BARBIE (2023)

July 30, 2023

Greetings again from the darkness. A reasonable assumption could be made that a movie based on a doll so popular with pre-adolescent girls would be geared towards that audience. However, this is the era of comic book movies targeting “grown-ups”, and since we know, based on her previous work (the exceptional LADY BIRD, 2017), Greta Gerwig is an intelligent filmmaker, a more reasonable assumption is that she purposefully aimed the movie at women who once played with Barbie dolls and now fill their days with work, family, and adulting. This strategy has proven to be box office gold, and the heavy dose of cosplay at screenings proves the lasting impact this plastic doll has had on many women who lined up for tickets.

Ms. Gerwig co-wrote the screenplay with her real-life spouse and fellow filmmaker, Noah Baumbach (MARRIAGE STORY, 2019), and it’s fascinating to see what they have produced. Whether you find the film entertaining is another matter altogether, yet we tip our cap to the strange, visually-stimulating, and thought-provoking end result. Many will go in-depth on analyzing the gender politics and feminist approach to the story; however, I’m just here to discuss this as a movie, not a movement.

Two-time Oscar nominee Margot Robbie stuns in the opening sequence (a tribute to 2001: A SPACE ODYSSEY) as the original 1959 Barbie. In fact, Ms. Robbie is terrific throughout in this more-challenging-than-expected role. She’s so much more than a pretty face in high heels, as she’s previously proven in a risk-taking career featuring memorable turns in such films as THE WOLF OF WALL STREET (2013), SUICIDE SQUAD (2016), I, TONYA (2017), as Sharon Tate in ONCE UPON A TIME IN HOLLYWOOD (2019), and last year’s underappreciated BABYLON (2022). This time she portrays ‘Stereotypical’ Barbie, whose everyday is perfect in Barbieland. It’s here where we meet a diverse group of Barbies featuring Issa Rae, Alexandra Shipp, Emma Mackey, Sharon Rooney, Dua Lipa, and others. We are also introduced to Ken (two-time Oscar nominee Ryan Gosling, terrific here), whose mood for the day is totally dependent on whether Barbie acknowledges him. An equally diverse group of Kens features Simu Liu, Kingsley Ben-Adir, John Cena, Ncuti Gatwa, and others.

Barbie’s paradise is rocked one day when she begins wondering about death. A trip to “Weird Barbie” (a kooky Kate McKinnon) lets her know that the only cure for this existential crisis is a visit to the human world, where a sad girl is playing with her doll. It’s really an imaginative hook to allow the two worlds to collide. Unfortunately, only bits and pieces of the human world clicked for me (loved the rollerblading at Venice Beach). It makes sense that Barbie is shocked to discover the misogyny and patriarchy ruling the human world, but there are three other elements at play here: Ken discovering that men don’t take a backseat to women in this world, and in fact, they dominate; the corporate office of Mattel plays like a slapstick cartoon with Will Ferrell as a nonsensical CEO; and the mother-daughter duo of America Ferrera as Gloria and Ariana Greenblat as Sasha. The big twist occurs in that latter sequence, and it’s Ms. Ferrera who dishes out the gut punch soliloquy about what’s expected of women and how they are viewed. This monologue is the lesson director Gerwig wants viewers to leave with.

Barbie’s return to a much-changed Barbieland finds Ken and other Kens treating the Dreamhouse like a Frat house. See, the boys have learned how to run things their way … and at its core, that’s my main issue with the movie’s theme. Empowering women is a good thing, but why did Ms. Gerwig feel the need to make everything either a win for the women or a win for the men? I have always thought equality was the goal, not dominance. It’s this approach that gives the film a serious and dark undertone in a quite heavy-handed manner. Sure women enjoy having power. So do men. That’s no great mystery solved, and in fact makes these obvious points somehow more obvious.

