Greetings again from the darkness. It would be easy to question why a family would choose to run a private ambulance service in a city where they may or may not get paid. It’s only when we know one stunning statistic that their reasoning becomes clear. In Mexico City, the government operates only 45 ambulances for a population of nearly 9 million people. Director-cinematographer-editor-producer Luke Lorentzen takes us inside the ambulance with the Ochoas as they work the streets in the business they’ve run for almost 20 years … it’s a business that fills a necessary gap in emergency services.
Teenager Juan is the most talkative of the crew that includes his father, a younger brother and a friend of the family. We are never certain whether their service or vehicle is properly licensed, whether they are certified, or even if actual licenses and certifications exist. What we do know is that when a medical emergency occurs, a two-plus hour wait for a city ambulance makes the private services much more appealing … and, quite frankly, necessary.
Mr. Lorentzen serves up some terrific camera work, focusing mostly on the family rather than the patients they are providing service for. In the blink of an eye, the Ochoa family goes from utter boredom to a life-and-death situation where response time is crucial. Timing is important not just for medical reasons, but for competitive ones as well. Often there are two races occurring – the race to reach the patient, and the race against another ambulance. What is clear is that once on the scene, the Ochoas are very professional and caring … whether it’s a gunshot wound, a child that’s fallen four stories from a window, or a woman who has been physically assaulted by her boyfriend (and needs a hug, as well as an ambulance).
Corruption is everywhere in this cutthroat industry. From a government who refuses proper care for its citizens to a police force accepting bribes to private ambulance services on retainer from certain hospitals. For the Ochoas, the police scanner is as vital to their business as the medical supplies in the back where the youngest brother munches chips between calls. A loudspeaker is necessary as they race through the city streets admonishing cyclists and cab drivers to get out of the way for a medical emergency.
The Ochoas treat hundreds of patients each year, and when they aren’t responding to calls, they are scrubbing the blood from the vehicle or resting up for another stressful night. We hear their philosophy in providing care for those who might not otherwise get to the hospital on time, and we understand this family does care very much about their chosen profession … this in spite of the fact that so many refuse to pay them, or simply can’t afford to. It’s a constant hustle that keeps the family on the edge financially, although they can hold their head up high knowing they provide a valuable service. Lorentzen’s camera work ensures we feel the intensity and stress of each and every call.
Greetings again from the darkness. Quentin Tarantino has been praised as the cinematic “voice of his generation.” His influence on other filmmakers is as obvious as those who have influenced him. This is a celebration of Tarantino the filmmaker, and also somewhat of a response to his critics. Tara Wood’s documentary never hides that she’s a fan, and to her credit, she hits head-on the 3 controversies associated with her subject: the use of the “N-word”, Uma Thurman’s stunt car accident while filming KILL BILL, and his friendship and business relationship with the despicable Harvey Weinstein.
Tarantino has publically stated that he will retire from filmmaking after directing his 10th film. Ms. Wood’s film covers his first eight, from RESERVOIR DOGS in 1992 to THE HATEFUL EIGHT in 2015. Because this documentary was tied up and delayed in the Miramax quagmire, there is also a brief mention of Tarantino’s 9th film ONCE UPON A TIME IN HOLLYWOOD, released this year. The film kicks off with some background information from Producer Stacey Sher, mentions of his writing for TRUE ROMANCE and NATURAL BORN KILLERS, and a fascinating tidbit involving how QT used his pay from appearing as an Elvis impersonator on “The Golden Girls” to initially fund his career in filmmaking.
Ms. Wood then divides her film into three chapters, thereby categorizing and providing insight on each. “Chapter 1 – The Revolution” includes RESERVOIR DOGS and PULP FICTION, both ground-breakers in their own way and they announced “an astonishing new voice” in movies. The best behind-the-scenes bit comes courtesy of actor and Tarantino regular Michael Madsen who initially objected to being Mr. Blonde, complaining “I didn’t want to get killed by Tim Roth.” Of course, it was PULP FICTION that elevated Tarantino to a new stratosphere – oh, and it also allowed for the stunning comeback of John Travolta.
“Chapter 2 – Badass Women and Genre Play” covers JACKIE BROWN, KILL BILL and DEATH PROOF. The first of those films, each which featured very strong women, was an ode to the Blaxploitation era, the second was influenced by Hong Kong cinema, and the third is described by Zoe Bell as Tarantino’s ‘thank you’ to industry stunt people. Perhaps the most important element of this chapter was that, despite the affirmations, he refused to serve up a repeat PULP FICTION … yet another thing that set him apart from other filmmakers.
“Chapter 3 – Justice” finishes up the catalog with INGLORIOUS BASTERDS, DJANGO UNCHAINED, and THE HATEFUL EIGHT. ‘Basterds’ is renowned for what may be the most fascinating opening sequence in any movie, ‘Django’ shows his love of westerns (especially Italian), and ‘Hateful 8’ stands as a ‘western RESERVOIR DOGS’. With his many references to earlier cinema, Tarantino shows no hesitancy in spinning or changing history to fit his story. While many disparaged the infamous Hitler scene in ‘Basterds’ (and subsequently the Manson killings in his latest), Tarantino firmly believes that viewers know they are watching a movie, and can easily separate this from real life and historical fact. It’s noted that this is what story telling is all about … asking ‘What if?”
