SORRY/NOT SORRY (2024, doc)

July 11, 2024

Greetings again from the darkness. In the twisted nature of many humans, there is a need for heroes and a corresponding sense of satisfaction as those heroes are knocked from their pedestal of idolization. Louis C.K. may not have been a hero, but as a comedy genius, he had reached the pinnacle of his profession while building a massive fan base. It may seem that five brave women knocked him from the proverbial pedestal, but the truth is … his own arrogance and behavior did so.

The purpose of this documentary from co-directors Cara Mones and Caroline Shu is not to re-hash the sordid details of Louis’s actions, but rather to ask … what now? Fellow comedian Michael Ian Black eloquently presents his considered thoughts on this, as do others who were more directly involved. The film draws heavily from the November 2017 New York Times article written by Melena Ryzik, Cara Buckley, and Jodi Kantor, each of whom share their view here. There are also interviews with others, including Jen Kirkman and Megan Koester. I believe Abby Schachner is the only one of the original four who were named to appear in the film, however it seems quite clear that Louis C.K.’s tendencies were as well-known throughout the industry as those of Harvey Weinstein and Bill Cosby. And yes, his defenders make the argument that his actions were nowhere near the level of those two figures of the #MeToo movement.

As has been pointed out many times in these cases, the sexual predator aspect is not the only issue. The abuse of power is every bit as crucial. The film is divided into seven “parts”: Louis, Jen, Open Secret, These Stories are True, Abby, Comeback, and Cancelled. In contrast to Weinstein and Cosby and so many others, when publicly confronted with the accusations, Louis C.K. stated, “These stories are true.” Much of the fallout was from his fans who went after the accusers on social media. Louis C.K. disappeared from public life for about 9 months before beginning his comeback … using his history as fodder for joke-telling.

Louis C.K. being ‘cancelled’ ended when he won a Grammy for his comedy album. He hasn’t yet been welcomed back to mainstream Television or Film, but his stand-up tours remain popular. The film serves to ignite dialogue and debate on a tough topic, and we find ourselves admiring those who stepped up to shine the light. Although it cost her a career, respect goes to Megan Koester who states, “I don’t want to work with those who blindly ignore morality.” It’s a statement on which too few of us seem to stand with her. We must each answer for ourselves … What now?

In theaters beginning July 12, 2024

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Posted by David Ferguson

SPACE CADET

July 4, 2024

Greetings again from the darkness. We have accepted that a bartender can get elected as a United States Senator, and writer-director Liz W Garcia would have us believe a bartender may also become an astronaut … but only after submitting a fraudulent application with details, accomplishments, and references that NASA wouldn’t bother verifying until after admission into the program.

Of course, we know going in that Garcia’s film is a comedy, and in no way should be compared to the fine film, A MILLION MILES AWAY (2023), a biopic on Jose Hernandez, a farm worker who actually accomplished the things required to become an astronaut. “Rex” (played by Emma Roberts, daughter of Eric and niece to Julia) is a party girl bartender attending her 10-year high school reunion with her BFF Nadine (Poppy Liu, “Hacks”). We learn Rex had a childhood dream of going to space – a dream fully supported by her mother, who has since passed. Rex’s strong academic record gained her admission to college, but mom’s death seemed to knock her off the space track and into a life of parties and pouring drinks and dressing like a 13-year-old girl.

With a newfound inspiration, Rex fires off a heartfelt letter to NASA asking for admission into the program. The letter is intercepted and, well, enhanced, by a well-meaning Nadine. Soon, Rex is packing up her bedazzled clothes and heading to NASA. Program directors Logan O’Leary (a heavily lipsticked Tom Hopper, I FEEL PRETTY, 2018) and Pam Proctor (Gabrielle Union, BRING IT ON, 2000) aren’t sure what to make of Rex, though remain impressed with her application, even as she excels in leadership and flounders in technical aspects.

The ASCANS (Astronaut Candidate) program is not realistically depicted here, and it’s not surprising that Rex survives each round of cuts. And yes, we all know where this is headed, as surprise is not a factor in any aspect of this film. The film’s title is obviously a play on words, and if you somehow believe more cringe is needed, a budding romance (also obvious) is tossed in to make sure no one takes this NASA seriously.  The ending takes us right where we know we’re headed, and we find ourselves wondering why any filmmaker, much less a female filmmaker, would purposefully portray an intelligent woman in this flighty manner. Comedies are no doubt tough to execute, but the best are grounded in some form of reality. Perhaps there’s a bartender out there somewhere that will cure cancer or solve world hunger. Let’s just hope fraudulent applications aren’t the new norm.

