THE SONG OF NAMES (2019)

January 9, 2020

 Greetings again from the darkness. The title refers to a sacred Jewish ritual where the names of the Holocaust victims are recited in a musical style. It’s a process that (sadly) covers a few days. In this film, it takes on a personal, as well as historical, significance. British cultural affairs expert Norman Lebrecht wrote the 2001 novel on which writer-director Francois Girard (THE RED VIOLIN, 1998, plus plays, operas and 2 Cirque de Soleil shows) and co-writer Jeffrey Caine based the film.

We open in 1951 London just minutes before the scheduled performance of young violin virtuoso Dovidl “David” Rapoport. He is to play Bruch and Bach in a concert sponsored by his “adoptive” father figure Gilbert Simmonds, who has sunk his entire life savings into producing the concert. Despite the assurances of Simmonds’ son Martin, who has become like a brother to David, the featured performer is a no-show … leading Martin to search for him over the next 35 years.

The film covers the story from the time Dovidl’s Polish-Jewish father (played by Jakub Kotynski) agrees to his leave 9 year old, a violin prodigy, with the non-Jewish Simmonds in an attempt to protect the boy from the German invasion of Poland in the late 1930’s. As Dovidl and Martin grow together, their bond become stronger. Martin is present when Dovidl renounces Judaism, even as becomes more proficient with his instrument and more saddened by the Holocaust that he avoided in his home country.

Both boys are played at three different ages by three different actors. Dovidl is played by Luke Doyle at ages 9-13, Jonah Hauer-King at ages 17-23, and by Clive Owen in middle age. Martin is played by Misha Handley at ages 9-13, Gerran Howell at ages 17-23, and by Tim Roth in later life. The actors do a good job of capturing Martin’s early irritation at Dovidl’s arrogance, the shock of the no-show betrayal, and the later in life man who changed everything when he found out about his family, as well as the music teacher so desperate to find his long lost friend/brother.

The film bounces between the three timelines so that we have a full picture of the impact they have had on each other’s lives, and how Dovidl’s disappearing act was quite devastating. Much of the film centers on Martin tracking down leads and talking to folks for some idea of the path taken by Dovidl. Mr. Roth is especially effective (and surprisingly understated) in his performance as a man haunted by the unexplained actions of a loved one. His wife, played by Catherine McCormack, is simultaneously understanding, patient, and emotionally affected.

Stanley Townsend plays Martin’s father. He cares for Dovidl as if her were a son, and provides what’s necessary for the prodigy to develop and be groomed for performance. Three-time Oscar winner Howard Shore delivers a score that follows the good times and bad, not an easy task for a family drama within the shadow of the Holocaust. One specific sequence stands out, and it is filmed on the hallowed grounds of Treblinka – now a memorial, where the extermination camp once stood.

There are many facets to the story, and most involve heavy emotions. We see children bearing more than they should. Parents protecting their children in times of crisis. The difference between religion and ethnicity is discussed. Broken trust proves especially damaging. Dovidl’s disappearing act could be compared to that of JD Salinger, in that he seemingly vanished for years. And maybe most of all, the idea of survivor’s guilt is a theme, as Dovidl explains, “You don’t have to be guilty to feel guilty.” The film may have some pacing issues, but it affords such a wealth of conversation topics, that any flaws are easily forgiven.

watch the trailer:

 

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Posted by David Ferguson

THREE CHRISTS (2020)

January 9, 2020

 Greetings again from the darkness. Based on the actual events documented in the book “The Three Christs of Ypsilanti” by Social Psychologist Milton Rokeach, the film turns ground-breaking work from 60 years ago into a generic, somewhat bland big screen production … albeit with a talented cast. Director Jon Avnet (FRIED GREEN TOMATOES, 1991) co-wrote the script with Eric Nazarian, and they evidently believed the strong cast would be enough. Instead, we get what in days past would have been described as the TV movie of the week.

The actual story is quite interesting. Dr. Alan Stone (the dramatized version of Dr. Rokeach) is played here by a blond-haired Richard Gere. Dr. Stone comes to Michigan’s Ypsilanti State Hospital in 1959 to study delusions of schizophrenics. Up to that time, we are informed that only extreme treatments were utilized, with minimal psychoanalysis practiced. Dr, Stone’s approach is through therapeutic treatments. Specifically, he arranges for group therapy consisting of only three patients – each who claims to be God/Christ.

