SLAMDANCE FILM FESTIVAL 2024

January 31, 2024

Every year I find myself with more appreciation for the Slamdance Film Festival. Celebrating innovative independent filmmaking, the lineup always features creative and unconventional movie projects – often from filmmakers just beginning their journey. Below are brief reviews on some of the films I caught virtually through this year’s festival.

BRANDO WITH A GLASS EYE

This story from writer-director Antonis Tsonis is based in Greece, where we find two brothers in dire need of funds. Luca (Yiannis Niarros) is a talented actor who has just received notice that he has been accepted into a prestigious method acting program based in New York City. He needs money for the trip, the tuition, and living expenses. Alekos (Kostas Nikoulis) has a dream of starting his own business. The two come up with the not-so-brilliant idea of a heist to secure the necessary funds.

Predictably, the heist goes bad for these two (previously) non-criminals, and in the ruckus, an innocent bystander gets shot in the stomach. The brothers manage to get away without being caught or identified. Already burdened with the guilt of his mother’s passing, Luca tracks down the gunshot victim, Ilias (Alexandros Chrysanthopoulos) and visits him at the hospital. These visits are a bit funny and quite uncomfortable – making them intriguing to watch. Soon, Luca and the well-to-do Ilias have formed a strange bond of unexpected friendship.

One of the entertaining pieces here is the Luca is always playing a role. Famed method actor Dustin Hoffman is referenced a few times via MARATHON MAN and DOG DAY AFTERNOON, as is the titular Marlin Brando (thankfully no scenes with butter). Luca’s acting exercises make for good entertainment, as both Nikoulis and Chrysanthopoulos are excellent in their roles. We are told that theater is about giving everything to art, and Tsonis has done that with his first feature-length film.

DARLA IN SPACE

Original with a big “O” (wink-wink, nudge-nudge), this zany film from co-writers and co-directors Eric Laplante and Susie Moon is offbeat and humorous while making a statement about money and ethics. It also manages to make orgasms as unsexy as possible.

Darla (Alex E Harris, director Laplante’s wife) is on her 18th business. This serial entrepreneur has cut a commercial for her Kitty Kasket, an artsy, customized product for the remains of deceased pet cats. We see the commercial and it’s as cringeworthy as you would imagine. A trip to the CPA reveals Darla owes a tax lien of a staggering (and unusual) $349,002 thanks to the selfish actions of her overbearing and irresponsible mother (Constance Shulman).

In a most head-scratching turn of events, while mopping in the required figure 8 motion, Darla stumbles on a ‘sentient orgasm-granting kombucha scoby’ named Mother (voiced by JS Oliver) that’s been hidden in a warehouse container. Picture a huge flapjack or pancake and then visualize Darla covering up with it and being treated to a Timothy Leary-inspired orgasm. Darla and Mother cut a deal so that Mother will help Darla raise the money to pay off the tax lien, while Darla will assist Mother fulfill the inexplicable dream of going to space.

Of course, we recognize Mother’s speech pattern as a nod to HAL9000 of Kubrick’s classic 2001: A SPACE ODYSSEY, but that’s about all we recognize here. Another character, Dr Brittney St Clair (Jenn Lyon) seems to always be on TV and is Darla’s inspiration, along with the “Yeah, OK” book. For those of us who respect creativity and risk-taking, filmmakers Laplante and Moon deliver a whopper.

THE ACCIDENT

How do we react when it seems the world is conspiring against us? Do we seize the opportunity to cheat the system if it means gaining an advantage that has eluded us? Does it matter if we are a kind and gentle person just trying to stay afloat? Italian filmmaker Giuseppe Garau delivers a film that offers one set of answers, while asking other questions, and reminding us that there is always a price to pay when our decisions skirt the bounds of ethics.

Marcella (a wonderful Giulia Mazzarino) is a stressed-out woman. Separated from her husband, the demands on her time cause her to be late picking up her daughter and ultimately losing her job. She possesses what we used to call a doormat personality – one who just seems to get walked on and taken advantage of at every turn. In hopes of digging herself out of a hole, Marcella goes into debt to purchase a used tow truck. Unprepared for the backlash from fellow “rescuers”, things turn ugly as her truck is vandalized and she is assaulted. Her claim that Italy is a “civilized country” clearly doesn’t apply to all citizens.

