SWEET VIRGINIA (2017)

November 15, 2017

Greetings again from the darkness. Murders-for-hire evidently have a better success rate in real life than in movies, because cinematically speaking, they usually result in quite the mess for all involved (and some who aren’t). Fresh off the 2012 Black List for best unproduced scripts, the screenplay from twin brothers Benjamin China and Paul China offers up a neo-noir with a familiar enough premise in a not-so-familiar setting.

Director Jamie M Dagg offers little chance for us to settle in, as a violent and seemingly senseless triple murder occurs within the first few minutes. We get our Bang Bang, with the Kiss Kiss soon to follow. The usually friendly game of poker among friends goes south quickly thanks to Elwood (Christopher Abbott, IT COMES AT NIGHT), a stranger in town. We soon enough learn that he is in town on “business”, and now that the job is done, he expects to be paid.

Elwood not-so-patiently awaits his pay day while staying at the Sweet Virginia Motor Motel. It’s a simple inn inherited by, and now run by, Sam Rossi (Jon Bernthal) – a former rodeo star who these days battles multiple physical issues with pain dulled only by his morning weed ritual, and an ongoing affair with one of the ladies recently widowed by the Elwood’s gun. Sam is shaggy looking, mellow and quite a pleasant fellow who seems like many in this quite small Alaska town … living here for the solitude and anonymity.

Imogen Poots plays Lila, and Rosemarie DeWitt plays Bernadette. Their unhappy marriages of 3 and 18 years respectively have ended abruptly, and while neither is much into grieving, they both have new problems with which to deal. There is an unusually scarce police presence given that a triple homicide of local citizens has just occurred, but the focus here is on the four main characters, and especially on the two men.

Elwood is exceedingly high-strung and prone to violent outbursts, while Sam is congenial to all, and generous with his time and advice to local high schooler and motel employee Maggie (Odessa Young). To ensure that no viewer is left behind, there is a diner scene that emphasizes the polar opposite personalities of Elwood and Sam. Rather than pack the intended punch, it mostly just comes across as obvious and unnecessary. And that in a nutshell, is what keeps the film from being a bit more intriguing.

While there is not a lot of excess talking, death hovers over most scenes and conversations. The connection between Sam and Elwood marks the sometimes easy bond of strangers, while the fractured marriages of Lila and Bernadette show how character flaws are unveiled over time. Jessica Lee Gagne’s cinematography and the slow pacing to match the setting are both to be admired, but the film lacks any type of artistic or stylish differentiation, and relies solely on the fine performances of the cast. It’s certainly no BLOOD SIMPLE or HELL OR HIGH WATER, but it’s interesting enough to hold attention for 90 minutes … despite the mess being all cleaned up and tidy by the end.

watch the trailer:

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

DEAD CALM (1989) revisited

November 12, 2017

 Greetings again from the darkness. For years, I considered this one of my favorite guilty pleasures; however, I now realize just how unfair that label is. After nearly 30 years, this arm-rest-gripping thriller from director Phillip Noyce (CLEAR AND PRESENT DANGER, RABBIT-PROOF FENCE, THE QUIET AMERICAN) deserves respect as a well made (except for the ending), well written and well acted film. It proves that two boats may not be enough for three people.

Terry Hayes adapted the screenplay from the 1963 Charles Williams novel, and the production team, including George Miller, is behind the MAD MAX franchise. Cinematographer Dean Semler won an Oscar a couple of years later for DANCES WITH WOLVES, and his eye brings us some terrific shots … none better than an early view of both boats and an expanse of sea.

Of course the film is best known for showcasing a young up-and-coming actress named Nicole Kidman. She began her career at age 16, and was still only 21 when this one was filmed. Her youthful features had yet to make way for the mature and stunning woman we know today. The following year she appeared in DAYS OF THUNDER, kicking off her Tom Cruise era. In the quarter century since, Ms. Kidman has reached the pinnacle of the acting profession and is a four time Oscar nominee, winning for THE HOURS. She has gained respect for never shying away from tough or controversial roles, and in 2017 has excelled in THE BEGUILED and THE KILLING OF A SACRED DEER. Earlier in the year she won an Emmy for her challenging role in “Big Little Lies“.

