BETTER MAN (2024)

January 9, 2025

Greetings again from the darkness. There may have been a movie that surprised me more than this one during 2024, but off the top of my head, I can’t think of one. My expectations were low for a film based on the true story of a British boy band pop star whose music I wasn’t too familiar with … oh, and he’s played by a human-sized CGI chimp. Robbie Williams is the pop star, and though he has little popularity or recognition in the United States, his story is quite interesting … and certainly presented in a creative and entertaining manner by writer-director Michael Gracey (THE GREATEST SHOWMAN, 2017) and co-writers Simon Gleeson and Oliver Cole.

Calling young Robbie Williams an outcast is not done for dramatic effect. His troubled youth and home life morphed into an opportunity to join Take That, a boy band who hit it big in the 1990’s.  Booze, drugs, and depression are too often part of the story for those who reach celebrity status, and that’s certainly the case with Williams … as is his infidelity while on tour, and his ‘Daddy issues’, thanks to a father (Steve Pemberton) who dumps the family to pursue his own flirtations with fame – yet never shying away from sprinkling in a bit of envy while lecturing his son. If you’ve always wanted to see Oasis insult and humiliate another pop star, your wish will come true, although we doubt neither Liam nor Noel are having to act much in the scene.

Robbie Williams himself answers the big question early on. This is how he sees himself: a performing monkey. And the monkey, though not real of course, does a terrific job of winning us over to the point where we no longer have that initial ‘what the heck’ look on our face. The reason this works is that director Gracey and subject Williams never back away from playing this approach as directly as it shows on screen. It may be a gimmick, but it’s not played for a final ‘gotcha’ moment.

The music is on full display here, and Williams’ performance at Knebworth is excellent, but the real showstopper is “Rock DJ”, which along with the montage, provides us with a bit of history lesson on Take That. It’s a world class film scene and one of the best of the year. The personal aspects may not play quite so well. The inner-band rivalry with Gary (Jake Simmonce), and the manner in which he treats his relationship with girlfriend and also famous Nicole Appleton (Raechelle Bano) make him out to be more of a beast (and less interesting) than the one performing on stage. Still, I don’t hesitate to proclaim this to be the best music biopic of the year featuring a CGI chimp in the lead role.

Opens in theaters on January 10, 2025

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Posted by David Ferguson

SUPER/MAN: THE CHRISTOPHER REEVE STORY (2024, doc)

January 4, 2025

Greetings again from the darkness. Almost all little kids imagine themselves as Superman, a larger-than-life figure who accomplishes incredible things … while flying through the air! Filmmakers Ian Bonhote and Peter Ettedgui collaborate again, this time to tell the story of the man who became Superman on screen for a new generation, and then, after a horrible accident, became a real-life inspiration and advocate for so many folks around the world. We also note that it’s impossible to tell the Christopher Reeve story without also gaining insight into his equally determined wife and caregiver, Dana Reeve.

“You are still you, and I love you.” These are the words Dana spoke to Christopher after the 1995 riding accident when his horse refused to jump a fence, sending Reeve flying in such a way that the landing left him a quadriplegic near death. Rather than fading, her words gained strength over time, right up until his death in 2004. The film offers a profile of Reeve’s early days, first as a roommate of Robin Williams at Julliard, and later as an up-and-coming actor. There is discussion of his attempts to break away from the Superman cape, most noteworthy in films like SOMEWHERE IN TIME (1980) and DEATHTRAP (1982).

Personal insight is provided by Reeve’s own children, Gae Exton (his ex and mother of two of his kids), and friends and colleagues – Whoopi Goldberg, Jeff Daniels, and Glenn Close. Some of this is focused on his post-injury career when he pursued acting and directing (1998 TV Movie, REAR WINDOW), yet the most personal and insightful bits come courtesy of the home movies through the years, offering a window into the man, rather than the actor. It’s that man that shines through once he transitions into Christopher Reeve, activist for spinal injuries.

Reeve displayed little self-pity, instead determined to move forward with a new life where his celebrity status could bring attention (and money) to the cause. He gave speeches (the Democratic Convention) and made appearances (one at the Academy Awards ceremony less than a year after his accident). Always by his side was Dana. She was an incredible caregiver, yet so much more as she shared his determination in fundraising and medical research. A little off topic, but there’s a clip of her singing in 1987, displaying significant talent.

