My list of Top Movies from 2020 has been posted, and as is my custom, you’ll also find plenty of movies to check out. 2020 was a strange year in all aspects – including movies. As always, I hope you’ll share your favorites with me as well!
Here is the link to the BEST OF 2020:
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Posted by David Ferguson
Greetings again from the darkness. Four grown men hanging out in a Miami motel room may not strike you as a promising premise for a must-see movie, but this wasn’t just a group of random buddies. Inspired by what actually happened on February 25, 1964, the film takes us behind the closed door that sheltered newly crowned heavyweight boxing champion Cassius Clay, pro football superstar Jim Brown, singer-songwriter-entrepreneur Sam Cooke, and activist Malcolm X, as they met to discuss their burgeoning roles as leaders in the Black community.
Each of the four main characters gets their own introductory prologue so that we have a feel for them prior to their motel rendezvous. We watch as Sam Cooke, smooth voice and all, bombs at the Copacabana Club simply because most of the rich white folks in the audience don’t want to be entertained by a black singer. In London, we are plopped into the ring of the first Cassius Clay – Henry Cooper fight, so we can witness Clay’s remarkable athleticism and showmanship … and also the rare instance of his being knocked down. We then head to St. Simons Island, Georgia, an historic spot for both the American Revolution and the Civil War. Local football hero Jim Brown is invited to iced tea on the front porch by a local rich man (Beau Bridges) and his daughter (real life daughter Emily Bridges). They fawn over his prowess as a sports figure, but after a friendly chat, state matter-of-factly why Brown is not allowed into the main house. Lastly, we pick up with Malcolm X as he disagrees with Elijah Muhammed, and the subsequent conversations with his wife about the ramifications of leaving the Nation of Islam.
These vignettes set the stage for the four men to meet in Malcolm X’s motel room after Clay’s historic defeat of Sonny Liston for the Heavyweight Championship of the World. Clay is portrayed by Eli Goree (RACE, 2016), who does a nice job of capturing the champ’s moves in the ring, as well as his charm, braggadocio, and intellect outside it. Cooke is played perfectly by Tony Award winner Leslie Odom Jr (Aaron Burr in both the stage and film version of HAMILTON), while Aldis Hodge (CLEMENCY, 2019) is Jim Brown and Kingley Ben-Adir (“The OA”) is a standout as Malcolm X.
Cooke and Brown are under the impression that this is going to be a wild Miami party, while Clay is in a celebratory mood, even though he knows the real reason the four men have gathered. Rather than a bash, Malcolm X has arranged an evening of “reflection” for the four men he envisions as leading the revolution of blacks against the devil known as the white man. What follows are multiple discussions – some deep, some angry, some both – about how the men view their position in society and culture. What Malcolm terms “The Struggle”, they each relate to, but have found their own personal ways of dealing. Brown wants to transition into acting as something less physically demanding, and Cooke is building his record label and buying cars to flaunt his success. Clay is young. He just turned 22 the month prior, and he is somewhat reluctantly buying into the Muslim Faith … quite the coup for Malcolm X’s plan.
The fun here is derived from the terrific interactions between four very different personalities, each with varying degrees of comprehension on their budding power. How best to utilize that power is the dilemma, and each man has their own opinions and perspectives. Cooke is on one extreme wanting to succeed in a capitalistic society, while Malcolm X is on the other extreme pushing activism and a full revolution (“blow it up”). The exchanges and conflict between these two are the highlights of the film, as Odom and Ben-Adir shine.
This is the feature film directorial debut of Oscar and Emmy winning actress Regina King, and while a screen adaptation of a stage play may be a risky first in the director’s chair, Ms. King handles the material expertly … as does the cast. Kemp Powers adapted his own stage production for the big screen, and he’s also a co-writer on the latest Pixar gem, SOUL. Supporting roles are covered by Lance Reddick (as Kareem X), Michael Imperioli (as Angelo Dundee), and Joaquina Kalukango (as Betty X). Sam Cooke was murdered later that same year. Malcolm X was assassinated by a Nation of Islam member one year later, and Cassius Clay of course changed his name to Muhammad Ali and passed away in 2016 at age 74. Jim Brown is still alive at age 84. These men each made their mark as leaders in the Black community, and even though we will never know what they talked about that night in Miami, the film digs in to personalities and leaves out the hero worship. Ms. King’s debut film will likely appeal more to history buffs and cinephiles, but it’s one that deserves attention.
