MobLand (2025, TV series)

March 28, 2025

Greetings again from the darkness. For fans of crime syndicate TV series like “The Sopranos”, “Peaky Blinders”, and “Sons of Anarchy”, your new obsession has arrived. Originally developed as a spinoff of the excellent “Ray Donovan” (but the path changed), this new project from creator Ronan Bennett (“Top Boy”) is both something new and something familiar.  Bennett and Jez Butterworth (BLACK MASS, EDGE OF TOMORROW) are co-writers on the series, and if the first two episodes are an indication, expect this series to be explosive fun.

Guy Ritchie (SNATCH, SHERLOCK HOLMES) directs the first two episodes with his trademark visuals, violence, and shocking moments (although his rapid-fire editing style is absent). The series features three major stars in leading roles: Tom Hardy, Pierce Brosnan, and Oscar winner Helen Mirren. Brosnan plays Conrad Harrigan and Mirren is his wife Maeve. Together, they run the lucrative family business – one that is illegal on multiple fronts. Hardy plays Harry Da Souza, their “fixer”.

Mr. Brosnan thrives on chewing scenery here, showing more emotion than we’ve come to expect from his usually cool demeanor on screen. Ms. Mirren plays a bit of a Cheshire cat, in that she’s wickedly sly with her outward actions versus her inner voice, leaving us guessing as to her objectives (“stick or twist”). And for those accustomed to Mr. Hardy playing characters who are a bit stingy with their words (Bane in THE DARK KNIGHT RISES), you’ll be surprised to see him playing a calm-under-pressure, smooth-talking negotiator who excels in moments of crisis.

In addition to the three stars, the supporting cast is superb. Conrad’s adult offspring are played by Paddy Considine (IN AMERICA), Mandeep Dhillon (“After Life”), and Daniel Betts (WAR MACHINE). And what would a mob show be without at least one kid constantly causing problems? Here that kid is Conrad’s entitled grandson Eddie (Anson Boon), doing more than his fair share to ignite a war with a rival family led by Richie Stevenson (a terrific Geoff Bell, ROCKNROLLA). Also adding stress to the proceedings is Harry’s frustrated wife Jan (Joanne Froggatt, “Downton Abbey”). Other familiar faces pop up, adding to the quality of individual scenes and the overall show.

The familiar elements of mob stories are prevalent here, yet the blend of intensity, violence, and humor help this series stand above some others. I should also mention that in keeping with recent trends, the opening credit sequence is a work of art unto itself.

Premieres Sunday March 30, 2025 on Paramount+

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Posted by David Ferguson

DEATH OF A UNICORN (2025)

March 28, 2025

Greetings again from the darkness. When most people think of unicorns, they picture something along the lines of “My Little Pony”, or some other lovable, cuddly animal from a kids’ story. This feature film debut from writer-director Alex Scharfman is definitely not that. In fact, the inspiration from the classic JURASSIC PARK (1993) is quite evident in these unicorns (and one of the main themes). Welcome to a fantasy-comedy-slasher with more than a dash of social commentary.

Ridley (Jenna Ortega, “Wednesday”, BEETLEJUICE BEETLEJUICE) and her dad Elliott (Paul Rudd, ANT-MAN) are on a road trip into the deep forest for a meeting with his employer, billionaire pharmaceutical CEO Odell Leopold (Richard E Grant, SALTBURN). Odell has terminal cancer and as his attorney, Elliott is hoping to close a deal that will set up himself and Ridley for life. Father and daughter argue about her deceased mother during the trip, causing Elliott to be distracted when a unicorn waltzes in front of their speeding car. It’s an unusual sequence that not only connects Ridley to the mystical creature and leaves them splattered in purple blood, it also sets up the rest of the story.

Upon arriving at the majestic estate in the forest, we are introduced to Odell’s wife Belinda (Tea Leoni) and their spoiled, entitled, obnoxious son Shepard (Will Poulter, MIDSOMMER), as well as the estate caretaker, Griff (Anthony Carrigan, “Barry”). It’s nice to see Ms. Leoni back, as it appears her last big screen appearance was in TOWER HEIST fourteen years ago (of course she starred in “Madam Secretary” for six of those years). There will likely be debates on the most memorable character, as Shepard is so over-the-top wacky that he becomes cartoonish, while Griff could easily have been yanked directly from a Mel Brooks film.

