THE GOLDFINCH (2019)

September 12, 2019

 Greetings again from the darkness. The challenge after watching this movie is deciding whether it needed more time or less. With a run time of two-and-a-half hours, that may seem like a ludicrous question, but Donna Tartt’s Pulitzer Prize (fiction) winning 2013 novel was almost 800 pages long, covering many characters and spanning more than a decade. What to include and what to omit surely generated many discussions between director John Crowley (the excellent BROOKLYN, 2015) and screenwriter Peter Straughan (Oscar nominated for the fantastic TINKER TAILOR SOLDIER SPY, 2011).

13 year old Theo (Oakes Fegley) is visiting the Metropolitan Museum of Art with his mother when a bomb explodes leaving Theo dazed in the rubble and his mother dead. An encounter with an injured stranger causes Theo to take a painting and flee the museum. Theo proceeds to hide the artwork as the family of one of his schoolmates takes him in. The painting is “The Goldfinch” by Rembrandt’s pupil Carel Fabritius. In the first of many parallels separated by time, we learn Fabritius was killed (and most of his work destroyed) in an explosion. In fact, it’s these parallels and near-mirror-images are what make the story so unique and interesting … and so difficult to fit into a film.

When Theo’s long-lost drunken shyster father (Luke Wilson) shows up with his equally smarmy girlfriend Xandra (Sarah Paulson), they head to the recession-riddled suburbs of Las Vegas. It’s here where Theo meets Boris (Finn Wolfhard, Richie from the two IT movies), a Ukranian emigrant living with his dad (yet another parallel). The two boys become friends, partaking in drugs, alcohol, and shoplifting. Another tragedy puts Theo on the run. He finds himself back in New York, where he takes up with Hobie (Jeffrey Wright), the partner of the stranger from the museum.

All of this is told from the perspective of young adult Theodore Decker, played by Ansel Elgort (BABY DRIVER). We see him bunkered in a hotel room contemplating suicide. The story we watch shows how his life unfolded and landed him in this particular situation. And it’s here where we find the core of the story. Circumstances in life guide our actions, and in doing so, reveal our true character. Theo carries incredible guilt over his mother, and his actions with Hobie, regardless of the reasons for doing so, lead him to a life that is not so dissimilar to that of adult Boris (Aneurin Barnard, DUNKIRK) when their paths cross again.

Other supporting work is provided by Ashleigh Cummings as Pippa, the object of Theo’s desire, Willa Fitzgerald (played young Claire in “House of Cards”) as Kitsey Barbour, Theo’s fiancé, as well as Denis O’Hare, Peter Jacobson, and Luke Kleintank. As a special treat, Oscar winner Nicole Kidman plays Mrs. Barbour in what feels like two different performances. When Theo is young, she is the cold, standoffish surrogate mother who takes him in; however when older Theo returns, her own personal tragedies have turned her into a warm bundle of emotions in need of pleasantry. It’s sterling work from an accomplished actress.

The segments of the film that resonate deepest are those featuring Oakes Fegley as young Theo. Fegley was so good in the criminally underseen WONDERSTRUCK (2017), and here he conveys so much emotion despite maintaining a stoic demeanor. It’s rare to see such a layered performance from a young actor. Of course the film is helped immensely by the unequaled work of cinematographer Roger Deakins. Mr. Deakins finally won his first Oscar last year in his 14th nomination. Trevor Gureckis provides the music to fit the various moods and the two time periods. All of these elements work to give the film the look of an Oscar contending project; however, we never seem to connect with the older Theo, which leaves a hollow feeling to a story that should be anything but. Instead we are left to play “spot the parallels” … a fun game … but not engaging like we would hope.

watch the trailer:

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Posted by David Ferguson

LINDA RONSTADT: THE SOUND OF MY VOICE (2019, doc)

September 12, 2019

 Greetings again from the darkness. This may be a conventionally-structured documentary profiling a well-known person, but that person possessed extraordinary talent, and her story deserves to be told … or better yet, heard. Parkinson ’s disease has robbed Linda Ronstadt of her celestial vocal gift, but co-directors Rob Epstein and Jeffrey Friedman succeed in proving how dynamic she was as a singer, and also how she influenced so many others.

