LET HIM GO (2020)

November 5, 2020

 Greetings again from the darkness. Diane Lane and Kevin Costner reunite on screen, only this time it’s not as the earthy and earthly parents to Superman (MAN OF STEEL, 2013). Instead, this film from writer-director Thomas Bezucha (THE FAMILY STONE, 2005), based on Larry Watson’s 2013 novel, features the two stars as long-time married couple, Margaret and George Blackledge, living a peaceful existence on their Montana ranch. Well, it’s peaceful now, as George is retired from his career as a lawman.

Their son James (Ryan Bruce), his wife Lorna (Kayli Carter, “Godless”), and young son Jimmy live on the ranch with Margaret and George. Grandma Margaret’s devotion to her grandson and judgmental nature sometimes crosses the line, creating quiet tension with his mother Lorna. George’s trained eye sees it all, but he mostly keeps his thoughts private, although the communication he shares with Margaret is often through a simple gesture or nod. Their chemistry is one that’s only built through time (and fine acting).

When a freak accident leaves James dead, we flash forward three years as Margaret and George attend Lorna’s wedding to Donnie Weboy (Will Brittain, who was excellent in this year’s BLOW THE MAN DOWN). George senses that Donnie does not possess the highest moral character, but Margaret is hit hardest by the newlyweds moving off the ranch and taking her beloved grandson with them. Concern escalates quickly when Margaret witnesses Donnie being physically abusive to Lorna and Jimmy, and then he relocates them to North Dakota to be near his family … without so much as a warning or goodbye to Margaret and George.

Crossing Grandma Margaret is like kicking the hornet’s nest. Poor George arrives home one day to find the car packed and Margaret on a mission to bring Jimmy home. George’s feeble attempt to reason with her fails (as he knew it would) and the two are soon on the road through some gorgeous countryside captured by cinematographer Guy Godfree. Along the way, they cross paths and befriend Peter (Booboo Stewart), a Native American who deserted “Indian School” for a life of solitude on the plains. It’s also on this road trip where Margaret and George are inundated with every possible warning about the notorious Weboy clan of North Dakota. No specifics are provided, but the message is clear … no one messes with the Weboys.

A tip leads the grandparents to Bill Weboy (Jeffrey Donovan, “Burn Notice”), and he provides living proof that the Weboy clan is rotten to the core. Behind an evil grin, Bill invites Margaret and George to the family ranch for dinner and a visit with their grandson. At the ranch, we are introduced to the twisted matriarch, Blanche Weboy (Lesley Manville, PHANTOM THREAD, 2017). This meeting of the families is about as tense as any we’ve seen on screen. A clash of good versus evil is always welcome, which makes it so disappointing that a film so stellar to this point, abruptly shifts from an intriguing psychological thriller into a ludicrous circus of violence, poor decisions, and absurdity.

There is a lot to like here, before it spins off the axis. Diane Lane is ferocious in the role, and Costner is very effective as her ‘still waters’ husband. It’s a hoot to see Ms. Manville lose her British accent and go over-the-top as nasty Blanche, and the early 1960’s setting looks great, including the vehicles. As mentioned before, the scenery is breath-taking, with Alberta (Canada) standing in beautifully for Montana and North Dakota. Composer Michael Giacchino is more accustomed to working on superhero and animated movies, and the score is often distracting in the first half, but fits better in the final act. Brace yourself for a couple of tough to watch scenes and a jarring tonal shift.

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Posted by David Ferguson

KINDRED (2020)

November 5, 2020

 Greetings again from the darkness. It’s the first feature film for writer-director Joe Marcantonio and his co-writer Jason McColgan, which might explain why the film starts strong before faltering, mostly salvaged by three strong performances. Eighteen months into their relationship, veterinarian Ben (Edward Holcroft, KINGSMAN: THE SECRET SERVICE, 2014) and Charlotte (Tamara Lawrance) break the news to his mother that they are moving from England to Australia. Mum is none too pleased, as she expects her son to carry on the legacy of nine generations that have lived in the now dilapidated (and isolated) family estate.

