KATIE SAYS GOODBYE (2017)

June 6, 2019

 Greetings again from the darkness. This little gem played at the 2017 Dallas International Film Festival, and at that time, I wrote about how writer/director Wayne Roberts was one of the new and most exciting filmmakers to burst on the scene. Now, more than two years later, the film is finally getting the distribution it deserves, and I still worry there will be those who decry another film exploiting women as a victim of society. I also still stand behind my case that there is another way to view the story of Katie, a good-hearted dreamer played beautifully by Olivia Cooke (“Bates Motel”, THOROUGHBREDS, READY PLAYER ONE).

Initially, Katie’s unflappable optimism seems unlikely, if not impossible. She walks miles to work along a dusty highway. She lives in a trailer park with her deadbeat mother (Mireille Enos), whom she supports both financially and emotionally. She works double-shifts as a waitress at a truck stop, where she’s known to toss in a couple extra bucks when a particularly frugal customer stiffs the other waitress. She also works a side job as a prostitute for locals and a regular trucker named Bear (Jim Belushi). Despite a life filled with *stuff*, Katie doggedly pursues her dream of saving enough money to move to San Francisco and become a hair stylist. Of course, since she’s cursed with a heart of gold, she has to save enough money for her own trip AND for her mother to live on. Her dream seems lofty, yet almost achievable.

When Katie falls for Bruno (Christopher Abbott), the new guy in town, she tries her best to fall in love and pull him into her dreams for a better life. It doesn’t take long before Bruno is made aware of Katie’s side job, and her fantasy world begins to crumble. On a daily basis, Katie happily (of course) drinks up the truck stop wisdom of diner owner Maybelle (Mary Steenburgen), who spouts such gems as “A man with a smile will hurt you”. Good intentions abound here, but we realize … even if Katie doesn’t … that the reality of people’s self-interest is the immovable object that so often tears down the dreamers of the world.

As with much of life, one’s enjoyment of the film is likely contingent upon the perspective you bring. A caustic, cynical view will have you waving off Katie’s lot in life as exploitive movie-making; while those who can share even a spoonful of Katie’s spirit, will find themselves rooting exuberantly for her dreams to come true … or at least to sustain her refreshing outlook on life and people. Director Roberts recently released his newest, THE PROFESSOR, starring Johnny Depp. He remains a filmmaker to follow.

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Posted by David Ferguson

ROCKETMAN (2019)

May 30, 2019

 Greetings again from the darkness. It’s billed as a musical fantasy. If you are familiar with Elton John’s discography and history, you’ll want to keep that in mind as the film unfolds. The reward is a colorful spectacle worthy of one of pop music’s most successful songwriters and greatest showmen. Director Dexter Fletcher (EDDIE THE EAGLE, 2015) and writer Lee Hall (BILLY ELLIOT, 2000) make frequent use of Elton’s music within the fabric of the storytelling. It’s no traditional biopic, nor should it be, given the wild ride of the man whose story is being told.

Taron Egerton tears into playing Elton John like it’s the role of a lifetime. And he succeeds in a way that makes it seem that could be true. Most of us first recognized Taron’s talent as “Eggsy” in KINGSMAN: THE SECRET SERVICE (2014), though I’m not sure we expected such a dynamic step up so soon. This is not some actor merely mimicking the movements of a celebrity. This is an actor taking possession of a role. Without the costumes, Taron doesn’t look much like Elton John. He certainly doesn’t sound like Elton John … though his voice does justice to the classic songs. Despite those things, he is captivating on screen, both in the dramatic moments and the musical mania.

Elton’s childhood and the strained relationship he had with his parents (played here by Bryce Dallas Howard and Steven Macintosh) are given much attention, as is the support and love of his grandmother (Gemma Jones). With two self-centered parents wishing he didn’t exist, the child piano prodigy might never have attended the Royal Academy of Music if not for grandmother Ivy. Of course, the professional relationship that meant the most to Elton’s career was his songwriting collaboration with lyricist Bernie Taupin (Jamie Bell), and much of the film is devoted to this prolific partnership – in fact, one of the most spine-tingling moments occurs as Bernie hands Elton the words to “Your Song” and Elton proceeds to set it to music right in front of us and Bernie. Whether that’s historically accurate or not, it provides a thrilling moment on screen for the creative duo.

