THE APPRENTICE (2024)

October 11, 2024

Greetings again from the darkness. Many questions remain unanswered, but one point is clear … Donald Trump was not ‘born’ this way. Ali Abbasi directs a script from journalist Gabriel Sherman (Vanity Fair, New York Magazine) and it’s meant to explain the foundation of the man who would become President. Two distinct parts of the film are divided into the 1970’s and then the 1980’s, and that first part is infinitely more interesting and better presented.

Sebastian Stan is best known as Bucky Barnes in the Marvel Universe, but here he captures the essence of a Donald Trump many won’t recognize. In the 1970’s, Donald was a VP of his dad’s real estate development company, and his big dreams were constantly squashed by either a domineering dad or a system that made no room for vision. This was a young (late 20’s) Trump who was told he resembled matinee idol Robert Redford, and that he was foolish for trying to rescue Manhattan from the cesspool of decay it had become. In fact, Trump deserves much credit for at least dreaming of a bounce back from a city on the verge of bankruptcy.

Donald’s life (and the movie) shift into overdrive once powerhouse attorney Roy Cohn (a remarkable Jeremy Strong, “Succession”) summons him to his dinner table. Cohn was previously an attorney for the infamous Senator Joseph McCarthy and was the chief prosecutor in the espionage trial of Julius and Ethel Rosenberg. By the 1970’s Cohn was the ultimate fixer and one of the most powerful attorneys in the country. We watch as he mentors and trains and counsels the young buck Trump by instilling his three rules: 1. Attack. Attack. Attack. 2. Admit nothing. Deny everything. 3. Claim victory, never admit defeat. These are the foundations of “the art of the deal”, and really beyond that … how to be a ruthless businessman and person.

That first awkward meeting led to a mentorship that is truly fascinating to watch on screen. Cohn pushing the eager Trump to become the shark he needs to be, all while his dad, Fred Trump (Martin Donovan) fights him each step. Stan and Strong are mesmerizing in this first hour. Stan captures Trump’s familiar body language (slumped shoulders and hair fixation), while Strong hypnotizes with his steely-eyed stare. Trump mixes with powerful men like Rupert Murdoch, George Steinbrenner, and even Andy Warhol (whom he cluelessly asks if he’s “successful”), and then fixates on Ivana (a terrific Maria Bakalova), ultimately marrying her … it’s the prenup agreement scene where the film shifts.

Jumping ahead to the 1980’s, we find an arrogant Donald Trump ignoring Cohn’s advice to slow down and reconsider the Atlantic City casino and hotel. Of course, time proves Cohn right, but by now, Trump listens to no one. An unethical approach to business dealings and his gaudy taste in everything becomes obvious at this point – from furnishings to cufflinks. Also, his treatment of family becomes apparent – not just with Ivana, but also with his brother Freddy (Charlie Carrick), who dad refers to as an “embarrassment” to the family since he’s a commercial airline pilot and not a greedy capitalist in the family business. This humiliation leads Freddy to tragic alcoholism, and a brief sign of Donald’s emotions.

The film’s second half weakness stems from a Trump personality that is too similar to what we’ve been witnessing on the national level for the past decade. It’s truly painful and disgusting to watch a man who cares so little for others or for what’s right, and seizes on Cohn’s tactic of cloaking himself in love of country to appear heroic. By this time, Trump distances himself from Cohn for a reason that highlights his lack of humanity. We also see Trump claim Cohn’s three rules as his own while meeting with his biographer, and we note the roots of MAGA.

It must be noted that after the film was warmly received at Cannes, no distributors bid on it. Donald Trump had threatened a lawsuit. It took Briarcliff Entertainment to bravely step forward for the film to gain a theatrical release. Director Abbasi not so slyly opens the film with a fitting stage-setter: a clip of Watergate-era Richard Nixon proclaiming, “I’m not a crook.” It’s a legitimate question as to whether a movie about Donal Trump can avoid feeling a bit like a parody, even when it’s not. My initial interest in the film was in comparing this early Donald Trump to my memories of him during that era – how he was presented in the media. It comes across as spot on, but of course, we would have had no concept of how Cohn was molding him behind the scenes. That’s what this film accomplishes.

