CATCH THE FAIR ONE (2022)

February 10, 2022

Greetings again from the darkness. One tragic event can certainly derail a person’s life. It’s happened in plenty of other movies, often resulting in an engaging story of redemption. There is also nothing new about a friend or family member out to save a loved one who is in peril. Director Josef Kubata Wladyka co-wrote this script with the film’s star, Kali Reis, and though it covers some familiar territory from those two premises, it’s done so in a way that feels fresh and different and important.

Ms. Reis is an accomplished boxer, having held the title in two weight classes. Her heritage is part Native and part Cape Verdean, and she brings a personal perspective into the story of her character. Kaylee Uppeshau (Ms. Reis) slogs through days waiting tables at a greasy spoon, and sleeps at night in a women’s shelter, with a razor blade tucked in her cheek for protection. She was previously known in the ring as “KO”, but for the past two years her goal in life is to track down her younger sister Weeta (Mainaku Borrerro), who was abducted while walking home from Kaylee’s gym. The girls’ mother (played by Kimberly Guerrero, whom “Seinfeld” fans will remember as Winona) has moved on by running group therapy sessions for others who are grieving. She also makes it clear that Weeta was the favored daughter.

Kaylee gets a lead on her sister, and soon finds herself drawn into the world of sex-trafficking. It’s a dangerous situation as she goes up against local scumbags Bobby (Daniel Henshell) and his father Willie (Kevin Dunn), the white men who have a market for native girls. But Kaylee is not the typical victim. She has an intensity to match her body tattoos and multiple piercings (cheeks, nose, tongue, ears, naval), and the physical training to hold her own.

It’s her acting debut, and Ms. Reis excels as Kaylee in this thriller. She creates an engrossing character who is tough, yet relatable. Ms. Reis is intense, naturalistic, and believable. It’s quite a first-time performance, and she keeps us engaged all the way through. We are never really sure if Kaylee is after justice or closure, or whether she truly holds out hope that Weeta is still alive. The subject of Indigenous women and girls being abducted is also the focus of Martin Scorsese’s upcoming film KILLERS OF THE FLOWER MOON, based on the superb book by David Grann. Whereas that film will look at history, filmmaker Wladyka and Reis make it personal and deliver a literal and figurative gut-punch.

In theaters and VOD beginning February 11, 2022

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Posted by David Ferguson

DEATH ON THE NILE (2022)

February 8, 2022

Greetings again from the darkness. For us Agatha Christie fans, a certain amount of trepidation exists every time a new movie or TV version of her work hits. Stress level was reduced a bit this time since director-actor Kenneth Branagh and screenwriter Michael Green are back following their collaboration on Christie’s MURDER ON THE ORIENT EXPRESS (2017). Although the star power this time isn’t quite at the level of ‘Orient’, it seems Mr. Branagh has grown quite fond and confident of his own Hercule Poirot, the Belgian super-sleuth.

Director Branagh takes an unusual approach with a black and white Prologue from 1914 as a young Poirot shows flashes of his intellect as a soldier in WWI. The real purpose of this segment is to show Poirot was once a young man in love, and then a wounded soldier in love, and then a broken-hearted wounded man who would go on to become the world’s greatest detective. The prologue also provides backstory on the infamous mustache that is so much a part of Poirot.

We then flash forward to a 1937 London speakeasy where a fastidious Poirot fusses over dessert while watching the formation of a shaky love triangle unfold on the dance floor as Salome Otterbourne (Sophie Okonedo, with singing vocals from Sister Rosetta Tharpe) belts out her bluesy tunes on stage. Initially it’s Jacqueline de Bellefort (relative newcomer Emma Mackey) in the throes of lustful dance moves with her fiancé Simon Doyle (Armie Hammer in the last gasp of a once skyrocketing career). Things change quickly when Jacqui’s former schoolmate, Linnete Ridgeway (Gal Gadot), makes her show-stopping appearance in a glittery metallic gown. Flash forward again, this time 6 weeks, and its Linnete and Simon tying the knot at the picturesque Cataract Hotel in Aswan on the River Nile. See, Linnete is an heiress to her less-than-scrupulous father’s fortune, and Simon had no trouble trading up. Jacqui, on the other hand, doesn’t take it so well.

