LITTLE EMPTY BOXES (2024, doc)

April 18, 2024

Greetings again from the darkness. Cinema trends often mirror societal trends (Superheroes being the exception), so it’s not surprising that so many movies over the past few years have dealt with dementia and Alzheimer’s in some manner. In fact, it was just 3 months ago that I watched Maite Alberdi’s Oscar nominated documentary, THE ETERNAL MEMORY, and it was only three years ago that Florian Zeller’s THE FATHER won two Oscars. As the population ages, physical and mental limitations become more prevalent, and it’s the cognitive difficulties that are causing the most challenges for caregivers and medical professionals.

Max Lugavere and Chris Newhard co-direct this documentary that focuses on Max’s mother, Kathy, who is displaying all the symptoms of dementia. The film opens by showing home movies of Max as a kid, and Kathy as an energetic, fun-loving mom. When it cuts to today, we find Kathy’s once lively, twinkling blue eyes are now hollow and lifeless at age 63. She’s chronically tired and her phone conversation with son Max shows her memory is slipping. Max co-authored the book, “Genius Food” with Paul Grewel, and he meets with his Los Angeles publicist to inform her that he’s moving back to New York City to spend time with his mother.

What sets this film’s approach apart from some others that broach the topic is that Max takes us on the journey with his mom as they explore possible options to improve her situation. It’s explained that she’s on a blend of Parkinson’s drugs and Alzheimer’s drugs, as that has been determined to be the best treatment for her Lewy Body Dementia – a cross between the two diseases. We are there as she fights with the doctor over the brain scan, and we sit in on some of the discussions with specialists in the field. Max tries to answer the question, “Where did this come from?”, as there is apparently no genetic trail or were no early signs (other than a propensity to collect trinkets).

It’s at this point where knowing Max’s background may affect one’s perspective on the documentary. Knowing his public support for some trendy diets and the controversy such diets have caused, moves us away from the caring son and towards self-promotion. While it’s difficult to disagree with the idea that diet and fitness are likely associated with cognitive health, he seems to quickly believe any study that agrees with his personal beliefs. It is interesting to hear the link between post-operative patients and Alzheimer’s, but the ‘adopt a dog’ segment seemed a bit of a stretch.

Many of us have experienced the impact when a loved one begins the slow decline from this silent disease. The idea of fixing the body first so the brain can recover is somewhat logical, but whether it’s red meat, vegan, kimchi, or something else … nothing has yet provided us with the glimmer of hope needed to reduce or slow the effects. Surely, some will benefit from Max taking the camera on the doctor visits and discussions with mom, but the self-promotion is a bit tougher to accept. Re-tracing the NYC locations shown in those home movies makes for a nice final touch.

Opening in NYC theaters on April 19, 2024 and expanding at later dates

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Posted by David Ferguson

IRENA’S VOW (2024)

April 15, 2024

Greetings again from the darkness. This is based on the true story of Irena Gut Opdyke who, during WWII, vowed “If I could save a life, I would.” Directed by Louise Archambault, it has been adapted for the screen by Dan Gordon, who was the playwright for the hit Broadway play. Cinema has been utilized many times over the years to shine a light on so many who acted altruistically in protecting Jews from the Nazis. Some of these heroes saved one life, while others saved hundreds. The courage of these folks deserves to be remembered.

The film begins in 1939 as Germany invades Warsaw. A bomb drops on the hospital where Irena (Sophie Nelisse) is working. She is Polish, not Jewish, so she is sent to work in a munitions factory. Her features get her recognized by senior German officer Rugmer (an excellent Dougray Scott, MY WEEK WITH MARILYN, 2011) who reassigns her to a supervisory role over Jews working in a hotel laundry. When Rugmer reassigns her again, this time to his personal villa as housekeeper, she learns the Jews in the laundry will be sent to a concentration camp.

We are fascinated by Irena’s work to rescue and then hide these twelve people … and she does so literally under the feet of Rugmer. Obviously, this puts herself and the hidden Jews in danger, but also Rugmer, who would surely be shot were they discovered in his home. Humor is scarce here. In fact, one of the most horrific scenes you’ll ever view in a movie occurs. It’s a devastating moment and one that won’t soon be exorcised from my mind. In a rare display of levity, Irena befriends an elderly servant named Schultz (Andrzej Seweryn, SCHINDLER’S LIST, 1993) whose advice to her is to keep a low profile and ‘know nothing’. Fans of the old “Hogan’s Heroes” series will appreciate the connection.

