HOARD (2024)

September 5, 2024

Greetings again from the darkness. I don’t know why. I wish I could explain it. So many movies I admire or find intriguing are not the kind of movies that one would describe as uplifting, likable, or even watchable multiple times. The first feature film from writer-director Luna Carmoon is yet another for that category. It’s simultaneously compelling and unpleasant – a difficult movie to watch with an unrelatable lead character. And yet, I couldn’t turn away. The film won multiple awards at the 2023 Venice Film Festival, so obviously I’m not the only one drawn to this.

When we first meet Maria (newcomer Lily-Beau Leach), she’s dumpster-diving with her mother (Hayley Squires, THE ELECTRICAL LIFE OF LOUIS WAN, 2021). Maria is around 8 years old and it’s obvious her mom adores her despite being burdened with an unfortunate form of OCD. Mom is a hoarder-extraordinaire, and each evening she takes her young daughter to the streets to collect items that do nothing but add to the messy collections that make it nearly impossible to open the front door of their now disgusting home. As loving as her mother is, Maria can’t help but prank her by hiding the rolls of aluminum foil from her lunchbox. Mom begins to freak out at the thought of used aluminum foil being wasted, and only relaxes once Maria pulls the wads out of her pocket.

A tragic and bizarre accident leads us to flash forward – with a visually clever transition – to Maria (now played by Saura Lightfoot-Leon, “Masters of the Air”) in her final days of school, having lived with (and learned from) her warm-hearted foster mom Michelle (Samantha Spiro, ME BEFORE YOU, 2016) for nearly a decade. Although she lives a relatively ‘normal’ life now, Maria is a bit lost and unmotivated for the next step in life. Things shift quickly and dramatically for Maria when Michael (Joseph Quinn, A QUIET PLACE: DAY ONE, 2024) shows up. Having been a previous foster child for Michelle, he is now in his late 20’s and engaged to be married. Michelle doesn’t hesitate to let him move back in temporarily, innocently unaware of what this unleashes in both Michael and Maria.

This twisted psychological drama reaches new heights (or new lows) as Michael and Maria discover each other on the same wavelength. Maria’s repression combines with her reverting to childhood, despite her opportunity to begin again. She finds so many reminders of her mother: a fork, chalk, foil, a bedsheet drying on a clothesline, an iron, and a dumpster, all take her back to the stage which was set early on by her mother. At times it seems like Michael is being whisked away by her, although he is unable to stop their actions. The clean ending of a movie that wallows in messiness may disappoint some viewers, but for me, I found some relief. Filmmaker Carmoon succeeds in making us uncomfortable, yet I couldn’t look away.

Opening in select theaters on September 6, 2024

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Posted by David Ferguson

DIDI (2024)

September 5, 2024

Greetings again from the darkness. ‘Coming of Age’ films typically lean heavily into either comedy or tragedy. In his first feature film, writer-director Sean Wang (Oscar nominated for his documentary short NAI NAI & WAI PO, 2023) takes a different approach. While he certainly injects some humor, it’s isolation and awkwardness – that feeling of not fitting in – that takes center stage. It’s quite possible, even likely, that some of this is autobiographical for director Wang. That’s a safe statement since most every teenager can relate to bits of this story.

Chris Wang (played by Izaak Wang) is introduced to us as he’s blowing up a neighbor’s mailbox. We don’t get the full story until later, but it doesn’t take long for us to figure out that this kid is trying (too) hard to fit in with his group of buddies, as they each transition from junior high to high school. It’s the summer of 2008, and Chris lives with his mother, grandmother, and sister … and he’s miserable and lost.