Opens in theaters on October 11, 2024

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Posted by David Ferguson

THE LAST OF THE SEA WOMEN (2024, doc)

October 9, 2024

Greetings again from the darkness. They consider themselves “the guardians of the sea”. My guess is that most of us have never heard of the haenyeos, the women divers on Jeju Island in South Korea. Director Sue Kim introduces us to these remarkable women who are carrying on a tradition that dates back to the 14th century.

We learn the haenyeo practice sustainable seafood harvesting. They dive “with their own air”, which means no air tanks – just their lungs. Their equipment is limited to a wetsuit, a hook, and a net basket. The underwater photography is spectacular and has us diving alongside these women who admit to disliking sea urchins, which require intensive labor to get to the good part. Director Kim dedicates separate segments to a few of the women, and what we immediately realize is that every haenyeo is a tough woman living a tough life.

What we also recognize is the passion, commitment, and camaraderie. Not only are they talented divers and fisherwomen, they have a community of respect and friendship. However, the picture is not all rosy. Their tradition is being threatened on many fronts. The divers have been pushed out to deeper water due to trash in the water. They have also noted a distinct shortage of sea life from their younger days, and attribute this to the warmer water from climate change. Beyond these threats, the women are facing generational differences. Most divers are in their 60’s and 70’s, and very few younger women care to carry on this tradition. The haenyeo numbers peaked in the 1960’s with 30,000 divers, whereas now the count is fewer than 4000.

The most recent threat to the sea and the haenyeo comes from Japan and the proposal to dump nuclear wastewater from Fukushima into the sea to minimize radioactivity. The fear is the danger to all sea life for the foreseeable future. This threat inspired one of the elder divers, Soon Deok, to travel to Switzerland and deliver a personal statement to the Human Rights Council, followed by official protests.

In addition to the group of elderly divers, director Kim introduces a couple of thirty-somethings who have joined the haenyeos, and have utilized YouTube and TikTok to document the sea changes and generate some attention for the profession. Haenyeos have been recognized by UNESCO, and their work is as fascinating as the personalities of the women. However, the long list of threats cannot be overlooked, and perhaps the notoriety this film will bring can make a difference. One of the producers is renowned activist Malala Yousafzai and it’s distributed by A24.

Releasing on Apple TV+ on October 11, 2024

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Posted by David Ferguson

DAYTIME REVOLUTION (2024, doc)

October 9, 2024

Greetings again from the darkness. Is it nostalgia? Is it history? Is it activism? Is it entertainment? This documentary from Erik Nelson is all of the above and more. It’s an incredible treat for viewers as well as providing a snapshot in time of a week that influenced changes in daytime television talk shows. In 1972, the host of the most popular daytime TV show invited John Lennon and Yoko Ono to co-host “The Michael Douglas Show”. Was it a clash of cultures? Yes it was. Was it TV magic? Absolutely.

Let’s be real … this was quite a risk for the time. Mike Douglas was a popular host because his daytime show was relatively benign and moderately entertaining for those watching television during the day. To invite John and Yoko, the ‘radicals’ accused not only of breaking up The Beatles, but also for being quite extreme in their counterculture thoughts and actions, was a courageous act and one that risked turning off a substantial portion of the audience. And this wasn’t just one show on one day. Douglas went all in – John and Yoko were to co-host a full week … five shows where they selected the guests.

Director Nelson wisely divided the documentary into segments of the five shows in order so that we can follow along. Show number one aired February 14, 1972 – a fitting date since John and Yoko stated they were looking to spread love and peace with their message. The first show featured some honest admissions from Lennon, as well as an in-depth interview with Ralph Nader. Just 38 at the time, the uber-intelligent Nader was viewed as an alarmist and extremist, though much of what he preached has since come true. Ninety-year-old Nader appears in the documentary recollecting his appearance and proving that he remains engaged and sharp even today.

The second show included folk singer Nobuko Miyomoto and activist and anti-war demonstrator Jerry Rubin. It’s fascinating to see Mike Douglas have a discussion with Rubin, and obviously Lennon and Yoko shared many of the same beliefs as Rubin, who comes across as a passionate, level-headed spokesperson. The third show is a musical highlight as John Lennon meets (for the first time) one of the rock pioneers he idolized, Chuck Berry. The two legends shared the stage to perform “Memphis, Tennessee”. We hear them harmonize, watch Chuck Berry do his duck walk, and are subjected to Yoko screeching into the microphone. Two other guests on the show were Macrobiotic diet chef Hilary Nedleaf and David Rosenbloom, the latter whom demonstrated his biofeedback music utilizing brainwaves. Both are also interviewed today about their appearance on the show. Singer and Broadway performer Vivian Reed performs on the fourth show while modern day Vivian Reed giddily watches the clip of herself. Black Panthers leader Bobby Seale discusses the charity programs he’s involved with and still manages to get his beliefs on the record. It’s on this show where John Lennon performs his classic, “Imagine”.

