BOGART: LIFE COMES IN FLASHES (2024, doc)

November 14, 2024

Greetings again from the darkness. In 2022, Kathryn Ferguson released a documentary on singer and activist Sinead O’Connor. It was Ms. Ferguson’s first feature-length documentary, after a few shorts and videos. This time out, her focus is on renowned actor Humphrey Bogart. Now, opening on your subject’s funeral might be an unusual way to begin a profile, but the star-studded service drives home the point that Bogart’s life touched many. He was true Hollywood royalty.

One would expect the profile of one of the biggest movie stars of all time to provide a chronological rundown of his films. Although his film resume is certainly not short-changed, the director takes a more personal approach by structuring Bogie’s life according to how the five most influential women impacted him. Those five are: his mother, Maud Humphrey, and his four wives (in order), Helen Menken, Mary Philips, Mayo Methot, and of course, Lauren Bacall. We are guided through each of these relationships, with neither good nor bad being withheld.

Much of the time is spent with narrator Kerry Shale reciting Bogart’s own words from writings, journals, letters, etc. Shale offers neither a mimic of Bogie’s distinctive voice nor a smooth sound for our ears. Still, there is heft and meaning to Bogart’s words, especially when they are synchronized with an incredible bounty of archival footage, film clips, and photographs. Numerous interviews are included from son Stephen Bogart, directors Howard Hawks and John Huston, and actress Kathryn Hepburn, as well as others. There is also plenty from Lauren Bacall, who famously met Bogart when she was a 19-year-old actress on the set of TO HAVE AND HAVE NOT (1944). The two were married from 1945 through 1957 (his death). It was a true love story, and not nearly as tumultuous as his time with third wife Mayo Methot, who shot at him and stabbed him!

There is a segment on Bogie’s first career – a baby model – and his own words describe this relationship with his mother as he looks back at his childhood. We hear about his time in the Navy, as well as his love of chess and the water … especially time spent sailing on his boat, Santana. We also hear about his quick temper and his alcoholism, and it’s fascinating to learn that it was actress Greer Garson who heard his cough and insisted that he see a doctor – a visit that resulted in a cancer diagnosis.

After years as a contract player in the studio system, it was HIGH SIERRA (1940) that set him on the road to superstardom. Bogart’s career included such iconic roles as Sam Spade (THE MALTESE FALCON, 1941), Rick Blaine (CASABLANCA, 1943), Philip Marlowe (THE BIG SLEEP, 1946), and Lt Commander Queeg (THE CAINE MUTINY, 1954). One of my personal favorites was his role as Dixon Steele in Nicholas Ray’s IN A LONELY PLACE (1950) with Gloria Grahame. When they hear the name Humphrey Bogart, many movie fans picture the trench coat, hat, and cigarette … or the broken love story that begins a friendship. But there was much more behind the scenes. After directing Bogie to his only Oscar in THE AFRICAN QUEEN (1951), director John Huston delivered the eulogy at the funeral for his friend, also putting the final touches on this in-depth profile.

Opens in select theaters on November 15, 2024

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Posted by David Ferguson

SATURDAY NIGHT (2024)

November 13, 2024

Greetings again from the darkness. For those of a certain age, October 11, 1975, changed television forever. Now celebrating it’s 50th anniversary season, “Saturday Night Live” (SNL was originally just ‘Saturday Night’) has been maligned and criticized so many times over the years, yet it persists in providing commentary and comedy when so many other shows have failed. No better choice exists to present the show’s origin story than writer-director Jason Reitman w-d (JUNO, UP IN THE AIR, THANK YOU FOR SMOKING, TULLY), who along with co-writer Gil Kenan, go extreme with the ‘origin’ by tracking the 90 minutes prior to the first show’s airing.

Thanks to a clock counting down to the 11:30pm showtime and a few periodic reminders, we are always aware of just how few minutes remain for showrunner Lorne Michaels (a terrific Gabriel LaBelle) to pull off this minor miracle. Backstage chaos barely scratches the surface of what Michaels is dealing with (in addition to his own anxiety). Network executives and censors, an out-of-control cast of truly ‘Not Ready for Prime Time Players’, a writer’s room in disarray, incomplete set assemblage, and more than double the material necessary to fill the allotted time are just some of the hurdles facing Michaels.

