PRETTY PROBLEMS (2022)

October 7, 2022

Greetings again from the darkness. I have always assumed the familiar phrase “green with envy” was somehow related to green being the color most associated with money. Director Kestrin Pantera’s latest film does nothing but reinforce this. The script and story come from co-writers Britt Rentschler, Michael Tennant, and Charlotte Ubben, each who also play a key character in the film.

We first meet married couple Lindsay (Ms. Rentschler) and Jack (Mr. Tennant) as they finish up “good try” morning sex before heading off to work. Their lack of enthusiasm for intimacy is matched by the rest of their daily lives. She is a clerk at “Gift of Garb”, assisting others with selecting outfits, all while silently dreaming of designing her own fashions and running her own place. Jack is in an even less desirable spot. On probation stemming from an assault, he has been disbarred and can no longer practice law. He now sells solar energy door-to-door.

The set-up gets more interesting when oddball store client Cat (a terrific JJ Nolan) befriends Lindsay with some textbook positive image philosophy, and then invites ‘Linz’ and Jack to spend a weekend at her place in Sonoma. Jack finds the idea of spending the weekend with people they barely know to be unfathomable, yet relents when Lindsay persuades him and says they need new friends and experiences.

When they arrive, both Lindsay and Jack are stunned at the beauty and size of the estate. He references PURGE and calls it “a murder house”, while she is anxious to see how the other half lives. Another surprise greets them when it turns out to be Cat’s birthday weekend, and it’s to be shared with Cat’s husband Matt (Graham Outerbridge), and their friends Kerry (Alex Klein) and Carrie (Charlotte Ubben) … yes Kerry and Carrie. Also present for the weekend are Cat’s and Matt’s servants, Dan (Clayton Froning) and Becca (Katarina Hughes) … along with enough drugs and alcohol to supply a Los Angeles rave.

No cell or internet service and the bizarre personalities of these ultra-rich friends has us believing Jack’s initial assessment could be spot on. The constantly vaping Cat buddies up to ‘Linz’, while the drugs and booze lead to behavior that allows us to understand no amount of money leads to happiness – even if the parties can get pretty wild and the houses are spectacular. Yet another surprise unfolds thanks to the presence of Dan, the possessor of an enviable nickname. In other words, the escapist fun bears a price to pay, and it puts definite strain on the relationship between Lindsay and Jack.

Keeping up with the Joneses is rarely an admirable direction to take, and here a certain sadness permeates most scenes of indulgence. The newcomers experience feelings of inadequacy and respond quite differently – Jack understands they don’t fit in and simply wants to leave, while Lindsay also sees they don’t fit in, but is drawn to the “better” life and the idea of wallowing in affluence. This could have been biting satire were it a bit more clever. Instead, we are left watching as unhappiness takes shape across multiple economic sectors. The poor are overtaken by envy, while the rich are desperate to feel. Director Pantera’s film follows the template for a successful low budget film festival flick, and in fact, won an Audience Award at SXSW.

Opens in theaters October 7, 2022

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Posted by David Ferguson

VESPER (2022)

September 30, 2022

Greetings again from the darkness. We are always looking to the future, and yet so many movies paint a bleak post-apocalyptic picture of what’s ahead. Co-writers and co-directors Kristina Buozyte and Bruno Samper, who previously collaborated on VANISHING WAVES (2012), are joined here by co-writer Brian Clark to deliver something that still looks bleak, yet is something that not only has a unique style, it also founds a new sub-genre I’ll call arthouse science fiction.

Raffiella Chapman plays Vesper, a 13-year-old forced to survive off the shredded land while also playing caregiver to her disabled father (Richard Brake). She manages his feeding tube and is followed around by the drone through which he calmly communicates … the floating drone looks a bit like Wilson the volleyball. Vesper is also a bit rebellious and exceedingly clever and intelligent. We first see her scavenging the land for anything useful in feeding Papa or furthering her experiments in her self-made lab located in their own cabin in the woods.

