BREAKING (2022)

August 25, 2022

Greetings again from the darkness. Bank robbers are commonplace in movies, and some focus on the planning stage, while others look to the actual robbery or the escape. Writer-director Abi Damaris Corbin and co-writer Kwame Kwei-Armah tell the true story of a man who went into a bank, made a bomb threat, and took hostages … all while having no intention of stealing the bank’s money. A former Marine went to this extreme to make a very visible point about how veterans are mistreated, especially by the VA.

John Boyega (Finn from “Star Wars” franchise) stars as Brian Brown-Easley, a veteran struggling in a day-to-day existence, when a clerical error at the VA results in his latest disability check being withheld. This leaves Brian homeless, and the only assistance the VA offers is a brochure. Brian chats lovingly with his young daughter Kiah (London Covington), but their conversation is cut short because he can’t afford to add more minutes to his phone. Brian is so disturbed by the situation that he builds what appears to be a bomb and heads down to the local Marietta Wells Fargo branch.

The tension escalates quickly when Brian drops the handwritten note at the teller window, “I have a bomb.” Rosa (Selenis Leyva) tries to stay cool, but, Estel (Nicole Beharie), the Branch Manager, notices the panic in her eyes and quickly ushers out as many customers and employees as she can. Brian allows everyone to leave except Rosa and Estel, and he encourages them to call 911. It turns out he wants all law enforcement and media to show up so he can tell his story and relay the lack of respect from the VA.

Soon, Brian is chatting with a local TV news producer (Connie Britton), and then, after a delay, the hostage negotiator (the final big screen appearance of the great Michael Kenneth Williams). Brian and the negotiator form a quick human connection that is contrasted with the macho SWAT team leader played by Jeffrey Donovan and his world class condescending smirk. Brian is likely the most sympathetic stick-up man you’ll ever see. What we quickly realize is that the movie is a bit manipulative in making its point that the VA is the villain here, but some tremendous work by the actors keeps us engaged and caring about Brian. His interactions with Rosa and Estel are terrific, and the chats with Williams’ negotiator are even better. All four actors go above the material, and Ms. Beharie is a standout. Additionally, this is one final reminder of how Michael Kenneth Williams made every role his own, and every show and movie just a bit better.

Opening in theaters on August 26, 2022

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Posted by David Ferguson

BEAST (2022)

August 18, 2022

Greetings again from the darkness. Movies featuring man versus beast date back to at least 1933 with KING KONG, and have proven to be fan favorites many times since, likely peaking with JAWS in 1975. Of course, this sub-genre has also produced too many flops to count as low-budget filmmakers have attempted to capitalize with the cheap-thrills approach to entertainment. Director Baltasar Kormakur has previously flashed his skill with nature thrillers ADRIFT (2018) and EVEREST (2015), and here he’s working from a script and story by Ryan Engle (NON-STOP, 2014) and Jaime Premak Sullivan (BREAKING IN, 2018). It’s tempting to call this one ‘Cujo as a lion’, as a tip of the cap to the 1983 adaptation of Stephen King’s horror-novel, but there are many reasons not to do so.

Idris Elba plays Dr Nate Samuels, a man taking his daughters to the African savannah area where he met their mother many years prior. The mom recently passed away from the effects of cancer, and since mom and dad had separated the year before, there is tension between dad and daughters, especially the eldest, Meredith (“call me Mere”), who holds him responsible for not being there for mom. Mere is played by Iyana Halley, and younger sister Norah is played by Leah Jeffries. We quickly learn these are smart girls, spoiled by privilege and dumbfounded at the lack of Wi-Fi and cell phone coverage miles from nowhere.

Nate’s old buddy Martin (Sharlto Copley) manages the protection of local wildlife and will act as their guide. One of the first sequences we see is poachers wiping out a pride of lions. However, they missed the alpha male and he is now out for revenge against all poachers … only he, like so many these days, can’t tell the difference between the good guys and the bad guys. This puts Nate and the girls in danger, especially after Martin is seriously injured. Director Kormakur pulls the old “Jaws” trick by keeping the lion out of sight for a while, building suspense. Once he begins attacking, the lion is in full view for much of the film. Of course, lions are wild animals and cannot be trained to act, so what we really see are computer-generated lions with terrific growling sound effects.