Leon (Walton Goggins) demands to be addressed as God. He is the most perceptive of the three, though it’s quite clear, he mostly wants a friend. Joseph (Peter Dinklage) says he is Jesus Christ of Nazareth, though he speaks with a British accent, listens to opera, and wants only to return to England (a place he’s never been). Clyde (Bradley Whitford) claims to be Christ “not from Nazareth”, and he spends much of each day in the shower attempting to scrub away a stench that only he can smell.

The film is at its best, and really only works, when the doctor and the three patients are in session. It allows the actors to play off each other, and explores the premise of how they go about working through the confusion of having each believe the same thing … while allowing Dr Stone’s approach to play out. Where things get murky and clog up the pacing are with the number of additional characters who bring nothing of substance to the story. Stone’s wife Ruth (Julianna Margulies in a throwaway role) pops up periodically with alcoholic tendencies or a pep talk for hubby. Stone’s young research assistant Becky (Charlotte Hope, “Game of Thrones”) seems to be present only as an object of desire for all the Gods, and to remind us of the era’s drug experimentation. And beyond those, Stone carries on a constant battle with hospital administrators played by Kevin Pollack, Stephen Root, and a rarely-seen-these-days Jane Alexander (we shouldn’t forget she’s a 4-time Oscar nominee).

Alec Baldwin’s “I am God” from MALICE is still the best, but it’s always fun to watch a God complex … and this film offers four. The story is bookended with Dr Stone dictating his preparatory notes for a hearing on his professional actions, and the film does serve as a reminder that electroshock therapy and severe drug therapy are likely not as effective as empathy for many patients. It’s rare that God, Freud and Lenny Bruce are all quoted in the same film, but mostly this one just never pushes far enough.

watch the trailer:

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Posted by David Ferguson

CLEMENCY (2019)

December 28, 2019

 Greetings again from the darkness. You surely complain about your job. Most everyone does. But what if your career path had led you to oversee a dozen court-mandated executions, and the next one was already scheduled? In her first feature film, writer-director Chinonye Chukwu takes us inside the world of Warden Bernadine Williams, who manages a maximum-security prison, including inmates on death row. It’s the rare film in this sub-genre that doesn’t preach anti-death penalty politics, and instead focuses on the emotional toll it takes on those who must carry out the sentence.

Warden Williams (Alfre Woodard) is a seasoned prison professional who keeps her emotions in check, while sticking to policies and procedures. She is a restrained, often stoic person – both at work and at home. Early in the film, a lethal injection goes awry, and the warden finds this inexcusable. She wants answers and she prepares to make sure the next one scheduled … for inmate Anthony Woods … goes smoothly. Aldis Hodge plays Mr. Woods, a death row inmate for 15 years. His execution date is fast approaching despite his claims of innocence and the evidence showing he was not the one who killed the police officer. Woods’ attorney (Richard Schiff) has informed him that his last strand of hope is a decree of clemency by the governor.

Bernadine’s job involves dealing with family members, protestors, lawyers, media, guards, medical staff, procedures, final statements … and even the search for veins. The stress is obviously taking a toll, and even her home life is a wreck. Husband Jonathan (Wendell Pierce) is frustrated at her aloofness. He’s a high school teacher and reads a passage of “Invisible Man” to his class – words that hit home for him. Bernadine must also deal with the prison priest (Michael O’Neill) and the two share a powerful moment that relays the strain on both. Bernadine speaks matter-of-factly to Mr. Woods as she outlines the procedure of his execution. In another powerful moment, Mr. Woods attempts to exercise his last bit of control over his life and death. It’s brutal to watch.

Even though the death sentence is for convict Anthony Woods, most every other person involved expresses some desire to retire or walk away. This speaks clearly to the burden associated with taking the life of another human being. In a meeting with his former partner Evette (Danielle Brooks), Woods is given hope of a legacy outside of crime, while Evette expresses what she needs to him. This life is no fairy tale, and hard edges and difficult moments are around every corner.

Ms. Woodard has long been an underrated actress. Her only Oscar nomination came in 1983, and she has been outstanding in most roles since TV’s “St Elsewhere” in the 1980’s. She manages to convey humanity and realism in most every character she plays. Mr. Hodge starred in the title role of BRIAN BANKS earlier this year, and in both roles, he possesses a strength of character that allows the audience in. In Ms. Chukwu’s film, both are isolated in some way and struggling with how to deal.