Mr. Garau’s unconventional storytelling is accompanied by an even more unconventional shooting style. Much (probably three-fourths) of the movie is shot inside the truck cab with the lens aimed at Marcella’s profile. We as viewers are literally riding shotgun on her daily adventures. We have such empathy for kind Marcella … right up until the tone changes. An opportunity pops up and she can’t resist, despite knowing this crosses a line of morality that she would have never previously dreamt of crossing. Does this decision prove her mettle, or does it cast her in a true light? We want people to be inherently good, and when they prove they aren’t, we can’t help but be disappointed. However, in Marcella’s situation, we (and she) can’t help but wonder if these actions are forgivable … until the moment we (and she) know they aren’t. It’s a terrific thought-provoking film with one of the best final lines you could ever ask for. The film won the Narrative Feature Grand Prize at Slamdance 2024.

INVISIBLE NATION (documentary)

The festival’s closing night film selection was this penetrative documentary by Vanessa Hope (granddaughter of producer Walter Wanger and classic film actress Joan Bennett). Given the state of global geopolitics at the moment, this inside glimpse of Taiwan through the eyes of its first female President, Tsai Ing-wen couldn’t be more timely.

It’s tough to decide which is more heartbreaking: watching high school students proclaim their identity through a Taiwan they view as an independent nation, or China President Xi Jinping stating, “Taiwan is China”, and that reunification is inevitable. Taiwan has been a democracy for decades, but it’s also a de facto country, one that isn’t even allowed to use their own name at the Olympics (Chinese Taipei).

We immediately gain respect for President Tsai Ing-wen as an exceptionally smart and wise and tough leader. On a daily basis, she deals with suppression from China, and has to walk a fine diplomatic line between supporters and detractors. We learn a bit more about The Sunflower Movement, a student-led rebellion and what role that has played in recent history. Unfortunately, this well-made and informative documentary reinforces the dread we feel towards the future of Taiwan as an independent nation.

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Posted by David Ferguson

THE ETERNAL MEMORY (2023, doc)

January 5, 2024

Greetings again from the darkness. Augusto and Paulina are a real couple facing real challenges in the real world. Their challenges aren’t related to where to head for dinner or whether Augusto will leave the toilet seat up or down. No, their daily challenges are whether Augusto will wake up and recognize his wife, or even know his own name. Chilean Documentarian Maite Alberti climbs inside this relationship to show us the real impact of Alzheimer’s Disease, and does so expertly and intimately.

Augusto Gongora was a professional News Reporter/Journalist during the Pinochet regime, and Paulina Urrutia was a successful actor … both well known in their country. We even see clips and archival newsreels of Augusto’s work. However, filmed during COVID, almost the entirety of the film is focused on these two people taking each day as it comes … the good days and the not-so-good days. And perhaps ‘moments’ is a better measure than days, as this cruel disease can shift quickly. Paulina handled much of the camera work so the director and crew could keep safe distance during the pandemic, and the result is a few blurry shots, none of which detract from what we are meant to see.

Paulina helps Augusto with his memory of work and kids. She helps him take a shower. She reads to him when they take walks, and she cringes as he rides a bicycle. She helps him with his eye protection as they view the eclipse. They even treasure the time they can dance together. There are many times they share a laugh, and there are times Paulina cries alone or Augusto appears lost. Mostly they have their tender moments which define the relationship that they so want to hold on to … all while surrounded by Augusto’s lifelong collection of books that fill the house – most of which he can no longer read.

Theirs is a love story. And it’s real.

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Posted by David Ferguson

A FATHER’S PROMISE (2023, doc)

December 15, 2023

Greetings again from the darkness. For viewers who value unlimited gun rights over the safety of children, this documentary will probably not convince you otherwise. For everyone else, it’s a gut-wrenching story. Mark Barden and his wife Jacqueline have experienced two devastating events in their lives. On December 14, 2012, their young son Daniel was one of twenty first-graders and six teachers shot to death while at Sandy Hook Elementary School in Newtown, Connecticut. Barden then dedicated his life to getting legislation passed that would help prevent such tragedies in the future. He and his family were in Washington DC when the Manchen-Toomey Public Safety and Second Amendment Rights Protection Act failed to pass.

