TOY STORY 4 (2019)

June 17, 2019

 Greetings again from the darkness. Yes, it’s another instant classic from Pixar. No, we shouldn’t be surprised. Their track record is beyond compare. But I can’t help it. How the heck do they do it time after time, movie after movie? We have known (most of) the characters for 25 years now, and this fourth entry seems every bit as fresh and creative as the first one. We like these characters, and it doesn’t matter that they are animated. We laugh and cry and worry about them as if they are our friends.

Tom Hanks returns as our favorite cowboy Woody (yes, he still has a snake in his boot), and Tim Allen is back as Buzz Lightyear (still unable to grasp that he’s not a real space ranger). Also returning is Annie Potts as Bo Peep, now a strong, independent “lost” toy with excellent survival and scavenging skills. Some new toys and voices inject real pizazz to the adventures. Christina Hendricks charms as Gabby Gabby, a doll quite desperate for her own kid; Keanu Reeves shines as Duke Caboom, a showboating motorcycle stunt rider who may not be as daring as his big talk; and Tony Hale turns Forky into a lovable little cockeyed spork-toy. Also bringing fun and a new comedic element are the hilarious team of Jordan Peele and Keegan-Michael Key as Bunny and Ducky, respectively.

The opening sequence takes place 9 years ago, and we see how Bo Peep became separated from the others, and how the toys transitioned to Bonnie and how Bonnie transitioned to Kindergarten, and how Forky transitioned from trash to toy. And fear not, the old favorite toys are all here: Wallace Shawn as Rex, Joan Cusack as Jessie (I expected a bigger role for her), Timothy Dalton as Mr. Pricklepants, Pixar stalwart John Ratzenberger as Hamm, Blake Clark as Slinky Dog, and courtesy of archival recordings, two posthumous appearances by Don Rickles as Mr. Potato Head, and Bud Luckey as Chuckles the Clown.

With his first feature film as director, Josh Cooley follows up his screenplay for the brilliant INSIDE OUT with a touching and superbly funny film. The screenplay comes from Andrew Stanton (2 time Oscar winner, FINDING NEMO, WALL-E) and Stephany Folsom, while the original story credits are many, including John Lasseter in his last project with Pixar. Even though the film is Rated G, it should be noted that it’s a pretty complex story for youngsters, and the Charlie McCarthy dolls are kind of terrifying – at least to me and Forky. TOY STORY (1995), TOY STORY 2 (1998), TOY STORY 3 (2010) get the send-off they deserve, so “move your plush” and go see it! Randy Newman is back with a new song, as well as the familiar melody and lyrics from his Oscar nominated “You’ve Got a Friend in Me” … a friend indeed.

watch the trailer:

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Posted by David Ferguson

MEN IN BLACK: INTERNATIONAL (2019)

June 13, 2019

 Greetings again from the darkness. This is the era of sequels and spin-offs, and every studio dreams of franchises they can squeeze for profit again and again. The 4th entry in the MIB franchise {MEN IN BLACK (1997), MEN IN BLACK II (2002), MEN IN BLACK 3 (2012)}, is certainly more spinoff than sequel, although there is a nugget that ties it to the earlier versions. While we get a new cast and a new director, there are plenty of familiar elements to satisfy loyal fans, although winning new ones may be less likely.

Chris Hemsworth and Tessa Thompson are reunited from THOR: RAGNAROK and AVENGERS: ENDGAME to take the leads as Agent H and Agent M, respectively. Replacing the chemistry of Will Smith and Tommy Lee Jones is a pretty tough challenge, even for two likeable and talented actors. Because of that, it probably makes sense that director F. Gary Gray (STRAIGHT OUTTA COMPTON, 2015) and co-writers Matt Holloway and Art Marcum (also co-writers on the original IRON MAN, 2008) take the film in a slightly different direction. There are two key story lines: discovering the “mole” within MIB, and protecting the world’s most dangerous weapon from falling into the wrong hands.

Hemsworth overplays his dashing, somewhat inept super agent (a cross between Bond and Clouseau) who charms his way out of every situation, and even though he doesn’t fit the MIB we are accustomed to, he’s fun to watch and good for some laughs. Ms. Thompson (so good in CREED) is the brainy rookie who spends two decades trying to maneuver herself into a position at MIB, and once she does, it’s clear she belongs. Back from the third film is Emma Thompson as Agent O, a senior MIB manager who interviews and hires Molly. Rafe Spall is Agent C, Agent H’s internal adversary, and Liam Neeson is High T, the bureau chief. Rebecca Ferguson appears as Riza, Agent H’s handsy former squeeze turned villain in a cool fortress. Dancing twins Laurent and Larry Bourgeois play two shape-shifters (a description that doesn’t do justice to their skills).