Although the film spends very little time on the question of guilt or innocence, or whether the death penalty is a law of morality that fits within society, the approach of examining the psychological impact of those involved proves worthy of discussion. We do wish the script had not delivered such stand-off characters … ones so difficult to connect with. But perhaps that’s the inevitability of the environment – one that cuts much deeper than following the ritual of preparing for the next execution.

watch the trailer:

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Posted by David Ferguson

LITTLE WOMEN (2019)

December 23, 2019

 Greetings again from the darkness. More than 150 years have passed since Louisa May Alcott’s novel was published (volume 1 was published in 1868, volume 2 in 1869). By my count, there have been seven previous movie adaptations, dating back to the silent film era and through the more familiar George Cukor-Katharine Hepburn (1933), Mervyn Leroy-June Allyson (1949), and Gillian Armstrong-Wynona Ryder (1994) versions. One might think that sufficient, yet, after viewing this latest, you’ll likely join me in believing that director Greta Gerwig and Louisa May Alcott (and by natural extension Jo March) are kindred spirits … timeless storytellers of the moment.

Oscar nominated (writing and directing) for her standout LADY BIRD (2017), Ms. Gerwig remains true to the beloved source material while adding her own contemporary touch. She begins with the adult March sisters and then flashing back 7 years to the stage of living together and battling through the difficult and awkward transitional phase. The four sisters Jo (Saoirse Ronan), Meg (Emma Watson), Amy (Florence Pugh), and Beth (Eliza Scanlen) are exceptionally well cast, and we immediately recognize the familiar personality traits of each. Jo is the serious, determined writer who has an understanding of financial necessities. Meg is the warm facilitator beloved by all. Amy has ambitions (or is it dreams?) of being a great artist and living an exceptional life. Beth, the youngest, radiates a sweet nature and love for the piano.

Much of the story is told through the eyes of Jo. Her independent spirit and frustration with how the world is, boils over at times. She states her disappointment at being born a girl, and is described as having “a nature too noble to curb.” While viewing, one must keep in mind that this was the Civil War era (the girls’ father is a military Chaplain), and women had achieved very few rights in society. The contrast is never more evident than when comparing Marmee (Laura Dern), presented here as a near flesh-and-blood saint, with Aunt March (Meryl Streep), one quite at ease in thumbing her nose at societal norms for one reason … she is rich.

Fans of the novel will be pleased that Timothee Chalamet plays “Laurie Laurence”, who struggles every bit as much as the sisters in finding his way towards adulthood. His scenes with Jo are exceptional. Chris Cooper, not seen nearly enough in movies these days, perfectly captures the broken spirit of Mr. Laurence, a man never quite able to escape his own personal loss. Other key cast members include James Norton as tutor/teacher John Brooke, Louis Garrel as Friedrich (here a Frenchman), and Tracy Letts dropping some deadpan comedy as Jo’s publisher Mr Dashwood.

Ms. Gerwig (perhaps with a future as one of the greatest filmmakers) displays storytelling and cinematic craftsmanship at the highest level. She bounces between timelines (over at least 7 years) and different sisters’ stories, showing how each is so different … yet all interconnected. These spirited sisters, raised in the same modest home, have their own independent thoughts and ideas of how they want to live their lives. This delivers multiple comings-of-age and examines ‘a woman’s place’, whatever that means. In fact, the message is that a woman’s place is whatever she decides, and while her options are many (despite obstacles), her decisions are personal. None of the four sisters are played by American actors, and all four perform admirably. Pay particular attention to Florence Pugh (MIDSOMMAR) and her work as Amy. Also impressive is the Production Design by Jess Gonchor and the score by 2-time Oscar winner Alexandre Desplat. This one is all about the storytelling and characters, so take in the bunch known as the March sisters. As a side note, Greta Gerwig’s next movie is a live-action BARBIE movie, with Margot Robbie in the lead.

watch the trailer:

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Posted by David Ferguson

UNCUT GEMS (2019)

December 23, 2019

 Greetings again from the darkness. It’s debatable whether this movie should be labeled an indie crime thriller or a ‘Scared Straight’ session for gambling addicts. Benny Safdie and Josh Safdie are filmmaking brothers who seem to specialize in adding a frenetic pace to the lives of characters who consistently make bad decisions. Their excellent 2017 film GOOD TIME (starring Robert Pattinson) set the tone for their latest, featuring an Adam Sandler performance unlike anything we’ve previously seen from him.

After a brief prologue at an Ethiopian mine, we are dropped right into Howard’s world. Well, more specifically, we find ourselves on the camera end of Howard Ratner’s colonoscopy, while also seeing the vibrant glow of the rare opal extracted from that opening mine. Remarkably, the colonoscopy may be Howard’s (and our) most relaxing moment of the movie. The character of Howard is based on a guy the Safdie brothers’ dad worked for in the Diamond District when they were growing up. He’s played here by Mr. Sandler, who delivers a performance so memorable that we now can’t imagine anyone else in the role.

