US (2019)

April 1, 2019

 Greetings again from the darkness. Jordan Peele first got noticed on “MADtv,” and then for his impersonation of Barack Obama. His career got a boost with “Key and Peele” with Keegan-Michael Key, and then it simply exploded in 2017 with GET OUT. For that film, he won his first Oscar for Best Original Screenplay, and was also nominated for Best Director (his directorial debut) and for Best Picture (as a Producer). With his follow-up to that breakout film, Mr. Peele has squashed any talk of being a one-hit wonder, and has actually elevated his work with this latest.

The film opens in 1986 as a family is on vacation at Santa Cruz, California. While taking in the amusement park along the boardwalk, their young daughter Adelaide wanders off into a house of mirrors where she comes face to face with her doppelgänger – her exact lookalike. It’s the film’s first creepy moment, but certainly not the last. The story then jumps forward to present day where Adelaide (Lupita Nyong’o, Oscar winner for 12 YEARS A SLAVE), her husband Gabe Wilson (Winston Duke, BLACK PANTHER), and their teenage daughter Zora (Shahadi Wright Joseph) and young son Jason (Evan Alex) are on a getaway to a lake house … one located near their friends Josh (Tim Heidecker) and Kitty Tyler (Elisabeth Moss), and their in sync twin daughters (Cali and Noelle Sheldon). Adelaide is not thrilled when husband Gabe suggests they head over to Santa Cruz beach.

Part of the brilliance of the film is that it works as a straight-forward horror film with some very funny moments (often thanks to Mr. Duke), but its real purpose is to inspire multiple theories along with the corresponding debate. Alternate meanings, metaphors and clues are dropped in most every scene. A toy ambulance, a JAWS shirt, a “Thriller” shirt, a TV commercial for the “Hands Across America” event, and the corresponding VHS tapes next to the family TV only hint at the numerous nods Peele serves up to other films, especially some horror classics.  You’ll note the director chooses an aerial shot not dissimilar to that of Kubrick’s THE SHINING as the family drives towards their vacation spot. Also present (in a couple of scenes) is the reference to bible verse Jeremiah 11:11, and sharp-eyed viewers will spot other references to the double 11.

While the Wilson and Tyler families are visiting on the sandy beach, young Jason wanders off sending mother Adelaide into a near-frenzy with recollections of her night on that same beach so many years ago. Later that evening, the true horror begins. A terrific shot of 4 figures all clad in red at the end of the Wilson’s driveway kicks the film into high gear. More doppelgangers appear and lead us to a subterranean community living in tunnels, and sharing the space with bunnies. We learn of “the tethered”; those who are (mostly) identical to those living above. Those of identical likeness square off in the ongoing battle for survival, and that’s really all you should know before seeing for yourself.

The cast is terrific, especially Ms. Nyong’o, who like the other actors seems to relish playing the dual roles. She also nails the final shot with a smile that will chill you to the marrow. Madison Curry makes a strong impression as young Adelaide, and as much fun as we have with the characters, the true joy lies in trying to “catch” all that filmmaker Peele throws at us. That final wall of folks in red is pretty easy to decipher, but some of  the little clues and prods require a second viewing. It’s fascinating and historic that Jordan Peele’s follow up movie could possibly make this yet another horror movie contending at Oscar time. One site currently places the odds at 19/1 to win Best Picture at the 2020 Oscars. If you are up for a fun little horror movie that’s also a mind-bending societal commentary on those who are born into privilege and those who aren’t, then Mr. Peele has just the flick for you.

watch the trailer:

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Posted by David Ferguson

DIANE (2019)

March 31, 2019

 Greetings again from the darkness. In a film that is both grounded in realism as well as playing like an ode to underappreciated character actresses, our wonderment turns to full comprehension once we realize this is the work of Kent Jones. Mr. Jones is one of today’s foremost authorities on film, having been a respected film critic, served as director of the Film Society of Lincoln Center, and delivered a tremendous documentary showcasing the conversations of two more publicized film experts with 2005’s HITCHCOCK/TRUFFAUT. In other words, he’s a man who loves cinema and has both a trained eye and an instinct for what makes a film worth watching.

