Since I am a voting member of the Dallas – Ft Worth Film Critics Association, I wanted to share the link to this year’s awards page. You will find that Sean Baker’s ANORA was voted Best Picture, and can peruse the other categories as well.
My personal recap of 2024 movies will be published within the next few days, and I hope you’ll check that out as well.
Happy New Year to all … here is the link:
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Posted by David Ferguson
(BROADWAY DALLAS 2024-25)
It’s a tale as old as time. OK, not that tale. And not all of time, although the story of Peter Pan dates back to JM Barrie’s 1904 play (“Peter Pan, or The Boy Who Wouldn’t Grow Up”) and 1911 novel (“Peter and Wendy”). Most of us, across multiple generations, were first exposed to the story of the boy who never grows up while we were kids – through television, books, movies, and/or stage plays. Two of the more popular films include the 1953 animated Disney movie and the 1991 Spielberg movie HOOK starring Robin Williams. However, it’s live theatre where the story has had its greatest impact. There was the1954 Broadway production that featured Mary Martin (Larry Hagman’s mother) in a Tony Award winning performance as Peter Pan, and then in 1979, Sandy Duncan took on the role for a new Broadway production. The 1990’s had Olympic gymnast Cathy Rigby as Peter Pan, with her most recent run occurring in 1998.
The latest stage revival comes courtesy of a 2024 national stage production tour by director Lonny Price (a two-time Emmy winner) and based on an additional book by Larissa Fasthorse. Lorin Latarro and Paul Rubin handle the choreography and flying sequences. With a run at Broadway Dallas in the historic Music Hall at Fair Park, this latest production dazzles all ages – from 5 to 90+ (not counting the newborn someone dared carry in). The opening finds us in the bedroom of the Darling children, exposing us to the sufficiently irritating family. Dad is feeling the pressure of the impending work event, mom is worried about the babysitter, oldest daughter Wendy is rushing to grow up, while the two youngest, John and Michael, are immersed in childhood. After a tease from Tinker Bell, we don’t have to wait long for Peter Pan to make his spectacular entrance, soaring through the window while sprinkling fairy dust.
The production features three main sets: the Darling bedroom, the Neverland jungle, and Captain Hook’s ship, the Jolly Roger. All three are fully formed, with Neverland being especially adaptable. Complementing the sets are some terrific visual video effects on the backdrop. These are exceptionally effective during the initial flight from bedroom window to the shores of Neverland to meet The Lost Boys, as well as smile-inducing during the “shadow” moments.
With so many young characters, casting this show can be quite challenging, so it’s a pleasant surprise to note that there are no weak links here. High school senior Nolan Almeida plays Peter Pan. He is involved in most of the first half of the show, singing in six of the eight songs. Almeida brings a bustling energy to the role in comparison to the graceful and elegant style of some previous Pans. It’s different, yet it works … although I wondered why he only wore his hat during the initial scene. Cody Garcia plays dual roles as both Mr. Darling and Captain Hook, the latter being quite a crowd favorite. Making her professional stage debut is Hawa Kamara as Wendy Darling. It’s a key role, though she has only one solo singing moment. Bailey Frankenberg truly shines as Tiger Lily, both in her physicality and singing prowess. Comedy relief comes courtesy of Kurt Perry as Smee, Hook’s right-hand (no pun intended) pirate, and the two young Darling brothers, John and Mike, are played by Levi Chrisopulos and Camden Kwok, respectively (both making their national tour debuts). Hook’s ‘other’ nemesis, the ticking crocodile, hilariously belly-crawls across the stage, generating laughter and applause from the audience.
The flying segments are a crucial element to the production, and each hoisted actor performs admirably, with Almeida’s Peter being noticeably acrobatic in his sequences. Audience reaction to each flying character was filled with joy, perhaps most apparent in Peter’s first and final flights. Another big audience moment stems from Peter Pan encouraging noisy participation to revive Tinker Bell’s spirit after her self-sacrifice. And speaking of Tink, I never figured out what sorcery (it’s a joke) was used to depict her darting light. Whatever it was, it worked beautifully. It’s a two-hour and forty-minute production, including the intermission, and perhaps the best compliment for those involved is that time flies (another unintended pun) by. The Music Hall sound system was strong and clear for the songs, the dialogue, and the sharp orchestra. The loss of one’s childhood may or may not be a time of melancholy, but the Peter Pan story never fails to land emotionally. The only downside I can find is now that this Disney property is open-source, there is an upcoming 2025 film entitled PETER PAN’S NEVERLAND NIGHTMARE. It’s sure to be Rated-R, and hopefully no young kids get anywhere near it, else their childhood be lost.
“Peter Pan” runs through January 5, 2025 at Broadway Dallas at Music Hall at Fair Park
Leave a Comment » | Fantasy, Musical, Uncategorized | Tagged: Lonny Price | Permalink
Posted by David Ferguson
Greetings again from the darkness. As a nineteen-year-old college dropout, Robert Zimmerman traveled from his hometown of Hibbing, Minnesota to New York City so that he could play music and visit his folk hero, Woody Guthrie, who was hospitalized with Huntington’s Disease. Of course, Zimmerman became known as Bob Dylan, and his musical genius continues to this day – more than 60 years and counting. Those early formative years are recounted here by writer-director James Mangold (WALK THE LINE, 2005; 3:10 TO YUMA, 2007; FORD V FERRARI, 2019) and co-writer Jay Cocks (GANGS OF NEW YORK, 2002), who used Elijah Wald’s 2015 book, “Dylan Goes Electric! Newport, Seeger, Dylan and the Night that Split the Sixties” as inspiration.