Here is what we learn about Howard: he’s arrogant and foolish and energetic and hopeful. He lives life on the edge … or perhaps he’s already tipped. He’s a Jewish jeweler based in inner-city Manhattan, and as the film begins, he owes a lot of money to someone who has hired goons to collect. Howard has an irascible wife Dinah (Idina Menzel, Elsa’s voice in FROZEN) who is fed up with his antics … one of which is his employee/mistress Julia (newcomer Julia Fox). Howard has an insatiable gambling addiction and he’s always on the brink of a life-changing big score or a colossal failure that could cost him everything. He’s a hustler who has to move faster each day to prevent the collapse of his house of cards: sports bets, pawns, loans, lies, and empty promises.

So if you think you now have a feel for this, I can assure you that you are mistaken. The frenetic pace is relentless to watch. We kind of like Howard, but yet, we want nothing to do with him. His latest scheme involves the expectation that the rare opal will solve his many financial woes. In the meantime, his business associate Demany (LaKeith Stanfield) brings him a high profile client … NBA player Kevin Garnett. The film looks and feels like a gritty 1970’s flick, but it’s based during the 2012 Eastern Conference Finals, and Garnett plays himself (and quite well). Garnett borrows the opal for good luck and that’s when all ‘heck’ breaks loose. Also in play here is Howard’s rotten brother-in-law (Eric Begosian), to whom he also owes money. Adding even more NYC flavor are Judd Hirsch, John Amos, and sports radio host Mike Francesca, as Howard’s bookie.

Daniel Lopatin (aka Oneohtrix Point Never) provides an electronic score that helps ensure we are never comfortable watching what is unfolding, and cinematographer Darius Khondji (EVITA) keeps his camera in constant motion – just like the characters. Production Designer Sam Lisenco creates Howard’s world through the jewelry shop, the house, the apartment, and especially that back office. Set Decorator Kendall Anderson wins a place in my heart for the Pete Maravich poster.

The Safdie brothers co-wrote the script with their editor Ronald Bronstein (who also worked on GOOD TIME), and afterwards you’ll find yourself going back through all the poor choices made by most every character. The brilliantly sustained level of uneasiness includes a segment featuring The Weeknd, and one revolving around a school play for Howard’s daughter. The Safdie style is present throughout, and most conversations are loud and heated and threatening. If you are the type that needs at least one likable character, or a serene environment, or respectful adult conversation, you are out of luck here. Howard is an exhausting character in an exhausting story within an exhausting movie … just as it was intended.

watch the RED BAND trailer (PROFANITY WARNING):

 

 

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Posted by David Ferguson

A HIDDEN LIFE (2019)

December 20, 2019

 Greetings again from the darkness. With a title pulled from a line in George Eliot’s “Middlemarch”, enigmatic filmmaker Terrence Malick continues his deep probe into humanity and faith … recurring themes in most of his films, and especially the run that began with his excellent THE TREE OF LIFE (2012). This current film is easily his most accessible over that period as it focuses on the (mostly) true story of Austrian WWII conscientious objector Franz Jagerstatter.

The film opens with contrasting images: a black screen with sounds of nature fading to a bucolic Austrian Alps village versus dramatic historical clips of Hitler (I believe from Leni Reifenstahl’s 1935 Nazi propaganda film TRIUMPH OF THE WILL). The rural farming village we see is Sankt Radegund, the idyllic community where Franz Jagerstatter (played by August Diehl, INGLORIOUS BASTERDS) lives off the land with his wife Franziska “Fani” (played by Valerie Pachner) and their three young daughters. It’s a family bonded by love. The family and fellow villagers go about the rigors of daily life as the war spreads. In 1940, Franz is sent to Enns Military base for training, and is then returned to his village under a farming exemption.

What follows is a first half filled with dread as Franz struggles with his own beliefs in a new world order that has no room for individual thought. He refuses to swear an oath to Hitler, despite the rest of the villagers doing so. He knows what this means, as does his wife. As Franz refuses the “Heil Hitler”, he is described as being something worse than an enemy – a traitor. He holds firmly to his principles … vague to us, yet crystal clear to him. He becomes a pariah in his own village, as even the priest urges him to relent by stating he has “a duty to the fatherland.”

“Don’t they know evil when they see it?” Franz asks the question we have all been asking since Hitler came to power. When he is called to duty in 1943, Franz and Fani know the eventual outcome. Franz is asked by many, and in various ways, “What purpose does it serve?” No one can make sense of his stand. As he is imprisoned at Tegel Prison, solicitors played by Matthias Schoenaerts and Alexander Fehling both try to convince him to pledge loyalty and save his life. Franz’s response is, “I can’t do what I know is wrong.”

