AMERICAN TRAITOR: THE TRIAL OF AXIS SALLY (2021)

May 28, 2021

Greetings again from the darkness. World War II continues to provide the stories of individuals who were caught up in the horrific events surrounding the war – some folks acted heroically, some despicably, and still others simply did what they could to survive. Director Michael Polish (NORTHFORK, 2003) adapted the screenplay with Vance Owen and Darryl Hicks from the book by Mr. Owen and his father William E. Owen. It’s the nearly forgotten story of an American woman drawn into the powerful Nazi propaganda machine, and subsequently tried for treason.

Mildred Gillars is a name few will be familiar with. Portrayed well here by Meadow Williams, Ms. Gillars was known as Axis Sally by American servicemen during WWII. Her radio broadcasts of Nazi propaganda alternately entertained and enraged Americans, and this depiction of her story shines a light on the lengths to which the Nazis utilized psychological warfare in conjunction with traditional tanks and guns.

Director Polish spends most of the movie’s runtime on Gillars’ trial for treason, which provides a courtroom for Oscar winner Al Pacino (now 81 years old) to play her attorney James Laughlin and chew scenery with an enthusiasm and fervor matched by few actors. Joining Laughlin at the defense table is green-behind-the-ears attorney (and former GI soldier) Billy Owen (Swen Temmell), whose warm approach contrasts well with Laughlin’s gusto. The lead prosecutor John Kelly is played by Mitch Pileggi (“The X-Files”), and other supporting roles are covered by Lala Kent, Jasper Polish, and Carsten Norgaard.

Flashbacks are vital here, as we see Gillars “perform” her act, often in front of Joseph Goebbels, the chief propagandist of the Nazis during the war. Thomas Kretschmann (U-571, 2000) is excellent and sufficiently creepy as Goebbels, and some of the most intense scenes feature Goebbels and Gillars. Filmmaker Polish takes a sympathetic approach to Gillars, an approach surely to ruffle some patriotic feathers. The trial is not often-remembered in the aftermath of the war, but Ms. Gillars’ story makes us wonder just what we might do if our life was threatened … and just as importantly, how would our actions be judged after the fact?

 In select theaters and On Demand May 28, 2021

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Posted by David Ferguson

SAINT MAUD (2021)

May 24, 2021

Greetings again from the darkness. This feature film debut from writer-director Rose Glass made the festival rounds beginning in 2019 and, like so many films, had it’s opening delayed due to COVID. So even though it officially opened in February, I’m just now getting around to seeing it.

Morfydd Clark (THE PERSONAL HISTORY OF DAVID COPPERFIELD, 2019, and PRIDE AND PREJUDICE AND ZOMBIES, 2016) stars as Maud, a nurse relieved of her duties at a hospital after a tragedy. She’s a recent convert to Roman Catholicism from a more free-spirited lifestyle, and is now convinced God not only speaks to her, but also periodically enters her body. Maud takes a new job as an in-home palliative care nurse for Amanda (Jennifer Ehle, ZERO DARK THIRTY, 2012), a former popular dancer/choreographer who resides in a large British seaside home as she waits for the terminal cancer to do what it does.

As Amanda chain smokes, guzzles booze, and entertains guests (both intimately and socially), Maud becomes more committed to saving Amanda from herself so that she might have everlasting peace in her soon-to-come death. Though initially enchanted by Maud’s pious dedication, Amanda ultimately rejects Maud’s role as savior in a most public and humiliating manner. This not only costs Maud her job, but kicks her into a faith-questioning, pain/penance/sacrifice mode that is painful to watch. We’ve witnessed her in a near-orgasmic state as God takes over, and now we see the solitude and extreme loneliness of a lost soul seeking direction. Is she possessed?  If so, by which “side”? If not, is she a religious zealot or is she mentally ill … is there even a distinction between the two?  Maud’s two different eye colors lend credence to two sides battling for control.

