SATANIC PANIC (2019)

June 12, 2019

2019 Oak Cliff Film Festival

 Greetings again from the darkness. “Hail Satan! ” This is definitely the first screening I’ve ever been to where those are the words the director used to introduce her film. Director Chelsea Stardust is quite passionate about her film, and most of the audience shared in her enthusiasm after experiencing this crazy, wild ride of pizza, secret devil-worshipping societies, virgin sacrifices, campy blood-splattering gore, and upper class hobbies.

Written by noted horror writer Grady Hendrix and Ted Geoghegan, the film introduces us to Samantha (an all-in Hayley Griffith). She’s a twenty-something who dreams of Australia, and somehow thinks taking a job delivering pizzas will get her there. She’s in such dire straits that she doesn’t have the 5 bucks she needs for gas in her Vespa, plus her co-workers stick the new girl with the “no tip” deliveries. I assume there really are classless people who stiff delivery folks, and it’s easy to understand why Hayley bangs on the door of a Park Cities mansion after getting the shaft on a 5 pizza delivery.

It’s that knock that transforms Samantha’s bad job into a matter of life and death. Rather than interrupting a high society neighborhood tea, she stumbles into a Satanic cult led by Danica (Rebecca Romijn, X-MEN). And guess what?  It’s virgin sacrifice night! And guess who qualifies?  That’s right … it’s Samantha, our no-tip pizza delivery gal. After a sequence featuring Danica’s husband (Romijn’s real life husband Jerry O’Connell) and one of the more gory and impressive practical effects of the film, Samantha manages to escape the hell-house mansion.

Soon she has teamed up with Judi (Ruby Modine), who just happens to be Danica’s daughter. Judi’s inside knowledge proves quite helpful in finding loopholes for temporary reprieves, although the devil-worshippers stay focused on offering Samantha as their virgin sacrifice to Baphomet. While all of this is happening, there is a power struggle within the coven between Danica and Gypsy (a wild-eyed Arden Myrin), adding one more wheels-off element to this carnival of comedy-horror.

Clearly this is campy, but given the low budget constraints, the film’s effects work very well, and Ms. Romijn, Ms. Griffith and Ms. Modine (Matthew’s daughter) are quite effective in their roles. It’s curious just how incredibly naïve Samantha is for her age, but this movie isn’t really about thinking and analyzing. Instead, sit back and enjoy the wildest ride you are likely to get from a Vespa-driving pizza delivery person (and please tip these folks!)

umm, yeah … I couldn’t find a trailer that could/should be played in public

 

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Posted by David Ferguson

LIGHT FROM LIGHT (2019)

June 12, 2019

2019 Oak Cliff Film Festival

 Greetings again from the darkness. Festivals are often programmed with many films that will never be screened outside of a festival environment … low-budget passion projects to be viewed only by those with an appreciation (bordering on obsession) of deep cut and one-off films. Writer-Director Paul Harrill (SOMETHING, ANYTHING) has possibly bridged the gap with a film that capitalizes on grief, while excelling in quietness and stillness.

Marin Ireland (“Homeland”) stars as Sheila, a single mom who plods through each day at her dead-end job as a rental car agent. We learn from a radio interview that Sheila may also have a connection to the afterlife, and she sometimes works as a ghost hunter or paranormal investigator – although, she has somehow lost her crew. Still, this doesn’t stop a Priest from reaching out to her in hopes that she can help Richard (Jim Gaffigan), a distraught widower who has reported strange occurrences in his farmhouse – occurrences that may or may not be related to his dead wife, and occurrences that he may or may not be imagining.

Sheila takes the job (even though she’s no Zelda Rubinstein) and recruits her teenage son Owen (Josh Wiggins, so good in HELLION, 2014) and his friend-study partner-would be girlfriend Lucy (Athena Frizzell) to help set up cameras and recording devices at Richard’s house. It’s at this point where it should be noted that this is not a horror film. It’s not even a thriller. And even though Gaffigan co-stars, it’s certainly not a comedy. It’s not even really a ghost story or a romantic tale, although those elements do exist.

The intrigue is derived from these four characters. These are not special or extraordinary people – just normal folks trying to figure out life. We learn the inner struggles of each, and as viewers we are joined at the hip with them. It’s been a year since Richard’s wife died in the crash, and he’s still coming to terms with her death, and even more so, the affair she confessed.  Sheila is wondering where she fits in the world, and her advice to Owen proves the level of overprotectiveness she has for emotion. Owen likes Lucy, but doesn’t see the point in starting a relationship that will end when she heads off to school, and Lucy is confused by his reaction to her strong attraction to him.

