THE MARSH KING’S DAUGHTER (2023)

November 3, 2023

Greetings again from the darkness. Karen Dionne’s 2017 bestselling novel is the source of this film from director Neil Burger (THE ILLUSIONIST, 2006), and it has been adapted for the screen by co-writers Elle Smith and Mark L Smith (THE REVENANT, 2015). Having not read the book, I am unable to offer a comparison, however, it’s probable that the film moves at a faster pace and that the book fills in much detail that the two-hour runtime is forced to skip over. Typically, neither of this would result in an improvement, yet the performances are strong enough to generate enough tension and suspense to satisfy most viewers (if not the book’s fans).

Opening with some very cool shots through the marshlands, the story takes us deep in the forest as a father (Ben Mendelsohn) teaches survival skills to his 10-year-old daughter, Helena, played by Brooklynn Prince who was so memorable in THE FLORIDA PROJECT (2017). One of the lessons ends with the father proclaiming, “You must always protect your family.” Yes, it’s about as obvious as foreshadowing can get. There is a level of creepiness to the off-the-grid cabin living of Jacob, his daughter Helena, and Helena’s mother (Caren Pistorius, SLOW WEST), and once we realize the situation, it leaves us wishing we had experienced a bit more of the misery and fear that will ultimately determine the future of these three people (plus some others). In other words, the film shoots through this first act a bit too quickly.

We then flash forward twenty or so years, and find a grown-up Helena (Daisy Ridley) married to Stephen (Garrett Hedlund, MUDBOUND) living a comfortable suburban life as they raise their young daughter Marigold (Joey Carson). Helena has chosen not to tell Stephen her past, and that secret comes crashing down when her father Jacob (known as The Marsh King) escapes from prison and comes looking for her. Father and daughter reunite at the old cabin in the woods, and things go a bit bonkers; however, that earlier foreshadowing comes into play, and Helena finds herself utilizing those early daddy lessons against that same daddy.

Daisy Ridley has the physicality required to pull off this role and her resemblance to young Brooklynn Prince is uncanny. Mendelsohn is, as always, a menacing presence using subtle movements and that remarkable voice. A supporting nod goes to Gil Birmingham (HELL OR HIGH WATER, 2016) for a key role as well. At its best, the film (and I assume the book as well) captures the sometimes remarkable contrast between childhood perspective and that of a grownup. We can only hope that for most folks, it’s not similar to that of Helena.

Opening in theaters on November 3, 2023

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Posted by David Ferguson

FINGERNAILS (2023)

November 3, 2023

Greetings again from the darkness. Certifiable love. Trust the science. Anna and Ryan are in love and they have the certification (and sore fingers) to prove it. One minor problem is that they don’t seem to have much in common, other than a love for the fatty parts of a well-cooked steak. And even this common ground leads to a certain dishonesty. Writer-director Christos Nikou and his APPLES co-writer Stavros Raptis, along with co-writer Sam Steiner, have given us a film that appears to lean heavily into science-fiction, while also poking a bit of skepticism that direction.

Most of this film didn’t work for me, however, the depth that the two lead actors, Jessie Buckley (I frequently recommend WILD ROSE, 2018) and Riz Ahmed (SOUND OF METAL, 2020, and an Oscar winner for his short film THE LONG GOODBYE, 2021), bring such an intimacy and sincerity to their scenes that we can almost overlook the absurdity of the story. And maybe that’s the point.

Anna (Ms. Buckley) has recently lost her job as a teacher, and when she lands the job she wants as a trainer at The Love Institute, she opts not to tell her husband Ryan (Jeremy Allen White, “Shameless”). The Love Institute is run by Duncan (Luke Wilson) and the mission is to test couples for scientific compatibility in a long-term relationship. This is done by pulling a fingernail from each and testing in a machine invented by Duncan (don’t worry, he is always looking to improve it). The idea is that science can take the guesswork out of relationships and put folks at ease that they found the “right” partner.

Of course, as soon as we see Anna and Amir (Mr. Ahmed) working alongside each other, we know where this is headed. The two actors are terrific together and excel at selective gazing, while maintaining professionalism. Science, chemistry, and biology all play a role here, but the thought that folks would volunteer to have their fingernails yanked out (while biting a block of wood) is ludicrous, even if the film opens by telling us fingernails often display the first symptoms of heart issues (physical not emotional). The film is evidently supposed to prove yet again that matters of romance are beyond the scope of science, even in movies.

