AUTUMN (2025, A Minha Casinha, Portugal)

May 31, 2025

Greetings again from the darkness. Empty Nest Syndrome is one thing I’ve never really understood. As parents, for eighteen years we work diligently to raise independent, morally strong and confident individuals who can contribute to society and stand on their own. When that time comes, it should be a celebration, not an episode of sadness and depression. For so many parents, it’s the latter. This first feature film from writer-director Antonio Sequeira takes on this topic by showing not just the changing family dynamics, but also the changes for the individuals.

The story begins as Tomas (Salvador Gil) is packing for university and his family celebrates his 18th birthday. His mom, Susana (Elsa Valentim) tries to sneak treats into his suitcase and prays for him, while the goodbyes at the train station shows just how saddened she is to be losing her first born to a London school. Tomas’ younger sister Belinha (Beatriz Frazao, a TV star in Portugal) and his father Otavio (Miguel Frazao, Beatriz’s real life father) are also there for the send off.

Filmmaker Sequeira breaks the story into the four seasons, and we witness the changes of each family member throughout this time, marked by Tomas’ seasonal trips back home. Initially, Tomas can’t wait to shake the dust off the rural life in Portugal for a new start in the big city. Belinha is tired of feeling slighted by her parents compared to the favored son. Otavio works hard on the family vineyard and with the livestock, quietly taking grief from his wife. His response to being bothered by kids growing up … “If they’re happy, I’m happy.” Susana sulks as she wonders where her own life went as she analyzes her dedication to family.

The generational differences are apparent, both in the kids deciding to study in other parts of the world, and in dad’s string of inappropriate jokes (no matter how many times they call him out). Tomas’ first girlfriend (Krupa Narci Givane) visits and Belinha makes a decision on her future … this leaves Susana and Otavio facing the reality of the many years ahead being comprised of just the two of them. Can they have their own life and re-ignite the marital spark?

Autumn brings the answers and resolution – one likely similar in theme to what many parents go through when their kids leave the nest … whether the missing bongos are found or not. The train station is a recurring locale and it’s quite telling to note the differences each time. Although it’s based in rural (and incredibly picturesque Portugal), the film from Sequeira will likely be relatable and insightful for most parents.

Available on digital platforms beginning June 2, 2025

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Posted by David Ferguson

MOUNTAINHEAD (2025)

May 30, 2025

Greetings again from the darkness. Artificial Intelligence and the uncertainty of its uses and power are real world concerns. On the heels of MISSION: IMPOSSIBLE – THE FINAL RECKONING, which dealt with AI as an omnipotent force, comes an HBO film that focuses more on the human beings driving the technology. Jesse Armstrong, the creator of “Succession”, delivers his feature film directorial debut as a combination of satire and caution.

Four ‘Tech Bros’ meet for poker weekend at a stunning mountainside home (an actual ski resort in Park City, Utah). Randall (Steve Carell, “The Office”) is the elder of the group, and is referred to as “Papa Bear”. He’s also convinced he can overcome his terminal cancer (these guys aren’t accustomed to taking no for an answer). Venis (Cory Michael Smith, Chevy Chase in SATURDAY NIGHT, 2024) is the world’s richest man, and behind the deep-fake tool causing so much of the global turmoil. Jeff (Ramy Yousef, POOR THINGS, 2023) is the renowned developer of an AI platform that Venis desperately needs to acquire for guardrails on his own system. Lastly, there is Hugo (Jason Schwartzman, MOONRISE KINGDOM, 2012), nicknamed “Souper” – as in Soup Kitchen – since he is the least filthy rich of the foursome, having not yet attained “B” status. It’s his house, nicknamed Mountainhead (a play on Ayn Rand’s “Fountainhead”), where the group has gathered.