Imagine the pain of losing a young son in a school shooting, and then have lawmakers at the federal government level tell you that they place more value on the shooter’s rights than your own kid’s safety. If it weren’t true, it would be unthinkable.

Documentarian Rick Korn’s previous project, HARRY CHAPIN: WHEN IN DOUBT, DO SOMETHING (2020), chronicled the singer’s life story, and this time out, he discovers music plays a key role in Mark Barden’s life. We get a brief background on Mark’s childhood and how he became a rising musician in the Nashville scene as an enormously talented guitarist. It’s where he met his wife, Jacqueline, and they ultimately moved to Newtown to raise their three children (Daniel was the youngest).

After the shooting, Mark admits he was “re-wired as a person”. Music was something he had shared with Daniel and now was not something he could pursue. Instead, he committed to activism … even as additional mass shootings occurred around the country. His calm, yet passionate demeanor, and ability to articulate pain and a reasonable and worthy path forward, made him a welcome speaker as he pursued legislation for background checks.

It took some time before Mark was able to let music back into his life. Some in the music community joined in to show that ‘music can transcend the spoken word’. Derek Trucks, Susan Tedeschi, Karen Fairchild, Sheryl Crow, and Bernie Williams (former NY Yankee), all joined Mark on his mission … as did many others. As Mark played guitar, it motivated his daughter Natalie to join in singing, as well as taking up the torch for activism.

We learn about the 26 new playgrounds named in honor of the Sandy Hook victims, and we learn of the work of Sandy Hook Promise, an organization formed to drive awareness and change. Director Korn covers much of what’s happened since 2012 in regard to mass shootings and the citizen push for some gun control measures. This includes the 2022 Uvalde, Texas shooting and the ensuing impassioned “What are we doing?” plea from Senator Chris Murphy. This is also likely the first time John Lennon’s “Bed-in for Peace” has been mentioned so closely to the name of Alex Jones, someone whose story is so disgusting, we can assume you already know. The film solidifies a couple of thoughts for us: Mark Barden is a man to respect, and we can continue to hope that the lobby for rational thought will someday be as strong as the lobby for unlimited gun rights.

The film had its world premiere and opened theatrically on Friday, December 8th in Manhattan. Additional cities to follow. 

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Posted by David Ferguson

BILLION DOLLAR BABIES: THE TRUE STORY OF THE CABBAGE PATCH KIDS (2023, doc)

November 22, 2023

Greetings again from the darkness. While in protective mode attempting to avoid being trampled during Black Friday shopping, you may wonder how the frenzy all started. Well, documentarian Andrew Jenks is happy to inform you that it dates back to 1983 when the first battles in the retail aisles were over an odd-looking doll (only don’t call them dolls) called Cabbage Patch Kids. To get us in the mood for shopping combat, the film opens by blasting Alice Cooper’s 1973 hit, “Billion Dollar Babies”.

Neil Patrick Harris narrates as the history of the Cabbage Patch Kids is tracked. I’ll admit to expecting a ‘cute documentary’ on the popular toys-babies-kids (anything but dolls), and while the cuteness is discussed, what we really get is yet another lesson in cut-throat business practices. Xavier Roberts is the one who manufactured the CPK and signed the licensing rights to Roger Schlaifer, who in turn sold the marketing rights to Coleco’s executive, Al Kahn. To understand the era, one must know that this was the front end of the 1980’s consumerism spike, as well as new advertising rules from the FCC, which permitted direct-to-kids ads. All of these fell into place to create the demand for the one-of-a-kind CPK.

But were they really one-of-a-kind? The second half of the film details the multi-year legal battle of Martha Nelson Thomas, who had been selling her ‘doll babies’ in the craft shop managed by Xavier Roberts. Her handmade babies looked almost identical to his, and even came with adoption papers that became so vital to the CPK marketing efforts. We hear from her attorney and her two adult kids, as Ms. Thomas has since passed away. The lawyer explains the case and how they attempted to have Xavier Roberts held accountable for his ‘theft’.