Ben’s overbearing mother is Margaret (Fiona Shaw, Petunia in the Harry Potter movies) and she lives in the drafty mansion with Ben’s step-brother Thomas (Jack Lowden, TOMMY’S HONOUR, 2016), who seems more man-servant than son to Margaret. Charlotte soon discovers she’s pregnant, and while Ben is thrilled, she is unsure whether she even wants to keep the baby. Her own mother’s history plays a significant role in her uncertainty. A freak on-the-job accident kills Ben, and Charlotte soon finds herself … um … a guest of Margaret and Thomas. She’s the type of guest that’s not allowed to leave or make phone calls. Yep, she’s being held captive under the guise of this being in the best interest of her baby.

While Margaret is straight-forward vile and ignoble towards Charlotte, Thomas is more difficult to read … albeit no less off-center. Clearly both have a vision for where this is all headed. Margaret spills hers in a terrific scene where she lets her guard down with Charlotte, while Thomas is perfectly creepy and overuses the “making a quiche” punchline. For her part, Charlotte frequently passes out and has recurring dreams featuring birds/ravens/crows … and as fans of horror can tell you, that’s never a good sign. Has Charlotte been drugged or is she being gaslighted by Margaret and Thomas?

Director Marcantonio has delivered a psychological thriller that’s more frustrating than haunting. It has vibes of the classic ROSEMARY’S BABY (1968) sans Satan, but of course, is not at that level – although we do get the chilling doctor played here by Anton Lesser. Charlotte is the proverbial trapped damsel, but the film falls into a pattern of ‘escape-capture-repeat’. It also attempts to use music, but the combination of Debussy’s “Claire de Lune”, Bach’s Cello Suite No. 1, and the long-time standard “Dream a Little Dream of Me”, reaches overload. The Production Design from Derek Wallace and Set Decoration by John Neligan are top notch, but in the end, the frustration we feel overrides any creep factor or strong performance. It’s a near miss.

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Posted by David Ferguson

FISHBOWL (2020)

October 28, 2020

 Greetings again from the darkness. In the not so distant past, folks who lived in small towns felt like there were no secrets – everyone in town knew each other and what they were up to. Thus, the proverbial “fishbowl” of the title. Of course, these days, people in towns and cities of all sizes voluntarily advertise their every waking moment on social media, making privacy and gossip relics of a bygone era. Brother-sister co-directors Alexa Kinigopoulos and Stephen Kinigopoulos (first feature for both), working with a script by writers Piero S Iberti, Maria Stratakis, and (co-director) Stephen Kinigopoulos serve up a taste of small town life in the good ‘ol days.

“In Bishop, you either talk or you’re talked about.” So says our narrator Belle over the slow-motion opening montage. She’s the oldest of three sisters who live with their father and attend a local Catholic school. All members of this family are broken in their own way, and it’s made clear this is due to the beloved mother/wife no longer being around (though initially we aren’t sure what happened). Belle (newcomer Belle Shickle) is the rebellious one, though not quite as self-assured as she likes to think. The middle girl, Rachel (Emily Peachey), is sensitive and stunned when her friend tells her they can’t hang out anymore – even for her birthday. The youngest, Jessa (newcomer Caroline Coleman) hasn’t spoken a word in the 4 months (actually 118 days) since mom has been gone. Their dad (longtime stuntman-actor Rick Kain) is a mess, bouncing from over-zealous religious fanatic to forsaking it altogether, and then back again.

We see the family faced with hostile reactions in the community, at school, and even at church, where the priest suggests it would be better for everyone if they stayed away. Dad is drawn in by Tele-Evangelist Ron Peltz (Bobby J Brown) who is hocking his $1000 “Save Me Now” program as protection from The Rapture, which he proclaims will arrive on September 29. Close to foreclosure on their house, the dad plops down the grand, and forces his daughters to go door-to-door trying to “save” the neighbors from the end of the world.