Amazon Studios will release ONE NIGHT IN MIAMI… in Miami theaters December 25th, 2020, in select US theaters on January 8th, 2021 and on Prime Video January 15th, 2021
Leave a Comment » | Drama, Fantasy | Tagged: Aldis Hodge, Beau Bridges, Eli Goree, Joaquina Kalukango, Kemp Powers, Kingsley Ben-Adir, Lance Reddick, Leslie Odom Jr, Regina King | Permalink
Posted by David Ferguson
Greetings again from the darkness. Co-writers Danny Bilson (father of actress Rachel) and Paul De Meo, collaborators on the underrated THE ROCKETEER (1991), originally wrote this story about white veterans returning to Vietnam. That project was never able to move to production. When (Oscar winners for BLACKKKLANSMAN, 2018) Spike Lee and his co-writer Kevin Willmott got involved, the characters shifted and it became a story about African-American veterans, and the film now carries a distinct message about racism and the effects of war on those who feel unappreciated.
Director Lee opens the movie with a montage of such historic events and influential people as the lunar landing, Angela Davis, LBJ, Kent State, Jackson State, Richard Nixon, Bobby Seale, and Donald Trump, along with statements from Muhammad Ali and Martin Luther King, both vocal in their opposition to the Vietnam War. Mr. Lee knows exactly what he’s doing, as this prologue sets such a serious tone upfront that we are maneuvered, or at least urged, into accepting his film as truth-based.
Four war veterans who served together are seen reuniting in the lobby of a hotel in modern day Ho Chi Minh City (formerly known as Saigon). As the men warmly greet each other, we quickly grasp the individual personalities. Paul (Delroy Lindo) is the hot-headed, grudge-holding, MAGA hat wearing fellow who bares his emotions on his sleeve (if he were wearing sleeves). Otis (Clarke Peters) is the former medic, and calm mediator, while Eddie (Norm Lewis) is the successful capitalist, and Melvin (Isiah Whitlock, Jr) is the free-wheeling, party guy. Why are there only 4 ‘bloods’? Well, officially the men are there to exhume the remains of their fallen and revered squad leader, Stormin’ Norman (Chadwick Boseman), and return him to his family in the United States.
The official mission got the men back to Vietnam, but it’s their ulterior motive that turns this into something akin to a heist movie. The men plan to recover the millions of dollars of gold bars they buried in the jungle all those years ago. Though he has not been invited, Paul’s son David (Jonathan Majors) shows up, intent on accompanying dear old dad and his war buddies on their big score. Cashing in on the gold requires the men to trust Tien (Y. Lan), a former local prostitute who had a relationship with Otis during the war, and Desroche (Jean Reno), a shady black market French money man. Director Lee attempts to sustain some suspense regarding the Desroche character, but as the only white man involved, that mystery falls a bit flat.
Additional supporting work is provided by Melanie Thierry, Paul Walter Hauser, and Jasper Paakkonen as a trio that inadvertently gets caught up in the bloods’ scheme. A nice touch is Veronica Ngo as Hanoi Hannah, with her lines pulled from actual broadcasts during the war – including the unsettling send off, “Have a good day, gentlemen.” There is little doubt this is meant to be Delroy Lindo’s film. His raging rants and explosive PTSD express the frustrations felt by many Vietnam War veterans, but particularly the African Americans, whom we are told made up 32% of soldiers on the battlefields. Lindo has a scene near the end of the film where he looks directly into the camera and goes off for a few minutes. It’s the kind of scene that garners award recognition. Special notice also goes to Chadwick Boseman, whose final two films were this one and the excellent MA RAINEY’S BLACK BOTTOM. In Lee’s film, we absolutely accept Boseman as the spiritual and military leader of these men.