Of course the fun part of Agatha Christie’s murder mysteries involves getting to know the players and watching as the clues reveal themselves, and then how Poirot handles the big reveal. This film’s only real weakness is the character development of everyone not named Hercule Poirot. We only skim the surface of Euphemia Buoc (Annette Bening) as Buoc’s (a returning Tom Bateman) disapproving mother, Dr. Windlesham (an unusually reserved Russell Brand), Linnete’s chambermaid Louise (Rose Leslie), Linette’s Godmother and her “nurse” (Jennifer Saunders and Dawn French, respectively), family attorney Andrew (Ali Fazal), and Salome’s niece and manager, Rosalie (Letitia Wright), the proverbial sharpest knife in the drawer.

So what do we get? Well, first and foremost, a fully formed Poirot. Branagh seems to have embraced the character and the mustache, having a blast with his scenes. We also get stunning work from cinematographer Harris Zambarloukos, as he films the beautiful people, the beautiful wardrobes, and such sites as the Pyramids of Giza, the Sphinx, Ramses statues of Abu Simbel, and the excellent set piece known as the Karnak luxury steamer. There are some metaphorical effects inserted that periodically startle us, and seem unnecessary, but then over-the-top moments are not unusual in film presentations of Christie’s writing. She passed away in 1976, and now there are almost 200 film and TV projects associated with her work.

Love and betrayal are key elements here, and for fans of the original book and the 1978 film version, comparisons are unavoidable. Ms. Mackey’s jilted lover stalker is a marked improvement over Mia Farrow’s character, while Salome and Rosalie and terrific additions. Ms. Saunders and Ms. French follow in the footsteps of cinematic heavyweights Bette Davis and Maggie Smith, and your choice of Branagh or Peter Ustinov as Poirot is one left up to you. It’s tough to beat ‘whodunnit escapism’, though it’s a personal choice on which of Christie’s stories serve up the best puzzle pieces on the big screen.

Opens in theaters on February 11, 2022

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Posted by David Ferguson

CLEAN (2022)

January 27, 2022

Greetings again from the darkness. “The trash man wasn’t always a trash man.” Writer-director Paul Solet re-teams with his BULLET HEAD (2017) star, Oscar winner Adrien Brody, who not only has the lead, but also co-wrote the script, produced the film, and gets a “Music by” credit. Following in the cinematic footsteps of John Wick or most any recent Liam Neeson character, this trash man is the lone beacon of hope possessing a particular set of skills that he uses to escape peril, save the innocents, and generally rid the world of bad guys. He’s the avenging angel of Utica.

On the job, Brody’s character is referred to as “Clean”, and he’s so mechanically inclined that he often salvages items from his route, repairs them with parts he gathers from the junk yard where he feeds the guard dog, and then sells the refurbished goods at the pawn shop run by RZA. When he’s not working the garbage truck, Clean whitewashes the graffiti from the ramshackle homes in his hood, and brings homecooked meals to Dianda (Chandler DuPont), a local girl who lives with her grandmother. Now you might wonder how one man can accomplish so much, and the answer is that he barely sleeps. He’s haunted by demons of his own past via nightmares and flashbacks. It’s through these that we learn Dianda reminds him of the daughter he lost, and his past is one filled with violent images.

Clean attends group therapy sessions and has support from a “sponsor” played by Mykelti Williamson. Of course, as we’ve come to expect from this genre, past violence and efforts to redeem himself, won’t insulate him from modern day violence. In an early voice-over, a tormented Clean offers up a TAXI DRIVER-loner-style philosophy as he discusses the sad state of the streets, and a “sea of filth”. One particular good deed involving Dianda, places Clean in the deep end of that sea he finds so disgusting. It’s also a sea he masterfully maneuvers.

That good (and violent deed) finds Clean crossing paths with local drug kingpin Michael (a menacing Glenn Fleshler), who runs his operation through the fish market he inherited from his grandfather. Michael’s wannabe-gangster son Mikey (Richie Merritt, WHITE BOY RICK) doesn’t appreciate his dad’s “smell of success” and is the reason Clean and Michael square off. This also causes the big reveal in regards to Clean’s past life, and explains his proficient use of a screwdriver and pipe wrench.

For those familiar with this genre and its use of violence, you’ll notice many of the familiar and expected components. It’s really Mr. Brody’s expertise as a master mumbler, and his character’s (initially) low-key approach to improving the neighborhood, that provide the touch of difference making this watchable.

