DANIELA FOREVER (2025)

July 10, 2025

Greetings again from the darkness. Grief is one of the most powerful emotions we humans can experience. The range of effects varies from lethargy to sadness to full-on depression. We’ve all experienced that feeling of wishing for one more shared moment or the opportunity to say goodbye. Writer-director Nacho Vigalondo (TRUE CRIMES, 2007, COLOSSAL, 2008) is working with an intriguing premise and a strong cast, yet for some reason, this one doesn’t pack the punch it seems like it should.

Fittingly, the story opens with a memory. It’s one most lovers have recounted – their first meeting or encounter. The two versions rarely match in real life and they don’t for Nicolas (Henry Golding, CRAZY RICH ASIANS, 2018) and Daniela (Beatrice Granno, “The White Lotus”). Only this one offers a twist, as Nicolas’ memory transitions into a nightmare – the reality awakens him with the memory of Daniela tragically dying in an accident. The current reality for Nicolas is overwhelming grief, a kitchen full of dirty dishes, an apartment with uncharacteristic messiness, very few gigs for his work as a DJ, and minimal contact with his local friends in Madrid.

When his friend Victoria (Nathalie Poza) offers him a possible path out of emotional darkness, Nicolas jumps at the chance, despite the risks involved with the experimental drug that promises to offer some control over lucid dreams. Rather than follow protocol, Nicolas goes rogue and spends his dream time reliving his time with Daniela. Director Vigalondo and cinematographer Jon D Dominguez use a confining aspect ratio and grainy look for Nicolas’ reality, while a larger aspect and sharper, more vivid images show his dream state. The frustrations for us viewers occur in dream state as Nicolas comes across as self-centered and manipulative, while we can’t quite figure out if the dream version of Daniela has her own thoughts or simply fills the image conjured by her man.

Watching the film leaves us believing a deeper, more insightful movie is buried in there somewhere. In fact, we know that memories and dreams have been used effectively in films such as INCEPTION, ETERNAL SUNSHINE OF THE SPOTLESS MIND, and GREATEST HITS … and it certainly fits right in with the tone and style of many “Black Mirror” episodes. Romantic Science Fiction movies are rare, and though there is true love at the core of this one, we are left wishing Nicolas was a bit less harsh, only for the ending to wrap up just a bit too neatly.

opens in select theaters on July 11, 2025 and on digital on July 22

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Posted by David Ferguson

JURASSIC WORLD: REBIRTH (2025)

July 1, 2025

Greetings again from the darkness. It’s been 32 years since John Hammond “spared no expense” on ice cream and Chaos Theory Doctor Malcolm pleaded that the colorful jeep “must go faster”. That 1993 film by Steven Spielberg awed us and changed the course of cinema. Now director Gareth Edwards (ROGUE ONE: A STAR WARS STORY, 2016; GODZILLA, 2014) brings us the seventh film in the ‘Jurassic’ franchise. Having adapted Michael Crichton’s books for the first two in the series, renowned screenwriter David Koepp (who has also contributed to Mission: Impossible, Indiana Jones, and Spider-Man franchises, among others) returns for “Rebirth”.

Opening with a flashback to fifteen years prior, we see the InGen lab where experimental cross-breeding has resulted in dino-mutations, and we are only about four minutes in when we get the first dino snack (an unfortunate lab worker). Returning to modern day times (five years after the end of JURASSIC WORLD: DOMINION), we find a citizenry somehow bored with the dinosaurs that have been released into the wild – most of which have died or are dying due to environmental issues caused by us despicable humans. The exception is a remote island near the equator where the climate most resembles prehistoric times, and the beasts are free to roam … as it’s now a “No people allowed” sanctuary. It’s also a former InGen lab site.

This all sets the stage for greedy Big Pharma executive, Martin Krebs (Rupert Friend) to plan an excursion with the goal of collecting DNA from the three largest dino species from land, sea, and air. Oh, and minor detail – the DNA has to be collected from live specimens. The DNA can supposedly be used for major medical breakthroughs. Krebs hires Zora Bennett (Scarlett Johansson), a mercenary for “situational security and reaction”, and Dr Henry Loomis (Jonathan Bailey, WICKED, 2024) a paleontologist trained by the infamous Dr Grant. Zora assembles the rest of the team, including friend and boat captain Duncan Kincaid (Oscar winner Mahershala Ali), and the rest of his crew.

