FATHER STU (2022)

April 12, 2022

Greetings again from the darkness. Well, if you are going to make a movie about redemption and bettering one’s self, who better to cast than Mark Wahlberg and Mel Gibson? Both men are stars who on multiple occasions have needed redeeming. Writer-director Rosalind Ross’ first feature film is based on the true story of Stuart Long, and Mr. Wahlberg was so committed to the project that he funded production when others chose not to.

OK, so maybe it’s a bit of a stretch having Mr. Wahlberg play the guy who becomes a priest, but that’s why they call it, “the magic of Hollywood.” Stuart Long was a real person and his story is compelling and worth sharing. Wahlberg so believed this that he self-funded the production, and clearly gave his all in the performance. My advice to anyone watching the movie is to stay seated. Things move extremely fast … and it’s that expeditious approach to storytelling that gives this a bit of a movie-of-the-week feel. Here’s what I mean by fast: We see Stu (Wahlberg) as a boxer. His parents are long-divorced, and after an injury, Stu decides to head to California to be an actor. He falls in love with a girl who convinces him to get baptized, and the experience inspires him to become a Catholic priest. Severe health issues ensue, yet he persists. That’s a whole lot to cover in two hours, and it explains why each piece skims only the surface and feels rushed … and this is only a partial list!

The pedigree here is beyond question. Wahlberg has twice been Oscar nominated. Two-time Oscar winner Mel Gibson plays his father, while 2-time Oscar nominee Jacki Weaver is Stu’s mother. Screen legend Malcolm McDowell plays the local monsignor who finds himself in a pickle, and the always-great Colleen Camp has a brief appearance as a seen-it-all motel clerk. Teresa Ruiz is terrific as Carmen, Stu’s reluctant love interest who first think she understands him, then learns she doesn’t, and then ultimately respects what he’s made of himself.

Catholicism plays a big role here, and there is plenty of guilt to go around. Wahlberg leans heavily into his charm to help us relate to Stu, but he and Gibson both have cringe-inducing moments for those familiar with some of their off-screen activities. Gibson’s ‘Hitler’ crack seems to walk an especially fine line. On the other hand, Gibson delivers a couple of memorable lines: one early on when he’s watching young Stu dance, and another later on when the two are re-connecting as grown men. Filmmaker Ross includes some actual Stuart Long audio recordings, photographs, and video over the closing credits.

Opens in theaters April 13, 2022

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Posted by David Ferguson

ALL THE OLD KNIVES (2022)

April 8, 2022

Greetings again from the darkness. Thanks to James Bond, Jason Bourne, and Ethan Hunt, we’ve grown accustomed to globetrotting action-packed thrillers in the spy genre. But of course, there is the flip side: the quiet and unheralded work done by intelligence agents … those who typically use their brains more often than their fists or guns. Director Janus Metz (the underrated BORG VS MCENROE, 2017) has based his film on the 2015 book by Olen Steinhauer.

It’s 2012 and we are inside the Vienna station of the CIA as the agents meet to strategize their response to a terrorist act – the hijacking of Turkish Alliance Airline Flight 127. The team is unable to prevent tragedy, and it’s clear this is a case that will stick with them. Eight years later, the station chief (Laurence Fishburne) calls Henry Pelham (Chris Pine) back in to let him know that on orders from Langley the case has been re-opened. The terrorist behind that hijacking has been recently captured and disclosed that he had a CIA mole inside the Vienna station. Henry is to re-interview everyone involved to uncover the double-agent.

One of those interviewed is the former supervisor played by Jonathan Pryce. He’s now retired, and Henry forces him to go back through all details, some of which are uncomfortably personal. But that doesn’t compare to how personal the next interview hits. Celia (Thandiwe Newton) was not just Henry’s fellow agent, but also his lover. She has since left the agency and is living a pleasant family life in stunning Carmel-by-the-Sea, perhaps the most picturesque coastal area in the U.S. Chris Pine gets to look really cool driving a convertible over Bixby Bridge.

