IT SNOWS ALL THE TIME (2022)

July 28, 2022

Greetings again from the darkness. Dementia and/or Alzheimer’s Disease have touched most every family by now; a fact that works to the detriment of this film from writer-director Jay Giannone and co-writers Erich Hover and Eric Watson. The opening screen informs us that it’s based on a true story, and in fact, it’s actually similar to countless family stories around the globe. Of course, this doesn’t minimize the stress and strain and frustration and pain that this causes for family and friends, and it likely helps some understand that they aren’t alone in this battle.

Dating back to the 1970 TV series “Mission: Impossible”, and her 1980’s movie work (VICTOR VICTORIA, the excellent CHOOSE ME, and classic CLUE), Lesley Ann Warren has long been one of my favorite actors, and here she again shows her feel for the material and each scene she’s a part of. She plays Anne, wife of Paul (an excellent Brett Cullen, Thomas Wayne in JOKER), and mother of three sons: Tony (played by director Jay Giannone), Art (Sterling Knight), and Jesse (writer Erich Hover). The story picks up with Jesse coming back home to Omaha for a visit after moving to Los Angeles for work and adventure. Dad is late picking him up from airport, but mom is thrilled to see Jesse. Brother Art recently dropped out of college, and brother Tony is just so busy, it’s hard for him to find time.

It’s immediately obvious to Jesse that something is off with dad, though everyone else just seems oblivious or accepting of his diminishing abilities each time dad answers with his favorite line, “I’m fine.” Denial is, of course, an easy initial response and obvious issue for loved ones, and mother Anne puts on an optimistic front with an ever-present smile … all while living in fear of losing her life partner. Once Jesse forces the family to discuss the situation and have dad properly evaluated, the finger-pointing commences, until acceptance can be found … all natural steps in the process.

Jesse tries to find common ground with his father via an old pickup truck and they take a fishing trip as a final hurrah. Again, all understandable reactions, while not necessarily being the wisest. There is nothing especially wrong with the film, although a stronger actor in the Jesse role could have helped, but mostly it plays like a film that should have been made 30 years ago when information on dementia was a bit more difficult to come by. Today, we look at this family and can’t help but judge them for not reacting sooner to keep the dad safe and reduce their own stress. Jesse’s relationship challenges (an underutilized Taryn Manning) seem misplaced and over-simplified, but we do witness what is possibly the worst on screen bar fight in the history of cinema. It’s the clips at the end that sober us up quickly … home movies of a vacant-eyed dad holding his first grandchild. Does he even know who he’s holding? We can’t be sure, but that’s the horror of this disease.

In select theaters and VOD on July 29, 2022

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Posted by David Ferguson

MRS. HARRIS GOES TO PARIS (2022)

July 14, 2022

Greetings again from the darkness. Leslie Manville is one of those actors we take for granted. She’s so talented and versatile and typically “perfect” in the supporting roles she embodies. For us followers of British filmmaker Mike Leigh, we’ve been treated to numerous Manville performances over the years, but it’s likely she’s most widely recognized for her Oscar nominated performance in Paul Thomas Anderson’s PHANTOM THREAD (2017), where she played Daniel Day-Lewis’ sister and business partner with an icy efficiency that added heft to a terrific film. This time, Ms. Manville embraces the lead and delivers a turn as a Mrs. Harris that we would all welcome into our lives.

Writer-director Anthony Fabian (SKIN, 2008) co-wrote the script with Carroll Cartwright (WHAT MAISIE KNEW, 2012), Keith Thompson, and Olivia Hetreed (GIRL WITH A PEARL EARRING, 2003), and it is based on the 1958 Paul Gallico novel, “Mrs. ‘Arris goes to Paris”. There were four books in the series (leading to speculation of sequels), and Mr. Gallico also wrote “The Poseidon Adventure”, from which the 1972 disaster movie was adapted. We first meet Ada Harris (Manville) as she makes her rounds cleaning the homes of upper crest society. She rides the bus with her best friend Vi (Ellen Thomas), and occasionally meets up for an end of the day drink at the local pub, where Archie (Jason Isaacs) flirts a bit with her. Mrs. Harris has been biding her time for news of her beloved Air Force husband, MIA for 12 years. It’s a simple life she leads, but it’s one filled with optimism and hope and determination to live the right way.

