THREE CHRISTS (2020)

January 9, 2020

 Greetings again from the darkness. Based on the actual events documented in the book “The Three Christs of Ypsilanti” by Social Psychologist Milton Rokeach, the film turns ground-breaking work from 60 years ago into a generic, somewhat bland big screen production … albeit with a talented cast. Director Jon Avnet (FRIED GREEN TOMATOES, 1991) co-wrote the script with Eric Nazarian, and they evidently believed the strong cast would be enough. Instead, we get what in days past would have been described as the TV movie of the week.

The actual story is quite interesting. Dr. Alan Stone (the dramatized version of Dr. Rokeach) is played here by a blond-haired Richard Gere. Dr. Stone comes to Michigan’s Ypsilanti State Hospital in 1959 to study delusions of schizophrenics. Up to that time, we are informed that only extreme treatments were utilized, with minimal psychoanalysis practiced. Dr, Stone’s approach is through therapeutic treatments. Specifically, he arranges for group therapy consisting of only three patients – each who claims to be God/Christ.

Leon (Walton Goggins) demands to be addressed as God. He is the most perceptive of the three, though it’s quite clear, he mostly wants a friend. Joseph (Peter Dinklage) says he is Jesus Christ of Nazareth, though he speaks with a British accent, listens to opera, and wants only to return to England (a place he’s never been). Clyde (Bradley Whitford) claims to be Christ “not from Nazareth”, and he spends much of each day in the shower attempting to scrub away a stench that only he can smell.

The film is at its best, and really only works, when the doctor and the three patients are in session. It allows the actors to play off each other, and explores the premise of how they go about working through the confusion of having each believe the same thing … while allowing Dr Stone’s approach to play out. Where things get murky and clog up the pacing are with the number of additional characters who bring nothing of substance to the story. Stone’s wife Ruth (Julianna Margulies in a throwaway role) pops up periodically with alcoholic tendencies or a pep talk for hubby. Stone’s young research assistant Becky (Charlotte Hope, “Game of Thrones”) seems to be present only as an object of desire for all the Gods, and to remind us of the era’s drug experimentation. And beyond those, Stone carries on a constant battle with hospital administrators played by Kevin Pollack, Stephen Root, and a rarely-seen-these-days Jane Alexander (we shouldn’t forget she’s a 4-time Oscar nominee).

Alec Baldwin’s “I am God” from MALICE is still the best, but it’s always fun to watch a God complex … and this film offers four. The story is bookended with Dr Stone dictating his preparatory notes for a hearing on his professional actions, and the film does serve as a reminder that electroshock therapy and severe drug therapy are likely not as effective as empathy for many patients. It’s rare that God, Freud and Lenny Bruce are all quoted in the same film, but mostly this one just never pushes far enough.

watch the trailer:

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Posted by David Ferguson

REALITY QUEEN! (2020)

January 9, 2020

 Greetings again from the darkness. While we can’t dismiss it, we can surely question the popularity of those who have reached celebrity status via Reality TV or Social Media presence. Are these folks brilliant or simply cashing in on the ignorance and gullibility of the American public? That’s the core question asked in this mockumentary from first time director Steven Jay Bernheim (and his 7 credited co-writers).

Thanks to shows like “TMZ” and “Entertainment Tonight”, sites like Instagram, Twitter, and YouTube, and the seemingly endless supply of Reality TV series, it’s no wonder we have come to accept that people can get famous for being famous. Julia Faye West (a no-holds barred performance) stars here as London Logo, a “celebutante” who has reached the pinnacle of fame by flaunting her lifestyle of excess. The obvious comparisons are Paris Hilton and the Kardashians. As with these real life celebs, we learn much more about London Logo than we would prefer to know. And that’s where the fun begins.

And by fun I mean the type of twisted comedy presented by a mockumentary that has us questioning why our society heaps so much attention on those represented here by London Logo. She has her entourage comprised of actor-friend Angelina Streisand (Denise Richards), her image-salvaging PR manager Winston Spritz (Loren Lester), her personal designer Simon Debris (John R Colley), and her manager/agent Louis Lozenger (Ben Begley). You have likely noticed that the character names are punchlines unto themselves. Adding competition to the incredulity is London’s nemesis and arch-rival Kristy Kim (Candace Kita), one of the Kim sisters from the (pretend reality) show “Katching Up with the Kims”. One of Kristy’s most prominent features is her large hind-quarters, making her real life comparison quite easy to place.

