“Adventure-a-thon” THE LOST CITY OF Z

May 3, 2025

Blogathon “Adventure-a-thon”

The blogathons administered by Cinematic Catharsis and RealWeegieMidget Reviews are always fun to participate in … and the entries from talented writers make for interesting and enlightening reading. Unfortunately, my movie review schedule often prevents me from dedicating the necessary time, so I’m always excited when my lull corresponds to their next collaborative blogathon.

This time the topic is “Adventure”, and since so many movies and TV shows fall into that category, the challenge was in selecting one that I not only left me in awe, but also hasn’t received the recognition it deserves (in my opinion). On this basis, my choice became:

 THE LOST CITY OF Z (2016)

It’s been almost ten years since this film from director James Gray was released, and I’ve recommended it many times to folks who were unfamiliar or unaware. The film is expertly photographed by cinematographer Darius Khandji (a two-time Oscar nominee) and is based on the book by the absurdly talented David Grann, whose books also include one of my personal favorites, “Killers of the Flower Moon”. The screen is filled with green and golden hues (similar to OUT OF AFRICA), providing a sense of realism and a touch of romanticism to the true adventures of the bold explorer, Percy Fawcett.

Charlie Hunnam (fresh off his “Sons of Anarchy” run) portrays military man and explorer Fawcett (often) through quiet strength and a doggedness to discover what is ahead. Helping us to understand this man’s heroic actions, director Gray divides the presentation into three areas: the stuffy, poorly lit backroom of London’s power brokers; the 1916 WWI front line where Fawcett’s courage is on full display; and the Amazon jungles where Fawcett strives for glory and redemption. No matter that we viewers would be satisfied with a film focusing only on those last two circumstances of action, Gray wisely recognizes that it’s the debates and conversations within the backrooms that motivate Fawcett to never give up the fight.

With a run time of 2 hours and 21 minutes, the film is quite long, yet it never seems so thanks to the three main Fawcett expeditions of focus. In 1906 the Royal Geographic Society enlisted Fawcett for a “mapping” journey to distinguish boundaries around Bolivia in what had become a commercially important area to the abundance of rubber. It’s on this adventure where Fawcett cracks wise about overcoming his “poor choice in ancestors”. He’s joined on this expedition by the great Franco Nero, and it’s also the one that lights Fawcett’s lifelong obsession with proving the existence of Z (Zed), an earlier advanced society.

1912 brings the second Amazonia expedition – the one in which renowned Antarctic explorer James Murray (played her by a snarling Angus Macfayden) joins Fawcett and his loyal and expert travel companion, Henry Costin (a terrific Robert Pattinson). The trip proceeds as one might expect when an ego-driven, unqualified yet wealthy passenger hitches a ride for glory alone. Murray’s history is well documented, and the film treats him just as we’d expect.

It’s the third trip (1925) that Fawcett makes with his son that will not only prove to be his last, it’s also the one that left unanswered questions which writer Grann felt compelled to research for his book. What possesses a man to hop into a wooden canoe on unchartered waters and trek through lands and jungles with no known back story? The spirit and mettle of such a man defines the legacy of Percy Fawcett. The film also offers us glimpses of life at home for Fawcett with his wife Nina (Sienna Miller), who flashes signs of early feminism. One of their kids is played by Tom Holland (giving us a future Spider-Man and future Batman – Pattinson in the same movie).

The film leaves an impact for many reasons: it looks stunning, Fawcett’s life was fascinating, the adventures are dangerous and breathtaking, we gain a sense of the courage required for such explorers. This was also the year of LA LA LAND – and the MOONLIGHT mess on stage – and James Gray’s film was overlooked for awards, but even all these years later, it still offers an movie-watching experience like few others.

Trailer: THE LOST CITY OF Z

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Posted by David Ferguson

THE SURFER (2025)

May 1, 2025

Greetings again from the darkness. There are a few actors who regularly take on roles that leave us hoping they are nothing like those characters in real life. Willem Dafoe comes to mind, but the president of that club would be Nicolas Cage. Over the last 18 years or so, no actor has more often regaled us with emotional and mental unraveling on screen. Keep in mind it’s been thirty years since he won his Oscar for LEAVING LAS VEGAS.

This time, it’s the second feature film from Lorcan Finnegan (VIVARIUM, 2018) that finds Cage’s titular character on a downward spiral. The script comes from Thomas Martin, and opens with a father (Cage) driving along the Australian coastline, preaching surfer philosophy to his son (Finn Little, THOSE WHO WISH ME DEAD, 2021), who’s a bit miffed that he got dragged from school to hear the lecture. It turns out dad wants to spend the day surfing with his son so he can show him the house he’s purchasing. It’s the cliffside family home once owned by his grandfather.

