GRINGO (2018)

March 8, 2018

 Greetings again from the darkness. In a perfect cinematic world, great acting elevates a terrific script. However, the best case scenario for a weak script, or in this case a messy one, is that it can be offset by acting. Fortunately for director Nash Edgerton (it’s been 10 years since his underappreciated THE SQUARE), he has assembled such a quality cast that what amounts to little more than organized chaos is mostly watchable – even if it’s not consistently entertaining.

The cast is loaded with international talent from Australia, England, South Africa and Latin America. David Oyelowo, far removed from his Martin Luther King role in SELMA, stars as Harold/Harry, a Nigerian immigrant just trying to do his job and live his life according the morals and work ethic instilled by his father. Harold is the trusting type who believes that his free-spending wife is faithful and that his boss is his friend. That boss is Richard Rusk (we should call him Dick) played by Joel Edgerton (the director’s brother), and together with Charlize Theron as his Executive VP Elaine, combine to exemplify modern day douche-baggery.

The story revolves around the formula for a medicinal marijuana pill that their company is making, and the secretive proposed merger being ironed out. To clean up the books for the audit, Richard and Elaine travel to Mexico to convince their supplier to stop the illicit sales to a local drug lord. They bring the unaware Harold along for his contacts. The turmoil that follows includes a faked kidnapping and staged ransom phone call, two local hotelier brothers scheming for a big take, an American tourist couple with conflicting reasons for their trip, DEA involvement, a grown-up tantrum, an un-retired mercenary on a mission, and an ongoing argument over the best Beatles’ album. And you wonder why I described it as messy?

Of course, rarely if ever does staging one’s own kidnapping go well, so we know Oyelowo’s Harold is in for a rough and tumble ride. Multiple car chases turn into multiple car crashes, guns are fired, tequila is consumed, and backs are stabbed – in the proverbial sense. Oyelowo seems to be enjoying his trip outside of movie drama, and Edgerton and Theron do their best to create savage jerks. Sadly, Ms. Theron’s character sets the women’s movement back a few years with her sexual boardroom viper approach. On top of that are the stream of fat and ethnic jokes that would make Archie Bunker cringe.

Co-writers Matthew Stone (muck like BIG TROUBLE, MAN OF THE HOUSE) and Anthony Tambakis (the compelling WARRIOR) are responsible for delivering a script that tries so hard to be too many things: action, comedy, satire, white collar crime, and an expose of greed and lack of integrity. The deep cast also includes Thandie Newton (as Harold’s wife), Melonie Diaz (as Rusk’s receptionist), Amanda Seyfried as the aptly named Sunny and Harry Treadaway as her misguided boyfriend, Diego Catano and Rodrigo Corea as the brothers running the motel, Yul Vasquez as Angel, Alan Ruck as the schmuck who falls for Elaine’s wiles, Carlos Corona as the drug lord Black Panther (talk about bad timing!), Michael’s daughter Paris Jackson in her film debut, and a standout as always, Sharlto Copley as the brother-mercenary-humanitarian. As is often said, it’s better to be good at one thing, and though this one brings a few laughs and some creative moments, it’s mostly an overblown mess that aims to high – or at too many targets.

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Posted by David Ferguson

THOROUGHBREDS (2018)

March 8, 2018

 Greetings again from the darkness. Each year provides us with (at least) a few hidden gems sprinkled amongst the superheroes and newfangled special effects displays, and although this feature film debut from filmmaker Cory Finley is only now hitting theatres, it seems safe to say it likely won’t draw the size audience it deserves. If you enjoy dark, twisted, and devilishly clever films, you owe it to yourself to track down this one.

Olivia Cooke (ME AND EARLY AND THE DYING GIRL) stars as Amanda, someone who walks a miniscule line between neurotic and psychopath. The startling and quite ominous opening features Amanda, a horse, and a large knife. Next, and some time later, we see Amanda re-connecting with her childhood friend and boarding school brainiac Lily (Anya Taylor-Joy, SPLIT and THE WITCH) in what appears to be a tutoring session being held in the palatial estate where Lily lives with her mother and “evil” stepdad Mark (Paul Sparks).

