BEING THE RICARDOS (2021)

December 9, 2021

Greetings again from the darkness. You don’t have to be one of the 60 million who, between 1951 and 1957, tuned in each week to watch the latest episode of “I Love Lucy” to feel like you know Lucy, Desi, Ethel, and Fred. Most of us have watched the syndicate re-runs over the past 70 years, and that fact added challenges to this project for writer-director Aaron Sorkin – not the least of which was casting the role of Lucille Ball. Everyone had an opinion, and when you go to cast a true icon, it’s a slippery slope.

I’m happy to report (even though it’s not surprising) that Oscar winner Nicole Kidman is truly exceptional as Lucy. Perhaps a better choice could be made if this were a remake of the “I Love Lucy” sitcom, but although the film dips in and out of that show’s production, this is an Aaron Sorkin movie; so the focus is less on comedy and more on the intricacies of social and political issues. Now you might ask, what issues could a beloved star like Lucy have?  How about these: the media is reporting her husband is cheating on her, the sponsors don’t want her appearing on air while pregnant, internal battles over a particular scene with the director and writers, and she’s just been publicly called out for being a communist.

You’ve surely detected by now that this is no comedy about Lucy. Instead, it’s a pretty heavy drama about pressures at the top of a profession, and the eternal difficulties in cultivating a successful marriage. Adding heft is the era in which this occurs. It was rare for a woman to wield Lucy’s power, and the social mores of the time forced big time debate over showing a woman during pregnancy – even if that woman was married! Filmmaker Sorkin utilizes an odd structure for the film. It appears to be happening during the show’s second season, but we are actually looking back years later through the eyes of the show’s writers and producer. And then beyond that, we get flashbacks from the flashbacks to Lucy’s time at RKO, and the early flirtations that led to Lucy and Desi.

Oscar winner Javier Bardem plays Desi Arnaz. Although he bears little physical resemblance to the Cuban bandleader, Bardem expertly captures the essence of Desi as a businessman, actor, musician, lover of Lucy, and lover of life. For me, it was as thrilling to watch Desi’s shrewd negotiations with the network and Philip Morris executives as his energized bongos while performing “Babalu” at Ciro’s. Sorkin makes it clear that both Lucy and Desi were brilliant at what they did. Together they formed Desilu Productions, and he handled much of the business side, while her perfectionism and comedy instincts pushed the show to limits never before reached.

But what would the Ricardos be without their neighbors, landlords, and friends, Fred and Ethel Mertz? Nina Arianda (a Tony winner) plays Ethel/Vivian Vance, while Oscar winner JK Simmons plays Fred/William Frawley. The set is not the warm and fuzzy cocoon one might imagine. Vivian’s well known frustration was with Lucy mandating Ethel’s frumpy and dowdy look, while it’s clear Vivian and Frawley’s bickering carried on after the lights dimmed … due in no small part to Frawley’s alcoholic ways. That said, Ms. Arianda is terrific in the role, and Mr. Simmons epitomizes the grumpy old man we know as Fred.

Due to the flash-forward recollections, we get Tony Hale and John Rubinstein as the younger and older producer Jess Oppenheimer, Jake Lacy and Ronny Cox as the younger and older writer Bob Carroll, while Alia Shawkat and Linda Lavin play the two versions of writer Madelyn Pugh. It’s Ms. Lavin who describes Lucy and Desi’s relationship as, they were either “tearing each other’s heads off, or tearing each other’s clothes off.” It’s debatable whether Sorkin’s choice to structure the multiple time lines adds to the film’s depth, but it does allow for more talking … something Sorkin never shies away from. This is his third directorial effort after MOLLY’S GAME (2017) and THE TRIAL OF THE CHICAGO 7 (2020), and he won his Oscar for the adapted screenplay of THE SOCIAL NETWORK (2010).

Despite all the other aspects, this is the story of Lucy in crisis mode. She is pregnant with the child of a husband who is likely cheating on her. Her show and company are in jeopardy, and because of something she did many years ago, her status as a beloved American icon could be lost. Her show transcended all other forms of entertainment at the time and was must-watch TV when not every home had a TV (much less 3 or 4). The film mostly covers one week in time, though Sorkin does give us a look back at a time when the industry simply didn’t know what to do with her talent. For the fans, we do get a mention of Vitameatavegin, and a wonderful recreation of the infamous stomping of grapes. It’s a delight to see such fine actors fully engaged in roles they know will be picked apart by many. This is not the Lucy movie we would typically expect, but it’s one that pays tribute to the real person and real people and what they accomplished.