It all sounds lovely until two things happen. The real estate deal is in jeopardy because Cage has been outbid, requiring him to raise an extra hundred grand fast. More dramatically, when the father and son hike down to the beach carrying their surfboards, they are accosted by locals who live by the mantra, “Don’t live here. Don’t surf here.”. Cage explains that he used to live there, is buying a house there, and just wants to surf with his son. The group of ‘Bay Boys’ threatens to get physical, sending father and son back up the hill.

These bullies have created a ‘localized’ culture at Luna Bay through inspiration served up by their cult-like leader, Scotty “Scally” Callahan (Julian McMahon, “Nip/Tuck”), a former classmate of Cage’s character. Now most reasonable folks would just pack up and leave, but this is a man on the edge. His divorce is pending, his relationship with his son is shaky, his boss is pressuring him to finish a project, and his dream real estate deal is crumbling. Cage is a frazzled middle-aged man, and we are about to witness things get much worse for him.

The patented Nic Cage downward spiral involves a local homeless man (Nicolas Cassim), a public restroom, a kiosk, and frequent run-ins with the ‘gang’ of local surfers. Even the local cop (Justin Rozniak) tries to encourage Cage to give it up and head out. However, the inner demons of a man who has worked hard for a specific goal that is now within grasp – or maybe just out of reach – begin to take over. This may seem like the beginning of a breakdown for Cage’s character, but the truth is that it began long before.

Is this psychological, psychotic, or psychedelic? We are never quite sure, especially as the sun beats down on Cage and he has flashes of childhood trauma … a precursor to where this is all headed. Are these nightmares or hallucinations? It plays out kind of slowly, but we do enjoy the stylish approach of director Finnegan and cinematographer Radek Ladczuk (THE BABADOOK, 2014), whose visuals juggle the blistering glare of the sun, sweat and stains on Cage, and the stunningly beautiful blue ocean. Additionally, it’s Australia, so you know there will be a snake, as well as other critters like bugs, birds, a rat, a porcupine, and dogs. As Cage’s material status possessions are stripped away (phone, watch, car, clothes), it is all accompanied by composer Francois Tetaz’s music that can be described as hypnotic or ethereal. There is an ending that many might take issue with, but after so many times thinking “Just leave, dude”, I was willing to take whatever happened. How long until a theater runs an entire festival of Nic Cage Midnight Movies?

Opens in theaters on May 2, 2025

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Posted by David Ferguson

BORROWED TIME: LENNON’S LAST DECADE (2025, doc)

May 1, 2025

Greetings again from the darkness. Documentarian Alan G Parker is not the British director Alan Parker who was twice Oscar nominated (MISSISSIPPI BURNING, 1988; MIDNIGHT EXPRESS, 1978), but he is the same Alan G Parker who has directed numerous music-based documentaries, including projects on The Sex Pistols, The Beatles, Status Quo (I’d like to track down that one), and KISS.  As the title makes clear, his latest work is a focused look at John Lennon’s final years in New York, leading up to his murder in 1980.

When we think of John Lennon, we tend to associate him with three things: The Beatles, Yoko Ono, and his being murdered in cold blood outside The Dakota, his NYC residence. Parker’s film focuses on the 1970s after John and Yoko moved to New York. Through interviews and archival clips, we get the sense that John was constantly attempting to discover who he was, post-Beatles era. Whether he was a husband, a father, an activist, or a recluse, one thing seems certain – music was vital to his existence. In fact, he was in the planning stages for a tour to support his “Double Fantasy” album in the days before he was gunned down. Some of those involved contribute here.

Lennon fans are the target here, and even though I just watched and reviewed Kevin Macdonald’s ONE TO ONE: JOHN & YOKO just two weeks ago, the numerous interviews on display here are still interesting, providing personal insight into the man. These interviews are with folks like Tony Bramwell, Ray Connolly, and Phillip Norman, and include friends, musicians, journalists, and other industry sorts. Most of the recollections are personal in nature, though based in the professional world of music. There is a sense of awe as each explains their connection to the icon. What’s missing is any sampling of Lennon music.

