SINNERS (2025)

December 8, 2025

Greetings again from the darkness. My apologies for this review posting months after it should have. The tardiness of the post has nothing to do with the quality of the movie, which I found quite entertaining and creative. It might be best described as an innovate storytelling approach to an age-old tale … with some very cool twists and turns. Ryan Coogler previously directed BLACK PANTHER: WAKANDA FOREVER (2022), BLACK PANTHER (2018), CREED (2015), and FRUITVALE STATION (2013); however, this is his first fully original film as writer-director, and it certainly doesn’t lack ambition.

You likely know that Michael B Jordan starred in all of Coogler’s films mentioned above, and he’s back here as both “Smoke” (Elijah) and his twin brother “Stack” (Elias). The boys are fresh from Capone’s gang in Chicago, and intent on setting up a juke joint in their old Mississippi hometown stomping grounds. An abandoned sawmill that has seen its share of slaughters will do just fine (and no, you definitely shouldn’t read any foreshadowing or irony into the setting. Wink. Wink.). Since I mentioned the twins, you should know that the technical aspects are astounding (in addition to Jordan’s terrific performances). An early scene where the brothers share a cigarette amazed me in its execution and detail. This was the first of many.

Young, bloody Sammie (the film debut of Miles Caton) staggers to his preacher father’s alter carrying the neck of a shattered Charley Patton guitar. And this may be the closest Coogler’s film gets to a serene scene. What follows is a unique blend of too many bits to list, but definitely includes horror, monsters, blues music, biblical references, southern racism, historical events (Robert Johnson’s crossroads), mythology, mobsters, Mississippi Delta black culture, and enough violence for a few films. You may think you’ve seen all there is to see about vampire mythology, but Coogler doesn’t shy away from new blood (so to speak). Now, is all that just too much for one movie to tackle? Many will likely think so, however, those that go with it will likely find it as entertaining as I did.

The supporting cast is massive and filled with familiar faces and talented actors – too many to list here, but know that each contribution adds to the overall dynamic. I will mention Hailee Steinfeld, who plays Mary, a “dangerous” multi-racial woman who is the bridge between black and white (and perhaps good and evil). There are at least eleven other actors who excel in their role and have a memorable, and often surprising or shocking impact, but the only other one I’ll call by name is the legendary Buddy Guy who appears in the 1992 Epilogue. From a technical standpoint, acknowledging those who created the Southern Gothic horror atmosphere are Cinematographer Autumn Durald Arkapaw, Editor Michael P Shawver, and Composer Ludwig Goransson (a two-time Oscar winner). Filmmaker Ryan Coogler has established himself as one who combines a strong technical team, a stellar cast, and a sharp script to create films that have broader appeal than one might expect (superheroes, vampires, and culture clashes). His films are now must-see cinema.

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Posted by David Ferguson

HIM (2025)

September 18, 2025

Greetings again from the darkness. Here is my PSA (Public Service Announcement): This is not a “Football” movie. If you are expecting FRIDAY NIGHT LIGHTS or ANY GIVEN SUNDAY, you will be disappointed. This is a Psychological Horror film (think BLACK SWAN) featuring a couple of football players, and it’s produced by Jordan Peele, he of NOPE and GET OUT fame. Writer-director Justin Tipping (KICKS, 2016) and co-writers (co-creators of “Limetown”) Zack Aker and Skip Bronkie serve up few X’s and O’s, and plenty of commentary on fame and the quest for greatness.

Marlon Wayans is best known for his comedy work, and here he delivers his best dramatic performance since REQUIEM FOR A DREAM (2000). He plays Isaiah White, the ultra-successful quarterback of the fictional San Antonio Saviors. Many consider White the G.O.A.T. (Greatest of All-Time). His issue is that he’s aging and is likely at the end of his career. On the other end of the spectrum, we have rising star Cameron Cade (Tyriq Withers, I KNOW WHAT YOU DID LAST SUMMER), the young hotshot who many predict will replace White as the GOAT. Cameron’s problem is that a surprise causes possible brain damage, knocking him out of the combine and leaving him undrafted.