The fifth and final show has George Carlin as a guest, as well as a doctor lamenting the importance of reducing one’s blood pressure. It’s probably the most disappointing segment since we get very little of young Carlin and his quick wit. TV Producer E.V. Di Massi provides periodic commentary, and Yoko instills a bit of her performance art in the use of a broken cup that slowly gets reassembled as the week progresses. It’s a bit surprising to learn that Roger Ailes, who later became CEO of Fox News had been a producer on “The Mike Douglas Show”, but mostly we are amazed that given the times (Nixon, etc) that a popular network show allowed Lennon (only age 31 at the time) so much freedom to spread the message of the ‘movement’. And if you are wondering, the week provided terrific ratings. For those paying attention, the similarities between then and now are quite clear.

Opening in theaters on October 9 (John Lennon’s birthday)

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Posted by David Ferguson

Short Films (October 2024)

October 6, 2024

SHORT FILMS – a recap of some recents (2024)

Greetings again from the darkness. With so many short films being released each year, I usually try not to devote too much time to them until the Oscar short list is announced. That’s the point when the narrowing down has occurred and there is a manageable list to work through. A number of film festivals act as ‘qualifiers’ for short films, and in the years where I attend a few festivals, I always try to schedule in a block of shorts. The creativity displayed by these filmmakers never disappoints, and many will go on to write and/or direct feature-length films. Below is a brief recap of some of the short films I’ve recently watched:

TEA (12:37)

It’s normal to get nervous before asking someone out on a date, or even having that first conversation. One particular young man, Nick (Michael Gandolfini, THE MANY SAINTS OF NEWARK, 2021,) takes it to an extreme as he videos himself rehearsing for the big moment. When a bee stings him just as the opportunity with the dream girl arises, Nick’s severe allergic reaction leaves the girl (Olivia Nikkanen, “The Society”) initially confused by his slurred speech, and ultimately in a race against time to save his life.

Written and directed by Blake Winston Rice, the film infuses humor and tension to create an unusual short film based on the monologue (written and performed) by Isaac Lee. The setting of a parking lot behind the store is a nice touch, adding to Nick’s sense of isolation. It’s also a reminder that epi-pens should be readily available.

LUKI & THE LIGHTS (10:40)

Explaining a severe disease to kids is among the most difficult situations a parent can find themselves in. This happened to Sascha Groen and her husband Anjo Snijders, after he was diagnosed with Amyotrophic Lateral Sclerosis (ALS, still commonly referred to as Lou Gehrig’s disease). The couple collaborated with co-writer Janna Brower-Schouten and writer-director Toby Cochran in this terrific animated film that addresses a need … and does so beautifully.

Luki is a friendly, happy robot who enjoys hanging out with his friends. One day while playing soccer, his hand won’t function properly. Luki’s tests by the doctor confirm the diagnosis of ALS, a neurodegenerative disease for which there is no cure. Rather than feel too sorry for himself, Luki maintains his spirit and love of life and friends. He even builds his own ‘Rascal’ so he can get around.

It’s a story of true friendship and passion for life, and his friends stay with him until the light goes out. After that, they celebrate their memories of Luki. While we long to protect kids, circumstances sometimes require us to explain the tough breaks. This little film works wonders.

For ALS information, educational material, and more, please visit  globalneuroycare.org

ANUJA (22:11)

There is an old adage, ‘you do what you have to do’. But what if the choice isn’t easy or obvious? Such is the dilemma of nine-year-old Anuja. She has dropped out of school to work with her older sister Palak at a local (probably illegal) garment factory in New Delhi. The girls are orphaned and doing their best to get by.

Palak (Ananya Shanbhag) has a bit of a rebellious streak, and also understands that Anuja’s opportunity to test for enrollment at a boarding school is her sister’s one chance to escape a life of poverty, and will sacrifice anything to give her sister this chance. Anuja is played by Sajda Pathan, who lived on the streets of Old Delhi before finding assistance from social workers.

