MY PENGUIN FRIEND (2024)

August 15, 2024

Greetings again from the darkness. It’s understandable if this movie makes you consider whether penguins might make better friends than people. David Schurmann directs a script from Kristen Lazarian Paulina and Lagudi Ulrich that is ‘inspired by a true story’. By now, we all recognize this as code for dramatic license has been taken, and it’s up to the viewer to differentiate fact from fiction.

Brazilian fisherman Joao (Pedro Urizzi), his wife Maria (Amanda Magalhaes), and their son Miguel (Juan Jose Garnica) are living a lovely, simple life along the coast until tragedy strikes at sea on Miguel’s birthday. The story jumps ahead a few decades to find a sullen and continuously grieving and guilt-ridden Joao (Jean Reno) and an extraordinarily patient Maria (Adriana Barraza) still live in the same house, though they barely interact with others in the remote village.

One day, Joao rescues an injured penguin from an oil slick. After carefully cleansing the oil from the penguin’s coat, Joao begins feeding him a steady (and consistent) diet of fresh sardines. Joao is happy when the recuperated penguin sticks around for a while and is elated when he shows back up the following year. Maria isn’t sure what to make of the returning penguin (named DinDim by a local girl), yet she’s thrilled to see Joao has a bit of spark. As viewers, we see what Joao doesn’t. DinDim hails from Patagonia and is part of the annual penguin migration being studied by Marine Biologist researchers.

Mr. Reno and Ms. Barraza (nominated for an Oscar for BABEL, 2006) are two familiar and dependable character actors who rarely get a shot at lead roles, and even here, they are often in support of a penguin. They are both relatable and excellent here. Reno does nice work conveying a broken man who rediscovers joy after so much sorrow. It’s also interesting to see DinDim’s initial trip and how he became separated from the colony. Of course, much of this is speculation, although we do know that this penguin returned to Joao for eight consecutive years, and actual clips are shown at the end of the film. Director Schurmann has delivered a film that could be enjoyed by families, with only the early tragedy being a point of concern.

Opening in theaters on August 16, 2024

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Posted by David Ferguson

THE GOOD HALF (2024)

August 15, 2024

Greetings again from the darkness. Losing a parent is a difficult time that most of us will deal with at some point. Sorrow and guilt and anger are typically part of the grieving process, and that’s precisely what writer Brett Ryland and director Robert Schwartzmann (THE ARGUMENT, 2020) show us. For those who have been through it already, it’s likely to bring back emotions that will always be there, and for those who haven’t experienced this yet, it serves as a cautionary tale.

The film opens with a mother (Elisabeth Shue) trying to make peace with her angry young son (Mason Cufari). It turns out mom absent-mindedly left the boy at the store, and it takes a ‘pinky promise’ that “I’ll never leave you again” from mom to win the boy back. Of course, as avid movie lovers, we know this means mom will in fact leave the boy again at some point.

The film then jumps ahead 15 plus years, as that young boy Renn has grown up (now played by Nick Jonas) and is on a flight from Los Angeles back home to Cleveland for his mother’s funeral. While flirting over the sleeping dude in the middle seat, Renn and Zoey (Alexandra Shipp, BARBIE, 2023) bond a bit, and even exchange numbers. She’s therapist in town for a conference, and he coyly avoids telling her the real reason he’s home.

Once home, it’s clear an agitated and barely-speaking Renn is holding back emotions, and so is his sister Leigh (Brittany Snow, PITCH PERFECT franchise). Their kinda goofy dad (Matt Walsh, “Veep”) awkwardly tries to make the best of things, despite the strain between his son and daughter. Leigh is a bit miffed at Renn for leaving her alone to take care of their cancer-stricken mom, and Renn is carrying the guilt and shame of not being there, as well as the anger of having mom leave him. However, the two can share their similar feelings of disgust towards stepdad Rick (perfect villain, David Arquette), whom we also find very easy to dislike. Their casket shopping experience is a terrific scene and gives Renn a chance to open up a bit with sarcasm.