We gain insight into the planned tour (and the next album), plus some details about May Pang and “the lost weekend”, his legal row with Paul (“How do you Sleep?”), and the drug use. There is also quite a bit regarding Lennon’s struggle to obtain his Green Card, and the challenges of being dad while bearing the weight of being a former Beatle. Parker includes the now infamous street interview of gum-chewing Paul McCartney who was still somewhat in shock immediately after his lifelong friend’s death. We also see Ringo and George appearing on a talk show sharing their thoughts. For many, this doc will prove to be a bit too long and filled with too many personal recollections, yet Lennon fans will always accept a bit more on the man who continues to fascinate so many years later.

Opening in UK cinemas on May 2, 2025

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Posted by David Ferguson

ON SWIFT HORSES (2025)

April 26, 2025

USA FILM FESTIVAL

Greetings again from the darkness. One need only watch a couple of episodes of “Leave it to Beaver” to comprehend just how ideal and perfect family life in the 1950’s was. Only that was a Hollywood façade and real life was much different, especially for anyone who wasn’t a straight white male … and even many of those served in the military during the Korean War and/or faced the pressure of being the sole breadwinner. Daniel Minahan (known mostly for his TV work) directs the screenplay from Bryan Kass (LIZZIE, 2018) who adapted the 2019 novel from Shannon Pufahl.

Daisy Edgar-Jones (TWISTERS, 2024) stars as Muriel, a young woman who reluctantly accepts the wedding proposal from Lee (Will Poulter, DEATH OF A UNICORN, 2025; MIDSOMMAR, 2019). In keeping with the times, Lee assumes his dreams of a new house in the growing suburbs of California are shared by his new partner … so he’s a bit annoyed by her reluctance to sell her childhood Kansas house she inherited from her recently deceased mother. A third wheel pops up in the form of Lee’s rudderless younger brother Julius (Jacob Elordi, PRISCILLA, 2023), who has recently been discharged from the Navy.

An intriguing connection forms between Muriel and Julius, and it continues playing out through the entirety of the story. While Lee strives for the traditional American dream, Julius and Muriel separately maneuver through their own internal emotions that don’t easily slide into the life respectable folks are expected to follow. Both have a bit of hustler in them as Muriel uses her alert ears during shifts as a diner waitress to pick up tips on the next horse race, while Julius capitalizes on his casino surveillance job – one that brings him money and love.

Two excellent supporting roles are courtesy of Diego Calva (BABYLON, 2022) and Sasha Calle (THE FLASH, 2023). To disclose specifics would be to reveal spoilers that I refuse to serve up. What I can say is the story takes us from Kansas to California to Las Vegas to Tijuana. Along the way, we witness the challenges faced by those out of step with society. We see the deceits required as these characters walk the line between what’s expected and the path to follow their own dreams. It can be heartbreaking and frustrating, and Minahan’s film expertly shoots down the façade of the perfect 50’s. The acting is superb, with Daisy Edgar-Jones seamlessly capturing the look of the era, while Jacob Elordi beautifully fulfills the more difficult role. This is a film for those who appreciate climbing inside the characters to understand their longing.

Now playing in theaters

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Posted by David Ferguson

THE SALAMANDER KING (2025)

April 26, 2025

Dallas Independent Film Festival

Greetings again from the darkness. ‘Keep Austin Weird’. That’s one of the more popular and fitting city slogans in the United States. For five plus decades there has been an ongoing battle of conservationists versus developers … or the little guy against big money. Over those years, the city’s population has quadrupled to around one million. On the surface, it appears big money won … but there have been a few ‘little guy’ victories as well.

Austinite (and actor) Austin Nichols directs a script from fellow Texan Drew Mackintosh that centers on the battle for control of Austin Municipal Golf Course, known to the locals as ‘Muny’ (actual Lions Municipal). The course is being run by carefree Ray (Ryan Hansen, “Veronica Mars”) and his band of equally laid-back cohorts. The course is a haven for old school Austin-types who beat to their own drum and avoid the pressures of high-finance.

Their world gets rocked when the city’s Green Space Authority hires consultant Sam/Samantha (Adrianne Palicki, “Friday Night Lights”) to find a way to turn the money pit course into a viable asset for the city. Sam’s douchey boyfriend Dylan (Justin Chatwin, “Shameless”) immediately sees the opportunity to turn the 130 acres into a corporate headquarters for ‘Elon’ … thereby setting up the fight.