What follows is the mind-bending, winding-road of us attempting to fit either or both of these characters into some “normal” category of human behavior. Instead, what lies beneath is slowly unsheathed. As Amanda and Lily interact, we especially come to realize that Amanda is drawing out what’s behind the proper front that Lily wears on a daily basis. A plot to murder the stepdad is developed, and caught in the wicked web is Anton Yelchin as Tim, a dreamer and schemer who quickly realizes the trouble these two bring. This was one of the last roles Yelchin filmed before his tragic death. His brief time on screen here reminds us of his immense talent.

An atmosphere of dread and pending doom hovers over most every scene, yet somehow it’s simultaneously funny and disturbing. We find ourselves asking if it’s OK to laugh at some of the exchanges. As Amanda explains she’s “not a bad person”, the line makes us chuckle, while also making us realize she actually believes it and we shouldn’t! As she teaches her tutor Lily “the technique”, we become convinced the line has been crossed into psychopathy.

Suburban Connecticut and its corresponding privileged life has rarely generated more queasy feelings, and with our hope for humanity in the balance, we watch Amanda and Lily bounce from plotting to problem solving and from conspiring to collaborating. The absence of empathy goes beyond disconcerting and into a feeling of resolved fear. The lack of emotions and empathy can be more frightening than vampires or fictional monsters.

Cinematographer Lyle Vincent does nice work displaying this world, and he will always deserve a mention after his sterling work on 2014’s A GIRL WALKS HOME ALONE AT NIGHT. The dark, twisted work is well accompanied by the abrupt and jarring music, and filmmaker Finley deserves recognition for crafting this creepy corner of a universe none of us want to join. His film is in the vein of something Yorgos Lanthimos (THE LOBSTER) might deliver, and that’s quite high praise for oddity … in fact, Odin Impetus Lowe even gets a screen credit, and he’s the opening scene horse!

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Posted by David Ferguson

THE DEATH OF STALIN (2018)

March 8, 2018

 Greetings again from the darkness. Having previously lampooned the political landscape of England (IN THE LOOP, “The Thick of it”) and the United States (“Veep”), writer/director Armando Iannucci turns his skewering pen and clear eye to a bygone era in Russia. Based on the graphic novel by Fabien Nury, the film takes place in 1953 Moscow at the height (and the end) of Josef Stalin’s reign.

Stalin’s NKVD Security Forces (think ‘Secret Police’) ruled by force and terror for 20 years, and most citizens lived with the daily goal of staying off “the list” – a place which likely resulted in imprisonment, if not death. An opening sequence featuring the live performance of an orchestra drives home the outright fear that hovered over every part of that society. To be clear, Iannucci’s approach is less ominous and more Mel Brooks. It’s slapstick satire with profanity.

Following the death of Stalin (it’s not a spoiler if it’s in the title!), what follows is a Keystone Cops medley of jockeying for power amongst the members of Stalin’s cabinet. Closed-door plotting abounds – though sometimes in full view of others – and alliances come and go in the blink of an eye. It plays out on screen as more spoof than satire, so brace for over-the-top performances from Steve Buscemi (as Nikita Khrushchev), Simon Russell Beale (as Lavrenti Beria), Jeffrey Tambor as dimwitted doofus Malenkov, and Monty Python alum Michael Palin as Molotov.  Rupert Friend and Andrea Riseborough play Stalin’s (Adrian McLoughlin) offspring, and other supporting work comes from Olga Kurylenko, Paddy Considine, Tom Brooke, and Jason Isaacs.

I watched this film the day after watching RED SPARROW, and the two films provide an interesting and oddball comparison to different eras of Russian history. Iannucci’s film is nothing short of a full bore attack on Kremlin activities, as well as the self-interested actions of politicians that seems to remain prevalent in modern days. It’s also a reminder that being “better as a committee” has as many flaws as the rein of a tyrant. There is a terrific final shot in a concert hall, where seated behind Khrushchev and his wife is a leering Leonid Brezhnev … foreshadowing future events. And if that’s not enough, the closing credits are as nuts as the film itself.

