HOLLYSHORTS FILM FESTIVAL (2025)

August 17, 2025

This is the 21st annual HollyShorts Film Festival. For the years I have covered the festival, I have always come away impressed with the quality of films and stories. What really stood out in the group I watched this year was the quality of production. Nothing looked cheap or amateurish, and I have so much respect for how the overall quality of these short films has improved over the years. There are filmmakers who specialize in Short Films and there are filmmakers hoping their Short Film will garner enough attention to shift them into Feature Film mode. Both are passionate about what they are doing. Time prevents me from covering even more of the lineup, however, here’s a recap of those I watched. These are not in order of preference, as there’s not a dud in the batch.

***** FIVE STARS  (7:49)

The line between reality and fantasy has been blurred thanks to the proliferation and popularity of social media, on-line porn, and violent high-def video games. Writer-director-producer Todd Wiseman Jr nabbed a prime opening night slot for the film’s premier at the festival.

With the byline, “a French teenager racks up death and destruction in Florida, before dinner”, Wiseman’s film provides a vivid example of how glorified violence in video games has become accepted as fun and entertainment. Milo Machado-Graner (ANATOMY OF A FALL), stars as the teenager who is evaluating the latest and greatest game release. The visuals, and his reactions, are disturbing to watch … especially for those of us who don’t partake in this type of game. There is certainly a message here for anyone who will listen.

A FRIEND OF DOROTHY  (21:24)

The directorial debut of writer-director Lee Knight takes full advantage of the always interesting Miriam Margolyes (a 60-year tacting career), who stars as an 87-year-old widowed grandmother (Dorothy) living alone, surrounded by her beloved books and plays. Like so many of the elderly, she’s lonely in her daily routine of medication and crosswords. In fact, opening that day’s can of prunes has turned into her biggest challenge.

An accidental kick of his football into Dorothy’s garden sends 17-year-old JJ (Alistair Nwachukwu) knocking on the front door. His then simple gesture of kindness lights the fuse to an unlikely friendship that blossoms. The two, separated by at least a couple of generations, find much to share with each other. A late scene features Stephen Fry (Harry Potter franchise) as an attorney and Oscar Lloyd (“Emmerdale Farm”) as Dorothy’s cocky and entitled grandson, Scott. The ending shows just how important friendship and kindness is for the elderly … they want to be seen. It’s a stark reminder to us all.

HALFWAY HAUNTED (16:36)

How about a ghost story that’s scary and funny and insightful all wrapped up in a satirical commentary on some of today’s social issues? Writer-director Sam Rudykoff and co-writer Bryn Pottie manage to deliver a most entertaining short film, while also forcing us to think about certain topics.

The film opens with stressed out Jess (Hannah Younis) rehearsing for a crucial job interview. If she lands the job, she might finally be financially stable enough to move out of the haunted flat she’s in. And by haunted, I mean … she shares the space with a ghost. Her stress level skyrockets when a knock at the door reveals her new landlord, Stephanie (Sugar Lyn Beard), and a two-month notice to evacuate so the building can be torn down and replaced with condos. Stephanie’s electric smile hides her contempt for Jess’ situation.

What follows is a negotiation between Jess and the ghost (Kristian Bruun, READY OR NOT, 2019). The first rule of negotiating with a ghost is … don’t trust the ghost. They seem to be on the same team, and this ghost is very convincing (and deceitful). There are twists and turns, giving us a wild ride that takes us places we don’t expect. Horror-comedy is tough to pull off, but this one does so very well … and leaves us wondering if a feature might be next.

IT’S OUR BALL (11:20)

David Morrison is a long-time cinematographer, and this is his first official time in the director’s chair. His film caught my eye immediately by opening with a quote from legendary coach John Wooden, who loved “the purity of women’s basketball.” But don’t mistake this for a profile of Caitlin Clark. Instead, this is about the passion and pure joy of senior women playing hoops.

We don’t really see much game action during the film. Rather than focus on the court, Morrison interviews a handful of women who explain what the game means to them. When contrasting to the way men play the game, one of the women states, matter-of-factly, in their Sunday games, there are no ball hogs. Anyone who has ever played the game knows exactly what she means.

Every hobby should bring as much joy and satisfaction as these women receive from playing the game. It’s no exaggeration when they claim you can tell a lot about a person by how they play the game. How refreshing to hear they don’t feel old, and when on the court, “I am myself.”

JAMES HYDE – THE VERY THOUGHT OF YOU  (10:12)

World War II produced many heroes, and the tales of these individuals remain fascinating and inspiring all these years later. Fortunately, filmmakers like Benjamin Uttley and Simon Uttley are committed to telling the stories of these courageous folks who helped save the world. This film is based on the true story of James Hyde.

He was a man from Trinidad, one of many who volunteered for the RAF. Hyde flew 71 missions, and this is the story/reenactment of his final dogfight. For historians, it was the Operation Market Garden in Holland where Hyde and his fellow airmen were ambushed by 30 Nazi pilots. Uttley puts us in the cockpit of a 1944 Spitfire with Hyde (portrayed by David Jonsson, “Industry”), and we experience his flashbacks to memorable times with his wife, Mary (Margaret Clunie, “Victoria”).

