KNEECAP (2024)

August 1, 2024

Greetings again from the darkness. The Troubles of Northern Ireland were a 30-year political and social conflict that officially ended in 1998 with the Good Friday Agreement. Even today, the pain and memories and divisions remain. Writer-director Rich Peppiatt’s film is set in 2019 (West Belfast) and is billed as a “mostly true story” involving controversial hip-hop group Kneecap and the push to make Irish an official language. Early on we are told, “A country without a language is only half a country.”

A circumstantial fluke brings music teacher JJ (DJ Provai) into the world of self-described “low life scum”, Naoise ( Moglai Bap) and Liam Og (Mo Chara) – drug dealers and wannabe musicians. Performing their raps in native Irish tongue, the trio inexplicably and by happenstance, becomes the unlikely face and voice of the language movement. The resistance they face is stout and sometimes dangerous … yet possibly they remain their own biggest hurdle to success.

Another plot line occasionally rears its head – Naoise’s father Arlo (Michael Fassbender) has been on the run since Naoise’s childhood and is now a paramilitary figure pursued by the police, despite family efforts to convince he’s dead. Popping up now and again, Arlo offers guidance and words of advice to the boys who face oppression and opposition from the conservative and proper forces fighting their rebellious nature and pursuit of radical change.

Adding to the interest level here is that all three members of Kneecap play themselves. With no acting experience, they are convincing enough in telling (mostly) their own story in comedy-drama style. They are also experts at flowing f-words. We have witnessed Irish chaos many times, yet director Peppiatt and the trio generate an energetic cheekiness that plays well in establishing cultural and class differences. This may not be the first story of drug dealers becoming lyricists, performers, and social influencers, but we certainly appreciate the moments of authenticity proving yet again the power and influence of music (even if the bouncing subtitles are a step beyond challenging). The 2022 Identity and Language (Northern Ireland) Act affirmed Irish as an official language, and Kneecap shows punk rebellion will carry on. Oh, and ask your friends, “What’s the craic?”

In theaters August 2, 2024

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2 Comments | Comedy, Drama, World Cinema/Foreign | Tagged: , , , , , , | Permalink
Posted by David Ferguson

THE CONVERT (2024)

July 12, 2024

Greetings again from the darkness. Ten years ago, no one would have thought twice about a preacher traveling to a remote island with the given mission of converting souls – both indigenous and British – to Christianity. But much has changed in those 10 years, and writer-director Lee Tamahori (hit and miss with NEXT, 2007; DIE ANOTHER DAY, 2002; ALONG CAME A SPIDER, 2001; THE EDGE, 1997) and co-writers Michael Bennett and Shane Danielson take head-on on the “white savior” backlash that’s surely coming their way (not from me).

It’s 1830 and Thomas Munro (Guy Pearce) is catching a ride across the rough waves of the Tasman Sea. His beautiful white steed doesn’t much care for the boat’s ups and downs, and both man and beast are happy to go for a run on the sandy shore once they reach their destination. And that’s pretty much the end of the good times. Munro has been hired by the colonists to be their preacher and bring Christianity to the locals … tribes of Maori. Munro stumbles into the brutal inter-tribe battles and he quickly negotiates to save the life of Rangimai (a stunning Tioreore Ngatai-Melbourne), the daughter of the other tribe’s chief.

Early on, we also learn that Munro is no ordinary preacher. He has a past that haunts him – and skills that come in handy in this new environment. Mostly though, he does a great deal of talking – regularly negotiating one thing or another with one side or another. His sketch book offers proof that he’s a good man with good intentions, and one who seeks the good in others. What he also learns is that muskets are often more powerful than Christian words.

Munro’s mission is aided by Charlotte (a terrific Jacqueline McKenzie) who acts as a translator, while carrying her own personal history of tragedy. Racism is of course on full display, despite Munro’s efforts to negotiate peace between the tribes and the always-hovering British colonists. Throughout the film, there are some sloppily staged fight scenes, yet the cinematography from Gin Loane is exceptional. We do get the crescendo of a final showdown, as well as a somewhat surprising ending on display in a “Four years later” epilogue. Director Tamahori hits us very early with a smaller bird being attacked midair by a larger bird, with the survival of the fittest on display – whether here in New Zealand, or most any other place throughout history.