Renn escapes the pressure a couple of times by meeting Zoey for drinks … even karaoke, where Jonas sings the Modern English classic, “I Melt with You”. Jonas and Ms. Shipp have good chemistry, and that goes for Jonas and Ms. Snow, as well. In fact, Jonas delivers a strong enough performance that we feel tense when he finally unloads his pent-up emotions, and he’s able to juggle the mixture of comedy and grief and family drama. Everyone grieves in their own way, and it’s always painful. The film’s best line, “happy or not, it’s family”, is one many can relate to, and there is also a bit of advice: sometimes … take the long way.

In theaters August 16, 2024

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Posted by David Ferguson

SKINCARE (2024)

August 15, 2024

Greetings again from the darkness. Billed as “a fictional story inspired by true events”, the film pretty obviously draws from the 2014 case where aesthetician Dawn DaLouise was accused of plotting the murder of rival Gabriel Suarez. This is the first feature film from music video director Austin Peters, who co-wrote the script with Sam Freilich and Deering Regan (all first-time screenwriters). Although there is some entertainment value here, the inexperience of the filmmakers shines through, leaving us wishing for a bit more heft.

The very talented Elizabeth Banks stars as Hope Goldman. It’s 2013 Los Angeles, and after a year of treating the stars to facials, Hope is on the verge of rolling out her own line of facial products. Her financial backer has recently deserted her, causing stress … but nothing like the stress Hope is about to experience.

A lot happens very fast. Hope tapes a segment for a local TV talk show hosted by Nathan Fillion. Angel (Luis Gerardo Mendez) opens an anti-aging salon directly across from Hope’s shop. One of her clients introduces her to Jordan (Lewis Pullman), a Life Coach who has just moved to town. Hope’s assistant, Marine (Michaela Jae Rodriguez), acts as her assistant and ‘publicity manager’, and reacts as strongly as Hope when a vicious online hack attack goes beyond the business and into the realm of personal, jeopardizing the business and Hope’s reputation.

The supporting cast includes John Billingsley, Wendie Malick, Ella Balinska, and Jesse Salor, and we can’t help but notice the too-frequent segments featuring over-the-top acting … perhaps in an effort to spice up the messy story. There is a definite 1980’s cable movie vibe to this one, exacerbated by the overbearing music employed to heighten tension. We recognize the themes here with Ms. Banks’ character frantically grasping for fame, protecting her reputation, and fearing her dreams may be shattered – all while believing a rival is sabotaging her. Of course, we know early on what’s happening, and it’s frustrating when a smart businesswoman is so oblivious. There is enough to watch here, but it certainly needed more to be the thriller it wants to be.

Opening in theaters August 16, 2024

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Posted by David Ferguson

THE INSTIGATORS (2024)

August 8, 2024

Greetings again from the darkness. Add this to the long list of films reminding us to temper our expectations and high hopes prior to viewing. Still, optimism seemed reasonable given an excellent director and strong cast. Director Doug Liman has delivered such entertaining films as SWINGERS (1996), THE BOURNE IDENTITY (2002), EDGE OF TOMORROW (2016), and this year’s remake of ROAD HOUSE (2024). Matt Damon and Casey Affleck both have Oscars on their mantels, and Hong Chau has a recent Oscar nomination. To top it off, the supporting cast includes such favorites as Jack Harlow, Alfred Molina, Michael Stuhlbarg, Andre De Shields, Ron Perlman, Toby Jones, Ving Rhames, and Paul Walter Hauser. All the pieces were in place. So, where’s the spark … the pizzazz … the fun?

The premise is promising enough. Former Marine Rory (Matt Damon) is a desperate man. He needs $32,480 to reboot his life – child support, alimony, mortgage, etc – so that he can reconnect with his son and watch him play hockey. When his therapist, Dr Donna Rivera (Hong Chau, THE WHALE, 2022) acknowledges his desperation, she asks, “Have you tried everything?” The next thing we know, somehow lowlife criminal Scalvo (Harlow) has teamed Rory with ex-con Cobby (Casey Affleck) for a job masterminded by Mr. Besegai (Stuhlbarg) and Mr. Dechico (Molina). The heist involves an election night fundraiser for corrupt incumbent Mayor Miccelli (Perlman) at the Boston Wharf. Along the way, we get a glimpse of Fenway Park, the famous Bobby Orr photograph, and a popular Patriot (the football kind).

