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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Posted by David Ferguson

PAST LIVES (2023)

December 5, 2023

Greetings again from the darkness. Circumstances being what they can be, I missed a couple of chances to see this one earlier in the year and have just recently been able to catch up. And such a treat it is. The first feature film from South Korean writer-director Celine Song is certainly one of the best movies of the year … and with a budget hundreds of millions below some of this year’s blockbusters.

Korean school kids Na Young (Moon Seung-ah) and Hae Sung (Leem Seung-min) are besties whose close friendship abruptly ends when Na Young emigrates to Canada with her parents. Twelve years pass with no communication between the two. Na Young, now going by Nora, moves to New York City to pursue her lifelong dream of becoming a playwright. Hae Sung remains in Korea, takes a break from his engineering education to serve a stint in the military, before finishing up his studies. On a whim, Nora tracks down Hae Sung’s social media account, and it’s not long before the two have a Skype call and reminisce about their once strong bond, while also discussing how time has moved on.

Greta Lee (“The Morning Show”) plays adult Nora, while Teo Yoo is the grown Hae Sung. Twelve more years pass as Nora establishes herself as a NYC playwright and marries Arthur (John Magaro), while Hae Sung takes on a job in Korea. When Hae Sung decides to visit Nora in New York, he’s clearly hoping to rekindle the childhood bond. In many romantic movies, this reunion would end with the two lovers recapturing each other’s hearts, yet director Song ensures these characters stay grounded in reality, even as destiny and fate (described here as In-Yun) play a role.

The opening scene in a local bar bookends the film, and along the way, we are taught, “If you leave something behind, you gain something too.” There is a terrific pillow talk scene, and in fact, the dialogue throughout remains true to each character. This is a film about adulting, not fantasy, though the latter can have appeal at times. No matter how strong reality is, it never precludes us from wondering “what if?” … even if a sure sign of maturity is making decisions that keep us committed to our cause. This is a terrific film with characters whose story is remarkably relatable to just about any moviegoer.

Available on VOD

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Posted by David Ferguson

DREAM SCENARIO (2023)

November 30, 2023

Greetings again from the darkness. David Bowie’s 1975 song “Fame” has a line, “Fame … what you get is no tomorrow”, and that stuck with me during the second half of this terrific and wild film from Norwegian writer-director Kristoffer Borgli (SICK OF MYSELF, 2022). Borgli not only tackles the issue of sudden fame and the weight that goes with it, but he also comments on ego and today’s cancel culture. Subtext runs throughout a film that feels descended from the mind of Charlie Kaufman and/or Spike Jonze.

Oscar winner Nicolas Cage is perfectly cast as Paul Matthews, a bland Evolutionary Biology professor, living a satisfactory life with his wife Janet (the always strong Julianne Nicholson) and their two daughters Sophie (Lily Bird) and Hannah (Jessica Clement). As for his career, Paul, always dressed in a sweater and green jacket, is frumpy and awkward and an undistinguished faculty member who speaks frequently of writing a book, though he never actually writes anything.

Things change quickly for Paul as he begins showing up in people’s dreams. As in his life, Dream-Paul doesn’t do much other than ‘be there’, but as the number of people who experience this grows exponentially, Paul becomes a celebrity … leading to the publicity machine we’ve witnessed many times in real life. Basically, Paul goes viral. Cage masters the delivery of this line: “Have you been dreaming about me?”, and it’s the point where we recognize he is delivering an outstanding performance. When do-nothing dream-Paul turns aggressive and violent in folk’s dreams (now nightmares), his experience shifts dramatically. Cancel culture kicks in and Paul becomes an outcast or pariah. Filmmaker Borgli could draw from numerous real-life situations where teachers have been dismissed for absurd reasons … OK, maybe not as absurd as actions in a dream, yet the concept is the same.

Borgli was surely inspired by Spike Jonze’s excellent ADAPTATION (2002), which featured Nic Cage in a dual role (as Kaufman and his fictional brother). Although this isn’t technically a dual role, Cage certainly gets to carve a wide swath through the film and through dreams … and he appears to be having a great time doing so. Supporting work is provided by Dylan Baker, Tim Meadows, Dylan Gelula, and Kate Berlant. Michael Cera has a humorous sequence as a PR agent at a marketing firm that is trying to cash in on Paul’s newfound fame as a “dream influencer”. We even see capitalism at work in a further attempt to create an industry out of this flukey situation.

