SITTING IN BARS WITH CAKE (2023)

September 8, 2023

Greetings again from the darkness. By coming clean up front, my hope is that forgiveness and understanding is in order, and maybe others will be diverted from the same path I took. Between the film’s title, the trailer, and knowing it was based on Audrey Shulman’s book and true story, my assumption was that this was going to be a straightforward, good old fashioned chick flick. And although comparisons to BEACHES (1988) are not without merit, director Trish Sie (PITCH PERFECT 3, 2017) serves up additional layers (yes, pun intended).

Jane (Yara Shahidi, “Blackish”, Ticker Bell in PETER PAN & WENDY, 2023) and Corinne (Odessa A’zion, HELLRAISER, 2022) are lifelong friends, roommates and polar opposite twenty-somethings. Jane is an introvert who is pleasing her parents by studying for the LSAT in order to become a lawyer. Corinne is an extroverted party girl hoping to move up at the creative agency where she works for a tough boss played by Bette Midler.

Jane is really committed to two things: her friendship with Corinne and baking desserts, especially cakes. Corinne comes up with a strategy to help Jane meet more men. The plan is for Jane to bake 50 cakes over the next year, and the group will take each cake to a different bar to meet new people. They map out the bars geographically by stereotypes of local guys, and hang it on the wall. Corinee calls this “Cake-barring”, and Jane reluctantly agrees to participate, and we are along for the ride and an introduction to the beautiful SoCal people. The plan is progressing swimmingly until Corinne is diagnosed with a life-threatening disease.

Taking care of her friend becomes Jane’s focus, going against the preferences of Corinne’s parents, a bearded Mr. Fix-it played by Ron Livingston, and a deadpan mom played by Martha Kelly (“Baskets”). Corinne insists that the cake-barring continue, even as her health declines. Jane does find a boyfriend (Rish Shah), and during all of this, learns quite a lot about herself.

Cancer plays a more substantial role than the trailer would lead us to believe, and at the core, this film is about friendship and self-discovery. Corinne remains steadfast with cake-barring because she understands her friend Jane needs to build her confidence in social settings – and her delicious cakes are just the ticket.

Audrey Shulman’s book is based on her experiences of a similar year, and though it’s not a cookbook, it does contain 35 recipes. Here, director Sie uses very creative counters/chapters to keep us up to speed on the latest flavor, and the film admits to a year of “hospitals and bars”, It’s also the first time I recall hearing the phrase “underwear bully”, so kudos for that! The additional layers mentioned above are quite satisfying despite some of the unavoidable cliches. It’s a pleasure to see grown women in a true friendship built on doing the right thing for the other, and also for themselves.

Releasing exclusively on Prime Video on September 8, 2023

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Posted by David Ferguson

GOLDA (2023)

August 24, 2023

Greetings again from the darkness. More than forty years have passed since the great Ingrid Bergman portrayed Israel Prime Minister Golda Meir in the TV miniseries, A WOMAN CALLED GOLDA (1982). Fighting through cancer during filming, it was Ms. Bergman’s final role, and she won a posthumous Emmy for a performance that left quite a mark on this young (at the time) viewer. Guy Nattiv won an Oscar for his excellent short film, SKIN (2018), and here he takes on a narrow, yet vital window in the term of Golda Meir … a time when the survival of her country was in jeopardy. The screenplay was written by Nicholas Martin (FLORENCE FOSTER JENKINS, 2016).

Under heavy make-up and facial prosthetics, Oscar winner Helen Mirren expertly captures the essence of Golda Meir at a time she was carrying an unimaginable burden. The opening shoots through a quick slideshow of history before settling into 1973 and the escalating conflict between the Arab states (led by Egypt and Syria) and Israel. Despite the presence of some intelligence warning of such, Israel was caught off-guard by the surprise attack, and found themselves scrambling for the next 3 weeks – the period that makes up the core of the movie. Slump-shouldered and chain-smoking (sometimes defiantly), we see Golda making huge decisions between trips for lymphoma treatments. Her decisions would be the determining factor on how many soldiers would die, and whether Israel would remain independent.

