THE QUIET GIRL (2022)

February 23, 2023

Greetings again from the darkness. What a treat to watch a film that doesn’t drown us in the obvious or spell out each character’s precise thoughts. There are no explosions or action sequences, and these folks are ever so believable and grounded in life. With the depth of emotions relayed, and the unhurried pacing, it’s remarkable that this is a first feature film. Writer-director Colm Bairead has based his debut on “Foster”, a story by Claire Keegan.

It’s 1981 and a mother (Kate Nic Chonaonaigh) is calling for her daughter … young Cait (an extraordinary Catherine Clinch) is difficult to spot, blending in with nature in the pasture of her family’s farm. Being nearly invisible is how Cait spends her days. Mom is just about ready to deliver a new addition to the already crowded home. One more is one too many mouths to feed since dad (Michael Patric) works the liquor harder than the farm. With no discussion, or even an explanation, Cait (approximately 9 or 10 years old) is unceremoniously dropped off at a relative’s house for the summer. By this time, we’ve noticed she is extraordinarily quiet as she tries to remain unnoticed in her out-of-sync world – a home that lacks warmth and obvious love.

Cait is immediately struck by the kindness and tenderness shown by Eibhlin (Carrie Crowley), the woman at the new house who casts a fawning gaze at the child. Eibhlin’s husband, Sean (Andrew Bennett), is not nearly as welcoming of the girl, and seems to avoid speaking directly to her initially. Where previously Cait lived a life of isolation, missing the adoration young kids expect from parents, she’s quick to embrace Eibhlin’s attention and chips in with chores around the farm.

For a while, our focus is on Cait and Eibhlin, but slowly it shifts as Sean gradually thaws from his early silent treatment. It’s fascinating to watch the subtle ways in which Cait and Sean develop a bond. He even acknowledges her natural tendency towards silence by advising something along the lines of, ‘many people have missed the opportunity to say nothing.’ For her, it’s been a survival instinct. To Sean, it’s often a wise choice.

The work by Director of Photography, Kate McCullough, is exceptional. The shots of nature are lovely, but it’s the way she shoots these evolving characters that really makes an impact. An example of the complexity embedded in this ‘simple’ story is how Eibhlin informs Cait that secrets within a home are a bad omen; so imagine Cait’s surprise when the neighbor (Joan Sheehy) spills the dark secret held by Eibhlin and Sean.

Gaelic is the predominant language spoken herd, making subtitles a necessity for most of us. Mr. Bairead’s film has received an Oscar nomination for Best Foreign Language feature film, and although the story doesn’t move at the pace we’ve grown accustomed to, the ending strikes us square in the heart as we realize Cait truly feels loved for the first time.

Opens in theaters on February 24, 2023

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Posted by David Ferguson

JUNIPER (2023)

February 23, 2023

Greetings again from the darkness. A tale as old as time. No, this first feature film from writer-director Matthew J Seville is not a new spin on ‘Beauty and the Beast’, however it is a story that has a familiar feel, and one made more meaningful through terrific acting and expert cinematography. We are engaged through characters rather than plot, and in fact, we grow to care about two of these people after initially finding both a bit abrasive.

Charlotte Rampling stars as Ruth, aging mom to Robert (an underutilized Marton Csokas). The two have never been especially close as Ruth’s career as a war photographer allowed her to escape traditional parental duties. With a recent broken leg set in a cast and brace, Ruth finds her wings clipped and Robert senses an opportunity. By moving Ruth into the house during recovery, he can have his son, Sam (George Ferrier), help Nurse Sarah (Edith Poor). Sam is a party boy recently expelled from his boarding school and wants nothing to do with the convalescing grandmother he barely knows.

Dad’s ulterior motive gets off to a rough start. Both Ruth and Sam are hard-headed and rebellious. In fact, it’s these traits that end up drawing them closer. Ruth seems to survive on her all day gin-binges as her vile vocal spewings are those of a woman whose world has shrunk to the point of feeling captive. Sam is one who doesn’t take direction well as he tries to hide his depression and grief driven by the death of his mother. Adding to this mess is Nurse Sarah’s consistent attempts to inject some religion into Ruth before the bell tolls.