Opening July 12, 2024

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Posted by David Ferguson

DANDELION (2024)

July 12, 2024

Greetings again from the darkness. Creativity is such an intangible topic … so esoteric in nature that those most driven by it are likely misunderstood by everyone else. The second feature film from writer-director Nicole Riegel (HOLLER, 2020) focuses on a talented, yet frustrated troubadour living in Cincinnati.

Dandelion (played beautifully by KiKi Layne, IF BEALE STREET COULD TALK, 2018) has a three-nights per week gig at a local hotel bar. Whether she plays familiar covers or her own original songs, the bar audience pays her little attention, opting instead for personal chatter and cell phone time. The gigs provide a paycheck, but it’s not enough to cover her expenses, and those of her sick mother (Melanie Nicholls-King). Mom doesn’t exactly help her own situation, and neither does she offer much encouragement to her daughter, generating more friction between the two.

It’s the age old “paying your dues” syndrome that so many musicians experience. When the bartender shoves a flyer at her, Dandelion scoffs at the notion of playing a music festival at a South Dakota motorcycle rally … so we know immediately she’ll be headed there, selling off her beloved Gibson guitar and leaving mom at home. Once in South Dakota (Sturgis is never mentioned), her time on stage doesn’t go well for Dandelion, and neither does much else. Well, that is, until sparks fly with fellow musician Casey (Thomas Doherty, “The Lodge”), one who surrendered his own dream years before. The sparks are both romantic and musical, though everyone but Dandelion knows Casey from Edinburgh is not all he seems.

The two bond through songwriting and other intimate activities … right up until the not shocking twist occurs. I couldn’t help but think of the similarities (and differences) between this and two other films, ONCE (2007) and FLORA AND SON (2023). Chasing dreams and creating music never stops for Dandelion, despite the constant influences and hurdles. The music is definitely a standout here, as it’s written by twin brothers Aaron and Bryce Dessner of The National.

Director Riegel and cinematographer Lauren Guiteras use a heavy dose of close-ups and tight shots to convey the strains of emotions, especially for Dandelion, while also serving up some beautiful shots and unusual camera angles. The camera work here is as artsy as the music. The ending finds Dandelion working through her pain to discover her true self. While not a masterpiece, there is enough depth here to set it apart from many indies.

Opening in theaters July 12, 2024

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Posted by David Ferguson

DADDIO (2024)

June 29, 2024

Greetings again from the darkness. “MY DINNER WITH ANDRE in a NYC taxi cab.” That’s my description of writer-director Christy Hall’s first feature film. Of course, that’s an over-simplification, as her film deals with gender roles, socio-economic topics, and a big ol’ dose of emotional baggage. It’s what’s known in the business as a two-hander. We have two characters and one setting and a whole bunch of talking. Casting being crucial here, filmmaker Hall did choose wisely with Dakota Johnson and two-time Oscar winner Sean Penn.

Johnson’s character (billed only as “Girlie”) arrives at JFK airport and catches a cab to midtown. She and the driver, Clark (Penn) exchange generic banter, but soon enough Clark breaks the barrier by stunning her with his analysis of her situation, based on observation skills honed through 20 years of driving a NYC cab. He’s been around the proverbial block a few times and Penn is permitted to work in a monologue about his disappointment with humanity, commerce, and technology. We learn he views himself as a common man ‘Vinny’, and we learn she’s a coder by profession – as well as a nail biter who’s texting a mysterious man – a man not shy in pleading with her for a sext.

A traffic jam on the highway stalls the trip, but accelerates the conversation. Clark gets more inside info from the woman he’s determined “can handle yourself”, and their quasi – quid pro quo spills more beans than either would typically open up about in normal circumstances. Her recent two-week trip to Oklahoma was to visit her estranged half-sister … a trip that holds yet another twisty secret that she’s surprised at herself for disclosing. Clark is not shy about dishing out armchair psychology advice, much of it based on his own past mistakes. Cheaters, specifically the difference between adulterous men and women, is a topic close to both of these folks, and Clark rambles on.