The current issue of antisemitism gives this one a bit of a contemporary feel, as does the abortion discussion amongst those hiding. At first, we can’t help but wonder if this was for dramatic effect, although the answer becomes quite clear over the end credits. Sophie Nelisse was exceptional in THE BOOK THIEF, and she is terrific here as well, playing Irena Gut Opdyke who much later in life was honored with Righteous Among the Nations … after being imprisoned for supporting Nazis. The epilogue spells out much of what happened, and all of it leaves us with the utmost respect for this quietly courageous woman.

A Fathom Events presentation on April 15 and April 16, 2024

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Posted by David Ferguson

STING (2024)

April 11, 2024

Greetings again from the darkness. The trailer for this one makes it clear that it’s a monster movie in the vein of those Friday late night creature-features I stayed up watching as a kid … whenever I wasn’t grounded from watching TV. Australian filmmaker Kiah Roche-Turner has set this one in Brooklyn and it takes place almost entirely inside an old apartment building (the only exceptions are shots of the ice storm occurring outside).

Roche-Turner may have delivered the latest creature-feature, however, it’s not one of those that inspires empathy towards the creature. Twelve-year-old Charlotte (get it??) is on one of her adventures through the air vents of the old building when she captures a little black spider. A pet spider may be uncommon, but keeping secrets from your mother, Heather, (Penelope Mitchell, HELLBOY, 2009) and stepdad, Ethan, (Ryan Corr, THE WATER DIVINER, 2014) is right in line with the actions of an adolescent frustrated by the responsibilities of having to watch her newborn brother while the frazzled adults go about earning a living.

The film’s opening shows Charlotte’s sweater-knitting grandmother, Helga (Noni Hazelhurst, TRUTH, 2015), battling dementia and calling the exterminator after hearing loud noises in the wall. The story then flashes back four days to when Charlotte first finds the spider. Frank (Jermaine Fowler, RICKY STANICKY, 2024) sprays the building, but even as a pest expert, he doesn’t suspect what’s about to happen. Relative newcomer Alyla Brown (TRUE SPIRIT, 2023) performs superbly as Charlotte, and is stunned when the pet spider she names Sting mimics her whistle when it’s due for another meal of crunchy bugs, which leads to exponential growth.

Although it’s not necessary, there are additional elements to the story that occur around the whole rapidly-growing spider. Charlotte’s stepdad is the building super and an aspiring comic book artist. In an effort to bond with her, Ethan illustrated the story she created about her biological father, whose deadbeat nature mother Heather has withheld from her. Their neighbors consist of lonely widow Maria (Silvia Colloca, VAN HELSING, 2004) and oddball science geek Erik (Danny Kim, “Born to Spy”), the latter of whom exposes Charlotte’s clandestine arachnid pet to the parents. The final player here is frugal and grumpy Gunther (Robyn Nevin, RELIC, 2020), who apparently owns the building and lives with her sister Helga. Ms. Nevin has a face made for horror films (and I mean that as a compliment) and gets to go full out in her one big scene with Ethan.

 As you’d expect, some of these folks meet a grisly end, while others are more fortunate. There are enough kills for those that lust for such moments, and enough creepiness and chuckles for everyone else. It does take a while for the arachnid rampage to begin, but there’s enough suspense to keep us around.  Most will appreciate Brad Shield’s cinematography as the camera worms it’s way through the claustrophobic hallways and air ducts of the building. The origins of the spider might be missed by those who aren’t paying close attention, but it’s a brilliant touch. And even though it’s a bit of campy horror, the dayglo red used in the fake blood is among the worst you’ll likely ever see. The film is quite a bit different from the 1990 cult classic ARACHNOPHOBIA, but the lesson in keeping moth balls on hand could someday come in handy. Over the opening credits, “What a Way to Die” by The Pleasure Seekers acts as a foreshadowing of events, and in keeping with the film’s title, there are a couple of “stingers” for those who stick around.

