SPACEMAN (2024)

February 29, 2024

Greetings again from the darkness. Have you hugged a spider today? Adam Sandler has. Well, technically it’s his character who does the hugging. Jakub Prochazka, is a Czech astronaut 189 days into his year long mission. He’s flying solo on “the outskirts of Jupiter” to explore the Chopra cloud which is expected to reveal the beginning of time.  Honestly, it feels like a job worthy of more than one man, however, that’s what the source material provides. Based on the 2017 book “Spaceman of Bohemia” by Jaroslav Kalfar, Johan Renck directs the adapted screenplay by Colby Day. Mr. Renck is not one that jumps to mind when thinking of an Adam Sandler movie. His previous credits include the excellent mini-series “Chernobyl”, as well as multiple episodes of acclaimed series, “Breaking Bad” and “Bloodline”.

The reality is that Adam Sandler is a solid dramatic actor, as evidenced by his roles in PUNCH-DRUNK LOVE (2002), and more recently, THE MEYEROWITZ STORIES (2017) and UNCUT GEMS (2019). In fact, many of us much prefer heavy-drama Sandler to goofy-comedy Sandler. In this latest, he goes low-key extreme. In fact, Jakub is rapidly sinking into depression, though it has little to do with the loneliness and solitude of space. That’s right … it’s a woman. His pregnant wife, Lenka (the always stellar Carey Mulligan) is missing and won’t communicate with her galactic husband. We know what’s going on with her, but the mission Commander (Isabella Rossellini) refuses to tell Jakub due to his fragile mental state. On top of that, his deteriorating spacecraft is preventing him from sleeping properly.

Soon, that rickety old space toilet is the least of Jakub’s worries. He’s sharing the claustrophobic space with a giant talking spider. Jakub is unsure if this is a figment of his imagination or some alien creature. Passively voiced by Paul Dano, Hanus the arachnid initially appears to be a manifestation of Jakub’s subconscious, but as time goes on, it appears he’s a creature with knowledge of the universe. The low-key vocals from Jakub and Hanus don’t generate much excitement for us viewers, but the therapy Hanus provides, allows Jakub to better understand himself … and also drives Hanus to binge eat. There are no Sandler tantrums or screaming moments … instead his sad eyes and droopy face tell us much about Jakub.

Hanus calls Jakub “skinny human” so many times, it feels like that should be the film’s title. It gets old pretty quickly. Other supporting work comes from Kunal Nayyar as Jakub’s virtual doc, and Lena Olin as Lenka’s mother, although the film struggles to give anyone beyond Jakub much definition (including the underutilized Mulligan). It’s a bit baffling to look at this cast and associate them with the Czech Republic space program, but it’s Hollywood, where the 20-year age cap between Sandler and Mulligan also matters little. The film spent almost three years in post-production for reasons I don’t know, but it’s safe to say it’s one of the better talking spider movies you’ll see, yet not one of the finest lonely astronaut flicks.

Begins streaming on Netflix on March 1, 2024

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ASLEEP IN MY PALM (2024)

February 29, 2024

Greetings again from the darkness. The extreme political divisions that exist in the United States today are well-documented and often discussed. The first feature from writer-director Henry Nelson eschews politics and instead looks at class differences – and even deeper into the role of human connections and family bonds. As a new filmmaker, it certainly doesn’t hurt to have an incredible actor as your dad, especially one willing to dive headfirst into the lead role of your gritty and intimate drama.

Tim Blake Nelson has evolved into a must-see actor. He manages to make each role his own, whether in support (O BROTHER, WHERE ART THOU?, 2000) or as the lead (OLD HENRY, 2021). Here he stars as the bearded father to 16-year-old Beth Ann (an outstanding Chloe Kerwin, “The Marvelous Mrs Maisel”). When we first see them, dad is telling a creative bedtime version of Chicken Little to his daughter, complete with frequent blue language. A short while later we see the two are living in a storage unit, about as far off the grid as a father-daughter can get.

