IRENA’S VOW (2024)

April 15, 2024

Greetings again from the darkness. This is based on the true story of Irena Gut Opdyke who, during WWII, vowed “If I could save a life, I would.” Directed by Louise Archambault, it has been adapted for the screen by Dan Gordon, who was the playwright for the hit Broadway play. Cinema has been utilized many times over the years to shine a light on so many who acted altruistically in protecting Jews from the Nazis. Some of these heroes saved one life, while others saved hundreds. The courage of these folks deserves to be remembered.

The film begins in 1939 as Germany invades Warsaw. A bomb drops on the hospital where Irena (Sophie Nelisse) is working. She is Polish, not Jewish, so she is sent to work in a munitions factory. Her features get her recognized by senior German officer Rugmer (an excellent Dougray Scott, MY WEEK WITH MARILYN, 2011) who reassigns her to a supervisory role over Jews working in a hotel laundry. When Rugmer reassigns her again, this time to his personal villa as housekeeper, she learns the Jews in the laundry will be sent to a concentration camp.

We are fascinated by Irena’s work to rescue and then hide these twelve people … and she does so literally under the feet of Rugmer. Obviously, this puts herself and the hidden Jews in danger, but also Rugmer, who would surely be shot were they discovered in his home. Humor is scarce here. In fact, one of the most horrific scenes you’ll ever view in a movie occurs. It’s a devastating moment and one that won’t soon be exorcised from my mind. In a rare display of levity, Irena befriends an elderly servant named Schultz (Andrzej Seweryn, SCHINDLER’S LIST, 1993) whose advice to her is to keep a low profile and ‘know nothing’. Fans of the old “Hogan’s Heroes” series will appreciate the connection.

The current issue of antisemitism gives this one a bit of a contemporary feel, as does the abortion discussion amongst those hiding. At first, we can’t help but wonder if this was for dramatic effect, although the answer becomes quite clear over the end credits. Sophie Nelisse was exceptional in THE BOOK THIEF, and she is terrific here as well, playing Irena Gut Opdyke who much later in life was honored with Righteous Among the Nations … after being imprisoned for supporting Nazis. The epilogue spells out much of what happened, and all of it leaves us with the utmost respect for this quietly courageous woman.

A Fathom Events presentation on April 15 and April 16, 2024

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Posted by David Ferguson

THE ABSENCE OF EDEN (2024)

April 11, 2024

Greetings again from the darkness. “It’s us or them.” That’s a line spoken by one of the ICE officers after a particularly physical and dangerous altercation with an illegal immigrant. In this particular instance, the words ring true. However, writer-director Marco Perego and co-writer Rick Rapoza show both sides of this coin that has generated so much passionate debate among politicians and the citizenry. The film strives to show the humanity of all involved, and how a lack of humanity can cause more problems than it solves.

Garrett Hedlund (MUDBOUND, 20 17) stars as Shipp, a new ICE recruit. We see him volunteer to be first in the “Taser Training” so that he knows what the recipient experiences. He’s a man of few words, though he seems smitten with his girlfriend Yadira (Adria Arjona, MORBIUS, 2022), a single mom who may or may not be withholding pertinent information. Shipp’s more experienced ICE partner, Dobbins (Chris Coy, THE KILLING OF TWO LOVERS), is the one who speaks the line of dialogue quoted above. Dobbins has a singular view of his job and of those crossing the border illegally, while Shipp is a bit more confused on how best to handle things.

The other key story here revolves around Esmee (Zoe Saldana, Gamora in the Marvel Universe). She’s an exotic dancer in Mexico until her self-defense against one customer goes sideways and she’s forced to flee. Her trek to the border finds her protecting a young girl, and then getting dragged into the underworld. There is a scene with a drug dealer that features one of my cinematic pet peeves. Why is it when a drug dealer gives a phone to someone and tells them to keep it on at all times, they never furnish a charger? I can understand a lack of respect, but that phone isn’t going to last long without a charger. Just a minor rant that I often need to release after a movie.

Director Perego is a renowned conceptual artist and he’s married to Zoe Saldana. Together they depict the realities at the U.S. southern border. ICE is working to follow guidelines, while immigrants are in search of a better life. Things sometimes don’t work out well for either. We see the ICE raids and we see the daily struggles of immigrants. Despite this, there seems to be no solution in sight, so the conflicts carry on day after day.

