JOURNEY’S END (2018)

March 15, 2018

 Greetings again from the darkness. R.C. Sheriff wrote this 1928 play based on his experience as a British Army officer in WWI. The play’s successful two year run led to a 1930 big screen adaptation directed by James Whale and starring Colin Clive – two legends of cinema who also collaborated on FRANKENSTEIN and BRIDE OF FRANKENSTEIN. Now, exactly 100 years after “the Spring Offensive”, director Saul Dibb (THE DUCHESS, 2008) delivers screenwriter Simon Reade’s version of Sheriff’s story and a tribute to those who served in the Great War.

It’s the Spring of 1918 and a stalemate in the trenches of Northern France has occurred during the fourth year of the war. Fresh from training, a baby-faced Lieutenant named Raleigh (Asa Butterfield, HUGO) is assigned to a front line unit whose commanding officer is his former school mate, Captain Stanhope (Sam Claffin, THE HUNGER GAMES: MOCKINGJAY). The others in the unit include Trotter (Stephen Graham), who eats and talks incessantly to mask his anxiety; Hibbert (Tom Sturridge), who suffers from shell-shock; Mason (Toby Jones), the cook who brings subtle comedy relief: and Osborne (Paul Bettany), the heart and soul of the team.

Slowly cracking under the untenable pressure is Captain Stanhope. His coping method involves a problem with whiskey which drives his raging temper. That temper masks a not-so-obvious commitment to his men … men who walk on eggshells around him. Most of the movie takes place in the dugout over 6 days, and though the soldiers spend much time in a holding pattern, the battle sequences involve an ill-planned surprise attack on a nearby German hold, and of course, the famous battle that kicks off the Spring Offensive – a 3 month run that cost the lives of more than 700,000 from both sides.

With military orders such as “hold them off for as long as you can”, this is no romanticizing of war. Bravery and courage in the face of likely death are balanced with overwhelming human emotions. Confusion and disorientation abound as bombs explode in an environment that offers no place to hide or escape. The war ended later that year on November 11, and trench warfare would never again be the predominant strategy.

watch the trailer:

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Posted by David Ferguson

GRINGO (2018)

March 8, 2018

 Greetings again from the darkness. In a perfect cinematic world, great acting elevates a terrific script. However, the best case scenario for a weak script, or in this case a messy one, is that it can be offset by acting. Fortunately for director Nash Edgerton (it’s been 10 years since his underappreciated THE SQUARE), he has assembled such a quality cast that what amounts to little more than organized chaos is mostly watchable – even if it’s not consistently entertaining.

The cast is loaded with international talent from Australia, England, South Africa and Latin America. David Oyelowo, far removed from his Martin Luther King role in SELMA, stars as Harold/Harry, a Nigerian immigrant just trying to do his job and live his life according the morals and work ethic instilled by his father. Harold is the trusting type who believes that his free-spending wife is faithful and that his boss is his friend. That boss is Richard Rusk (we should call him Dick) played by Joel Edgerton (the director’s brother), and together with Charlize Theron as his Executive VP Elaine, combine to exemplify modern day douche-baggery.

The story revolves around the formula for a medicinal marijuana pill that their company is making, and the secretive proposed merger being ironed out. To clean up the books for the audit, Richard and Elaine travel to Mexico to convince their supplier to stop the illicit sales to a local drug lord. They bring the unaware Harold along for his contacts. The turmoil that follows includes a faked kidnapping and staged ransom phone call, two local hotelier brothers scheming for a big take, an American tourist couple with conflicting reasons for their trip, DEA involvement, a grown-up tantrum, an un-retired mercenary on a mission, and an ongoing argument over the best Beatles’ album. And you wonder why I described it as messy?

Of course, rarely if ever does staging one’s own kidnapping go well, so we know Oyelowo’s Harold is in for a rough and tumble ride. Multiple car chases turn into multiple car crashes, guns are fired, tequila is consumed, and backs are stabbed – in the proverbial sense. Oyelowo seems to be enjoying his trip outside of movie drama, and Edgerton and Theron do their best to create savage jerks. Sadly, Ms. Theron’s character sets the women’s movement back a few years with her sexual boardroom viper approach. On top of that are the stream of fat and ethnic jokes that would make Archie Bunker cringe.