Let’s talk about a few other less ominous topics. Helen Mirren delivers an admirable voiceover as the narrator, and a depressed Barbie and Ken’s affinity for horses are nice touches. Two of my favorite segments are Barbie’s first interaction in the human world … a “beautiful” woman on a park bench played by Oscar winner Ann Roth (a renowned Costume Designer who did not handle the costumes for this film), and a conversation with Barbie inventor Ruth Handler (played by Rhea Perlman), who named the doll after her daughter. While I hold firm on my belief that the film is not especially entertaining/fun, I’ll also admit the song and dance around the “I’m Just Ken” number was a hoot. Other than performances from Margot Robbie and Ryan Gosling, the star here is the Production Design from six-time Oscar nominee Sarah Greenwood. The film looks amazing, even if you might get your fill of pink by the end. Barbieland is quite a sight – it’s a shame the rest of the movie didn’t deliver this much fun, and instead pitted men against women.

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Posted by David Ferguson

OPPENHEIMER (2023)

July 22, 2023

Greetings again from the darkness. As pupils slouched in our school desks during history class, we easily and naturally disassociated with the many stories of war. World War II was lumped in with WWI, the Civil War, and The Revolutionary War. There were names and dates to memorize for quizzes and final exams, yet even with relatives recounting stories of kin, a personal connection was rare. As we aged and experienced modern-day warfare, the personal connection became all too real. Reality struck that soldiers are human beings with families, and despite their missions and marching orders, most are as innocent as the ‘tragic civilian casualties’ reported on the newswires. Along these lines, an aspect of war that has often remained overlooked is the behind-closed-doors decision-making of politicians and military leaders. Filmmaker-extraordinaire Christopher Nolan takes us behind those doors through the eyes of J Robert Oppenheimer, the Father of the Atomic Bomb. What we see is quite frightening.

Prepare yourself. At a full three hours in length, Nolan’s film is a hefty undertaking for viewers. It demands full focus and attention to details and nuance, as you spend significant time listening to brilliant men talk amongst themselves. Nolan adapted the screenplay from the 2005 biography, “American Prometheus: The Triumph and Tragedy of J Robert Oppenheimer”, written by Kai Bird and Martin Sherman. The end result is a film centered on complex physics and mathematics, yet presented in a simplified manner such that it’s much more a character study than a science class. The key is what characters say to each other, how they say it, and how they debate and rationalize the morality of the objective … building a bomb designed to kill people.

The morality of The Manhattan Project is under the microscope here, as is the motivation and concern of Oppenheimer. We get some early background establishing him as an upcoming mind in the world of physics from his academic stops around the globe. Some know Cillian Murphy from “Peaky Blinders” or as Scarecrow in Nolan’s Batman movies. I’d also recommend a couple of Murphy’s underrated gems: FREE FIRE (2016) and RED EYE (2005). It’s hard to overstate how spot on Murphy is as Oppenheimer. He lost weight for the role and captures the distinctive movements and speech patterns, as well as the familiar poses and deep-in-thought eyes. We never once question whether this is Oppenheimer, the leader of the science team at the Los Alamos Lab and the Father of the Atomic bomb … the one who “sees beyond the world we live in.”

Once Major Groves (Oscar winner Matt Damon) recruits Oppenheimer to run and assemble the great scientific minds, the obvious question to those involved is … even if we can create this bomb, should we do it? This weighs heavily on Oppenheimer – a man so engulfed by science that his haunting visions are that of atoms and particles and experimental reactions (perhaps a bit too heavy in the first act). Groves is the military leader of the project and the liaison between the scientists, the military, and the government. It’s also clear that while Oppenheimer’s brilliance is recognized and necessary to the project, almost no one outside of the scientists trusts him. This is where antisemitism and fears of communism arise. Oppenheimer was Jewish and, though he never joined the communist party, was associated with many who did. This included his love interest, Psychiatrist Jean Tatlock (the fabulous rising star Florence Pugh), his wife Kitty (Emily Blunt), and his brother Frank (Dylan Arnold).  

The teamwork and stress involved with building the bomb in Los Alamos is conveyed as rooms full of brilliant minds determine the future path of the country and the world. This culminates in the stunning sequence of The Trinity Test near Alamogordo. A blending of complete silence, along with spectacular sound and light, is truly a technical highlight of the film. The initial celebration of success initially overshadows the true meaning … the bomb is now ready for Hiroshima and Nagasaki, killing two hundred thousand people and essentially ending WWII, less than four years after the bombing of Pearl Harbor by the Japanese (never mentioned here).