What’s interesting here is that all of this is told a bit tongue-in-cheek with Ray’s never-grow-up-or-sellout charm striving to maintain a bit of Austin culture (with a bigger budget, this role could have gone to Matthew McConaughey or Glen Powell). In order to do so, he must win over Sam and find a way to overcome the city’s quest for profit. Of course, much of this is hinted at early on, but it doesn’t change the entertaining dynamic. Those familiar with Austin will recognize a few spots throughout the film, but it’s really the ‘state of mind’ that drives the story. This is reinforced by the inclusion of Gary P Nunn singing “London Homesick Blues” and “What I like About Texas”.

The film’s title is derived from a long-ago Austin story about development being stopped over the threat to the Blind Salamander habitat in the area. The film is never as serious as these real life battles have been, and there’s a nice comedic touch having former USC Trojan football player Reggie Bush play the role of a Longhorn nemesis in a marketing ad. Mr. Nichols has delivered a Texas film with an Austin mentality … a feeling that plays no matter where you live.

Premiered at the Dallas Independent Film Festival on April 25, 2025

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Posted by David Ferguson

THE ACCOUNTANT 2 (2025)

April 24, 2025

Greetings again from the darkness. As disappointing as most sequels are, there is a glimmer of hope when the original creative team and key cast members return. Such is the case with this sequel to the 2016 film, THE ACCOUNTANT (yes, it’s been nearly a decade). Director Gavin O’Connor and writer Bill Dubuque are back, and both have skins on the wall. O’Connor also directed MIRACLE (2004) and the criminally underrated WARRIOR (2011), while Dubuque was the creator of the hit series “Ozark”.

Two-time Oscar winner Ben Affleck returns as the brilliant and autistic accountant known as Christian Wolff (as well as a few other names). In what may be the least amount of screen time ever afforded a previous Oscar winner, JK Simmons’ Ray King – former director of FinCEN is assassinated, and his former protégé MaryBeth Medina (a returning Cynthia Asdai-Robinson) tracks down Christian to help solve the case. But, of course, things are never that easy, and they also find themselves knee deep in another case – one that hits mighty close to real world headlines with human trafficking and gang activity.

Christian contacts his lethal-weapon brother … yep, for the first time since the end of the first film … and Braxton (Jon Bernthal) reluctantly agrees to join the hunt. The two brothers interact in a manner we’re familiar with from all the ‘mismatched buddy films’ over the years, and Affleck and especially Bernthal excel at this, although it’s impossible not to note Affleck’s too-frequent smirks this time around. An early speed-dating sequence feels totally forced and out-of-place, and one can only assume it’s included for anyone who didn’t watch the first movie (which I highly recommend prior to viewing this one).

As good as the brother banter plays, the mish-mashed stories, lack of central villain, and over abundance of action sequences, turn this into a film trying too hard to please all audiences. Toss in extended segments featuring the autistic techno geniuses at Harbor Neuroscience Academy, and a description of Acquired Savant Syndrome, and the best advice is to just sit back and watch after turning off your own plot-solving brain cells. Christian has developed and funded the group of young geniuses at the Academy, and they are led by non-verbal Justine (played by Allison Robertson, and computer-voiced by Alison Wright of “The Americans”). The missing persons case centers around highly-trained assassin Anais (Daniella Pineda from the Jurassic World franchise), and we can’t help but think she could hold her own as a story and character.

The abundance of comedic elements might surprise fans of the first film, as might the war zone style shootout during the film’s climax and the overly-animated Affleck – all extremes when compared to the original, yet Affleck and Bernthal make the brotherly thing work

Opens in theaters on April 25, 2025

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Posted by David Ferguson

THE SHROUDS (2025)

April 24, 2025

Greetings again from the darkness. Director David Cronenberg is renowned for his brand of ‘body horror’, although his canon has certainly not been limited to the genre. Some of his films across the past fifty years include CRIMES OF THE FUTURE (2022), COSMOPOLIS (2012), A HISTORY OF VIOLENCE (2005), CRASH (1996), DEAD RINGERS (1988), THE FLY (1986), VIDEODROME (1983), THE DEAD ZONE (a personal favorite,1983), and SCANNERS (1981). With his latest, Cronenberg offers a taste of what he’s known for, but mostly focuses on the extreme repercussions of grief.

Grief is an emotion that hits us all hard at some point. Karsh (the always great Vincent Cassel) lost his wife four years ago, and his vision since has been to create a specialized, internet-based cemetery named GraveTech where grieving folks can observe the decay of lost loved ones … all from the convenience of their iPhone app. Cronenberg regulars should prepare themselves for a film and story that has the feel of a stage production – meaning it’s the dialogue and conversation that is crucial here, more so than the visual presentation (although there are a few stellar moments in that area as well).

