THE HOLDOVERS (2023)

November 9, 2023

Greetings again from the darkness. We’ve all had that teacher. You know, the one with an evil streak who just seemed to thrive on making students miserable. Throw in a staff and administrators who feel the same way, and the casting choice for the teacher becomes obvious.  Enter the always great and perfectly curmudgeonly Paul Giamatti. This is the first time Giamatti has worked with two-time Oscar winner Alexander Payne since their brilliant SIDEWAYS (2004), and it’s clear these two share a wavelength for comedy and drama, even in throwback form.

Paul Hunham (Giamatti) is a long-time professor at Barton Academy, an all-boys private prep school located in the snowy northeast. It’s December 1970, and an early scene exemplifies how he relishes the failing grades he bestows upon desperate students so afraid to disappoint their rich parents. In the final class before the holiday break, the student-teacher banter doesn’t go so well for the boys, and they head to break with an extra workload. Hunham is easily manipulated into babysitting the titular holdovers – students stuck at school over the break, while most others spend time with family, often on exotic trips.

Initially there are five students, but after a certain development, what remains is Hunham, smart but troubled Angus Tully (first timer Dominic Sessa) and the school’s head cook, Mary Lamb (a divine Da’Vine Joy Randolph, DOLEMITE IS MY NAME, 2019). Hunham is perpetually annoyed and has a weakness for booze. Angus is frustrated that his mother left him at school so she could travel with her new husband, and Mary is grieving over her son who was killed in Vietnam. Watching these three struggle to bond is a case study in psychology, yet of course we know they will ultimately form a family of misfits, depending on each other to offset the loneliness.

The genius tagline for the film is “Discomfort and Joy”, and initially the first overshadows the latter. Isolated from the world in their own way, the three characters begin to influence each other, showing broken/wounded people need and deserve love and friendship as much as anyone else. “Entre nous” (just between us) becomes a kind of calling card for this trio, and a Christmas party thrown by an eternally optimistic staffer (Carrie Preston) is a turning point.

Giamatti is master of this material and only goes over the top a time or two. It’s painful and humorous each time he is so anxious to infuse his breadth of ancient civilization facts into even the most mundane conversations. Newcomer Sessa possesses star potential and nails a complex first role. Da’Vine Joy Randolph’s Mary is the heart of the film, doling out advice to Hunham and comfort to Angus. Depression is a vein running through these characters and it’s acknowledged, though not the focus.

This is Alexander Payne’s first film since the disappointing DOWNSIZING (2017), but his brilliance has been proven in ABOUT SCHMIDT (2002), SIDEWAYS (2004), THE DESCENDANTS (2011), and NEBRASKA (2013). This time he’s working from a screenplay by successful TV writer, David Hemingson, and though there is never much suspense about where the story or characters are headed, we enjoy the ride immensely. Cinematography from Eigil Byrld (IN BRUGES, 2008), perfectly complements the emotions (shot on digital, graininess added in post), and the soundtrack is period-specific, including the great Cat Stevens. Pay attention to the retro opening credits and logos, and enjoy a smart and funny film (an Alexander Payne trademark).

Opening in theaters November 10, 2023

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Posted by David Ferguson

RUSTIN (2023)

November 4, 2023

Greetings again from the darkness. Organizing an event is often tedious and frustrating and stressful. Rarely is it entertaining. Such is the challenge faced by director George C Wolfe (MA RAINEY’S BLACK BOTTOM, 2020) and co-writers Justin Breece and Dustin Lance Black (Oscar winner for MILK, 2007). Take that and add a central character that most have never heard of, and the challenge seems questionable, if not undesirable. What happens if that main character has more charisma than the beloved Reverand Martin Luther King? Well, that’s something we can work with.

Colman Domingo (IF BEALE STREET COULD TALK) stars as Bayard Rustin, the gay, black, outspoken civil rights activist and organizer … and one-time communist … who coordinated efforts for the 1963 March on Washington for Freedom and Jobs. If that doesn’t sound familiar, it’s the official name of the event where MLK gave his “I Have a Dream” speech. That day is remembered for King’s speech, but the event never would have occurred without the herculean efforts behind the scenes by Mr. Rustin and his team. Since it wasn’t easy, there is a story worth telling.

Director Wolfe is a Tony Award winner and his stage roots are on full display. Many scenes play like live theater, and the performances are elevated to the point of over-dramatizing. There is nothing subtle about Bayard Rustin and nothing subtle about the film, with the exception of Ami Ameen as MLK. By watching this, we wonder how King ever became the leader of a movement – and this after an early scene where Rustin urges him to “own your power”. It’s a power we don’t see here, yet understand it existed in real life. The film opens by reminding that it was 1954 when the Supreme Court ruled segregation was illegal.

Most of what we see occurs in 1963, a couple of years after King and Rustin had a falling out. When the friendship and partnership are re-established for the purposes of the march, it brings together the previously disparate organizations (and their egos) that had been striving independently for power. One in particular was the NAACP, with its director, Roy Wilkins, played here by Chris Rock. The behind-the-scenes bickering and posturing is one of the film’s strengths. Other players of interest here include A Philip Randolph (Glynn Turman), Anna Hedgeman (CCH Pounder), Representative Adam Clayton Powell (a properly pompous Jeffrey Wright), and Elias Taylor (Johnny Ramey) as an attraction and distraction for Rustin.

