THE COW (SXSW 2022)

March 23, 2022

SXSW 2022

Greetings again from the darkness. There is a fine line between movies that cheat and those that cleverly keep us guessing. The first feature from writer-director Eli Horowitz and Matthew Derby seems to fully embrace cheating as a storytelling structure, relegating us to merely observing rather than guiding us as engaged participants. The film opens with a severely mismatched couple driving deep into the woods for a weekend getaway. We’ve all heard that “opposites attract”, but Kath (an excellent Winona Ryder) and Max (John Gallagher Jr) have been together for a year, and not only do they have opposite life goals, the two can barely hold a conversation. It’s not just awkward, it makes no sense that these two could have co-existed for so long.

Their drive leads to a ‘cabin in the woods’ set-up, as another couple is already settled in. The double-booking leads to another awkward exchange with Max pleading to let them stay the night … two unfamiliar couples sharing the cabin. Taciturn and creepy Al (Owen Teague) and overly exuberant Greta (Brianne Tiu) agree and soon the four are drinking together and playing an adult board game that exposes more personality divides. Despite dating the younger Max, or perhaps because of it, Kath is transitioning into a quieter middle-age life stage. Max is a childish man constantly pressuring Kath to be ‘more adventurous. Al and Greta have an “open” relationship, and she’s unapologetically flirty with Max, while Al mostly scowls. Kath heads off to bed before the others, and when she wakes up the next morning, an upset Al informs her that Max and Greta took off together.

So, Kath does what no real person would do. She heads back to her life as a horticulturalist and enjoys the solitude … right up until she finally reacts the way every other human would have initially. She wonders why long-time boyfriend Max didn’t bother to call or text or mail a postcard. This kicks off her (too late) mission of solving the mystery, and it leads her to connect with the mysterious Barlow (Dermot Mulroney), the owner of the cabin. Kath and Barlow go on a stakeout and end up telling personal secrets to each other – including details of the genetic illness that affected his father and may impact Barlow as well. They seem to connect despite the oddity that brought them together.

Director Horowtiz abuses the flashback crutch by filling in the many otherwise unexplainable gaps that exist in the actual timeline. It’s during these segments when we learn about the characters and circumstances that brought them together, although, to the film’s credit, it does allow us to experience the final reveal as it happens. There are some nice touches throughout, including shots of a shipping container behind the cabin that is visible from multiple spots and at various times. Kath’s work with plants provides a certain symmetry, and Barlow’s backstory is interesting. Perhaps the most unique element here is with only five main characters, the story involves four distinct generations: boomers, Gen X, Millennials, and Gen Z (maybe not exact birthdates, but close enough). The cabin in the woods put us on high alert early on, but the reliance on flashbacks taints the twists to such an extreme that the ultimate reveal of ‘the cow’ is a bit of a letdown, and still feels like cheating.

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Posted by David Ferguson

SERIOUSLY RED (SXSW 2022)

March 23, 2022

SXSW 2022

Greetings again from the darkness. Finding one’s self can be a long and arduous life journey for some. Along the way, they may be influenced by parents, friends, co-workers, and even public figures. This phenomenon is explored by director Gracie Otto (sister of Miranda) with a terrific script from lead actor Krew Boylan. It’s a film that starts out light-hearted and comical and evolves into something much deeper … self-actualization.

I’ll admit two things: I was not previously familiar with Krew Boylan and I was truly blown away by her performance here. She stars as Raylene, also known as the titular “Red” thanks to the ginger mop of hair on her head. She’s fixated on Dolly Parton to the point of going to the company banquet dressed as Dolly (either a prank or misunderstanding). Red has struggled to find her way in life, and is fired from her realtor job the day after the banquet due to her drunken improprieties. This is a grown woman living in her mom’s garage, and coincidences being as they are, a talent scout for a celebrity impersonation troupe offers Red the opportunity to audition as their Dolly.

We watch as she improves her act … going from a tolerable karaoke singer to actually impersonating Dolly’s singing voice, not just the big wig, heavy make-up, and frilly costumes (shout out to costume designer Tim Chappel). She becomes part of the Kenny Rogers impersonator’s act, and the two begin an off-stage relationship as well. Red finds that she enjoys the adulation and respect, and even goes so far to have implants for authenticity. Of course, we see what’s happening before Red does. In her search to find herself, she’s disappeared into the act of being someone else. Her lifelong friend asks her, “If you are busy being someone else, who is busy being you?”. Behold the identity crisis.