Ms. Kidman’s role here is as Rae, a mother entertaining her young son by singing “Eensy Weensy Spider” as she drives through a torrential storm that would eventually lead to an accident that tragically kills the boy. Soon Rae and her military officer husband John (Sam Neill) are off on a rehabilitation trip aboard their sailing yacht . Their peaceful time together is interrupted as they spot a stalled schooner off in the distance, and a man frantically rowing a skiff towards them. They help a dazed and profusely sweating Hughie (Billy Zane) on board as he explains how the other passengers on The Orpheus all died from botulism. When John goes to check out The Orpheus, Hughie commandeers the yacht from Rae and heads off leaving John seemingly helpless on the sinking vessel.

What follows is some extraordinary tension and psychological gamesmanship that keeps us enthralled with the three characters. The juxtaposition between the two boats is fascinating. As John’s resourcefulness meticulously brings the dying Orpheus back to life, Rae and Hughie are involved in a mental chess match of life and death between a sociopath and a mother in mourning. There is also a creative manner in which John (and viewers) picks up some of the bleak backstory casting doubt on Hughie’s tale.

Sam Neill was in his early 40’s, and this was four years before his Dr. Grant took the tour of JURASSIC PARK, where no expense was spared. In 1988 he had portrayed Meryl Streep’s husband in A CRY IN THE DARK, and recently his strong, silent persona has been key to the success of HUNT FOR THE WILDERPEOPLE (one of the best from 2016) and TV’s “Peaky Blinders”. Billy Zane, age 22 at the time of filming, makes a wonderfully frenetic entrance in the film. He met his wife Lisa Collins on this shoot – she’s one of the unfortunate Orpheus passengers. He has also enjoyed a long and consistent career, with his most recognizable roles being from TOMBSTONE (1993) and of course as Rose’s jealous fiancé in TITANIC (1997). His cameos in the ZOOLANDER movies are legendary in comedy, and now in his 50’s, Mr. Zane remains extremely busy as an actor.

The tagline for the movie: “When you are in the middle of nowhere, there’s nowhere to hide” is terrific, and the confines of a boat at sea set the stage for a life lesson – sometimes you just have to fight. Orson Welles worked on his version of the film for years, but the project was never finished. Instead, director Phillip Noyce and three excellent actors deliver a taut thriller that keeps our palms sweaty … at least right up until that ghastly ending that somehow leaves me annoyed and laughing in frustration.


 

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

DADDY’S HOME 2 (2017)

November 9, 2017

 Greetings again from the darkness. It’s rare for a sequel to be a better film than the original, and we are entering unicorn territory when dealing with comedy sequels improving on the first film. So hearing that most of the original cast is back for material from the same creative team – director Sean Anders and his co-writers Brian Burns and John Morris – well, expectations would normally be pretty low. However, all of that changes when we learn of two cast/character additions: Mel Gibson and John Lithgow.

After the fierce daddy competition between Brad (Will Ferrell) and Dusty (Mark Wahlberg) in the original two years ago, this film picks up with what looks to be a very healthy co-dad environment for all involved. In comedy-based cinema, the best way to disrupt a happy family synergy is to introduce the Christmas season and the sure-to-follow family turmoil. Enter Mel Gibson as Dusty’s estranged dad, and John Lithgow as Brad’s so-close-it’s-too-close dad … and let the holiday escapades begin.

At its core, this is an observational comedy about the contrast between old school and contemporary fatherhood – machismo vs emotionally open. Mel Gibson is key to the story working on multiple levels, and his performance is a reminder of his immense screen talent (in spite his personal life issues). His character’s idea of being a father has been around for many generations. Toughen up the kids and make sure they are strong and independent. Keep those emotions close to the vest. On the other side is John Lithgow and his over-hugging and blubbering true feelings approach.

The familiar supporting cast holds up their end admirably. Linda Cardellini and Alessandra Ambrosio are back as Brad’s and Dusty’s wives, respectively. Scarlett Estevez, Owen Vaccaro, and Didi Costine are back as the kids – each with their own quirks and growing pains. Even John Cena returns as Adrianna’s biological father, and to deliver one of the film’s best punchlines, as well as a bit that might forever ruin Christmas caroling for you.

