ORDINARY ANGELS (2024)

February 23, 2024

Greetings again from the darkness. Ed Schmitt has lost his faith. His wife dies, leaving him with two young daughters … the youngest of which, due to Biliary Artesia, needs a liver transplant to avoid her mother’s tragic fate. These circumstances have straddled Ed with $400,000 in medical bills, and the possibility of losing his precious daughter before a donor can be found. Directed by Jon Gunn (MY DATE WITH DREW documentary, 2004), the film is based on a true story with a screenplay by Kelly Fremong Craig (THE EDGE OF SEVENTEEN 2016; ARE YOU THERE GOD? IT’S ME, MARGARET 2023) and actress Meg Tilly (her first screenplay).

Two-time Oscar winner Hilary Swank stars as Sharon Stevens, a middle-aged hairdresser and alcoholic party girl. We see her at her inebriated peak, dancing on the bar in her tasseled boots – right up until she falls off. Her salon partner Rose (Tamala Jones) does what any good friend would do – takes her to an AA meeting. Of course, Sharon refuses to admit she’s an alcoholic, but afterwards, as she’s in line to buy a six-pack, a local newspaper headline catches her eye. Five-year-old Michelle Schmitt (Emily Mitchelly) has recently lost her mom, and now has severe medical issues herself. Something awakens in Sharon and she organizes a Hair-A-Thon to fundraise for Michelle.

Michelle’s dad, Ed, is a hulking man played by Alan Ritchson (“Reacher”). He’s a soft-spoken man whose pride and guilt is consuming him. He and Sharon couldn’t be less alike, but Sharon dedicates herself to helping Michelle and Ed, as well as the older daughter (Skywalker Hughes), and Ed’s mother (Nancy Travis). Sharon seems intent on doing something good with her life, yet the addiction tendencies are ever-present, no matter how much the girls admire her sparkly skirts and neon heels.

This is 1993 in Louisville, Kentucky, and it’s obvious the writers have taken a great deal of dramatic license to up the ante on the hurdles facing Ed, Michelle, and Sharon. In fact, some of it is overkill, as the actual story is plenty heartwarming. These days, it’s enjoyable to watch folks helping others, and when the community comes together for the film’s most dramatic moment, it’s sure to bring a tear to the eyes of many viewers. We are all flawed humans, but Sharon proves that helping others (even those too proud to ask) is a reward in and of itself. Director Gunn ends the film with real life updates (and photos) of Sharon and the Schmitts, plus songs by Wendlo and Dave Matthews.

Rated PG and opening in theaters nationwide on February 23, 2024

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Posted by David Ferguson

RED RIGHT HAND (2024)

February 23, 2024

Greetings again from the darkness. Regardless of how attractive the real estate prices seem, it’s usually best to avoid small rural towns controlled by a violent crime boss nicknamed Big Cat. Especially when she doesn’t hesitate to make an example of those who cross her, and she ‘owns’ the local Sheriff and runs drugs throughout the area. Even those who break away from her organization are likely to get dragged back in, ‘do this or else’ style, if Big Cat wants them back. It’s a self-perpetuating cesspool of control and being controlled.

The SMALL TOWN CRIME (2018) directing team of brothers Eshom Nelms and Ian Nelms re-team to direct this surprisingly engaging backwoods crime thriller, with a screenplay from Jonathan Easley (his first). What’s surprising about this is most movies of this genre are pretty simple and easy to predict. In this one, there are certainly some familiar tropes, but the depth of characters and the against-type performance by Orlando Bloom make this one quite a bit of fun. Also going against-type here is Andie MacDowell as Big Cat. It’s her darkest role yet, and she seems to embrace the evil.

Mr. Bloom stars as Cash, a greasy, tatted, ripped dude with a Kentucky accent who is diligently working to keep his life on a good path. His past includes a beloved sister who passed away, severe alcoholism, and a life of crime while working as Big Cat’s henchman. His life motto is “God-Family-Survival”, and he’s dedicated to his struggling brother-in-law, Finney (Scott Haze) and whip smart ninth grade niece, Savannah (newcomer Chapel Oaks). When Cash discovers that Finney has mortgaged the family farm to Big Cat, he quickly realizes he must cut a deal with his former boss to save what’s left of his family. As Michael Corleone says, “they pull me back in.”

Big Cat values Cash’s cool head under pressure – especially as compared to her other redneck lackeys. Her one misjudgment is in underestimating Cash after she has attacked his family. This leads to a blaze of violence and one crazy shootout on the grounds of Big Cat’s estate. Supporting work is provided here by the always excellent Garret Dillahunt (here as a rehabilitated preacher), Brian Geraghty as the Sheriff, Mo McRae as the good-intentioned Deputy, and Daniel David Stewart as Big Cat’s ponytailed corrupt banker son. Johnny Derango adds some quality cinematography to this surprisingly intricate and well-developed crime thriller.

