SHARP CORNER (2025)

May 9, 2025

Greetings again from the darkness. Purchasing a home is often called ‘The American Dream.’ For Josh and Rachel, it’s even more special when their son, 6-year-old Max, refers to their new place as “a mansion”. Sometimes (especially in movies) dreams turn into nightmares, and that’s exactly what happens in this film from writer-director Jason Buxton (his first feature since his debut BLACKBIRD, 2012). Adapted from the short story by Russell Wangersky, this film is billed as a psychological thriller – which it is, yet it’s also an enigmatic character study.

Ben Foster (HELL OR HIGH WATER, 2018) plays Josh. Only this isn’t the Ben Foster we’ve come to expect. His usual high-intensity and simmering danger-on-edge is replaced by a mild-mannered man who is even a bit meek whether dealing with his wife or the new manager he once trained at work. Cobie Smulders (Maria Hill in the Marvel Universe) plays his wife Rachel, and their first night in the new house leads to one of the worst cases of coitus-interruptus in history. A car tire comes flying through the living room window just after the loud crash of a car hitting the tree in their front yard. The horrific wreck leaves a young man dead, and the family stunned.

As you might have guessed from the film’s title, their new home is located on a dangerous curve. The only warning sign for drivers is mostly blocked by overgrown vegetation. Josh’s reaction to the wreck amplifies his struggles at work, while also creating tension with Rachel. He wants to talk about it, and she wants to ignore it. A second wreck has Josh trying to comfort the driver. The wreck convinces Rachel it’s time to move, while it simultaneously convinces Josh he could have saved the man’s life. Clandestine CPR lessons follow, while family therapy exposes all we need to know.

Rather than a curve, Josh and Rachel come to a fork in the road … and take different paths. While Josh becomes obsessed with waiting for the next wreck so he can save a life. Rachel simply wants to protect herself and her son, and avoid the obsessed Josh. He’s a man who desperately wants to be a savior to strangers, when the best thing he could be is a father/husband. Foster’s performance is unlike anything we have seen from him, and it can’t help but make us feel uneasy. Director Buxton gives us an early sneak peek at the curve, but mostly we are confused as to why a speed bump or protective/reflective barrier hasn’t been installed. Sometimes a movie leaves us feeling like it should have been more interesting, more entertaining, … more something … than it was. Foster keeps us watching, yet the whole thing feels a bit hollow.

Opens in select theaters and VOD on May 9, 2025

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Posted by David Ferguson

THE SURFER (2025)

May 1, 2025

Greetings again from the darkness. There are a few actors who regularly take on roles that leave us hoping they are nothing like those characters in real life. Willem Dafoe comes to mind, but the president of that club would be Nicolas Cage. Over the last 18 years or so, no actor has more often regaled us with emotional and mental unraveling on screen. Keep in mind it’s been thirty years since he won his Oscar for LEAVING LAS VEGAS.

This time, it’s the second feature film from Lorcan Finnegan (VIVARIUM, 2018) that finds Cage’s titular character on a downward spiral. The script comes from Thomas Martin, and opens with a father (Cage) driving along the Australian coastline, preaching surfer philosophy to his son (Finn Little, THOSE WHO WISH ME DEAD, 2021), who’s a bit miffed that he got dragged from school to hear the lecture. It turns out dad wants to spend the day surfing with his son so he can show him the house he’s purchasing. It’s the cliffside family home once owned by his grandfather.

It all sounds lovely until two things happen. The real estate deal is in jeopardy because Cage has been outbid, requiring him to raise an extra hundred grand fast. More dramatically, when the father and son hike down to the beach carrying their surfboards, they are accosted by locals who live by the mantra, “Don’t live here. Don’t surf here.”. Cage explains that he used to live there, is buying a house there, and just wants to surf with his son. The group of ‘Bay Boys’ threatens to get physical, sending father and son back up the hill.

