FOREVER MY GIRL (2018)

January 18, 2018

 Greetings again from the darkness. To determine if this is your type of movie, you need only answer one question: Are you a Nicholas Sparks fan? Even though this is based on a novel by Heidi McLaughlin and not Nicholas Sparks, no normal person would be able to tell the difference, as the formula and story structure is very familiar (even the marketing campaign capitalizes on this). Perhaps that is the key to the success of movies like this – the stories are like a warm, comfy blanket to some folks.

Picturesque (and fictional) St Augustine, Louisiana is the setting for the love story of Liam and Josie. Things get off to a rocky start as the jilted bride is stranded on her wedding day. The film jumps ahead 8 years and we find that Liam (Alex Roe, THE 5TH WAVE) is now a country music superstar with a drinking problem and a duct-taped flip phone, while Josie (Jessica Rothe, HAPPY DEATH DAY) is a successful business owner and single mom. It’s at this point where you could most assuredly guess what happens next, as predictability and commitment to the formula are the mission.

Bethany Ashton Wolf is the writer/director and her film benefits from the presence of star-in-the-making Alex Roe and the precocious Abby Ryder Fortson as Josie’s daughter. Mr. Roe spends much of the movie in various stages of sweat (I guess that’s supposed to be sexy?), but the camera loves him and he has a unique approach that sets him apart from the endless line of pretty boy actors. Young Miss Fortson has already played the daughter of ANT-MAN and she has the ability to come off as normal kid, rather than an actress playing a kid.

John Benjamin Hickey (Liam’s dad), Gillian Vigman (publicist), Tyler Riggs (Josie’s brother), and Peter Cambor (Liam’s agent) fill the supporting roles, and it’s Travis Tritt who adds an all-too-brief touch of authenticity to the music and local saloon. The movie is exactly what it portends to be … nothing more, nothing less. If it’s to your taste, it’ll be that soft comforter that brings you serenity. If it’s not your style, it will likely be as itchy and scratchy as a new wool horse blanket.

watch the trailer:

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

HAPPY END (2017)

January 18, 2018

 Greetings again from the darkness. Austrian filmmaker Michael Haneke has blessed us with, what I consider, at least five excellent movies (AMOUR, THE WHITE RIBBON, CACHE, FUNNY GAMES, THE PIANO TEACHER), and though it’s been 5 years since his last, there is always a welcome anticipation for his next project. Unfortunately, this latest is esoteric and disjointed even beyond his usual style. In fact, at face value, it just seems only to be an accusation lobbed at the wealthy, stating that their privilege and cluelessness brings nothing but misery and difficulty to themselves and the rest of society.

We open on an unknown kid’s secretive cell phone video filming of her mother getting ready for bed, followed by the mistreatment of a pet hamster as a lab rat, and finally video of her mother passed out on the sofa – just prior to an ambulance being called. Our attention is then turned to a family estate in Calais, which is inhabited by the octogenarian patriarch Georges (Jean-Louis Trintigant), his doctor son Thomas (Mathieu Kassovitz) and daughter Anne (Isabelle Huppert), Anne’s malcontent son Pierre (Franz Rogowski), Thomas’ wife and infant son, and the Moroccan couple who are household servants. While her mother is being treated for an overdose, 13 year old Eve (Fantine Harduin), moves in to the estate (Thomas is her re-married father). It’s here that we learn the opening scenes were Eve’s video work … clearly establishing her as a damaged soul.

Initially, it seems as though we will see the family through Eve’s eye, but what follows instead is the peeling back of family layers exposing the darkness and menace that haunts each of these characters. Georges appears to be intent on finding a way out of the life that has imprisoned his body and is now slowly taking his mind through dementia. Thomas is carrying on an illicit affair through raunchy email exchanges. Anne is trying to protect the family construction business from the incompetence of her son Pierre, while also looking for love with solicitor Toby Jones. At times, we are empathetic towards Eve’s situation, but as soon as we let down our guard, her true colors emerge. The film is certainly at its best when Ms. Harduin’s Eve is front and center. Her scene with her grandfather Georges uncovers their respective motivators, and is chilling and easily the film’s finest moment.