The film shifts into ‘Adult Fairy Tale’ mode when one day Mrs. Harris falls hard for a couture Dior dress purchased by one of her clients. It’s a symbol of the beauty and opulence that has eluded Mrs. Harris her entire life. At that moment, she commits to saving enough money to purchase her own Dior dress … something that she has no rational use for. It’s mostly just a way for one ‘invisible’ woman to fulfill her own fantasy by experiencing a taste of dreamlike luxury … a rare pursuit of pleasure for this woman. A somewhat comical chain of events occurs in montage fashion as Mrs. Harris scrimps and saves (and gambles) her way to the monetary goal that puts the dress in play.

Once she arrives in Paris, the film becomes a fish-out-of-water story, as Mrs. Harris seemed to think she could stroll up to the House of Dior and have a dress wrapped up for the trip home. Claudine Colbert (the always great Isabelle Huppert), the gatekeeper of Dior, will have none of this … Dior is only for those who are deserving, not the riffraff. The scenes with the two women expertly highlight the personality differences. Mrs. Harris immediately begins to win people over with her nice demeanor. One of the keys is Marquis de Chassagne (Lambert Wilson), who takes a liking to her and invites her to view the new line as his guest. Another is Andre Fauvel (Lucas Bravo), the young accountant whose cutting-edge ideas are ignored by the “old school” stodgy types in charge. Lastly, there is supermodel Natasha (Alba Baptista), as the “Face of Dior”. She admires Mrs. Harris’ tenacity and kindness, which assists Natasha is discovering her true self.

Seeking to reach her own goal, Mrs. Harris ends up affecting the future of many others, as well as the future of the House of Dior. She has the kind of demeanor and spirit that draws in other people, while inspiring goodness. This is less about exposing elitism than applauding niceness. People are drawn to inherently nice people. As an adult fantasy, the film is likely to hold the most appeal for middle-aged women, and should be a perfect day at the theater for mothers and their adult kids.

Opening in theaters on July 15, 2022

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Posted by David Ferguson

DON’T MAKE ME GO (2022)

July 14, 2022

Greetings again from the darkness. Sometimes a movie synopsis just screams “Lifetime Channel”. As an example: A road trip movie with a single father and his teenage daughter would be a typical beginning. Oh, and the father has been recently diagnosed with a brain tumor. And then, let’s have them track down the mother that abandoned the girl when she was a baby. Those pieces certainly lay the groundwork for a sappy melodrama meant only to induce tears from those who enjoy a good cry after a hard week of work. Fortunately and surprisingly, crisp writing, proficient filmmaking, and a talented cast work together to make this film something entirely different – a heartfelt saga grounded in real life feelings and moments.

Hannah Marks is an actress now making her mark as an up-and-coming director, while the script was written by Vera Herbert (“This is Us”). A perfect example of their grounded approach to these storylines comes near the film’s beginning when Max Park (John Cho, Star Trek franchise as Sulu, COLUMBUS, 2017) reacts to the doctor’s diagnosis of brain tumor and prognosis of one year to live. His movements strike us as real to the moment, rather than staged for effect. Max immediately rules out an option for a highly-risky surgery, choosing instead to bribe his 15-year-old daughter Wally (newcomer Mia Isaac) to take a road trip with him under the auspices of attending his 20-year college reunion. The bribe? Driving lessons.

Wally is a ‘normal’ teen who makes both good and bad decisions, while often getting frustrated at her ‘boring’ and restrictive parent. Max chooses not to tell Wally of his condition or his ultimate goal of reuniting her with her mother, in hopes that she will have family once he’s gone. The drive takes place in Max’s old wood-paneled Jeep Wagoneer, an example of how he has sacrificed to provide for her all these years. Another deeper sacrifice is revealed on the trip, and there are moments of disagreement and aggravation, but also special moments of bonding that can only happen when a parent and teenager communicate.

Since it was filmed in New Zealand during the pandemic, the staged road trip from California through Arizona, New Mexico, Texas, Louisiana, and ultimately, Florida, does not offer the familiar landmarks along the way that we’d expect. But this story isn’t about cool pit stops or Bourbon Street (although we do get some killer shooting stars), it’s about a father understanding his daughter and that daughter understanding her father.

Excellent supporting work is provided by Kaya Scodelario (a mutual booty call buddy for Max), Josh Thomson (Max’s oldest friend), Otis Dhanji (Wally’s first crush), Stefania LaVie Owen (Wally’s friend), Jemaine Clement (as Max’s ex’s ex), and Jen Van Epps (as Wally’s mom). But make no mistake, this movie crackles thanks to the chemistry between Mr. Cho and Ms. Isaac. We believe in them, and though the ending is a bit creaky, their relationship is fully-formed in reality. When he counsels, “A good man will take you dancing”, we smile along with Wally, knowing this father wants only the best for her. The opening voiceover warns us, “You’re not going to like the way this story ends. But you’re going to like the story.” That turns out to be true, although it doesn’t stop the appreciation for all involved. This journey on the road turns into a journey in life.

