THE HOST (2020)

January 16, 2020

 Greetings again from the darkness. The success of Ryan Murphy’s “American Horror Story” has inspired many writers and filmmakers to dive headfirst into the genre. The results have been mixed – some really creative works, and some ho-hum copycats. What has been interesting to watch is the genre-bending (or stretching) when what traditionally would have been a suspenseful drama or thriller, has elements of horror added to spice things up. That’s my best lead-in for director Andy Newbery’s film based on a story by Laurence Lamers, and adapted for the screen by Lamers, Finola Geraghty, Brenda Bishop, and Zachary Weckstein.

Sixty years ago this would have fit right in as an episode on “Alfred Hitchcock Presents”, even down to the bookend therapy sessions led by the fine British actor Derek Jacobi as Dr. Hobson. He tells his patient (whose face we don’t see) that his is “an unusual and disturbing case.” We then ‘see’ the story unfold … or maybe unravel is a better description. Robert Atkinson (played by Mike Beckingham, younger brother of Simon Pegg) is a bank employee enjoying a lunch break tryst with a beautiful woman. Sarah (Margo Stilley, 9 SONGS) just so happens to be married to Robert’s boss, and she clearly has only one use for Robert since he has no money and his life is a mess.

It’s not long before we discover Robert has many vices: gambling, smoking, drinking, and of course, romping with married women. In a moment that can be attributed to a desperate attempt to legitimize his existence, Robert nabs a 50,000 pound cash deposit from a new bank customer and promptly heads over to his favorite gambling hall. Things don’t go well, and dumb-as-a-rock Robert is soon cutting a deal with Chinese cartel leader Lau (played by the always reliable Togo Igawa).

Robert’s deal sends him to Amsterdam, a city where many things can go wrong – and often do. Local resident Vera Tribbe (Maryam Houssouni) offers Robert a room in her mansion, and, as we expected, things don’t go well for him. Both the cartel and Robert’s brother Steve (musician Dougie Poynter) are on the trail to find out what happened to Robert. DEA Agent Herbert Summers (played by Nigel Barber and his silky voice) is also involved, and what we find is a whole bunch of ‘nothing good’ thanks to the creepy rich Tribbe family,

Familiar faces pop up throughout the film, yet it’s difficult to buy into the sense of dread when most of the characters are making the kind of dumb decisions that Geico riffed in their commercial about ‘the running car’ and hiding behind the chainsaws. The lessons are pretty simple. Don’t steal money. Don’t sleep with your boss’ spouse. Don’t agree to run an errand for the Chinese cartel … or any other cartel flavor. Only if you can overlook the cluelessness of the characters will you find some entertainment value here.

watch the trailer:

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Posted by David Ferguson

LES MISERABLES (France, 2019)

January 15, 2020

 Greetings again from the darkness. Being the new student in school can be an emotionally trying experience for some kids. Now take that pressure and put it in a patrol car for law enforcement in a tough part of town where racial and religious tensions are always on edge. The ‘new kid’ in this case isn’t a kid, but rather an adult cop … and the experience will eclipse ‘trying’ and shift directly to life-altering. “Ever since 2005 …” is a line that reminds us that the Paris riots of that year remain fresh in the minds of locals, and police harassment is applied to most every stop or interrogation. This is an area that has yet to reclaim balance and writer-director Ladj Ly, having grown up in this part of the city, is more qualified than anyone to tell these stories.

Montfermeil is the Paris suburb where Victor Hugo wrote his classic 1862 novel “Les Miserables”. Recently divorced Stephane (played by Damian Bonnard) has transferred to the Anti-Crime Squad (ACS) in the area to be closer to his young son. His first day on the new job involves riding on patrol with local officers Chris and Gwada, who are veterans of these streets. Chris (played by Alexis Manenti) is a racist, hardened by the locals who have nicknamed him “Pink Pig”. Chris’s intimidation methods are old school and iron-fisted. Gwada (played by Djebril Zonga) is an African-Muslim who tries to capitalize on his own roots with locals, even though they now consider him a traitor.