With the first half being filled with dread and anxiety, the second half is all about the suffering. Franz is locked away with very little access to the nature or family he holds so dear, while Fani is a village outcast, trying desperately to raise their daughters and put food in their mouths. They are each in their own prison – isolated from the life they love. From Tegel Prison in 1943, Franz writes many letters to Fani. The letters are philosophy mixed with hope and love, and provide the source of how his story was discovered many years ago.

Anyone familiar with Malick’s films know that each is a visual work of artistry. Instead of his usual cinematographer, 3-time Oscar winner Emmanuel Lubezki, this film features the camera work of Jorg Widmer (who assisted Lubezki on THE TREE OF LIFE). The film lives up to our expectations, especially in capturing the vitality and spirit of nature through lush landscapes, mountains, trees, grasses, gardens, streams, rivers, and a waterfall. The family is one with nature, which stands in stark contrast to Franz inside the cold prison walls. Composer James Newton Howard brilliantly uses a lone violin, as well as a mixture of classical music. This was the final film for two extraordinary actors who recently passed away. Michael Nyqvist plays the Bishop who tells Franz that if God gave us free will, then we are responsible for what we do and what we don’t do. Bruno Ganz plays the head judge on the committee that decides Franz’s fate.

We could describe the film as either a tragic love story or an ode to faith and principles. Both fit, and yet both fall short. Terrence Malick is a confounding and brilliant and artistic filmmaker. After his breakthrough film DAYS OF HEAVEN (1978), he took a 20 year hiatus before filming THE THIN RED LINE (his other WWII film). Recently he has proven much more productive, yet he remains a meticulous craftsman – taking three years to edit this film. His visual style is quite unique, yet he has the skill to make a messenger’s bicycle bell send chills. He was able to meet Franz’s surviving daughters (now in their 80’s) prior to filming, as they still live near this village. We are quite fortunate that this exquisite filmmaker is allowing us to tag along on his search for the meaning of life and his exploration of faith … just make sure you set aside 3 hours for the lesson.

watch the trailer:

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Posted by David Ferguson

BOMBSHELL (2019)

December 19, 2019

 Greetings again from the darkness. Movies based on true stories are increasingly popular these days. OK, not as popular as comic book films, but the appeal of tapping into ‘truth-is-stranger-than-fiction” is a natural, as viewers bring a sense of familiarity to the characters and/or events. On the flipside, this familiarity can create challenges for the filmmakers and actors as they must meet viewer expectations or risk being waved off as a flop. When tackling the story of Fox News CEO Roger Ailes and the sexual harassment scandal of 2016, the folks associated with this project faced the added burden of an internationally reported story with faces and personalities recognized around the globe.

For the most part, director Jay Roach (TRUMBO, MEET THE PARENTS, AUSTIN POWERS), screenwriter Charles Randolph (Oscar winner THE BIG SHORT), and a very talented cast succeed in taking us behind the scenes of this unsettling story, so that we might better understand how 20 years of despicable behavior continued unabated. The film picks up in 2015 as the Presidential campaigns are underway. Megyn Kelly (a spot-on performance from Oscar winner Charlize Theron) breaks the 4th wall and takes us on a tour of the Fox offices – even pointing out Roger Ailes’ private and secure sanctuary. We then see the memorable moment where Ms. Kelly publicly questioned candidate Donald Trump about his history with women. It was a moment that shook the network, and elevated Megyn Kelly to worldwide notoriety.

Early emphasis is on Gretchen Carlson (played by Oscar winner Nicole Kidman), and her declining role at the network as she is removed from the highly rated “Fox and Friends”, and placed on her own show in an unappealing time slot. Although her professional skills are presented in a way that has her appearing a bit amateurish, Ms. Carlson makes the case that she was unceremoniously removed due to her not going along with Ailes’ wishes behind closed doors. It’s Gretchen Carlson’s lawsuit against Ailes that kicks off the downfall of the network’s leader. She was the one courageous enough to be first.

Margot Robbie plays Kayla Pospisill, an ambitious producer who initially works for Carlson, and then moves on to “The O’Reilly Factor”. Kayla is a composite character written to represent many of the women who worked at the network. She is smart and working towards a shot at becoming an on-air personality. It’s that ambition that results in her sitting in Ailes’ office when he says “Stand up and give me a twirl.” His request (evidently not an uncommon one) is followed by his reasoning – “Television is a visual medium.” It’s Kayla’s interaction that allows us a glimpse at the systemic sexual harassment that became commonplace in the office. The toxic environment was not isolated to Ailes … as shown here, and proven later.