The key conflict in the story revolves around the all-out greed displayed by the Leopold clan versus the warnings from Ridley after she studies unicorn history and mythology via the tapestries of the Cloisters. Stuck in the middle is Elliott who wants to improve the relationship with his daughter while also appeasing the Leopold family. Scharfman includes quite a bit of comedy throughout, and when blended with the violent and gory horror elements, it actually seems to distract from what could have been a stunning cinematic experience, leaving us with a silly slasher sub-genre entry.

Richard E Grant delivers his usual strong performance and is given the actor’s dream of transforming from dying elderly man into the virile industry magnate of his youth. Will Poulter breaks away from his often-intense dramatic turns to flash his goofy comedy chops (snorting magical horn dust). The films kinda wastes Jenna Ortega’s talent, although she gets a nice line, “Philanthropy is just reputation-laundering for the oligarchy” highlighting the films anti-greed message. The argument could be made that Paul Rudd is a bit miscast, as we are never given any reason to believe he’s a strong or competent corporate attorney. There is enough to like here if fantasy-horror-comedy is your cup of tea, yet most will note the shaky GGI on the unicorns (improved for Act III), which pale in comparison to JP’s dinosaurs from thirty years ago

Opens on March 28, 2025

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Posted by David Ferguson

THE PENGUIN LESSONS (2025)

March 28, 2025

Greetings again from the darkness. Penguins are darn cute. A penguin that follows you around and chooses to live with you is almost too cute for words. But in this story inspired by true events, that’s exactly what happens. Directed by Peter Cattaneo (THE FULL MONTY, 1998), the film was adapted by screenwriter Jeff Pope (PHILOMENA, 2014) from Tom Michell’s 2015 book.

It’s 1976 in Buenos Aires, Argentina. A Military coup is in the works to take down the government of President Isabel Peron, who had served since the death of her husband Juan Peron in 1974. As you might imagine, the citizenry was on edge. Even St George’s School for the sons of privileged families was not immune. It’s also the school where Tom Michell (Steve Coogan, PHILOMENA) was hired to teach English. Michell shows up a bit haggard and unmotivated. He goes from one frustration to another: armed guards in the street, paint on his shoe, the strict rules of the Headmaster (Jonathan Pryce, THE TWO POPES), a bonk on the forehead from his housekeeper (Vivian El Jaber), and an intrusive fellow teacher in the Finnish Tapio (Bjorn Gustafsson).

Initially, it seems the perfect role for Mr. Coogan who excels at playing a curmudgeon oozing deadpan cynicism. For Coogan’s Michell, everything changes on a joy ride to Uruguay where he hopes to dance and mingle with the ladies. The dancing (with Micaela Breque) leads him to a near-death penguin washed ashore in an oil slick. In keeping with his luck, Michell doesn’t get the girl, but does get the penguin … a penguin that now refuses to leave his side.

You can likely guess where this is headed. Juan Salvador (Michell’s name for the penguin) changes lives. There is a sub-plot involving the housekeeper’s granddaughter Sofia (Alfonsia Carrocio), but the key here is that everything works to move Michell to rejoin life and shed the grief he’s carried from a personal tragedy. In fact, loss plays a substantial role throughout, having left Michell only able to react by doing nothing.

Steve Coogan is not the actor one imagines when thinking of sentimental movies, but it’s precisely his style that prevents this story from becoming overly mushy. Yes, it’s a bit comical to watch a penguin provide therapy sessions (and the titular lessons) for so many, but the redemption of Tom Michell is the key. Director Cattaneo includes the real clip of the penguin in the school’s pool that Michell shot on a handheld so many years ago. There are also a few inclusions of political commentaries that seem out of place – although not so considering the timeframe.

Opens in theaters on March 28, 2025

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Posted by David Ferguson

THANK YOU VERY MUCH (2025, doc)

March 28, 2025

Greetings again from the darkness. It’s been more than forty years since cancer took the life of 35-year-old Andy Kaufman, and we still don’t know how best to describe him: actor, comedian, illusionist, performance artist, prankster, or something more bizarre. It’s like no one knew ‘the real Andy’, and whether that was his intent or not, that’s the feeling we are left with after watching this bio from Alex Braverman.