What we immediately notice is the fine job done in casting the cast: Cory Michael Smith captures Chevy Chase’s looks, ambition, ego, and talent; Dylan O’Brien nails Dan Aykroyd’s physicality and rapid-fire speech; Ella Hunt is underutilized as ultra-talented Gilda Radner; Emily Fairn is insecure Laraine Newman; Kim Matula shows Jane Curtin’s coolness; and Lamorne Morris plays up Garrett Morris’ realization of stereotyped characters. Perhaps the key to the show and this movie is Matt Wood’s portrayal of John Belushi, who initially rebels against the bee costume, refuses to sign his contract, and clearly is the most explosive and vital member of the cast.

 “What is the show?” Lorne Michaels fields that question a few times and fails to give a satisfactory answer … until just before showtime when he eloquently explains it and wins over NBC’s Dave Tebet (Willem Dafoe), the key network executive who was fully prepared to show a Johnny Carson rerun rather than risk embarrassment with the newbies. The frantic pace is unrelenting as a nervous Director of Programming Dick Ebersol (Cooper Hoffman, son of Phillip Seymour Hoffman) tags along wondering if his own career is going to crash and burn right along with Michael’s. Acting as a calming influence is Lorne’s (first) wife Rosie Shuster (Rachel Sennott), who brings serenity to those on the edge.

Revolution is difficult – especially with a bunch of twenty-something no-name actors. Bringing in ‘Mr. Television’ Milton Berle (Oscar winner JK Simmons) allows for further contrast with old comedy versus new, not to mention Berle’s most infamous appendage, which he doesn’t hesitate to flaunt. Others of note include Finn Wolfhard as an NBC page charged with filling the studio audience, a too-tall Nicholas Braun who plays both an out-of-place Jim Hensen and Andy Kaufman (complete with “Mighty Mouse” segment). Matthew Rhys plays coked-out host, George Carlin, and Nicholas Podany is a desperate for stage time upstart named Billy Crystal. Tommy Dewey plays head writer Michael O’Donaghue, and Jon Batiste performs as Billy Preston (while also writing the film’s score).

A couple of highlights include a sound check with Garrett Morris singing about what he’s going to do with his shotgun, Aykroyd as Fred Garver, and of course, Belushi whenever he’s on screen. Director Reitman includes numerous callbacks to sketches and characters … some of which require a sharp eye by viewers. Kudos to Jess Goncher for Production Design that recalls this hectic time, and to cinematographer and frequent Reitman collaborator, Eric Steelberg, for using the camera in sync with a time that was totally out of sync. Capturing an event of anti-establishment or counterculture rebellion is almost as impressive as what Lorne Michaels and the cast and crew pulled off that night (drugs and all).

On Digital November 12, 2024 and on Blu-ray January 7, 2025

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Posted by David Ferguson

THE DEVIL’S BATH (2024, Austria)

November 13, 2024

Greetings again from the darkness. If you simply have too much happiness and joy in your life right now, filmmakers Severin Fiala and Veronika Franz (GOODNIGHT MOMMY 2014, THE LODGE 2019) have an elixir for you. Their film, based on historical records from 1750 in Upper Austria, is just about as bleak as any movie I can recall. It has the look and feel of a folk horror, but it’s more about a slow trek to madness by way of depression.

If you haven’t stopped reading yet, you should know that the film looks gorgeous thanks to cinematographer Martin Gschlatt (GOODNIGHT MOMMY 2014, REVANCHE 2008). The color palette and camera work bring a texture to the film that is rarely seen on screen. But enough optimistic chatter. The opening sequence finds stressed out new mother Ewa (Natalia Baranova) carrying her screaming baby through the woods to the top of a stunning waterfall near the Austrian Alps. We next see Ewa at the church confessing, “I’ve committed a crime.” It’s what’s known as ‘suicide by proxy’ so that one’s sins may be forgiven prior to execution. The ultimate loophole.