Magnolia Pictures will release the film in theaters and on VOD February 23, 2024

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Posted by David Ferguson

BLEEDING LOVE (2024)

February 15, 2024

Greetings again from the darkness. There is no shortage of movies depicting the challenges associated with being a parent, although there is an added element of interest when a real-life father and daughter are cast in the lead roles (remember PAPER MOON with Ryan and Tatum O’Neal?). Such is the case with this first feature film from director Emma Westenberg, co-written by Vera Bulder, Ruby Caster, and Elle Malan. Ewan McGregor and his daughter Clara McGregor co-star in a dramatic father-daughter road movie filled with awkward moments.

No character names are given, so we’ll have to refer to them as Ewan/father and Clara/daughter. After Clara overdoses, long-estranged dad shows up to drive her from San Diego to Santa Fe, where he tells her she can stay with an artist friend in hopes of rekindling her passion for art. Of course, that is a lie because that’s what dad’s do after they’ve drunkenly walked away from their family years ago. Ewan plays a recovering alcoholic who has started a new life by re-marrying and having a young son. Clara, on the other hand, is an addict with no direction in life, other than wanting to run from dad and get the next fix.

These two mismatched blood relatives have only flashbacks to her childhood in common. Dad is trying to make amends, and 20-year-old daughter just pouts and spews anger. It’s a road trip movie that requires only one night in a roadside motel. When Dad’s truck breaks down, they encounter a live-wire tow truck driver (Kim Zimmer), who drops them at a small town birthday party where the big gift for a young boy is a rifle. It’s here where Clara meets a young man (Jake Weary, excellent in the series “Animal Kingdom”, and Ms. Zimmer’s real-life son) who assists with some much needed booze for the underage lass. Once back on the road, Clara gets a spider bite on her lady bits, and it’s a local prostitute (Vera Bulder) dreaming of Broadway who provides guidance (to Clara, not the spider).

A road trip movie typically requires these types of interactions to hold our interest, but the missed opportunity here comes from real life father-daughter dynamics. Ewan and Clara play off each other very well, but simply needed more friction and conflict to make this believable. The expected reconciliation hits too few speed bumps, and a hokey AA meeting produces more cringe than tears. The movie feels over-directed, when letting these two go at each other full force is what they needed … and what we needed as viewers.

In select theaters and OnDemand beginning February 16, 2024

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Posted by David Ferguson

THE TASTE OF THINGS (2023)

February 14, 2024

Greetings again from the darkness. I do not cook and have never had an interest in learning to. Still, I do understand how some are drawn to it as an art form … creating new dishes and new flavors, while generating such pleasurable sensations across the palettes of others. It’s a passion like many professions (or hobbies), and it’s one that is best shared with others.

This is the first film from writer-director Anh Hung Tron since 2016, and he has adapted the popular novel, “The Passionate Epicure” by Marcel Rouff. An extended opening scene (30 plus minutes) features a camera weaving in and around the activities in a kitchen where a gourmet meal is being prepared. Chit-chat does not occur. These people know their work and go about preparing multiple dishes precisely, meticulously, and expertly. Specific timing is the only thing requiring spoken language. Despite this, we learn much about these folks.

Juliette Binoche (Oscar winner, THE ENGLISH PATIENT, 1996) portrays Eugenie, the cook to gourmet chef Dodin, played by Benoit Magimel. Dodin periodically takes leave to mingle with guests, while Eugenie finds pure joy in her task at hand. Two assistants Violette (Galatea Bellugi) and Pauline (Bonnie Chagneau-Ravoire) work efficiently and quickly. Pauline is young and relatively new to the kitchen, yet she possesses a preternatural taste palette and flavor instincts, while Violette is a long-trusted staffer. As viewers, we are in awe of the precision and coordinated efforts that go into preparing world class dishes.

As the film progresses, we learn Dodin has proposed marriage to Eugenie many times over the years. She has always turned him down, choosing instead their kitchen partnership as well as occasional evening soirees in her room (when the door is unlocked). This arrangement works for her and has made him famous in the culinary world. Love and respect exists between the two, and he worries about her too-frequent fainting spells and light-hearted moments. Their conversation one evening after work tells us all we (and they) need to know. As for their backstory, given Eugenie’s mentorship of Pauline, we can’t help but wonder if maybe Dodin had once recognized such rare talent in Eugenie some twenty years past.

