DECISION TO LEAVE (2022, South Korea)

December 14, 2022

Greetings again from the darkness. For the first half hour, we can’t help but think, “we’ve seen this all before.” A straight-as-an-arrow police detective falls hard for a suspect in a murder case. Sure, the familiar story line is often fun to watch, but we are initially a bit disappointed since this is the work of writer-director Park Chan-wook, the filmmaker behind OLD BOY (2003) and THE HANDMAIDEN (2016). Of course, we worried needlessly. The masterful director then begins twisting and turning characters and events in this homage to Hitchcock’s VERTIGO.

A crime thriller built upon fatalistic romanticism is the foundation of the best film noirs in history, and that is exactly how Park and co-writer Jeong Seo-Kyeong construct this story. Park Hae-il stars as Hae Jun, a married Busan police detective who suffers from insomnia and withdrawals from the cigarettes his wife (Jung Yi-seo) prohibits him to smoke. As with many detectives, Hae Jun obsesses over his unsolved cases, but things change quickly when the mangled body of a married man is found at the foot of a mountain. Did he fall? Did he jump? Was he pushed? The victim’s wife Seo-rae (a phenomenal Tang Wei) is suspected, but Hae Jun defends her as not capable.

The best love stories involve obsession, and Hae Jun becomes obsessed with Seo-rae, or is it she who becomes obsessed with him? The number of twists and turns director Park throws at us are nearly impossible to track … and we aren’t sure which are pertinent and which are distractions. The tiresome cell phone trope comes into play, only this time it plays a vital role and is not just used as a tech cop out. At times we are led to believe Seo-rae, despite being a beloved caregiver for the elderly, is the devil in disguise. Other times we aren’t sure if she is the clever one, or whether that’s Hae Jun. His “daydreams” of being in the same room and spending time with her are well played.

The script is well-written and the score works perfectly. Some of the dialogue is sharp and serious, while some carries subtle humor. My three favorites were the best ever use of “shattered”, a man introducing himself as “the next husband”, and this line: “Killing is like smoking. Only the first time is hard.” For those who enjoy noir crime thrillers with a dark romantic undertone, you’re very likely to appreciate this film from director Park Chan-wook and the mesmerizing performance by Tang Wei.

***NOTE: this is South Korea’s official submission for Best Foreign Language Oscar.

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Posted by David Ferguson

THE WOMAN KING (2022)

December 11, 2022

Greetings again from the darkness. I’m a little late on this one as I try to catch up with viewings for year-end lists and voting. From the opening scene, director Gina Prince-Bythewood (LOVE AND BASKETBALL, 2000) establishes the skill and intimidation of the Agojie, an elite force of female soldiers in the Dahomey Kingdom of West Africa. The year is 1823 and the warriors are led by their General, Nanisca (Oscar winner Viola Davis, FENCES, 2016), a fierce leader who also has the ear (figuratively speaking) of Ghezo (John Boyega), the new king.

The film is based on historical facts, but also takes a great deal of dramatic license in its story telling. Actress Maria Bello developed the story, and the screenplay was written by Dana Stevens (FOR LOVE OF THE GAME, 1999). Dahomey’s riches come from its slave trade, and its way of life is being threatened by it’s enemy, the Oyo Empire … for whom Nanisca holds a personal hatred. Nanisca recommends transitioning to the sale of palm oil, while Shante (Jayme Lawson, TILL, 2022), the power-hungry wife of the King, promotes further expanding their successful slave trade.

Nanisca loses many soldiers in that initial battle and must quickly train a new group of recruits. One of these is Nawi (Thuso Mbedu, “The Underground Railroad”), an obstinate young girl who rebels against her father’s wishes and finds herself ‘gifted’ to the kingdom. Izogie (an excellent Lashana Lynch, NO TIME TO DIE, 2021) takes on the role of training and mentoring Nawi, and the two form a strong bond. The trading of slaves plays a part in this version of the story, yet somehow it feels minimized in the interest of playing to the mainstream and ensuring Ms. Davis’s character appears heroic and appealing throughout … even with the twist, that won’t really surprise anyone.