Separately, a family sailing the same waters is introduced. Reuben (Manuel Garcia-Rulfo) and his two daughters, college-aged Teresa (Luna Blaise) and clever 11-year-old Isabella (Audrina Miranda), along with Teresa’s lazy and spacey boyfriend Xavier (David Iacono). This secondary group provides us with ‘normal’ folks to fear for as their boat is dino-attacked, leaving them stranded in the sea, awaiting recovery by the pharma boat. This creates a strange mixture of folks and, most importantly, allows for the mandatory kid-in-peril. Another dino-attack on the boat separates the family from the team and begins the process of scratching characters from the story.

The adventures are quite different for the two groups, and the island scenery is consistently awe-inspiring. But we are all here for dinosaurs, and on that front, the film never disappoints. Very few gaps occur between sightings or attacks, and the dinosaurs dazzle. A slumbering by the river T-Rex provides one of the best chase/attack scenes from any of the Jurassic movies (with a tip of the raft to the Crichton novel). Of course, we know who the villain will be, and we know how things go for villains in these movies. The story includes an altruistic approach from Loomis, who flashes some survival instincts despite a career spent in an air-conditioned museum, rather than a dino-filled jungle.

We are left to ponder what the titular “Rebirth” refers to. The film doesn’t offer anything new, outside of the mutants … including the much-anticipated D-Rex (sporting the head of a Beluga whale?). Your individual level of critique will determine whether you buy Scarlett Johansson as the ultimate tough warrior, although John Mathieson’s stunning cinematography and composer Alexandre Desplat’s score (generously sprinkled with John Williams’ iconic JP score) are complementary to an overall entertaining and crowd-pleasing big-budget summer blockbuster, with many nods to the previous films in the franchise. Race cars and dinosaurs in the same summer … spared no expense.

Opens in theaters on July 2, 2025

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Posted by David Ferguson

FROZEN: THE HIT BROADWAY MUSICAL (2025)

June 20, 2025

Greetings again from the darkness. The first FROZEN movie was released in 2013 and the sequel, FROZEN II in 2019. FROZEN III is scheduled for release in 2027, but since the story (adapted from an original Hans Christian Anderson story) remains so popular, fans get a film version of the stage musical to tide them over … and ensure no generation (or even part of one) misses out. Brett Sullivan directs the filming of Michael Grandage’s stage presentation, and I’m still trying to figure out if young kids will embrace this version.

The talented cast is from London’s West End stage production (a three-year run) and includes Samantha Barks (LES MISERABLES, 2012) as Elsa and Laura Dawkes as Anna. We open with young sisters, Elsa and Anna, singing together on “Do You Want to Build a Snowman?”. It’s the first mention of Olaf, but of course, results in Elsa’s frigid magic accidentally injuring Anna. The parents, Royalty in Arendelle, freak out and react by separating the sisters … until circumstances are such that the two girls come together again.

While there is no need to re-hash the storyline here, there are a few key points emphasized in the stage production. One of the first things we notice is that both Ms. Barks (Elsa) and Ms. Dawkes (Anna) have wonderful singing voices, although it’s Anna who gets the most one-liners and laughs, and periodically steals the spotlight. Anna’s ‘meet-cute’ with Hans (Oliver Ormson) is handled well, and the effects are spectacular when Elsa ices over the kingdom during her coronation while having a confrontation with Anna. Kristoff (Jammy Kasongo) and Sven are a welcome addition, yet it’s snowman Olaf (Craig Gallivan) who draws in the audience with his love of warm hugs.

The showstopper, “Let it Go”, serves up a stunning moment with both the stage effects and the magical costume change for Elsa. The familiar and catchy tune delivers pure entertainment for all ages. What is not so certain is how the younger fans of the movies will react to a dozen new songs written specifically for the stage presentation. The “Hygge” song is the most elaborate, yet the others seem to mostly blend in … in a good way for seasoned musical lovers (but maybe not so much for young fans). At a minimum, this could very well be a nice transition to live theater for kids, while being extremely entertaining for us old-timers.