The lion attacks are ferocious and do provide a certain level of fun tension with numerous jump-scares, and many will find this sufficient for movie entertainment. However, for those who want a bit more, the plot, dialogue and character decisions are often absurd and ludicrous – generating laughter where they shouldn’t. Despite much of this being computer-generated, the work of Oscar winning cinematographer Phillippe Rousselot (A RIVER RUNS THROUGH IT, 1992) should be noted … it looks and feels like we are in the wild bush. The four main actors are fine, although Mr. Elba’s contemplative physician transforming into quasi-superhero is a bit difficult to take. Mere’s donning a JURASSIC PARK t-shirt is a nice try, but this one has more in common with Liam Neeson fighting off wolves in THE GREY (2017).

Opens in theaters on August 19, 2022

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Posted by David Ferguson

THE RUNNER (2022)

August 18, 2022

Greetings again from the darkness. Drugs continue to destroy lives despite this being 40 years past when Nancy Reagan first counselled folks to ‘Just say no’. Not surprisingly, an ad campaign had little effect in the war against illicit drugs that immediately made people feel better (regardless of the long-term impact). Before and since that era, there have been countless films with storylines depicting the negative side of drugs – violence, gang activity, broken families, shattered dreams, failing health, and death. The drug stories that work best are those that narrow the focus and zero in on a personal story, and that’s what director Michelle Danner and screenwriter Jason Chase Tyrrell have done here.

French-Finnish actor Edouard Philipponnat (HOUSE OF GUCCI, 2021) stars as Aiden, a high school student riding high (yes, that’s a pun) thanks to the drug business he and his buddy Blake (Nadji Jeter) have carved out on campus. Aiden charms his way through school hallways mingling just long enough for business with students and even teachers. Aiden doesn’t exactly maintain a low profile by hopping in his $100k Mercedes SUV or skipping classes or showing up late and high to track practice.

Aiden’s mom (Elisabeth Rohm, AMERICAN HUSTLE, 2013) arranges to have local Detective Wall (Cameron Douglas) put a scare into him by threatening arrest. Aiden’s belligerent attitude forces an arrest, and Detective Wall offers him a deal … wear a wire for a sting on big time dealer and supplier ‘Local Legend’ (Eric Balfour), and Aiden won’t be tried as an adult. Even though he is furious at his mother, she admits this was “for his own good” and she “didn’t know what else to do.” In addition to this, Aiden is carrying the burden of an incident with his ex-girlfriend, Layla (Kerri Medders). Bottom line, Aiden is living a harrowing life and he’s on a downward spiral. He reacts by turning more to the drugs he peddles.

The crescendo occurs at a house party Aiden throws while his mom is traveling on business, although we wonder why this very nice house doesn’t have security cameras so mom can keep an eye on things. The evening doesn’t go as planned for Aiden, Local Legend, or the cops, but we do get an unexpected ending with a nice touch – and a flash of the Norman Rockwell painting, “Runaway.”

Director Michelle Danner has built a reputation as a top acting coach (and for her work on stage) and she coaxes a nice performance out of up-and-comer Philipponnat, who reminds of another actor in his age group, Charlie Plummer from LEAN ON PETE (2017). Philipponnat will next appear in Ridley Scott’s film NAPOLEON, scheduled for release in 2023. Cameron Douglas, who plays high-strung Detective Wall, is the son of Oscar winner Michael Douglas, although his mannerisms are more similar to his grandfather, legendary actor Kirk Douglas. The film breaks one of my pet peeves which is casting actors much too old for high schoolers; however, the subject matter here calls for some flexibility. Ms. Danner’s direction and Mr. Philipponnat’s performance move them both into the ‘keep an eye on’ category.

On a fun note: If you happen to be looking for a new drinking game, try the one for each time Philipponnat’s Aiden runs his fingers through his hair due to the stress of the moment.

