NOSFERATU (2024)

December 24, 2024

Greetings again from the darkness. My first exposure to Count Orlok was in a film class at the University of Texas. We were shown a portion of director FW Murneau’s 1922 silent film, NOSFERATU: A SYMPHONY OF HORROR. I was mesmerized with the look of the film and especially with Max Schreck as Orlok. While growing up, I fawned over other vampire movies – Bela Lugosi, Lon Chaney Jr, Christopher Lee, and even Frank Langella – but I never again saw anything like Schreck’s Orlock. And yes, over the years, vampires have become frequent subjects of movies and even TV shows, and “Nosferatu”, based on the original Bram Stoker story from 1897 spawned NOSFERATU THE VAMPYRE (1979, directed by Werner Herzog, starring Klaus Kinski) and NOSFERATU (2023, directed by David Lee Fisher, starring Doug Jones). My anticipation soared when it was announced that the extraordinarily creative filmmaker Robert Eggers (THE WITCH, 2015; THE LIGHTHOUSE, 2109; THE NORTHMAN, 2022) would be basing his version on Henrik Galeen’s script from the 1922 original.

At its core, the story is a gothic tale of a woman haunted by the terrifying vampire obsessed with her. The “her” is Ellen Hutter played by Lily-Rose Depp (WOLF, 2021, and yes she’s Johnny Depp’s daughter). Ellen’s husband is Thomas Hutter played by Nicholas Hoult (familiar with the look of this genre via WARM BODIES, 2013, and RENFIELD, 2023). When Thomas’ job takes him out of town, friends Friedrich Harding (Aaron Taylor-Johnson) and Anna Harding (Emma Corrin, DEADPOOL & WOLVERINE, 2024) invite Ellen to stay with them. It turns out the work Thomas is assigned is a real estate transaction with a mysterious recluse named Count Orlok. You may have experienced a bad real estate deal in your life, but it’s nothing like this one.

When it becomes apparent that Ellen’s trauma is not merely nerves, but rather an evil spiritual presence, the expertise of Professor Albin Eberhart von Franz is sought in an attempt to gain some control. The professor is played by Willem Dafoe, who once portrayed the aforementioned Max Schreck in SHADOW OF A VAMPIRE (2000). Playing Count Orlok this time is Bill Skarsgard, who you likely recall was superb as Pennywise the Dancing Clown in IT (2017) and IT CHAPTER TWO (2019). Skarsgard’s actual features are undetectable here, and especially jarring is his voice that truly sounds from another world (supposedly months of training). His Orlok is a true and memorable presence.

Eggers’ film looks stunning and gorgeous and creepy. The opening sequence is fascinating and everything one could ask for in how a vampire horror movie appears on screen. He surrounded himself with previous collaborators: Director of Photography Jarin Blaschke, Production Designer Craig Lathrop, Costume Designer Linda Muir, Film Editor Louis Ford, and Composer Robin Carolan. It’s an excellent team and one that excels at every step. My only issue with the film comes down to the cast. Lily-Rose Depp has the perfect look for the character, yet her torment never quite works. Aaron Taylor-Johnson and (the usually stellar) Willem Dafoe both seem to be showboating as if attempting to stand out in a movie dominated by a fearsome creature. It pains me to say that the cast (other than Skarsgard) simply take away some of the impact that the film should have had. Despite this, the film is lyrical, mystifying, and absolutely glorious in its look.

Opens in theaters on December 25, 2024

WATCH THE TRAILER

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

BABYGIRL (2024)

December 24, 2024

Greetings again from the darkness. Oscar winner Nicole Kidman long ago entrenched herself as one of the best and most daring actors working today. Not one to shy away from risky material, she’s appeared in such films as EYES WIDE SHUT (1999), DOGVILLE (2003), BIRTH (2004), and THE NORTHMAN (2022) to name just a few. It’s her talent and willingness to put herself out there that has earned such respect among peers and fans. However, despite that admiration, this latest is one of my least favorite films of the year, and one that I found almost no positives to discuss. I will readily admit this opinion puts me in the extreme minority.