A countdown to the final days also includes the teenage sisters trying to find their way in this new world. We get flashbacks to when they were younger and family life with mom (Judith Hoag, TEENAGE MUTANT NINJA TURTLES) was pleasant, despite dad’s alcoholism at the time. The three sisters cling to each other, but grow more concerned for their father and themselves. A particularly telling sequence has them defying their father and attending a costume party dressed as a devil, a nun, and a princess. It doesn’t end well, and sets up the finale.

The Kinigopoulos filmmakers give the movie a dreamy/surreal look and feel, and perhaps Jeff Nichols’ far superior 2011 TAKE SHELTER is the closest comparison. The four lead actors are fine (especially Ms. Shickle), but the background actors are exaggerated and distracting – perhaps this is done on purpose to help us understand what the family is going through. Pretty significant observations are offered up on small towns, parenting, church-goers, faith as a crutch, and alcoholism. It’s not an easy watch, and one that will probably not have mass appeal. It’s the type of movie that fits easily into the line-up of many film festivals, as that’s the environment where it is most likely to find appreciation.

Available VOD October 27, 2020

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Posted by David Ferguson

SYNCHRONIC (2020)

October 23, 2020

 Greetings again from the darkness. Innovative filmmakers Justin Benson and Aaron Moorhead are frequent collaborators, as evidenced by such films as SPRING (2014) and THE ENDLESS (2017). Their films teeter between science-fiction, horror, fantasy, and personal drama, and this latest easily slides into the mind-bending and time-warping space they excel in … and all without the mega-budget we’ve come to expect from such films (I’m looking at you INCEPTION).

The film opens on a couple sharing a motel room and what appears to be an acid trip. Strange hallucinations hit them both. We soon flip to an emergency call performed by best buddy New Orleans paramedics Steve (Anthony Mackie) and Dennis (Jamie Dornan). Their overdose victim is located in a setting where something is just a bit off, and “Time is a lie” is written on the wall. When Steve and Dennis are called to the motel of the first scene, we all start to understand something bizarre is happening.

Dennis is married to his wife Tara (Katie Aselton), who has recently given birth, and their headstrong 18 year-old daughter Brianna (Ally Ioannides) lives with them. Steve’s days consist of one-night stands, more booze than any person should ingest, and time with his loyal dog Hawking (an obvious reference to the elements of time at play here). Dennis is bored and Steve is a mess, and things get worse when Steve is diagnosed with a brain tumor by his pineal gland, and Dennis’s daughter Brianna disappears.

A clue to the increasingly bizarre overdose and death scenes that Steve and Dennis run into is the “Synchronic” packaging. It’s a synthetic/designer drug that has dramatic and lethal effects, and a packet was found where Brianna was last seen. Steve decides to test the drug in an effort to “bring back” his friend’s daughter. As Steve videos his 7 minute trips to the past, and then kindly spells out everything he discovers, we viewers are spoon fed the details that would typically require some effort. Beyond the reference to Stephen Hawking, we also get plugs for French composer Claude Debussy and a rare James Bond- Charlie Sheen joke.

Time travel has long been a fun topic for movies, and the ideas behind this one are quite promising. The only downsides are that it too obviously guides us through what’s happening, and the trips back in time aren’t as structured or interesting as we would hope … although the idea of having the past be in the identical spot as the future is terrific. Benson and Moorhead are ambitious and creative filmmakers, and their shot at appealing to mainstream audiences is appreciated, as is the atmosphere and camera work. However, many of us would rather a bit more be left to our imagination.

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Posted by David Ferguson

MEMORIES OF MURDER (2003, South Korea)

October 19, 2020

 Greetings again from the darkness. Between 1986 and 1991, 10 women were raped and brutally murdered in the province of Gyeong-gi outside Seoul. Considered South Korea’s first serial killer case, the crime went unsolved until 2019. The case was the inspiration for writer-director Bong Joon Ho’s second feature film, as was Kwang-rim Kim’s play, “Come to See Me”. Director Bong Joon Ho co-wrote the screenplay with Sung-bo Shim, and of course, went on to win an Oscar for PARASITE (2019), in addition to providing other popular features such as OKJA (2017), SNOWPIERCER (2013), and THE HOST (2006). This early film can be compared to David Fincher’s ZODIAC (2007), although this one is a blend of murder mystery, crime thriller, black comedy, and political commentary.