In theaters on December 10, 2021 and streaming on Amazon Prime beginning December 21, 2021

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Posted by David Ferguson

AGNES (2021)

December 9, 2021

Greetings again from the darkness. William Friedkin’s 1973 movie THE EXORCIST, adapted from William Peter Blatty’s novel, shook the movie world at the time. It even garnered 10 Oscar nominations, winning two (Best Sound, Best Adapted Screenplay). Over the nearly 50 years since, there have been five sequels in the franchise, and it has inspired countless genre movies, including parodies and knock-offs. Writer-Director Mickey Reece and co-writer and frequent collaborator John Selvidge deliver a set-up that leads us to believe we are in for yet another faith-based horror film focusing on demonic possession. Instead, what follows is more like two distinct stories.

Hayley McFarland (THE CONJURING, 2013) plays the titular Sister Agnes, and her outburst during a group meal with her fellow nuns startles us, and leads the Mother Superior (Mary Buss) to request assistance from the Catholic Church to address what appears to be demonic possession of Agnes. Chosen for the mission are a contrasting oddball pair of priests. The young, full of faith, not yet ordained Benjamin (Jake Horowitz, THE VAST OF NIGHT), and the elder, cynical, soon-to-be-banished Father Donaghue (Ben Hall) are sent to administer the exorcism … a process that Father Donaghue views as a convenient “out” for the one suffering.

The priests arrive at the convent, making for an interesting and uncomfortable dynamic. The exorcism takes a nasty turn that stuns Benjamin and the nuns, and leaves Donaghue humiliated and damaged. Desperate for the right step, Father Black (Chris Browning), a celebrity priest, is called in, along with his strange and out-of-place chain-smoking travel partner. This attempt at dispensing the demon goes no better than the first, but it’s here where some will find a touch of dark humor and really get a sense of filmmaker Reece’s unconventional style of storytelling. Reece then shifts our attention and the film’s focus to Mary (Molly C Quinn, “Castle”), Agnes’s best friend in the convent. After the incidents with Agnes, Mary’s faith is shaken. She turns in her habit and heads out into the real world. The entire perspective shifts as we follow Mary’s attempt to find her place … searching for something to believe in while struggling to pay the rent, and fending off unwelcome advances and oddball co-workers.  

Mary’s naivety is not an asset to her in this new life, and she does connect with stand-up comedian Paul (Sean Gunn), who was once in a relationship with Agnes. The character of Paul injects yet another dimension here, but we never lose sight of what Mary is going through. The topics of power and faith stand out most as we work through the film. Those expecting a traditional horror movie may be disappointed after the first act, while those open to some dark humor may be rewarded.

In theaters and VOD beginning December 10, 2021

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Posted by David Ferguson

WEST SIDE STORY (2021)

December 6, 2021

Greetings again from the darkness. My ‘old school’ nature causes me to cringe at the thought of classic films being remade. Why mess with something that’s already beloved? However, since we know this happens (and will continue to happen), let’s at least breathe a sigh of relief that a true lover of cinema and one of our legendary filmmakers, Steven Spielberg, is responsible for this one. Teaming once again with screenwriter Tony Kushner (MUNICH, LINCOLN), the love and admiration of the 1957 stage production, its music, and the 1961 film (by Robert Wise) shine through in this beautiful presentation. It’s Spielberg’s 35th movie, yet it’s his first musical. You will note a few changes from the stage production and 60 year old movie, but the timing of a couple of songs, more realistic brawling, and additional on-location scenes all blend seamlessly into this lovely version.

Kushner’s adaption of Arthur Laurents’ original work contributes to the contemporary, yet nostalgic feeling. It maintains the “Romeo and Juliet” story of star-crossed lovers at the core of a turf battle between the Sharks (Puerto Ricans) and Jets (white immigrants), which is driven by a prejudice stirring the hatred that leads to conflict. Sound familiar? It could be taken from the local news headlines just about any day over the past few years. What also hasn’t changed is that the Sharks and Jets are so blinded by hate and pride that they can’t see how much they have in common, with the same loss looming. In fact, the point is driven home in the film’s opening. Cinematographer and two-time Oscar winner Janusz Kaminski (SCHINDLER’S LIST, SAVING PRIVATE RYAN) has his camera soaring and swooping to show us the neighborhood and ongoing demolition before zeroing in on a sign “Property Purchased by New York City for Slum Clearance”. It comes in like a wrecking ball (literally). The two factions are fighting over turf that will soon be transitioned to Lincoln Center and high dollar real estate.