The bombings are heard via radio news reports, and it’s at this point where the weight of what the scientists have done is fully realized. Oppenheimer became a national hero and his Time Magazine cover proves it. A meeting with President Harry S Truman (Oscar winner Gary Oldman sporting a Missouri accent) doesn’t go well, as Oppenheimer is introduced to political gamesmanship, something he would face even more directly in the near future. Lewis Strauss (Oscar winner Robert Downey Jr) is a key player as chairman of the US Atomic Energy Commission, and through him, we witness ego, ambition, and petty behavior that leads to a level of vindictiveness typically only seen at the junior high level.

Multiple timelines are covered. There is the background information on Oppenheimer’s early years, his well-rounded academia, his love life (lives), his building of the Los Alamos lab team, the overseeing of the bomb development, his time as a hero, the later backroom kangaroo court designed to disgrace him, and Strauss’ Senate Confirmation hearing for Secretary of Commerce. All of these tie together, and it’s those final two that make up the last act of the film – giving us a taste of just how nasty politics was 70 years ago (not unlike these days).

Nolan has assembled a deep cast with numerous Oscar winners and a roster of talented actors. Among the familiar faces not already named above are: Oscar winner Kenneth Branagh as Danish Physicist Neils Bohr, Oscar winner Rami Malek as experimental physicist David Hill, Oscar winner Casey Affleck as Military security advisor Boris Pash, Tom Conti as Albert Einstein, Benny Safdie, Dane DeHaan, Jason Clarke, Josh Hartnett, David Krumholtz, Matthew Modine, Alden Ehrenreich, Scott Grimes, Tony Goldwyn, James D’Arcy, James Urbaniak, Olivia Thirlby, James Remar, and (Nolan regular) David Dastmalchian.

The film is a historical biopic and also an unconventional thriller. Is this about unparalleled advancement in science or is it about the moral dilemma of mass destruction and death? Politics, military, ego, power, science, love, revenge, and redemption are all displayed as Oppenheimer struggles with the power he has created and the lack of power in how it’s used. My favorite line in the film is aimed at Oppenheimer when someone informs him that he’s now “not just self-important, but actually important.” The stakes are clear during the test when it’s stated that there is a “near zero” chance of destroying the world.

Cillian Murphy is a shoe-in for a Best Actor nomination, and his performance mesmerizes us. It’s nice to see Robert Downey Jr remind us of his true talent, and he should be rewarded with a Best Supporting Actor nomination. Florence Pugh and Emily Blunt, in the only two substantive women roles, should both receive consideration as well. Pugh’s role is limited but memorable, while Blunt shines in her best scene during the security hearing.

Christopher Nolan has delivered near perfection in technical movie-making, and on top of that, the story and characters are real life, and the performances are top notch. His use of Black & White film for Strauss’ perspective allows the viewer to differentiate the Oppenheimer viewpoint. Impressively, while there are some visual effects, Nolan has stated that no CGI was used in the film, and that’s most evident in the relatively short closing credit roll – where we typically get dozens if not hundreds of technical experts listed. Ludwig Goransson’s (Oscar winner for BLACK PANTHER) score packs an emotional punch, and Jennifer Lame’s editing is excellent and vital. Lastly, cinematographer (and regular Nolan collaborator) Hoyte Van Hoytema drives home the power of smart men in a room, as well as the devastation of the bomb test. This is excellent filmmaking and a reminder that the only thing we love more than lifting new heroes onto the pedestal of worship is tearing down those same heroes with a dose of humility. These types of movies rarely get produced these days, so here’s hoping enough people go back to the theater to see it to inspire more filmmakers to take a shot.

Opened nationally July 21, 2023

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Posted by David Ferguson

THE MIRACLE CLUB (2023)

July 10, 2023

Greetings again from the darkness. The Grotto of Massabiele in Lourdes, France is a major Catholic pilgrimage site, where each year millions visit to experience the healing powers of the flowing waters. Legend has it that in 1858 the Virgin Mary appeared to a local woman, turning this into a holy site. The healing powers of Lourdes plays a significant role in this film from director Thaddeus O’Sullivan and the film’s co-writers Joshua D Maurer, Timothy Prager, and Jimmy Smallhorne.