We next see Agnes (musician Anja Plashg) as she prepares for her wedding. In fact, this may be the only glimpse of happiness in the entire film … at least as I recall. Of course, my initial description of the film would not be accurate if Agnes’ joy lingered. Her mood turns quickly at the reception as she spots her new husband Wolf (David Scheid) leering longingly at another man, and then making things worse with his actions in their wedding night bed. This is after he blows all of their money on a house Agnes doesn’t much like. Wolf chose it since it’s close to his mother’s house. Maria Hofstatter plays one of the most intrusive mothers-in-law one could be stuck with.

The rest of the film is us following the slow descent of Agnes, as each day’s misery builds upon the previous. Trips to “the Barber” are horrific, and Agnes desperately searches for a way out of the situation. The practical effects here are excellent, combining with the cinematography, acting, and direction for a technically stellar film. However, it does feel like a celebration of suffering, and it’s likely more for cinephiles than it is for the average movie goer. It opens with a tragically violent act, soon followed by another. Then we are subjected to Agnes’ helplessness in a hopeless situation, until we finally end with more violence. Enjoy Austria’s Oscar submission for Best International Film!

Re-releasing in select theaters on November 13, 2024 and streaming on Shudder.

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Posted by David Ferguson

MEMOIR OF A SNAIL (2024, animated)

November 7, 2024

Greetings again from the darkness. If you believe that animated films should be whimsical fairy tales developed for children, Adam Elliot would like a word. Actually, he would like about 90 minutes of your time to introduce you to an entirely different approach with stop-motion animation. Elliot won an Oscar for his animated short HARVIE KRUMPET (2003) and also developed the excellent animated feature MARY AND MAX (2009). Not one to shy away from grown-up topics, Elliot’s latest is a gem filled with most every emotion.

Relying heavily on narration, the story is told by Grace Pudel (voiced by Sarah Snook, “Succession”). It’s her own life story, but contrary to what the film’s title would have you believe, Grace is a person, not a snail (at least not a shelled gastropod). However, she is telling her story to her favorite pet snail, Sylvia. It’s OK if that sounds a bit strange, because Grace and her story will draw you in and have you caring very much. The story starts at the beginning … with Grace’s premature birth ahead of her twin brother Gilbert (Kodi Smit-McPhee).

Grace chaperones us through her early years. These were not easy years as mom died early on, and dad was an alcoholic paraplegic with sleep apnea. Mostly we learn about Grace and her collection (hoarding) of snails she kept in a glass jar with Vegemite for their nutrition. She tells us about her beloved brother Gilbert’s love of animals, reading, magic, and fire. When their dad dies, Child Services sends Grace and Gilbert to separate foster homes in different parts of Australia. It’s not just geography that makes a difference. Grace is fostered by a couple of self-help gurus who are also swingers (it’s not a movie for kids). Gilbert is sent to live with a harsh religious cult family demanding work while offering no love.

The twins maintain contact through letter-writing, and Grace fills in some of the details for us. Her story includes a romance with Ken, a neighbor who loves his leaf blower and has a certain fetish that takes Grace a while to uncover. She also forms a special bond with Pinky, and older lady (voiced brilliantly by Jacki Weaver) who teaches Grace to relish life. While Grace often lives inside a shell, much like her pet snails, she does treasure her time with Pinky, whose final letter is touching.

This is an all-too-ordinary life told exquisitely (that’s me trying to avoid saying ordinary and extraordinary in the same sentence). The emotions are overflowing and range from grief to sadness to frustration to anger to hope. Elliott includes nods to literature, roller coasters, Parisian street performers, guinea pigs, and nudist camps (possibly a first in the animated world). We also see the dark side of religion and the importance of friends and family. Grace truly lives the circle of life, as she learns that snails have no choice but to live in the shell under which they are born, but she does have a choice. The score from Elena Kats-Chernin is beautiful and fitting, and Elliot leaves us with this thought: “Life can only be understood backwards, but we have to live it forwards.” So get busy living!

In theaters on November 8, 2024

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Posted by David Ferguson

BLACK CAB (2024)

November 7, 2024

Greetings again from the darkness. Movie goers are accustomed to seeing the comedic side of Nick Frost in The Cornetto Trilogy from director Edgar Wright. These are the three films where Frost shares the screen with Simon Pegg: SHAUN OF THE DEAD (2004), HOT FUZZ (2007), and THE WORLD’S END (2013). Fans of that series are in for quite a shock thanks to this Shudder film from director Bruce Goodison and screenwriter Virginia Gilbert.