During the initial Chicken Little story, dad says, “everybody has a breaking point”. We know immediately that this is foreshadowing as well as an explanation for what has already happened. We quickly bond with father and daughter, although dad is often a bit prickly, an attribute we chalk up to PTSD. What we don’t doubt is his commitment to Beth Ann and his need to protect her from outside forces, aka society. Dad doesn’t talk much about himself or his past, but he frequently serves up lessons, often based on religion, that are meant to convince their way is the only way.

An occurrence with his partner in crime (Jared Abrahamson) becomes a way forward, but at the same time, Beth Ann is exposed to some of the students at a nearby college and becomes intrigued by Millah (a memorable Gus Birney, daughter of actor Reed Birney). As viewers we are forced to consider the effects of isolation, loneliness, parental judgement, and teenage curiosity … both before and after the film’s excellent twist that few will see coming. Not only is this a nice showcase for Tim Blake Nelson, Chloe Kerwin, and Gus Birney, it’s also a solid debut from writer-director Henry Nelson.

In theaters on March 1, 2024, on VOD March 19, and streaming April 19.

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PITCH PEOPLE (1999/2024, doc)

February 29, 2024

Greetings again from the darkness. It’s been 25 years since this documentary from Stanley Jacobs made the festival rounds, and now his 1999 film has gained an “anniversary” release in theaters and on 4K digital. Those of us of a certain age recall our favorite TV shows being interrupted with commercials for the latest “As Seen on TV” products. Ginsu knives and Pocket Fisherman were two of the most prominent, yet there were dozens more that gained airtime. What stood out was the excitement of those presenting the products, making that day’s miracle seem like a must-have for everyone … well except the Ronco Salad Shooter held little appeal for my younger self. But a Ginsu knife that cut through tin cans? I could find a use for that!

Jacobs’ tracks the origins of pitch people back to the days of traveling ‘Medicine Men’ and their cure-all potions, to the untrusted ‘Snake Oil’ salesmen (who were often the same folks). What’s clear is that we humans have always (and continue to) been enticed by anything promised to make our daily lives easier and better … or as PT Barnum (supposedly) said, “There’s a sucker born every minute.” Of course, one need not have traveled in a covered wagon or even grown up with limited network TV in the 1970’s to have been mesmerized by the best (or even mediocre) pitch people. Every county and state fair, and most every trade show, car show, and conference, features the entertaining sideshow of a pitch person and their slight-of-hand, fast-talking presentation of some gadget. What Jacobs shows us is that these masters of oratory skills typically take great pride in their talent and results.

Pitchers, hawkers, grafters, barkers, salespeople … it matters little what label is applied. Their job is to draw folks in, set the hook, and make the sale. The more fun you have with the pitch, the more likely you are to part with greenbacks (or tap your card these days).  Ron Popeil (and his RonCo) may be the most famous and successful, and here, Jacobs details Popeil’s dad as well as the birth of the infomercial. Ed McMahon of Johnny Carson fame gets his own segment, and we experience how the pitch, once mastered, stays within the pitch person. We also hear from many others who work in this profession, some you’ll recognize, others you’ll feel like you should.

Slicers and dicers, miracle mops, and cookware, as well as anything “-O-Matic”, are big players in this market, and we find it entertaining to watch the pitch, but also see the reactions of those gathered around the booth at the fair. It’s quite a phenomenon, and one that Stanley Jacobs expertly captured in this documentary from many years ago … one certainly due a resurgence.

Opening in select theaters in 4K beginning March 1, 2024

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STOPMOTION (2024)

February 23, 2024

Greetings again from the darkness. The art of stop-motion consists of bringing hunks of clay to life and telling an interesting story. It’s excruciatingly slow work requiring meticulous attention to detail.  The first feature length film from animator-turned-writer/director Robert Morgan is co-written with Robin King, and pays homage to this distinct art form. Of course, since it’s a horror film, it also makes good use of the adage … an artist being consumed by their art.