Obvious from the beginning is the tension between hyper and cocky Venis and self-righteous Jeff, since the latter won’t sell to the former despite knowing full well how vital the transaction could be. In fact, it takes little time to note the massive egos on full display are used to mask each man’s insecurities. The rapid-fire sharp dialogue with cutting quips is normal to these guys, although at times Souper comes across as a bit desperate to impress the others. Does Jeff actually have morals, or is he simply enjoying his own power trip over Venis? Although that’s the biggie, there are numerous other minor moments of one-upmanship. Along the way, we get a couple of twists.

From their phones and TV, the four keep a constant watch on world events which seem to get darker and more dangerous by the minute … all the while these rich clowns battle over their personal minutiae. These are the kind of guys who may get a call from the President at any time. By the end, we are convinced of a few things. Rich people have their own personal agendas, often turning their money into toxic wealth. It seems likely that there are no limits to how far they would go to achieve their desired results. Also, any affiliation is possible, and all past misdeeds can be forgotten for the right gain. Lastly, despite the satire, AI is a danger if for no other reason than the humans driving it.

Debuts on HBO/Max on May 31, 2025

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Posted by David Ferguson

MISSION: IMPOSSIBLE – THE FINAL RECKONING (2025)

May 26, 2025

Greetings again from the darkness. The eighth and (supposedly) final entry in a fantastic action film franchise that began in 1996 may not be the best of the bunch, yet it’s a mostly satisfying farewell to Ethan Hunt and his team of world-savers. Making his fourth stint as a writer-director for the latest “MI”, Oscar winner Christopher McQuarrie blends new danger and stunning action sequences with admirable (if not a few too many) tributes and nods to the past films and characters (including villains).

Of course, none of this would be possible without the freak-of-nature we know as Tom Cruise. Something I’ve said and written many times before – Mr. Cruise was not only born to play the role of Ethan Hunt, through the years he has definitively made it his own. What has allowed most of these films to work is a combination of thrilling escapades required to prevent a catastrophe, and the tongue-in-cheek tone designed to let the audience off the hook in recognizing the audacity of the whole thing. Unfortunately, this one omits the clever banter and instead goes with a couple of wise cracks that lack the effect.

For anyone who is a bit concerned about the future impact of Artificial Intelligence, “The Entity” is the real villain in this one, and it’s likely to spook you a bit more about the unknown and untapped power. Although Esai Morales returns as bad guy Gabriel, the true danger of global destruction comes courtesy of AI and its ability to take over control of all nuclear weapons on the planet. Only Ethan Hunt (should he choose to accept) and his team can stop this from happening, and if they do, it’s very likely those heroics will be last-second and towards the end of the 169-minute runtime … and after numerous action sequences that leave us breathless.

There are two truly stunning action/stunt sequences that feature Cruise at his most daring and a filmmaking team at its most technically advanced. The second of the two sequences, and the one getting the most attention is the aerial battle between two vibrantly-colored vintage biplanes. Now that description would be cool enough for most movies, but not for this franchise and certainly not for Cruise. Here, he climbs around the wing as one plane is airborne so he can take over the pilot’s seat. Again, that would be an incredible feat for anyone, but it barely scratches an itch for this guy. Instead, he then makes his way from one airborne plane to other airborne plane so that he can then fight THAT pilot (Gabriel) … and he must do so while executing another task that is required to save the world.

Yes, that aerial sequence is breathtaking and deserves accolades, yet it’s the ‘other’ huge action sequence that left me wide-eyed and clutching the armrests. Watching Ethan Hunt deep dive into frigid ocean waters to a long-ago sunken submarine, and then navigating his way through the giant metal tube as it tumbles on the sea floor is nothing short of astonishing and jaw-dropping. It’s fantastic to watch and unlike anything previously seen on screen – including other submarine movies or underwater scenes.

In addition to Cruise and Morales, other returning players include Haylee Atwell as Grace, Simon Pegg as Benji, Pom Klementieff as Paris (an amazing character), and Henry Czerny as Kittiridge. Also returning is Ving Rhames as Luther … he and Cruise are the only two to appear in all eight MI films. Additions to the superb cast are Angela Bassett as the President, as well as Holt McCallamy, Janet McTeer, Nick Offerman, Shea Whigham, Greg Tarzan Davis, Tramell Tillman, and Hannah Waddingham. There is also a significant surprise appearance by another returner – one that I won’t spoil here. The final scene in Trafalgar Square comes across a bit corny, but let’s say they’ve earned the right.