The burden carried by this young girl is painful to watch, as she wants nothing more than to continue her life with her sister, and certainly take no steps that would harm her. Director Adam J. Graves includes an early story about a farmer’s wife, daughter, and mongoose that sets the stage for what we see. The film was awarded the “Best Live Action Short” at this year’s HollyShorts Film Festival.

IN THE GARDEN OF TULIPS (13:38)

We immediately feel the tension between 16-year-old Cari and her father as they take a car ride through the Iranian countryside. The air lightens a bit as they stop at a roadside fruit stand for green plums, and then the two cut loose for a silly song about the plums.

The mood dramatically shifts again when law enforcement pulls the car over and begins questioning them. It’s not until the final scene that we realize this is the height of the Iran-Iraq war and we underestimated the stress and tension involved with this father-daughter road trip.

This film from director Julia Elihu and writer Ava Lalezarzadeh has been an award winner at some film festivals, and beyond that it’s a stark reminder of what’s at stake during war time. Ms. Lalezarzadeh also portrays the daughter, and excels in both writing and acting. The film was named ‘Best Live Action Short Film’ at the St Louis International Film Festival.

HIS MOTHER (13:27)

It’s probably not necessary to promote this as ‘inspired by a true story’. Writer-director Maia Scalia has perfectly captured an all-too-often-overlooked portion of an all-too-often-occurrence. A frazzled woman is working her way through traffic and desperately making phone calls.

Bethany Anne Lind (“Ozark”) plays Julie, the mother so desperate to reach her teenage son, her too-busy husband, and the Law Enforcement service too overloaded to understand the purpose of her calls. Her desperation is fed by the videos her son Harrison recently posted. When Julie gets a call from a friend “hoping” Harrison is safe since there is an active shooter at his school, the pieces all come together for us and we share the pit of the stomach turmoil with the mother.

Ms. Scalia’s film and Ms. Lind’s performance perfectly capture a parent’s nightmare, the societal concern with mental health issues, and the horror and far-reaching effects of school shootings.

TECHNICIANS (17:00)

Everyone has their own story, and by definition, “I’m just doing my job” offers a perspective through a one-sided lens. We first see David (J. Alphonse-Nicholson, “P-Valley”) as he’s taking care of his sick mother and struggling financially. He anxiously accepts a phone call offering a chance to work and earn. The writing-directing team of twin brothers Kevin Luu and Kelly Luu examine a large issue through a short film.

David has been hired to install automated manicure stations at a nail salon. The successful completion of his job will result in numerous technicians losing theirs … and he feels the scornful looks from the staff as he arrives. Befriending one of the technicians brings into focus the clash of two needs, and how the nail industry dives deep into Vietnamese culture.

With the recent conflict between the shipyard workers’ union and management over the use of technology, we certainly understand how the issue is widespread. The film finds a temporary solution, and ends on a welcome note of personal sweetness.

CALF (14:46)

After all these years, no one has yet been able to comprehend or explain or predict the behavior of teenagers. Even knowing the sometimes extreme nature displayed by teens, we can’t help but be shaken while watching Cait’s (Isabelle Connolly) reaction to an accident that occurs on her family farm in Ireland. Disturbing is the best description of this stunning film from writer-director Jamie O’Rourke … and it’s not all due to Cait.

This film grips you tightly early on, and doesn’t loosen the grip until well after it’s over. The desolate landscape and the simplicity of the family belies the hardships on the farm and within the family. Everything appears normal as one of their cows prepares to give birth in the barn. Cait carries her secret as the day progresses and she has a few interactions with her mother (Kate Nic Chononaigh), but nothing outside the norm.

Moments of suspense multiply here despite most of what we see being part of a regular day. The exceptions are extraordinary, and it’s not until the finale that we realize Cait’s behavior makes sense. This revelation heightens what has already been a gut-wrenching film to watch.  

MILDRED 4 A MILLION (21:15)

Marla Gibbs is probably best known for her role as Florence on the TV series “The Jeffersons”, which began airing in 1975. She’s now 93 years old, and still capable of carrying this short film from writer-director Kimmie P. Callaway. Here, she plays Grandma (and great Grandmother) Mildred who loves to chat with everyone (whether they asked for it or not). She can’t wait to share that her great-grandchildren are coming for a visit. She’s a lonely woman who lives for this moment of connection.