Kang-ho Song (PARASITE) stars as Park, a local detective called to the scene of the first victim. Almost immediately we can tell Park and the police force are borderline incompetent. Park is convinced he has “Shaman eyes” and can identify the guilty party simply by looking at them. Of course, this is ridiculous and is proven so on a few occasions. Park’s partner, Detective Cho (Roe-ha Kim), is a hothead who takes a heavy-handed approach to interrogation (though he later experiences true karma). When a second victim is discovered, a more seasoned professional, Detective Seo (Sang Kyung-Kim), arrives from Seoul. In contrast to Park’s gut-feeling approach, Seo puts faith in evidence, proclaiming, “Documents never lie”. These two detectives are at the core of the story and we watch as each evolves.

The film begins on October 23, 1986 as the body of the first victim is found. We witness how the crime scene is immediately corrupted by both cops and local kids. This is also our indoctrination to how the filmmaker is treating this much differently than most crime dramas. A stream of suspects Park refers to as “punks” are paraded through the station, but true chaos ensues at the scene of the second body. We can’t help but be relieved when a professional, big city detective arrives. Bits of evidence are slowly assembled – red clothes, rainy nights, a song on the radio – each may play a role in the actions of the killer. Frustration builds as more murders occur and the detectives are unable to pin down the perpetrator.

The mental and physical toll that detectives endure with such a case are on full display. The obsession with finding the murderer never ends and the fantastic ending proves that even a career change doesn’t erase the failure. We are inundated with crime thrillers these days, but it’s difficult to grasp how this masterpiece was put together by a director whose career was just getting started. Certainly today we recognize the brilliance of Bong Joon Ho, but this was 17 years ago! It plays as a time capsule of South Korea socially and politically in 1986, and it works on that level every bit as much as a crime thriller. Cinematographer Hyung Koo Kim (THE HOST) balances the crime scenes with the police station, as well as the telling facial expressions of the characters. Last year’s solving of these horrific crimes pushed this classic into release, and it’s well worth a watch.

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Posted by David Ferguson

ALL ROADS LEAD TO PEARLA (2020)

September 24, 2020

 Greetings again from the darkness. Rural, small town America forms an appealing backdrop for filmmakers due to the great divide: those who are desperate to “shake the dust off” and head for greener grass, and those who can’t imagine any other way of life. In his first feature length film, writer-director-editor-producer Van Ditthavong seizes on the small town atmosphere to create a sense of danger that complements the above-mentioned divide.

Alex MacNicoll stars as Brandon, a high school wrestler in non-stop training mode – replete with nose bleeds, early morning runs, and the quest to cut weight. Brandon lives in a trailer with his mother (Morgana Shaw) who has never gotten over the death of Brandon’s beloved brother. She’s an aggressive griever and takes out her anger on Brandon, leaving him squarely in the “can’t wait to get out of this town” mode. Brandon and Ellie (Paige McGarvin), the local grocery checker, are attracted to each other, yet, despite her warning, Brandon falls for the wicked charms of the mysterious bad girl Pearla (Addison Timlin, FALLEN). Naïve Brandon knows nothing of the town’s criminal underbelly, but Pearla is connected to the psychotic Oz (Dash Mihok, “Ray Donovan”), who is part of it.

Mihok seems to revel in playing the deranged Oz. He expertly balances his scenes as a vicious mask-wearing, gun-toting thug with his small town country-bumpkin mentality … one who spells bidet, “b-a-d-a-y”. Somehow in a town this small, almost no one is who they appear to be. This certainly includes Coach Baker (played by Nick Chinlund, who you’ll likely recall from CON AIR), the motivating wrestling coach with a dark side. Also in the ‘bad guy’ mix are Cowboy Loy (Corin Nemac) who is after revenge on Pearla, and shop owner Mamo (Tina Parker), who seems to control the local crime element, or at least tries to – “Nobody steals from me”.

