PERCY VS GOLIATH (2021)

April 29, 2021

Greetings again from the darkness. When one thinks of casting a farmer in a legal drama, surely Oscar winner Christopher Walken (THE DEER HUNTER, 1978) is not even on the first two pages of the casting director’s list. However, lest we forget, a great actor will make a role their own, which is exactly what Mr. Walken does here. Director Clark Johnson (known mostly for his TV acting and directing) is working from a script by co-writers Garfield Lindsay Miller and Hillary Pryor, and it’s based on the true story of Canadian farmer Percy Schmeiser, who fought corporate giant Monsanto all the way to the Supreme Court.

Walken as Percy admits, “I save my seeds.” If this were the story of canola seeds that some farmer saves each year for his crops, I’m guessing there would be little interest. But of course this is the story of one independent farmer standing up for the rights of all farmers against agricultural giant Monsanto. This is the age old story of “the little engine that could”, or the high hopes of ‘the little old ant who thought he could move the rubber tree plant.’ Percy and his wife Louise (Roberta Maxwell) are grounded folks – he mostly keeps to himself, and she is known locally for her pie-baking expertise. These are good folks who are working the same land that’s been passed down for generations in his family.

The lives of Saskatchewan farmers Percy and Louise get rocked when, in 1998, Monsanto sues them for the presence of a patented formula in Percy’s canola crop. He’s no dummy, and Percy knows that he has always carefully collected his own seeds each season … just as his father taught him. He’s also a fighter, so Percy enlists local attorney Jackson Weaver (Zach Braff) to handle the case against a sea of Monsanto white man attorneys (yet another battle pitting a little guy against big money). Overly enthusiastic environmental activist Rebecca Salcau (Christina Ricci) offers help to Percy from her organization, and this leads to multiple speaking engagements for him as he literally travels around the world. Their objectives are different – Rebecca wants safe crops (not sprayed with harmful chemicals), while Percy wants independence to farm. Monsanto is there to protect their patented process that increases yields and profits.

There is a 2009 documentary that focuses on Percy Schmeiser, but I have no idea where to find it. The story is fascinating, as it involves unusual characters and the safety of food crops. Supporting work is provided by Luke Kirby and Martin Donovan, though neither are given much to work with. The joy here is in watching Christopher Walken dig in to a role that demands much from him. It’s far removed from the caricatures he often plays these days. Veteran Cinematographer Luc Montpellier (CAIRO TIME, 2009) is stuck in the courtroom a bit too much, but when the camera heads outside, he does his best work. Percy died in October 2020 at the age of 89, and director Johnson includes a photo of Percy and Louise over the closing credits. He was quite a little engine that could … and did.

In Select Theaters, on Digital and On Demand April 30

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Posted by David Ferguson

FOUR GOOD DAYS (2021)

April 29, 2021

Greetings again from the darkness. Drug addiction provides bountiful harvesting for emotional message movies, though I’ll admit to some difficulty in relating to the subject matter. Writer-director Rodrigo Garcia (ALBERT NOBBS, 2011) has worked with co-writer Eli Saslow to adapt Saslow’s 2016 Washington Post article, “How’s Amanda: A story of truth, lies and American Addiction”. It’s an all-too-common tale of how addiction ruins lives and tears families apart. If not for two strong lead performances, Garcia’s latest movie would be just ‘another log on the fire’.

The filmmaker has re-teamed with his ALBERT NOBBS star, Glenn Close, who plays Deb, mother to Molly (Mila Kunis), a 10 year drug addict who shows up at mom’s house asking for help “getting clean”. Of course, mom has heard this too many times over the years. See, Molly has not only stolen from her mother and lied to her frequently, but she’s also been through detox/rehab 14 times over those 10 years. Deb initially refuses to let Molly in the house, but relents the next morning and drives her straight to the detox center. The doctor tells her she qualifies for a new magic shot that will block the drug cravings and effects if she can stay clean for four days (hence the film’s title). Any drugs in the system will cause complications, and likely prove fatal.

