This may be the first time I’ve beaten the calendar in a race towards year end! All that means is my BEST OF 2023 … the Top 10 list plus many other bonus categories … has posted. Feel free to check it out and share it, and let me know how it compares to yours. 2023 was such an interesting year for movies!
David’s BEST OF 2023
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Posted by David Ferguson
As a voting member of the Dallas-Ft Worth Film Critics Association, I want to share the final results of the Best of 2023 for the group. Soon I will be posting my personal Best of 2023 and (as always) you can expect some differences of opinion!
The Dallas-Fort Worth Film Critics Association voted the comedy-drama THE HOLDOVERS as the best film of 2023, according to the results of its 30th annual critics’ poll. Following is a complete list of award winners, with choices listed in order of votes received.
BEST PICTURE
Winner: THE HOLDOVERS
Runners-up: OPPENHEIMER (2); KILLERS OF THE FLOWER MOON (3); POOR THINGS (4); AMERICAN FICTION (5); PAST LIVES (6); MAESTRO (7); ANATOMY OF A FALL (8); BARBIE (9); MAY DECEMBER (10)
BEST ACTOR
Winner: Cillian Murphy, OPPENHEIMER
Runners-up: Paul Giamatti, THE HOLDOVERS (2); Bradley Cooper, MAESTRO (3); Jeffrey Wright, AMERICAN FICTION (4); Leonardo DiCaprio, KILLERS OF THE FLOWER MOON (5, tie); Colman Domingo, RUSTIN (5, tie)
BEST ACTRESS
Winner: Lily Gladstone, KILLERS OF THE FLOWER MOON
Runners-up: Emma Stone, POOR THINGS (2); Carey Mulligan, MAESTRO (3); Greta Lee, PAST LIVES (4); Sandra Huller, ANATOMY OF A FALL (5)
BEST SUPPORTING ACTOR
Winner: Robert Downey Jr., OPPENHEIMER
Runners-up: Charles Melton, MAY DECEMBER (2); Robert De Niro, KILLERS OF THE FLOWER MOON (3); Mark Ruffalo, POOR THINGS (4); Dominic Sessa, THE HOLDOVERS (5)
BEST SUPPORTING ACTRESS
Winner: Da’Vine Joy Randolph, THE HOLDOVERS
Runners-up: Danielle Brooks, THE COLOR PURPLE (2); Emily Blunt, OPPENHEIMER (3); Jodie Foster, NYAD (4); Julianne Moore, MAY DECEMBER (5)
BEST DIRECTOR
Winner: Christopher Nolan, OPPENHEIMER
Runners-up: Martin Scorsese, KILLERS OF THE FLOWER MOON (2); Alexander Payne, THE HOLDOVERS (3); Yorgos Lanthimos, POOR THINGS (4); Celine Song, PAST LIVES (5)
BEST FOREIGN LANGUAGE FILM
Winner: ANATOMY OF A FALL
Runners-up: THE ZONE OF INTEREST (2); THE TASTE OF THINGS (3); SOCIETY OF THE SNOW (4); FALLEN LEAVES (5)
BEST DOCUMENTARY
Winner: AMERICAN SYMPHONY
Runners-up: 20 DAYS IN MARIUPOL (2); STILL: A MICHAEL J. FOX MOVIE (3); THE DEEPEST BREATH (4); THE PIGEON TUNNEL (5)
BEST ANIMATED FILM
Winner: THE BOY AND THE HERON
Runner-up: SPIDER-MAN: ACROSS THE SPIDER-VERSE
BEST SCREENPLAY
Winner: David Hemingson, THE HOLDOVERS
Runner-up: Justine Triet and Arthur Harari, ANATOMY OF A FALL
BEST CINEMATOGRAPHY
Winner: Hoyte van Hoytema, OPPENHEIMER
Runner-up: Rodrigo Prieto, KILLERS OF THE FLOWER MOON
BEST MUSICAL SCORE
Winner: Robbie Robertson, KILLERS OF THE FLOWER MOON
Runner-up: Ludwig Goransson, OPPENHEIMER
RUSSELL SMITH AWARD (best low-budget or cutting-edge independent film)
Winner: THE ZONE OF INTEREST
The Dallas-Fort Worth Film Critics Association consists of 24 broadcast, print and online journalists from throughout North Texas. For more information, visit dfwcritics.com or follow us on Facebook or X (formerly Twitter) @dfwfilmcritics.