Aisling Franciosa (so memorable in THE NIGHTINGALE, 2018) stars as Ella Blake, who is assisting her mother (Stella Gonet), a renowned stop-motion artist, with her “last film”. Arthritis has seized mom’s hands and so she barks orders at her daughter in frustration of her own limitations. Once out from under her mother’s controlling ways, Ella finds her own space in an old apartment, where she begins to pursue her own vision. Soon she’s visited by an odd and inquisitive little girl (Caoilinn Springall), presumably from the neighborhood. The girl labels Ella’s work “boring” and proceeds to tell her own story about Ashman, who haunts a girl in the forest over three nights. Ella is captivated, and we quickly recognize she is in the midst of a slow descent into madness … unaware of who this little girl actually is.

Director Morgan first introduces us to Ella over the opening credits. The flashing lights in a nightclub play visual tricks, and Ella alternates between good and evil looks (think of the two-face syndrome in “Seinfeld”). This is an early clue about the film’s path. Morgan also provides contrast between the stark working conditions of the studio (whether it’s mom’s basement or Ella’s apartment) and the more lively and colorful clubs and parties where she hangs out with her boyfriend (Tom York). Adding to the film’s visual treats are some unusual camera angles courtesy of cinematographer Leo Hinstin.

The final act features some extreme gore, so be prepared. It’s rare for a film to feature raw meat, a dead fox, maggots, and mutilation, but few films have successfully blended the use of stop-action animation with live-action drama. Aisling Franciosa has the instincts to convincingly portray a troubled artist when the wires are crossed between reality and creativity. Getting creeped out is all part of the show.

Opens in theaters on February 23, 2024

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ORDINARY ANGELS (2024)

February 23, 2024

Greetings again from the darkness. Ed Schmitt has lost his faith. His wife dies, leaving him with two young daughters … the youngest of which, due to Biliary Artesia, needs a liver transplant to avoid her mother’s tragic fate. These circumstances have straddled Ed with $400,000 in medical bills, and the possibility of losing his precious daughter before a donor can be found. Directed by Jon Gunn (MY DATE WITH DREW documentary, 2004), the film is based on a true story with a screenplay by Kelly Fremong Craig (THE EDGE OF SEVENTEEN 2016; ARE YOU THERE GOD? IT’S ME, MARGARET 2023) and actress Meg Tilly (her first screenplay).

Two-time Oscar winner Hilary Swank stars as Sharon Stevens, a middle-aged hairdresser and alcoholic party girl. We see her at her inebriated peak, dancing on the bar in her tasseled boots – right up until she falls off. Her salon partner Rose (Tamala Jones) does what any good friend would do – takes her to an AA meeting. Of course, Sharon refuses to admit she’s an alcoholic, but afterwards, as she’s in line to buy a six-pack, a local newspaper headline catches her eye. Five-year-old Michelle Schmitt (Emily Mitchelly) has recently lost her mom, and now has severe medical issues herself. Something awakens in Sharon and she organizes a Hair-A-Thon to fundraise for Michelle.

Michelle’s dad, Ed, is a hulking man played by Alan Ritchson (“Reacher”). He’s a soft-spoken man whose pride and guilt is consuming him. He and Sharon couldn’t be less alike, but Sharon dedicates herself to helping Michelle and Ed, as well as the older daughter (Skywalker Hughes), and Ed’s mother (Nancy Travis). Sharon seems intent on doing something good with her life, yet the addiction tendencies are ever-present, no matter how much the girls admire her sparkly skirts and neon heels.

This is 1993 in Louisville, Kentucky, and it’s obvious the writers have taken a great deal of dramatic license to up the ante on the hurdles facing Ed, Michelle, and Sharon. In fact, some of it is overkill, as the actual story is plenty heartwarming. These days, it’s enjoyable to watch folks helping others, and when the community comes together for the film’s most dramatic moment, it’s sure to bring a tear to the eyes of many viewers. We are all flawed humans, but Sharon proves that helping others (even those too proud to ask) is a reward in and of itself. Director Gunn ends the film with real life updates (and photos) of Sharon and the Schmitts, plus songs by Wendlo and Dave Matthews.