Dakota Johnson (thriving in indies) is truly at her best when she has minimal dialogue, and much is demanded of her facial expressions and body language (this is a compliment). Sean Penn thrives in a role where he is doling out free advice, and keeping score based on personal details provided. These two actors are the reason this film works, however, it seems clear this movie fits neatly into a festival circuit, while likely having little mainstream appeal.

Opens in theaters on June 28, 2024

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Posted by David Ferguson

FANCY DANCE (2024)

June 29, 2024

Greetings again from the darkness. A missing person story takes on additional weight when it involves a Native American, and this story from writer-director Erica Tremblay (“Dark Winds”) and co-writer Miciana Alise show us how culture and traditions remain vital to the family ties indigenous people struggle to maintain in the face of institutional hurdles.

The missing person is stripper Tawi, who is Jax’s sister and Roki’s mother. The feds, who have jurisdiction, have shown little interest in locating Tawi, and local law enforcement, including Jax’s half-brother JJ (Ryan Begay, “Dark Winds) seems to have contributed little to the search. Jax (Lily Gladstone, Oscar nominated for KILLERS OF THE FLOWER MOON) remains committed to finding her sister and to raising 13-year-old Roki (Isabel Deroy-Olson, “Three Pines”) according to Cayuga traditions … including the annual Powwow in Oklahoma City, which features the mother-daughter dance that Roki so looks forward to.

CPS gets involved, and since Jax’s past record is anything but pristine, Roki gets placed with her grandfather Frank (Shea Whigham, “Boardwalk Empire”) and his new wife Nancy (Audrey Wasilewski, “Big Love”). Frank’s relationship with his daughter Jax has been strained ever since he left the reservation after Jax’s mom died (a key element to the story). Most of the story is quite believable; however, one big exception is that we are to accept Frank and Nancy refuse to allow Roki to attend Powwow. This unlikely occurrence leads Jax to help Roki escape, and the two head out to search for Tawi … turning this into an ‘on the road’ story.

The cinematography from Carolina Costa is beautiful, and complements the emotions of these characters. The performances and connection of Ms. Gladstone and young Deroy-Olson make us buy into the story and their struggles. Perhaps the film’s most insightful scene involves Roki, Nancy, and a pair of ballet shoes – highlighting the disconnect. We relate to Roki’s wish to have just one more dance with her mother, and Jax helps us understand the challenges faced by women in indigenous communities. If there’s a negative here, it’s that the entire movie moves at a slow burn pace without ever achieving the tension it teases us with. Despite that minor issue, it’s stunning that missing and murdered women are so commonplace in this community that each year there is a dance dedicated to them.

Streaming on Apple TV+ beginning June 28, 2024

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Posted by David Ferguson

THELMA (2024)

June 20, 2024

Greetings again from the darkness. With so many senior citizens (Boomers) around these days, we should expect more movies featuring older characters, and movies that this demographic might enjoy watching. Instead, most movies treat seniors as either mostly silent set pieces in family scenes or as awkward buffoons (see the recent SUMMER CAMP, or better yet, don’t see it). Writer-director Josh Margolin apparently understands this, and his first feature film is not just funny, it also allows a few elderly actors to lead the way.

June Squibb is not just any 94-year-old leading lady. Of course, that’s a bit facetious, since such a list would be very short. For someone whose film and TV career didn’t get started until she was in her 60’s (she was on stage prior), Ms. Squibb has put together a remarkable career. She’s been memorable in such films as NEBRASKA (where she received an Oscar nomination), BLOW THE MAN DOWN (2019), and ABOUT SCHMIDT (2002), as well as numerous TV shows along the way. Here she stars in the titular role as Thelma, and wins us over with her charm and determination.