The story bounces from Paris to Brooklyn to London to Marrakesh to Paris to Naples. It’s a pretty wild adventure with the snazzy guns and futuristic vehicles we’ve come to expect. In fact, the Lexus reps the brand quite nicely. Molly’s backstory is provided early on as the kind of kid who reads Hawking’s “A Brief History of Time” in bed, and the film offers some clever touches with office artwork and the early years of MIB (Gustave Eiffel), but overall it just seems to be missing something. Fortunately, while H and M are saving the world, Kumail Nanjani as Pawny (voice) is saving the film. His little character provides the most laughs and the most creative punchlines. The franchise has enough of a loyal following that the film should do fine, however it will be surprising if this one can replicate the success of the first 3 films … although, you guessed it, the sequel to the spin-off is teed up.

watch the trailer:

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Posted by David Ferguson

THE DEAD DON’T DIE (20190

June 13, 2019

 Greetings again from the darkness. Love it or hate it. Sometimes it’s not that easy. Sometimes it is. Filmmaker Jim Jarmusch has been making his own brand of videos, shorts, documentaries and features since the 1980’s. He has a loyal following of viewers who “get” him, and even within those ranks there is debate about which of his projects work and which don’t. You know who doesn’t care?  Jim Jarmusch, that’s who. He creates the work he wants to create and works with the actors and crew that he wants to work with … he’s best described as the type who lets the art speak for itself.

As we pull into town, the billboard states “Welcome to Centerville. A real nice place. Population 738”. It’s a bland town with a bland name filled with bland people whose bland conversations focus on doughnuts and pie from the town’s only diner. The police force totals 3 (seems high for such a small town). Cliff Robertson (Bill Murray) is the veteran police chief, while Ronnie Peterson (Adam Driver) and Mindy Morrison (Chloe Sevigny) are the deputies … all three are bespectacled.

Initial interactions provide a quick lay of the land. Farmer Frank (a loud-mouthed Steve Buscemi) accuses Hermit Bob (Tom Waits) of stealing his chicken. Hermit Bob lives in the woods and doesn’t take kindly to accusations. Frank, despite his racist core, is somehow friendly with Hank (Danny Glover), a mild-mannered local who chats it up at the diner. Bobby Wiggins (Caleb Landry Jones) is the town’s pop culture guru who runs the gas station/comic book store.

Even this law enforcement team recognizes strange things are happening: the sun doesn’t set when it should, watches are stopped, and animals are disappearing. We hear news reports that ‘polar fracking’ has knocked the earth off its axis, coupled with government denials stating jobs are plentiful and profits are up. Obviously this is Jarmusch taking his shots at the environmental policies and focus on the economy of the current administration. Our first zombie attack happens at the diner (of course) and features Sara Driver (Jarmusch’s long-time partner) and Iggy Pop (who requires little make-up to be convincing as a zombie). Many more zombies follow.

While Murray’s Cliff and Mr. Driver’s Ronnie maintain their deadpan conversations and reactions, it’s Ms. Sevigny’s Mindy who is terrified in the face of their nonchalance. Adding color to the mix is Tilda Swinton as Zelda, the samurai sword wielding mortician with a Scottish accent, a flair for make-up and an other-worldly secret. Also appearing are Selena Gomez, Carol Kane, Rosie Perez and RZA.

As the opening film at this year’s Cannes Film Festival, it’s a blend of comedy, fantasy, horror, zombie, and social commentary … but none of the pieces are particularly effective. It’s somehow both wry and mundane, and not meant to be traditionally scary or laugh out loud funny. Jarmusch has delivered such diverse films as PATERSON (2016), ONLY LOVERS LEFT ALIVE (2013), and BROKEN FLOWERS (2005). “This isn’t going to end well” is a line Driver’s Ronnie states a few times, and it’s both foreshadowing and self-awareness from the filmmaker. It’s his commentary on the state of the world, as well as the movie.