Mom (a terrific Joan Chen, LUST, CAUTION, 2007) is a talented artist, beaten down by the demands of being a single mom to two constantly bickering kids, and a demanding mother-in-law for whom nothing is ever good enough. Nai Nai (Chang Li Hua) is played by director Wang’s real-life grandmother, and though her health is slowly fading, she doesn’t understand the social or family dynamics of the era. Vivian (Shirley Chen) is the sister/daughter who will be leaving home for college in one month. She is constantly annoyed by her little brother’s extreme pranks and immaturity, as well as the unfair judgments of Nai Nai. Their father is working in Taiwan, creating even more stress for these folks in Fresno.

Identity plays a huge role for Chris. His friends have always called him Wang-Wang, and at home he’s referred to as Didi (little brother). A group of older skaters offers him his first chance to be “Chris” and ‘half-Asian’, and he takes it. He wants so much to be part of the big boy club, yet he fails hard when his crush Madi (Mahaela Park) initiates ‘the nervous game.’ He also flops at being the filmer for the skate kids, and his sister counsels with the age-old warning, “Don’t do anything stupid.” Of course, we know he will.

Being the summer of 2008, we see camcorders, MySpace, AOL Instant Messenger, A WALK TO REMEMBER, and flip phones, amongst other reminders of the era. It’s interesting to see the first group of teens embrace the early days of social media, especially with the amateurish videos that slammed YouTube in those days. In this regard, director Wang has delivered a period piece, even if it’s from less than 20 years ago. Google search also plays a starring role.

Most impressive is how the film, and the actors, capture the emotions we all recognize. Anger, confusion, and frustration are prevalent for Chris and his mother, the latter of whom gets a wonderful scene where she relays her perspective on life. It’s heart-wrenching and Joan Chen nails it. As Chris, Izaac Wang details the absurd squirrel story which highlights his advanced level of social awkwardness. Included are references to Ang Lee and Spike Jonze, and the emphasis on Chris not being a stereotypical Asian-American. When summer ends, the braces come off, and Chris strolls into high school … we easily understand why this won an Audience Award at Sundance. The digital version even includes some bonus features (‘the making of DIDI’).

Now available on digital and coming to Blu-ray on October 29, 2024

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Posted by David Ferguson

CITY OF DREAMS (2024)

August 29, 2024

Greetings again from the darkness. The mistreatment of kids is something that causes a physical reaction for me. It’s not just the intellectual and emotional effects – my entire body reacts by shifting into some mode that’s a cross between aggression, sickness, and denial. No matter how much we wish child trafficking wasn’t occurring, we know that it is … and reminders are crucial in keeping the awareness and discussions (and kids) alive. That’s the role of the first feature film from writer-director Mohit Ramchandani.

Jesus (Ari Lopez) is a young boy in Mexico dreaming of a future as a star soccer player. His mother died giving birth to him, and his father seizes the chance to let his son pursue his dreams in the “new world” by attending a soccer camp. Everything has been arranged by a shady, Mustang driving character who most of us would never trust. However, Jesus’s father is desperate for his son to have an opportunity for a better life.

A non-verbal Jesus is excited right up until he’s frightened. He’s dumped at a ragged house and led to the room lined with others of all ages who are slumped over sewing machines. This sweat shop is run by El Jefe (Alfredo Castro) and his foreman Cesar (Andres Delgado). To ensure we don’t miss the “sweat” shop label, the actors are often coated in absurdly giant beads of fake sweat. It’s the closest to comedy we get.

What occurs in the dark, dank world of sweat shops and child slave labor is portrayed here as indescribable misery. We see the long and unbearable working conditions of the kids, along with the harsh punishments that occur if one steps out of line. Elena (Renata Vaca) flirts with Jesus as teenagers do … until she’s whisked away and sold into child sex slavery. The only ray of hope we as viewers see is Officer Stevens (Jason Patric, an actor I erroneously predicted stardom for after watching THE LOST BOYS in 1987), a renegade local cop who senses criminal activity in the home, despite his superiors continually telling him to back off.