Co-writers Matthew Stone (muck like BIG TROUBLE, MAN OF THE HOUSE) and Anthony Tambakis (the compelling WARRIOR) are responsible for delivering a script that tries so hard to be too many things: action, comedy, satire, white collar crime, and an expose of greed and lack of integrity. The deep cast also includes Thandie Newton (as Harold’s wife), Melonie Diaz (as Rusk’s receptionist), Amanda Seyfried as the aptly named Sunny and Harry Treadaway as her misguided boyfriend, Diego Catano and Rodrigo Corea as the brothers running the motel, Yul Vasquez as Angel, Alan Ruck as the schmuck who falls for Elaine’s wiles, Carlos Corona as the drug lord Black Panther (talk about bad timing!), Michael’s daughter Paris Jackson in her film debut, and a standout as always, Sharlto Copley as the brother-mercenary-humanitarian. As is often said, it’s better to be good at one thing, and though this one brings a few laughs and some creative moments, it’s mostly an overblown mess that aims to high – or at too many targets.

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Posted by David Ferguson

THOROUGHBREDS (2018)

March 8, 2018

 Greetings again from the darkness. Each year provides us with (at least) a few hidden gems sprinkled amongst the superheroes and newfangled special effects displays, and although this feature film debut from filmmaker Cory Finley is only now hitting theatres, it seems safe to say it likely won’t draw the size audience it deserves. If you enjoy dark, twisted, and devilishly clever films, you owe it to yourself to track down this one.

Olivia Cooke (ME AND EARLY AND THE DYING GIRL) stars as Amanda, someone who walks a miniscule line between neurotic and psychopath. The startling and quite ominous opening features Amanda, a horse, and a large knife. Next, and some time later, we see Amanda re-connecting with her childhood friend and boarding school brainiac Lily (Anya Taylor-Joy, SPLIT and THE WITCH) in what appears to be a tutoring session being held in the palatial estate where Lily lives with her mother and “evil” stepdad Mark (Paul Sparks).

What follows is the mind-bending, winding-road of us attempting to fit either or both of these characters into some “normal” category of human behavior. Instead, what lies beneath is slowly unsheathed. As Amanda and Lily interact, we especially come to realize that Amanda is drawing out what’s behind the proper front that Lily wears on a daily basis. A plot to murder the stepdad is developed, and caught in the wicked web is Anton Yelchin as Tim, a dreamer and schemer who quickly realizes the trouble these two bring. This was one of the last roles Yelchin filmed before his tragic death. His brief time on screen here reminds us of his immense talent.

An atmosphere of dread and pending doom hovers over most every scene, yet somehow it’s simultaneously funny and disturbing. We find ourselves asking if it’s OK to laugh at some of the exchanges. As Amanda explains she’s “not a bad person”, the line makes us chuckle, while also making us realize she actually believes it and we shouldn’t! As she teaches her tutor Lily “the technique”, we become convinced the line has been crossed into psychopathy.

Suburban Connecticut and its corresponding privileged life has rarely generated more queasy feelings, and with our hope for humanity in the balance, we watch Amanda and Lily bounce from plotting to problem solving and from conspiring to collaborating. The absence of empathy goes beyond disconcerting and into a feeling of resolved fear. The lack of emotions and empathy can be more frightening than vampires or fictional monsters.

Cinematographer Lyle Vincent does nice work displaying this world, and he will always deserve a mention after his sterling work on 2014’s A GIRL WALKS HOME ALONE AT NIGHT. The dark, twisted work is well accompanied by the abrupt and jarring music, and filmmaker Finley deserves recognition for crafting this creepy corner of a universe none of us want to join. His film is in the vein of something Yorgos Lanthimos (THE LOBSTER) might deliver, and that’s quite high praise for oddity … in fact, Odin Impetus Lowe even gets a screen credit, and he’s the opening scene horse!

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Posted by David Ferguson

LOS ANGELES OVERNIGHT (2018)

March 8, 2018

 Greetings again from the darkness. Low budget independents must be analyzed differently than a tentpole or a status-pic with money behind it. That’s only fair, and in fact, quite necessary for cinematic sanity. This first feature film from director Michael Chrisoulakis is one that we might catch at a film festival, and at first glance, it appears he has done everything right. The film has a blend of familiar faces and newcomers. Much effort has gone into the stylish look of the film, and there is even unconventional music accompanying the oddball characters.