The film features stunning camera work for the dogfight over Nijmegen, where on September 25, 1944, Hyde was shot down. It’s not just his bravery that the film recalls, but also his humanity.

NERVOUS ENERGY (15:24)

As youngsters, we are counseled to ‘follow your passion.’ Of course, we learn that the road to success is bumpy with potholes and wrong way streets. The commitment required sometimes approaches superhuman levels. To top it off, there are no guarantees for success, regardless of passion, commitment, or even talent.

Writer-director Eve Liu presents the story of Jay (Lucie Zhang, PARIS, 13th DISTRICT, 2021) and Kiki (Sonia Yuam, DRIVE MY CAR, 2021). They are best friends with a shared dream, “Let’s make beautiful films.” They re-evaluate their lives and the stasis on the death of art. Doubt and disincentive are everywhere … even between each other. Collaboration proves to be yet another obstacle. The break of a friendship can be more painful than the end of a dream.

RIVER OF GRASS (17:27)

The challenges faced by returning war veterans are many and have been the focus of numerous movies over the years. This has not softened the impact of their stories, and likely hasn’t caused much improvement for them once they are back. Writer-director Derek Magyar and co-writers Jon Bloch and Chad Christopher bring us the story of one vet caught in a particularly cruel net.

Young Larry (Dylan McTee, “Roswell, New Mexico”) returns from the Vietnam War and receives a less-than-warm welcome from his Florida Everglades family. No longer the high school football hero, Larry takes some grief from his gruff older brother Robert (Victor Webster, “Continuum”), who says to him, “You almost look like a man now.”

The 4th of July fireworks bring out Larry’s PTSD, but when the family matriarch (Marceline Hugot, BLOW THE MAN DOWN, 2019) insists he join the family’s criminal business, Larry has no choice. This is a deep rural family that views college as a place that corrupts with liberal agenda. The family expectations serve also as the limitations for a man changed by war.

SUNDAY SAUCE (14:25)

It’s a Sunday family dinner. What could go wrong? Well, what if it’s a boisterous Italian family? What if unexpected guests have been invited? What if the tomato sauce is on the verge of boiling over … but it’s not the hottest part of this gathering? Over just a few minutes, writer-director Matt Campanella delivers an awkwardly comedic scenario that stirs in multiple spicy topics.

Brace yourself for the first awkward scene as the film opens with a gentleman taking some ‘personal’ time in the bathroom while on a dating app. As this is progressing, the family matriarch (the great Cathy Moriarty) is cooking dinner and loudly expressing opinions and explaining the reason for inviting the guests. The gent from the bathroom must face an incredibly awkward situation when the other end of his dating app shows up as one of the invited guests.

A burnt hand, lobster claw, the need for salt, heavy guilt and embarrassment, and repenting for sins come into play, and Campanella brilliantly sets a family argument to Pavarotti. It’s a risqué film filled with comedic and ticklish moments.

SUSANA (15:24)

One has to admire a middle-aged American woman who is brave enough and independent enough to fly solo on her vacation to Mexico City. Susan is portrayed by familiar face Bonnie Hellman (AMSTERDAM, 2022) as the tourist making her way around, despite her state of melancholy, bordering on outright loneliness.

Co-writers/directors Gerardo Coello Escalante and Amandine Thomas show us how Susan perks up when she joins up with a group of younger Americans. Despite the generational differences, her energy level jumps up and a smile crosses her face as she drinks, dines, and dances with the youngsters. Of course, reality tends to rear up when things are a bit too good to be true. It’s never too late for another life lesson.

THE PAINTING & THE STATUE (20 min)

It’s not really forbidden love. It’s more like inexplicable love … or at least the worst of luck. A statue is clumsily relocated to a grand room in a palatial estate where a lovely painting is already hanging on the wall.  Over the next 200 years, various circumstances prevent the eyes of the painting from meeting the eyes of the statue.

A chandelier, the positioning of the painting, a threatening war … all conspire to prevent this meeting of artistic works from across the room. Frequent actor Freddie Fox (“The Great”) steps behind the camera to direct his second short film, and it’s a gem. A couple of familiar faces, British actors Mark Gatiss and Fenella Woolgar, have multiple roles through the years, and when, after a couple of centuries, the art world concedes, we have Tanya Reynolds as the painting and professional dancer Andrew Monaghan as the statute giving their best shot at life.

THE PEARL COMB (20 min)

If you are familiar with the mythical legends of mermaids, you know quite well that the tales are rarely of the Disney variety. Writer-director Ali Cook (his debut as director) offers an early tease of the Disney tone, and then quickly shifts towards the mystical version that borders on folk horror.

The film was inspired by the story of the Edinburgh Seven, women who sought access to medical education in the 19th century. Set in an 1893 Cornish fishing village, the story finds  old man Lutey (Simon Armstrong, “Game of Thrones”) encountering the mermaid (Clara Paget, “Black Sails”). The gift of a pearl comb leads Betty Lutey (Beatie Edney, “Poldark”) to cure a local of consumption/tuberculosis. This ‘miracle’ sends a stuffy doctor, who happens to be a Lutey relative, to investigate and disprove this surely false claim.