Ansel Elgort stars as Tony, the former leader of the Jets attempting to find a new path for his life after spending a year in prison for nearly killing an Egyptian immigrant in a rumble. Rachel Zegler, in a remarkable silver screen debut, stars as Maria, a bright-eyed Puerto Rican who sees the upside to limitless opportunity. Early on, we get our first conflict between the rival gangs, which introduces us to Riff (a terrific Mike Faist) as the quick-tempered Jets leader so desperate to protect the neighborhood, and Bernardo (a dynamic David Alvarez), Maria’s older brother and proud leader of the Sharks – whose goal is to carve out a place in the new land as equal citizens. That first brawl gives Spielberg a chance to show off the choreography, as well as the new approach to fight scenes, which are less balletic and more bone-crunching. It’s also the first run-in with local cops, Officer Krupke (Brian d’arcy James) and Lt. Schrank (Corey Stoll), neither of whom have much empathy or respect for the two gangs.

Tony (Ansel Elgort has a physical resemblance to Richard Beymer from the original film) and Maria get their ‘eyes lock across the gymnasium during the dance’ moment that really lights the candle for the big rumble. Of course, this is one of the most famous musicals of all-time, and the songs have become iconic. Elgort is handsome and has a smooth singing voice, but it’s Ms. Zegler whose voice transcends and sounds heaven sent. If there is a negative, it’s that no one will be able to sing along with her, as she hits notes most can only dream of. Listening to her sing is reward enough. Beyond the singing, it’s the dance choreography that most recall, and although eclipsing what we saw in the original movie is beyond reach, the work of this cast will not likely disappoint anyone. The dance numbers are exhilarating and colorful. It’s energized entertainment with a message.

Ariana DeBose is outstanding as Anita, and takes the lead on “America”, one of the most inspiring and fun musical numbers ever on screen. In addition to her singing and dancing, Ms. DeBose delivers a superb performance in the role that won an historic Oscar for Rita Moreno in the 1961 film. Sixty years later, the now 89 year old Ms. Moreno appears as Valentina, the widow of Doc. She now runs Doc’s Drug Store and is acting as surrogate mother to Tony. It’s certainly no cameo, and though Ms. Moreno doesn’t have a dance number, she does get to sing “Somewhere”, and this time is on the heroic end of the rape scene. She is the connective fiber to the original film and delivers a heart-warming performance, and is a strong presence where needed.

Other key supporting roles are Chino, Maria’s would-be suitor, played by Josh Andres Rivera, and ‘Anybodys’, played by Iris Menas in a non-binary rather than tomboyish portrayal of the one skulking in the shadows. It’s no surprise that Riff and Bernardo and Anita are the heftiest roles, and all three actors nail their parts. The big (and pleasant) surprises are newcomer and future star Rachel Zegler and the return of Ms. Moreno. Zegler sings “I Feel Pretty” while working the cleaning crew at Gimbel’s, and her divine sweetness gets blown away in the finale, exhibiting an acting range that complements that voice.

The always stunning score from composer Leonard Bernstein sounds amazing as performed by the New York Philharmonic, and much of original choreographer Jerome Robbins’ work is reproduced here. It’s unfortunate that renowned lyricist Stephen Sondheim passed away mere days before the premiere, but his work lives on through new voices. “Tonight” and “Cool” both receive fresh treatments and are standouts in this version. The 1961 film won 10 Oscars, including Best Picture, and there is little doubt this remake will receive consideration in numerous categories, including Production Design and Costume Design. Spielberg opted to go with a more ethnically appropriate cast (no Natalie Wood-type in heavy make-up), and there is some Spanish dialogue without subtitles (the acting and situation keep us clear). It’s a nostalgic, yet contemporary version that may not have you singing, “Krup You!”, but will have you in awe with the story, dancing, music, acting, and story.