Elton John in rehab is used as a framing device for the film. This allows him to walk us through his life … after admitting to having issues with drugs, alcohol, sex, shopping and anger. In other words, one of the most successful musicians of all time was a mess. And we get to sit front row as he details his early sexual confusion, his desire to be loved, his early professional frustration, and finally a career that exploded – covering him with money, adoration, stress, and more frustration. We see the warts and all.

Supporting roles are filled by Richard Madden as John Reid, Elton’s lover and manager; Tate Donovan as Doug Weston, owner of Sunset Blvd’s Troubadour; Rachel Muldoon as Kiki Dee, Elton’s collaborator on  their big hit “Don’t Go Breaking My Heart”; and Stephen Graham as Dick James, the famous music publisher who first signed Elton.

As someone whose favorite Elton albums are “Tumbleweed Connection”, “Madman Across the Water”, and “Honky Chateau”, it’s easy for me to appreciate the time period covered here (roughly 1970-1983), and also to recognize the ‘artistic license’ taken with the timelines and events. His 1970 gig at Troubadour features a rowdy version of “Crocodile Rock”, which wasn’t even written yet … although the scene makes for great cinema. Many of the songs that advance the story are used out of sequence, but it’s quite effective to see and hear them in context. His marriage to Renate Blauel and the rehab stint featured both occurred after 1983, which we can assume is the story’s stopping point given the use of the “I’m Still Standing” video as a finale. Even the use of John Lennon over Long John Baldry doesn’t really matter since this is all about the spectacle, and for spectacle, you’ve likely never seen costumes (including eyeglasses and headdresses) used to such startling effect … and so frequently. The baseball “uniform” Elton wore during his 1975 Dodger Stadium gig has always made me a bit uncomfortable, but it’s recreated beautifully for the film.

Given that comparisons to the recent BOHEMIAN RHAPSODY are inevitable, it should be noted that director Dexter Fletcher rescued the final production of that film before finishing this one. Freddie Mercury and Elton John are two of the most fascinating figures in music history, and while both films are enjoyable, it’s ROCKETMAN that is willing to take the riskier path by highlighting the flaws of a creative genius. So criticize if you must, but you’ll probably still be singing in your seat.

watch the trailer:

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Posted by David Ferguson

THE SOUVENIR (2019)

May 30, 2019

 Greetings again from the darkness. Viewers of writer-director Joanna Hogg’s semi-autobiographical feature will likely be divided into two distinct groups: those who find it to be a beautifully artistic psychological study, and those who find it to be a painfully slow watch. Fortunately, most who would fall into the latter group will likely skip it altogether, and we can only hope those in the first group will seek it out and encourage similar-minded film fans to attend. Surely both groups can agree that it features a terrific breakout lead performance from Honor Swinton Byrne (daughter of Tilda Swinton).

Ms. Swinton-Byrne stars as Julie, a young London film school student. She’s soon drawn to Anthony (Tom Burke), an odd man who is somehow simultaneously laid back and condescending. Their relationship builds as he works some vague job at the Foreign Office, and giving every indication that something’s not quite right. Many moments of normal life are shown; however we soon learn that Anthony is a master manipulator, and his off-handed requests for ‘a tenner’ or sticking Julie with a restaurant tab go deeper than being a simple jerk. We know heartbreak is coming for her; we just don’t know how when or how hard.

Tilda Swinton (a long-time friend of director Hogg) appears in a few scenes as Julie’s mom, and as you would expect, she perfectly captures the mother-daughter dynamics. Of course Julie is a film student struggling to make ends meet, but with her frequent requests for ‘mom loans’ coinciding with the Anthony relationship, mother knows best. Jean-Honore Fragonard’s 18th century painting gives the film its title, and provides a terrific scene with Julie and Anthony.

Later, when Anthony tells Julie, “You’re inviting me to do this to you”, we recognize this is an abusive relationship similar to those many women have endured. Set in the 1980’s, a doomed relationship looks eerily similar regardless of the era. The film serves as an example of how we sit in judgment of the love lives of others, while often remaining blind (or is it hopelessly optimistic) to our own relationship issues.

Ms. Hogg shot on film and there are some memorable shots throughout – especially within Julie’s apartment. There is a recurring split-screen shot where a wall divides what we see in the kitchen with what’s happening in the living area – we see characters on each side. This is the anti-Marvel movie. No special effects. No superheroes. And the only worlds in peril are those of average, flawed people like us.

