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

CANDY MOUNTAIN (1987, digitally restored)

October 25, 2024

Greetings again from the darkness. The pedigree alone makes this cult favorite one to check out now that it’s been digitally restored. Co-director Robert Frank was a renowned Swiss-American photographer and filmmaker, while co-director and screenwriter Ruby Wurlitzer was behind another popular cult flick from years earlier, TWO-LANE BLACKTOP (1971). The re-release is set to coincide with what would have been Mr. Frank’s one hundredth birthday (he passed in 2019 at age 94).

The story begins in NYC when not-so-talented musician Julius (Kevin J O’Connor) overhears a successful recording artist (David Johansen of New York Dolls) talking about his desire to buy up guitars handmade by the reclusive and legendary Elmore Silk. Julius, being the hustler and scammer that he is, claims to know Elmore Silk and offers to track him down. It’s all part of his latest scheme to become rich and famous without actually doing anything.

What follows is an oddball road trip of wrong turns, where Julius crosses paths with other ne’er do wells who each take advantage of him in some way. You might say Julius is not the sharpest knife in the drawer, yet he is persistent and continues his trek into Canada where, after being kidnapped, he locates Elmore Silk (Harris Yulin) and the guitars. Of course, the movie isn’t really about the guitars. It’s really about Julius’s trek and his desire to break out of the lifelong doldrums. What he doesn’t realize (though we do) is that even if he gets a big break, he’ll likely find a way to mess it up.

The real fun with this movie comes in spotting the faces of known actors and musicians. In addition to O’Connor and Yulin, you’ll see a young Laurie Metcalf (Oscar nominated for LADY BIRD, 2017), Tantoo Cardinal (KILLERS OF THE FLOWER MOON, 2023), French legend Bulle Ogier (THE DISCREET CHARM OF THE BOURGEOISE, 1972), Rockets Redglare (bodyguard for the Sex Pistols), and Robert Blossom (Kevin’s scary neighbor in HOME ALONE). As for musicians, in addition to Johansen (also known as Buster Poindexter and for driving Bill Murray’s cab in SCROOGED), you’ll spot Joe Strummer of The Clash, the great Tom Waits, Arto Lindsay, Dr John, and Leon Redbone.

Kevin J O’Connor hasn’t acted on screen in a few years, but his unconventional looks have graced multiple high-profile films: PEGGY SUE GOT MARRIED (1986), STEEL MAGNOLIAS (1989), AMISTAD (1997), GODS AND MONSTERS (1998), VAN HELSING (2004), THERE WILL BE BLOOD (2007), and THE MASTER (2012). It’s an impressive career for a guy who rarely plays ‘normal’. Nostalgia also plays a part here as we see a sign at a service station flaunting 79 cents per gallon gas. Julius spends some time hitchhiking, which was common for the time, and his foray into Canada goes against the reputation of a country filled with polite and friendly folks. It helps make sense of the film’s best quote, “It always seems colder when you’re leaving some place.”

The remastered version open in select theaters on October 25, 2024

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Posted by David Ferguson

CONCLAVE (2024)

October 24, 2024

Greetings again from the darkness. It feels like it’s been a while since we had a good old fashioned serious-minded, tension-packed, “big” drama film featuring big movie stars. Well, that’s exactly what director Edward Berger, fresh off his Oscar-winning ALL QUIET ON THE WESTERN FRONT (2022), serves up with his latest. Writer Peter Straughan (TINKER TAILOR SOLDIER SPY, 2011) has adapted the 2016 Robert Harris novel, and the result is a welcome crowd-pleaser that may garner some Oscar consideration.

Ralph Fiennes delivers what may be his best performance yet. And that’s saying something for the much-respected actor who has previously excelled in such films as SCHINDLER’S LIST (1993), THE CONSTANT GARDENER (2005), IN BRUGES (2008), A BIGGER SPLASH (2018), and THE MENU (2022). His impressive career is only enhanced by this most recent role of Cardinal Lawrence, saddled with the heavy burden of facilitating the titular Conclave charged with electing the new Pope. As the film opens, the beloved Pope has just passed … and as they say, “let the games begin”. Of course, these games are all about political maneuverings and power struggles and backroom promises. Director Berger opts to show us very little of the actual negotiations, and instead puts the various iterations of loyalty on display during each successive secret (of course) vote.

Within the confined walls of Vatican City and the Sistine Chapel, Cardinal Lawrence’s time is mostly spent investigating tips, scolding others for their behavior, and dealing with the immense egos of the few being considered (including himself). Stanley Tucci plays Cardinal Bellini, who pretends to not want the job while campaigning as the ‘progressive’ voice the church needs now. John Lithgow is Cardinal Tremblay, one of the most assertively ambitious who may or may not have purposefully undermined the work of another. Either way, Lucian Msamati’s Cardinal Adivemi is the victim of Tremblay’s actions. Cardinal Tedesco, portrayed by Sergio Castellitto, is the most outspoken in his desire to return the church to the old ways (Latin masses forever!), what he sees as proper. Bryan F O’Byrne plays O’Malley, assistant to Lawrence, and yet, despite all of these men, it’s Isabella Rossellini as Sister Agnes who manages to shoot (figurative) fire from her eyes, while maintaining her ‘place’ and significantly impacting the process. She is stunning and memorable in her limited role.

