JOAN BAEZ I AM A NOISE (2023, doc)

October 5, 2023

Greetings again from the darkness. The often-barefooted Joan Baez absolutely built a legacy of activism and social consciousness through the civil rights movement, Vietnam protests, prison reform, environmental issues, and other causes, making her easy to admire. Her music made her rich and famous, and has left a mark and influenced many others This documentary was initially intended to cover her farewell tour in 2018 at age 78, and while it is structured around that tour, the three co-directors, Miri Navasky, Maeve O’Boyle, and Karen O’Connor, have ended up with an intimate look that covers more of Joan Baez the person, than Joan Baez the talented singer.

The film opens with a clip of a very young Joan performing. This is fitting because at age 18 she became an overnight sensation thanks to the Newport Festival and the cover of Time Magazine. Ms. Baez provides a great deal of personal insight for the film, and speaks to her three lives: a public life, a private life, and a secret life. The public life is Joan Baez the singer and activist. The private life is Joan’s relationship with her sisters, Pauline and Mimi, and her secrets – too many of which are shared here – involve the therapy she has been involved with since she was 16 years old.

By ‘too much’, I am referring to the prolonged and detailed discussions about her mental illness, depression, and therapy sessions. In fact, the final product here feels like a therapy session for Joan. It’s one thing to share the struggles in hopes that you can inspire others to get the help they need, but this one goes a step too far. Joan discusses the childhood abuse she and her sister “may” have suffered at the hands of her father. Mind you, she doesn’t remember anything specific, but her therapist has made this scenario likely, so it has become a reality for Joan. While I fully support therapy, the idea of putting this on the table during this documentary is inexcusable to me.

Other segments are more befitting of the platform as Joan admits she was a bit lost after Vietnam because she no longer had a cause to support. Of course, the next few decades provided many opportunities for her, but the ‘need a cause’ comments provide insight into her persona … as does the notebook she wrote at age 13 entitled, “What I Believe” …an early indication that her observation skills were special. Hearing her speak of how Bob Dylan broke her heart is fascinating, especially as we note the painted portrait of him hanging over her piano – and the fact that she speaks of him frequently. She did meet her husband, journalist David Harris, while both were in jail, which has made for a fun story over the years, and we learn that their son Gabriel accompanied her on the final tour.

Somehow the filmmakers never mention Joan’s performance at Woodstock, but we do get a clip of her presence at Martin Luther King’s “Freedom” speech, and learn she was heavy into quaaludes for eight years. She discusses how being of half-Mexican descent impacted her life, and she’s credited with leading the Peace Movement. The only issue with any of this is how deeply the film dives inside her head. Bringing her depression and mental struggles to the forefront is a valuable service, but dragging a deceased parent into this affects how we view Joan Baez and the film. Fare thee well, Joan. Fare thee well.

Opens in NYC theaters on October 6, 2023, and then other markets on October 13.

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

VINDICTA (2023)

October 5, 2023

Greetings again from the darkness. Sometimes low budget horror movies work, and sometimes they don’t. As a general guideline, the less complicated they are, the better the chance of successful entertainment. Director Sean McNamara (THE KING’S DAUGHTER, 2022) is one of the more prolific directors you’ll find. His work includes TV series, videos, short films, and feature films. He currently has 15 projects in the hopper. Sean is a busy man.

With a script by Ian Neligh and Steven Paul, this film offers moments of hope, but mostly it’s too ambitious … a rare criticism these days. Trying to tackle too many story lines creates a mess in the exact place a decent little genre film could have been born. Elena Kampouris (MY BIG FAT GREEK WEDDING 2 & 3) stars as Lou, a rookie paramedic just out of training. Fire Chief Rick (Sean Astin, THE LORD OF THE RINGS franchise) reluctantly assigns her to a first ride in the middle of riots, protests, and fires in a rough part of Seattle.

In addition to the mass chaos in the city, there is a masked killer on the loose – one who thrives on vicious and violent attacks. Suspicions arise when the same building burns that burned five years earlier, killing a mother and son. Fortunately, Lou is not a typical newbie. She possesses fighting skills and is fluent in Latin and Mandarin. Latin comes in quite handy since the killer scrawls his messages in Latin, leaving Lou to assist Detective Russo (Travis Nelson) with clues in the case.