The film was a Cannes Palme d’Or nominee, but we sense that was in respect to Mr. Haneke’s legacy, and not for this particular film. The disjointed pieces lack the necessary mortar, or even a linking thread necessary for a cohesive tale. What constitutes a happy end … or is one even possible? Perhaps that’s the theme, but the film leaves us with a feeling of incompleteness – or perhaps Haneke just gave up trying to find such an ending, and decided commentary on the “bourgeois bubble” was sufficient.

watch the trailer:

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Posted by David Ferguson

THE MEMORY OF FISH (2018, doc)

January 18, 2018

 Greetings again from the darkness. Nutritionists consistently advocate for the consumption of more salmon for a healthy diet … wild salmon, specifically. It’s one of the few dietary recommendations that hardly anyone bemoans. Most of us really enjoy a tasty grilled salmon, and the fact that it’s “good” for us puts it in the rare food category of ‘yummy and healthy’ (not an officially recognized category).  It’s what would be a perfect plan, were it not for the challenges in tracking down true wild salmon at the local supermarket. Salmon habitat and breeding grounds have been compromised and even destroyed through encroachment, and for the needs of the human race.

It’s exactly this situation, and the decades-long efforts of one man, that are the focus of this documentary from co-directors Jennifer Galvin and Sachi Cunningham. Dick Goin lives on the Olympic Peninsula in the Pacific Northwest, and he is especially connected to the Elhwa River. The film opens with his recorded voice from 1983 as he discusses his memories of the river packed with 50-60 pound salmon taking advantage of the gravel river bottom, and then how they basically disappeared when the two giant dams were built to supply power to the area.

Mr. Goin describes the river as being broken from 1911 through 2014 when the dams were in place. He emotionally describes his personal conflict at working for one of the mills being powered by the dams … even as he was fighting for their destruction in order to free the river. Working at the mill was a choice necessary for life – a difficult decision that required compromise. The dams, though engineering marvels, were the enemy of nature.

Clearly passionate, the elderly Mr. Goin speaks with humble respect and awe of the “madhouse” river. The underwater photography is effective, especially when blended with the archival footage from previous interviews Mr. Goin conducted. The video clips of the dams being destroyed are fascinating, but not nearly as gut-wrenching as the once vital Mr. Goin slowly and unsteadily makes his way back to the river, after the dam destruction, so he can personally witness the return of the salmon. As he describes the efforts of a struggling salmon as having done what she was here for … we can’t help but acknowledge the parallels with Mr. Goin’s own life.

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

PHANTOM THREAD (2018)

January 11, 2018

 Greetings again from the darkness. There is a certain feeling that envelops me while experiencing exquisite filmmaking. It’s a singular blend of peacefulness and excitement as an anticipation of greatness builds in those early scenes. That feeling has rarely swept over me as quickly as the opening moments of this new film from writer/director Paul Thomas Anderson, a six-time Oscar nominee.

We need only watch Reynolds Woodcock (Daniel Day-Lewis) go through his morning ritual to understand that he is a fastidious individual to the point that could easily be described as obsessive-compulsive. It’s 1955 London, and this is the House of Woodcock. He lives and works in a home that serves as the canvas for his art, as well as a place to lay his head for sleep. His art is dressmaking. It’s also his obsession and purpose for living. This is the story of a man with transformative talent, who, despite his stated lack of need for those outside his solitary realm, is dragged into the humanity of love and caring.

This is an odd film about odd people. It’s about a dressmaker and it features people making beautiful clothes … yet it’s not a fashion movie. No, this is the study of a genius man and his muse – who is also his lover – and their unconventional saga of love. It’s also a consistently funny movie (and surprisingly so). Evidence that that 3 will always be a crowd, Woodcock’s devoted sister and buttoned-up business partner Cyril (a terrific Leslie Manville) runs a tight ship, while simultaneously using her near preternatural ability to read his moods and idiosyncrasies and respond accordingly. He refers to her as “my old so-and-so” in a way that reflects a lifelong bond unlikely to be broken.

The woman who prevents this from simply being a story of a reclusive genius is the aforementioned muse Alma (played by the effervescent Vicky Krieps). Is she his muse, a model, or his lover? Well, yes to all. And yet those labels fall short in describing the subtleties and nuances of their relationship. When does she play which role in order to maintain the balance so key to his work? Alma is often confused about the best approach in any moment, but she reaches him as none before. When she tells Woodcock that a certain client “doesn’t deserve your dress”, it strikes a chord with him that no one else has ever understood. It’s as close to ‘getting him’ as one can attain.