Diane Kruger plays two roles here. One is Karsh’s deceased ex-wife Becca, who we (and Karsh) see in hallucinations or visions. Her other role is as Becca’s surviving sister Terry, a dog groomer who is dealing with her own grief. Lastly, a significant role is played by Guy Pearce as Terry’s ex-husband, Maury … a frumpy, paranoid, techno geek. Maury’s skills have created Hunny, an AI avatar meant to provide companionship and advice to Karsh. Oh, and Diane Kruger also voices Hunny.

The thrust of the story revolves around the fallout of the targeted vandalism of a few of the gravesites, creating suspicion as to whether it’s an international conspiracy or something less provocative. Of course, this is Cronenberg, so a traditional arc is not in the cards. Instead, he provides some stunning visuals (not violence, but definitely a shocking shift from what movies traditionally show) meant to convey the drastic changes that occur with the bodies we too often take for granted, especially when cancer is involved. Politics are touched on, and it’s probably the first time you’ve ever heard a dentist speak the line, “Grief is rotting your teeth.” Eroticism and obsession are key motivators here, so if you are willing, the psychological aspects of Cronenberg’s film could fill many post-viewing debates. Whether this film strikes a chord with you or not, I remain thrilled and humbled that this octogenarian continues to do things his way.

Opens in theaters on April 25, 2025

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Posted by David Ferguson

THE TROUBLE WITH JESSICA (2025)

April 24, 2025

Greetings again from the darkness. For most of us, the worst thing that happens at a dinner party is the pork loin is a bit dry or the wine selection is a bit lacking. Among the worst occurrences are the friction and hurt feelings caused by a joke-gone-wrong, or God forbid, someone brings up politics. It’s just such a dinner party that kicks off this film from writer-director Matt Winn and his co-writer and frequent collaborator, James Handel.

Husband and wife Richard (Rufus Sewell) and Beth (Olivia Williams) arrive at the lovely London home of Sarah (the always fabulous Shirley Henderson) and Tom (Alan Tudyk). Hitching a ride is uninvited mutual ‘friend’ Jessica (Indira Varma), whose recent book has just hit the bestseller list. Jessica is one who sometimes over-imbibes and is a notorious flirt, rarely taking much precaution in either activity.

Two things happen that drastically impact the evening’s proceedings … and neither has to do with the Clafoutis dish Tom prepared (and takes enormous pride in). The friends are stunned when they learn Sarah and Tom must sell the house quickly or face financial ruin – something unthinkable to those who have lived this life. Secondly, and infinitely more shocking, is the realization that Jessica has committed suicide in the garden. On top of those biggies, secrets are later revealed that feel like a gut punch after the crisis.

With the home sale pending, Tom and Sarah believe a dead body will turn off the buyer, resulting in the bankruptcy they so fear. Their plan is to convince long-time friends Richard and Beth to go along with a scheme that will prevent further disaster. Arguing, debating, and ‘what about’ discussions, some quite animated, take center stage with the group. The drama is elevated by a nosy neighbor (Anne Reid) and an unexpected visit from the potential buyer (a terrific Sylvester Groth who played Goebbels in INGLOURIOUS BASTERDS, 2009).

Winn cleverly uses chapter subtitles, each beginning with “The Trouble with …”, to reinforce the live theater feel of the story. Some of the chapters work better than others, but it’s the veteran and talented cast that diligently pull off the dark humor at a time no one should be laughing. Shirley Henderson especially shines as she spews her lines with that unique and distinctive voice of hers.

The soft jazz score, credited to director Matt Winn and Matt Cooper, provides a nice touch, and mostly we just look at these folks and wonder how far they will go to keep themselves out of trouble. If not for the comedic touches, it would be quite disturbing … well, even with the comedy, it’s quite disturbing. However, a new twist on the dinner table setting is welcome, and despite everything, the film maintains a level of entertainment.

Opens in theaters on April 25, 2025

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Posted by David Ferguson

PINK FLOYD: LIVE AT POMPEII (1972/2025)

April 24, 2025

Greetings again from the darkness. No one familiar with Pink Floyd would expect a conventional concert film from the band. So how about a live concert from the ancient Roman amphitheater in Pompeii, the city destroyed by the eruption of Mount Vesuvius in 79 A.D.? And just for fun, we’ll have the band playing to an empty arena … no fans allowed. Now THAT is a Pink Floyd concert film.