Opens in theaters on April 12, 2024

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Posted by David Ferguson

IN FLAMES (2024, Pakistan)

April 11, 2024

Greetings again from the darkness. One of the unheralded roles movies can play is to help us better understand various cultures around the world. It’s important to grasp the challenges others face based on where they live. The first feature film from writer-director Zarrar Kahn takes us to Pakistan and elegantly lays out cultural traditions that may have even outlasted laws that have passed.

Mariam (Ramesha Nawal) spends much of her waking hours studying for the upcoming medical exams. However, the recent death of her beloved grandfather has the film opening with preparations for the funeral service. His passing has left Mariam, her younger brother Bilal (Jibran Khan), and their mother Fariah (Bakhtawar Mazhar) in a precarious situation. The law allows for Fariah to inherit the apartment, car, and belongings; however, family traditions aren’t quite in sync. Sleazy Uncle Nasir (Adnan Shah) offers to take care of everything for the grieving family. Mariam is wise not to trust him to act in their best interests, but the passive-aggressive discussions between mother and daughter make it clear that Fariah trusts the Uncle.

A brick through the car window reminds us of other differences between Pakistani law and traditions. Mariam is simply driving herself during daylight hours – an activity that traditionalists refuse to accept. Not long after, Mariam meets Asad (Omar Javaid), and a budding romance blossoms as they enjoy a lovely day at the beach. A tragic accident adds even more stress to Mariam’s life, yet the beauty of her character stems from her quiet strength in handling anxiety, grief, and a culture built to hold her back.

The first half of the film employs a relatively slow pace so that we might better understand these people and their situation. Death and visions of departed loved ones play a prominent role, as does the inner-strength of women in a world structured to abuse and take advantage of them. The cinematography of Aigul Nurbulatova deserves special notice here, not just for how the visions and apparitions are handled, but also the interactions which often take place in confined spaces. It all feels as if it could be happening. Ms. Nawal also earns kudos for her performance as Mariam. She allows us to feel the emotions without ever once over-emoting. Kahn’s film was Pakistan’s submission of Oscar consideration last year and it’s easy to see why.

In theaters beginning April 12, 2024

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Posted by David Ferguson

WICKED LITTLE LETTERS (2024)

April 4, 2024

Greetings again from the darkness. “This is more true than you’d think.” Director Thea Sharrock (ME BEFORE YOU, 2016) kicks off the film with this statement. The movie then proceeds to twist and stretch and outright change many of the details from the actual story and case outlined in the 2017 book, “The Littlehampton Libels: A Miscarriage of Justice and a Mystery about Words in 1920’s England” by Christopher Hilliard. However, from an entertainment perspective, the script from Jonny Sweet combined with the stellar British cast works pretty well as a glimpse of that era’s patriarchal society, as well as the need for attention from someone who has been stifled for far too long. And it even includes a few laughs along the way.

As Edith Swan (Oscar winner Olivia Colman) and her elder parents Edward (Timothy Spall) and Victoria (Gemma Jones) gather around the table to read the anonymous profanity-laced letter, we learn it’s the 19th one received by Edith. The decision is made to contact Constable Papperwick (Hugh Skinner, FALLING FOR FIGARO), who is quick to accept as fact their presumption that the letters’ source is neighbor Rose Gooding (Jessie Buckley). See, the Swan’s are a God-fearing family (and quick to advertise the fact), while Rose is an Irish immigrant and single mom with a loud mouth … one often filled with colorful curse words. It’s little wonder holier-than-thou Edith’s accusations are believed while denials from rough-around-the-edges Rose are dismissed.

“Female” Police Officer Gladys Moss (Anjana Vasan, CYRANO, 2021) is the only one who notices the massive inconsistencies in the “evidence”, and sets out to investigate. This, of course, goes against the wishes of the police captain, and overall dismissal from fellow officers since she is such an oddity as a female officer. Moss is following in her father’s footsteps with the badge, and has more instinct and powers of observation than the others … especially Papperwick, who is clueless and arrogant.