Most of the film is based on the “tell-all” documentary being filmed by British TV journalist Diana Smelt-Marlin (Kate Orsini), who affords London every opportunity to explain her actions and motives. The interviews are pure gold in eye-opening (and eye-rolling) cluelessness. This is the documentary that makes this an effective mockumentary. The cameras follow London around as she tries to bounce back after the Kims have stolen “her thunder”, and a beach incident captured on camera sends London to jail.

Book deals, TV shows, cosmetics, music drops, private jets, Twitter followers … all of these play a part in London’s attempt to keep her name in lights. Along the way we are treated to some outlandish bits. These include her pet gerbil getting stuck in the toilet (and the first Richard Gere joke in years), which results in a visit from Joe the plumber played by the recently deceased talented character actor John Witherspoon. There is also a Larry King style talk show host (Charles Fleisher), regular ‘breaking news’ from a TMZ knock-off, hilarious throw-pillows, London’s “traumatic brain injury”, unfortunate spelling errors, an opportunistic pet whisperer, and a questionable celebrity stalker.

London’s wealthy parents are played by Jill Jacobson and Cliff De Young. Dad is at a loss of words when asked to describe his daughter, while mom proudly states “busty”. London even attempts to reconcile with her TV partner played by Shelli Boone, in an attempt to reunite for their “Heir Heads” show (you have to say it out loud). Ralph Rieckermann, former member of the rock band The Scorpions, plays a DJ named Messiah, and the titles of competing books by London and Kristy are not to be missed. Boxing legend Mike Tyson makes an appearance attempting to provide evidence showing that he was not the other participant in the sex tape titled “A Night in London” … and his evidence is pretty compelling.

Mr. Bernheim’s film not only stars his wife (Julia Faye West), but it also points out just how much work is involved in getting and staying famous. It’s a full-time job! There are so many gags throughout, and of course, most of the acting is purposefully over-the-top. These days, it’s almost impossible to take things too far … what captures the attention of the American public is usually about as disappointing as finding out the world’s smallest dog isn’t really a dog, and that hipsters aren’t homeless …they just look that way. The best advice here is to sit back, relax, and spend an evening laughing at our society. So many already are.

watch the trailer:

 

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Posted by David Ferguson

CLEMENCY (2019)

December 28, 2019

 Greetings again from the darkness. You surely complain about your job. Most everyone does. But what if your career path had led you to oversee a dozen court-mandated executions, and the next one was already scheduled? In her first feature film, writer-director Chinonye Chukwu takes us inside the world of Warden Bernadine Williams, who manages a maximum-security prison, including inmates on death row. It’s the rare film in this sub-genre that doesn’t preach anti-death penalty politics, and instead focuses on the emotional toll it takes on those who must carry out the sentence.

Warden Williams (Alfre Woodard) is a seasoned prison professional who keeps her emotions in check, while sticking to policies and procedures. She is a restrained, often stoic person – both at work and at home. Early in the film, a lethal injection goes awry, and the warden finds this inexcusable. She wants answers and she prepares to make sure the next one scheduled … for inmate Anthony Woods … goes smoothly. Aldis Hodge plays Mr. Woods, a death row inmate for 15 years. His execution date is fast approaching despite his claims of innocence and the evidence showing he was not the one who killed the police officer. Woods’ attorney (Richard Schiff) has informed him that his last strand of hope is a decree of clemency by the governor.

Bernadine’s job involves dealing with family members, protestors, lawyers, media, guards, medical staff, procedures, final statements … and even the search for veins. The stress is obviously taking a toll, and even her home life is a wreck. Husband Jonathan (Wendell Pierce) is frustrated at her aloofness. He’s a high school teacher and reads a passage of “Invisible Man” to his class – words that hit home for him. Bernadine must also deal with the prison priest (Michael O’Neill) and the two share a powerful moment that relays the strain on both. Bernadine speaks matter-of-factly to Mr. Woods as she outlines the procedure of his execution. In another powerful moment, Mr. Woods attempts to exercise his last bit of control over his life and death. It’s brutal to watch.