Many of Tarantino’s collaborators offer insight and memories. Those appearing include: Samuel L Jackson, Christoph Waltz, Kurt Russell, Michael Madsen, Jennifer Jason Leigh, Diane Kruger, Lucy Liu, Bruce Dern, Jamie Foxx, the late Robert Forster, Tim Roth, Eli Roth, and Lawrence Bender. Most obvious in their absence are Uma Thurman, Pam Grier, Leonardo DiCaprio, John Travolta, and Tarantino himself. There is also a nice segment included as a tribute to the late Sally Menke, Tarantino’s long-time film editor.
Quentin Tarantino has been described as an overzealous geek with the talent to back it up. In reality, he’s a walking and (fast) talking encyclopedia of movie knowledge, trivia and history. He is also described as creating an exuberant infection with cinema, and his frequent scenes of ultra-violence are interpreted by Christoph Waltz as “opera”. It was October 5, 2017 when the Harvey Weinstein story broke, and immediately, since many films connect them, Tarantino was part of the story. It’s a blight on his record, just as it is for countless other actors, celebrities and film industry types who knew and chose to stay silent. But when it comes to making movies, few have ever done it better. There is an on-set clip where Tarantino says “One more take. Why? Because we love making movies!” It’s clear from the interviews here that QT reveres making movies. He also loves watching movies – so much so that he bought and renovated the New Beverly Cinema. He’s a proud film geek. Ms. Wood’s film is pure pleasure for QT fans and will explain a lot for those who aren’t so sure about his work.
Greetings again from the darkness. The Copacabana tracking shot in GOODFELLAS is etched not only in my brain, but in cinema lore. Filmmaker Martin Scorsese teases us with a similar shot as the opening sequence in his latest. The camera snakes through the dank halls and rooms of an assisted-living center before settling on the well-worn face of wheelchair-bound octogenarian Frank Sheeran (Robert DeNiro). Mr. Sheeran is the titular Irishman, and he narrates the story of his life, at least as he recalls it. His is a life story that connects the mob to history and politics in a no frills manner surely to provoke thought, skepticism, and a knot in the tummy.
Oscar winning writer Steve Zaillian (SCHINDLER’S LIST, also GANGS OF NEW YORK, THE FALCON AND THE SNOWMAN) adapted Charles Brandt’s book “I Heard You Paint Houses” for the film. Mr. Brandt was Sheeran’s attorney and worked with Sheeran on his memoir. The book title is highlighted by Scorsese at both the beginning and end of the film, as well as through a line of dialogue in the first phone conversation between Sheeran and Jimmy Hoffa. Mr. Sheeran was a WWII veteran turned truck driver turned mob hit man (and good soldier). He tells his story with little fanfare and in a way that we understand no glamour is associated with this lifestyle.
For those looking for the next GOODFELLAS or CASINO, you’ll likely be disappointed. This one is not as flashy or stylish as those two classics, and instead is a 3 and a half hour introspective look at the men who are efficiency experts in power. Violence is merely one of the tools in their box. The presentation is contemplative, not action-centric. The hits are abrupt and jerky and realistic, not the stylistic choreography of shootouts in films like JOHN WICK. There is a skewed theme of friendship and male bonding … even mentorship. It’s unlike what we’ve seen before from mob movies.
After a chance meeting over a timing belt on a delivery truck, Sheeran is taken under the wing of Philadelphia mob boss Russell Bufalino (Joe Pesci). This is Pesci’s first onscreen appearance since 2010, and he is absolutely brilliant in his portrayal of “the quiet Don.” His performance is 180 degrees from his comedy in LETHAL WEAPON (2.3.4) or HOME ALONE, and 180 degrees the opposite direction from his roles in GOODFELLAS and CASINO, where he was a bombastic man (not a clown) on the edge of violence at all times. Mr. Pesci has spent the last decade playing jazz under the name Joe Doggs. It’s such a joy to have him back on screen, especially as the father figure-friend-ruthless businessman. His Russell is always calm and calculating, whether plotting the next kill or putting up with his wife’s frequent smoke breaks on a road trip.
It’s Russell who directs Sheeran to connect with Jimmy Hoffa (Al Pacino), President of the International Brotherhood of Teamsters. Pacino flashes his blustery best as Hoffa in a couple of scenes, but is also terrific while spewing one of his countless “c***suckers”, or savoring one of his beloved ice cream sundaes – a simple pleasure in a complicated life. Sheeran and Hoffa develop an unusual friendship in their many years together, and Hoffa’s real life unsolved disappearance in 1975 is the basis for Sheeran’s recollections.