Opens on January 28, 2022

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Posted by David Ferguson

SEE FOR ME (2022)

January 5, 2022

Greetings again from the darkness. For those of us who enjoy the burst of adrenaline provided by thrillers, the premise of a blind person in peril is something we’ve seen a few other times, including WAIT UNTIL DARK (1967) with Audrey Hepburn, SEE NO EVIL (1971) with Mia Farrow, BLINK (1993), and the more recent DON’T BREATHE (2016, 2021) series with Stephen Lang. Director Randall Okita, working from a screenplay by Adam Yorke and Tommy Gushue, manages to use modern technology to provide a twist to a familiar set-up.

When we first see Sophie (the feature film debut of Skyler Davenport), she’s getting caught by her mom sneaking out of the house. Now this wouldn’t be that unusual were it not for the fact that Sophie is blind … a degenerative disease robbing her of her dream of making the Olympic ski team. She is independent to the point of stubborn, and has found a way to supplement her house/cat-sitting gigs with the help of her only friend Cam (Keaton Kaplan). Homeowner Debra (Laura Vandervoot) greets her at the sprawling, snow-covered remote mansion Sophie has been hired to ‘watch’.

Of course we know where this is headed, because who is more vulnerable than a blind girl alone in the house (with a cat)? The twist here is an app recommended by Sophie’s mom. It’s called “See For Me” and it’s a way for someone to assist a blind person by using the smart phone camera. Sophie is hooked up with Kelly (Jessica Parker Kennedy, “Black Sail”), a military veteran whose expertise at video game invasions will come in handy. Kelly is direct and efficient in her instructions to Sophie – from helping her jiggle open a sliding glass door to evading the three men who break into the house while she’s asleep.

The cat and mouse between Sophie and the intruders provides the necessary tension, and the main twists involve Kelly on the app and Sophie as a tough-to-like person. This is no angelic type that you’d like to hug and protect, in fact, she’s often abrasive to the point of rude. But most importantly, she’s tough and strong-minded. The interaction between Sophie and Kelly is the most interesting, and there’s also a sequence with a police officer that plays like a chain of events that could happen. Kim Coates adds a nice touch in his role … you might recall him as the drifter in WATERWORLD (1995).

By opening the film with “Introducing Skyler Davenport”, we know right away who the film belongs to. Skyler is a non-binary actor whose adult-onset vision impairment make the performance that much more impressive. Skyler is attempting to transition from a successful voice acting career into an on screen one, and this is a terrific start. We do wish the film had taken a few more risks, rather than sticking with some of the old stand-bys. The opportunities were there, but the punches weren’t thrown. Still, for a January thriller, director Okita’s film holds its own.

In select theaters and On Demand beginning January 7, 2022

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Posted by David Ferguson

NIGHTMARE ALLEY (2021)

December 17, 2021

Greetings again from the darkness. Fans of filmmaker Guillermo del Toro anxiously await his new projects knowing full well that each will have a stylish atmosphere, a certain fantastical creepiness, and characters a bit outside the norm (whatever normal is these days). Beyond that, the mystique derives from whatever new approach the extraordinarily talented filmmaker will surprise us with this time. For his first follow-up to his Oscar winning THE SHAPE OF WATER (2017), del Toro and co-writer Kim Morgan have adapted the 1947 cult noir classic by director Edmund Goulding (starring Tyrone Power), which itself was adapted from William Lindsay Gresham’s 1946 novel.

Bradley Cooper (an 8 time Oscar nominee) stars as Stan Carlisle in what is a terrific opening sequence. We witness Stan leaving his past in ashes, then catching the bus out of town, until he steps off and follows a dwarf into the heart of a carnival where sideshows and freaks are the attraction. Through this progression, Stan utters nary a word for quite an extended period. Soon enough, Stan has become part of the fabric of the carnival, thanks to Clem Hoatley (Willem Dafoe) giving him a job, and mentalist Zeena (Toni Collette) giving him more than that. Stan is a quick study and takes in Clem’s history of “the geek”, and more importantly, he absorbs all secrets and the code from the telepathy show Zeena and her alcoholic husband Pete (David Strathairn) constructed. They not only pass along their trade secrets, but also a warning to avoid “spook shows”, which involves bringing up the dead for audience members.