It’s a dreary existence and the film even begins by informing us this is the “new Dark Ages” thanks to an ecological disaster. Genetically engineered seeds are the only hope for food, and most everything is controlled by the Citadel, which is run as an Oligarchy. Those on the outside are left to their own devices, and this includes Vesper and her ruthless Uncle Jonas (Eddie Marsan). When a glider crashes in the woods, Vesper rescues one of the injured inhabitants. Camellia (Rosy McEwen) and her shock of white hair is different … nearly ethereal and otherworldly. The two bond, but something never seems quite right.

We know a showdown is coming, but it may not be the one we expect. The film stresses the importance of the parent-child bond, as well as the importance of altruism. Even more crucial is the impact of the demise of the ecosystem. Filmmakers Buozyte and Samper use minimal special effects (especially for a sci-fi film), and still manage to create a world that seems quite real and populated with unrecognizable organisms. A cool score by Dan Levy accompanies a world that may have limited resources, but still features class division and a lust for power among some. Will we ever learn?  Probably not. But a terrific performance from young Ms. Chapman and the hopeful vision of the filmmakers inspires us to keep trying.

In theaters and VOD beginning September 30, 2022

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Posted by David Ferguson

BLONDE (2022)

September 28, 2022

Greetings again from the darkness. For those who have studied Marilyn Monroe’s personal and professional life, writer-director Andrew Dominik’s (first feature film since KILLING THEM SOFTLY, 2012) interpretative adaptation of the 2000 novel by Joyce Carol Oates may send them into the early stages of shock. In fact, regardless of one’s level of knowledge of the details of Marilyn’s background, shock and bewilderment are likely reactions. It should be made clear for all viewers that it’s a fictionalized account of her life, not a true biography. One should also know that this is cinematic artistic mastery to complement an incredibly in-depth and revolutionary performance from Ana de Armas (KNIVES OUT, 2019, NO TIME TO DIE, 2021).

At times, the film is surreal, while at others, downright hallucinatory. It’s certainly never boring. However, it’s a disturbing beatdown and a grueling watch for a single sitting at close to three hours long. The film begins in 1933 with a young Norma Jeane (Lily Fisher) living in poverty and misery with her single mom Gladys (a terrific Julianne Nicholson). Mom has obvious mental issues and would much prefer Norma Jeane not be around. It’s here where the ‘Daddy issues’ take hold – issues that stick with the girl for the remainder of her life. After being rejected by her father, her mother, and the friendly neighbors, Norma Jeane ends up in an orphanage. A montage takes us through her teenage modeling years, where we see the beginnings of her being taken advantage of and treated as a commodity.

There is an extended sequence involving the threesome of Marilyn and the sons of Hollywood legends Charlie Chaplin and Edward G Robinson (Xavier Samuel, Evan Williams, respectively), and a vicious rape scene with a studio head “Mr. Z” (hmmm). Marilyn’s first pregnancy leads to an abortion, which is the first of a few tragedies she will experience – and director Dominik finds an entirely new (and bizarre) method of filming these occurrences. The Joe DiMaggio (Bobby Cannavale) and Arthur Miller (Oscar winner Adrien Brody) marriages are noted, yet the men go unnamed, instead referred to as “former athlete” and “playwright” … as if somehow that will trick us.

Of course, all of these relationships are right in line with her “Daddy issues” … Marilyn even goes so far as to call these men “Daddy”, in hopes that one will finally give her the love and acceptance she so craves. One of the more uncomfortable scenes (and that’s saying something) involves her tryst with JFK (also unnamed), played by Caspar Phillipson, whose uncanny resemblance to the former President has resulted in his casting for the role in multiple projects. It’s likely this White House moment, replete with Marilyn’s inner voice, is responsible for the film’s NC-17 rating.

