TANKHOUSE (2022)

May 12, 2022

Greetings again from the darkness. A couple of months ago I reviewed Tim Federle’s new movie, BETTER NATE THAN EVER, and described it as a real treat for young theater students. Now, just a few weeks later, comes the first feature film from writer-director Noam Tomaschoff and co-writer Chelsea Frei … one for the grown-ups still trying to make a go of it on the live theater scene. It’s sometimes funny, sometimes motivational, and sometimes painful to watch. While the film really boils down to finding one’s place in life and staying true to your own dreams, it takes quite an unusual path with oddball characters.

Sandrene St Jean (Tara Holt) and Tucker Charlemagne (Stephen Friedrich) lead a group of avant-garde performers in a display of rooftop immersive art. Things go swimmingly right up until a tragedy that results in the couple being booted from the company by their mentor, Burford Slezinger (Christopher Lloyd), and blacklisted from the NYC theater scene. Making things seem more hopeless for Sandrene and Tucker, a dinner with her parents (Andy Buckley from “The Office” and Joey Lauren Adams and her distinctive voice) leaves their free-wheeling artistic lifestyle lacking further funding.

The pretentious Sandrene and the brash Tucker admit they can’t possibly get “real jobs”, so they head to her hometown of Fargo, where a contest will decide which performance group will win the rights to takeover the historic downtown theater. The competition boils down to an established group led by Morten (Richard Kind), Sandrene’s former high school drama teacher, or the quickly assembled troupe of oddball locals she and Tucker cobble together from the local pub. Recruits are drawn in by Tucker’s proclamation of a “theatrical revolution” … one of his many articulate statements that carry no significant heft.

Most of the story takes place in Fargo, with the rivalry between the two theater groups driving things forward. There is a terrific parody of the WEST SIDE STORY gang face-off that involves high-speed dueling “Modern Major General Song” (from Pirates of the Penzance) versions – accompanied by finger-snapping! What we witness is how one person’s passion and commitment can both unite and divide, and how individual dreams should be pursued when the opportunity presents. Richard Kind’s Morten is a fine example of how bitterness can leech in when someone doesn’t achieve their goals and struggles, and still find happiness with the hand dealt. All of these life lessons are wrapped in a comedy with oddball characters that will likely appeal most to those who have chosen the theater life. In fact, the story is semi-autobiographical for writers Tomaschoff and Frei. While we would have liked more development for the supporting characters, this ‘personal’ aspect for the writers explains a great deal. Whether you view this as a parody or cautionary tale, it does remind us that each person must seek their lot in life.

Available May 13, 2022 on VOD

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Posted by David Ferguson

THE DUKE (2022)

April 26, 2022

Greetings again from the darkness. It made headlines in 1961. Francisco Goya’s ‘Portrait of the Duke of Ellington’ was stolen from London’s National Gallery. Director Roger Michell, with a screenplay from Richard Bean and Clive Coleman, dramatize the story so that it’s part comedy and part love story, and thanks to screen veteran James Broadbent, full of charm.

Oscar winner Broadbent (IRIS, 2001) stars as Kempton Bunton. We first see him in the midst of his courtroom trial. Pretty quickly, the film flashes back to 6 months prior. Kempton hasn’t had much luck in keeping his job as a cab driver, or a baker, or any other. He’s a bit of a rabble-rouser, quick to share his unsolicited opinions, and on a constant mission to look out for ‘the little guy.’ He is also a would-be writer who cranks out novels (“Susan Christ”) and plays that never get published, all of which adds to the chagrin of Kempton’s wife, Dorothy, played by Oscar winner Helen Mirren (THE QUEEN, 2006). Dorothy works as a maid, and only desires a simple, steady, and predictable life with her husband … who delivers quite the opposite.

Living in a working-class neighborhood with one of their sons, Jackie (Fionn Whitehead, DUNKIRK), Kempton and Dorothy have an interesting relationship … one that includes contrasting methods of grieving over the death of their daughter. She internalizes while he writes about it. Kempton’s latest protest is against the government buying back the Goya painting while so many citizens suffer the indignity of paying a television licensing tax. He insists the government should spend the money on the people, not on frivolities like art. It’s during this phase when we wonder if son Jackie is learning more from dad than we originally suspect.