Stan takes to the con quite naturally, and soon he is teaming with ‘electric girl’ Molly Cahill (Rooney Mara) to fine-tune their own psychic shows. Their relationship grows and within a few years, the two are performing at swanky hotels for high-society audience. It’s at this point where the movie transitions abruptly from the raunchy carnival setting with tattered tent flaps, floors of hay, and freaks and gadgets, to stunningly sleek Art Deco, fancy dress, and fancier words. One evening, Stan battles wits with an audience member, and his life path is altered again. Dr. Lilith Ritter (Oscar winner Cate Blanchett) is a psychologist who stays a step ahead of Stan, though he never realizes she has drawn him into her scheme, leading him to believe they are working together.

For those who have not seen the 1947 film, you won’t know that the central idea that folks need to believe in something is minimized, while Cooper’s differing approach to the role will not matter. However, for fans of the earlier film, it seems clear his intentions are less sinister, and he merely views his new skill as a path to wealth. Additionally, his aversion to alcohol too obviously foretells a role in his ultimate downfall. Ms. Blanchett relishes her role as a most intelligent noir femme fatale, and at times, simply overpowers Cooper in their scenes … although these scenes are gorgeous. This cast is absurdly talented and deep, and also includes Richard Jenkins, (Oscar winner) Mary Steenburgen, Holt McCallany, Clifton Collins Jr, Tim Blake Nelson, Jim Beaver, Mark Povinelli, Ron Perlman, and Peter MacNeil. Mr. Cooper and Ms. Blanchett are the featured performers, although my preference would have been more Dafoe and Collette.

Perhaps the real stars of the film are the technical team members: Production Designer Tamara Deverell, Art Director Brandt Gordon, Set Director Shane Vileau, and Costume Designer Luis Sequeira. In fact, one of Ms. Blanchett’s dresses is designed cleverly for one scene which reveals something from Lilith’s past. It’s rare for a film to offer two such contrasting and brilliant looks as what we see here with the carnival in the first half, and the Art Deco of the second. Nathan Johnson’s music is a good fit, especially for the first half.

Surprisingly, it seems as filmmaker del Toro has softened the edges of the characters and story for a more accessible film, though it still features less-than-admirable human beings. It lacks the final packaging regarding the reason the pieces are all related, and we never experience the nerve-jarring intensity of a true noir, though that final scene with Cooper and Tim Blake Nelson is stellar. The director seems to love the shadowy look and feel of the carnival and characters, and not so much the glossy bits of the second half. Still, how good is a filmmaker when one that is not his best work, is still at a level many filmmakers can only dream of? The letdown is like the “geek” job … it’s only temporary.

Opening in theaters on December 17, 2021

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Posted by David Ferguson

THE NOVICE (2021)

December 17, 2021

Greetings again from the darkness. The debut feature film from writer-director Lauren Hadaway is not the inspirational sports movie we’ve come to expect. There are no last second heroics. No Gatorade showers. No coaches being hoisted on the players’ shoulders. In fact, despite being centered on a college rowing team, this is much more of a disturbing psychological thriller than a sports movie. And it’s a pretty darn good one at that.

Isabelle Fuhrman (ORPHAN, 2009) stars as Alex Dall, a college freshman who, despite no athletic background, decides to join the novice rowing team run by Coach Pete (Jonathan Cherry). We immediately recognize that Alex falls on the obsessive side of personality types, as she immerses herself in techniques, record times, and relentless practice. But this trait isn’t limited to rowing, as Alex milks every possible second on Physics exams by going over and over her answers until Dani (Dilone), the Teaching Assistant, annoyingly calls ‘time’. Alex lives her life by checking boxes: exhaustive rowing, studying, one night stand, etc. She must defeat each day, and is the definition of perpetual motion, albeit a bit skittish.

Even though Alex makes no effort to bond with her teammates, we initially find ourselves rooting for her simply because of her determination and commitment. Our rooting soon turns to concern and ultimately shock as we watch Alex push herself to extreme limits both physically and mentally. With the possibility of things settling down a bit as Alex and Dani find comfort in each other, the hope is short-lived as Alex dives right back into obsessive training that results in shredded hands and mental anguish. We hear the voices from inside her head and realize this goes way beyond someone pushing themselves to succeed. Self-harm and isolation take over from Alex’s chant of “legs-body-arms”. As an actor, Ms. Fuhrman never backs down – it’s quite a performance.

