FLORA AND SON (2023)

September 29, 2023

Greetings again from the darkness. This pleasant little film is such a treat, though that’s not surprising since writer-director John Carney was also responsible for SING STREET (2016) and ONCE (2007), two underrated gems. All three films do what filmmaker Carney does best – they use music as connective tissue between characters who otherwise struggle to click.

Eve Hewson (“The Knick”, and Bono’s daughter) finally lands a lead role, and she truly shines as Flora. Flora is a frustrated woman in Dublin who doesn’t know how to deal with her borderline juvenile delinquent teenage son, Max (newcomer Oren Kinlan). She also desperately wants to find a spark of happiness for herself … even hoping to win back her ex, struggling musician Ian (Jack Reynor, MIDSOMMAR, SING STREET), who has moved on and found Flora’s replacement. Flora was much too young when she became a parent, and though she’s far from perfect as a mom, she knows in her heart that she wants a better life for her son and herself.

Max seemingly has no ambition, and he quickly rejects the tattered acoustic guitar his mom offers as a late birthday present. It turns out Max prefers creating computer-generated hip hop music via software and hardware … mostly in hopes of getting a girl’s attention (a tale as old as time). So, while Max putters behind a closed door, Flora begins guitar lessons via Zoom with Jeff (charming Joseph Gordon-Levitt) pursuing the goal of learning guitar and singing a song she will eventually write at the local pub’s talent show. Of course, Flora is drawn to Jeff’s sensitivity and he to her sincerity and beauty. Director Carney infuses some fantasy into this virtual romance with dreamlike sequences in which Jeff appears alongside Flora, the Zoom camera no longer an obstacle.

Jeff takes a cruel shot at Flora’s favorite song by James Blunt, and instead introduces her to Joni Mitchell’s “Both Sides Now” … yet another example of how music can bring folks together. Director Carney also gets bonus points for including Tom Waits’ “I Hope That I Don’t Fall in Love With You”, one of the greats. The connections through creating art don’t end with Flora and Jeff, and soon Max is chatting with his dream girl, and Flora and Max and Ian come together for a blended live number, showing music heals wounds and builds bridges. Sure, this is a sentimental, feel-good movie, but they can’t all be filled with action and superheroes and misery, right? This is one to enjoy. Plus, it’s time for the world to appreciate the talents of Eve Hewson and John Carney.

Opens September 29, 2023

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Posted by David Ferguson

JULES (2023)

August 11, 2023

Greetings again from the darkness. Senior citizens sometimes nearly cease to exist for the outside world, or at best, are humored in a ‘there-there’ manner. So, what do you think happens when an elderly gentleman in a small western Pennsylvania town repeats the same suggestions at multiple City Council meetings, and then, in a nonchalant way, mentions that a spaceship crash-landed in his backyard, damaging his azaleas and birdbath? Right, others just shrug and move on, assuming the ol’ geezer is just imagining things.

But what if the old man is not imagining? What if that spaceship/UFO did crush his azaleas and he’s now being quite hospitable and nursing the injured alien back to health? Well, that’s the story here in the first feature film screenplay from Gavin Steckler (“Review”) in a film directed by Marc Turtletaub, best known as a Producer on such fine films as THE FAREWELL (2019), LOVING (2016), and LITTLE MISS SUNSHINE (2006).

Oscar winner Ben Kingsley plays Milton Robinson, a gentle soul and widower whose veterinarian daughter Denise (Zoe Winters, “Succession”) helps him out with finances, while also encouraging him to see a doctor in hopes that he’ll agree to move into an assisted living home. We see her concerns as Milton is forgetful and repetitive and lonely … yet we also see his insistence on maintaining independence. Obviously, this is a situation many families deal with on a daily basis.

Things get really interesting when a couple of the other town elders become involved. Sandy (Harriet Sanson Harris) is the chipper do-gooder who is always trying to better the community, while Joyce (Jane Curtin) is the nosy one who wants to know everyone’s business. Watching these three deal with the quiet and calm alien they name Jules is almost a therapeutic experience in bonding over a secret.