The first feature film from writer-director (and actor) Helena Reijn was BODIES BODIES BODIES (2022), a festival and indie favorite. That success led to this cast which finds Harris Dickinson (THE IRON CLAW, 2023, and WHERE THE CRAWDADS SING, 2022) and long-time favorite Antonio Banderas joining Kidman. Now, despite my negative reaction to this viewing experience, I do recognize that some credit is due for tackling an uncomfortable topic – an unethical dominant/submission relationship between a powerful CEO and her intern. We are supposed to believe Romy (Kidman) is incredibly important and busy because her cell phone is constantly in use (but then that’s the case for most teenagers, too). Once again, Hollywood proves that it’s clueless on how to authentically present a business environment.

Further stretching the scenario beyond any realm of believability, cocky intern Sam assertively pursues a taboo relationship with the big boss rather than work towards a job offer that most interns focus on. While there is a bit of fun in the early “will they or won’t they” cat-and-mouse scenes, once things move forward, the film takes on the tone of a power play parody. “Good girl” draws laughter from the audience … as does her suggestion of “Jacob” (her husband’s name) as a safe word.

The ramifications for CEO (or wife and mother) Romy never carry the pain we would expect, and the threats always seem a bit hollow. None of this is meant to purport that dominant/submissive desires and relationships don’t exist, only that this extreme is difficult to buy into. On the bright side, Banderas shines in the moment he flashes his anger, and it’s a real treat to hear “Never Tear Us Apart” by INXS blasting on a theater sound system. Nicole Kidman is gaining momentum for yet another Oscar nomination for her performance, so again, I’ll admit to being in the minority with my opinion on this one. Still, I can’t bring myself to recommend, even if I hope you find it more entertaining than I did.

Opens in theaters on December 25, 2024

WATCH THE TRAILER

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

THE FIRE INSIDE (2024)

December 24, 2024

Greetings again from the darkness. Claressa Shields’ story is inspirational, and yet it’s so much more than that. She’s an extraordinary person with a remarkable story. She doesn’t just inspire young girls to pursue sports, she motivates us all to pursue our dreams with passion and tenacity. It’s only fitting that the first feature film directed by renowned cinematographer Rachel Morrison centers on a barrier-breaking woman. Ms. Morrison was the first woman to receive a Best Cinematography Oscar nomination for her work on MUDBOUND (2017). The screenplay was written by Oscar winner Barry Jenkins (MOONLIGHT, 2016), and he’s also a producer on the film.

We first see young Claressa as she’s running through her downtrodden hometown of Flint, Michigan to reach the boxing gym … the same gym where volunteer trainer Jason Crutchfield (a terrific Brian Tyree Henry, BULLET TRAIN, 2022) tells her he doesn’t train girls, and later admits, he’s “never thought about girls boxing.” Of course, Jason not only ends up working with Claressa, he also becomes a full-bore role model as her trainer/coach/mentor. Young versions of Claressa are played by Jazmin Headley and Kylee D Allen, and it’s Ryan Destiny (musician-actress-model) who we come to follow as Claressa “T-Rex” Shields, so nicknamed due to her short arms. Destiny is outstanding in the role.

Being a young girl wanting to learn boxing is not Claressa’s only challenge. She grows up very poor, often scraping for food. Her mother doesn’t seem particularly interested in being a mother, and ends up kicking the strong-willed girl out of the house. We learn Claressa even experienced sexual abuse as a child. The film doesn’t glorify or skip over the hard parts of her life, focusing instead on how she remained committed to her dream as she overcame hurdles. This Claressa defines “grit”, an often-overused description.

Jason and his wife invite Claressa into their home, and her training goes next level. We do get the mandatory training montage (thanks, Rocky!), and we see her advance through the stages of matches until, at age 16, she qualifies for the 2012 Olympics in London. By this time, her dad is out of prison and her little sister is pregnant, yet none of that, or even the odd Olympic coaching regulations, can stop her mission. As interesting and fascinating as this quest for a gold medal has been, it’s what Morrison and Jenkins (and Claressa) do after London that is most impressive.