We learn that Sheeran’s time in WWII taught him to kill … there is a scene involving POW’s digging their own grave while his rifle is pointed at them. In fact, most of the story is told in flashbacks that bounce between different eras. Scorsese, as has been reported ad nauseam, has utilized the de-aging process from Industrial Light & Magic to show DeNiro, Pesci, Pacino and others over the years. The effect is a bit distracting at first, but the story and these characters are so intriguing that we simply roll with after the initial jolt. It’s also obvious how Scorsese worked to make DeNiro look like the hulking presence Sheeran was in real life (think Tom Cruise in the Jack Reacher movies). Camera angles, should pads, and shoe lifts are used to make us think DeNiro towers over the others the way Sheeran really did. DeNiro is excellent in portraying Sheeran as a good soldier, reserved in mannerisms – even flashing a slight stutter at times. He’s a proud man who simply looks at the mob work as his job.
In addition to the three stars who each excel in their roles, Scorsese has assembled a huge and talented cast. Harvey Keitel is chilling in a couple of scenes as Angelo Bruno, Ray Romano plays mob lawyer Bill Bufalino, Bobby Cannavale is steak-loving Skinny Razor, Jesse Plemons is Hoffa’s adopted son Chuckie O’Brien, Domenick Lombardozzi is Fat Tony Salerno, comedian Sebastian Maniscalco is “Crazy Joe” Gallo, Louis Cancelmi is bespectacled Sally Bugs, Jack Huston plays Attorney General Bobby Kennedy, and even Steven Van Zandt plays crooner Jerry Vale.
You are probably wondering, ‘Where are the women?’. While there is no Lorraine Bracco (GOODFELLAS) or Sharon Stone (CASINO), Scorsese makes the point that with Sheeran, and these other mobsters, it’s all business and real family relationships are nearly non-existent. Stephanie Kurtzuba plays Irene Sheeran (Frank’s second wife) and Katherine Narducci is Carrie Bufalino (Russell’s cig-loving wife). They have some brief but entertaining moments on the road trip, and Marin Ireland has an effective scene late in the movie as Carrie, one of Frank’s daughters, while Welker White plays Jo Hoffa. But it’s Sheeran’s daughter Peggy who is the quiet moral center of the story and his life. Played as a youngster by Lucy Gallina and later by Anna Paquin, Peggy is a mostly silent observer of her father, and whatever conscience he has, is impacted by her glances. Ms. Paquin is especially good with one question … “Why?”
Worthy of special mention is Stephen Graham who plays Anthony “Tony Pro” Provenzano, a friend-turned-rival of Hoffa. Graham and Pacino share two standout scenes – one in prison, while Hoffa scoops his sundae, and a later meeting where Hoffa takes offense to Tony Pro’s late arrival and casual attire. Both scenes are remarkable in that there is underlying humor balancing the surface anger. In fact, the film is filled with memorable scenes. Hoffa’s guidance on self-defense in guns vs. knives, and most every scene between DeNiro’s Sheeran and Pesci’s Russell. DeNiro and Pesci have a chemistry few actors share. It dates back to RAGING BULL (1980), and I believe this is their 7th film together.
The film reminds me of the 1970’s movies that fueled my movie obsession: THE GODFATHER I and II, THE CONVERSATION, THE FRENCH CONNECTION, CHINATOWN, and even THE LAST PICTURE SHOW. Sheeran may or may not be a reliable narrator, but these are real people – even if we don’t know the specifics on every hit. Captions are periodically included to inform of us how a particular mobster met his maker – again providing some dark humor. What is a bit surprising is the male bonding, even friendship, between guys in such a brutal profession. And watching how the story weaves in and out of history with the Bay of Pigs, Cuba casinos, and the Kennedy assassination -“If they can whack a President …” is a bit unsettling.
Cinematographer Rodrigo Prieto (SILENCE, BROKEBACK MOUNTAIN) is a good fit for Scorsese’s vision, and you can catch the varying camera styles for each character – and don’t miss the stunning shot of the illicit guns in the river. Composer Robbie Robertson (The Band) delivers Scorsese trademark musical riffs, and 3-time Oscar winner Thelma Schoonmacker is in peak form editing this epic. This is the 8th film collaboration for Scorsese and DeNiro, but the first in 25 years (CASINO).
I’m a little concerned. In fact, I’m a little more than concerned. This feels like the end of an era. It’s not the end of Scorsese films, but it’s the final chapter of his mob films. No other filmmaker comes close in this genre. With the bookends of Sheeran reminiscing in the assisted-living home, this is quite the holiday gift for cinephiles … and a lasting one (providing Netflix survives).
Greetings again from the darkness. Whether in sports or music or movies, watching talent blossom and grow is wondrous. For movie lovers, this describes young filmmaker Trey Edward Shults, whose first feature film KRISHA really grabbed me at a film festival in 2016. His follow-up was the critically acclaimed IT COMES AT NIGHT (2017), and now with only his third film, Mr. Shults has delivered an even more ambitious story with wide-reaching impact, yet he remains true to his intimate and personal approach. In fact, with WAVES, he basically delivers two brilliant films in one.
