GUNDA (2021, doc)

April 15, 2021

Greetings again from the darkness. We open on a pig in prone position with her head sticking through an opening in the barn. It takes a minute to realize the sow isn’t sleeping, but rather giving birth. Slowly the newborn piglets begin tumbling out into the world. Cutting to a reverse camera angle, we see the 12-13 babies desperately trying to latch onto mom for their first meal. The runt of the litter struggles more than the others. Award-winning filmmaker Viktor Kosakovskiy runs this first segment just over 19 minutes. There is no dialogue. No human on screen. The soundtrack is all natural from nature: the snorts from mama sow, the squeals from piglets, and unseen birds chirping.

Our second segment finds roosters in a crate. Clearly new to the surroundings, and likely never-before “free” to roam the land, these chickens cautiously explore as the camera focuses on their tentative initial steps from the cage and startled reactions to birds. A one-legged rooster captures our attention as it makes its way through the grass and over fallen logs. It’s likely the longest amount of time a movie camera has been dedicated to following roosters around.

We then head back to find the piglets have grown substantially. We don’t know how much time has passed, but we watch along with their mother as the youngsters play in the field, fight with each other, and bully their youngest sibling. Gunda, the mother sow, watches over them just as any mother would watch over her kids. Our third group is introduced as the barn door opens and the cows are released. They romp into the fields like school kids at recess. Some of the cows stare directly into the camera as if to inform us they are ready for their close-up. It’s fascinating to see how they use teamwork for an ingenious head-to-tail solution to the annoying flies that relentlessly pester them.

The final segment returns us to the pigs as they display the same feeding frenzy as one might witness at the buffet on a Carnival cruise. An ending that will surely evoke emotions in viewers, though maybe not at the extreme of Gunda herself. Filmmaker Kosakovskiy leaves us wondering how a black and white film with no dialogue or human characters makes such an impression as it focuses on farm animals. Pork, chicken, and beef. Clearly it’s no coincidence that he chose three staples of the American diet. There is no lecture on animal rights, and none of the brutality of other “raised for food” documentaries is shown. But the message is there. It was filmed on farms in Norway, Spain, and the U.K., but the locales matter little. Director Kosakovskiy previously brought us the excellent AQUARELA (2018), a documentary showcasing the nature of water and ice, and here he assisted Egil Haskjold Larsen with cinematography, and Ainara Vera with editing. It’s an unusual film, and one meant to inspire reflection and thought … and hopefully change.

In theaters beginning April 16, 2021

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Posted by David Ferguson

MONDAY (2021)

April 15, 2021

Greetings again from the darkness. I will admit upfront that I’m no fan of watching late thirty-somethings living their lives like a never-ending fraternity party. So when the film opens on a disco ball, and we see a woman breaking up with her boyfriend on the phone while the thumping dance blasts, and then she immediately hooks up with the equally-aged DJ … well, I was concerned that writer-director Argyris Papadimitropoulos and co-writer Rob Hayes decided to make this film as a kick to the shins of any job-holding, respectable grown-up movie watcher. Fortunately, it’s not as bad as all that.

The two instant-lovers wake up naked on the beach the next morning and introduce themselves while handcuffed in the back of a police car. Denise Gough (JULIET, NAKED) is Chloe, an immigration lawyer who has been in an abusive relationship, and seemed to move on quickly (minutes later), without much thought. Sebastian Stan (Bucky from “The Avengers” franchise) is Mickey, a party boy DJ who is also an advertising jingle writer. Chloe and Mickey are both American ex-pats living in Athens, Greece. He’s been knocking around for almost 7 years, and after 18 months, she’s now scheduled to head back to the U.S.  And yes, we do get the obligatory frantic airport moment – this one is less touching and more contrived.

The next few weekends basically involve these two going at it like rabbits at any time and in any place. Chloe and Mickey are a beautiful couple in a gorgeous setting, and it’s quite obvious they are incompatible as a couple doing anything other than coupling. If thirty-somethings bonding over partying seems like a recipe for disaster, the party they throw will prove your point. It’s an understatement to say her circle of sophisticated friends don’t mingle well with his group of belligerent scofflaws. Supporting work is provided by Dominique Tipper as Bastian, a former bandmate with Mickey, and Yorgos Pirpassopoulos as Argyris, Mickey’s close friend who wields power locally due to family money.