Inspired by a true story (actually too many similar stories), Ramchandani’s film portrays the disgusting side of migrant child labor, child slavery, sex slavery, human trafficking … whatever term you prefer. He tells us 12 million children have been victims of slavery.  There are also a couple of other interesting factors: the bad guys aren’t all Caucasian, greed is a driving force, and all involved (not just the kids) have dreams. El Jefe dreams of an acting career. We see Cesar studying his SAT prep book, and Jesus juggles visions of glory in soccer with nightmares of some evil tribal figure. The list of Executive Producers includes Tony Robbins, Linda Perry, and Thomas Jane. The brutal loss of childhood innocence is difficult to watch and concludes with a plea for action from young actor Ari Lopez.

In theaters August 30, 2024

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Posted by David Ferguson

MERCHANT IVORY (2024, doc)

August 29, 2024

Greetings again from the darkness. “A Merchant Ivory film” became a colloquialism when discussing certain films from the mid-1980’s and continuing for about twenty years. Of course, they weren’t all actual Merchant Ivory films … though many tried to be. Documentarian Stephen Soucy has delivered quite a tribute to the filmmakers and the two men. Although from the beginning, Soucy posits this as a four-headed troupe, not two-headed.

The opening statistics show, between 1961 and 2007, Ismail Merchant produced 42 films, James Ivory directed 30 films, Ruth Prawer Jhabvala wrote 23 films, and composer Richard Robbins scored 21 films. With so many Oscar nominations for his films, it’s interesting to note that producer Merchant never took the gold statue. It should also be noted that Ivory is the only surviving member of the foursome. Merchant died in 2005. Robbins died in 2012. Ruth died in 2013. It’s 96-year-old James Ivory who is still active today, and even sits for an interview for the film.

Soucy divides the film into six chapters, but the film is so well structured, the chapter headings aren’t even needed to help us stay on track. We hear how Merchant and Ivory first met, and early on Soucy includes interviews from actors such as Helena Bonham Carter, Hugh Grant, Emma Thompson, a prickly Vanessa Redgrave, Rupert Graves, Sam Waterston, and Simon Callow to offer insight into the challenging projects. Actors rave about the script while relaying the difficulties in working with such low and tight budgets. Merchant was constantly cutting costs while simultaneously working to raise money during productions.

Much of the insight revolves around the divergent personalities of Merchant and Ivory. Their relationship was volatile both on set and off, professionally and personally. Being “secretly” gay in New York during the 1960’s would be challenging enough, and we then learn that Merchant was a charming rascal (sometimes con man), while Ivory was a meticulous craftsman. If not for Ivory’s professionalism and Merchant’s cooking, the sets may have been even more explosive.

As movie goers, we aren’t privy to that extraneous stuff. Instead, we see the scrumptious sets and stunning costumes complementing rich stories and superb acting. So much of what Soucy presents here is new to us as film lovers. Additionally, it’s wonderful to learn more about Oscar winning writer Ruth Prawer Jhabvala, who excelled at adapting the works of EM Forster for the big screen: A ROOM WITH A VIEW (1985), MAURICE (1987), and HOWARD’s END (1992). And yes, she wrote the screenplay for THE REMAINS OF THE DAY (1993), which won no Oscars going up against the magnificent SCHINDLER’S LIST. Her daughter Ava is a contributor here.

Soucy tells us there were 15 films before A ROOM WITH A VIEW, which changed everything for the filmmakers and partners. It’s truly fascinating to see clips from their early films and hear the stories about how those projects came together. There was, of course, criticism to go with the accolades, as their movies were referred to as the “Laura Ashley” school of filmmaking. And frequent costume designers (and multi-Oscar winners) Jenny Beavan and John Bright add that in addition to the budgetary concerns, the expedited timeframes and staff shortages brought more strain. Personal drama is brought to light, especially as it pertains to composer Richard Robbins, and his relationships with both Merchant and Helena Bonham Carter. The walls of that country estate could surely tell some tales.