Streaming on Prime Video beginning July 15, 2022

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Posted by David Ferguson

WHERE THE CRAWDADS SING (2022)

July 14, 2022

Greetings again from the darkness. This is the kind of movie that requires upfront disclosure: have you read the book or not? Since it was number one on New York Times best seller list for 2019 and 2020, and remained on the list for almost three years, it’s a legitimate question and likely the driving force behind Reese Witherspoon producing the film. I have not read the book and came in with only a few preconceived notions, and enough background information to make it more interesting, not less. This is director Olivia Newman’s first film since her debut FIRST MATCH (2018), and Lucy Alibar (BEASTS OF THE SOUTHERN WILD, 2012) adapted the screenplay from the enormously popular novel written by Delia Owens.

Kya Clark is the youngest child of Ma (Ahna O’Reilly) and Pa (Garret Dillahunt). We get a quick glimpse at their strained existence in the marshes of Barkley Cove, North Carolina in 1953, including the violent abuse administered by Pa. It doesn’t take long for her parents and siblings to abandon her, leaving young Kya (JoJo Regina) to fend for herself in what most would consider a harsh environment. But Kya becomes one with nature. Though illiterate, she draws and charts local bugs, bird, and water creatures, while scrounging out a meager living thanks to assistance from local black store owners, Jumpin’ (Sterling Macer Jr) and Mabel (Michael Hyatt).

Daisy Edgar-Jones (“Normal People”, FRESH, 2022) plays older Kya, the one townspeople refer to as “Marsh Girl”. Sensitive local boy Tate (Taylor John Smith) shares Kya’s interest in nature and teaches her to read and write … surely having little to do with her being the prettiest marsh girl you’ve ever seen. When Tate heads off to college, adding another to the Kya abandonment roster, she’s pursued by local rich boy Chase (Harris Dickinson). This becomes another in the film’s storylines when Chase turns up dead after a fall from a fire tower. Despite no footprints, no fingerprints, and very little evidence, Kya is charged with murder and faces the death penalty. A local nice guy attorney (David Strathairn) takes the case and shy, withdrawn Kya provides little help in her defense.

So let’s chat about what’s good and not so good. The Kya character is fascinating and certainly worthy of being the centerpiece of a story. There are similarities to other stories about those who were raised outside of society. NELL (1994) and Tarzan come to mind, but despite the marsh environment, Kya never is a wild creature, and only as a child do we see her dirty and unkempt. This is a flaw, as Kya should be more raw and primitive … at least until her mentoring by Tate. It’s a mystery how Kya is as smart and clean and refined as she appears, since it’s mostly just the store owners who provide even a dash of support. The structure of the film is decidedly fluid – bouncing from timeline to timeline and from story to story. This kind of structure requires superb writing, something that just isn’t in the cards. The courtroom drama and murder case against Kya are especially lightweight and sloppy. Most of it makes little sense and bears almost no resemblance to what an actual trial would look like. Instead, it’s slick for dramatic effect.

The cliches are to be expected, and Ms. Edgar-Jones is to be commended to making the most of a role that often requires her to sit with bowed head or gazing at nature. The narration is odd, with an inordinate number of words jumbled up to initially differentiate between a marsh and a swamp. The love story seems pulled directly from a romance novel, and in fact, that’s probably the best description of his, rather than a murder mystery. Chase and Tate are textbook examples of the extremes of men, and Kya’s Pa adds fuel to the argument that most men are experts at letting down women. Kya’s attention to nature and emphasis on survival instinct vs morality are used multiple times to guide us toward the ending, which evidently is supposed to be a twist reveal. Cinematographer Polly Morgan inserts some nice shots of nature, and the music from Oscar winning composer Mychael Danna (LIFE OF PI) is excellent. Taylor Swift’s new song, “Carolina” plays over the closing credits. It’s not likely a film that will win over anyone who wasn’t a fan of the book, but those devoted readers will surely be on board.

It should be noted that a story more interesting that what we see in the movie, is the real-life events of writer Delia Owens and her husband from their twenty plus years in Africa. This includes a murder case with some curious similarities to what she wrote about. If you are interested, track down the 2010 New Yorker article, “The Hunted”, researched and written by Jeffrey Goldberg.