Mostly a charming, feel-good movie, Ms. Curtin does deliver a dose of comedy with her rendition of “Free Bird”, and having Milton admit to three jaywalking tickets while addressing the City Council is a nice touch. This little film is full of kindness – unless you are a cat – and most will recognize that sliced apples take the place of Reese’s Pieces. It’s likely the most pleasant and easy-going science fiction movie we’ve seen … at least until the few moments when the government is involved. Let’s hope we would all treat outsiders the way Milton treats Jules.

Opens in theaters on August 11, 2023

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Posted by David Ferguson

SHORTCOMINGS (2023)

August 3, 2023

Greetings again from the darkness. In the past twenty years, Randall Park has built an excellent acting career, likely best known as nice guy dad, husband, and restauranteur on the long-running TV series “Fresh Off the Boat”. He also had prominent roles in the mini-series “WandaVision”, “Veep”, and the Ant-Man movies. Now taking his shot as a feature film director, Mr. Park sticks closely to the Asian community, while simultaneously taking a step forward by not emphasizing generational aspects and familiar cultural tropes. He’s working from a script that Adrian Tomine adapted from his own graphic novel.

The film opens with Miko (Ally Maki, “Wrecked”) and Ben (Justin H Min, AFTER YANG) watching the end of a film festival movie. It plays as a parody of the hugely successful CRAZY RICH ASIANS (2018) and leads to contrasting reactions and an argument for Miko and Ben. Miko is the curator of the film festival and is thrilled the movie received such positive audience reactions, while Ben, a struggling indie filmmaker, is totally offput by the film’s pandering and mass appeal. We quickly realize Ben is a condescending jerk and Miko is fed up.

Ben manages a small arthouse movie theater in Berkeley and often has lunch at a local diner with his only other friend, Alice (a terrific Sherry Cola, JOY RIDE), who points out that his smugness doesn’t play well with others. Alice is gay and laughs off her tendency to ‘play the field’. Miko calls out Ben on his blonde, blue-eyed white girl fetish, and then soon after announces she is taking an internship in New York City, causing us to realize this movie is probably going to deal with Ben’s road to redemption (hopefully resulting in a worthwhile human being).

With Miko living across the country, Ben seems to be at his most comfortable with Classic Movies and solo chill. He’s a film school dropout with no filter and no sense of timing with his comments and critiques. Basically, he’s not a likable guy, and we see this in his separate pursuit of two blond, blue-eyed white girls. He hires performance artist Autumn (Tavi Gevinson) to work the ticket booth at the theater, and has no idea how to deal with her emotional swings and artistic leanings. Things are even worse with Sasha (Debby Ryan), who is coming off a breakup with her girlfriend. Despite warnings from Alice to stay clear, Ben’s pompous nature is once again exposed, leaving him all alone.

Ben’s world changes abruptly when Alice informs him she is also moving to New York and invites him to come visit. He sees this as a chance to get back together with Miko, who has quasi-ghosted him since she left. When Ben arrives, he finds Alice living with Meredith (Sonoya Mizuno, EX MACHINA) in a serious relationship, and stumbles on Miko in a situation that causes confusion, and of course, conflict. Leon (Timothy Simons, “Veep”) is a NYC fashion designer with an Asian fetish plays a key role in this segment.

The film is billed as a comedy, and while there are some funny moments, there is actually a sadness throughout … most of it related to how most everyone is searching for love while trying to avoid loneliness. During this search, we are often our own worst enemy (Ben being the prime example here). The message here is that while we are all flawed, one can only find joy once they sincerely enjoy the happiness of others. Watching Ben’s journey is not always a pleasant viewing experience, however his story is well told.

In theaters beginning August 4, 2023

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Posted by David Ferguson

TEENAGE MUTANT NINJA TURTLES: MUTANT MAYHEM (2023)

August 1, 2023

Greetings again from the darkness. You may or may not be surprised that Teenage Mutant Ninja Turtles date back almost 40 years to the mid-1980’s when co-creators Peter Laird and Kevin Eastman published the comic and then signed on for the original TV cartoon series. This was followed by the first live-action film in 1990 (with Elias Koteas, Judith Hoag, Corey Feldman, Sam Rockwell, Josh Pais). Since then, there have been various TV series, as well as animated and live-action movies … the most recent being the poorly received films in 2014 and 2016. Along comes co-writers and co-producers Seth Rogen and Evan Goldberg, together with other credited writers Jeff Rowe, Dan Hernandez, Benji Samit, and Brendan O’Brien to deliver a contemporary and re-imagined look at the born-from-ooze Turtles. It’s co-directed by Jeff Rowe and Kyler Spears, previous collaborators on THE MITCHELLS VS THE MACHINES (2021).