In addition to Ms. Glass’ screenplay and direction and terrific imagery, cinematographer Ben Fordesman contributes strong work with extreme close-ups of Ms. Clark, as well as creative shots of Amanda’s house that succeed in turning it into a character – a house on the hill that’s not the haunted one. The score from Adam Janota Bzowski adds just the right atmosphere to the uneasy feeling we have around Maud. The supporting cast includes Lily Frazier as Carol, Amanda’s online hook-up, and Lily Knight as Joy, Maud’s friend and former co-worker.

We are initially led to believe this is a story about the unlikely connection between Maud and Amanda, but in fact, this is Maud’s story and no one else’s. Has she been chosen as God’s disciple, or is she losing her mind? Filmmaker Rose, whether intentionally or not, seems influenced by some fine films, including: William Friedkin’s THE EXORCIST (1973), Scott Derrickson’s THE EXORCISM OF EMILY ROSE (2005), and two projects from Paul Schrader – TAXI DRIVER (1976) and FIRST REFORMED (2017). The inclusions of William Blake’s religious paintings contribute to this as an example of the feelings non-believers have towards the overly religious and their often accompanying hypocrisy. Morfydd Clark’s performance is top notch, and this is arthouse spiritual horror at its finest … certainly not for the masses, but sure to tickle the fancy of a few.

Currently streaming on Amazon Prime

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Posted by David Ferguson

FINAL ACCOUNT (2021, doc)

May 20, 2021

Greetings again from the darkness. Relatively late in life, director Luke Holland discovered his Jewish roots and the history of his grandparents being murdered in concentration camps during the Holocaust. Mr. Holland passed away in 2020, but not before he finished the documentary he started in 2008: interviewing surviving Germans from Hitler’s Third Reich era. This seems like a miserable project to undertake, and an uncomfortable film to watch, but what we see on screen is a case study in human psychology and insight into how these folks live with their memories and past actions.

Holland interviewed “regular” German citizens, not just those who became soldiers and officers. To set the stage, the film opens with the quote from Primo Levi:

“Monsters exist, but they are too few in number to be truly dangerous.

More dangerous are the common men, the functionaries ready to believe

and to act without asking questions.”        Primo Levi

The point being, why did so many Germans go along with the atrocities, either by participating or looking the other way? Why did more not speak up or take action? The obvious and presumptive answer is that they feared for their own lives. But what we hear directly from these people doesn’t always fit the obvious.

Holland is running the camera and asking the questions, and he has each interviewee go back to the beginning – how they got started. We hear stories and see clips of young German kids happily playing. We learn they are then transitioned to Hitler Youth at age 14 – this was parodied in Taika Waititi’s brilliant JOJO RABBIT (2019). These kids were in uniforms all hours of every day. So the mandatory brainwashing started at an early age, and then some were transitioned to the Waffen SS, which one of the members boasts was the elite corps and “had the best tanks”. This is the snapshot of the Nazi machine – start them early and then train them to kill for the cause.

Some of those interviewed were soldiers, some worked at concentration camps, others held regular jobs, while some had no history of service. What they have in common is that they all lived in Germany during a time when the world veered towards a moral abyss. To Holland’s credit, he lets the answers stand on their own – there is no agenda or propaganda behind the film. He leaves it to viewers to process what is said, and whether anyone wants to find symmetry with today’s world.

“I don’t know. I didn’t participate.” Of course, denial and memory block has been a coping device for many of these folks. Some express the burden of guilt, while others rationalize inaction due to fear. Only one states matter-of-factly, “I have no regrets.” There is even mention that Hitler had “the right idea”, but a different strategy would have been the better approach. Holland instigates discussion about being complicit and perpetuating an evil … this makes for spirited conversation. Holland was not a Psychologist, but his film is a remarkable character study, and in the words of one of those interviewed, “Today, you wonder how that could happen.”