Even though the death sentence is for convict Anthony Woods, most every other person involved expresses some desire to retire or walk away. This speaks clearly to the burden associated with taking the life of another human being. In a meeting with his former partner Evette (Danielle Brooks), Woods is given hope of a legacy outside of crime, while Evette expresses what she needs to him. This life is no fairy tale, and hard edges and difficult moments are around every corner.

Ms. Woodard has long been an underrated actress. Her only Oscar nomination came in 1983, and she has been outstanding in most roles since TV’s “St Elsewhere” in the 1980’s. She manages to convey humanity and realism in most every character she plays. Mr. Hodge starred in the title role of BRIAN BANKS earlier this year, and in both roles, he possesses a strength of character that allows the audience in. In Ms. Chukwu’s film, both are isolated in some way and struggling with how to deal.

Although the film spends very little time on the question of guilt or innocence, or whether the death penalty is a law of morality that fits within society, the approach of examining the psychological impact of those involved proves worthy of discussion. We do wish the script had not delivered such stand-off characters … ones so difficult to connect with. But perhaps that’s the inevitability of the environment – one that cuts much deeper than following the ritual of preparing for the next execution.

watch the trailer:

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Posted by David Ferguson

Best of 2019

December 24, 2019

It’s Christmas Eve, and what better way to spend it than going through my BEST OF 2019 movie list and complaining about my choices and wondering why your favorites didn’t make it. The joy of movies is that everyone has their own tastes and preferences. I am fortunate in that I get to watch more movies throughout the year than most people, so I enjoy providing a bit of insight and perspective. Check out this year’s list and see if we agree on anything!

 

https://moviereviewsfromthedark.com/annual-bests-2/best-of-2019/

 

 

 

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Posted by David Ferguson

LITTLE WOMEN (2019)

December 23, 2019

 Greetings again from the darkness. More than 150 years have passed since Louisa May Alcott’s novel was published (volume 1 was published in 1868, volume 2 in 1869). By my count, there have been seven previous movie adaptations, dating back to the silent film era and through the more familiar George Cukor-Katharine Hepburn (1933), Mervyn Leroy-June Allyson (1949), and Gillian Armstrong-Wynona Ryder (1994) versions. One might think that sufficient, yet, after viewing this latest, you’ll likely join me in believing that director Greta Gerwig and Louisa May Alcott (and by natural extension Jo March) are kindred spirits … timeless storytellers of the moment.

Oscar nominated (writing and directing) for her standout LADY BIRD (2017), Ms. Gerwig remains true to the beloved source material while adding her own contemporary touch. She begins with the adult March sisters and then flashing back 7 years to the stage of living together and battling through the difficult and awkward transitional phase. The four sisters Jo (Saoirse Ronan), Meg (Emma Watson), Amy (Florence Pugh), and Beth (Eliza Scanlen) are exceptionally well cast, and we immediately recognize the familiar personality traits of each. Jo is the serious, determined writer who has an understanding of financial necessities. Meg is the warm facilitator beloved by all. Amy has ambitions (or is it dreams?) of being a great artist and living an exceptional life. Beth, the youngest, radiates a sweet nature and love for the piano.

Much of the story is told through the eyes of Jo. Her independent spirit and frustration with how the world is, boils over at times. She states her disappointment at being born a girl, and is described as having “a nature too noble to curb.” While viewing, one must keep in mind that this was the Civil War era (the girls’ father is a military Chaplain), and women had achieved very few rights in society. The contrast is never more evident than when comparing Marmee (Laura Dern), presented here as a near flesh-and-blood saint, with Aunt March (Meryl Streep), one quite at ease in thumbing her nose at societal norms for one reason … she is rich.