It’s unfortunate that the history of Lourdes and the lead performances offer the only points of interest in the film … and what a shame that is. Ballyfermot in 1967 is a rural community on the outskirts of Dublin, and the parish priest, Father Byrne (Mark O’Halloran) has decided to carry on with the local talent show/fundraiser on the heels of the funeral of a beloved local woman. The Grand Prize for the talent show is tickets to the Lourdes pilgrimage, and a multi-generational singing trio of Lily Fox (Oscar winner Maggie Smith), Eileen (Oscar winner Kathy Bates), and Dolly (newcomer Agnes O’Casey) have their heart set on winning the pilgrimage. Each woman has her own need for the miracle cure: Lily has been carrying a burden for too many years, Eileen found a lump on her breast and doesn’t trust doctors, and Dolly is the mother of a young boy who doesn’t speak.

It’s Chrissie’s (Laura Linney) mother who recently passed, and Chrissie has returned to the community for the first time since leaving for Boston forty years ago. What’s readily apparent is that the grudges being held by Lily and Eileen and Chrissie date back to that long ago time, and this is their only chance for reconciliation. But the wounds cut deep, or so we are led to believe. The problem here is that the film dances around the serious and dark psychological subject matter, and wants so much for this to be a heart-warming experience for viewers. And perhaps it will be for those who prefer to sit back and accept what’s given, rather than expect fully developed characters and story lines.

Forty years of secrets and guilt and grudges is too heavy a load for anyone, and these women have relied on faith and religion to carry them through. There are bits and pieces showing the importance and value of friendship, compassion, and forgiveness … although we see the flip side is good, bad, and ugly. The cast is outstanding and responsible for this being watchable, yet mostly we wonder why it remains surface depth.

Sony Pictures Classics plans to release the film in theaters on July 14th.

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Posted by David Ferguson

BIOSPHERE (2023)

July 6, 2023

Greetings again from the darkness. ‘Life will find a way.’ The iconic line spoken by Jeff Goldblum in JURASSIC PARK (1993) fits right into this offbeat science-fiction film from writer-director Mel Eslyn and co-writer and co-lead actor Mark Duplass. You may not be familiar with indie filmmaker Eslyn, but Duplass has built a career by specializing in projects that rip us out of our comfort zone, and then force us to consider a topic from a new perspective … as evidenced by films like CYRUS (2010) and CREEP (2014).

The pre-credit opening scenes quickly establish the personalities of Ray (Sterling K Brown) and Billy (Duplass). Ray is a dedicated and serious scientist, while Billy is the former US President (likely inspired by George W Bush). The two are lifelong friends who have been living a few years isolated in the biodome created by Ray. We are to assume these are the final two human survivors on Earth, and we may also assume they are still alive thanks to Ray’s ecosystems of fish for protein and plants for nutrients.

Initially, this gives us the appearance of a buddy film as the two men share a morning jog and discuss the dynamics of Mario and Luigi. It’s the first of our clues, along with Billy reading “Kiss of the Spider Woman”, and the repeated viewings of LETHAL WEAPON. However, the tone shifts pretty quickly with a certain development in the fish habitat. It’s best to avoid any further specifics on where the story goes from here, because although there are leaps of faith that must occur by viewers, the core elements raised here are certainly unusual.

A recurring gag about a magic trick with a bowling ball (and its thud), and an ever-present green light in the sky, punctuate the Ray and Billy chats centered on philosophy, gender roles, friendship, masculinity, adaptation, and of course, survival. This is termed a “two-hander” since only two performers make up the entire cast. Sterling K Brown and Mark Duplass are both likable actors and they expertly overcome any shortcomings in the script. And despite those flaws, you’ll likely carry on some internal discussions with yourself long after the final drop.