Of course, the reality is, no matter how much the silver shines or how many Snickerdoodle cookies you bake, kids are kids … great-grandmother’s house is but another playground to call their own. She’s especially excited to bond with 8-year-old Stella (Obriella Genesis Witron) as two share a middle name … Gigi. The visit ends too quickly as her granddaughter (Brie Eley) apologizes and explains, the only way to get her kids’ attention is to have a million followers on Tik Tok. So that’s exactly what Mildred sets out to do.

Now, Mildred is the type who has her cell phone hidden away in a drawer “for emergencies”. She asks her millennial postal worker (Hayley Keown) to help her get it set up, and then proceeds to go down her physical therapist’s (Julian Ashley Mitchell) checklist of nine ways to capture followers (number 8 is a sex tape!). The comedy here plays to Ms. Gibbs’ strength and she pulls off most every scene. The good time watching the film is balanced with a reminder that the world moves very fast for kids today, and sometimes grandparents just want to slow it down and concentrate on … just talking.

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Posted by David Ferguson

THE OUTRUN (2024)

October 3, 2024

Greetings again from the darkness. The best movies revolving around alcoholism usually make us feel like we are intruding on someone’s personal train wreck. Three that come to mind, each resulting in at least one Oscar, are LEAVING LAS VEGAS (1995), DAYS OF WINE AND ROSES (1962), and THE LOST WEEKEND (1945). This one is based on the 2016 memoir by Amy Liptrot, who also adapted the book for the screen with director Nora Fingscheidt (known for her festival favorite SYSTEM CRASHER, 2019).

Having already been nominated for four Oscars, there is little debate that Saoirse Ronan is one of the top actors of her generation. And this may be her best performance yet. As Rona, she captures the quiet desperation and loneliness that isn’t always so quiet. We see Rona as the unemployed, Masters-degreed, sloppy drunk party girl. We see her as the drunken victim of sexual violence. We see her as the next-day apologetic drunk who destroys a relationship. We see her in rehab and attending AA meetings. We see her relapse. We see her strained parental relations, and we see her in near isolation in hopes of kicking an addiction that she’s not even sure she wants to kick. It’s heartbreaking when she admits, “I can’t be happy sober.” We feel for those who have experienced this with loved ones.

Living in London, Rona is all about the excitement and energy of dancing and partying and socializing … and drinking. She says she likes how it makes her feel, ignoring the next day misery and regret. Her boyfriend, Daynin (Paapa Esiedu) is supportive and understanding, right up until the point where he’s had too much of her self-destructive ways. Rona finally accepts rehab and after 90 days, she heads home to Orkney – a sparsely populated archipelago off the north coast of Scotland. Rona’s parents are divorced. Her mom (Saskia Reeves) has turned to religion, while her bipolar dad (Stephen Dillane) lives in a caravan and works his sheep farm on his good days. The desolate environment lacks the constant temptations of London (though she still finds a few), and Rona hopes time in Orkney will be restorative to her health and spirit.

Filmmaker Fingscheidt makes some interesting choices. The film jumps around in time with Rona’s flashbacks to moments in her past – some going back to childhood. This jumping around reflects the mental struggles she goes through in her quest for sobriety. There is also a substantial amount of science and nature included. In voiceover, Rona details the specifics of addictive drinking, as well as the mythology of seals and selkies. Saoirse Ronan is superb throughout, yet two scenes stood out for me. The first is when she meets a stranger on the street, displaying her desperation for companionship and socialization. The second comes when she explains to her mother how seaweed is her new passion (her new addiction?) and is her focus for the future.

The only thing close to being as photogenic as Saoirse Ronan is the coastal Scottish landscape. It’s both breathtaking for us and claustrophobic at times for Rona as she fights the urges. Rona’s job with RSPB had me doing a quick Google search for endangered Corncrakes, and though most of the film left me emotionally drained, watching Rona ‘conduct the ocean’ provided a welcome jolt of joy.