Ms. Krieps goes toe-to-toe with Daniel Day-Lewis in their scenes. He is simply the greatest living actor, and maybe the best ever at his profession. Her blushy cheeks and determined eye of observation bely an inner strength that isn’t necessarily obvious at first glance. The twist in this “romance” is unlike any other love story from the big screen. While he is haunted by the memories of a cherished mother, Alma presents a more immediate force of reckoning. Is she his tender savior or a menace of danger? It’s fascinating to watch this unfold.

Most know by now that Daniel Day-Lewis has announced this will be his final acting role. We can only compare this to the retirements of Sandy Koufax or Jim Brown. We feel cheated by the void of greatness left by their departures, and if this is truly his final role, the DDL legacy is supremely secure. His meticulous performance shines not only through the quirky OCD moments, but even moreso in the seemingly spontaneous moments of bickering and annoyance … moments that come across ad-libbed instead of scripted – these sound (and feel) like real life arguments!

Supposedly, filmmaker Anderson based the character on Spanish-Basque designer Cristobal Balenciaga, and Day-Lewis research added other elements of authenticity. It’s their first movie together since the fantastic THERE WILL BE BLOOD ten years ago, and theirs seems to be a synchronicity that few actors and directors ever share. Mr. Anderson shot the movie himself, and his use of close-ups – faces, fingers, sewing needles – capture the delicacies as well as the power. The final piece of this glorious puzzle is the orchestral score provided by Radiohead’s Jonny Greenwood. It’s both prominent and intricate, with stunning piano work that stands on its own. This is a movie about greatness by those who are also great.

watch the trailer:

1 Comment | Comedy, Drama | Tagged: , , , , | Permalink
Posted by David Ferguson

PADDINGTON 2 (2018)

January 11, 2018

 Greetings again from the darkness. The sequel to the hit 2014 PADDINGTON movie reunites most of the cast, as well as the director Paul King and his co-writer Simon Farnaby. Unfortunately, Michael Bond, Paddington Bear’s creator and author of more than 150 affiliated books passed away in 2017, and was not able to see this most charming follow-up. The beloved little bear first hit UK bookstores in 1958 and has been part of the childhood of every generation of kids since. Now the movies have given life to the little bear with the red hat, blue coat and tiny suitcase.

The entirety of the Brown family returns: Sally Hawkins as Mary, Hugh Bonneville as Henry, Madeleine Harris as Judy, Samuel Joslin as Jonathan, Julie Walters as Mrs. Bird, and Jim Broadbent as Mr. Gruber. Also back are Imelda Staunton and Michael Gambon as the voices of Paddington’s “aunt” and “uncle”, and of course, Ben Whishaw returns as the familiar voice of the adored and oh-so-polite bear.

Most notable among the new faces are Brendan Gleeson as Nuckles (that’s with a capital N), and Hugh Grant as Phoenix Buchanan, this story’s two-faced (and maybe more) villain. You’ve likely never seen the usually reserved and proper Mr. Grant in a role quite so colorful and flamboyant. He seems to be having a devilishly good time.

As the movie begins, we are quickly assimilated into the community where Paddington has made such a difference. The core element to this bear is that he treats all with kindness and finds the best in each person. The results of this approach are clear in how his neighbors enthusiastically greet him each morning … it’s a reminder of the power of kindness. Only when Phoenix Buchanan’s dastardly deed and actions catch Paddington in the crossfire does the film take an abrupt left turn from his blissful life.

If the film has a flaw, it’s in a story that is likely too complex and intricate for the youngest viewers to follow. However, it’s that story that older kids (and grown-ups) will most appreciate and relate to. Younger kids may be lost at times, but there are enough visual pratfalls and bear hijinks to keep them oohing and aahing and laughing – I witnessed these reactions in a theatre that was about half-filled with kids.

This sequel will probably be viewed as an improvement to what was a pretty entertaining original. There is enjoyment for all ages, and it’s a rare combination of cuteness and charm with a strong message of kindness. If that’s not enough for you, stay for the credits and take in the Bollywood-style musical number that will erase any doubts you might have had about Hugh Grant’s commitment to the mission.

watch the trailer:

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Posted by David Ferguson

ABE & PHIL’S LAST POKER GAME (2018)

January 9, 2018

 Greetings again from the darkness. There really isn’t an age where one’s level of horniness is of interest to the outside world. The topic is certainly cringe-inducing as we listen in on two old men bemoaning their current state of dysfunction, while simultaneously recalling their glorious past conquests. Were these two gents played by lesser actors than screen legends Martin Landau and Paul Sorvino, there would be no need to tune in.