Director Michell includes some fascinating shots, including the theft of the painting, which leaves Edvund Munch’s “The Scream” in the video wake. We also see the scene in the 1965 James Bond film DR NO which features the Goya painting and a little inside humor. There are also numerous shots with Broadbent superimposed into archival footage of 1960’s London, and actual newsreels from the era. The tone shifts when Kempton turns himself and the painting into the authorities. His courtroom behavior plays like a stand-up comedy routine, while his barrister (played by Matthew Goode) uses Kempton’s everyman-likability to his advantage.

Director Roger Michell passed away in September 2021. He’s best known for NOTTING HILL (1999) and VENUS (2006), and unfortunately, he didn’t get to see his final film released in theaters. Broadbent’s charm is on full display here, and the film easily could have gone deeper into the topics of social inequality and governmental mismanagement. Instead, it’s more sentimental and funny than enlightening … an outlandish heist story that plays just as well as a gentle love story. And that’s a pretty good cause for Mr. Michell the filmmaker.

Opens in NYC and LA on April 22, 2022 and nationwide on April 29, 2022

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“Bring a Friend Back to the Movies” will provide one complimentary ticket to customers who purchase a ticket directly from the Angelika website, app or in theaters to see “The Duke” during the first week of its release. Select Angelika locations will also offer each ticket holder for “The Duke” a specially priced split of bubbly to share with their friend in celebration of their return to the movies

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Posted by David Ferguson

THE UNBEARABLE WEIGHT OF MASSIVE TALENT (2022)

April 21, 2022

Greetings again from the darkness. Calling all Nicolas Cage fans! Put the bunny back in the box and get ready for the most fun you’ll ever have with Nicolas or Nic or Nick or Nicky. And if one Cage isn’t enough for you, you’re in luck. This film has Nicolas Cage playing the (somewhat) fictional Nick Cage, and Nicolas Kim Coppola (Nicolas Cage’s birth name) playing imaginary alter-ego Nicky, a younger version of Nicolas Cage from the WILD AT HEART era who spends the movie constantly reminding Nick that he’s a movie star.

If you can’t make much sense out of all that, don’t worry, writer-director Tom Gormican and co-writer Kevin Etten have created a film that is sure to strike a chord with Nicolas Cage fans. What we see is a parody going meta in a surreal way. Very few get to star in the tribute to their own legend, but that’s what happens here. Nicolas Cage goes ‘inside baseball’ on the career of Nicolas Cage … only he does so as struggling actor Nick Cage, an actor so desperate for “the role of a lifetime” that he improvs a reading for director David Gordon Green (Cage’s director on JOE) in the parking lot of Chateau Marmont.

Having been kicked out of his rental after falling behind $600,000 in rent, Nick agrees to take a humiliating job pitched by his agent, Fink (Neil Patrick Harris). For one million dollars, he is to fly to Mallorca and hang out at the birthday party of rich super fan, Javi Gutierrez (a terrific Pedro Pascall, “The Mandalorian”). The twist here is that CIA agents played by Tiffany Haddish and Ike Barinholtz suspect Javi of being a notorious gun dealer who has kidnapped the young daughter of the Catalonia President. Spy-type shenanigans ensue as Nick and Javi develop a bromance that finds the two new buddies writing a film script together. And if that’s not quite enough subplots, you should know that Nick is at a breaking point in his relationship with his ex-wife Olivia (Sharon Horgan) and teenage daughter Abby (Lily Sheen, real life daughter of Michael Sheen and Kate Beckinsale).

The zaniness includes nods to more than a dozen Nicolas Cage movies, and much of the fun is derived from recognizing these. Easter eggs are everywhere for fans, and Nic expertly plays Nick (and Nicky) as a loving tribute to the characters we’ve seen in so many iconic films over the years. Additionally, on screen love is provided for the 1920 classic, THE CABINET OF DR. CALIGARI, as well as the more recent gem, PADDINGTON 2 (2017), making this a tribute to cinema lovers, Nicolas Cage fans, and comedies in general. I will admit to disliking director Gormican’s 2014 movie, THAT AWKWARD MOMENT, so much that I hoped he was done as a filmmaker. It turns out, he’s back (and much improved) … not that he ever went anywhere.

