ROCKETMAN (2019)

May 30, 2019

 Greetings again from the darkness. It’s billed as a musical fantasy. If you are familiar with Elton John’s discography and history, you’ll want to keep that in mind as the film unfolds. The reward is a colorful spectacle worthy of one of pop music’s most successful songwriters and greatest showmen. Director Dexter Fletcher (EDDIE THE EAGLE, 2015) and writer Lee Hall (BILLY ELLIOT, 2000) make frequent use of Elton’s music within the fabric of the storytelling. It’s no traditional biopic, nor should it be, given the wild ride of the man whose story is being told.

Taron Egerton tears into playing Elton John like it’s the role of a lifetime. And he succeeds in a way that makes it seem that could be true. Most of us first recognized Taron’s talent as “Eggsy” in KINGSMAN: THE SECRET SERVICE (2014), though I’m not sure we expected such a dynamic step up so soon. This is not some actor merely mimicking the movements of a celebrity. This is an actor taking possession of a role. Without the costumes, Taron doesn’t look much like Elton John. He certainly doesn’t sound like Elton John … though his voice does justice to the classic songs. Despite those things, he is captivating on screen, both in the dramatic moments and the musical mania.

Elton’s childhood and the strained relationship he had with his parents (played here by Bryce Dallas Howard and Steven Macintosh) are given much attention, as is the support and love of his grandmother (Gemma Jones). With two self-centered parents wishing he didn’t exist, the child piano prodigy might never have attended the Royal Academy of Music if not for grandmother Ivy. Of course, the professional relationship that meant the most to Elton’s career was his songwriting collaboration with lyricist Bernie Taupin (Jamie Bell), and much of the film is devoted to this prolific partnership – in fact, one of the most spine-tingling moments occurs as Bernie hands Elton the words to “Your Song” and Elton proceeds to set it to music right in front of us and Bernie. Whether that’s historically accurate or not, it provides a thrilling moment on screen for the creative duo.

Elton John in rehab is used as a framing device for the film. This allows him to walk us through his life … after admitting to having issues with drugs, alcohol, sex, shopping and anger. In other words, one of the most successful musicians of all time was a mess. And we get to sit front row as he details his early sexual confusion, his desire to be loved, his early professional frustration, and finally a career that exploded – covering him with money, adoration, stress, and more frustration. We see the warts and all.

Supporting roles are filled by Richard Madden as John Reid, Elton’s lover and manager; Tate Donovan as Doug Weston, owner of Sunset Blvd’s Troubadour; Rachel Muldoon as Kiki Dee, Elton’s collaborator on  their big hit “Don’t Go Breaking My Heart”; and Stephen Graham as Dick James, the famous music publisher who first signed Elton.

As someone whose favorite Elton albums are “Tumbleweed Connection”, “Madman Across the Water”, and “Honky Chateau”, it’s easy for me to appreciate the time period covered here (roughly 1970-1983), and also to recognize the ‘artistic license’ taken with the timelines and events. His 1970 gig at Troubadour features a rowdy version of “Crocodile Rock”, which wasn’t even written yet … although the scene makes for great cinema. Many of the songs that advance the story are used out of sequence, but it’s quite effective to see and hear them in context. His marriage to Renate Blauel and the rehab stint featured both occurred after 1983, which we can assume is the story’s stopping point given the use of the “I’m Still Standing” video as a finale. Even the use of John Lennon over Long John Baldry doesn’t really matter since this is all about the spectacle, and for spectacle, you’ve likely never seen costumes (including eyeglasses and headdresses) used to such startling effect … and so frequently. The baseball “uniform” Elton wore during his 1975 Dodger Stadium gig has always made me a bit uncomfortable, but it’s recreated beautifully for the film.