What I find most interesting is that Viola Davis is garnering much attention for another Best Actress Oscar nomination, yet it’s Thuso Mbedu whom I would claim is the lead in the film, and certainly a more interesting character. The King’s Guard (the Agojie) are remarkably fit and the battle scenes are well orchestrated … and Nanisca has one of the best fight/attack yells of all time. The film is large in scale and likely owes a bit of gratitude to the success of the Black Panther movies for the enhanced budget. In the end, we can certainly appreciate Ms. Davis’s strong General, though it’s Ms. Mbedu who looks to be the one to watch in the coming years.

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Posted by David Ferguson

GUILLERMO DEL TORO’S PINOCCHIO (2022)

December 9, 2022

Greetings again from the darkness. Looking for someone to create the opposite of a whimsical childhood fairy tale? The obvious answer is filmmaker Guillermo del Toro (an Oscar winner). He has built his career on delivering dark thrillers that dig into the recesses of our nightmares (PAN’S LABRYNTH, THE SHAPE OF WATER). In fact, he’s a master of this, which makes his vision of Carlo Callodi’s 1883 book a must see. GDT shares a director credit with animation expert Mark Gustafson (FANTASTIC MR FOX, 2009) and screenwriting credit with Patrick McHale. Matthew Robbins has a ‘screen story’ credit, and of course it all links back to Callodi’s source material.

From scene one we immediately sense the different approach than both the light-hearted Disney animated classic from 1940 and Robert Zemeckis’ sentimental live-action version starring Tom Hanks released just a few months ago. It’s darker and gloomier with a unique stop-action look saturated in browns. We also recognize that GDT has chosen a different timeline, as the effects of one of the last WWI bombs takes the life of Geppetto’s beloved young son, Carlo, and Mussolini and fascism are referenced throughout the story.

Everyone knows the story, and the core remains intact – though GDT adds his special touches and twists. One night, a drunken grieving woodcrafter carves a wooden puppet. As Geppetto sleeps it off, the Wood Sprite brings the puppet to life, and just like that, Pinocchio is born and Geppetto has his new son. Another unexpected twist is how much of the film is musical with song lyrics and music by del Toro and the film’s composer, two-time Oscar winner Alexandre Desplat. But don’t mistake songs for an upbeat movie. It’s still dark and bleak, and of course, GDT nails the sea beast whose belly houses Geppetto and Mr. Cricket in the most thrilling segment.

Young Gregory Mann voices Pinocchio and Carlo, Ewan McGregor voices Sebastian J Cricket, and David Bradley is Geppetto. Beyond that, the all-star voice cast features Ron Perlman, John Turturro, Finn Wolfhard, Cate Blanchett, Tim Blake Nelson, Christoph Waltz, Tilda Swinton, and Burn Gorman. No one does fantasy-horror better than Guillermo del Toro, and even with his first foray into animation, delivers a unique look and spin on a familiar story. He even makes it easy to pick up on the Frankenstein (the Mary Shelley novel) influence, so I’ll say it again … don’t mistake this for the family-friendly Disney fare you grew up on.

Opens in theaters and Netflix on December 9, 2022

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Posted by David Ferguson

GLASS ONION: A KNIVES OUT MYSTERY (2022)

November 24, 2022

Greetings again from the darkness. Of course we do get a murder mystery (maybe even more than one!), yet the real case study may be in how the billionaire tech mogul celebrated for his business savvy and creative genius is actually an egotistical putz who stole one brilliant idea from his former partner. Another mystery is what to say about writer-director Rian Johnson’s (STAR WARS VIII – THE LAST JEDI, 2017) follow up to his superb first KNIVES OUT (2019), without giving away too much. Clearly, Johnson went all-in for the entertainment factor, and it’s a sure bet that most will find a good amount of joy watching this.