Opens in theaters May 21, 2021

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Posted by David Ferguson

THE DRY (2021)

May 20, 2021

Greetings again from the darkness. Remember when an exonerated OJ Simpson vowed to dedicate his time to finding “the real killer” of Nicole Brown Simpson and Ronald Goldman? For some reason that memory came back in the early stages of this film as a Melbourne-based Australian Federal Police agent returns to his isolated hometown after his childhood friend is implicated in a murder-suicide. See, that agent left town as a teenager when he was suspected of being involved in the murder of a local teenage girl.

Eric Bana (MUNICH, 2005) stars as that AFP agent Aaron Falk. He’s been gone for 20 years, but agrees to return for the funeral of his friend Luke (Martin Dingall Wall) at the request of Luke’s parents (Bruce Spence, Julia Blake). The parents don’t believe Luke would have killed his wife and one of his two kids and then committed suicide, and they want Luke to investigate. Of course, the rest of the town believes Luke did it, and most are none too happy that Aaron has returned, as they haven’t forgotten the suspicion tied to him for the tragedy that took the life of his friend Ellie (BeBe Bettencourt) so many years ago.

The stark contrast of glass and steel Melbourne towers and the drought-stricken cracked soil of (fictional) Kiewarra are as distinct as the comparison of today’s Kiewarra with Aaron’s flashbacks to those carefree days of swimming in the river with Ellie, Luke and their friend Gretchen – who is now a single mom played by Genevieve O’Reilly, and one of the few to welcome Aaron back. The film is based on the 2016 international best-selling novel by Jane Harper, and there is a lot to keep up with, despite a pace that never feels rushed. The two cases may be separated by twenty years, but they seem connected, even though we aren’t sure how murder and suicide and a slew of suspects all fit together. Aaron works with local police officer Greg Raco (an excellent Keir O’Donnell) in an attempt to make sense of what’s happened.

There are angry and suspicious people throughout the town. William Zappa plays Mal, Ellie’s grudge-bearing father, while Matt Nable plays her obnoxious and quick-to-accuse cousin Grant. James Frecheville (ANIMAL KINGDOM, 2010) is local farmer with a motive Jamie Sullivan, while John Polson plays school Principal Scott Whitlam who isn’t quite as put together as he’d like everyone to believe. Farmer Sullivan remarks (with the film’s best line), “You think you’re gonna get the truth in a town like this?”  And by that time, we know exactly what he means.

The flashbacks to Aaron’s teenage years provide much of the context to the story and his character, and they are handled beautifully. It’s a small town whose residents hold an abundance of secrets, rumors, and grudges, creating a web of misinformation that challenges Aaron and Officer Raco. The two cases (past and present) collide, and cinematographer Stefan Duscio does terrific work with the vast, dusty landscape, as well as the many interior shots where the characters reveal their true selves. Writer-director Robert Connolly (a heavy TV workload recently) co-wrote the script with Harry Cripps and Samantha Strauss, and they have created a suspenseful and entertaining whodunit. With the heavy dose of crime shows on TV these days, it’s a pleasure to see a well done film with high production value and a cohesive story. Just remember to use an alibi other than “shooting rabbits”, if you are ever working on a cover story.

Opening in theaters and on VOD on May 21, 2021

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Posted by David Ferguson

DREAM HORSE (2021)

May 20, 2021

Greetings again from the darkness. Feel-good, underdog sports stories are a dependable addition to the entertainment value many seek from movies. Director Euros Lyn (shout out for the first 3 episodes of “Happy Valley”) and writer Neil McKay take us to South Wales for the unlikely true story of Dream Alliance, a racehorse whose saddle carried the hopes of a downtrodden small town. Only rather than focus on the horse, this is the story of the townspeople who desperately needed something to believe in.

Toni Collette (THE SIXTH SENSE, 1999) stars as Jan Vokes, a South Wales villager working two jobs. She also cares for her arthritic husband and her elderly parents, while wondering why her life is so mundane and joyless. Her affinity for animals is apparent by the dog in her bed (not her husband) and the rehabilitating goose in the kitchen. She also has a history of prize-winning with whippets and pigeons. One evening while working at the local pub, she overhears blustering bravado from a customer named Howard Davies (Damian Lewis, “Billions”) who regales his drinking buddies with tales of his time in a syndicate for a racing thoroughbred. After a bit of research, Jan decides she’s going to purchase a mare in order to breed and raise her own race horse.