The production value here is top notch. The cliffside of the sea and the set design of the Lutey house are of a big budget feature, and beyond that, the story is exceptional both in execution and the multiple levels upon which it works (a woman’s place). This is a superb short film in all aspects … and the siren of the sea and the corresponding magical power provides added bonus.

THE SECOND TIME AROUND (12:17)

Most of us appreciate a creepy little mystery. That’s what made Rod Serling’s “The Twilight Zone” so popular. This latest from prolific short film creator (writer-director) Jack Howard is certainly in that mode, and it works very well thanks in no small part to the setting and the acting.

It’s a dark and rainy night (of course) when an old lady (Caroline Goodall, THE DRESSMAKER, 2015) knocks on the door of a closed coffee bar. A young waitress named Elle (Hannah Onslow, EMPIRE OF LIGHT, 2022) takes pity on the woman and allows her to come in and warm up. Elle has a remarkably welcoming demeanor and lends a kind ear as the woman tells her tale and re-visits a distant and crucial memory.

Their time together is brief, and the dots are connected after the woman leaves and a young woman named Joan (Genevieve Lewis, “Doctors”) shows up. Rod Serling would likely be impressed. I certainly was.

TRAPPED  (15:12)

We’ve all had one of those days. That’s what came to mind watching Joaquin (Javier Molina, ABSOLUTION, 2024), a high school janitor attempting to go about his business. On a evening where family circumstances have forced him to bring along his young kid, things spiral out of control to the point that Joaquin could lose his job.

Co-writers, co-directors, and brothers, Sam and David Cutler-Kreutz present their follow up to last year’s superb Oscar nominated short, A LIEN (2024). Their filmmaking style seems to thrive with tension, as evidenced by both films. Joaquin’s evening sinks into turmoil thanks to some entitled students and their ‘senior prank’. Wisdom and experience play a role here, as does the desperation involved when someone fears losing something they value. It’s a taut suspenseful short film that rewards the viewer.

WHITCH (5:42)

It seems like everyday someone posts that their Amazon or Uiber-Eats order was delivered to the wrong house. This latest short film from writer-director Hoku Uchiyama (made a name with his music videos) finds Aura, (Alicia Blasingame) a young mother, reading a bedtime story to her daughter. Afterwards, she confronts a strange woman in her living room.

The intruder is persistent about having Aura join her in some type of bloody ritual before the clock strikes midnight. Despite the blood and the overt visuals with the elderly lady and the rabbit, this little short film provides a couple of chuckles to go along with the setting and tone of horror.

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Posted by David Ferguson

Book Review: READY FOR MY CLOSE-UP – THE MAKING OF SUNSET BOULEVARD AND THE DARK SIDE OF THE HOLLYWOOD DREAM (2025)

August 11, 2025

“READY FOR MY CLOSE-UP”, author David M Lubin

The Shark Movie. The Wicked Witch Movie. The Prison Escape Movie. The Jury Room Movie. The Holocaust Movie. The Angel Gets His Wings Movie. Most every movie lover can name these from the rudimentary description, and for his latest book, author David M Lubin selected yet another instantly recognizable film … The Swimming Pool Movie, officially known as SUNSET BOULEVARD (1950). That opening scene with the body floating face down in the swimming pool of a gothic mansion is instantly seared into the mind of all who watch.

When setting out to write a book about a 75-year-old classic movie, the writer must know that their own passion for the project will be matched (and possibly eclipsed) by those in the limited prospective audience – those obsessed with the movie and with Hollywood lore. As one who falls into that category, it is with immense pleasure that I report author Lubin delivers the goods to satisfy any and every cinephile. All fans of SUNSET BOULEVARD will most assuredly be fascinated by, and appreciative of, the exhaustive research required to pull this off.

Lubin chooses an unusual structure for the book. It’s not told in storybook form, but rather in chapters – sometimes seemingly unrelated – that blend to take us behind the scenes, as well as profiling those involved with the production. This serves as a history lesson plus a character study, and also as a glimpse of the movie-making process. As a result, we better understand what went in to producing this stellar feature, while also self-reflecting on what we as viewers have taken from the film. What did it mean to us? How do we interpret the characters’ actions and motivations? There is a distinct possibility that your views might shift a bit after taking in all the book offers.

A significant chunk is dedicated to the film’s co-writers, six-time Oscar winner Billy Wilder (who also directed) and three-time Oscar winner Charles Brackett (who also produced) and D.M. Marshmann Jr. The three men shared the Best Writing Oscar for the film, while Wilder and Brackett were frequent collaborators on other classic films like NINOTCHKA (1939) and THE LOST WEEKEND (1945). Lubin excels in diving into this complicated professional relationship between two men who couldn’t have been more different from one another, yet who also brought out each other’s best work.  They even argued about that now iconic opening swimming pool sequence.