There is a segment involving an analysis of Hitchcock’s PSYCHO, and it’s clear director Hogg learned lessons about what not to show. There is also a reference to another Hitchcock classic with the tailored grey suit Tom buys for Julie and their trip to Venice. Alfonso Cuaron scored big with ROMA, a very intimate look at his personal life, and filmmaker Hogg’s film is in that same vein. It’s extremely well made and beautiful to look at, and is likely to be quite challenging for viewers. The payoff comes after much patience and effort and investment into figuring out these characters. It’s an arthouse film with improvised dialogue (bonus points for Joe Jackson’s “Is She Really Going Out with Him?”). This was a grand jury prize winner at Sundance, and the sequel is already in production … good news for some of us, while inexplicable to others.

watch the trailer:

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Posted by David Ferguson

BOOKSMART (2019)

May 23, 2019

 Greetings again from the darkness. Every generation tends to get the high school movie (the movie about high school life) they deserve. Going back to James Dean in REBEL WITHOUT A CAUSE (1955) and Sidney Poitier in TO SIR WITH LOVE (1967), what followed were such memorable films as CARRIE (1976), GREASE (1978), FAST TIMES AT RIDGEMONT HIGH (1982), most every John Hughes movie from the 80’s, FERRIS BUELLER’S DAY OFF (1986), SAY ANYTHING (1989), DAZED AND CONFUSED (1993), CLUELESS (1995), 10 THINGS I HATE ABOUT YOU (1999), MEAN GIRLS (2004), HIGH SCHOOL MUSICAL (2006), JUNO (2007), and SUPERBAD (2007). It’s that last one on the list that this directorial debut from Olivia Wilde is likely to draw the most comparisons to.

Kaitlyn Dever (“Justified”) and Beanie Feldstein (LADY BIRD, and sister of Jonah Hill) star as Amy and Molly, two best friends and high school seniors who have sacrificed a social life (i.e. partying) for academics in order to position themselves for the best colleges. Amy has decided to take a gap year doing charity work in Botswana, while Molly wears her intelligence and class ranking on her sleeve and sits in judgement of her less disciplined classmates. She is headed to Yale with her ultimate life goal being an appointment to the Supreme Court (she has an RBG poster up in her room).

Imagine their shock when, the day before graduation, Amy and Molly discover that many of their less-disciplined (i.e. hard partying) classmates will also be attending elite schools. The besties immediately scheme to make up for 4 years of nose-to-the-grindstone by attending the biggest party of the year … and showing others how much fun they can be. Plus, the party affords each the opportunity to pursue their crush: skater-girl Ryan (Victoria Ruesga) for Amy, and athlete Nick (Mason Gooding) for Molly.

Although (full disclosure) I was never a high school girl, the one thing that stands out about the film is how the kids seem like real kids. That’s not to say most every aspect isn’t slightly exaggerated, because it is. The level of gayness in the Drama club is a bit difficult to take, and the teenage body is objectified in more than one shot; however, director Wilde has a knack for making high school look cinematic. Two sequences are particular standouts for the way they are filmed: the swimming pool scene with Amy underwater, and the house party as the characters weave in and out of rooms in the large house

Supporting roles add depth to the comedy thanks to Jason Sudeikis as the school Principal/Lyft driver; Billie Lourd (daughter of Carrie Fisher) as Gigi, who is always popping up and stealing scenes; Lisa Kudrow and Will Forte as Amy’s parents; Molly Gordon (“Animal Kingdom”) as the misunderstood ‘Triple A’; the aforementioned Victoria Ruesga and Mason Gooding; and star-in-the-making Diana Silvers as Hope – the aptly named rebel who clicks with Amy.

Co-written by Susanna Fogel, Emily Halpern, Sarah Haskins, and Katie Silberman, the film presents a realistic friendship between two teenage girls, and mines some common and recognizable personalities for comedy gold. Smart and funny female characters are interesting at any age, and “no one knows me” is the anthem of most every high school student since caveman days. The inevitable comparisons to SUPERBAD will likely be favorable to this film, and it will probably be the perfect fit for this generation – even if we hope most students avoid many of the happenings. With Will Ferrell and Adam McKay as producers, you should prepare for the harsh language high school kids are known for, as well as that ‘brazen, yet insecure’ blend so common to the age. Of course, we can’t help but find the timing of release quite interesting, given the recent college admissions scandal. It won’t replace AMERICAN GRAFFITI for me, but with Olivia Wilde having been known as an actress, we now recognize her as a legitimate director.