The all-too-familiar struggle of female athletes to secure endorsements becomes a nightmare for Claressa. The emphasis on aesthetics overrides excellence in athletics. She’s told that sponsors are looking for marketability – what a woman looks like out of the ring is every bit as important. The frustration of not being able to cash in motivates Claressa to fight for women’s Olympic equality, a worthy and successful cause. Oh, and yes, she continues training and the closing credits show clips of her at the 2016 Olympics, winning her second gold medal. As I stated, she’s more than an inspiration.

Opens in theaters on December 25, 2024

WATCH THE TRAILER

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

THE ROOM NEXT DOOR (2024)

December 21, 2024

Greetings again from the darkness. I’ve said it many times, and it still holds true, Oscar winner Pedro Almodovar is the most accomplished male filmmaker when it comes to creating interesting female characters and spinning female-centric stories. Almodovar’s first English-language feature-length film is one he’s adapted from the 2020 novel, “What Are You Going Through”, by Sigrid Nunez. It features two Oscar winners, Julianne Moore and Tilda Swinton, both extraordinarily talented.

Noted author Ingrid (Julianne Moore) is at a book signing for her latest work on the fear of death. Jumping the line and surprising her is her long ago friend Martha (Tilda Swinton). The two previously worked together, are genuinely happy to embrace, and meet up after the signing. Martha informs Ingrid that she has stage 3 cervical cancer and is beginning an experimental treatment. While visiting Martha at the hospital, Ingrid not only learns the treatment has failed, but soon after is hit with what can be termed, “a huge ask”. Having no interest in continuing treatment, Martha informs Ingrid that she wants a friendly face ‘in the room next door’ when she takes the magic “goodbye” pill.

What follows is not a moral debate about fighting to live or taking one’s own life. Ingrid has made her decision. The lingering question is, how much can be expected in a friendship? Ingrid admits Martha was not her first choice – the others turned her down. Once Martha reluctantly agrees, Ingrid rents a stunning home in the woods … very private and very serene. As you might expect, Almodovar highlights many shots throughout with his trademark use of color, geometric lines, and architectural design. The women, the house, the setting, the art, the clothes, and the sets are all gorgeous. Special recognition goes to Cinematographer Eduard Grau (the equally gorgeous A SINGLE MAN, 2009), Production Desiger Inbal Weinberg (THE LOST DAUGHTER, 2021), and Costume Designer Bina Daigeler (VOLVER, 2006).

With the two women sharing the house, Ingrid anxiously keeps an eye on whether the bedroom door is closed or open (the ‘sign’), while Martha has flashbacks to her time as a war journalist on the front lines. Ingrid meets up with Damian (John Turturro), her former lover and something else the two women shared. Damian is a doom and gloom type focused on climate change and global crisis. This stands in stark contrast to Ingrid’s optimism. Of course, Martha has planned everything so that Ingrid is not in danger of being charged with assisting euthanasia, although a religious fanatic police officer (Alessandro Nivola) questions her aggressively.

There are some lovely moments shared between friends, and yet there are also scenes that could have used a sharper edge to the dialogue – especially the exhaustive exposition early on as Martha runs down the timeline of her entire life (much that Ingrid would have already known). There are references to Buster Keaton and John Huston’s movie, “The Dead”, and Almodovar throws in a nice touch when Martha’s daughter makes an appearance towards the end. Martha’s need/desire for connection, familiarity, and companionship are all believable, yet that “favor” remains a whopper.

Opens in NYC AND LA theaters on December 20, 2024, expanding in January

WATCH THE TRAILER

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

THE BRUTALIST (2024)

December 20, 2024

Greetings again from the darkness. Too many view WWII as just another page in history books, when in fact, so much changed around the globe because of that war. Almost 80 years later, the war continues to provide stories for filmmakers, and when it comes to storytelling, few do it better than this latest from writer-director (actor-turned-filmmaker) Brady Corbet and his co-writer (and romantic partner) Mona Fastvold. The two had previously collaborated on THE CHILDHOOD OF A LEADER (2015) and VOX LUX (2018).