Despite often stating that he was born on an island in the Caspian Sea, Andy was actually from Long Island, and Braverman describes what was truly a turning point in young Andy’s life. He was incredibly close to his grandfather … theirs was a special relationship. When he died, Andy’s parents decided to tell young Andy that the grandfather took a long trip. This feeling of rejection and abandonment changed the boy’s personality and perspective. It also formed the structure of his career – misdirection and trickery – a way to mess with reality.

Braverman includes input from many of Andy’s contemporaries, friends, and associates. We hear from Danny DeVito, Steve Martin, Robin Williams, Marilu Henner, Laurie Anderson, and Garry Shandling (first name often misspelled as Gary). We also hear from Andy’s dad, who confirms the mistake regarding the grandfather’s death, Andy’s longtime girlfriend, and his friend and writer, Bob Zmuda. We even hear from his college friend who claims to be the ‘real Latka’, the inspiration for Andy’s beloved character in “Taxi”.

A treasure trove of archival clips reminds us of some of Andy’s most memorable performances, as well as some we’ve not previously seen. His initial performance at The Improv is complemented by a memory from the club’s renowned owner, Bud Friedman. Andy’s stint on “The Dating Game” remains stunning, and we even get a clip of his 1975 screen test for SNL … where on the first episode he did his “Mighty Mouse” bit.

Transcendental Meditation and Maharishi Mahesh Yogi played a role in helping him get clean, and we learn how important his Carnegie Hall appearance was to him. Along the way, there were some baffling moments. His Elvis impersonation. The whole Tony Clifton phase. Reading “The Great Gatsby” on stage. Each of these had their detractors, but it was Andy’s wrestling – first with women – and then his confrontation with Jerry Lawler, that had folks wondering if he was slipping from reality.

Andy was often so far “out there”, that when he visited a healer in The Philippines, many wondered if his cancer was simply the next prank. Braverman’s film drives home Andy’s desire to make people laugh AND squirm (one or the other was not enough). He was truly a visionary and performance artist, and the documentary gives him his due.

Opens in theaters on March 28, 2025

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Posted by David Ferguson

AUDREY’S CHILDREN (2025)

March 28, 2025

Greetings again from the darkness. Firefighters, Police Officers, and Armed Forces soldiers and veterans are the ones we usually (and rightfully) describe as heroes; yet heroism can also be found in the actions of everyday people. Director Ami Canaan Mann and screenwriter Julia Fisher Farbman introduce us to one such hero in this biopic on Dr. Audrey Evans.

Natalie Dormer (“Game of Thrones”) stars as Dr. Evans (the titular Audrey), a remarkable woman behind advancements in pediatric oncology, and also the founder of the first Ronald McDonald House. The film opens in 1969 as Dr. Evans begins her tenure at Children’s Hospital of Philadelphia (CHOP). Having trained under Dr. Sidney Farber, she immediately ruffles feathers by pushing the envelope on funding and research for her department. Chief Surgeon, Dr C Everett Koop (Clancy Brown, THE SHAWSHANK REDEMPTION, 1994) recruited her and almost immediately had to deal with her unorthodox approach … and the complaints from Dr. Jeremy Lewis (Ben Chase, “Law and Order: Organized Crime”). Dr. Lewis is quite put out with this assertive woman going outside the norm to get her way.

It’s inspiring to watch the determination with which Dr. Evans takes on all obstacles. Radiation expert, and steadfast rule follower, Dr. Dan Dangio (Jimmi Simpson, “Westworld”) sees the potential in what Dr. Evans is pursuing and joins in the mission, as does Dr. Brian Faust (Brandon Michael Hall, “God Friended Me”). Their research methods are exhausting to watch – this was prior to computers, so not only did they have to comb through mounds of paper files, compiling results and drawing conclusions was even more excruciating.

The painstaking work led to the Evans Staging System for categorizing cancer in patients, and it also led to dramatic improvements in survival rates for kids with cancer. “Kids with cancer” … can there be a more heartbreaking and depressing topic? Trust me, it’s painful to see even in a movie. Bits of the movie seem somewhat contrived, especially her brief interactions with kids playing on the sidewalk, as well as with the Vietnam protestors. Additionally, her wardrobe seems incredible for a woman living in an apartment that likely had a 5-foot-wide closet at best. Still, Natalie Dormer delivers a nice performance as this remarkable woman.