Spike Lee seemed to enjoy paying tribute and tipping his Knicks’ cap to many influences throughout the film. Especially notable are the similarities to scenes from Francis Ford Coppola’s APOCALYPSE NOW (1979) and John Huston’s THE TREASURE OF THE SIERRA MADRE (1948), including the iconic “stinkin’ badges” line. Lee also pokes some fun at Sylvester Stallone’s Rambo, and the whole genre of a white man as savior. Donald Trump certainly doesn’t escape unscathed, as he’s referred to as “President Fake Bone Spurs”. On a lighter note, the 5 Bloods plus Paul’s son share their first names of those from the original Motown group, The Temptations, as well as their famed producer (Norman Whitfield). Lee also includes heartfelt tributes to African American war heroes Crispus Attucks and Milton Olive, and then includes some tremendous songs from the late, great Marvin Gaye.
The cinematography from Newton Thomas Sigel is exceptional, and Lee opts to change aspect ratios for the flashback scenes. Yet another interesting choice is that even during those flashbacks, the Bloods look their current age, even though it was 50 years prior. The idea being, in their memories, they see themselves as they are today. One glitch is that, periodically, composer Terence Blanchard’s score overpowers the moment. Not always, but enough to distract. Spike Lee really mixes things up, as at various times, this is a story of friendship, loyalty, history, greed, and camaraderie … and the emotional price paid for war. At 154 minutes, the run time is a bit long, but it’s one of Mr. Lee’s more ambitious films, and perhaps one of his best.
Available now on Netflix
Leave a Comment » | Drama, Thriller, War | Tagged: Chadwick Boseman, Clarke Peters, Danny Bilson, Delroy Lindo, Isiah Whitlock Jr, Jasper Paakkonen, Jean Reno, Jonathan Majors, Kevin Willmott, Melanie Thierry, Newton Thomas Sigel, Norm Lewis, Paul De Meo, Paul Walter Hauser, Spike Lee, Terence Blanchard, Veronica Ngo, Y Lan | Permalink
Posted by David Ferguson
Greetings again from the darkness. Hal Ashby’s 1971 cult classic HAROLD AND MAUDE takes a comical look at death, and in the process shows us the importance of living, and the jolt delivered by dying. Documentarian Kirsten Johnson (CAMERAPERSON, 2016) makes this a more personal project by involving her dad in a series of staged deaths for her film. Initially the purpose was to help him begin to deal with an end that could be coming soon, but it evolved into something altogether different.
Dick Johnson is an elderly psychiatrist. He’s a charming and lively man, boasting a nice sense of humor and a twinkle in his eye. His daughter Kristen is “a camera person”, and suggests to him that they make a film about him dying. He’s on board. Kristen then stages various “deaths” for her father. These scenes include getting crushed by a falling air-conditioner, getting hit by a car, taking a horrific fall down stairs, and a construction site mishap. The more we get to know Dick, the more we like him. We learn it’s been 30 years since he had a heart attack, and 7 years since his wife died. She suffered from Alzheimer’s for years before she passed. We learn he’s a Seventh Day Adventist, and loves chocolate fudge cake. My how he loves chocolate cake.
Initially gung-ho for his daughter’s idea, and fully supportive of the situations she puts him in for her art, Dick begins to show signs of forgetfulness and confusion. At times we have our doubts that he fully comprehends what’s happening – not just in the film, but in everyday life. The comical elements shift to wistfulness, as we are present when Dick has to shut down his practice, sell his car, and ultimately box up his belongings and move out of his beloved home. Kristen moves him to her one bedroom New York City apartment, which is right next door to that of the two fathers of her children.
In addition to the staged deaths, we also meet a stuntman who gets involved, and we are on set for the filming of Dick’s “Heaven” which includes chocolate and popcorn, and his “Last Supper” featuring, among others, Bruce Lee, Frida Kahlo, Farrah Fawcett, and Frederick Douglass. There is also a family trip to a beach in Lisbon, and a reunion with Dick’s college girlfriend in California. The strangest bit is the staged funeral, replete with Dick in a coffin, and friends offering tributes. We also celebrate Dick’s 86th birthday, and see many family pictures and home videos.
Leonardo da Vinci is quoted: “As a well spent day brings happy sleep, so life well used brings happy death.”