Cruise’s courage and brilliance as Ethan Hunt are noted, while McQuarrie clearly has a love for the mission; and yet, we need to acknowledge the technical expertise brought by many, especially cinematographer Fraser Taggart and editor Eddie Hamilton. While this final entry might not be tops for the franchise, it’s yet another expertly crafted big budget film that delivers the thrills its audience expects. And for the price of a ticket, those two colossal action sequences combine with Lalo Schifrin’s timeless (and blood-pumping) theme song are tough to beat … make that impossible.

Playing nationwide in theaters

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Posted by David Ferguson

FOUNTAIN OF YOUTH (2025)

May 22, 2025

Greetings again from the darkness. A filmmaker takes a risk by opening a movie with a frenetic and extended chase scene. This approach tends to announce that the action is more important than the story or characters … a message most filmmakers prefer not to convey. With his track record including SNATCH (2000) and LOCK, STOCK, AND TWO SMOKING BARRELS (1998), I tend to give the benefit of doubt to every new Guy Ritchie-directed project. Most offer some heft and creativity, yet the disappointments are often amplified due to expectations. Working from a screenplay by James Vanderbilt, this one strives to be a blend of NATIONAL TREASURE and Indiana Jones, with Thor and Loki banter.

The opening chase scene here sets the stage for what this movie is … one long chase. It seems everyone is always chasing what Luke Purdue (John Krasinski, A QUIET PLACE, 2018) is after – whether that’s a particular Rembrandt painting or the mythical Fountain of Youth associated with explorer Ponce de Leon (though the legend dates back centuries more). For most of the movie, Luke and his team are being chased by an Asian gangster, a committed mercenary, and an agent from Interpol. Rather than the traditional meet-cute, we get a reconciliation of estranged siblings. Luke’s sister Charlotte (Oscar winner Natalie Portman, BLACK SWAN, 2010) is a museum curator and both were trained by their since-deceased archaeologist father.

Luke is the adventurous one in the mold of Indiana Jones, whereas Charlotte tries her best to live a safe life with her musical prodigy son – despite the in-process split with her husband. Many of the scenes are based on the contrast (and corresponding similarities) of this brother-sister duo. Esme (Eiza Gonzalez, BABY DRIVER, 2017) is the mysterious woman hot on Luke’s trail, while Inspector Abbas (Arian Moayed, “Succession”) is the Interpol agent who’s been tracking the art thefts for a long time. Luke’s crew includes Deb (Carmen Ejogo, SELMA, 2014) and Murphy (Laz Alonso, “The Boys”), and the quest is funded by billionaire Owen Carver (Domhnall Gleeson, General Hux in the Star Wars universe), who claims to be seeking the healing powers of the Fountain of Youth due to his terminal cancer.

There is an interesting early sequence that finds Luke and Charlotte scrounging for a lost painting aboard the sunken Lusitania. What makes this interesting is that Alfred G Vanderbilt did actually die in 1915 when the ship went down, and the screenplay for this film is written by his great grandson, James Vanderbilt. Unfortunately, it’s that screenplay that is a constant drag on the film. The dialogue is too often cringy while trying desperately to be clever and funny. Krasinski and Portman seem to realize this and overact while attempting to salvage some scenes. For mindless entertainment, there is certainly a place for adventure films with settings as breathtaking as the Austrian National Library and the Pyramids of Giza, yet it’s a shame that a more thoughtful and intelligent story wasn’t delivered.

The film will premiere globally on Apple TV+ on Friday, May 23, 2025

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Posted by David Ferguson

JANE AUSTEN WRECKED MY LIFE (2025)

May 22, 2025

Greetings again from the darkness. Although I don’t tend to seek out the majority of romantic comedies released each year, this film’s title and backstory were enough to pique some interest. Writer-director Laura Piani was inspired to write this story during her time working (and reading) at Shakespeare and Company, a favorite haunt of writers and readers (and me) while in Paris.