After Merchant’s death, it appeared that THE CITY OF YOUR FINAL DESTINATION (2009) would likely be Ivory’s final film project. Instead, he won an Oscar for adapting the screenplay (from Andre Aciman’s novel) for CALL ME BY YOUR NAME (2017), and has continued to write and direct. Ivory’s memoir is quoted here. The chronological look at their films is interesting enough, yet it’s the behind-the-scenes insight and personal details that set this apart from many documentary tributes. Even as it concludes, in our minds we hear the voice of Merchant, “Shoot, Jim! Shoot! Shoot!”

Opens in select theaters August 30, and expanding on September 6, 2024

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Posted by David Ferguson

YOU GOTTA BELIEVE (2024)

August 29, 2024

Greetings again from the darkness. As a lifelong avid baseball fan, I recall the 1973 season when relief pitcher Tug McGraw (father of country performer and actor Tim McGraw) elevated the phrase “You Gotta Believe” to the rallying cry for his New York Mets team that year (they ultimately lost the World Series to the Oakland A’s). So, I’ll admit to a touch of skepticism when I saw this was a baseball movie. Director Ty Roberts and writer Lane Garrison previously collaborated on 12 MIGHTY ORPHANS (2020) and THE IRON ORCHARD (2018), and after watching this one, I’ll give them full credit for bringing very human stories of real people to the screen.

Based on the true story of the 2002 Fort Worth (Texas) Little League team that advanced all the way to the Little League World Series, this one has the bones of the always enjoyable youth ‘underdog’ story in the vein of THE MIGHTY DUCKS (1992) and HARDBALL (2001). The big difference here is that there is also some personal and family drama that’s not quite so uplifting … heartwarming, yes … but not uplifting. We first meet this team as they are finishing their winless season. Optimistic coach Bobby Ratliff (Luke Wilson) and distracted manager Jon Kelly (Greg Kinnear) both have sons on the team, but from the action we see, this team rarely practices and has a shocking lack of athleticism for a bunch of 12-year-olds.

It’s the glimpse of on-field action that makes this version of reality a bit difficult to swallow. When the league commissioner, played by Patrick Renna (from the truly classic baseball film THE SANDLOT, 1993) pleads with too-busy attorney Jon to take his team to the all-star tournament, logic tells us, it’s one and done. However, the dynamics change quickly when coach Bobby is diagnosed with melanoma and a brain tumor. The team now has something to play for, and we are to believe that with the help of Coach Mitch Belew (hard-working character actor Lew Temple, ONCE UPON A TIME … IN HOLLYWOOD, 2019), this team improves enough to win regionals and sectionals (in a montage) while qualifying for the Little League World Series.

Bobby’s two sons Robert (Michael Cash) and Peanut, and Jon’s pitching son, (the ironically named Walker (Etienne Kallici) have key supporting roles, as do Molly Parker as Jon’s wife Kathy and Sarah Gadon (COSMOPOLIS, 2012) as Bobby’s wife Patti. The team has “Bobby” embroidered on their caps as motivation, and the team’s winning ways help keep up spirits for Bobby as he goes through treatment. There is a “Rawhide” theme song sequence that adds a bit of comic relief to help offset the heaviness of cancer.

The film highlights the remarkable game the team played in Williamsport, and we get a Satchel Paige reference (or two). The downside is that by exaggerating the ineptitude of the team when we first see them, their turnaround and entire journey seem a bit hokey. Of course, no game is bigger than life, and the film ends with the expected harsh reality of the boys wearing their uniform one more time. We do get a shot of Bobby’s grown-up son reading a letter to his young son, and it concludes with clips of the actual Little League World Series – complete with players, coaches, and Bobby. Once again, a story of underdogs manages to make solid contact.