Opens in theaters on April 22, 2022

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Posted by David Ferguson

FATHER STU (2022)

April 12, 2022

Greetings again from the darkness. Well, if you are going to make a movie about redemption and bettering one’s self, who better to cast than Mark Wahlberg and Mel Gibson? Both men are stars who on multiple occasions have needed redeeming. Writer-director Rosalind Ross’ first feature film is based on the true story of Stuart Long, and Mr. Wahlberg was so committed to the project that he funded production when others chose not to.

OK, so maybe it’s a bit of a stretch having Mr. Wahlberg play the guy who becomes a priest, but that’s why they call it, “the magic of Hollywood.” Stuart Long was a real person and his story is compelling and worth sharing. Wahlberg so believed this that he self-funded the production, and clearly gave his all in the performance. My advice to anyone watching the movie is to stay seated. Things move extremely fast … and it’s that expeditious approach to storytelling that gives this a bit of a movie-of-the-week feel. Here’s what I mean by fast: We see Stu (Wahlberg) as a boxer. His parents are long-divorced, and after an injury, Stu decides to head to California to be an actor. He falls in love with a girl who convinces him to get baptized, and the experience inspires him to become a Catholic priest. Severe health issues ensue, yet he persists. That’s a whole lot to cover in two hours, and it explains why each piece skims only the surface and feels rushed … and this is only a partial list!

The pedigree here is beyond question. Wahlberg has twice been Oscar nominated. Two-time Oscar winner Mel Gibson plays his father, while 2-time Oscar nominee Jacki Weaver is Stu’s mother. Screen legend Malcolm McDowell plays the local monsignor who finds himself in a pickle, and the always-great Colleen Camp has a brief appearance as a seen-it-all motel clerk. Teresa Ruiz is terrific as Carmen, Stu’s reluctant love interest who first think she understands him, then learns she doesn’t, and then ultimately respects what he’s made of himself.

Catholicism plays a big role here, and there is plenty of guilt to go around. Wahlberg leans heavily into his charm to help us relate to Stu, but he and Gibson both have cringe-inducing moments for those familiar with some of their off-screen activities. Gibson’s ‘Hitler’ crack seems to walk an especially fine line. On the other hand, Gibson delivers a couple of memorable lines: one early on when he’s watching young Stu dance, and another later on when the two are re-connecting as grown men. Filmmaker Ross includes some actual Stuart Long audio recordings, photographs, and video over the closing credits.

Opens in theaters April 13, 2022

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Posted by David Ferguson

EVERYTHING EVERYWHERE ALL AT ONCE (2022)

April 5, 2022

Greetings again from the darkness. It’s bonkers, I tell ya’! Co-writers and co-directors Daniel Kwan and Daniel Scheinert, known collectively (by their choice) as “Daniels”, follow up their ‘farting corpse movie’ SWISS ARMY MAN (2016) with one that is somehow more bizarre, more audacious, and more fun. It’s one of the most innovative films I’ve seen in a while, and although I can point out influences, I’ve yet to come up with a movie comparison that seems just or fair.

Every small business owner can relate to the stress Evelyn Wang (Michelle Yeoh) is under as she attempts to organize her documents in preparation for an IRS audit of the laundromat she owns with her husband Waymond Wang (Ke Huy Quan). As if that’s not enough, her father is scheduled to arrive the same day. She knows Gong Gong (James Hong) is disappointed in his daughter for the husband and life she chose. And while being crushed with those two events, Evelyn’s strained relationship with her daughter Joy (Stephanie Hsu) continues to fracture as Evelyn wants to keep Joy’s girlfriend status with Becky (Tallie Medel) a secret from dear old conservative dad/grandfather.