Watching Dick’s spirit fade along with his memory is anything but happy. His daughter Kristen tries to remain sensitive to his changing state, but the feeling we are left with is anything but happiness towards death. Her film is likely structured much differently than she originally intended, but has so much value for discussion with loved ones and a reminder of just how precious life is for those who appreciate it.
Now showing on Netflix
Leave a Comment » | Documentary | Tagged: Kirsten Johnson | Permalink
Posted by David Ferguson
Greetings again from the darkness. The slate of movies I review each year leans heavily towards serious and dramatic material, but is there anything more serious than an 18 foot tall grizzly bear seeking revenge for the poaching of her cubs? And is there a better springboard to success for actors than the sequel to a cheesy land-based riff on JAWS? OK, I sense your skepticism. What if I told you that sequel featured three Oscar winners, and the original was one of the most profitable ROI films of the year? Starting to come around, aren’t you?
Well, before you get overly excited in anticipation of this film’s release, please allow me to explain … or come clean. This 1983 film has its own special place in cult film lore. Some even doubted its existence (or at least the actual title). But now, after all these years and rumors, the legend comes to life, and has not only been “completed”, but is getting a semblance of release. If you love schlock horror where nature-goes-awry, with the added bonus of ‘spot the actor’ (now almost 40 years older), then there is the possibility you are worthy of watching this … this … abomination (meant here as a term of endearment).
You should know that there are very few sightings of the enormous grizzly bear; although we do get an opening sequence with some quality camera work featuring grizzlies in the wild. Even though we don’t see much of the titular beast, she does dominate the story. The earliest sequence features three young campers ignoring bear warning signs. These three campers are why we are all here. A pre-“E/R” George Clooney (21 years old) sports a denim vest before climbing in a sleeping bag with a partially clothed 16 year old Laura Dern, who has somehow managed to complete the hike wearing sandals and whining the entire time. The third wheel is played by a 17 year old with hair hanging in his eyes and acne on his face. You’ll recognize him as Charlie Sheen, although here he looks very much like brother Emilio. If you show up for this trio, hold off on the potty break, because there’s an angry grizzly lurking.
There are other pieces to the story … and I use ‘pieces’ in a manner similar to what one sees in an intersection after a couple of cars collide. A group of drunk poachers roam the woods looking to collect grizzly gall bladders, which evidently have value on the black market. The Park Rangers are preparing for an upcoming rock concert where 100,000 attendees are expected. A concert promoter played by Louise Fletcher (an Oscar winner as Nurse Ratched in ONE FLEW OVER THE CUCKOO’S NEST, 1975) bullies the newest Park Ranger played by Steve Inwood (who also appeared in STAYING ALIVE that same year, reaching world class clunker status twice in 1983) into “the show must go on” despite the grizzly killings.
This was director Andre Szots’ second and final feature film as a director, though he did have a career as a producer. The husband and wife writing team of David Sheldon and Joan McCall ‘crafted’ the screenplay. He was also a co-writer on the original GRIZZLY (1976), while she appeared on screen in it. Continuing our game of ‘spot the actor’, we can’t help but notice Deborah Foreman as the lead Ranger’s wide-eyed daughter. Ms. Foreman was a very popular actor in the 1980’s, including a starring role in VALLEY GIRL (1983). Unfortunately her career never hit the heights many predicted, although she does have one of the best lines in this film when she proudly states her skill at working a phone – both dial and push-button! Fans of either the “Lord of the Rings” or “Indiana Jones” franchises will surely get a kick out of John Rhys-Davies as a lumberjack-American Indian, who is renowned for his expertise in hunting “the devil bear”. Other familiar faces include a young Timothy Spall (MR TURNER), Deborah Raffin (rumored to be the second choice for Sandy in GREASE), Ian McNiece (ACE VENTURA: WHEN NATURE CALLS, 1995), Dick Anthony Williams (a hard-working actor from the 1970’s until his death in 2012), Jack Starratt (actor in FIRST BLOOD, 1982, director of RACE WITH THE DEVIL, 1975), and Charles Cyphers, who played the Indians’ General Manager in MAJOR LEAGUE (1989).