Opens on AppleTV+ beginning November 3, 2023

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Posted by David Ferguson

WHAT HAPPENS LATER (2023)

November 3, 2023

Greetings again from the darkness. Meg Ryan will forever be linked to her popular and beloved romantic comedies, WHEN HARRY MET SALLY (1989) and SLEEPLESS IN SEATTLE (1989). She wore the crown of “America’s Sweetheart” for years, and then after years of hard work, she pumped the breaks on her acting career, resurfacing periodically for a TV or film role, often in support. In 2015 she took her first shot at directing with ITHACA, in which she also starred, and now after an 8 year big screen absence, she’s back as writer-director-producer and star of a film that harkens back much closer to her rom-com roots.

A massive winter storm rolls in – a Bomb Cyclone with Snow Thunder. This grounds all planes  at a regional airport (it was filmed at the airport near Bentonville, Arkansas) where ex-lovers Willa (Meg Ryan) and Bill (David Duchovny) bump into each other for the first time since they broke up twenty-five years ago. Initial awkward small talk soon transitions into ‘large’ talk, and the two fall into rhythmic banter befitting of two who were at one time very close. He’s a stockbroker on the way to Austin to meet with his demanding, much younger boss, and she’s a wellness practitioner on her way to Boston. For emphasis, he wears a dark business suit and necktie, while she sports clunky boots and bouncy hair.

What follows is a passive-aggressive twist on Richard Linklater’s “Before” trilogy. In the industry, this is called a two-hander, as there are only two speaking parts – not counting the slyly intrusive airport PA announcer (credited as Hal Liggett?) – and the two characters carry on a conversation for most of the run time. Ms. Ryan wrote the script with Steven Dietz and Kirk Lynn and based it on Dietz’s play, “Shooting Star.” It’s a dialogue heavy approach designed to let us get to know the characters, but also allow Willa and Bill to catch up as they re-live moments from the past. Some of this is painful for them, and some of it provides previously lacking clarity. Memories and quirks pop up, and the manner in which they are addressed speaks volumes to how close these two once were. We learn their secrets as they each peel back layers.

Tom Petty’s lyrics, “Most of the things I worry about never happen anyway” are utilized to effect here, and missed connections has multiple meanings. With Meg Ryan and David Duchovny past the 60 year mark, this isn’t one of the cutesy rom-coms we’ve grown accustomed to with twenty-somethings. These are grown-ups who once shared dreams and are now taking stock of life and reality. Even the commentary on society is head-on rather than cleverly disguised as is common for this genre. Director Ryan and cinematographer Bartosz Nalazek insert more than a few falling snowflake shots, and the point is driven home about just how much has occurred since these two became a couple while attending the University of Wisconsin. As a writer, director, and actor, Meg Ryan certainly is in her wheelhouse here, and fittingly, she ends with a “For Nora” tribute to her late friend and mentor, Nora Ephron.

Opens in theaters on November 3, 2023

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Posted by David Ferguson

ANATOMY OF A FALL (2023, France)

October 27, 2023

Greetings again from the darkness. It’s not really possible to combine a murder trial with divorce proceedings, but this year’s Palme d’Or winner at Cannes comes about as close as we can imagine. Writer-director Justine Triet and co-writer (and husband) Arthur Harari wrap a ‘did she or didn’t she’ murder mystery in a relationship drama that plays out in a gripping courtroom drama. As for the title, there is an actual fall which leads to the dissecting of the slow fall of the marriage, as well as the emotional fall of having one’s entire life laid bare in a public setting.

Sandra Huller was brilliant in TONI ERDMANN (2016), a film that you should see if you haven’t already. She also starred in director Triet’s film SIBYL (2019), which led her to be cast here as Sandra Voyter, a German writer, wife, and mother. If Huller’s performance isn’t the best of the year, it certainly is in the top three or four. She is stunning as a complex character grappling to hold on to the life she wants despite the obstacles beyond her control … including an indictment and trial for murdering her husband.