The traditional introduction of characters and suspects is handled through the arrival of seemingly impenetrable wooden boxes delivered to the five friends of the above-referenced billionaire Miles Bron (an overly-hyped Edward Norton). Birdie Jay (Kate Hudson) is a former model clueless to the ways of ‘woke’ society, blocked from social media by her assistant Peg (Jessica Henwick). Duke Cody (Dave Bautista) is a pistol-packing testosterone-fueled Twitch influencer who hangs with his girlfriend Whiskey (Madeline Kline). Claire Debella (an underutilized Kathryn Hahn) is a regretfully-for-sale ambitious politician. Lionel Toussaint (Leslie Odom Jr) is the genius tech inventor who receives middle-of-the-night faxes from Miles. Lastly, a terrific Janelle Monae plays the former business partner outmaneuvered in a dirty way by Miles.

Each friend solves the intricate puzzles required to open the box, it’s Duke’s ma (Jackie Hoffman) who excels as a puzzle whiz in the most comical manner … well, maybe not as funny as Janelle Monae’s approach. While all the puzzle-solving is occurring, we see super sleuth Benoit Blanc (Daniel Craig) soaking in his bathtub, wishing for a stimulating case as he Zoom calls with his friends – including Stephen Sondheim, Angela Lansbury, and Kareem Abdul-Jabbar. This is the first of many high-profile cameos sprinkled throughout, including Ethan Hawke, Hugh Grant, Serena Williams, Natasha Lyonne, and Yo-Yo Ma.

Discovered inside the wooden box is an invitation to a Murder Mystery party at Miles’ lavish private Greek island resort. When they arrive, Miles is baffled by Benoit’s admission that he had received an invitation, as only five were sent. The five friends are referred to as “disruptors”, and though each has been the recipient of Miles’ funding, they also have their own reasons for revenge … these reasons venomously pointed out by Ms. Monae’s character as they lounge around the pool.

Benoit Blanc spoils the murder-mystery party Miles has planned almost before it starts, however, a real murder kicks things into frenetic gear. A humorous complement to Benoit Blanc’s saucy southern accent is Miles’ world-class word butchering – constantly mispronouncing words, making them up, or using them incorrectly (each to the annoyance of Benoit). The overuse of “buttress” is quite the gag, as is the famous portrait hanging in the main hall, and the consumption of caviar. Another ongoing joke is Benoit Blanc’s annoyance at the game of “Clue”, which he terms “a terrible game.”

Despite the many red herrings, McGuffins, and misdirections, we realize what suffers is the actual murder investigation. It’s no surprise that the rich and famous aren’t upstanding citizens, and we see they don’t even make good friends. While the first KNIVES OUT movie focused on the fight for the generational money of Christopher Plummer, director Johnson has this time opted for jabs (stops short of satire) at the nouveau-rich, who are portrayed as entitled, spoiled, and out-of-touch. Johnson made a conscious decision to focus on the comical aspects of society and these characters, and the result is entertainment that feels good in the moment, but leaves us wanting a bit more substance. Still, “Knives Out 3” is expected in a couple of years and we look forward to an even different approach.

Opens in theaters on November 23, 2022 and begins streaming on Netflix December 23, 2022

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Posted by David Ferguson

BLACK PANTHER: WAKANDA FOREVER (2022)

November 8, 2022

Greetings again from the darkness. The big secret was spoiled before the film ever hit theaters, and of course, I won’t reveal anything here for those who have managed to avoid the leaks. We do learn the identity of the new Black Panther, complete with action sequences. What really stands out in this sequel to the 2018 original, is that writer-director Ryan Coogler and co-writer Joe Robert Cole return with less action, and more focus on grief, the transition of power, and the introduction of yet another society that has lived undetected for generations.

The film opens with the death of King T’Challa from a mysterious illness. We see his mother, Queen Ramonda (Angela Bassett) and his sister Shuri (Letitia Wright) and the whole of Wakanda attending his funeral in a sea of white. Ms. Bassett kicks into dominant Queen Mother mode, while butting heads at times with Shuri in a collision of tradition vs. science. A couple of sequences make sure we understand that Vibranium remains the most valuable and sought-after natural resource on the globe. Wakanda will stop at nothing to protect their way of life and their corner on the Vibranium market. However, it turns out, it’s not a corner they control, but rather one they share with a previously unknown society.