Ms. Ireland and Mr. Gaffigan are both excellent here, and having recently seen the latter in THEM THAT FOLLOW, I’m not the least bit surprised that he can pull off such a dramatic turn. The film reaches a different level in their scenes together – especially a hike to the crash site located within the Great Smoky Mountains. Not much is said, and there is little action, but the scene solidifies all the emotions hinted at in the preceding scenes.

A film that might be characterized by some as slow and dull, may just strike a chord with enough folks to gain some momentum for an audience. David Lowery, the director of A GHOST STORY, 2017) is an executive producer, so he has a track record of success with stories that are understated and quiet. Are there ghosts among us – possibly even the living? Richard and Sheila come pretty close. Additionally, special recognition goes out for a practical effect that is the film’s crescendo … and it involves Tolstoy! So rather than view this as a bit of a downer, as the title suggests, we should let there be light.

(I couldn’t find an online trailer)

 

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Posted by David Ferguson

HAM ON RYE (2019)

June 12, 2019

2019 Oak Cliff Film Festival

 Greetings again from the darkness. Should I stay or should I go? Only it’s not really your choice. Some bizarre ritual, or rite of passage (or no passage), is held to determine whether one is selected to venture into the world, or instead resigned to remaining a local forever.

We first see the teens clumped in their cliques, nervous energy palpable on the screen. Anxiety is prevalent but we aren’t exactly sure why. Slowly each of the young folks makes their way to Monty’s Deli – only, contrary to the title, it’s not for the ham on rye. The typical awkward teenage social event is underway, only there is more at stake here than who will dance with who.

Director and writer Tyler Taormina and co-writer Eric Berger have delivered a scathing commentary not just on the suburbs, but of the realities faced by high schoolers all over. In every home town, some kids head off to college or off into the world in some other manner, while another group gets “left behind”. What follows is a gap or void between those who leave and those who remain. In the film, the void even exists within families.

The film opens and closes with sequences in the community park. Young kids are quite normal – running, jumping and laughing. The older adults seem to be merely existing. There is an almost supernatural approach here by the filmmaker, but it does beg the question … how much control do we have over our fate at that age, and are we accepting of our lot?  Pretty interesting fodder for discussion.

watch the trailer:

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Posted by David Ferguson

THE MOUNTAIN (2019)

June 12, 2019

2019 Oak Cliff Film Festival

 Greetings again from the darkness. It’s happened before and it’ll likely happen a few more times. A movie ends and I’m at a loss as to how to explain it. What should I tell potential viewers? Is it even possible to “spoil” a movie that is so purposefully downbeat – one that relishes its inability to be analyzed by conventional methods? Filmmaker Rick Alverson has previously knocked us off-kilter with THE COMEDY (2012) and ENTERTAINMENT (2015), and this time seems intent on ensuring our misery.

Tye Sheridan (MUD, 2012) stars as Andy, a functionally catatonic Zamboni driver at the local ice rink where his dad Frederick (a quite grumpy Udo Kier) trains figure skaters. When dad drops dead on the ice, an aimless Andy is taken under the wing of an enigmatic Dr. Wallace “Wally” Fiennes (a toned-down Jeff Goldblum). Wally previously treated Andy’s mother, which isn’t really a good thing since he specializes in lobotomies and electric shock therapy. Andy hits the road with the doctor, carrying his equipment and taking before and after photos with the Polaroid Land Camera. Oh yeah, the setting is 1950’s Pacific Northwest.

Goldblum’s character is based on a real life doctor, and he runs up against an industry that is transitioning to drug treatments, leaving Wally searching for patients. He clearly believes in his treatments, and that leads to Jack, an eccentric whose daughter Susan (Hannah Gross, “Mindhunter”) is in need of Wally’s treatment. Jack is played by French acting veteran Denis Lavant, and his tirades and wild speeches blend French and English to the point that we lose the point – if there ever was one.