Filmmaker Hadaway farms her time as a college rower, and includes the character of Jamie Brill (an excellent Amy Forsyth, CODA) so that we have a legitimate comparison to an athlete pursuing excellence in a more acceptable manner. Alex’s obsession is nightmarish and carries a horror film vibe. This makes an insightful statement on society’s unhealthy drive for excellence and perfection in all things. Ms. Hadaway uses quick edits, sound, and color tones as the film shifts moods. WHIPLASH (Hadaway served as Sound Editor) and BLACK SWAN may be the best comparisons for obsessive drive to achieve a goal, but Alex takes it even more extreme. She never once merrily rows down the stream. A terrific opening drone shot of a boat on the water appears to be serene, but when it reoccurs later, context is provided. Here’s hoping Lauren Hadaway has more oars in her cinematic boat.

In select theaters and On Demand beginning December 17, 2021

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Posted by David Ferguson

ENCOUNTER (2021)

December 2, 2021

Greetings again from the darkness. It’s all in the terminology you opt to use. Secret rescue mission or kidnapping. Protective or paranoid. Alien invasion or mental illness. By opening on a meteor flashing across the night, and following that with National Geographic-style shots of bugs in nature, parasites attacking hosts, and news clips of violent rioters, we can’t help but assume that writer-director Michael Pearce (BEAST, 2017) and co-writer Joe Barton want us to believe the end is near.

Riz Ahmed (SOUND OF METAL, 2019) stars as Malik Khan, a former Marine and paroled ex-convict who is on a mission to rescue his boys from the “non-terrestrial micro-organisms” infecting the human race and taking over the planet. His oldest, Jay (Lucian-River Chauhan) is observant and smart, while the younger Bobby (Aditya Geddada) is a bit quick with his outbursts. Since the boys live with Malik’s ex-wife, his midnight visit awakens them for a “surprise” vacation trip.

The bulk of the movie is the father-sons road trip. Most of the best scenes – those that generate the most tension – are between these three. One exception is a terrific sequence featuring a confrontation between Malik and a cop during a 3:00am traffic stop. It’s well-staged and plays right into our initial thoughts on the alien invasion, while simultaneously being our biggest clue. Soon, Malik is in touch with Hattie (Oscar winner Octavia Spencer, THE HELP, 2011), his sympathetic Parole Officer, who then involves the FBI – including kidnapping expert “Shep” (Rory Cochrane), who heads the manhunt and categorizes Malik as a “family annihilator” (exactly what it sounds like).

Cinematographer Benjamin Kracum makes the film looks top end, and Riz Ahmed shows again what a powerful actor he is. The frustrating thing here is that the first half of the film is a terrific set-up for a story that doesn’t happen. Instead this train changes tracks and devolves into something we’ve seen too many times before. If not for the included Townes Van Zandt song, this would have really “bugged” me.

In theaters Friday December 3, 2021

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Posted by David Ferguson

LAST NIGHT IN SOHO (2021)

October 28, 2021

Greetings again from the darkness. Every once in a while a movie captures that magic feeling of being swept away, and this wild film from writer-director Edgar Wright and co-writer Kristy Wilson-Cairns (1917) did just that for me. This is my kind of psychological-horror-thriller and with the exception of one sequence that went a bit too “slasher” for my tastes, I had a blast watching it. I’ll admit that, while also acknowledging more people will probably not enjoy this, than will. But for those who do, I feel confident they will share my enthusiasm.

Eloise (Thomasin McKenzie, JOJO RABBIT, 2019) opens the film by expressively dancing to Peter & Gordon’s “A World Without Love” while sporting a self-designed dress made of perfectly creased newspaper. Her room is filled with 1960’s colors and memorabilia and we soon learn she’s an orphan raised by her grandmother (Rita Tushingham, A TASTE OF HONEY, 1961). Eloise, or Ellie as she’s called, dreams of following her mother’s path to London, and is thrilled beyond measure when her acceptance letter arrives from the London School of Fashion. Ellie does carry the burden (and visions) of her mother’s mental illness, and her grandmother warns, “London can be a lot.”