Given that comparisons to the recent BOHEMIAN RHAPSODY are inevitable, it should be noted that director Dexter Fletcher rescued the final production of that film before finishing this one. Freddie Mercury and Elton John are two of the most fascinating figures in music history, and while both films are enjoyable, it’s ROCKETMAN that is willing to take the riskier path by highlighting the flaws of a creative genius. So criticize if you must, but you’ll probably still be singing in your seat.

watch the trailer:

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Posted by David Ferguson

THE SOUVENIR (2019)

May 30, 2019

 Greetings again from the darkness. Viewers of writer-director Joanna Hogg’s semi-autobiographical feature will likely be divided into two distinct groups: those who find it to be a beautifully artistic psychological study, and those who find it to be a painfully slow watch. Fortunately, most who would fall into the latter group will likely skip it altogether, and we can only hope those in the first group will seek it out and encourage similar-minded film fans to attend. Surely both groups can agree that it features a terrific breakout lead performance from Honor Swinton Byrne (daughter of Tilda Swinton).

Ms. Swinton-Byrne stars as Julie, a young London film school student. She’s soon drawn to Anthony (Tom Burke), an odd man who is somehow simultaneously laid back and condescending. Their relationship builds as he works some vague job at the Foreign Office, and giving every indication that something’s not quite right. Many moments of normal life are shown; however we soon learn that Anthony is a master manipulator, and his off-handed requests for ‘a tenner’ or sticking Julie with a restaurant tab go deeper than being a simple jerk. We know heartbreak is coming for her; we just don’t know how when or how hard.

Tilda Swinton (a long-time friend of director Hogg) appears in a few scenes as Julie’s mom, and as you would expect, she perfectly captures the mother-daughter dynamics. Of course Julie is a film student struggling to make ends meet, but with her frequent requests for ‘mom loans’ coinciding with the Anthony relationship, mother knows best. Jean-Honore Fragonard’s 18th century painting gives the film its title, and provides a terrific scene with Julie and Anthony.

Later, when Anthony tells Julie, “You’re inviting me to do this to you”, we recognize this is an abusive relationship similar to those many women have endured. Set in the 1980’s, a doomed relationship looks eerily similar regardless of the era. The film serves as an example of how we sit in judgment of the love lives of others, while often remaining blind (or is it hopelessly optimistic) to our own relationship issues.

Ms. Hogg shot on film and there are some memorable shots throughout – especially within Julie’s apartment. There is a recurring split-screen shot where a wall divides what we see in the kitchen with what’s happening in the living area – we see characters on each side. This is the anti-Marvel movie. No special effects. No superheroes. And the only worlds in peril are those of average, flawed people like us.

There is a segment involving an analysis of Hitchcock’s PSYCHO, and it’s clear director Hogg learned lessons about what not to show. There is also a reference to another Hitchcock classic with the tailored grey suit Tom buys for Julie and their trip to Venice. Alfonso Cuaron scored big with ROMA, a very intimate look at his personal life, and filmmaker Hogg’s film is in that same vein. It’s extremely well made and beautiful to look at, and is likely to be quite challenging for viewers. The payoff comes after much patience and effort and investment into figuring out these characters. It’s an arthouse film with improvised dialogue (bonus points for Joe Jackson’s “Is She Really Going Out with Him?”). This was a grand jury prize winner at Sundance, and the sequel is already in production … good news for some of us, while inexplicable to others.

watch the trailer:

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Posted by David Ferguson

ASK DR. RUTH (doc, 2019)

May 30, 2019

 Greetings again from the darkness. Your impression of Dr. Ruth Westheimer might be that of a little old lady who offers up entertaining segments on talk shows, or maybe even more extreme, that of a carnival-type sideshow meant to shock with its taboo topics. Director Ryan White (THE CASE AGAINST 8) profiles the now 90 year old (she turns 91 next week) icon and we are treated to a wonderful story of a fascinating self-made woman.

Karola Ruth Siegel was born in Germany and her parents shipped her to an orphanage in Switzerland at age 10 to protect her from the Nazis and the war. Though her parents did not survive the war, young Karola did and director White allows the adult woman, now known as Ruth Westheimer, to retrace the steps that resulted in her becoming a world renowned sex therapist, speaker, educator and author. Some of the filming takes place inside her Washington Heights, NY apartment … her home for the past 54 years.