The goal of 100,000 peaceful attendees initially seemed nearly impossible, and of course, history tells us the final number was closer to 250,000. This group of activists not only faced opposition from white establishment, including (according to this) the Kennedy brothers, but there was also an incredibly tight timeline to work with. It’s the group of dedicated and passionate volunteers that go to the heart of a grassroots movement, and these folks are given their due. The film’s weakness is in its attempt to balance the movement with the scandals surrounding Rustin’s homosexuality. That angle simply doesn’t work as well. As viewers, we are bombarded with monologues galore and stagey acting and scenes, but at the center is a man whose story should be told.

https://www.netflix.com/title/81111528

In select theaters November 3, 2023 and on Netflix beginning November 17, 2023

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Posted by David Ferguson

PRISCILLA (2023)

November 3, 2023

Greetings again from the darkness. It was less than 18 months ago when Baz Luhrman’s Oscar nominated ELVIS hit theaters and we were admiring Austin Butler’s performance. Where that movie was glitzy and loud and centered on Elvis and Col Tom Parker, this current film from writer-director Sofia Coppola (Oscar winner for LOST IN TRANSLATION, 2003) offers a quieter, more intimate glimpse at the relationship between Elvis and Priscilla through her eyes.

Ms. Coppola is a detailed filmmaker who excels when dealing with personal isolation, and Priscilla makes a fitting and worthy subject. The screenplay by Coppola and Sandra Harmon is adapted from Priscilla Presley’s 1985 memoir, “Elvis and Me”, a book that also served as the basis for the 1988 TV movie of the same name (screenplay by Ms. Harmon). Although Elvis Presley Enterprises was not involved with this film (explaining the lack of familiar Elvis music), Priscilla Presley did serve as Executive Producer (EP, ironically), so her memories and preferences likely play a key role in much of what we see here.

Relative newcomer Cailee Spaeny (“Mare of Easttown”) delivers an outstanding performance – from 14-year-old Priscilla Beaulieu in 1959 to Elvis’s bride in 1967 through their divorce in 1973. Ms. Spaeny perfectly captures the wide-eyed innocence of a young fan, the frustrations of a young woman being controlled and isolated, and finally, a grown woman standing up for her own freedom. Playing Elvis through this same time period is Jacob Elordi (“Euphoria”), and he is effective in mimicking the familiar mannerisms and speaking voice. Physically, he towers over the diminutive Spaeny, which although not historically accurate, does add a dimension to the couple’s disconnect. As for the age difference, the two actors are close in age, but are able to portray the actual 10 year age gap between Elvis and Priscilla.

The creep factor is ever-present as 24-year-old Elvis, overseas on military duty, shows an elevated interest in 14-year-old Priscilla Beaulieu, whose military father is also stationed in Germany. The naivety of their first meetings is captured as Elvis’ beloved mother has recently passed away. Both are lonely and away from home, and Elvis simply finds her easy to talk to. It’s hindsight to question how parents could allow the situation to escalate, but anyone who has parented a teenager understands the challenges. When Priscilla turns 17, she moves into Graceland, yet Elvis insists the intimacy wait until after they are married.

At the core of the story is Priscilla’s solitude and loneliness. She is confined to Graceland and requested to “keep the home fires burning” as Elvis marches off to the stream of movies set up by a never-seen-here Col Tom Parker. Keeping Parker on the phone allows Priscilla’s world to remain even smaller despite being married to the biggest star on the planet. Doses of Elvis and the Memphis Mafia occur between extended stretches alone with Elvis’ grandmother and personal cook. She is isolated from the real world and clearly controlled by Elvis, who was only partially present.

When Priscilla and Elvis are together, the strain is apparent. Prescription drugs and sexual tension are interrupted by periodic bursts of Elvis anger, followed by a sincere apology. It’s here where we realize he’s more of a kid than she is … emotionally stunted in what makes a relationship (it takes more than the tabloid reports of movie set flings Priscilla reads about). This is also evident as she watches him go through many phases in search of himself – martial arts, bible study, eastern philosophy, etc. In the family photo shoot with Lisa Marie, body language tells the whole story. Priscilla’s fling with karate instructor Mike Stone is teased, but not dwelled upon. We realize that Priscilla was the one thing in life he felt he could control. By the end, one of them has escaped the cage, while the other remains captive.

Voted ‘Best Film’ at this year’s Venice Film Festival, it also reminds us what a terrific filmmaker Sofia Coppola can be. Working with a limited budget, she and her team are so proficient, it never seems as if they cut corners. Cinematographer Philipe Le Sourd and Editor Sarah Flack manage to sustain the pacing despite an inordinate amount of time Priscilla spends on her own at Graceland. Production Designer Tamara Deverell recreated the recognizable interior of Graceland, while the work of Costume Designer Stacey Battat guides us through the fashion changes that occurred over these 14 years. The film recreates some of the iconic images and moments that are ingrained in our memory banks, and director Coppola chooses to end with Dolly Parton’s “I Will Always Love You”, supposedly the song Elvis sang to Priscilla as they finalized the divorce.

Opens in theaters on November 3, 2023

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Posted by David Ferguson

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

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