A terrific opening credits sequence takes us inside the life of a teenager. There is constant motion, laughter, the longing for independence, and signs of responsibility and structure. Tyler (Kelvin Harrison Jr,LUCE, 2019) is a high school student, talented athlete, pianist, son, brother, and boyfriend. He’s living an upper-middle class life in a beautiful home with his dad (a powerhouse Sterling K Brown), stepmom (Renee Elise Goldsberry), and younger sister Emily (breakout star Taylor Russell). His dad owns a construction company, and is tough and demanding as a parent, incessantly pushing his son to do and be more. His fatherly advice comes in the form of telling Tyler that black men have to work harder than white ones … never stopping to give praise or affection. He’s the type of father who challenges his son to arm wrestle while in a restaurant and critiques his wrestling match victory by telling him the lesser opponent should have been dispatched much quicker. The pressure is relentless, though offered with the best intentions … a college scholarship and a successful life.
Tyler’s stepmom is loving and supportive, and his sister Emily is very sweet and quiet, living in the shadows of big brother. Tyler and his girlfriend Alexis (Alexa Demie) seem to have a good relationship and Tyler appears to be dealing with the pressures. But then, as is common with life at this age, things go sideways quickly. A shoulder injury, self-medication, and Alexis’ late period bring this ideal world crashing down on Tyler. Just when it seems things can’t get worse, they do.
Shults’ film is really two love stories separated by a tragic line. Whereas the first half belongs to Tyler, the second half is owned by his sister Emily. Dealing with a situation and emotions that should be beyond her maturity level, Emily proves how strong she is, and how the heart can always respond to compassion and caring. She meets one of Tyler’s ex-teammates Luke (yet another brilliant Lucas Hedges performance). Luke is socially clumsy and 180 degrees from being a smooth-talker, but he’s smitten with Emily and offers her a lovely, if unlikely, companionship. First love is almost always awkward and watching these two navigate is quite charming and heart-warming. A road trip leads to bonding and a better understanding of each other.
As the film shifts in focus and tone, characters are pushed to emotional limits. The film offers snapshots of moments without disturbing the flow or Shults’ commitment to rich texture. The photography from cinematographer Drew Daniels is creative and varied, and adds much to the presentation. Music is also vital here. The score from Trent Reznor and Atticus Ross adds the perfect touch, and the soundtrack contrasts the tastes of today’s generation with what the parents relate to (Dinah Washington’s “What a Difference a Day Makes”), even forming a surprising connection at one point. For other fans of Shults’ film KRISHA, you will enjoy a quick scene with Krisha Fairchild as a high school teacher.
Proms, pregnancy, parties, pills, and parents are all common topics for films dealing with teens, but this one digs deeper than most. It’s based in south Florida and is quite the stylish and heartfelt drama, slicing open the traits that make us human. A lifetime of good decisions builds a foundation, and one or two bad choices can topple all the good ones. When Tyler and his teammates are pumping up before a match with chants of “I cannot be taken down!”, we all know that life can absolutely take you down. Tyler learns this lesson in the harshest of ways, while his sister Emily deals with the aftermath. Themes of acceptance and forgiveness give this the feeling of the work of a much more experienced filmmaker, but evidently Trey Edward Shults is just this talented.
Greetings again from the darkness. “I suspect ‘fow-uhl’ play.” So states the renowned and poetically named private detective, Benoit Blanc. Of course when mega-wealthy, best-selling author Harlan Thrombey supposedly commits suicide after his 85th birthday party by slashing his own throat with a knife, something more sinister (you know, like … murder) must be considered. The violin playing over the opening shots of the palatial Thrombey manor teases us with thoughts of most any year from the past 75. These nostalgic thoughts fade quickly as we begin to meet the players.
Detective Elliott (LaKeith Stanfield) and Trooper Wagner (a quite funny Noah Segan) seem merely to be crossing their T’s in the suicide investigation as they dutifully meet with each family member for a statement. It’s this progression of questioning that introduces us to the year’s most colorful ensemble cast. Patriarch Thrombey’s (Christopher Plummer) scheming heirs-in-waiting include: his daughter Linda Drysdale (Jamie Lee Curtis), happy to remind you of her success as a self-made businessperson; Linda’s smarmy husband Richard (Don Johnson); their renegade son Ransom (Chris Evans) who arrives a bit later; Harlan’s son Walt Thrombey (Michael Shannon) who ‘runs’ the family publishing business; Harlan’s ex-daughter-in-law Joni (Toni Collette), a self-help guru who has a secret side gig; grandkids Meg (Katherine Langford), preppy social media troll Jacob (Jaeden Martell), and Donna (Riki Lindhome of “Garfunkel and Oates”); and Harlan’s mother Greatnana (Dallas’ own K Callan). Two key non-family members are the housekeeper Fran (Edi Patterson) who finds Harlan’s body, and nurse Marta (Ana de Armas), Harlan’s friend and only real confidante.
