DRIVING MADELEINE (2024, France)

January 19, 2024

Greetings again from the darkness. This film surprised me with two clear and valuable reminders. First, with a bit of effort, we can always have a positive impact on others – sometimes to the degree that we change their life. Second, everyone has a life story, and we only learn it if we take the time to ask and listen. Writer-director Christian Carion is known for THE GIRL FROM PARIS (2001) and the superb Oscar nominated JOYEUX NOEL (2005). With co-writer Cyril Gely, Carion delivers a heartfelt story of two people with seemingly nothing in common, crossing paths and making a difference.

Charles (Dany Boon) is a Paris-based taxi driver who feels his life crumbling ever so quickly. His marriage is on the rocks. His financial woes seem insurmountable. He’s one more traffic violation from losing his driver’s license, which means no driving a taxi, and of course, more money problems. His dispatcher calls and offers him a fare that would take him cross-town. At first Charles balks, but quickly remembers he needs the cash. Extremely annoyed when he arrives, Charles repeatedly honks his horn until an elderly lady assures him that she’s ready for the ride. In fact, it’s to be Madeleine’s (Line Renaud) final ride. A trip to the nursing home to live out her final days.

Appearing years short of her 92-year age, Madeleine requests Charles to drive her through the areas that were key to her life. It’s a life that has a shocking past and one that slowly emerges as her charms and warmth thaw Charles’ previously irritated demeanor. It’s fascinating to watch a bond … even a friendship … formed from this unusual day trip around the city. These two should share little common ground, but what we find is that people tend to respond to kindness and listening and sincerity. These two help each other in ways neither could have imagined.

Comparisons to Best Picture Oscar winner DRIVING MISS DAISY (1989) are understandable, yet Madeleine and Charles carve out their own movie niche, and we find ourselves liking each of them. Dany Boone starred in director Carion’s history-based JOYEUX NOEL (2005), and although he is best known for his comedic work, that film and this one proves his dramatic chops. Line Renaud began performing in the 1940’s and is a well-known singer in France. As a ‘sometime’ actress, she lights up the screen here as our beloved and spirited Madeleine. The ending may be a bit of a stretch (even though we see it coming), but the real joy here is watching these two connect as flawed human beings.

Progressive theatrical openings on January 12, 19, 26, February 2, 2024

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Posted by David Ferguson

MEAN GIRLS (2024, musical)

January 11, 2024

Greetings again from the darkness. High School is a challenging time. High School girls can be mean, especially to each other. Those two points were made quite clearly in the 2004 film MEAN GIRLS, written by the brilliant Tina Fey and directed by Mark Waters. The film struck a chord with that generation both emotionally and through vocabulary. Society has seen many changes since 2004, but evidently High School is still challenging, and High School girls are still often mean. That film was adapted for a musical stage production in 2017, and now that Broadway musical has been adapted back to the big screen for a new generation. Tina Faye returns as screenwriter (and as math teacher Ms. Norbury), and the new film is co-directed by Samantha Jayne and Arturo Perez Jr.

This is my first sojourn into MEAN GIRLS territory. Of course, I have come across ‘mean’ girls in real life, but I have not watched the 2004 film, the 2011 sequel (a TV movie), or the live musical production. Angourie Rice (THE NICE GUYS, “Mare of Easttown”) plays Cady Heron, the home-schooled girl who transfers to North Shore High when she and her mother (Jenna Fisher) relocate from Kenya. Excited for her new adventure, yet uncomfortable as the new kid, Cady is schooled on the social hierarchies (cliques) by artsy Janis (Auli’I Cravahlo, the voice of MOANA) and proud gay Damian (a talented Jaquel Spivey). Most of the education revolves around “The Plastics”, a trio of snooty girls: the not smart Karen Shetty (Avantika), the desperate to be seen Gretchen Wieners (Bebe Wood), and their leader and school villain, wealthy diva Regina George (Renee Rapp in the role made famous by Rachel McAdams).