This is really the Sebastian Stan and Denise Gough show. He’s a good fit as the charming, self-defeating guy who can’t grow up, while she’s an enigma – a woman seemingly too smart to fall for this guy and screw up her life after a weekend fling. Ms. Gough is strong in her ability to create a complex character from a fragmented script that forces her to overcome weak dialogue and absurd situations. As an example, Chloe and Mickey have 3 police encounters … which is 3 more than the average person experiences in a lifetime.

Athens and the island of Antiparos make for a stunning setting for a movie, but the script falls short of the work necessary for this couple to transition from a wild weekend fling to an actual relationship with responsibilities, jobs, and a kid. We see how Chloe feels trapped, but the third act spins out of control as lot of Fridays turn into the titular Monday of reckoning.

In theaters and On Demand April 16, 2021

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Posted by David Ferguson

DEADLY CUTS (2021, Ireland)

April 15, 2021

Greetings again from the darkness. If we have to depend on Dublin filmmaking for the year’s first stellar comedy, then so be it. This is the first feature film from writer-director Rachel Carey, but it certainly won’t be the last. Somehow she’s created a black and blue comedy that plays like a mash-up of ZOOLANDER (2001) and BLOW THE MAN DOWN (2018), two films I feel sure had not previously been mentioned in the same sentence.

Piglinstown is a small, working class community in Dublin … the metaphorical ‘other side of the tracks’. Michelle (Angeline Ball, THE COMMITMENTS, 1991) runs the salon, and is just one of the local business being threatened by gang activity and gentrification driven by greedy politicians. Michelle’s staff includes Stacey (Erika Roe, HERSELF, 2020), a stylist who believes winning an upcoming competition can not only save the salon, but also her dreams of finally being accepted by the mother that deserted her many years ago; Gemma (Lauren Larkin), the in-house amateur psychologist and therapist; and Chantelle (Shauna Higgins, “Red Rock”), a socially awkward wizard with hair color. It’s a motley crew of women who are stronger than they think, and display a camaraderie that defines small business and small towns.

The ladies embrace the upcoming “Ahh Hair” competition as their road to salvation, where a win would boost the salon’s reputation and make tearing the shop down for luxury apartments an unthinkable act. The problem is that the annual competition is consistently won by the posh shop where Michelle once worked before a catastrophic on stage occurrence many years ago. The high end shop is now run by her hilariously intimidating rival Pippa (Victoria Smurfit, “Marcella”). This becomes a bit of a parody of class distinction between Dublin’s north and south side.

But there is much more here than the hair styling competition. Some of the grit of the working class rears its head one evening when the gang leader threatens the ladies of the salon. One thing leads to another and soon the shop has earned its name, “Deadly Cuts.” Although crime and violence play a role here, the gore is minimal and mostly occurs off screen, and even packs its own level of humor. Ms. Carey loads up her script with a slew of one-liners, each expertly delivered by a cast that embraces the cinematic lampoon. “The hair tongs are heating up” is merely one example of what is broadcast by FAD TV during the competition. For a rollicking good time, check this one out … though you may need the closed captions unless your ears are in full Irish mode.

Featured at the 2021 Seattle International Film Festival

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Posted by David Ferguson

BETTER DAYS (2021, China)

April 12, 2021

Greetings again from the darkness. Chinese gaokao is the College Entrance Exams that determine the future of high school students and their families. The pressure is extreme for the kids, and when the film opens, the exams are only 60 days away. One of the students leaps to her death from an upper breezeway to the concrete courtyard below. Her fellow classmates converge on the scene with cell phones recording the tragedy. One girl, Chen Nian, quietly covers up the body. While most assume the pressure of the impending test was too severe for the girl, Nian knows better. The relentless bullies that motivated the suicide have now turned their attention to Nian.

Director Derek Tsang (aka Kwok Cheung Tsang) delivers a beautiful film with compelling characters and a heart-wrenching story. Jiuyue Xi’s novel, In His Youth, In Her Beauty” has been adapted for the screen by co-writers Wing-Sum Lam, Yuan Li, Yimeng Xu, and Nan Chen. Filmed in 2018, the Chinese government delayed its release due to concerns over how its society would be perceived, given extreme bullying, class differences, and the extensive use security cameras throughout. Instead, we note the similarities in people, and how young people carry burdens that often go unacknowledged.