watch the trailer:

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Posted by David Ferguson

THE SUN IS ALSO A STAR (2019)

May 16, 2019

 Greetings again from the darkness. Taking star-crossed lovers to a new dimension, director Ry Russo-Young (BEFORE I FALL, 2017) presents Nicola Yoon’s best-selling YA novel as a traditional love-at-first-sight romance augmented with contemporary twists and issues. Tracy Oliver (GIRLS TRIP, 2017) adapted the story for the screen and enhances the familiar trope with racial, cultural, economic and political aspects – resulting in a romance meant to both charm and influence. If only those enhancements had played a larger role, this little film might really have had something to say.

The film certainly succeeds with its charm. Yara Shahidi (“Black-ish”) and Charles Melton (“Riverdale”) star as Natasha and Daniel, respectively. These are two beautiful young people blessed with electric smiles to complement their great hair and world class cheek bones. She is a Jamaican immigrant and a scientific prodigy as a high school junior, whereas he is a first generation U.S. born Korean who writes poetry while prepping for his Dartmouth admission interview. His family long ago christened him as the one who would be doctor.

Loosely based on the courtship of author Nicola Yoon and her husband, even the meet-cute for Natasha and Daniel has a theme: Deus Ex Machina – God from the Machine, where magical powers or destiny bring the two together. Not only does Natasha wear a jacket with the Latin phrase, but the conductor on Daniel’s subway even counsels the delayed passengers to “Open up your heart to destiny.” OK, by now you know if this is your type of movie or not. I would offer a mild caution to naysayers with this – Natasha and Daniel are fun to watch as they get to know each other, and there are some breath-taking shots of New York City interspersed throughout the film courtesy of cinematographer Autumn Durald. These two things make the film watchable no matter how deep your allergy to cuteness runs, although the tour of NYC sometimes has the feel of (a well photographed) tourist brochure.

The political side of the story comes courtesy of Natasha’s ‘last hope’ meeting at the immigration office to postpone her family’s deportation scheduled for the next day. We only get to see quick glimpses of the process, but it’s enough to understand the red tape she has tried to maneuver in order to keep her family in NYC after 9 years. More of immigration attorney John Leguizamo would have contributed a bit of substance to the film. The immigration topic is also broached in Daniel’s family as his parents came to the country and started their own business. The American Dream giveth and taketh away. The immigration bits work as plot devices, but the film is most comfortable as a story of star-crossed lovers accompanied by “Crimson and Clover” in a karaoke bar. However the film’s biggest mystery might be how the couple survived sleeping all night in a New York park without getting mugged or even needing to brush their teeth before their crucial meetings. The magic of love.

watch the trailer:

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Posted by David Ferguson

THE PROFESSOR (2019)

May 16, 2019

(aka RICHARD SAYS GOODBYE)

 Greetings again from the darkness. Cancer comedies are few and far between, and that’s understandable since the often deadly disease brings with it so much suffering and sadness. Writer-Director Wayne Roberts pulls no punches. The opening scene finds a doctor breaking the dreaded diagnosis to a patient … lung cancer. The patient, a college professor named Richard, is told he has 6 months to live.

The cold opening has us questioning if this is truly a comedy – even though the opening scene professor-patient is played by Johnny Depp. The news hits him hard of course, and we can see his mind spinning as he works out his approach and acceptance. What follows are some quite awkward and uncomfortable scenes with both his class and his family – a wife Veronica (Rosemary DeWitt) and teenage daughter Olivia (Odessa Young). Both of the women in his life usurp is announcement with those of their own: Veronica is having an affair with the Chancellor of the college where Richard works, and Olivia discloses that she is a lesbian. The two dinner time announcements and Richard’s still held secret are integral to every scene that follows.

Six title chapters clue us in on each subsequent phase in Richard’s life, and the key is that he tosses conventions aside and tries to find meaning in life … all while facing his own mortality. On one hand, Richard does what a professor does – he teaches. His small group of students are privy to such insight into life as “it ends in death for everyone”. On the other hand, he experiments with drugs, alcohol, and sexual experiences, including a couple of episodes with students – something that should never happen.

Ron Livingston is perfectly cast as the somewhat slimy Chancellor who is sleeping with Richard’s wife, but it’s Zoey Deutch and Danny Huston whose characters generate a bit more substance in Richard’s life. Ms. Deutch (daughter of Lea Thompson and a star in the making) plays Claire, a student who seems to quickly “get” what her professor is going through. And Mr. Huston gives one of his best performances in years as Richard’s long-time friend Peter who doesn’t want to accept the inevitable.