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Posted by David Ferguson
***NOTE: a rare diversion from movies
“Finally.” That word is being used in most every report on the 2023 World Series championship of the Texas Rangers. Oxford offers a definition of the word as ‘after a long time, typically involving difficulty’. My question is, what constitutes a long time and who found this difficult? Jose LeClerc is the only player who has been on the team for the past 7 years. Most on the roster have only worn “Rangers” on their jersey for one of two years, so that doesn’t seem to qualify as a long time. Of course, the real answers to my questions are … since 1972 and the fans.
As sports fans we understand that the score of a game or a trophy held high matters little when compared to the suffering of those in Ukraine and other areas where innocent citizens are being mercilessly attacked, injured, and killed. But to argue that sports don’t matter would be an oversimplification and, well, incorrect. Just ask those fans who have loyally followed the Texas Rangers since 1972. There is a bond that forms around a hometown team. It’s a bond of shared emotions, both high and low. Over those 50+ seasons for the Rangers fans, the lows have been plenty, while the highs have been all too brief. Until now. Has it been a long time? Yes. Has it been difficult? Yes.
Since 1972, I have attended many games, crossing the three Arlington ballparks (assuming that first one actually qualifies as a ballpark) the Rangers have called home. I’ve seen Ted Williams and Billy Martin manage the team. I’ve seen Nolan Ryan throw a no-hitter and Juan Gonzalez hit three dingers in a game. I’ve seen Buddy Bell make gold glove plays at the hot corner and Charlie Hough light a cigarette in the dugout. I’ve watched Benji Gil airborne yet another throw into the stands, and Pudge Rodriguez shoot down many would-be base stealers. I’ve watched as Will Clark delivered a stream of warning track fly balls, and Adrian Beltre barehanded another dribbler from third base. I’ve also seen Michael Young rip countless line drives in the gap, Rusty Greer hustling to turn a single into a double, and Josh Hamilton destroy so many baseballs (and his career). I’ve watched Neftali Feliz buckle A-Rod’s knees with a curve and cringed as Nelson Cruz leapt to no avail at a David Freese fly ball in the World Series. And while all of those games and moments are important, what really matters to me is that bond with other fans.
I’ve shared the stands – some good seats, some not so great – with so many over the years. My uncle took me to the David Clyde game and made sure I had many other game tickets through the years (he was a big fan of Buddy Bell and Toby Harrah and Charlie Hough, and because of that, so was I). I’ve sat in the left field bleachers with parents and players from the youth baseball team I coached as the blazing Texas summer sun beat down and sapped the grown-ups of energy (our players didn’t seem to mind). I’ve dragged my beloved wife to a few games, and she never once complained. I have a good friend who was gracious enough to front me tickets during times when money was a bit tight. We even managed to attend multiple playoff games over the years – one being very special, as that’s where I first met my future daughter-in-law, one of those surprises only a son can deliver. Other games have allowed time with friends (even a future boycotter), family, co-workers, and business associates. It’s the shared experiences that matter most.
As I reflected on the World Series victory and the many years of Rangers baseball, a sense of melancholy hit. My brother-in-law passed away earlier this year. He was a huge Rangers fan. Our relationship wouldn’t be considered close, but the two best conversations we ever had were about Rangers baseball. He loved the game and he loved the team. It was a love he had previously shared with his father and many others since. Although he didn’t live long enough to ‘finally’ enjoy the championship, he certainly followed the team for a long time and experienced the difficulty. A passion for the Rangers and for baseball was also shared with many others who have since moved away. Friends and fellow Rangers fans now populate other places like California, Florida, Virginia, Wisconsin, and then there is my own son, who now lives in The Netherlands with his family – including that same daughter-in-law I met at a playoff game.