Based on a true story (there really was a Thelma that went through this), we find Thelma still living in her own house gladly accepting periodic assistance from her beloved and kind grandson Daniel (Fred Hechinger, “The White Lotus”). The two have a close relationship, and that’s precisely what makes Thelma such an easy target for the clever phone scammer. She panics in her desire to quickly rescue Daniel from the legal scrape the caller informs her of, and she mails off a chunk of cash believing she’s doing what’s best for him. Embarrassed once she discovers the ruse, Thelma listens as her daughter Gail (Parker Posey, BEAU IS AFRAID, 2023) and son-in-law Alan (Clark Gregg, Agent Coulson in the Marvel Universe) discuss moving her into an assisted living facility. However, since she and Daniel have recently watched Tom Cruise and his daring stunts in MISSION: IMPOSSIBLE, Thelma has other ideas … she (secretly) sets out to find the bad guys and retrieve her money.

The rest of the story revolves around Thelma’s mission and Daniel’s attempt to bring her home safely (and prove his own worthiness). Thelma hooks up with old (no pun intended) friend, Ben (Richard Roundtree, SHAFT, 1971) and the two set off on an exciting (mis)adventure that must be seen to appreciate. The two make a great team – sometimes bonding over humor, sometimes disagreeing about the plan … just like real people would do. The trail finds Thelma crossing paths with another elderly gent played by Malcolm McDowell (A CLOCKWORK ORANGE, 1971), and it’s a scene that I look forward to watching again.

The film is quite entertaining and, quite fittingly, appropriate for most ages (except for a smattering of kinda blue language). It’s such a pleasure to see elderly characters that matter and think and react and participate in life. When Thelma says, “I didn’t expect to get so old”, we understand exactly what she means. The various times she proclaims, “I think I know her”, we can relate. With a rare score that features a flute, this is not just one of the more realistic depictions of seniors we’ve seen, filmmaker Margolin has actually delivered a case study on how to create a movie starring senior citizens that is both funny and respectful. This is one I hope many will see.

Magnolia Pictures will release THELMA in select theaters on June 21, 2024

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Posted by David Ferguson

JANET PLANET (2024)

June 20, 2024

Greetings again from the darkness. Mother-Daughter relationships have been the theme for many fine movies throughout various genres over the years. Some of the best that come to mind include: LADY BIRD (2017), THE FLORIDA PROJECT (2017), MAMMA MIA! (2008), LITTLE MISS SUNSHINE (2006), THE JOY LUCK CLUB (1993), TERMS OF ENDEARMENT (1983), MOMMIE DEAREST (1981), CARRIE (1976), and going back many years, the classic MILDRED PIERCE (1945). The common thread here is the complicated, yet unbreakable bond between mother and daughter. Writer-director Annie Baker, who won a 2014 Pulitzer Prize for her play “The Flick”, has managed to create a film with a mother-daughter relationship that fits right into the above list, while also bringing a unique perspective.

Eleven-year-old Lacy sneaks out of her summer camp cabin, and through the darkness makes her way to the office payphone. The first line of dialogue we hear is Lacy (Zoe Ziegler) saying, “I’m going to kill myself if you don’t come get me.” The next morning, mother Janet (Julianne Nicholson) arrives and a packed up Lacy discovers she actually had made a friend, but since it’s too late to remain at camp, she questions why mom had to bring boyfriend Wayne (Will Patton) along. “Wayne” is the first chapter of the story, but as we learn, single mom Janet has had a revolving door of lovers and friends. It’s 1991, the summer between fifth and sixth grade for Lacy, and as an outcast in her age group, she desperately wants to be close to her mom.

Their rural home is surrounded by nature, and Janet runs her acupuncture business while Lacy hikes to piano lessons … when she’s not asking if she can sleep in mom’s bed. Wayne doesn’t last long, and Chapter 2 “Regina” bounds in next, thanks to a local art colony performance that allows old friends to reconnect. Regina (Sophie Okonedo) appreciates the free room and has some nice moments with Lacy – except for the shampoo and long stints in the shared bathroom. When Regina moves on, Chapter 3’s “Avi” (Elias Koteas) begins getting close to Janet. By now we understand that everyone loves Janet, and that’s an emotional hurdle for young Lacy.