Of course, many movie lovers care most about what goes on in front of the camera, so Lubin provides, in absorbing detail, much about William Holden, Erich von Stroheim, and the amazing Gloria Swanson. When this film is discussed, many enjoy noting the similarities between Ms. Swanson’s actual career and that of her Norma Desmond. Viewers often describe Norma as a relic of the past. It should be noted that Ms. Swanson was fifty years old during production, and as contemporary comparisons, Sandra Bullock is now 61, Nicole Kidman is 58, Julianne Moore is 64, while Naomi Watts and Julia Robers are both 57. Turning 50 in 2025: Charlize Theron, Kate Winslet, and Angelina Jolie. Perhaps Ms. Swanson deserves even more accolades for her performance. Yes, Hollywood and societal judgments have shifted when it comes to middle-aged women, and we are much the better for it. Author Lubin does not make these contemporary comparisons, but his writing motivated me to do so.

Also deserving of the expansive write-up in the book is Erich von Stroheim. Few have combined success behind and in front of the camera like von Stroheim. He even directed Gloria Swanson in his 1929 silent film QUEEN KELLY … this more than thirty years prior to portraying her dedicated and enabling valet, Max Von Mayerling. Erich von Stroheim’s background and career could carry its own book, and Lubin does a terrific job painting a portrait of this proud man. William Holden gets the expected coverage, but as with his struggling screenwriter (and narrator) Joe Gillis, he’s overshadowed by the more colorful and intriguing characters. Even renowned filmmaker Cecil B DeMille (Oscar winner for THE GREATEST SHOW ON EARTH, 1952) is given his due for portraying a gentile version of himself. Others receiving brief coverage include Nancy Olson (now 97 years old), Fred Clark, Jack Webb, (famed Hollywood columnist) Hedda Hopper, and one of the all-time greats, Buster Keaton.

Lubin details the difficult search for the perfect mansion, and even once they found it, a swimming pool had to be constructed. The challenges in creating the script make for fascinating reading, and for anyone who believes filmmaking is a precise science, this book cracks the façade known as the magic of Hollywood. Movies are made by humans and humans are flawed … perhaps Hollywood humans more so than average. Lubin goes head-on with the theory that this classic film bashes the Hollywood system for what it does to those whose lives are intertwined with it. Through his meticulous research and many pointed observations, Lubin challenges us to re-think our interpretation of the film. What more could one ask from a book on ‘The Swimming Pool’ movie?

The book releases on August 12, 2025

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Posted by David Ferguson

Book Review: “Warhol’s Muses”

June 7, 2025

“Warhol’s Muses: The Artists, Misfits, and Superstars Destroyed by the Factory Fame Machine” by Laurence Leamer

These days the name Andy Warhol invokes images of the zany 1960’s and a cultural icon of the 1970’s. To hear the name Warhol more often evokes a snapshot of an era, rather than the legacy of the person. Images flash through our mind of Marilyn Monroe, Campbell’s Soup, Brillo Pads, and even celebrity photos from Studio 54. Author and biographer Laurence Leamer has an impressive track record of documenting the entourages and close ties of the women associated with celebrity men in some of his previous books: “Capote’s Women”, “Hitchcock’s Blondes”, “The Kennedy Women”, and this latest follows the travails of the women who took a swim through Warhol’s Factory.

Leamer pulls no punches. For those searching for more ‘flower power’ or ‘peace and love’, this is not the book for you. In keeping with that, this is not so much a history of Andy Warhol as it is a detailing of the line of “superstars” that entered and departed from the Warhol sphere of influence. Surprisingly, this makes for reading that is every bit as interesting (and a bit dispiriting) as the numerous biographies that have been written on the man himself.

What Leamer makes clear is that Warhol had a desperate need to be famous. His pop art that sells for such extravagant prices today, never seemed to be a passionate pursuit, and for years it only got him so far along the path of A-list celebrity. Instead, Warhol’s talent for using the beauty and presence of these women to open high society doors seemed to be his true commitment … and the cost to those women mattered little to him. In fact, a recurring theme is his lack of emotional ties. Warhol seemed to carry a void for all but his own image. Although a few benefitted at times, these are the women who paid the price for his public image.

The muses of the title and the ‘superstars’ of Warhol’s Factory are subjects of fairly comprehensive recording and analysis by author Leamer. The ten discussed are: (Baby) Jane Holzer, Edie Sedgwick, Brigid Berlin, Mary Woronov, International Velvet (Susan Bottomly), Viva (Susan Mary Hoffman), Ultra Violet (Isabelle Collin Defresne, Salvador Dali’s former lover), Nico (Christa Paffgen), Ingrid Superstar (Ingrid Von Scheven), and Candy Darling (James Slattery). You may recognize some of the names, but what mattered to Warhol was that each stood out in a crowd, and while clutching his arm, helped soften his homosexuality for the masses. Each brought a level of glamour and a form of respectability to a mostly reserved and often socially awkward man.

Of course, the other side of that coin is where Leamer spends his time. Sex, drugs, art, and parties all over Manhattan were keys. However, Leamer details Warhol’s “independent” films that seemed to offer little more than an outlet for his fetishes, while providing hope for stardom to these women. Warhol made these “underground” movies for his own pleasure and as a way to lure those he wanted as part of the Factory. His movies like “The Chelsea Girls”, “The Nude Restaurant”, and “Blue Movie” may have been the best known, yet ‘smut’ or pornography often was the most accurate label for a Warhol film. Leamer makes this point without dwelling in the gutter.

