HERE (2024)

October 31, 2024

Greetings again from the darkness. It’s possible I’m in the minority on this one, but it’s inconceivable to think I’m all alone with my impression of a movie being hyped as a reunion of the FORREST GUMP director, writer, stars, and crew. I found this to be one of the most irritating and tiresome movies to watch that I’ve seen in a while. A long while. Of course, I’m sure it’s possible to create a decent movie with no plot and little story, and no character of interest … but this ain’t it.

With no intention of poisoning the water for prospective viewers, this will simply recap the process. The premise is planting a camera in one spot and then progressing through history. Beginning with dinosaurs running amok, the devastating flood, Mother Nature reclaiming the land, Native Americans living their lives, Benjamin Franklin’s illegitimate son building a huge home, and finally our specific home being constructed in a newly established neighborhood. We then see the families who occupy the house over the years. When I say the camera stays in one spot, that’s exactly what I mean. It’s as if it never moves as dinosaurs romp and Franklin’s house is built and finally the bay window in this home provides a static view of the living room.

Very little excitement occurs in this living room. Mostly it’s just the same family stuff you probably experience: love, marriage, birth, death, illness, arguments, heartbreak. Though there are other inhabitants, the house is lived in through most of the years by the Young family, beginning with just-back-from-war Army vet Al Young (Paul Bettany) and his wife Rose (Kelly Riley). One of their kids is aspiring artist Richard (played as a teen, an adult, and a senior by Oscar winner Tom Hanks). He marries his high school sweetheart Margaret (Robin Wright), who hopes to be an attorney. Anyway, life stuff happens … and continues to happen, as superimposed frames are used as we bound from time period to other time period, both forwards and backwards.

2024 is the 40th anniversary of the Oscar winning film, FORREST GUMP. The ‘Gump’ reunion for this film includes writer-director Robert Zemekis, co-writer Eric Roth, lead actors Tom Hanks and Robin Wright, Cinematographer Don Burgess, Composer Alan Silvestri, Sound Designer Randy Thom, and Costume Designer Joanna Johnston. Adapted from Richard McGuire’s 2014 graphic novel, the film shows little resemblance to the classic film this team all previously worked on (netting 6 Oscars and 13 nominations).

For all the grief Martin Scorsese took for utilizing the de-aging process in THE IRISHMAN (2019), this one takes it to a whole new level, with Hanks and Wright as both teenagers and elderly folks. Most of this reminds me of Mr. Potter’s line in IT’S A WONDERFUL LIFE, “sentimental hogwash”. Only we should add generic dialogue and bland characters. The exception to the latter is the intimate relationship between David Flynn and Ophelia Lovibond, as his character’s inspired engineering leads to romantic moments for the couple. To put it bluntly, there is simply no story here. Are we to care about this plot of land? The house? The inhabitants? Or is this just a slow reminder that life moves on … so get busy livin’ or get busy dyin’ (yes, a SHAWSHANK REDEMPTION quote helps me recover from a disappointing movie experience).

Opens in theaters on November 1, 2024

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Posted by David Ferguson

CANDY MOUNTAIN (1987, digitally restored)

October 25, 2024

Greetings again from the darkness. The pedigree alone makes this cult favorite one to check out now that it’s been digitally restored. Co-director Robert Frank was a renowned Swiss-American photographer and filmmaker, while co-director and screenwriter Ruby Wurlitzer was behind another popular cult flick from years earlier, TWO-LANE BLACKTOP (1971). The re-release is set to coincide with what would have been Mr. Frank’s one hundredth birthday (he passed in 2019 at age 94).

The story begins in NYC when not-so-talented musician Julius (Kevin J O’Connor) overhears a successful recording artist (David Johansen of New York Dolls) talking about his desire to buy up guitars handmade by the reclusive and legendary Elmore Silk. Julius, being the hustler and scammer that he is, claims to know Elmore Silk and offers to track him down. It’s all part of his latest scheme to become rich and famous without actually doing anything.

What follows is an oddball road trip of wrong turns, where Julius crosses paths with other ne’er do wells who each take advantage of him in some way. You might say Julius is not the sharpest knife in the drawer, yet he is persistent and continues his trek into Canada where, after being kidnapped, he locates Elmore Silk (Harris Yulin) and the guitars. Of course, the movie isn’t really about the guitars. It’s really about Julius’s trek and his desire to break out of the lifelong doldrums. What he doesn’t realize (though we do) is that even if he gets a big break, he’ll likely find a way to mess it up.