Writer/director Howard Weiner (a Neurologist and Harvard professor – thanks Google) delivers his first narrative feature film as a statement on old age, pride and dying. In Mr. Landau’s final film, he plays Dr. (not Mister!) Abe Mandelbaum (I’m giving credit as a “Seinfeld” reference, whether intentional or not), who, along with his dementia-riddled wife Molly (Ann Marie Shea), moves into Cliffside Manor – a Retirement Center and Nursing Home. Abe quickly bonds with fellow resident Phil (Mr. Sorvino) as the two exchange dirty jokes and tales of yesteryear.

The other story line involves a nurse (Maria Dizzia, MARTHA MARCY MAY MARLENE) who has reason to believe the biological father she’s never met is a resident at the manor. The obvious development is whether Abe or the notoriously womanizing Phil might be her father. Other minor story lines include the center’s director (Alexander Cook) who admittedly hates old people as he searches for a miracle potion to prevent his own aging, Molly’s struggle with dementia which can only be soothed with her fur coat or relief in bed, and a last hurrah field trip to a local sports bar with the nurse, Abe and Phil.

If not for the vulgarities and three of the most uncomfortable sex scenes you’ve likely ever witnessed, this would have been a textbook Lifetime Channel movie. Watching two pros like Mr. Landau and Mr. Sorvino go at each other is quite a treat – though you best enjoy old men talking about sex, as the subtleties of pride, masculinity and self-identity of men are mere afterthoughts here. Oscar winner Landau (ED WOOD) deserved a send-off more in line with Harry Dean Stanton’s LUCKY, but fortunately he has a 60 year career as his legacy.

watch the trailer:

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Posted by David Ferguson

DJANGO (2018)

January 4, 2018

 Greetings again from the darkness. Don’t mistake this for either the Franco Nero (1966) or Jamie Foxx (2012) movie. This latest from writer/director Etienne Comar centers on Django Reinhardt, one of the most talented and influential musicians of the twentieth century. Based on the novel “Folles de Django” by Alexis Salatko, the story follows the challenges of his escape from German-occupied France.

He is already a renowned (and enigmatic) performer when the film kicks off in 1943 Ardennes, as Django and his band are being contracted by the Nazis to tour and entertain the troops. Of course, he refuses to sign the contract and tour under their terms with limit the style of music he can play. Because of this, Django and his family must flee and disappear underground, while they plan an escape to Switzerland.

His musical influence proliferated the area, and his influence and respect is clear at each step of his travels. In fact, it’s the musical pieces and segments that really stand out here. Reda Kateb (A PROPHET, 2009) gives a terrific and expressive performance as Django, but the musical portions are so outstanding, that we find ourselves not as engaged in the personal saga of escape as we should. Clearly, the war and Nazis are a threat, and when Django says “I’m a musician. It’s what I do”, that serves as his admission that he takes an apolitical stance and does not envision himself as a hero to the people.

As a driving force behind European jazz, and being such an influence on so many guitar players, Django’s legacy is something other than as a war icon. The film certainly could have benefited from more attention to either how his music gained popularity, or what drove him to avoid any political notoriety until it was too late for many of his fellow Gypsies. Admittedly, his escape was crucial and led to his 1945 score, “Requiem for Gypsy Brothers”, of which his conducting leads to the most emotional moment of the film.

watch the trailer:

2 Comments | Drama, World Cinema/Foreign | Tagged: , , , | Permalink
Posted by David Ferguson

THE STRANGE ONES (2018)

January 4, 2018

 Greetings again from the darkness. Having been well received at film festivals throughout 2017, this film is journey of patience for both the characters and its viewers. Co-directors Christopher Radcliff and Lauren Wolkstein have expanded their 2011 short film into their first feature length film, and though some evidence of ‘stretching’ is present, so is a somber, moody style that provides an interesting look and feel.

It’s more mysterious and atmospheric than it is thriller, and at times it even has a “Twilight Zone” vibe. Nick (Alex Pettyfer) and Sam (James Freedson-Jackson) are traveling together as brothers, though we never really believe they are related. An impending dread hovers around each move they make, and the film tortures/teases us with unspecified relationships and connections. Nick and Sam are semi-desperate and clearly on the run, yet it’s not until the end when things somewhat come together.