Mary Kay Place (THE BIG CHILL, 1983) is Diane. Our first reaction upon seeing her is that she has the well-worn, hangdog look of a woman burdened by life. As we follow her around, we soon learn that’s very true and that there is even more to her story. Diane is the kind of person who, rather than keep a list of things to do, keeps a list of people for whom she has to do things. And there are many on her list. Chief among these are her dying cousin Donna (Diedre O’Connell) and her drug-addicted son Brian (Jake Lacy). The self-imposed penance Diane pays all day each day stems from a story referred to as “The Cape” … a long ago act of betrayal and indiscretion that has clung to Diane ever since.

The rest of the cast is filled with faces you’ll recognize (and names you can’t recall), many for their work in the 1960’s, 1970’s and 1980’s, including: Estelle Parsons (Best Supporting Oscar winner for BONNIE AND CLYDE, 1967), Andrea Martin (MY BIG FAT GREEK WEDDING, 2002), Joyce Van Patten (sister of Dick, ST ELMO’S FIRE, 1985), and Glynnis O’Connor (ODE TO BILLY JOE, 1976). But don’t mistake this for some nostalgic tribute – each of these women offer up exactly what’s needed for their respective characters. It’s a joy to behold their work – and easy to take for granted.

This little Massachusetts community is tight-knit and speaks freely on the lives of each other. There are few secrets. Everyone asks Diane about Brian – her son that lies to her face, acts perturbed when she tries to help, forces her to listen to bible-thumping, and finally comes clean on why he’s treated her the way he has. Filmmaker Kent’s first narrative feature is an organic character driven story about aging, carrying a burden, striving to make amends, and suppressing true feelings by constantly serving others. When Diane writes in her journal, “My loved ones are gone and I’m left to be”, it takes her (and us) closer to her soul than any soup kitchen possibly could. Casserole dishes can only heal so much, and a lead role for a respected actress serves us all.

watch the trailer:

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Posted by David Ferguson

DUMBO (2019)

March 28, 2019

 Greetings again from the darkness. Generally speaking, I’m not a fan of Disney’s commitment to live action remakes of so many of their animated classics; however, I’ll readily admit that teaming the always creative Tim Burton with every child’s favorite pachyderm piqued my interest. In case you don’t recall, Disney’s fourth animated feature film was released in 1941, and told the story of a baby elephant who could fly thanks to the flapping of his enormous ears. DUMBO was, at its core, a story of how being different can cause you to be an outcast, while also delivering the strength to overcome those who might treat you poorly or look to profit at your expense. It was a sweet and simple message delivered in a brief 64 minutes.

Taking up almost another hour, filmmaker Burton and screenwriter Ehren Kruger seize the original book by husband and wife writing team Harold Pearl and Helen Aberson and deliver a story that is anything but simple. Rather it’s complicated, convoluted and at times nonsensical. What does work is the visual splendor of watching a cute little elephant fly around a circus … first a tattered old-timey tent camp and later a futuristic amusement park.

It takes only about 30 seconds for us to recognize the silver screen stylings of Tim Burton. The ragged train cars in need of paint followed by the black smoke from Casey’s ‘smiley’ face engine, all point to the familiar visuals that harken back to Mr. Burton’s memorable films like FRANKENWEENIE, BEETLEJUICE, BATMAN, EDWARD SCISSORHANDS, BATMAN RETURNS, CORPSE BRIDE, and ALICE IN WONDERLAND (to name a few).