Dominik and cinematographer Chase Irvin recreate some of the most memorable film moments from Marilyn’s career … including the subway vent scene from THE SEVEN YEAR ITCH. After capturing that film magic, the sequence seems to drag on with leering onlookers and what proved to be the final straw with DiMaggio. A recurring feature involves Marilyn receiving and reading letters from the father she’s never met – including promises of meeting “soon.” The payoff for this is disappointing for us and for her.

Perhaps the main point of Dominik’s movie is the enormous gulf and psychological contrast between Norma Jeane, the eternally-scarred young girl, and Marilyn Monroe, the iconic bombshell she created for public consumption. There is a sadness about her most of the time, even when she flips that switch to become Marilyn – the familiar sultress adored by so many. Toby Huss plays Whitey, a version of real-life Allan Snyder, who was Marilyn’s long-time make-up artist and confidant. Her famous diary gets a mention, and we see the price she paid for taking drugs to calm anxiety while dealing with the crushing weight of fame.

Ana de Armas delivers a performance for the ages. Of course, the scrutiny she will face playing one of the most famous women of all-time will be senselessly nitpicky, yet from an artistic standpoint, her work is supreme. Costume Designer Jennifer Johnson somehow manages to nail the different stages, films, and moods (of both the film and its subject). Is this exploiting the woman who made a career out of being exploited? Or is it simply telling a story? Norma Jeane was a fragile creature constantly victimized as she desperately searched for love. Has the filmmaker continued that abuse with this vision? From a moviemaking aspect, it’s’ a thing of beauty. From a human perspective, it’s torturous to watch. If you are in need of a ‘feel-good’ movie, keep searching. On the other hand, if you are in the mood for the work of a cinematic visionary and one of the best acting performances of the year, settle in.

Opens on Netflix September 28, 2022

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Posted by David Ferguson

RAILWAY CHILDREN (2022)

September 27, 2022

Greetings again from the darkness. We probably need more family-style movies covering serious topics and worldly events in a style that makes it amenable for kids to watch and learn. I tried to keep that in mind while watching this film from director Morgan Matthews (A BRILLIANT YOUNG MIND, 2014) and co-writers Daniel Brocklehurst and Jemma Rodgers. It should be noted that it also serves as a pseudo-sequel to the classic 1970 film directed by Lionel Jeffries, which was adapted from the beloved novel by British author Edith Nesbit.

An opening at the Train depot in 1944 finds many mothers tearfully hugging their kids goodbye as they help them board. It’s war time and parents will do anything they can to protect their offspring – even if it means an unknown future and the chance they will never see them again. We follow three particular siblings: Lily (Beau Gadsdon), the eldest; Pattie (Eden Hamilton), clever but not as old as she wishes; and Ted (Zac Cudby), the youngest. The three are from Salford and headed towards the safer countryside, where bombs aren’t as likely to rain down.

Upon arrival, the kids are taken in by Roberta “Bobbie” Waterbury (Jenny Agutter) and her daughter Annie (Sheridan Smith). Ms. Agutter reprises her role as “Bobbie”, which she played in the original film some 52 years ago. She’s now grandmother to Annie’s son Thomas (Austin Haynes), who quickly bonds with the new arrivals. Annie is also the local schoolmistress charged with making sure the kids keep up with their studies.

Lily carries the weight of being the oldest child, and the others look to her for direction when they stumble upon Abe (KJ Aikens), an injured young American soldier gone AWOL. He’s hiding out in a disabled train car, and no one knows what to make of him, other than they want to help. This is the “serious” side of the story, and it’s balanced with often silly-type sequences. As an example, the new kids are out of their element with farm life, and of course, we get the pratfall of slipping in the mud, followed by the giggles.

Tom Courtenay appears as the mysterious Uncle Walter, while John Bradley is the station master. Homages to the original include Lily dreaming of seeing her military dad through the steam of the locomotive, and we see the local kids banning together to create signs and noise to stop a passing train. The aspects of racism are a bit heavy-handed, but not to the extreme of the overly dramatic, and at times, overbearing music (meant to generate viewer reaction). It’s easy to dismiss the film as fluff due to it’s “after school programming” feel, but again, that is purposeful, and through young eyes, it should work.