Zombie-comedies have been done (SHAUN OF THE DEAD, DAWN OF THE DEAD and many others), and it’s usually best to bring something new to a tired genre. Instead, Jarmusch pays tribute to such films as NIGHT OF THE LIVING DEAD, KILL BILL, CLOSE ENCOUNTERS OF THE THIRD KIND, PSYCHO, and STAR WARS. He even tips his cap to Samuel Fuller (gravestone) and George Romero (a 1969 Pontiac LeMans). As if to acknowledge the love-hate factor that goes with his movies, Jarmusch allows Sturgill Simpson’s (also appearing as the guitar-zombie) theme song to exemplify such division. Selena’s character and Ronnie love the song, while Murray’s Cliff can’t stand it and flings the disc out of the car window.

You are likely wondering if the world needs yet another take on the zombie apocalypse. Of course, the answer is no … which means in Hollywood, there are countless more zombie apocalypse TV series and movies (numerous sequels) in the works. Jarmusch isn’t here to simply add another number to the genre. No, he uses the format to proclaim that our society is soul-dead. He believes we are all stumbling, zombie-like, through life, rattling off our favorite products. He may be right.

watch the trailer:

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Posted by David Ferguson

LATE NIGHT (2019)

June 13, 2019

 Greetings again from the darkness. ”A woman who hates women”. That is how talk show host Katherine Newbury is described. Oh, and her show’s ratings have been declining for 10 years, she doesn’t even know most of her writers by sight (or name), and we are led to believe that her age has something to do with the new network executive wanting to replace her. Five minutes in, my opinion was that Katherine Newbury doesn’t like people (not just women), is basically a narcissistic jerk, and her age has nothing to do with her being replaced … it’s the fact that her show is lame, she’s not appealing to viewers, and advertising revenues drop with poor ratings. It’s called business – not sexism or gender discrimination. Never once did this seem like someone getting a raw deal. However, it’s only a movie, so I tried to play along.

Very talented actors fill the screen. Two-time Oscar winner Emma Thompson stars as Katherine Newbury, the stuck-in-her-ways, Emmy winning talk show host hanging on based on reputation and longevity in the business. Her character reminds me of David Letterman towards the end of his long run … scandal and all. Mindy Kaling co-stars as Molly Patel, a factory, err, chemical plant worker, who dreams of being a comedy writer, but puts no effort into actually learning the craft. Instead, luck puts her in the right place at the time the show needs a token hire. Enter Molly, a woman of color in a writers’ room full of white men. The interesting dynamic here is that most of the men in the room probably got their seat thanks to connections, while Molly got hers based on gender. Talent and skill seem to play no part for any of them.

The story is basically Molly trying to find her true self by helping Katherine modernize her evil ways and save her job. There are quite a few little sub-stories – can’t really call them subplots – that mostly distract from the overall direction, but serve the purpose of allowing punchlines or supposedly insightful social commentary. John Lithgow plays Katherine’s wise, Parkinson’s stricken husband, and the writers’ boys club includes Hugh Dancy (“Hannibal”), Reid Scott (“Veep”), Max Casella (“Ray Donovan”), Paul Walter Hauser (I, TONYA), and Denis O’Hare (“True Blood”). Ike Barinholtz plays the hot young comedian being groomed as Katherine’s replacement, and it’s Amy Ryan (“The Office”) who really registers as the network President. More of Ms. Ryan’s character and more attention to the network perspective would have improved the film.

Director Nisha Ganatra (“Transparent”) is working from the script by Ms. Kaling, whose real life experiences as a token hire in the industry could have been better presented. A lame stab at a romance distracts from the reactions of the threatened writers materializing in a lack of respect towards Molly, and most of the comedy felt forced and obvious, rather than real and painful (the sources of the best comedy). It’s a shame that most any episode of “30 Rock” or “The Office” provides more insightful commentary and comedy than this film. It’s such a missed opportunity.

watch the trailer:

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Posted by David Ferguson

HAMPSTEAD (2019)

June 13, 2019

 Greetings again from the darkness. Were this not inspired by the true story of Harry Hallowes, finding something positive to say about the film might prove difficult. Hallowes was (sometimes) affectionately known as the “Hampstead Hermit”. The crux of his story is that he was awarded legal “squatter’s rights” for his many years living in a small shack on the vast land where the Athlone House (now foreign owned) sits. Director Joel Hopkins (THE LOVE PUNCH, 2014) works from a script by Robert Festinger (Oscar nominated for IN THE BEDROOM, 2001) to turn the story into a cutesy romantic comedy.