The real fun with this movie comes in spotting the faces of known actors and musicians. In addition to O’Connor and Yulin, you’ll see a young Laurie Metcalf (Oscar nominated for LADY BIRD, 2017), Tantoo Cardinal (KILLERS OF THE FLOWER MOON, 2023), French legend Bulle Ogier (THE DISCREET CHARM OF THE BOURGEOISE, 1972), Rockets Redglare (bodyguard for the Sex Pistols), and Robert Blossom (Kevin’s scary neighbor in HOME ALONE). As for musicians, in addition to Johansen (also known as Buster Poindexter and for driving Bill Murray’s cab in SCROOGED), you’ll spot Joe Strummer of The Clash, the great Tom Waits, Arto Lindsay, Dr John, and Leon Redbone.

Kevin J O’Connor hasn’t acted on screen in a few years, but his unconventional looks have graced multiple high-profile films: PEGGY SUE GOT MARRIED (1986), STEEL MAGNOLIAS (1989), AMISTAD (1997), GODS AND MONSTERS (1998), VAN HELSING (2004), THERE WILL BE BLOOD (2007), and THE MASTER (2012). It’s an impressive career for a guy who rarely plays ‘normal’. Nostalgia also plays a part here as we see a sign at a service station flaunting 79 cents per gallon gas. Julius spends some time hitchhiking, which was common for the time, and his foray into Canada goes against the reputation of a country filled with polite and friendly folks. It helps make sense of the film’s best quote, “It always seems colder when you’re leaving some place.”

The remastered version open in select theaters on October 25, 2024

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Posted by David Ferguson

CONCLAVE (2024)

October 24, 2024

Greetings again from the darkness. It feels like it’s been a while since we had a good old fashioned serious-minded, tension-packed, “big” drama film featuring big movie stars. Well, that’s exactly what director Edward Berger, fresh off his Oscar-winning ALL QUIET ON THE WESTERN FRONT (2022), serves up with his latest. Writer Peter Straughan (TINKER TAILOR SOLDIER SPY, 2011) has adapted the 2016 Robert Harris novel, and the result is a welcome crowd-pleaser that may garner some Oscar consideration.

Ralph Fiennes delivers what may be his best performance yet. And that’s saying something for the much-respected actor who has previously excelled in such films as SCHINDLER’S LIST (1993), THE CONSTANT GARDENER (2005), IN BRUGES (2008), A BIGGER SPLASH (2018), and THE MENU (2022). His impressive career is only enhanced by this most recent role of Cardinal Lawrence, saddled with the heavy burden of facilitating the titular Conclave charged with electing the new Pope. As the film opens, the beloved Pope has just passed … and as they say, “let the games begin”. Of course, these games are all about political maneuverings and power struggles and backroom promises. Director Berger opts to show us very little of the actual negotiations, and instead puts the various iterations of loyalty on display during each successive secret (of course) vote.

Within the confined walls of Vatican City and the Sistine Chapel, Cardinal Lawrence’s time is mostly spent investigating tips, scolding others for their behavior, and dealing with the immense egos of the few being considered (including himself). Stanley Tucci plays Cardinal Bellini, who pretends to not want the job while campaigning as the ‘progressive’ voice the church needs now. John Lithgow is Cardinal Tremblay, one of the most assertively ambitious who may or may not have purposefully undermined the work of another. Either way, Lucian Msamati’s Cardinal Adivemi is the victim of Tremblay’s actions. Cardinal Tedesco, portrayed by Sergio Castellitto, is the most outspoken in his desire to return the church to the old ways (Latin masses forever!), what he sees as proper. Bryan F O’Byrne plays O’Malley, assistant to Lawrence, and yet, despite all of these men, it’s Isabella Rossellini as Sister Agnes who manages to shoot (figurative) fire from her eyes, while maintaining her ‘place’ and significantly impacting the process. She is stunning and memorable in her limited role.

Early on, a big surprise arrives in the form of Cardinal Benitez (Carlos Diehz) of Kabul, who was the most recent appointee by the previous Pope, and unknown to the others. As a novel, this may be a real page-turner, and yet the movie never rushes from one moment to the next. Tension builds with each revelation and tarnished robe and secretive plot. Although the film barely skims the years-long sexual abuse scandal in the church, there is a stream of twists and turns that keep us on our toes as the Cardinals are sequestered. It’s fascinating to see how cinematographer Stephane Fontaine keeps things visually interesting in an enclosed environment filled with characters who aren’t allowed to go anywhere else. Another aspect I truly appreciated was the unusual musical score composed by Oscar winner Volker Bertelmann. This is the type of movie which often features overbearing music to ‘enhance’ tension, yet Bertelmann’s notes are effective jabs at just the right times.