As Edith finds pleasure in the notoriety, Moss enlists help from a couple of community ladies who don’t buy into the Swan’s pious attitude. The film’s best line is, “Congratulations on your tragedy.” These women, played beautifully by Joanna Scanlan (AFTER LOVE, 2020) and Eileen Atkins (“Doc Martin”) devise a strategy to catch the true culprit in the act. Of course, most if not all viewers will have solved the case long before the police or jury do, but that won’t lessen the enjoyment of watching the drama play out, sometimes with a dash of humor.

The 1923 Poison Pen scandal of Littlehampton was a real thing, with court case and all. The film makes a point of the Patriarchal society in place at the time (the onset of the Suffragette movement), and it helps us gain an understanding of Edith and Officer Moss, as well as the quick-to-judge folks so easily accepting Rose’s guilt. I probably enjoyed this a bit more than many since I’m a big fan of both Colman and Buckley, who also co-starred together in THE LOST DAUGHTER. Timothy Spall reminds us that few can chew scenery like he, and the other familiar English actors all do their part. Those creative and sometimes confusing epithets (more likely to result in chuckles than anger) were taken from the actual letters in the case, and Ms. Colman’s cackle at the end is itself worthy of a ticket price.

The film opens in theaters on April 5, 2024

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Posted by David Ferguson

THE GREATEST HITS (2024)

April 4, 2024

Greetings again from the darkness. If you are one for whom hearing a particular song, no matter how many times over however many years, brings back vivid memories of a person close to you or a memorable event, then you will likely relate to Harriet, the lead character in this film from writer-director Ned Benson (THE DISAPPEARANCE OF ELEANOR RIGBY, 2014). Additionally, if you have tragically lost someone special to you and find yourself cloaked in unshakeable grief, then you will also likely find common ground with Harriet.

Harriet (Lucy Boynton, so good in SING STREET, 2016) wears noise-cancelling headphones whenever she is in public. She is so concerned with controlling the songs she hears, that she now works in a library for the serenity that silence brings. These steps are for a good reason … they protect her from instantaneously being transported back in time to a specific moment with her beloved boyfriend Max (David Corenswet, “Hollywood” mini-series, and he’s the new Superman). For Harriet, these aren’t merely flashbacks or memories – she is physically transported back in time when she hears a song. Rather than HOT TUB TIME MACHINE, she’s living “Hi-Fidelity Time Machine”. Her trip only lasts as long as the song is playing, yet she has no control. Once back in real time, she is viewed as having had a seizure. It’s frightening stuff for her. However, instead of being concerned about her health, she is intent on finding the song that takes her back to the moment she can change the past and prevent the accident that cost Max his life.

Harriet’s BFF Morris (Austin Crute, BOOKSMART, 2019), a local DJ, has been very supportive of her grief, but it’s been two years since Max died, and Morris wants his friend to move on with life. Hope springs when Harriet meets David (a terrific Justin Min, “Beef”) at a grief counseling group event. The two are understandable tentative around each other, yet it’s obvious David is a good dude with the necessary patience to allow her to work through her grief. Harriet’s case of déjà vu with David comes full circle, and adds a nice touch to the delicate situation they find themselves locked in.

Wanting to change the past is something we have all thought of at one time or another, yet the physical transformations that Harriet experiences feel like something beyond science fiction, and bordering on psychological torture. Filmmaker Benson has delivered a film that is simultaneously relatable, while also landing pretty far outside the box. There is a throwback feeling here, despite the characters feeling very much of this day. As you might expect, the soundtrack is quite varied with some deep cuts … with Roxy Music being a key. Although there may not be any big surprises in how the story unfolds, the characters are so relatable, and it’s so well acted, that we find ourselves pulling for each of them to have a happy ending.

Opens in theaters beginning April 5, 2024, and streaming on Hulu on April 12, 2024

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Posted by David Ferguson

SLEEPING DOGS (2024)

March 21, 2024

Greetings again from the darkness. It’s easy to forget that Russell Crowe was once Oscar nominated three years in a row, winning Best Actor for Ridley Scott’s epic, GLADIATOR (2000), and has probably deserved two or three additional nominations. His reputation has not won him many industry friends over the years, but to his credit, he keeps plugging away – some minor roles in big films, and some lead roles in smaller films. Crowe can still command the screen with his presence, even when the material is slight (see THE POPE’S EXORCIST, 2023).