Immediately obvious is the fact that Stephane’s ‘by-the-book’ approach doesn’t meld with the forceful posture assumed by Chris and Gwada. “Greaser” is the nickname Chris gives to Stephane, emphasizing that the new cop doesn’t fit on the streets or in the patrol car. As the prime example of how this environment can cause a small situation to escalate quickly due to one wrong word or movement, a young thief named Issa takes a lion cub from a travelling circus as a prank. The next thing we know, the Muslim Brotherhood is involved and threats are flooding every interaction, creating tensions for all. When the cops finally track down Issa, an accident occurs that further escalates the tensions between various street factions and the cops. Things get really ugly when it’s discovered a young boy captured the event with his drone.

Director Ly opens on citywide excitement at the 2018 World Cup with a backdrop of Paris sites such as The Eiffel Tower and Arc de Triomphe. The script from Ly and co-writers Giordano Gederlini and Alexis Manenti doesn’t allow us to wallow in the happiness for long. Soon, we are on the streets with the cops in Victor Hugo’s (and Ly’s) setting – contemporary only in look, not feel or substance. We are dropped into an environment where each moment is dictated by racial-social-political lines. Foot chases, car chases, and confrontations are de rigeur. Disenchantment cloaks kids and adults alike, and the fear of anarchy never wanes. A bad day for Issa turns into maybe the worst ever first day for Stephane. This is one of the year’s most incredibly tense and gripping films, and one that leaves us exhausted and dumbfounded. It’s a brilliant work.

January 2020 UPDATE: The film has been Oscar nominated for Best Foreign Language Film

watch the trailer:

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Posted by David Ferguson

UNDERWATER (2020)

January 10, 2020

 Greetings again from the darkness. The opening credits have an “X-Files” look and feel. Newspaper headlines and redacted reports zip by … in fact, the rapid cuts are so quick that very few viewers will be able to keep up. Even if you haven’t finished your Evelyn Woods speed-reading course, the gist is clear: there is a (very) deep-water drilling lab located 36,000 feet below the ocean’s surface. Yep, that’s almost 7 miles deep for the crew of 316, and some mysterious bad things may or may not be lurking. That’s really our only set-up … unless you want to count Kristen Stewart brushing her teeth.

It’s literally less than 5 minutes in when the rig is rocked by an explosion of some kind. We are told the structure is 70% damaged. The survivors are quickly identified. Nora (Ms. Stewart) and Rodrigo (Mamoudou Athie) are together in the immediate aftermath. Nora is a mechanical engineer and computer whiz. They soon come across a co-worker buried in rubble. It’s wise-cracking TJ Miller and his (actual) stuffed bunny. Next up are the Captain (Vincent Cassel) and lovebirds Emily (Jessica Henwick) and Smith (John Gallagher Jr). With no time for early character development, we learn tidbits as their perilous journey hopefully leads them towards rescue. Of course anyone who has ever watched a movie can tell you, they won’t all make it. Maybe the 8 year old girl sitting in the row behind me wouldn’t know that … but no parent should take their 8 year old to a PG-13 movie that has “terror” in the parental warnings.

Director William Eubank and co-writers Brian Duffield and Adam Cozad create plenty of tension, danger and suspense. The movie is at its best when they let the moment speak. It’s the dialogue that is mostly cringe-worthy, as well as the predictable and unnecessary jump-scares. These people are stranded miles deep in the ocean and are running out of oxygen and options … and are being chased by something they can’t identify. The visual effects are successful in generating the environment of danger and claustrophobia.

It’s in the little things where the film falters. When we first see the Captain, he has his arm in a sling. He’s obviously injured. Once the bulky underwater suits are donned, his bad arm seems just fine … he’s even pulling one of the others with a rope! Nora makes a big deal about being the “smallest” of the group and volunteers to explore a narrow passage. The problem is that they are all wearing the same suits – a fact that should negate any advantage of Ms., Stewart’s slim, toned body. Lastly, the film has borrowed heavily from James Cameron’s classic ALIEN. In fact, it has been referred to as “Underwater Alien”. Of course, this film isn’t nearly as well-rounded or complete as that one … but then few are.