The fun begins when Jan, with the help of Howard, puts together a syndicate of local town folks in order to bankroll her idea. It’s kind of a rag-tag group, including the town drunk (Karl Johnson). But their passion clearly brings hope where it’s been lacking for a while. Howard, an accountant by trade, has to initially keep the whole thing secret from his wife (Joanna Page), who has no tolerance after his last syndicate almost cost them everything.

Jan’s husband Brian (Owen Teale, “Game of Thrones”), aka Daisy, jumps in to help, though this is one segment that detours from what we saw in the 2015 documentary, DARK HORSE (an audience winner at Sundance). It’s likely Brian’s work was more important than what this dramatized version leads us to believe. Here, the focus is on Jan, and of course, the always reliable Ms. Collette, is strong in the role. However, when Dream Alliance disappears for long stretches of the movie (while off with trainer Philip Hobbs played by Nicholas Farrell), we forget that it’s the story of a horse. Beyond that, we rarely see Jan with Dream Alliance, yet we are supposed to buy a “horse whisperer” connection between the two. How and when did that happen?

The racing scenes are very well done and provide a jolt of energy to the film. The steeplechase jumps are especially impressive and stress-inducing. Cinematographer Erik Wilson provides a touch of realism both at the track and in the small town. This helps immensely since the story is mostly fluff with minimal conflict between the elite of horse racing and the blue collar folks of a mining town. The film ends with a group song of “Delilah” (by Welshman Tom Jones) that includes the real Jan and Brian, as well as others who were involved with Dream Alliance. It’s a true example of “Hwyl” no matter how you say it or how you define it.

Releasing in theatres on May 21, 2021 and On Demand June 11, 2021

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Posted by David Ferguson

NEW ORDER (2021)

May 20, 2021

Greetings again from the darkness. “You say you want a revolution … well, you know … we all want to change the world.” Writer-director Michel Franco hits head-on the always hot, and very current topic of the haves versus the have-nots, and I immediately thought of those Beatles’ lyrics.

Chaos at a hospital and a pile of bodies informs us trouble is brewing on the streets of Mexico. We then cut to a lavish wedding event being held at the luxurious residential compound of the Novellos, a wealthy family whose daughter Marianne (Naian Gonzalez Norvind) is marrying her fiancé Alan (Dario Azbek). Her father Ivan (Roberto Medina) is an important businessman who invited other important people and dignitaries. As the attendees mingle, her mother Rebecca (Lisa Owen) is summoned to the gate to meet with Ronaldo (Eligio Melendez), a former employee who is asking for the money to pay for a surgery his ill wife needs. What follows is the mannered way in which the Novellos react. They give Ronaldo some money, but it’s far short of the amount needed. It’s Marianne who, even on her wedding day, tries desperately to help him.

Marianne has Cristian (Fernando Cuautle), the son of loyal housekeeper Marta (Monica Del Carman), drive her to where Ronaldo lives. Unbeknownst to Marianne, an insurgence has disrupted the wedding festivities and carnage has ensued at her house. Upon arrival at Ronaldo’s house, masked soldiers take Marianne hostage. Her vibrant red outfit and the green paint used by protesters provide symmetry to the national flag of Mexico as the streets are under siege. Many of the elite rich have been killed, while others taken hostage for ransom and torture. Filmmaker Franco expertly captures the frenzy and terror brought on by the revolution.