This is an old-fashioned epic on a grand scale with a few specific features that deserve to be highlighted. At 3 hours and 35 minutes in run time, Corbet included a throwback intermission (with a 15 minute countdown on screen). The opening credits run right-to-left horizontally, while the closing credits run diagonally. For true film geeks, the film is shot in VistaVision to capture the period feel. Part 1 covers 1947 through 1952, while Part 2 covers 1952 through 1960, and the Epilogue takes us to Venice in 1980.

Oscar winner Adrien Brody stars as Laszlo Toth, a Hungarian architect who arrives in post-WWII America after using heroin “for the pain” on the boat ride over. Due to administrative and governmental red tape, Laszlo had to go ahead of his wife and niece, to whom he writes regularly. A familiar face from home greets him upon his arrival. Attila (Alessandro Nivola, FACE/OFF, 1997) has already been Americanized to the point where he’s married and running a custom furniture business. He offers Laszlo a room to sleep and a chance to help design furniture. When Harry Lee Van Buren (Joe Alwyn, THE FAVOURITE, 2018), the son of a wealthy Pennsylvanian tycoon, contracts for a re-design of dad’s library, Laszlo gets a chance to show his brilliance. It turns out, Harrison Lee Van Buren Sr (Guy Pearce) does not like surprises and tosses the workers out.

Soon, a cooler head prevails for the tycoon, and he tracks down Laszlo for a project of much larger scale – a massive memorial on a hill overlooking the city. The project builds an odd connection between rich Harrison and brilliant Laszlo – although the rich guy remains anything but stable, and his son flaunts his own arrogant annoying tendencies (an Alwyn specialty). Laszlo maintains one true friendship. He bonds with Gordon (Isaach de Bankole) after meeting him in the food shelter line. Despite the new World, Laszlo continues to struggle with poverty; however, one of Van Buren’s lawyers is amenable to assisting with the paperwork for bringing Laszlo’s family to the states.

Part two brings wife Erzsebet (Felicity Jones, THE THEORY OF EVERYTHING, 2014) and mute niece Zsofia (Raffey Cassidy, THE KILLING OF A SACRED DEER, 2018) to America. Erzsebet is wheelchair bound after nearly starving to death due to the war. She’s a smart woman married to a creative genius, and yet the land of opportunity continues to toss hurdles in their path (not the least being Laszlo’s continued use of drugs). The moments of hope include a trip to the stunning Carrara quarry to locate the perfect piece for Van Buren’s project.

It should be noted that, despite the lead character’s name, this is a fictional account of the period, and the journey is both physically and emotionally draining. That’s also true for viewers, as I was exhausted by the end. Corbet uses the Epilogue to take us to Venice in 1980 for the first Architectural Biennal. It’s a fitting end after watching the battles of Jews versus Christians, and Immigrants versus American born, all while the United States is booming. I wasn’t ever able to understand the message Corbet was sending by exaggerating footsteps throughout, but I do recognize that Cinematographer Lol Crawley and Production Designer Judy Becker worked some magic along with Corbet and Fastvold … and yes, Adrien Brody, who along with Guy Pearce, deliver some of the finest acting we’ve seen all year. This is not a film so much about the brutalist style of architecture, but rather a film about character and personality during brutal times – and finding a way to utilize one’s true talent, while also remaining true to one’s roots. This is a complex story and one that fully captured me right from the unconventional opening credits.

Opens in limited theaters on December 20, 2024 and wide in January 2025

WATCH THE TRAILER

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

CARRY-ON (2024)

December 13, 2024

Greetings again from the darkness. Ever since Bruce Willis’ John McClane ‘Yippee-Ki-Yayed’ his way into saving Christmas in 1988, many filmmakers have tried to latch onto the action-filled Christmas crime drama sub-genre. Of course, none have reached the level of that Nakatomi Plaza classic, and often the biggest miss is in the form of the villain. Alan Rickman’s Hans Gruber is often cited among the all-time best movie villains, and deservedly so. This latest film we welcome to the party comes from director Jaume Collet-Sera (JUNGLE CRUISE, 2021, ORPHAN, 2009) and co-writers TJ Fixman (Ratchet & Crank video game creator) and Michael Green (LOGAN, 2018).

