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
Posted by David Ferguson 
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.
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.
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.
Greetings again from the darkness. “Let’s shake on it.” There was a time when a person’s word and their handshake was enough to seal a deal – whether it was settling on the price of a horse, the bottom line on a new car, or the buyout of a business. Most of us realize those days are long gone, and now it’s too often about winning and taking advantage of every situation, regardless of whether that’s at someone else’s expense. Jonathan Harr’s article from “The New Yorker” serves as the source of this “inspired by a true story” tale, with a script from writer-director Maggie Betts (NOVITIATE, 2017) and co-writer Doug Wright (QUILLS, 2000).
Greetings again from the darkness. All Hallows’ Eve approaches, so we know to expect the latest from Blumhouse Productions. What we didn’t expect was a rare blend of comedy, horror, science fiction, and time-travel wrapped in 1980’s nostalgia. Director Nahnatchka Khan (“Fresh Off the Boat” creator) and a trio of co-writers, David Matalon, Sasha Perl-Raver, and Jen D’Angelo (HOCUS POCUS 2, 2022), deliver a film that pays tribute to many that have come before, most notably BACK TO THE FUTURE (1985) and HALLOWEEN (1978). Or maybe it’s HOT TUB TIME MACHINE (2010) and SCREAM (1996). Either way, it’s a good ride as we poke fun at the culture of 1987.
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.
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.
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.
Movie Reviews from the Dark 