It’s the level and question of that intelligence that provides the film’s framing structure of Golda Meir appearing before the Agranat Commission – a commission designed to render after-the-fact judgment on her decision-making and war strategy. As we witness, some of that strategy involves gut feelings and instincts, yet what the film makes clear is that Golda understands war kills real people – these aren’t just numbers in a report. Included in these meetings are the Minister of Defense, Moshe Dyan (Rami Heuberger), Chief of Staff “Dodo” Elazar (Lior Ashkenazi), and Field General (and future Prime Minister) Ariel Sharon (Ohad Knoller). Camille Cotton plays Golda’s longtime personal assistant Lou Kaddar, and some of the best scenes are the private conversations between U.S. Secretary of State Henry Kissinger (Liev Schreiber) and Golda, as she pushes for assistance and support, with Kissinger in a tough spot.

This Yom Kippur War lasted barely three weeks, yet the profound stress of war-induced decisions is obvious in Golda, as is her stance as a tough leader. For her, this did not mean sacrificing human emotions, but rather being decisive, communicative, and surrounding yourself with a capable team … although disloyalty in her administration is hinted at by some. Golda lived (just) long enough to witness the infamous Treaty signed by Menachim Begin and Answar Sadat, a treaty made possible through her leadership.

The film more closely resembles DARKEST HOUR (2017), with Gary Oldman’s Oscar-winning performance as Winston Churchill during WWII, than THE QUEEN (2006), Ms. Mirren’s own Oscar-winning turn as Queen Elizabeth. Actual newsclips are mixed in for historical perspective and the score by Dascha Dauenhauer leans heavily on dramatic stringed instruments. A final song by Leonard Cohen caps things off. While it’s true that most of the storytelling doesn’t reach the level of Ms. Mirren’s performance, that performance is enough to convey the high stakes involved.

Opens on August 25, 2023

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Posted by David Ferguson

LANDSCAPE WITH INVISIBLE HAND (2023)

August 18, 2023

Greetings again from the darkness. Alien invasion movies have long been a favorite of science-fiction filmmakers, as well as platform for those who strive to caution us to our societal missteps and wrong choices along life’s muddy path. Within the past couple of weeks I watched JULES (2023), a cute, heart-warming story about an alien who crash-lands in Pennsylvania and is cared for by Ben Kingsley’s character. Going back further we have the thoughtful ARRIVAL (2016), the outlandish MEN IN BLACK (1997), the precious E.T. THE EXTRA-TERRESTRIAL (1982) from Spielberg, the frightening ALIEN (1979) by James Cameron, the often-re-made WAR OF THE WORLDS (1953), and the classic FORBIDDEN PLANET (1956). Of course, this is but a tiny portion of the complete list, but it gives some idea of the long-lived fascination.

Writer-director Cory Finley has become a rising star with the devilishly entertaining THOROUGHBREDS (2017) and BAD EDUCATION (2019). For his third feature, he has chosen to adapt MT Anderson’s 2017 novel, and in the process delivers a hit and miss commentary on the human race. Artwork is creatively utilized to provide the timeline and backstory of how the technologically advanced aliens invaded and began rule the planet. It takes us to the year 2036, five years after “First Contact.” It’s here where we find the Campbell family: mother Beth (Tiffany Haddish), son Adam (an excellent Asante Blackk, “This is Us”), and daughter Nathalie (Brooklynn MacKinzie). Beth is a former lawyer, unable to find work and struggling to make ends meet for the family. Adam is the main feature here, as a high school student who is exploring his talent as an artist, while also falling for new girl Chloe (Kylie Rogers, “Yellowstone”) who is homeless with her dad (Josh Hamilton) and bitter brother Hunter (Michael Gandolfini).