It’s 1919 as the train clackety-clacks from Sarasota, Florida through small southern towns and up to Joplin, Missouri, where youngsters Milly (Nico Parker, lookalike daughter of Thandie Newton) and Joe (Finley Hobbins) give a hug to their father Holt Farrier (Colin Farrell). Holt has been away serving in WWI, and returns minus one arm and one wife … while he was at war, she lost her battle to illness, leaving the children in the care of the circus performers. Holt and his wife used to be featured performers in the Medici Brothers Circus run by Max Medici (Danny Devito), but times are tough and Holt is assigned to elephant-tending duty, where Max has recently purchased a pregnant Mrs. Jumbo elephant.

We don’t have to wait long for the baby to arrive, be called a “freak” by Max, learn to fly, be separated from his mother, and be targeted by a greedy amusement park owner named V.A. Vandevere (Michael Keaton). Vandevere’s Dreamland has some familiar Disneyland elements, and serves it purpose for reminding us that traditional circuses are being replaced by high tech amusement parks – an environment more in line with today’s youth.

Where the film suffers is with its unnecessarily complicated story and underdeveloped characters. The usually reliable Mr. Keaton never really kicks in as the greedy and evil amusement park owner. Mr. Devito mostly yells his lines, and Mr. Farrell just seems categorically miscast. In what is the first film for both, young Ms. Parker shows flashes of talent, while Mr. Hobbins is given next to nothing to do. Eva Green does bring a welcome element as aerial artist Colette, but Alan Arkin’s role as a banker seems tacked on as a favor. Unfortunately we barely get to know the circus troupe, though Miss Atlantis (Sharon Rooney) strums her ukulele as she sings “Baby Mine”, the Oscar nominated song from the 1941 original, penned by Ned Washington and Frank Churchill. Adding to the Burton oddities, Michael Buffer makes an appearance as ring announcer … albeit a different ring than what he is most often associated with.

It likely won’t surprise you that Mr. Burton delivers a film much darker than the original, and at least he avoided the temptation of talking animals (the legendary Mel Blanc voiced Dumbo in the original). He does offer up a nod to the Pink Elephant sequence from the original, as well as the presence of mice … though wisely no crows this time around. Danny Elfman’s score is a perfect fit (as usual) and Oscar winning Set Designer Rick Heinrick (SLEEPY HOLLOW) works his magic, as does 4-time Oscar winning Costume Designer Colleen Atwood (ALICE IN WONDERLAND). The technical mastery of the film is finalized with the work of Cinematographer Ben Davis, whose work on such grand scale films as CAPTAIN MARVEL, DOCTOR STRANGE, AVENGERS: AGE OF ULTRON, and GUARDIANS OF THE GALAXY allows him to make the best of the visuals, even while the story disappoints. There is a contemporary message delivered near the end regarding the captivity of animals, and despite the dark, overly complicated story, it’s still quite fun to watch Dumbo fly.

watch the trailer:

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Posted by David Ferguson

THE AFTERMATH (2019)

March 28, 2019

 Greetings again from the darkness. It’s 1945 on the heels of the Allied forces victory in WWII. British officer Lewis Morgan is charged with overseeing the military’s role in beginning the process of returning a sense of normalcy back to Hamburg (and assisting with hunting Nazi loyalists). He is joined there by his wife Rachel, and they are to occupy a beautiful mansion that has been “requisitioned” from a German architect and his daughter. Captain Morgan makes the unusual offer of having the man and his daughter remain in the house, rather than relocate to one of the dreadful camps, where food and privacy is scarce. Here’s a tip gentlemen: never invite Alexander Skarsgard to live in the same house as your significant other.

Captain Morgan is played by Jason Clarke, and his wife Rachel by Keira Knightley. The aforementioned Skarsgard is Stephen Lubert, and Flora Thieman plays Freda, his rebellious teenage daughter. On her train ride in, Rachel hears a young girl discussing the rule of “no fraternizing” with the German people. Of course, we know (even if Rachel doesn’t know yet) that it’s not the little girl who is going to break this rule. An awkward reunion for Morgan and his wife indicates something is amiss. We soon learn that their young son was killed 4 years prior in a bombing – a hardship they share with Mr. Lubert, whose wife was also killed during the war. Clearly the loss of her son still impacts Rachel to the point that she rarely finds a moment of happiness.