Animation is used to fill in the gaps of her childhood, as a narrator reads passages from the young girl’s diary. Her own words connect two worlds – that of a lost child and those of today’s strong woman whose work has impacted so many. Sure, Dr. Ruth has her critics, but she was a solitary voice of help and knowledge at a time “Sexually Speaking” (the name of her first radio show) was still not done in public. This tiny (4’7”) woman with German-accented English spoke directly to her audience (many who chuckled or turned crimson with embarrassment) about matters that were causing much emotional turmoil – matters that were killing relationships. She was truly a life saver for many.

Educated at Columbia and Cornell, Ruth earned her Ph.D. and became a licensed sex therapist. It was her matter-of-fact delivery of facts and insight that made her so popular on radio and TV. Now, in her 90’s, she still teaches two classes, makes appearances as a guest lecturer, writes books (published more than 60), writes a regular newspaper column, and travels the globe entertaining and educating young and old alike. This is a busy, focused woman.

Dr. Ruth was a calm voice in the storm of the initial AIDS/HIV epidemic as she reserved judgment and dispensed facts, while encouraging care and empathy. We learn she has espoused speaking of politics in public and doesn’t much believe in “normal” as a description to be applied to anything. Pierre Lehu, her long-time Director of Communications admits they speak by phone 25-30 times per day. Most people half her age live daily lives much less busy.

Director White opens the film with Dr. Ruth asking Alexa if she’s going to get a boyfriend. Her playful side is still evident, but quickly shifts into all-business mode when required. We hear from her daughter and son, as well as her 3 grandkids. We learn of her 3 husbands, and the situation with each. Did you know she was trained as a sniper in the Jewish Underground Army? Well there’s a segment on that. She was a rare single mother in the U.S. in 1958 and transformed herself into “Grandma Freud”. By the end, we know this spirited woman would have survived and been successful in whatever path she chose. Many are thankful she still walks that path.

watch the trailer:

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Posted by David Ferguson

BOOKSMART (2019)

May 23, 2019

 Greetings again from the darkness. Every generation tends to get the high school movie (the movie about high school life) they deserve. Going back to James Dean in REBEL WITHOUT A CAUSE (1955) and Sidney Poitier in TO SIR WITH LOVE (1967), what followed were such memorable films as CARRIE (1976), GREASE (1978), FAST TIMES AT RIDGEMONT HIGH (1982), most every John Hughes movie from the 80’s, FERRIS BUELLER’S DAY OFF (1986), SAY ANYTHING (1989), DAZED AND CONFUSED (1993), CLUELESS (1995), 10 THINGS I HATE ABOUT YOU (1999), MEAN GIRLS (2004), HIGH SCHOOL MUSICAL (2006), JUNO (2007), and SUPERBAD (2007). It’s that last one on the list that this directorial debut from Olivia Wilde is likely to draw the most comparisons to.

Kaitlyn Dever (“Justified”) and Beanie Feldstein (LADY BIRD, and sister of Jonah Hill) star as Amy and Molly, two best friends and high school seniors who have sacrificed a social life (i.e. partying) for academics in order to position themselves for the best colleges. Amy has decided to take a gap year doing charity work in Botswana, while Molly wears her intelligence and class ranking on her sleeve and sits in judgement of her less disciplined classmates. She is headed to Yale with her ultimate life goal being an appointment to the Supreme Court (she has an RBG poster up in her room).

Imagine their shock when, the day before graduation, Amy and Molly discover that many of their less-disciplined (i.e. hard partying) classmates will also be attending elite schools. The besties immediately scheme to make up for 4 years of nose-to-the-grindstone by attending the biggest party of the year … and showing others how much fun they can be. Plus, the party affords each the opportunity to pursue their crush: skater-girl Ryan (Victoria Ruesga) for Amy, and athlete Nick (Mason Gooding) for Molly.