Self-destruction is a recurring theme throughout Leamer’s recounting the tales of the muses, and he usually provides the evidence of Warhol being the reason, or at least a big part of it. Even with death/suicide occurring all-too-frequently, Warhol rarely showed outward emotion or grief. His peeps were not just replaceable, they were in fact, frequently replaced. Author Leamer goes on to detail Warhol’s connection to and management of The Velvet Underground, as well as his being shot at the Factory in 1968 by radical feminist writer Valerie Solanas (“SCUM Manifesto”). There is very little about this book or its stories that we find uplifting. Actually, the opposite is true. Despair was the emotion I most often felt while reading Leamer’s book, yet it’s also so well researched and insightful that we find ourselves appreciative of pulling back the curtain on a secretive icon of an era.

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Posted by David Ferguson

“Adventure-a-thon” THE LOST CITY OF Z

May 3, 2025

Blogathon “Adventure-a-thon”

The blogathons administered by Cinematic Catharsis and RealWeegieMidget Reviews are always fun to participate in … and the entries from talented writers make for interesting and enlightening reading. Unfortunately, my movie review schedule often prevents me from dedicating the necessary time, so I’m always excited when my lull corresponds to their next collaborative blogathon.

This time the topic is “Adventure”, and since so many movies and TV shows fall into that category, the challenge was in selecting one that I not only left me in awe, but also hasn’t received the recognition it deserves (in my opinion). On this basis, my choice became:

 THE LOST CITY OF Z (2016)

It’s been almost ten years since this film from director James Gray was released, and I’ve recommended it many times to folks who were unfamiliar or unaware. The film is expertly photographed by cinematographer Darius Khandji (a two-time Oscar nominee) and is based on the book by the absurdly talented David Grann, whose books also include one of my personal favorites, “Killers of the Flower Moon”. The screen is filled with green and golden hues (similar to OUT OF AFRICA), providing a sense of realism and a touch of romanticism to the true adventures of the bold explorer, Percy Fawcett.

Charlie Hunnam (fresh off his “Sons of Anarchy” run) portrays military man and explorer Fawcett (often) through quiet strength and a doggedness to discover what is ahead. Helping us to understand this man’s heroic actions, director Gray divides the presentation into three areas: the stuffy, poorly lit backroom of London’s power brokers; the 1916 WWI front line where Fawcett’s courage is on full display; and the Amazon jungles where Fawcett strives for glory and redemption. No matter that we viewers would be satisfied with a film focusing only on those last two circumstances of action, Gray wisely recognizes that it’s the debates and conversations within the backrooms that motivate Fawcett to never give up the fight.

With a run time of 2 hours and 21 minutes, the film is quite long, yet it never seems so thanks to the three main Fawcett expeditions of focus. In 1906 the Royal Geographic Society enlisted Fawcett for a “mapping” journey to distinguish boundaries around Bolivia in what had become a commercially important area to the abundance of rubber. It’s on this adventure where Fawcett cracks wise about overcoming his “poor choice in ancestors”. He’s joined on this expedition by the great Franco Nero, and it’s also the one that lights Fawcett’s lifelong obsession with proving the existence of Z (Zed), an earlier advanced society.

1912 brings the second Amazonia expedition – the one in which renowned Antarctic explorer James Murray (played her by a snarling Angus Macfayden) joins Fawcett and his loyal and expert travel companion, Henry Costin (a terrific Robert Pattinson). The trip proceeds as one might expect when an ego-driven, unqualified yet wealthy passenger hitches a ride for glory alone. Murray’s history is well documented, and the film treats him just as we’d expect.

It’s the third trip (1925) that Fawcett makes with his son that will not only prove to be his last, it’s also the one that left unanswered questions which writer Grann felt compelled to research for his book. What possesses a man to hop into a wooden canoe on unchartered waters and trek through lands and jungles with no known back story? The spirit and mettle of such a man defines the legacy of Percy Fawcett. The film also offers us glimpses of life at home for Fawcett with his wife Nina (Sienna Miller), who flashes signs of early feminism. One of their kids is played by Tom Holland (giving us a future Spider-Man and future Batman – Pattinson in the same movie).

The film leaves an impact for many reasons: it looks stunning, Fawcett’s life was fascinating, the adventures are dangerous and breathtaking, we gain a sense of the courage required for such explorers. This was also the year of LA LA LAND – and the MOONLIGHT mess on stage – and James Gray’s film was overlooked for awards, but even all these years later, it still offers an movie-watching experience like few others.

Trailer: THE LOST CITY OF Z

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Posted by David Ferguson

USA FILM FESTIVAL 2025 preview

April 21, 2025

April 23-27, 2025

Angelika Film Center, Dallas

There may be no such thing as a Free Lunch, but thanks to the USA Film Festival, there is something even better … FREE MOVIES! Of course, not all screenings are held at no charge, yet this remains an affordable and entertaining festival experience for all film lovers.