Releases on Prime Video on July 4, 2024

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Posted by David Ferguson

DADDIO (2024)

June 29, 2024

Greetings again from the darkness. “MY DINNER WITH ANDRE in a NYC taxi cab.” That’s my description of writer-director Christy Hall’s first feature film. Of course, that’s an over-simplification, as her film deals with gender roles, socio-economic topics, and a big ol’ dose of emotional baggage. It’s what’s known in the business as a two-hander. We have two characters and one setting and a whole bunch of talking. Casting being crucial here, filmmaker Hall did choose wisely with Dakota Johnson and two-time Oscar winner Sean Penn.

Johnson’s character (billed only as “Girlie”) arrives at JFK airport and catches a cab to midtown. She and the driver, Clark (Penn) exchange generic banter, but soon enough Clark breaks the barrier by stunning her with his analysis of her situation, based on observation skills honed through 20 years of driving a NYC cab. He’s been around the proverbial block a few times and Penn is permitted to work in a monologue about his disappointment with humanity, commerce, and technology. We learn he views himself as a common man ‘Vinny’, and we learn she’s a coder by profession – as well as a nail biter who’s texting a mysterious man – a man not shy in pleading with her for a sext.

A traffic jam on the highway stalls the trip, but accelerates the conversation. Clark gets more inside info from the woman he’s determined “can handle yourself”, and their quasi – quid pro quo spills more beans than either would typically open up about in normal circumstances. Her recent two-week trip to Oklahoma was to visit her estranged half-sister … a trip that holds yet another twisty secret that she’s surprised at herself for disclosing. Clark is not shy about dishing out armchair psychology advice, much of it based on his own past mistakes. Cheaters, specifically the difference between adulterous men and women, is a topic close to both of these folks, and Clark rambles on.

Dakota Johnson (thriving in indies) is truly at her best when she has minimal dialogue, and much is demanded of her facial expressions and body language (this is a compliment). Sean Penn thrives in a role where he is doling out free advice, and keeping score based on personal details provided. These two actors are the reason this film works, however, it seems clear this movie fits neatly into a festival circuit, while likely having little mainstream appeal.

Opens in theaters on June 28, 2024

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Posted by David Ferguson

FANCY DANCE (2024)

June 29, 2024

Greetings again from the darkness. A missing person story takes on additional weight when it involves a Native American, and this story from writer-director Erica Tremblay (“Dark Winds”) and co-writer Miciana Alise show us how culture and traditions remain vital to the family ties indigenous people struggle to maintain in the face of institutional hurdles.

The missing person is stripper Tawi, who is Jax’s sister and Roki’s mother. The feds, who have jurisdiction, have shown little interest in locating Tawi, and local law enforcement, including Jax’s half-brother JJ (Ryan Begay, “Dark Winds) seems to have contributed little to the search. Jax (Lily Gladstone, Oscar nominated for KILLERS OF THE FLOWER MOON) remains committed to finding her sister and to raising 13-year-old Roki (Isabel Deroy-Olson, “Three Pines”) according to Cayuga traditions … including the annual Powwow in Oklahoma City, which features the mother-daughter dance that Roki so looks forward to.

CPS gets involved, and since Jax’s past record is anything but pristine, Roki gets placed with her grandfather Frank (Shea Whigham, “Boardwalk Empire”) and his new wife Nancy (Audrey Wasilewski, “Big Love”). Frank’s relationship with his daughter Jax has been strained ever since he left the reservation after Jax’s mom died (a key element to the story). Most of the story is quite believable; however, one big exception is that we are to accept Frank and Nancy refuse to allow Roki to attend Powwow. This unlikely occurrence leads Jax to help Roki escape, and the two head out to search for Tawi … turning this into an ‘on the road’ story.

The cinematography from Carolina Costa is beautiful, and complements the emotions of these characters. The performances and connection of Ms. Gladstone and young Deroy-Olson make us buy into the story and their struggles. Perhaps the film’s most insightful scene involves Roki, Nancy, and a pair of ballet shoes – highlighting the disconnect. We relate to Roki’s wish to have just one more dance with her mother, and Jax helps us understand the challenges faced by women in indigenous communities. If there’s a negative here, it’s that the entire movie moves at a slow burn pace without ever achieving the tension it teases us with. Despite that minor issue, it’s stunning that missing and murdered women are so commonplace in this community that each year there is a dance dedicated to them.