Debuts on Disney+ beginning June 20, 2025

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Posted by David Ferguson

THE PHOENICIAN SCHEME (2025)

June 11, 2025

Greetings again from the darkness. At this point it seems clear that Wes Anderson makes movies for himself and his devoted followers … and his loyal troupe of actors. I can’t think of another filmmaker whose movies are so instantly recognizable and consistently similar in look and feel. The pacing, verbal style, color palette, and overall rhythm of his latest compares favorably to some of his previous, including: ASTEROID CITY (2023), THE FRENCH DISPATCH (2021), THE GRAND BUDAPEST HOTEL (2014), and MOONRISE KINGDOM (2012). Rather than a criticism, that’s intended instead as a notice to viewers. If, like me, you’ve enjoyed his past films, you’ll likely take pleasure in this one.

Benecio Del Toro (one of the great faces in cinema) takes the lead here as wealthy businessman Zsa-zsa Korda, who inexplicably defies death about as often as most people brush their teeth. Due to his frequent near-death experiences and the risk involved in pursuit of his latest project, Korda names his daughter, Liesl (Mia Threapleton, daughter of Kate Winslet), a nun-in-training, as his sole heir and invites her to be part of the latest venture. The enterprise is exceedingly well-planned as evidenced by the labeled wardrobe boxes. Of course, the project is too convoluted for us to understand, but that matters little. It’s the globe-trotting and interactions with famous faces that raise the entertainment value.

‘Deadpan’ is today’s magic word – as it is in most Wes Anderson films. And if there is a secondary word of the day it would be ‘goofy’, because this undoubtedly falls on the light-hearted end on the Anderson scale. It’s filled with jokes, site gags, and purposefully oddball moments designed to elicit laughter (or at least enjoyment). The third of the lead triumvirate here is Michael Cera, who seems completely at ease – actually excelling in the Anderson world. He plays Bjorn, a character more complex than we are initially led to believe … although we don’t believe it, even initially.

Joining in the fun is an all-star line-up of actors other filmmakers only dream of casting. These include: Willem Dafoe, Scarlett Johansson, Rupert Friend, Richard Ayoade, Jeffrey Wright, Hope Davis, Benedict Cumberbatch, and Mathieu Amalric, each memorable in their segments. You won’t want to miss Tom Hanks and Bryan Cranston as brothers taking on the infinitely unskilled duo of Del Toro and Riz Ahmed (as a crowned Prince) in a game of basketball … and even that pales to the scene with Bill Murray as God.

Anderson co-wrote the script with frequent collaborator Roman Coppola and the score comes from 2-time Oscar winner Alexandre Desplat. Cinematographer Bruno Delbonnel perfectly captures the Anderson flavor in what I believe is their first time working together. What I find fascinating is that while watching the film, the characters and story struck me as a bit of a lark, yet some moments have come back around in my mind, and it seems quite clear that Anderson purposefully and slyly buried some life messages in this little comedy. What I’m saying is that the film works as a comedy, but also may carry a bit more heft that what I thought while watching. That falls under the definition of refined filmmaking.

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Posted by David Ferguson

PLAYING GOD (2025, short film)

May 15, 2025

Greetings again from the darkness. As one who watches twenty-plus movies every month, it’s a bit of thrill when one offers something out of the ordinary – a unique viewing experience. Such is the case with this short film from writer-director Matteo Burani and co-writer Gianmarco Valentino. Of course, we’ve all seen stop-motion animation and claymation films … just last year, WALLACE AND GROMIT: VENGEANCE SO FOWL was outstanding. But Burani’s film from Studio Croma is something altogether different (and likely influenced by the great David Cronenberg).

We open in a dimly lit space showcasing some bizarre looking creatures – each apparently deformed, yet somehow similar. A human figure enters the room and begins working a hunk of red clay into a form. Soon, we discover that he’s attempting to create life. According to the project book he’s maintaining, this is attempt number 875. A moment of possible connection gives a flash of hope that this turn could be a success.

The human face remains mostly in the shadows and instead of dialogue, it’s Pier Danio Forni’s haunting music that guides us through. Italy and France are listed as countries of origin for the distinctive film, and Arianna Gheller is credited as the film’s animator … work that deserves to be lauded. A brief nine-minute run time is all it takes to deliver messages about striving for perfection, dealing with rejection, and the burden of failure. It’s a memorable film that sticks the landing.