Of course, the heist goes sideways … or whatever is worse than sideways for criminal activity … and an extended (i.e., entirely too long) car chase through downtown Boston plays out while Petula Clark croons “Downtown”, and Dr. Rivera is taken as a volunteer hostage who continues to pass along advice to her patient. Now for this to work, the action needs to be thrilling and the wit amongst the three participants in the car needs to be crackling. Neither of these occur.

The script was co-written by Chuck MacLean (“City on a Hill”) and co-star Casey Affleck, and it strives to be all things to all viewers … crime-thriller, buddy comedy, and action flick. It’s watchable, yet falls into that category we’ve come to dread: mostly forgettable. Even the ‘Butch and Sundance’ jokes fall flat. All of these talented folks will move along to their next projects, just as we will move along to the next movie. No harm/no foul.

Playing in select theaters and streaming on Apple TV+ beginning August 9, 2024

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Posted by David Ferguson

DANCE FIRST (2024)

August 8, 2024

Greetings again from the darkness. Some slack and a certain level of compassion is due director James Marsh’s (Oscar winner for MAN ON WIRE, 2008) biopic on the enigmatic writer Samuel Beckett. The reasons no other filmmaker has previously attempted to profile Beckett are on display here, right alongside the reasons he remains such a fascinating figure. The screenplay from Neil Forsyth features surprisingly little of Beckett’s own work, and instead, generally breaks his life into three categories: his foundation as a writer, his work in the French Resistance, and the weight of his romantic life.

An interesting and fitting opening has Beckett (Gabriel Byrne) acknowledging the “catastrophe” of winning a Nobel Prize. He snatches the prize money and then ‘escapes’ to have a discussion with himself (also played by Gabriel Byrne) in regard to how (and to whom) he should give the money in a way that best assuages his long-time guilt. This recurring device of Beckett to Beckett is used for structure throughout the film and provides a lead-in to chronological flashback chapters titled with the names of those he wronged along the way.

“Mother” shows young Sam bonding with his loving father (Barry O’Connor) who died too young, and battling with a mother (Lisa Dwyer Hogg) whose level of support she conveyed to teen Sam (Fionn O’Shea, WOLF, 2021) with a cutting, “What a waste” after reading his stories. This is followed by “Lucia”, where Beckett tutors under his idol James Joyce (the always interesting Aidan Gillen). The price to pay for this guidance is regular dance dates with Joyce’s energetic daughter Lucia (Grainne Good). When Beckett spoils the master plan, Joyce exacts revenge. In the process, Sam takes to heart the advice, ‘the important thing is not what we write, but how we write it.”

The next chapter is “Alfy”, named after Beckett’s Jewish friend, Alfred Peron (Robert Aramayo). Alfie’s capture by the gestapo fills Beckett with guilt and leads him into the French Resistance. “Suzanne” is the longest chapter as it struggles to explain Beckett’s complicated personal life. His first love is Suzanne (the younger version by Leonie Lojkine, and the older version by Sandrine Bonnaire). Although Suzanne seems to understand Beckett quite well, he also falls for his BBC interpreter Barbara Bray (played by Maxine Peake). This business and romantic affair spanned many years and was not kept secret from Suzanne.

“La Fin” takes us towards the end of Beckett’s and Suzanne’s lives – they died five months apart in 1989. It’s here where the two Beckett’s debate whether joy existed, or if being haunted by the memory of a red kite and various guilt-producing life moments override everything. The title is taken from a portion of a line in (one of ) Beckett’s masterpiece, “Waiting for Godot”, which states, “Dance first. Think later.” These days, it’s a sentiment many seem to live by, but one Beckett says to the other, “you couldn’t wait to get to the pain.” Perhaps that’s shared by many writers. The film will have limited appeal, and while it has strong performances and moments of real interest, it’s no surprise that a film falls short in capturing such a life of Samuel Beckett.

In theaters August 9, 2024 and on digital August 16, 2024

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Posted by David Ferguson

ELECTRIC LADY STUDIOS: A JIMI HENDRIX VISION (2024, doc)

August 8, 2024

Greetings again from the darkness. Usually a story about building a recording studio likely would hold no interest to anyone who wasn’t an audio geek. But attach Jimi Hendrix to the story and suddenly all music fans are curious to learn something new about the guitar god. Filmmaker John McDermott has completed numerous Hendrix projects in the past, and likely knows as much (or more) about Jimi Hendrix than any other living being.