Opens in theaters July 15, 2022

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Posted by David Ferguson

MARCEL THE SHELL WITH SHOES ON (2022)

July 7, 2022

Greetings again from the darkness. For proof that social media and the internet can be used for good, I offer as evidence this film from writer-director Dean Fleisher-Camp and co-writers Elizabeth Holm, Nick Paley, and Jenny Slate. The first ‘Marcel’ short film hit the internet in 2010 and was such a hit that there were two follow-up short films and a best-selling picture book. Now expanded to a feature length film of 90 minutes, the innovative and curious premise holds up due to the fully-formed character of a precious one-googly-eyed mollusk shell wearing … yes … shoes.

Why do we connect with Marcel? Well, the instantly recognized voice created by Jenny Slate plays a huge part. There is a welcoming innocence in the wispy tone, and when combined with the exceptional writing, the result is a relatable character full of warmth and wit, and pain and humor. Marcel is naïve, yet persistent. He’s someone we like and pull for. The story is told via faux-documentary as a filmmaker (played by director Fleisher-Camp) stays in the Airbnb where Marcel lives with his aging grandmother Connie (voiced by Isabella Rossellini). During interviews, we learn that Marcel longs for his family and community that was disrupted when the home’s original owners broke up and moved out. Since then, Marcel has looked after his grandmother and helped her tend the garden. They have been quite creative in their use of household resources, including a tennis ball for transportation.

The filmmaker posts the interviews online and soon Marcel has a huge following, giving him hope that his family can be tracked down. This leads to a terrific “60 Minutes” segment with journalist Leslie Stahl. The best description I can offer of Marcel is adorable – not a word I use very often. Marcel forces us to view the world through a child’s eye, but it’s important to note, that while young children may find Marcel cute, the dialogue, wit, and life issues covered will be way over their heads (though not offensive in the least). Young kids (under 10) should probably stick to the shorts. The sad and painful context is balanced by sweetness and optimism. Marcel’s story inspires us to embrace all stages of life with an open heart and mind – dealing with grief and sadness, while coming out the other side with spirit intact.

A24 specializes in distributing innovative and creative movies, and this certainly qualifies. It’s not really a mockumentary because it’s not mocking anything. The stop-motion approach in documentary style may initially seem like whimsy, but we quickly realize it’s more substantive. Individual strength and the power of community are on full display, and somehow Marcel the Shell teaches us … while wearing shoes.

Opens in theaters on July 8, 2022

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Posted by David Ferguson

BOTH SIDES OF THE BLADE (2022, France)

July 7, 2022

Greetings again from the darkness. If you are one of the many who need someone to cheer for – a nice person – in order for a movie to work for you, then this latest from renowned French director Claire Denis (BEAU TREVAIL, 2019) is going to be a challenge. Ms. Denis co-wrote the script with Christine Angot (they previously collaborated on LET THE SUNSHINE IN, 2017), an adaptation of Ms. Angot’s novel.

Oscar winner Juliette Binoche stars as Sara, and we first see her whilst on an idyllic retreat with her long-time lover Jean, played by screen veteran Vincent Lindon. Sara and Jean are clearly happy and in love. When they return to Paris, we learn Sara is a talk show host for Radio France International, and Jean is a former Rugby star who has spent time in prison for an unspecified crime. His son, Marcus (Issa Perica), from a previous relationship is a troubled young man being raised by Jean’s elderly mother, Nelly (Bulle Ogier). Jean has little fatherly sense and makes only a negligible effort to help.

One day, Sara spots her former lover, Francois (Gregoire Colin), on the street. Maybe he sees her, maybe he doesn’t. Sara is overcome with emotion. Sara and Francois were together when she began seeing Jean. To make this the most French situation possible, Francois and Jean were friends and business associates at the time. It’s even implied that Jean’s crime was related to activities connected to Francois. So what happens next? Well, Francois phones Jean to offer him a chance to come back into the scouting business for a new sports agency. It’s at this point where Francois’ motivations come into question. Is he doing his friend a solid, or worming his way back into Sara’s life?

This becomes a love triangle even more complicated than most. Sara deludes herself into thinking she can once again enjoy the fruits of Francois, while also appeasing her beloved Jean. Jean is distracted by issues with Marcus, but also too proud to let Sara walk over him. On full display are the destructive effects of an affair and the lack of respect and appreciation for a strong relationship. When the power of lust and idealistic romance collide, things get emotional. Cinematographer Eric Gautier works wonders in confined spaces. We never feel like the characters have room to breathe after making another poor decision. It’s interesting to see how smoking and taking calls on the apartment balcony becomes the only “space”. The close-ups allow Ms. Binoche and Mr. Lindon to do what they do best. The music is by Stuart Staples and includes a song written especially for the film. Ms. Denis again proves adept at allowing viewers to interpret the actions of all-too-human characters.