A devastatingly emotional sequence occurs as we see the family visiting Reeve’s death bed. He was 52 years old when he passed. Proving that the universe bears no sense of fairness, non-smoker Dana was diagnosed with lung cancer less than a year later, and died at age 44, a mere 17 months after Christopher’s death. It’s rare for a documentary to deliver such personal insight, and even rarer for one to pack such an emotional wallop. The stories of Christopher and Dana Reeve serve to remind us of what matters in life … that’s their legacy (more so than a cape).

*On a personal note, I sat by Christopher Reeve at the LA Coliseum during an NFL playoff game between the Cowboys and Rams in January 1979. He took pleasure in talking trash to the young man (me) wearing the Cowboys jersey … at least until the good guys took a commanding lead and he left early.

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Posted by David Ferguson

SEPTEMBER 5 (2024)

January 3, 2025

Greetings again from the darkness. The 1972 Olympics are remembered for a few highlights. Swimmer Mark Spitz set seven world records on his way to seven gold medals. Belarusian gymnast Olga Korbut won three gold medals (although not in the all-around). The United States and Russia played one of the strangest and most controversial games in Olympics history. And most importantly, the 1972 Munich Olympics are remembered for the tragedy surrounding 10 members of Israel’s team being taken hostage by a masked Palestinian militant group.

Writer-director Tim Fehlbaum and co-writers Moritz Binder and Alex David recreate the events from the perspective of the ABC television production crew. For some historical perspective, this was the first OIympics with widespread and comprehensive live television coverage. It was also the first Olympics held in Germany since 1936 (the Jesse Owens’ games). These games were merely 27 years after the end of WWII. Quick math tells us that 27 years ago from this film’s release was 1997, the year Princess Diana died. To put it plainly, physical and emotional wounds had not completely healed, and Germany was striving to put the past out of mind.

Renowned ABC sports producer Roone Arledge (played here by Peter Sarsgaard) is the man running the Olympics coverage. Newbie broadcast producer Geoffrey Mason (John Magaro, PAST LIVES, 2023) is brought in to run the “off hours”, while Arledge rests. Mason’s experience includes covering minor league baseball, so this is his first shot at the big time. His supervisor, Marvin Bader (played by Ben Chaplin, THE THIN RED LINE, 1998) has confidence in his young protégé, but things go sideways quickly when gunfire is heard.

The genius of the film stems from Director Fehlbaum and Cinematographer Marcus Forderer (I ORIGINS, 2014) choosing to shoot everything inside the ABC control room. This heightens the claustrophobia and pressure as the crew struggles with how best to handle this developing and obviously historic moment. It’s no longer about swimming and sprinting, but now it’s ABC Sports versus ABC News … and since possession is the proverbial 9/10 of the law, Arledge fights to keep the story with his team who is in close proximity. Anchor Jim McKay is seen in archival footage, while reporter Peter Jennings is on the grounds. Translator Marianne Gebhardt (Leonie Benesch, who was amazing in THE TEACHER’S LOUNGE, 2023) is the only one who speaks German and she is vital in her reporting of what’s being broadcast via local radio.

It’s difficult to convey just how much tension runs through this film for both the television crew and the viewers. Ten members of Israel’s Olympic team was taken hostage inside the Olympic Village by the masked Palestinian militant group Black September. We know how history played out over those hours and it’s chilling to revisit from this perspective. The geopolitical aspects are touched upon (Bader was Jewish), but this isn’t about that. Journalism may be heavily criticized these days, but it’s historic moments like this when we depend on competent trained professionals to tell (and show the stories the world needs to know. The haunting archival clips used here add to the quasi-documentary feel.

Opening in select theaters on December 13, 2024 and wide on January 10, 2025

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Posted by David Ferguson

STUDIO ONE FOREVER (2024, doc)

January 3, 2025

Greetings again from the darkness. Apologies in advance for any improper labels or descriptions included here. This documentary dates back fifty years to when the term “gay lifestyle” was acceptable. Further to the point, the focus is on Studio One, a West Hollywood disco for gay men. It took a while for the doors to open for other persuasions in what is now referred to as LGBTQ+. Filmmaker Marc Saltarelli really delivers a history lesson – not just for a landmark building, but for an era when gay men were sometimes arrested for simply walking down the street together.

The archival clips and photos often feature sweaty torsos dancing to disco music in a cavernous warehouse located on LaPeer Drive. So why does this particular disco warrant a documentary? Partly because of when it opened (1974), partly for how long it lasted (19 years), and mostly for the people who played and worked within those walls. In 1974, this was one of the few places gay men could hang out together and party. And oh my, did they party!  We hear stories from patrons, performers, DJ’s, and bartenders … stories that include feeling safe and free and cutting loose with music, booze, and drugs (etc etc).