If this was a “Seinfeld” episode, this is where ‘yada, yada, yada’ would be inserted, letting us know that a tryst between Lubert and Rachel occurs while husband Morgan is out on duty, and that romp brings her instantly back to life … with smiles and piano playing. This little lovefest is contrasted with the rubble of Hamburg. The city is literally in ruins. The visuals are impressive, but we never get a feel for the challenge of rebuilding infrastructure and lives. Instead, we get more forbidden love.

Director James Kent is known mostly for his TV work, and the film is based on the novel by Rhidian Brook, who co-wrote the screenplay with Joe Shrapnel and Anna Waterhouse. It would be a mistake to assume, given the outstanding three lead actors, that this is a prestigious WWII drama. An accurate description would be ‘soap opera.’ The set design, costumes, and cast are first rate, but the direction, script, and editing scream soap opera. I believe my final count was 12. That’s 12 shots of someone gazing out of a window … train windows, car windows, house windows, bus windows … every window gets its shot of winsome gazing. It’s best you know going in to expect a soap opera … not that there’s anything wrong with that.

watch the trailer:

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Posted by David Ferguson

HOTEL MUMBAI (2019)

March 28, 2019

 Greetings again from the darkness. A group of quiet and focused young men with backpacks arrive by boat and then split into taxis. We hear the calm voice being fed into their ear buds. The voice assures them that “God is with you” and “Paradise awaits.” Of course, since this is based on true events from 2008, we know the horror that is about to be unleashed by these terrorists (more than 170 killed).

This is the first feature film from writer-director Anthony Maras, and with his co-writer John Collee (MASTER AND COMMANDER: THE FAR SIDE OF THE WORLD, 2003), we are taken to CST, the train station which is one of the 12 terrorist targets. Actual footage is mixed in, leaving no doubt as to the panic and violence that unfolded. As the individuals in the group divide into their well-orchestrated terrorist teams, we flash to the morning routine at a nearby home. Arjun (Dev Patel) is frantically getting prepared for work before heading to his pregnant wife’s place of work. He is dropping off their young child since the sitter was a no-show.

Arjun is part of the staff at the prestigious Taj Mahal Hotel Palace, affectionately referred to as “The Taj”. The service is impeccable … to the point of checking the temperature of bath water for one of the guests. Those who stay here are accustomed to and demanding of the very finest. However, on this stay, they will experience the sharp contrast of ultimate luxury and raw terror. As viewers, our guts sense the feeling of dread, even as the hotel managers and staff are welcoming arriving guests such as a retired Russian Special Forces officer turned wealthy playboy (Jason Isaacs) and newlyweds David (Armie Hammer) and Zahra (Nazanin Boniadi, “Homeland”), along with their newborn baby and nanny Sally (Tilda Cobham-Hervey).

As the cold-blooded attack is carried out by the terrorists at The Taj, we witness so many innocent people mowed down with precision – some execution style. Many hotel guests find hiding spots, including an exclusive club in the heart of the hotel. The staff, including Arjun and renowned Chef Hermant Oberoi (Anupam Kher), courageously try to survive while also protecting the guests. David and Zahra get separated from each other and from their baby, leaving the nanny desperately trying to keep the oft-crying infant from being heard.

We also witness the local police – undermanned, under-armed, under-trained – try their best to defuse the situation, knowing that Special Forces are “hours away”. Courage is on display throughout the film, but this is no Jason Bourne or John McClane scenario. These are cooks and waiters and hotel guests caught in one of the most frightening situations imaginable.

