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

WATCH THE TRAILER

2 Comments | Drama, World Cinema/Foreign | Tagged: , , , , , | Permalink
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

WATCH THE TRAILER

1 Comment | Comedy, Drama | Tagged: , , , , , , , | Permalink
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

WATCH THE TRAILER

2 Comments | Drama, World Cinema/Foreign | Tagged: , , , | Permalink
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

WATCH THE TRAILER

7 Comments | Drama | Tagged: , , , , , , , , , , | Permalink
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.

1 Comment | Comedy, Documentary, Drama, World Cinema/Foreign | Tagged: , , , , , , , , , , , | Permalink
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

WATCH THE TRAILER

5 Comments | Drama | Tagged: , , , , , , , , , , , | Permalink
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

WATCH THE TRAILER

3 Comments | Drama, Thriller, World Cinema/Foreign | Tagged: , , , , , , | Permalink
Posted by David Ferguson

DRIVING MADELEINE (2024, France)

January 19, 2024

Greetings again from the darkness. This film surprised me with two clear and valuable reminders. First, with a bit of effort, we can always have a positive impact on others – sometimes to the degree that we change their life. Second, everyone has a life story, and we only learn it if we take the time to ask and listen. Writer-director Christian Carion is known for THE GIRL FROM PARIS (2001) and the superb Oscar nominated JOYEUX NOEL (2005). With co-writer Cyril Gely, Carion delivers a heartfelt story of two people with seemingly nothing in common, crossing paths and making a difference.

Charles (Dany Boon) is a Paris-based taxi driver who feels his life crumbling ever so quickly. His marriage is on the rocks. His financial woes seem insurmountable. He’s one more traffic violation from losing his driver’s license, which means no driving a taxi, and of course, more money problems. His dispatcher calls and offers him a fare that would take him cross-town. At first Charles balks, but quickly remembers he needs the cash. Extremely annoyed when he arrives, Charles repeatedly honks his horn until an elderly lady assures him that she’s ready for the ride. In fact, it’s to be Madeleine’s (Line Renaud) final ride. A trip to the nursing home to live out her final days.

Appearing years short of her 92-year age, Madeleine requests Charles to drive her through the areas that were key to her life. It’s a life that has a shocking past and one that slowly emerges as her charms and warmth thaw Charles’ previously irritated demeanor. It’s fascinating to watch a bond … even a friendship … formed from this unusual day trip around the city. These two should share little common ground, but what we find is that people tend to respond to kindness and listening and sincerity. These two help each other in ways neither could have imagined.

Comparisons to Best Picture Oscar winner DRIVING MISS DAISY (1989) are understandable, yet Madeleine and Charles carve out their own movie niche, and we find ourselves liking each of them. Dany Boone starred in director Carion’s history-based JOYEUX NOEL (2005), and although he is best known for his comedic work, that film and this one proves his dramatic chops. Line Renaud began performing in the 1940’s and is a well-known singer in France. As a ‘sometime’ actress, she lights up the screen here as our beloved and spirited Madeleine. The ending may be a bit of a stretch (even though we see it coming), but the real joy here is watching these two connect as flawed human beings.

Progressive theatrical openings on January 12, 19, 26, February 2, 2024

WATCH THE TRAILER

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

FERRARI (2023)

December 31, 2023

Greetings again from the darkness. Since there was no early screening of this for Dallas-Ft Worth critics and it hit theaters on Christmas Day, this review is a bit tardy, yet I find myself not caring too much – kind of how I feel about the movie itself. Rossa corsa is the official name of the red color used by Italian automaker Ferrari on their racing cars. Of course, most just refer to it as ‘Ferrari red’. It’s as distinctive as the familiar roar of Ferrari engines, and director Michael Mann takes advantage of both in his latest film. If only the story were half as interesting as the racing scenes.

The original script was written by the late Troy Kennedy Martin, who also wrote the two film versions of THE ITALIAN JOB (1969, 2003). He adapted the 1991 book, “Enzo Ferrari: The Man and the Machine” written by the late Brock Yates. Mr. Yates is also (unfortunately) remembered for THE CANNONBALL RUN (1981). Rather than a biopic, the film focuses on a very specific and limited period of time when Enzo Ferrari was staring down trouble in both his personal and professional lives … ho-hum subjects that draw attention from the spectacular racing scenes.

Adam Driver stars as Enzo Ferrari, putting to use the Italian accent he worked on for the recent HOUSE OF GUCCI (2021). His wife Laura is played by Penelope Cruz, and his long-time mistress Lina is played by Shailene Woodley. Driver is on screen for much of the film, but it’s Cruz who delivers the two or three off-track scenes worth watching. As for Woodley, it’s a mystery why she even took the role. Given nothing to sink her acting claws into, we can only hope/assume that something of interest was edited out for time. She is far too talented to be wasted in such a throwaway role.