Fans of the novel will be pleased that Timothee Chalamet plays “Laurie Laurence”, who struggles every bit as much as the sisters in finding his way towards adulthood. His scenes with Jo are exceptional. Chris Cooper, not seen nearly enough in movies these days, perfectly captures the broken spirit of Mr. Laurence, a man never quite able to escape his own personal loss. Other key cast members include James Norton as tutor/teacher John Brooke, Louis Garrel as Friedrich (here a Frenchman), and Tracy Letts dropping some deadpan comedy as Jo’s publisher Mr Dashwood.

Ms. Gerwig (perhaps with a future as one of the greatest filmmakers) displays storytelling and cinematic craftsmanship at the highest level. She bounces between timelines (over at least 7 years) and different sisters’ stories, showing how each is so different … yet all interconnected. These spirited sisters, raised in the same modest home, have their own independent thoughts and ideas of how they want to live their lives. This delivers multiple comings-of-age and examines ‘a woman’s place’, whatever that means. In fact, the message is that a woman’s place is whatever she decides, and while her options are many (despite obstacles), her decisions are personal. None of the four sisters are played by American actors, and all four perform admirably. Pay particular attention to Florence Pugh (MIDSOMMAR) and her work as Amy. Also impressive is the Production Design by Jess Gonchor and the score by 2-time Oscar winner Alexandre Desplat. This one is all about the storytelling and characters, so take in the bunch known as the March sisters. As a side note, Greta Gerwig’s next movie is a live-action BARBIE movie, with Margot Robbie in the lead.

watch the trailer:

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Posted by David Ferguson

1917 (2019)

December 23, 2019

 Greetings again from the darkness. It’s now been over 100 years since World War I ended. The Great War garners barely a mention in high school history books these days, and Hollywood has devoted much more time and energy to WWII. Filmmaker Peter Jackson did his part with last year’s stunning documentary THEY SHALL NOT GROW OLD, a video and photographic look at the actual people involved in the First World War. And now, Oscar winning director Sam Mendes (AMERICAN BEAUTY) delivers another glimpse … and another technical marvel.

Mr. Mendes, working with Oscar winning Cinematographer Roger Deakins (BLADE RUNNER 2049) and Oscar winning Film Editor Lee Smith (DUNKIRK), has shot and edited the film to give the look of one continuous take in real time. Although used previously in such films as Hitchcock’s ROPE and Inarritu’s BIRDMAN, the single take approach is certainly no gimmick here. We open on two young British soldiers lounging in a prairie as they are summoned to report to the commander. Their mission is described as critical, as a British battalion is preparing to walk into a deadly trap set by the Germans. More than 1600 lives are at stake and the phone lines are down. It’s up to Lance Corporal Blake and Lance Corporal Schofield to work their way across No Man’s Land to the front line and hand-deliver an order stopping the attack. Oh, and one more detail: Blake’s older brother is in the battalion he is tasked with warning.

The real time approach serves the purpose of allowing viewers to take on the urgency of Blake and Schofield. We experience the tension and horrors of war. Barbed wire, booby traps, slushy trenches, snipers, rats, dead bodies, dogfights (the aerial type) and towns under siege all play a part here as the men rush towards their goal of saving fellow soldiers lives, including a beloved family member. Dean-Charles Chapman (“Game of Thrones”) plays Blake, and George MacKay (CAPTAIN FANTASTIC) plays Schofield. We spot the personality differences between them. Blake is super focused and determined to save his brother, while Schofield doesn’t welcome the assignment, but is a dutiful soldier and loyal friend.

It’s really the Schofield character with whom the viewer mostly relates. He’s no super soldier or Jason Bourne-type, but rather a young man trying to stay alive and fulfill his orders. With the relentless pacing of the film, we feel the fear and admire the courage. There is an especially touching scene in a bombed-out town where paths are crossed with a French woman (Claire Duburcq) caring for an orphaned infant. It’s a reminder that humanity still exists, even within the bounds of war.

There is no clock ticking in the corner of the screen, but we know time is of the essence, and quite limited. The camera seems to be always moving forward, rarely allowing for us or the characters to exhale. As you might expect, running is done frequently – sometimes towards something, sometimes from it. Roger Deakins is in prime form here with his camera, and there are too many remarkable moments to mention them all; however, the river rapids and waterfall, and the town under siege at night, are two of the most incredible sequences I’ve seen on screen.