The film opens with the audio of Johnny Cash, Glen Campbell, Johnny Carson and Dick Cavett introducing her on their respective TV programs, while a montage of magazine covers and album covers remind of us of her once immense and widespread popularity. We then take a journey through Ronstadt’s childhood. Her grandfather invented the electric stove and electric toaster, and music played a significant role in all family gatherings. She describes how, as a young girl in Tucson, the radio was her “best friend in the world” as she listened to music from both sides of the border.

In 1964, at the age of 18 and the urging of her musician friend Bobby Kimmel, Ronstadt moved from Tucson to southern California to join a community of musicians. She rented a flat in Santa Monica for $80 per month – a price point that barely secures a meal at a decent restaurant in the area these days. Thanks to The Byrds, folk rock was exploding on the scene. Ronstadt sang back up on Neil Young’s huge hit “Heart of Gold”, and she, along with many others, performed regularly at The Troubadour. It’s here where she crossed paths with Don Henley, Jackson Browne, and JD Souther, the latter of which became her boyfriend, songwriter, and producer.

The steady stream of interviews includes Henley, Browne, and Souther, as well as LA Times music critic Robert Hilburn, Asylum Records founder David Geffen, Bonnie Raitt, producer John Boylon, the legendary Ry Cooder, Cameron Crowe, Karla Bonoff, and (former Beatles) agent and producer Peter Asher. Most memorable are the recollections of Dolly Parton and Emmylou Harris, who collaborated with Ronstadt on the 1987 Grammy winning album “Trio”. Ms. Parton’s segment is especially insightful as she contrasts her own instinctive singing style with that of Ronstadt’s analytic and perfectionist approach. Ms. Harris is featured in a clip of herself performing at a very young age, and she’s quite emotional when discussing Ronstadt’s gift.

It’s quite fascinating to follow the number of shifts in her career and musical style. After achieving so much as a folk and pop singer, she was incredibly successful in country music, and as a tribute to her mother’s favorites with American Standards arranged by Nelson Riddle. She also mesmerized with the operatic songs in “Pirates of Penzance” and stunned the music industry with her best-selling album of Mexican standards. Although she labels herself a balladeer and harmonizer, those descriptions are far too humble, and underscore the opinionated talent she was. The clips of her performing onstage are breath-taking. Her voice combining power, texture and nuance.

Linda Ronstadt was never a songwriter. She was an expert song interpreter like Elvis and Sinatra. She claims “every song has a face”, and the numerous clips of her singing provide visual proof of what she means. The film touches on her early addiction to diet pills/speed, as well as her relationship with Jerry Browne, the duets with Aaron Neville and Ruben Blades, and for bonus points mentions the influence of the late great Harry Dean Stanton. We see her 2013 Rock n Roll Hall of Fame tribute performed by five fabulous female singers … and it’s their performance that really drives home just what a pure and unique voice Ronstadt possessed. While the trip through the many genres is interesting, what really stands out are the clips of her on stage … making yet another song all hers. Linda Ronstadt certainly sang to the beat of a different drum, and we were fortunate to hear her.

watch the trailer:

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Posted by David Ferguson

THE SOUND OF SILENCE (2019)

September 12, 2019

 Greetings again from the darkness. “Turn that down!” Those are words we all hear when growing up and then repeat as our own kids come of age. Noise pollution rarely receives the same attention as that of air or water, and most of us are startled when we find ourselves out in the country – an environment lacking the everyday electronic, power cell, and human-generated noises we have come to accept and ignore. Director Michael Tyburkski and his co-writer Ben Nabors have expanded their 2013 short film PALIMPSEST to feature length, so that we might hear their point.

Peter Sarsgaard stars as Peter Lucian, a so-called “house-tuner”. Peter has turned his life’s work into an occupation where he visits his clients’ homes and identifies the imbalances and problem areas caused by sound. For example, his clients may have relationship issues or experience exhaustion from poor sleep. Peter uses his exceptional hearing and experience to identify an ‘out-of-tune’ radiator or buzzing toaster, with the expectation of improving the clients’ daily life. The premise is actually quite fascinating, especially for the city dwellers of New York City … a place Peter has meticulously plotted and charted sounds on a map over the years.