Exceptional work is provided by the supporting cast. That lifelong friend just mentioned is Francis, played by Thomas Campbell. We make assumptions about Francis based on the early scenes, and those assumptions later teach us a lesson. Red has a strained relationship with her mother played by Jean Kittson, who like every parent, wants happiness and reality for their offspring. Celeste Barber plays the talent scout who discovers Red, and Bobby Cannavale plays the manager of the traveling cast of impersonators (and serves up a nifty Neil Diamond impersonation himself). An unrecognizable Rose Byrne is a hoot as Elvis, and Daniel Webber is a standout as Kenny – the love interest and Kenny Rogers impersonator. Also fun to watch are the impersonators who play such icons as Marilyn, Streisand, Liz, Liza, etc.

Director Otto opens with a terrific and unconventional shot of Red in the bathtub while on a client call. It’s the perfect introduction to a character and story that leads us down many paths. We often hear that celebrities and public figures don’t consider themselves role models, but it’s indisputable that they have influence on many. Dolly Parton is a charming and talented and successful woman, and many of her insightful quotes are utilized here to inspire Red. But while icons may inspire some, it becomes clear that we all need the love and support of family and/or friends to discover our true self. This is a full Australian production, with the exception of Mr. Cannavale, who is an honorary Aussie due to his marriage to Rose Byrne. It’s a story with heart and makes for an entertaining watch.

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Posted by David Ferguson

I LOVE MY DAD (2022)

March 22, 2022

SXSW 2022

Greetings again from the darkness. It’s difficult to know whether the biggest story here is the one of the cringiest movies you’ll see or the fact that writer-director-star James Morosini based it on the actual relationship and events with his own father. Morosini opens the film with this: “The following actually happened. My dad asked me to tell you it didn’t.” That sounds kinda funny and sets the stage for some father-son conflict. But it certainly doesn’t prepare us for what we are about to watch.

The always terrific Patton Oswalt plays Chuck, the father. We listen to a steady stream of voicemails Chuck leaves for his son over the years, and we know immediately what kind of absentee, break-another-promise father he’s been to his son. Franklin (played by filmmaker Morosini) is finishing up his stint in therapy after a suicide attempt. By his side is his protective and worried and hopeful mother (Amy Landecker). Guess who is not there.

Being that it’s a movie, albeit one based on real life, we wonder if this is going to be a story of redemption for the father, the son, both, or neither. As part of the boundaries set by Franklin after his therapy, he blocks his father from social media. So desperate he is to re-connect with his son that Chuck undertakes a catfishing strategy. Yep, he creates a fake account using the identity of a cute waitress named Becca (a charming Claudia Sulewski) to befriend Franklin and talk about life. Of course, Franklin is so in need of human interaction that he begins to fall for virtual Becca, and Chuck’s mess just gets messier. He even involves his co-worker friend (Lil Rey Howery) and his boss/lover (Rachel Dratch), but who stand opposed to the whole thing.

The story is horribly sad and pathetic, but the actors inject enough levity that we aren’t wallowing in pain while watching. In an innovative step, Becca and Franklin appear together during their texting conversations – well, it’s a virtual representation of Franklin’s imagination. Mr. Oswalt is extremely effective at generating human emotions in a guy that could easily be vilified as public enemy number one. At his core, Chuck is just a well-meaning guy who stinks at being a parent – despite being desperate to connect with his son. As a parent, presence is crucial and much of it is about effort. Desperation can lead to bad decisions, and Mr. Morosini bravely exposes his own turmoil for a film that might hit home to more people than we imagine.

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Posted by David Ferguson

TO LESLIE (2022)

March 22, 2022

SXSW 2022

Greetings again from the darkness. We have all heard the stories of lottery winners who blow the entire pot and end up back where they started, or sometimes even worse off. There is also no shortage of stories where alcoholism ruins lives and relationships. Director Michael Morris’ first feature film combines the two elements in a script by Ryan Binaco, who based the lead character on his own mother. The two men have done their work well and, in a way, win their own lottery by having cast Andrea Riseborough in the lead. Ms. Riseborough has long been labeled underrated, but I believe the more accurate label is underappreciated.

Small town Texan Leslie (Riseborough) is seen celebrating her $190,000 lottery win by lifting the giant check for TV cameras. She admits to picking her son’s birthday as the winning number and says her plan is to buy a house and open a diner … right after she buys the first round at the local bar. We then flash forward six years to find Leslie homeless, having just been evicted from a fleabag motel. Toting her pink suitcase, she is forced to trace her steps back to the bridges still smoldering from her past actions. She tracks down her son James (Owen Teague, IT), whom she abandoned years ago.