Diane Keaton stars as Emily Walters, widowed for more than a year by a man who left her in debt and with the added bonus of discovering he had been having an affair with a younger woman. Brendan Gleeson stars as Donald Horner, the gruff, well-read man from the shack. It’s an idyllic British community with quaint shops and leisure bicycle riders – the kind of place where locals mostly wave and smile while the generic background music plays. Emily, who lives in the luxury apartment she shared with her late husband, is trying to figure out how to dig out of the financial hole she’s in. The first idea should have been getting a job other than volunteering at a charity dress shop, but this is the type of movie where real world problems magically dissipate and we know things are going to be just fine.

The film is mostly tolerable when Brendan Gleeson is on screen, even when Ms. Keaton is annoying him with her usual quirks. Of course the two end up liking each other (it is a rom-com after all), and she helps him with his legal battle to keep his “home”, while he helps her find meaning in her days again. Ms. Keaton mostly wears her familiar turtlenecks and scarfs, and we even get an early beret visual punchline (later ruined).

The always fun Lesley Manville owns her role as Fiona, neighbor and quasi-rival to Emily. More of Ms. Manville would have helped. Other supporting roles are covered by James Norton, Adeel Akhtar, Simon Callow, Jason Watkins, and Hugh Skinner. Many familiar faces, each given little to do. Thanks to the real life Harry Hallowes, there is a message here about the difficulty in living life on one’s own terms – a near impossibility without somehow affecting on infringing on others. Otherwise, this is one that will only appeal to fans of Ms. Keaton and of movies that require little effort or thought from viewers.

watch the trailer:

 

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Posted by David Ferguson

THE TOMORROW MAN (2019)

June 13, 2019

 Greetings again from the darkness. Noble Jones worked as the second unit director on David Fincher’s award-winning film THE SOCIAL NETWORK (2010), and he has made quite a name for himself in music videos and commercials. This is his first feature film as director and he also wrote this interesting and original script. On top of that, he cast two premier veteran actors to bring the story to life: John Lithgow and Blythe Danner. At times it feels like we are watching a masterclass in acting and many of their scenes together have a live theatre feel.

Ed (Lithgow) and Ronnie (Danner) cross paths at the local grocery store where they each shop at an alarmingly frequent rate. It turns out Ed is preparing for doomsday and Ronnie is hoarder. As they spend time together, their fondness for each other grows, but we are never really sure if it’s loneliness or connection that inspires the relationship between these two oddballs.

Despite both having a very serious approach to life, there are many moments of levity and sweetness, but also doses of reality that keep us off-balanced – just as life tends to. Ed proclaims the world would be such a disaster with ball bearings … of course his view is a bit skewed since he spent 17 years on the business. Ronnie is brave enough to attend Thanksgiving dinner with Ed at his son’s house, and the explosive family dynamics drive home the challenges of co-existing with others at any age. Many of us have family members that comfortably fit into either Camp Ed or Camp Ronnie.

Ed tells the new checkout clerk that it’s “good to know your neighbor. You never know when you’ll need them.” His preparations for doom and gloom … or as he calls it, SHTF … are offset by Ronnie’s sweetness, and a yard sale leads to the surprise ending. I originally saw this at the 2019 Dallas International Film Festival, and it’s always a pleasure to welcome a new talented story teller to the cinematic world. Additionally, watching two talented actors play off each other is usually worth the price of a ticket, and as an added bonus, filmmaker Noble has finally found a good use for the song “Muskrat Love”.

watch the trailer:

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Posted by David Ferguson

JULES OF LIGHT AND DARK (2019)

June 12, 2019

2019 Oak Cliff Film Festival

 Greetings again from the darkness. One of the benefits of attending a close-to-home film festival is getting the opportunity to see the work of local people that we are familiar with. Writer-Director Daniel Laabs has been active in the Dallas film scene for years, and although he has produced short films, it’s his feature film debut that nabbed a prime spot at this year’s Oak Cliff Film Festival.

Tallie Medel stars as Maya, and she’s in an on-again-off-again relationship with Jules, played by Betsy Holt. Things never seem quite right with the couple, especially in a dance club scene where David (Johnathan Miles Howard) gets involved. Awkwardness, insecurity, and uncertainty follows. Not long after, oil field worker Freddy (Robert Longstreet) happens upon a car accident. Both Maya and Jules are injured, though Jules’ injuries are more severe. The David situation takes an odd turn, and so does the Maya – Jules dynamic … but it’s Freddy’s story that really connects or disconnects all of the personal story lines, depending how one views it.