It’s late evening after a dinner with friends. An upset Anne (Synnove Karlsen, “Medici”, LAST NIGHT IN SOHO) hops in a cab hoping to head home alone. However, Patrick (Luke Norris, “Poldark”), the boyfriend she’s been bickering with, joins her in the cab so they can continue their relationship tussle. Their driver is a gregarious bloke played by the aforementioned Nick Frost. He takes an immediate dislike to Patrick (who is a bit of a jerk), and has a creepy bond with Anne. Clearly this will be no ordinary cab ride.

For a while, neither Anne nor us viewers can tell what’s happening. Soon enough, it becomes obvious this driver has nefarious intentions, though the specifics remain a bit muddled. The classic car that looks like a mini-hearse is a character on its own. We spend a great deal of time inside the vehicle … with Frost’s eyes in the rearview mirror. Once he mentions ‘the Ghost of Maybell Hill’ (or Mabel Hill, not really sure which), and the visions appear, we understand this is a supernatural thriller and Anne and Patrick are going to need some good fortune to escape.

The extent to which the film works and we are engaged comes down to Ms. Karlsen’s wide-eyed performance, the uniqueness of the vehicle setting, and our intrigue at seeing Nick Frost embody such a character. Additionally, the use of lighting is superb here … crucial since this all occurs at night and mostly inside a vehicle. By the time we learn the driver believes Anne has something he needs, this becomes a race to ‘the end of the road’.

Streaming on Shudder beginning November 8, 2024

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Posted by David Ferguson

CABRINI (2024)

November 4, 2024

Greetings again from the darkness. ‘Where there’s a will, there’s a way.’ That famous saying should be known as a “Cabrini”. For anyone whose impression of nuns is that of irascible old women swatting misbehaving students with rulers during school hours, filmmaker Alejandro Monteverde (SOUND OF FREEDOM, 2023) and co-writer Rod Barr have just the biopic for you.

Cristiana Dell’Anna stars as Mother Francesca Cabrini, the most stubborn and persistent nun you’ll ever see, and one’s whose accomplishments deserve to be known by all. The film opens by informing us that between 1889 and 1910 more than two million Italian immigrants came to the United States. Lest you believe the image of immigrants has never been worse than it is today, the film portrays the extreme racism and bigotry of the times. On top of that, Cabrini faced vile misogyny and the hatred that accompanied it. So what was her sin? Well, her vision was to create orphanages and hospitals so that immigrants, especially kids, would have a decent place to live and a community that could care for them. Imagine the nerve.

Not just nerve, but backbone, guile, and the strength to not accept “no” for an answer from the men in power. This is the true story of the early days of Cabrini’s mission. After being told in Italy to “stay where you belong”, Pope Leo XIII (Giancarlo Giannini) refuses to allow her to go to China; however, she accepts his compromise of New York City. Arriving in the Five Points area, she witnesses poverty and squalor for Italians, yet is initially rebuked by Archbishop Corrigan (David Morse), a man who doesn’t want to ruffle the feathers of Mayor Gould (John Lithgow).

The story is remarkable and the acting solid. Also deserving of mention is the look of the film. Production Design is superb and the cinematography of Gorka Gomez Andreu gives the film the beautiful throwback look of yesterday’s masterworks. If there’s a flaw here, it’s that we are never really certain how much time has passed as Cabrini goes toe-to-toe with various power brokers and moves from one project to the next. Still, we understand that the film covers just the early stages of her work, not the complete story. More than two dozen books have been written on Cabrini’s achievements before her death at age 67. She was remarkable and accomplished so much for one who was told to remain bedridden as a youngster. All of this was on borrowed time.

Her story is inspirational, as she built a charitable empire worldwide run by women. The film features a song by Virginia Bocelli and her father Andrea Bocelli over the end credits. It should also be noted that the religion aspect here is not overplayed. Instead, it’s the story of a woman (later canonized as a Saint) who believed, “Begin the mission and the means will come.”

