SUZE (2025)

February 9, 2025

Greetings again from the darkness. Empty nest syndrome has always fascinated me. As parents, we strive to build independence in our kids so that they can go out in the world and fend for themselves (better described as not moving back home or remaining on the family ‘payroll’). And then there are parents like Susan in this excellent and entertaining new film from co-writers and co-directors Dane Clark and Linsey Stewart (partners, spouses, and collaborators).

We first see Susan (Michaela Watkins) as she arrives home and finds her husband and a woman canoodling in the backyard swimming pool. The story then jumps ahead five years. Susan is divorced and her daughter Brooke (Sara Waisglass, TAINTED, 2020) is graduating from high school, with a plan to live at home and attend a local college. Susan is a hovering parent, seemingly involved in all aspects of Brooke’s life – even questioning what her daughter sees in goofy and free-spirited Gage (Charlie Gillespie, TOTALLY KILLER, 2023), the boyfriend who couldn’t manage to graduate on time.

Susan is exasperated … or maybe just beaten down … with her life. She works a dead-end job, is in perimenopause, has no love life of her own, can’t believe her overachieving daughter is with this ‘loser’, and seems to have lost any portion of her own self while being a mother. Things go from bad to worse for her when her ex-husband and his new wife (Sandy Jobin-Bevans, Sorika Wolf) spill the beans on big news about Brooke. It’s news that shocks Susan – mostly because she was the last to know. Now for all of this to work, the extraordinary talents of Michaela Watkins (YOU HURT MY FEELINGS, 2023; PAINT, 2023) carry these scenes. She flashes the greatest forlorn face in cinema. Is this kinda funny or is the pain too deep? Well, it’s both.

The film really takes off from there. Circumstances are such that Susan and Gage are forced to spend significant time together, and what follows is an example of how humanity and emotions and personality can blend to form surprising bonds. The on-screen chemistry between Watkins and Gillespie is a thing of beauty. It’s not romantic chemistry, but rather two lonely souls from different generations learning and evolving thanks to each other. Once we meet Gage’s dad (Aaron Ashmore), much is understood as to why Gage thrives from Susan’s caring approach.

This script is beautifully written, and the acting is superb. The cast excels in playing the scenarios as real people would. The dialogue is grounded, yet sometimes it stings, while at other times it evokes laughter. When Gage tells Susan, “We both got left by the same person”, their bond is solidified – even moreso than after the ‘cuddle party’. The cherry on top here is Gage performing Roxette’s classic hit, “It Must Have Been Love”. The film was well received at festivals last year, and I expect it will find an appreciative audience this year.

Opens in theaters on February 7, 2024

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Posted by David Ferguson

ARMAND (2024, Norway)

February 9, 2025

Greetings again from the darkness. Accusing someone, anyone, of something or anything, is as easy as speaking the words. The challenge of justice unfolds with the (often) difficulty in finding sufficient evidence for proof. Although all of this holds true for any age and most any infraction, when the scenario plays out with six-year-olds at school, the situation can prove nearly unbearable for the parents and faculty. This is the basis for the first feature film from writer-director Halfdan Ullman Tondel (grandson of Norwegian actress Liv Ullman and legendary Swedish director Ingmar Bergman).

Elisabeth, a well-known actor, is on the phone with her son Armand, “I love you. Do you love me?” She is rushing to attend an after-hours meeting that’s been called at her son’s school. She has no idea of the topic. Her heels clack against the tile floor in the school hallway as she steams towards the assigned classroom, unprepared for the ambush awaiting behind the door. Demure teacher Sunna (Thea Lambrechts Vaulen) is reluctantly running the meeting. The other two parents in attendance are Sarah (Ellen Dorrit Peterson, THE INNOCENTS, 2021; THELMA, 2017) and her husband Anders (Endre Hellestveit). Sunna explains that Armand is accused of highly inappropriate action towards Sarah and Anders’ son. Elisabeth is shocked and can’t believe any 6-year-old, much less her Armand, would perform such an act.

