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

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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

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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.

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Posted by David Ferguson

THE BOYS IN THE BOAT (2023)

December 22, 2023

Greetings again from the darkness. It’s always disappointing when a book is so interesting and enjoyable to read, only to be followed up by a movie version that doesn’t live up to the source material. My son recommended the 2013 best-selling non-fiction novel from Daniel James Brown, and it was truly fascinating to read such an inspirational story around the 1936 Olympics in Berlin. Of course, we all know the Jesse Owens story, yet somehow the remarkable and unlikely tale of the University of Washington crew team never received the publicity it earned. Director George Clooney (GOOD NIGHT AND GOOD LUCK, 2015) and screenwriter Mark L Smith (THE REVENANT, 2015) have attempted to reach a wider audience by adapting Brown’s book for the big screen.

The story begins in Seattle during the Great Depression. Engineering student Joe Rantz (an excellent Callum Turner, EMMA., 2020) is behind on his tuition and has had no luck securing work. We learn Joe has been on his own for years, and has remained focused on his education despite living in such poverty that he frequently goes without meals and uses folded newspapers to keep dirt and moisture out of the hole in his shoe sole. His buddy Roger (Sam Strike) informs him of crew tryouts, and a spot on the JV team comes with a job and stipend. No-nonsense coach Al Ulbrickson (Joel Edgerton) isn’t much for motivational speeches and lets the rookies know most won’t survive the training to claim one of the eight seats on the boat.

Contradictory arguments can be made that director Clooney either took on too much of the story, or not enough. The result is a middling movie about an incredibly inspirational story of underdogs reaching the highest levels of achievement. Included here are only brief glimpses of the personal life of Coach Ulbrickson and his pertinent past, the motivation and wisdom of boat maker George Pocock (screen vet Peter Guiness), and the blossoming romance between Joe and Joyce (up and coming Hadley Robinson, LITTLE WOMEN, 2019). However, the biggest gap here is the connection and camaraderie between Joe and his teammates. The importance of working together “as one” is preached, but we aren’t privy to how this happened so quickly. Skimming over this is the film’s major flaw, as that bond is the key to their growth and success. By the end of the film, most will only recall Joe’s name and two or three other faces on the team.

The racing scenes on the water were surely challenging to film, and come across as realistic, even though we know these are actors and not world class athletes. The rich versus poor element is touched on, as are the politics which, yes, even existed in sports 90 years ago. Initially it’s the newcomers against legendary coach Ky Ebright (Glenn Wrage) and his favored team from Cal, and then it becomes the blue-collar Washington boys against the Ivy League elites … before heading to Berlin. The Olympics give us swastikas, a cheesy meet between the boys and Jessie Owens, and Daniel Philpott reprising his portrayal as Hitler from “The Crown”, only with more outlandish mannerisms.

The radio broadcasts provide a nostalgic look of how challenging it was to keep up with things during the era, and the newsreels are another nice touch. For those who have never been part of a crew, the term coxswain is likely a new one, and Clooney includes actual photos of the team over the closing credits. The memorable quote is “We were never eight, we were one”, but for some reason director Clooney thought it a good idea to have a lame framing device set in more modern times around this historic tale. Somehow, we don’t feel the adrenaline rush we should during this movie as it falls short of Oscar winner CHARIOTS OF FIRE (1981), perhaps the film that Clooney was attempting to mimic.

Opening in theaters nationwide on December 25, 2023

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Posted by David Ferguson

AMERICAN FICTION (2023)

December 20, 2023

Greetings again from the darkness. From one who watches too many movies every year, I’m amazed this film is the work of a director making his feature film directorial debut. Writer-director Cord Jefferson was one of the lead writers for the excellent series “Master of None”, and he has adapted the 2001 novel “Erasure” by Percival Everett for the big screen. It’s a brilliant satire and commentary on a society that has twisted things to the point where no one knows what to say or how to say it.

The film opens with a college professor pushing back on a student’s overly emotional reaction to his use of the N-word in class. What strikes us in the scene is that the professor is black and the student is white. The confrontation costs Thelonious “Monk” Ellison (the always great Jeffrey Wright) his job at a New England university, and perfectly sets the stage for the rest of the story – much of which centers on Monk’s incredulity at the progression of events around him.