The brilliance of the film stems from Borgli presenting this as an entertaining comedy-horror film with ‘everyman’ Paul at the center. It’s a clever idea that is not-so-subtle in its willingness to show us how easily cancel culture can spin out of control and how monetizing our addiction to attention can go wrong. One specific thing that I admired in Borgli’s approach was how he made Paul a normal guy, and yet, he’s one of those who always believes someone has wronged him or stolen his work – despite the fact that he never actually produces any work or takes his own risk. There is so much to like about this film, not the least of which is one of Nicolas Cage’s best ever performances (even in David Byrne’s oversized suit).

Opens in theaters on December 1, 2023

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Posted by David Ferguson

FALLEN LEAVES (2023, Finland)

November 30, 2023

Greetings again from the darkness. Finland is often listed as the country having the happiest people, and this latest from writer-director Aki Kaurismaki (Oscar nominated THE MAN WITHOUT A PAST, 2002) arrives to make sure we never again believe this. It’s not that the film is oppressively sad, but it does focus on loneliness … especially that of the two main characters.

These two leads are Alma Poysti as Ansa and Jussi Vatanen as Holappa. The timeline of their relationship goes something like this: They notice each other on karaoke night at the local tavern, but they don’t speak to each other. They cross paths at a bus stop, again not speaking. When they finally do meet, they go for coffee and a movie (Jim Jarmusch’s zombie flick, THE DEAD DON’T DIE). He then loses her phone number. They almost meet a couple of times outside the cinema (where a Bardot poster is displayed), but just miss each other. When they do meet again, they part ways over a ‘deal-breaker’. She adopts a stray dog she initially names “dog”. When they meet again, they don’t speak.

Some may call this progression dry, but with filmmaker Kaurismaki at the helm, a better description is wry. Ansa expertly sports a forlorn look most of the time. The only exception is when she flashes subtle signs of hopefulness when she looks at Holappa. On the other hand, he spends most every day and evening guzzling from a glass, a bottle, or a flask … a habit that costs him various jobs. His circular reasoning is explained as: “I’m depressed because I drink and I drink because I’m depressed.”  Adding to the tone are reports of Russia’s invasion of Ukraine every time Ansa clicks on her kitchen radio.

Ansa has a friend named Tanya (Alina Tomnikov) and Holappa has a buddy named Huotari (Janne Hyytiainen). He is attracted to her and she admires his singing voice, yet deems him too old to date. These two characters could have been expanded, but Kaurismaki is so efficient at storytelling that the film barely lasts 80 minutes. Static shots and wordless exchanges fill much of the time, each scene with a definitive purpose that we fully understand. Personally, I’ve rarely been so filled with hope as watching Ansa purchase a single plate and corresponding utensils.

The film is spartan and quiet, yet the deadpan characters feel real and fully developed despite minimal dialogue. There is certainly a message about alcoholism and how outside forces can have such an impact, and yet the film seizes on Ansa’s hope for a better day. Kaurismaki’s film won a Jury Prize at Cannes, and is Finland’s submission for Best International Feature Film. For those who thrive on intimate cinema, it’s a gem … and for those who doubt that “happiest country” label for Finland, you now have your supporting documentation.

Opened in NYC and Los Angeles on November 22, 2023, other cities to follow

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Posted by David Ferguson

SALTBURN (2023)

November 21, 2023

Greetings again from the darkness. Emerald Fennell won an Oscar for her original screenplay of her dark and divisive debut feature film, PROMISING YOUNG WOMAN (2020). She’s back as writer-director of her second feature film, and it’s every bit as dark, and even more scathing in its takedown of the rich and entitled. We are also treated to yet another awkwardly disturbed character for the growing resume of Barry Keoghan.

Oliver Quick (Keoghan) is a newly arrived student of the Class of 2006 at Oxford, and it’s clear from the first moment that he doesn’t really fit in, whether it’s his clothes, not smoking, his uneasiness with his tutor, or his social ineptness. He becomes transfixed on the BMOC, Felix Catton (Jacob Elordi, fresh off his turn as Elvis in PRISCILLA). Felix is tall, handsome, charming, and rich. Life comes easy for him, and students are drawn to him – both male and female. He’s a modern-day aristocrat, and one day Oliver helps him out of a jam. This leads to a bonding, or more like worlds colliding. The first act is devoted to the development of this unexpected friendship, and leads to Felix inviting Oliver to spend the summer at his family estate … Saltburn.