Brandon’s English class covers a pertinent passage from Orwell’s “1984”, and his big dream involves saving enough money to drive his truck to El Paso for a job on an oil rig. There is some similarity in tone to the Coen Brothers’ classic BLOOD SIMPLE (1984), but of course, Mr. Ditthavong is not yet at that level as a filmmaker. However, for a low budget film that sometimes mixes up day and night, it benefits from nice performances and an atmosphere of dread. The entertainment value is such that I look forward to more projects from the cast and Van Ditthavong.

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Posted by David Ferguson

THE NEST (2020)

September 17, 2020

 Greetings again from the darkness. I’m not sure how to officially protest, but this is writer-director Sean Durkin’s first feature film since the excellent and thought-provoking MARCY MARTHA MAY MARLENE in 2011.  Okay, he directed a TV mini-series (“Southcliffe”) in that span, but there really should be some kind of ordinance mandating (or at least pleading with) Mr. Durkin to share his art more frequently. His approach is not conventional, and it challenges the eye and mind. The story doesn’t move at the pace we’ve come to expect, and the characters – though quite believable – don’t always act the way we expect.

Jude Law stars as Rory O’Hara, a business man with big dreams … dreams far bigger than his work ethic. Carrie Coon (“Fargo”, GONE GIRL) co-stars as his wife Allison. This husband and wife couldn’t be more different. Where Rory is the big-talking blow-hard who, Allison is the down-to-earth horse trainer. Oona Roche plays teenage daughter Samantha, and Charlie Shotwell (CAPTAIN FANTASTIC, 2016) is the younger Benjamin. Durkin does a nice job with the family set-up in the first few minutes of the film. We get a sense of each, as well as the family dynamics. There is a great shot of Rory sitting idly at his desk, and soon after he wakes up Allison with a cup of coffee and the announcement that they need to move to London.

The film is set in the 1980’s (the Reagan-Thatcher era), and Rory’s desperation to prove his business acumen is on full display when he meets his old (now new again) boss Arthur (Michael Culkin). Rory is a social climber, intent on keeping up with the Joneses (or whatever they’re called in London), and he’s referred to as “Old British – New American”. He takes it as a compliment, but we soon witness Rory as little more than a fast-talking salesman. A restaurant scene featuring Allison, Rory, and his co-worker Steve (Adeel Akhtar) is brilliantly played, as Rory’s professional life begins to unravel at a pace matching that of his family life.

We see each of the family members cut loose in their own way, in an attempt to deal with the strain. Timid Benjamin lashes out at school. Samantha throws a wild bash at the family home. Allison guzzles gin and lets go on the dance floor. Speaking of the family home – it’s an old mansion that is the loudest symbol of Rory’s stretch to impress. The film seems to tease us a couple of time in regards to possible paranormal activity within the home, but that’s simply Durkin’s misdirection. The only thing rotten or haunted is the make-up of the family. Their domestic dysfunction is horror in its own right.

Rory’s delusions of grandeur and worshipping of money are finally thrown back in his face during a tremendous scene of Taxicab philosophy. When asked what he does for a living, Rory answers, “I pretend to be rich”, in what may be his only moment of clarity. Jude Law is superb as the charming guy we don’t really like, and Carrie Coon goes toe-to-toe as his polar opposite, and she’s exceptional. Mr. Durkin and cinematographer Matyas Erdely (SON OF SAUL, 2015) keep us off balance with the fascinating shots within the mansion, and startling close-ups that make a point. There is certainly no abundance of light, but this isn’t the type of family that the spotlight tends to find. It’s likely to be a divisive film not embraced by mainstream audiences, but adored by those who crave projects that are creative and different. It played Sundance prior to the pandemic, and now we have to hope we aren’t forced to wait another 9 years for the next Sean Durkin film. Although I will I have to.

In theaters and VOD September 18, 2020

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Posted by David Ferguson

RENT-A-PAL (2020)

September 10, 2020

 Greetings again from the darkness. “Everybody loves somebody sometime.” So sang the great Dean Martin. But what about the exception that proves the rule? Writer-director Jon Stevenson (in his directorial debut) offers up David, a 40 year old lonely heart, who is a full time caregiver for his dementia-afflicted mother. In between cleaning up after his mother and spoon-feeding her meals, David dreams of finding a soul mate.