Will premiere at 2025 Tribeca Film Festival

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Posted by David Ferguson

DEATH OF A UNICORN (2025)

March 28, 2025

Greetings again from the darkness. When most people think of unicorns, they picture something along the lines of “My Little Pony”, or some other lovable, cuddly animal from a kids’ story. This feature film debut from writer-director Alex Scharfman is definitely not that. In fact, the inspiration from the classic JURASSIC PARK (1993) is quite evident in these unicorns (and one of the main themes). Welcome to a fantasy-comedy-slasher with more than a dash of social commentary.

Ridley (Jenna Ortega, “Wednesday”, BEETLEJUICE BEETLEJUICE) and her dad Elliott (Paul Rudd, ANT-MAN) are on a road trip into the deep forest for a meeting with his employer, billionaire pharmaceutical CEO Odell Leopold (Richard E Grant, SALTBURN). Odell has terminal cancer and as his attorney, Elliott is hoping to close a deal that will set up himself and Ridley for life. Father and daughter argue about her deceased mother during the trip, causing Elliott to be distracted when a unicorn waltzes in front of their speeding car. It’s an unusual sequence that not only connects Ridley to the mystical creature and leaves them splattered in purple blood, it also sets up the rest of the story.

Upon arriving at the majestic estate in the forest, we are introduced to Odell’s wife Belinda (Tea Leoni) and their spoiled, entitled, obnoxious son Shepard (Will Poulter, MIDSOMMER), as well as the estate caretaker, Griff (Anthony Carrigan, “Barry”). It’s nice to see Ms. Leoni back, as it appears her last big screen appearance was in TOWER HEIST fourteen years ago (of course she starred in “Madam Secretary” for six of those years). There will likely be debates on the most memorable character, as Shepard is so over-the-top wacky that he becomes cartoonish, while Griff could easily have been yanked directly from a Mel Brooks film.

The key conflict in the story revolves around the all-out greed displayed by the Leopold clan versus the warnings from Ridley after she studies unicorn history and mythology via the tapestries of the Cloisters. Stuck in the middle is Elliott who wants to improve the relationship with his daughter while also appeasing the Leopold family. Scharfman includes quite a bit of comedy throughout, and when blended with the violent and gory horror elements, it actually seems to distract from what could have been a stunning cinematic experience, leaving us with a silly slasher sub-genre entry.

Richard E Grant delivers his usual strong performance and is given the actor’s dream of transforming from dying elderly man into the virile industry magnate of his youth. Will Poulter breaks away from his often-intense dramatic turns to flash his goofy comedy chops (snorting magical horn dust). The films kinda wastes Jenna Ortega’s talent, although she gets a nice line, “Philanthropy is just reputation-laundering for the oligarchy” highlighting the films anti-greed message. The argument could be made that Paul Rudd is a bit miscast, as we are never given any reason to believe he’s a strong or competent corporate attorney. There is enough to like here if fantasy-horror-comedy is your cup of tea, yet most will note the shaky GGI on the unicorns (improved for Act III), which pale in comparison to JP’s dinosaurs from thirty years ago

Opens on March 28, 2025

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Posted by David Ferguson

SLAMDANCE FILM FESTIVAL 2025 – short films

February 28, 2025

SLAMDANCE FILM FESTIVAL 2025 – Short Films

Below are recaps of some of the short films I watched at this year’s Slamdance Film Festival.

FISHMONGER (25:30)

No rules apply to film festival shorts and writer-director Neil Ferron and co-writer Alexandra Dennis-Renner succeed in pushing the envelope with their surreal spin on Catholic mythology. Accurately billed as a supernatural dark comedy, the film plops us right into the middle of a crisis taking place on a remote Irish island. Christie O’Mallaghan’s mother is in the throes of a self-inflicted disease that finds her near death, and with sores that spew puss on him whenever he gets near.

Local beliefs are that if a mother passes, leaving an unmarried son, her soul is to burn for eternity. Christie loves his mother (having been dependent upon her in the cringiest of ways), and now, to save her soul, faces the choice between suicide and marrying the only unwed woman on the island, Penny O’Brien (played by Penny O’Brien). Since the two have never spoken, the latter seems unlikely. Father Heaney (Mark Bramhall) offers a possible solution. Christie, a hapless fisherman, is to paddle out to the cove, offer up specific gifts to the sea creature, and request his wish be granted to marry Penny.