Young Freedson-Jackson is the key to the film, and his facial reactions are critical. His astounding blank stares seem to hold meaning. It’s a bleak film with a gloomy tone, and while I’m all for slow and deliberate story-telling, the technique is usually more effective when there is a reason for it. This is a deep cut indie that lacks mass appeal, but for those patient enough to commit, the supernatural aura will likely keep you engaged for the run time.

watch the trailer:

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

Best of 2017

January 3, 2018

Just posted: the BEST OF 2017 film list!

This year’s post has MANY recommendations for those of you willing to step outside of your movie watching comfort zone! Hopefully you can find something on the list that interests you.  Check it out:

Best of 2017

 

Leave a Comment » | Articles | Permalink
Posted by David Ferguson

HOSTILES (2017)

January 2, 2018

 Greetings again from the darkness. When a filmmaker is influenced by one of the all-time classics, that filmmaker best deliver a movie that not only stands up to inevitable comparisons, but also one that has its own identity, playing as more than a copy. Writer/director Scott Cooper (from a manuscript by the late Oscar winner Donald E Stewart) succeeds on both counts even as he tips his Stetson to John Ford’s western classic THE SEARCHERS.

If you are familiar with Mr. Cooper’s CRAZY HEART and OUT OF THE FURNACE, then you know his style is never hurried, and to expect minimal dialogue. You might think of him as the anti-Aaron Sorkin. Cooper’s characters tend to only say what must be said, and prefer to communicate through subtle gestures and actions that define their character. In this latest, he re-teams with Oscar winner Christian Bale, who plays the quietly simmering Captain Blocker. It’s 1892, and the legendary Army officer/soldier/guide is ordered to escort a Cheyenne Chief and his family through dangerous and unchartered New Mexico territory, so that the Chief may die in peace in his native Valley of the Bears, Montana. During a career of brutal warfare against the Native Americans, Captain Blocker has developed a deep-seeded hatred, and only accepts the assignment after his pension is threatened.

The opening sequence immediately immerses us in the constant danger faced during this era. Rosamund Pike watches as her homesteading family is brutally slaughtered by Comanche warriors. She survives only by escaping into the woods, although it’s a bit of stretch to believe that this homemaker marm could outwit the Comanches. Circumstances find Ms. Pike’s traumatized character (the actress’s go-to wide-eyed look) joining and complicating Captain Blocker’s convoy.

Wes Studi plays Chief Yellow Hawk, and the film’s only weakness is in his not having a more substantive role, as we are teased a couple of times with nuanced exchanges between he and Bales’ Blocker. The stellar supporting cast includes Rory Cochrane, Jonathan Majors, John Benjamin Hickey, Stephen Lang, Bill Camp, Jesse Plemons, Timothy Chalamet, Adam Beach, Peter Mullan, and Scott Wilson. Ben Foster also appears as an Army soldier accused of murder … another addition to the convoy, as he is to be escorted to prison.

The somber film follows this traveling party as they move slowly and methodically across the open plains and wilderness. There are no moments of levity, as death and danger are constantly hovering. No real reason for optimism exists, and surviving the day is the only goal. Despite the appearance of little happening, there is much going on here for the characters and in commentary on the times. At its core, the story is about Blocker’s reclamation of his soul and humanity; although redemption may not be possible as he recalls Julius Caesar and getting used to killing, but not to losing men.

Political correctness is avoided in many scenes, though the message is clear that the hatred between the Native Americans and the mostly Anglo settlers and soldiers stems from the unethical seizure of land by violent force. Amends are not possible even with a change of heart. It’s in these moments where we desire a more in-depth look at the various native factions.

Cinematographer Masanobu Takayanagi works with some amazing vistas, landscapes and rock formations. He deftly balances the breathtaking beauty of the land with the intimacy of the mission. There is a relentless undercurrent of simmering emotion throughout the film, much of which comes courtesy of Christian Bale. Sporting a mustache to rival Poirot, Bale is remarkably adept at silently expressing disgust, rage, resolve and resignation. His groans and grunts convey as much as soliloquies for many actors. While he feels remorse and seeks redemption, we are left with the not-especially-upbeat message that we are what we are.

watch the trailer:

 

1 Comment | Drama, Western | Tagged: , , , , , | Permalink
Posted by David Ferguson

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