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Posted by David Ferguson

LOS ANGELES OVERNIGHT (2018)

March 8, 2018

 Greetings again from the darkness. Low budget independents must be analyzed differently than a tentpole or a status-pic with money behind it. That’s only fair, and in fact, quite necessary for cinematic sanity. This first feature film from director Michael Chrisoulakis is one that we might catch at a film festival, and at first glance, it appears he has done everything right. The film has a blend of familiar faces and newcomers. Much effort has gone into the stylish look of the film, and there is even unconventional music accompanying the oddball characters.

Sometimes taking all the right steps still doesn’t mean the finished product will click with audiences, and that appears to be the case here. Priscilla (Arielle Brachfeld) is being treated by her hypnotherapist played by legendary director Peter Bogdanovich in a terrific opening that grabs our attention immediately. Priscilla is a struggling/aspiring actress who is also a Marilyn Monroe waitress at a crummy little diner.

Benny (Azim Rizk) is one of the diners few customers, and his motivation is less about food and more about Priscilla. One day she overhears a couple of small time crooks (led by Lin Shaye) chatting in riddles – “Apple Jacks down the rabbit hole”. Financially strapped Priscilla proceeds to draw lovestruck mechanic Benny into a situation that will likely end badly.

Writer Guy J Jackson (who also plays one of the criminals) seems to try and shove all of his ideas into the script, so what’s lacking is a cohesive story or any chance for viewers to connect to Priscilla – or certainly any other character.  We can’t even take the “big” crime boss seriously since his goal is to build some type of sanctuary that will benefit humanity. Benny does have the best line in the film when he admits, “I dance like a mechanic”. Other comedic bits mostly fall flat (although a tip of the cap for the mortgage broker joke), as do most of the attempts at building suspense, due in part to an excess of groan-inducing dialogue.

The film is a noir-wannabe with some effort given towards the atmosphere and tone, but the overwrought electronic score is too generic, and the arbitrary slow-motion effects simply remind us of the lack of budget (better to take advantage of imagination). One of the worst cinematic on-foot chase scenes takes up a chunk of the film, but on the bright side, we do get the rarely seen Sally Kirkland, and it is fun to pick out the director’s influences based on how a scene plays out. The jury is still out on Ms. Brachfeld. She might be worth keeping an eye on, as she has a Miranda July quality about her, though without the comedic instincts. First films are challenging, and there might be enough here to push Mr. Chrisoulakis on to better projects.

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Posted by David Ferguson

OSCARS 2018 recap

March 5, 2018

 Given the confluence of high profile issues, expectations and predictions for this year’s Academy Awards ceremony ranged from “revolutionary” to “off the rails”. Racial and gender diversity, the history of sexual abuse, and a room that tilts heavily to the left on the political scale, had the stage set for an out-of-the-ordinary program – or at least one worthy of next day watercooler exchanges. Instead, we were treated to a mostly benign nearly four hours of celebrities on their best public behavior. While the expectations were likely responsible for the significant (19%) drop in viewership over last year, those of us who did watch were rewarded with the awkward transition that accompanies a tradition-based organization’s attempt to change with the times.

After all five Best Actress nominees skipped the Ryan Seacrest E! stop on the Red Carpet in protest of the recent allegations against him, a retro-newsreel style opening revealed host Jimmy Kimmel as the voice on the microphone behind the early jabs. In his second consecutive year as Oscar host, Mr. Kimmel then took the stage and shot through a monologue of jokes that covered: last year’s Best Picture gaffe, Fox News, Harvey Weinstein, young/old Timothy Chalamet vs. Christopher Plummer, Meryl Streep’s 21 nominations, and “a wonderful man” named Guillermo Del Toro. Kimmel kicked off the presentations by offering a brand new Jet Ski to the winner with the shortest acceptance speech, complete with Helen Mirren in the Carol Merrill role as fawning model.

There were very few (if any?) surprises among the coveted statuettes that were handed out, and maybe most noticeable was, other than host Kimmel, the only white male presenters to take the stage alone were previous Oscar winners Christopher Walken and Matthew McConaughey. The other three that I recall all co-presented: Armie Hammer with Gal Gadot, Mark Hamill with his Star Wars co-stars, and Warren Beatty in a do-over with Faye Dunaway. Instead the lineup of presenters was filled with women and people of color. The Academy always tries to honor its history, and since this year was the 90th anniversary, there were some stellar montages utilized, as well as appearances from previous Oscar winners Eva Marie Saint (who cracked “I’m older than the Academy”) and the always entertaining Rita Moreno (age 86).

