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:

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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

COCO (2017)

December 26, 2017

 Greetings again from the darkness. Despite my two-decades long worshipping at the animated alter of Pixar, the trailer for this one just never struck a chord with me. Thank goodness there was a late night showing aboard my recent Disney cruise, or I might still not have caught this gem that ranks among Pixar’s best … and this is the studio that has gifted us the TOY STORY franchise, THE INCREDIBLES, UP, and INSIDE OUT – instant classics, each and every one.

Lee Unkrich and Adrian Molina team up as co-writers and co-directors for the 19th feature film from Pixar Studios. It’s the second Pixar film this year (CARS 3), but the first original (non-sequel) since 2015 (THE GOOD DINOSAUR, INSIDE OUT). This latest not only offers the most advanced visuals to date, it also features a complex story that touches on numerous topics: Mexican culture, family legacy, religious traditions, loyalty, following one’s own path, respect for the elderly, and remembrance of those deceased. If all of that sounds a bit too heavy-handed and deep for kids, keep in mind that Pixar charmed us with UP, the story of a man whose wife dies – yet, they kept us laughing with one word …”squirrel!”

The story focuses on young Miguel and his desire to sing and play guitar despite his long-standing family ban on music. Miguel is convinced he is related to the most famous Mexican performer in history, Ernesto de la Cruz, and he concocts a plan that corresponds to Dia de Muertos to convince his family that he must be allowed to play music. The film is respectful to this tradition as the living pay tribute to those who have passed. The deceased are invited back for this one night with beautiful flowers guiding them from the Land of the Dead to that of the living.

Miguel’s adventure is quite a wild ride as he navigates the path between the living and the dead. Somehow the film is even a visual step up from the colorful beauty of UP and INSIDE OUT, with the city and the unique flying creature being exceptionally stunning. The Pixar charm and personality are evident throughout – even in Dante, the ever-present dog. Many Mexican celebrities and historical figures (including Frida Kahlo) are noted, but at its core, this is the story of a boy pursuing his dream, no matter the obstacles.

Pixar fans will be relieved to know that the Pizza Planet truck makes an appearance, as does A113, and numerous other Easter eggs. John Ratzenberger keeps his Pixar streak alive, and though Anthony Gonzalez (Miguel), Gael Garcia Bernal (Hector) and Benjamin Bratt (Ernesto de la Cruz) all do fine work, this one is not so much about the voice acting as it is about the tremendous story and art work. Remarkably, Pixar has done it again … an animated masterpiece that is among its finest yet. Parents should note that the film is rated PG, rather than G. There are talking skeletons and a couple of scenes that could frighten young kids.

watch the trailer:

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

SECRETS OF SPANISH FLORIDA (PBS doc, 2017)

December 26, 2017

 

Greetings again from the darkness. Most of us have been spoon-fed the same basic history of the first settlements in the United States. Sure, you’ve heard mention of the Vikings, but it’s more probable your textbooks referred to the Plymouth Rock landing and the British settlement of Jamestown as “the beginning”. This latest entry in the PBS series “Secrets of the Dead” explores the relatively recent information that has been compiled in regards to the role of Spain, France, Britain, and the Native Americans in the state of Florida some five decades prior to the Pilgrim landings.

St. Augustine, Florida has long been recognized as the oldest city in the United States, and it’s only recently that more of the details of its place in history have been discovered. It occupies a central role in the story told here by Historians, Archaeologists, and Archivists as they guide us through a timeline of events that should definitely be taught to U.S. students. It seems clear we have inherited the British version of American history, which ignores the importance of Spain and the melting pot of nationalities that first settled.

The documentary kicks off in September 1565 and carries us through the American Revolution, the War of 1812 and into the mid-19th century. We are informed of such key figures as Pedro Menendez de Aviles, Jean Ribault, Sir Francis Drake, and the most fascinating story of Francisco Menendez. The realities of British slavery vs Spanish slavery is detailed, specifically the first settlement of free Africans which occurred 125 years prior to the Emancipation Proclamation.

One of those interviewed refers to this as American History “Revised”, and it should more likely be referred to as American History “Corrected”. With so much attention and action occurring in Florida, we should all be educated on how the various battles and settlements played a role in establishing the foundation of this country. In this two hour window, PBS provides an enormous amount of new information … presented in a manner that makes sense for most anyone old enough to understand the importance.

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

THE POST (2017)

December 25, 2017

 Greetings again from the darkness. It’s the first time a movie marquee has read “Spielberg-Streep-Hanks”, so expectations are sky high – and rightly so. The result is level of cinematic preciseness we don’t often see. As an added bonus, it also features both historical and contemporary relevance – the type of relevance that forces us to consider where we stand and what type of society we prefer. So for the price of a ticket, we get Hollywood star power, a history lesson, and current societal commentary … now that’s a holiday bargain!