Releasing in theaters on August 19, 2022 and on digital and On Demand on August 23, 2022

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EMILY THE CRIMINAL (2022)

August 11, 2022

Greetings again from the darkness. Aubrey Plaza proved during “Parks and Recreation”, and most every role since, that she is nearly unmatched in her ability to deliver blistering one-liners. However, over the last few years, she has expanded her repertoire and has become a fascinating, multi-talented actress who is exciting to watch. The feature film debut of writer-director John Patton Ford provides the opportunity for Ms. Plaza to push her dramatic chops into the world of crime. She not only doesn’t disappoint, she excels.

Emily (Ms. Plaza) is a struggling gig worker delivering lunch orders to office buildings. She has $70,000 in student loan debt and an assault conviction on her record that blocks her from any “good” jobs. We see how that past haunts her in an interview, and it’s also our first peek at her natural instinct to bow up and fight back in any situation she views as unjust. Emily is a Jersey girl living in L.A. with a bucket list that seems like a distant dream. One day a co-worker hooks her up with an opportunity to make $200 in one hour. Of course, the opportunity turns out to require her to do something illegal, but desperate times call for desperate measures.

The ‘training’ class is run by Youcef (Theo Rossi, “Sons of Anarchy”), a man with a gentle approach that disarms most attendees. Emily gets up to leave, but an exchange with Youcef (and a need for money) convinces her to stay and partake of the ridiculously easy money to be made from credit card fraud. The ‘dummy shopper’ approach can only go so far, and Youcef mentors Emily to take more risk for more reward. Additionally, their relationship escalates causing consternation from Youcef’s brother Khalil (Jonathan Avigdori), who points out that Emily is not the best at following rules, which puts her and the entire operation in jeopardy.

Liz (Megalyn Echikunwoke), Emily’s friend from art school, finagles an interview for her at the big-time marketing firm where she works. Gena Gershon has one scene as the hiring manager, and Emily proves yet again that her interview skills are a bit lacking. Only this time she’s chin deep in running crime with Youcef. One thing that is glossed over here, is that Emily surely has an advantage being an attractive white woman, while most of the others are people of color – automatically causing alert. Ms. Plaza and Mr. Rossi play off each other very well, but this is clearly her time to shine in a crime thriller. Although the story is actually very simple, and I’m not a fan of the ending, it’s certainly fun to watch Aubrey Plaza spread her wings as an actor.

Opening in theaters on August 12, 2022

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Posted by David Ferguson

ROGUE AGENT (2022)

August 11, 2022

Greetings again from the darkness. Co-written with Michael Bronner (THE MAURITANIAN), co-writers and co-directors Declan Lawn and Adam Patterson base their first feature film on a remarkable true story … one whose final chapter may not yet be written. We are surrounded by fraud on a daily basis – emails from a Nigerian Prince and spam calls for an expired car warranty that never existed, to name a couple of mainstream schemes. But the real life saga of Robert Freegard takes fraud and the long con to a whole new level.

We begin in 1993 as Freegard (James Norton, “Happy Valley”) is working as a barkeep in a pub. He bewitches three college kids with the story that he’s an undercover MI5 agent, and that he needs their help to infiltrate an Irish Republican Army (IRA) group working on campus. Known for their bombings at the time, this is a dangerous and important mission, and he convinces the students that they are field spies in training and serving their country … though nothing is more important than their loyalty to him. Of course, Freegard is not MI5.

The film leaps forward nine years, and we find Robert working as a car salesman. He identifies local attorney Alice Archer (Gemma Arterton, TAMARA DREWE, 2010) as his next target. After some initial skepticism, she falls hard for his charms and his stories. Alice also serves as the film’s narrator and explains how Robert will look people in the eyes, holding the gaze just the right amount of time to gain trust. We watch as their relationship plays out, costing Alice so much of her life. But Robert underestimates Alice’s resolve. She doesn’t appreciate being played like a fool. She performs her own investigative work, and enlists the help of a police detective (Shazad Latif, “Penny Dreadful”) in an attempt to track down Robert, as well as Sophie (Marisa Abela), one of the original college students who is still missing.