Regina takes an interest in Cady (a near clone of Amy Adams) and high school life devolves into the mess that it too often is. Cady falls for hot boy and fellow Calculus classmate Aaron (Christopher Briney, DALILAND). This immediately changes the dynamics since Aaron is Regina’s ex. Petty jealousies intensify and personalities shift wreaking more havoc on relationships that were never very deep. Brief supporting roles are covered by Jon Hamm as the clueless coach and health teacher, Ashley Park (“Beef”) as a teacher, an over-the-top Bijou Phillips as Regina’s mom, and Tim Meadows as the fed-up Principal. Meadows is the only actor to appear in all three MEAN GIRLS movies, and he and Tina Fey each nail a couple of zingers. And yes, you can expect a couple of cameos.

The intended message is valuable and delivered clearly, however, for a musical, it’s the songs that often seem weak and sometimes forced. A couple of the songs land, but most miss the mark. Renee Rapp nails her song at the Halloween Party, and Auli’I Cravahlo is truly a standout when she gets the opportunity to showcase that voice. “Gruel” and “fetch” are recycled here for effect, and though the songs are a bit disappointing, we do hope the message is received by a new generation (even if most of these actors look like they should be out of college, rather than clunking through high school).

Opens nationwide in theaters on January 12, 2024

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Posted by David Ferguson

ROLE PLAY (2024)

January 11, 2024

Greetings again from the darkness. The spouse living a double life is territory covered many times by many movies over many years. When done well, it’s an intriguing premise and fertile ground for a fascinating character – one who can flip the switch between a ‘normal’ family life and one of intense danger. What’s rare is for the oblivious spouse to be the more interesting character, yet that’s exactly what happens in this film from director Thomas Vincent and screenwriter Seth W Owen.

Kaley Cuoco stars as Emma Brackett, and David Oyelowo co-stars as her husband, Dave. Ms. Cuoco shot to fame with her role as Penny on the long-running TV series “The Big Bang Theory”, which she followed up with leading roles in “The Flight Attendant” and “Harley Quinn”. This is her latest shot at establishing herself as a movie actress. Mr. Oyelowo is best known for his dramatic turns in SELMA (2014) and THE MIDNIGHT SKY (2020), and the new series “Lawmen: Bass Reeves”.

Emma is a contract assassin who works all over the world using disguises (mostly wigs) and aliases, while telling Dave, the nicest, most trusting man on Earth, that she is off to yet another generic work conference in Nebraska or some other unexciting locale. When home, Emma is a good mother to their two kids, and clearly enjoys their life in suburban New Jersey. When work beckons, Dave unwittingly accepts her reason for travel, having no clue that she’ll return with blood on her hands.

On their seventh anniversary, Dave suggests they spice things up a bit with some role play. Their planned ‘happenstance’ meeting as strangers at a hotel bar goes sideways thanks to the intrusion of an unwelcome third wheel named Bob Kellerman. The always fabulous Bill Nighy plays Kellerman, and we find ourselves wishing he had more screen time. It turns out, this encounter leads to Emma being outed, which sends Dave into emotional turmoil (a terrific scene) … and an ill-advised meetup at her latest job.

Additional support work is provided by Connie Nielsen as the demented woman who raised and trained Emma, and their final meeting provides the impetus for the third act. Other than Bill Nighy’s too-brief role, the best part of the film is seeing rare comedic chops from David Oyelowo. It’s a joy to see such a well-respected and talented actor show yet another side on screen. Kaley Cuoco doesn’t fare quite as well, as her TV sitcom approach defies believability. For those in search of some mindless entertainment with a side dose of action, the movie should work just fine.

Opens nationwide in theaters on January 12, 2024

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Posted by David Ferguson

AMERICAN FICTION (2023)

December 20, 2023

Greetings again from the darkness. From one who watches too many movies every year, I’m amazed this film is the work of a director making his feature film directorial debut. Writer-director Cord Jefferson was one of the lead writers for the excellent series “Master of None”, and he has adapted the 2001 novel “Erasure” by Percival Everett for the big screen. It’s a brilliant satire and commentary on a society that has twisted things to the point where no one knows what to say or how to say it.

The film opens with a college professor pushing back on a student’s overly emotional reaction to his use of the N-word in class. What strikes us in the scene is that the professor is black and the student is white. The confrontation costs Thelonious “Monk” Ellison (the always great Jeffrey Wright) his job at a New England university, and perfectly sets the stage for the rest of the story – much of which centers on Monk’s incredulity at the progression of events around him.

