THE COW (SXSW 2022)

March 23, 2022

SXSW 2022

Greetings again from the darkness. There is a fine line between movies that cheat and those that cleverly keep us guessing. The first feature from writer-director Eli Horowitz and Matthew Derby seems to fully embrace cheating as a storytelling structure, relegating us to merely observing rather than guiding us as engaged participants. The film opens with a severely mismatched couple driving deep into the woods for a weekend getaway. We’ve all heard that “opposites attract”, but Kath (an excellent Winona Ryder) and Max (John Gallagher Jr) have been together for a year, and not only do they have opposite life goals, the two can barely hold a conversation. It’s not just awkward, it makes no sense that these two could have co-existed for so long.

Their drive leads to a ‘cabin in the woods’ set-up, as another couple is already settled in. The double-booking leads to another awkward exchange with Max pleading to let them stay the night … two unfamiliar couples sharing the cabin. Taciturn and creepy Al (Owen Teague) and overly exuberant Greta (Brianne Tiu) agree and soon the four are drinking together and playing an adult board game that exposes more personality divides. Despite dating the younger Max, or perhaps because of it, Kath is transitioning into a quieter middle-age life stage. Max is a childish man constantly pressuring Kath to be ‘more adventurous. Al and Greta have an “open” relationship, and she’s unapologetically flirty with Max, while Al mostly scowls. Kath heads off to bed before the others, and when she wakes up the next morning, an upset Al informs her that Max and Greta took off together.

So, Kath does what no real person would do. She heads back to her life as a horticulturalist and enjoys the solitude … right up until she finally reacts the way every other human would have initially. She wonders why long-time boyfriend Max didn’t bother to call or text or mail a postcard. This kicks off her (too late) mission of solving the mystery, and it leads her to connect with the mysterious Barlow (Dermot Mulroney), the owner of the cabin. Kath and Barlow go on a stakeout and end up telling personal secrets to each other – including details of the genetic illness that affected his father and may impact Barlow as well. They seem to connect despite the oddity that brought them together.

Director Horowtiz abuses the flashback crutch by filling in the many otherwise unexplainable gaps that exist in the actual timeline. It’s during these segments when we learn about the characters and circumstances that brought them together, although, to the film’s credit, it does allow us to experience the final reveal as it happens. There are some nice touches throughout, including shots of a shipping container behind the cabin that is visible from multiple spots and at various times. Kath’s work with plants provides a certain symmetry, and Barlow’s backstory is interesting. Perhaps the most unique element here is with only five main characters, the story involves four distinct generations: boomers, Gen X, Millennials, and Gen Z (maybe not exact birthdates, but close enough). The cabin in the woods put us on high alert early on, but the reliance on flashbacks taints the twists to such an extreme that the ultimate reveal of ‘the cow’ is a bit of a letdown, and still feels like cheating.

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Posted by David Ferguson

THE PRANK (SXSW 2022)

March 23, 2022

SXSW 2022

Greetings again from the darkness. You need only know one thing to put this on your must-see movie list: beloved EGOT Rita Moreno plays a bad*** teacher in a horror-comedy. As a bonus, the film is loads of fun and is actually filled with comedy and suspense. Directed by Maureen Bharoocha and co-written by Rebecca Flynn-White and Zak White, the film allows the 90-year-old WEST SIDE STORY star to shift her pesona into Mrs. Wheeler, the demanding AP Physics teacher who thrives on intimidating her students to do better.

Connor Kalopsis plays Ben, the stressed-out over-achiever aiming for the scholarship that will get him admitted to the same college his recently deceased father attended. All he needs is to make the grade on his midterms. That plan comes to a screeching halt when Mrs. Wheeler announces she is failing the entire class due to a cheater in their midst. Ben is crushed and when he tells his best friend, Mei Turner (Ramona Young), about the unfair situation, she goes into full friend-protection mode. See Turner is not as ambitious as Ben, although she’s a brilliant computer hacker and hatches a plan to “prank” Mrs. Wheeler. She plants the rumor and “creates evidence” on social media that Mrs. Wheeler was responsible for the disappearance and possible death of one of the school’s missing students.