Of course it doesn’t take long for Leslie to break James’ one house rule of ‘no drinking’, and soon he is shipping her back to their hometown to stay with the friends who raised James. Nancy (Oscar winner Allison Janney) and Dutch (Stephen Root) are a biker couple still upset with Leslie’s actions from years ago, but willing to give her a roof over her head. Leslie is a master of saying the right thing, but never doing the right thing. She can sweet talk anyone who might buy her next drink, but her history is one of burning bridges and leaving a wake of shattered emotions.

Leslie is an uncontrollable alcoholic and she’s self-destructive, but not in a LEAVING LAS VEGAS way. We sense that in her lucid moments … when she’s not screaming at someone or flirting for a drink … that she does want to be a better person and live a better life. It takes local motel manager Sweeney (Marc Maron) to give her a real shot at cleaning up. Literally cleaning up, as she’s hired to clean the motel rooms. Sweeney’s patience with Leslie stems from his past, and it’s as painful to watch his efforts as it is to watch Leslie’s swings. Andrea Riseborough delivers a raw and riveting performance – one worthy of awards consideration. She captivates us with an emotional and physical performance. Director Michael Morris has directed some terrific TV episodes for shows like “Better Call Saul”, “Bloodline”, “Animal Kingdom”, and “House of Cards”, and this film leaves us with hope that the support of one person can make a difference for someone in desperate need of help.

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Posted by David Ferguson

SOFT & QUIET (SXSW 2022)

March 21, 2022

SXSW 2022

Greetings again from the darkness. If you prefer your movies light-hearted, good-natured, and relaxing to the spirit, then you need to avoid writer-director Beth de Araujo’s first feature film at all costs. I’m not sure I’ve ever been more uncomfortable watching a movie than I was during this one. Whatever you do, don’t assume that a story featuring a group of young women meeting in a church for snacks and socializing will be cute or funny. This is neither. In fact, I’m at a loss for the properly descriptive words.

It doesn’t take long for us to realize these ladies aren’t soccer moms here to discuss cupcake recipes or romance novels. When Kindergarten teacher Emily (Stefanie Estes) pulls the cover back from the homemade pie she baked, the swastika carved into the crust is clear as day. Their club, “Daughters for Aryan Unity”, is actually a group of racist bigots filled with extreme hatred towards people of color. Their stated mission is ‘multi-cultural warfare’ and standing up for the place in society they have earned. One of Emily’s phrases is “feminine, not feminist”, and she explains why. This conversation continues until the Pastor overhears and kicks them out of his church.

Adding to the tension and contributing to the profuse feeling of disgust is the filmmaker’s decision to avoid cuts and present real time in one continuous shot. We never get a breather from these despicable people. The big concern with bigotry is that unforgivable words can shift into dangerous actions, and that’s what happens here. A store confrontation over a bottle of wine leads to a prank that goes horribly awry.

I’m not sure if the film is meant as a lead-in to serious dialogue on the topic, or whether it’s a cautionary tale about the dangers of racism and bigotry. Perhaps it’s a reminder that racism and evil behavior is not limited to southern rednecks in pickup trucks. Whatever purpose Ms. de Araujo had in mind, the film (even with a surprise ending) is certainly uncomfortable to watch.

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Posted by David Ferguson

MASTER (SXSW 2022)

March 21, 2022

SXSW 2022

Greetings again from the darkness. With her first feature film, writer-director Mariama Diallo shows us that the terror of racism need not be blatant and obvious, and can be subtle and generational. Thanks to Jordan Peele, horror films have become de rigueur for exposing and exploring the many facets of racism. Ms. Diallo embraces the genre, while also mixing in the element of classism and entitlement.

Regina Hall is superb as Gail Bishop, the newly hired first black House Master at Ancaster College, a fictional, Ivy League-type school in the northeast that is as old as our country. Also excellent is Zoe Renee as Jasmine, a high-achieving black incoming freshman. A brilliant touch displays the symmetry of move-in day. Gail moves in to a creaky, dusty old home on campus, while Jasmine draws “the room” in dormitory. What is “the room”? Well, there is a legend tied to student deaths and long-ago witch trials … and 3:33am on the clock.