Goldblum’s doctor enjoys a drink and the company of women while on the road, and Sheridan’s Andy is so ultra-quiet he often becomes nearly invisible in social settings. If there is a narrative foundation to the film, I do wish Andy’s Ouija board device had spelled it out for me. Instead, the haunting music contrasted with the use of “Home on the Range” left me understanding that the few words spoken carry little meaning, and we are meant to be disrupted by feelings. My hopeless feeling mostly left me asking “why?”, and a bizarre post film Q&A with co-writer Dustin Guy Defa added little context. Actually, that was likely the perfect ending to this film.

watch the trailer:

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Posted by David Ferguson

RECORDER: THE MARION STOKES PROJECT (2019, doc)

June 12, 2019

2019 Oak Cliff Film Festival

 Greetings again from the darkness. Yes, many of us still use the word “taping” when referring to recording a TV show, movie or something else. Nomenclature changes slowly, even if technology progresses quickly. In the mid-1970’s, when Marion first started recording TV programs … initially news reports before also spreading to other topics … taping was her only option. VHS and Betamax tapes. This was long before TiVo became a common gift, and certainly prior to most cable services including a DVR with their bundles.

Director Matt Wolf takes us back to a time, not so long ago, when the term “fake news” had not yet become a familiar phrase. Marion Butler-Metelits-Stokes was a Philadelphia librarian and socialist/communist/activist who spent many years, up until her death, recording TV broadcasts. This resulted in more than 70,000 VHS tapes documenting how the daily news was presented to us. The real mystery here is “why”?  Why did Marion feel the need to do this religiously for 35 plus years? It’s the “why” where the movie’s approach is a bit stretched. Through interviews with her son, and the kids of her second husband, we are led to believe Marion was some type of crusader for the truth, and concerned that crucial information was being purposefully omitted from broadcasts.

Her son, Michael Metelits, inherited the tapes and donated them to the Internet Archive, which has been methodically digitizing them ever since with the goal of making the information searchable and available for research. Through interviews with Michael, as well as her second husband’s daughter, we come to realize that Marion was more focused on recording than on raising kids. When she married John Stokes, they shared a world view, and his family money provided her a chauffeur and secretary, as well as multiple houses and storage units. Yes, not only was Marion obsessive about her recordings, but she was a world class hoarder. When she died, she had nearly 50,000 books, plus a massive collection of newspapers, magazines, and even Apple Macintosh computers.

Since Marion never recorded her own story or what motivated her, we can only marvel at what she left behind. It’s clear that her mission shifted into high gear with the Iran Hostage Crisis, which led to the development of “Nightline”. We see clips of a very young CNN host named Kellyanne Fitzpatrick (better known today as Conway), and a young attorney named Jefferson Sessions up for a judicial appointment. There are many other snippets of the big stories through these years, but it’s the 4-way split screen of CNN, NBC, CBS, and ABC on the morning of September 11, 2001 that will stick with you. We watch in real time as CNN shows the first tower and then the slow progression as the other networks catch up. It’s still devastating to watch.

We will never know if Marion was a crusader of curiosity or obsessed due to paranoia. What we do know is that her collection leaves a treasure trove of TV news that might one day be properly studied to determine if it’s the foundation for today’s fake news.

(I couldn’t find an online trailer)

 

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Posted by David Ferguson

GREENER GRASS (2019)

June 12, 2019

2019 Oak Cliff Film Festival

 Greetings again from the darkness. Opening Night at the Oak Cliff Film Festival … a time to hold your breath while preparing for a unique movie experience. Yep, it happens every year – and this year, the festival’s 8th, may be the most fun yet. Our Thursday night offbeat treat for 2019 comes courtesy of co-writers, co-directors, co-producers, and co-stars Jocelyn DeBoer and Dawn Luebbe. These two highly creative filmmakers have expanded their award-winning 2015 short film (same title) to feature length instant indie comedic classic … and one surely to garner a cult following (just follow the laughter).

Ms. DeBoer stars as Jill and Ms. Luebbe is Lisa. They are best friends, neighbors, and passive-aggressive competitors in a manner only seen in today’s suburban settings. Think of THE STEPFORD WIVES or Seaside in THE TRUMAN SHOW, and then toss in color-coordinated family attire, golf carts for transportation, and braces on the teeth of every adult. More warped than idyllic, the wacky level of politeness is a source of comedy, and there are some gems during many of the segments. Consistent laughter in the nearly full Texas Theatre meant concentration was required to avoid missing the next killer line.

Oh yes … the killer. A stalker/possible serial killer is a menace that hovers in the background through most of the film. The threat is mostly teased as our locals go about unwittingly poking fun at soccer, baseball, yoga, accelerated classes, layered dips and music lessons. The self-imposed pressures of this existence are evident in both parents and kids – especially kids who watch unapproved TV shows like “Kids with Knives”.