The sequences here include a duet right out of a stage musical; tentacle sex with Sinead the sea creature, the likes of which caused me to look away; and a developing love story yielding yet more cringing (from me). Dominic Burgess plays Christie, Donnla Hughes is Sinead, and Mari Weiss is the suffering mother. It’s a bonkers premise that will surely draw comparisons to Robert Eggers’ excellent THE LIGHTHOUSE (2019). And though we admire Christie’s apparent willingness to do whatever is necessary to save his mom, the ending is sure to stun.

ONE REHEARSES, THE OTHER DOESN’T  (15:00)

As part of the “Experimental” category, this short from writer-director Jessica Hankey was co-written by playwright Victor Kaufold and the film’s subject, Marjorie Annapav. Ms. Annapav plays herself in the film as she engages with Gerrie (Ann Randolph), a performance teacher, so that Marjorie’s life can become a stage presentation.

Admittedly (and purposefully), this one is a bit tricky for viewers to follow. It’s more like a slideshow of the process, with the insight coming from the verbal exchanges between the women, at least more so than in the physical performances. There is a sequence regarding a once heavily-used Rolodex that provides some context, yet mostly this requires focused attention from viewers to grasp the specifics of Marjorie’s life, including her marriage to surrealist and pop artist, William Copley.

GURGLING  (13:06)

A conversation with a girlfriend leads to confession that a previous boyfriend broke up with her since she “lacked imagination”, a break-up that led to the friend taking advantage of the situation. Writer-director Christine Margaret Wu seems to really understand the young housewife who spends her days caring for her elderly in-laws while her husband works.

That same husband is constantly ‘too tired’ to show her any affection, so when she notices a voyeur spying on her while she showers, something ignites within her. She so longs to be desired and appreciated as her husband builds a “safe and stable life”. The film is from Taiwan and expertly captures the woman’s pent-up emotions.

THE SPHINX  16:22

Well, surely this one has a premise you’ve never seen before, even though I won’t spoil it for you. Writer-director Jesse Padveen takes us on a first date. The couple is awkwardly conversing in a restaurant booth. As the young man spins the tale of how he became a locksmith, the woman struggles to maintain some level of interest – or at least tries to appear that she’s listening.

Suddenly something jarring occurs sending the man off to ‘fix’ the issue. He’s embarrassed but she’s now surprisingly intrigued. The two head off to her friend’s party where he’s encouraged to perform his special party trick. This leads to humiliation for the man, and we follow him first to his mom’s place, and ultimately to his dad’s … where one of our questions is answered and we also learn of his dad’s specific (and understandable) fetish. This one is for those anxious to see a creative short.

TWO OF HEARTS 5:56

Although it’s slotted in the “Narrative Shorts” category, this quirky little film from writer-director Mashie Alam includes very little of anything we would traditionally label as narrative, at least conventionally speaking. With an opening credit that gives off soap opera vibes, we are soon engulfed in an oddball (limited) verbal competition between brother and sister.

“It’s always been the two of us” leads into each of siblings battling the other with the same comeback, “It should be you.” It’s not until the end when we are clued in to what they are debating, but it’s clear they are building up to a big decision … one they must come to agreement on. Equally surprising is how this sharp looking film concludes with Nilsson’s “Everybody’s Talking”. Given how things are these days, it’s a relief to see any debate end with benevolence.

DEATH DRIVE  5:55

The woman shoves a handgun into the glove compartment of a classic Ford Mustang. Is she headed out to kill? To be killed? To see where the night takes her?  We are never really sure of much other than she loves to give that car the gas. A dashboard camera and the squealing tires keep us a bit disoriented, but then so do the images of the mostly elderly folks illuminated by the car’s headlights.

The only clue we have is the idling black sedan that may or may not be death, and may or may not be after the woman this evening. Writer-director Eli-Bella Wood also plays the woman who is driving, and the artsy slow-motion effects and the nighttime setting combine with the lack of dialogue to make this a film that revs in your mind … even after the man on the horse tips his Stetson.