Writer-director Rian Johnson has put together a diverse career with such films as indie breakout BRICK (2005), science fiction hit LOOPER (2012) and of course, STAR WARS: EPISODE VIII – THE LAST JEDI (2018). With this latest, he shows a real flair with a rare comedic whodunit, and manages to perfectly execute his twisted script of twisted personalities. Think of this as Agatha Christie meets CLUE via THE ROYAL TENENBAUMS. The overall mangled morality of this entitled family becomes crystal clear as we get to know each. Johnson presents many familiar elements for fans of the mystery genre (the dark mansion, the creepy line-up of hangers-on, the red-herring clues and missteps), and most impressively, he blends those with many creative and surprising moments … some that will have you believing you have it figured out. But even if you do, the long and winding road is an utter blast.
Even with that deep and talented cast, it’s Daniel Craig as Benoit Blanc and Ana de Armas as Marta who stand out. They have the most screen time and neither waste a moment. Mr. Craig’s purposefully comedic southern drawl completes the film’s most memorable character, in fact, one of the year’s most memorable characters. Ms. de Armas finally finds a role to take advantage of her skill. Nurse Marta has a lie-detecting reflux gag that is not just valuable to the case, but also vital to the loudest audience reaction during the film. Mr. Craig and Ms. de Armas will also appear together in the upcoming Bond film NO TIME TO DIE.
During the reading of the will, director Johnson brings in STAR WARS stalwart Frank Oz (best known as Yoda) to play the family attorney, while another scene features one of the all-time great character actors (and Roger Ebert favorite) M. Emmet Walsh (BLOOD SIMPLE). Mr. Johnson also offers a unique spin on classism and the 1%, including a running gag about Marta’s nation of origin.
Johnson’s regular team is in top form here: Cinematographer Steve Yedlin, Film Editor Bob Ducsay, and composer Nathan Johnson (Rian’s cousin). Another deserving of mention is Costume Designer Jenny Eagan, who matches threads with personality about as effectively as we’ve seen, and Production Designer David Crank who creates the ideal mansion of secrets. This film is wickedly clever and barrels of fun. There may not have been a more purely entertaining movie this year … and it’s been a terrific year for movies. Just remember: ‘My house. My rules. My coffee.”
Greetings again from the darkness. Let it go. Forget the sisterly issues of the Oscar winning original from 6 years ago. Arendelle is now doing just fine under “Ice” Queen Elsa and Princess Anna. Well, at least until Elsa is beckoned to the foggy, off-limits Enchanted Forest by an ethereal voice that only she can hear. We know this probably isn’t good since the movie kicks off with a flashback to when the sisters were very young and their parents (voiced by Alfred Molina and Evan Rachel Wood) told them a historically significant story of the forest – a story with a vital missing piece.
Joining Elsa (voiced again by the wonderful Idina Menzel) and Anna (Kristen Bell) on this journey to the forest and a discovery of the past are more familiar faces from the first movie: woodsman Kristoff (Jonathan Groff, who also plays Holden Ford in the excellent TV series “Mindhunter”), Kristoff’s loyal reindeer Sven, and everybody’s favorite huggable, philosophizing snowman, Olaf (Josh Gad back for an expanded role that provides more laughs).
Co-directors and co-writers Chris Buck and Jennifer Lee return for the sequel and their script, co-written with Marc Smith, features the familiarity that we’d expect from such a successful original, but it adds pieces that will likely be too confusing for younger viewers. Trying to recapture the magic of their Oscar winning song “Let it Go”, songwriters Kristen Anderson-Lopez and Robert Lopez seem to have a singing interlude approximately every 8 minutes or so. Olaf gets a cute song, and this time, even Kristoff has his musical moment with “Lost in the Woods” (Jonathan Groff is a Broadway veteran). Of course, it’s Elsa/Idina Menzel who provides two impressive power vocals. It appears “Into the Unknown” is getting the PR push, but personally I preferred “Show Yourself”.
Don’t think it’s all about the songs. There is an odd storyline that seems a bit preachy about making amends to past sins (politically and personally), and just how devastating it can be to discover that one’s family tree has some rotten branches. Whether kids “get” that nature’s balance must be restored, they will surely appreciate the two sisters: Anna’s inner-strength and determination matching Elsa’s magical powers. And all ages will enjoy Olaf’s comical fast-talking recap of the first movie – a scene itself worthy of admission.
While the songs might fall short this time around, and the story might be a bit more convoluted, there is no arguing that this sequel looks fantastic. The enhanced animation is quite stunning at times. As opposed to the blue and white color scheme of the first movie, this sequel features a palette that draws from Martha Stewart’s Thanksgiving table setting – the autumn colors are vibrant and gorgeous.