*** For those who are interested in reading Amy Liptrot’s thoughts on the film about her life, I recommend this commentary she published: 

https://www.theguardian.com/books/2024/sep/22/amy-liptrot-outrun-life-as-alcoholic-on-big-screen

Opens in theaters on October 4, 2024

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Posted by David Ferguson

MONSTER SUMMER (2024)

October 3, 2024

Greetings again from the darkness. A fun-filled film meant only to entertain is always welcome. Traditionally these show up during the summer months, but timing this one closer to Halloween makes complete sense. Written by Bryan Schulz (the grandson of the late Peanuts creator Charles Schulz) and Cornelius Uliano (his collaborator on THE PEANUTS MOVIE, 2015), the film is directed by David Henrie, best known for his role in “How I Met Your Mother”.  It’s his first feature film gaining distribution, and it doesn’t disappoint.

It’s 1997 on Martha’s Vineyard (although it’s filmed in Southport, North Carolina) and budding journalist Noah (Mason Thames, THE BLACK PHONE, 2021) is desperately trying to follow in his recently deceased father’s footsteps. However, the local newspaper editor (Kevin James) wants nothing to do with the kid’s ideas. Noah suspects an evil presence in town at just about the same time Miss Halverson (Lorraine Bracco, “The Sopranos”) arrives for an extended stay at the B&B run by Noah’s mother (Nora Zehetner, BRICK, 2005).

Not to give anything away, but witchy things start happening. Noah’s baseball teammate Ben (Noah Cottrell) is night-swimming with a lady friend (Lilah Pate), and a fright leaves him “with the lights on and no one home” (as it’s described). It’s summertime, so baseball is a recurring theme for Noah and his friends Eugene (Julian Lerner, the new “The Wonder Years”) and Sammy (Abby James Witherspoon), with familiar face Patrick Renna (THE SANDLOT) as the league umpire. The three friends begin their own investigation, but soon enough, Noah is on his own … at least until he joins forces with retired detective Gene (2-time Oscar winner Mel Gibson). Gene has long been the subject of local rumors and mostly keeps to himself; but Noah’s work piques his interest, and the two share a form of grief.

Bits and pieces of IT (2017), THE GOONIES (1995), and more recently, “Stranger Things” all play a role, and we have references to Mulder and Scully from “The X-Files”, as well as a nostalgic feel that gives this more the feel of a childhood adventure than a true horror story. However, the creep factor is strong enough to earn the PG-13 rating. It should also be noted that Mel Gibson has been ‘canceled’ in some circles, yet he brings the necessary gravitas to elevate the film. It also seems safe to predict that young Mason Thames has a nice acting career ahead of him. Stories revolving around neighborhood legends and myths are quite common, and this one chooses to blend the supernatural with local police cases. So, if you are up for some cinematic fun times around Halloween, director David Henrie is all about treats, not tricks.

Opening in theaters on October 4, 2024

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Posted by David Ferguson

LEE (2024)

September 26, 2024

Greetings again from the darkness. Being courageous and heroic doesn’t mean one must wear a cape and possess super powers. In fact, some of the most courageous folks use their words (spoken and written), their feet (for marching into battle), and as we learn here, even their eyes. Lee Miller is a famous photojournalist who used her words to get to the front lines of WWII, her feet to march with soldiers, and her eyes to decide where to focus her camera. The film is based on the biography, “The Lives of Lee Miller”, by her son Antony Penrose. It’s directed by renowned choreographer Ellen Kuras (her feature film directorial debut) and co-written by Liz Hannah, Marion Hume, John Collee, and Lem Dobbs.

Oscar winner Kate Winslet stars as Lee Miller, and her fierce and committed performance validates what a passion project this was for her, and just how hard she worked to bring the project to fruition. Lee Miller was a well-known fashion model, and we see her hanging out with her band of artistic friends in pre-war France. It’s here where she first meets Roland Penrose (Alexander Skarsgard), and their initial intellectual bantering leads right to the bedroom. This after we hear Ms. Miller proclaim that she had ever only been good at drinking, having sex, and taking pictures. She speaks this line in 1977 while being interviewed (by Josh O’Connor, CHALLENGERS, 2024) about her life. It’s this interview that provides some structure to the film, while confirming that drinking and smoking were hobbies until the end.