Saltburn is nothing short of a magnificent castle. Felix’s eccentric family includes Farleigh (Archie Madekwe, GRAN TURISMO), an adopted “cousin” fellow Oxfor student who sees all but would never blow this gig; Venetia (Alison Oliver), the total mess of a daughter and sister; Poor Dear Pamela (Carey Mulligan), the total mess of a houseguest who has overstayed her welcome; Sir James Catton (Richard E Grant), the childlike father; and Espeth Catton (Rosamund Pike), the former model drama queen passive-aggressive mother. It’s a motley crew that puts ‘The Royal Tenenbaums’ to shame for entitlement.

As the summer progresses, we see Oliver in action as he weasels his way into the good graces of some, while creating leverage over others. His non-descript looks, quiet demeanor, and background story lead some to protect him at the same time others distrust him. As viewers, it’s obvious to us that something isn’t right with Oliver, yet director Fennell and Keoghan’s performance keeps us hopeful that things won’t become too skewed. Those hopes are dashed once we see Keoghan’s first bathtub scene (and subsequent disturbing moments), and Fennell serves up multiple references to his mouth in letting us know it’s not to be trusted.

The third act goes full dark in a deliciously wicked manner with Fennell and Oscar winning cinematographer Linus Sandgren (LA LA LAND) creating an Old World style within a contemporary world. The film is perfectly cast with Elordi quite magnetic as Felix, the not-so-obscure object of Oliver’s desire. Madekwe is spot on as the turf-protecting Farleigh, and Grant and Pike make the perfectly mismatched couple of privilege. Alison Oliver delivers the film’s best scene with her bathtub monologue, while Keoghan nails the creepy Oliver (in line with his roles in THE BANSHEES OF INISHERIN, THE KILLING OF A SACRED DEER, and THE BATMAN. He has become the go-to psychopath. He even combines humor and horror for his happy naked castle dance in this film that has THE TALENTED MR RIPLEY (1999) as its most obvious comparison. Ms. Fennell strikes another blow against the entitled elite, although we do wish she hadn’t spelled out everything to end the film … a bit of mystique would have worked.

Opening in theaters on November 22, 2023

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Posted by David Ferguson

NAPOLEON (2023)

November 21, 2023

Greetings again from the darkness. Ridley Scott long ago etched his name on the list of filmmakers whose projects are nearly always interesting and deserving of a watch. After all, he has helmed such beloved classics as ALIEN (1979), BLADE RUNNER (1982), THELMA AND LOUISE (1991), and Best Picture winner GLADIATOR (2009). Returning to the historical epic genre and working from a script by his ALL THE MONEY IN THE WORLD writer, David Scarpa, Scott takes on the life and legend of Napoleon Bonaparte. Of course, that legend is a bit conflicted since Napoleon and his bicorne hat remains a hero to France, yet something less to England.

With thousands of books written on Napoleon, most of us still possess only rudimentary knowledge of the man, even though we do understand his namesake ‘complex’. One would think a movie that spans a quarter century and runs 2 hours and 38 minutes in length would sufficiently fill in the gaps, but unfortunately the result is a fascinating mess that wows mightily with its battle scenes, while mostly falling flat in every other area. This is especially disappointing since the film tries to juggle Napoleon’s brilliance as a military leader, the muddled and complex politics of the era, and the strange obsession he held for Josephine de Beauharnais.

Oscar winner Joaquin Phoenix (JOKER, 2019) stars as Napoleon, and the exceptional Vanessa Kirby (PIECES OF A WOMAN, and The White Widow in the two most recent Mission Impossible movies) co-stars as Josephine. One can’t help but fear the effect had this film been made without two such talented leads. Still, at least for me, there was a cold disconnect with Napoleon and Josephine, as we never quite grasp his military leadership, nor her hold on him.

Director Scott kicks off the film by showing a bound Marie Antoinette (Catherine Walker) trudge through the angry masses on her way to the guillotine in 1789. Sound effects add to sense of realism, as does the executioner’s final act of display. After this chilling sequence, a young Napoleon goes on his quest for battlefield victories, military promotions, more power, and a male heir.