As the uprising takes hold and the coup progresses, we quickly see the effects of power and greed. Most of the story is told from the viewpoint of the privileged, and that’s likely to offend many. At times we are confused about just how many sides there are in this war, though it seems Franco’s point is that there are no good guys. The film teeters on the line between social commentary and exploitation, due to the violence and greed – we even see the glee on a maid’s face as she loots the valuables from her employer. We find little empathy for anyone here, except of course, for those being held captive and tortured. Certain elements thrive in chaos, and the situation turns to Authoritarianism. The cynical message is that entitlement and corruption exist regardless who is in charge. In other words, the more things change, the more they stay the same. The “New Order” is the same as the old – just with new faces. Franco has highlighted unrest specific to Mexico, but also nods to global issues.

“You say you got a real solution … well, you know … we’d all love to see the plan.”

Releasing in theaters on May 21, 2021

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Posted by David Ferguson

BECOMING ICONIC: JONATHAN BAKER (2021, doc)

May 20, 2021

Greetings again from the darkness. Certainly I’ve never thought “Dude, just shut up!” more frequently during a movie than while watching this documentary from Neal Thibedeau. That recurring thought had nothing to do with anyone else in the theater (I was watching alone at home), but instead was aimed at the subject of the film, Jonathan Baker. His interminable narcissistic chatter, especially during the first 20 minutes, not only highlights the level of ego we are dealing with, but also tests the patience of any and every viewer.

The premise of the project has definite merit: A first time feature film director documents his process and the industry challenges faced, while also sharing the insider tips and advice he garnered from some of the top names in the profession. Directors appearing on camera and recalling their first films include: Oscar winner Taylor Hackford (RAY, 2004; AN OFFICER AND A GENTLEMAN, 1982), Oscar winner Jodie Foster (LITTLE MAN TATE, 1991), John Badham (SATURDAY NIGHT FEVER, 1977; THE BINGO LONG ALL-STARS & TRAVELING MOTOR KINGS, 1973), and Adrian Lyne (FATAL ATTRACTION, 1987; FLASHDANCE, 1983). The segments with these successful directors are enlightening as these professionals are particularly forthcoming in their honest assessment of their own first efforts and the industry in which they work.

The second half of the film focuses more on Baker’s struggles to get his first film made. INCONCEIVABLE (2017) starring Oscar winner Nicolas Cage, Oscar winner Faye Dunaway, and Gina Gershon provides Baker with all the obstacles he was told to expect, plus a few more. The Hollywood money machine isn’t fond of turning millions over to a first time director; while actors, costumes, sets, locations, and kids all bring hiccups that require managing, manipulation, and negotiation.

Interviews with these directors and a behind-the-scenes look at the hurdles in getting a film made create some terrific moments that we wouldn’t ordinarily be privy to. However, almost every sequence is tainted by Jonathan Baker puffing up about his “vision” (which we never learn) and the ‘fact’ that he was born to be a director, and what he really wants is to be rich and famous … to reach the “iconic” status of the title and of those kind enough to offer him the benefit of their own struggles. Instead, Baker seems to thrive on dropping Warren Beatty’s name countless times … both as his “mentor” and the seller of the house that Baker bought. Of course, this mentor only ‘appears’ in Baker’s ramblings, and never actually on camera. The film certainly would have benefitted from another pass at editing to remove some of the duplication, as well as some of Baker’s personal ramblings. There is enough here for any wannabe director, and the patience required can only help.

Being released on Digital and VOD on May 21, 2021

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Posted by David Ferguson

THOSE WHO WISH ME DEAD (2021)

May 18, 2021

Greetings again from the darkness. Taylor Sheridan was Oscar nominated for his screenplay of the superb HELL OR HIGH WATER (2016). He also wrote and directed WIND RIVER (2017), wrote the screenplays for both SICARIO movies, and is the creative force behind the TV series “Yellowstone”. He has excelled in generating slow-burn tension and conflict. For his latest film, he’s back in the director’s chair after co-writing the script with Charles Leavitt (BLOOD DIAMOND, 2006) and the 2014 novel’s author, Michael Koryta.

