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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Posted by David Ferguson

BLACKBERRY (2023)

May 12, 2023

Greetings again from the darkness. There aren’t too many companies who have reached the pinnacle of their industry, only to later flop due to lack of innovation or a stubborn insistence on holding on to the past. Tremendous success and absolute failure are not typically associated with the same company. Blockbuster Video and Pan Am Airlines come to mind as examples of industry leaders whose refusal to adapt, culminated with closure, and it’s likely that Blackberry belongs in the category, at least as presented here by writer-director Matt Johnson and co-writer Matthew Miller, adapting the book by Jacquie McNish.

Socially awkward pals, Mike Lazaridis (played by Jay Baruchel) and Doug Fregin (played by the film’s director Matt Johnson), co-founded Research in Motion (RIM). The film picks up in 1996 when Mike and Doug are making their first presentation of their breakthrough handheld data delivery-email machine, which they have named Pocket Link. These are two genius nerds with no concept of how the outside business worlds functions, and the executive to whom they are pitching is so distracted that his only feedback is, “You need a new name.” In a fascinating twist, that same executive, Jim Balsillie (Glenn Howerton, “It’s Always Sunny in Philadelphia”) ends up saving not just the new product, but also the company.

Balsillie presents himself as a fireball, take charge, full-steam-ahead kind of guy. It’s quite a contrast to nerdy Mike and easy-going Doug. Mike is a quiet guy committed to perfection in his work, while Doug wrangles the tech developers with a culture of video games, movie night, and an overall fraternity environment. Balsillie’s arrival as a vocal outrage expert and brash businessman changes everything, and he and Mike drive the newly named BlackBerry to levels not previously seen. We do get a humorous anecdote from a shirt stain (even though it’s not a true story), and in fact, there is quite a bit of humor throughout.

We are informed that the film was “inspired by real people and real events”, so some dramatic license is expected. Perhaps the best comparison is THE SOCIAL NETWORK (2010), and while that film was more polished, I personally found this one more entertaining and accurate from a business sense. An excellent supporting cast includes Cary Elwes, Saul Rubinek, Michael Ironside, Martin Donovan, Rich Sommer, and SungWon Cho, and the film’s real draw is the contrast between Jay Baruchel’s mousy but brilliant Mike, and Glenn Howard’s powerhouse portrayal of the egotistical Balsillie. Baruchel’s scene where he reacts to the new iPhone is alone worth the price of admission.

At its peak, BlackBerry had 45% market share and had earned it’s “CrackBerry” label in the business world. Apple’s 2007 introduction of the iPhone not only rocked the BlackBerry company, it shook up the world. The Canada perspective is noted (RIM was based in Waterloo, Ontario), as is Mike’s aversion to ‘made in China’, perhaps the ultimate reason for the fall. It’s likely that BlackBerry has become a Case Study in Business Schools, although the fast-paced and pressure-packed world of tech continues to require a balance of decisions focused on current markets and never-ending innovation for the future.

Opens on May 12, 2023

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Posted by David Ferguson

MONICA (2023)

May 12, 2023

Greetings again from the darkness. The emotional strain associated with being estranged from one’s family reaches a level only those involved can comprehend. In this touching film from writer-director Andrea Pallaoro and co-writer Orlando Tirado, we focus on the return and attempted re-connection of one such person.

The first 15 minutes of the film move at an excruciatingly slow pace, as we get a feel for Monica’s (Trace Lysette, “Transparent”, HUSTLERS 2019) everyday struggles. It appears there is no joy in her life as relationships unravel, and she attempts to find her way. A phone call notifies of her mother’s deteriorating health due to a brain tumor. The news draws Monica back home for the first time since she left years ago. Greeted with a hug from her sister-in-law Laura (Emily Browning, SUCKER PUNCH 2011), Monica meets her nieces and nephews for the first time. A reunion with brother Paul (Joshua Close) is initially quite awkward. The siblings do get their moment a bit later, although it’s when Monica is by her mother’s side that the film excels.

Patricia Clarkson plays Eugenia, a woman whose brain tumor is wreaking havoc not just on her physical presence, but also her emotions. At times, she’s merely a child calling for her own mother, while at other times, she’s hard-headed and demanding that she can take care of herself … this despite the constant attention from her caregiver, Letta (Adriana Barraza, BABEL 2006). She doesn’t appear to recognize Monica, and a running theme is, “Are you going to tell her?” We feel Monica’s pain as she attempts to find solace in merely being close to her mother, but it’s in the bathtub scene where Clarkson’s incredible talent shines through, and the many webs of deceit and uncertainty reach a conclusion.