It’s really Lee’s photographs that guide us through each phase. She and Roland relocate to London during the war, and soon enough she’s taking pictures under the guidance of British Vogue editor Audrey Withers (Andrea Riseborough). Continually having to stand up for herself after being rebuked for being a woman doing a man’s job, Lee partners with (and ultimately befriends) Life magazine photographer David E Scherman (a surprisingly effective Andy Samberg). Their work documenting history becomes historic in itself. After hearing about the “missing”, they were the first journalists to document Dachau concentration camp and the tragic prisoner trains.

Although British Vogue refused to publish the photographs as being too “disturbing”, the U.S. magazine did publish, creating awareness of the atrocities. The segment that leads to the infamous photo of Lee bathing in Hitler’s tubs is handled expertly. If there is a flaw in the film, it’s that we never really get to know Lee’s friends, so as she re-connects with Solange (Oscar winner Marion Cotillard), their meeting doesn’t hit as hard as it should. Still, the cinematography from Pawel Edelman and the accomplished performance by Kate Winslet, do justice to the stunning (actual) photographs shown. There is a dramatized twist near the film’s end that pays homage to Lee and her story. An early comment about Hitler is all too relevant today, and the battle scenes and photographs reinforce what courage Lee Miller exhibited.

Opens in theaters on September 27, 2024

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Posted by David Ferguson

WOLFS (2024)

September 26, 2024

Greetings again from the darkness. George Clooney and Brad Pitt are both two-time Oscar winners and are both north of 60 years old now. This latest film from writer-director Jon Watts (three Spider-Man movies) seems to ask the question: Are they still cool in a wise-cracking action movie star way? It’s been twenty-three years since the two long-time friends co-starred in the first (of 3) “Ocean’s” movies, and there is no doubt they were the epitome of cool then. But what about now?  And does it matter? The argument can be made that it does matter since so few non-superhero and non-comic book movies are capable of drawing big crowds to the theater these days. Unfortunately, this film won’t answer the question about drawing power, as a very limited one-week theatrical release will be followed by a run on Apple TV+.

The sound of shattering glass is followed by three F-words, the first dialogue we hear (and also the last). It turns out, the local District Attorney (Amy Ryan, “The Office”) is justified in using the language as she finds herself in a luxury hotel room with an apparently dead, underwear-clad young man on the floor, and blood all over her clothes. Now, if you or I were in this situation, we would quickly surmise there is no way out. In contrast, a powerful politician has a phone number to call. Soon, George Clooney is at her door. He’s a “fixer” or “cleaner”, depending on your preferred nomenclature. He’s calm and cool (there’s that word again) under pressure, and claims to be the only one who can do what he does. This claim is soon shattered as Brad Pitt shows up – equally calm and cool (!) – disavowing Clooney’s ‘only’ claim. If not for the blood and the body, Amy Ryan might be just fine with Clooney and Pitt popping into her hotel room. But that “if” looms large.

Circumstances being what they are, the two lone ‘wolfs’ are forced to work together. Their rivalry is enhanced by the one-liners, facial gestures, and body language that stems from Clooney and Pitt knowing each other so well. Their mission is made abundantly clear once a bag with four bricks of heroin is found … just prior to the body on the floor springing back to life. What follows is a unique and extended (too long) chase scene through the city at night. It turns out the body/young man/kid (played well by Austin Abrams, PAPER TOWNS, “Euphoria”) adds to the complication for our two fixers … despite finding them quite cool (!).

This trio crosses paths with Poorna Jagannathan (“The Night Of”) playing a Chinatown doctor they can trust, Zlatko Buric playing a nasty Albanian mob boss, and Richard Kind as the Kid’s dad with a Sinatra fixation (in a clever scene). It’s entertaining to see the long-time friends playing on screen rivals – both with bad backs, reading glasses, and a shared bottle of Advil. They probably aren’t as witty (or cool) as they imagine, but filmmaker Watts uses their camaraderie as an asset (and also Sade’s “Smooth Operator”). You’ll notice a few tips of the cap to previous characters and films, including Butch and Sundance near the end. Although she’s uncredited, you’ll appreciate knowing that is Oscar winner Frances McDormand’s voice on the phone in an early scene. Overall, it’s decent entertainment while reminding us to “check the pulse.”