Without a steady teaching paycheck, Monk heads to his see his agent Arthur (well-known character actor John Ortiz), who informs that his most recent intellectual book has no market, and suggests he write something a bit more mainstream. Monk heads to the Boston book festival and hears author Sintara Golden (comedian Issa Rae, BARBIE) in a public reading of a particularly stereotypical excerpt from her latest best-seller, purported to telling “black stories, our stories”. Monk simply can’t believe there is an audience for this or that it passes for black representation.

On a lark, Monk sits down to crank out a “black” story by a black writer. He does so as a joke, and is shocked, and a bit annoyed, that a publisher comes back with a huge offer. The negotiations with the publisher are hilarious. We see two white professionals desperate to offer a cool black book, yet so afraid to say the wrong thing (something offensive), that they inexplicably agree to Monk’s terms … changing the title to an unpublishable curse word. As a bonus, Monk has published the book under the pseudonym Stagg R. Lee (a takeoff on the classic Lloyd Price song). The publishing deal requires Monk to assume the identity of a wanted fugitive as part of the backstory for marketing purposes. When the movie offer rolls in, Monk is again beside himself, and states, “the dumber I act, the richer I get.”

While all this is going on, Monk is also facing some struggles in his personal life with his mother (80 year old Leslie Uggams, “Roots”) who is struggling with dementia, his financially-strapped sister Lisa (Tracee Ellis Ross, Diana’s daughter, THE HIGH NOTE, 2020), and brother Cliff (Sterling K Brown, WAVES, 2019, “This is Us”) whose recent divorce was caused by his revealing his preference for a gay lifestyle. All of this for a family whose dad committed suicide years ago. In the midst of all the family and professional drama, Monk strikes up a relationship with Coraline (Erika Alexander, GET OUT, 2017), a neighbor across the street, though he can’t bring himself to come clean with this latest publishing scheme.

The best comedies have something to say, and the best satires are often quite cynical as they expose the absurdity of our world. Monk is dumbfounded at many of the same things that dumbfound us, and this peaks at his meeting with an aptly named movie producer, Wiley Valdespino (played by Adam Brody, READY OR NOT, 2019). Myra Lucretia Taylor (THE BIG SICK, 2017) has a supporting role as the housekeeper, and there are too many terrific scenes to count. One of the best is a debate between Monk and Sintara, and the writing is priceless and brilliant. An intelligent man like Monk cannot wrap his head around the fact that black books pandering to white readers who are trying to follow the rules is the new path to success. Filmmaker Cord Jefferson delivers the message (warning?) in a smart, funny movie featuring a wonderful lead performance by Jeffrey Wright.

Opening in theaters nationwide on December 22, 2023

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Posted by David Ferguson

POOR THINGS (2023)

December 6, 2023

Greetings again from the darkness. Greek filmmaker Yorgos Lanthimos is possibly the most divisive director working today. Movie goers tend to either love his films like THE FAVOURITE (2018), THE KILLING OF A SACRED DEER (2017), THE LOBSTER (2015), and DOGTOOTH (2009) or walk away baffled that any decent human being could enjoy such dark works of strangeness and oddity. Despite this, two of his films have received Oscar nominations, and this latest may be both his most accessible and most outrageous project yet. It’s also a rare outing where Lanthimos left the writing to others. His co-writer on THE FAVOURITE, Tony McNamara (“The Great”) has adapted the screenplay from the 1992 novel by renowned Scottish writer Alasdair Gray, whose tome was influenced by Mary Shelley’s “Frankenstein”.

Oscar winner Emma Stone delivers a truly remarkable (and physically demanding) performance as Bella Baxter. When we first meet Bella, she has the mind and coordination of a toddler in an adult woman’s body … the product of Dr. Godwin Baxter (you can call me God), played by Willem Dafoe. God is a surgeon-slash-mad scientist, his own scarred body the result of experiments conducted by his father. God is both doctor and monster. Although various animal blends (ducks, chickens, dogs, etc) roam the premises, it is Bella who is clearly God’s most treasured production. Her reanimation process and backstory are spelled out in the movie.