That’s just about the end of the “normal” part of the story, other than Waymond has had divorce papers prepared, not for the purpose of ending the marriage, but with the hope that the threat might force Evelyn to have a real conversation with him about their relationship. Things start to get weird even before they head to the IRS meeting with an agent played with gusto by Jamie Lee Curtis, but while there, we get our first real taste of the fantastical trip we (and Evelyn) are about to take. Of course, I can’t really offer any description of the action that occurs, but nothing is spoiled if I tell you that some characters cross multiple dimensions and universes in an attempt to ‘save the world’. While doing this, they mix in some acrobatic martial arts that would make Jackie Chan envious.

It’s the rare film where the frenetic pace of dialogue keeps pace with breakneck action sequences. A fanny pack, trophies with an unfortunate shape, and blue-tooth type devices all play unusual roles here, and this film challenges everyone from the actors to the directors to the editors to the fight coordinators. You’ll likely recognize Evelyn’s husband as the grown-up version of the child actor who played Short Round in INDIANA JONES AND THE TEMPLE OF DOOM (1984), and daughter Joy is portrayed by Stephanie Hsu (a contributor to “The Marvelous Mrs. Maisel”), who gets to cover just about the widest range of character we’ve likely ever seen on screen. The estimable James Hong is a riot as Gong Gong. Mr. Hong is now 93 years old with an incredible canon of 450 credits in his 8 decades of work. His presence is quite crucial to the film. It should also be noted that, as we would expect, Jenny Slate shines in her brief role as “Big Nose”, a regular customer at the laundromat.

As terrific as the cast is, this is really a chance for Michelle Yeoh to bring her full arsenal to the role of Evelyn. She’s angry, frustrated, scared, courageous, and even adds her comic timing. Ms. Yeoh flashes her CROUCHING TIGER, HIDDEN DRAGON fighting skills, while also brining a regal presence to a film that requires a strong core. It’s no mystery that family and love can solve many of the world’s issues, and Daniels have delivered a wild ride that defies simple description. It’s a long one at 139 minutes, but you’ll thank me later for not saying much more than … it’s bonkers!

Opens in select markets on March 25 and April 1, 2022 and nationwide on April 8, 2022

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Posted by David Ferguson

BETTER NATE THAN EVER (2022)

April 1, 2022

Greetings again from the darkness. Maybe the only great thing about adolescence is that dreams are still alive … and in full bloom. Writer-director Tim Federle has adapted his own best-selling Young Adult novel for the big screen, and the result is a fun, uplifting adventure that should really hit home for theater kids. It’s very much in the vein of HIGH SCHOOL MUSICAL, and that makes sense as Mr. Federle is the creator of “High School Musical: The Musical – The Series”.

Casting is crucial in a film like this, and Rueby Wood excels as the titular Nate, a 13-year-old growing up in suburban Pittsburgh while dreaming of starring on Broadway. One of Nate’s challenges is that he can’t even get cast for a significant role in his school’s stage production. This is the first big screen appearance for young Wood, though he has starred in the national tour of “Charlie and the Chocolate Factory.” He is immensely talented and sings, dances, and acts his way through this story in a way that draws us in to the point that we embrace his dreams and cheer him on.

To help her best friend overcome his disappointment in the school play and encourage him to chase his dream, Libby (Aria Brooks) informs Nate that auditions are being held for a Broadway production, “Lilo & Stitch: The Musical”. Excited for the opportunity, the two sneak off to New York City. By this point, we’ve seen that Nate’s mother and father (real life married couple Michelle Federer and Norbert Leo Butz) accept that their son is ‘different’, while Nate’s jock brother Anthony (Joshua Bassett) puts up with him the way most big brothers do with their weird siblings.

Once in NYC, the story takes a turn. Nate and Libby run into his Aunt Heidi (Lisa Kudrow). Although estranged from her sister, Nate’s mom, Heidi’s experience as an actress in New York has made her an idol to the young actor wannabe. Of course some of what happens at the audition is a bit far-fetched, but Nate’s optimism and determination and faith restore some of those long-past emotions in Heidi and the two establish quite a bond. In an interesting turn, Libby is much more than the loyal friend to Nate, as the experience/adventure shines a light on a path that suits her oh so well.