The opening scene finds a mysterious man in a cap destroying a Christmas tree farm, violently taking out the two present workers. We then join Ethan Kopek (Taron Egerton, ROCKETMAN, 2019) and his girlfriend Nora (Sofia Carson, PURPLE HEARTS, 2022) as they celebrate a positive pregnancy test. They both head to work at LAX. She’s employed by an airline, and he’s a TSA Agent. We quickly learn Ethan’s supervisor (Dean Norris) recognizes him as coasting through his job, and subsequently shoots down Ethan’s request for a promotion.

Holiday travel is in full swing, and as Ethan goes about his work, he’s soon being blackmailed and threatened by a direct-speaking, calm-demeanored ‘traveler’ (Jason Bateman, “Ozark”). “One bag for one life.” The direction from the terrorist to Ethan is to just “do nothing” as a particular carry-on bag runs through his security line. The penalty for not following the traveler’s instructions is the death of Nora and the unborn child. There is a fascinating sequence where Ethan’s actions are juxtaposed with the work of Detective Cole (Danielle Deadwyler, excellent in this year’s THE PIANO LESSON). This is followed by one of the more creative and intense on-screen car crashes we’ve seen. It provides quite a visual jolt.

Ethan’s backstory is slowly uncovered here, as is the all-too-real threat of the terrorist and that suitcase. Supporting work is provided by familiar faces Theo Rossi and Logan Marshall-Green, and despite plenty of ‘that could never happen moments’, the film carries enough twists, turns, action, and suspense to keep us engaged. It’s a shame that the climax feels so rushed, yet any film that opens with Bruce Springsteen’s “Santa Claus is Coming to Town” and closes with Darlene Love’s “Christmas (Baby Please Come Home)” deserves a chance. Just stay away from Contraband Bingo with TSA agents.

Premiering on Netflix December 13, 2024

WATCH THE TRAILER

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

THE ORDER (2024)

December 11, 2024

Greetings again from the darkness. We are probably fortunate that there are people who research, investigate, and write about the reprehensible world of white supremacists. While most of us would prefer to imagine that such folks don’t exist, or at least have little impact, the 1989 book “The Silent Brotherhood” by Gary Gerhardt and Kevin Flynn detail why ignoring is not a feasible option. Zach Baylin (KING RICHARD, 2021) has now adapted the book into a screenplay directed by Aussie Justin Kurzel (THE TRUE HISTORY OF THE KELLY GANG, 2019, and the excellent NITRAM, 2021).  The book and the film are based on the facts of the case that is now 40 years old, yet still relevant today.

Jude Law stars as Terry Husk, a weathered FBI Agent assigned to a long-forgotten field office in Idaho. Husk is described as “slowing down” and it becomes clear he has had some health issues and is estranged from his wife and daughter. It’s 1983 and we are in the studio as Denver radio DJ Alan Berg (Marc Maron, TO LESLIE, 2022). Berg was Jewish and liberal, and we hear his verbal sparring with call-in white supremacists. If you recognize Berg’s name, you likely know his story, and his inclusion reinforces the courage required to confront such hate.

After a violent bank robbery, Agent Husk is drawn into the spectrum of radical Bob Mathews (Nicholas Hoult continues his big year, NOSFERATU, JUROR #2), a white supremacist cult leader whose faction has broken off from the Aryan Nation run by a local pastor. As Mathews recruits, and teaches youngsters to shoot, he proclaims the group is “at war” and it’s a race war against the government (as a reminder, Ronald Reagan was President at the time). Husk partners with a sharp youngster from the local Sheriff’s office named Jamie Bowen (Tye Sheridan, THE TENDER BAR, 2021). The game of chase exposes Husk’s preternatural instincts that sometimes go against the case lead, Agent Joanne Carney (the talented Jurnee Smollett, THE BURIAL, 2023).