Streaming on Apple TV+ beginning June 28, 2024

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Posted by David Ferguson

THELMA (2024)

June 20, 2024

Greetings again from the darkness. With so many senior citizens (Boomers) around these days, we should expect more movies featuring older characters, and movies that this demographic might enjoy watching. Instead, most movies treat seniors as either mostly silent set pieces in family scenes or as awkward buffoons (see the recent SUMMER CAMP, or better yet, don’t see it). Writer-director Josh Margolin apparently understands this, and his first feature film is not just funny, it also allows a few elderly actors to lead the way.

June Squibb is not just any 94-year-old leading lady. Of course, that’s a bit facetious, since such a list would be very short. For someone whose film and TV career didn’t get started until she was in her 60’s (she was on stage prior), Ms. Squibb has put together a remarkable career. She’s been memorable in such films as NEBRASKA (where she received an Oscar nomination), BLOW THE MAN DOWN (2019), and ABOUT SCHMIDT (2002), as well as numerous TV shows along the way. Here she stars in the titular role as Thelma, and wins us over with her charm and determination.

Based on a true story (there really was a Thelma that went through this), we find Thelma still living in her own house gladly accepting periodic assistance from her beloved and kind grandson Daniel (Fred Hechinger, “The White Lotus”). The two have a close relationship, and that’s precisely what makes Thelma such an easy target for the clever phone scammer. She panics in her desire to quickly rescue Daniel from the legal scrape the caller informs her of, and she mails off a chunk of cash believing she’s doing what’s best for him. Embarrassed once she discovers the ruse, Thelma listens as her daughter Gail (Parker Posey, BEAU IS AFRAID, 2023) and son-in-law Alan (Clark Gregg, Agent Coulson in the Marvel Universe) discuss moving her into an assisted living facility. However, since she and Daniel have recently watched Tom Cruise and his daring stunts in MISSION: IMPOSSIBLE, Thelma has other ideas … she (secretly) sets out to find the bad guys and retrieve her money.

The rest of the story revolves around Thelma’s mission and Daniel’s attempt to bring her home safely (and prove his own worthiness). Thelma hooks up with old (no pun intended) friend, Ben (Richard Roundtree, SHAFT, 1971) and the two set off on an exciting (mis)adventure that must be seen to appreciate. The two make a great team – sometimes bonding over humor, sometimes disagreeing about the plan … just like real people would do. The trail finds Thelma crossing paths with another elderly gent played by Malcolm McDowell (A CLOCKWORK ORANGE, 1971), and it’s a scene that I look forward to watching again.

The film is quite entertaining and, quite fittingly, appropriate for most ages (except for a smattering of kinda blue language). It’s such a pleasure to see elderly characters that matter and think and react and participate in life. When Thelma says, “I didn’t expect to get so old”, we understand exactly what she means. The various times she proclaims, “I think I know her”, we can relate. With a rare score that features a flute, this is not just one of the more realistic depictions of seniors we’ve seen, filmmaker Margolin has actually delivered a case study on how to create a movie starring senior citizens that is both funny and respectful. This is one I hope many will see.

Magnolia Pictures will release THELMA in select theaters on June 21, 2024

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Posted by David Ferguson

JANET PLANET (2024)

June 20, 2024

Greetings again from the darkness. Mother-Daughter relationships have been the theme for many fine movies throughout various genres over the years. Some of the best that come to mind include: LADY BIRD (2017), THE FLORIDA PROJECT (2017), MAMMA MIA! (2008), LITTLE MISS SUNSHINE (2006), THE JOY LUCK CLUB (1993), TERMS OF ENDEARMENT (1983), MOMMIE DEAREST (1981), CARRIE (1976), and going back many years, the classic MILDRED PIERCE (1945). The common thread here is the complicated, yet unbreakable bond between mother and daughter. Writer-director Annie Baker, who won a 2014 Pulitzer Prize for her play “The Flick”, has managed to create a film with a mother-daughter relationship that fits right into the above list, while also bringing a unique perspective.