These bullies have created a ‘localized’ culture at Luna Bay through inspiration served up by their cult-like leader, Scotty “Scally” Callahan (Julian McMahon, “Nip/Tuck”), a former classmate of Cage’s character. Now most reasonable folks would just pack up and leave, but this is a man on the edge. His divorce is pending, his relationship with his son is shaky, his boss is pressuring him to finish a project, and his dream real estate deal is crumbling. Cage is a frazzled middle-aged man, and we are about to witness things get much worse for him.

The patented Nic Cage downward spiral involves a local homeless man (Nicolas Cassim), a public restroom, a kiosk, and frequent run-ins with the ‘gang’ of local surfers. Even the local cop (Justin Rozniak) tries to encourage Cage to give it up and head out. However, the inner demons of a man who has worked hard for a specific goal that is now within grasp – or maybe just out of reach – begin to take over. This may seem like the beginning of a breakdown for Cage’s character, but the truth is that it began long before.

Is this psychological, psychotic, or psychedelic? We are never quite sure, especially as the sun beats down on Cage and he has flashes of childhood trauma … a precursor to where this is all headed. Are these nightmares or hallucinations? It plays out kind of slowly, but we do enjoy the stylish approach of director Finnegan and cinematographer Radek Ladczuk (THE BABADOOK, 2014), whose visuals juggle the blistering glare of the sun, sweat and stains on Cage, and the stunningly beautiful blue ocean. Additionally, it’s Australia, so you know there will be a snake, as well as other critters like bugs, birds, a rat, a porcupine, and dogs. As Cage’s material status possessions are stripped away (phone, watch, car, clothes), it is all accompanied by composer Francois Tetaz’s music that can be described as hypnotic or ethereal. There is an ending that many might take issue with, but after so many times thinking “Just leave, dude”, I was willing to take whatever happened. How long until a theater runs an entire festival of Nic Cage Midnight Movies?

Opens in theaters on May 2, 2025

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Posted by David Ferguson

THE ACCOUNTANT 2 (2025)

April 24, 2025

Greetings again from the darkness. As disappointing as most sequels are, there is a glimmer of hope when the original creative team and key cast members return. Such is the case with this sequel to the 2016 film, THE ACCOUNTANT (yes, it’s been nearly a decade). Director Gavin O’Connor and writer Bill Dubuque are back, and both have skins on the wall. O’Connor also directed MIRACLE (2004) and the criminally underrated WARRIOR (2011), while Dubuque was the creator of the hit series “Ozark”.

Two-time Oscar winner Ben Affleck returns as the brilliant and autistic accountant known as Christian Wolff (as well as a few other names). In what may be the least amount of screen time ever afforded a previous Oscar winner, JK Simmons’ Ray King – former director of FinCEN is assassinated, and his former protégé MaryBeth Medina (a returning Cynthia Asdai-Robinson) tracks down Christian to help solve the case. But, of course, things are never that easy, and they also find themselves knee deep in another case – one that hits mighty close to real world headlines with human trafficking and gang activity.

Christian contacts his lethal-weapon brother … yep, for the first time since the end of the first film … and Braxton (Jon Bernthal) reluctantly agrees to join the hunt. The two brothers interact in a manner we’re familiar with from all the ‘mismatched buddy films’ over the years, and Affleck and especially Bernthal excel at this, although it’s impossible not to note Affleck’s too-frequent smirks this time around. An early speed-dating sequence feels totally forced and out-of-place, and one can only assume it’s included for anyone who didn’t watch the first movie (which I highly recommend prior to viewing this one).

As good as the brother banter plays, the mish-mashed stories, lack of central villain, and over abundance of action sequences, turn this into a film trying too hard to please all audiences. Toss in extended segments featuring the autistic techno geniuses at Harbor Neuroscience Academy, and a description of Acquired Savant Syndrome, and the best advice is to just sit back and watch after turning off your own plot-solving brain cells. Christian has developed and funded the group of young geniuses at the Academy, and they are led by non-verbal Justine (played by Allison Robertson, and computer-voiced by Alison Wright of “The Americans”). The missing persons case centers around highly-trained assassin Anais (Daniella Pineda from the Jurassic World franchise), and we can’t help but think she could hold her own as a story and character.