As you might imagine, the prank goes awry and the fallout is devastating. It becomes a viral accusation and attracts the police, causing tragic problems for the disliked teacher. Bringing just the right touch of comedy, the supporting cast includes Keith David as the Principal, Kate Flannery as the sarcastic cafeteria worker, Jonathan Kimmel (Jimmy’s brother) as the all-knowing custodian, and Meredith Salenger as Ben’s trusting mother. Each of these seasoned professionals contributes, and I found Ms. Flannery to be particularly effective.

Director Bharoocha does a really nice job blending the genres and juggling the multiple pieces. She provides a twist on the ‘skeletons in the closet’, and really let’s Ms. Moreno do her thing. If there is any complaint here, it’s that the envelope could have been pushed a bit more on the horror aspect, but that’s only a minor wish. Topping off this fun ride are the hilarious outtakes that play over the closing credits. I do wish more directors took advantage of this.

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Posted by David Ferguson

SPIN ME ROUND (2022)

March 22, 2022

SXSW 2022

Greetings again from the darkness. Expectations were sky high for the latest from writer-director Jeff Baena. His twisted humor was evident in THE LITTLE HOURS (2017), and he has collaborated again with his HORSE GIRL (2020) co-writer Alison Brie, who also takes the lead role. The assembled cast is filled to the brim with folks who have proven comedy chops, and much of the film takes place in gorgeous Italy. What could go wrong? Well, technically nothing goes wrong, it’s just not as right as we hoped.

Alison Brie stars as Amber, a dedicated 9-year manager of the Bakersfield, California Tuscan Grove restaurant. It’s a chain of Italian fast casual clearly meant to mock Olive Garden, and we get multiple shots of their pre-packaged bulk Alfredo sauce. When Amber’s District Manager (Lil Rey Henry) informs her that she’s been selected for an all-expense paid trip to Italy for the company’s immersion program, she’s thrilled to have some excitement in her life – plus her friend (Ego Nwodim) floats the idea of her finding love on the trip.

The group of managers is disappointed when the promised Italian villa is actually next door to the non-descript box motel where their rooms are located (Amber has a view of dumpsters). Sessions are held in a bland conference room, and those sessions are mostly unnecessary cooking lessons run by Lauren Weedman, offering no flavor of the country’s culture. The fun here is derived from the interplay between the characters/actors. Zach Woods plays Dana, an over-the-top superfan of Tuscan Grove and its owner; Tim Heidecker is Fran, the full-of-himself type; Ayden Mayeri is the giggly one; Debby Ryan the aloof participant; and Molly Shannon frets incessantly over her lost luggage and erases all boundaries once Amber offers to lend her some clothes. The facilitator of the sessions is oddball Craig (Ben Sinclair), who excels in moments that beg, “was that supposed to be funny?”

The dynamics change when Tuscan Grove owner Nick (Alessandro Nivola) drops in to the sessions with his assistant Kat (Aubrey Plaza, married to director Jeff Baena). Nick takes an immediate shine to Amber and their scene aboard his yacht is one of the film’s best. His attraction seems to stem from the fact that she favors his deceased sister. That’s wrong on so many levels. Beyond that, when Amber and Kat take off for a spin through the town, it’s another highlight, as Ms. Plaza and Ms. Brie play off each other magnificently.

There is a creepy element to the film. The manager’s retreat plays out differently than hoped, and the names Dana and Fran play a significant role in what is actually going on. Nick’s actions are a bit disturbing, and Kat’s role could easily be interpreted as falling into the Ghislaine Maxwell category. And then there is a tonal shift to the point where it seems we may be in the midst of a murder mystery. It’s all a bit chaotic, but never quite as funny or tense as we hope.

Ms. Brie has a wonderful screen presence as she bounces from naïve to hopeful to confused to concerned. Mr. Nivola is also terrific flashing the charisma in TV ads and then transitioning to the soulful, manipulative, entitled rich scumbag. The contrast in the story is as distinct as the two books mentioned, Elizabeth Gilbert’s “Eat, Pray, Love”, and Gabriel Garcia Marquez’s “News of a Kidnapping”. Few movies combine the blandness of Bakersfield, the romance of Italy, near slapstick comedy, the suspense of a thriller, the lameness of corporate America, a kinky sex party, and a pack of stampeding wild boars. It’s a lot to take on, and some parts work better than others. While we expected it to be more clever, just know going in that you should be like Amber – guarded with an open-mind.