As for “finally”, these are just a fraction of the folks who have experienced both a long time and difficulty. Yet there is nothing final about this, as the banner will fly indefinitely at the latest ballpark (one with a roof and air conditioning), and the Texas Rangers fans will begin the next long and difficult journey when Spring Training rolls around in 2024.
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Posted by David Ferguson
By Matt Singer
Published by Penguin Random House, 2023
Ah yes, the memories of spending so much time glued to that portable 13 inch black and white TV perched on a folding chair in my dorm room watching and listening intently as film critics Gene Siskel and Roger Ebert discussed, debated, and dissected the latest movie releases. Of course, by then I had watched hundreds of movies and fully subscribed to the magic of cinema. However, we all knew there was something different with this weekly PBS show featuring these two men who were so opinionated, yet so knowledgeable about film. As a bonus, we were never sure if they were friends or not… this despite their weekly lessons on how we should discuss movies with our own friends.
This background and the following years until Gene Siskel’s death in 1999 are the reason Matt Singer’s new book was a must read for me. Nostalgia can be a comforting thing, and Singer’s work perfectly captures the history and memories of what made the show so special. Singer is a passionate film critic, and that passion shines through in his admiration and respect for the two men who inspired folks like him (and me) to better understand the art form and ultimately write about our own feelings and observations driven by the movies we watch.
Structurally, the book outlines the chronological order of the Siskel and Ebert partnership, while specific examples, quotes, or other input is frequently used to reinforce the progression. The awkward beginnings that led to the 1975 pilot are detailed, as are behind-the-scenes challenges such as contract disputes, rehearsals, lunch menus, seating positions, number of words spoken, seats on talk shows, and the order of the names. Yes, these two men who argued about movies also argued about most everything associated with the show. Singer makes the point that the two men were direct competitors in the Chicago newspaper world and were constantly looking for ways to ‘win’ or one up the other. What also becomes crystal clear as we read the book is that both men cared very much for the show and the integrity of their work.
Pitting rivals against each other in such a debate format was a new thing at the time, although as author Singer points out, it has become quite common in TV news, sports, politics, and entertainment … most of these owing a debt to Siskel and Ebert. Singer walks us through the evolution of the show and its many producers, titles, and distributors. From “Sneak Previews” to “At the Movies” to “Siskel & Ebert” (amongst others), and from PBS to the Disney Corporation, the show itself remained true to the two stars, regardless of what was happening off screen. Gene and Roger never wavered from their commitment to honesty with the viewers.
Their show ran in one form or another, and on one channel or hundreds, from 1975 to 1999. The book details how their chemistry changed (and how it didn’t) over the many years. While the memories come racing back through some of the stories, the real gems here are the behind-the-scenes tales of how these two men perfected the presentation, while earning the respect of the rival/partner seated across the aisle.
The first ten chapters make for fascinating and entertaining reading, but just as occurred in real life, the book shifts suddenly. Siskel’s passing meant the show lost its spark. Ebert remained a stellar film critic, of course, but the relentless pursuit of a new partner or format was as painful to read about as it was to experience at the time. By this time, other film critic duos had been given a shot at replicating the success, yet none created the magic of Siskel & Ebert – and that included Ebert and anyone else who joined him in the balcony. Why none of these other attempts clicked is understandable when Singer provides perspective: Siskel & Ebert were a team for as many years as Abbott & Costello. These final two chapters chronicle Ebert’s own health struggles, as well as his excellent memoir and subsequent documentary, both entitled “Life Itself”.