This project from writer-director Adam Cooper (writer, EXODUS: GODS AND KINGS, 2014) and his frequent writing partner Bill Collage has been adapted from Eugen O. Chirovici’s 2017 novel, “The Book of Mirrors”. It’s Cooper’s directorial debut, and it’s entertaining enough, especially if one can avoid comparisons to other similar crime drama films, especially the classic MEMENTO (2000). In this one, Crowe stars as Roy Freeman, a former homicide detective who lost his badge after a drunk driving accident. He has recently undergone an experimental brain procedure designed to help him regain some of the memories Alzheimer’s has robbed him of. Roy’s apartment has notes posted everywhere. These notes remind him of his name, remind him of his shoe size, and remind him that his Hungry Man dinners are hot when they come out of the microwave. Turns out, it’s too late for a note to remind him not to put the TV remote in that same mircrowave.

A ten year old case he worked is brought up by a group looking to prevent an innocent man from being executed. Roy has no memory of the case, so he re-visits the files and tracks down his old partner, Jimmy Remis (played by Tommy Flanagan, in a reunion of GLADIATOR actors). What follows is a sufficiently intricate web of characters to keep us interested and guessing. The murder victim was Professor Wieder (Marton Csokas), and the usual suspects include his PTSD-suffering handyman Wayne Devereaux (Thomas M Wright), Wieder’s research assistant and lover Laura Baines (Karen Gillan, Nebula in the Marvel Universe), Laura’s other lover Richard Finn (Harry Greenwood) who is writing a book on the murder, and a couple other characters tossed in to knock Roy and us off track.

Flanagan and Csokas are two of my favorite character actors – both always bring something interesting to their roles, and here it’s Gillan’s Laura that seems to offer the most intrigue – changing names, locales, and personalities, all while publishing a book on a theory of how ‘bad’ memories can be replaced with good ones, or erased altogether (think of another classic film, ETERNAL SUNSHINE OF THE SPOTLESS MIND, 2004). Roy’s flashbacks are handled by quick spurts of moments that he struggles to assemble, which allows us to struggle right alongside him. Roy’s plight leaves us with the thought that it’s possible to find yourself, and not like what you see. Memory is obviously crucial to the story, and for a second-level crime thriller, there is enough here to keep us going until the conclusion.

In theaters beginning March 22, 2024

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Posted by David Ferguson

AMERICAN DREAMER (2024)

March 7, 2024

Greetings again from the darkness. Owning a home remains the American Dream, and being unrealistic about the topic makes one an American Dreamer. The first few scenes of the film make it obvious that American Dreamer is not just the title of Dr. Phil Loder’s in-progress novel, but also a term that describes him. This is Paul Dektor’s directorial debut, and the script is co-written by Theodore Melfi (HIDDEN FIGURES 2016, ST VINCENT 2014) and Christopher Wehner. It’s loosely based on a true story.

Phil (Peter Dinklage) is an adjunct college professor who dreams of purchasing one of the multi-million-dollar mansions in the market. Inexplicably, he often crashes the open houses on these properties, or has his friend Dell schedule a viewing appointment. It’s inexplicable because Phil earns less than $50k per year.  Dell (1980’s heartthrob Matt Dillon) is a smug high-producing realtor, and we never quite understand the bond between he and Phil. They are like oil(y) and vinegar, and Dell cuts to the quick when he tells Phil, “You’re a dreamer, not a doer.” (Just in case every single viewer hasn’t quickly figured that out)

We’ve all heard the adage: if it’s too good to be true, it probably is. Well, Phil proceeds to learn this lesson over and over … whether it’s through a real estate deal or the attraction of a beautiful woman. When Phil stumbles on an ad (in the classifieds section, no less), he has Dell check it out. The “deal” is for $240k, Phil can buy one of the spectacular mansions he’s been dreaming of. The catch? He must accept a “live-in” – the current owner, an elderly woman who Dell describes as “actively dying”. Phil is confined to a small, run-down apartment on the property “til she croaks”.

Of course, like Doc Holiday in TOMBSTONE, the elderly woman wasn’t quite as sick as she made out. Astrid Fanelli (Oscar winner Shirley MacLaine) intends to hold Phil to the agreement which includes his paying upkeep, repairs, and property taxes. This is just one of the pieces that is never explained and makes zero sense. It’s clear, these two will go one of two ways – either fight like proverbial cats and dogs, or become close friends.