The CIA is involved … in a botched mission of greed, of course … and this means Agent Everett K Ross (Martin Freeman) continues his communication relationship with Wakanda, which drags the agency director and his ex-wife (Julia Louis-Dreyfus) into the fray. The story has many tentacles and bounces around the globe, mostly to appear complicated and important. Other familiar characters are back, including the fierce Okoye (Danai Gurira, a standout in the first film), M”Baku (Winston Duke, given little to do this time), and super spy Nakia (Lupita N’yongo) who now runs a school in Haiti.

New to the proceedings are Dominique Thorne, who plays 19-year-old MIT science and technology whiz, Riri Williams, and especially Tenoch Huerta as Namor, the ruler of the underwater kingdom of Talokan. Not back are Daniel Kaluuya (scheduling conflicts?) and, of course, the late Chadwick Boseman, who passed away in 2020. Director Coogler includes a tribute to Boseman over the opening credits, and another near the film’s end.

The film is two hours and forty-one minutes long, and definitely drags at times. Still, the attempt at in-depth storytelling is commendable in the Marvel universe, though on a couple of occasions, the interjection of songs are distracting and recall 1980’s filmmaking. The underwater segments look somewhat realistic rather than cartoonish, and the reveal of the new Black Panther probably won’t surprise many – although the high-profile cameo might. Everything about the movie seems to set the stage for more sequels, all quite likely despite this one not reaching the unattainable level of the original.

Opens wide in theaters beginning November 11, 2022

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Posted by David Ferguson

THE GOOD NURSE (2022)

October 26, 2022

Greetings again from the darkness. A film focusing on a single mom who works as a dedicated and caring and overworked ICU nurse, and who is diagnosed with a heart condition requiring a transplant, and who is trying to hang on to her job long enough to secure medical insurance, and who is a loving mom to her two young kids, would normally have enough drama and stress to carry the story. But that’s not nearly enough for filmmaker Tobias Lindholm, who has written three outstanding screenplays: THE HUNT (2012), A WAR (2017), and ANOTHER ROUND 2020). Here he’s directing a Krysty Wilson-Cairns (LAST NIGHT IN SOHO, 2021) adaptation of Charles Graeber’s book about the man who may very well be the most prolific serial killer in history.

Jessica Chastain plays nurse Amy Laughren, who is faced with numerous challenges both at work and at home. Despite needing a heart transplant, she keeps this secret from her employer so that she can work the last few months needed to gain health insurance through the New Jersey hospital where she works. Strained beyond reasonableness, she sees hope when a new nurse is hired. Charlie Cullen (Eddie Redmayne) discovers her secret and offers to help her – not just with her patient workload, but also with her parenting responsibilities. Charlie is a Godsend for Amy.

Too soon, doubts begin to show. One of Amy’s patients dies unexpectedly, and the hospital administrator (Kim Dickens) calls the police, in what is a defensive move to protect the hospital’s business rather than uncover the truth. The detectives played by Noah Emmerich and (former NFL star) Nnamdi Asomugha feel handcuffed in their investigation as the hospital blocks their efforts at every turn. Their suspicion focuses on Charlie and his strange work history of being dismissed by 9 previous hospitals.

The obvious evil here is a medical professional who kills patients, but the enabler of this evil is a hospital system that values reputation and finances over the morally correct decisions. Both are frightening and both are dangerous. Cullen killed at least 29 people, and is suspected of killing upwards of 400. Lindholm sticks to a drab palette to match the grim subject matter, and both Ms. Chastain and Mr. Redmayne take low key approaches to two characters … one heroic and one truly dangerous.

Streaming on Netflix beginning October 26, 2022

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Posted by David Ferguson

VESPER (2022)

September 30, 2022

Greetings again from the darkness. We are always looking to the future, and yet so many movies paint a bleak post-apocalyptic picture of what’s ahead. Co-writers and co-directors Kristina Buozyte and Bruno Samper, who previously collaborated on VANISHING WAVES (2012), are joined here by co-writer Brian Clark to deliver something that still looks bleak, yet is something that not only has a unique style, it also founds a new sub-genre I’ll call arthouse science fiction.