Zhou Dongyu gives a terrific performance as Chen Nian. She’s an excellent, devoted student who has no one to depend on thanks to a mostly absentee mother who spends her time scamming for money and dodging creditors. Nian has no real friends, and her closest companion was the one whose body lay crumpled in the courtyard. Nian stumbles into a situation that could not be described as a ‘meet-cute’, and soon she has requested street punk Xiao Bei (played by Jackson Yee) to act as her protector against the bullies, so that she may focus on the exams. Additionally, she’s been questioned by the police in regards to the suicide, and Detective Zhang (Yin Fang) takes a particular interest given his knowledge of schoolyard bullies.

The bond between equally adrift and confused teenagers Nian and Bei grows, despite his being a dropout. Are they star-crossed lovers? Is it a budding romance? What makes it interesting is that it doesn’t even matter. What does matter is the courage these two youngsters show in the face of adversity. Does it go too far? The third act will leave you wondering just what is the answer to their dilemma. How harshly can you judge those in self-preservation mode when the school motto is “Work Hard. No Regrets”? There is a retro feel to Tsang’s filmmaking style, and we are left with the reminder that “used to be” infers a sense of loss … and we all experience different types of loss. Excellent filmmaking that rightly earned an Oscar nomination.

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Posted by David Ferguson

FUTURE PEOPLE: THE FAMILY OF DONOR 5114 (2021, doc)

April 9, 2021

Greetings again from the darkness. Over the past five decades, blended families have become commonplace, while at the same time single women and same-sex couples have utilized sperm-donors to enrich and expand their families. Michael Rothman’s documentary kind of combines these two as he explores the 37 half-siblings resulting from anonymous sperm-donor number 5114 at the California Cryobank.

You may have seen one or both of the film comedies, STARBUCK (2011) and DELIVERY MAN (2013). The first from Canada, the re-make two years later starring Vince Vaughn. Both were directed by Ken Scott and revolve around a sperm-donor who discovers he fathered 533 offspring. Well, Mr. Rothman’s documentary is not quite that outlandish, and it’s told from the perspective of the kids, who slowly uncover and communicate with their half-siblings. They even have their own Facebook group!

Rothman’s approach allows us access to the meet-ups (reunions) of the half-siblings as more of them are able to make the trips. Over the years this was filmed, we are there for Taos, Los Angeles, Plymouth, and Breckenridge. We even join them for a tour of the California Cryobank, where one couple takes the last two vials of 5114, in hopes of adding to their own family, as well as this connected one.

These are mostly just normal kids who are trying to fill that familial gap that occurs when one doesn’t know a parent. It’s both understandable and emotional. As Mattie from Dallas turns 18, she’s encouraged to reach out to the donor through the organization. The burden she carries for the group proves a bit too heavy, but later one of the siblings does make contact virtually … and Rothman has us in the room as the correspondence is read.

We are shown a timeline for the kids, and we hear the same audio recording they do – that of the donor at the time of his 1996 application. Hearing his voice provides comfort, but his self-description of “optimistic and curious” with a love of fly-fishing, leaves the kids wishing (and deserving) of more. As with any group of 37 kids, there is a wide variance in personalities, but the kids enjoy exploring their similarities. We are told that the average donor leads to 12-14 offspring, so 37 is a statistical anomaly, and hats off to these half-siblings for bonding with each other to complete the circle.

Streaming on Discovery+ on April 10, 2021

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Posted by David Ferguson

HELD (2021)

April 9, 2021

Greetings again from the darkness. Co-directors Travis Cluff and Chris Lofing previously collaborated on the horror film, THE GALLOWS (2015), and this time they are working from a script by Jill Awbrey, who also stars. It’s Ms. Awbrey’s first feature film as a writer or actor. Most people agree that marriage can be challenging, but this one introduces thrills and chills into a relationship that’s already navigating in choppy waters.

Writer Awbrey (a Julie Harris lookalike) plays Emma Barrett, who we see in an early flashback as a young woman trapped in a car with two men. We don’t see it, but we know what’s about to happen against her will. Today’s Emma is then seen again in the backseat … as her Uber driver (Rez Kempton) asks inappropriate questions, and comes across more than a bit creepy as he notes the remoteness of her drop-off and pressures her for a bonus tip. These two scenes remind us of how women must always have their defense mechanism on high alert around men.