In theaters nationwide on August 30, 2024

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Posted by David Ferguson

SUGARCANE (2024, doc)

August 29, 2024

Greetings again from the darkness. Whether the phrase ‘systemic abuse’ applies here is hardly worth discussing. The facts are that physical abuse, verbal abuse, cultural abuse, and sexual abuse occurred regularly over many years in the Catholic-run residential schools for indigenous children, both in the United States and Canada. Indigenous filmmaker Julian Brave NoiseCat has teamed with experienced documentarian Emily Kassie to bring this story to light.

This National Geographic documentary mostly narrows its focus to St Joseph Mission near Williams Lake, British Columbia. The school closed in 1981, but it was originally one of many secretive and segregated residential schools opened to deal with “the Indian problem” in Canada. We are informed there were 139 schools in Canada and 408 in the U.S. What we notice from the start is that the film is deliberately paced to emphasize the lives of quiet desperation so many have led.

In 2021, a discovery of approximately 200 unmarked graves at a different school led to a dedicated crew going deeper on research, and finding records of reported abuse and cover-ups, as well as additional unmarked graves at St Joseph. It turns out these schools required the students to speak only English, convert to Catholicism, and basically erase their native culture – all while referring to them by numbers, rather than names.

Two very personal stories are followed here. One involves co-director Julian as he re-connects with his father Ed Archie NoiseCat. Ed is one of many who never knew the truth of their past and have mostly buried the memories of the mission. With Julian’s work, not only do the two create a father-son bond, they also discover a stunning detail for Ed – involving a shoebox and an incinerator. The other personal story here involves former Chief Rick Gilbert, who along with his wife, uncovers a truly shocking connection in his family tree. We also follow Rick to Vatican City where the Pope reads a prepared statement filled with words, but no action.

The former students are referred to as “survivors”, partly because so many didn’t. And while we can see and feel the pain and quiet suffering these folks are carrying, we learn that history and those memories continue to take lives. The history of abuse within the Catholic Church is not limited to white kids, it’s just the indigenous history hasn’t received the same publicity. The suppressed memories and search for roots is so important, and yet so many unanswered questions remain for survivors and descendants. And no one has been held accountable for the atrocities. Infanticide, abuse, cruelty, and humiliation do not seem to fit the journey of these dignified and quietly suffering folks, but there is an uplifting element with Ed and Julian, father and son.

In limited theaters beginning August 30, 2024

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Posted by David Ferguson

THE CROW (2024)

August 22, 2024

Greetings again from the darkness. It’s been thirty years since Alex Proyas directed THE CROW (1994). Unfortunately, the cult favorite is forever remembered as being the set on which lead actor Brandon Lee (son of the legendary Bruce Lee) died an accidental and tragic death. Along the way, there have been lesser sequels. There have also been so many rumors of a re-boot over the last fifteen years, that I remained a bit doubtful until the opening credits actually began to roll.

Director Rupert Sanders (GHOST IN THE SHELL, 2017) and co-writers Zach Baylin (KING RICHARD, 2021) and William Josef Schneider have avoided the “remake” label, while offering their version of the comic book series from James O’Barr. Bill Skarsgard (Pennywise in the IT movies) and pop star FKA twigs (HONEY BOY, 2019) play Eric and Shelly, the star-crossed lovers who meet at (and escape) drug rehab. Their freedom initially leads to some smooching and giggling and a shared bathtub and bed. Of course, things change for the doomed lovers quickly when she is reminded that some really bad people who work for a really bad man are trying to kill her.

The villain is played by the always-dependable Danny Huston, who has mastered reserved on-screen evil. His billionaire supernatural demon dude puts a hit out on Shelly because of an incriminating cell phone video. When his henchmen succeed in killing Shelly and Eric, the latter finds himself in purgatory learning lessons from Kronos (Sami Bouajila). It turns out the crow will guide Eric to put the wrong things right … which means brining Shelly back to life.