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Posted by David Ferguson

THE GREATEST BEER RUN EVER (2022)

September 25, 2022

Greetings again from the darkness. “Can I buy you a drink?” A simple phrase that can have a variety of meanings. In 1967, John “Chickie” Donohue did more than buy his buddies a drink. He hand-delivered beer after tracking them down at their military posts during the Vietnam War. Writer-director Peter Farrelly (an Oscar winner for GREEN BOOK, 2018) and co-writers Brian Hayes Currie (also an Oscar winner GREEN BOOK) and Pete Jones (HALL PASS, 2011) tell the story of Chickie’s dubious trip to the front lines. His mission was to show the neighborhood boys that folks back home care, and the results proved eye-opening.

Zac Efron plays Chickie Donohue, a Merchant Marine from the Inwood neighborhood of New York City. Chickie is a hard-drinking slacker and kind of a joke to his family and friends. He doesn’t really take life seriously and has no perceivable ambition. He is, however, a staunch defender of his country and the military personnel fighting a war that no one seems to be able to define. Especially ‘the boys’ from the neighborhood … too many who have died for the cause. One typically “full of hot air” evening at the local tavern where “The Colonel” (Bill Murray) tends bars, hones patriotism, and honors those who (like him) have served in war, Chickie blurts out his intention to head to Vietnam and hand-deliver a beer to each of his buddies stationed there. His drinking cohorts support his idea, yet fully believe this is simply the next thing that Chickie will never follow through on.

To everyone’s surprise, and despite pleas from his anti-war sister (played by Andy Serkis’ daughter Ruby Ashbourne Serkis), Chickie loads up a duffel bag with dozens of cans of Pabst Blue Ribbon and heads out. That seems to be the extent of his plan because he basically has to charm and ‘luck’ his way through each progressive stop once he has secured a spot on a container ship headed that way. In the film, he secures a 72-hour leave, but in real life, as documented in the memoir written by John “Chick” Donohue and JT Molloy, his journey took almost 8 weeks.

The film plays a bit like a road trip, where Chickie interacts with multiple characters along the way. Some in the military mistake him for undercover CIA, which he uses to his advantage. At a Saigon bar, Chickie debates with war correspondents, including a photojournalist played by Oscar winner Russell Crowe. Chickie questions why they report “only the bad stuff”, which is tough on morale back home, while the reporters counter with the defense of only telling the truth. A later part of Chickie’s journey finds him in the middle of the Tet Offensive, running for his life with Crowe’s character.

Director Farrelly, long celebrated as an iconic comedic filmmaker with his brother Peter, doesn’t break any new ground here, but the remarkable true story keeps us watching. In fact, it feels a bit like a war movie from the 1950s … mostly light, with a well-meaning, charming lead actor with limited range. Songs from the era are included, and the message seems to be that politicians don’t always tell the truth (an obvious fact that we live with every day). Chickie’s personal post-trip pledge of ‘less drinking, more thinking’ would be a good direction for many, and Farrelly includes a modern-day photo of Chickie and the boys from the neighborhood over the closing credits. A nice touch.

Opening in limited theaters on September 23, 2022 and on AppleTV+ beginning September 30, 2022

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Posted by David Ferguson

THE JUSTICE OF BUNNY KING (2022)

September 25, 2022

Greetings again from the darkness. Most of us are quick to judge others. Often too quick. This superb (and bleak) feature film debut from writer-director Gaysorn Thavat reminds us that our initial judgments might just be an easy “out” for us so that we may go on about our way, oblivious to the struggles of others. There is observational commentary here on what it means for a parent to love their kids so deeply, for someone to believe in themselves whole-heartedly, and for the pain an institution can cause under the guise of doing the right thing.