The first thing we notice is the animation. It’s a different look than what we are accustomed to, and Mikros Animation has blended traditional Anime with a harsher, more vibrant look to complement the heavy dose of action this film delivers. The style takes a bit to get comfortable with, but once you do, the effects are easy to appreciate. Since this is a next-generation TMNT, we also get a new origin story in the opening sequence. The same green ooze flows into the sewer, and there is an emphasis on the work of scientist Baxter Stockman (voiced by Giancarlo Esposito, of “Breaking Bad” fame).

Soon enough, we flash forward 15 years to the teenage years. Leonardo (Nicholas Cantu), Rafael (Brady Noon), Donatello (Micah Abbey), and Michealangelo (Shannon Brown Jr) have been raised and trained by Master Splinter/Dad (Jackie Chan). Their big outings are to the grocery store with strict instructions to not be seen. The individual personalities begin to surface, and it’s made clear these boys dream of being accepted in the outside world and attending high school. And we all know what happens when an overprotective parent clashes with teenagers seeking independence … a tale as old as time.

When the turtles cross paths with April O’Neill (Ayo Edibiri), aka April O’Puke due her extreme camera shyness, their hopes of becoming heroes mesh nicely with her desire to break a big story for the school newspaper. The timing couldn’t be better for all involved as an evil menace is preparing to take over the world. Nope, it’s not Shredder, but rather Superfly (an amazing Ice Cube) and his own band of mutants. Superfly’s plan involves turning all Earthly animals into mutants in order to rule the humans. The Turtles must decide if bonding with fellow mutants is more desirable than allowing Superfly to destroy the world of humans and their new friend April.

The rest of the voice cast is outstanding, and includes: Rose Byrne (Leatherhead), John Cena (Rocksteady), Seth Rogen (BeBop), Paul Rudd (Mondo Gecko), Maya Rudolph (Cynthia Utrom), Post Malone (Ray Fillet), Hannibal Burress (Genghis Frog), and Natasia Demetriou (Wingnut). Action fills the screen through much of the run time, and the action sequences are huge spectacles for animation. However, it’s the sheer volume of action that is my only real issue. It feels like the teamwork and camaraderie that played such a big part in Turtle lore gets shortchanged here. There simply isn’t enough time spent with four Turtles cracking wise – a surprise given the comedic roots of Rogen and Goldberg.

Plenty of pizza and ooze are present, and the heavy dose of hip-hop classics adds to the contemporary vision. The Turtle van is quickly shown, although it’s little more than a stolen pizza delivery truck, and the score by Trent Reznor and Atticus Ross plays well here. No “Cowabunga” exists in this re-boot, leaving some history behind, yet overall, we should be pleased that Turtle Power is back with our favorite heroes in a half-shell.

Opens in theaters on August 2, 2023

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Posted by David Ferguson

BARBIE (2023)

July 30, 2023

Greetings again from the darkness. A reasonable assumption could be made that a movie based on a doll so popular with pre-adolescent girls would be geared towards that audience. However, this is the era of comic book movies targeting “grown-ups”, and since we know, based on her previous work (the exceptional LADY BIRD, 2017), Greta Gerwig is an intelligent filmmaker, a more reasonable assumption is that she purposefully aimed the movie at women who once played with Barbie dolls and now fill their days with work, family, and adulting. This strategy has proven to be box office gold, and the heavy dose of cosplay at screenings proves the lasting impact this plastic doll has had on many women who lined up for tickets.