Mr. Eubank’s film is a sci-fi/horror mash-up, but it’s really more a survival thriller than science fiction or creature feature, although the sea creatures have their moments. Cinematographer Bojan Bazelli does a nice job in keeping with the ‘play it straight’ approach, and his camera work is complemented by the electronic score from Marco Beltrami and Brandon Roberts. Ms. Stewart and her buzzed blond hair hold their own amidst the danger. A blatant lecture about how we are going places (deep sea) we shouldn’t go and doing things (drilling) we shouldn’t do is included for those who might not figure it out on their own, but mostly we spend our time trying to figure out how to survive the deep sea pressure with little oxygen and no escape pods. Just leave the 8-year olds at home.

watch the trailer:

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Posted by David Ferguson

THE SONATA (2020)

January 9, 2020

 Greetings again from the darkness. A throwback to 1970’s cinema is easy to appreciate, whether it was intended or nor. Writer-director Andrew Desmond’s debut feature film certainly serves up the feel and style of so many of those low-budget horror films I watched as a youngster (many, it seemed, featured the late Roddy McDowall). Mr. Desmond and co-writer Arthur Morin (also his first feature film screenplay) likely viewed some of those same films, as this one succeeds in capturing the same creepy tone.

For some, the music they create comes from their soul … it makes them who they are. For these musicians, their obsession and quest for perfection can be off-putting to others. In an early sequence, we see young violist Rose Fisher (Freya Tingley, “Once Upon a Time”) react to news of her father’s death by shrugging and stating she wants to continue with her recording session. See, Rose’s father deserted the family when she was a toddler, and the two never spoke again. Richard Marlowe (the late great Rutger Hauer) was an exciting and brilliant young composer when he chose to drop out and live as a recluse (think Salinger). He’s even compared to Pink Floyd founding member Syd Barrett. Rose chose to never use her genetics as a springboard to success; never even telling her manager Charles Vernais (Simon Abkarian, CASINO ROYALE) of the connection.

Rose visits Marlowe’s house, and before learning of the startling manner in which his life ended, she discovers his final composition locked away in a drawer … a violin sonata seemingly left for her to find. Neither Rose nor Charles recognize some of the non-musical symbols included on the sheet music, but it’s clear there are elements of genius in the piece. While Charles envisions piles of cash to be made by capitalizing on this situation, Rose sets about tracking down clues to the unknown symbols by exploring her father’s estate.

It should be noted that Marlowe’s “house” is actually the 19th century Cesvaine Palace, and it makes a wonderfully gothic setting for this story. This sub-genre of horror films is always best when the setting is a creepy old mansion/castle, and includes a mysterious housekeeper, other-worldly children, a leather-bound book of secrets, and a subterranean room (this one is beneath a chapel) with curious wall murals telling some forbidden legend of the occult. The only element missing here is vicious dog that pops up periodically.

The symbols lead to a French secret society, and in their own ways, both Rose and Charles learn that finishing Marlowe’s final piece will conjure the Anti-Christ. While Charles pursues greed, Rose pursues the music. Spoken words pale in comparison to the music Rose creates. Screen veteran James Faulkner appears as Sir Victor Ferdinand in a vital supporting role. While it’s a bit disappointing that the late, great Rutger Hauer has very little screen time, it’s quite enjoyable to watch Ms. Tingley carry the lead. Mr. Desmond filmed in Latvia, and delivers a film that fits quite nicely for those who enjoy the creepy throwback horror style.

watch the trailer:

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Posted by David Ferguson

1917 (2019)

December 23, 2019

 Greetings again from the darkness. It’s now been over 100 years since World War I ended. The Great War garners barely a mention in high school history books these days, and Hollywood has devoted much more time and energy to WWII. Filmmaker Peter Jackson did his part with last year’s stunning documentary THEY SHALL NOT GROW OLD, a video and photographic look at the actual people involved in the First World War. And now, Oscar winning director Sam Mendes (AMERICAN BEAUTY) delivers another glimpse … and another technical marvel.

Mr. Mendes, working with Oscar winning Cinematographer Roger Deakins (BLADE RUNNER 2049) and Oscar winning Film Editor Lee Smith (DUNKIRK), has shot and edited the film to give the look of one continuous take in real time. Although used previously in such films as Hitchcock’s ROPE and Inarritu’s BIRDMAN, the single take approach is certainly no gimmick here. We open on two young British soldiers lounging in a prairie as they are summoned to report to the commander. Their mission is described as critical, as a British battalion is preparing to walk into a deadly trap set by the Germans. More than 1600 lives are at stake and the phone lines are down. It’s up to Lance Corporal Blake and Lance Corporal Schofield to work their way across No Man’s Land to the front line and hand-deliver an order stopping the attack. Oh, and one more detail: Blake’s older brother is in the battalion he is tasked with warning.