Celebrating its 55th anniversary, the festival has long been one of my favorites due to the schedule of diverse films: narratives, documentaries, shorts, students, and experimental. Mix in a selection of repertory films, attendance by a slew of filmmakers and celebrities, and the annual tributes to industry icons, and you quickly see why this Dallas-based festival holds a special place in my heart.

This year’s opening night event on April 23 is “The World of Nancy Kwan – A Salute to Nancy Kwan”. The breakout star of THE WORLD OF SUZIE WONG (1960) will participate in a book signing and an on-stage conversation, following a career retrospective including clips of her performances in film and television. Also on opening day, there is a Salute to renowned director Jon Avnet with a screening of his new film, THE LAST RODEO. Mr. Avnet will attend along with the film’s co-stars, Neal McDonough and Mykelti Williamson. All three were involved with the fantastic TV series, “Justified” and “Boomtown”, and Mr. Avnet is known for having directed FRIED GREEN TOMATOES (1991), as well as Broadway plays.

Other highlights on the festival schedule include Beth Lane’s powerful documentary UnBROKEN, a look at how the Holocaust impacted her own family (with Q&A session); Mitch Yapko’s short film WATCHING WALTER featuring Ft Worth’s own Stephen Tobolowsky in the title role (director and star in attendance); William Shockley’s directorial debut, LONG SHADOWS, a western with an impressive cast; director Daniel Minahan’s stunning ON SWIFT HORSES (based on the novel by Shannon Pufahl) with another tremendous cast; and Jason Buxton’s psychological thriller, SHARP CORNER starring Ben Foster.

That’s just a quick taste of what’s coming, along with other feature films, documentaries, and short films. In a perfect example of what sets this festival apart, actor Martin Kove will attend and be honored at a special 50th anniversary screening of the cult classic, DEATH RACE 2000 (1975). The closing night film will be the soon-to-be-released TONIC from local filmmakers, writer-director Derek Presley and editor Jason Starne. Filmed entirely in Dallas’ Deep Ellum area, the film covers a rough night of what-else-can-go-wrong for a washed-up pianist played by Billy Blair.

USA Film Festival excels in offering a diverse festival experience with something for everyone.

For more details and to view the full schedule of programs, visit
https://www.usafilmfestival.com/
 
Tickets range from Free – $10 (quantities are limited).
https://www.eventbrite.com/cc/55th-annual-usa-film-festival-4150893
 
DAY-OF-SHOW TICKETS — (Based on availability) Any unsold/unreserved tickets will be made available  at the Angelika Film Center upstairs Sales Desk beginning ONE HOUR prior to EACH showtime.

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Posted by David Ferguson

Broadway Dallas: MAMMA MIA! (2025)

April 17, 2025

Music Hall at Fair Park

April 15-27, 2025

Sometimes a getaway to a Greek isle is meant only to be a good time. Such is the ongoing popularity of the stage production “based on the songs of ABBA”. The Swedish band’s global success was first derived through these songs in the 1970’s. In 1997, British playwright Catherine Johnson wrote the story that led to the smash stage musical (1998), followed up by the blockbuster film in 2008 (starring Meryl Streep and Amanda Seyfried). Both the stage production and the film were directed by Phyllida Lloyd. The most recent of many incarnations of the stage musical continues this year with a United States tour, a six-month stint on Broadway (beginning in August 2025), and finally, an international tour.

For those local to the area, Broadway Dallas features a two-week run of the production and if the audience from the April 16 show is any indication, the immense popularity of the show remains in place thanks to a blend of the comedy and music. You likely know the story of Donna Sheridan, a single mom who has raised her daughter Sophie while running a hotel on a picturesque Greek island. Twenty-year-old Sophie is preparing for her wedding to Sky, and unbeknownst to her mother, has invited three of Donna’s former lovers … one who is most likely Sophie’s unnamed father.

This talented cast consists of Christine Sherrill (Donna), Amy Weaver (Sophie), Carly Sakolove (Roxie), Jalynn Steele (Tanya), Rob Marnell (Harry Bright), Jim Newman (Bill Austin), Victor Wallace (Sam Carmichael), and Grant Reynolds (Sky). Although much of the focus is on Donna and Sophia, it’s really Donna’s friends, Roxie and Tanya, who steal the show as Donna and the Dynamos and in individual scenes that elicit roars from the appreciative audience. I found Ms. Steele’s Tanya to be especially entertaining (and energetic). Of course, the three men all have their moments in the spotlight, ensuring a love-love connection with those in attendance.

The music composed by Benny Andersson and Bjorn Ulvaeus (both of ABBA) is obviously an integral part of the production. Unfortunately, during this show, the vocals were often drowned out by the too-loud instrumentation of the band’s guitars, organs, and drums. This was especially disappointing during highlight moments for featured solos by Ms. Sherill and Ms. Steele. The distraction was lessened during the ballads, and when the ensemble was in full force, the choreography delivered rousing fun for all.