Director Metz works in numerous flashbacks to the relationship between Henry and Celia, and it’s through these that we come to understand their connection and the type of people they are. But ultimately, it’s their meeting at the fancy restaurant with the breathtaking view that serves as the key to the movie and the story. In fact, because their time sharing a table and wine is so substantial and critical, it could easily transition to a stage play. It’s a high-level game of cat-and-mouse between two beautiful and smart characters. You may know where it’s headed, but it’s unlikely you’ll know how it will get there.

It’s easy to see this being a popular streaming choice as the characters and setting are easy on the eyes. The deeper questions asked here are what to do when a loved one isn’t who you thought they were. Also, can you trust those trained to not trust others? As previously stated, it’s a bit of a different spin on the spy genre – less action/thriller and more character study.

Streaming on Prime Video beginning April 8, 2022

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Posted by David Ferguson

MOTHERING SUNDAY (2022)

April 8, 2022

Greetings again from the darkness. Every writer has a story about what inspired them to put words on the page. What we have here is Eva Husson directing a script from Alice Birch (LADY MACBETH, 2016) who has adapted the 2016 novella from British author Graham Swift. We follow Jane Fairchild through three stages, as her work as a maidservant allows her to become “an occupational observer of life.”

It’s Mothers’ Day 1924 and Jane (Odessa Young, SHIRLEY, 2020) is anticipating her latest romantic tryst with Paul Sheringham (Josh O’Connor, EMMA., 2020). Both know this is their final time together, and they take full advantage. Jane’s employers, Godfrey and Clarrie Niven, are meeting Paul’s parents for a celebratory luncheon with Emma (Emma D’Arcy), the ‘proper’ woman Paul is to marry. Oscar winner Colin Firth (THE KING’S SPEECH, 2010) and Oscar winner Oliva Colman (THE FAVOURITE, 2018) play the Nivens, and deaths from WWI hang over all of these families like the darkest of clouds.

The story is told in non-linear fashion, with Jane and Paul’s final lovemaking session being that which all other events seem to revolve. We also spend some time with Jane in her 40’s as she is living with her philosopher husband Donald (Sope Dirisu), and then in her 80’s as she is celebrated as a renowned and prize-winning author. In this last stage, Jane is surprisingly played by the great Glenda Jackson, a two-time Oscar winner (A TOUCH OF CLASS, 1973, and WOMEN IN LOVE, 1969), who has only appeared in a handful of TV movies these past thirty years. Ms. Jackson turns 86 next month, and spent time as an elected member of Parliament. She’s always been an interesting person, and it’s terrific to see her back on the big screen – even if she only gets a couple of brief scenes followed by one substantial one near the end.

It’s a beautiful film and it’s sensuously photographed, though maybe a bit odd in that it focuses so diligently on the visuals (thanks to cinematographer Jamie D Ramsay), while actually following a woman’s journey into writing. Love (or lack of it) and grief and life’s transitions are all on display, as are the harsh realities of class differences. Ms. Young and Mr. O’Connor are both terrific, and though she has minimal screen time, we are stunned again at just how much emotion Ms. Colman can convey with her face.

Memories and recollections of “that day” play a crucial role as the mature Jane wrestles with writing her novel … one that her publisher expects to be a thriller. Of course, we watch as Jane’s story plays out, so we know where her writing is headed. The film has a vagueness to its storytelling that prevents us from ever fully engaging with Jane or any of the rich, sad people, yet it’s such a beautiful film to look at that we never seem to mind.

In theaters on April 8, 2022

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Posted by David Ferguson

ALINE (2022)

April 8, 2022

Greetings again from the darkness. Ana Gasteyer’s “Saturday Night Live” parody of Celine Dion not-so-humbly announcing herself as “the greatest singer in the world” was brilliant sketch comedy and good for a hearty laugh. All these years later, filmmaker Valerie Lemercier cast herself as the lead in this unofficial biopic “inspired by” the story of Celine Dion. It’s a fictionalized account co-written with Brigitte Buc that sticks to the real story in some parts, while also being a bit creepy and serving up a quasi-horror film sensation in others. You might ask, “How can the story of Celine Dion” have anything to do with horror?”, and well the answer is that Ms. Lemercier (a woman in her 50’s), plays the fictionally named Aline Dieu at ALL ages (thanks to some CGI). Seeing that face on the young girl peering up at her family on stage is as creepy and discomforting as any screen image we will see this year.