To his credit, Mr. Roberts gives his first interview in 20+ years, and is joined by Della Tolhurst, the former President of his company. Roberts explains how he was inspired by Walt Disney, and we tour his Babyland in Georgia, which provided an all-encompassing background story for the Cabbage Patch Kids and an experience for his customers. Whether you fall on the side of Xavier Roberts or the side of Martha Nelson Thomas, the courts affirmed his rights to the CPK empire.

Journalist Connie Chung offers her recollection of the frenzy, and we hear from the Proseys, a couple of collectors who once owned more than 6000 Cabbage Patch Kids. They explain how the re-sell market for the kids was bonkers, and parents just had to have these for their kid’s Christmas. So, beyond the shady business practice, there is the whole Black Friday frenzy. Sure it started with Cabbage Patch Kids and rude people yanking packages right from the hands of kids, but did we learn our lesson? Evidence suggests it’s only gotten worse over the years thanks to items like Beanie Babies, Tickle Me Elmo, American Girls dolls, and others. Beauty may be in the eye of the beholder for CPK, but our society tends to wash, rinse, repeat.

Coming to theaters beginning November 24, 2023

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Posted by David Ferguson

MAXINE’S BABY: THE TYLER PERRY STORY (2023, doc)

November 17, 2023

Greetings again from the darkness. For those who have scoffed at the “Madea” movies, or the periodic screen appearances of Tyler Perry in supporting roles, this documentary from Gelila Bekele (she and Perry share a child) and Armani Ortiz will open your eyes to the money-making machine and unstoppable force that is Tyler Perry. Clearly more of a tribute to his accomplishments than a deep dive into the man, his business, and his life, the film leaves us with full respect for what he has accomplished, as well as an understanding of an industry mogul who maintains complete control of his projects.

The opening credits play like a four-minute trailer for the movie we are about to watch, and that’s likely for the benefit of those who haven’t been paying attention to Perry’s ongoing success and his building of a media empire over the last two decades. Time is spent on his childhood in New Orleans, where sadly, he was so severely mistreated by his father that he later changed his name from Emmett Perry Jr to Tyler, in order to create the emotional distance he needed.

His close friend Oprah Winfrey states that Perry “turned pain into power”, and most of the film details how he went from self-financing a small theater production to constructing the sprawling Tyler Perry Studios on a 330-acre site in Atlanta that was originally the Confederate Army base, Fort McPherson. In fact, the 2019 grand opening of the studios is used as a bit of defining structure throughout, although it times, bouncing back and forth gives a sense of redundancy.

The studios are quite impressive, as is the fact that Perry accomplished this outside of the traditional Hollywood system. And other than the remarkable ‘rags-to-riches’ story, it’s Perry’s ability to blaze his own unconventional trail that garners the most respect. He recognized the underserved and underestimated Black audience and committed to providing material for “his audience”. Beginning with his first movie, DIARY OF A MAD HOUSEWIFE (2005), Perry worked his plan. While the critics bashed, the film cashed. Lionsgate President Michael Paseornek took notice, and again, Perry bucked the system by demanding creative control, ownership of his work, and establishing new parameters for TV series and syndication.

Perry’s work ethic is dwelled upon here, as is his love for his mother Willie Maxine Perry, who shows up in some clips and photos. Cousin Lucky Johnson offers the most insightful personal observations of what Perry’s traumatic childhood was like, lending credence to the remarkable success. Perry’s determination is beyond reproach, as is his mental toughness and ability to stick to his focus on control and ownership. The music/score of the film is frequently intrusive and overbearing, often distracting from the story, and the film is probably 20 to 30 minutes longer than it should be. However, taking a love-fest approach makes sense in this case, as Tyler Perry has progressed from dreamer to achiever, and the lessons are crystal clear.