The adults are a bit tiresome, and Janet even confesses that she worries about her parenting approach. Yet, those concerns don’t impact her free-wheeling ways, and we see she’s as lonely and broken as her daughter. Lacy says, “I don’t have any friends”, and we don’t doubt it. As an outsider she’s very observant, if not a bit depressed. Julianne Nicholson is exceptional as always, and first-timer Zoe Ziegler is a rare find. We can only hope she finds her way into a Wes Anderson movie before she grows out of this stage. Cinematographer Maria von Hausswolff has a style that perfectly complements director Baker’s slow pacing and the unusual setting. As the summer turns to “The Fall”, a local square dance provides the perfect ending … and reinforces all that we’ve learned about mother and daughter. Another little gem from A24.

In select theaters on June 21, 2024 and nationwide on June 28, 2024

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Posted by David Ferguson

TUESDAY (2024)

June 14, 2024

Greetings again from the darkness. I thought the same thing. How can a movie featuring a giant talking macaw make any dramatic sense, or deliver a message that’s worth hearing? Well, the first feature film from writer-director Daina Oniunas-Pusic does just that. We know the best fantasy stories and fables are based on harsh realities, and there is no reality more harsh than the fact that death comes for all of us. Now, whether death comes by the Grim Reaper, an Angel of Death, or a talking, size-shifting red macaw may be up for debate, but filmmaker Pusic and the cast deliver an immensely creative and thought-provoking look at death and all stages of grief.

The film opens by taking us on the daily routine of the Death Macaw as it visits those who have reached the end … whether they are ready or not. Some go peacefully, others not so much. Soon it visits Tuesday (played by Lola Petticrew, SHE SAID, 2022). Tuesday has a terminal illness and is wheelchair-bound and tethered to an oxygen tank. She knows it’s her time, but negotiates with the bird so she has a chance to tell her mother goodbye. A brilliant combination of humor-kindness-sarcasm-pot-music (Ice Cube)-and bathtime cause the death bird to give in and grant Tuesday’s wish. Of course, such a decision means death is taking a break, thereby wreaking havoc around the globe.

Mother Zora (Julia Louis-Dreyfus, “Seinfeld”, “Veep”, 11 Emmys and counting) returns home and reacts quite aggressively … actually violently … to the bird that’s there to take her daughter. Zora may be keeping secrets from her daughter, but it’s with the best intentions to protect her. And protecting her is exactly what she thinks she’s doing when she goes to war with the macaw (brilliantly voiced by Arinze Kene). This mother is just not willing to let her beloved daughter go without a fight … a fight that shifts the tone of the movie, as well as mom’s place in it.

It seems negotiations are ongoing between the parties, even though we all know there is no cheating death – at least not in the long run (some runs are longer than others). Yet, most of us spend each day warding off the idea or simply assuming it’s not our time. We also know most parents will go to any length to protect their kids and ease any pain they might have. A significant portion of this story is about dealing with grief. Julia Louis-Dreyfus mostly replaces her usual goofy grin with a look of stress and anguish. Facing reality, she’s despondent right up until she is enlightened. The filmmaker inserts an insightful blip near the end about God/the afterlife, and the best message is that grief must be dealt with. At some point, we must ‘get on with it’ and understand that the legacy of loved ones is carried on in our memories. Daina Oniunas-Pusic shows us some real creativity on a familiar topic, and it’s pretty impressive.

Opens in theaters on June 14, 2024

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1 Comment | Drama, Fantasy | Tagged: , , , | Permalink
Posted by David Ferguson

RIDE (2024)

June 13, 2024

Greetings again from the darkness. Historically, we’ve been treated to Western movies that were heavy on tense gunfights and macho morality … white hats vs black hats. However, if you’ve been paying attention these past few years, you’ve likely noticed a shift in tone. Westerns have become more attuned to the sensibilities of real people, and less enamored with quick-draws. This may be the directorial debut of writer-director Jake Allyn, but it’s not his first rodeo (couldn’t resist). Allyn wrote the screenplay and starred in NO MAN’S LAND (2020), which was directed by his brother Conor. For this film, he co-wrote the screenplay with Josh Plasse, his co-star in “The Baxters”. Both men also play brothers here.