White walls and blue doors make up the simple set design, evoking the familiar images of Santorini. The only shifts occur when a bed is added for ‘indoor’ scenes or a boat (named “Waterloo”) takes us briefly to the shore – and a terrific ensemble number with flippers and snorkels. Overall, the show is quite the crowd-pleaser and the familiar songs (“Dancing Queen”, “Mamma Mia”, “S.O.S.”, “Super Trouper”) generated a bit of unsolicited audience sing-along and clapping-in-time. You will likely notice a few dedicated fans dressed in sparkles and spandex, fully committing to their adoration of “Mamma Mia!” … a show designed to deliver a good time for all.

https://broadwaydallas.org/shows/mamma-mia/

@BroadwayDallas

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Posted by David Ferguson

Best of 2024

January 12, 2025

Here is the link to my TOP 10 (actually 11) movies of 2024. In keeping with tradition, you will also find a list of the “Next best”, as well as designated categories: Documentaries, World Cinema, Animation, and a few other special notes. I hope you enjoy!

David’s Best of 2024

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Posted by David Ferguson

Dallas-Ft Worth Film Critics Assn 2024 AWARDS

December 27, 2024

Since I am a voting member of the Dallas – Ft Worth Film Critics Association, I wanted to share the link to this year’s awards page. You will find that Sean Baker’s ANORA was voted Best Picture, and can peruse the other categories as well.

My personal recap of 2024 movies will be published within the next few days, and I hope you’ll check that out as well.

Happy New Year to all … here is the link:

DFW FILM CRITICS NAME “ANORA” BEST PICTURE OF 2024

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Posted by David Ferguson

IT CAME FROM TEXAS Film Festival (2024, 2nd annual)

September 15, 2024

Greetings again from the darkness. The second annual IT CAME FROM TEXAS FILM FESTIVAL was held September 13-15 at the Plaza Theatre in Garland, Texas. The festival salutes films made in Texas illustrating the Independent Texas spirit. This year’s showcase included three Oscar-winning films: TENDER MERCIES (1983), THE LAST PICTURE SHOW (1971), and GIANT (1956). Although I was out of town and unable to attend, the festival’s director, Kelly Kitchens, was kind enough to provide screeners for three documentaries scheduled for the festival. Al three speak to the pride of Texas.

A FAIR TO REMEMBER (2008)

Co-directors: Allen Mondell, Cynthia Salzman Mondell, and Phil Allen

For so many kids who grew up in Texas, and certainly for those in the Dallas-Ft Worth area, a trip to the Great State Fair of Texas was an annual event, and remains so today. This hour-long documentary serves up details on the rich history of the largest State Fair in the U.S., including the rough beginnings dating to 1886. Author Nancy Wiley, historian Steven Butler, and actress and local celebrity Rose-Mary Rumbley recount personal stories and historical facts related to the Fair.

Narrated by beloved character actor (and Texan) Barry Corbin, segments cover early horse racing that transitioned to auto racing that later morphed into the popular Auto Show. Also receiving time are the Livestock auction, and the games and rides of the infamous Midway (including ‘guess your weight’). The old Wild West Show featuring Native Americans is discussed, as is the 1936 Centennial Fair, and the use of the fairgrounds during WWI and WWII. A brief history of the architectural changes is provided.

I was aware that Elvis played the Cotton Bowl in 1956, yet as many times as I’ve attended, I never knew the first electrical lights in Dallas, as well as the first local airplane flight can be traced to the Fair … or that there was once a Klan Day (exactly what you think) or a Negro Achievement Day. And yes, details are provided for butter sculpture, Fletcher’s Corny Dogs and Big Tex, the world’s tallest cowboy – all popular Fair traditions. The clips and photos provide the visual history and nostalgia that makes this a must-see for Texans.

HORTON FOOTE: THE ROAD TO HOME (2020)

Director: Anne Rapp

Playwright and Screenwriter Horton Foote was born in Wharton, Texas in 1916. You likely don’t know where Wharton is, but the distinguished Mr. Foote won a Pulitzer Prize, two Oscars, an Emmy, was nominated for a Tony, and was awarded the National Medal of Arts by President Bill Clinton.

We hear from those who worked with him, those who acted for him, and those who directed and respected his work … and even his daughter (an actor). Yet what sets this one apart is that we hear directly from 90-year-old Horton prior to his passing in 2009. His reflections on his process and his career are fascinating, even though he’s about the most humble man you’ll ever see interviewed.

His Oscars were won for his screenwriting on TO KILL A MOCKINGBIRD (1962) and TENDER MERCIES (1983), and he may be best known for his original script, THE TRIP TO BOUNTIFUL (1985). Some writers are renowned for their creativity, and Horton certainly possessed that trait, but apparently his greatest gift was that of absorbing and observing those he spent time around. His work is known for being grounded by real characters. He wrote the truth about people and became known as “America’s Chekhov”.

CHILDREN OF GIANT (2015)

Director: Hector Galan

Director George Stevens’ 1956 feature film GIANT received ten Oscar nominations and was based on the novel by Pulitzer Prize winning novelist and playwright, Edna Ferber. Yet, after all these years, it’s still best known as James Dean’s final film (he received a posthumous Oscar nomination). The film also starred Rock Hudson, Elizabeth Taylor, Dennis Hopper, Mercedes McCambridge, Carroll Baker, Sal Mineo, Earl Holliman, Chill Wills, Paul Fix, and Elsa Cardenas. The focus of this documentary, however, is not on the all-star cast, but rather on the tiny west Texas town of Marfa, where the exterior shots of Reata were shot.