Essie Davis (THE BABADOOK, 2014) delivers a ferocious and authentic performance as Bunny, who is much stronger than we might originally think. Is she more determined or desperate? We aren’t sure. She’s also very clever at times, though sometimes unable to control her emotions. Bunny’s focus is on securing housing so that Social Services will permit her kids to live with her. Currently, she’s only allowed supervised visits, and we see loves them intensely. Shannon (Amelia Baynes) is a disabled 5-year-old who loves her back, while Reuben (Angus Stevens) is an angry and frustrated 14-year old who just wants a ‘normal’ life that doesn’t involve foster homes.

Bunny is perpetual motion. She describes herself as self-employed, spending days as a “Squeegee Bandit” cleaning windshields at stoplights for loose change. She’s saving that change in a soda bottle that she keeps in the linen closet of her sister’s house. It’s here where she cleans house, cooks dinner, does laundry, and watches kids all for the benefit of getting to sleep on the couch. Her sister Grace (Toni Potter) is a late shift nurse whose husband Bevan (Errol Shand) is a d-bag in so many ways. In fact, Bevan is at the center of an incident with Bunny’s niece Tonyah (Thomasin McKenzie, JOJO RABBIT, 2019; LAST NIGHT IN SOHO, 2021) that cuts right to the heart of Bunny’s character. We see how she reacts and begin to understand how she arrived at this particular lot in life.

Thavat’s co-writers Sophie Henderson (BABY DONE, 2020) and Gregory King center much of Bunny’s actions around the birthday party she has promised daughter Shannon for her upcoming birthday party. Is Bunny fit to be a mother?  Most of the time we think she is devoting every waking moment to reuniting with her kids. However, in her worst moments, she lashes out and displays poor judgment, leaving us and Social Services with serious doubt. The past is brilliantly unfolded and never dwelled on because Bunny wakes up every morning optimistic about what lays ahead. There is a terrific sequence involving her attire, and Ms. Davis just nails the shift in tone. Hers is an award-worthy performance, if only enough people will see the film (which is doubtful). This New Zealand production expertly sets the stage with 4 Non Blondes “What’s Up” and then bookends with a different version by Willa Amai.

Opens in theaters on September 23, 2022

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Posted by David Ferguson

GOD’S COUNTRY (2022)

September 25, 2022

Greetings again from the darkness. Do you ever have that feeling that if no one’s going to do something then “I guess I will”? These days it seems our systems and institutions are failing us, and that’s at the heart of what is eating at Sandra (Thandiwe Newton), a college professor living in a remote house in the mountains. When the film opens, she is at the crematorium for her recently deceased mother. Soon after, two hunters park on her land, and their reactions after she politely asks them not to, tells us where this story is headed.

Writer-director Julian Higgins and co-writer Shaye Ogbanna never give Sandra (or us) any reason to think everything is going to be just fine. It’s a slow-burn towards disaster, and we can’t help but watch to see how bad situations turn worse and how the conclusion plays out. Violence is expected … especially after we see how ineffective the local acting Sheriff (Jeremy Bobb) is at his job.

The ”chapters” in this story are actually the days numbered so that we can keep up with the tension. A red truck, an arrow in the door, a police report, a faculty meeting, a church organist, and the disclosure by a student (Tanaya Beatty) all lead us to the dreaded seventh day. The stress builds for Sandra, who manages to hold her tongue quite often, right up until she doesn’t. It’s clear to us that she’s carrying a bitterness and a chip … and seeking vengeance. It’s easy for us to emphasize with Sandra in the first two acts, though it’s likely many will join me in being a bit disappointed in the final act.

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Posted by David Ferguson

THE SILENT TWINS (2022)

September 16, 2022

Greetings again from the darkness. Twins often have their own language or way of communicating. However, sisters June and Jennifer Gibbons of Wales took this to a new level, creating a mysterious dark connection that no one else every understood. Andrea Siegel has adapted the screenplay from Marjorie Wallace’s book, and Polish director Agnieszka Smoczynska (THE LURE 2015) delivers the style and creep factor, while missing out on answering the questions raised with the story.