And yes, you are correct. Peter is a bit lonely and isolated from society. His interactions are exceedingly low-key and mundane, though it’s quite obvious in the early scenes that he take immense pride and pleasure from his work. Well that is, until he can’t seem to solve new client Ellen’s (Rashida Jones) issue. These first few scenes are the best the film has to offer. The additional scenes with Peter and Ellen seem forced, almost formulaic, as it slips into possible relationship mode for two people who don’t seem comfortable at all in the world. The other piece of this puzzle has to do with Peter’s quest for acceptance by the scientific community, specifically his mentor Robert Feinway (the always fun Austin Pendleton). Tony Revolori (THE GRAND BUDAPEST HOTEL) plays Peter’s assistant Samuel Diaz, and screen veteran Bruce Altman plays an investor who wants to monetize Peter’s work.

“Silence is not empty, but immeasurably full.” It’s this type of philosophy that the filmmakers use to add weight to Peter’s work. They keep us guessing as to whether he is a bit of a Savant … or more of a crackpot. It’s a high concept and ambitious idea accompanied by sound design that provides a constant tone/ringing that is sometimes faint, and sometimes prevalent. More of Peter’s early sound detective work would have proved more interesting, but you’ll likely find yourself a bit more attuned to the sounds around you after watching.

watch the trailer:

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Posted by David Ferguson

LIAM GALLAGHER: AS IT WAS (2019, doc)

September 12, 2019

 Greetings again from the darkness. Co-directors Gavin Fitzgerald and Charlie Lightening could have ended this profile of singer Liam Gallagher by playing the theme song to “Family Feud” over the closing credits. While they do offer up an unflinching look at the talented singer of suspect character, we come away with the feeling that the entire project was designed to reunite Liam and his brother Noel. The two supposedly haven’t spoken since they nearly brawled backstage at a scheduled Oasis concert: Paris 2009 Rock en Seine.

A blend of clips from that final Oasis show and Liam’s 2017 comeback concert in support of his solo album “As You Were” kick off the film. However, before the opening credits roll, we hear Liam spewing enough f-words to make any teenager blush. The assumption is that we are to be reminded of what a prig Liam was, and the reputation he earned as being a bad boy of rock. The filmmakers, along with Liam and his mum, then spend the rest of the run time trying to convince us that he’s a changed man and is actually devoted to his family and to his craft. We do believe the latter, but the former is quite a stretch. We do see his sons accompany him on a later tour, but Liam’s numerous affairs and broken marriages are glossed over.

To his credit, Liam faces the camera with some candid self-assessment. It’s unclear whether this is his own personal therapy or whether he’s choosing to come clean for his fans. Others with featured input here include former Oasis guitarist Bonehead Arthurs, Liam’s brother Paul, and Liam’s mother Peggy (who is very proud of her boy). Also offering up praise is Debbie Gwyther, Liam’s former assistant, who is now his lover and manager. He credits her with getting him back on track in life and back on stage in music.

Although the film features very little music, we do get enough concert clips to recognize Liam’s stage presence; however, it’s the camera time in the studio that is most fascinating – and leaves us feeling a bit short-changed. Seeing Liam work through songs at historic Abbey Road Studios could have made for an entire film. He is admittedly not a true songwriter, so being forced to collaborate due to the absence of Noel, probably displays the most personal growth for Liam (even if it’s out of necessity).

Liam and Noel supposedly haven’t spoken in the 10 years since that backstage fight killed off a superband and a brotherhood. The reconciliation evades the filmmakers, but they salvage the project as Liam’s solo career takes off, and he travels with sons Gene (born to singer Nicole Appleton) and Lennon (born to actress Patsy Kensit). I chuckled when it’s mentioned that Liam is ‘the greatest rock front man’ … a line easily contradicted by mentioning Mick Jagger, Bono, or Bruce Springsteen. We are told “he is who he is”, and can’t help but wonder if that’s a good thing. Having others say that he is grateful for a second chance is not the same as him stating it for himself.

watch the trailer:

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Posted by David Ferguson

BRITTANY RUNS A MARATHON (2019)

September 5, 2019

 Greetings again from the darkness. Philosophically speaking, each of us is running our own marathon of life. Of course, every person’s marathon has its own obstacles and challenges, and most of us have happiness as our end goal for the finish line. This first feature film from writer-director Paul Downs Colaizzo is based on the real life struggles of his friend Brittany, whose photos are shared over the closing credits.