The abundance of comedic elements might surprise fans of the first film, as might the war zone style shootout during the film’s climax and the overly-animated Affleck – all extremes when compared to the original, yet Affleck and Bernthal make the brotherly thing work

Opens in theaters on April 25, 2025

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Posted by David Ferguson

MobLand (2025, TV series)

March 28, 2025

Greetings again from the darkness. For fans of crime syndicate TV series like “The Sopranos”, “Peaky Blinders”, and “Sons of Anarchy”, your new obsession has arrived. Originally developed as a spinoff of the excellent “Ray Donovan” (but the path changed), this new project from creator Ronan Bennett (“Top Boy”) is both something new and something familiar.  Bennett and Jez Butterworth (BLACK MASS, EDGE OF TOMORROW) are co-writers on the series, and if the first two episodes are an indication, expect this series to be explosive fun.

Guy Ritchie (SNATCH, SHERLOCK HOLMES) directs the first two episodes with his trademark visuals, violence, and shocking moments (although his rapid-fire editing style is absent). The series features three major stars in leading roles: Tom Hardy, Pierce Brosnan, and Oscar winner Helen Mirren. Brosnan plays Conrad Harrigan and Mirren is his wife Maeve. Together, they run the lucrative family business – one that is illegal on multiple fronts. Hardy plays Harry Da Souza, their “fixer”.

Mr. Brosnan thrives on chewing scenery here, showing more emotion than we’ve come to expect from his usually cool demeanor on screen. Ms. Mirren plays a bit of a Cheshire cat, in that she’s wickedly sly with her outward actions versus her inner voice, leaving us guessing as to her objectives (“stick or twist”). And for those accustomed to Mr. Hardy playing characters who are a bit stingy with their words (Bane in THE DARK KNIGHT RISES), you’ll be surprised to see him playing a calm-under-pressure, smooth-talking negotiator who excels in moments of crisis.

In addition to the three stars, the supporting cast is superb. Conrad’s adult offspring are played by Paddy Considine (IN AMERICA), Mandeep Dhillon (“After Life”), and Daniel Betts (WAR MACHINE). And what would a mob show be without at least one kid constantly causing problems? Here that kid is Conrad’s entitled grandson Eddie (Anson Boon), doing more than his fair share to ignite a war with a rival family led by Richie Stevenson (a terrific Geoff Bell, ROCKNROLLA). Also adding stress to the proceedings is Harry’s frustrated wife Jan (Joanne Froggatt, “Downton Abbey”). Other familiar faces pop up, adding to the quality of individual scenes and the overall show.

The familiar elements of mob stories are prevalent here, yet the blend of intensity, violence, and humor help this series stand above some others. I should also mention that in keeping with recent trends, the opening credit sequence is a work of art unto itself.

Premieres Sunday March 30, 2025 on Paramount+

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Posted by David Ferguson

BLACK BAG (2025)

March 13, 2025

Greetings again from the darkness. Are you ready for 90 minutes of cool people wearing cool clothes and doing cool things while acting cool in the face of danger? If so, this one is for you. Oscar winner Steven Soderbergh (TRAFFIC, 2000; OCEAN’S ELEVEN, 2001; OCEAN’S TWELVE, 2004) dons multiple hats here as director-producer-editor-cinematographer (some under familiar pseudonyms). The screenplay comes from well-known writer David Koepp (JURASSIC PARK, 1993; MISSION: IMPOSSIBLE, 1996). The pedigree of these two is exemplified by the cast assembled.