The real time approach serves the purpose of allowing viewers to take on the urgency of Blake and Schofield. We experience the tension and horrors of war. Barbed wire, booby traps, slushy trenches, snipers, rats, dead bodies, dogfights (the aerial type) and towns under siege all play a part here as the men rush towards their goal of saving fellow soldiers lives, including a beloved family member. Dean-Charles Chapman (“Game of Thrones”) plays Blake, and George MacKay (CAPTAIN FANTASTIC) plays Schofield. We spot the personality differences between them. Blake is super focused and determined to save his brother, while Schofield doesn’t welcome the assignment, but is a dutiful soldier and loyal friend.

It’s really the Schofield character with whom the viewer mostly relates. He’s no super soldier or Jason Bourne-type, but rather a young man trying to stay alive and fulfill his orders. With the relentless pacing of the film, we feel the fear and admire the courage. There is an especially touching scene in a bombed-out town where paths are crossed with a French woman (Claire Duburcq) caring for an orphaned infant. It’s a reminder that humanity still exists, even within the bounds of war.

There is no clock ticking in the corner of the screen, but we know time is of the essence, and quite limited. The camera seems to be always moving forward, rarely allowing for us or the characters to exhale. As you might expect, running is done frequently – sometimes towards something, sometimes from it. Roger Deakins is in prime form here with his camera, and there are too many remarkable moments to mention them all; however, the river rapids and waterfall, and the town under siege at night, are two of the most incredible sequences I’ve seen on screen.

Along the journey, some familiar faces pop up as military men: Andrew Scott, Benedict Cumberbatch, Richard Madden, Mark Strong, and Colin Firth. Although each appears only briefly, it’s a testament to their acting prowess that each is memorable. The chaos and relentless terror of war is on display, more often than not. But this isn’t a film designed to create deep thoughts or serious debates on the merits of war. Instead, it’s meant to focus on one of the countless personal stories that occur during war. War is fought by people, not faceless countries, and each person has their own story.

Non-linear story telling has been a movie-thing since even before MEMENTO, but director Mendes (and co-writer Kristy Wilson-Cairns, “Penny Dreadful”) show us the true presentation of linear … in the moment and by the moment. GALLIPOLI and PATHS OF GLORY are about the closest comparisons I can come up with, and the weight of the film is felt physically and emotionally as we are drawn in. The exceptional score from Thomas Newman (14 time Oscar nominee) serves to accentuate the chaos and relentless terror. It’s a work of art and a unique viewing experience.

watch the trailer:

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Posted by David Ferguson

UNCUT GEMS (2019)

December 23, 2019

 Greetings again from the darkness. It’s debatable whether this movie should be labeled an indie crime thriller or a ‘Scared Straight’ session for gambling addicts. Benny Safdie and Josh Safdie are filmmaking brothers who seem to specialize in adding a frenetic pace to the lives of characters who consistently make bad decisions. Their excellent 2017 film GOOD TIME (starring Robert Pattinson) set the tone for their latest, featuring an Adam Sandler performance unlike anything we’ve previously seen from him.

After a brief prologue at an Ethiopian mine, we are dropped right into Howard’s world. Well, more specifically, we find ourselves on the camera end of Howard Ratner’s colonoscopy, while also seeing the vibrant glow of the rare opal extracted from that opening mine. Remarkably, the colonoscopy may be Howard’s (and our) most relaxing moment of the movie. The character of Howard is based on a guy the Safdie brothers’ dad worked for in the Diamond District when they were growing up. He’s played here by Mr. Sandler, who delivers a performance so memorable that we now can’t imagine anyone else in the role.

Here is what we learn about Howard: he’s arrogant and foolish and energetic and hopeful. He lives life on the edge … or perhaps he’s already tipped. He’s a Jewish jeweler based in inner-city Manhattan, and as the film begins, he owes a lot of money to someone who has hired goons to collect. Howard has an irascible wife Dinah (Idina Menzel, Elsa’s voice in FROZEN) who is fed up with his antics … one of which is his employee/mistress Julia (newcomer Julia Fox). Howard has an insatiable gambling addiction and he’s always on the brink of a life-changing big score or a colossal failure that could cost him everything. He’s a hustler who has to move faster each day to prevent the collapse of his house of cards: sports bets, pawns, loans, lies, and empty promises.