Jillian Bell stars as Brittany, a 28 year old New York City party girl dedicated to avoiding adult responsibilities. She struggles to make ends meet financially, yet manages to drink copious amounts of alcohol and partake in recreational drug use. A trip to a Yelp-referred doctor in hopes of scoring Adderall ends with a harsh realization when he asks if she is making “healthy choices” … her BMI places her in the obese category. Suddenly her friends’ claiming she is the funniest person in the room can be interpreted as Brittany using humor as a coping method – a trait she recognizes in another character later in the story.

This is no simple “chick flick” filled with punchlines. Well, OK, it has plenty of punchlines thanks to the comedic brilliance of Ms. Bell, however, the film is also loaded with the emotional burdens that accompany societal standards. It exposes the nasty side of human nature in how we treat those who are overweight, or not meeting the accepted standard of attractiveness, or not wealthy enough, or not fashion-oriented, or whatever other standard being applied at any given time. Brittany takes us on the emotional journey of seeking happiness and self-actualization when one is mired in insecurities and depression. It’s a journey that can be tough to watch and tough to experience.

The underappreciated Michaela Watkins plays Brittany’s neighbor Catherine, whose athletic and artistic façade camouflage her shattered marriage and the accompanying pain. Ms. Watkins clearly embraces offbeat projects, as evidenced by her role in BRIGSBY BEAR (2017) and by appearing with Jillian Bell in this year’s indie gem SWORD OF TRUST. When Brittany laces up her Chucks and runs that first block, Catherine jumps in and invites her to join a runner’s club. It’s there that Brittany and Catherine meet Seth (Micah Stock), an out of shape gay man proving to his son he is a strong father that can be relied upon. We see all three become friends, and though Brittany may have motivated them to run the NYC Marathon, we see that each is running for their own reason.

Other supporting work is provided by Lil Rey Howery (GET OUT) as Demetrius, Brittany’s brother-in-law and surrogate step-father via Skype; Alice Lee as Gretchen, Brittany’s narcissistic vlogger roommate; and Utkarsh Ambudkar as Jern, Brittany’s slacker co-worker turned friend turned romantic partner. Even though Jillian Bell owns the film as Brittany, each of the talented support cast brings depth to their roles, allowing these to be actual people to whom we can relate. It’s a risky move casting so many improve comedians, but the result is quite impressive.

The film is loaded with life lessons and chuckles, and with that comes moments of cruelty, self-centeredness, insecurity and depression. Friendship is key here. Is someone your friend if they belittle you and keep you around so they feel better about themselves?  Are we a good friend if we don’t allow others to support and help us out in times of need? The message these days is to accept yourself, and find happiness in the type of person you are. Brittany shows us that finding yourself is a crucial first step, and that accepting yourself doesn’t mean accepting bad habits and poor health. The film was well received at Sundance, and it’s easy to see why … much easier than running that first block.

watch the trailer:

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Posted by David Ferguson

YOU ARE HERE: A COME FROM AWAY STORY (doc, 2019)

September 5, 2019

 Greetings again from the darkness. September 11, 2001 provided us examples of human nature at its worst, followed by human nature at its finest. Filmmaker Moze Mossenen begins with audio from the September 11 news reports playing over somber and beautiful shots of the Ground Zero memorial. We are immediately transported back to that fateful day, and the emotions come flowing back.

Rather than focus on the terrorists, Mr. Mossenen takes us to Gander, Newfoundland, a Canadian rock island on the far eastern shore of North America. A spectacular aerial view provides perspective for this remote village with a population of around 9000. Gander will forever be remembered as an example of human nature’s finest. On September 11, 2001, when United States air space was closed, Gander airport became a landing spot and parking spot for 38 passenger planes.