The tension in the room is extreme and becomes heightened as more of the story is revealed. There is an existing relationship between these two parties, and a recent personal tragedy has created a rift that might never heal. We understand how Elisabeth could presume the accusations are retribution for the previous events, and as viewers, we are caught off-guard by these connections. Malfunctioning fire alarms periodically interrupt the proceedings, and we can’t help but wonder if false alarms are the real theme of this story. Still, the accusations are such that some type of discussion is merited.

Soon two additional school officials join the meeting. Ajsa (Vera Veljovic), battling a recurring bloody nose tries to keep the peace, while principal Jarle (Oystein Roger) is most concerned about the school’s reputation and lack of formal procedure. Filmmaker Tondel includes some surreal sequences that lead to a panic attack, and mostly what we see are adults who can’t agree on how best to handle the awkward situation … or even if there is a situation to handle. Elisabeth is played brilliantly by Renate Reinsve, who proves her amazing performance in THE WORST PERSON IN THE WORLD (2021) was no fluke. She has a scene of uncontrollable emotions that generates true discomfort for those in the room, as well as those of us watching.

This was Norway’s Oscar submission for Best International Feature, however it did not land a nomination. Still, it’s a different kind of drama meant to display the power of emotions and stress as it urges the viewer to decide not just how they would react on either side, but also what would be the proper manner in which to handle the situation.

Opens in theaters on February 7, 2025

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Posted by David Ferguson

INHERITANCE (2025)

January 24, 2025

Greetings again from the darkness. With so many MISSION: IMPOSSIBLE movies (another one coming this year) and others of its ilk, movies labeled as ‘thrillers’ or ‘spy thrillers’ seemed to have evolved into hyper-action events requiring the leads to display near-superhuman strength, speed, or smarts. It’s exactly because of this that I found a soft spot for the latest from writer-director Neil Burger (THE MARSH KING’S DAUGHTER, 2023; DIVERGENT, 2014; THE ILLUSIONIST, 2006; THE UPSIDE, 2017) and co-writer Olen Steinhauer.

This one certainly qualifies as a thriller, and it’s also a bit of a father-(grown) daughter international road drama, as well as a (better-late-than-never) coming-of-age story. In what is no longer a gimmick, it was filmed entirely on an iPhone by cinematographer Jackson Hunt (known mostly for his music videos). This approach requires numerous close-ups and provides a certain limitation to the scope of some shots. You’ll notice the difference and hopefully agree that it adds intimacy and urgency where needed, without sacrificing any elements required for storytelling or performance.

An early scene finds two sisters chatting about the flow for their mother’s wake that is about to begin. Jess (Kersti Bryan, HUSTLERS, 2019) is the take-charge sister, while Maya (Phoebe Dynevor, FAIR PLAY, 2023, “Bridgerton”) is the quiet one who has spent the past year as caregiver for mom. A surprise attendee is Sam (Rhys Ifans, with an American accent), the estranged father of Jess and Maya. They barely know “Dad” as he has spent years conducting international ‘business’ and almost never communicating with his daughters. It seems obvious he carries secrets, but he wants to make amends and makes Maya an offer she can’t refuse (although when long-lost Dad offers you a grand per day to travel to Egypt to sell real estate, one should probably decline, or at least ask a few questions).

It’s pretty clear that money is not the driving force behind Maya taking the job. No, she really wants to get to know her father and connect in the father-daughter way which has been missing most of her life. Her hope is what makes what happens so entertaining. Another tip for viewers: if your secretive dad leaves the restaurant in Egypt to take a call, and a minute later texts you to get out of there pronto, take your sister’s advice and hop the next plane back to the states. But if you decide to stay so that you can fulfill kidnapped Dad’s wish for you to ignore the danger and go pick up a secret package so he won’t be killed … well, apologies to all, but you kinda deserve whatever you get.

Actually, this is quite an entertaining film, and it’s a welcome relief to see Maya as an ordinary young woman negotiating her way through situations she doesn’t fully grasp … and doing so without any superhero powers (although her sunglasses are pretty cool). There is one extended chase scene through the streets of Delhi that adds some excitement and action, but Maya isn’t even driving the motorcycle, so again, grounded action prevails. Phoebe Dynevor has a similar acting style to Dakota Johnson, but comes across as more normal and accessible. She performs well in the role, and we continue to pull for her Maya despite some poor decisions. Oh, and have no fear, Maya gets a clear answer on her future relationship with dear old dad – all while proving she may be the smart sister after all.