Eric’s afterlife revenge mission takes up most of the film, and violence is around every corner. You should know he is basically invincible, although he does feel pain. So those many bullet holes need to heal as quickly as possible. Eric goes goth (similar to what Brandon Lee did) and sports a black duster that would make Wyatt Earp and Blade envious. A beautiful Opera House serves as the setting for a John Wick-esque parade of violence and bodies … all synchronized to the stage production. We never really know why there are so many henchmen at the opera, but it allows the bullets to fly, the sword to swing, and the blood to flow.

The film clearly falls way short of a Marvel budget, but filming in Prague brings an element of interest with some previously unseen locales – a real plus for the film. It’s a gothic love story of revenge from beyond the grave, so the dark nature of the material is accompanied by some of the darkest lighting you’ll ever see in a movie (although not quite as much rain this time). To top it off, the crows that lead Eric are very cool. Let’s not kid ourselves, it’s a (very) messy movie, but it plays to its audience.

Opens in theaters on August 23, 2024

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Posted by David Ferguson

BETWEEN THE TEMPLES (2024)

August 22, 2024

Greetings again from the darkness. It seems wrong (and a bit cheap and obvious) to use the word “unorthodox” to describe this latest movie from writer-director Nathan Silver (STINKING HEAVEN, 2015) and co-writer C. Mason Wells. However, that description fits … even if a bit too perfectly. The word also accurately describes the look and camera work from cinematographer Sean Price Williams, using harsh close-ups for immediacy and a filtered soft look for connection.

We first meet Ben (Jason Schwartzman) as his moms, Meira (Caroline Aaron) and Judith (Dolly De Leon) are trying to set him up with a plastic surgeon. Their efforts come mostly from a good place – helping him get through the grief of his wife dying, yet they would also like him to get his life back together and move back out of their basement. It’s been a hard year for Ben, and his grief along with questioning his faith and the fairness of life have left him unable to fulfill the singing portion of his work as a Cantor at the Temple.

Rabbi Bruce (Robert Smigel, former SNL writer) promises to help Ben get through this, but Ben’s trip to the local bar result in his getting punched in the face and reuniting with his elementary school music teacher, Carla Kessler O’Connor (the great Carol Kane). It turns out Carla’s husband died and she’s also dealing with being forced out of her music teaching job after 42 years. From here, things only get more interesting between Ben and Carla.

Joining his mitzvah class, Carla wishes to experience the Bat Mitzvah she never had as a 13-year-old girl. Rabbi Bruce reluctantly approves, and Ben begins the unusual process. Clearly, he’s attracted to her lust for life, while she understands his inherent sadness when he states, “even my name is in the past”. Rabbi Bruce also tries to set up Ben with his daughter Gabby (Madeline Weinstein), whom he describes as “a mess”. Gabby has excellent comedic timing with car locks.

Things get convoluted for all involved, even as Ben and Carla grow closer … even agreeing that sometimes the brain feels like it’s having a heart attack. Emotions (and confusion) hit a peak during the most awkward Shabat dinner on record. All characters have their moment to shine.

Jason Schwartzman delivers one of his most reserved performances to date. We can feel his grief turn to hope. However, it’s Carol Kane who brings the most interesting aspects of the film alive. Ms. Kane, with her trademark hair and recognizable voice was a true star early in career with memorable performances in CARNAL KNOWLEDGE (1971), THE LAST DETAIL (1973), DOG DAY AFTERNOON (1975), ANNIE HALL (1977), WHEN A STRANGER CALLS (1977), “Taxi”, THE PRINCESS BRIDE (1987), and SCROOGED (1988). It’s a treat to see her have a chance to shine again.

When one mentions Jewish movie comedies, it’s Mel Brooks and early Woody Allen that tend to come to mind. It’s possible some might be offended at Mr. Silver’s clever approach here, but I prefer to note the dual meaning of this film’s title … call it ‘unorthodox’ and leave it at that.