Opening on July 7, 2023

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Posted by David Ferguson

TIGER WITHIN (2023)

July 6, 2023

Greetings again from the darkness. These days it seems ‘hatred’ is all around us. One group despises another group. Political parties and opposing politicians take turns disrespecting each other. There are hate crimes and there are hate groups. Drivers rage when another driver is rude or not focused. These countries hate those countries, and yet, despite the widespread hatred, we wonder why we all can’t just get along. Director Rafal Zielinski and screenwriter Gina Wendkos (COYOTE UGLY, THE PRINCESS DIARIES) have the foundation of a story that shows what happens when one man … a man who earned the right to hate … pledges “to forgive all.”

As the film opens, we are following two seemingly unrelated characters – an elderly man who feeds the pigeons and takes the metro bus, and a teenage misfit who doesn’t fit in at home or school. We know these worlds will soon collide, though we aren’t yet sure how. Seven-time Emmy winner and TV legend, Ed Asner (who passed away in 2021 at age 91), plays Samuel, a Holocaust survivor who shuffles more than walks as he visits the gravesite of his wife. Newcomer Margot Josefsohn plays troubled 14-year-old Casey, whose mother (Erica Piccininni) is so concerned with her own life that she easily falls for the flowery ‘all is well’ update from her daughter.

Samuel and Casey do cross paths in what can’t possibly described as a new ‘meet cute.’ However, what follows easily qualifies as going beyond standard societal niceness. Samuel takes the cracks from runaway Casey and calmly fires back with nuggets of wisdom developed through experience … and the aforementioned pledge to his beloved with to forgive all.

Of course, we all know where this is headed, and the film’s weakness is that it takes few side trips to the eventual destination. Casey finds less-then-ideal work for an underage teen, and in the process sees her estranged father and his over-the-top wife for exactly what they are – life forms many levels below Samuel, who continues to offer guidance off and on as he periodically crosses paths with Casey (and her cool sketchbook). Despite her reluctance, Casey’s story takes a turn when she meets Tony (Diego Josef), an admirer whose niceness generates both caution and hope.

Holocaust denial and youthful ignorance (sometimes blissful, sometimes hurtful) both play a role here, but it’s the amazing performance from Ed Asner that provides the lesson we should all learn – maintain humanity regardless of history. In ELF (2003) and UP (2009), Asner seemingly capped a stellar career with two memorable roles. Although this film never dives as deep as we hope or expect, watching Mr. Asner (in his final performance) makes it all worthwhile. He truly captures the essence of a man who, very late in life, turns over a new leaf thanks to that pledge. And that new leaf is one we should all aspire to turn over.

Opening in select theaters and on VOD beginning July 7, 2023

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Posted by David Ferguson

THE MAN FROM ROME (2023)

June 29, 2023

Greetings again from the darkness. It appears as if Catholicism has gone high-tech! Of course, with that comes the risk of being hacked, and that’s how this film from writer-director Sergio Dow begins. Based on the 1995 novel “La Piel del Tambor” (“The Skin of the Drum”) by Spanish author Arturo Perez-Reverte, the list of those with a writing credit includes: Adrian Bol, Beth Bollinger, Gretchen Cowan, Carolina Lopez-Rodriguez, Sheila Willis, and Luis Zelkowicz, Yes, so while the premise is appealing, it’s likely too many fingers in the writer’s pie created the tangled web that prevented this one from reaching greater heights.

Richard Armitage stars as Father Quart, the best Priest-Investigator the Vatican can offer. Mr. Armitage performed admirably in a couple of Harlan Coben limited series, “Stay Close” and “The Stranger”, and he has a unique and quietly compelling screen presence … and probably very few other actors could come across as somewhat believable in the role of Priest-Cop. Still dwelling on a tragic error in his last case, Quart is sent to Seville, Spain where a 17th century church has been the scene of some recent unexplained deaths. Upon arrival, he learns the church is also a key element in a family squabble related to a pending land development deal.