With all of the fantastical characters he has played (often masked in make-up and costumes), we sometimes forget what terrific dramatic acting ability Johnny Depp possesses when he’s engaged. For those who only know him as Captain Jack Sparrow (the “Pirates of the Caribbean” movies), or as Grindewald (the “Fantastic Beasts” films), or as the Mad Hatter, Tonto, or Willy Wonka, you’ll be pleasantly surprised with his turn here (or in BLACK MASS, FINDING NEVERLAND, or BLOW).  Filmmaker Wayne Roberts offered up an excellent debut in 2017 with KATIE SAYS GOODBYE, and he follows that with this unusual look at mortality – including a “celebrate life” soliloquy.

watch the trailer:

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Posted by David Ferguson

ASK FOR JANE (2019)

May 16, 2019

 Greetings again from the darkness. Sometimes the message of a movie is so much more important than the production quality that we can look past the ‘how’ that would normally make watching a chore, and instead focus on the ‘what’ and the ‘why’ to find enlightenment. Writer-director Rachel Carey’s first feature film, co-written with Cait Cortelyou, tells the fascinating story of The Jane Collective … also known as ‘The Janes’ and ‘The Abortion 7’. It’s yet another true life story that finds us asking ourselves, “How have I never heard of this before?”

The film opens in 1972 when abortion was still illegal. The camera focuses on women in a jail cell … women that seem quite out of place behind bars. We then flashback 4 years to a dorm room in Chicago, and female students are discussing the predicament of one of their friends. This leads to the development and early stages of the Jane Collective, a secret organization to assist women in obtaining counseling and abortion. This was a time when not only was abortion illegal, but doctors would often speak directly to a husband about medical options for their wife, leaving the women with little information and no power to make their own decisions. The film touches on just how desperate women were. Rat poison, self-punches to the gut, razor blades, knitting needles, and even jumping off roofs were all used as ‘solutions’ to a situation for which they were only half responsible.

Now depending on your views, you may find abortion unacceptable. This underground abortion network assisted 11,000 women between 1968 and 1973, when Roe vs. Wade legalized the procedure. This landmark legal decision put an end to the Janes, as well as the back alley con artists and dangerous methods women previously used. Co-writer Cait Cortelyou stars as Rose, a character based on the real life Heather Booth, a hero to many. Supporting roles are covered by Cody Horn, Chloe Levine, Sarah Steele, Ben Rappaport, Sophie von Hasleberg, Alison Wright, Danny Flaherty, and Michael Rabe (son of the late Oscar winning actress Jill Clayburgh). Judith Arcana, a real life Jane, has a cameo and was a consulting producer on the film.

With a budget of only $250,000 raised (fittingly) through grass roots donations, the film is not a slick Hollywood production; however, these are women from recent history who deserve to be recognized and remembered for their courage and commitment. Women were forced to look out for each other, and these women certainly stepped up. With the recent legal attention being brought back to the topic of abortion, this story is quite timely, despite having taken place 50 years ago. How sad.

watch the trailer:

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Posted by David Ferguson

TOLKIEN (2019)

May 9, 2019

 Greetings again from the darkness. As fascinated as we are with great writers, the cinematic appeal of watching someone put pen to paper, clack away on a manual typewriter, or peck at their laptop keyboard is at best negligible, and more likely, non-existent. Still, award-winning Finnish director Dome Karukoski chose renowned writer J.R.R. Tolkien as the subject of his first English language film. Tolkien’s actual writing time on screen is mostly limited to a single shot at the film’s conclusion; however, the script from David Gleeson and Stephen Beresford attempts to connect the dots between his real world life to his Middle-earth characters and adventures from “The Hobbit” and “The Lord of the Rings”.

Harry Gilby portrays the young John Ronald Reuel Tolkien, and then Nicholas Hoult stars from college age forward. The film bounces between Tolkien’s childhood as an orphan, his elite private school education at King Edward’s School in Birmingham, matriculating at Oxford University, and soldiering in WWI. It’s during his stay at Ms. Faulkner’s (Pam Ferris) boarding house when he meets Edith Blatt, the love of his life. While attending prep school, he and three friends: Robert Gilson, Christopher Wiseman and (poet) Geoffrey Smith, form the TCBS (Tea Club and Borrovian Society), a club dedicated to changing the world through art. It’s at Oxford where Tolkien’s love of language kicks into a yet higher gear, though it’s during his time in The Somme – one of the deadliest battlefields of WWI, that we see his ‘trench fever’ contribute to many of the visuals later associated with his books.