Raffiella Chapman plays Vesper, a 13-year-old forced to survive off the shredded land while also playing caregiver to her disabled father (Richard Brake). She manages his feeding tube and is followed around by the drone through which he calmly communicates … the floating drone looks a bit like Wilson the volleyball. Vesper is also a bit rebellious and exceedingly clever and intelligent. We first see her scavenging the land for anything useful in feeding Papa or furthering her experiments in her self-made lab located in their own cabin in the woods.

It’s a dreary existence and the film even begins by informing us this is the “new Dark Ages” thanks to an ecological disaster. Genetically engineered seeds are the only hope for food, and most everything is controlled by the Citadel, which is run as an Oligarchy. Those on the outside are left to their own devices, and this includes Vesper and her ruthless Uncle Jonas (Eddie Marsan). When a glider crashes in the woods, Vesper rescues one of the injured inhabitants. Camellia (Rosy McEwen) and her shock of white hair is different … nearly ethereal and otherworldly. The two bond, but something never seems quite right.

We know a showdown is coming, but it may not be the one we expect. The film stresses the importance of the parent-child bond, as well as the importance of altruism. Even more crucial is the impact of the demise of the ecosystem. Filmmakers Buozyte and Samper use minimal special effects (especially for a sci-fi film), and still manage to create a world that seems quite real and populated with unrecognizable organisms. A cool score by Dan Levy accompanies a world that may have limited resources, but still features class division and a lust for power among some. Will we ever learn?  Probably not. But a terrific performance from young Ms. Chapman and the hopeful vision of the filmmakers inspires us to keep trying.

In theaters and VOD beginning September 30, 2022

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Posted by David Ferguson

GOD’S COUNTRY (2022)

September 25, 2022

Greetings again from the darkness. Do you ever have that feeling that if no one’s going to do something then “I guess I will”? These days it seems our systems and institutions are failing us, and that’s at the heart of what is eating at Sandra (Thandiwe Newton), a college professor living in a remote house in the mountains. When the film opens, she is at the crematorium for her recently deceased mother. Soon after, two hunters park on her land, and their reactions after she politely asks them not to, tells us where this story is headed.

Writer-director Julian Higgins and co-writer Shaye Ogbanna never give Sandra (or us) any reason to think everything is going to be just fine. It’s a slow-burn towards disaster, and we can’t help but watch to see how bad situations turn worse and how the conclusion plays out. Violence is expected … especially after we see how ineffective the local acting Sheriff (Jeremy Bobb) is at his job.

The ”chapters” in this story are actually the days numbered so that we can keep up with the tension. A red truck, an arrow in the door, a police report, a faculty meeting, a church organist, and the disclosure by a student (Tanaya Beatty) all lead us to the dreaded seventh day. The stress builds for Sandra, who manages to hold her tongue quite often, right up until she doesn’t. It’s clear to us that she’s carrying a bitterness and a chip … and seeking vengeance. It’s easy for us to emphasize with Sandra in the first two acts, though it’s likely many will join me in being a bit disappointed in the final act.

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Posted by David Ferguson

SEE HOW THEY RUN (2022)

September 16, 2022

Greetings again from the darkness. It’s 1953 in London’s West End and the cast of “The Mousetrap” is celebrating its 100th performance. Of course, Agatha Christie’s play with the twist ending would go on to be the all-time longest running show in the West End, interrupted only by COVID restrictions in 2020. This is the first feature from director Tom George, and the screenplay by Mark Chappell involves a murder mystery wrapped around the murder mystery play.