Eleven-year-old Lacy sneaks out of her summer camp cabin, and through the darkness makes her way to the office payphone. The first line of dialogue we hear is Lacy (Zoe Ziegler) saying, “I’m going to kill myself if you don’t come get me.” The next morning, mother Janet (Julianne Nicholson) arrives and a packed up Lacy discovers she actually had made a friend, but since it’s too late to remain at camp, she questions why mom had to bring boyfriend Wayne (Will Patton) along. “Wayne” is the first chapter of the story, but as we learn, single mom Janet has had a revolving door of lovers and friends. It’s 1991, the summer between fifth and sixth grade for Lacy, and as an outcast in her age group, she desperately wants to be close to her mom.

Their rural home is surrounded by nature, and Janet runs her acupuncture business while Lacy hikes to piano lessons … when she’s not asking if she can sleep in mom’s bed. Wayne doesn’t last long, and Chapter 2 “Regina” bounds in next, thanks to a local art colony performance that allows old friends to reconnect. Regina (Sophie Okonedo) appreciates the free room and has some nice moments with Lacy – except for the shampoo and long stints in the shared bathroom. When Regina moves on, Chapter 3’s “Avi” (Elias Koteas) begins getting close to Janet. By now we understand that everyone loves Janet, and that’s an emotional hurdle for young Lacy.

The adults are a bit tiresome, and Janet even confesses that she worries about her parenting approach. Yet, those concerns don’t impact her free-wheeling ways, and we see she’s as lonely and broken as her daughter. Lacy says, “I don’t have any friends”, and we don’t doubt it. As an outsider she’s very observant, if not a bit depressed. Julianne Nicholson is exceptional as always, and first-timer Zoe Ziegler is a rare find. We can only hope she finds her way into a Wes Anderson movie before she grows out of this stage. Cinematographer Maria von Hausswolff has a style that perfectly complements director Baker’s slow pacing and the unusual setting. As the summer turns to “The Fall”, a local square dance provides the perfect ending … and reinforces all that we’ve learned about mother and daughter. Another little gem from A24.

In select theaters on June 21, 2024 and nationwide on June 28, 2024

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Posted by David Ferguson

THE EXORCISM (2024)

June 20, 2024

Greetings again from the darkness. It’s been 23 years since Russell Crowe won his Oscar for GLADIATOR. Some of his personal struggles have been well-documented, and although he may no longer be an A-list actor, he remains a talented and prolific one … especially these past couple of years. I’ll admit to still finding him fascinating on screen, as he’s usually fully committed to the character he’s playing.

There’s more to this one than another mesmerizing Crowe performance. If you don’t already know, be advised that it’s a film-within-a-film derived from real life. Only not the usual “inspired by a true story” like we are accustomed to. Nope. The writer-director is Joshua John Miller, who is the son of the late Jason Miller, who played Father Karras in the classic horror film THE EXORCIST (1973). Co-written with M.A. Fortim (“Queen of the South”), once we know Miller’s roots, the film takes on a whole new relevance. So … “This time, it’s personal” … actually fits!

Crowe plays Anthony Miller (there’s that last name again), an actor looking to re-establish his career after grieving for his wife’s death left him an alcoholic and addict. Out of rehab, he’s also trying to reconnect with his estranged and rebellious daughter Lee (Ryan Simpkins, Ty’s big sister, BRIGSBY BEAR, 2017), who has recently been kicked out of school. After the mysterious death of his lead actor (which we witness), director Peter (Adam Goldberg, appeared in A BEAUTIFUL MIND with Russell Crowe) casts Anthony as the Priest, despite, or possibly because of, his troubled past. See, Peter’s movie, “The Georgetown Project”, appears to be pretty much identical to THE EXORCIST, right down to the two-story house set and the bits of story we pick up.

The film co-stars Blake (Chloe Bailey, R&B artist and big sister of Halle) as the possessed one, and Joe (Sam Worthington, The “Avatar” franchise – more to come) as a fellow Priest. Hanging around the set as the Catholic church consultant is a Priest played by David Hyde Pierce (“Frasier”), whose presence is necessary as we see Anthony’s crisis-of-faith and possible demonic possession mirroring that of the character he’s playing – likely due to the unpleasant childhood memories of his time as an altar boy. For those who know, Adam Goldberg’s performance as Peter will recall the stories of William Friedkin’s demanding and demeaning directorial style on the set of the 1973 horror classic.