Should anyone doubt the unique accomplishments of the show, consider that the Siskel & Ebert audience was composed of not just cinephiles and movie lovers, but also those who had little interest in movies and tuned in solely for the entertainment value of watching two articulate and knowledgeable experts go at each other verbally. Most were either Team Gene or Team Roger. As for me, I found myself more often in agreement with Siskel on movies, while probably learning more from Ebert. These two men, along with Louis Black (co-founder of both “The Austin Chronicle” and the SXSW festival), taught me how to watch movies, how to think about what is on screen, while inspiring me to put my own observations in writing. Matt Singer’s book will be a cruise through nostalgia for many, yet the structure will make it just as easy for those who are just learning about the origin of those almighty thumbs.
Available October 24, 2023
Review by David Ferguson
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Posted by David Ferguson
OSCARS 2023 recap
For movie lovers, the Academy Awards ceremony is usually a fun night designed as a celebration of the art form, with recognition for some of the best work released the previous year. This year’s presentation marked the 95th ceremony, and as always, provided cynics ample opportunity to cast aspersions, while for the rest of us, there were many moments to treasure – some even falling into the category of ‘history-making.’
An opening faux trailer, with a superimposed Jimmy Kimmel sharing the cockpit in a fighter jet with Tom Cruise in TOP GUN: MAVERICK, concluded with the show’s host ‘parachuting’ onto the stage. Kimmel’s opening monologue was entertaining and didn’t shy away from last year’s stunning moment known as “the slap.” Noted in the monologue was a tip of the cap to composer John Williams, who at age 91, received his 53rd Oscar nomination, second all-time to Walt Disney’s 59. It’s also of interest to note that Mr. Williams has scored 25 of director Steven Spielberg’s 27 films.
The only things I’ll mention from the pre-show are that the carpet was “champagne” colored instead of the traditional red, Hugh Grant was an immense jerk during his arrival interview, and the odds-on favorite to have a huge night of awards was EVERYTHING EVERYWHERE ALL AT ONCE (EEAAO), a film with co-directors and featuring many Asian actors in a bizarre story that breaks the mold for traditional Oscar-type films. If you’ve read my “Best of 2022” post, you know that my personal favorite was THE BANSHEES OF INISHERIN, which garnered nine nominations, the same as ALL QUIET ON THE WESTERN FRONT (AQOTWF), with both just behind the eleven nominations of EEAAO. Yes, this year lends itself to abbreviated initials for two long-titled films!
Although I’m not one to buy into the idea of “snubs” since I believe such a label is an insult to others that are honored with a nomination and/or win, it is always fun to see which categories produce surprise winners. Kimmel pointed out that there were 16 first-time nominees and 5 Irish actors nominated – setting up a pretty good punchline. He also noted the absence of James Cameron and Tom Cruise … both A-listers rumored to have had their feathers ruffled due to a lack of nomination for directing (Cameron) and acting (Cruise), although both were producers on films up for Best Picture.
The first award went to the creative genius behind GUILLERMO DEL TORO’S PINOCCHIO (the actual title to differentiate it from other versions). This award was presented by Dwayne “The Rock” Johnson who was sporting a form-fitting pink silk sports coat. Not to be outdressed, Troy Kotsur sported a purple velvet suit as he and joined Ariana DeBose in presenting the awards for Best Supporting Actor and Best Supporting Actress. Both were highlights and an early indication of the success that lay in store for EEAAO. Ke Huy Quan was emotional and inspirational as he reminded us of what the American Dream really means to those who value it, and Jamie Lee Curtis’ win is a testament to perseverance and support, as she thanked her many collaborators over the years, including her famous parents, Tony Curtis and Janet Leigh.
Each of the five nominated songs were performed live throughout the evening. 14-time nominee Diane Warren was first, soon to be followed by David Byrne and Stephanie Hsu (EEAAO). One of the evening’s true highlights was a rousing song and dance performance of the song, “Naatu, Naatu” from India’s RRR, the eventual winner. Also impressive were a no-make-up and torn-jeans performance from Lady Gaga (TOP GUN: MAVERICK), for some reason filmed almost entirely in extreme close-up; and a pregnant Rhianna (fresh off the Super Bowl) singing “Lift Me Up” from BLACK PANTHER: WAKANDA FOREVER.