This is a film, and these are performances, meant to be savored every bit as much as the dishes we see prepared and the garden Eugenie tends. It’s a delicate world that requires precise movements and commitment … just as any relationship. We can all strive to find the joy and satisfaction on display here, despite knowing that these types of connections will at some point lead to loss.

In theaters on February 14, 2024

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Posted by David Ferguson

THE PRIVATE EYE (2024)

February 9, 2024

Greetings again from the darkness. Robin Williams. Richard Pryor. Jim Carrey. Michael Keaton. Whoopi Goldberg. That’s just a few of the stand-up comedians who successfully transitioned to acting in movies. While it seems like a natural next step, there have been even more for whom the transition simply didn’t work, although a TV series seems to be a worthwhile fallback for most. Matt Rife becomes the latest to take the leap from late night comedy club gigs to the silver screen. As an internet sensation, Mr. Rife has a built-in following, despite the recent backlash over his poor choice of jokes.

What he doesn’t have, or at least doesn’t show here, is the acting talent to carry a movie. He certainly looks the part, and the role seems to offer the opportunity to flash his chops, however his scenes mostly fall flat. Writer-director Jack Cook and co-writers Hope Ayiyi and Rosalinda Books have latched onto a favorite Hollywood genre, which the title too obviously identifies. Rife, as Mort Madison, dons the fedora hat, a trench coat, and lights a cigarette to ensure we viewers are in full gumshoe mode.

Mort is struggling. His client list consists only of a young neighborhood boy whose pet has run away. Desperately in need of money, he tells the boy to bring his piggy bank, and then turns back into his pig sty of a filthy apartment. Filmmaker Cook keeps us in black and white until “the dame” shows up. Transitioning to color, we note his new client, Michelle (Clare Grant), not only is dressed in red, but she also offers Mort a retainer for her case. Of course, there is an attraction between the two, yet Mort always seems a step behind, especially for a detective. It’s clear, something isn’t right with him.

His flashbacks take him to his solving a string of video store robberies, and even this is followed later by a scene that telegraphs what’s happening. There is even a scene where Matt slips and falls in the shower. When he regains consciousness, the water is no longer running. We correctly assume this isn’t a clue, but rather a flaw. The next key player here is David (played by Elliott), Michelle’s psycho-therapist friend who also seems out of step with the story and movie.

I don’t enjoy negative criticism towards the work of others, so I’ll add a bit of the bright side. We get Eric Roberts as the film’s narrator, and he later shows up as a character who crosses paths with Mort. It seems this was meant to trick us, but any twists that might have looked good on paper, never really click on the screen, and certainly don’t surprise. There is (finally) a humorous scene featuring Erik Griffin as taxi driver, Crazy Carl. Griffin gets the film’s best line as he brandishes a pistol, telling Mort, “I already cocked it. I gotta shoot somebody.” A few other attempts at humor just don’t work, and it proves that one “touché” per film is sufficient. The film is easily 30 minutes longer than necessary, and we can only hope this has been a learning experience for all involved, and improvement will be seen in their next projects.

In theaters beginning February 9, 2024

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Posted by David Ferguson

PERFECT DAYS (2023, Japan)

February 7, 2024

Greetings again from the darkness. For most folks, life is a constant battle each and every day as we attempt to avoid the chaos stemming from work, health, friends, family, and overall stress. Sometimes we kid ourselves into thinking we have things under control, but inevitably, a sharp reminder pops up letting us know “control” is a mirage, and life is meant to be more rollercoaster than smooth sailing. Longtime (and always interesting) writer-director Wim Wenders and co-writer Takuma Takasaki have teamed up for this Oscar nominated film (Best International Feature) depicting one man’s attempt to control his life.

Veteran actor Koji Yakusho stars as Hirayama. He’s the proverbial creature of habit, which the first 45 minutes of the movie prove. We see him rise from sleep in his simple, well-organized apartment. He spritzes his plants, smiles at the sky, and drives his van to his job as a sanitation worker in the city. The logo on his jumpsuit is The Tokyo Toilet and we follow him on his rounds as he scrubs the public toilets … each structure more artistic than the last. When he pauses for rest, Hirayama takes photos of trees with his camera. Taking pride in his work, this man of few words, has found serenity in his routine which includes nighttime reading (Faulkner, Koda, and even Patricia Highsmith). While driving his van, Hirayama utilizes his carefully selected collection of cassette tapes to provide the classic rock he loves (The Kinks, Lou Reed, etc).