So if you think you now have a feel for this, I can assure you that you are mistaken. The frenetic pace is relentless to watch. We kind of like Howard, but yet, we want nothing to do with him. His latest scheme involves the expectation that the rare opal will solve his many financial woes. In the meantime, his business associate Demany (LaKeith Stanfield) brings him a high profile client … NBA player Kevin Garnett. The film looks and feels like a gritty 1970’s flick, but it’s based during the 2012 Eastern Conference Finals, and Garnett plays himself (and quite well). Garnett borrows the opal for good luck and that’s when all ‘heck’ breaks loose. Also in play here is Howard’s rotten brother-in-law (Eric Begosian), to whom he also owes money. Adding even more NYC flavor are Judd Hirsch, John Amos, and sports radio host Mike Francesca, as Howard’s bookie.

Daniel Lopatin (aka Oneohtrix Point Never) provides an electronic score that helps ensure we are never comfortable watching what is unfolding, and cinematographer Darius Khondji (EVITA) keeps his camera in constant motion – just like the characters. Production Designer Sam Lisenco creates Howard’s world through the jewelry shop, the house, the apartment, and especially that back office. Set Decorator Kendall Anderson wins a place in my heart for the Pete Maravich poster.

The Safdie brothers co-wrote the script with their editor Ronald Bronstein (who also worked on GOOD TIME), and afterwards you’ll find yourself going back through all the poor choices made by most every character. The brilliantly sustained level of uneasiness includes a segment featuring The Weeknd, and one revolving around a school play for Howard’s daughter. The Safdie style is present throughout, and most conversations are loud and heated and threatening. If you are the type that needs at least one likable character, or a serene environment, or respectful adult conversation, you are out of luck here. Howard is an exhausting character in an exhausting story within an exhausting movie … just as it was intended.

watch the RED BAND trailer (PROFANITY WARNING):

 

 

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Posted by David Ferguson

STAR WARS: THE RISE OF SKYWALKER (2019)

December 18, 2019

 Greetings again from the darkness. Ending the final trilogy of trilogies that covers 42 years of storytelling, was never going to be easy. And, given the rabid fan base’s backlash from the penultimate episode, the ending was unlikely to appease all (or even most?).  Keeping respectful of the sensitivity associated with this franchise, no spoilers are included here, certainly nothing that hasn’t already been dissected and debated after the trailers were released.

As I approached the theatre, it was impossible not to chuckle at the irony of seeing the life-sized marketing prop for KNIVES OUT in the lobby. Of course, that current release is directed by Rian Johnson, who caused such an uproar with the aforementioned STAR WARS: THE LAST JEDI (Episode VIII), a franchise entry that happens to be one of my personal favorites. But we are here for Episode IX, the wrap-up of George Lucas’ masterful vision. JJ Abrams (STAR WARS: EPISODE VII – THE FORCE AWAKENS) is back in the director’s chair, and knowing what a fanboy he is, it’s not surprising to see the familiarity and tributes to the franchise interjected throughout.

In fact, this finale leans heavily on nostalgia and humor, while tying up most loose ends – as well as some that weren’t even all that loose. Writers Derek Connolly, Colin Trevorrow (originally slated to direct), Chris Terrio, and Abrams seemed intent on giving each beloved character their moment, as a sign of appreciation for their contributions to a legacy that covers a period longer than the lifespan of some of the biggest Star Wars fans. As one who stood in line in 1977, it’s an approach that I respect and have no problems with – knowing full well that some will.

Any attempt to tie up previous threads must focus on the odd, mystical relationship between Kylo Ren (Adam Driver) and Rey (Daisy Ridley). Both are still conflicted and attempting to come to grips with who they are. Rey especially is struggling with her identity and roots. One of my favorite elements from The Last Jedi was inner-head conversations blended with cross-dimensional physical interactions between Kylo and Rey, and it’s used beautifully here.

So, the biggest complaint from me is that despite its nearly two-and-a-half hour run time, there is simply too much crammed in. Too much story and too many characters and too many things that get a glimpse or mention, but no real development. This movie is jam-packed, and ‘convoluted’ would not be too strong of a word to describe. There are times we aren’t sure where the characters are or what they are doing or why they are doing it. We do know that everything good is dependent on ‘this mission’, a mission that seems to change direction about every 12 minutes. In fact, the “new” players – Rey, Poe (Oscar Isaac) and Finn (John Boyega) – spend very little time together on screen. And really, Finn is given almost nothing to do except look worried most of the time. On the bright side for characters, Chewbacca (Joonas Suotamo) and C3PO both get their own sub-plots. Anthony Daniels (as C3PO) becomes the only actor to appear in all 9 episodes, although R2D2 joins C3PO as characters appearing in all.