The acting, especially Crowe and Simpkins, is stellar, although we can’t help but wonder why Sam Worthington’s role wasn’t beefed up a bit. As with most horror films the sound effects are exaggerated, though this one seems overboard at times. Still, with the added weight of the “behind-the-scenes” backstory, there is plenty here to keep us engaged … though one would be hard-pressed to label it a son’s tribute to daddy.

In theaters June 21, 2024

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Posted by David Ferguson

STEVIE VAN ZANDT: DISCIPLE (2024, doc)

June 20, 2024

Greetings again from the darkness. The tagline is “Artist. Activist. Renegade.”, yet somehow after spending 2.5 hours watching this documentary from Bill Teck, we realize there is even more to Steve Van Zandt. Or maybe you know him as “Miami Steve” … or even “Little Steven”. Having accomplished so much through various avenues, we are left with nothing but respect for the man.

Bruce Springsteen fans know him as Miami Steve of the East Street Band (and Bruce’s longtime buddy). Other music lovers know him as the leader of Little Steven and the Disciples of Soul. Some remember him as the driving force behind the “Sun City” song and collaboration. Still others know him as an actor playing Tony’s consigliere Silvio in “The Sopranos”, or as a mobster in “Lilyhammer”. What we learn is that he’s also an incredibly talented songwriter, a highly sought-after producer and arranger, and he was the saving grace behind Springsteen’s “Tenth Avenue Freezeout” on the breakout album. By any name, Van Zandt is not one to stand on his (many) past accomplishments.

Documentarian Teck loosely breaks down the timeline of Van Zandt’s life and, in keeping with the Disciple title, presents it in three ‘Books’: Salvation, Revolution, Revelations. Much of the run time is spent in Book I, where we recap the early days of Asbury Park, New Jersey, and local venue, The Stone Pony. Some incredible clips are included showing live performances of Southside Johnny, Van Zandt, and of course, Springsteen. It’s also here where we learn the origin of the nickname “Miami Steve”. It didn’t take long for Van Zandt’s extraordinary talent as an arranger to shine through, and his ambition and creative forces drove him to leave the E Street Band in 1983 to form his own identity. It’s also in this stage where he married Maureen in a ceremony officiated by none other than music icon Little Richard (video), and including singer Percy Sledge.

Book II recounts Steven’s foray into activism and political activities, namely Apartheid in South Africa. He wrote the song “Sun City” and organized the iconic participants of the movement that ultimately contributed to the release of Nelson Mandela. As impressive as his efforts were, and as respected as he was, Van Zandt readily admitted, “I don’t want to be a politician.”

Aptly named Book III: Evolution took Van Zandt to 1999, where not only did he reconnect with Springsteen and rejoin the E Street Band, he also accepted creator David Chase’s offer to take a role in “The Sopranos”. That’s a pretty good year. It’s in Book IV: Revelations where Van Zandt originated his popular radio show, “Little Steven’s Underground Garage”, where he keeps rock history alive, and he also brought 1960’s band The Rascals to Broadway. In 2021, Van Zandt’s memoir, “Unrequited Infatuations” was published. Did I mention this isn’t a man to sit back and chill?

Bill Teck solidifies the admiration Van Zandt has by including interviews with the likes of Bruce Springsteen, Paul McCartney, Southside Johnny, Dion, Gary US Bonds, Mike Stoller, Darlene Love, wife Maureen, Peter Gabriel, Eddie Vedder, Bono, Joan Jett, Jackson Browne, Reuben Blades, Jon Landau, and David Chase. The interviews and clips and photographs are well done, plus he allows Van Zandt to contribute his own thoughts. This is terrific insight, and the film ends perfectly showing Bruce and Steve teaming up for “No Surrender”.

Airing on HBO and streaming on MAX beginning June 22, 2024

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Posted by David Ferguson

GEOFF MCFETRIDGE: DRAWING A LIFE (2024, doc)

June 20, 2024

Greetings again from the darkness. Over the years, I’ve managed to maintain zero artistic ability, and yet my admiration and respect for artists has continued to grow. It’s quite likely you’ve never heard of Geoff McFetridge, and equally likely that no one you know has either. Leave it to commercial director and artist Dan Covert to recognize that a fellow artist’s story is worth telling.