Without a steady teaching paycheck, Monk heads to his see his agent Arthur (well-known character actor John Ortiz), who informs that his most recent intellectual book has no market, and suggests he write something a bit more mainstream. Monk heads to the Boston book festival and hears author Sintara Golden (comedian Issa Rae, BARBIE) in a public reading of a particularly stereotypical excerpt from her latest best-seller, purported to telling “black stories, our stories”. Monk simply can’t believe there is an audience for this or that it passes for black representation.

On a lark, Monk sits down to crank out a “black” story by a black writer. He does so as a joke, and is shocked, and a bit annoyed, that a publisher comes back with a huge offer. The negotiations with the publisher are hilarious. We see two white professionals desperate to offer a cool black book, yet so afraid to say the wrong thing (something offensive), that they inexplicably agree to Monk’s terms … changing the title to an unpublishable curse word. As a bonus, Monk has published the book under the pseudonym Stagg R. Lee (a takeoff on the classic Lloyd Price song). The publishing deal requires Monk to assume the identity of a wanted fugitive as part of the backstory for marketing purposes. When the movie offer rolls in, Monk is again beside himself, and states, “the dumber I act, the richer I get.”

While all this is going on, Monk is also facing some struggles in his personal life with his mother (80 year old Leslie Uggams, “Roots”) who is struggling with dementia, his financially-strapped sister Lisa (Tracee Ellis Ross, Diana’s daughter, THE HIGH NOTE, 2020), and brother Cliff (Sterling K Brown, WAVES, 2019, “This is Us”) whose recent divorce was caused by his revealing his preference for a gay lifestyle. All of this for a family whose dad committed suicide years ago. In the midst of all the family and professional drama, Monk strikes up a relationship with Coraline (Erika Alexander, GET OUT, 2017), a neighbor across the street, though he can’t bring himself to come clean with this latest publishing scheme.

The best comedies have something to say, and the best satires are often quite cynical as they expose the absurdity of our world. Monk is dumbfounded at many of the same things that dumbfound us, and this peaks at his meeting with an aptly named movie producer, Wiley Valdespino (played by Adam Brody, READY OR NOT, 2019). Myra Lucretia Taylor (THE BIG SICK, 2017) has a supporting role as the housekeeper, and there are too many terrific scenes to count. One of the best is a debate between Monk and Sintara, and the writing is priceless and brilliant. An intelligent man like Monk cannot wrap his head around the fact that black books pandering to white readers who are trying to follow the rules is the new path to success. Filmmaker Cord Jefferson delivers the message (warning?) in a smart, funny movie featuring a wonderful lead performance by Jeffrey Wright.

Opening in theaters nationwide on December 22, 2023

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Posted by David Ferguson

THE IRON CLAW (2023)

December 20, 2023

Greetings again from the darkness. Tragedy. Destiny. Curse. Those last two may be a matter of perspective or opinion, but without a doubt, that first one fits, and is actually mandatory when discussing the infamous wrestling family known as the Von Erichs. I was fortunate to attend the world premiere of writer-director Sean Durkin’s movie at the historic Texas Theater in the Oak Cliff community of Dallas, Texas. While it’s a movie worth celebrating, it had to be an emotional evening for Kevin Von Erich, who attended with members of his family, as did most of the main cast, the director, and some crew members.

Jack Adkisson took on the professional wrestling name of Fritz Von Erich, and became well known as a German villain within the squared circle. Tragically (there’s that word), five of his six sons preceded him in death (three by suicide). The film’s opening scene shows Fritz (played well by Holt McCallany, “Mindhunters”) using his titular iron claw to win a match. Afterwards, he meets his wife (Maura Tierney) and a couple of their young sons in the car and promises that life will get better once he’s the World Champion. Of course, that day never comes, and having felt he was cheated out of his chance, Fritz uses that chip to raise and train his boys that being the toughest and fastest means nothing can hurt you. How untrue that becomes.

A bulked up and ripped Zac Efron plays Kevin, Jeremy Allen White (“The Bear”, “Shameless”) is Kerry, Harris Dickinson (TRIANGLE OF SADNESS, 2022) is David, and Stanley Simons plays Mike. One brother died at age six from an accident, and filmmaker Durkin chooses to ignore brother Chris in order to keep the focus on the known wrestlers. Kerry was a competitive discus thrower denied a shot at a gold medal when President Carter announced the 1980 Moscow Olympic boycott, and soon after, joined the family business. Mike was the sensitive brother much better suited to pursuing his music than joining his spandex clad brawny brothers in the ring, which he did under duress from dear old dad.