John Lithgow perfectly captures the elderly Ailes, who suffers from multiple physical ailments – none of which affect his ego or demented nature. He never sees the evil of his ways, as he’s been taking advantage of his power position for so long, the right comebacks and lead-ons have become second nature to him. What makes this even more frightening is that Ailes apparently used this harassment and manipulation as the first step in a form of mind control … to ensure the content of his network fit his ultra-conservative and closed-minded ideals. The message was clear: remain loyal to him or lose your career.

The ensemble cast is excellent, even if the leads dominate the story. Oscar winner Allison Janney portrays Ailes’ attorney Susan Esrcih, Connie Brittain plays his supportive wife Beth Ailes, Malcolm McDowell is Rupert Murdoch, and Kate McKinnon plays Kayla’s co-worker (and more) Jess Carr, who is forced to keep her private life in her desk drawer. Other supporting roles are filled by Liv Hewson, Brigette Lundy-Paine, Rob Delaney, Mark Duplass, Stephen Root, Robin Weigert, Anne Ramsay, and Richard Kind. Some of the real life names and faces include: Bill O’Reilly, Rudy Giuliani, Chris Wallace, Greta Van Susteren, Neil Cavuto, Geraldo Rivera, and Jeanine Pirro.

“This place is crazy.” I don’t remember which character said it, but it could have been any of them. The politics of the network (and Ailes himself) are always hovering over every scene. What caused Fox News to become such a toxic work environment?  Having a despicable leader doesn’t seem like enough. Why were so many men treating it as a frat house, and so few women willing to speak up? The answer seems to be that these were talented and ambitious women who were determined not to lose what they had worked for. When one character states that women owe it to each other to speak up, it really brings into focus how much courage is required to do just that.

Showtime’s multiple-episode “The Loudest Voice” with Russell Crowe as Roger Ailes and Naomi Watts as Gretchen Carlson was able to go into greater depth with the longer run time, but director Roach tells this from the women’s viewpoint. Ms. Theron truly disappears into the role of Megyn Kelly, while Lithgow, Kidman and Robbie deliver in a way that we forget we are watching actors. Some of the best segments feature these women reacting in the moment … moments we hope are becoming extinct. By the way, I wonder how much a “Team Roger” t-shirt is going for these days – or if they can even give them away?

watch the trailer:

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Posted by David Ferguson

THE TWO POPES (2019)

December 19, 2019

 Greetings again from the darkness. Abba versus Classical. Perhaps nothing more clearly separates the two men than their musical tastes. Of course, it’s their widely disparate views of society and the role of Catholicism that matter most. Expert filmmaker Fernando Meirelles (CITY OF GOD, 2002) and screenwriter Anthony McCarten (BOHEMIAN RHAPSODY, THE THEORY OF EVERYTHING) have crafted a beautiful telling of the story of how these two men crossed paths, and they selected two preeminent actors to play the two Eminences.

Jonathan Pryce plays Cardinal Jorge Bergoglio, now known as Pope Francis, and Oscar winner Sir Anthony Hopkins plays Joseph Ratzinger, now known as Pope Benedict XVI. The story kicks off in 2005 with the announcement that Pope John Paul II has died. The proceedings for the election of the new pope provide us our first glimpse at the differences between ultra-conservative and traditional German Joseph Ratzinger and the progressive Jorge Bergoglio, so in touch with the people. It’s portrayed as a passive-aggressive rivalry, and an election between humility and ambition. Director Meirelles does a terrific job of establishing the pomp and tradition that goes with the election of a new pope … we see the quite amazing process in quick-cut form so that it doesn’t drag out.

There are flashbacks to Bergoglio’s early days in Buenos Aires, and Juan Minujin portrays him as a younger man making the all-important life decision. But of course the real fun here is the verbal sparring and intellectual chess match played out between the older men in 2012. Pope Benedict is dealing with church scandals involving financial fraud and sex-abuse cover-ups. He is, for lack of a better term, beaten down in his job. Bergoglio has requested permission to retire from his post, and he makes the trip to secure Benedict’s signature on the papers. Pope Benedict deftly avoids the papers and the topic as he engages Bergoglio in meaningful dialogue. Their conversation is at times combative, as their disparate philosophies become apparent. Bergoglio is a humble man of the people and understands the public perception of the Church. Benedict embraces the sanctity and power of his position and holds tightly to tradition.