Macarena (Alma Salamanca) and her mother Duquesa Cruz Bruner (Fionnula Flanagan, dropping her familiar Irish brogue for a Spanish accent) are self-funding the church renovations, while Macarena’s estranged husband, the ambitious and unscrupulous Pencho (Rodolfo Sancho) is pushing for the razing of the church so the large development project can proceed. Also included in this battle are Gris (Alicia Borrachero), who is the church’s architectural restorer, Monsignor Spada (screen veteran Paul Guilfoyle) pushing Quart to close the case, Padre Ferro (Paul Freeman), the Priest from the small church who believes Quart is the bad guy, Padre Cooey (Carlos Cuevas), a Priest with other-worldly tech skills, and the always great Franco Nero who plays the Pope in a couple of scenes (interesting that he also played a different era Pope in Russell Crowe’s recent thriller, THE POPE’S EXORCIST).

The deaths occurring inside Our Lady of Tears church may or may not be mysterious, but what is clear pretty quickly is that greed and corruption are quite prevalent in this situation. The film opens with Father Quart offering his own personal confession, and this is meant to convey that he really is a good guy (not a perfect one) looking for answers … not a lackey sent to get the high-dollar deal closed. The film is at its best when Armitage is on screen, yet the story might have benefitted from a deeper dive into the corruption aspect.

These days, a money-laundering scheme is the preferred scandal for the Catholic Church, and it’s kind of humorous to think that the Vatican might have a bullpen of programmers wearing Priest collars as they cyber-protect the Church. There are some fight scenes that aren’t particularly well-staged, although the work of renowned Spanish composer Roque Banos is a highlight, as are the beautiful locales. We are left feeling like this could have worked best as a limited series on Netflix.

Opening in theaters and On Demand June 30, 2023

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Posted by David Ferguson

LOREN & ROSE (2023)

June 23, 2023

Greetings again from the darkness. In addition to being a talented filmmaker, writer-director Russell Brown must be an admirer of movie history. His latest serves up tributes to some classics, and even borrows directly from some … the two most obvious being MY DINNER WITH ANDRE (1981) and CITIZEN KANE (1941). As evidence, the viewer will notice the vast majority of the film features two characters conversing over meals while dining in a restaurant, and the narrator walks us through his history and relationship with the most interesting and intriguing character.

Up and coming film director Loren (Kelly Blatz) is on the cusp of his debut feature film thanks to the film festival success of his recent short film. He’s meeting legendary actress Rose Martin (Jacqueline Bisset) at her favorite restaurant to discuss a lead role, which would be a comeback of sorts for the aging actress now best remembered for her turn in the cheesy “Mega-Gator’s Mom”. The young director is a bit insecure and anxious about this next career step, while Rose is impressed that he knows some of her more obscure work, and begins to steer the conversation deeper, offering advice and counseling – some which might be construed as manipulative to a degree.

Two framing structures are at play here. The straightforward one comes with title cards during the three meals when we see these two meet: Appetizer, Main Course, and Dessert. The appetizer is their getting to know each other and work towards the first film. The main course occurs after that first film when the two go much deeper into philosophy, art, relationships, etc. Finally, the dessert is served years later when the dynamics are much different for a number of reasons. The second structure is a recurring look at the auctioning off of Rose’s memorabilia and personal items. All of this blends to form an unusual friendship.

Veteran actor Paul Sand (“St Elsewhere”) deserves mention as Phil, Rose’s friend and the restaurateur who chats with them during their three meals. He adds an entertaining personality to the mostly talky proceedings. And in all fairness, it should be noted that many will find this a slow-moving, uneventful film with little in the way of plot. That would not be an incorrect conclusion, yet there is actually much going on here. These are two artistic personas from different generations and their exchanges take us down backroads of perspectives molded by their own experiences and expectations. Rose tries to guide Loren through her stories and opinions, and much of their dialogue involves the nuances of living and dying – Rose has learned, and Loren is learning.

Ms. Bisset is such a joy to watch, and she seems to be all-in for the role. She along with Jane Fonda, Charlotte Rampling, and others, have proven that fulfilling and interesting roles are being written for aging actresses, and they are certainly capitalizing on this. For this film, legendary actress Jacqueline Bisset plays (fictional) legendary actress Rose Martin, and we can’t help but apply some biographical symmetry. Filmmaker Russell Brown has infused some depth into her character, and then he memorably plays Sandy Denny’s version of “Who Knows Where the Time Goes” over the closing credits. Judy Collins may have delivered a softer version, but it’s Ms. Denny who delivers a haunting interpretation of her own song.