Although (full disclosure) I was never a high school girl, the one thing that stands out about the film is how the kids seem like real kids. That’s not to say most every aspect isn’t slightly exaggerated, because it is. The level of gayness in the Drama club is a bit difficult to take, and the teenage body is objectified in more than one shot; however, director Wilde has a knack for making high school look cinematic. Two sequences are particular standouts for the way they are filmed: the swimming pool scene with Amy underwater, and the house party as the characters weave in and out of rooms in the large house

Supporting roles add depth to the comedy thanks to Jason Sudeikis as the school Principal/Lyft driver; Billie Lourd (daughter of Carrie Fisher) as Gigi, who is always popping up and stealing scenes; Lisa Kudrow and Will Forte as Amy’s parents; Molly Gordon (“Animal Kingdom”) as the misunderstood ‘Triple A’; the aforementioned Victoria Ruesga and Mason Gooding; and star-in-the-making Diana Silvers as Hope – the aptly named rebel who clicks with Amy.

Co-written by Susanna Fogel, Emily Halpern, Sarah Haskins, and Katie Silberman, the film presents a realistic friendship between two teenage girls, and mines some common and recognizable personalities for comedy gold. Smart and funny female characters are interesting at any age, and “no one knows me” is the anthem of most every high school student since caveman days. The inevitable comparisons to SUPERBAD will likely be favorable to this film, and it will probably be the perfect fit for this generation – even if we hope most students avoid many of the happenings. With Will Ferrell and Adam McKay as producers, you should prepare for the harsh language high school kids are known for, as well as that ‘brazen, yet insecure’ blend so common to the age. Of course, we can’t help but find the timing of release quite interesting, given the recent college admissions scandal. It won’t replace AMERICAN GRAFFITI for me, but with Olivia Wilde having been known as an actress, we now recognize her as a legitimate director.

watch the trailer:

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Posted by David Ferguson

ASBURY PARK: RIOT, REDEMPTION, ROCK N ROLL (2019, doc)

May 23, 2019

 Greetings again from the darkness. Ask most people what they think of when you mention Asbury Park, New Jersey, and the vast majority would answer Bruce Springsteen. In today’s global music climate, it’s rare for a musician to be so closely associated with a city or geographic area. Perhaps only Elvis and Memphis eclipses The Boss and Jersey. However it’s important to note that this documentary from director Tom Jones (no, not that one) is not the story of Bruce, but rather a historic tale of a divided city whose music defined a generation.

New Jersey radio personality Big Joe Henry narrates the film, and we learn Asbury Park was founded in 1871, and became a town literally divided by railroad tracks (not the proverbial kind). The East side was populated with well-off citizens and tourists, while the West side was comprised of working class and minorities. Though only 1 square mile in size, the city’s division and segregation was clear and beyond question. Of course, the one aspect those tracks couldn’t stop was the music.

What happened in the 1960’s was a blend of jazz, soul, R&B, rock and blues. Music acted as a uniter in the evenings after the daytime maintained the line of demarcation. We hear the stories from the local musicians who thrived during the era: Steven Van Zandt, Southside Johnny Lyon, David Sancious, Max Weinberg, Garry Talent, Vini “Mad Dog” Lopez, and Edward Carter among others. To top it off, we get New Jersey’s own Bruce Springsteen casually lounging on a chair (well-lighted, mind you) within the walls of the infamous Upstage Club, deserted for more than 40 years, but looking pretty much the same as it did when a young Bruce and all of the previously named musicians played there.

July 4, 1970, changed everything for Asbury Park. Race riots, police, destruction, and fire. The city went through some dark times. Urban blight prevailed on the west side, and to this day it has not recovered. On the other side of the tracks, the east side has bounced back with music, the boardwalk and resorts leading the way. The Empress Hotel features The Paradise Club, a favorite establishment for the gay community … a community that has been behind much of the town’s resurgence.