Power plays, corruption, and political stunts are all present as these Men of God bungle the process of picking their next leader. Importance of the mission and tradition pale in comparison to ego and self-interest. The symmetry to U.S. politics is unmistakable and surely a purposeful approach by Berger. The final twist may be a bit out of proverbial left field, but in a room filled with secrets, perhaps that’s as it should be. To balance the tension and seriousness, anyone paying attention will appreciate the subtle humor, especially as it plays out as these relics muddle through modern day situations (technology, social progressiveness, terrorism). This is certainly not a film created for Catholics only, although for a brief moment, I worried we might have one that could be subtitled, “The Catholic Crying Game”. Fortunately, it’s one with a tension-filled story, terrific visual shots, a perfect score, and superb acting … a fun movie to watch.

Opening in theaters on October 25, 2024

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Posted by David Ferguson

WOMAN OF THE HOUR (2024)

October 17, 2024

Greetings again from the darkness. As a lonely woman, being told you have the look of a model is a welcome compliment. As a runaway living on the streets, having a young man show an interest in you is a welcome development. As a single woman moving into an apartment and having a charming young man help move your furniture is a welcome occurrence. As a struggling actress, getting cast on a hit show is a welcome gig. What do all of these situations have in common? They feature vulnerable women who crossed paths with Rodney Alcala, an infamous serial rapist and murderer. This is the first feature film directed by uber-talented Anna Kendrick and it’s a doozy.

Director Kendrick also stars as Cheryl Bradshaw, the struggling actress whom we first meet in one of her endless rounds of auditions where she doesn’t get cast due to her physical appearance. It’s one of a series of misogynistic scenarios that play out in this film written by Ian MacDonald and based on the true story of evil Rodney Alcala (played here by Daniel Zovatto). The film is set mostly in the late 1970’s, although it bounces around a bit. We first see Alcala charming a woman in 1977 Wyoming by using his camera and photographic skills to instill a level of comfort and entice her into his car. Very little violence is shown on screen, but the aftermath is – leaving no doubt that Alcala is a monster.

Beyond the murders, what made Rodney Alcala headline-famous, was his 1978 appearance on “The Dating Game”, a very popular TV show at the time (only we don’t get to hear the iconic theme song, and there’s no kiss thrown at the end). By pure coincidence, the bachelorette questioning the three bachelors that day was Cheryl Bradshaw. As the host of the show, Ed Burke (not Jim Lange, played by Tony Hale) adds to the misogyny of the times, while the hair and make-up ladies quietly cheer on Cheryl as she re-writes the second half questions exposing her level of frustration at playing an item of desire for three men. With no shortage of creepy or horrific moments, the film’s best sequence involves Cheryl and Alcala walking through a poorly lit parking lot after an excessively awkward post-show drink. This sequence alone proves Ms. Kendrick’s mettle as a filmmaker – the tension is nearly unbearable.

Rather than a straightforward re-telling of a psychopath’s tales from the 1970’s, the film adds layers by reminding us of what women faced in that era – from subtle lack of value to outright abuse and constant concern for their safety. Even Cheryl’s interactions with her neighbor (Pete Holmes) displays challenges faced in ordinary settings. The 1979 San Gabriel segment with the runaway (Autumn Best) is both true and chilling, and yet further proof of how much leeway an educated white guy like Alcala could get away with (he had been previously questioned by police in 1977). If somehow you reach the end of the film and aren’t totally sickened by Rodney Alcala, just try and keep it together while reading the last few slides regarding his trail of destruction – and just how courageous that final runaway proved to be.

Premieres on Netflix on October 18, 2024

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Posted by David Ferguson

GOODRICH (2024)

October 17, 2024

Greetings again from the darkness. The heart definitely skips a beat when the phone rings late in the night, awakening us from a deep slumber. Andy Goodrich groggily answers the call to hear his wife inform him that she’s checked herself into rehab and then ending the call with, “I’m leaving you”. It doesn’t take long for us to realize the real problem. Andy seems to be the only one unaware that his wife too frequently swallowed prescription drugs and chased them down with a bit of booze. Over the next few days, Andy is almost too late in recalling that his 9-year-old son has a peanut allergy, and discovers that his 9-year-old daughter (yep, twins) hates to be late for school and likes a glass of water on her bedstand at night.