The trailer, as with most comedies these days, gives away too many of the funny moments, so don’t expect any additional spoilers here. There is some comedy brilliance mixed in with the cheesy, over-the-top slapstick (a snowblower scene that could have easily worked in CHRISTMAS VACATION almost 30 years ago). The brilliant moments are often the quieter ones, and they focus on parenting, family, and the challenges of childhood. There is a surprising and unusual cameo near the end, and the movie is well executed to satisfy its built-in audience, while also capitalizing on those who enjoy (and/or need) a good, clean comedy at Christmas time.

watch the trailer:

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

MURDER ON THE ORIENT EXPRESS (2017)

November 9, 2017

 Greetings again from the darkness. Who doesn’t love a good whodunit? Don’t we all find a bit of guilty pleasure in being the mastermind who solves a fictitious murder case? Has anyone ever been better at crafting an intricate murder mystery than Agatha Christie? Why all the questions? Well, that’s nothing compared to what “probably the world’s greatest detective”, Hercule Poirot, must answer amidst the foul play aboard the sleek, luxurious, and snowbound Orient Express.

This latest film version has Michael Green (BLADE RUNNER 2049, LOGAN) with the adapted screenplay and Kenneth Branagh directing and starring as the fabulously mustachioed Poirot (with his own take on the iconic super-sleuth). Like the near-perfect 1974 version, this latest adaptation succeeds in capturing the theatricality, while avoiding any stodgy staginess. Director Branagh shot on film and it pays off in both the stunning snow-covered mountains and landscapes, as well as the tight, precisely-blocked interior shots around the exceptional set designs.

Fans of the novel will notice some shifting of character names, professions and backgrounds, although the vast majority of the story remains intact … including the early murder that occurs not long after the film ingeniously introduces us to each of the characters. The cast is strong and deep, and in addition to Mr. Branagh, features: Penelope Cruz, Willem Dafoe, Dame Judi Dench, Daisy Ridley, Leslie Odom Jr, Josh Gad, Johnny Depp, Derek Jacobi, Lucy Boynton, Michelle Pfeiffer, Olivia Coleman, Sergei Polunin, Manuel Garcia-Rulfo. All are suspects – well, except the victim.

If you haven’t read the novel or seen a previous version, know that the fun is in ride. Follow along as Poirot dispenses zingers throughout, while maintaining a most precise commitment to balance in all things. He is an exacting and fastidious man, and as entertaining as he is skilled in crime solving. Note that the photograph he keeps of his one true love Katherine, is actually a photo of young Emma Thompson (Branagh’s real life wife). Enjoy keeping track of the clues and hints, while also tracking the widely diverse personalities, excuses and alibis. Most of the many characters only have a couple of key scenes, and it’s quite fun to see what these talented performers make of their moments. Daisy Ridley, Lucy Boynton and Derek Jacobi make the most of their time, while Penelope Cruz overplays hers. Other than Branagh, the star who shines the brightest is Michelle Pfeiffer (fresh off a killer performance in MOTHER!). She continues to remind us just how talented she is, and no, your ears aren’t playing tricks … that’s Ms. Pfeiffer singing “Never Forget” (lyrics by Branagh) as the closing credits roll.

Ms. Christie’s outstanding novel was first published in 1934, and is somewhat based on the Lindbergh baby kidnapping and her own train-riding adventure. It’s a wonderful and perplexing read … one that will have you changing your mind multiple times on who you believe to be guilty of murder. It’s obviously a personal favorite. There have been numerous movie versions over the years, and none have matched the excellence of director Sidney Lumet’s 1974 film with an incredible all-star cast alongside Albert Finney’s Poirot. Though this most recent movie doesn’t reach the timelessness of that one, no movie can be expected to capture the detail and maze-like structure of the novel. It’s still quite fun – and a true joy- to see the pages come to life (irony intended) on the big screen.

watch the trailer:

 

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

NOVITIATE (2017)

November 9, 2017

Greetings again from the darkness. As recognized at Sundance, this is a commendable debut feature film from writer/director Margaret Betts. It touches on subjects as thought-provoking as traditions in religion, faith, youthful romanticism, and most poignantly, first love. The film is at its best when focusing on the frustration, anger and confusion of both a helpless parent and the teenage girls so full of innocence as they try to come to grips with a decision their maturity level has them incapable of making.