There are many old familiar faces, both good and evil. Some of these play key roles, while others are brief cameos. Much has been speculated about how Carrie Fisher’s role as Leia will be handled. Archival footage, combined with special effects and camera angles, allows her to be present throughout, and yes, she gets the send-off she deserves. There are even some new characters/creatures introduced, including a cute new droid (never underestimate or under-market a droid) that is already for sale in Disney stores.

No matter one’s feelings or expectations, an area that surely will not disappoint is the visual effects. Somehow, this one is even more impressive and awe-inspiring than the others. In particular, a couple of scenes filmed in and around an angry sea left me dumbfounded, mouth-agape. However, what’s most amazing is the consistency of the visuals throughout. It’s just a stunning film to look at.  Some of the story may be a bit confusing or cheesy, but some parts of the film are truly great. Cinematographer and Special Effects guru Dan Mindel deserves special mention, as do Production Designers Rick Carter and Kevin Jenkins. Of course the visual effects team is without peer – and take up about 5 minutes in the closing credits.

Lastly, composer John Williams gets to add his well-deserved personal stamp on this final chapter with new work added to the already iconic score. Very few moments compare to the opening notes blasting away on the theatre sound system as a Star Wars film begins. And as much as we’d like to treat this as the end, we all know Disney will find a way to keep us interested in a galaxy, far far away.

RIP: Peter Mayhew and Carrie Fisher

watch the trailer:

 

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Posted by David Ferguson

THE AERONAUTS (2019)

December 6, 2019

 Greetings again from the darkness. ‘Up, up, and away, in my beautiful balloon.’ That song says nothing about a lack of oxygen (hypoxemia), a malfunctioning valve, or frost bite … all of which come into play in this story inspired by real life events of 1862 in London. Tom Harper directed the excellent WILD ROSE earlier this year, and for this one, he and his co-writer Jack Thorne (WONDER, 2017) base the story on both the real life record-breaking flight of scientist James Glaisher and balloon pilot Henry Coxwell, and Richard Holmes’ book “Falling Upwards: How We Took to the Air.’

Reuniting from THE THEORY OF EVERYTHING (2014) where they played Stephen Hawking and wife Jane, are Eddie Redmayne (as scientist-with-a-chip James Glaisher) and Felicity Jones (as fictional balloon pilot Amelia Wren/Rennes … yes, naming your female pilot Amelia is so very creative). Courageous real life balloon pilot Henry Coxwell gets nary a mention here, as new world cinema must require a female lead or co-lead for every filmmaker not named Martin Scorsese. So, to heck with history, Amelia Wren is now the hero of this adventure!

As it turns out, Ms. Jones’ character is the more interesting of the two. Amelia’s initial showmanship catches nerdy Glaisher off-guard, though in fact, both are over-compensating. He, for his inferiority complex and the ridicule he endures from his fellow brainiacs at the Royal Society of London, and she for the tragic loss of her beloved husband in a balloon mishap. The mismatched pair are on a mission to fly higher than any human has previously flown, and in the process, allow Glaisher to record all the atmospheric readings possible in order to prove to the skeptics that meteorology is legitimate, and the weather can be predicted (although almost 160 years later, most weather reporters still haven’t quite gotten the hang of it).

It’s a tricky thing filming two characters who spend most of the movie floating tens of thousands of feet above ground in a wicker basket. The banter between the two should be crisp and the connection or disconnect should add intrigue. Here, the two characters are dwarfed by the giant balloon and the challenges that brings. What begins as an adventure morphs into a tale of survival. Storms, frostbite and technical issues provide the conflict. We do have flashbacks to background on both Amelia and Glaisher. Himesh Patel (star of this year’s YESTERDAY) plays Glaisher’s best friend, while Tom Courtenay and Anne Reid are Glaisher’s parents. Vincent Perez appears as Amelia’s husband Pierre.