Writer-director Hallie Meyers-Shyer (HOME AGAIN, 2017, daughter of filmmakers Nancy Meyers and Charles Shyer of PRIVATE BENJAMIN and FATHER OF THE BRIDE fame) shows us that Andy (Oscar winner Michael Keaton) has always been somewhat absent from his family, choosing instead to pour his heart and soul into the art gallery he owns. It’s a business that once flourished, but now struggles month to month. The old saying goes, ‘when it rains, it pours’, and Andy is experiencing an emotional and emergency flash flood. The twins, precocious Billie (Vivian Lyra Blair) and quiet Mose (Jacob Kopera), need their dad to crash-course the whole parenting thing, while he also tries to salvage his business. Andy decides to lean on his adult daughter Grace (Mila Kunis, BLACK SWAN, 2010), who also has always felt distant from and let down by her father.

Now, you might be questioning 73-year-old Michael Keaton as the dad of fourth grade twins, but he easily passes for sixty-something here, and his unique blend of dramatic and comedy talent makes him one of the few who could pull this off. His frenetic energy plays right into the role and we accept him as a guy who hasn’t been good at ‘family’ but has the heart to make the effort when he must. The scenes between Andy and Grace are the best, as both Keaton and Kunis work to elevate the material. Supporting work comes from Michael Urie (“Shrinking”) as a gay single parent who is a bit over-emotional, Danny Deferrari (SHIVA BABY, 2020) as Grace’s opposite-from-Andy husband, Kevin Pollak as Andy’s business manager, Carmen Ejogo (“Your Honor”) as a feminist singer and a last gasp hope for the gallery, Laura Benanti as Andy’s rehabbing wife, Poorna Jagannathan as Grace’s doctor, and Andie MacDowell as Andy’s ex-wife.

The lesson here is keeping the important things in life as a priority, which is a relatively simple and heavy message, and fortunately the cast (especially Keaton) can handle it. There are enough laughs included – the best involves Halloween costumes of Warhol, Frida, and Dali – to balance the bleak elements and the cliches; however, personally I could have used a bit more of absent dad reconnecting with pregnant daughter. Still, watching Keaton’s Andy come to grips with his lifelong self-centeredness makes this one worth watching.

In theaters beginning October 18, 2024

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Posted by David Ferguson

LONELY PLANET (2024)

October 11, 2024

Greetings again from the darkness. There is no reason for me to write much about this one. I’m clearly not part of the target audience, and if I had realized ahead of time that writer-director Susannah Grant was also responsible for CATCH AND RELEASE (2006), I likely would have passed on the opportunity to review. There is a market for romantic fantasy movies, however, typically at least some of the characters are likable. Regardless, my job is not to become angry at a film (even if it happens sometimes).

Laura Dern won her Oscar for MARRIAGE STORY (2019) and here she plays respected novelist Katherine Lowe. Although she may be respected and successful, Katherine is also dealing with a messy personal life and a fast-approaching deadline for her next book. Oh, she’s stressed alright. So how does a novelist who thrives in a quiet environment find the solitude she needs to write? Well, she heads to a resort in Morocco where her trip coincides with a writer’s conference made up of attendees who all know her work.

One of the writers attending the conference is Lily (Diana Silvers, MA, 2019) who has dragged along her hunky boyfriend Owen (Liam Hemsworth, “The Hunger Games” franchise) who is diligently working on his first big financing deal … all via cell phone from an area with spotty reception. He really doesn’t much care for her circle of writers, and she is constantly annoyed with his frequent business calls. Have you figured out where this is headed? Lily is ambitious about establishing herself after her first novel, and Owen expends little energy in supporting her in a world he doesn’t understand and has little interest in.

Lily and Owen argue, while Owen and Katherine get to know each other. Of course, you know what happens to these two relationships, and though Ms. Grant tosses in a bit of a twist in the final act, no one will be surprised at the finale. Perhaps the world needs a bit more mindless romantic fantasy these days, but we’d prefer one with characters we can root for. Is there really a big enough audience of viewers who wish to only invest surface level interest in what attracts two people to each other while ignoring their lack of character? On the bright side, Ms. Grant does follow the writing advice of one of her characters: when stuck or blocked, interject sex or death (although this is relayed much more descriptively in the movie).

Opens on Netflix on October 11, 2024

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Posted by David Ferguson

THE APPRENTICE (2024)

October 11, 2024

Greetings again from the darkness. Many questions remain unanswered, but one point is clear … Donald Trump was not ‘born’ this way. Ali Abbasi directs a script from journalist Gabriel Sherman (Vanity Fair, New York Magazine) and it’s meant to explain the foundation of the man who would become President. Two distinct parts of the film are divided into the 1970’s and then the 1980’s, and that first part is infinitely more interesting and better presented.