The joy in seeing these folks in one place is compromised (to say the least) by the horrendous 1980’s pop music being performed by those on stage attired in just about any outrageous 80’s fashion you can recall. Initially comical, the musical acts quickly evolve into something stomach-churning to watch. The kindest description of the production quality is “low-budget”, but there is simply no term for the effects. A Darth Vader breathing sound is heard when the grizzly is near, a speeding Ranger jeep on a dirt path is used to create suspense (the same shot is used multiple times), the day-night inconsistencies could be their own drinking game, and fireworks and a forklift prove to be a bad mix with our grizzly. Finally, for reasons we never really understand, a US Senator is a guest at the concert, and these days a Senator would likely be considered a greater threat than an 18 foot grizzly. You’ve heard the adage, “so bad it’s good”, well this one is simply so bad it’s bad. William Girdler directed the original GRIZZLY in 1976, and he tragically died at age 30, just two years later.
Available On Demand January 8, 2021
Leave a Comment » | Fantasy, Horror, Thriller | Permalink
Posted by David Ferguson
Greetings again from the darkness. We are getting more films these days with stories about strong women, and it’s quite inspirational. This one is courtesy of director Phyllida Lloyd (THE IRON LADY 2011, MAMMA MIA! 2008) and co-writers Malcolm Campbell and Clare Dunne, the latter of whom also stars in the film. We’ve all seen the reports that domestic abuse has increased during the pandemic, so the film is timely, as well as disturbing to watch at times – and also informative, hopeful, and uplifting.
Sandra (Ms. Dunne) lives a dangerous home life in Ireland with her husband Gary (Ian Lloyd Anderson) and their two daughters Molly (Molly McCann) and Emma (Ruby Rose O’Hara). The danger isn’t derived from a shady neighborhood or faulty home wiring, but rather the explosive temper of Gary, and his tendency to physically abuse his wife. One particular incident traumatizes the youngest daughter and pushes Sandra to take the kids and escape. What follows is a look at the bureaucratic and legal challenges faced by a woman in this situation, as well as the grit and determination of a mother who believes she and her kids deserve a better life.
State-sponsored housing consists of a motel where Sandra and her daughters are forced to use a back entrance so as not to inconvenience the paying customers. Sandra’s flashbacks and visions of being abused by the father of her children are never absent for long. The mandated drop-offs so dad can spend time with the kids go beyond awkward and are filled with a dread that only a parent can fully understand.
When red tape and policy offer little hope of an improved life, Sandra turns to Google and YouTube, and soon she is recruiting folks to help her build a home on the cheap. One of her part time jobs leads to a generous offer that kicks things into gear. Peggy (Harriet Walker) is a retired doctor who Sandra is contracted to clean house for – just as Sandra’s mother had done. Peggy offers some of her unused land, and next thing we know, Sandra is urging a local building contractor, Aido (Conleth Hill) to spearhead the effort. He’s initially reluctant to join the cause, but his heart is bigger than his tough-guy exterior leads us to believe.
Director Lloyd’s film serves up some clichés, and struggles to maintain a balance between a heart-warming story of a tenacious mother and commentary on a system that has no place for those so independent minded. However, the performance of Ms. Dunne is so strong and creates such an easy bond with viewers, that we find ourselves feeling defensive towards her during her legal and emotional battles, and happiness as her community comes together to build. A couple of twists/surprises prevent the film from ever devolving into heavy melodrama, and there is a clever use of music throughout. An early glimpse of a Lego house is a nice touch. Anyone so determined to dig out of a bad situation and re-boot their life, and the lives of their kids, deserves just what they are after … a better life.
Amazon Studios will release HERSELF in select theaters December 30th, 2020 and on Prime Video January 8th, 2021
2 Comments | Drama | Tagged: Clare Dunne, Conleth Hill, Harriet Walker, Ian Lloyd Anderson, Malcolm Campbell, Molly McCann, Phyllidia Lloyd, Ruby Rose O'Hara | Permalink
Posted by David Ferguson
Greetings again from the darkness. With their first 22 feature films, Pixar excelled at balancing the eye candy and action kids favor with the second level intellect needed to simultaneously keep adults entertained. As proof, one need only think of such classics as TOY STORY, CARS, and THE INCREDIBLES. Surprisingly, film number 23 is the first Pixar film aimed directly at adults. It’s a marvelous companion piece to the brilliant INSIDE OUT (2015), but be forewarned, there is simply nothing, or at least very little, for kids to latch onto.