A Private Investigator informs Alice that scammers are either mad, sad, or bad. We readily know which category Robert belongs in. He’s a master of hiding in plain sight and reading people. He believes “everyone has a story they want to hear” and he exposes that vulnerability. It appears his only cause was to line his own pockets with other people’s money. But it’s not that simple. He also seemed to thrive on the perverse power trip in keeping people isolated and under his control – a form of psychological warfare. The film shows us how Robert was caught, but it also details what’s happened since 2009. If there is a lesson here, it’s put the past in the past, once you make peace with it – and don’t believe swindlers who are interested in your money. The film offers some excellent drama, strong performances from Ms. Arterton and Mr. Norton, and a short course in psychology of the sociopath. For more information on Freegard, check out the Netflix docuseries, “The Puppet Master: Hunting the Ultimate Conman”.

Opens August 12, 2022

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Posted by David Ferguson

FALL (2022)

August 11, 2022

Greetings again from the darkness. If you’ve ever wondered what a recurring nightmare would look like if filmed for the big screen, writer-director Scott Mann (HEIST, 2015) and co-writer Jonathan Frank are here to show you. Not much plot exists, and the bulk of the movie consists of two characters stuck in one place. Sounds pretty simple, right? Well I can tell you that my palms were sweaty and the tension was high.

The opening sequence immediately evokes memories of the spectacular documentary FREE SOLO (2018) featuring expert climber Alex Hannold. Becky (Grace Caroline Currey, SHAZAM!, 2019), her husband Dan (Mason Gooding, SCREAM, 2022), and their friend Hunter (Virginia Gardner, HALLOWEEN, 2018) are climbing the face of a mountain when tragedy strikes. We then flash forward 51 weeks and find Becky is a still-grieving recluse drowning her sorrows in booze and contemplating suicide. We aren’t clued in as to how she has paid rent for the past year, but her frustrated dad (Jeffrey Dean Morgan) has had no luck getting her to “move on”, and has called Hunter in to see if she can motivate Becky to rejoin society.

Hunter’s big idea is for the two ladies to climb the 2000-foot tall B67 TV Tower, once billed as the tallest structure in the U.S., but now a long-abandoned relic. Hunter is the risk-taker of the two, and she has developed quite a following on her YouTube channel by filming her own risky stunts. The tower appears to be out in some desert just beyond a sign that warns, “No Trespassing – Danger of Death.” Terrific camera work shows us the loose bolts, shaky tension lines, and rusty ladder once used for tower maintenance. In fact, the terrific camera work and the performances of the two actors are what drive home the terror we feel once they have reached the top and realize there is no way down. If your acrophobia hasn’t shaken you enough, how about being stranded 2000 feet above the ground on a platform barely large enough for two people to sit? Your choices for dying include falling, dehydration, starvation, exposure, or being pecked by the local vultures attracted to the injuries sustained while climbing.

Resourcefulness involves cell phones with no reception, a pair of Chuck Taylors, a flare gun, and a new use for a sports bra … somehow hardly noticeable once it’s gone. The two climbers are trapped for most of the run time, turning this into quite a survival story. Mind games and psychology play a part once exhaustion sets in, and there are couple of twists, neither of which should surprise most viewers. While the tension created is commendable, one recurring irritant became a bit of a joke – the overuse of “Are you okay?” begins in the opening sequence and seems to be repeated every 4-6 minutes. If it were a drinking game, no viewer would remain conscious by the end of the film. Other than that, it’s one of the better cinematic versions of a nightmare you’re likely to find … plus it leaves us with the inspiration: “If you’re scared of dying, don’t be afraid to live.”

Opens in theaters August 12, 2022

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Posted by David Ferguson

BODIES BODIES BODIES (2022)

August 11, 2022

Greetings again from the darkness. This one works much better as satire than horror-thriller, at least for yours truly. With whodunnit elements drawn from Agatha Christie’s classic “Ten Little Indians”, the play-it-straight approach to riffing on Gen Z draws laughs right along with the expected annoyances courtesy of a bunch of entitled trust fund twenty-somethings. Actor-turned-director Halina Reijn and co-writers Sarah DeLappe and Kristen Roupenian (first feature film for both writers) have based the story on the party game known as ‘Body Body’ or ‘Murder in the Dark’, or perhaps you know it by some other name.