Sebastian Stan is best known as Bucky Barnes in the Marvel Universe, but here he captures the essence of a Donald Trump many won’t recognize. In the 1970’s, Donald was a VP of his dad’s real estate development company, and his big dreams were constantly squashed by either a domineering dad or a system that made no room for vision. This was a young (late 20’s) Trump who was told he resembled matinee idol Robert Redford, and that he was foolish for trying to rescue Manhattan from the cesspool of decay it had become. In fact, Trump deserves much credit for at least dreaming of a bounce back from a city on the verge of bankruptcy.

Donald’s life (and the movie) shift into overdrive once powerhouse attorney Roy Cohn (a remarkable Jeremy Strong, “Succession”) summons him to his dinner table. Cohn was previously an attorney for the infamous Senator Joseph McCarthy and was the chief prosecutor in the espionage trial of Julius and Ethel Rosenberg. By the 1970’s Cohn was the ultimate fixer and one of the most powerful attorneys in the country. We watch as he mentors and trains and counsels the young buck Trump by instilling his three rules: 1. Attack. Attack. Attack. 2. Admit nothing. Deny everything. 3. Claim victory, never admit defeat. These are the foundations of “the art of the deal”, and really beyond that … how to be a ruthless businessman and person.

That first awkward meeting led to a mentorship that is truly fascinating to watch on screen. Cohn pushing the eager Trump to become the shark he needs to be, all while his dad, Fred Trump (Martin Donovan) fights him each step. Stan and Strong are mesmerizing in this first hour. Stan captures Trump’s familiar body language (slumped shoulders and hair fixation), while Strong hypnotizes with his steely-eyed stare. Trump mixes with powerful men like Rupert Murdoch, George Steinbrenner, and even Andy Warhol (whom he cluelessly asks if he’s “successful”), and then fixates on Ivana (a terrific Maria Bakalova), ultimately marrying her … it’s the prenup agreement scene where the film shifts.

Jumping ahead to the 1980’s, we find an arrogant Donald Trump ignoring Cohn’s advice to slow down and reconsider the Atlantic City casino and hotel. Of course, time proves Cohn right, but by now, Trump listens to no one. An unethical approach to business dealings and his gaudy taste in everything becomes obvious at this point – from furnishings to cufflinks. Also, his treatment of family becomes apparent – not just with Ivana, but also with his brother Freddy (Charlie Carrick), who dad refers to as an “embarrassment” to the family since he’s a commercial airline pilot and not a greedy capitalist in the family business. This humiliation leads Freddy to tragic alcoholism, and a brief sign of Donald’s emotions.

The film’s second half weakness stems from a Trump personality that is too similar to what we’ve been witnessing on the national level for the past decade. It’s truly painful and disgusting to watch a man who cares so little for others or for what’s right, and seizes on Cohn’s tactic of cloaking himself in love of country to appear heroic. By this time, Trump distances himself from Cohn for a reason that highlights his lack of humanity. We also see Trump claim Cohn’s three rules as his own while meeting with his biographer, and we note the roots of MAGA.

It must be noted that after the film was warmly received at Cannes, no distributors bid on it. Donald Trump had threatened a lawsuit. It took Briarcliff Entertainment to bravely step forward for the film to gain a theatrical release. Director Abbasi not so slyly opens the film with a fitting stage-setter: a clip of Watergate-era Richard Nixon proclaiming, “I’m not a crook.” It’s a legitimate question as to whether a movie about Donal Trump can avoid feeling a bit like a parody, even when it’s not. My initial interest in the film was in comparing this early Donald Trump to my memories of him during that era – how he was presented in the media. It comes across as spot on, but of course, we would have had no concept of how Cohn was molding him behind the scenes. That’s what this film accomplishes.

Opens in theaters on October 11, 2024

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Short Films (October 2024)

October 6, 2024

SHORT FILMS – a recap of some recents (2024)

Greetings again from the darkness. With so many short films being released each year, I usually try not to devote too much time to them until the Oscar short list is announced. That’s the point when the narrowing down has occurred and there is a manageable list to work through. A number of film festivals act as ‘qualifiers’ for short films, and in the years where I attend a few festivals, I always try to schedule in a block of shorts. The creativity displayed by these filmmakers never disappoints, and many will go on to write and/or direct feature-length films. Below is a brief recap of some of the short films I’ve recently watched:

TEA (12:37)

It’s normal to get nervous before asking someone out on a date, or even having that first conversation. One particular young man, Nick (Michael Gandolfini, THE MANY SAINTS OF NEWARK, 2021,) takes it to an extreme as he videos himself rehearsing for the big moment. When a bee stings him just as the opportunity with the dream girl arises, Nick’s severe allergic reaction leaves the girl (Olivia Nikkanen, “The Society”) initially confused by his slurred speech, and ultimately in a race against time to save his life.