Available on streaming services

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Posted by David Ferguson

REAGAN (2024)

November 1, 2024

Greetings again from the darkness. The opening credits provide a brief visual reminder of the Cold War, a period mostly forgotten (or never really learned) by those under age 60. Unfortunately, the intro is about as complete as a tweet would be today, so it doesn’t work as a history lesson for those who don’t already know. The same could be said for this biopic from director Sean McNamara (VINDICTA, 2023). For those wondering why so many idolize former President Ronald Reagan and cherish those years under his leadership, McNamara’s film serves up a tribute to the man who was elected as the 40th President of the United States. Think of this as an airbrushed look back, as most of the blemishes have been erased.

Screenwriter Howard Klausner (SPACE COWBOYS, 2000) adapted Paul Kengor’s 2006 book, “The Crusader: Ronald Reagan and the Fall of Communism”. Dennis Quaid stars as Reagan and expertly captures some of the familiar mannerisms of the man who had numerous nicknames throughout his life: “Dutch” (from his mom), “The Gipper” (from his movie, KNUTE ROCKNE, ALL AMERICAN), “Rawhide” (his Secret Service handle), and “The Great Communicator” (for his ability to connect with folks during speeches). 

The film opens on Reagan’s 1981 speech to the AFL-CIO as he’s telling one of his patented jokes. He then proceeds out of the building where the sequence mixes in actual footage of him taking a bullet from close range … a shot that nearly took his life. The shooter (Hinkley) is not mentioned by name here. Not told in complete chronological order, McNamara does outline Reagan’s Midwest upbringing, including his stint as a lifeguard. Handsome and charming, we see how Reagan capitalized on both to become an actor, spokesperson, SAG President, and Governor of California before taking that biggest step to the White House.

Oscar winner Jon Voight plays Viktor Petrovich, a Russian KGB Agent, who provides the structure of the film by progressively debriefing rising Russian politician Andrei Novikov (Alex Sparrow) on the decades of observation and research conducted on Reagan. This runs us through Reagan’s first marriage to actress Jane Wyman (Mena Suvari) and subsequent marriage to his true love, Nancy Davis (Penelope Ann Miller). Ronnie and Nancy were devoted to each other and the movie emphasizes this, while not delving too deeply into Ms. Reagan’s propensity to get involved in many White House meetings.

The arms control negotiations between Reagan and the Russians are fairly interesting. First, it’s Leonid Brezhnev (Robert Davi) followed by a few Russian Premier deaths, until Mikhail Gorbachev (Oleg Krupa) arrives, leading to some colorful discussions culminating with Reagan’s “tear down this wall” speech. It’s through Voight’s character that we learn the Russians had their own nickname for Reagan: “The Crusader”. Many recognizable names of the era are present and played by familiar actors. These include Dan Lauria as Tip O’Neill, an unrecognizable and rarely seen these days Leslie-Anne Down as Margaret Thatcher, an unrecognizable and rarely seen these days Jennifer O’Neill as Nelle Reagan, Xander Berkeley as George Schulz, C Thomas Howell as Caspar Weinberger, and Pat Boone as Rev. George Otis (in a scene with an actor portraying singer Pat Boone).

There is no emphasis on either Bonzo the Chimp or the Iran-Contra affair, but it does touch on Reagan’s primary loss to Gerald Ford, the debates with Carter and Mondale, and we see the ever-present jellybeans. De-aging technology is used, especially obvious on Jon Voight, and the “Evil Empire” and Star Wars defense system have their moments. It’s a very favorable and complimentary look at a man who led a fascinating and interesting life before Alzheimer’s forced him to take a final horseback ride across his beloved ranch, and issue a statement to the public. While it won’t be mistaken as hard-hitting journalism, Ronald Reagan’s life is worthy of celebration and the film does just that.

Beginning November 1, 2024, it’s available Video on Demand, and on Blu-ray beginning November 19, 2024

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Posted by David Ferguson

ANORA (2024)

October 31, 2024

Greetings again from the darkness. Watching ANORA and EMILIA PEREZ in the same week mere days after complaining out loud that it hasn’t been a great year for movies could inspire me to complain about everything in hopes that the rewards are similar. Since I’ve already reviewed the latter, let’s get to Sean Baker’s outlandish and innovative film. We can’t use the word ‘strange’ or ‘offbeat’ to describe this one, since Baker excels at presenting those on the fringes of society. Proof is provided via his superb previous films RED ROCKET (2021), THE FLORIDA PROJECT (2017), TANGERINE (2015), and STARLET (2012).