Emma and her husband Henry (Bart Johnson, HIGH SCHOOL MUSICAL) have set up a rendezvous to see if they can rekindle what’s waning between them after 9 years of marriage. We get an aerial view of the ultra-modern and ultra-smart house stuck in a cornfield miles from civilization. The terror and mystery begin the next morning when Emma and Henry wake up in different clothes and with missing phones. A “voice” tells them that the secrets of their marriage are no longer secret, and they must “obey”. If not, the implanted sensor behind their ear will act as a shock collar, causing extreme discomfort and pain. Emma and Henry both experience this the hard way.

The film appears to be a VRBO home invasion movie wrapped in the contemporary issue of surveillance and security. However, that’s only part of the story. The “voice” is pushing the couple into a 1950’s version of THE STEPFORD WIVES, replete with veggies in the fridge, modest wardrobes in the closet, and an apron for Emma. She is being coerced into acting like a submissive wife, as if anyone today still fantasizes about a 1950’s marriage. It’s disturbing to watch as Emma and Henry try to find a way to escape, while not triggering another jolt of pain, and complying with commands from the voice (who seems to be Jigsaw from the SAW series transformed into a marriage counselor).

The objective here seems to be as satire and commentary on male privilege in a male-dominated society … one where women always carry a bit of fear, despite being so much stronger and forceful than what we saw in 1950’s TV series. That traditional marital structure no longer exists, but when combined with a luxurious smart house, does make for an interesting premise in the horror-thriller genre. When save-the-marriage transitions to survival mode on top of fear of being watched and manipulated, the terror is palpable. The only frustration is that so much more could have been done, over and above the twist. Despite the lags, the film does provide ‘talking points’.

In theaters and On Demand April 9, 2021

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Posted by David Ferguson

AMUNDSEN: THE GREATEST EXPEDITION (2021)

April 1, 2021

Greetings again from the darkness. Director Espen Sandberg continues his string of movies highlighting the heroes of Norway. Previous movies include MAX MANUS: MAN OF WAR (2008) and the Oscar nominated KON-TIKI (2012), the tale of legendary explorer Thor Heyerdahl. And then to earn some coin, Sandberg also directed PIRATES OF THE CARIBBEAN: DEAD MEN TELL NO TALES (2017). This latest project, written by Ravn Lanesskog, takes on another legendary explorer – this time it’s Roald Amundsen, the first to traverse the Northwest Passage, the first to reach the South Pole, and the first to reach the North Pole by plane.

Pal Sverre Hagen stars as Roald Amundsen, and he also played Thor Heyerdahl in Sandberg’s KON-TIKI. Hagen bears a striking resemblance to the photos of Amundsen, and utilizes a low key, yet very direct communication style to give us a look at the relentless commitment to achieving his goals. We learn he held grudges – against the Brits and even against his own brother – and used this as motivation. Director Sandberg uses a conversation as a framing device throughout the film. Roald’s estranged brother Leon (Christian Rubeck, SWIMMING WITH MEN, 2018) and Roald’s lover Bess Magids (Katherine Waterston, THE WORLD TO COME, 2020) share their insights and perspective while awaiting word on Roald’s latest excursion. This begins after the opening sequence where we see Roald’s prop plane crash land on an Arctic ice shelf.

Of course, this is the story of one of the greatest explorers and adventurers in history, so there is a nice blend of that conversation, some backstory, and a first-hand look at some of Roald’s expeditions. The elements are incredibly harsh, but Sandberg never lingers too long on any one piece of this puzzle. It seems he is more interested in what made Roald tick – what drove him to these pursuits at the expense of most relationships. The rivalry with the Brits is clear and we see the humiliation Roald endured after besting Robert Falcon Scott to the South Pole. Rather than accolades, he faced criticism and judgment of his methods.

Roald Amundsen was clearly not a man to rest on his laurels, even after being presumed dead on more than one occasion. He was always a body in motion. We see his childhood fascination towards unexplored areas. No map? No problem. Roald’s harsh treatment of his brother is explored, and it’s interesting to note the differences in how Bess and Leon describe Roald. Amundsen went missing while on an Arctic rescue mission in 1928. He was 55 years old, but looked 20 years beyond that. This film is not hero worship or even a traditional tribute. Then again, maybe it’s the type of tribute a man like Roald Amundsen would appreciate. For those who wish to learn more, search out the 6-hour 1985 PBS mini-series, “The Last Place on Earth.”