Lest you think all of the comedy is derived from the two leads, know that Beck Bennett (“Saturday Night Live”) plays Jill’s husband, and Neil Casey plays Lisa’s significant other. Both are hilarious in contrasting styles, and Mary Holland is a hoot as the recent red-haired divorcee Kim Ann, and it’s D’Arcy Carden (“The Good Place”) who is the real scene stealer as Miss Human, the slightly-off second grade teacher. Julian Hilliard is immediately recognizable as young Luke from “The Haunting of Hill House”, and here he plays Julian, who is likely to make your own adolescent child’s transformation pale in comparison.

Is there an easier target for satire than suburbia … other than the current political climate, of course? Where do we look for happiness?  A friend’s husband? The neighbor’s house? Someone else’s baby? While fake flowers abound and represent the dream of exterior perfection, it should be noted that I only counted 2 f-bombs in the whole movie. The humor, though quite absurd and sometimes teasing the line with horror, is basically squeaky clean – an approach that helps it stand out in an era of today’s raunchy comedies trying to out-raunch each other. After playing Sundance, it’s likely to join the best comedies in the love-hate category. If you enjoy slightly demented social commentary, there is a good chance you’ll find humor here … though I keep drawing a blank trying to come up with a movie comparison. Perhaps that’s the best compliment that can be offered.

watch the trailer:

https://www.youtube.com/watch?v=HVyQ-j6GWzU

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Posted by David Ferguson

KATIE SAYS GOODBYE (2017)

June 6, 2019

 Greetings again from the darkness. This little gem played at the 2017 Dallas International Film Festival, and at that time, I wrote about how writer/director Wayne Roberts was one of the new and most exciting filmmakers to burst on the scene. Now, more than two years later, the film is finally getting the distribution it deserves, and I still worry there will be those who decry another film exploiting women as a victim of society. I also still stand behind my case that there is another way to view the story of Katie, a good-hearted dreamer played beautifully by Olivia Cooke (“Bates Motel”, THOROUGHBREDS, READY PLAYER ONE).

Initially, Katie’s unflappable optimism seems unlikely, if not impossible. She walks miles to work along a dusty highway. She lives in a trailer park with her deadbeat mother (Mireille Enos), whom she supports both financially and emotionally. She works double-shifts as a waitress at a truck stop, where she’s known to toss in a couple extra bucks when a particularly frugal customer stiffs the other waitress. She also works a side job as a prostitute for locals and a regular trucker named Bear (Jim Belushi). Despite a life filled with *stuff*, Katie doggedly pursues her dream of saving enough money to move to San Francisco and become a hair stylist. Of course, since she’s cursed with a heart of gold, she has to save enough money for her own trip AND for her mother to live on. Her dream seems lofty, yet almost achievable.

When Katie falls for Bruno (Christopher Abbott), the new guy in town, she tries her best to fall in love and pull him into her dreams for a better life. It doesn’t take long before Bruno is made aware of Katie’s side job, and her fantasy world begins to crumble. On a daily basis, Katie happily (of course) drinks up the truck stop wisdom of diner owner Maybelle (Mary Steenburgen), who spouts such gems as “A man with a smile will hurt you”. Good intentions abound here, but we realize … even if Katie doesn’t … that the reality of people’s self-interest is the immovable object that so often tears down the dreamers of the world.

As with much of life, one’s enjoyment of the film is likely contingent upon the perspective you bring. A caustic, cynical view will have you waving off Katie’s lot in life as exploitive movie-making; while those who can share even a spoonful of Katie’s spirit, will find themselves rooting exuberantly for her dreams to come true … or at least to sustain her refreshing outlook on life and people. Director Roberts recently released his newest, THE PROFESSOR, starring Johnny Depp. He remains a filmmaker to follow.

watch the trailer:

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Posted by David Ferguson

ECHO IN THE CANYON (2019, doc)

June 6, 2019

 Greetings again from the darkness. “Go Where You Wanna Go”, a catchy pop song by The Mamas and the Papas, always seemed a quintessential 1960’s song, but now, thanks to an insightful interview with singer Michelle Phillips in this new documentary, it’s a reminder that even the era’s free love carried a price. Director Andrew Slater, the former President of Capital Records, combines the nostalgia associated with the California Sound with the contemporary staying power of the songs and the musicians.

Jakob Dylan of The Wallflowers (and Bob’s son) is really the face of the film. Not only does he conduct most of the (many) interviews, he’s also the driving force behind the 2015 concert at the Orpheum Theatre celebrating the 50th anniversary of The Byrds debut album … an album we are told kicked off the fusion of folk and rock. Dylan’s first interview is with the legendary Tom Petty (in one of his final interviews before suddenly passing away in 2017). The two are sitting in a guitar shop with Petty regaling the brilliance of a Rickenback, and how the music of 1965-67 influenced him as a songwriter and musician.