Mr. Longstreet is a terrific character actor and it’s nice to see him with a more substantial role here. He seems to thrive on the complexity of, what on the surface, seems like a simple man … but wow, does this guy have issues and challenges (dogs, daughters, identity, regrets). In a way that’s difficult to explain, Freddy and Maya bond and seem to really help each other sort out some things. This happens even though we don’t see a good amount of discussion between them – it really goes to the point, that we all need someone we can depend on.

The film is very well acted, including supporting work from Liz Cardenas and Rafael Villegas. The score from Brent Sluder is spot on, and the film has a very grounded feel and look to it. The story may be secondary to the characters, but we find ourselves wanting each of them to find a glimmer of happiness.

(I couldn’t find an online trailer)

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Posted by David Ferguson

YESTERDAY (2019)

June 12, 2019

2019 Oak Cliff Film Festival

 Greetings again from the darkness. A world without music from The Beatles? It’s hard to “imagine”. It’s not as simple as never having their classics played on the radio, as the number of musicians influenced by their work is roughly the size of the list of every musician who has ever written or sang a song over the past 60 years. Of course, that’s a bit too much to tackle in a movie, so director Danny Boyle (Oscar winner for SLUMBDOG MILLIONAIRE) simplifies things by serving up a 12 second global power outage.

Jack Malik (Himesh Patel, “EastEnders”) is the epitome of a struggling musician. He plays kids’ parties and pubs where the only applause is from his small group of friends who enjoy busting his chops over his “summer” song. His lifelong friend Ellie (Lily James, BABY DRIVER, MAMMA MIA!, PRIDE AND PREJUDICE AND ZOMBIES) is also his manager and roadie … his only true supporter. There is an unrequited attraction between the two, and since the script comes from Richard Curtis (LOVE ACTUALLY), we know where this is headed.

When the global power outage hits, Jack is on his bicycle and a collision with a bus puts him in the hospital. During recovery, he stumbles on to the fact that he is the only person who remembers music from John, Paul, George, and Ringo. Quickly capitalizing on the opportunity, Jack frantically tries to recall the lyrics to the songs, and in short time is replacing his playlist post-it notes with the familiar (to us) song titles, and blowing people away with “his” formidable songwriting and incredible music.

Fortune shines on Jack and his new songs, and soon Ed Sheeran (playing himself) is helping Jack’s career, while at the same time being humbled by these songs. It’s at this point where Kate McKinnon joins in as the money-grubbing talent agent who recognizes a gold mine when she hears it. Additional comedy is provided by Joel Fry as Rocky, Jack’s new roadie; and a trip to Liverpool follows, as does a world tour and album recording session.

Danny Boyle is known best for his likeable, easy to digest films that are typically crowd-pleasers, but leave me wanting more depth and substance. This one fits right in. It’s funny (“Hey Dude”, Abbey Road is just a road) and has amazing music (of course). However, where Lily James plays her role perfectly, Himesh Patel – despite a fine singing voice – simply lacks the charisma and screen presence to carry the film. We rarely feel his inner turmoil in living this whopper of a lie, and the film never really clicks as a Rom-Com. In fact, the only thing we should be loving here is the Beatles music. The film plays a bit like Rod Serling decided to take “The Twilight Zone” into comedy. The real impact would be lost, but it would still likely draw a crowd.

watch the trailer:

 

3 Comments | Comedy, Fantasy, Musical | Tagged: , , , , , , | Permalink
Posted by David Ferguson

SATANIC PANIC (2019)

June 12, 2019

2019 Oak Cliff Film Festival

 Greetings again from the darkness. “Hail Satan! ” This is definitely the first screening I’ve ever been to where those are the words the director used to introduce her film. Director Chelsea Stardust is quite passionate about her film, and most of the audience shared in her enthusiasm after experiencing this crazy, wild ride of pizza, secret devil-worshipping societies, virgin sacrifices, campy blood-splattering gore, and upper class hobbies.

Written by noted horror writer Grady Hendrix and Ted Geoghegan, the film introduces us to Samantha (an all-in Hayley Griffith). She’s a twenty-something who dreams of Australia, and somehow thinks taking a job delivering pizzas will get her there. She’s in such dire straits that she doesn’t have the 5 bucks she needs for gas in her Vespa, plus her co-workers stick the new girl with the “no tip” deliveries. I assume there really are classless people who stiff delivery folks, and it’s easy to understand why Hayley bangs on the door of a Park Cities mansion after getting the shaft on a 5 pizza delivery.