With interviews from film directors Spike Jonze (also an Executive Producer) and Sofia Coppola, and photographer Andrew Paynter, we get a real sense for the admiration McFetridge draws from other artists. His wife Sarah also gives us her perspective on her husband as an artist, father, and partner, and yet we find Geoff’s own introspection to be the most descriptive and informative. This is a man who doesn’t shy away from self-analysis … which makes sense given his personal mission.

For an artist as prolific as McFetridge, it’s not surprising to learn that his childhood habit of “drawing all the time” has followed him into adulthood. It’s really more of an obsession than a habit, and he’s managed to turn it into a profession. Born in Canada, he made the decision to enroll at the California Institute of Arts, and now can be described as melding art with commerce. His work has adorned ads and products for such companies as Nike, Apple, and Pepsi (among many others).

Surprisingly, it’s not his brilliant design work that is most interesting. Rather it’s Geoff’s constant pursuit of meaning in everything he does – in art, while running ultra-marathons, and in being a husband and father to two daughters. This is a man who pushes himself constantly. Down time is not part of his plan. He used art as a way out and way to have control as he searched for his place. He always had the colors and form (geometry on acid), and his wife Sarah is the one who instilled emotion into his work.

McFetridge is highly respected by other graphic artists, while remaining virtually unknown to the general public. His greatest gift is not a steady hand, but rather an innovate mind tied to a tireless work ethic. It seems strange to say, but he’s inspirational in the way he seeks meaning – giving us the desire as well. On the surface, one would expect a biopic on an under-the-radar graphic artist to be a short film, but director Covert understood that a full 80 minutes would better serve the audience. He was right.

In NYC theaters on June 21, 2024 and VOD via Gravitas beginning July 2, 2024

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Posted by David Ferguson

TUESDAY (2024)

June 14, 2024

Greetings again from the darkness. I thought the same thing. How can a movie featuring a giant talking macaw make any dramatic sense, or deliver a message that’s worth hearing? Well, the first feature film from writer-director Daina Oniunas-Pusic does just that. We know the best fantasy stories and fables are based on harsh realities, and there is no reality more harsh than the fact that death comes for all of us. Now, whether death comes by the Grim Reaper, an Angel of Death, or a talking, size-shifting red macaw may be up for debate, but filmmaker Pusic and the cast deliver an immensely creative and thought-provoking look at death and all stages of grief.

The film opens by taking us on the daily routine of the Death Macaw as it visits those who have reached the end … whether they are ready or not. Some go peacefully, others not so much. Soon it visits Tuesday (played by Lola Petticrew, SHE SAID, 2022). Tuesday has a terminal illness and is wheelchair-bound and tethered to an oxygen tank. She knows it’s her time, but negotiates with the bird so she has a chance to tell her mother goodbye. A brilliant combination of humor-kindness-sarcasm-pot-music (Ice Cube)-and bathtime cause the death bird to give in and grant Tuesday’s wish. Of course, such a decision means death is taking a break, thereby wreaking havoc around the globe.

Mother Zora (Julia Louis-Dreyfus, “Seinfeld”, “Veep”, 11 Emmys and counting) returns home and reacts quite aggressively … actually violently … to the bird that’s there to take her daughter. Zora may be keeping secrets from her daughter, but it’s with the best intentions to protect her. And protecting her is exactly what she thinks she’s doing when she goes to war with the macaw (brilliantly voiced by Arinze Kene). This mother is just not willing to let her beloved daughter go without a fight … a fight that shifts the tone of the movie, as well as mom’s place in it.

It seems negotiations are ongoing between the parties, even though we all know there is no cheating death – at least not in the long run (some runs are longer than others). Yet, most of us spend each day warding off the idea or simply assuming it’s not our time. We also know most parents will go to any length to protect their kids and ease any pain they might have. A significant portion of this story is about dealing with grief. Julia Louis-Dreyfus mostly replaces her usual goofy grin with a look of stress and anguish. Facing reality, she’s despondent right up until she is enlightened. The filmmaker inserts an insightful blip near the end about God/the afterlife, and the best message is that grief must be dealt with. At some point, we must ‘get on with it’ and understand that the legacy of loved ones is carried on in our memories. Daina Oniunas-Pusic shows us some real creativity on a familiar topic, and it’s pretty impressive.

Opens in theaters on June 14, 2024

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1 Comment | Drama, Fantasy | Tagged: , , , | Permalink
Posted by David Ferguson

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