The battle scenes are truly epic and as spectacular as any we’ve seen on screen. Two particular standouts are the 1793 Siege of Toulon and the 1805 battle at Austerlitz. The first shows the brutality of war and gives us a glimpse of Napoleon’s renowned strategic expertise, while the second has some remarkable footage on (and under) the frozen lake. In between these two are bits from Napoleon’s conquests in 1798 Egypt and The Coup of 1799. Napoleon gains power with each step, and ultimately, his battlefield wins make him a hero at home where he ultimately claims the title of Emperor. Director Scott and Director of Photography Dariusz Wolski shine in this sequence and re-create the familiar Jacques-Louis David painting of the coronation.

Unable to produce a male heir, Josephine must be cast aside and divorced, although their letters to and fro make up most of the film’s structure of their relationship, even after divorce. The 1812 invasion of Russia is shown, as is Napoleon’s exile to the Isle of Elba, where he escapes after a year to reclaim his power in France. Of course, we do know how this ends, as the brilliant military strategist meets his literal Waterloo at the hands of the Duke of Wellington (Rupert Everett). His second exile to St. Helena concludes with his death at age 51 in 1821.

Ridley Scott’s director cut is rumored to be an additional two hours in length and is supposedly headed to AppleTV+ in January. Although that is an incredibly long run time, Napoleon’s short up-and-down life was filled with so many events (61 battles and more than 3 million deaths) and deserves a more complete telling than what this theatrical version offers. For those historians who are quick to point out inaccuracies, the well-known grump, Ridley Scott, has made his response to you quite clearly and succinctly.

Opens in theaters on November 22, 2023

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Posted by David Ferguson

NEXT GOAL WINS (2023)

November 16, 2023

Greetings again from the darkness. It might seem that a team goal of merely scoring a goal is setting the sights a bit low, but then again, we are talking about the American Samoa soccer team that lost to Australia by the incredible score of 31-0 (not a typo) in a World Cup qualifier. Brought to you by the comedic genius of writer-director Taika Waititi and his co-writer Iain Morris (“The Inbetweeners”), it was filmed in Hawaii a few years ago and easily slides into the category of feel-good entertainment, despite the near-certainty that some will accuse Waititi of cultural insensitivity. Much of it is based on a true story.

For those familiar with Waititi, you know that he’s a quirky and talented New Zealander filmmaker behind such gems as JOJO RABBIT (his Oscar winner from 2019), THOR: RAGNAROK (2017, still my favorite non-Batman superhero movie), HUNT FOR THE WILDERPEOPLE (2016, a hidden gem that I frequently recommend), and two terrific TV series, “What We Do in the Shadows” and “Flight of the Conchords”. So, it’s not surprising that this latest is a bit difficult to categorize. Is it a story of underdogs rising to discover their own self-worth? Or is it the story of a misguided, bitter coach rising to discover his own self-worth? Or is it the story of how culture bonds a community in the face of embarrassment? Or is it the touching story of the first non-binary trans person to play World Cup soccer? The film’s weakness is that it’s a bit of all without really being ‘about’ any. Instead, Waititi focuses on having a good time and making us smile.

Michael Fassbender stars as Thomas Rongen, a soccer coach whose anger issues tend to boil over at the wrong times, costing him a marriage (Elisabeth Moss) and a premier coach gig. The federation (led by smarmy Will Arnet) cast him off to coach the worst team in the sport, American Samoa. Of course, Rongen drinks too much and sees himself as too good to coach the team of misfits, despite the warm welcome from Tavita Taumua (Oscar Kightley), the head of the Football Federation of American Samoa. Tavita’s wife, Ruth, (the always humorous Rachel House), is a bit more direct as she sees Rongen for what he is.

The 2014 World Cup qualifiers are fast-approaching, and Rongen and the players go through ups and downs … and we do discover what is contributing to Rongen’s bitterness. Not surprisingly, the Samoan culture helps him every bit as much as he helps the team. Most poignant is the arc of Jaiyah (played by Kaimana), a member of the fa’afafine community as a trans person … again, based on a real-life person.

Supporting work is provided by Rhys Darby (so good in “Flight of the Conchords”), Luke Hemsworth, Angus Sampson, and Kaitlyn Dever. The best (and obvious) comparisons are THE BAD NEWS BEARS and THE MIGHTY DUCKS, only this time it’s grown-ups rather than kids. An argument can be made (and I would) that Fassbender is miscast, but he’s so talented, it doesn’t hurt the film much. Sure, the story structure is a bit weak, as is the character development, however the film is quitey entertaining, as Waititi finds the humor without being offensive or condescending.

Opens in theaters on November 17, 2023

WATCH THE TRAILER

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Posted by David Ferguson

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