In addition to her skills, Lou is also the idealistic daughter of retired cop played by Jeremy Piven (“Entourage”). The two are so close she even has a bobblehead of him on her car dash. Lou still blames her 9-year-old self for not saving her mother’s life, no matter how many times people remind her she was just a kid. Perhaps you are starting to sense the issues with the film, and I have yet to mention the corruption and greed at the heart of the killer’s mission of vengeance. One nice touch is the mask … it’s Michelangelo’s David, and it’s plenty creepy, even if most of the characters here don’t come across as real people. Elena Kampouris is to be commended for giving her all to the role, but the writers and the film likely would have benefited from the KISS approach,

Opening in select theaters and on digital beginning October 6, 2023

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2 Comments | Horror, Thriller | Tagged: , , , , , , | Permalink
Posted by David Ferguson

CATS OF MALTA (2023, doc)

October 5, 2023

Greetings again from the darkness. Dog people vs cat people. There have been scientific studies on the personality of those who fall on one side or the other. Surprisingly, this dog lover agreed to review a cat movie … an agreement based on the assurance that all relevant cats would be on screen and not in my lap. Australian director Sarah Jayne Portelli opens with some spectacular aerial shots of Malta, an island (archipelago) in the Mediterranean Sea dating back to 5900 B.C. She gives us a brief overview of its history, and then discloses that she lived on Malta for four years and was intrigued by the cats.

She informs us that Malta has a population of 450,000 people and approximately 100,000 stray cats. The director uses a vignette approach over the 58-minute runtime to introduce us to various citizens who share their personal cat stories. We hear the tale of a woman who rescued an injured cat that ultimately had a leg amputated. The three-legged cat still roams the streets, though it hasn’t forgiven the woman for messing up the medications. We are told that cats will sit patiently at the door of a café staring non-stop at a particular diner who is expected to provide table scraps upon finishing. A newly constructed Hilton property forced the relocation of a long-time cat village, and we meet the artist chosen to renovate the massive cat statue atop a building along the shore. Bob the large ginger street cat is shown, as is Isaac, a local boy who started feeding the cats when he was eleven years old.

All of these cats (at least the ones in the film) have been given names and are part of the community. The cats have individual personalities and quirks … some are more comfortable with humans than others; something that’s often dependent on whether early abuse or hardship was overcome. A case is made for the government to get involved with animal NGO’s and providing food, which most of the volunteer feeders pay for themselves at this time. There is simply no denying the fascinating cat culture of Malta, and the three benefits: tourism, joy to locals, and mental health therapy. Even this dog person must begrudgingly agree.

On Digital beginning October 3, 2023

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3 Comments | Documentary | Tagged: | Permalink
Posted by David Ferguson

FANTASTIC FEST 2023

October 2, 2023

Fantastic Fest is an annual film festival sponsored by Alamo Drafthouse in Austin, Texas. Specializing in independent films, the festival usually leans heavily into horror, science fiction, dark comedy, and Avant Garde – pretty much anything that could gather a “cult” following. Here is a recap of the Fantastic Fest films I covered this year (virtually).

YOU’RE NOT ME

Every year, Christmas is voted both the happiest AND most stressful time of the year. The reason why seems pretty obvious and is encapsulated in one word: family. Co-writers and co-directors Marisa Crespo and Moises Romera seize on this phenomenon by having Aitana and her wife Gabi, along with their recently adopted baby boy, make a surprise visit to Aitana’s parents’ home on Christmas Eve … or if you prefer the word used by the parents, it’s an ‘unannounced’ visit.

From the moment the front door is answered, Aitana (and us) notices the cold and strange reception. After being away for three years, she expected long hugs and oohs and ahhs. Instead, her wheelchair bound brother, Saul, is the only one happy to see her, and the curious vibe includes meeting Nadia. The layers take a while to peel back, but what’s apparent is that Nadia has replaced Aitana as the daughter, and this includes sleeping in her bed, wearing her clothes, and being doted on by the parents.

The atmosphere shifts from odd to downright bizarre in the evening as a formal dinner party confuses Aitana. Is she in danger?  Is her baby in danger? Is Nadia a threat? What is up with her parents’ odd behavior? There are teases of the supernatural, demon worship, and a culinary cult. Does any of this play out? Does Aitana’s nightmare come true? The filmmakers expertly toss out many questions, while we as viewers are reminded of ROSEMARY’S BABY (1968) and THE WICKER MAN (1973) as the set-up progresses. No one would describe this as a typical Christmas flick (although there is an Old Nick); however, it’s an impressive production that keeps us guessing.

THE COFFEE TABLE

A smarmy furniture salesman goes overboard convincing Jesus that a particularly hideous coffee table “will change your life” and guarantees it will “bring you happiness. He also claims multiple times that the glass top is “unbreakable”. Jesus and his wife, Maria, argue over the piece. She scoffs at him for believing the outlandish promises. What we soon learn is that Maria ‘rules the roost’ in this marriage and is accustomed to her word being the final word. She planned the wedding, named their newborn baby, selected the color and décor for the nursery, and has been decorating their new apartment with no input from hubby.

The purchase of the coffee table is merely Jesus standing up for himself and making a decision for their family. This couple argues over trivial matters, and they’ve yet to address the absurd accusations and demands being made by the 13-year-old neighbor girl who fantasizes about Jesus. Maria heads to the market to prepare for dinner with Jesus’ brother and his barely legal girlfriend, leaving Jesus in charge of the baby.