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Posted by David Ferguson

THE OUTFIT (2022)

March 17, 2022

Greetings again from the darkness. Graham Moore won an Oscar for his screenplay on Alan Turing’s life in THE IMITATION GAME (2014). Now he has directed his first feature film, one he co-wrote with Johnathan McClain. The final product is a bit unusual in that it takes place almost entirely in one spot … a tailor’s shop … and features only a handful of characters. It’s a film that would transition easily to the stage for live performances.

Mark Rylance (Oscar winner for BRIDGE OF SPIES, 2015) excels here as Leonard, a Savile Row-trained tailor now working his craft in his own shop in 1956 Chicago. His path from London to the windy city is a bit murky, but we immediately take note of Leonard’s calm and elegant presence accompanied by his soothing voice. Rylance uses that voice as narrator to explain the intricacies involved with creating a man’s suit, and the importance of reading the man prior to utilizing the 4 fabrics and 38 pieces that make-up the outfit. Leonard is also protective of Mable (Zoey Deutch, ZOMBIELAND: DOUBLE TAP, 2019), his assistant who dreams of traveling the globe.

An early montage shows us how the mob utilizes Leonard’s shop for drops, and trusts him due to his ‘see no evil, hear no evil, speak no evil’ demeanor. Leonard is one cool dude, and it’s obvious we (and the mob) are underestimating him … but we can’t quite figure out why or by how much. One crazy night changes everything. Richie (Dylan O’Brien, THE MAZE RUNNER franchise) is brought into the tailor shop after being shot by a rival gang ambush. He’s accompanied by Francis (Johnny Flynn, EMMA., 2020), and the dynamics between these two is quite interesting. Richie is the son of the Boyle family patriarch and has been seeing Mable on the side, while Francis is the favored employee after saving Roy Boyle (Simon Russell Beale) by taking gun fire. Richie is a whiny, spoiled wannabe tough guy, while Francis is volatile and constantly sneering.

What follows is a bit Hitchcockian. We have plot twists, murder, backstabbing, danger, and surprises. When it’s discovered the Boyle family has a rat that is feeding details to the rival cross-town gang and the FBI, things get tense thanks partially to a MacGuffin audio tape. It all leads to confrontations in the shop, and some nice scene-chewing from Simon Russell Beale and Nikki Amuka-Bird as the leader of the rival gang. An elaborate plan by one of the characters is a pleasant surprise (to us, not the others). As Leonard points out on a couple of occasions, he’s a “cutter”, not a tailor – a distinction he takes as seriously as his skill with shears. The film’s title has double meaning: the suits Leonard crafts, and the national syndicate that involves the Boyle family. Most of this we’ve seen before, but it’s Rylance’s portrayal of Leonard that offers a different look and feel. Fans of deceptive thrillers will find some joy here.

Opens in theaters on March 18, 2022

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Posted by David Ferguson

DEEP WATER (2022)

March 17, 2022

Greetings again from the darkness. Based on his work, arguments can be made on both sides. Director Adrian Lyne is either a staunch believer in monogamous marriages, or he enjoys mocking the concept altogether. Surprisingly, this is his first film in 20 years since UNFAITHFUL (2002). To refresh your memory, he’s also the force behind 9 ½ WEEKS (1986), FATAL ATTRACTION (1987), and INDECENT PROPOSAL (1993). Co-writers Zach Helm and Sam Levinson have adapted the script from the 1957 novel by Patricia Highsmith, who also wrote “The Talented Mr. Ripley” and “Strangers on a Train”.

“Do you know I love you?” When one spouse feels the need to ask about love rather than declare it, you know it’s an unusual marriage. And in the category of unusual marriages, you’d be hard-pressed to find an arrangement more bizarre than the one between Vic (Ben Affleck) and Melinda (Ana de Armas). Thanks to real life public drama for Will Smith and Jada Pinkett, we all know that “open marriages” are a thing. But this with Vic and Melinda is neither fully “open” nor fully a marriage. Vic invented and sold a computer chip used in drones (mostly for warfare) and he’s so rich, that he’d rather watch his free-spirited wife drag home new boy-toys than give her an expensive divorce. But that’s as much explanation as we receive for what seems like a lose-lose-lose scenario. That third lose is for Melinda’s gentlemen friends who seem to mysteriously disappear once Vic becomes aware of them. One is gone before the movie even starts, and he’s followed by Jacob Elordi, Brandan Miller, and Finn Wittrock.