So Deb babysits Molly, who we learn has two kids by her ex-husband, Sean (Joshua Leonard). Turns out, he’s not such a great guy either. I’m certainly no expert, but it appears to me that Ms. Kunis goes all-in as an addict, replete with rotted teeth, damaged skin, and an attitude that warrants a swift kick. Ms. Kunis was excellent in BLACK SWAN (2010), but it seems she spends most of her time in comedies. She proves again that she has some dramatic chops, and hopefully will continue to pursue more serious roles. Ms. Close, who recently set the record for futility by becoming the first actor with 8 Oscar nominations and no wins, dons yet another terrible wig (ala HILLBILLY ELEGY, 2020) and works very hard to create a full-fledged mother from an underwritten character. The film briefly dabbles with the mother-daughter history of abandonment, but never digs deep enough for real meaning.

Stephen Root is given little to do as Deb’s second husband, and Sam Hemmings has one good scene as Molly’s dad who is confronted by Deb. Clichés abound in the story, yet the underlying message of a parent who refuses to give up on their kid, even when every time the result is disappointment, is grounded in reality. It’s certainly no TRAINSPOTTING (1996) as far as depressing drug addiction stories, but the two leads make it watchable.

In theaters April 30, 2021

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Posted by David Ferguson

LIMBO (2021)

April 29, 2021

Greetings again from the darkness. Immigration is an important and hot topic these days, and it should be noted that most countries have challenges with people either trying to get in or trying to get out … and for some, it’s both. Writer-director Ben Sharrock offers a unique and creative look at refugees stuck on a nameless remote Scottish island, awaiting word on their UK asylum request.

Omar (Amir El-Masry, Tom Clancy’s “Jack Ryan” TV series) has escaped the war in Syria, and we learn much about him from listening in on calls to his mother from the only phone booth on the island. An acclaimed musician in Damascus, Omar lugs around his grandfather’s oud (“it’s like a guitar”). As proof of his homesickness, the bulky case never leaves his side, nor does he pull the instrument out to play – music is meant for joyous occasions. Omar shares a small house with three other refugees: Farhad (Vikash Bhai) from Afghanistan, Abedi (Kwabena Ansah) from Ghana, and Wasef (Ola Orebiyi) from Nigeria, with the latter two posing as brothers in hopes of improving their odds for asylum.

Omar is a sullen stone-face who absorbs the racist taunts from young locals (they ask if he makes bombs), and stands in contrast to the more outgoing and optimistic (and darn funny) Farhad. Not only does he idolize Freddie Mercury for “teaching” him English, Farhad, with his ever-present cigarette, also captures a chicken and keeps it as a pet. These refugees regularly attend a class entitled “Cultural Awareness 101”, meant to acclimate those from varying backgrounds to the local customs and culture. These segments are mined beautifully for comedic effect, while also giving us insight into all those involved. There are also references to Chet Baker, Donnie Osmond, and the TV series, “Friends”.

This is a terrific film, as well as an odd one. Many of the shots from cinematographer Nick Cooke are static and sparse in style, and though focused on the individuals, the camera also captures much of the isolation of the island. These visuals are stunning in both their simplicity and relevance. It’s a dramedy unafraid to be absurd in a moment, while also being enlightening. At times it has the feel of Wes Anderson without the color palette. We aren’t sure what is worse, the weather or the local postal service. Brutal cold envelops the newcomers, while the delivery route of a postal van (and the reactions of the refugees) is a comedic highlight. Even the local market, with its limited spice selection and directions for urination, draws laughter from us.

Despite the comedy, we never lose sight of these folks being stuck in purgatory. Maybe it’s not true camaraderie, but they seem to take some comfort in numbers as they wait. Omar is carrying guilt and feelings of inadequacy as he chose to leave while his older brother Nabil (Kais Nashif) remained in Syria to fight in the war. There is a wonderful “scene” that allows Omar to make peace with their contrasting decisions, and it leads him back to playing music. After all, “a musician who doesn’t play is dead”. The titular term of Limbo often means stuck, and there is also a game of persistence that uses that name, and both definitions work here. We are reminded that regardless of the various cultures, those in the immigration system have their own personal stories and burdens.