Ms. Gerwig co-wrote the screenplay with her real-life spouse and fellow filmmaker, Noah Baumbach (MARRIAGE STORY, 2019), and it’s fascinating to see what they have produced. Whether you find the film entertaining is another matter altogether, yet we tip our cap to the strange, visually-stimulating, and thought-provoking end result. Many will go in-depth on analyzing the gender politics and feminist approach to the story; however, I’m just here to discuss this as a movie, not a movement.

Two-time Oscar nominee Margot Robbie stuns in the opening sequence (a tribute to 2001: A SPACE ODYSSEY) as the original 1959 Barbie. In fact, Ms. Robbie is terrific throughout in this more-challenging-than-expected role. She’s so much more than a pretty face in high heels, as she’s previously proven in a risk-taking career featuring memorable turns in such films as THE WOLF OF WALL STREET (2013), SUICIDE SQUAD (2016), I, TONYA (2017), as Sharon Tate in ONCE UPON A TIME IN HOLLYWOOD (2019), and last year’s underappreciated BABYLON (2022). This time she portrays ‘Stereotypical’ Barbie, whose everyday is perfect in Barbieland. It’s here where we meet a diverse group of Barbies featuring Issa Rae, Alexandra Shipp, Emma Mackey, Sharon Rooney, Dua Lipa, and others. We are also introduced to Ken (two-time Oscar nominee Ryan Gosling, terrific here), whose mood for the day is totally dependent on whether Barbie acknowledges him. An equally diverse group of Kens features Simu Liu, Kingsley Ben-Adir, John Cena, Ncuti Gatwa, and others.

Barbie’s paradise is rocked one day when she begins wondering about death. A trip to “Weird Barbie” (a kooky Kate McKinnon) lets her know that the only cure for this existential crisis is a visit to the human world, where a sad girl is playing with her doll. It’s really an imaginative hook to allow the two worlds to collide. Unfortunately, only bits and pieces of the human world clicked for me (loved the rollerblading at Venice Beach). It makes sense that Barbie is shocked to discover the misogyny and patriarchy ruling the human world, but there are three other elements at play here: Ken discovering that men don’t take a backseat to women in this world, and in fact, they dominate; the corporate office of Mattel plays like a slapstick cartoon with Will Ferrell as a nonsensical CEO; and the mother-daughter duo of America Ferrera as Gloria and Ariana Greenblat as Sasha. The big twist occurs in that latter sequence, and it’s Ms. Ferrera who dishes out the gut punch soliloquy about what’s expected of women and how they are viewed. This monologue is the lesson director Gerwig wants viewers to leave with.

Barbie’s return to a much-changed Barbieland finds Ken and other Kens treating the Dreamhouse like a Frat house. See, the boys have learned how to run things their way … and at its core, that’s my main issue with the movie’s theme. Empowering women is a good thing, but why did Ms. Gerwig feel the need to make everything either a win for the women or a win for the men? I have always thought equality was the goal, not dominance. It’s this approach that gives the film a serious and dark undertone in a quite heavy-handed manner. Sure women enjoy having power. So do men. That’s no great mystery solved, and in fact makes these obvious points somehow more obvious.

Let’s talk about a few other less ominous topics. Helen Mirren delivers an admirable voiceover as the narrator, and a depressed Barbie and Ken’s affinity for horses are nice touches. Two of my favorite segments are Barbie’s first interaction in the human world … a “beautiful” woman on a park bench played by Oscar winner Ann Roth (a renowned Costume Designer who did not handle the costumes for this film), and a conversation with Barbie inventor Ruth Handler (played by Rhea Perlman), who named the doll after her daughter. While I hold firm on my belief that the film is not especially entertaining/fun, I’ll also admit the song and dance around the “I’m Just Ken” number was a hoot. Other than performances from Margot Robbie and Ryan Gosling, the star here is the Production Design from six-time Oscar nominee Sarah Greenwood. The film looks amazing, even if you might get your fill of pink by the end. Barbieland is quite a sight – it’s a shame the rest of the movie didn’t deliver this much fun, and instead pitted men against women.