The supernatural forces attached to her room are only part of the challenges facing Jasmine. There is also her roommate played by Talia Ryder, the overall entitlement of other students, and another interesting character – her professor of Literature, Liv Beckman (Amber Gray). Ms. Beckman is friends with Gail, but Jasmine files an official complaint alleging she was targeted on her grade for a paper on racism in “The Scarlet Letter”. Complicating the matter, Ms. Beckman is also black and up for tenure, despite a shaky publishing record and a curious lack of background detail.

The multiple story lines become more intricate with the odd editing and threads as presented. Cinematographer Charlotte Hornsby works wonders with the creep factor, but the editing choices are often curious. Gail’s big career stepping stone introduces her to institutional racism at the institution where she’s employed. The three main characters each have their own story arcs, and the intersections are often quite advanced. However, the multiple stories do create some cinematic obstacles, and not all are handled smoothly, especially in the final act. Still, Ms. Diallo announces herself as a filmmaker to watch, and all three lead actors perform admirably.

In select theaters and on Prime Video beginning March 18, 2022

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Posted by David Ferguson

LINOLEUM (SXSW 2022)

March 21, 2022

SXSW 2022

Greetings again from the darkness. For those of us who spend entirely too many hours of our life watching movies, it’s always a welcome pleasure to stumble upon one that is creative and innovative and entertaining. The first feature film from writer-director Colin West is all that, plus it’s funny and touching and features some science. As an added bonus, it features the always great Jim Gaffigan in a dual starring role.

Mr. Gaffigan stars as Cameron, a middle-aged guy who writes, acts, and films an educational children’s science show for Public Access TV titled, “Above and Beyond”. Imagine a blend of Carl Sagan and Bill Nye the Science Guy. It’s a show he and his wife Erin (Rhea Seehorn, “Better Call Saul”) started together, but now she works at the local Air & Space Museum as the two await the finalization of their divorce.

Cameron has been waiting patiently for a preferred time slot, and one day his producer delivers news that’s both good and bad. The show is being picked up for distribution, but they have hired a new host. In what is anything but the oddest thing to happen so far in the story, Cameron can’t help but notice how much he and the new host look alike – although the personality differences are startling. It turns out the new guy bought the house right across the street from Cameron and Erin, and new guy has a teenage son, Marc (Gabriel Rush), who awkwardly befriends their daughter Nora (Katelyn Nacon).

When a satellite crashes in his yard, Cameron seizes the opportunity to become the astronaut he always dreamt of being by attempting to re-build the tangled mess into a custom rocket ship. Obviously I have left out many details in an effort to avoid spoilers for a story that is at times surreal, and can be best enjoyed going in cold. Other familiar faces appearing briefly in supporting roles include Tony Shalhoub, Amy Hargreaves, and Michael Ian Black. We have seen parallel universe films before, but filmmaker Colin West treats us to something a bit different. It may seem like a low-key affair, but “it’s not that simple.”

Narrative Feature Competition Category – SXSW

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Posted by David Ferguson

DEEP WATER (2022)

March 17, 2022

Greetings again from the darkness. Based on his work, arguments can be made on both sides. Director Adrian Lyne is either a staunch believer in monogamous marriages, or he enjoys mocking the concept altogether. Surprisingly, this is his first film in 20 years since UNFAITHFUL (2002). To refresh your memory, he’s also the force behind 9 ½ WEEKS (1986), FATAL ATTRACTION (1987), and INDECENT PROPOSAL (1993). Co-writers Zach Helm and Sam Levinson have adapted the script from the 1957 novel by Patricia Highsmith, who also wrote “The Talented Mr. Ripley” and “Strangers on a Train”.

“Do you know I love you?” When one spouse feels the need to ask about love rather than declare it, you know it’s an unusual marriage. And in the category of unusual marriages, you’d be hard-pressed to find an arrangement more bizarre than the one between Vic (Ben Affleck) and Melinda (Ana de Armas). Thanks to real life public drama for Will Smith and Jada Pinkett, we all know that “open marriages” are a thing. But this with Vic and Melinda is neither fully “open” nor fully a marriage. Vic invented and sold a computer chip used in drones (mostly for warfare) and he’s so rich, that he’d rather watch his free-spirited wife drag home new boy-toys than give her an expensive divorce. But that’s as much explanation as we receive for what seems like a lose-lose-lose scenario. That third lose is for Melinda’s gentlemen friends who seem to mysteriously disappear once Vic becomes aware of them. One is gone before the movie even starts, and he’s followed by Jacob Elordi, Brandan Miller, and Finn Wittrock.