Rueby Wood delivers a sparkling performance as Nate, flaunting his vocal pipes in Times Square. Aria Brooks is every bit as impressive as Libby, and we get the feeling her career is about to explode. This is comedy and quasi-musical that acts as an uplifting adventure movie serving up life lessons along the way. Most parents would prefer their unaccompanied minor kids not hop a bus to the Big Apple, but the messages of pursuing a dream and the importance of friendship and family are well made. It’s nice to see a film directed at theater kids and one that the whole family (other than the youngest of kids) can enjoy together.

April 1, 2022 launch on Disney+

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Posted by David Ferguson

THE LOST CITY (2022)

March 24, 2022

Greetings again from the darkness. It’s not billed as a remake of ROMANCING THE STONE (1984), and perhaps that’s because it borrows from many adventure romantic-comedies over the years. Brothers and co-directors Aaron Nee and Adam Nee (BAND OF ROBBERS, 2015) have proven they can deliver exactly what is promised from a script by co-writers Oren Uziel (MORTAL COMBAT, 2021) and Dana Fox (CRUELLA, 2021). Seth Gordon receives a story credit, which is a bit ironic considering he has been quoted with, “The best stories are rooted in reality.”

Oscar winner Sandra Bullock stars as grieving, reclusive and highly successful romance novelist Loretta Sage, and Channing Tatum co-stars as her long-time and extremely popular cover model, Adam (in what is obviously a ‘wink and a nod’ to Fabio). Loretta’s love of history, and the passing of her husband, have combined to make her despise the books she writes and the publicity tours she’s required to attend … especially when being forced to wear a skintight purple/fuchsia sequined onesie. On the other hand, vapid model Adam relishes giving the audience what they want – strutting, hair waving, and bare chest.

After their most recent event goes sideways, Loretta is kidnapped by the villainous rich guy with a so-called gender-neutral name of Abigail Fairfax (Daniel Radcliffe). He’s read her latest book and needs her help in locating the ‘Crown of Fire’ hidden somewhere on a remote island he purchased for this reason. Things have to move quickly before the volcano erupts and buries the treasure. At this point, Adam is committed to rescuing Loretta and proving that he’s more than a pretty face. Loretta’s stressed out literary agent Beth (Da’Vine Joy Randolph, DOLEMITE IS MY NAME, 2019) is determined to save her writer-asset, while the newly hired social media director (Patti Harrison) acts goofy (and deserved better lines).

It’s regrettable, yet a sign of the times, that (2-time Oscar winner) Brad Pitt’s cameo is included in the trailer. This should have been a pleasant surprise for viewers, and instead is spoiled by the clip. He has fun with his role as former Navy Seal and meditation partner with Adam, as the two work towards Loretta’s rescue. The time on the island combines the adventure sequences with the slow-build of the romantic bond between Loretta and Adam, and both actors do their thing. It’s mostly Mr. Radcliffe who seems a bit out of place as he goes big in his role as villain, when some subtlety might have played better. Then again, there is nothing subtle about this production, including the scenes with Beth and an oddball pilot with a goat-fetish played by Oscar Nunez (“The Office”).

Sandra Bullock and Channing Tatum can play these characters in their sleep, and to their credit, they both seem engaged and willing to put forth the necessary effort. Tatum especially embraces the duality of a preening cover boy and the sensitive type out to prove he has substance. It’s an easy film to criticize, but why would you? It’s meant to be harmless fun and bring joy to movie lovers. It’s totally fine to make a silly formulaic movie when your objective is to make a silly formulaic movie.

Opening in theaters on March 25, 2022

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Posted by David Ferguson

CHA CHA REAL SMOOTH (SXSW 2022)

March 23, 2022

SXSW 2022

Greetings again from the darkness. It seems society has reached a point where most of us are at least a bit skeptical of someone being nice. We assume there is an ulterior motive for acts of altruism. Writer-director-actor Cooper Raiff won a SXSW award for his first feature film (a title I can’t print here), and he follows that up with this feel-good dramedy that may very well inspire us to have a bit more faith in humanity … well at least some of humanity.