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Posted by David Ferguson

BETTER MAN (2024)

January 9, 2025

Greetings again from the darkness. There may have been a movie that surprised me more than this one during 2024, but off the top of my head, I can’t think of one. My expectations were low for a film based on the true story of a British boy band pop star whose music I wasn’t too familiar with … oh, and he’s played by a human-sized CGI chimp. Robbie Williams is the pop star, and though he has little popularity or recognition in the United States, his story is quite interesting … and certainly presented in a creative and entertaining manner by writer-director Michael Gracey (THE GREATEST SHOWMAN, 2017) and co-writers Simon Gleeson and Oliver Cole.

Calling young Robbie Williams an outcast is not done for dramatic effect. His troubled youth and home life morphed into an opportunity to join Take That, a boy band who hit it big in the 1990’s.  Booze, drugs, and depression are too often part of the story for those who reach celebrity status, and that’s certainly the case with Williams … as is his infidelity while on tour, and his ‘Daddy issues’, thanks to a father (Steve Pemberton) who dumps the family to pursue his own flirtations with fame – yet never shying away from sprinkling in a bit of envy while lecturing his son. If you’ve always wanted to see Oasis insult and humiliate another pop star, your wish will come true, although we doubt neither Liam nor Noel are having to act much in the scene.

Robbie Williams himself answers the big question early on. This is how he sees himself: a performing monkey. And the monkey, though not real of course, does a terrific job of winning us over to the point where we no longer have that initial ‘what the heck’ look on our face. The reason this works is that director Gracey and subject Williams never back away from playing this approach as directly as it shows on screen. It may be a gimmick, but it’s not played for a final ‘gotcha’ moment.

The music is on full display here, and Williams’ performance at Knebworth is excellent, but the real showstopper is “Rock DJ”, which along with the montage, provides us with a bit of history lesson on Take That. It’s a world class film scene and one of the best of the year. The personal aspects may not play quite so well. The inner-band rivalry with Gary (Jake Simmonce), and the manner in which he treats his relationship with girlfriend and also famous Nicole Appleton (Raechelle Bano) make him out to be more of a beast (and less interesting) than the one performing on stage. Still, I don’t hesitate to proclaim this to be the best music biopic of the year featuring a CGI chimp in the lead role.

Opens in theaters on January 10, 2025

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Posted by David Ferguson

PETER PAN (2024, stage musical)

December 27, 2024

(BROADWAY DALLAS 2024-25)

It’s a tale as old as time. OK, not that tale. And not all of time, although the story of Peter Pan dates back to JM Barrie’s 1904 play (“Peter Pan, or The Boy Who Wouldn’t Grow Up”) and 1911 novel (“Peter and Wendy”). Most of us, across multiple generations, were first exposed to the story of the boy who never grows up while we were kids – through television, books, movies, and/or stage plays. Two of the more popular films include the 1953 animated Disney movie and the 1991 Spielberg movie HOOK starring Robin Williams. However, it’s live theatre where the story has had its greatest impact. There was the1954 Broadway production that featured Mary Martin (Larry Hagman’s mother) in a Tony Award winning performance as Peter Pan, and then in 1979, Sandy Duncan took on the role for a new Broadway production. The 1990’s had Olympic gymnast Cathy Rigby as Peter Pan, with her most recent run occurring in 1998.

The latest stage revival comes courtesy of a 2024 national stage production tour by director Lonny Price (a two-time Emmy winner) and based on an additional book by Larissa Fasthorse. Lorin Latarro and Paul Rubin handle the choreography and flying sequences. With a run at Broadway Dallas in the historic Music Hall at Fair Park, this latest production dazzles all ages – from 5 to 90+ (not counting the newborn someone dared carry in). The opening finds us in the bedroom of the Darling children, exposing us to the sufficiently irritating family. Dad is feeling the pressure of the impending work event, mom is worried about the babysitter, oldest daughter Wendy is rushing to grow up, while the two youngest, John and Michael, are immersed in childhood. After a tease from Tinker Bell, we don’t have to wait long for Peter Pan to make his spectacular entrance, soaring through the window while sprinkling fairy dust.

The production features three main sets: the Darling bedroom, the Neverland jungle, and Captain Hook’s ship, the Jolly Roger. All three are fully formed, with Neverland being especially adaptable. Complementing the sets are some terrific visual video effects on the backdrop. These are exceptionally effective during the initial flight from bedroom window to the shores of Neverland to meet The Lost Boys, as well as smile-inducing during the “shadow” moments.