There are so many pieces to this storytelling puzzle that it’s quite challenging to paint a proper picture without giving away any of the minutiae surrounding what is the film’s core: we never really know another person, and even knowing ourselves requires an honesty and perception most lack. Some of these pieces include jealousy, the motivation of a writer, guilt, blame, a child’s view of his parents, the French courtroom process, and the need for understanding and closure. These aspects (and more) weave a tangled web over an extended runtime of 152 minutes that not only keep us focused on the trial, but also on the behavior of Sandra, and the excruciating thought process of her 11-year-old son Daniel (a remarkable Milo Machado Graner).

A wonderfully awkward opening scene sets the stage for us to recognize Sandra’s annoyance and her (unseen) French husband Samuel’s purposeful intrusion. This leads to their partially-sighted son Daniel taking the dog for a walk, and his subsequent stumble upon his father’s dead body in the snow. The police investigation is inconclusive, with an explanation available for three possible causes: an accidental fall from the attic window, a suicidal dive from the window, or a deliberate push from that window. With conflicting evidence, and only theories at hand, Sandra is indicted and faces a trial focused less on her husband’s death, and more on the secrets and arguments – the ups and downs – of their relationship.

It seems the prosecution case boils down to … she must have done it because they had arguments and she wrote about it. The prosecutor is played by a fiery Antoine Reinartz, while Sandra’s defense attorney (and long-ago lover) Renzi is played by a calm Swann Arlaud. It’s only in a crucial flashback that we witness husband Samuel (Samuel Theis) and wife Sandra in the midst of an argument that seems to hold the clues needed to assist viewers in a final decision. However, even that isn’t simple due to the approach taken by son Daniel with his dog Snoop (also remarkable!).

The chalet in the French Alps plays a role in the fall as well as the relationship. Verbal sparring is not limited to the above-mentioned flashback, but also in the courtroom where the lines between solicitors crackle with preciseness as Sandra controls her emotions. Even the language differences between French husband and German wife are part of this, but the odd French courtroom process will likely catch outsiders off guard. This is a gem where we as viewers are chugging right along with Daniel and the judges as words and emotions take the place of physical evidence. Camera work from Simon Beaufils is unconventional yet succeeds in putting us in the chalet as well as the courtroom. Some may see the ending as ambiguous, but listening to the big argument and following the dog and Daniel should provide the clarity viewers seek.

Opens in theaters on October 27, 2023

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Posted by David Ferguson

NYAD (2023)

October 20, 2023

Greetings again from the darkness. All great athletes aren’t great competitors, and all great competitors aren’t great athletes. But when the two merge, the result is elite. Think Michael Jordan, Muhammed Ali, Novak Djokovic, Tiger Woods, and Michael Phelps. Of course, there are others, and this biopic focuses on one you might not have previously considered since she’s so unique. Diana Nyad was a world class distance swimmer and had a tremendous career prior to becoming an analyst and commentator for ABC Sports. She had a career that made her famous in her field and a well-respected sports personality … but that’s not what made her the focus of this film from co-directors Jimmy Chin and Elizabeth Chai Vasarhelyi, the Oscar winning duo behind the extraordinary documentary FREE SOLO (2018).

In 2010, after a surprise 60th birthday party thrown for her by her friend Bonnie Stoll, Diana Nyad made up her mind to make the “Mount Everest” of open water swims … from Cuba to Florida. Mind you, Nyad had failed on her attempt at this swim when she was 28 years old and in peak form. And yes, everyone thought she was a bit crazy and tried to talk her out of it. The swim is 103 miles, and the dangers included box jellyfish, sharks, and unpredictable weather and currents, not to mention the stamina and physical health required. But Diana would not be swayed from her goal.

Annette Bening stars as Nyad, and two-time Oscar winner Jodie Foster co-stars as best friend Bonnie. As remarkable as Nyad’s marathon swim goal was, much of the film focuses on the journey of friendship between Diana and Bonnie, especially once Bonnie takes on the role of coach and trainer. Their relationship (and the actors’ performances) is the strength of the film. We feel the love and the frustrations. Diana’s extreme level of determination (and hard-headedness) is paired with her equally extreme level of self-absorption and narcissism. Bonnie’s loyalty is tested daily and over many years.