Oscar winner Angelina Jolie stars as Hannah, a thrill-seeking smokejumper (those folks who jump out of airplanes to fight fires and save lives) burdened with a faulty decision that cost lives in a massive forest fire the previous year. After flunking her psyche-evaluation, Hannah packs up the blame and her flashbacks and accepts her low-key assignment to the solitude of “Fire Tower”, a lookout perched above the tree line of Soda Butte, a park area within Yellowstone that encompasses the Continental Divide. Early on we see the camaraderie of the smokejumpers as they tease each other and “welcome” the new firefighters to the park.

In a seemingly unrelated storyline (although we know the intersection is coming), Owen (Jake Weber, “Medium”) and his son Connor (Finn Little) take an emergency detour on the way to school. Owen is a forensic accountant who uncovered some corruption while working for a Florida DA who was recently murdered by the same hitmen now chasing Owen and his son. Soon, Connor is wandering alone through the forest looking for someone he can trust, and up pops Hannah. The pair of calm-cool-collected hitmen are played by Aidan Gillen (“Game of Thrones”) and Nicholas Hoult (MAD MAX: FURY ROAD, 2015). They track down Owen’s brother-in-law Ethan (Jon Bernthal, BABY DRIVER, 2017), who happens to work for the sheriff’s department in the same park.

Whether you call it a hunt or a chase, it’s always a bit creepy when professional hitmen are tracking down an innocent kid, and the tension is elevated when we see the bad guys take their direction from a higher-up bad buy played by Tyler Perry in one brief scene. The film features a hand full of excellent action sequences, including a shootout between the hitmen and Ethan’s pregnant wife Allison (Medina Senghore). Conveniently, Allison runs a survivor camp, and despite her belly, manages to put up quite a fight.

Cinematographer Ben Richardson (BEASTS OF THE SOUTHERN WILD, 2012) capitalizes on the extraordinary vastness and beauty of Soda Butte, and some of the forest fire effects are so good we can almost feel the heat. The supporting cast is excellent and the multiple story lines all work together nicely. For me, what prevented the film from reaching the level it could have, was the presence and performance of Angelina Jolie. Her last action movie was SALT in 2010, and here she seems too concerned with a look of glamor – right down to consistently brushed hair and perfect make-up – than fitting the profile of the courageous (and slightly off-center) smokejumpers. She stands out from the others on the team not because of her inherent extreme risk-taking, but rather because of her magazine-cover approach – something not limited to the hair and make-up, but also her posing and preening, including many of the same gazes from other movies like GONE IN SIXTY SECONDS (2000). I often admire and respect the choices actors make, but in this case, those choices work against everything else in what could have been an excellent dramatic thriller.

Now available on HBO Max

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Posted by David Ferguson

THE WOMAN IN THE WINDOW (2021)

May 13, 2021

Greetings again from the darkness. Agoraphobia (the fear of leaving one’s home) has been the topic of a few films over the years, but for whatever reason, none of them have really clicked. Of course, director Alfred Hitchcock brilliantly used a wheelchair-bound James Stewart to create his tension-packed classic REAR WINDOW (1954); however, there’s a psychological difference in being stuck at home due to injury, and being mentally and emotionally unable to bring yourself to walk out the front door due to anxiety and fear. Controversial author/editor AJ Finn (pseudonym of Dan Mallory) wrote a 2018 best-selling debut novel around this affliction, and now Tracy Letts has adapted the novel for the screen and director Joe Wright (DARKEST HOUR 2017, ATONEMENT 2007).

Amy Adams stars as Anna Fox, a child psychologist suffering from agoraphobia after a horrible car accident. She never leaves her Brownstone. She has groceries and prescription drugs delivered to her door, and conducts business over the phone. She has also mastered the internet and memorized dialogue from numerous classic films. Anna also spends an inordinate amount of time spying … um, observing … her neighbors through the window. Anna has a pet cat, and also a tenant living in her basement. We don’t learn much about David (Wyatt Russell) until later in the film.