Perhaps the biggest mystery here is in deciding who displays more charisma, Affleck in this role or the snails that his character Vic breeds. We’ve joked about actors sleepwalking through roles before, but there are scenes here where that may actually be happening. Affleck mostly just dead-eyes Melinda and her men, though we are supposed to interpret his lack of expression as a combination of anger, jealousy, and lust. Fortunately, we have Ana de Armas to liven things up. She’s a full-grown party girl going through various stages of designer dress and un-dress. The supporting cast is comprised of Dash Mihok, Lil Rey Howery (who is in every movie these days), Kristen Connolly, Grace Jenkins as the smarter-than-parents kid to Vic and Melinda, and Tracy Letts as a curious novelist constantly side-eyeing Vic as research for a new book.

Is it cheesy? Yes. Is it sleazy? Yes. Despite twenty years of no movies, director Lyne delivers another high-gloss, play-pretend trashy erotic thriller that will fit perfectly in the streaming world. Affleck disappoints here after strong turns in THE TENDER BAR (2021) and THE WAY BACK (2020), and Ms. de Armas will next appear as Marilyn Monroe in BLONDE. Ben and Ana had their tabloid moment as a romantic couple after filming, but she is now the gone girl, and he has since reunited with JoLo. There are too many gaps in the story and characters for this to be considered a serious movie, but it’s sure to be entertaining enough for many.

Premiers on HULU beginning March 18, 2022

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Posted by David Ferguson

THE GIRL ON THE MOUNTAIN (2022)

March 7, 2022

Greetings again from the darkness. Jack Ward first appears as the conductor of an orchestra during a live performance. It seems to be going well until he declines a call from his teenage daughter, Melody. See, it’s his day to pick her up from school. When he doesn’t show up, she walks home. After receiving congratulations for the musical performance, tragedy and guilt strike Jack on the same day. And then tragedy strikes again. It’s more than one man can take, and the next time we see Jack, he’s on a mountaintop contemplating suicide.

Writer-director Matt Sconce delivers a story from Christopher Mejia, and much of it takes place in the Sierra Nevada Mountains of California. Actually, the mountains and the shots of nature (filmed by director Sconce) are the standouts here, as it’s terrain that we haven’t seen too often on screen. As a conductor, Jack (Daniel O’Reilly) was the ultimate clean-cut professional. After time on the mountain, he a haggard, worn-down man with little reason to live. He carries a bullet in his boot for the day when he’s strong enough to end things. One day, a mute girl steals food from his backpack. He tracks her down and since he (conveniently) knows sign-language, he learns the mute girl is running from a dangerous family situation. He calls her Aria (Makenzie Sconce, assuming her to be the director’s daughter), and the two bond over skimming stones, fishing, and paper airplanes.

The tension in the story is twofold: flashbacks and the pursuit. Jack and Aria both have their flashbacks to bad times. Jack recalls his mistakes with daughter Melody (Sarah Dorothy Little), while Aria’s dreams remind of her an unbearable life with her dad, Big Al. It’s Big Al’s pursuit of Aria that keeps her and Jack on the lookout. He’s hunting her down since she was witness to his horrible action. There are two distractions here that deserve mention. The eye makeup on Mr. O’Reilly is downright creepy at times, while the orthodontic braces on Aria’s teeth simply don’t belong, given the deep poverty of her home life.

Mr. O’Reilly, young Ms. Sconce, and Ms. Little are fine in their roles, but the other supporting characters, though not on screen for long, are detrimental to flow. The story of redemption and awakening is really nothing new, but the mountainous setting adds a level of differentiation that keeps us interested. A strange ending leaves us wondering, what now?