Along the journey, some familiar faces pop up as military men: Andrew Scott, Benedict Cumberbatch, Richard Madden, Mark Strong, and Colin Firth. Although each appears only briefly, it’s a testament to their acting prowess that each is memorable. The chaos and relentless terror of war is on display, more often than not. But this isn’t a film designed to create deep thoughts or serious debates on the merits of war. Instead, it’s meant to focus on one of the countless personal stories that occur during war. War is fought by people, not faceless countries, and each person has their own story.

Non-linear story telling has been a movie-thing since even before MEMENTO, but director Mendes (and co-writer Kristy Wilson-Cairns, “Penny Dreadful”) show us the true presentation of linear … in the moment and by the moment. GALLIPOLI and PATHS OF GLORY are about the closest comparisons I can come up with, and the weight of the film is felt physically and emotionally as we are drawn in. The exceptional score from Thomas Newman (14 time Oscar nominee) serves to accentuate the chaos and relentless terror. It’s a work of art and a unique viewing experience.

watch the trailer:

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Posted by David Ferguson

UNCUT GEMS (2019)

December 23, 2019

 Greetings again from the darkness. It’s debatable whether this movie should be labeled an indie crime thriller or a ‘Scared Straight’ session for gambling addicts. Benny Safdie and Josh Safdie are filmmaking brothers who seem to specialize in adding a frenetic pace to the lives of characters who consistently make bad decisions. Their excellent 2017 film GOOD TIME (starring Robert Pattinson) set the tone for their latest, featuring an Adam Sandler performance unlike anything we’ve previously seen from him.

After a brief prologue at an Ethiopian mine, we are dropped right into Howard’s world. Well, more specifically, we find ourselves on the camera end of Howard Ratner’s colonoscopy, while also seeing the vibrant glow of the rare opal extracted from that opening mine. Remarkably, the colonoscopy may be Howard’s (and our) most relaxing moment of the movie. The character of Howard is based on a guy the Safdie brothers’ dad worked for in the Diamond District when they were growing up. He’s played here by Mr. Sandler, who delivers a performance so memorable that we now can’t imagine anyone else in the role.

Here is what we learn about Howard: he’s arrogant and foolish and energetic and hopeful. He lives life on the edge … or perhaps he’s already tipped. He’s a Jewish jeweler based in inner-city Manhattan, and as the film begins, he owes a lot of money to someone who has hired goons to collect. Howard has an irascible wife Dinah (Idina Menzel, Elsa’s voice in FROZEN) who is fed up with his antics … one of which is his employee/mistress Julia (newcomer Julia Fox). Howard has an insatiable gambling addiction and he’s always on the brink of a life-changing big score or a colossal failure that could cost him everything. He’s a hustler who has to move faster each day to prevent the collapse of his house of cards: sports bets, pawns, loans, lies, and empty promises.

So if you think you now have a feel for this, I can assure you that you are mistaken. The frenetic pace is relentless to watch. We kind of like Howard, but yet, we want nothing to do with him. His latest scheme involves the expectation that the rare opal will solve his many financial woes. In the meantime, his business associate Demany (LaKeith Stanfield) brings him a high profile client … NBA player Kevin Garnett. The film looks and feels like a gritty 1970’s flick, but it’s based during the 2012 Eastern Conference Finals, and Garnett plays himself (and quite well). Garnett borrows the opal for good luck and that’s when all ‘heck’ breaks loose. Also in play here is Howard’s rotten brother-in-law (Eric Begosian), to whom he also owes money. Adding even more NYC flavor are Judd Hirsch, John Amos, and sports radio host Mike Francesca, as Howard’s bookie.

Daniel Lopatin (aka Oneohtrix Point Never) provides an electronic score that helps ensure we are never comfortable watching what is unfolding, and cinematographer Darius Khondji (EVITA) keeps his camera in constant motion – just like the characters. Production Designer Sam Lisenco creates Howard’s world through the jewelry shop, the house, the apartment, and especially that back office. Set Decorator Kendall Anderson wins a place in my heart for the Pete Maravich poster.