We hear from Beverly Bass, an American Airlines Captain who was directed to land at Gander. We also hear from Air Traffic Controllers, passengers, and local Gander citizens, including a local TV personality and Police Chief Oz Fudge and Mayor Claude Elliot. One of the teachers at Gander Academy relays what it was like that day. The locals shared in the worldwide shock from the terrorist acts. They feared for their own safety as the breadth of the terror plan was unknown. They watched in wonder as plane after plane landed at their small airport. And finally, they kicked into gear realizing there were thousands of passengers on the planes … each of whom were hungry, tired and frightened.

The “come from away” folks – Gander’s terms for anyone from somewhere else – numbered 6700, nearly doubling the town’s population. It took approximately 24 hours before the passengers could be taken from the planes, and in one of dozens of fascinating elements, we learn school buses are used for transport since the town only had 15 taxis. The local bus drivers were on strike, but all agreed to volunteer to drive the passengers to the churches, schools, and organizations providing shelter.

Mossenen does end up showing the footage of the planes hitting the towers, but it’s important to know that this is a film of personal stories … people doing extraordinarily kind things for those they don’t know. The spirit of Gander was something to behold. Religious and cultural differences were overcome and hospitality was the norm. It’s stunning to see the United States radar with zero planes in the air, but it’s life-affirming to see folks serving those in need, expecting nothing in return.

The film excels while Gander citizens and the air passengers recollect those few days, but it loses a bit of steam towards the end. On the 10th anniversary of September 11, Irene Sackoff and David Heim began interviewing folks and collecting stories in order to write a musical of the events. And they succeeded. Yes, “Come From Away” became a Broadway hit, and the film shows those from Gander who made the trip to NYC to see the show. This is one time where the lights of Broadway pale in comparison to ‘101 ways to cook goulash’. The willingness to do what needed to be done is the inspirational message delivered by Gander. Neighborly love and generosity in the aftermath of tragedy turned this into a beautiful story … the best of humanity. Moose stew anyone?

watch the trailer:

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Posted by David Ferguson

SUPER SIZE ME 2: HOLY CHICKEN! (doc, 2019)

September 5, 2019

 Greetings again from the darkness. What we expect in a documentary is a presentation of the topic in a manner slightly slanted towards the filmmaker’s beliefs. What we hope for in a documentary is to learn something new or to be exposed to a different way of looking at a subject. We don’t typically expect a great many laughs or even a film with significant entertainment value. For those who recall Morgan Spurlock’s 2004 Oscar nominated SUPER SIZE ME, you likely won’t be surprised that his latest is heavy on humor and entertainment, and a bit light on education. Still, his formula works – and we allow ourselves to be dragged along.

Spurlock kicks the film off by announcing that he wants to open his own fast food restaurant. He proceeds to confer with some celebrity chefs, a marketing firm, and a business strategist. Capitalizing on his success as a documentary filmmaker is a key element to the strategy, and of course, his mission is to once again expose the fast food industry for perpetuating myths of healthier fast food options.

He legitimately asks, “Have things gotten better?” We are meant to interpret this as … have things gotten better since 2004 when Spurlock documented his self-imposed all-McDonalds food every meal for an entire month. It’s at this point where the research kicks in. Facts and statistics are discussed. We learn that 44% of us eat fast food regularly, and that chicken overtook beef a couple of years ago as the protein of choice. We first assume this must be due to consumers making the “healthier” choice, but then we are informed that fried chicken outsells grilled chicken – and the gap is widening.

The most interesting segment of the movie occurs as the buzzwords and their meanings are discussed. Having “nutrition” broken down from a marketing perspective truly exposes the outright fraud being perpetrated on the public. “Health Halo” is the moniker applied to descriptions like “fresh”, “all-natural”, and “no added hormones”. Even “crispy” is used in place of the more accurate “fried”, which is obviously a word no consumer would associate with healthy food. Spurlock is in his element when providing a startling visual for what qualifies as “free range” according to the FDA.

‘Big Chicken’ is compared to ‘Big Oil’, as 5 corporations control 99% of the chicken farming industry: Tyson, Perdue, Pilgrims, Koch Foods, and Sanderson Farms. We get an explanation of how these corporations apply enormous pressure on the farmers, keeping them in a constant state of debt – or worse for farmer Jonathan Buttram who has been blackballed for helping Spurlock make this movie. Spurlock bounces from Columbus, Ohio to Boulder, Colorado to Tennessee to Kentucky to Washington, D.C, to Alabama; and from Chick-Fil-A to Wendy’s to 7-11 to Popeye’s, and even to McDonalds – Spurlock’s first visit in 12 years to the establishment that put him on the movie map.