The story is broken down by the days of the week, and begins with Monday when Anna meets Ethan (Fred Hechinger), the son of the Russells who just moved in across the street. On Tuesday, Anna meets the character played by Julianne Moore, and the two have a chat about her son Ethan, in addition to bonding over wine … a beverage of frequent choice for Anna. On Wednesday and Thursday, all heck breaks loose as Anna hears a scream and witnesses a stabbing in the home of her new neighbors. The cops don’t believe her and Ethan’s dad, Alistair Russell (Gary Oldman), shows up accusing her of lying, boozing, and hallucinating on prescription drugs. It’s not a pretty sight for Anna.

The first hour does a nice job of setting the scene for Anna and her struggles, plus creating confusion and misdirection on what she’s experiencing and “seeing” in regards to the situation in the Russell home across the street. We get a feel for the strange dynamic with David, the phone calls with her husband Ed (Anthony Mackie), and her therapy sessions with Dr. Landy (screenwriter Tracy Letts). It’s really Act 3 where things went off the rails for me. It seemed there was an attempt to cram too much into too short of time. The ending is clear and helps us make sense of everything that has come before; however, it just came across as forced, and out of step with what we had watched in the first hour.

Other supporting roles include Brian Tyree Henry as a Detective, and Jennifer Jason Leigh. In fact, the stellar cast includes two Oscar winners in Julianne Moore and Gary Oldman, a previous Oscar nominee in Jennifer Jason Leigh, and of course, Amy Adams, who has six Oscar nominations. Ms. Adams carries most of the movie with yet another terrific performance, while the others really aren’t given much to do. It’s rare for me to say this, but I believe the material would have been better served as a two- or three-parter, rather than a relatively short movie. It was initially delayed in 2019 for re-shoots and a re-edit, and then again in 2020 due to COVID. I might have been somewhat disappointed in the final project, but I suspect this will be hugely popular on Netflix.

Premieres on Netflix on May 13, 2021

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Posted by David Ferguson

THE KILLING OF TWO LOVERS (2021)

May 13, 2021

Greetings again from the darkness. The film opens with a man pointing a gun at a sleeping couple. We hold our breath in anticipation until the tense moment abruptly passes. At its most extreme moments, life can push people to their emotional and physical limits, and that’s what we see with David, played exceptionally well by Clayne Crawford (TV series: “Lethal Weapon”, “Rectify”).

The foreboding of that opening scene cloaks the entire film with an inevitability that we never shake. David is living with his ailing father (Bruce Graham) right down the street from Niki (Sepideh Moafi, “The Deuce”), his high school sweetheart, and the mother of his teenage daughter and three younger sons. David and Niki are in the midst of a trial separation, in which they’ve agreed to see other people while also trying to work things out. They even try “date night”, which is where it becomes painfully clear to us that Niki not only has a new boyfriend (Chris Coy), but she’s doing well at her job, and is looking to the future. It’s likely she agreed to the separation to make the transition easier on David, whose pride will not allow him to accept the break-up of his family.

David’s a loving father, but he lacks the emotional maturity to handle the situation. The strain of it all has him simmering with rage – even as he hustles for manual labor jobs and tends to his dad. His dream of being a singer-songwriter is in the distant past and now he’s in crisis mode. Even his daughter Jesse (Avery Pizzuto) advises him of Niki’s situation. This is a small town with wide open spaces, but David can barely breathe, and this is perfectly captured by cinematographer Oscar Ignacio Jimenez.

Robert Machoian is the writer-director-producer-editor, and he keeps the characters and situation grounded in reality and familiarity. He was co-director with Rodrigo-Ojeda Beck of GOD BLESS THE CHILD, a film I saw at the 2015 Oak Cliff Film Festival in Dallas, and he possesses a distinct feel for the little things that seem big in life. Crawford expertly captures the essence of a man caught in a grim situation. I would have liked to have seen another interaction between he and Chris Coy, but what we do see is chilling. Take special note of the sound effects from Peter Albrechtsen – highly unusual, but effective in helping us understand the chaos inside David’s head. Mr. Machoian is a filmmaker to follow.

Available in select theaters and VOD on May 14, 2021

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Posted by David Ferguson

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