Perhaps the biggest mystery here is in deciding who displays more charisma, Affleck in this role or the snails that his character Vic breeds. We’ve joked about actors sleepwalking through roles before, but there are scenes here where that may actually be happening. Affleck mostly just dead-eyes Melinda and her men, though we are supposed to interpret his lack of expression as a combination of anger, jealousy, and lust. Fortunately, we have Ana de Armas to liven things up. She’s a full-grown party girl going through various stages of designer dress and un-dress. The supporting cast is comprised of Dash Mihok, Lil Rey Howery (who is in every movie these days), Kristen Connolly, Grace Jenkins as the smarter-than-parents kid to Vic and Melinda, and Tracy Letts as a curious novelist constantly side-eyeing Vic as research for a new book.

Is it cheesy? Yes. Is it sleazy? Yes. Despite twenty years of no movies, director Lyne delivers another high-gloss, play-pretend trashy erotic thriller that will fit perfectly in the streaming world. Affleck disappoints here after strong turns in THE TENDER BAR (2021) and THE WAY BACK (2020), and Ms. de Armas will next appear as Marilyn Monroe in BLONDE. Ben and Ana had their tabloid moment as a romantic couple after filming, but she is now the gone girl, and he has since reunited with JoLo. There are too many gaps in the story and characters for this to be considered a serious movie, but it’s sure to be entertaining enough for many.

Premiers on HULU beginning March 18, 2022

WATCH THE TRAILER

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Posted by David Ferguson

HUDA’S SALON (2022)

March 3, 2022

Greetings again from the darkness. Writer-director Hany Abu-Assad has had two films nominated for the Best Foreign Language Oscar. OMAR (2013) and PARADISE NOW (2005) were both excellent and deserving of such regard. His latest in ‘based on true events’ from Bethlehem, West Bank in Occupied Palestine. He shows us the intimidating wall around the city and points out the vulnerability of local women.

Reem (Maisa Ebd Elhadi) is in the chair for her appointment with Huda (Manal Awad) at the salon. The banter between the two women shows an obvious connection between a long-time client and her stylist. However, it’s the first visit in a while as Reem has recently had a baby, and the infant is along for this appointment. The cheerful conversation comes to an abrupt halt following Huda’s shocking actions. This extended take is difficult for us as viewers, as we see the entire thing unfold.

The ultimate betrayal between friends leads to a direct conversation that has Reem grasping for a proper solution and fearing for her life. Huda’s actions have placed Reem and her family in imminent danger. Huda has blackmailed Reem into providing information to Israel’s Secret Service … spying on her community. On top of tending to her infant child and worrying about her new perilous situation, Reem is also dealing with a jealous husband at home. Yusef (Jalal Masarwa) thinks his biggest concern is a wife who may be sneaking around on him (she’s not), when in fact, the danger is much more severe.

After the initial sequence in the salon, the bulk of the film is a back and forth between Reem desperately trying to save herself and her baby, and Huda being interrogated by Hasan (Ali Suliman), a Palestinian pushing Huda to identify those she has “turned” in the same manner she blackmailed Reem. The contrast between these two concurrent threads is striking. While both are ominous, Huda is exceedingly cool under pressure while Reem is frantic. The reason for the differences: Huda is resigned to her fate, while Reem remains hopeful.

It’s The Occupation versus The Resistance, and to be a traitor likely means death. But what to do when blackmailed and caught in a no-win situation? That’s Reem’s predicament. At the same time, Huda, already a societal outcast as a divorcee, has played her role and fully understands what that means. To ensure we “get” the existence women are living, director Abu-Assad inserts a scene in a clinic where a pregnant woman begs for another test after it’s announced she’s having another daughter. This perfectly illustrates the value of women caught up in the geopolitical battle between Israel and Palestine.

In theaters and On Demand beginning March 4, 2022

WATCH THE TRAILER

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Posted by David Ferguson

THE BATMAN (2022)

February 28, 2022

Greetings again from the darkness. Riddle me this: does “The Bat, The Cat, and The Rat” sound more like an opening line to a joke or the title of a Dr. Seuss book? In fact, those are three core elements of this new, COVID-delayed, and highly anticipated film from writer-director Matt Reeves and co-writer Peter Craig. I’ll confess to being a huge fan of Christopher Nolan’s ‘Dark Knight’ trilogy (that concluded 10 years ago), and being a bit skeptical to a new version featuring Robert Pattinson in the titular role (I’m choosing to totally ignore the in-between portrayals in the “Justice League” movies). Knowing full well how important it is for fans to watch these films with fresh eyes and a clear head, this review is purposefully vague on what will surely prove to be some of the more popular and contentious discussion points.