Opens in theaters on April 30, 2021

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Posted by David Ferguson

THE VIRTUOSO (2021)

April 29, 2021

Greetings again from the darkness. It seems to this casual observer that once a person makes the career decision to become a hitman (or hitwoman or hitperson), their life expectancy drops significantly, as does their willingness to trust any person they meet, or at least it should. After all, the industry of killing is all about death … it’s simply a matter of whether (this time) you are the one doing the killing, or the one being killed. This neo-noir comes courtesy of writer-director Nick Stagliano (his first feature film in 10 years) and co-writer James C Wolf.

Anson Mount (so good in the “Hell on Wheels” TV series) is the titular Virtuoso. In typical noir fashion, he’s also our narrator, and serves up a detailed explanation of his approach to the profession. He’s methodical and meticulous in his precision and planning, and goes about his business in a professional manner, while maintaining a low profile and adhering to his own code. He even practices his facial expressions in the mirror preparing for the rare social interaction (it’s funnier than it sounds). He does jobs for The Mentor (newly crowned Oscar winner Anthony Hopkins), a former military friend of his dad. Their minimal communication usually involves a name on a scrap of paper. The first job we witness is a “rush” job and collateral damage leaves Virtuoso burdened with guilt – something that is not an asset in this line of work.

It’s the second job that takes up most of the run time. The Mentor provides only “White Rivers” as a hint to the identity of the target, and instructs him to be at the only diner in a place that barely exists as a town. Walking in, he sizes up those in the diner: The Waitress (Abbie Cornish, excellent as Fanny Brawne in BRIGHT STAR, 2009), The Loner (Eddie Marsan, “Ray Donovan”), Handsome Johnnie (Richard Brake), and Johnnie’s Girl (Diora Baird). A bit later, the local Deputy (David Morse) is added to the list of possible targets.

The set-up is fun, and meant to keep us striving to stay one step ahead. Chris Perfetti adds a touch of humor in his two quick scenes as the motel desk clerk, and much of the tete a tete comes courtesy of the Virtuoso and The Waitress. Of course as with most noirs, we viewers figure out what’s going on long before the hero, as the distractions are many. The budding romance offers up some seedy motel lovemaking, and the Virtuoso has an unusual living arrangement in his cabin in the woods. In other words, there are some excellent elements in play here, and it’s difficult to pinpoint why the film doesn’t play a bit better than it does. Mostly it just lacks the suspense delivered by the best in the genre.

Streaming on Digital, On Demand

& Limited Theatrical Release on April30th in Dallas

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Posted by David Ferguson

THE WHITE TIGER (2021, India)

April 26, 2021

Greetings again from the darkness. Writer-director Ramin Bahrani (the excellent 99 HOMES, 2014) adapted Aravind Adiga’s 2008 novel, and for his efforts, he was awarded an Oscar nomination for adapted screenplay. The honor is justified thanks to the complexity of the story, though we are never sure if this is satire of, or insight and enlightenment into India’s caste system. Either way, it hooks us early and never lets go.

Adarsh Gourav stars as Balram, and the story is structured via his narration of his own life story as outlined in a letter he drafts to Chinese Premier Wen Jiabao prior to his official visit to India in 2010. The timeline stretches from Balram’s youth to the time of the letter, when he describes himself as a Bangalore entrepreneur who rose from poverty to being a self-made man. We are there when Balram overhears the local powerbroker known as The Stork (Mahesh Manjrekar) mention that the family needs a second driver. The ambitious Balram borrows money from Granny (Kamlesh Gill) for driving lessons, and soon he’s at the gate talking his way into the job.

Balram is hired as the driver for The Stork’s son, Ashok (Rajkummar Rao) who has returned from his time in the U.S. with an American woman, Pinky (Priyanka Chopra Jonas) by his side. It’s bizarre to see Balram’s eager-to-please ways contrast with the western approach Ashok and Pinky apply. Whereas servants are usually treated poorly, mixed messages are received by Balram, who ends up sleeping in a parking garage storage room while his masters luxuriate in a Delhi penthouse.