What we have is self-destruction times two. Ruth and Sam are rude and self-centered, and those shared traits end up thawing the icy relationship and improving their much different circumstances. George Ferrier is a relative newcomer from New Zealand, and he has the looks and on-screen charm to build a nice career. Of course, Charlotte Rampling is in her seventh decade of acting, and she instinctively knows how far she can push this character and still keep us engaged. It’s a terrific performance that probably deserved an Oscar nomination. The cinematography of Marty Williams works in the enclosed spaces of the house, as well as the beautiful landscape when the characters head outdoors. Some of the scenes may be a bit too much ‘on the nose’, but the humor and acting allows for the desired impact.

Opens February 24, 2023

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Posted by David Ferguson

MY HAPPY ENDING (2023)

February 23, 2023

Greetings again from the darkness. When it comes to death, everyone hopes to go out on their own terms. Perhaps that’s at an advanced age surrounded by family. Or maybe it’s before the loss of physical or mental capacities. And then there are those who just want to pass quietly while sleeping. Whatever terms one might envision, the odds are we will have little say in when, where, or how. Co-directors Tal Granit and Sharon Maymon previously collaborated on THE FAREWELL PARTY (2014), and here they are working on Rona Tamir’s adaptation of the stage play by Anat Gov.

Andie MacDowell stars as Julia Roth, a once famous actress who is attempting to receive medical treatment while remaining incognito. Arriving for her first chemotherapy session, she admits to not having told friends, family, or even her loyal assistant Nancy (Tamsen Grieg). The three women currently receiving chemo all recognize Julia, but it becomes clear that no one being treated for cancer cares much about spotting a celebrity. It’s interesting to watch as Julia is brought down a notch or two from her arrogance as she realizes two things: these folks aren’t impressed, and her own cancer is much more advanced than she originally thought.

This little chemo support group provides the heart of the film. Screen veteran Miriam Margolyes plays Judy, a retired teacher and lifelong single. Sally Phillips plays Mikey, a former rocker and the most optimistic of the group. Rakhee Thakrar plays Imaan, a young Muslim mother hoping to be cured so she can watch her kids grow up. They are all being treated by Tom Cullen, who they’ve nicknamed, “Dr Handsome”. Julia’s motivation is the upcoming wedding of her daughter, and the mood shifts quickly when Nancy shows up to “take care of this” for her boss.

There are times in life when we must be open to the help and guidance of others. Julia is a bit slow on the uptake, but soon enough, figures out that listening to those who have been going through what she’s about to go through provides the insight she needs to make up her own mind … finding a way of doing things on her own terms. Given the subject matter, the film from Granit and Maymon offers a good dose of humor, and it’s also effective in reminding us that taking a “vision trip” can be the holiday that leads to clarity and making decisions that work best for ourselves.

Opens in theaters on February 24, 2023

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Posted by David Ferguson

EMILY (2023)

February 16, 2023

Greetings again from the darkness. These days, it seems like we know entirely too much about the personal and professional lives of writers, actors … well, just about everyone. Of course, it wasn’t always like that. And taking that to an extreme is the all-too-brief life of Emily Bronte. Imagine if someone wrote a book today as popular and terrific as “Wuthering Heights”. We would likely know the name of their pet, their spouse, and where they eat lunch. For Emily Bronte, the details are not only scarce, but also not totally trustworthy, given that much of it comes from her older sister who had a touch of envy, or at least a competitive edge.

Frances O’Connor (known as an actor in such films as AI: ARTIFICIAL INTELLIGENCE and MANSFIELD PARK) chose a dramatic imagining of Emily’s life as her first feature film as writer-director. Emma Mackey (DEATH ON THE NILE, 2022) stars as Emily Bronte, and turns in a really nice and believable performance as someone whom we can only imagine her life in the 19th century. The reputation is that of someone who was socially awkward, and a bit of a sickly recluse. We do know that she died at age 30. We can also relate to the opening scene when Charlotte asks an ill Emily “How did you write it?” (referring to “Wuthering Heights”).