George (Michael Fassbender) and Kathryn (Oscar winner Cate Blanchett) star as husband and wife secret agents that have pledged to kill for each other if ever necessary. Really, that should be part of every wedding vow. Fastidious George has built his reputation on his mystical ability to spot a lie, and has no room for anyone who is less than honest. Glamorous Kathryn excels at her missions and when secrecy is required, one spouse will utter the magic titular phrase, “black bag”. This signals, ‘I love you, but can’t tell you more’. They live in a stunning London apartment, which serves as the setting for two particularly crucial dinner parties.

Every spy story worth its mettle has at least one MacGuffin, and ours is Severus, a sophisticated code worm designed to take control of nuclear weaponry. While it gets mentioned numerous times, the real story here is in discovering who the mole is inside the Secret Intelligence Service managed by Stieglitz (Pierce Brosnan). The five suspects George must investigate include computer analyst Clarissa (Marisa Abela, BACK TO BLACK, 2019), easily tempted agency veteran Freddie (Tom Burke, so excellent in THE SOUVENIR, 2019), suave and self-confident Stokes (Rege-Jean Page, “Bridgerton”), and staff psychologist Dr. Zoe Vaughn (Naomie Harris, MOONLIGHT, 2016). You’ll notice that’s just four suspects, as the fifth (unknown to her) is George’s wife Kathryn. Adding to the intricacies of the jobs, the dinner parties, and this mole mission is the fact that George and Kathryn aren’t the only couple in attendance. Clarissa is dating the older Freddie, while Stokes and Zoe are also seeing each other … and there are likely other surprise complications with this group.

True fans of spy thrillers should know that this is not a new TINKER TAILOR SOLDIER SPY (2011), but rather a user-friendly story in the mold of the “Mission: Impossible” movies – only with less action and no high-wire stunt sequences. Instead, these agents withhold a lot while still talking a lot (some of the dialogue is quite funny). It’s more of a personality chess match than an assault on our senses. Complementing the verbose proceedings is a perfect twisty jazz score from David Holmes. We must also take note of the numerous ties to the James Bond franchise (Brosnan, Harris, and rumors), and it’s best to just sit back and enjoy Soderbergh in his element (this is his second film released in 2025) … entertainment with a cool vibe.

Opens in theaters on March 14, 2025

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Posted by David Ferguson

SLAMDANCE FILM FESTIVAL 2025 – short films

February 28, 2025

SLAMDANCE FILM FESTIVAL 2025 – Short Films

Below are recaps of some of the short films I watched at this year’s Slamdance Film Festival.

FISHMONGER (25:30)

No rules apply to film festival shorts and writer-director Neil Ferron and co-writer Alexandra Dennis-Renner succeed in pushing the envelope with their surreal spin on Catholic mythology. Accurately billed as a supernatural dark comedy, the film plops us right into the middle of a crisis taking place on a remote Irish island. Christie O’Mallaghan’s mother is in the throes of a self-inflicted disease that finds her near death, and with sores that spew puss on him whenever he gets near.

Local beliefs are that if a mother passes, leaving an unmarried son, her soul is to burn for eternity. Christie loves his mother (having been dependent upon her in the cringiest of ways), and now, to save her soul, faces the choice between suicide and marrying the only unwed woman on the island, Penny O’Brien (played by Penny O’Brien). Since the two have never spoken, the latter seems unlikely. Father Heaney (Mark Bramhall) offers a possible solution. Christie, a hapless fisherman, is to paddle out to the cove, offer up specific gifts to the sea creature, and request his wish be granted to marry Penny.

The sequences here include a duet right out of a stage musical; tentacle sex with Sinead the sea creature, the likes of which caused me to look away; and a developing love story yielding yet more cringing (from me). Dominic Burgess plays Christie, Donnla Hughes is Sinead, and Mari Weiss is the suffering mother. It’s a bonkers premise that will surely draw comparisons to Robert Eggers’ excellent THE LIGHTHOUSE (2019). And though we admire Christie’s apparent willingness to do whatever is necessary to save his mom, the ending is sure to stun.