Sometimes taking all the right steps still doesn’t mean the finished product will click with audiences, and that appears to be the case here. Priscilla (Arielle Brachfeld) is being treated by her hypnotherapist played by legendary director Peter Bogdanovich in a terrific opening that grabs our attention immediately. Priscilla is a struggling/aspiring actress who is also a Marilyn Monroe waitress at a crummy little diner.

Benny (Azim Rizk) is one of the diners few customers, and his motivation is less about food and more about Priscilla. One day she overhears a couple of small time crooks (led by Lin Shaye) chatting in riddles – “Apple Jacks down the rabbit hole”. Financially strapped Priscilla proceeds to draw lovestruck mechanic Benny into a situation that will likely end badly.

Writer Guy J Jackson (who also plays one of the criminals) seems to try and shove all of his ideas into the script, so what’s lacking is a cohesive story or any chance for viewers to connect to Priscilla – or certainly any other character.  We can’t even take the “big” crime boss seriously since his goal is to build some type of sanctuary that will benefit humanity. Benny does have the best line in the film when he admits, “I dance like a mechanic”. Other comedic bits mostly fall flat (although a tip of the cap for the mortgage broker joke), as do most of the attempts at building suspense, due in part to an excess of groan-inducing dialogue.

The film is a noir-wannabe with some effort given towards the atmosphere and tone, but the overwrought electronic score is too generic, and the arbitrary slow-motion effects simply remind us of the lack of budget (better to take advantage of imagination). One of the worst cinematic on-foot chase scenes takes up a chunk of the film, but on the bright side, we do get the rarely seen Sally Kirkland, and it is fun to pick out the director’s influences based on how a scene plays out. The jury is still out on Ms. Brachfeld. She might be worth keeping an eye on, as she has a Miranda July quality about her, though without the comedic instincts. First films are challenging, and there might be enough here to push Mr. Chrisoulakis on to better projects.

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Posted by David Ferguson

LOVELESS (2018)

March 1, 2018

 Greetings again from the darkness. Divorce is rarely simple or clean or amicable. By definition it changes people’s lives and is typically cluttered by a wide range of emotions that distort one’s thoughts. When kids are involved, the process is even more delicate, even treacherous. Russian filmmaker Andrey Zyyaginstev and his co-writer Oleg Negin follow up their exceptional Oscar nominated LEVIATHAN (2014) with this very intimate project focusing on the tragic impact of resentment and self-centeredness. They have been rewarded with another Best Foreign Language Film Oscar nomination, and deservedly so.

The film begins with stark, almost harsh music as a young boy walks home in the woods after a day of school. Later that evening, his parents are involved in an extremely vicious and demeaning argument. The camera then glimpses the boy from the woods, their son Alyosha (Matvey Novikov), behind a door. He has overheard the entire argument and is devastated, quietly sobbing and unable to deal with words no child should hear. As viewers, we too are overwhelmed.

Zhenya (Maryana Spivak) and Boris (Aleksey Rozin) are the boy’s parents, and to say they dislike each other is an understatement. She is a salon owner and he is a generic “salesman” at a Christian company that doesn’t allow divorced employees. She is focused on her phone and new lover, while he is worried about losing his job while his girlfriend (Marina Vasileva) is pregnant. They are fighting over who should raise their son. Neither want him.

With each of these despicable people going about their business, neither notice that the boy doesn’t come home one night. A teacher calls to say he has missed two days of school. It’s at this point where the tone shifts from poor parenting to lackluster police work. In what could be described as the polar opposite of an ‘Amber Alert’, the Russian police rule it a runaway, and in ho-hum manner suggest that the parents give him a few days to return home. This lackadaisical approach lead Zhenya and Boris to turn to an organization that specializes in locating lost kids.

The coordinated search creates a quiet tension that is quite effective. Cinematographer Mikhail Krichman’s camera work is extraordinary as it tracks the searches through the forest and an abandoned building that could be a character unto itself. The parents head to the home of Zhenya’s estranged mother. What follows is one of the most explosive movie scenes of recent years. Natalya Potapoya plays the mother and delivers a memorable no-holds-barred diatribe at her daughter Zhenya, who refuses to fight back. We easily understand how a disconnect between parents and kids can gain traction across generations.