Bella develops daily, and when Godwin’s lawyer, Duncan Wedderbum (Mark Ruffalo) shows up to take care of some business, he is intrigued by Bella and offers to take her on an adventure … one that ultimately spans Lisbon to Paris, and a luxury cruise ship to a brothel. Duncan and Bella engage in “furious jumping” (her phrase for sex) and soon her libido is quite advanced, and her river of independence flows freely, turning Duncan into a whiny buffoon. This story, Bella’s story, is really about a woman finding her own way in a world where men try to control/manager her. It’s fascinating to see her hyper curiosity about the world and her surroundings. On top of that, Bella is often quite direct and unfiltered in her statements.

The humor here is frequent and unconventional as evidenced by Bella being described as “a beautiful retard”, and the stream of deadpan one-liners. Still, the message comes across loudly and clearly as we marvel at Bella and Emma Stone’s performance. I hesitate to use the word fearless (unless it’s Tom Cruise) since it’s just acting, but the word applies to Ms. Stone here. Supporting work comes from Christopher Abbott, Margaret Qualley, Ramy Yussef, Jarrod Carmichael, Hannah Schygulla, and Kathryn Hunter, while Mark Ruffalo revels in flashing his comedic chops.

Cinematographer Robbie Ryan interjects black and white for effect and makes good use of the fish-eye lens. Production Designers James Price and Shona Heath get creative with set pieces, especially the cruise ship and brothel, and Costume Designer Holly Waddington nearly steals the spotlight with Bella’s outfits, which are always a bit exaggerated. The music adds a specific element and works quite well, and there is a truly awesome dance scene. Yorgos Lanthimos again earns the title Master of Strangeness with this outlandish film with bits from Frankenstein, Bride of Frankenstein, and Young Frankenstein (a common thread). The film is somehow both extremely funny and severely disturbing, and is an example of good people trying to come to grips with the realization that people often do bad things. My only complaint is the film features what are possibly the worst closing credits ever.

Opening in theaters on December 8, 2023

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Posted by David Ferguson

DREAM SCENARIO (2023)

November 30, 2023

Greetings again from the darkness. David Bowie’s 1975 song “Fame” has a line, “Fame … what you get is no tomorrow”, and that stuck with me during the second half of this terrific and wild film from Norwegian writer-director Kristoffer Borgli (SICK OF MYSELF, 2022). Borgli not only tackles the issue of sudden fame and the weight that goes with it, but he also comments on ego and today’s cancel culture. Subtext runs throughout a film that feels descended from the mind of Charlie Kaufman and/or Spike Jonze.

Oscar winner Nicolas Cage is perfectly cast as Paul Matthews, a bland Evolutionary Biology professor, living a satisfactory life with his wife Janet (the always strong Julianne Nicholson) and their two daughters Sophie (Lily Bird) and Hannah (Jessica Clement). As for his career, Paul, always dressed in a sweater and green jacket, is frumpy and awkward and an undistinguished faculty member who speaks frequently of writing a book, though he never actually writes anything.

Things change quickly for Paul as he begins showing up in people’s dreams. As in his life, Dream-Paul doesn’t do much other than ‘be there’, but as the number of people who experience this grows exponentially, Paul becomes a celebrity … leading to the publicity machine we’ve witnessed many times in real life. Basically, Paul goes viral. Cage masters the delivery of this line: “Have you been dreaming about me?”, and it’s the point where we recognize he is delivering an outstanding performance. When do-nothing dream-Paul turns aggressive and violent in folk’s dreams (now nightmares), his experience shifts dramatically. Cancel culture kicks in and Paul becomes an outcast or pariah. Filmmaker Borgli could draw from numerous real-life situations where teachers have been dismissed for absurd reasons … OK, maybe not as absurd as actions in a dream, yet the concept is the same.

Borgli was surely inspired by Spike Jonze’s excellent ADAPTATION (2002), which featured Nic Cage in a dual role (as Kaufman and his fictional brother). Although this isn’t technically a dual role, Cage certainly gets to carve a wide swath through the film and through dreams … and he appears to be having a great time doing so. Supporting work is provided by Dylan Baker, Tim Meadows, Dylan Gelula, and Kate Berlant. Michael Cera has a humorous sequence as a PR agent at a marketing firm that is trying to cash in on Paul’s newfound fame as a “dream influencer”. We even see capitalism at work in a further attempt to create an industry out of this flukey situation.