Phil teaches a class in cultural economics, and the first question he asks his class is, “What do we need to be happy?”. Similar to the novel he’s writing, there is a “we see right through you” element to the autobiographical account of Phil’s own thoughts and dreams (including a fantasy relationship with twin beauties). Bottom line, Phil is not a likable guy, especially after liquidating his retirement fund and selling his personal belongings to get this “deal” (Phil is later seen packing up a U-Haul, though we never see him buy anything after liquidation of his assets).

Supporting work is by Danny Pudi (“Community”) as Phil’s supervisor, Michelle Mylett (“Letterkenney”) as Phil’s amorous student, Kimberly Quinn (HIDDEN FIGURES, 2016) as Astrid’s lawyer “daughter” and yet another with amorous intentions (though conflicted) towards Phil, and Danny Glover (at 78, not getting too old for this “stuff”) as a Private Investigator. The film belongs to Mr. Dinklage and Ms. MacLaine, and they do all they can with the material, expertly generating some terrific scenes … scenes that too often get crushed by the weight of other scenes and subplots that make little sense. Beyond that, though no one should be pleased with how the characters of Maggie and Claire are written, the film is certainly watchable, even with a weak ending.

In select theaters and OnDemand beginning March 8, 2024

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Posted by David Ferguson

ACCIDENTAL TEXAN (2024)

March 7, 2024

Greetings again from the darkness. Life in west Texas can be harsh. There is nothing romantic or picturesque about the land … unless you are one of the lucky land/lease owners who have become rich by striking oil. Complementing his long career in the art departments of some massive blockbusters, Mark Lambert Bristol directs his second feature film from a script Julie B Denny, adapted from the 1999 novel “Chocolate Lizards” by Cole Thompson.

Former Harvard student Erwin Vandeveer (Rudy Pankow, who I also saw in 5LBS OF PRESSURE this week) has just gotten his big break as an actor. He hits the road for the drive from Los Angeles to New Orleans, and is awed by having his name on a set trailer. Now, we’ve all had some jerk ruin the moment during a movie by checking a cell phone, but you’ve never seen it happen to the extreme that Erwin experiences when his goes off during his first scene. It’s funny for us and devastating for him. On the trip home (after being fired from the movie), his Saab breaks down in Buffalo Gap, Texas. At the local diner run by Faye (Carrie-Anne Moss of THE MATRIX fame), oil driller Merle (Thomas Haden Church, SIDEWAYS, 2004) makes a deal with the desperate Erwin: Use his acting skills to impersonate a land man, and Merle will pay for the car repairs.

Erwin soon realizes Merle is every bit as desperate as he is. The bank is ready to foreclose on his rig, sending him into bankruptcy. His window is narrow to save his business, way of life, and pride. An unconventional (and not altogether above-board) collaboration with Erwin, is Merle’s last hope, as is a plot of land owned by local old codger Scheermeyer (Bruce Dern, at age 88, his 65 year career is still going strong). The age-old battle of the ‘little guy’ taking on the big and corrupt system is at play here, and the clock is ticking.

Most of this is easily predictable, yet the three lead actors work their magic to ensure we remain on board and engaged. Thomas Haden Church is especially effective here, though we do wish Carrie-Anne Moss was given more to do. The ending is pretty hokey, and has a “sports movie” feel … you know, last second Touchdown, game winning Home Run, or buzzer-beater basket. Still, we all can appreciate a feel-good story, and a reminder that when folks are at their lowest point, sometimes it only takes a helping hand from a neighbor, or even a stranger, to pick them back up.

In theaters beginning March 8, 2024

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Posted by David Ferguson

ASLEEP IN MY PALM (2024)

February 29, 2024

Greetings again from the darkness. The extreme political divisions that exist in the United States today are well-documented and often discussed. The first feature from writer-director Henry Nelson eschews politics and instead looks at class differences – and even deeper into the role of human connections and family bonds. As a new filmmaker, it certainly doesn’t hurt to have an incredible actor as your dad, especially one willing to dive headfirst into the lead role of your gritty and intimate drama.