Jimi’s original vision was to create an experimental nightclub, not dissimilar to Cerebrum, the failed Greenwich Village club he had frequented. He hired architect John Storyk to design the place, and soon enough the plan evolved into a cutting edge recording studio, with input from Hendrix manager Michael Jeffrey, and sound engineer extraordinaire, Eddie Kramer. Many of those involved, including Storyk, offer insight into what the process was like.

Storyk is not the only one interviewed. We also hear from Kramer, studio manager Jim Marron, and members of the Jimi Hendrix Experience, bassist Billy Cox and drummer Mitch Mitchell. However, it should be noted that this is not a biopic on Hendrix, although it’s fascinating to see some of the clips of Hendrix performing and have Eddie Kramer break down some of the sound for us. The studio is the star here, and singer Steve Winwood offers the perspective of a performer who recorded on site.

From rubble to a world class recording studio, Electric Lady Studio has long outlived Jimi Hendrix, and is assumed to be the first artist-owned commercial studio. Known to have recorded there are stars such as John Lennon, Stevie Wonder (clips included), Carly Simon, AC/DC, Lady Gaga, Beyonce, and Taylor Swift. Located at 52 W 8th Street in New York City, the studio remains active today, despite the initial uncertainty after Hendrix passed in 1970.

McDermott certainly makes the studio’s origin story an interesting one to follow, and there is enough new information included here that even Hendrix fans will be impressed. The end features a montage of records cut in this musical mecca over the last five years, and Jimi reminds us to continue, “Peace and Happiness and all that other good s***.”

In theaters beginning August 9, 2024

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Posted by David Ferguson

ONE FAST MOVE (2024)

August 8, 2024

Greetings again from the darkness. One result from the expansion of the movie streaming universe is that independent films with specific topics can find a home for niche audiences. Actor-turned-director Kelly Blatz (he was a co-lead in LOREN & ROSE, 2022) turns in a rare motorcycle racing movie, although to enhance the odds, it also features the familiar tropes of an angry young man, an estranged father-son reunion, and a love story.

KJ Apa (“Riverdale” heartthrob) plays Wes, the angry young man who displays poor judgment in the opening motorcycle race on a military base. After a stint in Fort Leavenworth and his discharge, Wes and his bike head out to find long-lost (by design) dad. Dean (Eric Dane, “Euphoria”, Grey’s Anatomy”) is a racer who had some success in the past, though his best days are far behind him. He’s a party boy who never grew up – one still trying to live life on the wild side through motorcycles, alcohol, and women. Wes just wants his old deserting dad to coach him on the track so he can make something of himself. Wrangling these two cats is bike shop owner Abel (Edward James Olmos). Think of him as the Mr. Miyagi for these two emotionally stunted polar opposites.

And yes, we do get a budding romance for Wes with the stunning smile of Camilia (Maia Reficco, “Pretty Little Liars: Original Sin”). She’s a charming waitress at the local diner and studying to be a nurse. The two hit it off while also keeping secrets from each other. Where Eric Dane overplays his part, Edward James Olmos and his reserved manner and screen presence brings a needed depth to the ongoings. Olmos has had quite a career, appearing in both BLADE RUNNER (1982) and BLADE RUNNER 2049 (2017), as well as “Miami Vice” and “Dexter”, and receiving an Oscar nomination for STAND AND DELIVER (1988). “Riverdale” fans will be pleased to note that KJ Apa does find reasons to lose his shirt. Motorcycle fans will be happy with the motor-revving and racetrack shots.

Releases on Prime Video August 8, 2024

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Posted by David Ferguson

ELIZABETH TAYLOR: THE LOST TAPES (2024, doc)

August 1, 2024

Greetings again from the darkness. Not many people are famous for their entire life. Elizabeth Taylor came about as close as one can. Director Nanette Burstein uses 40 hours of recordings that resulted from journalist Richard Meryman’s 1964 interviews with 32-year-old Ms. Taylor. This was at the height of her fame and popularity.