Best Documentary Feature was awarded to NAVALNY, and Alexei Navalny’s wife sent a message from the stage. This powerful moment was followed by an audience participation version of “Happy Birthday” during the speech for Best Live Action Short film (AN IRISH GOODBYE). Although I found that moment a bit odd, it was the follow-up that hit me as truly bizarre … a no-holds barred, live from the stage promo for Disney’s upcoming live action, THE LITTLE MERMAID, followed by the first full trailer. I don’t recall such unadulterated marketing schemes every being a part of the ceremony in previous year. Later we did receive a tribute to Warner Brothers for their 100th anniversary of motion pictures – much different than a promo for an upcoming film.
James Friend winning for Best Cinematography for AQOTWF became the first of enough wins that some began to question if the film might pull off a Best Picture surprise to end the night. Best Make-up and Hairstyling went to THE WHALE, the first film to use digital prosthetics in order to allow an actors’ true features to flow through. All the donkey lovers were thrilled to see ‘Jenny the donkey’ led on stage by Kimmel. Unfortunately, this became one of the few nods to my favorite film, THE BANSHEES OF INISHERIN. Best Costume went to BLACK PANTHER: WAKANDA FOREVER, and AQOTWF won Best International Feature Film (Germany). Next up were awards for Documentary Short (THE ELEPHANT WHISPERER) and Animated Short (THE BOY, THE MOLE, THE FOX, AND THE HORSE). What was notable was that the first winner was cut off from their acceptance speech, while the second was allowed to babble on.
The award for Production Design became my first “miss” of the night, as AQOTWF took the award over the visually stunning BABYLON. This was quickly followed by another AQOTWF win for Best Score – a straight-to-the-gut musical punch composed by Volker Bertelmann. Best Visual Effects went to AVATAR: THE WAY OF WATER, an award presented by Elizabeth Banks and a ‘fake’ Cocaine Bear (her recent movie) as she explained the importance of visual effects. Another odd moment occurred as amazing actress Florence Pugh purposefully held her slit dress open as she presented awards for Original Screenplay (EEAAO) and Adapted Screenplay (WOMEN TALKING). As strange as the spandex undergarment sighting was, I was so excited for Sarah Polley’s win … hopefully this talented writer and filmmaker will be inspired to share more of her work.
Best Sound went to TOP GUN: MAVERICK, and it was the speech given by the RRR winners for Best Song, MM Keeravani and Chandrabose that stole the moment, as Keeravani sang his speech, adapted to “Top of the World” by The Carpenters, a pop group he says influenced him as he grew up. Lenny Kravitz performed during the “In Memoriam” segment … a segment that the Academy seems to botch with omissions every year (this year being no exception). EEAAO won for Best Editing, though it wasn’t until ‘Daniels’, co-directors Daniel Kwan and Daniel Scheinert, won for Best Director that we sensed EEAAO would hold off AQOTWF for the big prize.
A humble and grateful Brendan Fraser (THE WHALE) was nearly overcome with emotions during his speech for Best Actor, and making history as the first Asian actress to win was Michelle Yeoh for EEAAO, an award presented to her by Halle Barry, the first woman of color to win Best Actress. At this point, we felt pretty certain of the film title Harrison Ford would read for the final award of the evening, and sure enough it became a night of history for EVERYTHING EVERYWHERE ALL AT ONCE as it was named Best Picture. The film totaled 7 wins out of 11 nominations, and only two other films took home more than one award: ALL QUIET ON THE WESTERN FRONT (4) and THE WHALE (2). EEAAO also joined A STREETCAR NAMED DESIRE (1951) and NETWORK (1976) with winners in three of the four acting categories. It was also a record-breaking night for cutting edge studio A24 as it won 6 of the 7 ‘above-the-line’ awards (Picture, Director, Original Screenplay, Actress, Supporting Actor, Supporting Actress).