Why many years? The answer to that is in the number of failures Nyad experiences on her quest to complete the swim. The multiple attempts allow us to get familiar with the crew, especially navigator John Bartlett, played by the always interesting Rhys Ifans. The relationship between the crew and the swimmer builds the bridge between isolation and team sport. We see Diana use 4/4 music for the rhythm of her strokes and to keep her mind from wandering (or worse). The mental aspect of distance swimming is just as challenging as the physical side.

The story continues through 2013 at age 64, when we learn that the rules mean both ankles must be out of the water for the swim to count … this after more than two full days and nights of swimming. Screenwriter Julia Cox has adapted the story from Diana Nyad’s memoir, “Find a Way”, and Oscar winning cinematographer Claudio Miranda (LIFE OF PI) works wonders in capturing the enormity of the swim as well as the intimacy of this deep friendship and the commitment of the crew.

Flashbacks of Diana’s childhood are shown, which clue us in on what motivated her to push her body and mind to extremes. The film begins with a recap of Nyad’s swimming career to ensure that viewers understand what a decorated athlete she was. Annette Bening is terrific here and it will be interesting to see if, after four previous nominations, this is the role that delivers that elusive gold statue. As for Jodie Foster, her rare screen appearances make it too easy to forget just how amazing she can be – it’s nice to be reminded (be on the lookout for her in the new season of “True Detective” next year). Music by two-time Oscar winner Alexandre Desplat works well on the swims, and Nyad’s dreams (and misses) inspire us to pursue our own … even if our dreams are a bit less dramatic than “Mount Everest.”

Opens in select theaters on October 20, 2023 and streams on Netflix November 3, 2023

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Posted by David Ferguson

KILLERS OF THE FLOWER MOON (2023)

October 18, 2023

Greetings again from the darkness. Read the book and see the movie. The order doesn’t much matter, as David Grann’s best-selling non-fiction novel is an incredibly emotional read, while Martin Scorsese’s film is an example of elevated filmmaking. Of course, it’s understandable if a book detailing a repulsive historic travesty is not your cup of tea, or if a three-and-a-half-hour movie on the same subject holds no appeal for you. However, if you are up for the challenge, both are extraordinary works of art, though surprisingly, quite different experiences.

Oscar winner Scorsese worked on the script adapting Grann’s novel with Oscar winning screenwriter Eric Roth (FORREST GUMP, 1994), and Scorsese has stated Leonardo DiCaprio encouraged some changes in perspective. Scorsese also spent a great deal of time with Osage folks making sure to gain insight on how to properly tell their story with all due sensitivity and respect. And what a story it is. While reading Grann’s book, I remained in a state of disbelief that this tragic story from the 1920’s was not common knowledge. In contrast, I felt the telling of this story in the movie, softened the edges just a bit.

Oscar winner DiCaprio stars as Ernest Burkhart, a man returning to town after serving in WWI. Ernest is a simple man, and DiCaprio plays him with a SLING BLADE jaw line and a constant state of being a half-step behind goings on. He’s not a total sap, but close enough that he can be manipulated. This is especially true when it comes to his rancher Uncle William King Hale played by two-time Oscar winner Robert DeNiro. The two men are related but seemingly share no other characteristics. “King” is a master schemer who has spent decades cultivating a relationship and image with the Osage, only to secretly take advantage of their trust at every opportunity. Ernest is a self-described lazy man who ‘loves money’, though he has little interest in earning it the hard way.

There are multiple relationships that are crucial to follow closely. Ernest and his Uncle, Ernest and his Osage wife Mollie (a brilliant Lily Gladstone), Hale and the Osage, Federal investigator Tom White (Jesse Plemons) and everyone to whom he speaks, and then the network of interactions between Ernest and the locals. The long roster of characters jumps in numbers again during the final act, which offers a courtroom drama and interrogations that deliver the conclusion. It’s the first act where Scorsese portrays the dramatic shift from the “old” Osage culture to their staggering newfound wealth. Of course, at the core of all of this is the despicable scheme used by Hale in a heartless strategy to steal the wealth. For those who haven’t yet read the book, it’s best if no more of the story is known prior to seeing the movie. One thing that can be disclosed is that this true story proves the exception to “them with the gold make the rules.” This was also the first case of the newly formed FBI under J Edgar Hoover.