Margaret Qualley (“The Leftovers”, and real life daughter of Andie MacDowell) stars as Cathleen, a 17 year old girl whose small town life included parents who divorced when she was younger. Her mother (an excellent Julianne Nicholson) is a foul-mouthed, chain-smoking agnostic who embraced the responsibility of raising Cathleen, even after the father stormed out of their lives. As they stand face-to-face and Cathleen announces she is going to become a nun and proclaims “I’m in love with God”, we all share the parent’s pain as a mother stares back incredulously, knowing full well a 17 year old is incapable of making such a decision on her own.

At the convent we meet Reverend Mother (Melissa Leo), a woman so devoted to the cause that she hasn’t stepped foot outside the fortress-like walls in 40 years. As she explains to the nuns-in-training that her voice is God’s voice, it brought back memories of Alec Baldwin’s surgeon character in MALICE (1998) stating in a perfunctory manner, “I am God.”

The story follows (at least) three stories: the Reverend Mother, Cathleen and the other nuns, and that of the powerless parent. The setting is the early 1960’s and an ordinance known as Vatican II has just been issued. It was designed to restructure the Catholic Church (for the first time in a century) and have it become more contemporary – allowing the nuns to better serve society. Unfortunately, many of the long-term nuns did not embrace the changes and it rocked their daily routines. Adding salt to their wounds was the fact that the changes were mandated from Rome with no input from the nuns – signaling the beginning of a still-present lack of power for women in the church. This is oh so evident in a scene with the Archbishop (Denis O’Hare) explaining to Reverend Mother how she missed the “subtext” in the suggestions.

Most of the film focuses on the group of girls who are shielded from the outside world and its temptations as they go through the rigorous training on the path to solidifying their love of God. What we see is that these girls are simply trying to figure out their own identities as the system works to drain human nature from their souls. The scenes of solitary prayer are powerful as they each wrangle with their beliefs, faith and true self. Typical teenage giddiness is on display as the girls wear their white dresses and veils on the day of vows. Their elation around the campfire is more creepy than comforting. Most painful of all are the “circle of faults” that Reverend Mother subjects the girls to. Morgan Saylor (“Homeland” daughter) plays one of the Sisters and has one of the most gut-wrenching scenes in the film. Most of us have never been through anything close to this and would label it cruel and manipulative.

Cathleen’s mother visits when allowed and dutifully shows up for all ceremonies. We can feel her pain as she strives to will some common sense into her daughter – never giving up hope. It’s crucial to note that Ms. Betts does not attempt to take down the church. Rather her story seeks to explore what inspires these young girls to make such a decision, and the emotional turmoil that goes into it. The film kicks off with a narrated “We were women in love”, and ends with a footnote explaining that 90,000 nuns left the convents after Vatican II. If you can connect with the hopeful girls, perhaps the film will have the intended emotional gut punch for which it strives. For the rest of us, we are left with no real explanation, nothing to uplift us, and the crushed spirit of a 40 year devoted nun. On the bright side, the arrival of an exciting, new filmmaker is always worthy of celebration … no need to comfort me.

watch the trailer:

 

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

LAST FLAG FLYING (2017)

November 8, 2017

 Greetings again from the darkness. Apprehension and trepidation are the emotions that strike whenever anyone compares a movie to the classic 1973 Hal Ashby/ Jack Nicholson film THE LAST DETAIL. That holds true even if the novel the film is based on was written by the same author (Darryl Ponicsan) who wrote “The Last Detail” (1970), and even if the new film is directed by one of the finest directors working today – Richard Linklater. This latest doesn’t play like a true sequel, but the reuniting of three men who served together in Vietnam does hammer home a couple of interesting statements while also delivering the type of dramedy that 2017 audiences tend to connect with.

Larry “Doc” Shepherd (Steve Carell), a former Navy medic, has had the type of year that no one deserves. It’s 2003 and he has just been notified that his Marine son was killed in action while on duty in the war in Iraq. This comes only a few months after Doc lost his beloved wife to breast cancer. It’s too much for him to handle on his own, so he embarks on a mission to ask his Vietnam buddies from three decades prior to accompany him to claim his son’s body at Arlington National Cemetery.