Opening July 8, 2022

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Posted by David Ferguson

THE FORGIVEN (2022)

June 30, 2022

Greetings again from the darkness. Writer-director John Michael McDonagh (older brother of Oscar winner Martin McDonagh) has delivered a couple of fine movies in the past: CALVARY (2014) and THE GUARD (2011), and he’s never been one to shy away from controversial characters or topics. This time, he has adapted the 2012 novel from British writer Lawrence Osborne, and in this process, has continued his fascination with the all-too-human dark nature of some folks. Somewhat surprisingly, most of this is so obvious and blatant, only those who prefer thoughts be spoon-fed will appreciate the lack of subtlety.

Married couple David Henninger (Ralph Fiennes) and Jo (Oscar winner Jessica Chastain) are en route to a lavish party, and before the opening credits have ended, the depth of their strained relationship is crystal clear. David is a doctor who takes as a compliment his wife’s description of him as a “highly functioning alcoholic”, while she, a former writer, mostly seems along for the ride. We presume this couple of convenience has reached the point where remaining together is merely easier than the break that seems appropriate. After drinking entirely too much, David rents a car in Morocco and the couple heads out for a nighttime drive through the Sahara. While arguing about whether they are lost, an inebriated David runs over a local boy. Where previously we found the couple insufferable, a line of morality is crossed and they load the boy in the car and continue onward for a late arrival to the party.

The party at the stunning desert villa is hosted by Richard (an always terrific Matt Smith) and his partner Dally (an always strange and interesting Caleb Landry Jones). The entitlement shown by the privileged (and of course morally reprehensible) party people is contrasted with the quiet dignity of the staff of Muslim locals, including the head of staff, Hamid (Mourad Zaoui). Richard and Dally are most concerned about how the young boy’s corpse will disrupt the party, while David seems more bitter than usual at how a poor local boy could inconvenience him.

Although the police rule this an accident, the tone shifts quickly when the boy’s father (Ismael Kanater) shows up to collect his son’s body. By claiming local custom, he coerces David to ride back to the village with him for the burial and service. It’s here where the movie splits into two pieces. On one hand, we see David accompanying the man who holds him responsible for his son’s death, while simultaneously, the party-goers are reveling in debauchery. The clash of cultures is evident not just in the sparse home of the boy’s father when compared to the party’s resort, but also in the decadence of the party people when compared to the grieving and emotional father. Standouts at the shindig include a wild party girl (Abbey Lee) who seems constantly inebriated, yet never hungover, and Tom (Christopher Abbott), “the American” whose heavy flirtatious exchanges with Jo lead to booze and alcohol, and those carnal activities that follow such behavior.

We get why the bored younger wife takes advantage of temporary freedom and opportunity to cut loose, and Ms. Chastain (as always) is tremendous and believable. However, it’s David’s trip with the boy’s father that holds the real potential in taking this film to the next level. Fiennes nails the grumpy, rich guy role, and his interaction with the father and, especially, with Anouar (Said Taghmaoui), the father’s friend, that provide the tension and true emotion. Previous McDonagh collaborator Larry Smith provides the rich and awe-inspiring cinematography, and the cast performs admirably … even those portraying “useless people”. It’s difficult to explain why the movie isn’t better than it is, although it is plenty watchable.

Opening in theaters on June 30, 2022

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Posted by David Ferguson

MR. MALCOLM’S LIST (2022)

June 30, 2022

Greetings again from the darkness. At this point, I believe it’s fair to say we have a Jane Austen sub-genre for film, TV, and books. After all, it’s been more than 200 years, and her novels have remained in print, have also been adapted too many times to count, and inspired countless writers and filmmakers to follow in her footsteps. The success of the “Bridgerton” series is a testament to the Jane Austen realm, despite being adapted from the novels of Julia Quinn. For this first feature film from director Emma Holly Jones, Suzanne Allain has adapted the screenplay from her own novel, and interestingly, this is a feature length version of Ms. Jones’ 2019 short film, with most of the cast and crew returning.