Leaving empty-handed were ELVIS, THE FABELMANS, and THE BANSHEES OF INISHERIN, each coming in with multiple nominations. And though we got a bit tired of Kimmel’s running jabs at Matt Damon (who wasn’t attending), it was very cool to see him point out the legendary 94 year old James Hong, who has nearly 500 credits on IMDb dating back to the mid-1950’s … his latest, of course, being the night’s big winner, EVERYTHING EVERYWHERE ALL AT ONCE. And I’m certain Mr. Hong was relieved to not be seated behind actress and presenter Danai Gurira, whose unique hairstyle stood up about 2 feet from the top of her head. Imagine being seated behind that for 3.5 hours! TV viewership for the ceremony was up 12% over last year’s program, though we can’t help but wonder if some tuned in to see if the Hollywood tradition included a sequel to “The Slap.”
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Posted by David Ferguson
Greetings again from the darkness. Every year this is one of my favorite categories. Typically, these filmmakers are committed to a subject and have very little money to work with, making their work easily categorized as passion projects. This year is no exception, and once again we are amazed at the wide range of topics and subjects covered: the transformation of an angry war veteran, true love at an elephant sanctuary in India, a profile of a key player during the Watergate era, the effects of climate change on walruses in the Arctic, and a father-daughter video project covering 16 years. Below is my breakdown of this year’s nominees:
THE ELEPHANT WHISPERERS
Director Kartiki Gonsalves introduces us to Bomman and Bellie, indigenous Kattunauakans working together to care for Raghu, an elephant rescued as an injured orphan in Tamil Nadu, India in 2019. The elephant preserve where they live and work is run by the Forest Department, and Bomman’s hut is right next to the stall where Raghu sleeps.
The love they share for Raghu soon develops into a romance between Bomman and Bellie. They talk to Raghu, train him, feed him, bathe him, play with him, and even tuck him in bed at night. Later when they also become caregivers for 5-month-old Baby Ammu, we can see the similarities to raising human children. Both elephants make it into the wedding day pictures of Bomman and Bellie, but when Raghu is re-assigned to other caregivers, we witness the grieving of the couple, as well as that of Ammu, who has lost a friend and role model. The 41-minute film serves to show how animals and people can live off the same forest and share a love.
HAULOUT (UK, Russia) 25 min
For the first few minutes, we aren’t sure what we are watching. Maxim is huddled in a rustic cabin on the shore of the Russian Arctic. He eats canned good (from the can), boils his water, and recycles his cigarettes. One morning he awakens to the grunting and groaning noises occurring outside. What follows is a stunning and spectacular shot of tens of thousands of walruses huddled on the beach by his hut.
It turns out Maxim is a Marine Biologist, and he spends 43 days observing this annual ritual of walruses as part of a 10 year study. Although the walruses show up every year, the effects of climate change are obvious. There is no longer ice for them to rest on during the trek. This exhausts the creatures, causing the death toll to increase each year. Co-directors (and brother and sister) Maxim Arbugaev and Evgenia Arbugaeva deliver a beautiful (considering the harsh conditions) 25-minute film, and a stark reminder of how animals are being forced to adapt to the changes.
HOW DO YOU MEASURE A YEAR
We must admire Jay Rosenblatt’s foresight as a father. It’s a simple idea, yet brilliant in it’s lasting impact. Beginning on his daughter Ella’s second birthday, Mr. Rosenblatt maintained a tradition of videotaping an “interview” with her each year. This tradition, or ritual, continued through her 18th birthday. The result bounces between predictable, stunning, sad, joyful, and touching … all in a condensed 29-minute run time.