Releases on Prime Video on November 17, 2023

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Posted by David Ferguson

THE STONES AND BRIAN JONES (2023, doc)

November 16, 2023

Greetings again from the darkness. Nick Broomfield has been making documentaries for nearly 50 years. The list of subjects is quite diverse, yet his interest in musicians seems to recur periodically, but even in these, his focus is mainly on the person rather than the notes on the scale or the performances on stage. A perfect example is his 2019 doc, MARIANNE & LEONARD: WORDS OF LOVE. His latest on Brian Jones again fits the description.

Brian Jones formed The Rolling Stones in 1962 as a British Blues Band. Here we are more than 60 years later and in 2023, the band has recently released a new album and single … yet very few remember or even know the name Brian Jones. Director Broomfield sets out to tell the story of this enigmatic and talented musician who was ultimately kicked out of his dream band, leading to his much-too-young death shortly after. On the surface it’s a tragic rock ‘n roll story, but deep down, it’s the story of Jones’ personality and substance abuse.

Former Rolling Stones’ bassist Bill Wyman is featured here and provides a great deal of backstory. For more on Wyman, I recommend the 2019 documentary, THE QUIET ONE, which portrays his obsessive attention to collections and history. Alongside Wyman’s input, there is archival footage from Mick Jagger, Keith Richards, Charlie Watts, Marianne Faithfull, and Eric Burdon. Even the older interviews and clips help us understand Brian Jones’ difficulty as the band evolved from blues to rock. We also learn more about his ability to father kids at the level of an NBA player. But what really strikes is his problems stemming from an abuse of alcohol and drugs (and women).

Andrew Loog Oldham pushed the band towards commercial success with rock ‘n roll and away from Brian’s beloved blues. So he lost his position as band manager and his preferred style of music, as Mick Jagger’s on stage persona took over and Jagger/Richards compositions filled a role that Brian couldn’t. He was fired from the band after the “Let it Bleed” album and prior to the band’s next U.S. tour. It is mentioned that Brian lost the one thing that mattered to him … the band. He lost his life a few weeks later, and kudos to Broomfield for not dwelling on the conspiracy theories around his death.

Included here are interviews and clips of early Stones’ live performances that you’ve likely not seen before. I can’t help but contrast Brian’s story with that of Robert Fripp in the recent documentary I watched on King Crimson. Two original architects of long-standing bands – one lost everything, while the other remained and rebuilt the band a few times. Two musical geniuses with opposite paths.

In theaters November 17, 2023

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Posted by David Ferguson

THE DISAPPEARANCE OF SHERE HITE (2023, doc)

November 16, 2023

Greetings again from the darkness. Little bits of movie trivia are always fun to learn, and this documentary throws out a doozy. I must be late to the party because I had no idea Shere Hite was the model for the Bond girls on the poster for DIAMONDS ARE FOREVER (1971), the James Bond film starring James Bond and Jill St. John. More people surely know Shere Hite as the writer of the groundbreaking best-selling book, “The Hite Report on Female Sexuality”, the 600-page tome first published in 1976 that inspired much discussion and debate.

Documentarian Nicole Newnham serves up a remarkably detailed and encompassing look at Ms. Hite and the impact of her writings and interviews. She opens with a clip from a 1976 interview author Hite gave, and inserts a clip of Hite’s commentary in 1994 while re-watching her own interview nearly 20 years later. Throughout the film, we see significant archival footage of Hite appearing on talk shows and at other venues, and actress Dakota Johnson recites some of Hite’s written comments and observations.

Hite faced constant criticism of her writing and was forced to defend her research at every turn. Was her questionnaire biased? Was it even scientific? The label of ‘sexologist’ was ridiculed by many, despite her approach of expounding on The Kinsey Report from years earlier. What began as a frowned-upon graduate school thesis, grew into a cultural phenomenon and made Shere Hite a celebrity … something that her modeling career never did, despite posing for Playboy and numerous paperback covers for romantic novels.

Hite faced the backlash. She even appeared on Oprah’s show in front of a hostile male-only audience that belittled her and tried to discredit much of her work. To her credit, Hite followed with other books, and only wore down for the criticism after many years – leading her to ultimately renounce her U.S. citizenship and move out of the country.