Speaking of white males, two of my long-time favorite actors – Sam Rockwell (THREE BILLBOARDS OUTSIDE EBBING MISSOURI) and Gary Oldman (DARKEST HOUR) – both won their first Oscars after three decades of consistently fine work, and another hardworking screen vet, Allison Janney also won her first. In what may have been the most tightly-contested category, BLADE RUNNER 2049 bested the film I was quietly rooting for in Best Visual Effects, WAR FOR THE PLANET OF THE APES. Keala Settle owned the stage and the audience with a fantastic live performance of “This is Me” from THE GREATEST SHOWMAN, but neither her voice nor Sufjan Stevens’ choice in jacket, could overcome the catchy and melancholic “Remember Me” from COCO in the Best Song category.

History was made when Rachel Morrison (MUDBOUND) became the first female cinematographer nominated for an Oscar, but it was the great Roger Deakins who was rewarded for his excellent work on BLADE RUNNER 2049, his 14th nomination. Jordan Peele also made history as the first African-American winner for Best Original Screenplay for his influential GET OUT. Another first was Chile’s A FANTASTIC WOMAN winning for Best Foreign Language film, featuring trans actress Daniela Vega, who also introduced Sufjan Stevens’ live performance of “Mystery of Love” from CALL ME BY YOUR NAME.

A personal favorite, THE SILENT CHILD, won Best Narrative Short while Christopher Nolan’s WWII masterpiece DUNKIRK quietly won three Oscars (Sound Editing, Sound Mixing, Editing). More of the attention went to presenters like Ashley Judd, Annabella Sciorra and Salma Hayek (Weinstein victims); Chadwick Boseman (star of the box office dominant BLACK PANTHER); and the wicked comedy of Tiffany Haddish, Maya Rudolph, and Dave Chappelle. Most interesting of the bunch though was Kumail Nanjani (THE BIG SICK), who made his case as a potential replacement when Jimmy Kimmel decides to no longer host. Mr. Nanjani is funny, intelligent and engaging.

After three nominations for Best Director, 89 year old James Ivory won his first Oscar for his adapted screenplay of CALL ME BY YOUR NAME, while the very talented composer Alexandre Desplat won his second (nine nominations) for the score to THE SHAPE OF WATER. The director category was filled with auteurs of the  industry, and the only one over age 50, Guillermo Del Toro, emerged as the winner – a very popular choice. The insanely likeable film nerd Del Toro had a great night, as his creative amphibious tale also won Best Picture, and he even quoted screen legend James Cagney in his acceptance speech.

One of the most powerful montages was a tribute to cinematic soldiers, fighters for freedom, and war movies over the years. Presenting this segment was Vietnam veteran, and terrific and underrated actor Wes Studi, a Native American, who seemed to purposefully poke the privileged audience when he asked “who else?” served their country … a cause that often seems undervalued in that room.

The roster of other presenters included Nicole Kidman, Sandra Bullock, (Capital One spokesperson) Jennifer Garner, Margot Robbie, Emily Blunt, Jennifer Lawrence, Jodie Foster, and the duo of Jane Fonda and Helen Mirren (filling in for Casey Affleck who wisely backed out) to present the Best Actor award. Someone more cynical than I might notice some similar traits in this group of presenters, but we were told this was the year of diversity and empowerment. And on that note, it was Frances McDormand who found a way to unite a segment when she encouraged ALL nominated women to stand up and be noticed … it was a fun and well-deserved moment.

Falling in the “not fun” category was Kimmel’s road (across the street) trip to Mann’s Chinese Theatre to surprise an auditorium of movie watchers with snacks from formally dressed celebrities. Perhaps this was a memorable moment for that group of folks, but for billions of others, it simply added 15 minutes to the ceremony’s run time … and provided no laughs.

The main stage sets seemed exceedingly ornate and intricate this year, with one of the main sets being a take on BEAUTY AND THE BEAST, and another looking like an abundance of rare gems. Perhaps both, though beautiful, were a bit over-the-top given the tone of this year’s ceremony. Costume Designer Mark Bridges (PHANTOM THREAD) won the Jet Ski, and NBA legend Kobe Bryant is now an Oscar winner. It was a transition year and the ceremony showed that, though it came off with nary a glitch (nor an accountant on stage) this time. We will now see if the industry has self-policed to the point where the focus can return to the art.