To watch the progression of a precocious two-year old and three-year old toddler obsessing over a lollypop and make-up to a poised eighteen-year old on the brink of independence is fascinating. As a parent, we recognize the many stages … some so cute, others so challenging … each to be treasured.
Dad’s questions include: What do you want to do when you grow up? What are you afraid of? What is power? What are dreams? What is most important to you? You get the idea. He wants to document her progression as a person and as a thinker. In addition to the lollypop and desire to wear make-up, Ella’s singing voice develops beautifully as she grows into a 12-year-old who has learned sign language, and a 13-year-old fresh off her Bat Mitzvah. We see her with braces on her teeth, and as a 14-year-old toting the burden of her age. It’s those last couple of years that really give us hope for Ella’s future, and an insight into what the project has meant.
As a teenager, what would you have told your 25-year-old self?
THE MARTHA MITCHELL EFFECT
Fifty years have passed, yet the Watergate scandal continues to provide us with stories. Co-directors Anne Alvergue and Debra McClutchy turn their attention to one of the fascinating figures of the era in this 40 minute short. Martha Mitchell was the wife of Richard Nixon’s campaign manager and subsequent Attorney General, John Mitchell. Outspoken Martha was a colorful personality and characterized as “a menace” by Nixon himself.
The directors utilize archival footage and news reels to show how Martha became a media darling during one of the most closed-off administrations in recent history. Reporters such as Helen Thomas and Connie Chung bring a media perspective, as do the numerous newscast clips shown. However, things took a pretty dark turn for this charming lady, and her story provides a stark reminder of just how corrupt and extreme the Nixon administration became.
Once news of the Watergate break-in hit the news, Martha seemed to vanish from the public eye. Her story is that she was held captive, basically kidnapped, as the administration advanced a public character assassination on her. When the secret tapes were revealed, and Martha discovered her husband had conspired with Nixon on the break-in, she became a high-profile whistleblower, After Nixon’s resignation, Martha became a celebrity, frequently seen on talk shows. Cast by many as a ‘crazy’ lady, the “Martha Mitchell effect” became the description for those whose ‘delusions’ turned out to be true. The recent TV miniseries “Gaslit” also focused on Martha Mitchell, who died in 1976 from a blood disease.
STRANGER AT THE GATE
Should you ever doubt that kindness and understanding can make a difference, please watch this film from director Joshua Seftel (WAR, INC, 2008). The 29 minute run time may just rejuvenate your faith in human beings to change their attitude and be accepting of those they once distrusted.
As a Marine, Richard “Mac” McKinney was trained to hate and kill Muslims. He was informed that they were terrorists out to destroy his country, and September 11, 2001 was all the proof he needed. A simple question from his young daughter Emily convinced him he needed to act, so he plotted to bomb the Islamic Culture Center of Muncie (Indiana). So this former Marine, a trained killer and hater, headed to the mosque to obtain the “proof” he needed to convince his daughter that his actions were righteous.
A funny thing happened. Mac was treated kindly by the folks there. They asked him questions and guided him to a better understanding. Now this didn’t happen overnight. A shift in beliefs never occurs quickly. However, their treatment of Mac not only (unknowingly) saved their own lives, it saved his as well. He may have been trained to not think of his war targets as human beings, but he found them to show him more humanity than he’d ever known. It’s chilling to see Emily ponder what it would have been like to have a mass murderer as a father, and mostly we are inspired to see good people work so diligently at accepting someone who initially showed them nothing but hatred. Nobel Prize winner Malala Yousafzai is one of the producers of the film.
1 Comment | Articles, Documentary, Short film, Uncategorized | Tagged: Anne Alvergue, Debra McClutchy, Evgenia Arbugaeva, Jay Rosenblatt, Joshua Seftel, Kartiki Gonsalves, Maxim Arbugaev | Permalink
Posted by David Ferguson
Yes, I finally got around to compiling my best of 2022, and you can find the page at this link:
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Posted by David Ferguson
Below is a link to the 2022 Film awards as voted by the members of the DFW Film Critics Association. Since I am a voting member of the group, I thought you might like to see the final tally. I will soon be posting my personal favorites of the year so stay tuned!