As the two men philosophize on the Catholic religion and church, these two acting legends make every moment a pleasure to watch. Watching men of faith with differing ideals could have been either of two extremes: dry or over-the-top. Instead, we have meaningful dialogue on faith and the role of the church. Also, the set of the re-created Sistine Chapel is breathtaking and accurate. For those of us who have been inside the walls of the Chapel, we can’t help but recall the architectural and artistic details captured here. Cinematographer Cesar Charlone (Oscar nominated for CITY OF GOD) captures the beauty of the Chapel, as well as the immense size of Vatican City. As an added bonus, the aerial shots of Rome are not to be missed.

With more than one billion Catholics around the globe, it’s actually quite impressive that Pope Benedict was willing to step down and take the role of pope emeritus. For such a proud man to recognize that he was no longer the right man for the job is quite rare, but even more impressive is how he understood that his diametric opposite, Pope Francis, was the right man for the times. Fanta, futbol, Fitbit and Tango all surprisingly have their moments. The running gag with Fitbit provides levity when needed. The film might let Pope Benedict off a bit too easy as it showers Pope Francis with affection, but the real fun here is watching these two fine actors go at it.

watch the trailer:

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Posted by David Ferguson

RICHARD JEWELL (2019)

December 13, 2019

 Greetings again from the darkness. Imagine you are being falsely accused of a terrorist act that killed and injured people. You are the FBI’s primary suspect. Your name and face are spread across every possible media outlet. Your belongings have been searched and seized as evidence – right down to your mom’s Tupperware. Cameras follow your every step of every day. Now imagine all of this occurs mere days after your actions actually saved lives and you were hailed as a hero across all of those same media outlets. Richard Jewell didn’t have to imagine this, as he lived this nightmare in 1996.

We first see Richard (played by Paul Walter Hauser in one of the year’s best performances) as a supply clerk at a law firm in 1986. His awkward ways and surprising efficiency catches the eye of attorney Watson Bryant (Oscar winner Sam Rockwell), a quasi-connection that comes into play a decade later. We then jump ahead those 10 years to find Richard being fired from his campus security job at a college due to his over-zealous focus on protocol. Fortunately for Richard, the Olympics are coming to Atlanta, so finding work as a security guard is pretty easy.

Atlanta’s Centennial Olympic Park is shown with crowds of people cheering at a Kenny Rogers and later dancing the Macarena. As one of the on-site security guards, Richard spots a suspicious backpack that turns out to be holding the bomb that detonates, creating tragedy for many. As the viewing audience, we know that Richard’s actions saved lives and he most definitely was not responsible for planting the bomb. And it’s that knowing that places us as close as possible to the Richard Jewell experience.

Four-time Oscar winner Clint Eastwood directs yet another story of a working-class hero. Only this time, he blatantly calls out what he sees as two evil forces: the U.S. Government (the FBI) and the media. Billy Ray (CAPTAIN PHILLIPS, SHATTERED GLASS) based his script on the 1997 Vanity Fair article “American Nightmare: The Ballad of Richard Jewell” by Marie Brenner (who also wrote the article that was the source for THE INSIDER, 1999). It can be argued that Eastwood comes down hard on the FBI and the media, but you might consider putting yourself in Richard Jewell’s shoes before crying foul.

Jon Hamm has perfected the role of cocksure FBI agent and here he plays Tom Shaw as the man totally focused on proving Richard Jewell was the perpetrator. Much has been made of Eastwood’s depiction of Atlanta Journal-Constitution reporter Kathy Scruggs (played by Olivia Wilde, who directed this year’s surprise hit BOOKSMART). It’s a bit curious that the uproar is over what some interpret as a reporter trading intimate relations for a scoop, yet Eastwood’s contempt seems focused more on the idea of trying a citizen’s case in public … while lacking any real evidence outside of a profile. The reporter (Ms. Scruggs passed away in 2001) is certainly portrayed as an ultra-aggressive reporter desperate for a headline story, but the implied consensual affair occurred after the inside information was provided – and the FBI agent was actually surprised… “Is this really going to happen?” Perhaps the viewer reaction to this is a sign of the times, but I’m guessing if any one of Eastwood’s critics were similarly falsely accused (as Jewell), the fictionalized version of the reporter would be less important than having the truth discovered. Of course, this could have been easily avoided had the name of the reporter been changed for the film.

Two key supporting roles come courtesy of Oscar winner Kathy Bates as Richard’s mother Bobi, and Nina Arianda as Watson Bryant’s paralegal. Ms. Bates starts out as a loving and simple mother to Richard, but her press conference captures the character in a new light. It’s a strong and heartfelt performance. Ms. Arianda brings some warmth sprinkled with welcome sarcasm to her role. Mr. Hauser is spot-on in every scene, and when these four are all together, it’s a pleasure to watch. Hauser and Rockwell are especially good in their scenes together as the ‘wronged man’ contrasted with the take-no-guff attorney.