A tragic event occurs leaving Balram betrayed by the family to which he’s displayed nothing but loyalty. The film even takes a wicked shot at the Oscar winning SLUMDOG MILLIONAIRE (2008), although the films do share some common themes. This film follows the plight of a servant, and takes a particularly close look at the ‘haves’ and the ‘have-nots’. Just how far can one be pushed before standing up or fighting back. Since the film starts where the story ends, we are prepared for the path, though the actual steps are stunning.

Filmmaker Bahrani floats dark comedic undertones, though it’s never really funny – in fact, most of the story is quite serious. Mr. Gourav excels in the lead role as he explains India’s social structure through big belly vs small belly. His journey takes him through multiple personality shifts – the poor villager busting rocks, the eager to impress new servant, the insightful young man who learns a harsh lesson, and finally, the “self-made” man, confident in his abilities and able to overlook his own actions that got him there.

available on Netflix

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Posted by David Ferguson

ABOUT ENDLESSNESS (2021, Sweden)

April 24, 2021

Greetings again from the darkness. A quarter-century once elapsed between feature films for Swedish filmmaker Roy Andersson. He only directed a handful of short films between “GILLIAP” (1975) and SONGS FROM THE SECOND FLOOR (2000). Mr. Andersson makes Terrence Malick look prolific. He’s certainly not a traditional filmmaker and this latest is not a typical movie. In fact, its highest and best use may be in a graduate Psychology or Philosophy class, so that the mental capacity of students can be stretched and tested to determine whether Andersson is celebrating life or bemoaning our existence.

The narrator begins most segments with something along the lines of: “I saw a man …”, “I saw a woman …”, “I saw parents …”, and “I saw a couple floating …”. These lead us into static one shot vignettes with little or no dialogue. For example, in the first segment, a woman on a park bench concludes with, “It’s September already.” There is a priest who makes a recurring appearance as one who has lost his faith. In another, parents have lost a son. The emphasis is on the artistic impression and one’s own interpretation.

Over the opening, and again later in the film, we see a couple floating over the ruins of Cologne. It’s Andersson’s take on Chagall’s 1918 painting, “Over the Town”. Another segment is a recreation of Hitler’s bunker in Kukryniksy’s 1946 painting, “The End”. These are simple, stark, low-key snapshots in time. The color palette seems to be off-gray, and the sun never shines in this world – there’s no tanned skin in the bunch. Andersson offers just enough moments of hope/happiness to prevent this from being 80 minutes of full-on depression. We always think he’s trying to tell us something, but can’t always decipher what the intended message is. Like the best art, it’s up to your interpretation, and surely dependent on individual perspective.

Release delayed due to COVID-19

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Posted by David Ferguson

ANOTHER ROUND (2021, Denmark)

April 24, 2021

Greetings again from the darkness. Oscar nominated for Best Foreign Language Film (Denmark), its director, Thomas Vinterberg was also nominated for Best Director. Mr. Vinterberg also directed the excellent 2012 film, THE HUNT, and this time out, he collaborates yet again with his co-writer and lead actor from that film: Tobias Lindholm and Mads Mikkelsen, respectively.

Mikkelsen (already one of the few must-watch actors) stars as Martin, a married man, father of two, and history teacher. His long-time friends include Tommy (Thomas Bo Larsen), a PE coach; Nikolaj (Magnus Millang) a Psychology instructor; and Peter (Lars Ranthe), the music teacher. The buddies are chatting over dinner as they celebrate Nikolaj’s 40th birthday, and they come to realize they are each floating through life – in a mid-life crisis of sorts, neither happy nor sad. It’s at this point where Norwegian Psychiatrist Finn Skarderud’s hypothesis is discussed. They agree to test Skarderud’s theory by maintaining a .05% Blood Alcohol Content (BAC), even while teaching.

Almost immediately, the men each feel mentally sharper, more engaged, and awakened to their lives. Martin re-connects with his wife, Anika (Maria Bonnevie), and becomes a history teacher that inspires students … quite a change from the complaints he had been receiving. The accomplishments of Hemingway and Churchill are discussed, as if alcoholics need role models. And then, to push a good thing even farther, the men decide if .05% works, why not take it to .10%? Well that’s what the men do, and of course, the results aren’t so great – ranging from upsetting to tragic.