Opening in theaters on December 10, 2021

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Posted by David Ferguson

THE POWER OF THE DOG (2021)

December 4, 2021

Greetings again from the darkness. Don’t mess with the smart ones, as brains often outlast brawn. I’m conflicted on how best to describe this film. Perhaps … It’s nuanced storytelling at its finest. Jane Campion won an original screenplay Oscar for THE PIANO (1993), while also becoming only the second woman to receive a nomination as Best Director. This is her 8th feature film to direct, and the first since the underrated BRIGHT STAR (2009). Ms. Campion is such a smooth filmmaker, and her latest is so expertly crafted and so beautifully filmed, that some may find themselves not recognizing the underlying tension between characters. I urge you to remain diligent and take note of the subtle gestures and facial expressions, as the emotions run deep.

Benedict Cumberbatch stars as Phil Burbank. He runs a successful cattle ranch with his brother George, played by Jesse Plemons. Though they sleep in the same room and have been driving cattle together for 25 years, the brothers couldn’t be less alike. George is a soft-spoken man with few needs or aspirations other than wishing to not grow old alone. He lives in the shadow of his formidable brother, an educated man with a domineering personality. Phil is constantly proving how tough and macho he is by bullying others, even calling his more sensitive brother “Fatso”. That thundering you hear is Phil purposefully slamming his heels into the wood floors so that his spurs never stop jangling.

Phil is playing a game that only he knows the rules to. George bows his head in shame as he hears Phil belittle the frail and effeminate teenage Peter (Kodi Smit-McPhee), who is waiting on their table at the Red Mill. Peter’s widowed mother Rose (Kirsten Dunst) owns the place, and after George provides some comfort to her, George and Rose secretly marry. Viewing this as a personal affront, Phil is merciless in his cruelty towards Rose and Peter. It turns out that Phil is masquerading as one thing in order to hide another truth. An intriguing sequence (that is so well acted I could watch it 10 times) leads to a warming of the relationship between Phil and Peter. The two bond over horseback riding, rope-braiding, and stories of Phil’s now-deceased ‘mentor’, Bronco Henry.

This setting is 1925 Montana, though it’s filmed in New Zealand. The majestic mountain range constantly looms on the horizon. Yet despite the beauty, it’s a tough life made tougher by Phil’s menacing behavior – psychological torturing of Rose that leads her to the bottle – something that clearly holds unfavorable memories. The four leads are truly outstanding, and supporting work is provided by Thomasin McKenzie as the young housekeeper, and Keith Carradine, Frances Conroy, Allison Bruce, and Peter Carroll as uncomfortable guests at a dinner party.

Jonny Greenwood provides the music. It’s not so much a score as it is mood-enhancing messaging through guitars, violins, and pianos – each piece delivering just the right note. Cinematographer Ari Wegner (THE TRUE HISTORY OF THE KELLY GANG, 2019) works seamlessly with director Campion to capture the shifts in tone and the minutiae of the performances. An early shot through the kitchen windows captures Phil strutting through the ranch. The shot is repeated later with a contrasting look. The film is based on the 1967 novel by Thomas Savage, and it includes some of his personal experiences. Nothing haunts us more than the lingering effect of words Peter provides as narration near the film’s opening, when he informs us that a real man must save his mother. Oh yes, this is nuanced storytelling at its finest. By the way, you know how to whistle, don’t you?

Streaming on Netflix

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Posted by David Ferguson

BENEDETTA (2021)

December 3, 2021

Greetings again from the darkness. Filmmaker Paul Verhoeven has long made his cinematic living on the fringes: the brutality of the Middle Ages in FLESH + BLOOD (1985), the violence and thirst for power through technology in ROBOCOP (1987), the buried dark side (and other uses of ice picks) of our personality in BASIC INSTINCT (1992), more thirst for power combined with a baffling lack of sex appeal in SHOWGIRLS (1995), and the unbridled desire for revenge in ELLE (2016). This latest displays his mastery of ‘nun-on-nun’ eroticism and the duplicity of religious faith. Verhoeven’s usual goal is to provoke, and along with his co-writer David Birke, this ‘based on true events’ story (adapted from the 1986 Judith C Brown book, “Immodest Acts: The Life of a Lesbian Nun in Renaissance Italy”), is a natural fit.

Benedetta Carlini is delivered to the convent at a young age by her well-heeled parents. The girl claims to have a direct line to God, who delivers well-aimed bird droppings when called upon. OK, that’s just the first somewhat comical event in this film that seems less interested in the documented antics of the real Sister Benedetta, than in tantalizing today’s viewers with the behind closed doors sins of the flesh between she and fellow nun, Bartolomea (Daphne Patakia). Portraying Sister Benedetta, Viginie Elfira never shies away from the material, whether it’s the stigmata, bedtime play with a specially carved Virgin Mary statuette, or channeling the voice of God during outbursts claiming blasphemy.