In fact, filmmaker O’Connor likely based her entire script on that question, and what she presents is quite interesting – regardless of how accurate it might (or might not) be. Emily and her younger sister Anne (Amelia Gething) spend days constructing stories together, and then Emily takes it further by writing poetry. As the eldest sibling, Charlotte (Alexandra Dowling) is the favorite of their father (Adrian Dunbar), a priest at the local church. Emily is known as “the strange one”, despite her beautiful piano playing, and mostly secret writing skills.

Emily and her brother Branwell (Fionn Whitehead, DUNKIRK, 2017) have an unusual bond. He’s a troubled young man weakened in spirit by spirits (the alcoholic kind). All of the dynamics shift quickly when William Weightman (Oliver Jackson-Cohen, MR MALCOLM’S LIST, 2022) arrives as the new curate. His sermons are a form of poetry, and this intrigues all Bronte sisters, especially Emily. As Weightman teaches her French, their relationship transforms from one of butting heads to one of clandestine intimacy … and both are changed.

Although the film does explore the effect of the mother’s previous death, in real life, this family faced even more grief from death … including Emily’s at age 30. The sibling rivalry is a believable aspect, as Emily wrote “Wuthering Heights” and Charlotte wrote “Jane Eyre” (and a portion of “Emma”). With such a legacy, we have been left to wonder what became of Emily’s other writings, and Ms. O’Connor offers up one idea. The proof of Emily’s brilliance and talent is on the page for all to read, however, we will never truly know her inspirations and desires. Kudos to Frances O’Connor and Emma Mackey for filling in the gap … even if we will never know how close or far from the truth they landed.

Opening February 17, 2023

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Posted by David Ferguson

MARLOWE (2023)

February 16, 2023

Greetings again from the darkness. The great Raymond Chandler created the now iconic Private Investigator, Philip Marlowe. Over many years, we have gotten to know Marlowe through novels and film adaptations. Actors as varied as Humphrey Bogart, Robert Montgomery, Dick Powell, Robert Mitchum, and Elliott Gould have played the cynical P.I., and now Oscar winning writer-director Neil Jordan (THE CRYING GAME, 1996) has added Liam Neeson to the list. Oscar winning writer William Monahan (THE DEPARTED, 2006) adapted the screenplay from John Banville’s (writing as Benjamin Black) 2014 novel, “The Black-Eyed Blonde”.

It’s 1939 in Los Angeles when Clare Cavendish (Diane Kruger) strolls into Marlowe’s (Neeson) office and hires him to find Nico Peterson (Francois Arnaud). Simple enough, only there’s a catch (of course): Nico has been declared dead and the body identified by a relative. Adding to the intrigue (of course) is Clare (she prefers to be called Cavendish) herself, the daughter of powerful former film star Dorothy Cavendish (played by two-time Oscar winner Jessica Lange, TOOTSIE, BLUE SKY).  As you would expect, the case leads Marlowe to cross paths with many ‘bad’ folks and a few instances of danger, which he (of course) manages to maneuver or outmaneuver.

The supporting cast is strong and includes Colm Meaney, Alan Cumming (with a southern accent?), Danny Huston (a nod to his father’s noir classic CHINATOWN?), and Adewale Akinnuoye-Agbaje. A couple of things are unfortunately quite clear. First, every noir cliché and trope is included here; and second, Liam Neeson is not the guy to pull off the Marlowe role – unless it was a full-on parody, in which case, he might have been a better fit. If he has put forth any effort into the role, it was apparently to ensure that his Marlowe is the least memorable one ever. There is no personal stamp on the role, and because of that, nothing really clicks here.

On the upside, the set decorations and costumes are divine. The film has the right look, but just brings nothing new or exciting to one of my favorite genres. It’s a throwback to hard-boiled detective crime stories of the 1940’s without the grit or charm. Marlowe first appeared in Raymond Chandler’s 1939 novel, “The Big Sleep”, and most iterations bring something new to the character or story. Perhaps the only thing director Jordan serves here is a shootout near the end. It’s more drawn out and noisy than what we would have seen 80 years ago, and it’s probably the right choice for today’s audience.