As always, Scorsese has assembled a deep supporting cast to complement the stellar leads. A few of those playing key roles include Tantoo Cardinal, Gene Jones (the coin flip clerk in NO COUNTRY FOR OLD MEN), John Lithgow, Oscar winner Brendan Fraser, Cara Jade Myers, Jason Isbell, Jillian Dion, Scott Shepherd, William Belleau, Sturgill Simpson, Ty Mitchell, Tommy Schultz, (personal favorite) Barry Corbin, Pete Yorn, and Jack White. With apologies to Jesse Plemons who is solid as Tom White, it’s the three leads who captivate us. DiCaprio turns in what is likely his best ever performance, while DeNiro eerily captures the sneaky and devastating evil of Hale (and we get a nod to his Al Capone role from 36 years ago). What can we say about Lily Gladstone? She was a standout in CERTAIN WOMEN (2016), and here she is the heart and soul of the story (though DiCaprio’s Ernest gets much more screen time). Her expressive eyes convey so much, even when she speaks no words.

In addition to the talented cast, Scorsese’s technical group is just as outstanding. Cinematographer Rodrigo Prieto (BROKEBACK MOUNTAIN, 2005) perfectly balances the vastness of the setting with the intimate moments. Production Designer Jack Fisk (THERE WILL BE BLOOD, 2007) delivers the look and feel of the times, while three-time Oscar winner Thelma Schoonmaker works her magic as an Editor to create a manageable flow of this epic. The film’s score, expertly tied to the story’s measured pacing, comes from Robbie Robertson (longtime leader of The Band), who passed away soon after. There is a Scorsese cameo, and I left the theater thinking how usual it is to find a movie so ambitious in scale, yet so intimate and searing in its personal moments. Some may find the larger story a bit difficult to grasp, and that’s likely due to our humanity and desire to believe in the non-existence of this level of evil.

Opens in theaters nationally on October 20, 2023

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Posted by David Ferguson

THE BURIAL (2023)

October 12, 2023

Greetings again from the darkness. “Let’s shake on it.” There was a time when a person’s word and their handshake was enough to seal a deal – whether it was settling on the price of a horse, the bottom line on a new car, or the buyout of a business. Most of us realize those days are long gone, and now it’s too often about winning and taking advantage of every situation, regardless of whether that’s at someone else’s expense. Jonathan Harr’s article from “The New Yorker” serves as the source of this “inspired by a true story” tale, with a script from writer-director Maggie Betts (NOVITIATE, 2017) and co-writer Doug Wright (QUILLS, 2000).

Every movie lover recognizes the advanced warning of “inspired by” and prepares for some artistic license being taken. Enter Oscar winner Jamie Foxx as Willie Gary, a personal injury attorney who is flashy to the point of gaudy. His suits are as colorful as his speech patterns, and he zips through the sky in his aptly named jet, “Wings of Justice.” We’ve all been berated with TV commercials from these obnoxious lawyers, and Willie Gary is all of them rolled into one third-person speaking courtroom orator.

Foxx nails the role and is the perfect counterpoint to his first white client, 75-year-old Jeremiah O’Keefe (Oscar winner Tommy Lee Jones), a Biloxi, Mississippi funeral home owner in a financial bind. While Willie Gary and his wife (Amanda Warren, THREE BILLBOARDS OUTSIDE EBBING, MISSOURI, 2017) live a life so high it’s featured on “Lifestyles of the Rich and Famous”, Jeremiah is a salt-of-the-earth type who shares 13 kids and 24 grandchildren with his wife (Pamela Reed, THE RIGHT STUFF, 1983). Jeremiah cuts a deal with Ray Loewen (Bill Camp, “The Queen’s Gambit), owner of a multi-million-dollar conglomerate. Or at least Jeremiah took it as a deal since the two men shook hands on it aboard Loewen’s stunning yacht.

What follows are a few too many courtroom drama tropes that would drag the film down if not for the fine performances of the cast. Jeremiah and Willie develop a friendship, despite their contrasting styles and personalities. Willie’s adversary in the case is Mame Downes (Jurnee Smollett, SPIDERHEAD, 2022), a top of her Harvard Law Class attorney who has the upper hand on legal issues and a competitiveness to match. Adding depth to the story are Alan Ruck (FERRIS BUELLER’S DAY OFF, 1986), Jeremiah’s long-time attorney and friend, and Mamoudou Athie (UNDERWATER, 2020) as Hal Dockins, the rookie attorney who brings fresh eyes and keen observations to the proceedings. Athie is a standout here.