Rated PG and opening in theaters nationwide on February 23, 2024

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RED RIGHT HAND (2024)

February 23, 2024

Greetings again from the darkness. Regardless of how attractive the real estate prices seem, it’s usually best to avoid small rural towns controlled by a violent crime boss nicknamed Big Cat. Especially when she doesn’t hesitate to make an example of those who cross her, and she ‘owns’ the local Sheriff and runs drugs throughout the area. Even those who break away from her organization are likely to get dragged back in, ‘do this or else’ style, if Big Cat wants them back. It’s a self-perpetuating cesspool of control and being controlled.

The SMALL TOWN CRIME (2018) directing team of brothers Eshom Nelms and Ian Nelms re-team to direct this surprisingly engaging backwoods crime thriller, with a screenplay from Jonathan Easley (his first). What’s surprising about this is most movies of this genre are pretty simple and easy to predict. In this one, there are certainly some familiar tropes, but the depth of characters and the against-type performance by Orlando Bloom make this one quite a bit of fun. Also going against-type here is Andie MacDowell as Big Cat. It’s her darkest role yet, and she seems to embrace the evil.

Mr. Bloom stars as Cash, a greasy, tatted, ripped dude with a Kentucky accent who is diligently working to keep his life on a good path. His past includes a beloved sister who passed away, severe alcoholism, and a life of crime while working as Big Cat’s henchman. His life motto is “God-Family-Survival”, and he’s dedicated to his struggling brother-in-law, Finney (Scott Haze) and whip smart ninth grade niece, Savannah (newcomer Chapel Oaks). When Cash discovers that Finney has mortgaged the family farm to Big Cat, he quickly realizes he must cut a deal with his former boss to save what’s left of his family. As Michael Corleone says, “they pull me back in.”

Big Cat values Cash’s cool head under pressure – especially as compared to her other redneck lackeys. Her one misjudgment is in underestimating Cash after she has attacked his family. This leads to a blaze of violence and one crazy shootout on the grounds of Big Cat’s estate. Supporting work is provided here by the always excellent Garret Dillahunt (here as a rehabilitated preacher), Brian Geraghty as the Sheriff, Mo McRae as the good-intentioned Deputy, and Daniel David Stewart as Big Cat’s ponytailed corrupt banker son. Johnny Derango adds some quality cinematography to this surprisingly intricate and well-developed crime thriller.

Magnolia Pictures will release the film in theaters and on VOD February 23, 2024

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BLEEDING LOVE (2024)

February 15, 2024

Greetings again from the darkness. There is no shortage of movies depicting the challenges associated with being a parent, although there is an added element of interest when a real-life father and daughter are cast in the lead roles (remember PAPER MOON with Ryan and Tatum O’Neal?). Such is the case with this first feature film from director Emma Westenberg, co-written by Vera Bulder, Ruby Caster, and Elle Malan. Ewan McGregor and his daughter Clara McGregor co-star in a dramatic father-daughter road movie filled with awkward moments.

No character names are given, so we’ll have to refer to them as Ewan/father and Clara/daughter. After Clara overdoses, long-estranged dad shows up to drive her from San Diego to Santa Fe, where he tells her she can stay with an artist friend in hopes of rekindling her passion for art. Of course, that is a lie because that’s what dad’s do after they’ve drunkenly walked away from their family years ago. Ewan plays a recovering alcoholic who has started a new life by re-marrying and having a young son. Clara, on the other hand, is an addict with no direction in life, other than wanting to run from dad and get the next fix.

These two mismatched blood relatives have only flashbacks to her childhood in common. Dad is trying to make amends, and 20-year-old daughter just pouts and spews anger. It’s a road trip movie that requires only one night in a roadside motel. When Dad’s truck breaks down, they encounter a live-wire tow truck driver (Kim Zimmer), who drops them at a small town birthday party where the big gift for a young boy is a rifle. It’s here where Clara meets a young man (Jake Weary, excellent in the series “Animal Kingdom”, and Ms. Zimmer’s real-life son) who assists with some much needed booze for the underage lass. Once back on the road, Clara gets a spider bite on her lady bits, and it’s a local prostitute (Vera Bulder) dreaming of Broadway who provides guidance (to Clara, not the spider).