The entire story takes place from 1983 to 1984 and includes robberies, murder, counterfeiting, and the understanding that leaders like Mathews believe what they read in “The Turner Diaries”, and that they are somehow the chosen ones. Jude Law is especially good in this role and his scenes with Hoult are standouts. Although I’m not a fan of the climactic standoff, it seems to follow the history pretty closely … taking place in Whidbey Island in Washington State. On the other hand, the buildup is especially well done, and the film looks spot on for the era.

Opened in theaters on December 6, 2024

WATCH THE TRAILER

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

QUEER (2024)

December 6, 2024

Greetings again from the darkness. Some filmmakers have earned the benefit of the doubt to the point where each film they release is worthy of consideration. Luca Guadagnino is one such filmmaker. He first captured my attention with I AM LOVE (2009) and has since followed that with such interesting films as A BIGGER SPLASH (2015), CALL ME BY YOUR NAME (2017), SUSPIRIA (2018), BONES AND ALL (2022), and CHALLENGERS, his first film released in 2024. This time he and his CHALLENGERS screenwriter, Justin Kuritzkes, take on the 1985 William S Burroughs novella, “Queer”, which was linked to his 1953 novel, “Junkie”.  Taking on the writing of William S Burroughs is challenging enough as a reader, much less as a filmmaker.

Daniel Craig stars as William Lee. If you are familiar with Burroughs’ writing, then you are aware the character of William Lee shares many of the same personal attributes as Burroughs himself. He’s a gay man who drinks too much, does hard drugs, and is quite sexually promiscuous. The film opens with Chapter 1: How do you like Mexico?  Lee spends his time drinking non-stop and carousing for his next roll in the proverbial hay. He has a few fellow ex-pat friends, including Joe Guidry (Jason Schwartzman), but it’s a certain cool cat that catches his eye. Eugene Allerton (Drew Starkey) is a young ex-soldier and Lee is quickly enamored.

The two hang out together, although Lee is never really certain if Eugene is gay or not since he spends much of his time playing chess with fellow bar patron, Mary (Andra Ursula). One night of passion between Lee and Eugene leads to Chapter 2: Travel Companions. The two men make their way to South America as their awkward relationship (and agreement) leads to more booze. Chapter 3: The Botanist in the Jungle is certainly one of the most bizarre segments of any movie this year, as the men hike deep in the jungle to connect with a doctor who has researched some ‘vegetation’ that may solve Lee’s fascination/obsession with telepathy. There is no viable description for this segment, but kudos to anyone who recognizes Leslie Manville – the one who has a pet sloth and keeps a viper for home security.

The Epilogue picks up two years later, and it’s here where Lee’s long struggle with loneliness becomes most apparent. His time with Eugene provides home of a true, lasting relationship with something other than a tequila bottle or a heroin needle. Daniel Craig and Drew Starkey are both excellent here, and may each receive awards consideration. If your previous exposure to Mr. Craig is through the James Bond movies, you might find this role a bit surprising, but those who have followed his career are in the know. One final note (no pun intended), the score from Trent Reznor and Atticus Ross perfectly captures the longing for connection (aka loneliness).

Opening in theaters on December 6, 2024

WATCH THE TRAILER

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

NIGHTBITCH (2024)

December 6, 2024

Greetings again from the darkness. J.D. Salinger once wrote, “Mothers are all slightly insane.”  Rachel Yoder’s critically acclaimed 2021 novel has been adapted for the big screen by writer-director Marielle Heller, and it seems to confirm the Salinger theory. Ms. Heller has previously directed A BEAUTIFUL DAY IN THE NEIGHBORHOOD (2019), CAN YOU EVER FORGIVE ME? (2018), THE DIARY OF A TEENAGE GIRL (2015). She excels in projects that focus on human nature.