Small town (Cornwall) Ellie with her timidity and wide-eyed innocence arrives in London and is immediately the target of ‘mean girl’ and fellow student Jocasta (Synnove Karlsen). Rather than subject herself to the abuse, Ellie sublets an attic room from an old lady landlord named Mrs. Collins (the last screen appearance for the great Diana Rigg). Ellie loves the room and her independence, but her dreams act as a portal back to those swinging 60’s of which she’s so fond. But that’s only the beginning. It’s here where she follows/becomes Sandie (Anya Taylor-Joy), and the mirror effects are truly other-worldly. Sandie is everything that Ellie wishes she was herself – confident, radiant, ambitious, and beautiful. This dream state allows Ellie to live vicariously through Sandie. At least initially.

The Ellie-Sandie sequences mess with your head in a wonderful way. Sandie seems to float across the club’s dance floor, and Ellie is mesmerized at first, before turning protective. The tone shifts when Sandie meets sleazy Jack (Matt Smith), a would-be agent who promises to get Sandie the shot at stardom she desires. This leads to ATJ’s amazing and breathy version of Petula Clark’s “Downtown”. It’s a standalone highlight of the film, and a moment that shifts the story yet again. If you are struggling to keep pace, you’re not alone.

Soho’s glamour is matched only by its grunge. The recurring dreams turn to nightmares, so that even Ellie’s waking hours are surreal. A mysterious elderly gent played by Terence Stamp may be the key to the mystery Ellie’s so busy trying to solve that she is oblivious to the romantic overtures by nice guy John (Michael Ajao). The nostalgia of the 60’s provides a visual treat with the Café de Paris, a massive theater marquee advertising James Bond’s THUNDERBALL, and Cilla Black’s “You’re My World”.

Filmmaker Wright gives us so much to discuss, but it’s crucial that the best parts not be spoiled. Just know that Oscar winner Steven Price (GRAVITY, 2013) provides an incredible mix of music, while Chung-Hoon Chung’s cinematography, Marcus Rowland’s Production Design, and Odile Dicks-Mireaux’s costumes all nearly steal the show. But of course, that can’t possibly happen thanks to the stupendous performances from Anya Taylor-Joy and (especially) Thomasin McKenzie. These are two of the finest young actors working today, and we will be fortunate to watch their careers develop.

Edgar Wright is having quite a year. He’s already delivered the terrific documentary, THE SPARKS BROTHERS, and now comes what is his best work yet. You may know his work on BABY DRIVER (2017) or the Three Flavours Cornetto trilogy that kicked off with SHAUN OF THE DEAD (2004). Here, he playfully bounces between genres serving up time travel, a murder mystery, the Soho history, a memorable soundtrack, surreal dream and ghost sequences, a touch of romance, and that previously mentioned ‘slasher’ scene. A final tip of the cap to Diana Rigg, whose career spanned her role as Emma Peel in “The Avengers” (from the 60’s), her time as a Bond girl in ON HER MAJESTY’S SECRET SERVICE (1969), and ultimately as Olenna Tyrell in “Game of Thrones”.

Opens in theaters on October 29, 2021

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Posted by David Ferguson

ANTLERS (2021)

October 28, 2021

Greetings again from the darkness. I’m sure Scott Cooper is a well-adjusted, happy guy. At least I hope so. However, if he were to be judged only by his movies, we would assume the man is humorless and focused on serious topics only. He’s also extremely talented as a filmmaker, as evidenced by CRAZY HEART (2009), OUT OF THE FURNACE (2013), BLACK MASS (2015), and HOSTILES (2017). This latest is his first monster movie, and again – no happy thoughts, despite the expert craftsmanship. Mr. Cooper co-wrote the script with Henry Chiasson, and Nick Antosca’s, adapting Antosca’s short story, “The Quiet Boy”.

There is a lot to take in with this one: Native American legend, child abuse, drug abuse, alcohol abuse, economic woes, strained family relationships, and yes, a violent monster. Keri Russell (“The Americans”) stars as Julia Meadows, who has returned to her hometown to teach school. She left 20 years ago due to an abusive father, and still carries the guilt of leaving her younger brother in that situation. Trying to mend their relationship, she has moved in with him. Paul (Jesse Plemons, I’M THINKING OF ENDING THINGS, 2020) is the reluctant town Sheriff who doesn’t say much, but carries out his thankless responsibilities in a dutiful manner.