A road trip movie typically requires these types of interactions to hold our interest, but the missed opportunity here comes from real life father-daughter dynamics. Ewan and Clara play off each other very well, but simply needed more friction and conflict to make this believable. The expected reconciliation hits too few speed bumps, and a hokey AA meeting produces more cringe than tears. The movie feels over-directed, when letting these two go at each other full force is what they needed … and what we needed as viewers.

In select theaters and OnDemand beginning February 16, 2024

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THE HOBBY (2024, doc)

February 15, 2024

Greetings again from the darkness. As a kid and blossoming baseball fanatic, there were few things more exciting than ripping into a new pack of baseball cards. While some friends used clothes pins to attach them to bike wheels for a cool sound, I preferred to study the cards, especially the statistics and brief bio on the back. Often, the flat panel of bubble gum included was so stale it would snap in two, but the smell of a pack remains ingrained in my olfactory memory bank all these years later. In this documentary, Morgan Jon Fox explores the difference between traditional card hobbyists and new age collectable card investors, and introduces us to the people who have driven the changes.

New York Times reporter Paul Sullivan starts things off by recounting the investigative series he published on the collectable card industry. He admits to being shocked that not only were some cards selling millions of dollars, but also of how the card market had become just that … a true marketplace. No longer was it just adolescents swapping a Robin Yount for a Reggie Jackson. Where there had once been passionate collectors as hobbyists, there were now passionate investors – only they weren’t passionate like fans of the players on the card, instead they were passionate and focused on making money. RBI stats had been replaced by ROI, and these people were serious. Even the product evolved – trading cards were now collectable cards. And no one was putting them on their bicycle spokes.

Filmmaker Fox provides a bit of history for us. Cards date back to 1869 and were included in tobacco, candy, and gum packs. It was Topps who invented the modern-day collectables in 1952. This is also the year of the infamous Mickey Mantle rookie card that caused values, and the card market, to explode. The story behind this is quite surprising and detailed in the film. As the market for cards grew, more companies joined in. Competing with originator Topps were Fleer, Upper Deck, and Panini, and in 2021, the industry shifted again. Powerhouse retailer Fanatics and co-founder Josh Luber gained exclusivity for football, baseball, and basketball. Trade shows, podcasts, and websites all led to the growth in values which then led to popularity. What was once childhood fun, was now big business.

This was filmed in 2021-2022 when collectable cards were showing tremendous value jumps, and at the time, it was estimated that the market could be worth $100 billion by 2027. Not long after, values for many cards, and for the industry as a whole, plummeted. The rarest cards held up, but the mass market continues to struggle. The concern from insiders is that the market could ‘age out’ like stamp collecting has. Efforts are underway to draw more kids into collecting, and also expand the ‘non-sports’ market, which includes cards like Pokemon, Star Wars, Marvel, and Harry Potter. Fox even shows us some old Presidential collectables that feature Abraham Lincoln. While the line has certainly blurred between investor and hobbyist, it appears those who focus on a specific segment are now the most successful … say, shrewd curation of a Nellie Fox shrine.

Available TVOD on February 16, 2024

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THE TASTE OF THINGS (2023)

February 14, 2024

Greetings again from the darkness. I do not cook and have never had an interest in learning to. Still, I do understand how some are drawn to it as an art form … creating new dishes and new flavors, while generating such pleasurable sensations across the palettes of others. It’s a passion like many professions (or hobbies), and it’s one that is best shared with others.

This is the first film from writer-director Anh Hung Tron since 2016, and he has adapted the popular novel, “The Passionate Epicure” by Marcel Rouff. An extended opening scene (30 plus minutes) features a camera weaving in and around the activities in a kitchen where a gourmet meal is being prepared. Chit-chat does not occur. These people know their work and go about preparing multiple dishes precisely, meticulously, and expertly. Specific timing is the only thing requiring spoken language. Despite this, we learn much about these folks.