Mikey Madison (“Better Things”, ONCE UPON A TIME … IN HOLLYWOOD) crushes the role of Ani (short for Anora), a sex worker and exotic dancer pushing hard to make ends meet. It appears her ship has come in when Ivan (Mark Eidelshtein) pops into the club, takes a liking to Ani, and throws money around like he’s the spoiled son of a Russian Oligarch, which he is. Paying big bucks to have her be his American girlfriend for a week means Ani attends a raucous party and gets to frolic with Ivan in his ultra-modern seaside mansion. A spur-of-the-moment trip to Las Vegas means lots of partying and an equally spur-of-the-moment decision by Ani and Ivan to get married.

As you might imagine, this Cinderella story leaves Ani with a tarnished slipper. When Ivan’s parents find out about his disgracing the family by marrying an American sex worker, they send their local Armenian fixer Toros (Karren Karagulien, TANGERINE) to get the marriage annulled and repair the damage. Toros works with his brother Garnick (Vache Tovmasyan) and local hired help Igor (Yura Borisov) to start the process. What ensues breaks many laws, but also shifts the film’s tone as Ani fights (literally) the inevitable and puts up a valiant effort to save her marriage and new life of love and luxury. The brilliance here is with Igor and his perceptiveness to Ani’s feelings. Not only does this add complexity and emotion to the ongoings, but it also has an impact on the gut-punch ending.

This is innovative storytelling that refuses to shy away from the tough stuff or the easy stuff. We see Ani interacting with her co-workers and clientele at the club and it all seems as realistic as we’d expect. Ivan’s shenanigans as the rich kid out for a good time are certainly believable, as is Ani’s refusal to release her grip on her fantasy lottery win. Not enough can be said about Mikey Madison’s performance. Her dancing, her profanity, her acceptance of love, and her battling til the end are the heart of the film and the heart of a survivor. Mark Eidelshtein captures extreme privilege, and it’s a pleasure to see Mickey O’Hagan (TANGERINE, STARLET) back on screen – if only in a limited role as a Nevada clerk. We are so fortunate that filmmaker Sean Baker continues to enrich our moviegoing with his projects of hope, humor, and sadness.

The film opens in select theaters on November 1, 2024

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Posted by David Ferguson

EMILIA PEREZ (2024, France)

October 31, 2024

Greetings again from the darkness. For those who have been anxiously awaiting the first Spanish language-crime thriller-gender affirming-musical filled with violence, humor, romance, and on-the-nose songs, the talented French filmmaker Jacques Audiard has delivered. It’s also one of the year’s best films and deserved its place as France’s Oscar submission for Best International Film. Audiard based the film on the 2018 novel “Ecoute” by Boris Razon, and it’s a wild trip for viewers.

Zoe Saldana (best known for her roles in franchises AVATAR, GUARDIANS OF THE GALAXY, STAR TREK) plays Rita, a criminal defense attorney whose boss takes credit for her brilliant law work in keeping their ‘likely guilty’ clients out of jail. After her most recent legal maneuvering, she receives a mysterious caller offering her the opportunity to make big bucks. With a bag on her head, Rita is escorted to her clandestine meeting with infamous cartel kingpin, Manitas. Known for his ruthless approach to business, Manitas is intimidating with hushed voice and a mouth filled with gold teeth.

Normally, I would not discuss the details of their meeting, but since it’s spelled out in the official synopsis and the trailers, I won’t shy away from disclosing that Rita’s high-paying mission is to coordinate a new life and identity for Manitas … a life as the woman he’s always believed himself to be. Manitas is played by Karla Sofia Gascon, the first trans actor to win an acting award at Cannes. We only get a small dose of Manitas, and instead, after the surgery performed in secret by Dr. Wasserman (Mark Ivanir), we see much of her new life as Emilia Perez.

This new life means staging his death and living apart from his wife Jessi (Selena Gomez) and kids. Emilia and Rita create an organization that allows Emilia to make amends for that previous life. A clever strategy also reunites her with Jessi and the kids, though not with full disclosure. The aptly named Epifania (Adriana Paz) enters Emilia’s life through this new work, offering hope of second love for both. Of course, some of life’s actions put atonement out of reach, and the blissful new world is not without challenges. Jessi coming clean on her feelings for Gustavo (Edgar Ramirez) awakens an old feeling in Emilia, and the story’s tone erupts.