The Safdie brothers co-wrote the script with their editor Ronald Bronstein (who also worked on GOOD TIME), and afterwards you’ll find yourself going back through all the poor choices made by most every character. The brilliantly sustained level of uneasiness includes a segment featuring The Weeknd, and one revolving around a school play for Howard’s daughter. The Safdie style is present throughout, and most conversations are loud and heated and threatening. If you are the type that needs at least one likable character, or a serene environment, or respectful adult conversation, you are out of luck here. Howard is an exhausting character in an exhausting story within an exhausting movie … just as it was intended.

watch the RED BAND trailer (PROFANITY WARNING):

 

 

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Posted by David Ferguson

ONE CHILD NATION (doc, 2019)

December 21, 2019

 Greetings again from the darkness. Living in a free society means we get to make many of our own life decisions … big ones and small. Of course, those decisions are best if managed within generally accepted societal norms. Most of us can’t even imagine living under the rule of a government that controls something as personal as the number of kids we can have in our family. Well, in 1979 China imposed a “one child” policy. It stood for more than three decades, until 2015. Filmmakers Nanfu Wang and Jialing Zhang give us an insider’s glimpse of the effects of this policy by talking to the folks who lived through it.

Ms. Wang was born in China and moved to the U.S. Having recently had a baby, she decided to return to her birth country and explore the effects of the policy under which she was born. The social experiment and restrictive policy was instituted out of desperation for a country whose population was booming, yet the economy and food supply were a mess. She shows us the propaganda that was seemingly everywhere – from artwork on neighborhood walls to television shows. The approach was to make people think this was their patriotic duty, and that one child was the idyllic life.

What has never been discussed or studied was the dark side of what the policy meant. It was a system that encouraged boys and downgraded girls. To Ms. Wang’s credit, she interviews those on both sides of the policy – those who believe it was necessary and prevented over-population, and those who tell the horror stories of families torn apart, babies abandoned, and the secretive human trafficking that occurred. It’s quite devastating to hear these people discuss the personal impact.

The film is autobiographical in nature, in that Ms. Wang is our narrator, often appears on camera, and even interviews her own family members – both to personalize the story and to educate herself. Hearing the story of her grandfather stepping in to prevent sterilization of Nanfu’s mother is incredible. We learn she later had a son who became the favored child within the family. And yes, we get details … very specific details … on the forced sterilizations and abortions that occurred. One doctor takes credit for ‘tens of thousands’ of abortions and sterilizations, which Ms. Wang effectively contrasts with America’s ever-increasingly restrictive abortion policies. These are the two extremes in preventing women’s control of their own bodies.

No top government officials are interviewed, but the implications are quite clear. We even learn of the Utah organization Research-China.org that researches Asian children adopted during this era, often with the adoptive parents unaware of what was happening in China. We even learn of a set of twins who were separated at birth – one raised in the U.S., the other in China. They have never met. Ms. Wang is quite effective as a documentarian-journalist. Though the film lacks any attempt at style points, the details are astounding. She even shows how the Chinese government transitioned from ‘one child’ to marketing the benefits of a “two child” household, and how the propaganda machine kicked in. This film is all about impact, and it will deliver a gut-punch.

watch the trailer:

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Posted by David Ferguson

A HIDDEN LIFE (2019)

December 20, 2019

 Greetings again from the darkness. With a title pulled from a line in George Eliot’s “Middlemarch”, enigmatic filmmaker Terrence Malick continues his deep probe into humanity and faith … recurring themes in most of his films, and especially the run that began with his excellent THE TREE OF LIFE (2012). This current film is easily his most accessible over that period as it focuses on the (mostly) true story of Austrian WWII conscientious objector Franz Jagerstatter.