The aliens, known as Vuvv, have their own scratchy language, and the appearance of slimy loaves of bread with four paddle legs and two caterpillar eyes. As a species, they are mesmerized by human romance, and the newest Courtship Broadcast they follow is “Adam and Chloe in Love.” The two teenagers gain a following, which means money for their families. However, since much of the movie is spent harping on the evils of capitalism, the two soon find themselves being sued by the aliens for misrepresentation, putting themselves and their families at risk. A particularly creative solution to the problem finds one of the Vuvv moving into the home and attempting to emulate sitcom family life as seen on “The Adventures of Ozzie and Harriet” (personally I would have preferred “Leave it to Beaver”).

This is not one of the post-apocalyptic films that have become so popular. Rather it’s social commentary that doesn’t dig very deep and sticks to the easy targets. There are a few doses of clever humor, including a SHAWSHANK REDEMPTION shot in a golf course sandtrap, and a school lunch menu that includes Saturn sliders and Moon nuggets. Adam’s story is one of a young man striving to maintain his sense of self despite other-worldly obstacles. The lessons are clear in that money can’t buy happiness, but even that lesson doesn’t prevent us from wanting satire to go a bit deeper with its commentary … warbling music (Michael Abel) isn’t quite enough. Although this film isn’t at the level of his first two features, filmmaker Cory Finley will surely deliver future projects that inspire thought and soul-searching.

Opens in theaters on August 18, 2023

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Posted by David Ferguson

JULES (2023)

August 11, 2023

Greetings again from the darkness. Senior citizens sometimes nearly cease to exist for the outside world, or at best, are humored in a ‘there-there’ manner. So, what do you think happens when an elderly gentleman in a small western Pennsylvania town repeats the same suggestions at multiple City Council meetings, and then, in a nonchalant way, mentions that a spaceship crash-landed in his backyard, damaging his azaleas and birdbath? Right, others just shrug and move on, assuming the ol’ geezer is just imagining things.

But what if the old man is not imagining? What if that spaceship/UFO did crush his azaleas and he’s now being quite hospitable and nursing the injured alien back to health? Well, that’s the story here in the first feature film screenplay from Gavin Steckler (“Review”) in a film directed by Marc Turtletaub, best known as a Producer on such fine films as THE FAREWELL (2019), LOVING (2016), and LITTLE MISS SUNSHINE (2006).

Oscar winner Ben Kingsley plays Milton Robinson, a gentle soul and widower whose veterinarian daughter Denise (Zoe Winters, “Succession”) helps him out with finances, while also encouraging him to see a doctor in hopes that he’ll agree to move into an assisted living home. We see her concerns as Milton is forgetful and repetitive and lonely … yet we also see his insistence on maintaining independence. Obviously, this is a situation many families deal with on a daily basis.

Things get really interesting when a couple of the other town elders become involved. Sandy (Harriet Sanson Harris) is the chipper do-gooder who is always trying to better the community, while Joyce (Jane Curtin) is the nosy one who wants to know everyone’s business. Watching these three deal with the quiet and calm alien they name Jules is almost a therapeutic experience in bonding over a secret.

Mostly a charming, feel-good movie, Ms. Curtin does deliver a dose of comedy with her rendition of “Free Bird”, and having Milton admit to three jaywalking tickets while addressing the City Council is a nice touch. This little film is full of kindness – unless you are a cat – and most will recognize that sliced apples take the place of Reese’s Pieces. It’s likely the most pleasant and easy-going science fiction movie we’ve seen … at least until the few moments when the government is involved. Let’s hope we would all treat outsiders the way Milton treats Jules.

Opens in theaters on August 11, 2023

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Posted by David Ferguson

MOB LAND (2023)

August 3, 2023

Greetings again from the darkness. As one who readily admits to watching too many movies each year, I always welcome the unanticipated joy in being pleasantly surprised by one that exceeds expectations. Doing just that is the first feature film from writer-director Nicholas Maggio and co-writer Rob Healy – a neo-noir thriller that takes place in a small rural community down south.