It’s 1974 when the Philadelphia Eagles owners are persuaded (by Dr Evans) to sponsor the Ronald McDonald House – a charity that, now 50 years later, has proved vital to so many children and families. Of course, the Dr. C. Everett Koop in this story went on to be serve as U.S. Surgeon General in the 1980s, and the full story of Dr. Evans and Dr. Dangio is also quite remarkable. Director Mann runs an interview with an elderly Dr. Evans over the closing credits, and aptly finishes things with Carole King singing “You’ve Got a Friend”. It’s always inspirational to learn the full story of real-life heroes, and the life of Dr. Audrey Evans is one we should continue to relish.

Opens in theaters on March 28, 2025

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Posted by David Ferguson

BOB TREVINO LIKES IT (2025)

March 20, 2025

Greetings again from the darkness. Bob Trevino is the kind of father we all wish we had. He’s the kind of father that would raise kids who would grow into good citizens, resulting in an improved society. Only that Bob Trevino is not Lily Trevino’s dad. Her dad is a raging narcissist, or more accurately, a self-centered jerk. This feature film debut from writer-director Tracie Laymon is ‘inspired’ by her true-life story, albeit with enough elements changed to avoid a lawsuit from her dad. That part doesn’t make for such a warm-fuzzy story, but the film she delivers wraps us in a coat of kindness and niceness and feel-goodness (not really a word, but it fits).

Lily Trevino (Barbie Ferreira, NOPE, 2022) is a twenty-something live-in aid for a woman who uses a wheelchair. Lily is the level of niceness where people notice immediately, including her therapist who ends their session by sobbing profusely after hearing Lily’s story. We get a couple of doses of Lily interacting with her father, Bob Trevino (a perfectly obnoxious and venomous French Stewart), before their big blowup then ends with his telling her daughter he wants nothing else to do with her. As viewers, we believe she is better off, but Lily’s niceness doesn’t allow her to give up on her dream of having a good relationship with him.

In Lily’s efforts to reconnect, she searches on Facebook for ‘Bob Trevino’ and somehow ends up with a Bob Trevino who aligns with her idea of the perfect dad. Bob #2 (a terrific John Leguizamo) quickly embraces the opportunity to be a friend … and a father figure (despite having no kids of his own). His wife (Rachel Bay Jones) is obsessed with scrapbooking, and we have a difficult time deciphering their communication and unorthodox relationship. She doesn’t seem to have the same concerns most wives would have if their husband started spending an inordinate amount of time with a young woman. Regardless, the friendship between Lily and this Bob evolves into something special. Beyond the friendship, he becomes the father figure she dreams of, and she becomes the daughter figure that he always hoped for.

Laymon’s story includes dad jokes, a rage room (monetizing the OFFICE SPACE idea), health issues, and a creepy look at dating options in a senior citizen trailer park. Most importantly it makes the point that “chosen family” is often more important and impactful than blood family, and a supportive friend is invaluable. French Stewart and John Leguizamo have had long careers as dependable actors, and both are excellent here. The film has won a stream of festival awards (deservedly so) and Laymon chooses to include a dose of reality over the closing credits.

Opens on March 21, 2025

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Posted by David Ferguson

THE ASSESSMENT (2025)

March 20, 2025

Greetings again from the darkness. Authors and filmmakers have long used forecasting the future as the basis for stories. Some have been lighthearted and humorous (“The Jetsons”, BACK TO THE FUTURE) and others are more bleak and dystopian (BLADE RUNNER, THE ROAD). The first feature film from director Fleur Fortune (well known for music videos) has some common DNA with the excellent CHILDREN OF MEN (2006) from director Alfonso Cuaron. Written by Neil Garfath Cox, Dave Thomas, and John Donnelly, this story shows us a future where having a kid is a privilege that must be bestowed by the government, rather than free choice.