An aerial view of Laurel Canyon accompanies its description as the antithesis of the plastic TV world of the 1960’s. It was an area that attracted bohemians – musicians, artists, and actors – and collaboration and community were the calling.  Jackson Browne and Tom Petty both mention “cross-pollination” … the “borrowing” of ideas from each other, as it’s contrasted with outright theft.

The concert at the Orpheum acts a bit as a framing device, and Jakob Dylan takes the lead and performs with other modern day acts such as Regina Spektor, Beck, Jade, Fiona Apple, Cat Power and Norah Jones. We cut to modern versions of the 60’s classics after an interview with the original artist or clip of the original band is played. It’s a way to connect the dots and show how the music still stands today.

Those interviewed include: Jackson Browne, music producer Lou Adler, David Crosby, Roger McGuinn, Michelle Phillips, Eric Clapton, Graham Nash, Stephen Stills, John Sebastian, and Ringo Starr. Each of these musical luminaries serves up a story or two, and takes a stab at defining the era and its influence. Roger McGuinn tells us how The Beatles influenced The Byrds, how The Beach Boys “Pet Sounds” influenced “Sgt Pepper”, and how so many songs and bands are interlinked. Brian Wilson is compared to both Mozart and Bach, and Eric Clapton admits to taking a bit from Buffalo Springfield.

We see and hear Brian in the studio with Jakob, as well as Clapton riffing with Stills. It’s fascinating to listen as Brian explains 4 different local studios were used to cut “Good Vibrations” because of the various sounds needed. A bit of artistic lunacy?  Perhaps. But it makes for a great tale. It’s a bit odd to have clips of Jacques Demy’s MODEL SHOP, starring Gary Lockwood and Anouk Aimee, interspersed throughout, but Dylan explains how the film inspired the concert and film. Lastly, we can’t help but chuckle since even Jakob couldn’t coax his notoriously reclusive father into providing even a touch of recollection for the project. “Expecting to Fly” is offered as the end of the era.

watch the trailer:

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Posted by David Ferguson

LOOPERS: THE CADDIE’S LONG WALK (2019, doc)

June 6, 2019

 Greetings again from the darkness. It’s a bit difficult, after watching this documentary, to not question the motives of director Jason Baffa. Was his mission really to explore the history that forged the bond between caddy and player, or was he actually after a fantasy trip to see the world’s most historic golf courses and interview some of the sport’s most iconic figures?  Either way, we can’t help but be a bit jealous!

Lest you think the jealousy might be exaggerated, you should know the film kicks off at Ballybunion Club in Ireland, and also includes visits to St. Andrews in Scotland, Canterbury Golf Club in Ohio, Carnoustie in Scotland, Bandon Dunes in Oregon, Augusta National in Georgia, and Pebble Beach in California. Director Baffa’s interviews include Tom Watson, Nick Faldo, Lee Trevino and Ben Crenshaw. And if that’s not enough, the narrator is none other than Bill Murray, himself a golf lover associated with the best “golf” comedy of all-time (the pond is good for him after a day of chasing gofers).

“Show up. Keep up. Shut up.” We learn that was the early creed for caddies as they were meant to only carry the bag for players, and occasionally help locate the misplaced shot. It didn’t take long, however, for players to recognize the value of local course knowledge, and caddying slowly evolved into a craft. It’s quite interesting to see the contrast between caddies hustling for a gig in the parking lots of clubs, to those who became rich and famous, often tied to the bag of a pro golfer for years. Examples shown include the heartfelt story of Bruce Edwards as a career caddy for Tom Watson; the first female caddy, Fanny Sunesson, working with Nick Faldo during his streak; and of course, Fluff Cowan and Steve Williams who both had runs with Tiger Woods.

Director Baffa and writer/editor Carl Cramer spend as much time talking to the history of golf as to how caddies fit in. They mention that 1474 is believed to be the first record of golf, but those in Scotland would argue it came about decades prior. A tale that ties golf to Mary Queen of Scots and the murder of her husband is told, and the true Cinderella Story of Greg Puga becoming the first caddy to tee it up at the Masters claims plenty of screen time.