This may appear to be just another sports movie, but I’d argue that it has more in common with FIELD OF DREAMS (1989) as a peek into male sentiment and emotions … this one centered on brotherly love and a desire to please dad. Fritz may now be viewed as a throwback father on a mission of manic masculinity and machismo, but he’s played as a man who believes he is doing right by his family … even though he readily admitted which son was his favorite, and prefacing it with the pecking order can change based on success.

Durkin does show us the progression of wrestling careers, including the ongoing rivalry with wrestling icon Ric Flair, but it’s the personal relationships that matter most here. Lily James (YESTERDAY, 2019) provides a spark of charm and likability as Pam, who ultimately marries Kevin (they have been together since 1980). Classic rock songs fill the soundtrack as the brothers wrestle and wrangle through the 1980’s. All of the actors deliver nice work, though it’s Zak Efron who carries much of the film’s weight, and does so exceedingly well. With MARTHA MARCY MAY MARLENE (2011) and THE NEST (2020), Sean Durkin seems to have an affinity for haunting stories, and proves more than willing here to take head-on the Von Erich curse and corresponding tragedies.

Opens in theaters nationally beginning December 22, 2023

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Posted by David Ferguson

ALL OF US STRANGERS (2023)

December 20, 2023

Greetings again from the darkness. So many people allow unresolved issues from their past to weigh down or complicate their efforts to live for today. Writer-director Andrew Haigh has loosely adapted the 1987 novel “Strangers” by Taichi Yamada most notably by a shifting of locale and gender. It features the powerful literary trio of loss, loneliness, and love, none of which come easy for Adam, played beautifully here by Andrew Scott.

Adam is a reserved London-based writer in his 40’s who recognizes that he has failed to fully repress one particular fact of his childhood. Since his parents died in a car crash thirty years ago when he was twelve, he never had the opportunity to come out to them as gay. Now, he is often burdened by being the kid/grown-up whose parents never go to know the real Adam.

An unusual meet-cute in the mostly vacant apartment tower they both reside in, has neighbor Harry (a terrific Paul Mescal) knocking on Adam’s door carrying a bottle of spirits. Adam turns him away, but there’s clearly an attraction. The progression after this night leads Adam down a tricky road. His writing forces him to face the lingering complexity with his parents, and this occurs in a few excellent sequences with Adam re-visiting his childhood home (actually director Haigh’s childhood home) and finding his parents (Jamie Bell and Claire Foy) living there, unaged since he last saw them. Adam comes out separately to each, resulting in quite different reactions. Mom’s words, “It’s a sad life, isn’t it?” cut like a knife while also emphasizing the social changes over the past 30 years. After claiming he would have been one of those schoolyard bullies, dad confesses he’s sorry for not coming to Adam’s room when he was crying.

These interactions with the past allow Adam to begin to move forward, and that includes Harry, who has his own issues with the past. Together, the two are natural, and their debate of queer versus gay is beautifully executed. We understand how Adam dealing with his grief and guilt opens him up to a hopeful future of love, as leaving the past behind delivers the courage necessary to open up. Taichi Yamada recently passed away (November 2023), and it’s likely he would have approved of Haigh’s film. Andrew Haigh is proving to be quite an artist with this latest on the heels of his LEAN ON PETE (2017), 45 YEARS (2015), and a couple episodes of “The OA”. This film is somber and slow moving, but the direction is excellent and the two leads Scott and Mescal (rumored to be the next James Bond) make this work.

Opening in theaters on December 22, 2023

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Posted by David Ferguson

THE ZONE OF INTEREST (2023)

December 15, 2023

Greetings again from the darkness. I’ve always had an issue with movies that portray the human or “normal” side of Nazis. Of course, we understand these were human beings – many caught in a no-win situation of self-preservation; however, we just find it so difficult to accept that decent people could carry out these orders of atrocities. Writer-director Jonathan Glazer (UNDER THE SKIN, 2013, SEXY BEAST, 2000, and numerous music videos) has loosely adapted the screenplay from the 2014 novel by Martin Amis, who passed away the same day the movie premiered at Cannes.

Glazer opens the film with a totally black screen. It lasts 2-3 minutes, and feels longer. He purposefully sets us up to fine tune our listening skills for his film that is every bit as much about sound as it is visuals. As the picture comes into focus, we find a family enjoying a day of sun and swimming at a river. When the dad stumbles on something, he immediately gathers up the kids and everyone heads home to bathe.