The film opens in 1802 England as youngsters Julia and Selina solidify their BFF bond. Flashing forward to a majestic castle in 1818, we find it’s mating season for high society, and Julia (Zawe Ashton) has her sights set on the catch-of-the-year, Mr. Jeremy Malcolm (Sope Dirisu). Their first date to the opera tells Malcolm everything he needs to know to rule out Julia as a prospective match. Her ignorance on current affairs and overall personality prevent any type of love connection. Though her feelings are hurt at the rejection, Julia likely would have moved on if not for a public humiliation related to the date, but not caused by Malcolm. When Julia discloses her embarrassment to her cousin, Lord Cassidy (an excellent Oliver Jackson-Cohen), he confides that Malcolm has crafted a list of requirements for his future bride. Instantly, Julia begins scheming to turn the tables of ‘humiliation’ on Malcolm, hoping to regain her reputation … one tarnished by four previous seasons without a match.

Julia’s scheme requires two co-conspirators. Lord Cassidy has already been bullied into the ring, and next up is her childhood friend, Selina (Freida Pinto). Selina is of a lower class than Julia, and against her better judgement (and sweet demeanor) agrees to the plan: playing the role of the perfect match for Malcolm before humiliating him by exposing his ‘list’. Of course, anyone who has ever watched a movie or read a book knows where this is headed … and that’s exactly where it goes. Selina and Malcolm do prove to be a good match, and she is overwhelmed by guilt.

Like Mr. Malcolm, I have a list … only my list is for the issues I have with the film:

  1. Julia is neither smart nor nice, and would be a poor match for most men
  2. Her plot for revenge proves her mean streak, as Malcolm never publicly humiliated her
  3. Malcolm has good looks and lots of money, but otherwise doesn’t seem like much fun
  4. Selina is smart, but we never see why she falls for Malcolm – other than his looks and money
  5. Selina seems too nice to ever go along with Julia’s devious plan against a guy who did nothing wrong
  6. The twist with Captain Henry Ossory is totally unbelievable and fabricated strictly for a happy ending
  7. The cast diversity plays like a gimmick and totally ignores genetics. There are more legitimate ways to achieve diversity

My list is longer than Mr. Malcolm’s, but you get the point on why the film didn’t work for me. Julia is unlucky in love because she is not likable, and Mr. Malcolm is a bit dull, and is only a “catch” because of looks and money. We never care about either of these characters. And shouldn’t everyone have a ‘list’ of characteristics they desire in a mate? It’s probably for all these reasons that I found the movie uncomfortable to watch and entirely too long. That said, the cast is superb and the performances are admirable in spite the issues I have with the script and story. Many viewers will likely ignore what bugged me here, and I contend the best of the recent entries in this genre continues to be EMMA. (2020)

Opens in theaters on July 1, 2022

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Posted by David Ferguson

ELVIS (2022)

June 23, 2022

Greetings again from the darkness. I’m one who grew up spinning my mother’s Elvis 45s and LPs for hours on end. Long before I ever saw one of his movies, I had memorized and mimicked the vocals and stylings of his early recordings. For me, the love of his music was ingrained before any understanding of the cultural influence and impact that had occurred years prior. This background undoubtedly played a significant role in my enjoyment of this film. Many will find bashing this movie to be easy and justified, and I do understand. There are those who view Elvis Presley as little more than a punchline – a drug addicted fat guy chomping on peanut butter and banana sandwiches and forgetting lyrics on stage. Then there are those who view writer-director Baz Luhrmann (THE GREAT GATSBY, MOULIN ROUGE) as a cinematic trickster more committed to flashy visuals than facts and story. For me, the visuals and music of this spectacle were driven by a fully committed actor and a filmmaker serving up a tribute to a cultural icon.

Luhrmann co-wrote the script with Sam Bromell and Craig Pearce (a frequent Luhrman collaborator), and their approach seems three-pronged: the background history and influences of Elvis’ music, the “caught-in-a-trap” life he led, and the force that was Colonel Tom Parker (Elvis’ manager). In fact, much of the story is told from the tainted perspective of an elderly Parker, who is in poor health and near death. In Parker’s mind, he is the ‘hero’ who delivered Elvis to the world, and not the evil huckster who rode his meal-ticket into the ground, while severely limiting artistic opportunities like serious movie roles and international tours.