It’s no accident that Lemercier’s character is named Dieu, which is French for God. She clearly worships the real Ms. Dion, and this is intended as a loving tribute to the singer. Aline Dieu is the 14th child born into a French-Canadian family. Many of the family members perform as a singing act … think The Osmonds or the Cowsills, and Aline is still young when her amazing vocal talent is discovered and becomes a featured part of the performances. Her headstrong mother, Sylvette Dieu (played by Danielle Fichaud), is very protective of her youngest child and is involved as the family contacts a well-known talent manager named Guy-Claude Kamar (Sylvain Marcel).

Aline becomes a teenage singing sensation, and of course, later becomes an international icon, especially after singing the TITANIC (1997) song, “My Heart Will Go On”. The film tracks the meteoric rise of her career, but as in real life, much of the focus is on the relationship between Aline and Guy-Claude (obviously the stand-in for Rene Angelil). They first met when she was 12, and despite the 26-year age gap, a love developed that resulted in marriage years later (when she was of legal age). Aline’s mother’s reaction to this relationship was disgust – in a funny kind of way. She felt her princess deserved better than “an old prune”. We also learn of Aline’s vocal cord scare, the couple’s initial struggles to have kids, and how he focused on the business side to protect her … a cause he remained devoted to because of his heart condition. A big part of this was the infamous Las Vegas residency, which has since been copied by many artists.

Despite the success and brilliant artistry, there is a certain sadness to a woman who seemed quite isolated from everything but her family. This point is driven home when she admits to never have seen the city where she’s been performing, and the fact that she seems to have no friends outside of her makeup artist Fred (Jean-Noel Broute). Ms. Lemercier does a fine job capturing the various looks and style over the years, and her movements on stage are spot on. She lip-syncs to the familiar songs … sung not by Celine, but rather Victoria Sio. The movie will likely work best for fans of Celine Dion, while others may not recover from the Act I creep factor.

Opening in theaters on April 8, 2022

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Posted by David Ferguson

EVERYTHING EVERYWHERE ALL AT ONCE (2022)

April 5, 2022

Greetings again from the darkness. It’s bonkers, I tell ya’! Co-writers and co-directors Daniel Kwan and Daniel Scheinert, known collectively (by their choice) as “Daniels”, follow up their ‘farting corpse movie’ SWISS ARMY MAN (2016) with one that is somehow more bizarre, more audacious, and more fun. It’s one of the most innovative films I’ve seen in a while, and although I can point out influences, I’ve yet to come up with a movie comparison that seems just or fair.

Every small business owner can relate to the stress Evelyn Wang (Michelle Yeoh) is under as she attempts to organize her documents in preparation for an IRS audit of the laundromat she owns with her husband Waymond Wang (Ke Huy Quan). As if that’s not enough, her father is scheduled to arrive the same day. She knows Gong Gong (James Hong) is disappointed in his daughter for the husband and life she chose. And while being crushed with those two events, Evelyn’s strained relationship with her daughter Joy (Stephanie Hsu) continues to fracture as Evelyn wants to keep Joy’s girlfriend status with Becky (Tallie Medel) a secret from dear old conservative dad/grandfather.

That’s just about the end of the “normal” part of the story, other than Waymond has had divorce papers prepared, not for the purpose of ending the marriage, but with the hope that the threat might force Evelyn to have a real conversation with him about their relationship. Things start to get weird even before they head to the IRS meeting with an agent played with gusto by Jamie Lee Curtis, but while there, we get our first real taste of the fantastical trip we (and Evelyn) are about to take. Of course, I can’t really offer any description of the action that occurs, but nothing is spoiled if I tell you that some characters cross multiple dimensions and universes in an attempt to ‘save the world’. While doing this, they mix in some acrobatic martial arts that would make Jackie Chan envious.