It wasn’t all dancing and gyrating. Studio One became a key force in the Gay Rights Movement, as well as the war against AIDS. Additionally, once the “Backlot” was opened upstairs, it developed into a popular performing spot for musicians and comedians, plus as a hangout for celebrities. Boston Optometrist Scott Forbes founded the club, but the building itself had quite a prior history. In 1929 it hosted a movie camera factory, and during WWII it served as a munitions storage facility. In 1967, “The Factory” opened as a private club partially owned by actor Paul Newman. It was 1974 when Forbes opened Studio One, setting in motion a cultural shift for southern California.

When the film opens, we are informed that a real estate developer has petitioned the city to demolish the building. Those with so many memories of the place work to defend it. Ultimately, a surprising compromise is reached. Along the way, we hear from Chita Rivera, Bruce Vilanch, Liz Torrez, and others as they discuss the impact of this hot spot, and how it evolved into a stage for top performers – including Joan Rivers during her cause to help find a cure for AIDS. It was also a hangout for A-list celebrities like Cary Grant, Rock Hudson, and even Bette Davis.

Disco music and discotheques went out of style many years ago, yet the most startling revelation of the film is in the club’s own policy of discrimination. When it began, Forbes envisioned this as a place for gay men to experience each other. We even learn his preference was for blond gay men. Not so welcome were people of color, lesbians, or others outside of the preferred demographics. The club (and its owner) was racist and sexist … quite surprising from a group that society had so severely discriminated against.

The history lesson continues with a segment on the filming of CAN’T STOP THE MUSIC (1980) at the club, and how Steve Rubell was influenced by Studio One when he founded the infamous Studio 54. The emotions run deep as our talking heads recall those who were lost to the AIDS epidemic, but the smiles are present as they reminisce about the good times. The film provides an unusual look at a specific time in history … one that shifted society.

Available on Digital Platforms beginning January 6, 2025

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Posted by David Ferguson

THE WILD ROBOT (2024, animation)

January 2, 2025

Greetings again from the darkness. With four outstanding animated films released in 2024, this one adapted from Peter Brown’s 2016 book by director Chris Sanders (HOW TO TRAIN YOUR DRAGON, 2010) stands above the others thanks to a tremendous story and fascinating characters. This is one for all ages and all types of movie lovers. It’s simply that good.

A new-age robot washes ashore. With no assigned customer and no programmed task, “Roz” is a bit confused on how best to proceed. This leads to a trip into the forest where she shifts to ‘learning’ mode, and soon enough is speaking to the various wild animals – finding ways to ‘help’ most of them. It’s a terrific opening few sequences drawing us in with awe and surprisingly … character connection. A tragic accident finds an undersized and orphaned gosling basically playing “Are You My Mother?” with Roz. The 1960 book by that name is a kids’ classic written by PD Eastman and edited by Dr. Seuss, and re-read countless times by most parents.

What follows is an incredible adventure featuring many different creatures, each with distinct personalities. Only these aren’t the cartoon characters we are accustomed to seeing in animation. None here are training for a solo on stage or strategizing to escape the zoo. These are wild animals in nature, and sometimes bad things happen … and sometimes good things happen. As bonds are formed and trust gained, it’s wonderful to see the community come together. Much/most of the story revolves around three outcasts: Roz the robot who is searching for her task, Brightbill the gosling who is ignored by the skein of geese migrating, and Fink the fox whose loneliness matches his sly manipulations.

A talented and deep voice cast includes Lupita Nyong’O (Roz), Pedro Pascal (Fink the fox), Kit Connor (undersized and orphaned Brightbill), Bill Nighy (Longneck, leader of the geese), Stephanie Hsu (Vontra, leader of the retrieval bots), scene-stealing Matt Berry (Paddler the beaver), Ving Rhames (Thunderbolt, hawk), Mark Hamill (Thorn the grizzly bear), Catherine O’Hara (Pinktail the possom). It’s a lineup of celebrities, but this is no ego exhibition. The characters are developed and story is multi-faceted. Some scenes are tense, while others are capped with humorous moments (“male bovine excrement” cracked me up). There is an overall guiding message of kindness, cooperation, and putting others ahead of self.

The film’s score is by Oscar winner Kris Bowers, and Dreamworks, in their ongoing rivalry with Pixar, has delivered depth and artistry instead of the usual cash grab on project for kids. Without a specific task to complete, Roz manages to be a guiding light for Brightbill and a partner to Fink, all while being an asset to the community … even though she looks a bit worse for wear by the end. For those who typically shy away from animation, this one is worthy of a watch. This is expert filmmaking.

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Posted by David Ferguson

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