Regardless of one’s thoughts about Hite or her writings, she sold over 20 million books, and her most popular is listed as the 30th best selling book of all-time. She was certainly a trail blazer and inspired discussion and debate on what had been a previously taboo topic. Newnham’s documentary provides a fitting retrospective to the late Shere Hite.

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Posted by David Ferguson

MEDICINE MAN: THE STAN BROCK STORY (2023, doc)

November 13, 2023

Greetings again from the darkness. You know how an overachiever can make you feel like a worthless slug? Well, that’s nothing compared to how you’ll likely view yourself once you learn the story of Stan Brock. If you recognize the name, it’s likely due to the 31 episodes of “Mutual of Omaha’s Wild Kingdom” he co-hosted with the legendary Marlin Perkins. His matinee idol good looks were right at home whether he was exploring in the desert or wrestling an Anaconda in the Amazon. Documentarian Paul Michael Angell gives us Brock’s backstory, but the focus here is on the amazing things he accomplished after his animal corralling days.

The film was completed in 2020, two years after Mr. Brock passed away. Despite playing some festivals, the film is just now gaining some well-deserved traction. We learn of his childhood, and how at age 17 he began working at the Dadanawa Ranch in British Guiana (now Guyana). He was a barefoot vaquero (cowboy), and clearly excelled in the no-frills close-to-nature environment, as he was supervising men much older than he. He later co-hosted the TV series, made three movies, wrote three books, and ultimately sold his belongings and founded RAM – Remote Area Medical in 1985.

Much of the film details RAM operations and how Brock coordinates the operation, along with the assistance of the organization’s long-time director, Karen Wilson. We are along for some of the “expeditions”. The first one was in Mexico, and Brock’s last was number 957, although RAM has since far exceeded that number. Providing free medical treatment for folks with no insurance and little money means things like dental work and necessary x-rays can be handled, and if you doubt how crucial this service is, we learn that people in desperate need of tests and care will camp out for three days in hopes of receiving treatment.

Mr. Brock was not a medical professional, and he certainly wasn’t a glory-hound. In fact, he admits to poor social skills (he had to learn to hug) and a distaste for asking people for money. He gives credit to the tens of thousands of volunteers who made RAM a success. We do learn that many states have laws preventing doctors from crossing state lines to provide free medical care, and Mr. Brock succeeded in convincing twelve states to change this law so that more doctors could help.

Stan Brock dedicated the last phase of his life to providing healthcare to those who needed it most. He did this despite his own personal health issues. His inspirational legacy is a shining example of community service and altruism. His was selfishness in a world that barely recognizes it … well, except for those most appreciative folks (over one million now) who received treatment. If we are to idolize heroes, it should be people like Stan Brock who sacrificed so much for so many – even if his efforts make us feel like a worthless slug.

Fathom Events for one night only on November 14, 2023

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Posted by David Ferguson

YOU WERE MY FIRST BOYFRIEND (2023, doc)

November 9, 2023

Greetings again from the darkness. Goodness, this review has been so difficult to write. Not because of anything wrong with how this documentary was made or filmed – in fact, from a technical standpoint, it is very well done. Rather it was due to my personal opinions and bias, which were what I had to fight against while watching.

Filmmaker Cecilia Aldarando makes the decision to relive her 1990’s adolescence, and to film the proceedings. The tagline reads, “She’s doing high school again”, yet it’s really more than that. This plays like a deep therapy project centered around her admission that she didn’t fit in, and to this day remains scarred by memories of PE class, crushes on boys, school bullies, and prom night. Ms. Aldarando still carries the anxiety of not being admitted to the “in” group of girls from whom she so desperately wanted acceptance.

Timed to coordinate with her high school reunion at the Country Club in Winter Park, Florida, there is actually very little footage shown from the event. Instead, much of the time is spent on reenactments designed to recreate painful and vivid memories. Cecilia also meets face-to-face with her high school crush, Joel, who barely remembers her and had no idea that she was silently pining for him. She even reads him a poem from her 1994 journal, making the encounter that much more awkward.