Tim Blake Nelson has evolved into a must-see actor. He manages to make each role his own, whether in support (O BROTHER, WHERE ART THOU?, 2000) or as the lead (OLD HENRY, 2021). Here he stars as the bearded father to 16-year-old Beth Ann (an outstanding Chloe Kerwin, “The Marvelous Mrs Maisel”). When we first see them, dad is telling a creative bedtime version of Chicken Little to his daughter, complete with frequent blue language. A short while later we see the two are living in a storage unit, about as far off the grid as a father-daughter can get.

During the initial Chicken Little story, dad says, “everybody has a breaking point”. We know immediately that this is foreshadowing as well as an explanation for what has already happened. We quickly bond with father and daughter, although dad is often a bit prickly, an attribute we chalk up to PTSD. What we don’t doubt is his commitment to Beth Ann and his need to protect her from outside forces, aka society. Dad doesn’t talk much about himself or his past, but he frequently serves up lessons, often based on religion, that are meant to convince their way is the only way.

An occurrence with his partner in crime (Jared Abrahamson) becomes a way forward, but at the same time, Beth Ann is exposed to some of the students at a nearby college and becomes intrigued by Millah (a memorable Gus Birney, daughter of actor Reed Birney). As viewers we are forced to consider the effects of isolation, loneliness, parental judgement, and teenage curiosity … both before and after the film’s excellent twist that few will see coming. Not only is this a nice showcase for Tim Blake Nelson, Chloe Kerwin, and Gus Birney, it’s also a solid debut from writer-director Henry Nelson.

In theaters on March 1, 2024, on VOD March 19, and streaming April 19.

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Posted by David Ferguson

ORDINARY ANGELS (2024)

February 23, 2024

Greetings again from the darkness. Ed Schmitt has lost his faith. His wife dies, leaving him with two young daughters … the youngest of which, due to Biliary Artesia, needs a liver transplant to avoid her mother’s tragic fate. These circumstances have straddled Ed with $400,000 in medical bills, and the possibility of losing his precious daughter before a donor can be found. Directed by Jon Gunn (MY DATE WITH DREW documentary, 2004), the film is based on a true story with a screenplay by Kelly Fremong Craig (THE EDGE OF SEVENTEEN 2016; ARE YOU THERE GOD? IT’S ME, MARGARET 2023) and actress Meg Tilly (her first screenplay).

Two-time Oscar winner Hilary Swank stars as Sharon Stevens, a middle-aged hairdresser and alcoholic party girl. We see her at her inebriated peak, dancing on the bar in her tasseled boots – right up until she falls off. Her salon partner Rose (Tamala Jones) does what any good friend would do – takes her to an AA meeting. Of course, Sharon refuses to admit she’s an alcoholic, but afterwards, as she’s in line to buy a six-pack, a local newspaper headline catches her eye. Five-year-old Michelle Schmitt (Emily Mitchelly) has recently lost her mom, and now has severe medical issues herself. Something awakens in Sharon and she organizes a Hair-A-Thon to fundraise for Michelle.

Michelle’s dad, Ed, is a hulking man played by Alan Ritchson (“Reacher”). He’s a soft-spoken man whose pride and guilt is consuming him. He and Sharon couldn’t be less alike, but Sharon dedicates herself to helping Michelle and Ed, as well as the older daughter (Skywalker Hughes), and Ed’s mother (Nancy Travis). Sharon seems intent on doing something good with her life, yet the addiction tendencies are ever-present, no matter how much the girls admire her sparkly skirts and neon heels.

This is 1993 in Louisville, Kentucky, and it’s obvious the writers have taken a great deal of dramatic license to up the ante on the hurdles facing Ed, Michelle, and Sharon. In fact, some of it is overkill, as the actual story is plenty heartwarming. These days, it’s enjoyable to watch folks helping others, and when the community comes together for the film’s most dramatic moment, it’s sure to bring a tear to the eyes of many viewers. We are all flawed humans, but Sharon proves that helping others (even those too proud to ask) is a reward in and of itself. Director Gunn ends the film with real life updates (and photos) of Sharon and the Schmitts, plus songs by Wendlo and Dave Matthews.

Rated PG and opening in theaters nationwide on February 23, 2024

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Posted by David Ferguson

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