

Mariam (Ramesha Nawal) spends much of her waking hours studying for the upcoming medical exams. However, the recent death of her beloved grandfather has the film opening with preparations for the funeral service. His passing has left Mariam, her younger brother Bilal (Jibran Khan), and their mother Fariah (Bakhtawar Mazhar) in a precarious situation. The law allows for Fariah to inherit the apartment, car, and belongings; however, family traditions aren’t quite in sync. Sleazy Uncle Nasir (Adnan Shah) offers to take care of everything for the grieving family. Mariam is wise not to trust him to act in their best interests, but the passive-aggressive discussions between mother and daughter make it clear that Fariah trusts the Uncle.

A brick through the car window reminds us of other differences between Pakistani law and traditions. Mariam is simply driving herself during daylight hours – an activity that traditionalists refuse to accept. Not long after, Mariam meets Asad (Omar Javaid), and a budding romance blossoms as they enjoy a lovely day at the beach. A tragic accident adds even more stress to Mariam’s life, yet the beauty of her character stems from her quiet strength in handling anxiety, grief, and a culture built to hold her back.

The first half of the film employs a relatively slow pace so that we might better understand these people and their situation. Death and visions of departed loved ones play a prominent role, as does the inner-strength of women in a world structured to abuse and take advantage of them. The cinematography of Aigul Nurbulatova deserves special notice here, not just for how the visions and apparitions are handled, but also the interactions which often take place in confined spaces. It all feels as if it could be happening. Ms. Nawal also earns kudos for her performance as Mariam. She allows us to feel the emotions without ever once over-emoting. Kahn’s film was Pakistan’s submission of Oscar consideration last year and it’s easy to see why.

In theaters beginning April 12, 2024

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Posted by David Ferguson

WHAT’S NEXT (2024, doc)

April 11, 2024

Greetings again from the darkness. As an avid documentary fan, I typically don’t have much patience for docs that fawn over their subject. The exception to that is this one from filmmaker Taylor Taglianetti, which plays like a family home video, yet the man in focus is so engaging that we hang on his every word. Why is that? Well, at age 100, Dr. Howard Tucker was certified by the Guiness Book of World Records as “the oldest practicing doctor”.

We first see the southpaw doctor throw out the ceremonial first pitch at a game for his hometown Cleveland Guardians (MLB), and though his throws might have been truer when he was younger, his inner-strength is on full display as he walks off the field and declines the use of a wheelchair. This is a man who has made his own way for a century, and isn’t about to take a free ride now.

Dr. Tucker has been a neurologist for 75 years, and if you are curious as to the kind of man he is, you should know that he became a lawyer at age 67 just to say he accomplished it. He’s also the guy who broke his neck snow skiing – at age 87. His grandson, Austin Tucker, is a producer on the film and acts as our guide in getting to know this medical marvel. We also meet the charming “Grandma Sue”, Dr. Tucker’s wife of 65 years … herself almost 90 years old, and still active as a Psychoanalyst.

St Vincent Charity Hospital is where Dr. Tucker teaches residents and conducts research. Well, he did right up until the day the hospital shut down. So, what was Dr. Tucker’s response? Of course, he tells everyone he’s looking for a job!  What else would a centenarian do in this situation? When Dr. Tucker flunks his driving test, he’s mighty disappointed that he can no longer zip around in his classic cherry red MG, and must now be dependent upon Uber.

Dr. Tucker briefly discusses the Jewish bias and antisemitism he has faced over the years, though he refused to be held back. He visits his 96-year-old high school friend who is a car collector, and Dr. Tucker even shows off his own collection … hundreds of the trademark bow ties that he’s worn over the years.  We see some of the video congratulations he received from celebrities on his 100th birthday, a mark he doesn’t seem overly interested in. We understand why Dr. Tucker names Satchel Paige as one of his role models, as they are both men who persevered and accomplished beyond what others said was possible. Two distinct pieces of wisdom are passed along through Taglianetti’s film. “Grandma Sue” tells us “denial” is a useful part of our thinking, while Dr. Tucker reminds us that retirement is the enemy of longevity. Perhaps now you understand why I was so taken with this “home movie”.

Premiered at the Cleveland International Film Festival on April 7, 2024

7 Comments | Documentary | Tagged: , | Permalink
Posted by David Ferguson

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