ONE REHEARSES, THE OTHER DOESN’T  (15:00)

As part of the “Experimental” category, this short from writer-director Jessica Hankey was co-written by playwright Victor Kaufold and the film’s subject, Marjorie Annapav. Ms. Annapav plays herself in the film as she engages with Gerrie (Ann Randolph), a performance teacher, so that Marjorie’s life can become a stage presentation.

Admittedly (and purposefully), this one is a bit tricky for viewers to follow. It’s more like a slideshow of the process, with the insight coming from the verbal exchanges between the women, at least more so than in the physical performances. There is a sequence regarding a once heavily-used Rolodex that provides some context, yet mostly this requires focused attention from viewers to grasp the specifics of Marjorie’s life, including her marriage to surrealist and pop artist, William Copley.

GURGLING  (13:06)

A conversation with a girlfriend leads to confession that a previous boyfriend broke up with her since she “lacked imagination”, a break-up that led to the friend taking advantage of the situation. Writer-director Christine Margaret Wu seems to really understand the young housewife who spends her days caring for her elderly in-laws while her husband works.

That same husband is constantly ‘too tired’ to show her any affection, so when she notices a voyeur spying on her while she showers, something ignites within her. She so longs to be desired and appreciated as her husband builds a “safe and stable life”. The film is from Taiwan and expertly captures the woman’s pent-up emotions.

THE SPHINX  16:22

Well, surely this one has a premise you’ve never seen before, even though I won’t spoil it for you. Writer-director Jesse Padveen takes us on a first date. The couple is awkwardly conversing in a restaurant booth. As the young man spins the tale of how he became a locksmith, the woman struggles to maintain some level of interest – or at least tries to appear that she’s listening.

Suddenly something jarring occurs sending the man off to ‘fix’ the issue. He’s embarrassed but she’s now surprisingly intrigued. The two head off to her friend’s party where he’s encouraged to perform his special party trick. This leads to humiliation for the man, and we follow him first to his mom’s place, and ultimately to his dad’s … where one of our questions is answered and we also learn of his dad’s specific (and understandable) fetish. This one is for those anxious to see a creative short.

TWO OF HEARTS 5:56

Although it’s slotted in the “Narrative Shorts” category, this quirky little film from writer-director Mashie Alam includes very little of anything we would traditionally label as narrative, at least conventionally speaking. With an opening credit that gives off soap opera vibes, we are soon engulfed in an oddball (limited) verbal competition between brother and sister.

“It’s always been the two of us” leads into each of siblings battling the other with the same comeback, “It should be you.” It’s not until the end when we are clued in to what they are debating, but it’s clear they are building up to a big decision … one they must come to agreement on. Equally surprising is how this sharp looking film concludes with Nilsson’s “Everybody’s Talking”. Given how things are these days, it’s a relief to see any debate end with benevolence.

DEATH DRIVE  5:55

The woman shoves a handgun into the glove compartment of a classic Ford Mustang. Is she headed out to kill? To be killed? To see where the night takes her?  We are never really sure of much other than she loves to give that car the gas. A dashboard camera and the squealing tires keep us a bit disoriented, but then so do the images of the mostly elderly folks illuminated by the car’s headlights.

The only clue we have is the idling black sedan that may or may not be death, and may or may not be after the woman this evening. Writer-director Eli-Bella Wood also plays the woman who is driving, and the artsy slow-motion effects and the nighttime setting combine with the lack of dialogue to make this a film that revs in your mind … even after the man on the horse tips his Stetson.