The film opens with a close-up of a passionate kiss between Sophie (Amandla Stenberg, DEAR EVAN HANSEN, 2001) and Bee (Maria Bakalova, BORAT SUBSEQUENT MOVIEFILM, 2020). A picturesque road trip takes the couple to an isolated mansion where they are meeting some of Sophie’s old friends for a hurricane party. They arrive as the storm approaches and the others are taking a last minute dip in the pool. It turns out they are surprised to see Sophie since she has kept her distance from the group (and been unresponsive to the group texts) for quite a while. We do find out her reason, and the group allows them to stay … mostly since the mansion is owned by David’s (Pete Davidson, “Saturday Night Live”) parents, and he and Sophie have been best friends for years. Also attending are Emma (Chase Sui Wonders), David’s wimpy actor-girlfriend who is prone to instant tears; Jordan (Myha’la Herrold), Sophie’s tough-on-the-outside former (and sometimes jealous) lover; Alice (Rachel Sennott, SHIVA BABY, 2020) a podcaster and easily the most entertaining of this crew; and Greg (Lee Pace, THE FALL, 2006), Alice’s much older boyfriend via Tinder match. Missing is Max (Conner O’Malley) who, we are told, left in a huff after an argument the night before.

As you might guess, booze and other mind-altering drugs play a role here, as does the house itself – with multiple staircases and hallways. Once the game begins, the question arises … is it being played for real? A dead body raises the stress level, as does the dreaded tap on the back required by the rules of the game. In addition to the cocaine and liquid spirits, pieces of the puzzle include: glowsticks, pot brownies, zucchini bread, swords, trust funds, insecurities, a dead car battery, a power outage, and the always-present cell phone flashlights. This is a group of narcissistic, social media-influenced, childlike adults who wear their emotions on their sleeves. Back-stabbing and belittling is common, as is (ironically) playing the victim. There is no way we would think this is actual dialogue between humans if we didn’t all know someone in this age group – or have accidentally stumbled on their exchanges via posts.

As much as I enjoy a satirical look aimed squarely at today’s twenty-somethings, these characters are so extremely unlikable that most of us would leave the party in 2 minutes, taking our chances with the hurricane. Every possible buzzword is included as these self-centered richies take aim at each other. Of course, being older, Greg doesn’t really fit in – but then no one really fits in here. Ms. Sennott’s character provides the most fun for viewers, as these long-time acquaintances seem to have no clue what it means to be a friend. They don’t trust those they know, those they don’t know, or even themselves. This could be a contemporary version of SCREAM … well if that wasn’t the Timex of movie franchises. With no cell coverage for most of the movie, these folks are forced to have actual conversations and interact, exposing the lack of social graces which are enhanced given the situation. The ending is not likely to surprise you, but it’s quite fitting. This is certainly not amongst the best A24 offerings, but if you can put up with the lingo and irritating characters, there is some comedy to appreciate.

Opening in theaters on August 12, 2022

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Posted by David Ferguson

THIRTEEN LIVES (2022)

August 4, 2022

Greetings again from the darkness. It is 2018 and a group of boys have just finished soccer practice. After some motivational words from their coach, the boys start joking around with one of their teammates who has a birthday party slated for later that day.  Boys being boys, they decide to bike over the local cave for some pre-party exploring. Their coach tags along to keep an eye on them. All of that sounds innocent enough until we realize this is the Tham Luang cave, and they don’t realize Thailand’s monsoon season is about to arrive early and with full force.

The film is directed by Oscar winner Ron Howard, who is adept at mainstream storytelling as evidenced by APOLLO 13 (1994), A BEAUTIFUL MIND (2001), and CINDERELLA MAN (2005). The script was penned by William Nicholson (GLADIATOR, 2000) and Don MacPherson (THE AVENGERS, 1998), and tells the all-too-true story of the daring rescue mission that most of recall following on news reports. When the boys were no-shows for the birthday party, parents and friends rushed to the cave to find the bicycles, but not the 12 boys and their coach. Immediately, rescue efforts began with Thai Navy SEALS rushing to the sight. Cave diving is a unique skill practiced by only a few, and is much different than the open water diving in which the SEALS excel.