Harris Dickinson plays the Dickie Attenborough, the original Detective Sergeant Trotter … and yes, that’s the same Richard Attenborough who played the likable John Hammond, the developer who “spared no expense” in creating Jurassic Park. So while Dickinson plays the detective on stage, it’s Oscar winner Sam Rockwell who plays Inspector Stoppard … the London detective assigned to solve the real murder of Leo Kopernick (Oscar winner Adrien Brody), which occurred in the theater during the cast party. Kopernick, an abrasive American director, was in talks to create a film version of the play.

Assisting Stoppard with the investigation is rookie Constable Stalker (Saoirse Ronan), who writes every detail in her notepad, and is overly quick to name the killer in her eagerness to solve the case. Rockwell chooses a laconic, prosaic approach for his Inspector Stoppard to contrast mightily with Ronan’s overzealous Constable Stalker. We are treated to two terrific actors playing off each other. Unfortunately, the screenplay and overall movie simply doesn’t deserve these two … or the balance of the talented cast which includes Ruth Wilson, an unusually flamboyant David Oyelowo, and the always great (and criminally underappreciated) Shirley Henderson.

With the recent success and popularity of Rian Johnson’s KNIVES OUT (2019), it’s perfectly understandable why producers and movie studios would want to capitalize on the newly discovered beauty of whodunnits, but there is a distinct line drawn between effective murder mysteries (whether dramatic or comedic) and those that offer no real punch or tension. The theater makes a grand setting, and the well-choreographed hallway scene provides a dash of fun, but overall this one is just too flat to recommend.

Opens in theaters on September 16, 2022

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Posted by David Ferguson

BARBARIAN (2022)

September 9, 2022

Greetings again from the darkness. It’s a dark, stormy night. If that’s not scary enough, Tess is in Detroit. She hops out of her car and dashes to the front door only to find the key is missing from the lockbox. Her Airbnb has been double-booked and a confused and sleepy man answers the door. When Tess agrees to ‘come in’, we veterans of the horror genre know exactly where this movie is headed. The only problem with our theory is that writer-director Zach Cregger has made it his mission to mess with our heads – and the genre – by confounding us at every turn.

Georgina Campbell (“Broadchurch”) plays Tess and Bill Skarsgard (Pennywise in IT, 2017) is Keith, the settled Airbnb tenant. The two actors are superb during their awkward encounter, as Tess comes across as an intelligent and cautious woman, fully aware of the red flags in this situation. Keith is a bit shy, yet polite and accommodating – and also aware of what might make Tess uncomfortable. But Keith looks exactly like the guy who played Pennywise, so Skarsgard’s look results in the perfect contrast with this character’s demeanor … keeping us viewers (and Tess) on our toes.  

It’s really the structure of the storytelling that gives this one a creative punch. Cregger serves up 3 different perspectives and then tries to wrap things up in a final act. I actually found all three puzzle pieces well done and interesting, leaving only the wrap-up a bit lacking. In addition to Tess and Keith, we get Justin Long as a cocky actor named AJ cruising along the California coast in his convertible, singing along at full pitch. A phone call abruptly shifts the tone and soon AJ is on a flight leading him to the front porch of a rental property he owns in Detroit. Yep, the same Airbnb Keith and Tess double-booked. Thirdly, there is a flashback to well-kept homes with perfectly manicured lawns. Right again … the same house a few decades earlier before blight took over the neighborhood. It’s in this stage where we note the homeowner (played by Richard Brake) follows a young woman home from the store and gains entrance under false pretenses.

If this seems like a lot to tie into one horror film, that’s because it is. We’d like to know more about Tess. We welcome AJ’s natural sarcasm, and Brake’s early years could have been the creepiest of the bunch. Cregger excels at atmospheric tension and disorienting camera angles, especially in the always dreaded dank basement with hidden hallways and secret rooms. He’s also clever with his misdirection and inclusion of contemporary issues like immediate ramifications of accusations, and the defensive mode that women must maintain when deciding to accept a cup of tea. I certainly enjoyed the jolting cuts from one storyline to the next. However, I will admit to feeling frustration that Tess was set up as such an intelligent person, only to make multiple decisions that force us to suspend disbelief … a trait of far too many horror films.

Opens in theaters on September 9, 2022

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Posted by David Ferguson

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