The film is co-directed by 2 time Oscar winner Pete Docter (INSIDE OUT 2015, UP 2009) and Kemp Powers (the screenplay and stage production of ONE NIGHT IN MIAMI, 2020), and they were joined on the screenplay by Mike Jones. And yes, it’s a brilliant script to go along with the always stunning Pixar visuals and effects. Brace yourself for a metaphysical exploration of the meaning of life and finding one’s purpose. As we’ve come to expect on Pixar projects, the voice cast is deep and filled with well-known folks such as Graham Norton, Rachel House, Alice Braga, Richard Ayoade, Phylicia Rashad, Angela Bassett, Questlove, Daveed Diggs, Wes Studi, and June Squibb. Leading the way is the dynamic duo of Jamie Foxx and Tina Fey.
Mr. Foxx plays Joe, a junior high band teacher still chasing his dream of performing jazz and experiencing the feeling that only music can provide … “the zone”. Instead, the school offers him a full-time teaching job, and his mother demands he seize the stability (and insurance) and give up his silly dream of jazz. As seen in the preview, shortly after an audition lands him his dream jazz gig, a freak accident occurs and Joe finds himself in “The Great Beyond”, where a conveyor belt takes those souls whose time has come to that giant bug zapper in the sky. Joe’s not willing to accept his plight and finagles his way into being a mentor for Soul 22 (Tina Fey) in “The Great Before” where unborn souls search for their “spark”. It’s all very existential.
After a look back at his life, Joe takes 22 to “The Hall of Everything”, which is the one segment in the film which felt underplayed … much could have been done with 22 looking for a reason to live. Instead, it’s a few great punchlines, including a Knicks gag that will surely play well among basketball fans. We learn of the fine line separating “lost souls” from those “in the zone”, and mostly we take in the banter between Joe and 22, as purpose and passion become the subjects of chatter.
As with most Pixar movies, multiple viewings are required to catch all the sight-gags, one-liners, and Easter eggs, however, the first viewing is like unwrapping a giant Christmas present. The opening Disney theme is hilariously played by a junior high school band, and the score is courtesy of Oscar winners Trent Reznor and Atticus Ross (THE SOCIAL NETWORK, 2010). Director Docter claims Pixar good-luck charm John Ratzenberger makes a vocal appearance, but I didn’t catch it. The film leaves us with the message that the meaning of life is simply living life … and keep on jazzing.
Available on Disney+
Leave a Comment » | Animation, Comedy, Drama, Fantasy | Tagged: Alice Braga, Angela Bassett, Atticus Ross, Daveed Diggs, Graham Norton, Jamie Foxx, June Squibb, Kemp Powers, Pete Docter, Phylicia Rashad, Questlove, Rachel House, Richard Ayoade, Tina Fey, Trent Reznor, Wes Studi | Permalink
Posted by David Ferguson
Greetings again from the darkness. It happens sometimes, but rarely. A single sequence in a film is so profound or unusual or artistic or affecting, that it alone makes the film worth watching. Such is the case with the labor-birth-midwife scene in this film from real life partners, Hungarian director Kornel Mundruczo and writer Kata Weber. Much of it is an extended single continuous shot, and it occurs within the first half hour.
The only set up we get is that the husband, Sean (Shia LaBeouf) is on the construction crew building a new bridge, and that his wife Martha (Vanessa Kirby) is extremely pregnant on her final day of work before maternity leave. A strained relationship with Martha’s mother is evident as she buys the couple a minivan. At home, the couple seems excited about the upcoming arrival of their first baby. When her water breaks, they are initially upset that their midwife can’t make it for a home delivery, but soon enough, Eva (Molly Parker), shows up as a replacement and takes charge. The remarkable sequence is filmed in tight shots that add to the tension and come across as ultra-realistic as Ms. Kirby’s strenuous performance.