Liz claims her infamous “violet” eyes are actually “dark blue”. She is quite forthcoming during the recordings, and we can’t even imagine a top-tier celebrity today offering this much personal insight … outside of the obvious blabbering we are subjected to on social media and talk shows. Liz became famous at 10 years old when she starred in LASSIE COME HOME (1943) and was a cinema sex-symbol at age 16 when she played the beautiful wife of Robert Taylor (12 years her senior) in CONSPIRATOR (1949). We hear Liz recall her idyllic childhood, yet also describing herself as a “terrified little girl” during those early Hollywood years.

In addition to the recordings which give the documentary a certain structure, director Burstein also includes a treasure trove of personal photos, home movies, archival interviews, and archival footage. A slew of photos of her famous dates stream by – even including football star Glenn “Mr. Outside” Davis. Liz was only 18 years old when she married Conrad “Nick” Hilton Jr, heir to the hotel magnate. She explains how she locked herself in the bathroom on her wedding night, and was so nervous, it took 3 days to consummate the marriage. Of course, Elizabeth Taylor is as famous for her marriages as she is her acting. She wed 8 times to seven different men. The most interesting of those are detailed here, including the plane crash death of true love Mike Todd, which led to Liz wooing singer Eddie Fisher from her friend Debbie Reynolds. What a scandal!

Despite the marriages, she also had close friends – some of whom were closeted homosexuals in order to protect their career and image. Roddy McDowell, Rock Hudson, Montgomery Clift, and James Dean were all close to Liz. She details the shock at Dean’s car crash death and notes she had been cruising with him in his Porsche earlier that same day.

During the interviews, Liz makes the point a few times that it was so important for her to be accepted as an actress, not just a movie star. She expresses a humble pride in being the first actor to be paid one million dollars for a role, but then things went sideways for CLEOPATRA, when Liz was hospitalized with pneumonia so serious it required a tracheotomy. Production on the film was delayed more than two years, and it was during her recovery that she won the first of her two Oscars. However, it’s surreal hearing her bash BUTTERFIELD 8 as an inferior film. When production on CLEOPATRA re-started, she met her real life Marc Antony in actor Richard Burton, thus kicking off their years-long on-again/off-again intense relationship (including two marriages).

Director Burstein flashes clip after clip to convince those who don’t already know that Elizabeth Taylor was an actor, a movie star, and a cultural icon. The film is quite a tribute, though it kind of blows through the later years of a couple of marriages, rehab, and weight gain. She does commit time to Liz’s relentless work as an AIDS activist, including her support of long-time friend Rock Hudson. So many of Liz’s memorable performances came in 1967 and earlier (some of those not mentioned above are NATIONAL VELVET (1944), FATHER OF THE BRIDE (1950), A PLACE IN THE SUN (1951), GIANT (1956), CAT ON A HOT TIN ROOF (1958), and of course, WHO’S AFRAID OF VIRGINIA WOOLF? (1966, her second Oscar). Despite her career peaking in that era, Elizabeth Taylor remained a star until her death in 2011 at age 79.  Nanette Burstein has delivered a worthy tribute.

Premieres August 3, 2024 on HBO and MAX

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Posted by David Ferguson

KNEECAP (2024)

August 1, 2024

Greetings again from the darkness. The Troubles of Northern Ireland were a 30-year political and social conflict that officially ended in 1998 with the Good Friday Agreement. Even today, the pain and memories and divisions remain. Writer-director Rich Peppiatt’s film is set in 2019 (West Belfast) and is billed as a “mostly true story” involving controversial hip-hop group Kneecap and the push to make Irish an official language. Early on we are told, “A country without a language is only half a country.”

A circumstantial fluke brings music teacher JJ (DJ Provai) into the world of self-described “low life scum”, Naoise ( Moglai Bap) and Liam Og (Mo Chara) – drug dealers and wannabe musicians. Performing their raps in native Irish tongue, the trio inexplicably and by happenstance, becomes the unlikely face and voice of the language movement. The resistance they face is stout and sometimes dangerous … yet possibly they remain their own biggest hurdle to success.