Generational and personality differences are apparent when contrasting Hirayama and his young assistant Takashi (Tokio Emoto). As the elder works towards a job well done, Takashi plays on his phone, flirts with a girl, a strives only for a job done so that he can move on to the more enjoyable evenings. The two are not friends, but the elder does seem to understand the desires and anxiousness of the younger man. At night, Hirayama does his reading and then dreams … visions we see in black and white, many which seem to relate to nature’s beauty of the trees he photographs each day.

When one is so meticulous about the steps for each day, it takes little to shake his world. It could be the actions of his co-worker, a kiss on the cheek, a recurring homeless man in the park, and certainly, the arrival of his teenage niece after she runs away from home. When his sister arrives to take the girl back, we sense the strain in their relationship – something from the past that still lingers. It’s these minor blips, along with an odd game of ‘shadow tag’ that shake Hirayama’s routine and open him (back) up to life’s ups and downs. At first, we believe Wenders is showing us the difference between alone and lonely, as this man seems quite content. But the final shot is of Hirayama’s awakening and acceptance, or at least acknowledgment, of the emotions to be found in uncertainty. It’s a wonderful film, beautifully directed, and expertly acted. “Perfect Day” by Lou Reed and “Feeling Good” by Nina Simone are two of the standout songs featured here.

In theaters beginning February 7, 2024

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Posted by David Ferguson

THE END WE START FROM (2024)

February 6, 2024

Greetings again from the darkness. In light of the recent torrential storms in California, and other environmental occurrences, this film based on Megan Hunter’s 2017 novel proves quite timely. Mahalio Belo directs the screenplay adapted by Alice Birch (LADY MACBETH, 2016), and we witness just how quickly things can change … and perhaps equally important, we witness how people change in desperate times.

The remarkable Jodie Comer (“Killing Eve”, THE LAST DUEL) stars, and early on she’s pregnant in a bathtub as flash flooding hits the area of London where she lives. The heavy rain blends into childbirth with visual excellence from director Belo, cinematographer Suzie Lavelle, and editor Arttu Salmi. Fortunately, this does not turn into one of those heavy-CGI apocalyptic films, and instead stays grounded, and thanks to Comer’s superb talent, becomes a story focused on the strength inspired by motherhood. It’s a very human story derived from an environmental catastrophe.

Flooding reaches such proportions that the new mother and her husband (Joel Fry, YESTERDAY, 2019) are forced to pack up their newborn and evacuate their home, seeking refuge at his parents’ (Mark Strong, Nina Sosanya) country home. When tragedy strikes, mother and baby are isolated, and the film shifts into a road movie of survival. The mother faces many challenges along the way, and the decisions aren’t always easy, but certainly her commitment to keeping her baby safe cannot be questioned. Along the way, she crosses paths with another new mom (the always terrific Katherine Waterston), who makes a good travel companion, and a loner played by Benedict Cumberbatch who provides the women with a much needed serving of food and momentary distraction.

Mostly what we see is how people react to traumatic situations when desperation takes over. Law and order gives way to human needs and selfishness. Understandably, these reactions take on varying tones and looks … sometimes it’s looters at the shelter, while other times it’s an island community isolated from collapsing society and working together to begin anew. Viewers will experience vicarious anxiety as Comer’s mother and child trudge on, yet again, it must be noted that little here seems over-the-top. In fact, the only scene that fits that is a stunning waterfall shot seemingly included only for its visual beauty. The storms may have caused a power outage, but the real power shown here is the protective nature of a determined mother (and of course, Ms. Comer’s performance).

Available to buy or rent on digital beginning February 6, 2024

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Posted by David Ferguson

SLAMDANCE FILM FESTIVAL 2024

January 31, 2024

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

BRANDO WITH A GLASS EYE

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

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

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

DARLA IN SPACE

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

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

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

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

THE ACCIDENT

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

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

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

INVISIBLE NATION (documentary)

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

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

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

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Posted by David Ferguson

JUNCTION (2024)

January 25, 2024

Greetings again from the darkness. Actor Bryan Greenberg’s (PRIME, 2005) first feature film as writer-director could have been subtitled, “those who suffer vs those who profit.” Most of us can agree that businesses providing a desired product or service are entitled (not guaranteed) to turn a profit. And on a seemingly unrelated note, most of us can agree that those suffering from addiction deserve and need assistance in breaking the cycle that is destroying their life. The road where these two intersect is when drug companies produce an effective yet addictive product that is prescribed by doctors. The issue arises when profits soar due to the spread of addiction.