Opening in Virtual Cinemas and VOD April 2nd

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Posted by David Ferguson

EVERY BREATH YOU TAKE (2021)

April 1, 2021

Greetings again from the darkness. Psychological Thrillers can be quite fun to watch when well-written and well-acted. It’s a delicate balance though, since if even one of those elements is lacking, the enjoyment level plummets and the eye-rolling begins. Unfortunately this film from director Vaughn Stein (TERMINAL, 2018) and screenwriter David Murray (his first feature film) is a masterclass in eye-rolling, despite a well-respected and familiar cast.

Oscar winner Casey Affleck (MANCHESTER BY THE SEA, 2016) and Michelle Monaghan star as married couple Dr. Philip and Grace Clark. He works at a Psychiatry Institute and she’s a local Real Estate Agent. An early scene shows adoring mother Grace driving their young son to hockey practice. Tragedy strikes, and since that night, Philip and Grace barely speak to each other or his teenage daughter (by another mother) Lucy (India Eisley, daughter of Olivia Hussey). All three are grieving in their own way – emotionally isolated from the others. Grace aggressively swims laps day and night in the pool at their stunning modern mansion. Lucy has been expelled from her private school for snorting cocaine during Science Lab. Philip immerses himself in his work with clients, and we know he’s smart because he’s wearing glasses.

One client with whom Philip takes a special interest is Daphne (Emily Alyn Lind, DOCTOR SLEEP, 2019), a troubled young lady from a troubled family. To help Daphne deal with boyfriend issues, Philip uses unconventional personal therapy, which he then presents as a Case Study for students … against the wishes of his boss and friend Vanessa (Veronica Ferres). This backfires when Daphne seemingly commits suicide, and her grieving brother James (Sam Claflin, THE HUNGER GAMES: MOCKINGJAY) shows up.

At this point, everyone is grieving and Philip’s career begins to crumble as he’s blamed for Daphne’s suicide. James turns on the charm for Grace and Lucy, and even though the characters don’t get it, every viewer will recognize what’s happening, why it’s happening, and where it’s headed. Even this would be fine if things played out in a clever manner, rather than over-the-top and obvious. Even the Rorschach inkblot tests used as artwork in the pristine Clark mansion are cause for eye rolls. Claflin probably has the most fun of any with his role, but it’s Monaghan who comes closest to molding a full dimensional human out of her character. Affleck just adds yet another despondent, joyless character to his resume … though he does get to throw one tantrum while sitting in his car – alone, of course. Fortunately, these actors will assuredly move on to projects more worthy of their talents.

In select theatres and premium VOD on April 2, 2021

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Posted by David Ferguson

SAY YOUR PRAYERS (2021)

April 1, 2021

Greetings again from the darkness. The brothers have chosen to accept the mission they’ve been given, which is to assassinate outspoken atheist writer, Professor John Huxley. The deed is to be done during the Ilkley Literature Festival where Huxley is a featured speaker. Brothers Victor and Tim are Christian radicals, and not particularly clever. In fact, the terrific opening sequence shows us an execution on a hill – one that displays the tragic effects of mistaken identity.

Writer-director Harry Michell (he played Nick in YESTERDAY, 2019) and co-writer Jamie Fraser (his first feature film) deliver a strong first act that really gets our hopes up. Tom Brooke (PIRATE RADIO, 2009) plays Victor, the high-strung older brother to Tim, who is played by ski cap-wearing Harry Melling (the “Harry Potter” franchise). Victor is prone to violent outbursts, while Tim is the more sensitive type – and a bit slow at times. That contrast between the brothers is a fun element, as is the close bond they share.

Director Michell utilizes a recurring men’s choir (breaking the fourth wall) as a way to both drive the story and add a bit of humor. In the first half-hour, the two most obvious comparisons we make are THE BOONDOCK SAINTS (1999) and IN BRUGES (2008). Unfortunately, that’s a standard that the film simply can’t sustain. It seems to be filled with any number of promising ideas that mostly just fizzle or fade out. A perfect example is the dynamic between the two investigative cops played by Anna Maxwell Martin and Flora Spencer-Longhurst. The banter between these two characters is just never quite as colorful or pointed as we wish.