The young sisters are seen giving a fake radio broadcast, and we get a glimpse of their awkward behavior during childhood … behavior that left their parents and siblings feeling helpless. Letitia Wright (BLACK PANTHER, 2018) and Tamara Lawrance (KINDRED, 2020) take over as teenage June and Jennifer, respectively. While the young ones are well cast, it’s the work of Ms. Wright and Ms. Lawrance that keep this one watchable despite the meandering. The awkward behavior of adolescents evolves into bizarre behavior of teens, and ultimately criminal behavior and some type of mental illness.

Pure elation of a new typewriter is all too quickly erased by irritation and anger that leads to fighting, or worse. Director Smoczynska does well to use stop motion animation periodically in helping to explain what’s happening with the two girls. Child psychologists have no luck breaking through and the sisters are ultimately separated and locked away at Broadmoor psychiatric hospital by age 19. By this time, it’s difficult not to view them as psychopaths.

It’s interesting to watch as these two survive on the fringes of society in near mental isolation, and use writing as a creative outlet to unleash their inner thoughts. We never really know if we should have empathy for the girls, and that becomes even more difficult given their later behavior. Journalist Marjorie Wallace (played here by Jodhi May) documented her interactions with the sisters, but we can’t help but wonder if this story is better told in documentary form – despite the strong work from Letitia Wright and Tamara Lawrance.

Opens in theaters on September 16, 2022

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Posted by David Ferguson

MEDIEVAL (2022)

September 9, 2022

Greetings again from the darkness. There are some actors I follow simply because I admire their work. Ben Foster earned that loyalty with his performances in such films as LEAVE NO TRACE (2018), HELL OR HIGH WATER (2016), and 3:10 TO YUMA (2007). Here he is cast as Jan Zizka, the legendary 15th century Czech icon whom historians have pegged as having never lost a battle. At the helm is Czech writer-director Petr Jakl whose previous films did not come close to this scale. The list of credited screenwriters includes director Jakl, his father Petr Jakl Sr, Marek Dobes, Michal Petrus, Kevin Bernhardt, and Petr Bok. I don’t pretend to know which of these writers had the greatest impact, but what I can report is that the film looks great and includes some of the best battle scenes you’ll find in any film set in the Middle Ages.

“Tyranny.” The narrator opens the film with that word, followed by an explanation of the ongoing battle for the power and control of the Catholic Church. That narrator is Lord Boresh, played by 2-time Oscar winner Michael Caine, who has paid Jan Zizka and his band of rebels to protect him from assassination attempts. Director Jakl doesn’t make us wait long for the first skirmish, and it gives us a taste of what’s to come. These are no-holds-barred battles where bones and faces are crushed, and horses toppled into rivers. This is Italy 1402.

After the battle, Zizka heads to Prague to reunite with his brother, and while he’s there, the political maneuvering and power-brokering is occurring. Those involved include Lord Boresh, the King of Bohemia (Karel Roden, ROCKNROLLA, 2008), his half-brother, the King of Hungary (Matthew Goode, THE IMITATION GAME, 2014), and nobleman Rosenberg (Til Schweiger, INGLOURIOUS BASTERDS, 2009). When Rosenberg refuses to cooperate, a plan is hatched to kidnap his fiancé Katherine (Sophie Lowe, so good in BLOW THE MAN DOWN, 2019), who also happens to be the niece of the King of France. It may seem challenging to keep the political alliances straight, but fear not, double-crossing and backstabbing adds to the fun.

Katherine is in fact kidnapped. And then kidnapped from the kidnappers. And then rescued … well, you get the idea. It seems her own allegiance transitions as she discovers the true character of her fiancé. Plus, it seems she walks at least 42 miles during all of this. What really makes this one worth watching are the battle scenes, including a face-off between Zizka and his mentor, the intimidating Torak (Roland Moller, ATOMIC BLONDE, 2017). The fights are bloody and gruesome and violent. The brutality is as realistic as you could want, while cinematographer Jesper Toffner captures these scenes in the most visceral manner possible … we are not let off the hook from the damage caused by swords, axes, maces, and mauls.