Meryl Streep stars as Katharine (Kay) Graham, the first female publisher of a major U.S. newspaper, and she delivers her most nuanced performance in years … that of a conflicted woman coming to grips with her immense power at a time when many men believed she lacked the capacity for making such far-reaching and weighty decisions. Tom Hanks slides into the loafers of Ben Bradlee, the hard-charging editor of Ms. Graham’s newspaper, The Washington Post. The role fits Hanks like a glove, and he even brandishes Bradlee’s trademark growling speech pattern. Bradlee is laser-focused on what he believes is the right thing to do, and steadfast in his commitment to the cause.

Of course, the dilemma faced by these two involved the Pentagon Papers scandal of 1971. The film kicks off with a quick timeline of the political maneuverings that led to, and escalated, the Vietnam War. When Daniel Ellsberg (Matthew Rhys) leaked documents from the Defense Department’s study on decision-making during the Vietnam War, and the New York Times published some of the pages, the ramifications were numerous and the fallout was ugly. The complicated web of deceit and bad decisions spanned 5 Presidential administrations (Truman, Eisenhower, Kennedy, Johnson, and Nixon). It became obvious that those in power continued a war they knew we couldn’t win. The cover-up was widespread and the string of lies were delivered by many. The government lost the people’s faith, and then tried to crush the free press that had exposed its dirty secrets.

It’s only been a couple of years since SPOTLIGHT won the Oscar for Best Picture, and now that film’s Oscar winning writer Josh Singer teams with Liz Hannah on a script that is elevated by an extraordinary cast and crew. We get the real feel of the organized chaos of a newsroom, and it’s a thing of beauty. The clacking of typewriters, exuberant phone conversations, and a cloud of cigarette smoke all blend to create the fabric of an institution designed and intended to deliver the truth. As with all things, it’s never quite so simple. We learn of the historical collusion between press and politics, as reporters and editors commingled with politicians, only to draw the line when deemed necessary. Both sides have flaws, yet as citizens, we simply can’t tolerate the government manipulating and even quashing the free press – a free press designed to protect the governed, not those that govern (per the Supreme Court decision).

Steven Spielberg has delivered a master class of ethics vs legalities vs political power, touching on not just the responsibilities of all parties, but most crucially on the conflicting objectives of a free press (making money) and the government system (getting elected) it is charged with holding accountable. Cinematographer Janusz Kaminski (two time Oscar winner, SAVING PRIVATE RYAN, SCHINDLER’S LIST) captures the authenticity of the newsroom, the intimacy of private discussions, and the fascinating look back at typesetting machines and a newspaper delivery system that silently forces us to recognize the power of today’s internet.

As you would expect, the supporting cast is remarkable and deep. Bradley Whitford, Bruce Greenwood (as Robert McNamara), Alison Brie (Kay’s daughter), Carrie Coon (reporter/editor Meg Greenfield), Sarah Paulson (as Bradlee’s wife), Jesse Plemons (attorney Roger Clark), and Michael Stuhlbarg (as NY Times publisher Abe Rosenthal) all bring realism to their roles. Two particular standouts are Tracy Letts (Ms. Coon’s real life husband) as Kay Graham’s trusted advisor Fritz Beebe, and Bob Odenkirk as The Post reporter Ben Bagdikian who meets with Ellsberg.

Gender inequality of the era is front and center for many scenes – sometimes even a bit too showy or distracting. The prime example is the scene where Ms. Graham is leaving the Supreme Court through a sea of silently admiring women – an unbelievably disproportionate crowd make-up. The gender point is made clearly through the position of Kay Graham and her actions, and no further proverbial slaps upside the head were required for the audience to “get it”. A rare Hindenburg joke is tossed in, and Bradlee is referred to as a pirate … two attempts to lighten the mood on a story that deserves serious attention. Composer John Williams’ score is never over the top, and perfectly complements the various conversations throughout. The film is quite clearly meant to impress how history repeats itself = those in power believing they are above all, while the free press tries to expose the abuses. It also makes the point that we as citizens must remain vigilant in our pursuit of the truth, as all sides have an agenda … sometimes it’s as complicated as covering up bad decisions, while other times it’s as simple as driving up the stock price. With its cliffhanger ending, Spielberg’s film could be viewed as a prequel to the fantastic 1976 film ALL THE PRESIDENT’S MEN, and that’s pretty lofty company.

watch the trailer:

2 Comments | Drama | Tagged: , , , , , , , , , , , , , , , , | Permalink
Posted by David Ferguson

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