Felicita, the abbess of the convent, is played by the always interesting Charlotte Rampling. Sister Felicita’s real talent seems unrelated to issues of God, and instead lies in matters of money. Because of this, she capitalizes on Benedetta’s visions as a form of fundraising, while turning away (except during moments of voyeurism) from her other activities and claims. Our early caution comes from Benedetta being told upon arrival that, “Your body is your worst enemy”. After more dreams and visions, and a possible miracle or two, we understand that nuns are to believe that suffering is the road to salvation and redemption … a theory that leads to one of the more humorous moments as a sword-wielding Jesus saves Benedetta from a gaggle of attacking serpents.

Is there such thing as erotic religious satire played straight? We must assume that Verhoeven has his tongue planted firmly in cheek for this one, as it goes beyond skepticism of religion and directly to the morally adrift. Whether Benedetta’s claims of visions are/were true or fake, Verhoeven is a filmmaker who takes pleasure in the pleasure of nuns, no matter how prohibited it might be. We can just never be certain whether his objective is to expose religion, or simply expose.

Available in theaters on December 3, 2021 and On Demand beginning December 21, 2021

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Posted by David Ferguson

WOLF (2021)

December 2, 2021

Greetings again from the darkness. We all know that gender identity, and identity in general, are topics receiving a great deal of attention these days. Writer-director Nathalie Biancheri latches on to the discussion by bringing up Species Identity Disorder, also known as Otherkin. These are folks who identify as something other than human, typically a type of animal. It’s easy enough to connect the dots to gender dysphoria, but it also walks a fine line between mental health and sadness (and if we are being honest, a bit of humor – at least as presented here).

The film opens on the bare butt of a male in the forest. That’s a sentence I hope to never write again. George MacKay stars as Jacob, a young man who identifies as a wolf. It’s his butt we first glimpse as he prowls the vegetation growing in nature. Next we see Jacob with his parents at an institution that specializes in Species Identity Disorder. The questionable curative therapies conducted by Dr. Mann (get it?) seem more like torture and humiliation than treatment. Dr. Mann (played straight-faced by Paddy Considine) is also known as ‘The Zookeeper’ as the patients include: a parrot, a duck, a squirrel, a horse, and a German shepherd.

It’s unsettling to see the actions and mannerisms of these patients, but equally unsettling to witness Dr. Mann’s methods. If you’ve ever seen THE SNAKE PIT (1948), then you have some idea of how disturbing institutional treatment can be. Of course, this movie is not at the level of that Anatole Litvak classic, but George MacKay’s performance is quite something to appreciate. We saw his physical abilities as he performed yoga in CAPTAIN FANTASTIC (2016), and here he expertly creates the movements (and howls) of the wolf he believes himself to be.

Lily-Rose Depp plays Cecile, a long-term patient who has yet to fully kick her wildcat tendencies. She and Jacob manage to become friends, and the attraction goes deeper through Jacob’s primal urges and tendencies. The two actors have one scene together that, by itself, elevates the film. Obviously the real mystery is whether Jacob’s bonding with Cecile is enough to change his outlook. He much choose between what he sees as his true self, and life as a man. Director Biancheri has delivered a high-concept arthouse film that will likely find a niche audience, while others are likely to brush it off as cinematic absurdity.

Opens in theaters on December 3, 2021

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Posted by David Ferguson

C’MON C’MON (2021)

November 24, 2021

Greetings again from the darkness. Not all filmmakers have something to say about human beings and human nature, but writer-director Mike Mills does … and he continues to prove it. His three previous feature films are all excellent. 20th CENTURY WOMEN (2016) was based on his experience being raised by his mother, while BEGINNERS (2010) was a tribute to his father. THUMBSUCKER (2005) focused on teen angst, and his latest is inspired by interactions with his own son and Mills’ documentary projects.

From the mouths of babes. Early on, we watch and listen as radio journalist Johnny (Oscar winner Joaquin Phoenix, JOKER, 2019) interviews kids in Detroit to get their opinions on all aspects of life and the world, including their hopes and expectations for the future. This and additional segments and the kids’ responses seem real, not staged, presenting a documentary feel – especially since everything is filmed in Black and White. In a rare phone call with his estranged sister Viv (Gaby Hoffman, who will always be remembered as Ray’s daughter in FIELD OF DREAMS, 1989), Johnny offers to take care of Viv’s 9 year old son, Jesse (Woody Norman), while Viv assists Jesse’s father, Paul (Scoot McNairy), who battles ongoing mental health issues.