It’s quite fascinating to have these local musicians recalling their own memories, and how the artistic freedom provided by The Upstage allowed their music to blossom. Asbury Park is described as “the Liverpool of America”, and through these passionate interviews, we get a taste of how. Not much actual music is included in the film, though near the end, we see clips of Springsteen joining Steve Van Zandt on stage with some young students from the local Lake House Music Academy. The film is co-sponsored by Jersey Mike’s and Halo X media, with much of the proceeds going to youth music programs. The only way this could have ended better would have been Bruce playing Ten Years After’s “I’m Going Home” … for 30 minutes.

watch the trailer:

 

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Posted by David Ferguson

ALADDIN (2019)

May 22, 2019

 Greetings again from the darkness. Aladdin … come on down!  You are the next participant in Disney’s ongoing mission for live-action remakes of their classic films. And rest easy fans, this time the mega-studio has done right by the original. Now that doesn’t mean there aren’t surprises. How about Guy Ritchie as director?  How about a cast of mostly unknowns? How about modernized songs and even a new one sung by Jasmine? And it probably goes without asking, but how about a lot of CGI?

Mena Massoud (“Tom Clancy’s Jack Ryan”) stars as Aladdin, and he gets to showboat early in the film and flash some parkour skills in the familiar and high-octane chase through the village. Aladdin, of course, is labeled a ‘street rat’ and ‘riff-raff’, but he’s also charming, handsome, talented as a thief, and quite warm-hearted. He and his pet monkey Abu – or more accurately, partner in crime – are streetwise and work quite well together, both for theft and love.

Naomi Scott (slated to star in the CHARLIE’S ANGELS movie coming out later this year) is a beautiful and ambitious Princess Jasmine, who wants to succeed her father as Sultan of Agrabah, but is instead forced to choose between a steady stream of suitors – each a Prince, as required by law. Ms. Scott has a terrific singing voice and really gets to cut loose on the new woman power song “Speechless”.

The blue Genie is played by Will Smith, and this is what has fans of the beloved 1992 animated film so flustered. No, Will Smith is not Robin Williams, and few if any, could match the late great comedian for his energy and comedic flair. But Mr. Smith does a marvelous job of staying true to the original, while also adding his own style … a style that works very well for comedy, music, and dramatic moments. He is not likely to disappoint anyone who has an open mind.

So let’s talk about the villain. Marwan Kenzari is Jafar, the man so dissatisfied with being number 2. Personally, I would have preferred a more intimidating bad guy, but given the tone of the film (more on that below), he’s a solid fit. His sidekick and smart-aleck parrot Iago is voiced by Alan Tudyk (it was the distinctive Gilbert Gottfried in the 1992 version). Two other key supporting roles include Nasim Padrad (“Saturday Night Live”) as Dalla, Jasmine’s handmaiden; and Navid Negahban (Abu Nazir in “Homeland”) as the Sultan and Jasmine’s father.

It’s been 27 years since Robin Williams’ Genie entertained so many, and the comparisons to that version are inevitable. It’s a relief that Disney opted to keep the film family friendly (Rated PG) and avoid the dark tone that had their recent projects aimed more at adults than kids, rather than the balance they’ve been known for more than 6 decades. Yes, this is the same director that made SNATCH (2000) and SHERLOCK HOLMES (2009), neither of which any decent parent would allow their young kids to watch. But, Mr. Ritchie has delivered a film which entertained (and didn’t overly frighten) kids as young as 5 in the screening I attended.

Director Ritchie co-wrote the script with John August, who is best known for his work with Tim Burton (BIG FISH, CHARLIE AND THE CHOCOLATE FACTORY, CORPSE BRIDE, DARK SHADOWS, FRANKENWEENIE). The film runs 2 hours and 8 minutes, 38 longer than the 1992 film … though it doesn’t feel too long. Gemma Jackson’s set design of Agrabah, the Palace, and the Cave of Wonders are all stunning, and then of course, there is the music. Alan Menken won an Oscar for ALADDIN (1992) and his music is back and modernized, and sounds wonderful … especially “A Whole New World” and Jasmine’s new song.