Mia (Elizabeth Olsen, MARTHA MAY MARLENE, 2011) and Aaryan (Himesh Patel, YESTERDAY, 2019) have built a life and marriage in a desolate area. Mia has a greenhouse where she grows food, and Aaryan has a Virtual Reality room where he experiments with realistic innovations. Both are aiming to improve life of others. They believe that a missing link in their life is a child, and agree to go through the ‘assessment’ process. When Virginia (Oscar winner Alicia Vikander, THE DANISH GIRL, 2015) arrives, she explains that, as the assessor, her decision is the final word. Mia and Aaryan express that they will be “good parents”. Virginia smiles and relays that everyone says that.

The assessment is a seven-day process and calling it bizarre definitely undersells it. At times, Virginia kicks into childlike mode, testing the parental instincts of Mia and Aaryan. It’s during these segments where the story gets a bit ridiculous, despite Virginia’s explanation that she needs full access to their emotions and reactions (and intimate methods). During a strange dinner party – set up by Virginia – we get discussions of the “old world” existence and the rumors associated with it.

Analysis of the psychology of folks during such times can be quite enlightening, but despite the intriguing concept, the execution leaves us a bit frustrated with the holes and goofy moments. The third act is especially confounding, although we completely understand Mia’s quest for answers. Everything circles back to early on when Mia and Aaryan first ask Virginia, “Are we good enough?”. We feel their desperation, but once we learn their catchphrase exchange, “I love you. That’s right.”, we know this isn’t headed to unicorns and rainbows.

Opens on March 21, 2025

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Posted by David Ferguson

ANY DAY NOW (2025)

March 16, 2025

Greetings again from the darkness. St. Patrick’s Day 2025 marks the 35th anniversary of the single largest unsolved property theft in the world. On that day, thieves made off with hundreds of millions of dollars of artwork from Boston’s Isabella Stewart Gardner Museum (including works by Vermeer, Rembrandt, Degas, and Manet). The reward offer of $10 million still stands. Writer-director Eric Aronson presents his feature film debut, inspired by the crime … though he admits, “this is not what happened.”

Steve Baker (Taylor Gray, SATURDAY NIGHT, 2024) works as an overnight security guard at the museum. He’s what we used to call a ‘doormat’ – meaning he’s a nice guy, but his friends (and pretty much everyone) takes advantage of him. Danny (Armando Rivera) is his roommate and bandmate, and hasn’t paid rent in six months, and basically sabotages their band. Sara (Alexandra Templer) is Danny’s girlfriend, and more importantly, Steve’s unrequited and silent dream girl – though she also takes advantage of him. On top of everything, Steve owes $5000 to his drug dealer.

Nice guy Steve has mostly lost control of his life and sees no real path towards improvement. That’s when Marty Lyons (Paul Guilfoyle) shows up. You’ll surely recognize Mr. Guilfoyle from his many appearances in movies and TV shows, although it’s terrific to see him in a rare lead role. Marty, a lover of poetry and art, maneuvers Steve into his criminal operation – including as a surprise character witness at Marty’s parole hearing. Soon enough, Steve’s life gets more complicated, not less. He finds himself juggling his role in Marty’s art heist plan, the personal threats of a rival gangster (Thomas Kee), questioning from the FBI, and worries about his relationships with Danny and Sara.

This is the type of independent film that’s a pleasure to embrace. We are even treated to Guilfoyle singing The Standells song, “Dirty Water” live at a bar. Every character here has ‘a story’ to tell. Some get to tell theirs, while we are left to fill in the gaps on others. This is not so much a heist film as one with a clear message … breaking out of a rut for a new life can be difficult and challenging, but also worthwhile.

Opens on March 17, 2025

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Posted by David Ferguson

LIZA: A TRULY TERRIFIC ABSOLUTELY TRUE STORY (2025, doc)

March 15, 2025

Greetings again from the darkness. The list of icons known by a single name is relatively short and includes such luminaries as Elvis, Prince, Cher, Bono, Beyonce, and Sting. Immediately recognizable with only her first name, Liza Minnelli also fits right in. Documentarian Bruce David Klein has delivered a tribute to her early years as the daughter of worshipped idol Judy Garland and famed film director Vicente Minnelli, and outlines her own path to stardom after tragedy to being recognized as one of the greatest performers of all time.

Liza is now 79 years old and wheelchair bound, and yet when the lights are on and the camera is rolling, her entertainer side takes over and she’s charming, and a bit naughty. The death of her mother in 1969 (at age 47) was a distinct turning point in Liza’s life. She says she was born and they took a picture – meaning she has spent her entire life in the spotlight … although she makes it clear she was not born in a red sequin dress.