Premieres on Apple TV+ beginning September 27, 2024

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2 Comments | Action, Comedy, Thriller | Tagged: , , , , , , , , | Permalink
Posted by David Ferguson

HAUNTED HEART (2024)

September 26, 2024

Greetings again from the darkness. With any discussion or article about relationships these days, there is inevitably a mention of ‘red flags’ … warning signs in a potential partner that shouldn’t be ignored. Thanks to writer-director Fernando Trueba (BELLE EPOQUE 1992, CHICO & RITA 2009) and co-writer Rylend Grant, there is now a movie that offers clear examples of red flags for those who can’t manage to spot them without assistance.

Alex (Aida Folch) is a lovely young woman who can’t swim or speak Greek. So of course, she applies for a job at a restaurant on a Greek island. It’s a boutique joint, just opening, owned by Max (Matt Dillon). Alex is drawn to the mysterious Max. While she’s a carefree open book, he’s a tight-lipped private person. A local charmer and part of the staff, Chico (Juan Pablo Urrego) tells Alex, “Nobody knows Max.” Unfortunately, this doesn’t deter Alex and she continues to pursue her man.

One thing respected filmmaker Trueba gets right is the look of the film. Set in 2001, the Greek isle locale is breathtaking and the cinematography by Sergio Ivan Castano takes full advantage of the seaside setting, as well as the cute café and the cast of faces the cameras adore. Aida Folch has an initial likability that reminds me a bit of Valerie Kaprisky from BREATHLESS (1983), and Matt Dillon has been a big screen fixture for more than forty years. It’s really the material that lets us down here. The romance is never quite as romantic as we’d hope, and the suspenseful aspects never generate the tension that we’d prefer. Mostly we just keep asking, “What is Alex doing? Why doesn’t she bolt?” The aforementioned red flags are so obvious that the big reveal barely warrants a nod, and the finale is forced to go a bit over-the-top due to the unlikely actions of Alex. In spite of all that, the Greek isles are enticing.

In theaters and On Demand beginning September 27, 2024

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

PLAN B (2024)

September 26, 2024

Greetings again from the darkness. The seeds of some of the best comedies are sown in real life scenarios and take advantage of the awkward reactions of everyday folks. The first feature film from writer-director Brandon Tamburri and co-writer Jean S Monpere takes on a cringeworthy situation that likely happens more frequently than we’d expect: a drunken woman sleeps with a guy and ends up pregnant from the encounter. Her decision tree is questionable leading to drama with real world ramifications. To make this palatable, the filmmakers take a comedic approach.

Jamie Lee (“Crashing”) stars as Piper, the above-referenced drunken woman who bumps into her neighbor, Evan Ebert, as she stumbles back home from a night of partying. Most movie goers probably haven’t seen Jon Heder on screen since NAPOLEON DYNAMITE (2004), although he has worked regularly and often since. Many will be surprised when he pops up as nice guy (and yes, quite quirky) Evan, the initially lucky neighbor in this scenario. Evan is the kind of guy who introduces himself as “a certified Uber driver”, has a pet named Cat Sajak, and has had a quiet crush on Piper for quite some time. In contrast, Piper is the kind who, when she finds out she’s pregnant, decides not to tell Evan he’s going to be a father, and instead begins scouting for a more acceptable ‘Baby Daddy’.

In order to reduce the disgusting nature of Piper’s plan, comedy is infused into most every scene. Piper’s roommate Maya (Subhah Agarwal, writer on “The Jim Jeffries Show”) acts as a bit of conscience for her friend, yet is unsuccessful in talking her out of it. Cameron (Michael Lombardi), a regular customer at the coffee shop where Piper works, is handsome and successful, and due to the necessarily tight timeline, becomes the target of Piper’s plan. Again, know that this is mostly played for laughs, including Shannon Elizabeth (AMERICAN PIE, 1999) as Cameron’s ‘cheesecake’ loving inappropriate boss; Kate Flannery (“The Office”) as the publisher who is interested in Piper’s Instagram “I Spy Love”; and Tom Berenger (with blindingly white teeth) and Suzanne Savoy as Cameron’s parents.

If the above description wasn’t enough, nice guy Evan also volunteers to accompany Piper to her Lamaze class … administered by a tough guy played by former NFL player Vernon Davis. Again, all of the inappropriate and insincere aspects of the story (and Piper’s actions) are delivered with comedic intentions – most in an exaggerated manner. Of course, we all know how this is going to end, so it really comes down to whether you can accept the humor and the personal growth shown by Piper.

Available on VOD and Digital on September 27, 2024

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

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