Viv is reticent to leave Jesse with Uncle Johnny, an unmarried man with no kids of his own. But she’s desperate for the help. Most of the film revolves around Johnny and Jesse spending time together and getting to know each other. Circumstances take the story from Detroit to New York City to Los Angeles to New York City to New Orleans. It’s a terrific journey that lacks any jaw-dropping cinematic elements. These two aren’t mountain climbing or spelunking. They simply walk and talk. This allows Jesse to experience a father-figure that’s been lacking in his life. For Johnny, he gains a perspective on parenting, which contrasts with his professional work interviewing kids. Jesse is whip smart and funny, but also manipulative and confused and downright quirky. The two of them together is quite something to watch as their relationship develops.

Viv shows up mostly in phone calls with Johnny and Jesse, but flashbacks help us understand the emotional break that occurred between she and Johnny. As the two siblings mend their relationship despite the distance, Mills and cinematographer Robbie Ryan effectively use the black and white palette to negate the excitement of big cities and travel, so that we focus on the personal interactions of the characters. The photography may be beautiful to look at, but it also reminds us that to a kid, a city is a city is a city, and what matters is an emotional bond and sense of security.

Young Woody Norman is a revelation as Jesse. He perfectly portrays a normal kid with normal issues in a grown up world. Gaby Hoffman doesn’t have as many scenes as we’d like, but we certainly wish she would work more frequently. As for Joaquin Phoenix, it’s a welcome change of pace and tone after JOKER. He plays a man learning to deal with his own vulnerabilities, and he really gets to show off his extraordinary acting talent. The script is filled with psychology and philosophy, but in a grounded manner – ways we recognize from our own lives. It’s a reflective film that shows the balance of trying to protect kids and shield them from some adult stuff, while also allowing them to explore and find themselves. The impact of adults on kids and the impact of kids on adults is on full display, but it’s also just a couple of guys getting to know each other. And that’s pretty special to watch.

The film had a limited opening on November 19, and expands to more cities and theaters on November 24, 2021

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Posted by David Ferguson

HOUSE OF GUCCI (2021)

November 22, 2021

Greetings again from the darkness. I’ve never purchased or owned anything Gucci, but that didn’t prevent me from enjoying the heck out of Ridley Scott’s film that brings the longest, most expensive and dangerous real life episode of ‘Family Feud’ to the big screen. It’s co-written by Becky Johnston and Roberto Bentivegna, and is based on the 2001 book, “House of Gucci: A Sensational Story of Murder, Madness, Glamour, and Greed” by Sara Gay Forden. Brace yourself for a (mostly) true wild ride, and for what is likely to be one of the year’s most divisive films – plenty of love and hate (just like the actual story).

What happens when a brand is so closely associated with a family name? The arguments begin on who ‘deserves’ to be a Gucci, who is a ‘real’ Gucci, and who should make the decisions that impact the Gucci family and business wealth and reputation. During the extended run time (2 hours, 37 minutes), we see many of the iconic Gucci items: the Flora scarf, the moccasins, the bamboo bag, and the watches. And though high fashion is always present, director Scott has delivered a spectacle of romance, family riffs, extravagance, greed, power, betrayal, revenge, and crime.

Lady Gaga (Oscar winner, A STAR IS BORN, 2018) stars as Patrizia, the newest Gucci. Hers is not blind ambition, but rather calculated and laser-focused. That she implodes a dysfunctional family is only a portion of the story. After marrying Maurizio Gucci (Adam Driver), Patrizia immediately begins manipulating her husband into reconciling with his family and taking on an active role in a business for which he previously had little interest. This is simply step two (the first was marriage) in her grand scheme to control the business and the money. Maurizio’s father Rodolfo (Oscar winner Jeremy Irons, REVERSAL OF FORTUNE, 1990) is ailing, so it’s Uncle Aldo (Oscar winner Al Pacino, SCENT OF A WOMAN, 1992) to whom Patrizia directs her attention. She plays it like a chess match – only this is more entertaining to watch unfold.