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Posted by David Ferguson

LOVELESS (2018)

March 1, 2018

 Greetings again from the darkness. Divorce is rarely simple or clean or amicable. By definition it changes people’s lives and is typically cluttered by a wide range of emotions that distort one’s thoughts. When kids are involved, the process is even more delicate, even treacherous. Russian filmmaker Andrey Zyyaginstev and his co-writer Oleg Negin follow up their exceptional Oscar nominated LEVIATHAN (2014) with this very intimate project focusing on the tragic impact of resentment and self-centeredness. They have been rewarded with another Best Foreign Language Film Oscar nomination, and deservedly so.

The film begins with stark, almost harsh music as a young boy walks home in the woods after a day of school. Later that evening, his parents are involved in an extremely vicious and demeaning argument. The camera then glimpses the boy from the woods, their son Alyosha (Matvey Novikov), behind a door. He has overheard the entire argument and is devastated, quietly sobbing and unable to deal with words no child should hear. As viewers, we too are overwhelmed.

Zhenya (Maryana Spivak) and Boris (Aleksey Rozin) are the boy’s parents, and to say they dislike each other is an understatement. She is a salon owner and he is a generic “salesman” at a Christian company that doesn’t allow divorced employees. She is focused on her phone and new lover, while he is worried about losing his job while his girlfriend (Marina Vasileva) is pregnant. They are fighting over who should raise their son. Neither want him.

With each of these despicable people going about their business, neither notice that the boy doesn’t come home one night. A teacher calls to say he has missed two days of school. It’s at this point where the tone shifts from poor parenting to lackluster police work. In what could be described as the polar opposite of an ‘Amber Alert’, the Russian police rule it a runaway, and in ho-hum manner suggest that the parents give him a few days to return home. This lackadaisical approach lead Zhenya and Boris to turn to an organization that specializes in locating lost kids.

The coordinated search creates a quiet tension that is quite effective. Cinematographer Mikhail Krichman’s camera work is extraordinary as it tracks the searches through the forest and an abandoned building that could be a character unto itself. The parents head to the home of Zhenya’s estranged mother. What follows is one of the most explosive movie scenes of recent years. Natalya Potapoya plays the mother and delivers a memorable no-holds-barred diatribe at her daughter Zhenya, who refuses to fight back. We easily understand how a disconnect between parents and kids can gain traction across generations.

The brilliance of the movie is in how we somehow maintain empathy for all of these less-than-ideal people. When Zhenya calmly pronounces that her mother is “God and the Devil rolled into one”, we understand her point while at the same time hope it stimulates self-analysis.

Although we do get a rare Jill Stein reference, it’s quite easy to spot the differences between story-telling in Russia and the United States. It wouldn’t be surprising to see a Hollywood remake, but it would likely tread a bit lighter on the dwelling of past mistakes without losing one’s humanity, and it would surely come up with a more Americanized ending. The detail in Zyyaginstev’s filmmaking is exceptional, and while it may not be entertainment for the masses, the film is a prime example of cinema as emotionally powerful art.

watch the trailer:

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Posted by David Ferguson

A FANTASTIC WOMAN (Una Majur Fantastica, 2017)

February 24, 2018

 Greetings again from the darkness. A few years ago, Chilean filmmaker Sebastian Lelio and his co-writer Gonzalo Maza delivered a terrific little indie entitled GLORIA (starring Paulina Garcia). It told the story of a single woman in her late 50’s navigating a society not designed to provide happiness for her. This time out Mr. Lelio and Mr. Maza collaborate on the story of another interesting woman, in what could easily be described as a companion piece to their previous film.

Trans actress Daniela Vega stars as Marina, a waitress who moonlights as a singer. The film begins quietly with Orlando (Francisco Reyes), a distinguished gentleman enjoying an afternoon spa treatment, before heading over to catch Marina’s singing act. See, Orlando and the much younger Marina are a couple. Their connection is obvious as they spend an evening dining, dancing, and heading to bed. Tragically, Orlando suffers an aneurysm and Marina rushes him to the hospital. When he dies, she is subjected to questioning, accusations, and a true lack of respect by most everyone – doctors, nurses, police, and Orlando’s family.