The man is Rudolph Hoss (played by Christian Friedel), the commandant of Auschwitz concentration camp in Poland during WWII. He and his wife, Hedwig “Heddy” Hoss (Sandra Huller, who also stars in ANATOMY OF A FALL, another outstanding film this year) are raising their kids in a beautiful home with a backyard that borders the wall of Auschwitz. While their servants clean and cook, Hedwig tends to her lush garden while the kids play in and out of the house. Once I realized this family was living an ordinary life in this extraordinary setting, a knot formed in my stomach … a knot that took a couple of days to subside, and has returned as I write this review.

Background sounds include periodic screams of terror and pain, as well as distant gun shots blending with the sounds of kids chirping and women chatting. When cinematographer Lukasz Zal (IDA, 2014) shoots a certain angle, we see the smokestacks rising above the wall, though we don’t venture inside the camp gates, even for Rudolph’s birthday when the other Nazi soldiers pay their respects to him. Hedwig is seen picking through items seized from those slaughtered mere feet from her front door. She takes pride in her nickname, “the Queen of Auschwitz”, even as she readily nabs a luxury coat.

Plot and drama are not big players here. We briefly see Rudolph in meetings with Nazi officials as they brainstorm on methods of improving efficiencies of mass extermination. The closest thing to family drama occurs when Rudolph is promoted to Berlin, and Hedwig refuses to go, claiming “This is our home.” It’s an incredible statement highlighting the mental block (or acceptance?) she has of the proximity to horrific actions, and the fact that evil and cruelty is the family business.

The sound design from Johnnie Burn (NOPE, 2021) and score from Mica Levi (JACKIE, 2016) play vital roles in setting and maintaining the atmosphere in a movie that rarely shifts tone and is never in a rush. By offering a different perspective, director Glazer provides a haunting film that will stick with you. He ends things with a glimpse inside the Auschwitz-Birkenau Museum where we see piles of shoes, suitcases, etc. The whole film is chilling, and painfully contemporary despite its WWII setting.

Opens in theaters on December 15, 2023

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Posted by David Ferguson

MAESTRO (2023)

December 8, 2023

Greetings again from the darkness. A creative genius must deal with the constant demands, both internal and external, of new and better projects. That last one was great, now what’s next? The art is never enough, and it’s never done. As if that pressure to create is not enough, there is also the personal side. A connection is presumed by fans and customers and critics. We like your art, so we feel like we know you. How does one even find their true self, much less hold on to it, while being adored and showered with accolades? Well, many don’t, and the aftermath is usually not pretty.

Bradley Cooper has received nine previous Oscar nominations in various categories: Actor, Supporting Actor, Producer, and Writer (many from A STAR IS BORN, 2018). He has yet to win, but with this latest (co-written with Josh Singer, an Oscar winner for SPOTLIGHT), Cooper is likely to nab multiple nominations yet again. “Oscar bait” was how a movie like this would have once been described, simply because it’s well made and appeals to a wide audience. While the description seems a bit unfair, this film is in fact, well made and appeals to a wide audience. On top of that, the two lead performances are both noteworthy. Cooper stars as Leonard Bernstein, and Carey Mulligan co-stars Felicia Montealegre, the actress Bernstein married.

Leonard Bernstein was a generational talent as a world-renowned conductor, He was also a bi-sexual philanderer who felt he never received due credit for his compositions. Felicia was a long-loyal and long-sacrificing spouse who raised their kids and supported her enigmatic husband, who frequently used his musical genius as an escape clause. The film spans the 1940’s, when Bernstein made his accidental (no rehearsal) debut as Assistant Conductor filling in for the New York Philharmonic at Carnegie Hall, to the 1980’s when Bernstein is giving an interview at his Fairfield, Connecticut estate and discussing how he misses Felicia.

This is clearly a labor of love for Cooper as director-star-writer-producer, and yet it’s Mulligan who has the most complex role … one she excels in. Certainly, Cooper shines in a tender moment scene with daughter Jamie (Maya Hawke) where he lies about the rumors she’s heard, and he relishes the highlight of reenacting the London Symphony Orchestra at Ely Cathedral in 1976 for Mahler’s second symphony. The latter is a scene itself worthy of a theater picket price for the picture and sound. Despite the flamboyant nature of Lenny, it’s Mulligan who is the heart of this story, and she excels in every scene … especially the Thanksgiving Day argument as Snoopy floats by their Central Park apartment window.