Now you might initially cringe (I did) at the thought of John Travolta carrying a big gun and wearing a cowboy hat as slow-talking Sheriff Bodie Davis in this small town, but I’m happy to report he never overplays his hand and delivers a truly respectable performance. However, despite the poster, his marquee name, and the gravitas he carries, Travolta is not the main focus here. Instead, Shiloh Fernandez plays Shelby Conners, a greasy-haired, drag racing, local truck driver and mechanic who shares a daughter with his town beauty wife, Caroline (Ashley Benson). The family is struggling to make ends meet in this town where drug overdoses barely raise an eyebrow.

Caroline’s brother and Shelby’s friend, Trey (Kevin Dillon), drags Shelby into a get-rich-quick scheme derived from desperate times. A local clinic is the front for a drug-dealer, which means piles of cash on hand, with not enough security. Shelby reluctantly agrees and, of course, things go sideways. Only it gets much worse when Clayton Minor (Stephen Dorff) shows up and informs the boys that they ripped off the New Orleans mafia, and as the fixer/enforcer, he’s there to set things right.

Many times we have seen local boys looking for an easy score. Rarely are the scores easy, and never are they without consequences. Trey doesn’t last long, but a strange connection occurs between Shelby and Clayton. Now he’s been doing this for a while and he’s very good at his job, but Clayton is struck by Shelby’s sincerity. Empathy may be a stretch, but he’s at least paying attention to the humanity of the situation, despite threatening Shelby’s wife and daughter. It does present an unfamiliar dilemma for Clayton, serving as the crux of the story.

As you know, in small movie towns, everyone knows everyone else, so smooth-talking Clayton in his shiny black Caddy stands out like the proverbial sore thumb. Sheriff Brodie is suspicious and cautious and worried about his nephew Shelby, but there’s not much he can do to keep up with the gangster. Travolta and Dorff have a couple of nice scenes together, and the film’s opening sequences establish the contrast between their characters.

But it’s Shelby and Clayton who spend the bulk of the film together. Dorff has most of the best lines, and Fernandez holds his own. Mr. Dorff has always been a personal favorite, and I’ve often wished he was cast in better movies. Mr. Fernandez was once considered a rising star, and seems to have settled into his acting career just fine (sans spotlight).

Devlin McCluskey sings a terrific and unusual version of “House of the Rising Sun” during the film, and Jason Dodson (the Maldives) plays a wonderful song over the credits, and both songs fit with the look and feel and tone and style of the film … something that doesn’t always happen. There is nothing about the film that gives the impression of ‘first time director’, so we will sit anxiously awaiting the next one from Nicholas Maggio. In the meantime, hopefully someone will give Stephen Dorff another perfect role.

Opens August 4, 2023

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Posted by David Ferguson

SHORTCOMINGS (2023)

August 3, 2023

Greetings again from the darkness. In the past twenty years, Randall Park has built an excellent acting career, likely best known as nice guy dad, husband, and restauranteur on the long-running TV series “Fresh Off the Boat”. He also had prominent roles in the mini-series “WandaVision”, “Veep”, and the Ant-Man movies. Now taking his shot as a feature film director, Mr. Park sticks closely to the Asian community, while simultaneously taking a step forward by not emphasizing generational aspects and familiar cultural tropes. He’s working from a script that Adrian Tomine adapted from his own graphic novel.

The film opens with Miko (Ally Maki, “Wrecked”) and Ben (Justin H Min, AFTER YANG) watching the end of a film festival movie. It plays as a parody of the hugely successful CRAZY RICH ASIANS (2018) and leads to contrasting reactions and an argument for Miko and Ben. Miko is the curator of the film festival and is thrilled the movie received such positive audience reactions, while Ben, a struggling indie filmmaker, is totally offput by the film’s pandering and mass appeal. We quickly realize Ben is a condescending jerk and Miko is fed up.

Ben manages a small arthouse movie theater in Berkeley and often has lunch at a local diner with his only other friend, Alice (a terrific Sherry Cola, JOY RIDE), who points out that his smugness doesn’t play well with others. Alice is gay and laughs off her tendency to ‘play the field’. Miko calls out Ben on his blonde, blue-eyed white girl fetish, and then soon after announces she is taking an internship in New York City, causing us to realize this movie is probably going to deal with Ben’s road to redemption (hopefully resulting in a worthwhile human being).