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Posted by David Ferguson

BIOSPHERE (2023)

July 6, 2023

Greetings again from the darkness. ‘Life will find a way.’ The iconic line spoken by Jeff Goldblum in JURASSIC PARK (1993) fits right into this offbeat science-fiction film from writer-director Mel Eslyn and co-writer and co-lead actor Mark Duplass. You may not be familiar with indie filmmaker Eslyn, but Duplass has built a career by specializing in projects that rip us out of our comfort zone, and then force us to consider a topic from a new perspective … as evidenced by films like CYRUS (2010) and CREEP (2014).

The pre-credit opening scenes quickly establish the personalities of Ray (Sterling K Brown) and Billy (Duplass). Ray is a dedicated and serious scientist, while Billy is the former US President (likely inspired by George W Bush). The two are lifelong friends who have been living a few years isolated in the biodome created by Ray. We are to assume these are the final two human survivors on Earth, and we may also assume they are still alive thanks to Ray’s ecosystems of fish for protein and plants for nutrients.

Initially, this gives us the appearance of a buddy film as the two men share a morning jog and discuss the dynamics of Mario and Luigi. It’s the first of our clues, along with Billy reading “Kiss of the Spider Woman”, and the repeated viewings of LETHAL WEAPON. However, the tone shifts pretty quickly with a certain development in the fish habitat. It’s best to avoid any further specifics on where the story goes from here, because although there are leaps of faith that must occur by viewers, the core elements raised here are certainly unusual.

A recurring gag about a magic trick with a bowling ball (and its thud), and an ever-present green light in the sky, punctuate the Ray and Billy chats centered on philosophy, gender roles, friendship, masculinity, adaptation, and of course, survival. This is termed a “two-hander” since only two performers make up the entire cast. Sterling K Brown and Mark Duplass are both likable actors and they expertly overcome any shortcomings in the script. And despite those flaws, you’ll likely carry on some internal discussions with yourself long after the final drop.

Opening on July 7, 2023

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Posted by David Ferguson

FOOL’S PARADISE (2023)

May 12, 2023

Greetings again from the darkness. “It’s Always Sunny in Philadelphia” is in its 18th year, having aired 165 episodes, not counting endless reruns in syndication. A huge part of the series’ success is the comedic talent and writing ability of Charlie Day. That success has put him in a position to direct his first feature film, and how does he proceed? By attempting to skewer and mock the same Hollywood system that has made him rich and famous. Fortunately for Day, many of his friends have joined in, and most of the mocking falls pretty flat. So, he hasn’t jeopardized the likelihood that he will, in fact, work in this town again.

Our first glimpse of Day’s character is in a mental hospital where he has been diagnosed as non-verbal with “the mind of a Labrador retriever.” With no means to pay and no government plan to compensate the hospital, he is unceremoniously dumped on the street. Before trouble strikes, he is picked up by a Hollywood Producer (the late Ray Liotta) due to his striking resemblance to a temperamental and troubled movie star (also played by Day). Despite having no comprehension of what’s being asked of him, he ends up with a whirlwind acting career and a new name … Latte Pronto.

It doesn’t take long for us to realize Day has attempted to blend the comic (and silent) genius of Charlie Chaplin with the ‘oddity’ of Chauncey Gardiner in the Hal Ashby classic BEING THERE (1979).  Those friends of Day who make appearances include Jason Sudekis as a big-time director, Common as an action hero, John Malkovich as a backroom power broker, Jason Bateman, Glenn Howerton, Edie Falco as a super-agent, Mary Elizabeth Ellis (Day’s real life wife), and Dean Norris. In more substantive roles we find Adrien Brody as an alcoholic actor prone to wild times behind the wheel, Kate Beckinsale as a movie star attracted to Day’s overnight fame, and Ken Jeong as Lenny, the struggling publicist who latches onto Latte Pronto as his only client.

Day certainly has a knack for physical comedy and it’s on full display during his “Wipeout” dance, however, without the use of his trademark scratchy, whiny voice, he lacks the charm of Chaplin (who doesn’t?). More significantly, the script lacks the sharpness needed to effectively poke fun at the lure of celebrity, and the greed, self-interest, and insecurities tied to the fluff of Hollywood. There is an attempt to make this about friendship and human connection, but maybe what it does best is remind us how most people would rather talk, and are therefore attracted to a listener … even if he doesn’t understand the words coming out of their mouth.