Available On Demand beginning March 8, 2022

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Posted by David Ferguson

FRESH (2022)

March 3, 2022

Greetings again from the darkness. Discotheques and Night Clubs were regularly referred to as ‘meat markets’, and all movie lovers are familiar with the term ‘meet-cute’. It’s rare for meat and meet to merge into a cautionary tale of modern-day dating, but that’s what we get from director Mimi Cave’s first feature film and a script from Lauryn Kahn (IBIZA, 2018). This twisted film should slide easily into the Midnight Movie rotation for those looking for a slicer, rather than a slasher.

Daisy Edgar-Jones (“Normal People”, 2020) stars as Noa, a twenty-something frustrated with the results of digital dating apps. Her experience is a case study on the challenges of meeting someone special, or even someone not psychotic, through a dating app. She swipes right on a cute puppy picture, and almost immediately receives an unwanted ‘private’ shot. When she does agree to have dinner with one guy, he criticizes her fashion, yearns for old-fashioned femininity, makes her pay half, and doesn’t bother to hold the door for her. Noa tells her close friend Mollie (Jojo T Gibbs) that she’s done with dating for a while, and who can blame her?

Not long after that trainwreck date, and when she’s least expecting it, Noa gets her meet-cute in the produce aisle at the grocery store. Steve (Sebastian Stan who plays Bucky Barnes in the Marvel Universe) is a charming, good-looking guy and she agrees to give him her number. Their first date is filled with the usual background Q&A stuff, but it’s clear that Noa and Steve have some chemistry. The reason this works cinematically is that director Cave allows us to view Steve through Noa’s eyes. Just like her, we are diligently searching for red flags, remaining on high alert for signs something is off. But plastic surgeon Steve’s early warning signs only become noticeable much later (too late) after his true self is revealed.

Steve’s true-self-revelation is a doozy, and the opening credits pop up just after the gut-punch, approximately 40 minutes in. While the first act plays a bit like a traditional rom-com with all the associated romantic awkwardness, the stunningly plausible shift jerks us and Noa in a different direction. Additional supporting work is provided by Dayo Okeniyi as an initially helpful bartender whose recognition of horror film tropes prevent him from taking any heroic action, and Charlotte Le Bon as a surprise addition to the proceedings. But it’s the performances and the twisted chemistry of Ms. Edgar-Jones and Mr. Stan that allows the premise to work and Act 3 to not quite slip into full blown absurdity. Without giving anything else away, I can admit that this referendum on dating and people, presented as a horror film, struck me as a blend of PROMISING YOUNG WOMAN (2020), GET OUT (2017), and a personal favorite, EATING RAOUL (1982).

Streaming exclusively on HULU beginning March 4, 2022

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Posted by David Ferguson

HUDA’S SALON (2022)

March 3, 2022

Greetings again from the darkness. Writer-director Hany Abu-Assad has had two films nominated for the Best Foreign Language Oscar. OMAR (2013) and PARADISE NOW (2005) were both excellent and deserving of such regard. His latest in ‘based on true events’ from Bethlehem, West Bank in Occupied Palestine. He shows us the intimidating wall around the city and points out the vulnerability of local women.

Reem (Maisa Ebd Elhadi) is in the chair for her appointment with Huda (Manal Awad) at the salon. The banter between the two women shows an obvious connection between a long-time client and her stylist. However, it’s the first visit in a while as Reem has recently had a baby, and the infant is along for this appointment. The cheerful conversation comes to an abrupt halt following Huda’s shocking actions. This extended take is difficult for us as viewers, as we see the entire thing unfold.

The ultimate betrayal between friends leads to a direct conversation that has Reem grasping for a proper solution and fearing for her life. Huda’s actions have placed Reem and her family in imminent danger. Huda has blackmailed Reem into providing information to Israel’s Secret Service … spying on her community. On top of tending to her infant child and worrying about her new perilous situation, Reem is also dealing with a jealous husband at home. Yusef (Jalal Masarwa) thinks his biggest concern is a wife who may be sneaking around on him (she’s not), when in fact, the danger is much more severe.