By the film’s end, one of the furniture salesman’s promises has come true while the other two have proven absolutely not true. We watch in amazement as Jesus desperately tries to find a way out of the worst imaginable situation … one made even worse by the extended discussions on the joys of parenting. The tension here is palpable and the subject matter is about as dark as any movie I’ve watched … it’s not for those who enjoy lighthearted flicks, but the film is about as well-made and well-acted as you’ll ever find at an indie film festival. The awards ceremony rarely matters much to me at festivals, but I was disappointed this one didn’t gain some recognition.

THE UNCLE

Croatian filmmakers David Kapac and Andrija Mardesic set this story around Christmas, or so it seems anyway. The tinseled tree is up, the house is decorated with blinking lights, and mom is cooking a beautiful turkey for the family meal. Dad and son race to finish their chores before Uncle arrives after his drive from Munich. What appears to be a Norman Rockwell set-up for the family holiday fun is somehow off kilter … each of the players displays enough awkwardness that we instinctively know not all is as it seems.

Forced conversation at the table turns to forced gratitude as presents are disbursed. A video is shown and then Uncle departs. We are left to wonder what the heck, when another day arrives and the event is recreated … right down to the roast beast. We soon see piles of turkeys, cigarette cartons, and BB guns, and realize that these evenings are not just uncomfortable, they are being repeated time after time.

Uncle states many times that all he wants is “a perfect Christmas”, though it’s not until “Sis” accompanies one evening, that we begin to assemble the clues and pieces. There is enough dark comedy in the first half that we chuckle a few times; however, the second half is so bleak and depressing and filled with suspense, that we can only attempt to shake off the feeling of horror that permeates. Two standout performances here belong to screen vet Predrag Miki Manojlovic (as Uncle) and Ivana Roscic (as the mother).

MUSHROOMS

For those of us who enjoy figuring out a mysterious story line before the answer is revealed, this little gem from filmmaker Pawel Borowski will both enchant and frustrate. A ‘granny’ is foraging in the woods for her regular supply of hard-to-find mushrooms. We are drawn to her face and confident movements as she trudges through the forest. It’s a face of toughness and experience.

She happens upon a couple resting in the forest. Both are dressed in costumes. The woman has an ankle so injured that it requires she be carried by her male partner, one who talks incessantly.  He begs the old woman to provide assistance and guide them to safety. At first, she refuses; but ultimately agrees to lead the way. She’s a shrewd woman and doesn’t believe their story about a theater prank, and what follows is a slowly-formed game of cat and mouse with no clear solution, but a definitive ending.

Nature is key here, and granny educates the couple on “spiritlessness”, the rare pure silence in nature. Musical cues occur periodically, though mostly we are left to our own until what can only be defined as a surprise ending. We might have had a better shot at solving the mystery if we were better able to pinpoint a timeframe, but without that, we simply enjoy the suspense and joy of a clever, makes-sense conclusion.

THERE’S SOMETHING IN THE BARN

Billed as a Norwegian comedy-horror, it’s unfortunate that this latest from director Magnus Martens didn’t work on either front for me … although I absolutely adore the premise. A typical American family inherits a family farm in Norway, and quickly decide to relocate to the farm and turn the barn into a Bed and Breakfast for tourists who want to enjoy country life and the spectacular views. Of course, this happens after we’ve seen the opening and what happened to the previous owner a month earlier.

The teenage daughter (Zoe Winther-Hansen) is angry about leaving her friends behind. The stepmother (Amrita Acharia) is trying to put on a happy face for the family, while the goofy dad (Martin Starr, “Silicon Valley”) is just excited for the adventure and mostly oblivious to the obstacles. It’s the young son (Townes Bunner) who stumbles on the oddity living in the barn. An elf has made the dusty place his, and a local man provides the breakdown of the local legend. The son tries to explain to his family what the “Barn Elf Rules” are, but they ignore him and proceed to break all three rules.

Numerous cracks about violence in America are included (evidently part of the ‘comedy’), but other than skiing being broadcast on every cable channel, the movie is neither as clever nor scary as it tries to be. Turning into an elf gore-fest with a gang of elves makes for some fight scenes that should have been more creative, and instead mostly fall flat. This is one I had high expectations for since I thoroughly enjoyed last year’s VIOLENT NIGHT. At least it ends with the great Darlene Love singing “Christmas (Baby, Please Come Home).”

***NOTE: I have also watched TOTALLY KILLER, a horror film that screened at Fantastic Fest this year, and a separate review will be posted since it was not part of the virtual festival package.

1 Comment | Comedy, Drama, Horror, Thriller | Tagged: , , , , , , , | Permalink
Posted by David Ferguson

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