Amy Adams jumps into the role with both feet (or is it four paws?). Having been previously nominated for six Oscars, her seventh would certainly not be surprising. She plays a renowned artist-turned-stay-at-home mom, and proceeds to convey the frustrations and anxiety that accompany such self-sacrifice. We watch as her feelings result in an unusual transition that finds her with a heightened sense of smell, an innate dislike of cats, and an inordinate ability to attract and run with the neighborhood canines. There are even some physical attributes that occur, further blurring the line between fantasy and reality. At times, it’s a bit surreal.

We are clued-in to her inner-dialogue early on when she meets a professional acquaintance at the grocery store. With her son (played by twins Arleigh and Emmett Snowden) in the buggy seat, we hear both what this mother is thinking and then what she actually says out loud. It’s a terrific shortcut for viewers. When she finally lashes out at her husband (Scoot McNairy), he reacts in the typically clueless, though well-meaning manner we’ve come to expect from dads in this situation.

The movie has a relatively short runtime (barely 90 minutes), and we gain insight into her frustrations through mom-groups (Zoe Chao, Mary Holland, Archana Rajan), exchanges with the librarian (Jessica Harper), flashbacks to her childhood, and of course, the ‘real’ moments with her husband. The inner-dialogue moments could have been used even more frequently, and the canine moments are effective despite not really pushing the envelope as far as we’d have liked.

Losing one’s self is perhaps the biggest threat from motherhood, and we aren’t certain whether to classify the ending as redemption or reclamation. Either way, the motherhood path is absurdly challenging physically, mentally, and emotionally. Loving one’s child and spouse is not enough to maintain a sense of sanity and self, and the film picks up on all of this from a personal perspective, while also giving a glimpse at how the outside world (former colleagues) simply can’t understand. The film lends itself to further discussion and analysis, but that’s enough for now.

Opening in theaters on December 6, 2024

WATCH THE TRAILER

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

FLOW (2024, animated)

December 5, 2024

Greetings again from the darkness. Cats tend to be solitary creatures. And by ‘tend’ I mean about 99% of the time. In this superb animated fable from writer-director Gints Zilbalodis (AWAY, 2019) and co-writer Matiss Kaza, our protagonist is a cat who learns (and teaches us) that a community working together is more powerful than any single being working alone.

Clocking in at a brisk 84 minutes, the film opens with the cat gazing at his own reflection in the river. After a frantic chase with dogs on it’s trail, the cat escapes back to the house where he was once cared for by a cat-loving carpenter who has presumably since passed away. After a thundering herd of deer run by, a massive flood hits the forest and sends the cat scurrying for higher ground. The adventure begins … and though there are some similarities to other animal journey movies, this one is unique in its approach.

Zilbalodis has utilized no humans or human voices. The animal sounds are actually recorded animal sounds specific to each critter (no cute voiceovers). The exception is the capybara, where a camel’s recording is used instead. Much of the time is spent on a floating sailboat filled with an odd group of animals: our ever-present cat, the capybara (sleepy but loyal), a labrador (playful and friendly), a ring tail lemur (collecting all sorts of items along the way), and a large white bird ( I believe an African secretarybird who steers the boat despite a broken wing).

As you might imagine, this group of misfit sailors learn that survival depends on getting along and working together. Their teamwork is quite impressive, even as they encounter obstacles, and their own conflict – which leads to a stronger bond. This is not the hyper-realistic animation we’ve recently seen with animals, but the movements are extremely true-to-form for each of them. Zilbalodis includes some mystical elements, but as a fable, the message is that community and teamwork are stronger than solitude, and the final shot reinforces this. The filmmaker purposefully avoided any particular geographic locale (as noted by the various species) in order to ensure the deeper message is not lost. This is Latvia’s Oscar submission, and it will likely gain support in the animation category.

WATCH THE TRAILER

Leave a Comment » | Animation, Fantasy, Thriller, World Cinema/Foreign | Tagged: , | Permalink
Posted by David Ferguson

« Previous Entries
Next Entries »