Playing Colonel Tom Parker, buried beneath a fat suit and facial prosthetics, is Oscar winner Tom Hanks. Further distractions come courtesy of the accent, which is actually pretty close to Parker’s speech pattern. We see Parker’s carnival background and hustler mentality, and watch as he first drools over Elvis along with the teenage girls in the Louisiana Hayride audience … although while the girls enjoy the sexuality, Parker sees nothing but dollar signs. It’s atop a Ferris wheel that Parker entices Elvis with dreams of stardom and wish fulfillment. Elvis is played by Austin Butler (Tex Watson in Tarantino’s ONCE UPON A TIME … IN HOLLYWOOD), and Butler perfectly captures Elvis’ early innocence and naivety, as well as the immense physicality of those early stage performances that sent girls (and some boys) into a tizzy.

Luhrmann takes us back to Presley’s childhood in poverty while living in Tupelo, Mississippi, and it’s here as a young boy wearing a Captain Marvel Jr logo (played by Chaydon Jay) where he is first moved by the gospel music from inside the black church. In fact, Luhrmann makes a point throughout the film to connect Elvis to the music roots of blacks – gospel, blues, R&B. He later befriends BB King (Kelvin Harrison Jr), and is awed by Little Richard (Alton Mason), Big Mama Thornton (Shonka Dukureh), and a stunning Sister Rosetta Tharpe (Yola). This is crucial as Luhrmann is aware of the ’cultural appropriation’ talk associated with Elvis these days, and how the singer absorbed the music that moved him and presented it to the wider audiences that had been previously untouchable by black artists. The influences are beyond debate just as the opening of doors was welcome.

Elvis’ path from Beale Street to Sun Records to RCA is tracked. The Sam Phillips and Sun Records connection is shown only briefly, but Phillips (Josh McConville) is acknowledged for releasing Elvis (driving his Crown Electric truck) so that he could sign with Parker. It was a remarkably standup thing to do and a familiar situation that has resulted in many court battles over the years for other artists and agents. We get a glimpse at Elvis’ extremely close bond with his mother Gladys (Helen Thompson), whose faith and heavy drinking are both on display. We can see the pride Elvis carries as he shows her Graceland for the first time. Richard Roxburgh plays Elvis’ father Vernon, and as time goes on, he’s not portrayed in a flattering light – seemingly more interested in money than in doing right by his son.

Elvis enlisting in the Army is viewed as a necessary public relations step due to the outcry from religious conservatives over his onstage movements clearly sponsored by the devil himself. We see one scene of Elvis courting Priscilla (Olivia DeJonge), but she’s only described as a teenager, so Luhrmann has chosen to gloss over the age difference and the unusual circumstances of those years between meeting and marrying. Also receiving the ‘glossed over’ treatment is Elvis’ movie career. It’s handled via montage with Austin Butler’s face superimposed into actual clips of the films. Another element that the film quickly skips through is the “Memphis Mafia”, Elvis’ entourage of assistants and hangers-on. They are mostly shown here as background characters, and some of these guys went on to write ‘tell-all’ books to line their pockets after Elvis died. It turns out the Elvis’ loyalty to them was not reciprocated once the gravy train ended.

Colonel Tom Parker was neither a Colonel nor a Parker. He was born Andreas van Kujik in The Netherlands and emigrated to the United States in order to pursue the American Dream and boat loads of gambling debt. Supposedly he treated Elvis pretty well, but it’s frustrating to know that so many business decisions were based on Parker’s personal needs rather than Elvis’ artistic development. As you would expect, Tom Hanks handles the role of ‘villain’ and Snowman quite well.

Austin Butler portrays Elvis from the early 1950’s to the mid-1970’s. It’s a terrific performance and one worthy of great admiration. Butler immersed himself in Elvis and it shows, perhaps never better than the infamous 1968 Comeback special. Black leather in the round, rocking to his hits, was a smash in TV ratings, and re-established Elvis as the star he was. The special also features Elvis in white suit belting out “If I Can Dream”, and Butler nails the emotion-filled performance. I consider this (Elvis’ actual song) one of the all-time most memorable rock/pop moments alongside Bill Haley and the Comets releasing “(We’re Gonna) Rock Around the Clock” (1954), Chuck Berry’s “Maybellene” (1955), Bob Dylan going electric at Newport Folk Festival (1965), Sinatra singing “My Way” (1969), Hendrix at Woodstock (1969), Live Aid (1985), and Kurt Cobain/Nirvana unplugged on MTV (1994).