With a talented cast of Arab/Middle Eastern/Central Asian/Southern Asian actors, there should be no cries of “foul”, and there really is something special about a movie that can be thoroughly enjoyed by all ages. The Bollywood-type closing number provides a kaleidoscope of color, texture and dancing … and is a nice twist to “You’ve Never Had a Friend Like Me”. And I’ll leave you with this final offer: you can have the monkey, if I can have the magic carpet.

watch the trailer:

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Posted by David Ferguson

JOHN WICK 3: PARABELLUM (2019)

May 16, 2019

 Greetings again from the darkness. Worlds are colliding! No, no … not in the way of “The Avengers” movies, but it’s kind of hard not to smile when Keanu Reeves and Laurence Fishburne share a scene (or two) in a mini-reunion of THE MATRIX. Mr. Reeves and director Chad Stahelski are back for a third time, and somehow they manage to raise the bar yet again on the fight sequences. And let’s face it, the fighting and action are why so many are drawn to this franchise. This latest entry runs 2 hours and 10 minutes, and almost every bit is a frantic chase scene or violent fight … or both.

The film picks up mere moments after JOHN WICK: CHAPTER 2 ended. If you recall, John had killed a member of the High Table inside the Continental Hotel, an unforgivable break in the treasured rules. Winston (Ian McShane), the manager of the hotel, has given his friend a one hour head start prior to issuing the “excommunicado”. It’s that order (and the $14 million bounty) that sends every assassin on the planet on Wick’s trail.

No need to wait for the good stuff … the film’s first two fight sequences are extraordinary feats of stunt coordination, and consume the first 15-20 minutes. Here is what John Wick (and we viewers) are in for: Guns (many kinds), lots of knives, a hatchet, swords, a book, enough broken glass to fill a recycle center, horses, motorcycles, cars, every martial art known to man, highly trained dogs, a public library, a museum/collectibles display, a stable, and a ballet theatre complete with dancers. There is even a current NBA player, 7’3” Boban Marjonovic, who battles John Wick and ultimately learns books can be used for something other than reading.

John Wick’s background is revealed, and his general level of tiredness reaches exhaustion, which actually adds an element to a character who is quite efficient with his conversation. There are a few people who are called on to help Wick, in particular we have Laurence Fishburne as the Bowery King, Anjelica Huston as the Ballet Director, and Halle Berry as Sophia, a former assassin who now runs the Continental Hotel in Morocco. See, even an underworld crime syndicate promotes from within. The segment with Sophia is one of the most fun, and it’s not because of Ms. Berry. Rather her beautiful and highly-trained dogs are scene stealers who are devastating in their commitment to carry out orders.

Other characters of interest include Asia Kate Dillon (“Billions”) as the Adjudicator, one who enjoys doling out punishment; Mark Dacascos (Wo Fat in “Hawaii 5-0) as Zero, the ultimate Wick fanboy who wants nothing more than to be the one who kills him; Jerome Flynn (“Game of Thrones”) as Berrada, the senior official who doesn’t negotiate fairly; Said Taghmaoui as The Elder from the High Table, who listens to Wick’s proposal. Other supporting roles are filled admirably by Robin Lord Taylor, Jason Mantzoukas and Susan Blommaert.  Of course, some of the most fun occurs again at The Continental Hotel as Reeves’ Wick interacts with Lance Reddick and Ian McShane.

From the department of “Give ‘em what they want”, the film has a very similar look, feel and tone to the first two, but director Stahelski (a standout stunt coordinator) and writers Derek Kolstad, Shay Hatten, Chris Collins, and Mark Abrams keep it fresh with new characters, new props and some terrific set design. The early model computers are contrasted with the high tech gadgetry of the Continental, and with a body count likely higher than the first two films combined, this entry can best be described as brutally entertaining … is that even a thing?  The violence is vivid and excessive and non-stop, and if that’s not your style, you should at least know that the title is taken from the Latin “Si vis pacem, para bellum” – If you want peace, prepare for war.

watch the trailer:

 

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Posted by David Ferguson

THE SUN IS ALSO A STAR (2019)

May 16, 2019

 Greetings again from the darkness. Taking star-crossed lovers to a new dimension, director Ry Russo-Young (BEFORE I FALL, 2017) presents Nicola Yoon’s best-selling YA novel as a traditional love-at-first-sight romance augmented with contemporary twists and issues. Tracy Oliver (GIRLS TRIP, 2017) adapted the story for the screen and enhances the familiar trope with racial, cultural, economic and political aspects – resulting in a romance meant to both charm and influence. If only those enhancements had played a larger role, this little film might really have had something to say.