Agathe (an excellent Camille Rutherford, ANATOMY OF A FALL, 2023) is a woefully unattached book seller who engages in humorous and sometimes pointed banter with Felix (Pablo Pauly), her co-worker at Shakespeare and Company. In Jane Austen terms, Agathe sees herself as an old maid, and Felix as a philandering scoundrel. She accuses him of being a master of “breadcrumbing” … her word for leading on a string of women whilst never committing. Still, as you can imagine, there is an obvious attraction between the two friends.

Felix secretly submits the first few chapters of Agathe’s novel, and to her shock, she is selected to attend a writer’s retreat at The Jane Austen Residency. It’s important to note that Agathe has no confidence as a writer and fears she will be exposed as a fraud. Felix drives her to the ferry and the two exchange their first kiss, igniting joy and excitement within Agathe. Picking her up on the other side is Oliver (Charlie Anson, DEATH ON THE NILE, 2022), who claims to be the great-great-great nephew (I forget how many ‘greats’) of Jane Austen. Agathe and Oliver have immediate personality clashes, including over the writing talent of Ms. Austen. Of course, every fan of rom-coms will recognize this as a mandatory step towards romance.

After the miserable and extended trip with Oliver, Agathe is greeted warmly by the hosts, Oliver’s parents, Beth (Liz Crowther) and Todd (Alan Fairbairn), the latter suffering from undiagnosed dementia – resulting in a few comical situations. Noting that Agathe was first inspired to begin her novel after spotting the image of a naked man in the bottom of her sake cup (the ladies version) at a restaurant, it seems only fitting that she accidently exposes her own full flesh to Oliver in a moment of absolute embarrassment.

As expected, Agathe battles a complete writing block during her stay, and it’s only at the throwback Ball where the contrast between Felix and Oliver takes center stage. Agathe and fun-loving Felix take a laugh-filled spin around the dance floor, but it’s the steamy and intense effort of Agathe and stuffy Literature Professor Oliver that keys her into what we viewers already know … thanks to the film’s best scene in a collectibles store where an awkward and enchanting exchange of personal disclosures occurs between Agathe and Oliver.

Filmmaker Piani includes a poem reading by renowned documentarian Frederick Wiseman near the end, and the film’s music adds to the artistic touches throughout. At the film’s opening, there is an incredible version of “Cry to Me” sung by Marie Modiano as Agathe dances through the shelving aisles, and beautiful piano music and a score by Peter Von Poehl add to the overall tone and feel of the story. The film contains many familiar Jane Austen tropes (although the style is more Mike Leigh than Merchant/Ivory); however, it’s a bit surprising that a few more nods to Austen’s work aren’t included. The message that Agathe learns, and the one best conveyed by the film, is that true love cannot be found until one first finds their true self.

Opens in theaters on May 23, 2025

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Posted by David Ferguson

THE LAST RODEO (2025)

May 22, 2025

Greetings again from the darkness. Jon Avnet long ago established himself as a Director of such films as FRIED GREEN TOMATOES (1991) and RIGHTEOUS KILL (2008), and also as a Producer of films including RISKY BUSINESS (1983) and BLACK SWAN (2010). Beyond that, a significant portion of his career has been spent on television series, including two excellent ones in “Boomtown” and “Justified.” In his latest film, the writer-director reunites two of the fine actors he worked with in those series, Neal McDonough and Mykelti Williamson. Avnet co-wrote the script with McDonough and Derek Presley.

Joe Wainwright (a ripped McDonough) is a legendary bull rider whose career ended when an injury required surgery on his neck and spine. Now, the three-time champion is many years past his rodeo days and lives a quiet existence on the ranch that he slowly sells off piece by piece to make ends meet. His wife Rose passed away and is buried on the ranch, and Joe longs for a closer relationship with his daughter Sally (Sarah Jones, CHEMICAL HEARTS, 2020) and her son Cody (Graham Harvey, “The Night Agent”). Sally is a protective mom who doesn’t appreciate Grandpa encouraging him to rodeo. Instead, she prefers her boy play baseball, where during a game, Cody gets plunked in the head.