Written and directed by Blake Winston Rice, the film infuses humor and tension to create an unusual short film based on the monologue (written and performed) by Isaac Lee. The setting of a parking lot behind the store is a nice touch, adding to Nick’s sense of isolation. It’s also a reminder that epi-pens should be readily available.

LUKI & THE LIGHTS (10:40)

Explaining a severe disease to kids is among the most difficult situations a parent can find themselves in. This happened to Sascha Groen and her husband Anjo Snijders, after he was diagnosed with Amyotrophic Lateral Sclerosis (ALS, still commonly referred to as Lou Gehrig’s disease). The couple collaborated with co-writer Janna Brower-Schouten and writer-director Toby Cochran in this terrific animated film that addresses a need … and does so beautifully.

Luki is a friendly, happy robot who enjoys hanging out with his friends. One day while playing soccer, his hand won’t function properly. Luki’s tests by the doctor confirm the diagnosis of ALS, a neurodegenerative disease for which there is no cure. Rather than feel too sorry for himself, Luki maintains his spirit and love of life and friends. He even builds his own ‘Rascal’ so he can get around.

It’s a story of true friendship and passion for life, and his friends stay with him until the light goes out. After that, they celebrate their memories of Luki. While we long to protect kids, circumstances sometimes require us to explain the tough breaks. This little film works wonders.

For ALS information, educational material, and more, please visit  globalneuroycare.org

ANUJA (22:11)

There is an old adage, ‘you do what you have to do’. But what if the choice isn’t easy or obvious? Such is the dilemma of nine-year-old Anuja. She has dropped out of school to work with her older sister Palak at a local (probably illegal) garment factory in New Delhi. The girls are orphaned and doing their best to get by.

Palak (Ananya Shanbhag) has a bit of a rebellious streak, and also understands that Anuja’s opportunity to test for enrollment at a boarding school is her sister’s one chance to escape a life of poverty, and will sacrifice anything to give her sister this chance. Anuja is played by Sajda Pathan, who lived on the streets of Old Delhi before finding assistance from social workers.

The burden carried by this young girl is painful to watch, as she wants nothing more than to continue her life with her sister, and certainly take no steps that would harm her. Director Adam J. Graves includes an early story about a farmer’s wife, daughter, and mongoose that sets the stage for what we see. The film was awarded the “Best Live Action Short” at this year’s HollyShorts Film Festival.

IN THE GARDEN OF TULIPS (13:38)

We immediately feel the tension between 16-year-old Cari and her father as they take a car ride through the Iranian countryside. The air lightens a bit as they stop at a roadside fruit stand for green plums, and then the two cut loose for a silly song about the plums.

The mood dramatically shifts again when law enforcement pulls the car over and begins questioning them. It’s not until the final scene that we realize this is the height of the Iran-Iraq war and we underestimated the stress and tension involved with this father-daughter road trip.

This film from director Julia Elihu and writer Ava Lalezarzadeh has been an award winner at some film festivals, and beyond that it’s a stark reminder of what’s at stake during war time. Ms. Lalezarzadeh also portrays the daughter, and excels in both writing and acting. The film was named ‘Best Live Action Short Film’ at the St Louis International Film Festival.

HIS MOTHER (13:27)

It’s probably not necessary to promote this as ‘inspired by a true story’. Writer-director Maia Scalia has perfectly captured an all-too-often-overlooked portion of an all-too-often-occurrence. A frazzled woman is working her way through traffic and desperately making phone calls.

Bethany Anne Lind (“Ozark”) plays Julie, the mother so desperate to reach her teenage son, her too-busy husband, and the Law Enforcement service too overloaded to understand the purpose of her calls. Her desperation is fed by the videos her son Harrison recently posted. When Julie gets a call from a friend “hoping” Harrison is safe since there is an active shooter at his school, the pieces all come together for us and we share the pit of the stomach turmoil with the mother.

Ms. Scalia’s film and Ms. Lind’s performance perfectly capture a parent’s nightmare, the societal concern with mental health issues, and the horror and far-reaching effects of school shootings.

TECHNICIANS (17:00)

Everyone has their own story, and by definition, “I’m just doing my job” offers a perspective through a one-sided lens. We first see David (J. Alphonse-Nicholson, “P-Valley”) as he’s taking care of his sick mother and struggling financially. He anxiously accepts a phone call offering a chance to work and earn. The writing-directing team of twin brothers Kevin Luu and Kelly Luu examine a large issue through a short film.