In theaters on January 24, 2025

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Posted by David Ferguson

EVIL DOES NOT EXIST (2024, Japan)

January 19, 2025

Greetings again from the darkness. This was one of the films I watched in my end of year movie frenzy, and it immediately became one of my favorite foreign language films of the year (in a solid year for the category). Writer-director Ryusuke Hamaguchi is back after his excellent and Oscar nominated DRIVE MY CAR (2021). Sharing credit on the film’s concept is Eiko Ishibashi, a rare breed: a combination composer-story writer. I should probably clear this up immediately – despite the genre-sounding title, this is not a horror film. It falls quite comfortably into the “drama” category, and as previously stated, it’s a good one.

Mizubiki Village is a rural area located just outside of bustling Tokyo. It’s where Takumi (Hitoshi Omika) lives with Hana (Riyo Nishikawa), his 8-year-old daughter. Their life is simple, though not easy. Days are spent chopping wood and retrieving water from the stream. It’s a serene lifestyle fully linked to nature, and one that’s been similarly lived for generations. These scenes of Takumi and his daughter are slow-moving, yet vital to ensuring viewers understand the impact of what’s coming.

A Town Hall meeting is held by two representatives of the development company that is planning a ‘glamping’ project in the heart of the area. As the locals bring up topics that clearly haven’t been considered by the company, two things become painfully obvious: the two reps are woefully unprepared for the questions and pushback, and this development would drastically alter the ecosystem that provides a way of life for these folks. Sensitive issues like septic run-off, fire safety, and personal security have only been lightly addressed in the developer’s study.

Of course, we have all seen instances where corporate types see only dollars and potential profit, paying little attention to the impact on locals and nature. Rather than comprehensive analysis and communication, projects tend to get rammed through in support of the almighty dollar (or yen, etc). Hamaguchi’s point seems to be that the power of nature is a draw for all types, and this knowledge should be respected. Noteworthy here is that the film serves as the feature film debut for both Hitoshi Omika and Riyo Nishikawa, and both strike just the right note. We should also note that filmmaker Hamaguchi should be admired for always including life lessons in his beautifully filmed projects … nice to look at and worthy of consideration (even with an ending that’s a bit heavy-handed).

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Posted by David Ferguson

Best of 2024

January 12, 2025

Here is the link to my TOP 10 (actually 11) movies of 2024. In keeping with tradition, you will also find a list of the “Next best”, as well as designated categories: Documentaries, World Cinema, Animation, and a few other special notes. I hope you enjoy!

David’s Best of 2024

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Posted by David Ferguson

INSIDE OUT 2 (2024, animated)

January 11, 2025

Greetings again from the darkness. In the age of sequels, here’s one we can actually give a warm welcome to. Pixar has followed up the brilliant INSIDE OUT (2015) with one that picks up Riley a couple years later as she hits those teenage years, which as all parents know, means puberty. The first film won the Oscar for Best Animated Feature, and director Kelsey Mann (in her first feature film) is hoping for a repeat. This follow-up is terrific, yet it faces some tough competition in a year that also delivered three other exceptional (and worthy) animated features.

I have described this film to a few people as a “must see” for any parent of an adolescent heading towards the teenage years. What we get is a pretty accurate depiction and clear description of some of the changes on the horizon. The emotions from the first film: Joy, Disgust, Fear, Anger, and Sadness evolve into and clash with emotions significantly more complex: Anxiety, Envy, Ennui, and Embarrassment.

Amy Poehler is back voicing the energetic Joy, Lewis Black returns as Anger, as does Phyllis Smith as Sadness. New voices here include Kensington Tallman as (older) Riley, Liza Lapira as Disgust, and Tony Hale as Fear. The new emotions are voiced by Maya Hawke (Anxiety), Ayo Edebiri (Envy), Adele Exarchopoulos (Ennui), and Paul Walter Hauser (Embarrassment). And don’t worry, Pixar good luck charm John Ratzenberger is back as Fritz … along with plenty of other Pixar Easter Eggs throughout.