For cinematic effect, the attack seems to take place over the course of a single night, whereas the actual events were over 3 days, resulting in 31 deaths at The Taj. The level of tension is maintained throughout … it’s a well-made thriller centered on actual events and real people. The filmmakers seem to go out of their way to avoid any political, social or religious commentary or insight. We only know the terrorists are told to take American prisoners and “Go and do Jihad”. It’s described as “indiscriminate terror” and that they are reclaiming what has been taken from them over the years. It is a difficult film to watch, though we understand there will always be bad people doing bad things for what they believe are the right reasons. Fortunately, there will also always be courageous and good people. More than once we hear the staff mention “Guest is God” … but not all of these guests were welcome.

watch the trailer:

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Posted by David Ferguson

THE HIGHWAYMEN (2019)

March 28, 2019

 Greetings again from the darkness. Setting one’s film up to be compared to a long time classic can be quite challenging for a filmmaker, but that’s precisely the situation director John Lee Hancock finds himself. Known for crowd-pleasers like THE FOUNDER, SAVING MR BANKS, and THE BLIND SIDE, Mr. Hancock delivers a Netflix film destined to face off against Arthur Penn’s 1967 classic BONNIE AND CLYDE. Where the earlier film focused on the anti-hero celebrity (and beautiful faces) of the young outlaws, this latest film flips the lens and puts law enforcement (particularly grizzled veterans) front and center (Bonnie and Clyde are barely glimpsed until near the end).

The film begins with a well-planned and deadly prison break in 1934 and then moves into a meeting where Lee Simmons (John Carroll Lynch) of the Department of Corrections is pitching Texas Governor “Ma” Ferguson (Kathy Bates) on his idea of reactivating the defunct Texas Rangers, and bringing legendary lawman Frank Hamer out of retirement. It’s pretty simple – the FBI and its new-fangled forensics is failing miserably in tracking down Bonnie and Clyde, and the hope is that Hamer and his old-fashioned detective work will succeed.

Kevin Costner plays Frank Hamer, and we first see him and his well-trained pet pig trying to enjoy a peaceful retirement at home with his wife Gladys (Kim Dickens). Not long after, he’s joined by his old partner Maney Gault (Woody Harrelson), who is down on his luck, drinks too much, and is in desperate need of a purpose. Thus begins the buddy road trip featuring the no-nonsense Hamer and the quipster Gault. Not many play self-importance better than Costner, and few deliver wisecracks better than Woody.

The screenplay comes from John Fusco, whose previous western projects include HIDALGO and YOUNG GUNS. Though this isn’t a traditional western, it has most of the expected elements. Aging lawmen chasing colorful outlaws. Good versus evil. Right versus Wrong. While it’s a relief the film doesn’t romanticize the Barrow gang and their violent ways, it’s a bit frustrating to see that the movie tries to make Hamer and Gault as famous and iconic as the outlaws they were chasing. Sure Bonnie’s fashion influenced many women of the era, but that had to be nauseating for those lawmen in pursuit who were putting their lives on the line. In the 1967 film, Denver Pyle played Frank Hamer in a shamefully written role, and here Costner strikes so many hero poses and seems to invoke mystical ESP abilities in his police work, that we half expect Hamer to walk on water at some point.

The best part of the film is watching Costner and Harrelson work together, with the latter really making this work on whatever level it does. Additionally, there is a scene with Hamer and Clyde’s dad that features William Sadler in a cameo. I don’t know if this meeting actually took place in real life, but it teases what the film could have been. As a fantasy for cinema aficionados, the project was originally intended to be a vehicle for Robert Redford and Paul Newman, but just never progressed. Combine that with BUTCH CASSIDY AND THE SUNDANCE KID and THE STING, and you’d have an unmatched triumvirate of buddy greatness. Hancock’s film certainly pales in comparison to the 1967 film, but it’s a worthy story that deserves to be told.

available on Netlix March 29, 2019

a few years ago, I posted one of my revisited articles on BONNIE AND CLYDE (1967). You can check that out here: https://moviereviewsfromthedark.com/?s=bonnie+and+clyde

watch the trailer:

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Posted by David Ferguson

THE PRICE FOR SILENCE (2019)

March 28, 2019

 Greetings again from the darkness. Kira is startled from slumber by a horrendous nightmare – a flashback to a years ago night when she was sexually abused. Her partner in bed knows nothing of Kira’s vision, only that she’s been violently pushed from bed, which is not her preferred morning method of waking up. As the story from filmmaker Tony Germinario unfolds, we learn more about Kira and the background that has her deservedly bitter.