Is it possible to re-discover a life that’s being wasted in self-pity or a state of numbness? Can alcohol jolt one back to life after the loss of youth and the reality of adult responsibility? Mid-life crisis has been addressed in many films, and alcohol is often part of the story … think SIDEWAYS (2004). We learn here that the Danish culture involves heavy drinking, and in Denmark, there is an extraordinarily high rate of teenage drinking.

The film is well acted, and Mikkelsen is terrific. Vinterberg dedicated the film to his daughter Ida, who was scheduled to appear in the film before dying in a car crash. He strategically includes Kierkegaard’s quote about life being lived forwards, but only understood backwards, and that truly is the crux of what the men are experiencing. The final scene is extraordinary and unexpected, as Mikkelsen wows with an interpretative and energetic dance to “What a Life” by Scarlet Pleasure. What a life, indeed. And perhaps there is hope after all.

Available on HULU

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Posted by David Ferguson

WE BROKE UP (2021)

April 22, 2021

Greetings again from the darkness. They’ve been together for 10 years, and when Doug proposes – seemingly spontaneously – to Lori, her reaction is ‘slightly’ askew from what he expected. The real question here is, how do two people have a 10 year romantic relationship and never once discuss marriage, kids, a house, or literally anything to do with their future? That’s the premise for the dramedy from writer director Jeff Rosenberg and co-writer Laura Jacqmin.

Aya Cash (“Fosse/Verdon” and a Jodie Whitaker lookalike) stars as Lori, longtime girlfriend of Doug, played by William Jackson Harper (MIDSOMMAR, 2019). If the proposal-gone-wrong and subsequent fallout weren’t uncomfortable enough, the timing couldn’t be much worse. Lori and Doug are scheduled to leave for her sister’s wedding, and both have roles in the wedding party … he’s “King of the Ushers”. Since staying away is not an option, the dilemma they face is whether to announce the break-up or pretend everything is fine until the vows are exchanged. They decide not to spoil the wedding and head off to Camp Arrowhead, the former summer camp site that the wedding couple selected for the ceremony.

Sarah Bolger (IN AMERICA, 2002) plays Bea, Lori’s betrothed sister. She’s been dating Jayson (Tony Cavalero, “School of Rock” TV series) for a whole month, and the two energetic free-spirits are total personality opposites from Lori and Doug. As mother of the two girls, Peri Gilpin (“Frasier”) is a tad less than supportive of her daughter’s spontaneous life decisions, while initially clueless to the difficulties faced by her stable and dependable daughter.

The film is well acted by the leads, but most of it feels like a missed opportunity to explore the psychological differences of the sisters or the effects of a long-term “comfortable” relationship with no eye towards the future. Both of the topics are begging for more in-depth coverage, and instead we are left with mostly predictable behavior. One couple that is too fast to the altar, while the other is too slow, presents a goldmine of opportunity. On the bright side, there are some small moments and subtle jokes and gags that are beautifully executed and work much better than the overall comedy efforts. Filmed at Calamigos Ranch in Malibu, the film touches on anger and hurt and excitement, and all emotions attached to love and relationships.

In theaters and On Demand April 23, 2021

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Posted by David Ferguson

MONDAY (2021)

April 15, 2021

Greetings again from the darkness. I will admit upfront that I’m no fan of watching late thirty-somethings living their lives like a never-ending fraternity party. So when the film opens on a disco ball, and we see a woman breaking up with her boyfriend on the phone while the thumping dance blasts, and then she immediately hooks up with the equally-aged DJ … well, I was concerned that writer-director Argyris Papadimitropoulos and co-writer Rob Hayes decided to make this film as a kick to the shins of any job-holding, respectable grown-up movie watcher. Fortunately, it’s not as bad as all that.

The two instant-lovers wake up naked on the beach the next morning and introduce themselves while handcuffed in the back of a police car. Denise Gough (JULIET, NAKED) is Chloe, an immigration lawyer who has been in an abusive relationship, and seemed to move on quickly (minutes later), without much thought. Sebastian Stan (Bucky from “The Avengers” franchise) is Mickey, a party boy DJ who is also an advertising jingle writer. Chloe and Mickey are both American ex-pats living in Athens, Greece. He’s been knocking around for almost 7 years, and after 18 months, she’s now scheduled to head back to the U.S.  And yes, we do get the obligatory frantic airport moment – this one is less touching and more contrived.