The film certainly succeeds with its charm. Yara Shahidi (“Black-ish”) and Charles Melton (“Riverdale”) star as Natasha and Daniel, respectively. These are two beautiful young people blessed with electric smiles to complement their great hair and world class cheek bones. She is a Jamaican immigrant and a scientific prodigy as a high school junior, whereas he is a first generation U.S. born Korean who writes poetry while prepping for his Dartmouth admission interview. His family long ago christened him as the one who would be doctor.

Loosely based on the courtship of author Nicola Yoon and her husband, even the meet-cute for Natasha and Daniel has a theme: Deus Ex Machina – God from the Machine, where magical powers or destiny bring the two together. Not only does Natasha wear a jacket with the Latin phrase, but the conductor on Daniel’s subway even counsels the delayed passengers to “Open up your heart to destiny.” OK, by now you know if this is your type of movie or not. I would offer a mild caution to naysayers with this – Natasha and Daniel are fun to watch as they get to know each other, and there are some breath-taking shots of New York City interspersed throughout the film courtesy of cinematographer Autumn Durald. These two things make the film watchable no matter how deep your allergy to cuteness runs, although the tour of NYC sometimes has the feel of (a well photographed) tourist brochure.

The political side of the story comes courtesy of Natasha’s ‘last hope’ meeting at the immigration office to postpone her family’s deportation scheduled for the next day. We only get to see quick glimpses of the process, but it’s enough to understand the red tape she has tried to maneuver in order to keep her family in NYC after 9 years. More of immigration attorney John Leguizamo would have contributed a bit of substance to the film. The immigration topic is also broached in Daniel’s family as his parents came to the country and started their own business. The American Dream giveth and taketh away. The immigration bits work as plot devices, but the film is most comfortable as a story of star-crossed lovers accompanied by “Crimson and Clover” in a karaoke bar. However the film’s biggest mystery might be how the couple survived sleeping all night in a New York park without getting mugged or even needing to brush their teeth before their crucial meetings. The magic of love.

watch the trailer:

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Posted by David Ferguson

THE PROFESSOR (2019)

May 16, 2019

(aka RICHARD SAYS GOODBYE)

 Greetings again from the darkness. Cancer comedies are few and far between, and that’s understandable since the often deadly disease brings with it so much suffering and sadness. Writer-Director Wayne Roberts pulls no punches. The opening scene finds a doctor breaking the dreaded diagnosis to a patient … lung cancer. The patient, a college professor named Richard, is told he has 6 months to live.

The cold opening has us questioning if this is truly a comedy – even though the opening scene professor-patient is played by Johnny Depp. The news hits him hard of course, and we can see his mind spinning as he works out his approach and acceptance. What follows are some quite awkward and uncomfortable scenes with both his class and his family – a wife Veronica (Rosemary DeWitt) and teenage daughter Olivia (Odessa Young). Both of the women in his life usurp is announcement with those of their own: Veronica is having an affair with the Chancellor of the college where Richard works, and Olivia discloses that she is a lesbian. The two dinner time announcements and Richard’s still held secret are integral to every scene that follows.

Six title chapters clue us in on each subsequent phase in Richard’s life, and the key is that he tosses conventions aside and tries to find meaning in life … all while facing his own mortality. On one hand, Richard does what a professor does – he teaches. His small group of students are privy to such insight into life as “it ends in death for everyone”. On the other hand, he experiments with drugs, alcohol, and sexual experiences, including a couple of episodes with students – something that should never happen.

Ron Livingston is perfectly cast as the somewhat slimy Chancellor who is sleeping with Richard’s wife, but it’s Zoey Deutch and Danny Huston whose characters generate a bit more substance in Richard’s life. Ms. Deutch (daughter of Lea Thompson and a star in the making) plays Claire, a student who seems to quickly “get” what her professor is going through. And Mr. Huston gives one of his best performances in years as Richard’s long-time friend Peter who doesn’t want to accept the inevitable.