Marina is questioned by a sex crimes detective (Amparo Noguera) about her relationship with Orlando and whether she was paid or abused. The implication being that she was likely a prostitute. Orlando’s brother Gabo (Luis Gnecco), son Bruno (Nicolas Saavedra) and even ex-wife Sonia (Aline Kuppenheim) have reactions that range from passive-aggressive to threatening towards Marina and forbid her from attending the wake and funeral, and won’t even let her take the pet dog.

Cinematographer Benjamin Echazzarreta uses effectively uses light and color, and quite often has Marina front and center – either head-on or from behind. Marina’s visions and dream-like sequences allow us to understand how the stress of the situation is affecting her, and just how much she misses Orlando. She displays much inner-strength and dignity in the face of hatred and disgust … even while being treated as a criminal and/or victim – really anything except the partner she was.

The film has been nominated for the Best Foreign Language Oscar, and it’s easy to see why. Beautifully photographed with a knockout lead performance from Daniela Vega, the story emphasizes how we so often strive for “normal” that we lose our empathy and humanity in how we treat others. Music is put to good use – even the quite obvious use of Aretha Franklin singing “(You Make Me Feel Like) A Natural Woman”, and there is even a clever use of a McGuffin (a locker key). This well-made film with a powerful message is a reminder to ‘keep on keeping on’.

watch the trailer:

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Posted by David Ferguson

THE YOUNG KARL MARX (2018)

February 24, 2018

 Greetings again from the darkness. When the name Karl Marx comes up, most of us recall that iconic photo of the older gentleman with the large grey beard. As with all older gents, they were once young men, and that’s the focus of this film from writer/director Raoul Peck and co-writer Pascal Bonitzer.

The story kicks off in 1843 when young Marx was the editor of “Rheinische Zeitung” and carries us through the 1848 publication of “The Communist Manifesto”. We progress chronologically through Paris, Brussels and London and witness how Marx’s personal life and ideological mission intertwined, leading ultimately to the birth of Communism.

August Diehl (INGLOURIOUS BASTERDS) plays Karl Marx and Stefan Konarske plays Friedrich Engels. Their mutual admiration brought them together and their commitment, along with the support of their wives Jenny Marx (Vicky Krieps, PHANTOM THREAD) and Mary Burns (Hannah Steele), carried them through and cemented their legacies.

With the endless string of debates and discussion, and the constant struggle with poverty for Marx and his family, the film at times seems repetitive and tedious. It does, however, succeed in making comprehensible the timeline and constant struggle to continue the fight. The process of societal-changing writing is not simple, and we see the different approaches taken by Marx and the upper-crust rebel Engels. The obvious battle between Bourgeoisie and Proletariat remains at the forefront, but we also witness the painstaking networking and research that goes into the work. The two gentlemen share a drink over this toast: “to minds that truly think”.

Today, many in their 20’s, are focused on which direction to swipe, yet at the same age, Marx and Engels were committed to changing the world. The ideals and issues that so dominated their writings (and led to revolution) are every bit as relevant today. We no longer use the terms Bourgeoisie or Proletariat, but class distinction continues to be debated as a source of many global issues – both social and economic. Director Peck (Oscar nominated for last year’s I AM NOT YOUR NEGRO) uses Bob Dylan’s “Like a Rolling Stone” over the closing credits montage of revolutions and historic turning points to ensure we understand that rebellions and convictions do still exist.

watch the trailer:

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Posted by David Ferguson

HE LIED ABOUT EVERYTHING (2018, doc)

February 24, 2018

 Greetings again from the darkness. We have learned through books, movies, and especially real life, that evil can arrive in many forms and often strikes when we are at our most vulnerable. Such is the remarkable and personal story told here by Benita Alexander. As an Emmy winning Producer for NBC News, she proclaims that she should be the last person who should fall victim in the way that she did. Whether seizing the professional opportunity to tell a fantastic story or going through the process as a form of therapy, Benita guides us through a maze of deceit that rocked the medical world, as well as her personal life.