David has been hired to install automated manicure stations at a nail salon. The successful completion of his job will result in numerous technicians losing theirs … and he feels the scornful looks from the staff as he arrives. Befriending one of the technicians brings into focus the clash of two needs, and how the nail industry dives deep into Vietnamese culture.

With the recent conflict between the shipyard workers’ union and management over the use of technology, we certainly understand how the issue is widespread. The film finds a temporary solution, and ends on a welcome note of personal sweetness.

CALF (14:46)

After all these years, no one has yet been able to comprehend or explain or predict the behavior of teenagers. Even knowing the sometimes extreme nature displayed by teens, we can’t help but be shaken while watching Cait’s (Isabelle Connolly) reaction to an accident that occurs on her family farm in Ireland. Disturbing is the best description of this stunning film from writer-director Jamie O’Rourke … and it’s not all due to Cait.

This film grips you tightly early on, and doesn’t loosen the grip until well after it’s over. The desolate landscape and the simplicity of the family belies the hardships on the farm and within the family. Everything appears normal as one of their cows prepares to give birth in the barn. Cait carries her secret as the day progresses and she has a few interactions with her mother (Kate Nic Chononaigh), but nothing outside the norm.

Moments of suspense multiply here despite most of what we see being part of a regular day. The exceptions are extraordinary, and it’s not until the finale that we realize Cait’s behavior makes sense. This revelation heightens what has already been a gut-wrenching film to watch.  

MILDRED 4 A MILLION (21:15)

Marla Gibbs is probably best known for her role as Florence on the TV series “The Jeffersons”, which began airing in 1975. She’s now 93 years old, and still capable of carrying this short film from writer-director Kimmie P. Callaway. Here, she plays Grandma (and great Grandmother) Mildred who loves to chat with everyone (whether they asked for it or not). She can’t wait to share that her great-grandchildren are coming for a visit. She’s a lonely woman who lives for this moment of connection.

Of course, the reality is, no matter how much the silver shines or how many Snickerdoodle cookies you bake, kids are kids … great-grandmother’s house is but another playground to call their own. She’s especially excited to bond with 8-year-old Stella (Obriella Genesis Witron) as two share a middle name … Gigi. The visit ends too quickly as her granddaughter (Brie Eley) apologizes and explains, the only way to get her kids’ attention is to have a million followers on Tik Tok. So that’s exactly what Mildred sets out to do.

Now, Mildred is the type who has her cell phone hidden away in a drawer “for emergencies”. She asks her millennial postal worker (Hayley Keown) to help her get it set up, and then proceeds to go down her physical therapist’s (Julian Ashley Mitchell) checklist of nine ways to capture followers (number 8 is a sex tape!). The comedy here plays to Ms. Gibbs’ strength and she pulls off most every scene. The good time watching the film is balanced with a reminder that the world moves very fast for kids today, and sometimes grandparents just want to slow it down and concentrate on … just talking.

Leave a Comment » | Animation, Comedy, Drama, Short film, World Cinema/Foreign | Tagged: , , , , , , , , , , , , , , , , , , , | Permalink
Posted by David Ferguson

THE OUTRUN (2024)

October 3, 2024

Greetings again from the darkness. The best movies revolving around alcoholism usually make us feel like we are intruding on someone’s personal train wreck. Three that come to mind, each resulting in at least one Oscar, are LEAVING LAS VEGAS (1995), DAYS OF WINE AND ROSES (1962), and THE LOST WEEKEND (1945). This one is based on the 2016 memoir by Amy Liptrot, who also adapted the book for the screen with director Nora Fingscheidt (known for her festival favorite SYSTEM CRASHER, 2019).

Having already been nominated for four Oscars, there is little debate that Saoirse Ronan is one of the top actors of her generation. And this may be her best performance yet. As Rona, she captures the quiet desperation and loneliness that isn’t always so quiet. We see Rona as the unemployed, Masters-degreed, sloppy drunk party girl. We see her as the drunken victim of sexual violence. We see her as the next-day apologetic drunk who destroys a relationship. We see her in rehab and attending AA meetings. We see her relapse. We see her strained parental relations, and we see her in near isolation in hopes of kicking an addiction that she’s not even sure she wants to kick. It’s heartbreaking when she admits, “I can’t be happy sober.” We feel for those who have experienced this with loved ones.