It’s the rare film where the frenetic pace of dialogue keeps pace with breakneck action sequences. A fanny pack, trophies with an unfortunate shape, and blue-tooth type devices all play unusual roles here, and this film challenges everyone from the actors to the directors to the editors to the fight coordinators. You’ll likely recognize Evelyn’s husband as the grown-up version of the child actor who played Short Round in INDIANA JONES AND THE TEMPLE OF DOOM (1984), and daughter Joy is portrayed by Stephanie Hsu (a contributor to “The Marvelous Mrs. Maisel”), who gets to cover just about the widest range of character we’ve likely ever seen on screen. The estimable James Hong is a riot as Gong Gong. Mr. Hong is now 93 years old with an incredible canon of 450 credits in his 8 decades of work. His presence is quite crucial to the film. It should also be noted that, as we would expect, Jenny Slate shines in her brief role as “Big Nose”, a regular customer at the laundromat.

As terrific as the cast is, this is really a chance for Michelle Yeoh to bring her full arsenal to the role of Evelyn. She’s angry, frustrated, scared, courageous, and even adds her comic timing. Ms. Yeoh flashes her CROUCHING TIGER, HIDDEN DRAGON fighting skills, while also brining a regal presence to a film that requires a strong core. It’s no mystery that family and love can solve many of the world’s issues, and Daniels have delivered a wild ride that defies simple description. It’s a long one at 139 minutes, but you’ll thank me later for not saying much more than … it’s bonkers!

Opens in select markets on March 25 and April 1, 2022 and nationwide on April 8, 2022

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Posted by David Ferguson

NITRAM (2022)

April 1, 2022

Greetings again from the darkness. “What made him do it?” That’s the question we always ask after a mass shooting. Rarely does any answer make much sense. Director Justin Kurzel and his TRUE HISTORY OF THE KELLY GANG (2019) screenwriter Shaun Grant join forces in collaboration again for a story based on the man responsible for the 1996 Port Arthur Massacre in Tasmania. It was the worst lone gunman mass shooting in Australian history with 35 killed and 23 injured. The filmmakers tread lightly here and never mention the shooter’s name, though the film’s title is a backwards hint. Their film is an attempt to answer that question we always ask.

Opening with archival news footage from 1979 in a burn unit, where a young boy has been injured by fireworks happily proclaims he will continue the fun that fireworks bring. We then flash-forward to a young man (presumably the same) setting off fireworks in his parents’ backyard as the neighbor yells at him to stop. His weathered mother (two-time Oscar nominated Judy Davis) puffs on a cigarette while looking on with a feeling of resignation. The young man is Nitram (though his parents never call him by name) and is played by Caleb Landry Jones, in his most off-kilter and disturbing role yet. His mom is fed up with him, though she attempts to get him on track, while his father (Anthony LaPaglia) is more reserved and forgiving of the boy they have raised – one who not only has no direction in life, but has social and likely mental issues.

Nitram’s long, stringy hair constantly provides cover for eyes that rarely look up. His world transforms one day when he asks a local recluse if he can mow her yard. Helen (played by Essie Davis, who is married to director Kurzel, and was fantastic in THE BABADOOK) takes a liking to him, and the two loners form an unconventional relationship where the wealthy woman buys him gifts, and offers him a home and what may be his first ever friend. Of course, this causes much consternation for his parents, as they carry an undefined concern about their son’s stability.

A dramatic event causes yet another shift in the young man’s life, and it allows the further exploration of how the world can become unbearable for such a person. A separate event results in an unwelcome change for dad, and it’s an event that certainly plays a part in putting Nitram on the deadly path. Nitram as a misfit is also on display through his interactions with a local surfer, and it’s at this point where the film shifts into commentary on gun control laws and the ease with which restrictions can be evaded. It’s a strange tonal shift, but for a mass murder movie that doesn’t show murders, we can at least understand the approach.