Brian Landis Folkins stars as David, and he delivers a terrific performance in one of the strangest roles of the year. He manages to make David a guy we care about, despite his being … well … not the most exciting or charismatic dude you’ve met. Does it help that he doesn’t have a job and lives on his mother’s social security? No?  How about the fact that he lives in her basement? Still not impressed? Well, the film takes place around 1990, and David is a member of Video Rendezvous, a VHS dating service – the Match.com of 30 years ago. Getting hopeful for David?  Well you should know he has had zero matches. Poor guy.

One of Mr. Folkins best scenes occurs when we see him filming his personal video for the dating service. Well, it’s his re-do … and then a re-do of his re-do. That’s pretty much how David’s life goes. Later, while rummaging through the VHS tapes bargain bin, he stumbles upon one titled “Rent-A-Pal”. At home, he pops it into the VCR and just like that – Andy (played by Wil Wheaton, STAND BY ME) appears on screen, and over a few days, David and Andy form an odd bond – maybe the strongest bond you’ve seen between a person and a character on screen talking directly to the camera/person watching. Andy is chummy and charismatic, and also a bit creepy. In fact, some of this reminded me of the Mark Duplass movie CREEP.

We witness David deal with the disappointment of each day. He finds some joy when his mother (Kathleen Brady) is reciting Cary Grant’s dialogue in HIS GIRL FRIDAY, and suddenly things look up when he has a match with Lisa (Amy Rutledge). Their first date is at Skate Land, and features the awkward chemistry of two lonely hearts, rather than one. They seem to like each other, though it may just be they are each excited to be noticed by anyone.

Since the film is billed as a thriller, we know things will go sideways at some point. However, even if you figure out where it’s headed, the path it takes may catch you off guard. As the bond between David and Andy crumbles, we witness David’s descent into madness. Whereas his connection to Lisa should have made his life better, his extended loneliness has pushed him to the brink, and he struggles to distinguish between fantasy and reality. The final 10-15 minutes turn very dark (and feel a bit rushed), and are kinda sad to watch. Director Stevenson has ensured a bleak feeling through most of the film with a washed out color palette. The only signs of brightness are the Skate Land sign, the receptionist’s jacket, and Andy’s glowing face on the TV. The performances are fun to watch, and Stevenson’s debut is a keeper. “So long, Pal.”

IFC will release this in select theaters and On Demand September 11, 2020

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Posted by David Ferguson

GET DUKED! (2020)

August 27, 2020

 Greetings again from the darkness. In this time of pandemic, we may not yet have a cure for the virus, but music video director Ninian Doff serves up his first feature film as a vaccine for those who have been stuck in the house for too long. It’s really a mash-up of comedy-horror-thriller-buddy film, with a dash or two of hip-hop and social satire. Mr. Doff also wrote the screenplay, and the film originally played SXSW under the title, “Boyz in the Wood.”

Three friends/delinquents from school are on the verge of expulsion, and their punishment is being sent on the Duke of Edinburg adventure, a program established in 1956 with the objective of getting kids out of the city and into the country. Dean Gibson (played by Rian Gordon) is the leader of the trio, while DJ Beatroot (Viraj Duneja) dreams of becoming a star hip-hop artist, and Duncan (Lewis Gribben) mostly creates chaos at every turn. They are joined on the trip by their personality opposite, Ian (Samuel Bottomley), a home-schooled boy who actually volunteered for the trip in hopes of padding his university application.

The Scottish Highlands serve as the life-sized game board where the boys take their wilderness trek. Substitute teacher Mr. Carlyle (Jonathan Aris) hands them a map and takes a picture of the group in front of a bulletin board filled with missing kid flyers. That’s just a taste of the humor that awaits. Ian is the only one treating the journey seriously, while the other three are wise-cracking, experimenting with drugs, and putting up with DJ Beatroot’s meanderings about his music “career”. At first, the boys are oblivious to the fact that they are being stalked (or hunted) by a couple of elites played by the always entertaining Eddie Izzard as The Duke, and his partner in crime (literally), Georgie Glen as The Duchess.