Cody’s trip to the doctor reveals a brain tumor similar to the one that took Rose’s life. Sally and Joe are stunned when they learn the cost of the surgery that could save Cody. Of course, we know where this is headed. Far-too-old and broken-down Grandpa wants to head back to the rodeo to earn the necessary funds and save his grandson’s life. To do this, he calls a long-estranged friend, Charlie Williams (Mykelti Williamson), to help him. In addition to being Army buddies, Joe and Charlie were both bull riders … well until Charlie’s injury forced him to transition to bull fighter (in the dirt) in support of Joe.

The first half of the story serves as background for all the characters so that we understand why Joe is doing this, why Charlie is helping, and why we should be rooting for their success. We do get a brief training montage, and Charlie recites bible verses to Joe, who has lost his faith. He wonders why God would first take his wife, and now put his innocent grandson in peril. It should also be noted that Charlie thinks the idea of Joe riding again is a bit crazy, and poetically accuses him of having his “mind riding south”.

The road trip to Tulsa for the PRB Legends Championship finds Joe being disrespected by the younger riders, including current champion, Billy Hamilton (real life bull rider Daylon Ray Swearingen). The rodeo is run by Joe’s old buddy Jimmy Mack (Christopher McDonald, HAPPY GILMORE, 1996), and it seems odd that we meet no other ‘legends’. Despite a few hiccups (some quite painful), Joe gets his ride.

This film uses the rodeo, but the core theme here isn’t so much redemption (as it is with most sports movies), but rather love of family and reconnecting with one’s faith. Values-based distribution company Angel Studios produced the film, and the message (with a light touch) rings clear … be a good person. It’s rated PG and there’s a cameo from Lee Ann Womack and song by Lynyrd Skynyrd.

Opens nationwide in theaters on May 23, 2025

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Posted by David Ferguson

PEE-WEE AS HIMSELF (2025, doc)

May 22, 2025

Greetings again from the darkness. Even the title is a form a trickery. First of all, there was no Pee-wee Herman other than the character portrayed by Paul Reubens. Secondly, much of what this documentary presents is not from Pee-wee, but rather from Paul Reubens ‘himself’. And it goes directly to the point – the public adored Pee-wee Herman, while Paul Reubens was a bit more complicated. Documentarian Matt Wolf (SPACESHIP EARTH, 2020; the excellent RECORDER: THE MARION STOKES PROJECT, 2019) presents a two-part documentary for HBO that strives to clarify the line between man and character.

Paul Reubens died of cancer in 2023. Prior to that, he sat for 40 hours of recorded interviews with Matt Wolf, offering perspective on his career, his background, his motivation, and his self. While we see Reubens speaking directly to the camera quite a bit, Wolf utilizes a treasure trove of clips and photographs, as well as other interviews to paint the full picture of how the man and character came to be so closely associated.

PART ONE details Reubens’ influence from children’s television shows like “Captain Kangaroo”, “Howdy Doody”, “Kukla, Fran and Ollie”, and “The Little Rascals”. It’s because of these programs that from an early age, he wanted to be an actor … and was convinced Lucy and Desi were his real parents. Art School (with classmates David Hasselhoff and Katie Segal) drew him to performance art, and also led to his first serious romantic relationship with Guy. Reubens eventually decided to focus on his career, and described himself as out and then back in (the closet), since he was able to “pass” (as heterosexual). We see clips of him performing on “The Gong Show” and with The Groundlings, including Phil Hartman and Laraine Newman … which is where he laid the foundation for the Pee-wee character. Clips from “The Dating Game” proved Pee-wee had appeal.