Very little new information is provided here, but Spurlock does what he does best – entertain with examples of extremes. While his “fried grilled” chicken sandwich is a publicity stunt, the real story is how menus and labels are used to manipulate the consumer, many who don’t seem to much care.

watch the trailer:

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Posted by David Ferguson

OFFICIAL SECRETS (2019)

August 29, 2019

 Greetings again from the darkness. Doing the right thing is usually pretty easy. However a person’s true character is revealed when it’s not so easy. In 2003, doing the right thing became very difficult for Brit Katharine Gun. How difficult? Well, her decision could jeopardize her job. It’s a decision that could get her husband deported. Making the choice could expose two powerful international governments and send her to prison for many years. And if that’s not enough risk, how about a decision that could lead to a huge (possibly illegal) war, costing thousands of lives? So you know what Katharine Gun did?  She did the right thing.

Keira Knightley stars as Katharine Gun. The film opens in 2004 with her facing a British court and the moment of her plea. We then flashback one year to see Katharine working as a staff member of GCHQ (Government Communications Headquarters). She spends her days translating and compiling intelligence for the British Government. It’s a job that requires the utmost discretion and the contractual obligation to keep work secrets at work. One day she reads a top secret memo making it clear that governments were conspiring to manipulate a United Nations vote required to authorize an invasion of Iraq.

Based on the (lengthy titled) book “The Spy who Tried to Stop a War: Katharine Gun and the Secret Plot to Sanction the Iraq Invasion” by Martha Mitchell and Thomas Mitchell, the film is directed by Gavin Hood (the excellent TSOTSI, 2005) who co-wrote the screenplay with Gregory Bernstein and Sara Bernstein. It’s presented as a moral quandary for Katharine. Say nothing and maintain the status quo in her personal and professional life, or speak up and risk everything noted above. We see Katharine’s impulsive decision-making, and behavior that would rank her among history’s least likely successful spies. It’s actually her naivety that guides her to speak up.

The media side is also addressed here, and although some terrific actors are involved, this segment is the film’s slickest and least realistic. Matt Smith plays political reporter Martin Bright and Rhys Ifans plays Ed Volliamy. The two journalists for “The Observer” worked together to verify the memo leaked by Ms. Gun, and Matthew Goode is Peter Beaumont, the editor who pushed to run the story. Previously, the paper had been an avid supporter of British Prime Minister Tony Blair, and took many of their stories directly from information provided by his office. Running the story exposed the paper to scrutiny that it was not accustomed to.

Where the film excels is in exploring Katharine’s personal turmoil. It’s also where it fails us as viewers. As her personal story, the subject matter is a unique and rare look at the wheels of government intelligence. Unfortunately, an inordinate amount of time is spent on the media and reporting, and not enough on what emotional torture the year of waiting must have been for her. Ralph Fiennes plays Ben Emmerson, the lead attorney for Liberty – the legal organization who takes on Katharine’s case. It’s the legal wranglings of this complex case that make for extraordinary drama, and the fallout of her personal choices had the potential for disaster. All of this is covered in a cursory manner, when more detail would have added more heft to a fascinating story. This includes her run-ins with an MI5 agent played superbly by Peter Guiness. The Official Secrets Act of 1989 is mentioned about 10 times, even though we understand pretty quickly that actions against this law likely results in treason. Ms. Gun is a hero for exposing illegal government activity, and a more intimate look at her personal turmoil would have provided more suspense and a better connection for the viewer.

watch the trailer:

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Posted by David Ferguson

RAISE HELL: THE LIFE AND TIMES OF MOLLY IVINS (doc, 2019)

August 29, 2019

 Greetings again from the darkness. We can’t help but be drawn to that rare breed who possess a perfect blend of intelligence, humor, wit, and communication skills (whether written or oral). These people tend to make us laugh while they educate us and motivate us to think. Documentarian Janice Engel delivers a fascinating look at a fascinating woman, Molly Ivins.