There are multiple aspects to the film. The core of the case is about doing what you say you are going to do (the phrase “my word is my bond” comes to mind), while at the same time, elements of racism and bigotry hover over most every scene – sometimes to the extreme (a burial ground for slaves). Since there are no shortage of ultra-serious deep dives into racism and predatory business practices, filmmaker Betts takes a different approach. The end result is an entertaining crowd-pleaser with a few too many close-up shots and a creative use of Toni! Tony! Tone! and other music to set the era for us. This is one that allows the entertainment value to take the lead, while not totally overshadowing the key points it wants to make.

Premiering on Prime Video beginning October 13, 2023

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Posted by David Ferguson

FANTASTIC FEST 2023

October 2, 2023

Fantastic Fest is an annual film festival sponsored by Alamo Drafthouse in Austin, Texas. Specializing in independent films, the festival usually leans heavily into horror, science fiction, dark comedy, and Avant Garde – pretty much anything that could gather a “cult” following. Here is a recap of the Fantastic Fest films I covered this year (virtually).

YOU’RE NOT ME

Every year, Christmas is voted both the happiest AND most stressful time of the year. The reason why seems pretty obvious and is encapsulated in one word: family. Co-writers and co-directors Marisa Crespo and Moises Romera seize on this phenomenon by having Aitana and her wife Gabi, along with their recently adopted baby boy, make a surprise visit to Aitana’s parents’ home on Christmas Eve … or if you prefer the word used by the parents, it’s an ‘unannounced’ visit.

From the moment the front door is answered, Aitana (and us) notices the cold and strange reception. After being away for three years, she expected long hugs and oohs and ahhs. Instead, her wheelchair bound brother, Saul, is the only one happy to see her, and the curious vibe includes meeting Nadia. The layers take a while to peel back, but what’s apparent is that Nadia has replaced Aitana as the daughter, and this includes sleeping in her bed, wearing her clothes, and being doted on by the parents.

The atmosphere shifts from odd to downright bizarre in the evening as a formal dinner party confuses Aitana. Is she in danger?  Is her baby in danger? Is Nadia a threat? What is up with her parents’ odd behavior? There are teases of the supernatural, demon worship, and a culinary cult. Does any of this play out? Does Aitana’s nightmare come true? The filmmakers expertly toss out many questions, while we as viewers are reminded of ROSEMARY’S BABY (1968) and THE WICKER MAN (1973) as the set-up progresses. No one would describe this as a typical Christmas flick (although there is an Old Nick); however, it’s an impressive production that keeps us guessing.

THE COFFEE TABLE

A smarmy furniture salesman goes overboard convincing Jesus that a particularly hideous coffee table “will change your life” and guarantees it will “bring you happiness. He also claims multiple times that the glass top is “unbreakable”. Jesus and his wife, Maria, argue over the piece. She scoffs at him for believing the outlandish promises. What we soon learn is that Maria ‘rules the roost’ in this marriage and is accustomed to her word being the final word. She planned the wedding, named their newborn baby, selected the color and décor for the nursery, and has been decorating their new apartment with no input from hubby.

The purchase of the coffee table is merely Jesus standing up for himself and making a decision for their family. This couple argues over trivial matters, and they’ve yet to address the absurd accusations and demands being made by the 13-year-old neighbor girl who fantasizes about Jesus. Maria heads to the market to prepare for dinner with Jesus’ brother and his barely legal girlfriend, leaving Jesus in charge of the baby.

By the film’s end, one of the furniture salesman’s promises has come true while the other two have proven absolutely not true. We watch in amazement as Jesus desperately tries to find a way out of the worst imaginable situation … one made even worse by the extended discussions on the joys of parenting. The tension here is palpable and the subject matter is about as dark as any movie I’ve watched … it’s not for those who enjoy lighthearted flicks, but the film is about as well-made and well-acted as you’ll ever find at an indie film festival. The awards ceremony rarely matters much to me at festivals, but I was disappointed this one didn’t gain some recognition.