Riley is a star hockey player hoping to make the big step to the next level as she enters high school. The coach has her eye on Riley and invites her to hockey camp … if only those new messy emotions don’t get in the way. The awkward stage of keeping old friendships (Grace and Bree) while trying to fit in with the older kids is front and center here – and it doesn’t always go smoothly. It’s kind of fun to watch as Joy struggles to make sense of this new world. Suppressed emotions and sarcasm catch her off guard, and she looks to be losing her spot at Riley’s control panel.

As we have come to expect, Pixar visuals are spectacular and play a key role in telling Riley’s story. Maturing is rarely smooth sailing, and the film, co-written by Meg LeFauve and Dave Holstein, pulls no punches. They even include “Pouchy”, a take-off on Toodles from “Mickey Mouse Clubhouse”, as one who can deliver special help when needed. The biggest tug-of-war for control of Riley occurs between Joy and Anxiety, and it’s as painful to watch as it is to live through … although much more entertaining in this context. Pixar has delivered more than just another superb animated film; it’s a starter kit (and cautionary tale) for parents and soon-to-be teens alike.

WATCH THE TRAILER

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Posted by David Ferguson

I’M STILL HERE (2024, Brazil)

January 11, 2025

Greetings again from the darkness. True stories are often at the heart of many movies each year. However, there are true stories and then there is the story of the Paiva family. Marcelo Rubens Paiva has written two books, which along with numerous interviews with family and friends, serve as the basis for this film from famed Brazilian director Walter Salles (THE MOTORCYCLE DIARIES.2004). The screenplay comes from co-writers Murilo Hauser and Heitor Lorega.

Unless you are a history scholar, it’s highly unlikely you can recite the various Latin America dictatorships and military coups over the past decades. Yet you surely know they have happened, and that many innocent people and families have been victimized. The Paiva family is one example, and their story is gut-wrenching. The film begins in Rio de Janeiro in 1970 when military rule was in place. Director Salles affords us plenty of time to get to know architect Rubens Paiva (Selton Mello), his wife Eunice (Fernanda Torres), and their five kids. Theirs is a happy family living a pleasant and comfortable life … gatherings on the beach, music and dancing, family meals and photos. In one moment, the happiness fades and things change forever.

A group of men show up to escort Rubens (a long-ago local Congressman) in for a deposition. He smiles and tells the family that he will be back soon. The saga of this family is torturous to watch. Eunice and her oldest daughter are soon taken in and held for questioning in what appears to be some type of prison or military facility. They learn Rubens is accused of being a communist. Eunice’s return home is a beautifully filmed sequence, as it’s nighttime and the kids are sleeping.

The next morning’s reunion is touching, yet now the reality has hit for the older daughters. Eunice kicks into strong woman mode to protect her “babies”. The story shifts significantly here since the wage earner is gone. Eunice sells the house and the family moves to Sao Paulo. Eunice handles the extreme stress, continues caring for her kids, and never stops trying to find out about Rubens.

The journey of Eunice could easily fill a movie, however, Salles chooses to jump ahead 25 years (to 1996) and then again to 2014, when the family is together and wheelchair bound and Alzheimer’s stricken Eunice is played by 95-year-old Fernanda Montenegro (Oscar nominated for CENTRAL STATION, 1998), the real-life mother of Fernanda Torres. During these segments, we figure out what an impressive woman Eunice is and how much she has accomplished through determination. It’s likely a death certificate has never been more valued or more pursued than the one Eunice finally receives. We also see her son Marcelo is now physically disabled, yet becoming famous as a writer.  

Director Walter Salles knew the Paiva family quite well when he was young, and his personal connection shines through in this ode to a family shattered by political turmoil. Fernanda Torres delivers a stunning performance with more emotional depth than just about any other acting performance we’ve seen this year. Salles details that more than 20,000 citizens were tortured and held captive over these years, and via the closing credits he runs archival photos and a recap of history. Seeing the stress and turmoil of a previously happy family is not an easy watch, yet perhaps the accomplishments of Eunice help offset some of the pain.