The story focuses on the Opioid crisis, and evidently, it’s a topic that filmmaker Greenberg feels strongly about. He serves up three perspectives so that we better grasp the full reach. Greenberg himself plays Michael, a restaurant owner in desperate need of a refill on his Oxycodone prescription. Ashley Madekwe (“Revenge”) plays Mary, a doctor whose practice has grown due to her willingness to write these prescriptions. Griffin Dunne (AFTER HOURS, 1985) and Ryan Eggold (“The Blacklist”) play CEO father Lawrence and ambitious son Jacob, who run one of the drug companies producing and marketing Oxy.

The three-tiered approach works as we see Michael, divorced from Allison (Sophia Bush), is no longer attentive to his work or family, Mary has good intentions but carries the guilt of the drug’s effect on her patients, and the heads of the drug company are facing an FDA hearing to determine their level of guilt and damages. It’s a bad day for everyone. Perhaps Greenberg over-complicated the story unnecessarily with some additions like Mary’s afternoon delight with the drug rep, Jacob’s planned corporate coup over his dear old dad, and Michael’s, umm, digestive issues at his son’s basketball game. Of course, all of these elements are meant to show the progression of cause and effect when it comes to addictive drugs. One subplot that I couldn’t make work was that of the doctor having financial troubles with patients lined up for the next prescription. It makes sense that she wants to escape the oxy world, but with her practice booming, why the financial woes?

Familiar faces appear throughout, and include Dash Mihok (“Ray Donovan”), Jamie Chung (“The Gifted”, married to Greenberg), Josh Peck (THE WACKNESS), Yara Martinez (“True Detective”), Michaela Conlin (“Bones”), Hill Harper (“CSI:NY”), and Dascha Polanco (“Orange is the New Black”). The cycle of addictive drugs presents itself as causing money issues, trust issues, personal and marital issues, health issues from addiction, kids that can’t count on parents, and political ramifications that lead to corruption. While it has the look and feel of one to stream, the film’s message is quite clear and powerful.

The film will be in theaters and on demand on January 26, 2024

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Posted by David Ferguson

THE TEACHER’S LOUNGE (2023, Germany)

January 24, 2024

Greetings again from the darkness. The intensity and stress of everyday life and of everyday people are on full display in this film from writer-director Iler Catak and co-writer Johannes Duncker. They have brilliantly crafted a terrific suspense thriller from the most unexpected setting and group of characters … a junior high school and the faculty and students.

Teacher Carla Nowak (Leone Benesch, THE WHITE RIBBON, “Babylon Berlin”) is new to the school, originally hailing from Poland. She’s the type of teacher who motivates students by having them think creatively and from different perspectives. We can immediately tell she’s as idealistic as she is passionate about her profession. When one of her students is accused of stealing money, she’s at odds with school principal Dr Bohm (Anne-Kathrin Gummich) on the interrogation of students, as well as the conference with the accused student’s parents.

It turns out there is quite an epidemic of theft and dishonesty at the school, and it extends to the titular teachers’ lounge where Carla herself witnesses an occurrence. Carla decides to set a trap using her laptop’s camera and her unattended wallet. When the camera ‘catches’ the sleeve of an unusual blouse print, Carla confronts the ‘obvious’ culprit, school administrator Ms. Kuhn (Eva Lobau), who adamantly denies the accusation. Further complicating matters, Carla shows the video to Dr Bohm, who promptly suspends Ms. Kuhn, who also happens to be the mother of Carla’s favorite student, Oskar (Leonard Stettnisch).

Carla’s best intentions seem to backfire at every turn. She believes in right and wrong, and also in forgiveness and second chances (especially for kids). Her anxiety heightens at each misstep, whether by her, the administration, or students. Soon, even Oskar is lashing out and threatening her, despite Carla’s attempt to shield him. Many find Carla’s use of the laptop camera more offensive than the actual theft, and the student newspaper journalists seize on this opportunity to incite rebellion and independence.

Much of what we witness on screen is the result of actions taken out of our sightline – we are left to make assumptions right alongside Carla. Film Editor Gesa Jager deserves special recognition for keeping us just a bit off balance. Emptying the teacher’s coffee fund, cheating on a test, defying the truth … all of these (and more) actions are used by filmmaker Catak in delivering a snapshot of a society where we no longer trust one another. Morality, integrity, misplaced concern, racism, classism … these all play a role here in delivering the message. Leone Benesch is exceptional in the lead role, and Eva Lobau goes full throttle in her attempts to show she was wronged. It’s a Rubik’s Cube that serves up our final message, as well as providing some hope that good intentions do sometimes pay off. Yesterday, it was announced that the film has been Oscar nominated for Best International Feature Film. A well-deserved honor.

Opens in theaters on January 26, 2024

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Posted by David Ferguson

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