We witness Frank Weaver (Scott Haze, OLD HENRY, 2021) in his meth lab hidden deep in a coal mine, while his youngest son Aiden (Sawyer Jones) waits in the truck outside. In a terrific scene, filmed brilliantly, Frank discovers what else is hiding in the mine, and it changes things forever. Julia teaches Frank’s older son Lucas (Jeremy T Thomas), and immediately hones in on him as a kid with all the signs of being abused. And it turns out, Lucas does get bullied by a Scut Farkus lookalike played by Cody Davis, and Lucas’ art work leaves little doubt things aren’t going well in his life.

What we soon learn is that Lucas is carrying a burden that no one should have to. Julia’s history plays a role in pushing a school administrator (Amy Madigan) to investigate his home life. Filmmaker Cooper has created a perfectly oppressive atmosphere, and there are some terrific elements – including the performances of Keri Russell and young Jeremy T Thomas. However, at times, it feels like the story strains to include all the messages it’s trying to deliver. Proof of that comes in the form of Graham Greene (WIND RIVER, 2017) and his role as the former sheriff. His appearance is too brief and he seems to have drawn the short straw as the character having to spell things out for the audience – the Native American legend of Wendigo, and how the spirit has been awoken by man’s destruction of nature.

Florian Hoffmeister’s cinematography is top notch and captures small town life in rural Oregon, as well as the monster moments. Composer Javier Navarrete is to be commended. His score never overwhelms, as happens so frequently in horror films. The film is produced by horror master Guillermo Del Toro, and his fingerprints are evident. The loose mythology and heavy-handed lessons for mankind are salvaged by the terrific practical effects and gloomy atmosphere. Director Cooper has delivered again, though this may not be his natural genre.

Opens in theaters October 29, 2021

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Posted by David Ferguson

THE GRAND BOLERO (2021)

October 27, 2021

Austin Film Festival 2021

Greetings again from the darkness. The symphonic crescendo of Maurice Ravel’s “Bolero” is perfectly synched with this film’s crescendo, creating a heart-racing, frantic few moments of passion, lust, revelation, and shock – for both the characters and viewers. Also shocking is discovering that this is writer-director Gabriele Fabbro’s first feature length narrative film (after many shorts and videos). This is expert filmmaking and creative storytelling that harkens back to classic 1970’s cinema in a time when it’s certainly needed and appreciated.

Veteran Italian actor Lidia Vitale stars as Roxanne. The film opens on her haggard face as she utters, “F-you”. Right on cue, the organ music thunders over the opening credits. Her bitterness is aimed at the banner hanging outside the church where she works. The words on the banner dare state, “Everything will be fine”. This is March 2020, and Italy has just begun the initial shutdown over COVID-19.

Roxanne is a passionate restorer of pipe organs, and this 1700 church currently houses two – one from 1500 and one from 1900. After a workplace tragedy, Roxanne’s supervisor, Paolo (Marcello Mariani), finds her an assistant who will work for organ-playing lessons and food. Lucia (Ludovica Mancini) is a young, eager-to-learn mute. Her soft, soulful eyes are in stark contrast to Roxanne’s sharp facial features and stone cold glares of loathing. Whereas Roxanne is angry, annoyed, and hot-tempered, Lucia remains spirited, open, and energetic.

Of course, the barriers between the two slowly break down, but the twists and surprises and secrets are gradually unveiled. Roxanne’s obsessions are not limited to the beautiful pipe organs and sweet Lucia has a side to her no one would have predicted. Ms. Vitale’s performance really drives the story and the building of trust between Roxanne and Lucia. The manner in which conveys the softening of her barriers and the re-directing of her focus is fascinating.

Without being overbearing, the film reminds us of the pandemic through Paolo’s all too frequent ringing of the ‘death bell’, the television reports playing in the background, the protective mask defiantly looped around Roxanne’s ear, and the warning that nature may carry out God’s wrath. And speaking of nature, the camera work outside the church is, at times, stunning in its beauty, striking angles, and message. It’s rare to find a filmmaker’s ‘first’ feature so original and well-executed, and that is on top of Mr. Fabbro’s use of powerful pipe organ music throughout. This is a truly fine film that hopefully will find an audience.

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Posted by David Ferguson

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