Cameron’s off-kilter agent (Tim Heidecker) arranges for him to train with White for a week. Having worshipped Isaiah White for most of his life, Cameron jumps at the chance. Upon arriving at White’s isolated desert compound, he quickly discovers dreams don’t always match reality. White greets him warmly, but we all notice (well, Cameron’s a bit slow) that things are a bit off. From a sadist trainer (MMA fighter Maurice Greene) to a sardonic doctor (a funny Jim Jeffries), to a creatively made-up and creepy Mrs. White (Julia Fox), the setting for a horrific week is in place.

White pushes Cameron past the point of decency in training, and the doctor delivers some curious blood transfusions. White preaches to Cameron that this unorthodox approach is what’s required for peak performance and greatness. The commitment must be to excellence, not some mushy family-first mentality. Some of the drills are violent, while others turn a bit nuts. This is psychological warfare mixed with physical extremes.

There are some cool x-ray effects, and the music from Bobby Krlic (The Haxan Cloak) adds a nice touch; however, this is about envy and power. The first two acts have some eye-opening moments, but things really fly off the rails in the finale. Brutal violence seems too mild as a description, and the commentary on team ownership expectations seems a bit heavy-handed. We all know billionaires are accustomed to getting what they want. This one is worth seeing for Marlon Wayans’ performance, but we find ourselves thinking “what if” through much of the film.

Opens in theaters on September 19, 2025

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Posted by David Ferguson

A BIG BOLD BEAUTIFUL JOURNEY (2025)

September 18, 2025

Greetings again from the darkness. I’m not normally the target market for romantic philosophy-of-life movies, so it seems apropos that one I connect with is likely to be labeled maudlin or sappy by others. Being a big fan of director Kogonada’s underrated COLUMBUS (2017), I was interested to see him team up again with his AFTER YANG (2021) star Colin Farrell, in a blacklist script from writer Seth Reiss (THE MENU, 2022).

Matching Colin Farrell with Margot Robbie means that, at a minimum, beautiful movie stars will fill the screen. Beyond their stunning looks, both are extremely talented actors – Farrell has certainly honed his skill over the years, while Robbie is a modern day Grace Kelly. David and Sarah first meet each other at a wedding. The attraction is there, but this encounter ends awkwardly with each going their separate way. We learn they are quasi-miserable lonely souls who see little hope in finding a true soulmate – the message here being that nothing should be assumed until one’s own soul-searching is complete.

The world’s most bizarre Rental Car counter is staffed by two quirky characters played by Phoebe Waller-Bridge (“Fleabag”) and Kevin Kline. A fantastical GPS system in their matching 1994 Saturns finds David and Sarah ordering the same ‘fast food cheeseburger’ at a roadside diner. This is step one in their titular journey … so named as David screams it while driving. Now traveling in the same Saturn, this GPS directs them to a series of doors – each connected to some past moment of their lives. A red door leads to a lighthouse, another to a high school musical production, one to a special museum, and yet another to hospital visits. It’s part trip down memory lane and part spiritual awakening.

What matters is that David and Sarah are sharing the journey with each other – good memories and bad. Stepping through the doors exposes bits of their life and personality that might take years for two in a relationship to discover, if ever they would. Dealing with one’s own past is a first step in moving forward, much less in accepting another to share a life with. Regrets, missed opportunities, grief, and hurdles are all part of what make us who we are. Supporting cast members include Lily Rabe, Billy Magnussen, Jodi Turner-Smith, and Sarah Gadon. Hamish Linklater nails his one crucial scene as David’s dad … surprisingly, it’s the film’s best scene. Whether it’s viewed as a search for one’s own soul or for a soulmate, the film deals with the baggage that goes with being a grown-up.

Exclusively in theaters beginning September 19, 2025

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Posted by David Ferguson

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

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