Lily Collins portrays Edith at the age where Tolkien must choose between her and his Oxford education, but as often happens with true love, the two later reconnect and remain married for more than 50 years (until her death). This film doesn’t cover their later years, and instead focuses on the formative ones – both for his imagination and their relationship. We see his early childhood games (The Shire inspired from his time in Sarehole outside Birmingham) and the film often slaps us with an ‘obvious stick’ on how certain segments of life translate directly to his familiar stories in future years. In fact, there is no mention of C.S. Lewis and The Inklings – his friends who later supported his writing efforts. We do, however, get a sequence with Tolkien and Edith backstage at Wagner’s “The Ring Cycle” Opera … a dot that requires the simplest of connectors.

The film looks terrific – especially in the battle scenes which are staged dramatically and horrifically (much as we imagine the war was) by cinematographer Lasse Frank Johannesson. Unfortunately, that’s the highlight. This is mostly a generic biography of an extraordinary writer. Adding to the frustration is the fact that Nicholas Hoult recently portrayed reclusive writer J.D. Salinger in REBEL IN THE RYE … roles too similar for the same actor.

“The Hobbit” was published in 1937 and “The Lord of the Rings” trilogy in 1954-55, the latter being the best-selling fiction of all-time before being overtaken by JK Rowling’s ‘Harry Potter’ series. Tolkien’s key seems to have been his lifelong fascination with language. He even created his own – not just words, but complete languages. That would likely have made a better focus here. Seeing the foundation of “the fellowship” was somewhat interesting, although much of that segment came across like a poor man’s DEAD POET SOCIETY. Supposedly the Tolkien family has refused to endorse the film, likely placing the script “In a hole in the ground …”

watch the trailer:

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Posted by David Ferguson

THE WHITE CROW (2019)

May 9, 2019

 Greetings again from the darkness. Nijinsky. Nureyev. Bruhn. Baryshnikov. The legends of male ballet dancers starts with that list, and possibly include a handful of others. Ralph Fiennes directs a screenplay from David Hare that brings us the story of how one of these, Rudolph Nureyev, defected from Russia to the west in 1961.

Opening with Nureyev’s teacher Alexander Pushkin being interrogated (“Why did he defect?”) by a Russian official immediately after the defection, the film ping pongs between 3 time frames in an attempt to better explain Nureyev’s reasons … or at least the background that created such a headstrong and talented young man. We flashback to 1938 where his mother famously gave birth to him in the confines of a moving train (traveling and trains remained important to him). We then flash forward to 1961 when Nureyev arrives in Paris with the Kirov Ballet, and then back to 1955 as he’s first admitted at the Vaganova Academy of Russian Ballet (established 1738) – a prestigious dance school.

It’s actually this hopping from one time frame to another that is the film’s weakness. The script is ambitious but ultimately flawed, as it attempts to tackle too much rather than concentrating on what’s most important and interesting. We didn’t need so many childhood flashbacks to grasp that Nureyev was a different kind of kid who grew up in poverty in Siberia, raised with his sisters by a mother whose husband was away at war. Julie Kavanagh’s book “Rudolph Nureyev: The Life” inspired Mr. Hare’s screenplay, but the multiple timelines can be more fully explored in book form.

Ralph Fiennes plays the aforementioned Pushkin, a soft-spoken man who was a father figure to Nureyev, as well as a technical instructor. He also shared his philosophy of dance (and his wife – maybe he knew, maybe he didn’t) with his star pupil, and it’s easy to see how this elevated Nureyev’s ability. Combining that with his interest in classic art, a theme of turning ugliness into beauty was something Nureyev latched on to.

Oleg Ivenko stars as Rudolph Nureyev. Ivenko is a marvelous dancer and bears enough resemblance to the legend that we are quickly taken in. Ivenko is not a trained film actor, but as a dancer, he is accustomed to the spotlight and never wavers in his portrayal of a dancer he likely admired. He captures the emotional turmoil of a man enticed by the artistic and social freedoms of the west, while also remaining loyal to his homeland – loyal at least until he felt threatened (both physically and artistically). A tortured genius typically struggles with those in positions of authority and that’s on full display here.