Timothee Chalamet perfectly captures the essence of young Bob Dylan – one who was driven to write songs, and one destined to change the music scene. Was he focused? Absolutely. Was he arrogant? Without a doubt. Was he talented? So much so that for decades he has inspired other musicians and songwriters. Edward Norton is uncanny as folk icon and activist Pete Seeger, even nailing the distinctive accent and mannerisms, while Scoot McNairy plays legendary Woody Guthrie (“This Land is Your Land”), already robbed of voice by disease. The two men are taken aback by the first song Dylan plays for them – providing just the boost of confidence the young man needed to take to the streets and clubs, honing the sound that would bring joy to so many.
We get a sense of Dylan’s journey and rise to fame, as well as a couple of his romantic dalliances – specifically, artist Sylvie Russo (an odd name change for a character clearly based on Suze Rotolo) and activist and fellow folk singer Joan Baez. Elle Fanning plays Russo/Rotolo, who appeared with Dylan on the cover of his “The Freewheelin’s Bob Dylan” album, and Monica Barbaro plays Baez and gets to showcase her own lovely voice on stage a few times (as well as Baez’s frequent frustration with Dylan). Other supporting roles include Boyd Holbrook as Johnny Cash, Charlie Tahan as Al Kooper, Dan Fogler as Albert Grossman, and Norbert Leo Butz as Alan Lomax. All of these were key players in the development of Dylan.
Dylan’s obsession with writing is established – at the expense of most personal relationships. However, the crux of this story is the moment that transformed Bob Dylan from a folk music favorite to a musical icon. A good deal of time is spent showing the number of people who assertively fought against Dylan turning electric for the 1965 Newport Folk Festival. It’s such a classic example of an institution trying to protect its territory from change … as if the plugging of a guitar into an amp could ruin music that has constantly evolved over many centuries. Contradictory reports claim Dylan was booed mercilessly while he played that day, while other reports claim there were a few in the audience upset, but most reacted warmly to the new style. I don’t believe the film mentions that Dylan was backed that day by a good chunk of The Paul Butterfield Blues Band, but we do get to experience the new sensation, “Like a Roling Stone”.
Chalamet surprises here with his depth of performance, as well as his musical ability – singing and guitar playing. Rabid Dylan fans will surely find fault with some details, but most music fans will embrace the look at Dylan’s musical roots and the development of his genius and songwriting prowess.
Opens in theaters on December 25, 2024
Leave a Comment » | Drama | Tagged: Bob Dylan, Boyd Holbrook, Charlie Tahan, Dan Fogler, Edward Norton, Elijah Wald, Elle Fanning, James Mangold, Jay Cocks, Monica Barbaro, Norbert Leo Butz, Scoot McNairy, Timothee Chalamet | Permalink
Posted by David Ferguson
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
Leave a Comment » | Horror | Tagged: Aaron Taylor-Johnson, Bill Skarsgard, Bram Stoker, Craig Lathrop, Emma Corrin, Henrik Galeen, Jarin Blaschke, Lily-Rose Depp, Linda Muir, Louis Ford, Nicholas Hoult, Robert Eggers, Robin Carolan, Willem Dafoe | Permalink
Posted by David Ferguson
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
Leave a Comment » | Drama | Tagged: Antonio Banderas, Harris Dickinson, Helena Reijn, movies, Nicole Kidman | Permalink
Posted by David Ferguson
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
2 Comments | Drama | Tagged: Barry Jenkins, Brian Tyree Henry, Jazmin Headley, Kylee D Allen, Rachel Morrison, Ryan Destiny | Permalink
Posted by David Ferguson
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
Leave a Comment » | Drama | Tagged: Bina Daigeler, Eduard Grau, Inbal Weinberg, John Turturro, Julianne Moore, movies, Pedro Almodovar, Sigrid Nunez, Tilda Swinton | Permalink
Posted by David Ferguson
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
Leave a Comment » | Drama | Tagged: Adrien Brody, Alessandro Nivola, Brady Corbet, Felicity Jones, Guy Pearce, Joe Alwyn, Judy Becker, Lol Crawley, Mona Fastvold, movies, Raffey Cassidy | Permalink
Posted by David Ferguson
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
Leave a Comment » | Thriller | Tagged: Danielle Deadwyler, Dean Norris, Jason Bateman, Jaume Collet-Serra, Logan Marshall-Green, Michael Green, Sofia Carson, Taron Egerton, Theo Rossi, TJ Fixman | Permalink
Posted by David Ferguson
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
Leave a Comment » | Thriller | Tagged: Gary Gerhardt, Jude Law, Jurnee Smollett, Justin Kurzel, Kevin Flynn, Marc Maron, Nicholas Hoult, Tye Sheridan, Zach Baylin | Permalink
Posted by David Ferguson
Movie Reviews from the Dark 