Another plot line occasionally rears its head – Naoise’s father Arlo (Michael Fassbender) has been on the run since Naoise’s childhood and is now a paramilitary figure pursued by the police, despite family efforts to convince he’s dead. Popping up now and again, Arlo offers guidance and words of advice to the boys who face oppression and opposition from the conservative and proper forces fighting their rebellious nature and pursuit of radical change.

Adding to the interest level here is that all three members of Kneecap play themselves. With no acting experience, they are convincing enough in telling (mostly) their own story in comedy-drama style. They are also experts at flowing f-words. We have witnessed Irish chaos many times, yet director Peppiatt and the trio generate an energetic cheekiness that plays well in establishing cultural and class differences. This may not be the first story of drug dealers becoming lyricists, performers, and social influencers, but we certainly appreciate the moments of authenticity proving yet again the power and influence of music (even if the bouncing subtitles are a step beyond challenging). The 2022 Identity and Language (Northern Ireland) Act affirmed Irish as an official language, and Kneecap shows punk rebellion will carry on. Oh, and ask your friends, “What’s the craic?”

In theaters August 2, 2024

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Posted by David Ferguson

DEADPOOL & WOLVERINE (2024)

July 23, 2024

Greetings again from the darkness. The secret sauce for movies based on comic books and superheroes has always seemed pretty obvious … give the hardcore fans what they want. Somewhere along the way, the industry shifted its focus from entertainment to pushing the boundaries of technology. The result was a (many) years long stream of visual extravagance with little heart and soul. Writer-director Shawn Levy and co-writers Rhett Reese, Ryan Reynolds, Zeb Wells, and Paul Wernick have managed to right the wrong and put things back on track. Of course,  Disney’s purchase of 20th Century Fox and the Marvel Universe slowed down development, but they have finally capitalized on two fan-favorite characters developed by Rob Liefeld and Fabian Nicieza … Deadpool and Wolverine.

Billed as a ‘threequel’, this follows the 2016 and 2018 Deadpool movies that vaulted Ryan Reynolds to superstardom. His quick and colorful banter and wit were perfect complements to his physical gifts. When Reynolds’ Deadpool and Hugh Jackman’s Wolverine first shared the screen in X-MEN ORIGINS: WOLVERINE in 2009, the spark between the two was clear. Here we are 15 years later, and the two characters share an entire film – and the real life friendship between Ryan Reynolds and Hugh Jackman is well-documented.

This is not the place to come for spoilers or a recap of the story. No, that place would be the theater. What I will say is that it’s very impressive how the filmmakers get both Deadpool and Wolverine/Logan back in the saddle, while at the same time paying homage to the past. The tributes begin even as the movie starts with a new montage reminding us of those who have built the MCU. Additionally, the re-introduction of Wade Wilson’s circle (Morena Baccarin, Karan Soni, etc), is remarkably simple, yet effective … and of course, Blind Al (the great Leslie Uggams) is especially fun. However, what’s most impressive and ingenious is the manner in which Deadpool tracks down Wolverine/Logan, one who was unmistakably dead at the end of LOGAN (2017).

Together they are to save Wilson’s world … and perhaps other worlds as well. This danger occurs due to Mr Paradox (an over-the-top Matthew MacFadyen) working at the direction of Time Variance Authority. It’s really not too complicated, which is why this works. Even those of us who don’t spend hours pouring over comic books will follow the story and understand how Cassandra Nova (an excellent Emma Corrin) is the key onscreen antagonist, although it must be noted that this genre demands surprises and director Levy does not disappoint. Whether it’s Rob Delaney, twists on the Deadpool character, the Wolverine cowl, or enough F-bombs to challenge a Tarantino movie, this first R-rated Marvel film is packed with aha moments. And yes, Jackman flashes his stunning physique and the slew of cameos are sure to satisfy.

World class zingers are delivered with charm (or Logan’s trademark grumpiness), and the laughs are many, though they work well with the heart and soul of what is not just a ‘save the world’ flick, but also a terrific buddy film. The two cautions I’ll offer here: it’s definitely a hard “R” and make sure you stay for the closing credits for a bit of nostalgia.

Opens in theaters on July 26, 2024

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Posted by David Ferguson

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