Lynn Mancinelli (she also starred in Germinario’s film BAD FRANK) plays Kira and does a pretty nice job of allowing us to understand the reasons for her dramatic mood swings. Even her sessions with her therapist are twisted … a recurring theme in Kira’s life. When she returns home for the funeral of her father, it’s obvious her relationship with her mom (Kristin Carey) is distant at best, though she does seem to connect with her gay-artist-recovering addict younger brother Lucas (Emrhys Cooper).  As with most other relationships in her life, this brotherly love may not be as solid as we are initially led to believe.

The small town where she grew up, and where mom and brother still live, is controlled by Richard Davenport (played by Richard Thomas) and his son Alden (Jon McCormick). While Richard presents himself as a charitable friend of the family, Kira’s history with the Davenports generates something much deeper than mere bad feelings. Her hatred of the Davenports drives a further wedge in the broken relationship with her own mother – a mother oblivious to family secrets. Those secrets were kept in order to “protect” the mother, though it has created a kind of house of cards.

Kira is a raging alcoholic and her actions have caused pain and disruption to many others, but once we learn the whole story, her actions seem acceptable while the actions (or lack thereof) of others seem inexcusable. The pieces of this film that are worth watching are the performance of Ms. Mancinelli and the way Richard (John-Boy Walton) hides his true personality from others. It’s a low budget film with atrocious make-up, uneven editing, and camera work that doesn’t complement some of the scenes. As a statement for how sexual abuse can wreak havoc on the victim and their relationships, it makes an admirable point. As cinematic viewing, it’s tough to recommend.

watch the trailer:

 

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Posted by David Ferguson

THE MUSTANG (2019)

March 21, 2019

 Greetings again from the darkness. A herd of wild horses frolic and gallop and relax in the prairies that separate majestic peaks of the Sierra Nevada mountain range. Suddenly the peace being enjoyed by the horses is interrupted by the deafening noise of a helicopter above. The purpose of the helicopter is to push the herd towards the corral and trucks that are part of the round-up. An opening title card informs us that more than 100,000 wild horses roam the U.S. countryside and the government is only able to manage a small percentage. Part of that process involves therapy for prisoners … an obvious analogy being the two wild beings try to tame each other. When the prisoners have trained the horses, an auction is held, and many of the animals will be used in law enforcement – an irony not dwelled upon here.

Roman Coleman is a guilt-riddled man. A man of short fuse and violent ways. He readily admits to the prison psychologist (Connie Britton) that “I’m not good with people.” After 12 years in isolation, he’s been transferred to general population and he seems pretty indifferent about it. His guilt is the type that only a split-second violent outburst can saddle one with – though we don’t hear the specifics until late in the film. The psychologist assigns him to “outdoor maintenance” which is a fancy institutional term for, well, shoveling horse manure.

As he observes the rehabilitation program, where the convicts train the wild mustangs under the tutelage of crusty old horse trainer Myles (Bruce Dern), Roman is drawn to the wildest of the wild … a mustang kept in a dark stall and labeled untrainable. The parallels to Roman himself are obvious, and soon head trainer Myles and fellow convict Henry (Jason Mitchell, MUDBOUND) have invited Roman into the program. It’s here where man and horse prove how similar their temperaments are – they both react with anger to most any situation. After a particularly cruel and unfortunate outburst, Roman is back to solitary confinement and studying up on horses.