A third co-star here would be cigarettes, which seem to fill the screen with smoke regardless of the time period or location. Seriously, the supporting cast includes Matt Bomer and Sarah Silverman, and Bernstein’s compositions are heard throughout the film, including “West Side Story” in the most ominous moment. A particularly creative scene occurs as Bernstein becomes part of the “On the Town” sequence on stage, and we also see Lenny and Felicia interviewed on television by Edward R Murrow.

This is Cooper’s second outing with almost complete control of the project, and it’s a technical masterpiece from a movie-making perspective. If it falls a bit short on the emotional connectivity scale, that’s likely due to the true story of Lenny and Felicia. The cinematography from Matthew Libatique is gorgeous (both black & white and color), and the costumes from two-time Oscar winner Mark Bridges and prosthetics/makeup by two-time Oscar winner Kazu Hiro add to the smooth transitions from era to era. Rather than a traditional biopic, this is more a relationship story – one between an egotistical, absurdly talented man-child, and the loyal, selfless woman who allowed him to shine, even as she stood frustrated in shadow.

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Posted by David Ferguson

POOR THINGS (2023)

December 6, 2023

Greetings again from the darkness. Greek filmmaker Yorgos Lanthimos is possibly the most divisive director working today. Movie goers tend to either love his films like THE FAVOURITE (2018), THE KILLING OF A SACRED DEER (2017), THE LOBSTER (2015), and DOGTOOTH (2009) or walk away baffled that any decent human being could enjoy such dark works of strangeness and oddity. Despite this, two of his films have received Oscar nominations, and this latest may be both his most accessible and most outrageous project yet. It’s also a rare outing where Lanthimos left the writing to others. His co-writer on THE FAVOURITE, Tony McNamara (“The Great”) has adapted the screenplay from the 1992 novel by renowned Scottish writer Alasdair Gray, whose tome was influenced by Mary Shelley’s “Frankenstein”.

Oscar winner Emma Stone delivers a truly remarkable (and physically demanding) performance as Bella Baxter. When we first meet Bella, she has the mind and coordination of a toddler in an adult woman’s body … the product of Dr. Godwin Baxter (you can call me God), played by Willem Dafoe. God is a surgeon-slash-mad scientist, his own scarred body the result of experiments conducted by his father. God is both doctor and monster. Although various animal blends (ducks, chickens, dogs, etc) roam the premises, it is Bella who is clearly God’s most treasured production. Her reanimation process and backstory are spelled out in the movie.

Bella develops daily, and when Godwin’s lawyer, Duncan Wedderbum (Mark Ruffalo) shows up to take care of some business, he is intrigued by Bella and offers to take her on an adventure … one that ultimately spans Lisbon to Paris, and a luxury cruise ship to a brothel. Duncan and Bella engage in “furious jumping” (her phrase for sex) and soon her libido is quite advanced, and her river of independence flows freely, turning Duncan into a whiny buffoon. This story, Bella’s story, is really about a woman finding her own way in a world where men try to control/manager her. It’s fascinating to see her hyper curiosity about the world and her surroundings. On top of that, Bella is often quite direct and unfiltered in her statements.

The humor here is frequent and unconventional as evidenced by Bella being described as “a beautiful retard”, and the stream of deadpan one-liners. Still, the message comes across loudly and clearly as we marvel at Bella and Emma Stone’s performance. I hesitate to use the word fearless (unless it’s Tom Cruise) since it’s just acting, but the word applies to Ms. Stone here. Supporting work comes from Christopher Abbott, Margaret Qualley, Ramy Yussef, Jarrod Carmichael, Hannah Schygulla, and Kathryn Hunter, while Mark Ruffalo revels in flashing his comedic chops.

Cinematographer Robbie Ryan interjects black and white for effect and makes good use of the fish-eye lens. Production Designers James Price and Shona Heath get creative with set pieces, especially the cruise ship and brothel, and Costume Designer Holly Waddington nearly steals the spotlight with Bella’s outfits, which are always a bit exaggerated. The music adds a specific element and works quite well, and there is a truly awesome dance scene. Yorgos Lanthimos again earns the title Master of Strangeness with this outlandish film with bits from Frankenstein, Bride of Frankenstein, and Young Frankenstein (a common thread). The film is somehow both extremely funny and severely disturbing, and is an example of good people trying to come to grips with the realization that people often do bad things. My only complaint is the film features what are possibly the worst closing credits ever.

Opening in theaters on December 8, 2023

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4 Comments | Comedy, Drama, Fantasy | Tagged: , , , , , , , , , , , , , , , | Permalink
Posted by David Ferguson

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