Lysette’s performance as Monica captures the vulnerability that allows the film to work. Is she isolated or trapped … or is it both? It’s a role that takes 45 minutes of screen time before she’s allowed a smile, though her Cocteau Twins t-shirt is appreciated. Pallaoro’s approach here is restrained (an understatement), and he gives up backstory hesitantly, and in small doses and hints. No scene is overrun with dialogue. Cinematographer Katelin Arizmendi uses close-ups effectively to convey the emotional strain and unseen barriers to closeness. The result is a strong family drama on relationships, decisions, acceptance/rejection, and health issues.

Opens on May 12, 2023

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Posted by David Ferguson

PETER PAN & WENDY (2023)

April 28, 2023

Greetings again from the darkness. In 1904, J.M. Barrie finished “Peter Pan, or the Boy who wouldn’t Grow Up”, and since then the story has been re-imagined on stage, on the silver screen, and even with a live TV production. Every generation gets their version (sometimes more than one), and the most famous (or infamous) are the 1953 animated Disney classic, the 1991 Steven Spielberg live action version HOOK, the 2003 live action version that never really captured a wide audience, and the fairly recent 2015 flop PAN from Joe Wright. At the core of the story is that none of us really want to grow up and take on the responsibilities of adulthood, and to avoid such a wretched future, we’d be willing to fly off in the middle of the night to a place called Neverland and fight an evil pirate while chasing great adventures.

If you want to explore the optimistic and playful aspects of the story, then Walt Disney animation and director Steven Spielberg are your best bets. On the flip side, you wouldn’t expect the director of A GHOST STORY (2017) and THE GREEN KNIGHT (2021) to follow suit. Writer-director David Lowery and his co-writer and collaborator Toby Halbrooks (Polyphonic Spree) on those projects wouldn’t be expected to dwell on the cheery aspects of the story, and they certainly don’t. Instead, we get exactly what they expertly deliver in their work – lush photography and a slightly twisted perspective on what makes people (young and old) tick.

We first meet Wendy (the talented Ever Anderson, offspring of Milla Jovovich and director Paul WS Anderson) as she frets over being shipped off to boarding school, while still finding the energy to stage sword fights with her younger brothers in all corners of the upstairs bedroom they share. Yet another piece of broken furniture results in the parents (Alan Tudyk, Molly Parker) lecturing Wendy about how her time for fun has passed and she should set an example for her brothers. This is the same evening (and very early in the film) where Tinker Bell (Yara Shahidi) and Peter Pan (newcomer Alexander Molony) show up to whisk the three kids away from drudgery and towards adventure and fun.

What to say about Neverland … the “lost boys” aren’t really living a carefree, desirable life, and fun seems to be a bit hard to come by. Their leader, Peter Pan, is certainly a moody dude. Adventure does strike every time Captain Hook and his band of pirates attack. Jude Law seems to relish the role and his handlebar mustache, gravelly voice, and grumpy demeanor is one of the film’s highlights – along with comedian Jim Gaffigan (underrated as an actor) as first mate Smee.

In this iteration, Peter Pan is a bit of a blah character, as the focus is on Wendy and Captain Hook. We do get the origin story for Peter and Hook, and the visuals (Newfoundland, Faroe Islands) from cinematographer Bojan Bozelli are matched by composer Daniel Hart’s score. Director Lowery has modernized the tale by having the Lost Boys include boys and girls of multiple nationalities, a biracial Tinker Bell, and a heroic Tiger Lily played by Alyssa Wapanatahk. Kids will enjoy the flying scenes, sword fights, and the giant crocodile, however, it’s fair to wonder if the film is too dark and joyless for youngsters … plus the focus on Hook’s disenchantment is more for grown-ups than kiddos. In fairness to Lowery and Halbrooks, they were also behind the excellent and underappreciated PETE’S DRAGON (2016).

We have come to accept that Disney classics are being re-made and re-imagined as live action flicks, and it’s no surprise that some are better than others.

Now streaming on Disney+

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2 Comments | Action, Drama, Fantasy | Tagged: , , , , , , , , , , , , | Permalink
Posted by David Ferguson

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