The brilliance of the movie is in how we somehow maintain empathy for all of these less-than-ideal people. When Zhenya calmly pronounces that her mother is “God and the Devil rolled into one”, we understand her point while at the same time hope it stimulates self-analysis.

Although we do get a rare Jill Stein reference, it’s quite easy to spot the differences between story-telling in Russia and the United States. It wouldn’t be surprising to see a Hollywood remake, but it would likely tread a bit lighter on the dwelling of past mistakes without losing one’s humanity, and it would surely come up with a more Americanized ending. The detail in Zyyaginstev’s filmmaking is exceptional, and while it may not be entertainment for the masses, the film is a prime example of cinema as emotionally powerful art.

watch the trailer:

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Posted by David Ferguson

A FANTASTIC WOMAN (Una Majur Fantastica, 2017)

February 24, 2018

 Greetings again from the darkness. A few years ago, Chilean filmmaker Sebastian Lelio and his co-writer Gonzalo Maza delivered a terrific little indie entitled GLORIA (starring Paulina Garcia). It told the story of a single woman in her late 50’s navigating a society not designed to provide happiness for her. This time out Mr. Lelio and Mr. Maza collaborate on the story of another interesting woman, in what could easily be described as a companion piece to their previous film.

Trans actress Daniela Vega stars as Marina, a waitress who moonlights as a singer. The film begins quietly with Orlando (Francisco Reyes), a distinguished gentleman enjoying an afternoon spa treatment, before heading over to catch Marina’s singing act. See, Orlando and the much younger Marina are a couple. Their connection is obvious as they spend an evening dining, dancing, and heading to bed. Tragically, Orlando suffers an aneurysm and Marina rushes him to the hospital. When he dies, she is subjected to questioning, accusations, and a true lack of respect by most everyone – doctors, nurses, police, and Orlando’s family.

Marina is questioned by a sex crimes detective (Amparo Noguera) about her relationship with Orlando and whether she was paid or abused. The implication being that she was likely a prostitute. Orlando’s brother Gabo (Luis Gnecco), son Bruno (Nicolas Saavedra) and even ex-wife Sonia (Aline Kuppenheim) have reactions that range from passive-aggressive to threatening towards Marina and forbid her from attending the wake and funeral, and won’t even let her take the pet dog.

Cinematographer Benjamin Echazzarreta uses effectively uses light and color, and quite often has Marina front and center – either head-on or from behind. Marina’s visions and dream-like sequences allow us to understand how the stress of the situation is affecting her, and just how much she misses Orlando. She displays much inner-strength and dignity in the face of hatred and disgust … even while being treated as a criminal and/or victim – really anything except the partner she was.

The film has been nominated for the Best Foreign Language Oscar, and it’s easy to see why. Beautifully photographed with a knockout lead performance from Daniela Vega, the story emphasizes how we so often strive for “normal” that we lose our empathy and humanity in how we treat others. Music is put to good use – even the quite obvious use of Aretha Franklin singing “(You Make Me Feel Like) A Natural Woman”, and there is even a clever use of a McGuffin (a locker key). This well-made film with a powerful message is a reminder to ‘keep on keeping on’.

watch the trailer:

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Posted by David Ferguson

THE YOUNG KARL MARX (2018)

February 24, 2018

 Greetings again from the darkness. When the name Karl Marx comes up, most of us recall that iconic photo of the older gentleman with the large grey beard. As with all older gents, they were once young men, and that’s the focus of this film from writer/director Raoul Peck and co-writer Pascal Bonitzer.

The story kicks off in 1843 when young Marx was the editor of “Rheinische Zeitung” and carries us through the 1848 publication of “The Communist Manifesto”. We progress chronologically through Paris, Brussels and London and witness how Marx’s personal life and ideological mission intertwined, leading ultimately to the birth of Communism.

August Diehl (INGLOURIOUS BASTERDS) plays Karl Marx and Stefan Konarske plays Friedrich Engels. Their mutual admiration brought them together and their commitment, along with the support of their wives Jenny Marx (Vicky Krieps, PHANTOM THREAD) and Mary Burns (Hannah Steele), carried them through and cemented their legacies.