In select theaters on June 23, 2023

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Posted by David Ferguson

LOVE GETS A ROOM (2023)

June 23, 2023

Greetings again from the darkness. Most of us will never know the agony and desperation felt by Jews in 1942 Warsaw, the setting of the latest from writer-director Rodrigo Cortes (the underappreciated thriller, BURIED, 2010). Co-written with David Safier, the film benefits from an extraordinary performance by Clara Rugaard as Stefcia, the lead actress in a live performance of Jerzy Jurandot’s “Love Looks for an Apartment” taking place in a rundown theater within the slums of Warsaw.

The genius of the film is the symmetry between the play and the real-world developments occurring for Stefcia. Fellow actors in the troupe include her current boyfriend Edmund (Ferdio Walsh-Peelo) and her ex-boyfriend Patrik (Mark Ryder), whose latest proposition has caused quite the conundrum for all three – as well as Edmund’s little sister Sara (Dalit Streett Tejeda), who ends up on stage for the climax. Although the play is a musical romantic comedy being performed to bring a glimmer of joy to local residents, there is even more drama occurring backstage, and all of this takes place at a frenetic pace that plays out in mostly real time.

Fear is ever-present in the form of a rifle-wielding Nazi soldier (Magnus Krepper) who interrupts the show and plops down on the front row. He’s the type of arrogant soldier who finds joy in flaunting his power and watching others cower in his presence. Of course, the audience is oblivious to the fact that the emotions played out on stage – love, fear, confusion, and passion – are also playing out in the real lives of those same actors. Life here is bleak, yet the play brings a form of hope that goodness and joy still exist.

Fueled by adrenaline, putting nerves on edge, the film is enhanced by Victor Reyes’ score and the tremendous camera work by cinematographer Rafa Garcia. The camera is almost always in motion, mirroring the key players and the drama and decisions unfolding. Additionally worth noting is a frantic scene over the opening credits that revs us up so we can keep pace with the coming story. This is excellent filmmaking by Rodrigo Cortes, and the message emphasizing the human spirit to always carry on is on full display. On a personal note, one of my favorite takeaways here is the dedication the actors show in delivering a show that offers a window of joy to those in dire need of it.

The film will be released June 23 in limited theaters and available on Digital + VOD June 30th

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Posted by David Ferguson

DALILAND (2023)

June 9, 2023

Greetings again from the darkness. Sure, it’s an unusual approach; however, when it comes to Salvador Dali, the eccentric and iconic Spanish surrealist, a ‘normal’ introduction simply won’t do. Director Mary Harron (I SHOT ANDY WARHOL 1996, AMERICAN PSYCHO 2000, THE NOTORIOUS BETTIE PAGE 2005) shrewdly opts for an opening scene of the artist appearing on the classic TV game show, “What’s My Line?”. Lead actor Ben Kingsley (Oscar winner for GANDHI, 1982) has been superimposed over the familiar archival footage as he mimics the artist’s actual answers more than 60 years ago.

Screenwriter John Walsh (director Harron’s husband) structures the story around James (newcomer Christopher Briney), a young man Dali selects as his new assistant … and nicknames San Sebastian. This approach makes some sense as Dali was seemingly always on display and viewed as a curiosity to most. Yet James turns out to be the least interesting character on screen, and we wish for less of him and more of Dali, or Dali’s wife Gala, or Dali’s transgender nurse and muse Amanda Lear (Andreja Pejic), or even the flashbacks with Ezra Miller and Avital Lvova as young Dali and Gala.

It’s 1974 and “Welcome to Daliland” is how James is first invited into the St. Regis Hotel suite where Dali spent winters in New York City for forty years. Production Designer Isona Rigau captures the essence of the hotel, especially during the infamous parties thrown by Dali … even as Gala urged him to focus on work. Gala, played exceedingly well by Barbara Sukowa (HANNAH ARENDT, 2012), and Dali, show us the ups and downs of a codependent arrangement. She is shown pushing him towards success, and also at least partially responsible for his burnout and decline. Money was a constant battle as both enjoyed the high life. Dali loved the parties, while Gala enjoyed the company of younger men. The long-rumored signatures on blank canvas and the uncashed personal checks with the valuable signature are both addressed here.