After the initial sequence in the salon, the bulk of the film is a back and forth between Reem desperately trying to save herself and her baby, and Huda being interrogated by Hasan (Ali Suliman), a Palestinian pushing Huda to identify those she has “turned” in the same manner she blackmailed Reem. The contrast between these two concurrent threads is striking. While both are ominous, Huda is exceedingly cool under pressure while Reem is frantic. The reason for the differences: Huda is resigned to her fate, while Reem remains hopeful.

It’s The Occupation versus The Resistance, and to be a traitor likely means death. But what to do when blackmailed and caught in a no-win situation? That’s Reem’s predicament. At the same time, Huda, already a societal outcast as a divorcee, has played her role and fully understands what that means. To ensure we “get” the existence women are living, director Abu-Assad inserts a scene in a clinic where a pregnant woman begs for another test after it’s announced she’s having another daughter. This perfectly illustrates the value of women caught up in the geopolitical battle between Israel and Palestine.

In theaters and On Demand beginning March 4, 2022

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Posted by David Ferguson

THE BATMAN (2022)

February 28, 2022

Greetings again from the darkness. Riddle me this: does “The Bat, The Cat, and The Rat” sound more like an opening line to a joke or the title of a Dr. Seuss book? In fact, those are three core elements of this new, COVID-delayed, and highly anticipated film from writer-director Matt Reeves and co-writer Peter Craig. I’ll confess to being a huge fan of Christopher Nolan’s ‘Dark Knight’ trilogy (that concluded 10 years ago), and being a bit skeptical to a new version featuring Robert Pattinson in the titular role (I’m choosing to totally ignore the in-between portrayals in the “Justice League” movies). Knowing full well how important it is for fans to watch these films with fresh eyes and a clear head, this review is purposefully vague on what will surely prove to be some of the more popular and contentious discussion points.

Let’s start with a general description and the setup. The film is dark and gloomy and gritty and grimy. Gotham is a cesspool of corruption and crime, and we get no glimpse into the other side, assuming there is one. Billionaire Bruce Wayne (Robert Pattinson) is still in his second year as the Batman, often referred to as “Vengeance”. There is substantial backstory for Mr. Wayne, who lives in relative seclusion with his trusty manservant Alfred Pennyworth (Andy Serkis), while the Batman prowls at night in his efforts to clean up the city. Of course he is unable to keep pace with crime and corruption, even with the close alliance he has built with good cop, Police Lt. James Gordon (Jeffrey Wright). It takes Batman’s Poirot-like detective skills to solve a riddle left as a clue in a particularly high-profile murder case. Soon it’s obvious a serial killer is at work and he has purposefully drawn the Batman into his game.

The caped crusader proceeds to cross paths with Selena Kyle/Catwoman (a terrific Zoe Kravitz), Oswald Cobblepot/Penguin (an unrecognizable Colin Farrell), District Attorney Gil Golson (Peter Sarsgaard), and crime lord Carmine Falcone (John Turturro). As city VIPs begin showing up dead, it’s a masked Edward Nashton/Riddler (Paul Dano) who always seems a step ahead. All of the above receive their chance to shine on screen, and while none let us down, it’s not until the mask is ripped from Riddler, and Dano really shines, that we are left wanting more. It should be noted that Farrell (with his facial prosthetics and fat suit) is kind of a second fiddle here, but it’s surely intentional and meant to set the stage for more Penguin antics down the road.

Pattinson will certainly receive the most scrutiny. I found him to be an excellent Batman, with black eye makeup smeared by sweat under his cowl, maintaining the grungy tone. His whispery voice differs from Christian Bale’s gravely growl, but works for the character’s withdrawn nature and preference for detective work over than fighting. Staying true to the premise that this is only his second year, there is a significant shortage of “wonderful toys”, and the batmobile is less rocket ship and more souped-up coupe. The contrast to these is a batsuit that seems quite advanced (and looks cool). It’s Pattinson’s Bruce Wayne that didn’t work for me. I respect the reclusive billionaire aspect, but he mostly looks like someone on their way to a Nirvana gig, leaving us wondering how the heck could anyone not connect the dots between a creepy rich guy and a nearly identical creepy guy in a bat suit. It’s a minor complaint, but one that stuck with me.