Director Jakl highlights Zizka as a military strategist and tactician, and not just a brute. It’s this part of the personality that best fits Foster’s talent. It’s difficult to know how much of this true story is accurate and how much is legend (always print the legend!), but the push for religious and political power and control seems a common topic regardless of century.

Opening in theaters on September 9, 2022

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Posted by David Ferguson

HONK FOR JESUS. SAVE YOUR SOUL (2022)

September 2, 2022

Greetings again from the darkness. Welcome to the Greater Paths Baptist Church. Or what’s left of it. Writer-director Adammo Ebo has expanded her 2018 short story (same title) into a feature film that serves up a satirical look at the proliferation of mega churches and all that entails – ego, greed, self-absorption. Her best move was casting Regina Hall and Sterling K Brown in the crucial lead roles.

In the faux-archival footage, we see Pastor Lee-Curtis Brown (Sterling K Brown) eloquently and passionately sermonizing to the massive congregation. At its peak, his church had 26,000 members who filled the offering plates each Sunday. We know this because this pastor is not shy about flashing his designer label clothes or collectible cars, or mentioning the private jets and helicopters. He uses these glitzy material goods to reinforce what good Christians each member is. But that was then, and this is now. The church has been closed due to a very public scandal involving Pastor Lee-Curtis and his inappropriate behavior with teenage boys.

The story here involves the pastor and his first lady wife Trinitie (Regina Hall) as they strategize about creating excitement for the grand re-opening of their church. The scandal is clearly the biggest hurdle; but so is Heaven’s House, a local church run by ‘Pastor Sumpter and Pastor Sumpter’, a husband and wife team played by Conphidance and Nicole Beharie (so good in BREAKING, 2022). After the scandal, Heaven’s House welcomed many transferring members and is now in the process of growing their church to a new level.

This is a mockumentary and the “documentary” filmmakers follow Lee-Curtis and Trinitie around most of the day, sometimes even when they aren’t particularly welcome. Because of this, we see Lee-Curtis as a narcissist mostly devoid of any semblance of reasonable perception of how others view him. He may seek the road to redemption, but that trust has been broken. Trinitie stood by her man through the hard times, and it seems clear they are both desperate to regain the power and privilege that is now lost.

Sterling K Brown and Regina Hall are both fully committed to these roles. Brown’s intensity, no matter how displaced his character feels, absolutely works. And Regina Hall’s performance is even more fun to watch. She’s especially effective at showing Trinitie’s inner turmoil of maintaining dignity versus the desire for the power lifestyle. She excels at biting her tongue and struggles to avoid letting her true feelings show … she’s a pillar of loyalty behind a cheerleader’s fake smile. She also delivers the perfect final shot.

This mockumentary isn’t funny in the Christopher Guest way, but rather with a bleak commentary on power-hungry people and megachurches, with a few exceptions. What once was a congregation over 20,000 is now only the “Devout Five”. We get the best ever pinkie toe joke, and Ms. Hall and Mr. Brown go all in on their rendition of Crime Mob’s “Knuck You if You Buck” while driving. It’s a bit confusing that the faux-doc doesn’t fully follow the idea of only showing what the camera crew captures, but the description of “EGO” as ‘edging God out’, and a marketing plan seemingly tied to a glittery handheld sign and statue of Jesus give us some idea about these two. In TOMBSTONE, Doc Holiday states, “My hypocrisy knows no bounds”, and that’s so true for Lee-Curtis and Trinitie. While there are flashes of brilliant satire, unfortunately the target is just too easy, and the filmmaker chooses to remain on the surface rather than dig deep for the juicy part.

Opens in theaters on September 2, 2022

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Posted by David Ferguson

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