FROZEN IIwill have a bit more Oscar competition in the animated category than what its predecessor faced, as it will be going up against instant classic TOY STORY 4. The filmmakers are to be commended for bringing attention to natural elements of air, water, fire, and earth; however, a couple of the extended sequences will likely prove too intense for younger viewers. “Do the next right thing” may be the new Disney Golden Rule, but it’s difficult to imagine a non-talking gecko or terrifying Earth Giants will emerge as a new favorite toy. Parents should know going in that by the end, Elsa sports a new dress and hairdo, conflicting with an early song “Some Things Never Change”. And when parents realize a third “Frozen” movie is in the works, they should know that warm hugs help. Let’s just hope the next one isn’t called “Ice Cubed”.
Greetings again from the darkness. 7000 RPM. Racing legend Carroll Shelby describes that as the moment of racing bliss in the opening of the film. We are reminded of early test pilots breaking the sound barrier, or explorers reaching the peak of Mt. Everest. What follows is two-and-a-half hours of history, rivalries, egos, and sport. The racing scenes are exhilarating, and the men are driven by testosterone and compelled to be the best. They are throwbacks to a different era. An era that wasn’t about fairness and feelings, but of determination and focus that produced results – either success or failure. There were winners and losers, and the ceremonies awarded no participation ribbons.
Who are these men? They are Carroll Shelby, Ken Miles, Henry Ford II, and Enzo Ferrari. Director James Mangold (LOGAN, WALK THE LINE) takes the 1966 24 Hours of Le Mans and turns it into a rivalry between car makers, a friendship between racing icons, a look at corporate buffoonery that still exists today, and an old-fashioned movie that is fun to watch … regardless of whether you know the first thing about racing or cars.
Matt Damon plays Carroll Shelby, the war veteran race driver-turned-designer hired to push Ford racing into world class status. Shelby is an industry icon who won the 1959 Le Mans before retiring due to a heart condition. He then founded and ran Shelby-American for designing and improving cars. He wore cowboy hats that were only eclipsed in size by his bravura in most situations. Christian Bale plays legendary driver Ken Miles, another war veteran and bombastic friend of Shelby, who can best be described as a race car savant. Contrary to the film’s title, the story belongs to these two men, and the film belongs to these two actors.
Co-writers Jez Butterworth, John-Henry Butterworth, and Jason Keller take some liberties with the script and bend a few historical details to make the parts fit a Hollywood production … but for the most part, the story is pretty accurate. Just a few years after the Edsel fiasco, Henry Ford II is agitated at the state of Ford Motor Company, and after a bitter and personally insulting failed buyout of Ferrari, Mr. Ford (played with proper arrogance by Tracy Letts) decides to engage in motor-measuring with the Italian company run by Enzo Ferrari (Remo Girone). He hires Shelby to elevate Ford racing to elite status with one main goal – beating Ferrari at Le Mans. Shelby’s cocksure approach manages to keep Miles onboard despite the internal battles with Ford executives, especially Leo Beebe (a smarmy Josh Lucas). Beebe doesn’t see Miles as “a Ford man”, and in what is all too common in corporate life, prefers style over substance.
The film could have easily been titled Corporate vs Cars. Although the Henry Ford vs Enzo Ferrari segment is quite entertaining, most of the time is spent with Shelby and Miles trying to reach their dream while negotiating corporate obstacles. These two men have a love for racing and each other – in an old school, manly-respect kind of way. They are simpatico in their quest for the perfect car, and as Miles explains to his son (Noah Jupe) in a terrific scene, the perfect lap.
Additional supporting roles include Jon Bernthal as young visionary Lee Iacocca (who died earlier this year), Caitriona Balfe as Miles’ supportive wife, and Ray McKinnon as Phil Remington, the lead engineer on Shelby’s team. Of course, Iacocca went on to become Chairman of Chrysler, where he brought in Shelby to consult on the Dodge Viper, among other models. Supposedly Le Mans racing legend and 6-time winner Jackie Ickx appears in a crowd shot, but I missed it.
There is a stark contrast between the Ferrari factory and the Ford assembly line, but the egos at the top are remarkably similar. A bruised ego lit the fuse for the rivalry, but it was the car guys who made it happen. The racing scenes are adrenaline-packed and the sound in the theatre, combined with Cinematographer Phedon Papamichael (SIDEWAYS, NEBRASKA) close-ups inside the car, allow us to feel the rumble and vibration and speed sensation inside the Ford GT40. Damon and Bale are terrific. Damon struts with Shelby’s confidence, and Bale (after a huge weight loss from his role as Dick Cheney in VICE) captures the cantankerous genius of Miles – plus seeing his yell at other drivers during races is hilarious. There is a comical rumble between Miles and Shelby that will remind no one of Batman and Jason Bourne, but as difficult as it is to make popping a clutch exciting on the big screen, Mangold’s team comes through.