It’s pretty easy to imagine this resulting in a mess of a movie … especially since I’ve avoided detailing the singing and musical moments. In fact, it’s quite a gem. Some similarities to Pedro Almodovar’s work are obvious (that’s quite a compliment). The multiple shifts in tone may distract some viewers, but the cast does incredible work. Zoe Saldana handles the dramatic work quite well and her big choreographed number at a gala is a true showstopper. Karla Sofia Gascon is remarkable in the dual role, and Adriana Paz and Edgar Ramirez contribute, despite limited screen time. Director Audiard has built a strong resume with THE SISTERS BROTHERS (2018), DHEEPAN (2015), RUST AND BONE (2012), and A PROPHET (2009). He has topped them all with this female-centric story filled with violence, melodrama, and music. It’s a bit bonkers, though thoroughly entertaining for those who accept it for the spectacle that it is.

In select theaters on November 1, 2024 and on Netflix beginning November 14, 2024

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Posted by David Ferguson

HERE (2024)

October 31, 2024

Greetings again from the darkness. It’s possible I’m in the minority on this one, but it’s inconceivable to think I’m all alone with my impression of a movie being hyped as a reunion of the FORREST GUMP director, writer, stars, and crew. I found this to be one of the most irritating and tiresome movies to watch that I’ve seen in a while. A long while. Of course, I’m sure it’s possible to create a decent movie with no plot and little story, and no character of interest … but this ain’t it.

With no intention of poisoning the water for prospective viewers, this will simply recap the process. The premise is planting a camera in one spot and then progressing through history. Beginning with dinosaurs running amok, the devastating flood, Mother Nature reclaiming the land, Native Americans living their lives, Benjamin Franklin’s illegitimate son building a huge home, and finally our specific home being constructed in a newly established neighborhood. We then see the families who occupy the house over the years. When I say the camera stays in one spot, that’s exactly what I mean. It’s as if it never moves as dinosaurs romp and Franklin’s house is built and finally the bay window in this home provides a static view of the living room.

Very little excitement occurs in this living room. Mostly it’s just the same family stuff you probably experience: love, marriage, birth, death, illness, arguments, heartbreak. Though there are other inhabitants, the house is lived in through most of the years by the Young family, beginning with just-back-from-war Army vet Al Young (Paul Bettany) and his wife Rose (Kelly Riley). One of their kids is aspiring artist Richard (played as a teen, an adult, and a senior by Oscar winner Tom Hanks). He marries his high school sweetheart Margaret (Robin Wright), who hopes to be an attorney. Anyway, life stuff happens … and continues to happen, as superimposed frames are used as we bound from time period to other time period, both forwards and backwards.

2024 is the 40th anniversary of the Oscar winning film, FORREST GUMP. The ‘Gump’ reunion for this film includes writer-director Robert Zemekis, co-writer Eric Roth, lead actors Tom Hanks and Robin Wright, Cinematographer Don Burgess, Composer Alan Silvestri, Sound Designer Randy Thom, and Costume Designer Joanna Johnston. Adapted from Richard McGuire’s 2014 graphic novel, the film shows little resemblance to the classic film this team all previously worked on (netting 6 Oscars and 13 nominations).

For all the grief Martin Scorsese took for utilizing the de-aging process in THE IRISHMAN (2019), this one takes it to a whole new level, with Hanks and Wright as both teenagers and elderly folks. Most of this reminds me of Mr. Potter’s line in IT’S A WONDERFUL LIFE, “sentimental hogwash”. Only we should add generic dialogue and bland characters. The exception to the latter is the intimate relationship between David Flynn and Ophelia Lovibond, as his character’s inspired engineering leads to romantic moments for the couple. To put it bluntly, there is simply no story here. Are we to care about this plot of land? The house? The inhabitants? Or is this just a slow reminder that life moves on … so get busy livin’ or get busy dyin’ (yes, a SHAWSHANK REDEMPTION quote helps me recover from a disappointing movie experience).

Opens in theaters on November 1, 2024

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Posted by David Ferguson

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