Opening in theaters on August 23, 2024

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Posted by David Ferguson

HOLLYSHORTS FILM FESTIVAL 2024

August 20, 2024

There are approximately 150 Oscar-qualifying festivals for short films each year, and the competition is always tough. So many filmmakers are looking to make their mark in short films, with many hoping to garner support for future feature-length films. Recognition is difficult to come by, although as one who watches dozens of short films each year, I find the quality of storytelling and filmmaking in this segment to be quite extraordinary.

Held in Hollywood, California, 2024 marks the 20th anniversary of the HollyShorts Film Festival, and as usual, the lineup was deep and diverse. I had limited viewing time this year, so my recap (including filmmakers’ names) is limited to the 16 (sixteen) Short Films I watched in 3 (three) categories: Dark Comedy, Comedy, and Thriller. Only one of the films I watched ended up a prize winner on the festival’s final day, but there’s not a dud in the bunch.

Dark Comedy

BATHROOM BREAK 9:49

Dave Canning

An unusual tale set in an office environment, where Ben locks himself in the bathroom stall to avoid attending a mandatory meeting. We’ve all been there … can’t bring ourselves to attend yet another meeting, no matter how hard our co-workers insist. This time Ben finds an unique way to escape.

OFFICE ROYALE 13:24

Sam Baron (director), Harry Kershaw and Chris Leask (co-writers)

Remember the standoff in Tarantino’s RESERVOIR DOGS? Well this one has quite the twist – an office environment where the boss finds his own way out, while pitting the staff workers against each other. Oh yeah, they are armed and the stakes are high. This one truly earns the ‘dark comedy’ designation.

SEE SAW  11:40

Matt Porter

A data breach or system hack is not an uncommon occurrence these days. What happens when a targeted attack mistakes an innocent guy over the corporate type with the same name? Upheaval in the poor guys life is painful to watch as it impacts all facets.

GOOD GRIEF 12:03

Megan Chumbley (director), Rachel Brunner (writer)

The dark comedy block of shorts wouldn’t be complete without an extreme family drama entry. A death in the family brings everyone together, and it’s not a pretty sight. An airing of grievances that would fit any Festivus celebration shows how a small thing (pronunciation of a name) can be important to some. We do end on an emotional point.

Comedy

BAD DRIVER 6:16

Antonia Grilikhes- Lasky

This is short even for a short, but the twist is worth a laugh … and we need it after the lady behind the wheel recounts her story with a certain guy in excruciating detail. I enjoyed the punchline.

PEE PEE PLATTER 11:00

Jon Conklin

“Revenge ain’t got a shelf life.” That’s the life philosophy of a kitchen worker to a waiter who is confronting his childhood bully while waiting tables. As these things so often progress, we find a pissing contest between the two emotionally-stunted adults. And this time it’s literal.

GOLDEN CHILD  10:07

Hannah Levin (also stars as Lulu)

This one constituted a streak of two films where urine plays a crucial role … as does revenge. Avenging childhood drama is never easy, yet often satisfying. Familiar face Gillian Vigman appears as one who doesn’t much appreciate Lulu’s plan of attack.

LIBBI’S TRYING 9:53

Andrew Carter

Breaking into acting is difficult and sometimes emotionally draining. Divorce, especially when a kid is involved is also both of those things. Libbi is trying to juggle both, even taking her young one on an audacious audition.

DEEP TISH 13:35

David Paige

This film won ‘Best Comedy” at the festival, and it blends the add-on of a deep tissue massage with the difficulty of matching for a first date in Los Angeles. Creative and odd … a good choice for an award.

KNEAD 11:30

Timothy Michael Cooper

First film I’ve seen that includes pastry school in Paris with an invasion by extraterrestrial slugs. It helps to keep in mind that “need” is a synonym of “knead”.

Thriller

RAPT 11:50

Margot Budzynq (writer-director), Christian Tasiopoulos (co-writer)

An even more bizarre acting audition plays out here for Thea, as she takes on the pressure required for admission into an elite acting program run by Marc Menchaca (“Ozark”). The surreal proceedings are mind-bending, and it ends with The Everly Brothers’ “Little Hollywood Girls”.