Although it’s been forty years since Sir Ben Kingsley won his Oscar, he still knows how to seize a character and fill the screen. Not only does he embrace the pumped-up ego of a genius, he also conveys the worst fear of an artist – a tremor in his painting hand … although, to be fair, his fear of abandonment might have been even stronger. This is a man who knows he’s approaching the end of his career and life, but chooses to live until he can’t.

The flashbacks and the artsy moments where Dali conducts the wind from atop a seaside cliff are creative inserts worthy of one viewed as an icon, rather than as a man. Watching Dali hum while he works, or dominate a moment with his verbosity, or become emotional with Gala, all combine to provide a glimpse into Dali, the man and the artist.

In theaters and On Demand beginning June 9, 2023

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Posted by David Ferguson

MASTER GARDENER (2023)

May 18, 2023

Greetings again from the darkness. The word of the day is “awkward.” Every character, every situation, every moment, and every conversation in this film can be described with that word. An attempt will be made to not overuse that adjective here, but yours truly offers no guarantees. Paul Schrader has had a long and impressive career as both writer and director. His early successes include screenplays for TAXI DRIVER (1976), ROLLING THUNDER (1977), RAGING BULL (1980), and THE LAST TEMPTATION OF CHRIST (1988), as well as directing AMERICAN GIGOLO (1980) and AFFLICTION (1997). The past few years have been a bit of a resurgence for Schrader with the excellent FIRST REFORMED (2018) and THE CARD COUNTER (2021).

In his latest, Schrader gives us Narvel Roth, an expert horticulturalist played by Joel Edgerton. Narvel is responsible for the massive gardens on the estate of wealthy dowager Norma Haverhill (Sigourney Weaver). Narvel’s daily rituals are carried forth with his meticulous approach, including daily journaling in his sparse living quarters located on the grounds of the estate. As narrator, Narvel tells us, “a change will come in its due time”, and though he’s speaking of the garden, we understand the words also apply to him. Soon enough, we learn that this current lifestyle represents a significant change from his past, and it’s clear another is brewing.

The relationship between Narvel and Ms. Haverhill is quite unorthodox, and yes, awkward (she has nicknamed him ‘Sweet Pea’). She is filled with entitlement and thrives on her power over others, not hesitating to use Narvel for more than his gardening skills. In fact, his past likely provides quite an enticement for her. Ms. Haverhill soon charges Narvel with taking her estranged and off-track great-niece Maya (Quintessa Swindell, BLACK ADAM, 2022) under his wing and teaching her the profession of gardening. This creates the second and third of the three relationships at play in the film. Narvel and Maya hit it off, as her intelligence and work ethic win him over. However, things aren’t as smooth between Maya and Ms. Haverhill. Their first chat, though long delayed, epitomizes the awkwardness prevalent throughout the film.

Adding complexity to the story is Maya’s personal life which brings a couple of drug dealers to the forefront. It’s this development that uncovers the past Narvel has worked so hard to cover up. After a meeting with his Witness Protection contact (Esai Morales), Narvel begins his process of ‘saving’ Maya … a clear attempt at redemption from his past life, and this is where her being bi-racial is a significant plot point.

The first two acts offer an unconventional form of entertainment. Edgerton nails the Narvel role with his Steven Wright delivery, slicked back hair, SLING BLADE wardrobe, and fastidious procession through the day. Even his posture and stride change along with his character’s shifting outlook. The three relationships between the tormented characters weave quite the web, and as secrets are exposed, the dynamics of these relationships change as well. Schrader includes a few cringy lines of dialogue (perhaps by design?), and the drug dealers seem purposefully cartoonish, rather than intimidating or menacing. There are call-backs to earlier Schrader works, as it seems many of his characters over the years have battled personal demons, yet this one does offer a glimmer of optimism, which could be considered a step forward … even if it’s a bit awkward.

Opens in theaters on May 19, 2023

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

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