I was fortunate enough to see this in a theatre and the big screen allows for the balloon effects to have full impact. There is no doubt that streaming this on your TV will not be as impressive … although anyone suffering from acrophobia will likely still experience some discomfort. The scenes in the balloon are thrilling, and Amelia’s rescue mission up the ropes is stunning and beautifully filmed by cinematographer George Steel; however, the flashback scenes are quick to deflate the excitement. The upside here is that the English really did break the French record on the flight … even if the filmmaker had to bend history so Amelia could get credit.

watch the trailer:

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Posted by David Ferguson

KNIVES OUT (2019)

November 27, 2019

 Greetings again from the darkness. “I suspect ‘fow-uhl’ play.” So states the renowned and poetically named private detective, Benoit Blanc. Of course when mega-wealthy, best-selling author Harlan Thrombey supposedly commits suicide after his 85th birthday party by slashing his own throat with a knife, something more sinister (you know, like … murder) must be considered. The violin playing over the opening shots of the palatial Thrombey manor teases us with thoughts of most any year from the past 75. These nostalgic thoughts fade quickly as we begin to meet the players.

Detective Elliott (LaKeith Stanfield) and Trooper Wagner (a quite funny Noah Segan) seem merely to be crossing their T’s in the suicide investigation as they dutifully meet with each family member for a statement. It’s this progression of questioning that introduces us to the year’s most colorful ensemble cast. Patriarch Thrombey’s (Christopher Plummer) scheming heirs-in-waiting include: his daughter Linda Drysdale (Jamie Lee Curtis), happy to remind you of her success as a self-made businessperson; Linda’s smarmy husband Richard (Don Johnson); their renegade son Ransom (Chris Evans) who arrives a bit later; Harlan’s son Walt Thrombey (Michael Shannon) who ‘runs’ the family publishing business; Harlan’s ex-daughter-in-law Joni (Toni Collette), a self-help guru who has a secret side gig; grandkids Meg (Katherine Langford), preppy social media troll Jacob (Jaeden Martell), and Donna (Riki Lindhome of “Garfunkel and Oates”); and Harlan’s mother Greatnana (Dallas’ own K Callan). Two key non-family members are the housekeeper Fran (Edi Patterson) who finds Harlan’s body, and nurse Marta (Ana de Armas), Harlan’s friend and only real confidante.

Writer-director Rian Johnson has put together a diverse career with such films as indie breakout BRICK (2005), science fiction hit LOOPER (2012) and of course, STAR WARS: EPISODE VIII – THE LAST JEDI (2018). With this latest, he shows a real flair with a rare comedic whodunit, and manages to perfectly execute his twisted script of twisted personalities. Think of this as Agatha Christie meets CLUE via THE ROYAL TENENBAUMS. The overall mangled morality of this entitled family becomes crystal clear as we get to know each. Johnson presents many familiar elements for fans of the mystery genre (the dark mansion, the creepy line-up of hangers-on, the red-herring clues and missteps), and most impressively, he blends those with many creative and surprising moments … some that will have you believing you have it figured out. But even if you do, the long and winding road is an utter blast.

Even with that deep and talented cast, it’s Daniel Craig as Benoit Blanc and Ana de Armas as Marta who stand out. They have the most screen time and neither waste a moment. Mr. Craig’s purposefully comedic southern drawl completes the film’s most memorable character, in fact, one of the year’s most memorable characters. Ms. de Armas finally finds a role to take advantage of her skill. Nurse Marta has a lie-detecting reflux gag that is not just valuable to the case, but also vital to the loudest audience reaction during the film. Mr. Craig and Ms. de Armas will also appear together in the upcoming Bond film NO TIME TO DIE.

During the reading of the will, director Johnson brings in STAR WARS stalwart Frank Oz (best known as Yoda) to play the family attorney, while another scene features one of the all-time great character actors (and Roger Ebert favorite) M. Emmet Walsh (BLOOD SIMPLE). Mr. Johnson also offers a unique spin on classism and the 1%, including a running gag about Marta’s nation of origin.

Johnson’s regular team is in top form here: Cinematographer Steve Yedlin, Film Editor Bob Ducsay, and composer Nathan Johnson (Rian’s cousin). Another deserving of mention is Costume Designer Jenny Eagan, who matches threads with personality about as effectively as we’ve seen, and Production Designer David Crank who creates the ideal mansion of secrets. This film is wickedly clever and barrels of fun. There may not have been a more purely entertaining movie this year … and it’s been a terrific year for movies. Just remember: ‘My house. My rules. My coffee.”

watch the trailer:

5 Comments | Comedy, Drama, Thriller | Tagged: , , , , , , , , , , , , , , , , , , , , , , | Permalink
Posted by David Ferguson

FORD V FERRARI (2019)

November 19, 2019

 Greetings again from the darkness. 7000 RPM. Racing legend Carroll Shelby describes that as the moment of racing bliss in the opening of the film. We are reminded of early test pilots breaking the sound barrier, or explorers reaching the peak of Mt. Everest. What follows is two-and-a-half hours of history, rivalries, egos, and sport. The racing scenes are exhilarating, and the men are driven by testosterone and compelled to be the best. They are throwbacks to a different era. An era that wasn’t about fairness and feelings, but of determination and focus that produced results – either success or failure. There were winners and losers, and the ceremonies awarded no participation ribbons.