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Posted by David Ferguson

THE GORGE (2025)

February 14, 2025

Greetings again from the darkness. Most every Valentine’s Day, we get at least one romantic-comedy designed for a sweet and harmless date night. Well, this one ain’t it. Instead, if you thrive on romance loaded with danger and action sequences and mysterious monsters and decades old experimental weapons … we have just the movie for you. Director Scott Derrickson (THE BLACK PHONE, 2021; THE EXORCISM OF EMILY ROSE, 2005) and screenwriter Zach Dean (THE TOMORROW WAR, 2021) deliver the rare sci-fi/action/monster/romance thriller, and were wise enough to cast two charming, well-liked young actors for the leads.

The film opens with Drasa (Anya Taylor-Joy) executing a long-distance kill shot assassination, while Levi (Miles Teller) springs out of bed in a cold sweat due to PTSD. He’s soon beckoned to Camp Pendleton by a power broker played by Sigourney Weaver. As an elite sniper who has done work for the military, Levi has been ‘retired’ for four years, and with no relationship strings attached, he’s perfect for the year-long secret mission – he must jump from an airplane in an unknown location and hike 30 km to report. He’s met there by his predecessor (Sope Dirisu) who fills him in on the basics of the mission: guard the ‘door to hell’ … the giant gorge below filled with unknown danger … while hanging out all alone in the west tower.

Guess who is in the east tower. Right! It’s Drasa, straight from visiting her cancer-stricken dad in their homeland of Lithuania. These two sharp-shooting mercenaries are perched in their opposing towers assigned with defending the gorge from unknown threats. It’s a mission I would have turned down, but it makes for a terrific movie set-up, especially since they have been instructed to avoid contact with the person in the opposite tower. But what kind of movie would that be?

A reference is made to T.S. Eliot’s poem, “The Hollow Men”, and Levi spends a good deal of each day reading and writing poetry. In the other tower, Drasa is a bit more antsy. She dances to music and doesn’t hesitate long in making contact with Levi. The two exchange cross-gorge notes, in a similar manner to LOVE ACTUALLY (2003), only with long-distance binoculars and more humor. Of course, the solitude gets to both and not surprisingly, they figure out a way to connect – as most young, beautiful, world-class snipers would. They even play chess and drums, in obvious callbacks to each actor’s most successful roles.

Their connection is fun to watch, and of course, as seasoned movie watchers, we know the unknown threat from within the gorge will soon enough interrupt the love story. Things get pretty nuts when the grisly creatures from below mix with our two lovebirds and heroes. The explanation is a bit much, but the action sequences are fine – quite the contrast to the first half of the story. We noted some similar touches to films like John Carpenter’s THE THING (1982), Ridley Scott’s ALIEN (1979), and Alex Garland’s ANNIHILATION (2018), although I don’t recall those films including a dose of romance for Valentine’s Day … and certainly this is the first featuring “O Come All Ye Faithful” performed by Twisted Sister, along with a creepy score from Trent Reznor and Atticus Ross, and cinematography from Dan Laustsen (THE SHAPE OF WATER, 2017). It’s an unusual film, and just know that Drasa and Levi will always have Eze (France).

Opens in theaters on Valentine’s Day, February 14, 2025

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Posted by David Ferguson

INHERITANCE (2025)

January 24, 2025

Greetings again from the darkness. With so many MISSION: IMPOSSIBLE movies (another one coming this year) and others of its ilk, movies labeled as ‘thrillers’ or ‘spy thrillers’ seemed to have evolved into hyper-action events requiring the leads to display near-superhuman strength, speed, or smarts. It’s exactly because of this that I found a soft spot for the latest from writer-director Neil Burger (THE MARSH KING’S DAUGHTER, 2023; DIVERGENT, 2014; THE ILLUSIONIST, 2006; THE UPSIDE, 2017) and co-writer Olen Steinhauer.

This one certainly qualifies as a thriller, and it’s also a bit of a father-(grown) daughter international road drama, as well as a (better-late-than-never) coming-of-age story. In what is no longer a gimmick, it was filmed entirely on an iPhone by cinematographer Jackson Hunt (known mostly for his music videos). This approach requires numerous close-ups and provides a certain limitation to the scope of some shots. You’ll notice the difference and hopefully agree that it adds intimacy and urgency where needed, without sacrificing any elements required for storytelling or performance.