His two buddies are former Marines Sal Nealon (Bryan Cranston) and Richard Mueller (Laurence Fishbourne). Sal is a washed out dive bar owner and Mueller is now the Reverend at a small church. The three men share the burden of a war secret that each has tried to forget, and they begin what’s basically a road trip movie of middle aged men bonding during what is the absolute low point in life for one of them. Simultaneously, it also seems like an opportunity for all three to rejoin the living.

Lost idealism is the shared trait now among the three men, though their levels of cynicism vary. Edwin Starr sang it, and the characters in this movie openly question: War … What is it good for? Doc, Sal and Mueller have separated themselves from memories of war in three distinct ways – family, booze, and God. It’s only by reconnecting with each other that they begin the long overdue process of reflection. TV’s are tuned to the capture of Saddam Hussein from the spider-hole, and the similarities of the Vietnam and Iraq wars are contemplated. These are patriotic men who once trusted the government, but are now so disenchanted they ask “what’s the point?”

Mr. Cranston has the showiest role, but it’s Mr. Carell who shines as the still-in-shock father. J Quinton Johnson also excels as the young Marine charged with accompanying the gentlemen, and the best scene of the film features Cicely Tyson as the mother of a long ago fallen soldier who crossed paths with the three leads. As you might expect in a Linklater movie, the musical choices are unusual and spot on. Bob Dylan (“Not Dark Yet”), Neil Young (“Old Man”), Eminem (“Without Me”), and Levon Helm (“Wide River to Cross”) are all included.

The film is certainly an unusual blend of comedy, tragic drama, and contemporary political commentary. Unfortunately, the contrivances are too many and too frequent to allow the film and characters to breathe and achieve the greatness of a true message movie. It teases us with flashes us brilliance and then pokes us in the ribs with another goofy sidebar as if to say “just kidding”. It seems this would have been better served as an intimate portrayal of these three aging men who were willing to die for their country than as a giant political anti-war statement and an accusation of how evil the government is. The ultimate message Linklater drills home: be a good friend, and be a good person. We can never have enough of those.

watch the trailer:

 

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

FRANK SERPICO (2017, doc)

November 2, 2017

 Greetings again from the darkness. Deciding whether a whistleblower is a hero or a “rat” usually depends on which side of the issue you fall. The line is not quite so clear in the case of Frank Serpico, the New York cop who exposed massive corruption in that city’s police department in the late 1960’s and early 1970’s. Of course the crooked cops vilify him as a rat, but even the good cops are divided … some believing a cop should never break ranks and go against another cop.

After testifying in 1972, Frank Serpico left it all behind (spending time in Holland). It’s now 45 years later, and director Antonino D’Ambrosio allows him to tell his own story directly to the camera. If you have seen the 1973 film SERPICO (directed by Sidney Lumet and starring Al Pacino), you will recognize some of the referenced stories and situations, and realize how closely the movie followed the Peter Maas book. Despite his theatrical nature – he seems to be a thespian at heart – Mr. Serpico is so committed to truth that we find it difficult to question much of what he says. This is a man that yelled “cut” during the filming of a scene in the movie … he claims the events depicted in the scene never happened, so they shouldn’t be part of the movie. Yes, he was then banned from the set.

Serpico’s stories are irresistible and we are captivated by the charm and personality of the now 81 year old who seems both at peace with the past, and crystal clear on what it has meant to his life. There can be a fine line between hero and villain, and sometimes the legend holds up when the facts are known. Through the years, Serpico has remained true to his ideals … the same ideals that were present when he was a kid working at his immigrant father’s shoe shine store.

The film’s presentation is terrific as Serpico takes us on a tour of that old family business (now a diner), his childhood home, and first Greenwich Village apartment. He then meets up with Arthur Cesare, one of his partners that fateful night of February 3, 1971. A drug bust resulted in Frank being shot in the face and leading to questions of a set-up and slow police response. These are straight talking New Yorkers who uncharacteristically dance around the topic, leading us to believe there is something to the rumor. It’s a powerful segment.

The clips and photographs take us back to that era, and there are interviews from neighbors, friends, partners, Ramsey Clark (his attorney), journalists, writers, and other cops. It seems clear that payoffs were “part of the scene”, and that some cops were simply too afraid to not go along. We see the distinctive New York magazine cover showing Serpico’s skull with the bullet visible in the x-ray. Actor John Turturro describes him as an inspiration, while others state Serpico suffers from PTSD (who could blame him?).