The commitment to the Pee-wee Herman character was a career choice, and it’s fascinating to learn that actress Shelley Duvall recommended Tim Burton to direct PEE-WEE’S BIG ADVENTURE (1985). The story behind the bicycle is a gem, and the film jump-started the career of both Burton and Pee-wee … errr … Reubens. Reubens admits to his ambition and willingly hiding behind the Pee-wee alter ego.

PART TWO focuses on the iconic stardom of Pee-wee Herman in the 1980’s. Building on the popularity of the first film, “Pee-wee’s Playhouse” was developed as a 1986 children’s TV show, in the vein of those that so influenced a young Reubens. There was even a Pee-wee doll that became a best-selling gift. Reubens explained that beyond entertainment, his goal with the show was to make inclusion the “norm”. He wanted a place where all kids felt they belonged. Laurence Fishburne admits he didn’t “get” Pee-wee, but needed the work and gladly took the job as Cowboy Curtis. BIG TOP PEE-WEE (1988) followed, and may have been the last enjoyable moment for Pee-wee/Reubens to bask in the spotlight.

After years of living an extremely private life, his 1991 arrest for indecent exposure at an adult theatre instantly changed his life. ‘Playhouse’ re-runs stopped immediately, as did sales of the doll. Paul Reubens’ mug shot became a meme … early 90’s style. Unfortunately, this wasn’t his last public scandal, yet remarkably, Reubens was able to create a second half of his career as a character actor and voice actor – with only a few additional roles in the Pee-wee Herman suit.

The documentary includes clips of his parents and an interview with his sister, as well as input from directors Tim Burton and Judd Apatow. Reubens explains the inner turmoil of having his creation, Pee-wee Herman, be awarded a star on the Hollywood Walk of Fame, while Reubens himself has not. Towards the end of the film, Wolf plays the self-recorded audio that Reubens recorded the day before he died. Although he discusses his desire to bring joy to the masses, we can’t help but question the failed friendships along the way. And though Paul Reubens may very well have been a creative genius, we must finally ask, “I know you are but what am I?”

Premiering on HBO on Friday May 23, 2025

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Posted by David Ferguson

SISTER MIDNIGHT (2025, India)

May 21, 2025

Greetings again from the darkness. London-based Indian artist Karan Kandhari chooses a misfit couple’s arranged marriage as the basis for his debut feature film. As writer and director, Kahdhari delivers a psychological comedy that goes a bit dark at times, yet the abundance of creativity and a terrific lead performance keep us anxious to see what happens next.

Uma (Radhika Apte) and Gopat (Ashok Pathak) are obvious misfits as spouses as evidenced by their first night as husband and wife. Uma is eager to consummate the marriage, but Gopat either has no interest or is so intimidated by his assertive and forward-acting bride that he prefers to ignore her – other than asking her, “Why can’t you just be normal?” With no sexual activity, and the inability to cook or clean, Uma becomes bored and frustrated, resulting in her proclaiming sarcastically, “I’m a domestic Goddess”. This leads her to take ‘wife’ lessons from her neighbor Sheetal (Chhaya Kadam). It’s here where we learn that husbands will eat any dinner if enough chili and salt is added, and more insightfully, “men are dim.”

Ms. Apte brings a physicality (as well as deadpan mastery) to her terrific performance and her wide eyes convey much of her thoughts, especially as her transformation takes place. She admits, “This is just how God painted my face”, yet as time rolls on, she’s clearly not well physically or emotionally. This causes Gopat to step up, while also allowing filmmaker Kandhari to infuse some stop-motion animation as the level of bizarreness jumps. Cinematography from Sverre Sordal and film editing by Napoleon Stratogiannakis perfectly enhance the oddity, as does the choice of music … including songs by The Stooges, Buddy Holly, Marty Robbins, Howlin’ Wolf, and even The Band’s “The Weight”.

Between the stifling heat and the less-than-elegant accommodations, it’s doubtful Mumbai’s Tourism Bureau appreciates the setting, but for movie lovers, there is significant entertainment value with this one as it exposes the misery of being trapped. Just be careful with that cookie tin.