In theaters beginning May 12, 2023

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Posted by David Ferguson

BLACKBERRY (2023)

May 12, 2023

Greetings again from the darkness. There aren’t too many companies who have reached the pinnacle of their industry, only to later flop due to lack of innovation or a stubborn insistence on holding on to the past. Tremendous success and absolute failure are not typically associated with the same company. Blockbuster Video and Pan Am Airlines come to mind as examples of industry leaders whose refusal to adapt, culminated with closure, and it’s likely that Blackberry belongs in the category, at least as presented here by writer-director Matt Johnson and co-writer Matthew Miller, adapting the book by Jacquie McNish.

Socially awkward pals, Mike Lazaridis (played by Jay Baruchel) and Doug Fregin (played by the film’s director Matt Johnson), co-founded Research in Motion (RIM). The film picks up in 1996 when Mike and Doug are making their first presentation of their breakthrough handheld data delivery-email machine, which they have named Pocket Link. These are two genius nerds with no concept of how the outside business worlds functions, and the executive to whom they are pitching is so distracted that his only feedback is, “You need a new name.” In a fascinating twist, that same executive, Jim Balsillie (Glenn Howerton, “It’s Always Sunny in Philadelphia”) ends up saving not just the new product, but also the company.

Balsillie presents himself as a fireball, take charge, full-steam-ahead kind of guy. It’s quite a contrast to nerdy Mike and easy-going Doug. Mike is a quiet guy committed to perfection in his work, while Doug wrangles the tech developers with a culture of video games, movie night, and an overall fraternity environment. Balsillie’s arrival as a vocal outrage expert and brash businessman changes everything, and he and Mike drive the newly named BlackBerry to levels not previously seen. We do get a humorous anecdote from a shirt stain (even though it’s not a true story), and in fact, there is quite a bit of humor throughout.

We are informed that the film was “inspired by real people and real events”, so some dramatic license is expected. Perhaps the best comparison is THE SOCIAL NETWORK (2010), and while that film was more polished, I personally found this one more entertaining and accurate from a business sense. An excellent supporting cast includes Cary Elwes, Saul Rubinek, Michael Ironside, Martin Donovan, Rich Sommer, and SungWon Cho, and the film’s real draw is the contrast between Jay Baruchel’s mousy but brilliant Mike, and Glenn Howard’s powerhouse portrayal of the egotistical Balsillie. Baruchel’s scene where he reacts to the new iPhone is alone worth the price of admission.

At its peak, BlackBerry had 45% market share and had earned it’s “CrackBerry” label in the business world. Apple’s 2007 introduction of the iPhone not only rocked the BlackBerry company, it shook up the world. The Canada perspective is noted (RIM was based in Waterloo, Ontario), as is Mike’s aversion to ‘made in China’, perhaps the ultimate reason for the fall. It’s likely that BlackBerry has become a Case Study in Business Schools, although the fast-paced and pressure-packed world of tech continues to require a balance of decisions focused on current markets and never-ending innovation for the future.

Opens on May 12, 2023

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Posted by David Ferguson

POLITE SOCIETY (2023)

April 27, 2023

Greetings again from the darkness. If you have ever wondered what it might look like if Quentin Tarantino consulted on a modernized Pakistani version of Jane Austen … well, writer-director Nida Manzoor shows us (with no actual assistance from QT), including stylized martial arts, class warfare, and an obsession with a stuntwoman career. It’s Ms. Manzoor’s first feature film (she created the TV series “We are Lady Parts”) and she presents an extremely creative film with a balance of silly and dark themes that proves immensely entertaining.

Relative newcomer Priya Kansara stars as Ria, a private school student highly determined to achieve her goal of becoming a working stuntwoman. She remains laser-focused on this despite her teacher and parents laughing off such nonsense and re-directing her towards becoming a doctor. Ria also adores her older sister Lena (Rita Arya), although worried about her since she recently dropped out of art school and seems to be rudderless in life.