The supporting cast includes Vinette Robinson as Imelda, one of the festivals organizers who has a close relationship with Professor Huxley. Imelda’s time with Tim works well at times. Roger Allum effectively portrays the arrogant atheist author, and Derek Jacobi plays Father Enoch, the priest who raised the two orphans, Tim and Victor, and now has them doing the church’s dirty work. The real standout here is the film’s editing by Xanna Ward Dixon and Dylan Holmes Williams. The pacing and quick cuts keep us engaged and minimize the shortcomings of the story … which certainly could have worked with more risk-taking and pushing of the envelope. Not going far enough is film’s downfall – and it’s quite disappointing given the promising start.

In theaters and On Demand April 2, 2021

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Posted by David Ferguson

NOBODY (2021)

March 25, 2021

Greetings again from the darkness. Revenge movies have long been popular because they let us live out the fantasy of getting even … a chance real life rarely offers. Of course, few of us actually cross paths with Russian mobsters or have a secret life that requires our government personnel file be redacted. But all of the above is in play for director Ilya Naishuller’s first feature film since his debut, HARDCORE HENRY (2015), an innovate POV action/sci-fi movie.

While watching this, numerous other movies kept popping into my head, but front-and-center were the JOHN WICK movies. It wasn’t until afterwards that I discovered this film’s writer was Derek Kolstad, the creator and writer of the first three John Wick movies to date. Knowing that leads to the obvious comparison of leading men – Keanu Reeves versus Bob Odenkirk. Yep, the same Bob Odenkirk who owns the Saul Goodman role from “Breaking Bad” and its terrific spinoff, “Better Call Saul”. And nope, he’s not as cool as Keanu, but it’s the risk of casting against type that prevents this from being same old, same old.

Odenkirk stars as Hutch Mansell, a suburban husband and father, working as a bookkeeper at the shop owned by his father-in-law (Michael Ironside, TOTAL RECALL, 1990). A brilliantly edited opening sequence shows us the daily drudgery of Hutch’s life. The rapid cuts tell the story of a man whose existence involves taking the bus to a dead-end job, filling his coffee cup, receiving little respect or affection from family, and yelling at the backend of a garbage truck. Things only get worse when, one night, intruders break into his home. His teenage son (Gage Munroe) springs into action, but Hutch freezes, and is viewed as weak by just about everyone.

It’s at this point where Hutch awakens – his secret past coming back to life. Now you might chuckle a bit at the thought of Odenkirk playing a man who once was so dangerous, he was known as an “auditor” … the last person you want to see at your door. Well, that’s not likely to be your last chuckle, because the over-the-top moments are just getting started. Hutch fights a group of thugs on a city bus, and the one that dies just happens to be the little brother of Russian mobster kingpin Yulian, played with gusto by Aleksey Serebryakov (LEVIATHAN, 2014). Like us, Yulian underestimates Hutch, and most of the movie is spent with every living Russian gangster trying to end Hutch.

Hopefully by now you have intuited that Naishuller’s movie is cartoonish in nature, and has no sense of realism or logic. If you’re not quite sure yet, you should know that 82 year old Christopher Lloyd (as Hutch’s ex-FBI father) joins in on the action – and I mean, he actually joins in on the shootouts. Think of “Mayhem” from the Allstate commercials and you get some idea of the exaggerated shoot ‘em up/ blow ‘em up nature of the action. Connie Nielsen (GLADIATOR, 2000) plays Hutch’s wife and RZA plays Hutch’s equally talented brother.

If one squints and twists, there is some insight into today’s emasculated male – those more likely to bake lasagna than take down an intruder. But mostly it’s just exaggerated revenge action in a way that mirrors John Wick, rather than DEATH WISH (1974) or STRAW DOGS (1971). Director Naishuller gets extra credit for poking fun at the never-ending ammo issue in most action movies, and it might have benefitted from a bit more humor along the lines of the kitty cat bracelet. Fans of the John Wick movies will likely find enjoyment here, but probably “nobody” else … especially those looking for Saul Goodman cleverness.

This film opens March 26, 2021

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Posted by David Ferguson

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