British cave divers John Volanthen (Colin Farrell) and Rick Stanton (Viggo Mortensen) are called in. Volanthen is the father of a son, and can’t help but empathize with what the parents must be going through, while Stanton is crusty old geezer who admits to not liking kids, while also understanding he’s one of the few on earth capable of making the necessary dive. Once the two men reach the stranded boys and coach, it becomes apparent that, as difficult and challenging it was to find the group, getting them out of the cave seems all but impossible. Death hung heavy over the operation of last resort, which included calling in Dr. Harry Harris (Joel Edgerton), a cave diving hobbyist, and more importantly, an anesthetist.

The diving scenes are expertly filmed by DP Sayombhu Mukdeeprom and underwater camera operator Tyrone Canning. The ever-present claustrophobia and risk of disaster underscores how courageous these men were. Director Howard offers up multiple perspectives: the government, the military, the divers, and the parents. We get very little from those trapped, but that adds to the tension. We get a feel for the entire operation as water is being pumped out of the cave, a water expert and volunteers frantically divert new rainwater into the rice fields, and political maneuvering occurs as the outgoing Governor (Sahajak Boonthankakit) is being set up as fall guy in case the efforts fail.

So many elements could have caused failure – low oxygen levels in the cave, a brisk current of water making diving more difficult, and obviously too much rainwater entering the cave would endanger the boys and the divers. The rescue mission lasted more than two weeks. It’s a disaster movie based on a real event, and follows up the excellent 2021 documentary, THE RESCUE. Evidently the dramatization is for those who don’t watch or have access to documentaries, and as strong as Howard’s movie is, there is simply no way for it to eclipse the documentary or what occurred in real time. At its best, the film offers tension and a reminder of what can be accomplished with collaboration.

Available on PRIME VIDEO beginning August 5, 2022

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Posted by David Ferguson

BULLET TRAIN (2022)

August 3, 2022

Greetings again from the darkness. If you are one that still needs proof that movie stars matter, this latest from director David Leitch (a former stuntman who also directed ATOMIC BLONDE, 2017) and screenwriter Zak Olkewicz (adapted from Kotaro Isaka’s 2010 novel, “Maria Beetle”) may be submitted as evidence. Replace Brad Pitt with almost any other actor, and this one becomes borderline unwatchable. However, with the Oscar winner, there is sufficient charm, humor, and entertainment to keep us around for the more than two hour run time.

Mr. Pitt stars as Ladybug, a floppy bucket hat wearing last minute fill-in for an assassin who called in sick. His handler (voiced by Oscar winner Sandra Bullock) walks him through what is supposed to be a simple snatch and grab job involving a briefcase. Of course, it turns out to be anything but simple as the train is filled with what seems to be an endless stream of contract killers intent on securing the same briefcase. Among those are Tangerine (Aaron Taylor-Johnson) and Lemon (Brian Tyree Henry). Mr. Taylor-Johnson continues his tradition of over-acting and lacking the charm he believes he has, while Mr. Henry’s obsession with Thomas the Tank Engine at least gives his character a reason for us to be annoyed. The two are referred to as British brothers or even ‘twins’, which gives you some idea of what the film wants you to buy as humor.

A slew of other characters include Joey King as Prince, the “Shibumi” reading type who pushes a kid off a roof, and then uses her skill of crying-on-demand to escape most danger; Andrew Koji as Kimura, that kid’s distraught father; Hiroyuki Sanada as Kimura’s father; Zazie Beetz as The Hornet; rapper Bad Bunny as Wolf; Logan Lerman as the son of a Russian gangster, and Lerman spends much of the movie auditioning for the title character in “Weekend at Bernie’s”; and Michael Shannon as said Russian gangster, White Death. Beyond all of these highly recognizable folks, we also get two very high-profile cameos, both used for comic effect.

In between the one-minute stops on the trip from Tokyo to Kyoto, there is an abundance of fighting – comical, rapidly-paced, and violent – using such available props as the features on a smart toilet, knives, guns, swords, poison, bombs, and a venomous (incorrectly labeled as poisonous in the movie) Boomslang snake. Since most of the action takes place on the train, we get action in passenger cars, the galley, the lounge, the control booth, and even on top of the speeding train.