The film opens with contrasting images: a black screen with sounds of nature fading to a bucolic Austrian Alps village versus dramatic historical clips of Hitler (I believe from Leni Reifenstahl’s 1935 Nazi propaganda film TRIUMPH OF THE WILL). The rural farming village we see is Sankt Radegund, the idyllic community where Franz Jagerstatter (played by August Diehl, INGLORIOUS BASTERDS) lives off the land with his wife Franziska “Fani” (played by Valerie Pachner) and their three young daughters. It’s a family bonded by love. The family and fellow villagers go about the rigors of daily life as the war spreads. In 1940, Franz is sent to Enns Military base for training, and is then returned to his village under a farming exemption.

What follows is a first half filled with dread as Franz struggles with his own beliefs in a new world order that has no room for individual thought. He refuses to swear an oath to Hitler, despite the rest of the villagers doing so. He knows what this means, as does his wife. As Franz refuses the “Heil Hitler”, he is described as being something worse than an enemy – a traitor. He holds firmly to his principles … vague to us, yet crystal clear to him. He becomes a pariah in his own village, as even the priest urges him to relent by stating he has “a duty to the fatherland.”

“Don’t they know evil when they see it?” Franz asks the question we have all been asking since Hitler came to power. When he is called to duty in 1943, Franz and Fani know the eventual outcome. Franz is asked by many, and in various ways, “What purpose does it serve?” No one can make sense of his stand. As he is imprisoned at Tegel Prison, solicitors played by Matthias Schoenaerts and Alexander Fehling both try to convince him to pledge loyalty and save his life. Franz’s response is, “I can’t do what I know is wrong.”

With the first half being filled with dread and anxiety, the second half is all about the suffering. Franz is locked away with very little access to the nature or family he holds so dear, while Fani is a village outcast, trying desperately to raise their daughters and put food in their mouths. They are each in their own prison – isolated from the life they love. From Tegel Prison in 1943, Franz writes many letters to Fani. The letters are philosophy mixed with hope and love, and provide the source of how his story was discovered many years ago.

Anyone familiar with Malick’s films know that each is a visual work of artistry. Instead of his usual cinematographer, 3-time Oscar winner Emmanuel Lubezki, this film features the camera work of Jorg Widmer (who assisted Lubezki on THE TREE OF LIFE). The film lives up to our expectations, especially in capturing the vitality and spirit of nature through lush landscapes, mountains, trees, grasses, gardens, streams, rivers, and a waterfall. The family is one with nature, which stands in stark contrast to Franz inside the cold prison walls. Composer James Newton Howard brilliantly uses a lone violin, as well as a mixture of classical music. This was the final film for two extraordinary actors who recently passed away. Michael Nyqvist plays the Bishop who tells Franz that if God gave us free will, then we are responsible for what we do and what we don’t do. Bruno Ganz plays the head judge on the committee that decides Franz’s fate.

We could describe the film as either a tragic love story or an ode to faith and principles. Both fit, and yet both fall short. Terrence Malick is a confounding and brilliant and artistic filmmaker. After his breakthrough film DAYS OF HEAVEN (1978), he took a 20 year hiatus before filming THE THIN RED LINE (his other WWII film). Recently he has proven much more productive, yet he remains a meticulous craftsman – taking three years to edit this film. His visual style is quite unique, yet he has the skill to make a messenger’s bicycle bell send chills. He was able to meet Franz’s surviving daughters (now in their 80’s) prior to filming, as they still live near this village. We are quite fortunate that this exquisite filmmaker is allowing us to tag along on his search for the meaning of life and his exploration of faith … just make sure you set aside 3 hours for the lesson.

watch the trailer:

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Posted by David Ferguson

BOMBSHELL (2019)

December 19, 2019

 Greetings again from the darkness. Movies based on true stories are increasingly popular these days. OK, not as popular as comic book films, but the appeal of tapping into ‘truth-is-stranger-than-fiction” is a natural, as viewers bring a sense of familiarity to the characters and/or events. On the flipside, this familiarity can create challenges for the filmmakers and actors as they must meet viewer expectations or risk being waved off as a flop. When tackling the story of Fox News CEO Roger Ailes and the sexual harassment scandal of 2016, the folks associated with this project faced the added burden of an internationally reported story with faces and personalities recognized around the globe.