The brilliance of the film stems from Borgli presenting this as an entertaining comedy-horror film with ‘everyman’ Paul at the center. It’s a clever idea that is not-so-subtle in its willingness to show us how easily cancel culture can spin out of control and how monetizing our addiction to attention can go wrong. One specific thing that I admired in Borgli’s approach was how he made Paul a normal guy, and yet, he’s one of those who always believes someone has wronged him or stolen his work – despite the fact that he never actually produces any work or takes his own risk. There is so much to like about this film, not the least of which is one of Nicolas Cage’s best ever performances (even in David Byrne’s oversized suit).

Opens in theaters on December 1, 2023

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Posted by David Ferguson

FALLEN LEAVES (2023, Finland)

November 30, 2023

Greetings again from the darkness. Finland is often listed as the country having the happiest people, and this latest from writer-director Aki Kaurismaki (Oscar nominated THE MAN WITHOUT A PAST, 2002) arrives to make sure we never again believe this. It’s not that the film is oppressively sad, but it does focus on loneliness … especially that of the two main characters.

These two leads are Alma Poysti as Ansa and Jussi Vatanen as Holappa. The timeline of their relationship goes something like this: They notice each other on karaoke night at the local tavern, but they don’t speak to each other. They cross paths at a bus stop, again not speaking. When they finally do meet, they go for coffee and a movie (Jim Jarmusch’s zombie flick, THE DEAD DON’T DIE). He then loses her phone number. They almost meet a couple of times outside the cinema (where a Bardot poster is displayed), but just miss each other. When they do meet again, they part ways over a ‘deal-breaker’. She adopts a stray dog she initially names “dog”. When they meet again, they don’t speak.

Some may call this progression dry, but with filmmaker Kaurismaki at the helm, a better description is wry. Ansa expertly sports a forlorn look most of the time. The only exception is when she flashes subtle signs of hopefulness when she looks at Holappa. On the other hand, he spends most every day and evening guzzling from a glass, a bottle, or a flask … a habit that costs him various jobs. His circular reasoning is explained as: “I’m depressed because I drink and I drink because I’m depressed.”  Adding to the tone are reports of Russia’s invasion of Ukraine every time Ansa clicks on her kitchen radio.

Ansa has a friend named Tanya (Alina Tomnikov) and Holappa has a buddy named Huotari (Janne Hyytiainen). He is attracted to her and she admires his singing voice, yet deems him too old to date. These two characters could have been expanded, but Kaurismaki is so efficient at storytelling that the film barely lasts 80 minutes. Static shots and wordless exchanges fill much of the time, each scene with a definitive purpose that we fully understand. Personally, I’ve rarely been so filled with hope as watching Ansa purchase a single plate and corresponding utensils.

The film is spartan and quiet, yet the deadpan characters feel real and fully developed despite minimal dialogue. There is certainly a message about alcoholism and how outside forces can have such an impact, and yet the film seizes on Ansa’s hope for a better day. Kaurismaki’s film won a Jury Prize at Cannes, and is Finland’s submission for Best International Feature Film. For those who thrive on intimate cinema, it’s a gem … and for those who doubt that “happiest country” label for Finland, you now have your supporting documentation.

Opened in NYC and Los Angeles on November 22, 2023, other cities to follow

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Posted by David Ferguson

SALTBURN (2023)

November 21, 2023

Greetings again from the darkness. Emerald Fennell won an Oscar for her original screenplay of her dark and divisive debut feature film, PROMISING YOUNG WOMAN (2020). She’s back as writer-director of her second feature film, and it’s every bit as dark, and even more scathing in its takedown of the rich and entitled. We are also treated to yet another awkwardly disturbed character for the growing resume of Barry Keoghan.

Oliver Quick (Keoghan) is a newly arrived student of the Class of 2006 at Oxford, and it’s clear from the first moment that he doesn’t really fit in, whether it’s his clothes, not smoking, his uneasiness with his tutor, or his social ineptness. He becomes transfixed on the BMOC, Felix Catton (Jacob Elordi, fresh off his turn as Elvis in PRISCILLA). Felix is tall, handsome, charming, and rich. Life comes easy for him, and students are drawn to him – both male and female. He’s a modern-day aristocrat, and one day Oliver helps him out of a jam. This leads to a bonding, or more like worlds colliding. The first act is devoted to the development of this unexpected friendship, and leads to Felix inviting Oliver to spend the summer at his family estate … Saltburn.