Opens in NYC May 16, LA May 23, nationwide May 30, 2025

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Posted by David Ferguson

DEAF PRESIDENT NOW! (2025, doc)

May 15, 2025

Greetings again from the darkness. It was 1988, and when this group of students proclaimed, “We will be heard!”, it took on additional importance. The anger of these students represented 124 years of repression. Student protestors were from Gallaudet University in Washington, D.C. It’s the only university for deaf students, and its history dates back to the time of Abraham Lincoln.

Oscar winner Davis Guggenheim (AN INCONVENIENT TRUTH, 2006) collaborates with deaf actor-turned-filmmaker Nyle DiMarco to bring us the story of how the commitment to cause led the students, the University, and the nation towards real change. Although the film covers just one week, it effectively uses input and recollections from five key players. In other words, we get the ‘then’ (via archival footage) and the ‘now’ (modern day interviews).

Jerry was clearly the emotional leader … the guy who fired up the crowd through his passion. His passion shows even today as his memories come flooding back. Greg was the Student Body President, and his more reserved personality likely made him a more acceptable spokesperson. Bridgetta, a former high school cheerleader, used her energy to generate the rhythm of the crowd, while Tim did not hold back in addressing Ms. Spillman, the Chairman of the Board of Trustees … she doesn’t even bother to learn American Sign Language (ASL). Her clueless and obstinate approach to defending the board’s decision to bypass two qualified deaf candidates in order to name yet another hearing person as University President comes across as absurd and even a bit cruel.

The structure of the film is exceptional, blending the past with the present. Surprisingly, enough archival footage exists (even 37 years later) that we get a real feel for the commitment of the students and the manner in which the protests were carried out. It’s especially telling to hear the four demands made by the students: name a deaf President, resignation from the Board by Spillman, transitioning half the Board to half deaf members, and no reprisals for the students. All quite reasonable. With Spillman having stated something along the lines of ‘Deaf people are not ready to function in a hearing world”, we are provided a blunt testimony to her beliefs and possibly, the general sense of society at that time.

I King Jordan, a school professor, is interviewed and explains his unusual trek during the week … one that ended with his becoming President of the University (a position he held for many years). The film provides us with clips of Greg’s key appearance on “Nightline” with Ted Koppel, and a heartbreaking story about “broken ears”. Two years after this event, Congress passed the Americans with Disability Act – a stunningly short number of years ago. An odd segment is included with a quick overview of Alexander Graham Bell’s desire to “fix the deaf”, but we realize it’s not the deaf that need fixing. The film leaves us feeling a great deal of respect for these leaders, and might leave you chanting, “Deaf Power!”

The film will premiere globally on Apple TV+ on Friday, May 16, 2025

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Posted by David Ferguson

PLAYING GOD (2025, short film)

May 15, 2025

Greetings again from the darkness. As one who watches twenty-plus movies every month, it’s a bit of thrill when one offers something out of the ordinary – a unique viewing experience. Such is the case with this short film from writer-director Matteo Burani and co-writer Gianmarco Valentino. Of course, we’ve all seen stop-motion animation and claymation films … just last year, WALLACE AND GROMIT: VENGEANCE SO FOWL was outstanding. But Burani’s film from Studio Croma is something altogether different (and likely influenced by the great David Cronenberg).

We open in a dimly lit space showcasing some bizarre looking creatures – each apparently deformed, yet somehow similar. A human figure enters the room and begins working a hunk of red clay into a form. Soon, we discover that he’s attempting to create life. According to the project book he’s maintaining, this is attempt number 875. A moment of possible connection gives a flash of hope that this turn could be a success.

The human face remains mostly in the shadows and instead of dialogue, it’s Pier Danio Forni’s haunting music that guides us through. Italy and France are listed as countries of origin for the distinctive film, and Arianna Gheller is credited as the film’s animator … work that deserves to be lauded. A brief nine-minute run time is all it takes to deliver messages about striving for perfection, dealing with rejection, and the burden of failure. It’s a memorable film that sticks the landing.

Will premiere at 2025 Tribeca Film Festival

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Posted by David Ferguson

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