Living in London, Rona is all about the excitement and energy of dancing and partying and socializing … and drinking. She says she likes how it makes her feel, ignoring the next day misery and regret. Her boyfriend, Daynin (Paapa Esiedu) is supportive and understanding, right up until the point where he’s had too much of her self-destructive ways. Rona finally accepts rehab and after 90 days, she heads home to Orkney – a sparsely populated archipelago off the north coast of Scotland. Rona’s parents are divorced. Her mom (Saskia Reeves) has turned to religion, while her bipolar dad (Stephen Dillane) lives in a caravan and works his sheep farm on his good days. The desolate environment lacks the constant temptations of London (though she still finds a few), and Rona hopes time in Orkney will be restorative to her health and spirit.

Filmmaker Fingscheidt makes some interesting choices. The film jumps around in time with Rona’s flashbacks to moments in her past – some going back to childhood. This jumping around reflects the mental struggles she goes through in her quest for sobriety. There is also a substantial amount of science and nature included. In voiceover, Rona details the specifics of addictive drinking, as well as the mythology of seals and selkies. Saoirse Ronan is superb throughout, yet two scenes stood out for me. The first is when she meets a stranger on the street, displaying her desperation for companionship and socialization. The second comes when she explains to her mother how seaweed is her new passion (her new addiction?) and is her focus for the future.

The only thing close to being as photogenic as Saoirse Ronan is the coastal Scottish landscape. It’s both breathtaking for us and claustrophobic at times for Rona as she fights the urges. Rona’s job with RSPB had me doing a quick Google search for endangered Corncrakes, and though most of the film left me emotionally drained, watching Rona ‘conduct the ocean’ provided a welcome jolt of joy.

*** For those who are interested in reading Amy Liptrot’s thoughts on the film about her life, I recommend this commentary she published: 

https://www.theguardian.com/books/2024/sep/22/amy-liptrot-outrun-life-as-alcoholic-on-big-screen

Opens in theaters on October 4, 2024

WATCH THE TRAILER

1 Comment | Drama, World Cinema/Foreign | Tagged: , , , , , , | Permalink
Posted by David Ferguson

MONSTER SUMMER (2024)

October 3, 2024

Greetings again from the darkness. A fun-filled film meant only to entertain is always welcome. Traditionally these show up during the summer months, but timing this one closer to Halloween makes complete sense. Written by Bryan Schulz (the grandson of the late Peanuts creator Charles Schulz) and Cornelius Uliano (his collaborator on THE PEANUTS MOVIE, 2015), the film is directed by David Henrie, best known for his role in “How I Met Your Mother”.  It’s his first feature film gaining distribution, and it doesn’t disappoint.

It’s 1997 on Martha’s Vineyard (although it’s filmed in Southport, North Carolina) and budding journalist Noah (Mason Thames, THE BLACK PHONE, 2021) is desperately trying to follow in his recently deceased father’s footsteps. However, the local newspaper editor (Kevin James) wants nothing to do with the kid’s ideas. Noah suspects an evil presence in town at just about the same time Miss Halverson (Lorraine Bracco, “The Sopranos”) arrives for an extended stay at the B&B run by Noah’s mother (Nora Zehetner, BRICK, 2005).

Not to give anything away, but witchy things start happening. Noah’s baseball teammate Ben (Noah Cottrell) is night-swimming with a lady friend (Lilah Pate), and a fright leaves him “with the lights on and no one home” (as it’s described). It’s summertime, so baseball is a recurring theme for Noah and his friends Eugene (Julian Lerner, the new “The Wonder Years”) and Sammy (Abby James Witherspoon), with familiar face Patrick Renna (THE SANDLOT) as the league umpire. The three friends begin their own investigation, but soon enough, Noah is on his own … at least until he joins forces with retired detective Gene (2-time Oscar winner Mel Gibson). Gene has long been the subject of local rumors and mostly keeps to himself; but Noah’s work piques his interest, and the two share a form of grief.

Bits and pieces of IT (2017), THE GOONIES (1995), and more recently, “Stranger Things” all play a role, and we have references to Mulder and Scully from “The X-Files”, as well as a nostalgic feel that gives this more the feel of a childhood adventure than a true horror story. However, the creep factor is strong enough to earn the PG-13 rating. It should also be noted that Mel Gibson has been ‘canceled’ in some circles, yet he brings the necessary gravitas to elevate the film. It also seems safe to predict that young Mason Thames has a nice acting career ahead of him. Stories revolving around neighborhood legends and myths are quite common, and this one chooses to blend the supernatural with local police cases. So, if you are up for some cinematic fun times around Halloween, director David Henrie is all about treats, not tricks.

Opening in theaters on October 4, 2024

WATCH THE TRAILER

Leave a Comment » | Drama, Thriller | Tagged: , , , , , , , , , , , , | Permalink
Posted by David Ferguson

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