The rest of the film follows the differing ways the couple, especially Martha, deals with the crushing emotional pain and unfathomable grief that comes with losing a child. It’s the kind of tragedy that can tear apart a relationship and change, if not destroy, a person. Martha becomes isolated as she tries to make sense of something where logic doesn’t apply. Sean is unable to connect with her, but falls into her mother’s camp of seeking to avenge the pain. Oscar winner Ellen Burstyn plays Martha’s domineering mother, and she is determined to make the midwife pay through jail time.
The rest of the film can’t match that birth sequence for tension, but the cast is superb in capturing the various faces of grief. Ms. Kirby is a revelation and she immerses herself in the role – something frequent movie watchers will immediately recognize. Whether she’s huffing with labor pains, sniffing apples in a grocery store, or floating through days and nights in a state of numbness, we feel every bit of what she’s processing. LaBeouf handles the initial pain very well, but he’s let down by the script through the balance of the story. Ms. Burstyn and Ms. Kirby each get another chance to shine as they face off at a family dinner in Act 3. Supporting work comes from Benny Safdie (actor-director known for co-directing offbeat films with his brother Josh), Iliza Schlesinger as Martha’s sister, and Sarah Snook as the prosecuting attorney (and family member).
Scandal surrounds the project, not because of anything that happened during production, but instead due to the accusations Shia LaBeouf is facing from a former girlfriend. Separating the accusations from the performance is a choice each viewer will have to make on their own, and it can be noted that he, while a significant player in the story, is not the main focus. Chapter headings by month are used to assist us with knowing how much time has passed, and the under-construction bridge from the first scene acts as a metaphor in the film’s final scene as the new reality is faced. Despite being a tough watch at times, and having a first act that sets an unsustainable bar, there is a lot to admire about the film. Martin Scorsese is listed as an Executive Producer and 3-time Oscar winner Howard Shore delivers a nice score. Living with loss is never easy, and at times seems impossible.
In theaters December 30, 2020 and on Netflix January 7, 2021
Leave a Comment » | Drama | Tagged: Benny Safdie, Ellen Burstyn, Howard Shore, Iliza Schlesinger, Kata Weber, Kornel Mundruczo, Molly Parker, Sarah Snook, Shia LaBeouf, Vanessa Kirby | Permalink
Posted by David Ferguson
Greetings again from the darkness. It’s a bit of a rough start. The armed robbery of a convenience store doesn’t come across as menacing or threatening, but rather almost comical as the burly dude retreats, leaving the ski-capped (not masked) woman behind to face the cops. The scene does however set the stage and background for that woman’s story. Kathy (Tanna Frederick) is sent to jail where she is diagnosed with bi-polar disorder. Transferred to a treatment center, Kathy is given medications for control, and released early.
Kathy seeks redemption and normalcy as she heads back to her family. The reception is lukewarm at best, and her now 12 year old daughter Cori (Riley Behr) outright rejects her. Cori has been raised by her father Junior (Joel West) and Kathy’s parents, and is now the ultimate overachieving adolescent who wants nothing to do with her ex-con mother. In the midst of Kathy’s homecoming, her beloved grandfather Walter (Tom Bower) has had a heart attack on his pig farm, and now the family is trying to have him certified as “not competent” so they can take over his land (a generational farm). Kathy is disgusted by this, and wants nothing more than to give her grandfather what he wants most … a chance to live out his final days on the same land where his father died.
With no shortage of awkward conversations or situations, Kathy struggles to acclimate back into her family and small Iowa hometown. The best and most poignant scenes are with Kathy and her grandfather, and with Kathy and Cori. Kathy relates to her grandfather, as he’s being labeled just as she has been. In his case, he carries the weight of old age, while she carries the stigma of mental illness. The conversations between Kathy and Cori are more intimate, as a mother and daughter try to reconnect.
Director Ron Vignone and writer Richard Schinnow do a nice job creating small town authenticity, and proving that family dysfunction is certainly not limited to big city life. Cinematographer Christopher C Pearson captures some nice shots of beautiful Iowa farm land, and mixes it with the often uncomfortable family moments. Veteran actor Tom Bower is a real standout here, and we ultimately wish he had more screen time. Ms. Frederick captures the essence of her character, and faces the challenges of those burdened with the mental illness stigma. We should appreciate the inclusion of Kathy encouraging her grandfather to write down his memories and experiences for future generations. It’s a valuable step that too few folks take.