Bad memories are a fact of life after high school, and most of us learn to live with these and move on. Cecilia Aldarando needs closure, and one of those horrific memories is recreated by selecting young actors to help re-live a night at camp where, Jo Anne, the one girl that was treated worse than her, was humiliated by the same group of girls Cecilia so wanted to be like. Making this segment more impactful is that she had tracked down the adult Jo Anne to provide input and observe. It’s a tough scene for us to watch, and especially tough for Jo Anne.

Cecilia even includes her real-life partner, Gabe, as well as her older sister in reenactments, some of which work better than others. The Tori Amos video segment seemed to drag on longer than it should have, and the “My So Called Life” piece was a bit creepy. Cecilia’s long ago best friend Caroline is discussed frequently, and it’s clear that Cecilia views her own failures as a friend as a critical element in telling her story. This is likely the most revealing aspect of the process for the director.

“Hating” one’s self during the teenage years is not uncommon. What we hope is uncommon is the need two decades later to address the misery of those years. Cecilia’s sister asks the question that needs to be asked: why does she give the past so much power? The film was co-directed and edited by Sarah Enid Hagey, which was necessary due to Cecilia being on screen for most of the film. It is interesting to note the role movies played in childhood, and how so many of her crushes were directly from period pieces (aka unattainable). Home movies are included here as well, and Cecilia admits the desire and need to exorcise those adolescent demons. We are also left questioning the accuracy of those long-ago memories, which here are explained as bad memories containing specific details, while good memories are a montage of the times. Here’s hoping most of us dwell on the montages.

Available on HBO beginning November 8, 2023, and streaming on Max soon after.

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Posted by David Ferguson

IN THE COURT OF THE CRIMSON KING: KING CRIMSON AT 50 (2023, doc)

November 3, 2023

Greetings again from the darkness. King Crimson was founded in 1969 and to this day, no one can properly describe their music. Even co-founder and band leader Robert Fripp avoids labeling the music and instead states, “King Crimson is a way of doing things”. Documentarian Toby Amies takes on the challenge of examining the band after 50 years.

While most associate guitarist Fripp as being the face of the band, he himself claims that it’s an ensemble and always has been. But then he also describes the years 1969 through 2013 as “wretched”, and that only with this most recent iteration has he found satisfaction. At a minimum, Fripp is a perfectionist, and it’s likely he is also a tortured genius who constantly strives for different, more, and better. He makes for a frustrating interview, and director Armies shows him mostly in various short clips, while letting current and former band members offer their opinions.

Co-founder Ian McDonald’s zoom interview is the most touching. Taking place shortly before McDonald’s passing in 2022, he breaks down and says, “I’m sorry Robert”, for leaving Fripp and King Crimson after only a year. Obviously, there was some bad blood between the two men, even after so many years. McDonald went on to co-found the band Foreigner in the 1970’s before taking on a solo career. Fripp remained with King Crimson and pursued his idea of what a band should be.

Former King Crimson bassist Trey Gunn explained being in the band was like “a low-grade infection”, while current drummer/keyboardist Bill Rieflin thrived with the band. Rieflin was performing with Stage four colon cancer and countless other health issues, yet viewed making music as what he was meant to do, right up until his passing during filming of this documentary. Numerous other former members were interviewed, and the comments range from annoyance to reverence. Current singer/guitarist Jakko is cautious about what he says so as not to cross Fripp. He cracks, “you’re irreplaceable … like the last bloke.”

It’s a unique band playing unique music – a style where each world class musician plays their part based on what fellow band members (usually 8 including 3 drummers) are playing. The result is often a peak experience for the audience, even for those who have attended many shows over the years. There is an interesting segment featuring a nun who is also a devoted fan of the band. She compares it to religion, and between the immersive music and Fripp’s commentary, we can’t help but put this in terms of philosophy, psychology, religion, and even a cult-like atmosphere. Always impeccably dressed like a British gentleman, Fripp’s obsessive discipline and demanding ways leave us with a better feel for the band, while being no closer to offering a label of description. This is not your parents’ music documentary … even if it happens to be your parents’ favorite band.

In theaters November 3, 2023 and VOD beginning December 1, 2023

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Posted by David Ferguson

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