With a subject like Molly Ivins, there is no question the time spent watching this will be entertaining; however, Ms. Engel doesn’t miss an opportunity to dig a little deeper. Of course we see many archival clips of Molly delivering her own expertly chosen words – typically at the expense of some conservative politician, and we also are treated to personal insights from her siblings, as well as a couple of childhood/lifelong friends.

A traditional timeline is used for this anything-but-traditional woman. She stood 6 feet tall at age 12, and even as an adult she was a physically imposing presence in an occupation where women were still battling for acceptance. Her dad was a right-winger and she was a 3rd generation Smith College graduate, yet Molly remained an independent and (very) critical thinker … delighting in exposing political corruption and incompetence. Her favorite punchlines typically skewered Texas politics and Texas politicians. A Master’s degree from Columbia finalized her educational pedigree, but it was her colorful writing style that elevated her observations to a level of brilliance.

Molly Ivins once described the idea of objective reporting as “horse pucky”. It’s this type of honesty and straight talk that set her apart from so many reporters – both in her day, and even more so today. She knew and admitted that her own political views affected what she wrote, yet readers from both sides lapped up anything she committed to the page. That’s not to say she didn’t ruffle feathers. In fact, her feather-ruffling was world class. During her career, she held newspaper gigs in Minnesota, Austin, New York, Denver, and Dallas … including The New York Times and The Texas Observer. Her column peaked when she was syndicated in more than 400 papers nationally. Molly Ivins was a big deal.

Others interviewed include Rachel Maddow, Dan Rather, Paul Krugman, and Ann Richards’ daughter Cecile. Everyone loves to talk about a woman who brings a 6-pack of beer to a job interview, and referred to herself as the “resident communist”. She admitted to being an alcoholic, and to being lonely at times; but the one thing she never did was sacrifice the work for personal gain. She wrote best-selling books, was a fabulous public speaker, appeared on TV and radio talk shows, and of course, spread her words on the page.

Molly Ivins was a wizard of words. She had much to say and many of us paid attention – whether we agreed or not. Her exceptionally strong and aggressive attacks on George W Bush might be what she is best remembered for, but “gang-pluck” may be a close second. Mostly we admire the tenacity and wit and genius that was the one and only Molly Ivins.

watch the trailer:

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Posted by David Ferguson

AQUARELA (doc, 2019)

August 29, 2019

 Greetings again from the darkness. This is not your father’s Nature documentary. It’s more like Mother Nature giving us a glimpse at her most beautiful, peaceful, ferocious and terrifying self. And it’s just water. Simple H2O. Only it’s not so simple. In fact, water takes many forms, and Russian filmmaker Victor Kossakovsky serves up some stunning water photography from around the globe.

The film begins with a rescue team working frantically to pull out a car that has fallen through the ice. When the camera finally does pull back, we see the vast space of the lake covered in ice. Other cars speed across the frozen body of water as if it’s a sport or thrill for the driver. When another mishap occurs, we realize the tragedy is blamed on ice that has melted “3 weeks” earlier than usual. So we brace ourselves for another lecture on climate change.

It’s a lecture that never comes. Surprisingly, there is no narrator. Perhaps Morgan Freeman signed a non-compete with the penguins. Kossakovsky allows the camera and nature to show the story, albeit with periodic musical accompaniment from composer Eicca Toppinen – sometimes with heavy metal chords, sometimes with soothing strings. Filmed in Greenland, Venezuela, Siberia (Lake Baikal), and Miami, Florida, where we see the effect of Hurricane Irma, water is shown in its glory. At times peaceful, at times violent. A sailboat captain fighting a storm might be followed by a breath-taking waterfall, which might be followed by a flooded town … and even a swimming horse is photographed underwater.

Waves, glaciers, whales and dolphins combine for an unusual cinematic experience, and the most staggering sound comes courtesy of the ice moaning and water running. It’s one best enjoyed with theatre screen and sound, and a film that will likely lose something even on the finest home systems.  Filmed at 94 frames per second (rather than industry norm of 24 or 48), the visuals are truly breathtaking … and sometimes disorienting. As George (on “Seinfeld”) once said, “The sea was angry that day, my friend”; and now we have witnessed the anger for ourselves.

watch the trailer:

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Posted by David Ferguson

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