Also in the picture is Paolo Gucci (a truly unrecognizable Jared Leto, Oscar winner, DALLAS BUYERS CLUB), Aldo’s son, and a family outcast. Paolo is a wildly creative individual who tends to his pet pigeons and tries desperately to find his place in the family. Jack Huston plays Dominico De Sole, Rodolfo’s consigliere and the family attorney. Each of the characters is given their time in the spotlight, including a terrific breakfast scene with Pacino and Irons. Of course this is mostly Patrizia’s story, so it’s Lady Gaga’s performance that will attract much of the attention and commentary. I found her mesmerizing and twisted fun to watch as she proceeded with backstabbing and trickery. Driver’s quietly intense approach makes the perfect contrast to hers.

If you are familiar with the story, you know that Maurizio does eventually run the company, and he also tires of Patrizia’s family-crushing antics … which send him back into the arms of Paola Franchi (Camile Cottin, STILLWATER, 2021). This turns the campy and juicy melodrama factor up to 11 (on the Spinal Tap scale). Patrizia’s frequent trips to fortune teller and TV psychic Pina Auriemma (Salma Hayek) cause a massive tonal shift in the film, leading to the well-documented conclusion. If all this isn’t strange enough, Ms. Hayek is the real-life spouse of the CEO of Gucci’s present-day parent company, Kering. Reeve Carney (“Penny Dreadful”) has a small, yet vital role as up-and-coming fashion designer Tom Ford.

In this movie, it’s easy to describe some performances as hammy or over-the-top, but that’s likely to only hold as a first reaction. Leto’s characterization of Paolo sticks out so much from the others … but he was known as eccentric, and at best, was patronized by the family. It seems highly likely that his personality and approach stood in stark contrast to the old-school style of his father Aldo, or the more staid personalities of his Uncle Rodolfo and cousin Maurizio. Lady Gaga as Patrizia is cunning and shrewd in her calculated approach to re-structure the family and the business. She plays whatever games she must to get where she wants to be. I found her first half performance to be truly outstanding. Pacino is the actor who has trademarked hammy performances over the years, yet here, he fully grasps his role and character, and is a delight to watch.

Much of this is documented by history, though the Gucci family claims not all is or was how it seems. Whether the boost in counterfeiting/knock-offs went down in the 70’s and 80’s as it’s portrayed here, might be an area worth researching, but this is much less a case study in business principles as it is one in family dynamics. I’ll certainly understand those who argue against the story structure here, but the entertainment value proved to be enough for me. As the Gucci tagline goes, “Quality is remembered long after price is forgotten”, but the backstabbing and disloyalty is never forgotten – despite providing great theater (and fashion).

Opens in theaters on November 24, 2021

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Posted by David Ferguson

KING RICHARD (2021)

November 18, 2021

Greetings again from the darkness. Sports parents. Band parents. Dance parents. Cheerleader parents. Drama parents. We all know THOSE parents … and many of us, whether we admit it or not, ARE those parents. Director Reinaldo Marcus Green (JOE BELL, 2020) and first time screenwriter Zach Baylin bring us the story of the unconventional, hard-driving, flawed, well-intentioned father of tennis superstars Venus and Serena Williams.

Will Smith portrays Richard Williams in a showcase role that he capitalizes on. Richard Williams is not a particularly likable man – his hustler mentality is eclipsed only by his stubbornness. But more than anything, Richard Williams was committed to giving Venus and Serena every opportunity to succeed in a tennis world that seemed like a different universe to the Compton neighborhood in which they were raised. Richard and his wife Oracene (an outstanding Aunjanue Ellis, THE HELP) coached the young girls themselves in public parks via instructional articles in Tennis magazines. Both parents balanced their jobs with this coaching, and Richard spent a significant amount of time “marketing” the girls to professional coaches, most who had no interest in taking on pupils who couldn’t pay.

Venus (Saniyya Sidney) and younger sister Serena (Demi Singleton) trust whole-heartedly in “The Plan” their father has in place. It’s a plan designed to place million dollar checks in their hands, and lead them to the top of the tennis world. Their first break comes in the form of John McEnroe coach Paul Cohen (Tony Goldwyn), who agrees to coach Venus. The real fun begins when Richard cuts a deal with super coach/trainer Rick Macci (a terrific Jon Bernthal) to take on both girls and cover the families living arrangements in Florida.