Things change quickly for everyone once rich mama’s boy/doctor Salim (Akshay Khanna) begins courting Lena. Ria senses things aren’t right with the relationship and is also convinced that Lena should resume her dreams of being artist, rather than being pursued by the handsome, rich, too-good-to-be-true suitor. Ria and her best friends Clara (Seraphina Beh) and Alba (Ella Bruccoleri) scheme to undercut the relationship, but they are no match for Salim’s mother (a terrific Nimra Bucha), who sports the best evil Grinch grin you’ve ever seen.

Director Manzoor divides the film into five chapters: A tale of two sisters, EID Soiree, Operation Wife Hunter, Assault on Shah mansion, and The Wedding. Each chapter offers comedy and action, and a matching of Ria’s wits and instincts against the plans and beliefs of others. Ms. Kansara impresses as an upstart female Jackie Chan with superior acting chops. She executes the physical martial arts sequences beautifully, yet also shows promise in the quieter, more intimate moments when emoting and dialogue matter. She is certainly one to watch … as is filmmaker Nida Manzoor. Anyone who can entertain at this level deserves the opportunity to do so as frequently as possible.

Opening in theaters on April 28, 2023

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1 Comment | Action, Comedy, Drama, World Cinema/Foreign | Tagged: , , , , , , | Permalink
Posted by David Ferguson

GHOSTED (2023)

April 21, 2023

Greetings again from the darkness. I am often accused of taking movies too seriously rather than just sitting back and enjoying the entertainment value. Well, this latest from director Dexter Fletcher (ROCKETMAN 2019, EDDIE THE EAGLE 2015) is textbook ‘popcorn entertainment’ made for those who prefer to sit back and enjoy. There is plenty to like here and it did generate a few laughs, yet it’s still a movie that doesn’t hold up to much thought or post-viewing discussion. SPIDER-MAN collaborators Chris McKenna and Erik Sommers, and DEADPOOL collaborators Rhett Reese and Paul Wernick have joined forces on a script that somehow doesn’t have the dialogue zings that can keep pace with the action sequences.

An early meet-cute occurs as organic family farmer Cole Turner (Chris Evans bucking his Captain America persona) unknowingly flirts with market shopper Sadie Rhodes (Ana de Armas, fresh off her Oscar nomination for BLONDE, 2022), recommending she purchase a cactus rather than a Begonia once she discloses her work travel schedule. An all-day and all-night date ends with Cole telling his family that “she may be the one.” His caustic sister (Lizzie Broadway) skewers him with the funniest one-liners in the film while informing that his smothering texts and emojis have likely caused Sadie to ghost him.

It’s at this point where the clumsy organic farmer turns into an extreme stalker and heads to London … don’t ask what trick allowed him to track her. A photo op at Tower Bridge ends with Cole being abducted and presumed to be “The Taxman” (cue Beatles song), the only person with the code to unlocking a chemical weapon in the possession of arms dealer and dastardly bad buy Leveque (Oscar winner Adrien Brody). Of course, Sadie rescues Cole at the last minute, and her cover as an international art curator is blown … surprise! She’s actually a highly-skilled CIA spy.

Three major action sequences are featured: an exciting bus-in-reverse along a mountain side road in Pakistan, a fight scene aboard a private jet, and a guns-blazing shootout in a rotating high-rise restaurant. Ana de Armas is terrific in the action sequence and her rapport with Chris Evans (first noted in KNIVES OUT, 2019) elevates the toothless banter between the two. It’s a bit shocking that this group of writers couldn’t land on wittier and sharper comments for these two characters as they bounce around the globe … even racing up THE EXORCIST stairway. At times it feels like an episode of “Get Smart”, although the action sequences are first rate.

Supporting roles are held by Mike Moh, Amy Sedaris, Tate Donovan, and the always fun Tim Blake Nelson. Many will enjoy the hand full of cameos that pop up, at least one “Wilhelm scream”, and the sometimes obvious and/or cheesy song selection … a rare soundtrack to include both The Knack and Dua Lipa. The film leans more into cute than witty and danger, but with two of the most attractive stars working today, that’s forgivable. Just get your popcorn ready and sit back and enjoy this rom-com/action-thriller, and don’t think too much.

The film will be on Apple TV+ on April 21.

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3 Comments | Action, Comedy, Rom-Com | Tagged: , , , , , , , , , , , , | Permalink
Posted by David Ferguson

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