Home video from a honeymoon suite in picturesque Santorini Greece in 2014 is how Benita initiates her confession of having fallen fast and hard for Dr. Paolo Macchiarini, a world renowned surgeon. In what can best be described as a whirlwind romantic fairy tale, Benita describes love at first sight (at a 2013 interview), Cinderella-type wedding plans featuring world leaders and the Pope, and the crushing emotional angst when it all came crashing down.

Benita utilizes her investigative reporting skills to present her story in a way that helps us understand how all of this could have happened. The doctor swept her off her feet with lavish gifts and jet-setting trips, and then charmed her friends and family – all while receiving accolades for his revolutionary work with artificial trachea transplants. The film takes us to New York City, Rome, Barcelona, London and Russia, as Benita’s high and low points are revealed.

Steven Spielberg’s movie CATCH ME IF YOU CAN told the story of charlatan Frank Abignale, and though he stole money and broke trust, Abignale’s tale possesses none of the evil or madness of Dr. Paolo Macchiarini. His were no pranks. This was no episode of “Punk’d”. This doctor’s cruelty goes far beyond. We hear words like Frankenstein and murder to describe him and his reprehensible actions that left patients dying excruciating deaths. Benita tries to balance the story with her shattered dreams and the medical scandal, but seriously, it’s difficult to muster much sympathy for someone getting caught up in the social lives of the elite. It’s the doctor’s inexcusable medical fraud that is most overwhelming to us as viewers and caring human beings.

Benita is denied the ribbon on her story package as her final phone conversation leaves her lacking an answer to “Why?”  Her emotions and pain are minimized to us when she admits to being “conflicted”. This viewer found no reason for conflict, only anger and disgust. Dr. Paolo Macchiarini may have been “selling hope”, and falling for his act may be forgiven, but once the fraud is exposed, there is no room for mercy or conflict.

The documentary is scheduled to stream on Investigation Discovery starting February 14. Valentine’s Day is either the best or worst day for this airing, depending on your perspective.

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Posted by David Ferguson

THE MILLIONAIRES’ UNIT (2018, doc)

February 16, 2018

 Greetings again from the darkness. Imagine, if you will, a world where the one-percenters view their privileged life as carrying more responsibility towards civic duty, not less. While that’s difficult to conceive these days, the film takes us back 100 years to the beginning of WWI, and introduces a group of Yale students who believed exactly that. Co-directors Darroch Greer and Ron King provide the best kind of history lesson – one told through personal stories.

WWI, “the war to end all wars”, lasted about 4 years and featured new technology such as machine guns, tanks, and airplanes (Wright brothers first flight was 1903). Though U.S. President Woodrow Wilson stated the country would remain “neutral”, a young visionary named Trubee Davison saw things a bit differently. Trubee was a student at Yale University and the son of HP Davison, a powerful JP Morgan executive. Trubee was also a natural-born leader and inspired a group of his classmates to join the First Yale Unit … a flying club dubbed The Millionaire’s Unit by the media.

The film tracks their training and subsequent call to service during the war. They became the first Naval aviators in WWI, and the Naval Reserve Flying Corps actually preceded the US Air Force. We see spectacular clips from the era, along with reenactments (dogfights!), photos, and letters/correspondence to/from the men. Actor Bruce Dern enthusiastically narrates, and it’s interesting to note that he is the grandnephew of one of these Yale pilots.

Profiles of a hand full of these men are remarkably well done and help us understand that each were defined by their service and dedication to the cause and to each other. Much of the focus is on Trubee, a fascinating guy who later spent time as Assistant Secretary of Defense and Director of Personnel at the CIA; however, we also get to know Robert Lovett, Kenney MacLeish, “Di” Gates, and Dave Ingalls – each an interesting story, and in combination, stunning in that so few of us have been exposed to their courage.

The 2006 book, “The Millionaire’s Unit”, written by Marc Wortman, was the basis of this documentary that took longer to complete than WWI actually lasted. These young men were volunteers who, despite their elite social and financial standing, believed so strongly in “fighting for the ideals we hold sacred”, that they risked it all – some paying the ultimate price. As you might expect, after the November 11, 1918 Armistice was signed, most of these Elis continued serving their beloved country in some capacity. Theirs is a story that deserves to be told with the respect and personal aspect afforded by the film.

watch the trailer:

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Posted by David Ferguson

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