When one thinks of “Ferrari”, it’s not the icon in sunglasses strutting through life that comes to mind. No, it’s the cars. The red cars. And director Mann has built his career by giving us what we want in films such as THE INSIDER (1999), HEAT (1995), and THIEF (1981). The film soars when the cars are on screen. They are works of art and are a sight to behold whether zipping around the practice track or sharp-cornering the city streets of the tragic 1957 Mille Miglia (yes, that horrendous accident actually occurred). Ferrari’s financial woes, marital strife, and emotional burden of two sons, never successfully draw us in to his personal drama, leaving much of the movie feeling quite flat. It’s the cars that roar, not the people.

Opened nationally in theaters on December 25, 2023

WATCH THE TRAILER

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

THE COLOR PURPLE (2023)

December 22, 2023

Greetings again from the darkness. It all began with Alice Walker’s 1982 novel, for which she was awarded a Pulitzer Prize. Shortly thereafter, Steven Spielberg turned it into the movie event of 1985, with a memorable cast including Whoopi Goldberg, Danny Glover, and yes, Oprah Winfrey. The film received eleven Oscar nominations, yet was shut out in all categories. Jumping ahead 20 years (2005), Marsha Norman created a musical stage book that turned into a smash hit on Broadway, receiving eleven Tony nominations. It was 2015 when the musical revival hit the stage, re-establishing the story as part of the fabric of the entertainment world. Along the way, Ms. Walker’s book had been frequently banned and censored, and the adaptations were sure to pick and choose what to cover and how to do so. Here we are forty-one years after the book’s publication, and director Blitz Bazawule (Beyonce’s BLACK IS KING, 2020) delivers a moving and bold film version (screenplay by Marcus Gardley) based on the musicals, the novel, and the original film.

The film opens on the Georgia coast in 1909 by establishing the bond between young Celie (newcomer Phylicia Pearl Mpasi) and her sister Nettie (Halle Bailey, THE LITTLE MERMAID). When the two are forcefully separated, Celie loses the hope Nettie always provided, and soon she’s living a miserable existence as one abused by Mister (a powerful Colman Domingo, RUSTIN) who treats her poorly by regularly taking out his frustrations. Assuming the role she made her own on Broadway is Fantasia Barrino as adult Celie, whose presence and spirit contain the heart of the story.

Memorable characters and performances are everywhere we turn in this production. Danielle Brooks (“Orange is the New Black”) is a powerhouse as Sophia, a role she also owned on stage. Sophia is wife to Harpo (Corey Hawkins, STRAIGHT OUTTA COMPTON), one of the few men trying to break the tradition of abuse … not that he has much choice. Taraji B Henson is a jolt of energy as singer Shug Avery, one of the few women from this neck of the woods who gained independence and made a life (mostly) on her terms.

The supporting cast is filled with talent and surprises. David Allen Grier appears as Reverend Avery, Shug’s estranged dad. Aunjanue Ellis-Taylor (ORIGIN) appears in flashbacks as Celie’s Mama. Elizabeth Marvel (“Homeland”) is the unforgiving and racist wife of the Mayor, and one who has such an impact on Sophia’s life. Oscar winner Lou Gossett Jr (now 87 years old) shows us exactly how his son Mister turned out the way he did. As this is a musical, we would expect musicians to play a part, though it’s quite a treat to see H.E.R. as Squeak (Harpo’s girlfriend), Jon Batiste as Grady (Shug’s fashionable husband), and Ciara in a critical appearance as grown-up Nettie. There is also a well-placed cameo early on that harkens back to Spielberg’s movie.

Covering at least the decades of 1907 through 1945, we see how each character changes depending on their circumstances … especially Celie and Sophia, as well as an attempt at redemption by Mister. At least three ‘showstopper’ songs are included here. Taraji B Henson offers a rousing “Push da Button”, and Danielle Brooks is adamant about where she stands with “Hell No.” Fantasia Barrino’s “I’m Here” may be the highlight since it encapsulates her resilience and perseverance. The quality of the film is evident in all aspects: cinematography (Dan Laustsen), score (Kris Bowers), Production and Set Design (Oscar winner Paul D Austerberry, Larry Dias), and Costumes – especially Shug Avery’s – (Francine Jamison Tanchuk, Rashad Corey). Serving as Producers are Steven Spielberg, Oprah Winfrey, Quincy Jones, Alice Walker, and Scott Sanders, to name a few with long time ties to the story. It’s clearly a labor of love and passion for those involved, and ends with a tear-jerker reunion over Easter dinner. Not many follow the production trek of novel to film to musical to musical revival to musical film, and even fewer have ever done it this well.

Opens in theaters nationwide on Christmas Day.

WATCH THE TRAILER

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

« Previous Entries
Next Entries »