Oscar-winning composer Michael Giacchino (UP, 2009) takes a more classical approach than the dramatics of predecessors Hans Zimmer and Danny Elfman. Giacchino has been a frequent Pixar contributor, and scored some well-known blockbusters in franchises like ‘Jurassic World’, ‘Star Trek’, ‘Planet of the Apes’, ‘Mission Impossible’, ‘Spider-man’, and ‘Star Wars’. His work fits nicely here. Adapting characters and stories originated by Bob Kane and Bill Finger, Matt Reeves and Peter Craig have found a way to put their own stamp on the work. Mr. Craig is Oscar winner Sally Field’s son, and his previous scripts include THE TOWN (2010), parts 1 and 2 of THE HUNGER GAMES: MOCKINGJAY, and upcoming high-profile projects in TOP GUN: MAVERICK and GLADIATOR 2. Director Reeves has previously helmed the excellent horror film LET ME IN (2010), as well as DAWN OF THE PLANET OF THE APES (2014) and WAR FOR THE PLANET OF THE APES (2017).

This marks the first in a planned Batman trilogy, and a couple of the last scenes seemingly set the stage for what’s to come. Although this is an odd movie, here’s hoping the franchise maintains this tone and avoids the typical Marvel/DC overblown CGI approach. After all, the Batman is but one man, not a God of superpowers. This film is an unusual blend of noir-horror-detective-action-psychological thriller wrapped in a gray box with a black bow, and though it will likely be divisive among fans (isn’t everything?), this 3-hour epic leaves us anticipating the next ‘bat time’ and ‘bat channel’.

Opens wide in theaters on March 4, 2022

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Posted by David Ferguson

THE DESPERATE HOUR (2022)

February 25, 2022

Greetings again from the darkness. Given the tragic and inexcusable frequency of real world school shootings, it’s debatable whether the topic should be considered as the basis for a movie – even one that focuses on the emotional turmoil of mother and student. Regardless of anyone’s opinion on that, this viewer found very little of value in the film, outside of Naomi Watts’ efforts. It’s not particularly entertaining as a thriller, and some of the details that play out here would be comical, if not for the subject matter.

Two-time Oscar nominee Naomi Watts stars as widowed single mother Amy Carr. The one-year anniversary of the car crash that killed her husband has arrived, and those haunting visions still jolt her from a deep sleep. After calling in to work for a personal day, failing to roust her teenage son Noah (Colton Gobbo) from bed, and ensuring young daughter Emily (Sierra Maltby) is safely on the school bus, Amy heads out for a morning jog.

From that point on, most of what happens stretches the bounds of believability to the point that a few eye rolls are perfectly acceptable. Amy’s jog somehow takes her miles into a forest, and yet she manages to hold more phone conversations than an old-time switchboard operator. That is, until she learns of the active shooter. This triggers sporadic cell coverage – now she has it, now she doesn’t. Her magic phone does allow crazy fast and detailed GPS information, and yet the most ridiculous LYFT order ever. It’s clear every driver in town has had some form of car crash and evidently they all have dealt with the body shop across from the school, where the most helpful attendant in history answers Amy’s calls. The same can be said for the 911 operator she reaches multiple times – despite the local urgent and dangerous situation. And if I haven’t used the word ludicrous yet, that’s the best description of Amy’s interactions with local law enforcement … after her sprained ankle and slight concussion.

On the plus side, Ms. Watts gives the role everything she has. And since it’s a “pandemic” movie, almost every scene features her going solo. She’s a true professional that simply can’t save the material. Phillip Noyce directed one of my favorite underrated thrillers, DEAD CALM (1989), and is best known for the Harrison Ford – Jack Ryan thrillers PATRIOT GAMES (1992) and CLEAR AND PRESENT DANGER (1994). Screenwriter Chris Sparling was behind a far superior ‘one-actor’ film with BURIED (2010). A certain amount of guilt goes with criticizing this movie, given the topic; however, the exploitive nature and gimmicky elements prevent any other approach. The ending is an absurd display of social media with the all-too-familiar cry of “this has to stop.” Noyce’s film leaves us with the message that school shootings are horrible. It’s a message that I’m confident the vast majority of us have already received even before watching Naomi Watts run for 80 minutes.

In Theaters, on Digital, and On Demand February 25, 2022

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Posted by David Ferguson

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