Writer-director Laure de Claremont-Tonnerre co-wrote the story with Mona Fastvold and Brock Norman Brock (BRONSON). It’s the director’s first feature film and she shows a real knack for pacing … letting the uncomfortable scenes between man and horse breathe and play out. Speaking of uncomfortable, when Roman’s pregnant daughter Martha (rising star Gideon Adlon, BLOCKERS) shows up to get his signature on a form so that she can run off with her boyfriend, the history and lack of commonality between the two is palpable. Their scenes together are excruciating. Sure this is a cliché-filled concept, but the director and especially the cast keep us glued to the screen and caring about what happens.

Matthias Schoenaerts stars as Roman, and it’s yet another stellar performance from the actor who exploded onto the movie screen with BULLHEAD (2011) and RUST AND BONE (2012). Since then, it’s been one terrific turn after another. His physical presence and soulful eyes convey so much. He has mastered the strong silent type, but here he expertly uses body language to communicate with both the horse and the audience. The drug-dealing sub-plot appears to have been included to remind us just how dangerous a prison yard can be, but we never lose sight of the pain involved with second chances and learning to be a better person. There are some similarities to two excellent 2018 movies, LEAN ON PETE and THE RIDER, but this first time filmmaker wisely lets her talented cast do their thing, as she complements their work through cinematographer Ruben Impens’ (BEAUTIFUL BOY) fabulous work up close and with expansive vistas. Robert Redford was an Executive Producer on the film, so the beauty of the area is not surprising. The film allows emotions to play out right through the final shot.

watch the trailer:

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Posted by David Ferguson

GLORIA BELL (2019)

March 21, 2019

 Greetings again from the darkness. Having previously mentioned my general annoyance at the frequency of which the ‘Americanization’ of World Cinema projects occur, I was initially dismayed to hear about the remake of the excellent Chilean film GLORIA. That 2013 featured a terrific performance from Paulina Garcia, and provided a grounded look at life of a single woman of a certain age. However, when it was announced that the American version would be directed by Sebastian Lelio, who also directed the earlier version, and that it would star Julianne Moore in the lead role, the idea became much more palatable.

Oscar winner (and 4 time nominee) Julianne Moore has been one of our more interesting actors since she jumped off the screen (in a supporting role) in 1992’s THE HAND THAT ROCKED THE CRADLE. She’s now approaching 60 years of age, and is a true master at capturing the essence of a character. She brings Gloria Bell to life in the most believable and grounded manner possible. Rather than a movie caricature, Gloria is a real woman. She plugs away at her daily work in the insurance business. She belts out the songs on the radio as she drives her car. She gets annoyed at the stray cat who sneaks into her apartment. She smokes and drinks. She tries to be part of her adult kids’ lives. She tries to ignore, but ultimately reports the loud noises from her upstairs neighbor to her landlord. She loves dancing in clubs with men she doesn’t know, or even alone. In conclusion, Gloria lives her life.

Much of the film focuses on the odd developing relationship Gloria has with Arnold (John Turturro). Their eyes meet across the dance floor, spend some time chit-chatting, and soon, his Velcro-back brace is being ripped off. As with many folks, Arnold’s baggage is more burden than history. He seems to be in an unhealthy marriage with ultra-dependent grown daughters and a wife who can’t get through a day without his help. The cell phone ring becomes a running gag … one Gloria finds little humor in.

Supporting work is provided by Sean Astin (a Las Vegas mistake), Brad Garrett (Gloria’s ex), Jeanne Tripplehorn (Garrett’s new wife), and Holland Taylor (Gloria’s mom). Each of these characters get a brief sub-story, as do Gloria’s grown kids, played by Michael Cera and Caren Pistorius. With the son’s marriage in shambles, and the daughter heading to Sweden to live with a man, Gloria experiences the trials and tribulations of life while still looking for meaning and companionship … each a search worth pursuing.