We learn about those who have influenced her career, her life, and her style. Singled out are Kay Thompson as a mentor, Charles Aznavour who taught her performance, Fred Ebb and musical partner John Kander, Broadway legend Michael Feinstein, and famed choreographer Bob Fosse. We also learn of Liza’s four marriages and divorces to Peter Allen, Jack Haley Jr, Mark Gero, and David Gest. Though Liza offers no real comment on the marriages, those interviewed are particularly harsh when discussing the late Mr. Gest.

Liza’s brilliance has resulted in the rare EGOT, with her Emmy and Oscar being won in the same year (“Liza with a Z”, CABARET). Not surprisingly, her outstanding performance as Sally Bowles in CABARET (1972) draws a significant portion of the commentary here, and it’s stunning to hear Liza remark, “I don’t think I’m a real good singer, but I can act a song.” Her loyalty to friends is emphasized on multiple occasions – never more dramatically than when she saved the Broadway production of “Chicago” by substituting for Gwen Verdon.

Not much time is devoted to the dark period, although her friendship with Halston (clothes and parties at Studio 54) is mentioned. Liza’s half-sister Lorna Luft appears briefly, but not much personal insight is provided. Rehab for Liza is acknowledged, but let’s be clear, Bruce David Klein set out to make a loving tribute to a fascinating performer, and that’s exactly what this is.

Opens in theaters on March 14, 2025

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Posted by David Ferguson

OPUS (2025)

March 15, 2025

Greetings again from the darkness. Movies have focused on the burden of celebrity (A STAR IS BORN, BETTER MAN), the challenges facing journalists (SPOTLIGHT, SHATTERED GLASS), the lure of power and control (WALL STREET, THERE WILL BE BLOOD), and the impact of cults (MIDSOMMER, MARTHA MARCY MAY MARLENE), yet it’s the feature film directorial debut of Mark Anthony Green (who also wrote the screenplay) that attempts to tackle all of these topics. It’s an ambitious undertaking that has some moments, but mostly leaves us wishing it had chosen a path and delivered a strong message about something.

Ayo Edebiri (“The Bear”) stars as Ariel Ecton, a frustrated wannabe writer who can’t get a break at the magazine where she’s employed. Despite her creative story ideas, her boss, Stan Sullivan (Murray Bartlett, “The White Lotus”) sees her as an untrained rookie best suited to ‘taking notes’. Even her friend Kent (Young Mazino) confesses that she’s not rich enough or poor enough to have an interesting perspective, and that she needs some real-life experiences to find her voice. And just like that, her opportunity arises! Ariel and Stan, are invited to the new album release for a reclusive music legend who has been out of the scene for nearly thirty years. These two, along with a few other journalists/influencers (Juliette Lewis, Mark Sivertsen, Stephanie Suganami) are invited to the compound of Alfred Moretti (John Malkovich), located in the middle of Nowhere Nebraska.

Most of the invited group play up to Moretti’s whims, but it’s Ariel who is most intrigued by the cult-like atmosphere of blue-robed folks identifying as part of Level, a community of like-minded soles who serve no apparent purpose other than partaking in funky hobbies and fulfilling Moretti’s wishes. The word ‘sycophants’ is emphasized for those not catching on. Moretti’s new album is entitled “Caesar’s Request”, and we hear a couple of songs (music by Nile Rogers and The-Dream). But the story isn’t really about the music, and we aren’t really sure what it’s about until an awkward encounter towards the end of the movie that attempts to spell things out.

Tony Hale (“Veep”) is Moretti’s agent, Soledad Yusef, appearing via a publicity video, and like much of what we see here, provides a glimmer of hope for direction. Beyond the topics listed above (celebrity, power, journalism, cult), this one seems to be most connected to the danger of control. A similar comparison would be THE MENU, another film with a strong cast. The difference is that film was direct in its approach, while Mark Anthony Green’s film forces viewers to work too hard for too little reward. The film would have benefitted from a more risky and dramatic approach. Still, what a treat to see Malkovich strutting his ego around the compound.

Opens in theaters on March 14, 2025

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Posted by David Ferguson

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