Opens in theaters on February 15, 2023

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Posted by David Ferguson

OF AN AGE (2023)

February 16, 2023

Greetings again from the darkness. One of my (many) pet peeves involves movies where we are supposed to believe a couple finds eternal love after barely spending any time together. Now I fully understand some artistic license must be taken in love stories, as there are only a couple of hours to work with, but the challenge is making the audience believe it. For the films that do it right, it’s a thing of beauty.

Macedonian-Australian writer-director Goran Stolevski handles this expertly in his first film since the excellent (and much different) YOU WON’T BE ALONE (2022). A frenetic opening pace has 17 year old Kol (Elias Anton) panicking when his best friend Ebony (Hattie Hook in her first feature) phones after a wild night of partying. The two are supposed to be in the finals of an amateur ballroom dancing contest. Kol gets a ride from Ebony’s older brother Adam (Thom Green), and as the two search for Ebony, a natural bond begins as easy conversation covers numerous topics. When Adam matter-of-factly admits he’s gay, Kol’s nervous energy shifts into overdrive.

This bond only has a 24-hour window to blossom, as Adam is headed to South America for graduate studies. But what a 24-hour period it is. The two men continually cross paths, and so much is conveyed with very few spoken words. Glances, body language, and eye-contact are all that’s needed. That opening period takes place in 1999, and we then jump ahead to 2010. My, how time and age changes things … and yet, doesn’t.

We often see the fallout from unrequited love, but what of ‘partially’ requited love? Few films have better captured longing and emotional pain. We feel the aching and see it on Adam and Kol. Many scenes take place in a car, adding to the closeness and feeling of magnetic pull. For me, director Stolevski utilizes a few too many close-ups, although the approach does add to the intensity of some moments. The film may not be heavy on plot, but the emotions are strong enough to keep us invested.

Opens in theaters on February 10 and expands on February 17, 2023

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Posted by David Ferguson

SOMEBODY I USED TO KNOW (2023)

February 9, 2023

Greetings again from the darkness. As consistently as January brings horror films, we can count on February to deliver Romantic Comedies released around Valentine’s Day. Although, these days, even rom-coms tend to arrive carrying the weight of social messaging wrapped in inclusion, with a concerted effort to avoid ruffling feathers and hurting feelings. The husband and wife writing team of Dave Franco and Alison Brie, with Franco directing and Brie in a lead role, have managed to play by the new rules and still deliver a watchable film – albeit one that I found more sad than comedic.

Ally (Alison Brie, THE POST, “Mad Men”) is a showrunner/producer of a dessert-centric reality TV show. Season three has just wrapped, and Ally has been informed her show will not be renewed. As with any career-minded person, Ally is devastated and heads home to visit her mother and clear her head. The hometown she left a decade ago to chase her dream of being a documentary filmmaker in Los Angeles is the ‘always Christmas’ town of Leavenworth in Washington state. An awkward intrusion on her mother (Julie Hagerty) sends Ally to the local bar where she bumps into the former flame she dumped to purse those doc dreams.

Ally and Sean (Jay Ellis, TOP GUN: MAVERICK, 2022) quickly fall into the comfort zone of a long ago relationship, and spend the night frolicking about the town. Sean does refuse the intimate offer from Ally, which leads her to blindly stumble into his engagement weekend the next day. Yep, it’s a detail Sean conveniently forgot to mention during their wild night, and now Ally is face to face with Cassidy (Kiersey Clemons, ANTEBELLUM, 2020) and Sean’s entire family. His mother’s (Olga Merediz) request for Ally to be the wedding videographer is just the opening Ally needs to begin her battle plan of stopping the wedding.

It’s at this point where we can’t help but think of MY BEST FRIEND’S WEDDING (1997), and the writers take this head-on with a mention. We can’t tell if Ally thinks she can win back Sean or if she is merely taking out her frustrations in recognizing what she turned down years ago when she chose career of Sean. The tone begins to shift when Ally sees Cassidy performing with her punk rock band, and as the two women talk to each other, it becomes clear that Ally views Cassidy as a younger version of herself. Cassidy even discloses that her bisexuality caused the estrangement with her closed-minded parents. So how does one undermine the wedding of another who isn’t so bad after all?