Simultaneous to this Highlands’ action, we are treated to a look inside the police station where Sergeant Morag (Kate Dickie) and PC Hamish (Kevin Guthrie) generate some laughs with their excitement over hip-hop terrorist zombies in their area. They find this significantly more intriguing than “the bread thief” which was previously the number one crime to solve. At times, it’s difficult to know which group is the most talented at bumbling – the boys, the rich hunters, or the police.

The Duke of Edinburg award is earned by combining “Teamwork, Orienteering, and Foraging.” For this group of boys, it also involves drugs, hip-hop, and staying alive. Director Doff infuses a zany absurdity to the action, and with some of the set ups, he perhaps could have even gone further – although the bits on rabbit pellets and a fork as a weapon are to be admired. One of the songs drags on a bit too long, but mostly the creativity is fun to watch, as is the collision of teenage group dynamics, the generational clash, and the social commentary. The film is in the mode of some of Edgar Wright’s best work, so if that’s your style, you’ll find this a treat.

Available August 28, 2020 on Amazon Prime

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Posted by David Ferguson

UNHINGED (2020)

August 25, 2020

 Greetings again from the darkness. A phone call from her divorce attorney awakens Rachel. She’s already running late for work and for dropping her son Kyle at school. Her estranged husband is being ruthless in the negotiations, while her mother’s health is deteriorating. Her hairdressing gig is falling apart, and the financial strain is becoming too much. Rachel is having what most of us would agree is a bad day. But when she lays on her horn at the truck in front of her at a signal light, the man confronts her. She refuses to apologize for not offering up “a courtesy tap”, and the man’s demeanor immediately shifts as he spouts, “I don’t even think you really know what a bad day is.”

Thanks to the prologue, we see the man in the truck (Russell Crowe) pop some pills, break into a house, severely beat a man, and proceed to set the house on fire. This human wrecking ball is the same man Rachel (Caren Pistorius) refuses to apologize to. Her morning has been hectic and stressful, but his has been disastrous. Her bad day is about to get much worse. Imagine if “Mayhem” from the Allstate commercials was in a bad mood and ready to seek vengeance. Crowe plays the menacing man in a menacing truck.

Director Derrick Borte (THE JONESES, 2009) and writer Carl Ellsworth (the underrated horror thriller RED EYE, 2005 and DISTURBIA, 2007) have created an extremely volatile dangerous cat and mouse between Rachel and The Man. As he proceeds to destroy those in her life, she fights to save her son by using her wits. During the film, we see some vicious acts of violence and some spectacular car crashes. There is also a lesson about cell phones – the remarkable handheld computers that we run our lives from – in a battle of convenience versus security risk.

Over the opening credits we see and hear a montage of road rage episodes of real people “losing it”, and the corresponding commentary. It sets the stage, but not for what our initial impressions tell us. While a statement is made about de-funding or under-funding the police, the filmmakers avoid turning this into a giant political agenda. Instead, it’s a good old fashioned manic-thriller in the vein of Spielberg’s underrated DUEL (1971), THE HITCHER (1986), and FALLING DOWN (1993). Extreme stress can generate anger which results in a loss of control, and that’s what we witness here in extreme form.

20 years ago Russell Crowe won the Oscar for GLADIATOR, and his current bloated face and body are picture perfect for a man who has slipped over the edge. Two scenes allow him to flash some of that extraordinary talent: the initial interaction with Rachel and son Kyle (Gabriel Bateman), and then again in the diner with Rachel’s attorney played by Jimmi Simpson (“Westworld”). Caren Pistorius holds her own as the frantic, perpetually late mother, but that’s not surprising given her excellent work in the underrated SLOW WEST (2015). Keep Shelly in Athens offers up a nice remake of “Don’t Fear the Reaper”, as we are reminded to always keep an eye on your candy cane scissors.

This was the first film to open wide in theatres since the pandemic began.

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Posted by David Ferguson

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