We go behind the scenes for the dealings that brought Elvis and his new big band approach to the International Hotel (now The Hilton) in Las Vegas. Once again, Butler is spot on during the stage performances, and this brings the musical catalog full circle. Elvis’ musical roots and that early fascination never left him – regardless of whether it was his early trio, or the orchestra in Vegas. Despite the extended run time of 2:49, Luhrmann had to make some tough choices on what to include and what to omit. In a career that spanned less than 25 years, Elvis recorded more than 700 songs … none with the help of Auto-Tune. His amazing voice could be smooth, soulful, playful, or powerful, depending on the song – even at the end. We see one of his final stage performances (with Butler’s face superimposed over the clip) recorded a mere two months before his death in 1977. With guitarist Charlie Hodge holding the microphone, a bloated and drug-addicted Elvis delivered a most memorable rendition of “Unchained Melody”. He would soon be dead at age 42.

Baz Luhrmann and Austin Butler have provided a dazzling look at a remarkable career that changed the music industry and society. The film is quite a visual and musical and historical treat. We have grown so accustomed to reveling in the “bad” side of celebrities, that a celebration of one might seem trite to some. However, fans will enjoy most of this, despite the constant feeling that Elvis was trapped and lived with an underlying sadness for so many years. Elvis may have left the building, but Baz Luhrmann, Austin Butler, and the musical legacy continue ‘Taking Care of Business in a Flash.”

The film opens in theaters on June 24, 2022

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

OFFICIAL COMPETITION (2022, Spain)

June 16, 2022

Greetings again from the darkness. Satire is one of the most challenging cinematic genres to get right. The script and performances are crucial, and the director must walk a fine line between too subtle and over-the-top. The long-time collaborative filmmaking team of co-writers and co-directors Mariano Cohn and Gaston Duprat, along with co-writer Andres Duprat, strike just the right chord and deliver a gem that is funny, insightful, and quite entertaining. The film was well received at last year’s Venice Film Festival, but is only now getting distribution.

We open on Don Umberto Suarez (Jose Luis Gomez), a wealthy pharmaceutical businessman, as he peruses the many gifts that have arrived for his 80th birthday. He’s in a reflective mood and wonders what he can do to secure his legacy so as not to be forgotten. Suarez debates between building a bridge or financing a “great” movie, one that will stand the test of time. He knows nothing of the film industry, and doesn’t bother to read the best-seller book he secures the rights to. He then meets with eccentric film director Lola Cuevas (Oscar winner Penelope Cruz, VICKY CRISTINA BARCELONA, 2008), yet seems oblivious to what we see – her vision runs contrary to his, as evidenced by her production notebook that looks like a teenager’s scrapbook from summer camp. She buys in to his “best cast” demands and leaves him believing “his” film is in good hands.

Ms. Cruz is so perfect in this role that even her giant frizzy flame-red wig is simpatico with director Lola’s intense personality as an auteur. Things really take off when rehearsal begins and her two lead actors arrive. Antonio Banderas plays Felix Rivero, a global movie star who lives the rock star life with women and sports cars. He’s the personality antithesis of his co-star Ivan Torres, played by Oscar Martinez, a self-absorbed stage actor who views his world as prestigious, while mocking the glitz, glamor, and money that rules Felix’s world. An architecturally stunning art institute funded by Suarez serves as the rehearsal site, since it sits empty and unused.

Felix and Ivan are to play rival brothers, and the tension that develops between the two men is hilarious … and further spurred by Lola’s acting exercises. She prods Ivan on the simple line, “Good evening”, forcing him to repeat it multiple times, just as she toys with Felix on his level of intoxication (a range of 1 to 10). To increase the tension, Lola has the men rehearse underneath a giant boulder dangling overhead by crane. As the two actors battle it out for respect from the other and favoritism from Lola, the humor escalates at the same pace as egos are wounded. After scoffing at the mention of Felix’s awards, Ivan secretly practices his Oscar-acceptance speech in his dressing room. It becomes clear that each of the men want what the other has: Felix wants prestige, while Ivan wants recognition.

There are so many terrific scenes and moments here, including a foreshadowed twist and a sequence that combines industry awards, an industrial shredder, and the strength of Saran Wrap. All three lead actors are having a blast, and the supporting cast lends authenticity to this skewering of wealth, ego, art, and the film industry. Especially effective in support are Irene Escolar as Suarez’s daughter who has been cast in the film, and Pilar Castro as Violetta, Ivan’s equally pretentious wife. This is satire at it’s finest, and the filmmakers (and Ms. Cruz) even nail the ending. Kudos to one of my favorite movies of the year.

WATCH THE TRAILER

1 Comment | Comedy, Drama, World Cinema/Foreign | Tagged: , , , , , , , , | Permalink
Posted by David Ferguson

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