THE UNCLE

Croatian filmmakers David Kapac and Andrija Mardesic set this story around Christmas, or so it seems anyway. The tinseled tree is up, the house is decorated with blinking lights, and mom is cooking a beautiful turkey for the family meal. Dad and son race to finish their chores before Uncle arrives after his drive from Munich. What appears to be a Norman Rockwell set-up for the family holiday fun is somehow off kilter … each of the players displays enough awkwardness that we instinctively know not all is as it seems.

Forced conversation at the table turns to forced gratitude as presents are disbursed. A video is shown and then Uncle departs. We are left to wonder what the heck, when another day arrives and the event is recreated … right down to the roast beast. We soon see piles of turkeys, cigarette cartons, and BB guns, and realize that these evenings are not just uncomfortable, they are being repeated time after time.

Uncle states many times that all he wants is “a perfect Christmas”, though it’s not until “Sis” accompanies one evening, that we begin to assemble the clues and pieces. There is enough dark comedy in the first half that we chuckle a few times; however, the second half is so bleak and depressing and filled with suspense, that we can only attempt to shake off the feeling of horror that permeates. Two standout performances here belong to screen vet Predrag Miki Manojlovic (as Uncle) and Ivana Roscic (as the mother).

MUSHROOMS

For those of us who enjoy figuring out a mysterious story line before the answer is revealed, this little gem from filmmaker Pawel Borowski will both enchant and frustrate. A ‘granny’ is foraging in the woods for her regular supply of hard-to-find mushrooms. We are drawn to her face and confident movements as she trudges through the forest. It’s a face of toughness and experience.

She happens upon a couple resting in the forest. Both are dressed in costumes. The woman has an ankle so injured that it requires she be carried by her male partner, one who talks incessantly.  He begs the old woman to provide assistance and guide them to safety. At first, she refuses; but ultimately agrees to lead the way. She’s a shrewd woman and doesn’t believe their story about a theater prank, and what follows is a slowly-formed game of cat and mouse with no clear solution, but a definitive ending.

Nature is key here, and granny educates the couple on “spiritlessness”, the rare pure silence in nature. Musical cues occur periodically, though mostly we are left to our own until what can only be defined as a surprise ending. We might have had a better shot at solving the mystery if we were better able to pinpoint a timeframe, but without that, we simply enjoy the suspense and joy of a clever, makes-sense conclusion.

THERE’S SOMETHING IN THE BARN

Billed as a Norwegian comedy-horror, it’s unfortunate that this latest from director Magnus Martens didn’t work on either front for me … although I absolutely adore the premise. A typical American family inherits a family farm in Norway, and quickly decide to relocate to the farm and turn the barn into a Bed and Breakfast for tourists who want to enjoy country life and the spectacular views. Of course, this happens after we’ve seen the opening and what happened to the previous owner a month earlier.

The teenage daughter (Zoe Winther-Hansen) is angry about leaving her friends behind. The stepmother (Amrita Acharia) is trying to put on a happy face for the family, while the goofy dad (Martin Starr, “Silicon Valley”) is just excited for the adventure and mostly oblivious to the obstacles. It’s the young son (Townes Bunner) who stumbles on the oddity living in the barn. An elf has made the dusty place his, and a local man provides the breakdown of the local legend. The son tries to explain to his family what the “Barn Elf Rules” are, but they ignore him and proceed to break all three rules.

Numerous cracks about violence in America are included (evidently part of the ‘comedy’), but other than skiing being broadcast on every cable channel, the movie is neither as clever nor scary as it tries to be. Turning into an elf gore-fest with a gang of elves makes for some fight scenes that should have been more creative, and instead mostly fall flat. This is one I had high expectations for since I thoroughly enjoyed last year’s VIOLENT NIGHT. At least it ends with the great Darlene Love singing “Christmas (Baby, Please Come Home).”

***NOTE: I have also watched TOTALLY KILLER, a horror film that screened at Fantastic Fest this year, and a separate review will be posted since it was not part of the virtual festival package.

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Posted by David Ferguson

FLORA AND SON (2023)

September 29, 2023

Greetings again from the darkness. This pleasant little film is such a treat, though that’s not surprising since writer-director John Carney was also responsible for SING STREET (2016) and ONCE (2007), two underrated gems. All three films do what filmmaker Carney does best – they use music as connective tissue between characters who otherwise struggle to click.