Early on, a big surprise arrives in the form of Cardinal Benitez (Carlos Diehz) of Kabul, who was the most recent appointee by the previous Pope, and unknown to the others. As a novel, this may be a real page-turner, and yet the movie never rushes from one moment to the next. Tension builds with each revelation and tarnished robe and secretive plot. Although the film barely skims the years-long sexual abuse scandal in the church, there is a stream of twists and turns that keep us on our toes as the Cardinals are sequestered. It’s fascinating to see how cinematographer Stephane Fontaine keeps things visually interesting in an enclosed environment filled with characters who aren’t allowed to go anywhere else. Another aspect I truly appreciated was the unusual musical score composed by Oscar winner Volker Bertelmann. This is the type of movie which often features overbearing music to ‘enhance’ tension, yet Bertelmann’s notes are effective jabs at just the right times.

Power plays, corruption, and political stunts are all present as these Men of God bungle the process of picking their next leader. Importance of the mission and tradition pale in comparison to ego and self-interest. The symmetry to U.S. politics is unmistakable and surely a purposeful approach by Berger. The final twist may be a bit out of proverbial left field, but in a room filled with secrets, perhaps that’s as it should be. To balance the tension and seriousness, anyone paying attention will appreciate the subtle humor, especially as it plays out as these relics muddle through modern day situations (technology, social progressiveness, terrorism). This is certainly not a film created for Catholics only, although for a brief moment, I worried we might have one that could be subtitled, “The Catholic Crying Game”. Fortunately, it’s one with a tension-filled story, terrific visual shots, a perfect score, and superb acting … a fun movie to watch.

Opening in theaters on October 25, 2024

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Posted by David Ferguson

MY NAME IS ALFRED HITCHCOCK (2024, doc)

October 24, 2024

Greetings again from the darkness. It takes a cinephile and documentarian of Mark Cousins ability to pull off such a treat for other cinephiles, especially fans of “The Master of Suspense.” This felt like a two-hour geek-out that I wished would never end. Of course, the early title card that read “Written and Voiced by Alfred Hitchcock” tipped us that this would be no ordinary biopic. It’s been more than 40 years since Hitchcock died (1980 at age 80), and his career spanned 1925 through 1976. His oeuvre firmly established his place among the greatest filmmakers, featuring at least eight all-time classics.

Alistair McGowan provides the voice acting that so closely mimics that instantly recognizable Hitchcock oratory prowess, and Cousins infuses the necessary sly wit that we came to expect during Hitchcock’s TV work (unmentioned here). Perhaps no other filmmaker has had their film work so thoroughly analyzed over the year, and yet Cousins brilliantly adapts a new approach. He structures the analysis via 6 categories, and then proceeds to provide archival footage and film clips as ‘proof’ as ‘Hitch’ guides us through.

These categories include:

  1. Escape – the segment shows various characters in different stages of trying or needing to remove themselves from a particular situation, often danger. This is the longest segment and emphasizes Hitch’s use of ‘opening a door’ to welcome viewers inside the movie.
  2. Desire – pretty much the opposite of ‘escape’, this reinforces the power of lust, desire, and sex to motivate a character’s actions.
  3. Loneliness – this segment is a mashup of loneliness, solitude, and discomfort – kind of a catch-all category of those all alone in a moment.
  4. Time or Timing – the proverbial race against the clock is sometimes quite real for characters in suspense or mystery films. Cutting it a bit too close qualifies as well.
  5. Fulfillment – an unusual segment in that it mentions love and then focuses on the personal life of Alfred and his wife (and collaborator) Alma. Shown are their London townhouse, their country estate outside of London, and their U.S. home in Santa Cruz, California.
  6. Height – back to film analysis, we see the frequent use of going high with the camera and shooting down at the scene. It’s a useful lesson in how the camera is a tool for the director.

I have purposefully not included the film titles with clips utilized for each category so as not to spoil the surprises and dull the impact. You should know that the clips fit perfectly, making this a nice film technique education, as well as a different approach to viewing Hitchcock movies. I believe the only two other directors mentioned here are Bergman and Murnau, both of whom influenced Hitchcock – just as Hitchcock has influenced so many filmmakers since. Cousins does forego any mention of the questionable persona and actions that have been associated with Hitchcock over the years, and that’s likely because this documentary wants us zeroed in on techniques that make up Hitchcock films. It’s difficult to imagine any Hitchcock fan not finding this to be a hypnotic experience of learning and appreciation.

In select theaters in NYC and Los Angeles on October 25, 2024

WATCH THE TRAILER

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

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