When we first meet Andrew (Mr. Raiff), he’s attending the Bar Mitzvah of a classmate, and finds himself attracted to Bella (Kelly O’Sullivan, who was so good in SAINT FRANCIS, 2019), the older ‘party starter’. What really hits home with Andrew is how Bella takes an obviously unsettling phone call in the stairwell before flipping her smile back on and returning to her hosting duties. We then jump ahead 10 years, and Andrew has just graduated college. His girlfriend heads off to Barcelona while he moves back in with his mother Leslie Mann) and stepdad (Brad Garrett), sleeping on a blow-up mattress in his younger brother David’s (Evan Assante) room. As he contemplates his next step in life, Andrew works the counter at ‘Meat Sticks’, a shopping mall based fast food stop that forces him to wear a royal blue vest and bright red visor. Talk about motivation for transitioning into adulting.

This ties back into the early scene of young Andrew because when he accompanies David to a Bar Mitzvah, Andrew is attracted to the beauty Domino (Dakota Johnson), mother of autistic Lola (Vanessa Burghardt). We watch as Andrew’s charm convinces to Lola to dance for the first time, a friendly gesture that intrigues her mother. Things change quickly for Andrew. Other Jewish moms take note of Andrew and hire him as a ‘party starter’, Domino hires Andrew to periodically babysit Lola, David starts eliciting romance advice from big brother, and Domino and Andrew begin their “will they or won’t they” flirtations.

Of course, things aren’t as simple or rosy as they might seem. Domino has a lawyer fiancé (Raul Castillo), and she’s burdened with emotional pain that she barely acknowledges – though she does admit to Andrew that she struggles with depression. There are also mental health issues associated with Andrew’s mother, and we infer that plays an important part in his own makeup and desire to help others. It turns out Andrew and Domino are both defined (perhaps burdened) by their need to help others, while ignoring their own well-being. Neither are saints, as both have flaws. An engaged Domino battles her urges with Andrew, while he drinks too much, has a jealous streak, and snaps at loved ones when upset.

Filmmaker Raiff benefits from a terrific and fully engaged performance from Ms. Dakota. Raiff himself is not a polished actor, but this is an advantage for his role as Andrew – a young man drifting at a time he should be focused. The film takes a sincere approach to characters we know. The cringe-factor rarely, if ever, pops up. The most cynical might find it saccharine, but most will appreciate the sweetness Andrew displays as he fumbles around with what love means. He may be somewhat goofy, but he’s also good-hearted, and enjoys making a difference and helping others. Raiff’s film may be as eager to please as its protagonist, yet that’s not such a bad thing.  And yes, the “Cha Cha Slide” does feature in a dance scene, so the film’s title isn’t totally off the wall (but almost).

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Posted by David Ferguson

SERIOUSLY RED (SXSW 2022)

March 23, 2022

SXSW 2022

Greetings again from the darkness. Finding one’s self can be a long and arduous life journey for some. Along the way, they may be influenced by parents, friends, co-workers, and even public figures. This phenomenon is explored by director Gracie Otto (sister of Miranda) with a terrific script from lead actor Krew Boylan. It’s a film that starts out light-hearted and comical and evolves into something much deeper … self-actualization.

I’ll admit two things: I was not previously familiar with Krew Boylan and I was truly blown away by her performance here. She stars as Raylene, also known as the titular “Red” thanks to the ginger mop of hair on her head. She’s fixated on Dolly Parton to the point of going to the company banquet dressed as Dolly (either a prank or misunderstanding). Red has struggled to find her way in life, and is fired from her realtor job the day after the banquet due to her drunken improprieties. This is a grown woman living in her mom’s garage, and coincidences being as they are, a talent scout for a celebrity impersonation troupe offers Red the opportunity to audition as their Dolly.