WATCH THE TRAILER

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Posted by David Ferguson

WILL & HARPER (2024)

January 11, 2025

Greetings again from the darkness. Realistically speaking, there should be more words for ‘friendship’, designating the multiple levels on which ‘being friends’ can occur. If Financial Advisors can have “A” (like Warren Buffett), B, C, and D (like me) clients, then wouldn’t it be reasonable for us to have levels of friendship for those we entrust with our kids and a house key versus those we meet periodically for happy hour, or those we acknowledge in the grocery store with a wave and a smile? OK, so while the viability of friendship by ranking is not likely, this latest from Josh Greenbaum (BARB AND STAR GO TO VISTA DEL MAR, 2021) introduces us to a friendship we can all strive for.

Andrew Steele was the head writer for “Saturday Night Live” from 1995 through 2008. Nominated many times for Emmys and WGA awards, he won an Emmy in 2002. During the time at SNL, Steele struck up a friendship with the great Will Ferrell, who was a memorable cast member from 1995 through 2002, before striking gold in movies. Almost thirty years into the friendship, Steele informed Ferrell that Andrew was now Harper (an interesting story behind the name choice), and her transition had begun in 2022. Now, keep in mind that Will Ferrell is a guy in his mid-50’s. Sure, he’s been around Hollywood for decades … but still, this information from a long-time friend would surprise most anyone.

Going back to levels of friendship, Ferrell suggests the two take one of Harper’s beloved cross-country road trips together. Watching the film, it plays like Ferrell prefaces this as a way for the two to reconnect, but on a deeper level, it translates into Ferrell making it easier for Harper to get more comfortable in public with her new self. Either way, this is a friendship to admire and the type of character we should each respect.

We have all seen many movies where buddies take a road trip together. However, these 16 days become much more personal and eye-opening than the average buddy flick. The two friends exchange personal details, and respectfully, Ferrell allows Harper to vocalize and process what this new identity means, how it feels, and how she is accepted by others (who are not long-time friends). There are many stops along the way, including parking lots, sporting events, and a dive bar in Oklahoma. Most of this provides some insight, although the over-staged bits (disguises) seem out of place.

Will Ferrell does in fact reward us with doses of humor. “Are you a worse driver now?” is an instant classic, and their friendship-based banter helps us feel like we are along for the ride. There are segments featuring Harper’s daughters and SNL celebrities, and Harper sometimes reminds us of her prolific comedic writing skills. Perhaps the most telling interactions are those with strangers – related both to Ferrell’s status and Harper’s gender. These days, there is a growing anti-trans sentiment that threatens to destroy the advances made over the past years. It seems to me that the message being delivered here is not one of celebration or special treatment, but rather acceptance and friendship … allowing adults to be who and what they want to be, as long as they aren’t harming others. That also seems like the definition of human decency. This one will likely have you analyzing your own reactions, and you’ll definitely want to stick around for Kristin Wiig’s remarkable song at the end.

available on Netflix

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Posted by David Ferguson

THE SEED OF THE SACRED FIG (2024, Germany)

January 10, 2025

Greetings again from the darkness. In the year of long movies, this is one of the longer ones at two hours and forty-eight minutes. Also, in the year of only a few great movies, this is one of them. Writer-director Mohammad Rasoulof was arrested and sentenced for criticizing the Iranian government. He subsequently escaped and fled the country, only to show up for his film’s premiere at the Cannes Film Festival. This is Germany’s submission for the best Foreign Language Oscar.

On the surface, this seems like a simple story. Amidst severe and sometimes violent political unrest in Tehran, a man’s gun goes missing, which could cost him his job. He proceeds to accuse his wife and daughters of taking the gun, and takes such extreme measures in solving the theft that he destroys the fabric of the family. In the United States, we have recently witnessed how political discord can negatively impact family bonds, yet this pales in comparison to what occurs in countries like Iran. The violence in the street too often results in bloodshed that finds its way into homes.

Iman (Missagh Zareh) has not yet had time to celebrate his job promotion in the prosecutor’s office when he’s expected to file a false report regarding a case investigation. The result of the report would likely lead to the prisoner’s execution. It’s just ‘playing ball’ … or office politics (unless of course you are the one to be executed). The increased perks with his new position also bump up the level of danger for Iman and his family. As often happens with the younger generation, his daughters Rezvan (Mahsa Rostami) and Sana (Setareh Maleki) support the rebellion, which puts their mother Najmeh (Soheila Golestani) in the unenviable position of disagreeing with her daughters, yet having to protect them from their establishment father.