Also involved are Ally’s old best friend Benny (Brie’s “Community” co-star Danny Pudi), who injects some humor and tries to prevent her meddling, and Sean’s stepbrother played by Haley Joel Osment, who tosses out a Brendan Fraser reference … actually kind of funny, especially in comparison to the Jeremy Renner joke that will likely cause mass cringing. Most of the characters are grounded enough that it’s a difference from many rom-coms, but we do get the feeling a few times that much effort was put forth in creating something outside the normal tropes, rather than the typical “aww, how sweet” moments we are usually subjected to in this genre.

Dave Franco is the younger brother of James Franco, and is a frequent actor who previously directed THE RENTAL (2020), one that varies substantially from this one. Alison Brie is best known for her acting roles, but also previously wrote HORSE GIRL (2020) and SPIN ME ROUND (2022). Here, she doesn’t shy away from a character that we initially pull for, yet end up kind of annoyed with. It’s not a typical break-up movie, or sappy romance, or he/she is ‘the one’ story. Instead, it draws on mean girl tendencies, jealousies, and regrets … yet also delivers the message of staying true to one’s self. As a compliment, it can be said that the film cannot be lumped in with our usual Valentine’s Day saccharine.

Opens in theaters on February 10, 2023

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Posted by David Ferguson

LIVING (2022)

January 29, 2023

Greetings again from the darkness. That uneasy feeling will likely never fade for me … the anxiety when one of the classic movies of yesteryear gets a remake from a contemporary filmmaker with their own vision. Sometimes the new version is a respected tribute to the original, while other times, the director believes they can improve on the classic. In this case, director Oliver Hermanus and screenwriter Kazuo Ishiguro (THE REMAINS OF THE DAY, 1993) clearly have love for Akira Kurosawa’s IKIRU (1952), one of the true classics of cinema. Moving the setting from Japan to 1953 England proves an easy transition thanks to a remarkable lead performance.

After the nostalgic, retro-styled opening credits, we learn about Williams (the always fascinating Bill Nighy), a manager in the Public Works Department. He’s a stoic man of discipline – the kind his staff can set their watches by. In fact, it the department and staff seem to be a perfect example of perfected bureaucratic logjam. Some of our early insight into Williams comes from Peter Wakeling (Alex Sharp), the new hire just learning the ropes. By the time Williams heads to his doctor’s appointment, we have a good feel for what a repressed creature of habit he is. This allows us to fully appreciate Nighy’s performance after Williams is diagnosed with a terminal illness.

As we have seen in many ‘cancer dramas’, upon receiving the bleak news, Williams decides to cut loose with a rare (maybe first ever) wild night on the town. He befriends Sutherland (Tom Burke, THE SOUVENIR: PART 1), a writer who acts as a guide through the pubs and becomes the first person to whom Williams discloses his state … a disclosure he chooses not to make to his own self-centered son. Next, Williams begins his first ever search for life … a way to actually live, rather than merely exist. This leads him to strike up an awkward friendship with Margaret Harris (Aimee Lee Wood, THE ELECTRICAL LIFE OF LOUIS WAIN, 2021), a former Public Works staffer who left the stifling work environment.

Ms. Harris is very forthcoming with Williams and even admits to giving him a most telling and uncomplimentary nickname. The gentleman is fascinated by Ms. Harris’ spirit and seems to come more alive just being around her. Of course, this raises eyebrows amongst the judgmental masses. Williams is inspired by her and his improved outlook, and this makes a difference at work where he approves a local project that had been previously ignored. A playground in the poorer section of town offers a chance for Williams to leave his mark, while also setting the future tone of the department.

It’s unusual for a film to kill off the main character so soon during the story, but this allows the third act to provide commentary on legacy and the aftermath of one’s death. Sometimes the little things we do matter, and they make up the legacy we leave. Nighy’s Oscar nominated performance is the epitome of nuance. His understated mannerisms display the opposite of living life on the edge. He also tamps down his usual cheekiness to capture the essence of Williams. The sweeping score from Emilie Levienaise-Farrouch perfectly captures the tone, and the film reminds us that the meaning of our life is whatever we make it.