Every time Richard says “I’m law enforcement too”, it’s heart-breaking to us and an opening for the FBI to manipulate him. The profile of a single white male living at home with his mom, carrying gung-ho dreams of a career in law enforcement, while collecting guns and knowledge on bombs and police procedure, made Richard Jewell seem like the kind of guy who would do something for attention. However, the film and the true story both emphasize the danger of prematurely persecuting individuals – especially in public. These days the race is always about who is first with a story, rather than who is right. A rush to judgment can be seen as an abuse of power, whether it’s by the media, a law enforcement agency, or folks on social media. At this stage of his career, director Eastwood seems more interested in telling stories than showing one. He offers up little visual artistry outside of the terrific performances, but this story … it’s a doozy.

watch the trailer:

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

MARRIAGE STORY (2019)

December 6, 2019

 Greetings again from the darkness. Nicole has already made her decision. The film opens with her and husband Charlie in a therapy session. They are listing traits they admire about the other person. Watching this, we are unsure if the therapist thinks this exercise might salvage a broken marriage, or if it’s some cruel way of highlighting what is being lost. This is writer-director Noah Baumbach’s most gut-wrenching film to date, and it’s based, at least partially, on his split from wife Jennifer Jason Leigh. Writing about personal experience is nothing new for Baumbach, as THE SQUID AND THE WHALE was inspired by his parents’ divorce.

Charlie (Adam Driver) is an up-and-coming theatre director in New York City, and wife Nicole (Scarlett Johansson) is the company’s lead actor. When Nicole informs Charlie that she wants a divorce, and is headed back home to Los Angeles to be with family and resume her TV acting career, he is stunned. She explains that her dreams and ambitions have been stifled by focusing on his career, and despite her numerous attempts to discuss this, he has never bothered to take her seriously. Oh, and she’s taking their young son Henry (Azhy Robertson) with her.

What follows is a masterclass in writing, acting, directing, editing, and human nature. We watch as Nicole builds the foundation of her new life, while Charlie is staggered – not so much in denial, as disbelief. Their initial course of an amicable split, equitable division of belongings, and shared/split custody of Henry is abruptly altered when Nicole takes counsel from powerhouse LA divorce attorney Nora Fanshaw (Laura Dern). Complicating matters is the bi-coastal nature of the divorce and California laws. This forces Charlie to meet with attorney Bert Spitz (a terrific Alan Alda), who may or may not be up to the task – his acumen varying from day to day.

Baumbach allows both sides to play out. These are basically normal, good people in a situation that brings out the worst traits in both. Unsparing pain arises at every turn. One particular argument between Charlie and Nicole is the axis on which the movie turns. It’s a spilling of guts and filled with devastating honesty. The scene is relentless and builds to a breakdown or breakthrough … any description leaves us spent. Just when we don’t believe we can handle any more emotional turmoil, up pops a moment of genuine tenderness that restores our faith – even if it’s only long enough for us to breathe again. There are even some surprisingly funny (dark humor) moments sprinkled throughout, just as there is in life.

Supporting roles are filled beautifully by Ray Liotta, Julie Hagerty, Merritt Weaver and Wallace Shawn. As Henry, Azhy Robertson avoids the “cute-kid” syndrome and delivers an actual nuanced performance by a child actor. Although it seems they are both everywhere these days, Ms. Johansson and Mr. Driver are truly outstanding in their roles here. Scarlet perfectly captures a woman moving on, while Adam singing Stephen Sondheim’s “Being Alive” at the bar in front of his theatre company is one of the most poignant on screen moments of the year.

There have been some amazing movies about marriage/divorce over the years. Bergman’s SCENES FROM A MARRIAGE (1974), Benton’s KRAMER VS KRAMER (1979), and Farhadi’s A SEPARATION (2011) come to mind. Baumbach’s latest belongs in that group. Even the “best” divorces – those where both sides end up better off – are a “loss” for both parties. At a minimum, it’s a loss of a once-in-time vision of life partnership. The division of assets is a cold term for the shredding of emotions. We are fine with whatever the adults decide as long as the priority for both is their young son who shouldn’t pay the price for their debacle … but certainly will, just as countless other children have. I’m only now able to write about this film after seeing it at the inaugural North Texas Film Festival (NTXFF). As a movie lover, I’m in awe of the acting and storytelling. As a human being, it temporarily destroyed me.

watch the trailer:

7 Comments | Drama | Tagged: , , , , , , , , , | Permalink
Posted by David Ferguson

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