HOME SAFE 8:36

Alison Winter

It’s impossible for a man to truly comprehend what a woman must go through traveling alone at night through the city. Danger is always lurking This film creates some of that tension by showing a young woman riding the metro solo after an evening with her friends.

WEIGHT 10:01

Stefan Dezil                

It’s frightening when a bad marriage turns worse. It’s a creative look at the relentless emotional burdens when things take a wrong turn, especially if an evil spirit may be present. You only think the bad news is your weight on the bathroom scale.

BORDOVASCA 11:21

Giuseppe Zampella

A beautiful sunny day in Italy finds a family on an outing at a local swimming pool. A father and daughter banter back and forth on the young girl’s hesitancy to complete a head-first dive. Quickly, their playful manner goes terribly wrong.

STILL 11:53

Rakefet Abergel

Opening on a woman holding a dirty baby, the film then jumps into the mental anguish and chaos that can accompany a traumatic event. Visions, voices, doubts, and guilt are on display, and at the end, the “in loving memory” tribute makes quite an impact.

A MATTER OF MINUTES 11:34

Hannah Beach (director), Phoebe Campbell-Harris (writer)

EpiPens … when you need it, every moment matters. A girl is attending a house party with her friend, and as happens too frequently, peer pressure kicks in followed almost immediately by pure panic. The “Based on True Events” opening banner makes this all the more stressful.

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Posted by David Ferguson

THE CLEAN UP CREW (2024)

August 20, 2024

Greetings again from the darkness. Even before the opening credits roll, we get a scene with gunpoint humor, as Antonio Banderas skips right over ‘chewing scenery’ and dives into devouring the scene. Banderas takes his crime lord Gabriel over-the-top, quoting Machiavelli, so that we understand we are in for an action-crime-comedy. Directed by Jon Keeyes and written by Matthew Rogers, some of it works and some of it doesn’t.

When the goal is strictly entertainment, a film should be judged accordingly, especially when it’s made under a limited budget. Three years after that opening scene, Gabriel is late on his payoff to the corrupt cops who protect his illegal business ventures, and soon enough, he discovers that a couple of over-zealous thugs have stolen (or at least tried to steal) his money. The case filled with cash is stuffed in the chimney before our next shootout, which occurs in a dark room, creating pretty cool effects.

Siobhan (Oscar winner Melissa Leo, THE FIGHTER, 2010) owns Good Life Cleaners, a crime scene cleaning company. Her crew consists of Alex (Jonathan Rhys Meyers, MATCH POINT, 2005), his girlfriend Meagan (Ekaterina Baker, THE CARD COUNTER, 2021), and Chuck (Swen Temmel, AMERICAN TRAITOR: THE TRIAL OF AXIS SALLY, 2021). When they discover the money, skittish Alex wants to turn it in. Meagan wants to keep it for their future. Siobhan and Chuck have their own secrets as she tries to keep the drug-addicted former military man on the right path.

Things really spiral once this crew begins debating what to do with the money and realizing that The Commission (Gabriel’s organization) is pursuing them. Meagan gets taken hostage, setting off a wild chain of events – most of which feature violent shootouts. In addition to Machiavelli quotes, Gabriel is also a fan of playing Russian roulette with his big, shiny pistol, and yelling at his crew to get his money back. It seems that Banderas and Meyers are the leads, but Temmel’s Chuck, a one-man wrecking crew, is the more intriguing character, and it’s a shame that Melissa Leo is mostly wasted, if not miscast here.

There is a sense that director Keeyes was going for a Guy Ritchie-type experience, however, the dialogue is never quite crackling enough for that level. The action has a bit of FREE FIRE (2016) feel to it, but again, not quite at that level. For one that’s entertaining enough to sit through, but also allows time to scroll on your phone, this one delivers.

Available on Digital and On Demand beginning August 20, 2024

WATCH THE TRAILER

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

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