An early scene finds two sisters chatting about the flow for their mother’s wake that is about to begin. Jess (Kersti Bryan, HUSTLERS, 2019) is the take-charge sister, while Maya (Phoebe Dynevor, FAIR PLAY, 2023, “Bridgerton”) is the quiet one who has spent the past year as caregiver for mom. A surprise attendee is Sam (Rhys Ifans, with an American accent), the estranged father of Jess and Maya. They barely know “Dad” as he has spent years conducting international ‘business’ and almost never communicating with his daughters. It seems obvious he carries secrets, but he wants to make amends and makes Maya an offer she can’t refuse (although when long-lost Dad offers you a grand per day to travel to Egypt to sell real estate, one should probably decline, or at least ask a few questions).

It’s pretty clear that money is not the driving force behind Maya taking the job. No, she really wants to get to know her father and connect in the father-daughter way which has been missing most of her life. Her hope is what makes what happens so entertaining. Another tip for viewers: if your secretive dad leaves the restaurant in Egypt to take a call, and a minute later texts you to get out of there pronto, take your sister’s advice and hop the next plane back to the states. But if you decide to stay so that you can fulfill kidnapped Dad’s wish for you to ignore the danger and go pick up a secret package so he won’t be killed … well, apologies to all, but you kinda deserve whatever you get.

Actually, this is quite an entertaining film, and it’s a welcome relief to see Maya as an ordinary young woman negotiating her way through situations she doesn’t fully grasp … and doing so without any superhero powers (although her sunglasses are pretty cool). There is one extended chase scene through the streets of Delhi that adds some excitement and action, but Maya isn’t even driving the motorcycle, so again, grounded action prevails. Phoebe Dynevor has a similar acting style to Dakota Johnson, but comes across as more normal and accessible. She performs well in the role, and we continue to pull for her Maya despite some poor decisions. Oh, and have no fear, Maya gets a clear answer on her future relationship with dear old dad – all while proving she may be the smart sister after all.

In theaters on January 24, 2025

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Posted by David Ferguson

SEPTEMBER 5 (2024)

January 3, 2025

Greetings again from the darkness. The 1972 Olympics are remembered for a few highlights. Swimmer Mark Spitz set seven world records on his way to seven gold medals. Belarusian gymnast Olga Korbut won three gold medals (although not in the all-around). The United States and Russia played one of the strangest and most controversial games in Olympics history. And most importantly, the 1972 Munich Olympics are remembered for the tragedy surrounding 10 members of Israel’s team being taken hostage by a masked Palestinian militant group.

Writer-director Tim Fehlbaum and co-writers Moritz Binder and Alex David recreate the events from the perspective of the ABC television production crew. For some historical perspective, this was the first OIympics with widespread and comprehensive live television coverage. It was also the first Olympics held in Germany since 1936 (the Jesse Owens’ games). These games were merely 27 years after the end of WWII. Quick math tells us that 27 years ago from this film’s release was 1997, the year Princess Diana died. To put it plainly, physical and emotional wounds had not completely healed, and Germany was striving to put the past out of mind.

Renowned ABC sports producer Roone Arledge (played here by Peter Sarsgaard) is the man running the Olympics coverage. Newbie broadcast producer Geoffrey Mason (John Magaro, PAST LIVES, 2023) is brought in to run the “off hours”, while Arledge rests. Mason’s experience includes covering minor league baseball, so this is his first shot at the big time. His supervisor, Marvin Bader (played by Ben Chaplin, THE THIN RED LINE, 1998) has confidence in his young protégé, but things go sideways quickly when gunfire is heard.