Living up to the film’s title, we hear from many of the locals who were mere tykes when the movie stars and film crew hit town sixty years prior. This allows us to better understand that Stevens was intent on exposing more than ego and greed from Texas ranchers of the day. Racism was still rampant at the time, and though there are many obvious moments in the film where this plays a role, the viewpoint here digs even deeper.

Narrated by former San Antonio mayor Henry Cisneros, we hear from Earl Holliman, Stevens’ son, the film’s dialect coach, and the fascinating German on-set caterer, who offers up her own backstory that includes Dachau. We also learn how author Ferber was influenced by meeting the Kleberg’s of King Ranch, and there is speculation that oil tycoon Glenn McCarthy inspired Dean’s Jett Rink character. There is a terrific sequence where actor Elsa Cardenas returns to Marfa, and is saddened that only a few two-by-fours remain from the frame of the mansion’s set. A documentary that captures this much emotion while also enlightening us to a filmmaker’s out-of-the-box commitment is truly something special.

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Posted by David Ferguson

Book Review- WITH LOVE, MOMMIE DEAREST (2024)

April 29, 2024

With Love, Mommie Dearest: The Making of an Unintentional Camp Classic

By A. Ashley Hoff

Published by Chicago Review Press

Available May 7, 2024 at https://www.amazon.com/Love-Mommie-Dearest-Unintentional-Classic/dp/1641607688

“No wire hangers ever!” Thanks to the internet and memes and gifs, that iconic line is familiar today to some people who haven’t even seen the 1981 movie, MOMMIE DEAREST. Author A. Ashley Hoff is a Hollywood historian, researcher, and writer, and he takes us on a deep dive behind the scenes of one of the most notorious cinematic camp classics of all time.  “How did they do that?” “Who decided that?” “What were the filmmakers thinking?” What was it like on set?” If you are the kind who asks these types of questions about the movies you watch, Ashley’s book will deliver all the answers you could possibly desire, while also cluing us in a bit on the industry itself – including who holds the power.

Author Hoff does an excellent job distinguishing Christina Crawford’s best-selling 1978 memoir, “Mommie Dearest”, from the adapted screen version, MOMMIE DEAREST (1981). It’s likely many will be surprised at just how uninvolved Christina (Joan Crawford’s adopted daughter) was with the making of the movie. On the other hand, what’s not surprising is the amount of information and detail provided on lead actress, Faye Dunaway. By 1981, Ms. Dunaway was a true movie star. She exploded onto the screen with Warren Beatty in Arthur Penn’s BONNIE AND CLYDE (1967), and again with Jack Nicholson in Roman Polanski’s brilliant CHINATOWN (1974). It’s fair to say her career peaked from a prestige level with her Oscar winning performance in Sidney Lumet’s NETWORK (1977), and that MOMMIE DEAREST was integral to a change in the types of roles she was offered.

 Personal interviews with key players, as well as previously published comments, paint the mosaic of the many moving parts beginning in pre-production, and progressing through casting (Anne Bancroft!), set design, costuming, hair, and make-up, all while balancing the first ever child’s view of abuse, and the conflicts between producer, director, and diva star. ‘The Franks’ (Producer Yablans and Director Perry) were respected industry professionals, yet we are left with the impression that neither was able to exert much control over Faye Dunaway, infamous for both her preparation and inflexible views. Two of the more interesting perspectives are sprinkled throughout with observations from actress Ratanya Alda (who plays Joan Crawford’s assistant Carol Ann) and Tracy Hotchner, who wrote the original screenplay.

Remembered as Hollywood royalty, Joan Crawford passed away in 1977, before Christina’s memoir was published and obviously prior to the film’s release. She won an Oscar for her outstanding performance in MILDRED PIERCE (1945), and later appeared alongside her big screen rival, Bette Davis, in WHATEVER HAPPENED TO BABY JANE? (1962). These days, more people associate her with the infamous wire hangers and Dunaway’s portrayal of her in the film. It’s fascinating to read how those involved were absolutely convinced they were making a serious drama featuring an ultra-serious topic and a Hollywood legend. When the reviews became progressively more scathing and audiences began to laugh at the over-the-top moments, a camp classic was born. Since then, the comparisons to THE ROCKY HORROR PICTURE SHOW (1975) are inescapable. Midnight showings found audiences dressed in costumes, waving wire hangers, and shouting lines of dialogue at the screen.

As we make our way through Hoff’s book, we find ourselves feeling empathy towards the filmmakers, the cast, the crew, Joan Crawford, and Christine Crawford. No one received the acclaim they expected (instead, the film racked up some Razzies that year). Some viewed it as a missed opportunity to drive serious conversation on child abuse, yet ‘serious’ just seemed to be the one thing never associated with the film. Hoff has provided an extraordinary amount of information for those interested in the mysterious ways of Hollywood, or for those who simply can’t get enough of “Mommie Dearest” in any format.

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Posted by David Ferguson

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