“Never run when you’re right.” That’s the advice Frank says he got from his father, and what we see on screen is a man who refused to accept the corruption of an institution he believed should be above it all. He accepts the hate from those who see him as anything but true blue, and also refuses to see himself as the hero who stood up when someone needed to. On what side of the line do you fall?

watch the trailer:

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

LBJ (2017)

November 2, 2017

 Greetings again from the darkness. More than 50 years after his death, President John Kennedy casts an ever-present shadow over Lyndon Baines Johnson’s career as a stellar politician and a President with significant accomplishments. Part of the reason is presentation – JFK was a story book leader straight from the fashion magazines, while LBJ was a vulgar-at-times comic book adversary who looked and talked funny. Each has been portrayed on film numerous times and from various perspectives.

Woody Harrelson and his facial prosthetics play LBJ, and Mr. Harrelson seems to be enjoying the swagger and emotional range of the titular man. What this film does that’s a bit different from others is embrace the comedic elements – enhanced by both the performance and the script from Joey Hartstone. It seems odd (a somewhat awkward) to have so many laughs in a movie where the infamous 1963 Presidential motorcade, and subsequent assassination, form the backdrop.

Director Rob Reiner presents LBJ in all his crude and gruff glory, but also shows the ultimate politician – a man who was constantly negotiating. Intimidation was always part of the LBJ motif, and the film effectively displays the tactics used by John and Bobby Kennedy (Jeffrey Donovan, Michael Stahl-David) to take the wind out of LBJ’s sails after the election.

There are reenactments throughout the film that place us back in the middle of iconic images seared into our memories … the motorcade after the shots, the scene at Parkland, and the swearing in aboard Air Force One with Jackie still wearing her blood-stained Chanel suit. This was an incredible time in our history, as the nation was emotionally shattered. It’s for this reason that much of the film seems disjointed or misguided. Too much (or maybe not enough) attention is on LBJ’s strained relationship with Georgia Senator Richard Russell (Richard Jenkins), one of the most racist men we’ve seen on screen. Their discussion of race relations while being served dinner by the black woman is beyond uncomfortable – yet still somehow too stagey.

Most of the film is spent on LBJ’s time as Senator and Vice President, with only the final act being about his famous networking upon ascending to the Presidency … after which the entire focus is on the Civil Rights Act. The flow of the film seems a bit off, though most will enjoy watching Harrelson’s performance – especially when paired with Jennifer Jason Leigh’s Lady Bird. Together, the two almost rescue the script.

watch the trailer:

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

WAIT FOR YOUR LAUGH (2017, doc)

November 1, 2017

 Greetings again from the darkness. Rose Marie. There is a fear that her name and legacy are unknown to many these days, and director Jason Wise (SOMM, 2012) sets out to ensure that this giant of entertainment receives her due. Not many are famous at age 4 and go on to have an 87 year career singing and making people laugh. In fact, she’s likely the only one.

A big chunk of the film has 94 year old Rose Marie in the place where she is most comfortable – under the lights, looking directly into the camera. She shares some remarkable stories of her life, and walks us through a time line of the history of entertainment. It’s a history in which she played a significant role. We learn about her singing Sophie Tucker songs on stage in 1923 at age 4 (as Baby Rose Marie), and we hear her final credit as a voice actor on “Garfield” in 2013. In between, she received an NBC radio contract at age 5, and proceeded to star in Vaudeville, Radio, Broadway, Las Vegas, the nightclub circuit, and of course, Television. She was often referred to as “one of the boys”, but the reality is, she was a trailblazer for women performers.

In addition to Rose Marie’s own words, there is insight from Dick Van Dyke, Carl Reiner, Peter Marshall, her daughter Georgana Rodrigues, a long-time close friend, and many others. We learn that her “Uncle Al” was actually what Al Capone suggested she call him, and the other mobsters of the era were just “the boys”, all whom “were wonderful” to her. In 1944, during WWII, she met the love of her life. Bobby Guy was the lead trumpet for “The Bing Crosby Show”, and an extremely successful musician who played live in big bands, as well as on albums and film soundtracks.