Greetings again from the darkness. Does the end justify the means? Do two wrongs make a right? These are questions of ethics and morality, and when it comes to the government, they can also be questions of legal and illegal, or even life and death. Scott Z Burns offers up his feature film directorial debut, and he has been best known as a screenwriter for Steven Soderbergh films such as THE LAUNDROMAT, SIDE EFFECTS, and THE INFORMANT! Mr. Burns certainly didn’t choose an easy route for his first time in the director chair, as this is a heavy, thought-provoking, stomach-churner.
Adam Driver plays Daniel Jones, a Senate staffer under Senator Dianne Feinstein. She charges him with leading the Senate investigation into the CIA’s Enhanced Interrogation Technique (EIT) program after the 9/11 attack. It’s easy to see why so many viewed this as a bad gig, but Jones became obsessed with uncovering the truth about what happened, who did what, and who knew what and when they knew it. This government procedural offers us an education on red tape, political boundaries, and the expertise in protecting fiefdoms in D.C. In other words, everything that we fear and despise about our own government officials is on display here.
That said, it is refreshing to see someone so focused on getting to the truth as Jones is/was … despite the systematic obstacles (destruction of tapes, party divisions). Annette Bening shines as Senator Feinstein and is quite effective in portraying just how difficult it can be for politicians to juggle all sides and pressures when a topic is so “hot”. The film covers a period between 2003 and 2012, and most of the run time is spent on Jones’ research for the report.
The supporting cast is deep and talented, and includes Jon Hamm as Obama Chief of Staff Denis McDonough, Michael C Hall, Maura Tierney, Victor Slezak, Tim Blake Nelson, Ben McKenzie, Matthew Rhys, Corey Stoll, and Ted Levine (as CIA Director John Brennan). One of the more interesting aspects of the film involves the contractors behind the EIT program. Basically, they are academics with no real world case studies or experience – just two guys looking to cash in on a lucrative government deal at a time when a country was desperate for answers.
Watching the battle over the final release (or not) of “The Torture Report” (the word torture was redacted here for the title) injects quite a bit of tension, and the inclusion of archival footage from the period is very effective. What’s less effective is the overuse of shaky-cam in the first portion of the film, and the score is downright annoying at times as it attempts to ensure we are frustrated with the political wranglings. On the other hand, the dialogue is crisp and there are some well-written and well-acted quietly-tense exchanges between folks. Adam Driver carries the bulk of the film and he is perfectly cast.
The obvious comparisons are to ALL THE PRESIDENT’S MEN and SPOTLIGHT, though this one never quite reaches that level. Still, it’s thought-provoking to watch as Jones considers a New York Times reporter to be the most ethical character he can turn to in his efforts to get the truth out. The film doesn’t really choose sides … everyone who participated in a cover-up or illegal activities takes a shot, as does Kathryn Bigelow’s ZERO DARK THIRTY. This was a dark time in U.S. history, and it reminds us how difficult it seems to be to do the right thing while in government. Perhaps that’s the biggest takeaway.
Greetings again from the darkness. Most 12 year olds don’t have a job. Perhaps their parents have assigned a few chores around the house to help them learn responsibility, but for the most part, they go to school and play … the things that kids do. Shia LaBeouf had 2 jobs as a kid. He was a rising actor and he was employer/quasi-guardian of his father. Now in his 30’s, LaBeouf has written a screenplay about his childhood and he stars as his father in an attempt to exorcise some personal demons. It also happens to make for compelling cinema.
The film opens with a montage of cuts between a 20-something LeBeouf (played by Oscar nominee Lucas Hedges) performing stunts on an action movie set (clearly meant to represent TRANSFORMERS) and a serious automobile wreck and subsequent DUI. The wreck caused major damage to his hand and resulted in court-mandated rehabilitation. While in rehab, his therapist (played by Laura San Giacomo) diagnoses him with PTSD … not military war related, but rather broken family related.
In this film, LeBeouf has named the character based on himself Otis, and the character based on his own father James Lort. In addition to Hedges playing the early-20’s version, another rising actor, Noah Jupe, plays Otis as a 12 year old. As rehabbing Otis puts his childhood memories to paper, we see flashbacks featuring the younger Otis and his father. They live in a dump of a motel, and ride to the TV show set (meant to be “Even Stevens”) on dad’s motorcycle. James Lort/dad is a former performing clown, recovering addict, and ex-con. He’s the kind of guy who talks a big game and blames everyone else for keeping him from succeeding. To put it mildly … he’s a jerk. That’s not to say he doesn’t have his moments as a caring parent, but those moments are nullified by the bullying and threats of violence towards his young son. That son is desperate to please his dad, yet wise enough to know that he’s not to be trusted.
Shia LeBeouf dives in head first to play the man who had such an impact on his early years. This, mind you, is the kind of man who offers cigarettes to his young son, makes fun of his pre-pubescent body, and is quite jealous of his budding career. LeBeouf is at his best in a difficult role that surely cuts very deep for him. Supporting roles are played by singer FKA Twigs as the shy neighbor girl who befriends Otis, plus Natasha Lyonne, Maika Monroe, Clifton Collins Jr, and Byron Bowers.