With so many young characters, casting this show can be quite challenging, so it’s a pleasant surprise to note that there are no weak links here. High school senior Nolan Almeida plays Peter Pan. He is involved in most of the first half of the show, singing in six of the eight songs. Almeida brings a bustling energy to the role in comparison to the graceful and elegant style of some previous Pans. It’s different, yet it works … although I wondered why he only wore his hat during the initial scene. Cody Garcia plays dual roles as both Mr. Darling and Captain Hook, the latter being quite a crowd favorite. Making her professional stage debut is Hawa Kamara as Wendy Darling. It’s a key role, though she has only one solo singing moment. Bailey Frankenberg truly shines as Tiger Lily, both in her physicality and singing prowess. Comedy relief comes courtesy of Kurt Perry as Smee, Hook’s right-hand (no pun intended) pirate, and the two young Darling brothers, John and Mike, are played by Levi Chrisopulos and Camden Kwok, respectively (both making their national tour debuts).  Hook’s ‘other’ nemesis, the ticking crocodile, hilariously belly-crawls across the stage, generating laughter and applause from the audience.

The flying segments are a crucial element to the production, and each hoisted actor performs admirably, with Almeida’s Peter being noticeably acrobatic in his sequences. Audience reaction to each flying character was filled with joy, perhaps most apparent in Peter’s first and final flights. Another big audience moment stems from Peter Pan encouraging noisy participation to revive Tinker Bell’s spirit after her self-sacrifice. And speaking of Tink, I never figured out what sorcery (it’s a joke) was used to depict her darting light. Whatever it was, it worked beautifully. It’s a two-hour and forty-minute production, including the intermission, and perhaps the best compliment for those involved is that time flies (another unintended pun) by. The Music Hall sound system was strong and clear for the songs, the dialogue, and the sharp orchestra. The loss of one’s childhood may or may not be a time of melancholy, but the Peter Pan story never fails to land emotionally. The only downside I can find is now that this Disney property is open-source, there is an upcoming 2025 film entitled PETER PAN’S NEVERLAND NIGHTMARE. It’s sure to be Rated-R, and hopefully no young kids get anywhere near it, else their childhood be lost.

“Peter Pan” runs through January 5, 2025 at Broadway Dallas at Music Hall at Fair Park

https://broadwaydallas.org/

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Posted by David Ferguson

FLOW (2024, animated)

December 5, 2024

Greetings again from the darkness. Cats tend to be solitary creatures. And by ‘tend’ I mean about 99% of the time. In this superb animated fable from writer-director Gints Zilbalodis (AWAY, 2019) and co-writer Matiss Kaza, our protagonist is a cat who learns (and teaches us) that a community working together is more powerful than any single being working alone.

Clocking in at a brisk 84 minutes, the film opens with the cat gazing at his own reflection in the river. After a frantic chase with dogs on it’s trail, the cat escapes back to the house where he was once cared for by a cat-loving carpenter who has presumably since passed away. After a thundering herd of deer run by, a massive flood hits the forest and sends the cat scurrying for higher ground. The adventure begins … and though there are some similarities to other animal journey movies, this one is unique in its approach.

Zilbalodis has utilized no humans or human voices. The animal sounds are actually recorded animal sounds specific to each critter (no cute voiceovers). The exception is the capybara, where a camel’s recording is used instead. Much of the time is spent on a floating sailboat filled with an odd group of animals: our ever-present cat, the capybara (sleepy but loyal), a labrador (playful and friendly), a ring tail lemur (collecting all sorts of items along the way), and a large white bird ( I believe an African secretarybird who steers the boat despite a broken wing).

As you might imagine, this group of misfit sailors learn that survival depends on getting along and working together. Their teamwork is quite impressive, even as they encounter obstacles, and their own conflict – which leads to a stronger bond. This is not the hyper-realistic animation we’ve recently seen with animals, but the movements are extremely true-to-form for each of them. Zilbalodis includes some mystical elements, but as a fable, the message is that community and teamwork are stronger than solitude, and the final shot reinforces this. The filmmaker purposefully avoided any particular geographic locale (as noted by the various species) in order to ensure the deeper message is not lost. This is Latvia’s Oscar submission, and it will likely gain support in the animation category.

WATCH THE TRAILER

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Posted by David Ferguson

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