The next few weekends basically involve these two going at it like rabbits at any time and in any place. Chloe and Mickey are a beautiful couple in a gorgeous setting, and it’s quite obvious they are incompatible as a couple doing anything other than coupling. If thirty-somethings bonding over partying seems like a recipe for disaster, the party they throw will prove your point. It’s an understatement to say her circle of sophisticated friends don’t mingle well with his group of belligerent scofflaws. Supporting work is provided by Dominique Tipper as Bastian, a former bandmate with Mickey, and Yorgos Pirpassopoulos as Argyris, Mickey’s close friend who wields power locally due to family money.

This is really the Sebastian Stan and Denise Gough show. He’s a good fit as the charming, self-defeating guy who can’t grow up, while she’s an enigma – a woman seemingly too smart to fall for this guy and screw up her life after a weekend fling. Ms. Gough is strong in her ability to create a complex character from a fragmented script that forces her to overcome weak dialogue and absurd situations. As an example, Chloe and Mickey have 3 police encounters … which is 3 more than the average person experiences in a lifetime.

Athens and the island of Antiparos make for a stunning setting for a movie, but the script falls short of the work necessary for this couple to transition from a wild weekend fling to an actual relationship with responsibilities, jobs, and a kid. We see how Chloe feels trapped, but the third act spins out of control as lot of Fridays turn into the titular Monday of reckoning.

In theaters and On Demand April 16, 2021

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Posted by David Ferguson

BETTER DAYS (2021, China)

April 12, 2021

Greetings again from the darkness. Chinese gaokao is the College Entrance Exams that determine the future of high school students and their families. The pressure is extreme for the kids, and when the film opens, the exams are only 60 days away. One of the students leaps to her death from an upper breezeway to the concrete courtyard below. Her fellow classmates converge on the scene with cell phones recording the tragedy. One girl, Chen Nian, quietly covers up the body. While most assume the pressure of the impending test was too severe for the girl, Nian knows better. The relentless bullies that motivated the suicide have now turned their attention to Nian.

Director Derek Tsang (aka Kwok Cheung Tsang) delivers a beautiful film with compelling characters and a heart-wrenching story. Jiuyue Xi’s novel, In His Youth, In Her Beauty” has been adapted for the screen by co-writers Wing-Sum Lam, Yuan Li, Yimeng Xu, and Nan Chen. Filmed in 2018, the Chinese government delayed its release due to concerns over how its society would be perceived, given extreme bullying, class differences, and the extensive use security cameras throughout. Instead, we note the similarities in people, and how young people carry burdens that often go unacknowledged.

Zhou Dongyu gives a terrific performance as Chen Nian. She’s an excellent, devoted student who has no one to depend on thanks to a mostly absentee mother who spends her time scamming for money and dodging creditors. Nian has no real friends, and her closest companion was the one whose body lay crumpled in the courtyard. Nian stumbles into a situation that could not be described as a ‘meet-cute’, and soon she has requested street punk Xiao Bei (played by Jackson Yee) to act as her protector against the bullies, so that she may focus on the exams. Additionally, she’s been questioned by the police in regards to the suicide, and Detective Zhang (Yin Fang) takes a particular interest given his knowledge of schoolyard bullies.

The bond between equally adrift and confused teenagers Nian and Bei grows, despite his being a dropout. Are they star-crossed lovers? Is it a budding romance? What makes it interesting is that it doesn’t even matter. What does matter is the courage these two youngsters show in the face of adversity. Does it go too far? The third act will leave you wondering just what is the answer to their dilemma. How harshly can you judge those in self-preservation mode when the school motto is “Work Hard. No Regrets”? There is a retro feel to Tsang’s filmmaking style, and we are left with the reminder that “used to be” infers a sense of loss … and we all experience different types of loss. Excellent filmmaking that rightly earned an Oscar nomination.

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Posted by David Ferguson

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