Eve Hewson (“The Knick”, and Bono’s daughter) finally lands a lead role, and she truly shines as Flora. Flora is a frustrated woman in Dublin who doesn’t know how to deal with her borderline juvenile delinquent teenage son, Max (newcomer Oren Kinlan). She also desperately wants to find a spark of happiness for herself … even hoping to win back her ex, struggling musician Ian (Jack Reynor, MIDSOMMAR, SING STREET), who has moved on and found Flora’s replacement. Flora was much too young when she became a parent, and though she’s far from perfect as a mom, she knows in her heart that she wants a better life for her son and herself.

Max seemingly has no ambition, and he quickly rejects the tattered acoustic guitar his mom offers as a late birthday present. It turns out Max prefers creating computer-generated hip hop music via software and hardware … mostly in hopes of getting a girl’s attention (a tale as old as time). So, while Max putters behind a closed door, Flora begins guitar lessons via Zoom with Jeff (charming Joseph Gordon-Levitt) pursuing the goal of learning guitar and singing a song she will eventually write at the local pub’s talent show. Of course, Flora is drawn to Jeff’s sensitivity and he to her sincerity and beauty. Director Carney infuses some fantasy into this virtual romance with dreamlike sequences in which Jeff appears alongside Flora, the Zoom camera no longer an obstacle.

Jeff takes a cruel shot at Flora’s favorite song by James Blunt, and instead introduces her to Joni Mitchell’s “Both Sides Now” … yet another example of how music can bring folks together. Director Carney also gets bonus points for including Tom Waits’ “I Hope That I Don’t Fall in Love With You”, one of the greats. The connections through creating art don’t end with Flora and Jeff, and soon Max is chatting with his dream girl, and Flora and Max and Ian come together for a blended live number, showing music heals wounds and builds bridges. Sure, this is a sentimental, feel-good movie, but they can’t all be filled with action and superheroes and misery, right? This is one to enjoy. Plus, it’s time for the world to appreciate the talents of Eve Hewson and John Carney.

Opens September 29, 2023

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

STORY AVE (2023)

September 29, 2023

Greetings again from the darkness. The first feature film from writer-director Aristotle Torres and co-writer Bonsu Thompson is adapted from their 2018 short film of the same title, with a boost from Sundance Labs. It’s a coming-of-age story set on the streets of the Bronx, as the characters deal with grief, loss, and searching for connection and their place in this world.

High School senior Kadir (Asante Blackk, LANDSCAPE WITH INVISIBLE HAND, 2023) is emotionally crushed by his brother’s death, and a sense that his mother blames him. Kadir can’t handle this pressure and takes his talent as a graffiti artist and tagger to the local crew leader Skemes (Melvin Gregg, THE WAY BACK, 2020). As Kadir struggles with his desire to fit in, he’s also presented an option by the school counselor to attend art school. Kadir is one of the few who actually have a shot at escaping the streets, but he’s so drawn to the loyalty required to be part of the crew that he accepts Skemes assignment to rob a local at gunpoint.

With his familiar face and a presence in so many movies and TV shows since the 1980’s, Luis Guzman shines as MTA Worker Luis … the man Kadir randomly chooses to rob. However, there is more to Luis than meets the eye, and soon he has talked Kadir out of the robbery and into accepting his coat, a hot meal, and a place to sleep. This kindness confounds Kadir, but he reluctantly accepts the new father figure, though the boy is oblivious to Luis’ own demons and struggles. The film’s best scenes include Luis and Kadir, and sometimes Gloria (Coral Pena, CHEMICAL HEARTS, 2020), the waitress who shows off her own photographs to Kadir, in hopes of helping him understand how art can expand one’s perspective.

Director Torres creates a believable environment, and rising star Asante Blackk and screen vet Luis Guzman are both terrific. Watching Guzman’s character guzzle wine while he sings and dances and cooks in the kitchen is a real hoot – and a reminder that Guzman is a treasure. Luis provides a life lesson to Kadir that is bigger than the movie when he says life is messy and we are usually responsible for making our own mess. It’s such a true and powerful message for so many. The only weak link here is having the main characters spell out their relationships and feelings in the final act. This shows a lack of faith in the viewers and actually weakens the ending. Otherwise, it’s an easy one to appreciate.

In theaters beginning September 29, 2023

WATCH THE TRAILER

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

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