Greetings again from the darkness. With any discussion or article about relationships these days, there is inevitably a mention of ‘red flags’ … warning signs in a potential partner that shouldn’t be ignored. Thanks to writer-director Fernando Trueba (BELLE EPOQUE 1992, CHICO & RITA 2009) and co-writer Rylend Grant, there is now a movie that offers clear examples of red flags for those who can’t manage to spot them without assistance.
Alex (Aida Folch) is a lovely young woman who can’t swim or speak Greek. So of course, she applies for a job at a restaurant on a Greek island. It’s a boutique joint, just opening, owned by Max (Matt Dillon). Alex is drawn to the mysterious Max. While she’s a carefree open book, he’s a tight-lipped private person. A local charmer and part of the staff, Chico (Juan Pablo Urrego) tells Alex, “Nobody knows Max.” Unfortunately, this doesn’t deter Alex and she continues to pursue her man.
One thing respected filmmaker Trueba gets right is the look of the film. Set in 2001, the Greek isle locale is breathtaking and the cinematography by Sergio Ivan Castano takes full advantage of the seaside setting, as well as the cute café and the cast of faces the cameras adore. Aida Folch has an initial likability that reminds me a bit of Valerie Kaprisky from BREATHLESS (1983), and Matt Dillon has been a big screen fixture for more than forty years. It’s really the material that lets us down here. The romance is never quite as romantic as we’d hope, and the suspenseful aspects never generate the tension that we’d prefer. Mostly we just keep asking, “What is Alex doing? Why doesn’t she bolt?” The aforementioned red flags are so obvious that the big reveal barely warrants a nod, and the finale is forced to go a bit over-the-top due to the unlikely actions of Alex. In spite of all that, the Greek isles are enticing.
In theaters and On Demand beginning September 27, 2024
Posted by David Ferguson 
Greetings again from the darkness. After the lukewarm reception at last year’s Toronto Film Festival, and complaints about the ending, director Anand Tucker (SHOPGIRL 2005, HILLARY AND JACKIE 1998) called the cast back for re-shoots. Oscar nominated writer Patrick Marber (NOTES ON A SCANDAL, 2006) adapted the 2015 novel, “Curtain Call”, by Anthony Quinn (a former film critic, not related to the two-time Oscar winner with the same name). Although I can’t comment on the original version, this one provides a bit of entertainment.
Greetings again from the darkness. Screenwriter Sarah Conradt must think mothers possess superhero emotional strength, if we are to judge by her two most recent films – this one and MOTHER’S INSTINCT (also 2024). In this feature film directorial debut from long-time producer Robert Salerno, the mom is really put through the ringer – and we are right there with her.
Greetings again from the darkness. The mistreatment of kids is something that causes a physical reaction for me. It’s not just the intellectual and emotional effects – my entire body reacts by shifting into some mode that’s a cross between aggression, sickness, and denial. No matter how much we wish child trafficking wasn’t occurring, we know that it is … and reminders are crucial in keeping the awareness and discussions (and kids) alive. That’s the role of the first feature film from writer-director Mohit Ramchandani.
There are approximately 150 Oscar-qualifying festivals for short films each year, and the competition is always tough. So many filmmakers are looking to make their mark in short films, with many hoping to garner support for future feature-length films. Recognition is difficult to come by, although as one who watches dozens of short films each year, I find the quality of storytelling and filmmaking in this segment to be quite extraordinary.
Greetings again from the darkness. Billed as “a fictional story inspired by true events”, the film pretty obviously draws from the 2014 case where aesthetician Dawn DaLouise was accused of plotting the murder of rival Gabriel Suarez. This is the first feature film from music video director Austin Peters, who co-wrote the script with Sam Freilich and Deering Regan (all first-time screenwriters). Although there is some entertainment value here, the inexperience of the filmmakers shines through, leaving us wishing for a bit more heft.
Greetings again from the darkness. Those that have lived through one often describe it as sounding like the roar of a freight train. Of course, they are referring to a devastating tornado … or “twister”. Oscar nominated director Lee Isaac Chung (MINARI, 2020) and writers Mark L Smith and Joseph Kosinski take on the follow up to Jan de Bont’s fan favorite TWISTER (1996). The earlier film featured a screenplay from renowned writer (the late) Michael Crichton and his then-wife Anne-Marie Martin, and the cast included the late Bill Paxton, the late Phillip Seymour Hoffman, Helen Hunt, Cary Elwes, and Lois Smith. In that one, we learned Aunt Meg’s gravy is a food group, and are left with the memorable line, “We got cows”.
Greetings again from the darkness. It’s easy to forget that Russell Crowe was once Oscar nominated three years in a row, winning Best Actor for Ridley Scott’s epic, GLADIATOR (2000), and has probably deserved two or three additional nominations. His reputation has not won him many industry friends over the years, but to his credit, he keeps plugging away – some minor roles in big films, and some lead roles in smaller films. Crowe can still command the screen with his presence, even when the material is slight (see THE POPE’S EXORCIST, 2023).
Greetings again from the darkness. The first feature film from writer-director Rose Glass was delayed almost two years due to COVID, but when SAINT MAUD hit in 2021, we knew immediately she was a filmmaker to watch. Along comes her second feature, co-written with Weronika Tofilska, and as a rare lesbian neo-noir, it’s sexy and violent and stylishly filmed … confirming Glass as one to follow.
Greetings again from the darkness. With a setting in the Red Hook neighborhood of Brooklyn (though filmed in Manchester, UK), writer-director Phil Allocco has adapted his own 2005 short film THE MIRROR into a gritty and violent feature length crime thriller. For fans of the genre, there is enough here to make it worth watching.
Movie Reviews from the Dark 