Saltburn is nothing short of a magnificent castle. Felix’s eccentric family includes Farleigh (Archie Madekwe, GRAN TURISMO), an adopted “cousin” fellow Oxfor student who sees all but would never blow this gig; Venetia (Alison Oliver), the total mess of a daughter and sister; Poor Dear Pamela (Carey Mulligan), the total mess of a houseguest who has overstayed her welcome; Sir James Catton (Richard E Grant), the childlike father; and Espeth Catton (Rosamund Pike), the former model drama queen passive-aggressive mother. It’s a motley crew that puts ‘The Royal Tenenbaums’ to shame for entitlement.

As the summer progresses, we see Oliver in action as he weasels his way into the good graces of some, while creating leverage over others. His non-descript looks, quiet demeanor, and background story lead some to protect him at the same time others distrust him. As viewers, it’s obvious to us that something isn’t right with Oliver, yet director Fennell and Keoghan’s performance keeps us hopeful that things won’t become too skewed. Those hopes are dashed once we see Keoghan’s first bathtub scene (and subsequent disturbing moments), and Fennell serves up multiple references to his mouth in letting us know it’s not to be trusted.

The third act goes full dark in a deliciously wicked manner with Fennell and Oscar winning cinematographer Linus Sandgren (LA LA LAND) creating an Old World style within a contemporary world. The film is perfectly cast with Elordi quite magnetic as Felix, the not-so-obscure object of Oliver’s desire. Madekwe is spot on as the turf-protecting Farleigh, and Grant and Pike make the perfectly mismatched couple of privilege. Alison Oliver delivers the film’s best scene with her bathtub monologue, while Keoghan nails the creepy Oliver (in line with his roles in THE BANSHEES OF INISHERIN, THE KILLING OF A SACRED DEER, and THE BATMAN. He has become the go-to psychopath. He even combines humor and horror for his happy naked castle dance in this film that has THE TALENTED MR RIPLEY (1999) as its most obvious comparison. Ms. Fennell strikes another blow against the entitled elite, although we do wish she hadn’t spelled out everything to end the film … a bit of mystique would have worked.

Opening in theaters on November 22, 2023

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Posted by David Ferguson

NEXT GOAL WINS (2023)

November 16, 2023

Greetings again from the darkness. It might seem that a team goal of merely scoring a goal is setting the sights a bit low, but then again, we are talking about the American Samoa soccer team that lost to Australia by the incredible score of 31-0 (not a typo) in a World Cup qualifier. Brought to you by the comedic genius of writer-director Taika Waititi and his co-writer Iain Morris (“The Inbetweeners”), it was filmed in Hawaii a few years ago and easily slides into the category of feel-good entertainment, despite the near-certainty that some will accuse Waititi of cultural insensitivity. Much of it is based on a true story.

For those familiar with Waititi, you know that he’s a quirky and talented New Zealander filmmaker behind such gems as JOJO RABBIT (his Oscar winner from 2019), THOR: RAGNAROK (2017, still my favorite non-Batman superhero movie), HUNT FOR THE WILDERPEOPLE (2016, a hidden gem that I frequently recommend), and two terrific TV series, “What We Do in the Shadows” and “Flight of the Conchords”. So, it’s not surprising that this latest is a bit difficult to categorize. Is it a story of underdogs rising to discover their own self-worth? Or is it the story of a misguided, bitter coach rising to discover his own self-worth? Or is it the story of how culture bonds a community in the face of embarrassment? Or is it the touching story of the first non-binary trans person to play World Cup soccer? The film’s weakness is that it’s a bit of all without really being ‘about’ any. Instead, Waititi focuses on having a good time and making us smile.

Michael Fassbender stars as Thomas Rongen, a soccer coach whose anger issues tend to boil over at the wrong times, costing him a marriage (Elisabeth Moss) and a premier coach gig. The federation (led by smarmy Will Arnet) cast him off to coach the worst team in the sport, American Samoa. Of course, Rongen drinks too much and sees himself as too good to coach the team of misfits, despite the warm welcome from Tavita Taumua (Oscar Kightley), the head of the Football Federation of American Samoa. Tavita’s wife, Ruth, (the always humorous Rachel House), is a bit more direct as she sees Rongen for what he is.