With Miko living across the country, Ben seems to be at his most comfortable with Classic Movies and solo chill. He’s a film school dropout with no filter and no sense of timing with his comments and critiques. Basically, he’s not a likable guy, and we see this in his separate pursuit of two blond, blue-eyed white girls. He hires performance artist Autumn (Tavi Gevinson) to work the ticket booth at the theater, and has no idea how to deal with her emotional swings and artistic leanings. Things are even worse with Sasha (Debby Ryan), who is coming off a breakup with her girlfriend. Despite warnings from Alice to stay clear, Ben’s pompous nature is once again exposed, leaving him all alone.

Ben’s world changes abruptly when Alice informs him she is also moving to New York and invites him to come visit. He sees this as a chance to get back together with Miko, who has quasi-ghosted him since she left. When Ben arrives, he finds Alice living with Meredith (Sonoya Mizuno, EX MACHINA) in a serious relationship, and stumbles on Miko in a situation that causes confusion, and of course, conflict. Leon (Timothy Simons, “Veep”) is a NYC fashion designer with an Asian fetish plays a key role in this segment.

The film is billed as a comedy, and while there are some funny moments, there is actually a sadness throughout … most of it related to how most everyone is searching for love while trying to avoid loneliness. During this search, we are often our own worst enemy (Ben being the prime example here). The message here is that while we are all flawed, one can only find joy once they sincerely enjoy the happiness of others. Watching Ben’s journey is not always a pleasant viewing experience, however his story is well told.

In theaters beginning August 4, 2023

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Posted by David Ferguson

WHAT COMES AROUND (2023)

August 3, 2023

Greetings again from the darkness. Not long ago, cable movie channels were filled with late night flicks that were easy enough to watch, and even easier to forget. Unfortunately, that description fits the second feature film from director Amy Redford (daughter of screen legend Robert Redford). Scott Organ adapted the screenplay from his own play, “The Thing with Feathers”, and the title of the film has been changed … it played the 2022 Toronto Film Festival as ROOST. It’s one of those times where some individual pieces are better than the film as a whole.

Grace Van Dien (“Stranger Things, CHARLIE SAYS, 2018) stars as Anna, who is on the verge of her 17th birthday. She has been secretly online chatting with an older “college boy” named Eric. In a virtual ‘meet cute’, they read Emily Dickinson poetry to each other and talk for hours. Since he lives 900 miles away, the two have never met, but in typical teenage fashion, Anna says “he gets me.” As an unexpected birthday surprise, Eric (Kyle Gallner, THE FINEST HOURS, “Interrogation”) shows up at her door and drops off a thoughtful present. All of this is happening as Anna’s mother Beth (Summer Phoenix, sister of Joaquin and the late River) announces her engagement to her cop boyfriend Tim (Jesse Garcia, QUINCEANERA, 2016).

The proverbial ‘stuff’ hits the fan when Anna introduces Eric to her mom. Not only is Eric a bit older than he let on (and the college story was a fabrication), his aw-shucks and overly apologetic demeanor don’t seem to charm anyone except Anna. But more than that, there’s a twist here that causes a cosmic shift in all of these relationships.

Grace Van Dien is the great-granddaughter of the late and legendary Robert Mitchum, and she’s worked non-stop the past ten years, though I’ve only seen her in a couple of things. She clearly has screen presence, although this role doesn’t stretch her much at all. I do hope she’s offered some more challenging projects moving forward. The bulk of the film’s second half focuses on creepy manipulation and the grooming of teenagers … a hot and important topic lately due to the vulnerability of teenage girls. The message is appreciated, but this one would have benefitted from some script polishing so that the dialogue was more realistic.

Opens on August 4, 2023

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Posted by David Ferguson

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

WATCH THE TRAILER

2 Comments | Drama, Thriller | Tagged: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Permalink
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.

WATCH THE TRAILER

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

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