Juliette Binoche (Oscar winner, THE ENGLISH PATIENT, 1996) portrays Eugenie, the cook to gourmet chef Dodin, played by Benoit Magimel. Dodin periodically takes leave to mingle with guests, while Eugenie finds pure joy in her task at hand. Two assistants Violette (Galatea Bellugi) and Pauline (Bonnie Chagneau-Ravoire) work efficiently and quickly. Pauline is young and relatively new to the kitchen, yet she possesses a preternatural taste palette and flavor instincts, while Violette is a long-trusted staffer. As viewers, we are in awe of the precision and coordinated efforts that go into preparing world class dishes.

As the film progresses, we learn Dodin has proposed marriage to Eugenie many times over the years. She has always turned him down, choosing instead their kitchen partnership as well as occasional evening soirees in her room (when the door is unlocked). This arrangement works for her and has made him famous in the culinary world. Love and respect exists between the two, and he worries about her too-frequent fainting spells and light-hearted moments. Their conversation one evening after work tells us all we (and they) need to know. As for their backstory, given Eugenie’s mentorship of Pauline, we can’t help but wonder if maybe Dodin had once recognized such rare talent in Eugenie some twenty years past.

This is a film, and these are performances, meant to be savored every bit as much as the dishes we see prepared and the garden Eugenie tends. It’s a delicate world that requires precise movements and commitment … just as any relationship. We can all strive to find the joy and satisfaction on display here, despite knowing that these types of connections will at some point lead to loss.

In theaters on February 14, 2024

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UPGRADED (2024)

February 9, 2024

Greetings again from the darkness. There is something to be said for ‘fake it ‘til you make it’, but most of us find bold-faced lying is a bit more difficult to root for. There is also something to be said for keeping to the familiar path, as therein lies safety. Adhering to the familiar is exactly what actress-turned-director Carlson Young has accomplished with the script from co-writers Christine Lenig, Luke Spencer Roberts, and Justin Matthews. We know where this is headed once we hear Anna interpret a piece of art she has mounted (without permission) in the small apartment her sister and (overly boisterous) brother-in-law have allowed her to stay since she’s in debt and without income.

Anna (Camila Mendes, “Riverdale) is chasing her dream of owning an art gallery, and has relocated to NYC for an internship at an art auction house run by dragon-boss Claire DuPont (Oscar winner Marisa Tomei in full Miranda Priestley mode). The Romantic Comedy formula kicks in pretty quickly as Anna gets a break at work and is invited to accompany Claire and her ‘mean girl’ minions to London for a big auction. Those minions (Fola Evans-Akingbola and Rachel Matthews) act as cruel stepmoms to Anna’s Cinderella. The required meet-cute happens after Anna’s titular upgrade to first class. While enjoying the airport spa, Anna accidentally dumps her Bloody Mary on rich boy Will’s high-dollar clothes and shoes.

Anna and Will (Archie Reneax, THE GREATEST BEER RUN EVER, 2022) are of course seated next to each other in first class for the transatlantic flight. It’s at this point where she chooses to avoid clarifying her role at the auction house, allowing Will (he’s rich and he adores kids!) to believe she’s the youngest Director in company history. This lie spirals as Anna weaves her way into the daily life of princely Will and his wealthy mom Catherine (Lena Olin, her must see film is THE UNBEARABLE LIGHTNESS OF BEING, 1988). Supporting work comes from Anthony Head as dead-by-design artist Julian Marx, and Thomas Kretschmann (KING KONG, 2005) as Arnold, the head of the company.

Every step of the story is predictable, and no apologies are necessary since this is precisely what fans of Hallmark Movies can’t get enough of. Ms. Mendes flashes the charm required for the role, and she’s surrounded by some other very talented folks. For those who prefer a bit more depth to characters and storylines, you likely already know this one’s not made for you. But for those who find pleasantry in the safe path with no surprise twists … a journey where the lovely liars get all the breaks since their heart is in the right place … this one’s for you.

Opens on February 9, 2024 on Prime Video

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