Adrian Maben’s film was first released in 1972, and has had subsequent video releases since, so it’s likely most Pink Floyd fans have seen the film in one form or another. However, it’s time to watch again – only this time in a remastered 4K version that looks and sounds great. The beginning of the film shows all of the band’s equipment being set up (and yes, they had challenges with running enough electrical power to the area).

If you aren’t sure, this is the post-Syd Barrett lineup with Roger Waters on bass (and gong), David Gilmour on lead guitar, Richard Wright on keyboards, and Nick Mason on drums. In keeping with the times, we often see Gilmour and Wright going shirtless, scraggily hair on Waters, and sandals for the Italian sand. Also making his way around the band and equipment is Peter Watts (father of actress Naomi Watts), the band’s stage and sound manager.

It’s quite a visual to see the band and all the high dollar equipment set up in the middle of an empty majestic relic of the past. Songs played in the amphitheater include “Echoes” (split into two pieces), “A Saucerful of Secrets”, “One of These Days” (mostly Mason’s drumming), and then add-ons include “Careful with that Axe, Eugene”, “Mademoiselle Nobs” (with canine vocals), and “Us and Them”. We get some limited interviews, but the only real insights gained are: Mason likes pie without the crust, and the band readily admits to much arguing (no surprise there).

Pink Floyd was always willing to experiment with sounds and sights – here we get some early graphics and effects, including volcanic lava. This film offers a look into those early 1970’s years, and there are even some segments filmed inside the studio for the classic album, “The Dark Side of the Moon”. Certainly, the film helps make sense of the superb lyric, “The lunatic is in my head”.

In theaters and in IMAX beginning April 24, 2025

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Posted by David Ferguson

USA FILM FESTIVAL 2025 preview

April 21, 2025

April 23-27, 2025

Angelika Film Center, Dallas

There may be no such thing as a Free Lunch, but thanks to the USA Film Festival, there is something even better … FREE MOVIES! Of course, not all screenings are held at no charge, yet this remains an affordable and entertaining festival experience for all film lovers.

Celebrating its 55th anniversary, the festival has long been one of my favorites due to the schedule of diverse films: narratives, documentaries, shorts, students, and experimental. Mix in a selection of repertory films, attendance by a slew of filmmakers and celebrities, and the annual tributes to industry icons, and you quickly see why this Dallas-based festival holds a special place in my heart.

This year’s opening night event on April 23 is “The World of Nancy Kwan – A Salute to Nancy Kwan”. The breakout star of THE WORLD OF SUZIE WONG (1960) will participate in a book signing and an on-stage conversation, following a career retrospective including clips of her performances in film and television. Also on opening day, there is a Salute to renowned director Jon Avnet with a screening of his new film, THE LAST RODEO. Mr. Avnet will attend along with the film’s co-stars, Neal McDonough and Mykelti Williamson. All three were involved with the fantastic TV series, “Justified” and “Boomtown”, and Mr. Avnet is known for having directed FRIED GREEN TOMATOES (1991), as well as Broadway plays.

Other highlights on the festival schedule include Beth Lane’s powerful documentary UnBROKEN, a look at how the Holocaust impacted her own family (with Q&A session); Mitch Yapko’s short film WATCHING WALTER featuring Ft Worth’s own Stephen Tobolowsky in the title role (director and star in attendance); William Shockley’s directorial debut, LONG SHADOWS, a western with an impressive cast; director Daniel Minahan’s stunning ON SWIFT HORSES (based on the novel by Shannon Pufahl) with another tremendous cast; and Jason Buxton’s psychological thriller, SHARP CORNER starring Ben Foster.

That’s just a quick taste of what’s coming, along with other feature films, documentaries, and short films. In a perfect example of what sets this festival apart, actor Martin Kove will attend and be honored at a special 50th anniversary screening of the cult classic, DEATH RACE 2000 (1975). The closing night film will be the soon-to-be-released TONIC from local filmmakers, writer-director Derek Presley and editor Jason Starne. Filmed entirely in Dallas’ Deep Ellum area, the film covers a rough night of what-else-can-go-wrong for a washed-up pianist played by Billy Blair.

USA Film Festival excels in offering a diverse festival experience with something for everyone.

For more details and to view the full schedule of programs, visit
https://www.usafilmfestival.com/
 
Tickets range from Free – $10 (quantities are limited).
https://www.eventbrite.com/cc/55th-annual-usa-film-festival-4150893
 
DAY-OF-SHOW TICKETS — (Based on availability) Any unsold/unreserved tickets will be made available  at the Angelika Film Center upstairs Sales Desk beginning ONE HOUR prior to EACH showtime.

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Posted by David Ferguson

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