With the endless string of debates and discussion, and the constant struggle with poverty for Marx and his family, the film at times seems repetitive and tedious. It does, however, succeed in making comprehensible the timeline and constant struggle to continue the fight. The process of societal-changing writing is not simple, and we see the different approaches taken by Marx and the upper-crust rebel Engels. The obvious battle between Bourgeoisie and Proletariat remains at the forefront, but we also witness the painstaking networking and research that goes into the work. The two gentlemen share a drink over this toast: “to minds that truly think”.

Today, many in their 20’s, are focused on which direction to swipe, yet at the same age, Marx and Engels were committed to changing the world. The ideals and issues that so dominated their writings (and led to revolution) are every bit as relevant today. We no longer use the terms Bourgeoisie or Proletariat, but class distinction continues to be debated as a source of many global issues – both social and economic. Director Peck (Oscar nominated for last year’s I AM NOT YOUR NEGRO) uses Bob Dylan’s “Like a Rolling Stone” over the closing credits montage of revolutions and historic turning points to ensure we understand that rebellions and convictions do still exist.

watch the trailer:

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Posted by David Ferguson

THE 15:17 TO PARIS (2018)

February 8, 2018

 Greetings again from the darkness. Allowing three regular guys to play themselves in the cinematic re-telling of their courageous and heroic actions is a fitting tribute to the men, and it’s an approach that we must be willing to cut some slack. On August 21, 2015, a terrorist aboard the Thalys train bound for Paris was thwarted in his attempt to carry out his mission of evil. Spencer Stone, Alek Skarlatos, and Anthony Sadler ultimately subdued the terrorist (who won’t be named here), likely saving many lives.

The real world heroics fall right in line with director Clint Eastwood’s two most recent films, SULLY and AMERICAN SNIPER. Unfortunately, while we admire his decision to allow these heroes to re-enact their life-saving bravery, we can’t let slide the downright boring first two-thirds of the film taking us through the origin story of their childhood (Sacramento 2005) to the backpacking trip that put them on that train. Some of the scenes are inexplicable. For instance, Judy Greer and Jenna Fischer play the mothers of Spencer and Alek respectively, and their confrontation with the boys’ elementary school teacher is a candidate for the worst and most embarrassing scene of the year.

Based on the book “The 15:17 to Paris: The True Story of a Terrorist, a Train, and Three American Heroes” (written by the three men and journalist Jeffrey E Stern), the script is adapted by Dorothy Blyskal, and when combined with some of the director’s choices, generates some unintended audience laughter … rarely a good thing. Watching three regular guys – three lifelong buddies – retrace their steps through Germany, Rome, Venice, and Amsterdam is almost tolerable because these are really nice guys. However, we can’t get over the feeling that we are watching home movies of our friends’ trip – a trip we weren’t even on. Jokes about selfie sticks and hangovers don’t make it any easier.

When the film finally gets to the moment of truth on the train, we end up where we should have started … admiring the heroics of three regular guys: Spencer Stone, Alek Skarlatos, and Anthony Sadler. We witness then French President Francois Hollande awarding them with the Legion of Honour. Themes of God, military and friendship are commonplace in Eastwood films, and eagle-eyed viewers will catch a glimpse of Alek wearing a “man with no name” t-shirt (in honor of the director). Bottom line, it plays like a film about nothing – until the end when it’s really about something special.

watch the trailer:

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Posted by David Ferguson

BOMB CITY (2017)

February 8, 2018

 Greetings again from the darkness. This feature film debut from Texas filmmaker Jameson Brooks (co-written with Sheldon Chick) was an Audience Award winner at last year’s Dallas International Film Festival. It’s based on the incredulous true story of a tragic crime and the subsequent trial that occurred in Amarillo in the late 1990’s. It’s also an introduction to a talented and exciting filmmaker with a message that is as every bit as important now for every community as it was 20 years ago in the Texas panhandle.

The courtroom scenes serve as the story structure while flashbacks are blended with the defense attorney (Glenn Morshower) commenting/mocking the evidence as it’s shown to the jury. This style keeps those unfamiliar with the story uncertain as to the actual victim and the circumstances of the crime – at least until the final act when we see a re-enactment of the crime and the final day of trial. However, even if one is familiar with the specifics of the case, it is presented in such an exceptional manner that it will surely be just as impactful.