Available on VOD beginning December 29, 2020
Leave a Comment » | Drama | Tagged: Christopher C Pearson, Joel West, Richard Schinnow, Riley Behr, Ron Vignone, Tanna Frederick, Tom Bower | Permalink
Posted by David Ferguson
Greetings again from the darkness. Some of the key elements that make Wonder Woman appealing is that she’s smart, she’s nice, she’s dedicated to doing good, she’s grounded in her history, and her use of her powers makes sense (in a comic book kind of way). Most of that holds true in filmmaker Patty Jenkins’ sequel to her 2017 blockbuster WONDER WOMAN. So why did that one work so well, while this one falls short? It’s not an easy question to answer, though it could be as simple as having the wrong target.
Gal Gadot returns as Diana Prince, and this time she’s plopped into 1984 (the year, not the novel). This creates a cornucopia of opportunity for social commentary and satire from Ms. Jenkins and her co-writers Geoff Johns and Dave Callaham. After all, it was the era of atrocious popular music, outlandish fashion, and a relentless pursuit of greed by the “me” generation. The film pounces on each of these by using the return of Diana’s main squeeze, Steve Trevor (Chris Pine), as a device for highlighting the absurdity of belly bags and pastel tank tops for men. In the first movie, the WWI pilot wakes up in Themyscira, and this time, he just kind of materializes in the year of GHOSTBUSTERS, shopping malls, and President Ronald Reagan. While this certainly qualifies as extreme culture shock, the parade of outfits and Steve’s wide-eyed tour through the city are over-the-top, even for their attempted comedic effect.
Over-the-top also describes the film’s two main villains. Pedro Pascal (“Game of Thrones”) plays TV hypester and con man Maxwell Lord. He’s a greedy, self-centered man willing to do anything to get “more”. Kristen Wiig is Barbara Minerva, a bumbling, forgettable klutz who works at the same museum as Diana. She simply wants to be cool like Diana and have people acknowledge her existence. Things shift quickly thanks to the Dreamstone sitting in Barbara’s in-box waiting for research. What follows is more than two hours of seeing the fallout of people having their wishes come true. If you’ve learned anything about human nature during this pandemic year, then you won’t be surprised at how people react to gaining power.
Maxwell Lord is not dissimilar to Lex Luthor in SUPERMAN (1978), as his goal is ultimate power and control – though to what end, he’s not sure. Barbara Minerva was never really power hungry, but a taste of it was much to her liking, and she transitions to The Cheetah for Wonder Woman’s biggest fight scene. There is also a message about what one sacrifices to have their wishes come true. This aspect of the film could be psychoanalyzed were one so inclined. Lord’s relationship with his son is convoluted, and the early Barbara is a mess … making their “sacrifices” a bit less obvious than that of Diana.
The opening sequence is the one this viewer most enjoyed. Spectacular camera work takes us to a competition on Themyscira, as a very young Diana (Lilly Aspell returns) goes against the grown warriors, while Antiope (Robin Wright) and Hippolyta (Connie Nielsen) look on and teach hard life lessons. Not only do these actors return, but most of Ms. Jenkins’ WONDER WOMAN crew is back, including cinematographer Matthew Jensen. The changes include Film Editor Richard Pearson and Hans Zimmer provides the new score. Some of the dialogue is tough to take. As an example, Diana says “I don’t know what to think, Steve. I only hope I’m wrong.” And later, Steve explains, “Flying is easy. It’s only wind and air.” Dialogue like this makes us want to renounce our own wishes. It may be one film later than it should have been, but Ms. Jenkins does deliver a much-appreciated cameo at film’s end, and if nothing else, it leaves us wondering, ‘what would you give up for a wish?’
Leave a Comment » | Action, Fantasy, Thriller | Tagged: Chris Pine, Connie Nielsen, Dave Callaham, Gal Gadot, Geoff Johns, Hans Zimmer, Kristen Wiig, Lilly Aspell, Matthew Jensen, Patty Jenkins, Pedro Pascal, Robin Wright | Permalink
Posted by David Ferguson