The four main actors are consummate professionals and always bring realism and interest to their roles. Here, Caleb Landry Jones delivers a performance that is both terrifying and empathetic. He of course appeared in THREE BILLBOARDS OUTSIDE EBBING, MISSOURI (2017), and I’ve been following his career since I first noticed him as one of the bike-riding boys near the end of NO COUNTRY FOR OLD MEN (2007). While the film attempts to answer the original question, “What made him to it?”, perhaps many tragic scenarios could be avoided if we could sooner answer, “What’s wrong with you?” Depression, mental illness, gun control, and parental frustration are all prominent here. Filmmaker Kurzel ends the film with some startling details and statistics on Australia’s National Firearms Agreement.

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Posted by David Ferguson

CHA CHA REAL SMOOTH (SXSW 2022)

March 23, 2022

SXSW 2022

Greetings again from the darkness. It seems society has reached a point where most of us are at least a bit skeptical of someone being nice. We assume there is an ulterior motive for acts of altruism. Writer-director-actor Cooper Raiff won a SXSW award for his first feature film (a title I can’t print here), and he follows that up with this feel-good dramedy that may very well inspire us to have a bit more faith in humanity … well at least some of humanity.

When we first meet Andrew (Mr. Raiff), he’s attending the Bar Mitzvah of a classmate, and finds himself attracted to Bella (Kelly O’Sullivan, who was so good in SAINT FRANCIS, 2019), the older ‘party starter’. What really hits home with Andrew is how Bella takes an obviously unsettling phone call in the stairwell before flipping her smile back on and returning to her hosting duties. We then jump ahead 10 years, and Andrew has just graduated college. His girlfriend heads off to Barcelona while he moves back in with his mother Leslie Mann) and stepdad (Brad Garrett), sleeping on a blow-up mattress in his younger brother David’s (Evan Assante) room. As he contemplates his next step in life, Andrew works the counter at ‘Meat Sticks’, a shopping mall based fast food stop that forces him to wear a royal blue vest and bright red visor. Talk about motivation for transitioning into adulting.

This ties back into the early scene of young Andrew because when he accompanies David to a Bar Mitzvah, Andrew is attracted to the beauty Domino (Dakota Johnson), mother of autistic Lola (Vanessa Burghardt). We watch as Andrew’s charm convinces to Lola to dance for the first time, a friendly gesture that intrigues her mother. Things change quickly for Andrew. Other Jewish moms take note of Andrew and hire him as a ‘party starter’, Domino hires Andrew to periodically babysit Lola, David starts eliciting romance advice from big brother, and Domino and Andrew begin their “will they or won’t they” flirtations.

Of course, things aren’t as simple or rosy as they might seem. Domino has a lawyer fiancé (Raul Castillo), and she’s burdened with emotional pain that she barely acknowledges – though she does admit to Andrew that she struggles with depression. There are also mental health issues associated with Andrew’s mother, and we infer that plays an important part in his own makeup and desire to help others. It turns out Andrew and Domino are both defined (perhaps burdened) by their need to help others, while ignoring their own well-being. Neither are saints, as both have flaws. An engaged Domino battles her urges with Andrew, while he drinks too much, has a jealous streak, and snaps at loved ones when upset.

Filmmaker Raiff benefits from a terrific and fully engaged performance from Ms. Dakota. Raiff himself is not a polished actor, but this is an advantage for his role as Andrew – a young man drifting at a time he should be focused. The film takes a sincere approach to characters we know. The cringe-factor rarely, if ever, pops up. The most cynical might find it saccharine, but most will appreciate the sweetness Andrew displays as he fumbles around with what love means. He may be somewhat goofy, but he’s also good-hearted, and enjoys making a difference and helping others. Raiff’s film may be as eager to please as its protagonist, yet that’s not such a bad thing.  And yes, the “Cha Cha Slide” does feature in a dance scene, so the film’s title isn’t totally off the wall (but almost).

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Posted by David Ferguson

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

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