For the most part, director Jay Roach (TRUMBO, MEET THE PARENTS, AUSTIN POWERS), screenwriter Charles Randolph (Oscar winner THE BIG SHORT), and a very talented cast succeed in taking us behind the scenes of this unsettling story, so that we might better understand how 20 years of despicable behavior continued unabated. The film picks up in 2015 as the Presidential campaigns are underway. Megyn Kelly (a spot-on performance from Oscar winner Charlize Theron) breaks the 4th wall and takes us on a tour of the Fox offices – even pointing out Roger Ailes’ private and secure sanctuary. We then see the memorable moment where Ms. Kelly publicly questioned candidate Donald Trump about his history with women. It was a moment that shook the network, and elevated Megyn Kelly to worldwide notoriety.

Early emphasis is on Gretchen Carlson (played by Oscar winner Nicole Kidman), and her declining role at the network as she is removed from the highly rated “Fox and Friends”, and placed on her own show in an unappealing time slot. Although her professional skills are presented in a way that has her appearing a bit amateurish, Ms. Carlson makes the case that she was unceremoniously removed due to her not going along with Ailes’ wishes behind closed doors. It’s Gretchen Carlson’s lawsuit against Ailes that kicks off the downfall of the network’s leader. She was the one courageous enough to be first.

Margot Robbie plays Kayla Pospisill, an ambitious producer who initially works for Carlson, and then moves on to “The O’Reilly Factor”. Kayla is a composite character written to represent many of the women who worked at the network. She is smart and working towards a shot at becoming an on-air personality. It’s that ambition that results in her sitting in Ailes’ office when he says “Stand up and give me a twirl.” His request (evidently not an uncommon one) is followed by his reasoning – “Television is a visual medium.” It’s Kayla’s interaction that allows us a glimpse at the systemic sexual harassment that became commonplace in the office. The toxic environment was not isolated to Ailes … as shown here, and proven later.

John Lithgow perfectly captures the elderly Ailes, who suffers from multiple physical ailments – none of which affect his ego or demented nature. He never sees the evil of his ways, as he’s been taking advantage of his power position for so long, the right comebacks and lead-ons have become second nature to him. What makes this even more frightening is that Ailes apparently used this harassment and manipulation as the first step in a form of mind control … to ensure the content of his network fit his ultra-conservative and closed-minded ideals. The message was clear: remain loyal to him or lose your career.

The ensemble cast is excellent, even if the leads dominate the story. Oscar winner Allison Janney portrays Ailes’ attorney Susan Esrcih, Connie Brittain plays his supportive wife Beth Ailes, Malcolm McDowell is Rupert Murdoch, and Kate McKinnon plays Kayla’s co-worker (and more) Jess Carr, who is forced to keep her private life in her desk drawer. Other supporting roles are filled by Liv Hewson, Brigette Lundy-Paine, Rob Delaney, Mark Duplass, Stephen Root, Robin Weigert, Anne Ramsay, and Richard Kind. Some of the real life names and faces include: Bill O’Reilly, Rudy Giuliani, Chris Wallace, Greta Van Susteren, Neil Cavuto, Geraldo Rivera, and Jeanine Pirro.

“This place is crazy.” I don’t remember which character said it, but it could have been any of them. The politics of the network (and Ailes himself) are always hovering over every scene. What caused Fox News to become such a toxic work environment?  Having a despicable leader doesn’t seem like enough. Why were so many men treating it as a frat house, and so few women willing to speak up? The answer seems to be that these were talented and ambitious women who were determined not to lose what they had worked for. When one character states that women owe it to each other to speak up, it really brings into focus how much courage is required to do just that.

Showtime’s multiple-episode “The Loudest Voice” with Russell Crowe as Roger Ailes and Naomi Watts as Gretchen Carlson was able to go into greater depth with the longer run time, but director Roach tells this from the women’s viewpoint. Ms. Theron truly disappears into the role of Megyn Kelly, while Lithgow, Kidman and Robbie deliver in a way that we forget we are watching actors. Some of the best segments feature these women reacting in the moment … moments we hope are becoming extinct. By the way, I wonder how much a “Team Roger” t-shirt is going for these days – or if they can even give them away?

watch the trailer:

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Posted by David Ferguson

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