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Posted by David Ferguson

AFTERSUN (2022)

January 28, 2023

Greetings again from the darkness. There are two reasons I was excited to see Paul Mescal nominated for a Best Actor Oscar for his performance in this film. First, he deserved it. Secondly, it offers hope that more people will seek out this terrific, albeit heartbreaking, debut feature film from writer-director Charlotte Wells.

Calum (Paul Mescal, THE LOST DAUGHTER, 2021) takes his 11-year-old daughter Sophie (Frankie Corio) on a vacation to a resort in Turkey, where they swim and frolic in the sun. Even though she lives with her mother, Sophie and her dad have a close bond. She’s a very observant and perceptive girl, which is crucial given that Calum is a loving and caring dad, but he’s also displaying some disturbing signs of depression. What’s terrific here is that Sophie is smart, but not over-the-top; while Calum is a good dad, but not flawless. In other words, these are two normal people spending time together.

There is a sadness to Calum, even though he is patient and charming. He thinks he hides more from Sophie than he actually does. His calm demeanor on the outside is clearly hiding burning emotions that his tai chi can’t cover. While Calum is teetering in life, Sophie is teetering between independence and being daddy’s girl. She recognizes his anxiety but doesn’t yet possess the savvy or experience to know what it means – although she states this gem, “It’s nice that we share the same sky.” What a lovely sentiment.

The vacation is set in the 1990’s, however the twist served by filmmaker Wells is that adult Sophie (played in glimpses by Celia Rowlson-Hall) is reminiscing some twenty years in the future by re-watching the camcorder tapes from that vacation. She’s looking back with a different filter on what she experienced with her dad … searching for additional insight to the man she so adored. Sophie has visions of watching her dad on the dance floor as “Under Pressure” blasts under the strobe lights. This prevents her (or us) from interpreting these as memories of bliss. Rather it’s her search for meaning. Charlotte Wells drew inspiration for this story from her own childhood vacation with her dad. This is the first screen appearance for young Frankie Corio, but she perfectly captures the close relationship with dad. As movie lovers, we can only hope this is the start of a special story-telling career for Charlotte Wells, but even if this is her peak, it’s a gem few ever match.

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Posted by David Ferguson

CLOSE (2022)

January 27, 2023

Greetings again from the darkness. Coming of age stories are immensely popular in literature and cinema. And why not? We all go through the stages (some more effectively than others). Writer-director Lukas Dhont is no stranger to backlash and criticism after his 2018 feature film debut, GIRL, and the approach he took on transgender issues. This time the topic is different, yet his approach still opens him up to additional criticism. However, if the viewer isn’t on a quest for controversy, this story from Dhont and co-writer Angelo Tissens is quite touching.

Leo (Eden Dambine) and Remi (Gustav De Waele) are 13-year-old best friends. The thing we notice immediately is that their bond is unusually close, even for adolescent buddies. They each seem complete only when in the presence of the other. Remi is a very sensitive young man who excels at playing oboe on the school stage as he’s cheered on by Leo.

Of course we all know that 13-year-old classmates are not known for tact and diplomacy, and soon the biting comments find flesh (so to speak). Remi mostly pays no mind to the cracks, but Leo starts to question the friendship. He seeks out other connections, and even finds a way to appear more macho, despite his androgynous appearance and mannerisms.

Remarkably, both of these young men are first time actors. Mr. Dambine has an especially appealing screen presence. Also effective are Emilie Dequenne and Lea Drucker as the boys’ mothers, yet mostly the focus here is on the boys and how pure their emotions are until corrupted by others. Also at the forefront is a theme of learning to deal with loss and guilt, even at a young age. It can be easy to dismiss such films as manipulative, yet sometimes the writing and acting are such that the story strikes the right note. That’s what filmmaker Lukas Dhont has done here, and he’s rewarded Belgium with an Oscar nomination for Best Foreign Language film.

Opening in limited theaters on January 27, 2023

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Posted by David Ferguson

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