It’s Pitt’s character who keeps us interested, and the movie drags when he is off screen. Ladybug is a skilled improvisational fighter, although his recent personal growth through therapy has him eschewing guns, dwelling on his inherent bad luck, and reciting affirmations and wisdoms, when he can remember them. Mostly, by golly, he just wants to be a nicer person (quite a short trip for a contract killer). This chaos and spontaneous convention of bad players were all part of White Death’s plan, which is revealed late in the film.

It appears director Leitch (a former renowned stuntman) worked diligently to create a new form of zany by blending Guy Ritchie’s best work with Tarantino’s “Kill Bill” films, and then adding a dash of ‘who-done-what-to-whom?” Instead, with the near slapstick action and goofy dialogue, it plays more like a modern day CANNONBALL RUN, which was also directed by a former stuntman (the legendary Hal Needham). As a bonus, we also get the Japanese version of “Stayin’ Alive”, replete with Brad Pitt strutting through Tokyo in tennis shoes.

Opens in theaters on August 5, 2022

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RESURRECTION (2022)

July 28, 2022

Greetings again from the darkness. You never want to be the ex-partner who causes a panic attack for another person … especially after 22 years apart. Writer-director Andrew Semans puts a face to whatever you call the opposite of a dream partner or role model by casting Tim Roth as David Moore. However, before we first glimpse Roth’s David, we meet Margaret (Rebecca Hall), a woman who seems to have seized control over every part of her life. Her apartment is immaculate. Her business attire classy. Her glass-paned manager’s office efficient. Her married-co-worker-with-benefits at her beck and call. Her speedy runs through town keep her focused and fit. Her about-to-turn 18-year-old daughter is prepped for college. Yep, every aspect of Margaret’s life is under control.

Most of us know what happens when we are arrogant enough to believe we are in control – life usually slaps us with a dose of reality. For Margaret, the hints are there. A tooth found in her daughter’s wallet. A bike ride gone wrong. A glimpse across the room at a seminar. Another at the shopping mall. And finally, a confrontation in the park. This is how, after 22 years, David drops back into her life – a stalker creating turmoil, doubt, and anxiety. By this point, we’ve seen Margaret doling out advice to young intern Gwyn (Angela Wong Carbone) on how to handle a manipulative boyfriend – one she deems sadistic. Margaret appears strong and is counseling Gwyn on how to be strong and find someone worthy of her love. It’s this conversation, along with how Margaret hovers over her daughter Abbie (Grace Kaufman), that tells us Margaret has a past that’s not as perfect as her present.

Margaret’s backstory is told via a single-shot extended monologue where she recounts her relationship with David. It’s a stunning bit of acting by Ms. Hall, and filmmaking that not only explains the emotional baggage weighing down Margaret, but also makes her relatable. The moment is so taut with emotion that it ends with a kinda-sorta punchline from Gwyn. The first two acts build tension and hint at the bizarre nature of the long-ago David/Margaret relationship, and the “kindnesses” (twisted shows of loyalty and devotion) involved, but we simply can’t prepare ourselves for the ‘off-the-rails’ occurrences in the final act.

Wyatt Garfield’s cinematography and the muted colors of every scene and set, enhance the feeling of suspense and pending trauma. The film provides an excellent example of the long-reaching impact of mind-control, gaslighting, and sadistic manipulation as one person tries to control another. Since Margaret refuses to come clean with her daughter, Abbie is convinced her heading off to college is causing her mother’s breakdown. Instead, the psycho-thriller goes much deeper in showing just how Margaret’s vulnerability at a young age has stuck with her more than two decades later, and no amount of Helen Reddy’s “I am Woman” can break the spell … it requires action to stifle a diabolical jerk like David.

Ms. Hall is outstanding and believable in the role, and without her performance, the story would seem like a parody of the genre. She has quite a career of playing the victim, which seems to come naturally to her, as she’s proved in such films as CHRISTINE (2016). Mr. Roth is a multi-talented actor and doesn’t shy away from becoming a despicable face of evil. Both are ‘all-in’ for these characters, as is Grace Kaufman, who has worked consistently as an actor since the age of nine, mostly in TV roles. While I’m not a huge fan of the third act or the ending, there is plenty here to admire.

Opens in theaters on July 29, 2022

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