The genius of the film stems from Director Fehlbaum and Cinematographer Marcus Forderer (I ORIGINS, 2014) choosing to shoot everything inside the ABC control room. This heightens the claustrophobia and pressure as the crew struggles with how best to handle this developing and obviously historic moment. It’s no longer about swimming and sprinting, but now it’s ABC Sports versus ABC News … and since possession is the proverbial 9/10 of the law, Arledge fights to keep the story with his team who is in close proximity. Anchor Jim McKay is seen in archival footage, while reporter Peter Jennings is on the grounds. Translator Marianne Gebhardt (Leonie Benesch, who was amazing in THE TEACHER’S LOUNGE, 2023) is the only one who speaks German and she is vital in her reporting of what’s being broadcast via local radio.

It’s difficult to convey just how much tension runs through this film for both the television crew and the viewers. Ten members of Israel’s Olympic team was taken hostage inside the Olympic Village by the masked Palestinian militant group Black September. We know how history played out over those hours and it’s chilling to revisit from this perspective. The geopolitical aspects are touched upon (Bader was Jewish), but this isn’t about that. Journalism may be heavily criticized these days, but it’s historic moments like this when we depend on competent trained professionals to tell (and show the stories the world needs to know. The haunting archival clips used here add to the quasi-documentary feel.

Opening in select theaters on December 13, 2024 and wide on January 10, 2025

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Posted by David Ferguson

CARRY-ON (2024)

December 13, 2024

Greetings again from the darkness. Ever since Bruce Willis’ John McClane ‘Yippee-Ki-Yayed’ his way into saving Christmas in 1988, many filmmakers have tried to latch onto the action-filled Christmas crime drama sub-genre. Of course, none have reached the level of that Nakatomi Plaza classic, and often the biggest miss is in the form of the villain. Alan Rickman’s Hans Gruber is often cited among the all-time best movie villains, and deservedly so. This latest film we welcome to the party comes from director Jaume Collet-Sera (JUNGLE CRUISE, 2021, ORPHAN, 2009) and co-writers TJ Fixman (Ratchet & Crank video game creator) and Michael Green (LOGAN, 2018).

The opening scene finds a mysterious man in a cap destroying a Christmas tree farm, violently taking out the two present workers. We then join Ethan Kopek (Taron Egerton, ROCKETMAN, 2019) and his girlfriend Nora (Sofia Carson, PURPLE HEARTS, 2022) as they celebrate a positive pregnancy test. They both head to work at LAX. She’s employed by an airline, and he’s a TSA Agent. We quickly learn Ethan’s supervisor (Dean Norris) recognizes him as coasting through his job, and subsequently shoots down Ethan’s request for a promotion.

Holiday travel is in full swing, and as Ethan goes about his work, he’s soon being blackmailed and threatened by a direct-speaking, calm-demeanored ‘traveler’ (Jason Bateman, “Ozark”). “One bag for one life.” The direction from the terrorist to Ethan is to just “do nothing” as a particular carry-on bag runs through his security line. The penalty for not following the traveler’s instructions is the death of Nora and the unborn child. There is a fascinating sequence where Ethan’s actions are juxtaposed with the work of Detective Cole (Danielle Deadwyler, excellent in this year’s THE PIANO LESSON). This is followed by one of the more creative and intense on-screen car crashes we’ve seen. It provides quite a visual jolt.

Ethan’s backstory is slowly uncovered here, as is the all-too-real threat of the terrorist and that suitcase. Supporting work is provided by familiar faces Theo Rossi and Logan Marshall-Green, and despite plenty of ‘that could never happen moments’, the film carries enough twists, turns, action, and suspense to keep us engaged. It’s a shame that the climax feels so rushed, yet any film that opens with Bruce Springsteen’s “Santa Claus is Coming to Town” and closes with Darlene Love’s “Christmas (Baby Please Come Home)” deserves a chance. Just stay away from Contraband Bingo with TSA agents.

Premiering on Netflix December 13, 2024

WATCH THE TRAILER

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Posted by David Ferguson

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