It’s that knock that transforms Samantha’s bad job into a matter of life and death. Rather than interrupting a high society neighborhood tea, she stumbles into a Satanic cult led by Danica (Rebecca Romijn, X-MEN). And guess what?  It’s virgin sacrifice night! And guess who qualifies?  That’s right … it’s Samantha, our no-tip pizza delivery gal. After a sequence featuring Danica’s husband (Romijn’s real life husband Jerry O’Connell) and one of the more gory and impressive practical effects of the film, Samantha manages to escape the hell-house mansion.

Soon she has teamed up with Judi (Ruby Modine), who just happens to be Danica’s daughter. Judi’s inside knowledge proves quite helpful in finding loopholes for temporary reprieves, although the devil-worshippers stay focused on offering Samantha as their virgin sacrifice to Baphomet. While all of this is happening, there is a power struggle within the coven between Danica and Gypsy (a wild-eyed Arden Myrin), adding one more wheels-off element to this carnival of comedy-horror.

Clearly this is campy, but given the low budget constraints, the film’s effects work very well, and Ms. Romijn, Ms. Griffith and Ms. Modine (Matthew’s daughter) are quite effective in their roles. It’s curious just how incredibly naïve Samantha is for her age, but this movie isn’t really about thinking and analyzing. Instead, sit back and enjoy the wildest ride you are likely to get from a Vespa-driving pizza delivery person (and please tip these folks!)

umm, yeah … I couldn’t find a trailer that could/should be played in public

 

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Posted by David Ferguson

LIGHT FROM LIGHT (2019)

June 12, 2019

2019 Oak Cliff Film Festival

 Greetings again from the darkness. Festivals are often programmed with many films that will never be screened outside of a festival environment … low-budget passion projects to be viewed only by those with an appreciation (bordering on obsession) of deep cut and one-off films. Writer-Director Paul Harrill (SOMETHING, ANYTHING) has possibly bridged the gap with a film that capitalizes on grief, while excelling in quietness and stillness.

Marin Ireland (“Homeland”) stars as Sheila, a single mom who plods through each day at her dead-end job as a rental car agent. We learn from a radio interview that Sheila may also have a connection to the afterlife, and she sometimes works as a ghost hunter or paranormal investigator – although, she has somehow lost her crew. Still, this doesn’t stop a Priest from reaching out to her in hopes that she can help Richard (Jim Gaffigan), a distraught widower who has reported strange occurrences in his farmhouse – occurrences that may or may not be related to his dead wife, and occurrences that he may or may not be imagining.

Sheila takes the job (even though she’s no Zelda Rubinstein) and recruits her teenage son Owen (Josh Wiggins, so good in HELLION, 2014) and his friend-study partner-would be girlfriend Lucy (Athena Frizzell) to help set up cameras and recording devices at Richard’s house. It’s at this point where it should be noted that this is not a horror film. It’s not even a thriller. And even though Gaffigan co-stars, it’s certainly not a comedy. It’s not even really a ghost story or a romantic tale, although those elements do exist.

The intrigue is derived from these four characters. These are not special or extraordinary people – just normal folks trying to figure out life. We learn the inner struggles of each, and as viewers we are joined at the hip with them. It’s been a year since Richard’s wife died in the crash, and he’s still coming to terms with her death, and even more so, the affair she confessed.  Sheila is wondering where she fits in the world, and her advice to Owen proves the level of overprotectiveness she has for emotion. Owen likes Lucy, but doesn’t see the point in starting a relationship that will end when she heads off to school, and Lucy is confused by his reaction to her strong attraction to him.

Ms. Ireland and Mr. Gaffigan are both excellent here, and having recently seen the latter in THEM THAT FOLLOW, I’m not the least bit surprised that he can pull off such a dramatic turn. The film reaches a different level in their scenes together – especially a hike to the crash site located within the Great Smoky Mountains. Not much is said, and there is little action, but the scene solidifies all the emotions hinted at in the preceding scenes.

A film that might be characterized by some as slow and dull, may just strike a chord with enough folks to gain some momentum for an audience. David Lowery, the director of A GHOST STORY, 2017) is an executive producer, so he has a track record of success with stories that are understated and quiet. Are there ghosts among us – possibly even the living? Richard and Sheila come pretty close. Additionally, special recognition goes out for a practical effect that is the film’s crescendo … and it involves Tolstoy! So rather than view this as a bit of a downer, as the title suggests, we should let there be light.

(I couldn’t find an online trailer)

 

Leave a Comment » | Drama, Thriller | Tagged: , , , , | Permalink
Posted by David Ferguson

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