We watch as she improves her act … going from a tolerable karaoke singer to actually impersonating Dolly’s singing voice, not just the big wig, heavy make-up, and frilly costumes (shout out to costume designer Tim Chappel). She becomes part of the Kenny Rogers impersonator’s act, and the two begin an off-stage relationship as well. Red finds that she enjoys the adulation and respect, and even goes so far to have implants for authenticity. Of course, we see what’s happening before Red does. In her search to find herself, she’s disappeared into the act of being someone else. Her lifelong friend asks her, “If you are busy being someone else, who is busy being you?”. Behold the identity crisis.

Exceptional work is provided by the supporting cast. That lifelong friend just mentioned is Francis, played by Thomas Campbell. We make assumptions about Francis based on the early scenes, and those assumptions later teach us a lesson. Red has a strained relationship with her mother played by Jean Kittson, who like every parent, wants happiness and reality for their offspring. Celeste Barber plays the talent scout who discovers Red, and Bobby Cannavale plays the manager of the traveling cast of impersonators (and serves up a nifty Neil Diamond impersonation himself). An unrecognizable Rose Byrne is a hoot as Elvis, and Daniel Webber is a standout as Kenny – the love interest and Kenny Rogers impersonator. Also fun to watch are the impersonators who play such icons as Marilyn, Streisand, Liz, Liza, etc.

Director Otto opens with a terrific and unconventional shot of Red in the bathtub while on a client call. It’s the perfect introduction to a character and story that leads us down many paths. We often hear that celebrities and public figures don’t consider themselves role models, but it’s indisputable that they have influence on many. Dolly Parton is a charming and talented and successful woman, and many of her insightful quotes are utilized here to inspire Red. But while icons may inspire some, it becomes clear that we all need the love and support of family and/or friends to discover our true self. This is a full Australian production, with the exception of Mr. Cannavale, who is an honorary Aussie due to his marriage to Rose Byrne. It’s a story with heart and makes for an entertaining watch.

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Posted by David Ferguson

THE PRANK (SXSW 2022)

March 23, 2022

SXSW 2022

Greetings again from the darkness. You need only know one thing to put this on your must-see movie list: beloved EGOT Rita Moreno plays a bad*** teacher in a horror-comedy. As a bonus, the film is loads of fun and is actually filled with comedy and suspense. Directed by Maureen Bharoocha and co-written by Rebecca Flynn-White and Zak White, the film allows the 90-year-old WEST SIDE STORY star to shift her pesona into Mrs. Wheeler, the demanding AP Physics teacher who thrives on intimidating her students to do better.

Connor Kalopsis plays Ben, the stressed-out over-achiever aiming for the scholarship that will get him admitted to the same college his recently deceased father attended. All he needs is to make the grade on his midterms. That plan comes to a screeching halt when Mrs. Wheeler announces she is failing the entire class due to a cheater in their midst. Ben is crushed and when he tells his best friend, Mei Turner (Ramona Young), about the unfair situation, she goes into full friend-protection mode. See Turner is not as ambitious as Ben, although she’s a brilliant computer hacker and hatches a plan to “prank” Mrs. Wheeler. She plants the rumor and “creates evidence” on social media that Mrs. Wheeler was responsible for the disappearance and possible death of one of the school’s missing students.

As you might imagine, the prank goes awry and the fallout is devastating. It becomes a viral accusation and attracts the police, causing tragic problems for the disliked teacher. Bringing just the right touch of comedy, the supporting cast includes Keith David as the Principal, Kate Flannery as the sarcastic cafeteria worker, Jonathan Kimmel (Jimmy’s brother) as the all-knowing custodian, and Meredith Salenger as Ben’s trusting mother. Each of these seasoned professionals contributes, and I found Ms. Flannery to be particularly effective.

Director Bharoocha does a really nice job blending the genres and juggling the multiple pieces. She provides a twist on the ‘skeletons in the closet’, and really let’s Ms. Moreno do her thing. If there is any complaint here, it’s that the envelope could have been pushed a bit more on the horror aspect, but that’s only a minor wish. Topping off this fun ride are the hilarious outtakes that play over the closing credits. I do wish more directors took advantage of this.

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Posted by David Ferguson

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