Alice Johnson Boher adapted the screenplay for this version from the original by director Sebastian Lelio and Gonzalo Maza. She refrains from the usual American melodrama or corniness, and instead delivers something to which the actors and viewers can easily relate. The fine line between independence and loneliness is in a delicate balance, and one that’s deftly handled here. And of course, there are scenes that are elevated thanks to the brilliance of Julianne Moore’s performance. All in all, fans of GLORIA will not be disappointed … just lay off the post-yoga cigarette.

watch the trailer:

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Posted by David Ferguson

THE HUMMINGBIRD PROJECT (2019)

March 21, 2019

 Greetings again from the darkness. More. Better. Faster. Most industries have those goals, and this story from French-Canadian writer-director Kim Nguyen focuses on high-frequency stock traders … particularly a race between two competitive firms to cut one millisecond off the processing time. We learn that one millisecond is roughly one flap of a hummingbird wing (hence the film’s title).

We also learn that one millisecond can translate into hundreds of millions in profits, which is why cousins Vincent and Anton walk away from their jobs at the Eva Torres brokerage firm to pursue their dream of shaving that single millisecond. Vincent (Jesse Eisenberg) is the fast-talking visionary and deal-maker, while Anton (Alexander Skarsgard) is the computer programming whiz. Yes, you read that correctly. Sex symbol Skarsgard (“True Blood”, “Big Little Lies”) plays a paunchy, balding, computer nerd with zero social skills. He also delivers the film’s most enjoyable dance moves … it’s a moment to which any programmer can relate.

If any of the above (other than Anton’s dance) seems the least bit exciting or enticing, you should know that the bulk of the film deals with the digging and drilling (there’s even a montage) required to lay the fiber optic cable that will allow this extra-quick data delivery. Their plan is to tunnel from Kansas City to New Jersey in a perfectly straight line. Because of this, we get conversations with homeowners, conversations with Amish, conversations with drilling experts, and conversations with those who want this to happen, and those who don’t. Have you ever thought about drilling through a granite mountain that is located in the middle of a park? Neither have I, and I wouldn’t have thought of it again if not for writing this review.

To clarify, this is a story that seems like it could be true, but isn’t. Most of the screen time is devoted to either underground drilling, computer programming, or intellectual property. And while I’m sure each of these categories have their fans, most will agree the transfer to cinema does not come off especially entertaining. In fact, it’s so dry that the filmmaker felt the need to include a cancer sub-plot in hopes that we might find Vincent a bit more appealing as a character. It should be noted that since his Oscar nomination for THE SOCIAL NETWORK, Mr. Eisenberg has displayed a remarkable lack of variation in the roles he’s chosen and characters he’s played. At this point, we mostly just find him annoying, rather than brilliant or even mildly interesting.

Salma Hayek plays Eva Torres, former boss of the cousins, and now laser-focused in not letting the boys win. Ms. Hayek is given relatively little screen time, and is portrayed as the villain … although her goals are no different than Vincent’s and Anton’s. Michael Mando plays Mark Vega, the partner and drilling expert the boys choose to project manage this undertaking. Mr. Mando is best known as Nacho from both “Better Call Saul” and “Breaking Bad”. Ayisha Issa brings a momentary jolt to the proceedings as a mountain driller, but the film simply drags when neither Mr. Skarsgard nor Ms. Hayek are on screen.

Technology is a very difficult topic to make visually entertaining. I’m not talking about the high-tech special effects that go into making the wildly successful superhero movies that are so popular these days. No, I’m referring to actual technology … programming and data analysis. The list of technology-focused films includes: SNEAKERS, THE SOCIAL NETWORK, OFFICE SPACE, HACKERS, WAR GAMES, SWORDFISH, and THE IMITATION GAME. The best of these understood that the story around the technology was more vital than the actual programming being done. And all of them were wise enough to avoid drilling and digging. Then again, none of the others featured a dancing Skarsgard.

watch the trailer:

 

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Posted by David Ferguson

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