The 2014 World Cup qualifiers are fast-approaching, and Rongen and the players go through ups and downs … and we do discover what is contributing to Rongen’s bitterness. Not surprisingly, the Samoan culture helps him every bit as much as he helps the team. Most poignant is the arc of Jaiyah (played by Kaimana), a member of the fa’afafine community as a trans person … again, based on a real-life person.

Supporting work is provided by Rhys Darby (so good in “Flight of the Conchords”), Luke Hemsworth, Angus Sampson, and Kaitlyn Dever. The best (and obvious) comparisons are THE BAD NEWS BEARS and THE MIGHTY DUCKS, only this time it’s grown-ups rather than kids. An argument can be made (and I would) that Fassbender is miscast, but he’s so talented, it doesn’t hurt the film much. Sure, the story structure is a bit weak, as is the character development, however the film is quitey entertaining, as Waititi finds the humor without being offensive or condescending.

Opens in theaters on November 17, 2023

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Posted by David Ferguson

THE HOLDOVERS (2023)

November 9, 2023

Greetings again from the darkness. We’ve all had that teacher. You know, the one with an evil streak who just seemed to thrive on making students miserable. Throw in a staff and administrators who feel the same way, and the casting choice for the teacher becomes obvious.  Enter the always great and perfectly curmudgeonly Paul Giamatti. This is the first time Giamatti has worked with two-time Oscar winner Alexander Payne since their brilliant SIDEWAYS (2004), and it’s clear these two share a wavelength for comedy and drama, even in throwback form.

Paul Hunham (Giamatti) is a long-time professor at Barton Academy, an all-boys private prep school located in the snowy northeast. It’s December 1970, and an early scene exemplifies how he relishes the failing grades he bestows upon desperate students so afraid to disappoint their rich parents. In the final class before the holiday break, the student-teacher banter doesn’t go so well for the boys, and they head to break with an extra workload. Hunham is easily manipulated into babysitting the titular holdovers – students stuck at school over the break, while most others spend time with family, often on exotic trips.

Initially there are five students, but after a certain development, what remains is Hunham, smart but troubled Angus Tully (first timer Dominic Sessa) and the school’s head cook, Mary Lamb (a divine Da’Vine Joy Randolph, DOLEMITE IS MY NAME, 2019). Hunham is perpetually annoyed and has a weakness for booze. Angus is frustrated that his mother left him at school so she could travel with her new husband, and Mary is grieving over her son who was killed in Vietnam. Watching these three struggle to bond is a case study in psychology, yet of course we know they will ultimately form a family of misfits, depending on each other to offset the loneliness.

The genius tagline for the film is “Discomfort and Joy”, and initially the first overshadows the latter. Isolated from the world in their own way, the three characters begin to influence each other, showing broken/wounded people need and deserve love and friendship as much as anyone else. “Entre nous” (just between us) becomes a kind of calling card for this trio, and a Christmas party thrown by an eternally optimistic staffer (Carrie Preston) is a turning point.

Giamatti is master of this material and only goes over the top a time or two. It’s painful and humorous each time he is so anxious to infuse his breadth of ancient civilization facts into even the most mundane conversations. Newcomer Sessa possesses star potential and nails a complex first role. Da’Vine Joy Randolph’s Mary is the heart of the film, doling out advice to Hunham and comfort to Angus. Depression is a vein running through these characters and it’s acknowledged, though not the focus.

This is Alexander Payne’s first film since the disappointing DOWNSIZING (2017), but his brilliance has been proven in ABOUT SCHMIDT (2002), SIDEWAYS (2004), THE DESCENDANTS (2011), and NEBRASKA (2013). This time he’s working from a screenplay by successful TV writer, David Hemingson, and though there is never much suspense about where the story or characters are headed, we enjoy the ride immensely. Cinematography from Eigil Byrld (IN BRUGES, 2008), perfectly complements the emotions (shot on digital, graininess added in post), and the soundtrack is period-specific, including the great Cat Stevens. Pay attention to the retro opening credits and logos, and enjoy a smart and funny film (an Alexander Payne trademark).

Opening in theaters November 10, 2023

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Posted by David Ferguson

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