This is the third directorial outing for 2-time Oscar nominee (for acting) Ralph Fiennes. His previous projects were THE INVISIBLE WOMAN in 2013 which no one saw, and CORIOLANUS in 2011 which almost no one saw. It’s likely his latest won’t draw a huge audience either, but Ivenko’s dancing is quite something to behold, and the climax at Le Bourget Airport in France is a suspenseful highlight. Nureyev was 23 at the time, and the defection decision is made almost spontaneously with a little help from his socialite friend Clara Saint (Adele Exarchapoulos, BLUE IS THE WARMEST COLOR) and French dancer Pierre Lacotte (Raphael Personnaz). Rudolph Nureyev died of complications from AIDS in 1993, but he truly was a “white crow” – something extraordinary, and one who stands out.

watch the trailer:

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Posted by David Ferguson

CHARLIE SAYS (2019)

May 9, 2019

 Greetings again from the darkness. Author Joan Didion wrote “the 1960’s ended abruptly on August 9, 1969”, and as we approach the 50th anniversary of that tragic night … actually two tragic nights (August 8 and 9) … there is no shortage of recollections and reenactments through both print and visual media. For anyone who was alive at the time or has read the story since, the grisly murders and cult commune lorded over by Charles Manson remains nearly beyond belief. Unfortunately, it’s all too real.

Director Mary Harron and screenwriter Guinevere Turner previously collaborated on AMERICAN PSYCHO (2000) and THE NOTORIOUS BETTIE PAGE (2015), and here, “inspired by” books from Karlene Faith (“The Long Prison Journey of Leslie Van Houten: Life Beyond the Cult”, 2001) and Ed Sanders (“The Family”, 1972, also one of the film’s producers), we get a glimpse of the Manson cult through the eyes of the women, especially Leslie Van Houten. And let’s be honest, that’s where the real mystery is. A domineering, arrogant, white supremacist is not nearly as interesting as the story of how these women became so enchanted by him that they were willing (even anxious) to murder innocent people on his behalf.

Hannah Murray (“Game of Thrones”) stars as Leslie Van Houten, nicknamed “LuLu” by Manson not long after they meet for the first time. We see Van Houten, Susan “Sadie” Atkins (Marianne Rendon) and Patricia “Katie” Krenwinkel (Sosie Bacon, daughter of Kevin Bacon and Kyra Sedgwick) in an isolated cell block of a California Women’s Prison five years after the murders. They are going through therapy sessions with Karlene Faith (Merritt Weaver, “Godless”) whose goal is to remind them of who they were before meeting Manson.

During the prison therapy sessions, we get flashbacks to the Spahn Ranch where Manson ruled over his followers which also included Mary Brunner (Suki Waterhouse), Squeaky Fromme (Kayli Carter), Linda Kasabian (India Ennenga), and of course, Tex Watson (Chace Crawford), who initially comes off as quite aloof, but eventually buys in totally – in a most violent manner. It’s these flashbacks that are meant to help us understand the brainwashing which stuck with these women through the crimes, through their trial, and through years of incarceration. We hear the “garbage dump” song. We hear about money and ego. We learn that ‘the new rules are no rules’. We see Manson’s dream of becoming a rock star shattered by music producer Terry Melcher (the son of Doris Day) after his introduction from Dennis Wilson (The Beach Boys drummer), who hung around the ranch sometimes. And we hear Manson’s rantings about the correlations between The Beatles’ White Album and the Bible, and about how a race war is coming (and it’s named Helter Skelter).

Matt Smith plays Charles Manson, and oddly enough, this comes on the heels of his playing artist Robert Mapplethorpe in MAPPLETHORPE (2018). Smith seems to have fun with the role, but it’s these segments that feel underwritten. We want more of an explanation of how this could happen. On the other hand, the therapy sessions in the prison actually provide more insight to the lasting effects of the man and the cult that brainwashed them right into committing cold-blooded murder and a life behind bars. The thankless job of a prison therapist becomes clear as Ms. Faith realizes that if she breaks the Manson spell, these women will be forced to live with the unimaginable atrocities they committed. For a different perspective, track down the 1976 TV movie HELTER SKELTER that was based on prosecutor Vincent Bugliosi’s book. It starred Steve Railsback as a terrifying Charles Manson.

watch the trailer:

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Posted by David Ferguson

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