Let’s start with a general description and the setup. The film is dark and gloomy and gritty and grimy. Gotham is a cesspool of corruption and crime, and we get no glimpse into the other side, assuming there is one. Billionaire Bruce Wayne (Robert Pattinson) is still in his second year as the Batman, often referred to as “Vengeance”. There is substantial backstory for Mr. Wayne, who lives in relative seclusion with his trusty manservant Alfred Pennyworth (Andy Serkis), while the Batman prowls at night in his efforts to clean up the city. Of course he is unable to keep pace with crime and corruption, even with the close alliance he has built with good cop, Police Lt. James Gordon (Jeffrey Wright). It takes Batman’s Poirot-like detective skills to solve a riddle left as a clue in a particularly high-profile murder case. Soon it’s obvious a serial killer is at work and he has purposefully drawn the Batman into his game.

The caped crusader proceeds to cross paths with Selena Kyle/Catwoman (a terrific Zoe Kravitz), Oswald Cobblepot/Penguin (an unrecognizable Colin Farrell), District Attorney Gil Golson (Peter Sarsgaard), and crime lord Carmine Falcone (John Turturro). As city VIPs begin showing up dead, it’s a masked Edward Nashton/Riddler (Paul Dano) who always seems a step ahead. All of the above receive their chance to shine on screen, and while none let us down, it’s not until the mask is ripped from Riddler, and Dano really shines, that we are left wanting more. It should be noted that Farrell (with his facial prosthetics and fat suit) is kind of a second fiddle here, but it’s surely intentional and meant to set the stage for more Penguin antics down the road.

Pattinson will certainly receive the most scrutiny. I found him to be an excellent Batman, with black eye makeup smeared by sweat under his cowl, maintaining the grungy tone. His whispery voice differs from Christian Bale’s gravely growl, but works for the character’s withdrawn nature and preference for detective work over than fighting. Staying true to the premise that this is only his second year, there is a significant shortage of “wonderful toys”, and the batmobile is less rocket ship and more souped-up coupe. The contrast to these is a batsuit that seems quite advanced (and looks cool). It’s Pattinson’s Bruce Wayne that didn’t work for me. I respect the reclusive billionaire aspect, but he mostly looks like someone on their way to a Nirvana gig, leaving us wondering how the heck could anyone not connect the dots between a creepy rich guy and a nearly identical creepy guy in a bat suit. It’s a minor complaint, but one that stuck with me.

Oscar-winning composer Michael Giacchino (UP, 2009) takes a more classical approach than the dramatics of predecessors Hans Zimmer and Danny Elfman. Giacchino has been a frequent Pixar contributor, and scored some well-known blockbusters in franchises like ‘Jurassic World’, ‘Star Trek’, ‘Planet of the Apes’, ‘Mission Impossible’, ‘Spider-man’, and ‘Star Wars’. His work fits nicely here. Adapting characters and stories originated by Bob Kane and Bill Finger, Matt Reeves and Peter Craig have found a way to put their own stamp on the work. Mr. Craig is Oscar winner Sally Field’s son, and his previous scripts include THE TOWN (2010), parts 1 and 2 of THE HUNGER GAMES: MOCKINGJAY, and upcoming high-profile projects in TOP GUN: MAVERICK and GLADIATOR 2. Director Reeves has previously helmed the excellent horror film LET ME IN (2010), as well as DAWN OF THE PLANET OF THE APES (2014) and WAR FOR THE PLANET OF THE APES (2017).

This marks the first in a planned Batman trilogy, and a couple of the last scenes seemingly set the stage for what’s to come. Although this is an odd movie, here’s hoping the franchise maintains this tone and avoids the typical Marvel/DC overblown CGI approach. After all, the Batman is but one man, not a God of superpowers. This film is an unusual blend of noir-horror-detective-action-psychological thriller wrapped in a gray box with a black bow, and though it will likely be divisive among fans (isn’t everything?), this 3-hour epic leaves us anticipating the next ‘bat time’ and ‘bat channel’.

Opens wide in theaters on March 4, 2022

WATCH THE TRAILER

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Posted by David Ferguson

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