Keeping in mind that this is west Texas (remember “Friday Night Lights”) and football reigns supreme, so the ongoing battle between the Punks and the Preps sets the stage for ultimate cultural battle … especially in an area that is home to a nuclear bomb assembly plant. Volatility abounds. There is a terrific sequence with parallel cuts between the mosh pit of a local punk rock concert and the on-field violence of a local high school football game. There are more similarities than differences, well, until the kids from the two sides cross paths in the real world. Class differences are obvious, and so is the usual teen angst and rebellious nature.

Distinct differences in how the authorities handle each group’s form of release are on full display. The punks are caught tagging, while the pasture party of the jocks gains frenzy. One of these ends with handcuffs, and the other with polite dismissal. The core of the story is the ongoing comparison between Brian (in a wonderful performance from Dave Davies), sporting a colorful Mohawk as he skateboards through town, and Cody (an effective Luke Shelton), a buttoned-up football player always striving to prove his mettle as he cruises around town in Daddy’s Cadillac. A sense of doom-filled destiny accompanies their scenes, and of course, we know it won’t end well.

Many will find the film reminiscent of Frances Ford Coppola’s 1983 film THE OUTSIDERS, which featured the Greasers versus the Socs. The biting realism and grit of Mr. Brooks’ film helps us better understand the similarities between the two groups who look so different. And that’s the real message here: judging others by looks will never lead to understanding and peaceful coexistence. The cinematography of Jake Wilgonwski is a huge part of the emotional reaction we have to this story, and the notes provided at the end of the film leave us wondering if, 20 plus years later, we are any more advanced as a society than what occurred in that Amarillo parking lot.

watch the trailer:

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Posted by David Ferguson

THE INSULT (2017, Lebanon)

February 1, 2018

 Greetings again from the darkness. When a film opens with a statement that ‘the views expressed are those of the authors and director, and not of the government of Lebanon’, one quickly understands the difference in artistic freedom in that country versus what occurs in the United States, where cartoons and memes regularly poke fun at this country’s President. Director Ziad Doueri and his co-writer Joelle Touma present an intense story of human nature that might happen anywhere, but since the leads are a Lebanese Christian and a Palestine refugee, that opening statement is warranted.

One morning, a seemingly innocuous exchange between Tony (Adel Karam) and Yasser (Kamel El-Basha) takes place. While watering flowers on his balcony, the overflow sprays Yasser on the street below. Yasser, a city contractor, orders his team to fix the drainage issue, and Tony reacts violently – leading to Yasser delivering the titular insult. From there, all heck breaks loose. Apologies are requested and never delivered. Appeals to rational reconsideration are made. Tony’s pregnant wife (an excellent Rita Hayek) pleads with him to let it go. Yasser’s boss threatens him with termination. Still, two stubborn and prideful men refuse to give in.

The subsequent courtroom drama feature other side stories, not the least of which is the relationship between the two opposing attorneys (Diamond Bou Abboud and Camile Salaheh), one a rising legal star and the other a veteran attempting to make up for a past failure. Emotions run high as two too-proud men turn what was little more than a playground standoff into a national incident being fought in the legal system and the media. Tony is a hot-head who somehow thinks an apology from Yasser is actually an apology for how Palestinians “messed up this country”. Yasser’s stoic nature barely shrouds his bitterness at the world since the Lebanon Civil War. History and childhood roots play a role, but mostly it’s human nature that is at the core of this escalation.

Though the title is not plural, there are multiple insults slung throughout the film, each reminding us of the power of words and the futility of the “sticks and stones” phrase. Our own prejudices and preconceptions alter our views and reactions, often preventing us from standing in the other fellow’s shoes. Again, this situation could have played out in most any neighborhood on the globe, but this particular locale shows various ethnic and religious groups are still grappling with what it means to live together – despite the years of wars and unrest. We don’t see a great deal of Middle Eastern cinema, but three days after I watched this film, it became the first ever movie from Lebanon to receive an Oscar nomination (Best Foreign Language Film) … proving yet again that the language of cinema is universal.

watch the trailer:

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Posted by David Ferguson

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