Director Rasoulof expertly weaves storylines of politics, family dynamics, societal upheaval, and generational differences into an incredibly interesting and often tense film without sugarcoating with unnecessary cliches or easy answers. This is what real life can look like – decisions have ramifications. Fingernail polish and protests can be related, and once again we see that it’s not paranoia if they are after you.

The film opens with an explanation of the sacred fig, and as the story unfolds, we catch the tie-in. We know that times change, and each generation brings new ideas and preferences. We also know that these transitions can range from clunky to violent. There is an extremely effective chase scene through the ruins of a deserted town, and it plays directly to the point that these family members are on different tracks. Rasoulof includes clips of real protests, as well as the gut-wrenching no-win situation Najmeh finds herself in. It’s a terrific performance by Soheila Golestani in a terrific movie from Mohammad Rasoulof.

WATCH THE TRAILER

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Posted by David Ferguson

NICKEL BOYS (2024)

January 10, 2025

Greetings again from the darkness. I don’t recall a more unusual opening seven or eight minutes for a film (even including Terrence Malick). Slightly disorienting fragments of scenes from odd angles are made more obscure through nearly indistinguishable dialogue. The surreal images form a dreamlike montage of a playground, a sale on color TV’s, Martin Luther King’s speech, and more. A few more minutes pass before we get an actual look at Elwood, whose story we are about to follow.

The Pulitzer Prize-winning 2019 novel by Colson Whitehead is adapted for the screen by writer-director RaMell Ross and co-writer Joslyn Barnes. Though the story and characters are a work of fiction, the Nickel Academy is based on the Dozier School, a Florida panhandle-based reform school that operated for 111 years prior to unmarked graves being discovered.

Elwood (Ethan Herisse) is an intelligent high schooler being raised by his wise and hardworking grandmother Hattie (Aunjanue Ellis-Taylor, KING RICHARD, 2021). His teacher is so convinced of Ethan’s potential that he guides him towards a local college that accepts black students and offers scholarships. It doesn’t take us long to gain an affinity for Elwood and realize he has a promising future. Well, that’s right up to the moment he mindlessly accepts a ride in a stolen car. The police treat him as an accomplice, and poof, he’s in a patrol car headed to reform school. The contrast between the environments for white kids at Nickel Academy versus black kids is startling.

Elwood and Turner (Brandon Wilson, THE WAY BACK, 2020) form an unlikely friendship. Turner, who has no family, is from Houston and has a big city viewpoint of societal racism compared to Elwood’s mostly hopeful nature. Two sides of a coin one might say. Director Ross references the classic film THE DEFIANT ONES (1958) a few times – noting the differences between the Sidney Poitier and Tony Curtis characters. Another creative choice from Ross is the alternating timeframes as the story is told. Of course, there is young Elwood (Ethan Cole Sharp) and reform school Elwood (Herisse), and we find ourselves intrigued by ‘adult’ Elwood (Daveed Diggs). Ross shows mostly the back of his head as he starts his own business – Ace Moving Company – and works through relationship issues.

Still, most of the film’s story occurs while Elwood and Turner negotiate each day through the abuse and mistreatment … and fear of the sweatbox. It’s through their eyes that we ‘see’ what they say. This distinctive camera work from cinematographer Jomo Fray would likely be distracting in most films, but here, it works to plop us right into an environment we’d likely never experience on our own. Supporting work comes from Hamish Linklater as the home’s director and Fred Hechinger as a foreman who cuts the boys some slack. It’s Linklater’s character who methodically lays out the steps for the boys to achieve release. It’s only with time that they discover these steps are nothing but a pipe dream.

It’s a long movie with some heartbreaking moments. It’s also one that frequent movie goers will recognize as a true work of art. As adult Elwood follows the excavation of the Nickel Academy site, the impact of a place that laid the foundation of animosity becomes quite clear. There are lessons to be learned from history, if only we take heed.

WATCH THE TRAILER

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Posted by David Ferguson

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