What makes this film work is that so many of us can relate to just how difficult it is to be a parent, and never settle for less when it comes to the kids. Now, Richard Williams is an extreme example – and his enormously successful daughters have dealt his approach a hand of credibility. Richard and Oracene are presented as very protective of their daughters, but also obsessed with helping them excel at school, tennis, and life. Given that there are three other daughters living in the house, it’s surprising that we don’t get more details on the reactions from those girls to the favorable treatment of Venus and Serena. The family is presented as being very tight-knit and loving, but it’s difficult to swallow that jealousy didn’t rise up periodically.

This truly is the story of how Richard Williams remained focused on getting his daughters to the top, so don’t expect the tennis history of Venus and Serena. The young actors playing them are excellent, but this takes us through the foundation of their careers while overcoming adversity, not the professional highlights. Oscar winning cinematographer Robert Elswit (THERE WILL BE BLOOD) makes the tennis look legitimate, while also bringing us the family intimacy. In fact, the scene in the kitchen is one of the more intense and well-acted scenes we will see this year, and the camera work amplifies the tension. On the lighter side, we get Will Smith singing Kenny Rogers’ “The Gambler”, and the closing credits show actual clips of Richard, Venus and Serena, as well as a rundown of their impressive achievements. Director Green has delivered a crowd-pleaser with some poignancy and a few well-placed messages. It wouldn’t surprise to see a few award nominations attached to this one.

Opens in theaters and streams on HBO Max beginning November 19, 2021

WATCH THE TRAILER

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Posted by David Ferguson

TICK, TICK … BOOM! (2021)

November 18, 2021

Greetings again from the darkness. Success comes in many shapes and sizes. Sometimes it brings happiness, glory, and financial gain, while other times there is an emptiness or sadness. Who better than Lin-Manuel Miranda (of “Hamilton” fame) to direct the cinematic tribute to composer and playwright Jonathan Larson? You likely know Larson’s name from his long-running Broadway smash hit, “Rent”, but this is his autobiographical project based on his early struggles in trying to write the next great American musical. It has been adapted for the screen by Steven Levenson (“Fosse/Verdon”).

Opening in January 1990, a full (i.e., long) version of Larson’s “30/90” song kicks us off with singing, dancing, and choreography. It’s important to note that this was the era of AIDS raging through the New York arts scene – people were dying, and friends were frightened. Andrew Garfield leaps into the role of Jon, sporting Cosmo Kramer hair, and a boundless, frenetic energy that overshadows his friends and loved ones. Jon is in full panic mode as his 30th birthday approaches and he rushes to finish his futuristic rock-musical “Superbia”, which he expects will be his springboard to stardom. In the meantime, he works at the Moondance Diner while remaining committed and obsessed with his art.

Director Miranda adds a structural element with cut-aways to Jon (Garfield) performing his own musical onstage at New York Theater Workshop. However most of the run time is focused on Jon’s writer’s block associated with the final song he must write. His idol, the legendary Stephen Sondheim (Bradley Whitford) advised him of the importance, and we aren’t sure if the block stems from this or the fact that it’s the final missing piece. Garfield is exceptional as the self-absorbed, and obviously talented Jon. As his friend and roommate Michael (Robin de Jesus, THE BOYS IN THE BAND, 2020) has surrendered his dream of art for a well-paying advertising job, it’s clear that Jon still believes art can change the world.

Alexandra Shipp (LOVE, SIMON 2018) plays Susan, Jon’s dancer-girlfriend. She also is considering the reality of a teaching job versus the dream of performing, yet Jon is too immersed in his own work to take heed of her warnings. He is so against ‘selling out’ that he even cruelly debates Michael on the pursuit of creature comforts. Of course, much of this would eventually lead Larson to write “Rent”, but this film doesn’t cover that period. Vanessa Hudgens (HIGH SCHOOL MUSICAL franchise) and Broadway standout Joshua Henry perform much of the singing here, but Garfield holds his own on the musical and dance numbers.

Other supporting roles are filled by Judith Light as Jon’s agent, Rosa Stevens, and Richard Kind as a both-sides-of-his-mouth stage critic, while director Miranda makes a cameo as a short order cook at the diner. The challenges of New York City life in the art world are clearly shown here, and mostly this is a loving tribute to Jonathan Larson by his admirer Lin-Manuel Miranda … with an exciting performance from Andrew Garfield. It’s an entertaining production that never pretends to offer up inspiration or false hope to the dreamers in the audience.

Streaming on Netflix beginning November 19, 2021

WATCH THE TRAILER

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Posted by David Ferguson

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