With all of the fantastical characters he has played (often masked in make-up and costumes), we sometimes forget what terrific dramatic acting ability Johnny Depp possesses when he’s engaged. For those who only know him as Captain Jack Sparrow (the “Pirates of the Caribbean” movies), or as Grindewald (the “Fantastic Beasts” films), or as the Mad Hatter, Tonto, or Willy Wonka, you’ll be pleasantly surprised with his turn here (or in BLACK MASS, FINDING NEVERLAND, or BLOW).  Filmmaker Wayne Roberts offered up an excellent debut in 2017 with KATIE SAYS GOODBYE, and he follows that with this unusual look at mortality – including a “celebrate life” soliloquy.

watch the trailer:

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Posted by David Ferguson

MEETING GORBACHEV (2019, doc)

May 16, 2019

 Greetings again from the darkness. Werner Herzog has been one of the most prolific filmmakers over the past six decades, and with so many projects, it’s not surprising that his films range from very good (AGUIRRE: THE WRATH OF GOD) to fascinating (GRIZZLY MAN) to disappointing (QUEEN OF THE DESERT). With this latest documentary, co-directed with Andre Singer, Herzog sits down for interviews with Mikhail Gorbachev three times over a six month period, and yet somehow squanders this rare opportunity by ensuring his own mug gets equal screen time, and his own voice even more.

Mikhail Gorbachev was the 8th and final President of the Soviet Union and is considered to be one of the most influential political figures of the second half of the twentieth century. He is now 87 years old, and his diabetes likely contributes to his puffy, bloated look and his recent hospital stay prior to his third interview with Herzog. The film walks us through a chronological look back at Gorbachev’s life and his beginnings as the son of peasants. His father became a decorated war hero, and upon returning to his war-torn country, offered this to young Mikhail: “We fought until we ran out of fight. That’s how you must live.”

Having joined the Communist Party at an early age, Mikhail went on to study at the prestigious Moscow State University, which soon led him into politics. He was a fast riser and a true man of the people … unusual for the Soviet Union. We see many interesting photos and clips, including video of a senile Leonid Brezhnev presenting Gorbachev with an award. The film breezes through the 3 year period which saw funerals for Brezhnev (1982) and his successors, Yuri Andropov and Konstantin Chernenko. These deaths led to Gorbachev becoming the youngest leader in Soviet history as General Secretary of the Communist Party and Chairman of the Supreme Soviet Union.

Herzog as an interviewer spends entirely too much time on screen and narrating. We have come to hear what Gorbachev has to say, not take Herzog’s word that he’s authentic, or to waste time with the presentation of a box of sugar-free chocolate. It’s a bit of a fluff piece, and Herzog is certainly no Mike Wallace; however, it is quite informative to go through the timeline of Gorbachev’s life.

We are reminded of Gorbachev’s reform platform that included Perestroika (re-structuring) and Glasnost (transparent government), and there are clips of Margaret Thatcher, Lech Walesa, George Shultz and James Baker offering their insight into dealings with this most unusual Soviet leader. Gorbachev does offer his thoughts on the 1986 Chernobyl disaster, the fall of the Iron Curtain, the tearing down of the wall and reunification. His historic “breakthrough” meeting and subsequent handshake with Ronald Reagan took place at Reykjavik, Iceland, in a building that is now a tourist attraction.

Ever the optimist, Gorbachev still firmly believes the world should be rid of nuclear weapons, and this segment provides some contemporary context as this topic has reared its head again in modern politics. He bluntly offers his take: “People who don’t understand cooperation and disarmament should quit politics.” He serves up a hot take on America after the Cold War ended, but is given little time to discuss Helmut Kohl and the 10 Points of Light.

The 1991 coup where Boris Yeltsin seized the moment is clearly still painful for Gorbachev, and Herzog offers up a soft landing by ending the film with personal and legacy topics … what he terms the tragedy of Gorbachev. The love of his life, his wife Raisa, is ever-present even after her death, and he understands that many consider him a traitor and responsible for the disintegration of the Soviet Union. His idealism for a social democracy remains impressive and is likely the reason his story is more humanistic than political. Looking back, he simply states, “We tried.”

watch the trailer:

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Posted by David Ferguson

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