Happy Holidays to all!
DFW FILM CRITICS NAME “EVERYTHING EVERYWHERE ALL AT ONCE” BEST FILM OF 2022
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Posted by David Ferguson
“I could have danced all night”. That felt like the sentiment enveloping the audience as the curtain dropped on last night’s performance at Dallas’ Music Hall at Fair Park. It was the second performance of the show’s stop on Broadway Dallas, and nostalgia filled the air as many were singing along to the familiar songs and laughing oh-so-slightly ahead of the famous punchlines. Watching live stage shows of beloved material is always a bit confusing. We usually have actors and voices ingrained in our memories, and it can be a bit uneasy to experience a different style.
The history here dates back to George Bernard Shaw’s 1913 stage play, “Pygmalion”, and how it inspired the 1956 Broadway production (winner of six Tony Awards) starring Julie Andrews and Rex Harrison and the 1964 George Cukor film (winner of eight Oscars) starring Audrey Hepburn and Rex Harrison (reprising his stage role). With lyrics by Allan Jay Lerner and music by Frederick Loewe, most everyone is familiar with the most popular songs … as evidenced by the number of people ‘quietly’ singing along in their seats last evening.
Eliza Doolittle, the cockney flower girl at the center of the story is played here by Madeline Powell. Ms. Powell’s diminutive stature and beautiful red hair put her own twist on the character, and her acting and singing keep us enchanted. It’s really Jonathan Grunert as Professor Henry Higgins that stretches his phonetician character to extremes that some may find more challenging to accept. Rather than the savoir vivre of Rex Harrison, Mr. Grunert brings a frenzied energy to the role that may prevent some from finding any empathy for his plight. On the bright side, his singing was the easiest to hear.
The story involves a wager between Higgins and Colonel Pickering (played here by John Adkison) when Higgins claims he can turn the streetwise Eliza into one who can pass as “a proper lady”. Act 1 is filled with the ‘real’ Eliza and her struggles with the language, as well as segments with her father (Michael Hegarty) and his drinking buddies singing “With a Little Bit of Luck”. Act 2 shows us what happens after “The Rain in Spain”, Eliza’s big breakthrough. All of the familiar songs are performed, including “Why Can’t the English?”, “Wouldn’t it be Loverly?”, the raucous “Get Me to the Church on Time”, and “I Could have Danced all Night”. Easily the best singer featured in the troupe is Cameron Loyal who plays Freddy Eynsford-Hill, the man haplessly taken by Eliza’s ‘slip’ at the horse races.
Based in London in 1912, the tone shifts with the self-congratulatory piece, “You did it!” after the ball, and again with the finale, ““I’ve Grown Accustomed to her Face”. The orchestra was superb, if not a touch too loud, under conductor David Andrews Rogers, and the entertaining production under the direction of Tony-winner Bartlett Sher runs just under 3 hours with intermission.
For more information:
“My Fair Lady” runs through November 13, 2022 at Music Hall at Fair Park in Dallas
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Posted by David Ferguson
Greetings again from the darkness. It’s unusual for a story on movies to mention such dissimilar films as Hitchcock’s NORTH BY NORTHWEST (1959) and the sci-fi cult favorite FORBIDDEN PLANET (1956), or two classics as diverse as SINGIN’ IN THE RAIN (1952) and BEN-HUR (1959). What could these four films, and thousands of others, possibly have in common? The answer is the magic and artistry of backdrops or backings – a history as old as cinema.
This February 2020 segment from CBS Sunday Morning is only about six minutes long, yet provides a nice overview of how these have been used, and are continuing to be used, to create some of the scenery that sets the mood for memorable moments from our favorite movies (as well as those we wish we could forget).
Thanks to reader BG for passing this along:
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Posted by David Ferguson
Movie Reviews from the Dark 