The fascinating stories come fast and furious, and director Wise uses reenactments for some segments and actual photos and clips for others. Rose Marie working opening night with Jimmy Durante at Bugsy Siegel’s Flamingo in Las Vegas is particularly compelling, as Mr. Siegel’s career and life didn’t last much longer than opening weekend. Familiarity strikes once we reach the 1950’s boom era for television. A rare clip of Rose Marie’s first episode of “Gunsmoke” transitions into her wildly popular run on “The Dick Van Dyke Show” (1961-66). On the movie side, should you find yourself watching Gus Van Sant’s PSYCHO, you’ll now impress your friends with the knowledge that Rose Marie voiced Norman’s mother in that remake.

If this sounds like a recap of her career, you should know this barely scratches the surface, and half the fun is in feeling like she is telling her story directly to us. A 14 year run on “Hollywood Squares” is further testament to her comedic skills and quick wit. Rose Marie is comparable to Lucille Ball and Carol Burnett in both talent and impact, and deserves to be respected as such.

This is a well-made and important documentary about the history of entertainment, one remarkable woman’s career, her wonderful and tragic love story, and above all, a lesson in perseverance. At age 94, Rose Marie’s mind is razor-sharp despite the failings of her physical body. As she waits for her next job, she proves she can still tell a joke … and that even today, she never has to wait long for the laugh.

watch the trailer:

 

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

THOR: RAGNAROK (2017)

October 30, 2017

 Greetings again from the darkness. The ultimate cinematic dilemma … how to make the next comic book movie stand out from the (many, many) others? The brilliant answer comes from director Taika Waititi and co-writers Eric Pearson, Craig Kyle and Christopher Yost – a screwball superhero action film that delivers not only the required alien war scenes, but also a campy villain for the ages in a movie that may be the funniest of the year.

For those who prefer their superheroes dark and brooding, this one will be a shock. Prepare for Jeff Goldblum as the Grandmaster – the most polite villain we’ve seen in awhile, and one who looks to be straight out of the 1960’s “Batman” series. Chris Hemsworth as Thor is one of many returning actors/characters, only this time he really gets to flash his comic timing on top of his Thunder God biceps. His love-hate, trust-no trust, see-saw relationship with brother Loki (Tom Hiddleston) is in full force, as is the Bruce Banner banter with The Hulk (Mark Ruffalo). It’s certainly more in line with GUARDIANS OF THE GALAXY than the previous movies for Avengers.

As much fun as Goldblum brings to the party, this is really Cate Blanchett’s show. She is the frightening (with a dash of camp) Goddess of Death, and long-lost sister of Thor and Loki, and daughter of Odin (Anthony Hopkins). With a headdress that puts everyone at the Kentucky Derby to shame, Hela’s enormous powers are such that she crumbles Thor’s mighty hammer with little effort – just to remind everyone that big sisters are renowned for messing up younger brother’s toys.

Of course, with that title, we know that the story revolves around what could be the end of Asgard. Joining in the fun are: Idris Elba who is back as Heimdall, Tessa Thompson as a master of one-liners Valkyrie, Karl Urban as Skurge – rewarded with a wonderful exit scene, Ray Stevenson returns as Volstagg, and rocky alien Korg who is voiced by director Waititi. Fans of the series will be happy to know other familiar faces pop up periodically – one especially magical sequence teaches Loki a quick lesson.

In addition to the main rescue story line, the powerful villains, and crazy aliens, there are numerous nods and tributes to previous versions (notably Planet Hulk, and Fantastic Four), and a hilarious early stage play with three cameos that make it clear, big time laughter is here to stay. It’s fun to catch the reunions from such previous projects as Star Trek, JURASSIC PARK and Westworld.

Special acknowledgment goes to director Taika Waititi for hilariously taking the comic book film world down a different path. He’s known for his comedic projects like HUNT FOR THE WILDERPEOPLE (one of my favs from 2016), WHAT WE DO IN THE SHADOWS, and his work on the brilliant but short-lived “Flight of the Conchords”. It’s still very much a Marvel movie, with visible fingerprints of Stan Lee, Larry Lieber, and Jack Kirby. It’s also a fantastic adventure film that sets the stage for next year’s AVENGERS: INFINITY WAR, while also featuring the best use ever of Led Zeppelin’s “Immigrant Song”. So get ready to rock, roll and rollick in a film that is just about as much fun as you can have in a theatre.

watch the trailer:

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

« Previous Entries
Next Entries »