Old Tom Morris’ legacy at St. Andrews is covered, as is the tie between the great Bobby Jones and Augusta National, and how the change in caddy policy affected so many African-American men. A trip to Oregon explains how Bandon Dunes is the closest thing the U.S. has to an actual links course, and most of us hear for the first time about the Evans Scholarship for caddies and George Solich’s Caddy and Leadership Academy. It turns out the CADDYSHACK really wasn’t a documentary, but it is true that the best caddies must be a blend of therapist, friend, and coach. It’s not job for the faint of heart, but caddies can certainly be the difference in a good round.

watch the trailer:

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Posted by David Ferguson

FRAMING JOHN DELOREAN (2019, doc)

June 6, 2019

 Greetings again from the darkness. Hollywood is known for taking a real life person or event, embellishing the details, twisting the facts, and creating a fictionalized version meant to shock … or at least entertain. John DeLorean lived a life that made it almost too easy for Hollywood, yet numerous attempts at a biopic have stalled over the years. Co-directors Don Argott and Sheena M. Joyce were there to pick up the pieces and deliver a documentary with dramatized reenactments of actual (and hypothetical) moments. Co-writers Dan Greeney and Alexandra Orton assist with a cinematic version likely to cause those who recall actual events to marvel at the full story, and those too young to remember will likely find it difficult to believe … or perhaps, sadly, all too believable!

The film provides the backstory where John DeLorean was a talented engineer at General Motors and became a star on the rise within what at the time was the world’s largest corporation. Turning around GM’s flailing Pontiac division by introducing the GTO as a muscle car, DeLorean’s success was a mixture of technical knowledge, marketing savvy, risk-taking, swagger, and ambition. Despite his actions leading directly to higher profits and large executive bonus checks, the stodgy old school regime forced him out in 1973. DeLorean, seen as a swashbuckling rebel, started his own company, De Lorean Motor Company, with the unusual stated goal of mass producing exotic sports cars made of stainless steel.

The dramatizations and reenactments involve Alec Baldwin as DeLorean, Morena Baccarin as his (third) wife, supermodel Cristina Ferrare, and Josh Charles as Bill Collins, the chief engineer he ‘stole’ from GM. We even get a behind the scenes look as Baldwin discusses the role from the makeup chair, and Ms. Baccarin is interviewed on how she viewed Ms. Ferrare.  These dramatizations cover possible conversations between DeLorean and Collins, as well as home life with Ms. Ferrare and the kids, and are more distraction than help.

More effective than these “what if” segments, are the actual interviews with the real Bill Collins, as well as others who were involved at the time. Unfortunately, we only see the actual Ms. Ferrare in clips, as she understandably wouldn’t want to be relive this part of her life. However, their kids, Zach and Kathryn, are interviewed on camera. Both are quite forthcoming with their thoughts, recollections, and the impact of growing up as DeLoreans’ kids. Zach carries his hostility on his sleeve, while Kathryn offers a bit more reticence. Both reactions are understandable, and ‘the car vs the dad’ discussions are fascinating … and these interviews are the film’s high points.

Opening with FBI footage of DeLorean’s lie detector test administered in 1983, possibly the most interesting aspect from an overall perspective is the contrast between his trial for drug trafficking and his later trial for embezzlement. Despite his being a truly desperate man when he agreed to the drug deal, it seems quite obvious – as the jury found – that DeLorean was a victim of FBI entrapment (possibly the first time many of us had heard the word). In the aftermath of what was a media circus not dissimilar to OJ’s trial, we do hear from both defense attorney Howard Weitzman and prosecutor Robert Perry as to how each viewed the case. However, the shell company in Geneva and the aspects to his embezzlement lead us to believe DeLorean’s character was truly compromised – or possibly revealed.

From a business viewpoint, it was quite interesting to learn that DMC (De Lorean Motor Company) ended up being based in Belfast, Northern Ireland (a great trivia question) due to 30% unemployment and the large government subsidies meant to stimulate an economy in the dumps. The lack of infrastructure and a workforce with no automobile experience led to quality issues that were simply too great to overcome …especially when combined with other issues on Planet DeLorean.

John DeLorean led a flamboyant life and experienced a very public fall from grace. Screenwriter Bob Gale explains how the DeLorean car was chosen for the BACK TO THE FUTURE trilogy, and how a letter from DeLorean showed how much he still enjoyed the spotlight. Was DeLorean a renegade visionary or a con man? Was he a victim or a cut-throat businessman? Whatever your thoughts, he’s a textbook example of how the American Dream can come true, and still be followed by one’s worst nightmare. Sometimes there is no need to print the legend … fact will do just fine.

watch the trailer:

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Posted by David Ferguson

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