A grizzled C Thomas Howell (contrasted with his fresh-faced Ponyboy in THE OUTSIDERS, 1983) stars as John Hawkins, a former rodeo star, who walked away from his career when his wife Monica (Annabeth Gish, MYSTIC PIZZA, 1988), now the local Sheriff, birthed the first of their three kids. Son Noah (co-writer Plasse) is a clean-cut, straight arrow young man who has steered away from the bull riding tradition set by his father, his grandfather Al (Forrie J Smith, “Yellowstone”), and his brother Peter (director Allyn). Early on, we see Peter, now the black sheep of the family, being released after a four-year prison sentence. Most of the urgent attention is paid to eleven-year-old Virginia (Zia Carlock), whose cancer can only be treated at a specialty oncology center. This life-saving treatment comes with a $160,000 price tag and a financial and emotional burden on her father John that may be more than he can handle.

One of the first things to notice about this is how beautifully it’s filmed by cinematographer Keith J Leman. The rodeo scenes are particularly striking as nothing is overdone or over-dramatized. John and Peter struggle to re-connect, but it’s Virginia’s treatment that helps the two stubborn men find common ground. Either would do whatever necessary to save her. For John, this means begging the bank for another loan, selling off his beloved horses, and finally coming to grips with the need to break the moral code by which he has always lived his life. Peter’s drug habit provides an opportunity, and of course, things don’t go according to plan. Soon, Sheriff Monica is working a case that may force her into her own moral choice between family and the law. Simultaneously, Deputy Dickons (Scott Reeves), who is clearly a bit too close to his boss, is eager to bring down John and Peter.

All of this takes place in Stephenville, Texas, known as the Cowboy Capitol of the world (although it’s filmed in Tennessee). The ‘8 seconds’ on a bull ride are stressed a few times, yet mostly what we have is a serious family drama filled with guilt and desperation. On the downside, the script doesn’t quite meet the standard of the tone or acting. Some polishing could have elevated the entire film, and a bit less eyeliner on Allyn and reduced lipstick on young Carlock would have helped. Still, C Thomas Howell and Forrie J Smith are particularly excellent in their roles. The film makes an obvious statement on the health care and insurance industries, and the oft-repeated line, “I’m praying for you” is meant to sound as hollow as the sentiment can sometimes come across. This is a world filmmaker and actor Allyn feels comfortable with, and he does a pretty nice job with it.

In select theaters and ON DEMAND beginning June 14, 2024

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2 Comments | Drama, Western | Tagged: , , , , , , , | Permalink
Posted by David Ferguson

NATE & JOHN (2024, short film)

June 5, 2024

Greetings again from the darkness. I am always in awe of filmmakers who find a way to connect with viewers through short films. And this latest animated film from director Jumai Yusuf is exceptionally short at just 7 minutes (including credits). Now you may be one of those who swears it takes longer than that for a story to affect you, and if so, this one provides a nice litmus test.

Co-written by Michael Bickel and veteran TV writer David Bickel (“Young Sheldon”, “The King of Queens”), the film allows us to witness the beginnings of a lifelong bond when a dad brings his long-haired son to Tony’s Barbershop, and an upstart barber gets his first client. We never hear a word of dialogue between Nate and John, but the montage takes us through the years as both men mature and live their lives … John always stopping in for a trim from Nate.

Frank Capra’s classic IT’S A WONDERFUL LIFE (1946) allowed George Bailey to see the lives he touched, and here, we get to see how a humble barber touches many lives from all walks of life over the years. Certainly, human connection is a key to a happy life, and we should all take the time to express our appreciation to those who have a positive impact on us. The film played at Cannes and will also play at Tribeca on June 8, 2024.

1 Comment | Animation, Drama, Short film | Tagged: , , | Permalink
Posted by David Ferguson

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