Who are these men? They are Carroll Shelby, Ken Miles, Henry Ford II, and Enzo Ferrari. Director James Mangold (LOGAN, WALK THE LINE) takes the 1966 24 Hours of Le Mans and turns it into a rivalry between car makers, a friendship between racing icons, a look at corporate buffoonery that still exists today, and an old-fashioned movie that is fun to watch … regardless of whether you know the first thing about racing or cars.

Matt Damon plays Carroll Shelby, the war veteran race driver-turned-designer hired to push Ford racing into world class status. Shelby is an industry icon who won the 1959 Le Mans before retiring due to a heart condition. He then founded and ran Shelby-American for designing and improving cars. He wore cowboy hats that were only eclipsed in size by his bravura in most situations. Christian Bale plays legendary driver Ken Miles, another war veteran and bombastic friend of Shelby, who can best be described as a race car savant. Contrary to the film’s title, the story belongs to these two men, and the film belongs to these two actors.

Co-writers Jez Butterworth, John-Henry Butterworth, and Jason Keller take some liberties with the script and bend a few historical details to make the parts fit a Hollywood production … but for the most part, the story is pretty accurate. Just a few years after the Edsel fiasco, Henry Ford II is agitated at the state of Ford Motor Company, and after a bitter and personally insulting failed buyout of Ferrari, Mr. Ford (played with proper arrogance by Tracy Letts) decides to engage in motor-measuring with the Italian company run by Enzo Ferrari (Remo Girone). He hires Shelby to elevate Ford racing to elite status with one main goal – beating Ferrari at Le Mans. Shelby’s cocksure approach manages to keep Miles onboard despite the internal battles with Ford executives, especially Leo Beebe (a smarmy Josh Lucas). Beebe doesn’t see Miles as “a Ford man”, and in what is all too common in corporate life, prefers style over substance.

The film could have easily been titled Corporate vs Cars. Although the Henry Ford vs Enzo Ferrari segment is quite entertaining, most of the time is spent with Shelby and Miles trying to reach their dream while negotiating corporate obstacles. These two men have a love for racing and each other – in an old school, manly-respect kind of way. They are simpatico in their quest for the perfect car, and as Miles explains to his son (Noah Jupe) in a terrific scene, the perfect lap.

Additional supporting roles include Jon Bernthal as young visionary Lee Iacocca (who died earlier this year), Caitriona Balfe as Miles’ supportive wife, and Ray McKinnon as Phil Remington, the lead engineer on Shelby’s team. Of course, Iacocca went on to become Chairman of Chrysler, where he brought in Shelby to consult on the Dodge Viper, among other models. Supposedly Le Mans racing legend and 6-time winner Jackie Ickx appears in a crowd shot, but I missed it.

There is a stark contrast between the Ferrari factory and the Ford assembly line, but the egos at the top are remarkably similar. A bruised ego lit the fuse for the rivalry, but it was the car guys who made it happen. The racing scenes are adrenaline-packed and the sound in the theatre, combined with Cinematographer Phedon Papamichael (SIDEWAYS, NEBRASKA) close-ups inside the car, allow us to feel the rumble and vibration and speed sensation inside the Ford GT40. Damon and Bale are terrific. Damon struts with Shelby’s confidence, and Bale (after a huge weight loss from his role as Dick Cheney in VICE) captures the cantankerous genius of Miles – plus seeing his yell at other drivers during races is hilarious. There is a comical rumble between Miles and Shelby that will remind no one of Batman and Jason Bourne, but as difficult as it is to make popping a clutch exciting on the big screen, Mangold’s team comes through.

watch the trailer:

5 Comments | Drama, Thriller | Tagged: , , , , , , , , , , , , , | Permalink
Posted by David Ferguson

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