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

NO TIME TO DIE (2021)

October 10, 2021

Greetings again from the darkness. Bond 25 is here, and it’s quite a curtain call for actor Daniel Craig. The film’s release has been postponed numerous times since September 2019, which has caused expectations and anxiety to build amongst Bond fans. It’s been almost six years since SPECTRE (2015), and this is Daniel Craig’s fifth and final turn as 007. This production faced challenges even before the pandemic hit. Cary Joji Fukunaga (best known for “True Detective” and BEASTS OF NO NATION, 2015) was hired to direct after Danny Boyle stepped down (or whatever happened), and Phoebe Waller-Bridge was brought in to spice up the dialogue on the script from Fukunaga, Neal Purvis, and Robert Wade (the latter two having been involved in writing all five Bond movies for Craig). Of course, it’s Ian Fleming to whom we stand eternally grateful for the original characters.

For those accustomed to the James Bond cinematic formula, you’ll notice quite a few differences – beginning with the opening scenes. Traditionally, breathtaking action kicks off the film; but this time a shift in tone and style serves up a tension-filled opening that occurs a few years prior to the rest of the story. It takes a few minutes before we get the first true action sequence. Of course, we must keep in mind that we are dealing with a “retired” James Bond (don’t worry, it’s not like “fat Thor”) … in fact, there’s already a replacement 007 and she (Lashana Lynch, CAPTAIN MARVEL, 2019) packs quite an attitude and skill set.

It’s his old CIA buddy, Felix Leiter (Jeffrey Wright), who draws Bond back into the espionage game, and of course, the reason is to save the world (what else could it be?). This year’s world-domination-seeking villain is the cleverly named Lyutsifer Safin, and he’s played by Oscar winner Rami Malek (BOHEMIAN RHAPSODY, 2018). Safin is a low-key baddie whose weapon is a DNA-altering chemical that’s probably a bit overly complex for a Bond movie, and it’s also a bit strange that Safin/Malek only has a few substantive scenes. For those who saw SPECTRE, you’ll recognize many of the faces, including Lea Seydoux as Madeleine Swann, Ralph Fiennes as M, Ben Whishaw as Q, Rory Kinnear as Tanner, and Naomie Harris as Moneypenny. Also back for a terrific scene is Oscar winner Christoph Waltz as Blofield. The new faces include the aforementioned Lashana Lynch as Nomi, Billy Magnusson as Logan Ash, and Craig’s KNIVES OUT co-star Ana de Armas as Paloma. Ms. de Armas brings a jolt of energy and some smiles to the proceedings, and it’s a shame her appearance is so short.

It’s unusual for a Bond song to win its Grammy before the movie is ever released, but that’s exactly what happened for Billie Eilish’s achingly somber title song. Oscar winner Hans Zimmer (THE LION KIING) delivers a wonderful score in his first Bond outing (you’ll hear how he incorporates the Eilish song), and the cinematography from Oscar winner Linus Sandgren (LA LA LAND) is everything we could hope for in the action sequences (there is no shortage of bombs), as well as the quiet moments.

Speaking of the quiet moments, this is undoubtedly the most sentimental and emotional of all Bond films. Sure, we get the amazing set pieces, the crazy stunts, the awesome Aston Martin (until it isn’t), the cool gadgets, the wisecracks, and the shootouts – but we also get Bond at his most reflective and personal. There is a line in the film, “Letting go is hard.” And it is … both for Bond and for us. So welcome back and adieu, Mr. Bond. Craig. Daniel Craig.

The film opens in U.S. theaters on October 8, 2021

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Posted by David Ferguson

THE GUILTY (2021)

September 30, 2021

Greetings again from the darkness. Let’s start with this disclosure: the original Danish film from Gustav Moller was one of my top 5 favorite films of 2018. Even then, I fully expected an Americanized version to happen at some point. The surprise is having director Antoine Fuqua (TRAINING DAY, 2001) handle the remake. He’s known more for bombast and action, than the nuanced suspense delivered by the original. To offset this, Mr. Fuqua wisely chose the dependable Jake Gyllenhaal as his lead, and the talented Nic Pizzolatto (creator and lead writer of HBO’s “True Detective”) to adapt the screenplay.

Gyllenhaal never cheats the audience, and he dives into the role with his typical full force commitment. Except for a few blurry visuals of cars on the highway and the dramatic opening shots of the raging California fires, Gyllenhaal’s Joe Baylor is on screen for the entire run. He’s a detective on desk duty at the 911 call center pending his court case on charges that only become clear towards the end. Joe is also separated from his wife and daughter; a crucial element in how his shift plays out in front of us.

As we listen in on his first few calls, it becomes obvious how Joe’s time on the streets have fine-tuned his quick-to-judge persona. He’s not shy about telling callers their own choices are responsible for their current predicament. Just as he’s about to dismiss his latest caller Emily, his instincts kick in, and he discerns that she’s been abducted by her husband in a white van, and fears for her safety. This initial call between Joe and Emily is a work of art, and kicks off the nearly unbearable tension for the rest of the movie and Joe’s shift.

Fuqua and Pizzolatto infuse commentary unique to modern day America. The fires are always in the background impacting emergency resources, as well as the air being breathed. Police collusion and abuse of power are also an underlying aspect of what unfolds in front of us. Yet somehow, the film (perhaps accidentally) speaks to the immense pressure faced by law enforcement and how instincts and quick judgments are crucial to assistance and survival. Joe bounces from calm demeanor to explosive overreaction in the blink of an eye – or the beep of an incoming call. We witness how preconceived notions can lead one astray, even if they’ve worked in the past.

In addition to Gyllenhaal’s commendable performance, the film includes terrific voice work (via phone) from such actors as Riley Keough (as Emily), Peter Sarsgaard, Ethan Hawke, Da’Vine Joy Randolph, Christiana Montoya, and Paul Dano. Adrian Martinez and Christina Vidal appear alongside Gyllenhaal in the call center, although the single setting contributes to this being mostly a one-man show.

We understand that Joe Baylor is seeking personal redemption in his all-out pursuit to save Emily, and one line in the film speaks directly to this: “Broken people save broken people.” If you haven’t seen the original, you are likely to get caught up in the tension, and ask yourself many of the same questions Joe is asking himself at the end. Gyllenhaal previously teamed with director Fuqua in SOUTHPAW (2015), but this crime thriller is something different for both. If you are up to the challenge, watch this version and the original, so that you can compare the contrasting approaches.

Streaming on Netflix beginning October 1, 2021

WATCH THE TRAILER

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Posted by David Ferguson

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