Director Alma Har’el structures her first narrative feature film (she has previously worked on videos and documentaries) with timelines showing Otis at the two ages. There are no fancy camera tricks. Instead she trusts these talented actors to bring it home … and that they do very well. Lucas Hedges was Oscar nominated for MANCHESTER BY THE SEA, and he is in the beautiful upcoming film WAVES. Noah Jupe is a star in the making, having previously appeared in A QUIET PLACE, and new release FORD VS FERRARI. These are some top notch actors at their very best.
As viewers, we have to remove ourselves from feeling anger and disgust towards the James Lort character. That’s easier said than done when he says things like “The only thing my father gave me of any value was pain.” It’s meant to sum up his reasoning for his own parenting approach. There is a truly brilliant, and well-coordinated scene that acts as a three-way phone conversation between father, son, and estranged wife/mother. The kid is put smack in the middle of the two people who are supposed to love and nurture and protect him. Instead, Otis comes across as the adult. We do get some comic relief with the ‘world’s first daredevil chicken’, but this is just not a warm, cuddly father-son fairy tale. This was real life for Shia LeBeouf and he’s brave to bring it out in the open, even if it’s less confession and more therapeutic session. He deserves it after hearing, “I’m your cheerleader, Honey Boy”, and “Trust me, I’m your father.”
Greetings again from the darkness. Japan’s World War II goal was to devastate the United States Navy fleet in the South Pacific, thereby securing the area as their own and crippling the U.S. military beyond hope. The December 7, 1941 attack on Pearl Harbor was the first step and the most infamous. Over the next few months, what followed were the Raid on Tokyo (April 1942), Battle of Coral Sea (May 1942) and the Battle of Midway (June 1942). Stating that these battles changed the war is not an understatement, as the Imperial Japanese Navy had previously been viewed as superior (especially after the destruction at Pearl Harbor). Director Roland Emmerich (THE PATRIOT, INDEPENDENCE DAY) has never met a war or explosion or special effect he didn’t like, so we know going in that, given the subject matter and the filmmaker, the screen will be filled with action.
Emmerich co-wrote the script with Wes Tooke (his first feature script), and as with many WWII movies, it acts as a history lesson on a war that changed the world. This one focuses on naval strategy and particularly on the individuals who defined courage and heroism … many names we recognize from history books. The contrast between Japanese military leaders and United States military leaders is on full display, and it’s no surprise that the Japanese leaders are mostly portrayed as cold and calculating, while the U.S. leaders come across as more humanistic and resourceful. Pride is evident on both sides – it’s just displayed differently.
The players are crucial to the story. Woody Harrelson plays Admiral Chester Nimitz, Dennis Quaid is Vice Admiral “Bull” Halsey (commander of aircraft carrier USS Enterprise), Patrick Wilson is Intelligence Officer Lieutenant Commander Edwin Layton, Jake Weber is Rear Admiral Raymond Spruance, Luke Evans is Lieutenant Commander Wade McClusky, Brennan Brown plays Joseph Rochefort (leader of the code breaker team), and Aaron Eckhart is Lieutenant Colonel Jimmy Doolittle, the extraordinary pilot who led the Raid on Tokyo in April 1942. On the Japanese side, Tadanabu Asano plays Rear Admiral Yamaguchi (commander of the aircraft carrier Hiryu), Jun Kunimura is Admiral Nagumo (he of questionable battle decisions), and Enushi Toyokawa plays Admiral Yamamoto, the most dignified and influential of the Japanese leaders.
Much of the story is told from the perspective of naval pilot Lieutenant Dick Best (Ed Skrein, DEADPOOL). While personal stories and challenges faced by individuals makes for a relatable story for viewers, there is something about this particular actor that comes across as awkward and difficult to bond with. There is no doubting the character and courage of Dick Best as a pilot; however, Skrein’s performance is flat out annoying and distracting. The dive bombing missions are breathtaking and thrilling, but overall the liberal use of green screen for effects detracts from the realistic looks we’ve come to expect for war movies.
Mandy Moore as Anne Best, and Nick Jonas as a mechanic, are cast for relatability by viewers, but the value in the film comes from an easy-to-follow description of the contrasting strategies of the two militaries. It’s also a reminder that the “big” story of WWII is comprised of many individual stories of people … people who were brave and heroic in a time of need. So ignore the cheesy affects, unrealistic dialogue, and irritating performances, and instead take in the work and actions of those who saved the world.
Greetings again from the darkness. It would be easy to question why a family would choose to run a private ambulance service in a city where they may or may not get paid. It’s only when we know one stunning statistic that their reasoning becomes clear. In Mexico City, the government operates only 45 ambulances for a population of nearly 9 million people. Director-cinematographer-editor-producer Luke Lorentzen takes us inside the ambulance with the Ochoas as they work the streets in the business they’ve run for almost 20 years … it’s a business that fills a necessary gap in emergency services.
Posted by David Ferguson 
Movie Reviews from the Dark 