Opening in theaters on April 12, 2024

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Posted by David Ferguson

THE ABSENCE OF EDEN (2024)

April 11, 2024

Greetings again from the darkness. “It’s us or them.” That’s a line spoken by one of the ICE officers after a particularly physical and dangerous altercation with an illegal immigrant. In this particular instance, the words ring true. However, writer-director Marco Perego and co-writer Rick Rapoza show both sides of this coin that has generated so much passionate debate among politicians and the citizenry. The film strives to show the humanity of all involved, and how a lack of humanity can cause more problems than it solves.

Garrett Hedlund (MUDBOUND, 20 17) stars as Shipp, a new ICE recruit. We see him volunteer to be first in the “Taser Training” so that he knows what the recipient experiences. He’s a man of few words, though he seems smitten with his girlfriend Yadira (Adria Arjona, MORBIUS, 2022), a single mom who may or may not be withholding pertinent information. Shipp’s more experienced ICE partner, Dobbins (Chris Coy, THE KILLING OF TWO LOVERS), is the one who speaks the line of dialogue quoted above. Dobbins has a singular view of his job and of those crossing the border illegally, while Shipp is a bit more confused on how best to handle things.

The other key story here revolves around Esmee (Zoe Saldana, Gamora in the Marvel Universe). She’s an exotic dancer in Mexico until her self-defense against one customer goes sideways and she’s forced to flee. Her trek to the border finds her protecting a young girl, and then getting dragged into the underworld. There is a scene with a drug dealer that features one of my cinematic pet peeves. Why is it when a drug dealer gives a phone to someone and tells them to keep it on at all times, they never furnish a charger? I can understand a lack of respect, but that phone isn’t going to last long without a charger. Just a minor rant that I often need to release after a movie.

Director Perego is a renowned conceptual artist and he’s married to Zoe Saldana. Together they depict the realities at the U.S. southern border. ICE is working to follow guidelines, while immigrants are in search of a better life. Things sometimes don’t work out well for either. We see the ICE raids and we see the daily struggles of immigrants. Despite this, there seems to be no solution in sight, so the conflicts carry on day after day.

Opens in theaters on April 12, 2024

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Posted by David Ferguson

IN FLAMES (2024, Pakistan)

April 11, 2024

Greetings again from the darkness. One of the unheralded roles movies can play is to help us better understand various cultures around the world. It’s important to grasp the challenges others face based on where they live. The first feature film from writer-director Zarrar Kahn takes us to Pakistan and elegantly lays out cultural traditions that may have even outlasted laws that have passed.

Mariam (Ramesha Nawal) spends much of her waking hours studying for the upcoming medical exams. However, the recent death of her beloved grandfather has the film opening with preparations for the funeral service. His passing has left Mariam, her younger brother Bilal (Jibran Khan), and their mother Fariah (Bakhtawar Mazhar) in a precarious situation. The law allows for Fariah to inherit the apartment, car, and belongings; however, family traditions aren’t quite in sync. Sleazy Uncle Nasir (Adnan Shah) offers to take care of everything for the grieving family. Mariam is wise not to trust him to act in their best interests, but the passive-aggressive discussions between mother and daughter make it clear that Fariah trusts the Uncle.

A brick through the car window reminds us of other differences between Pakistani law and traditions. Mariam is simply driving herself during daylight hours – an activity that traditionalists refuse to accept. Not long after, Mariam meets Asad (Omar Javaid), and a budding romance blossoms as they enjoy a lovely day at the beach. A tragic accident adds even more stress to Mariam’s life, yet the beauty of her character stems from her quiet strength in handling anxiety, grief, and a culture built to hold her back.

The first half of the film employs a relatively slow pace so that we might better understand these people and their situation. Death and visions of departed loved ones play a prominent role, as does the inner-strength of women in a world structured to abuse and take advantage of them. The cinematography of Aigul Nurbulatova deserves special notice here, not just for how the visions and apparitions are handled, but also the interactions which often take place in confined spaces. It all feels as if it could be happening. Ms. Nawal also earns kudos for her performance as Mariam. She allows us to feel the emotions without ever once over-emoting. Kahn’s film was Pakistan’s submission of Oscar consideration last year and it’s easy to see why.

In theaters beginning April 12, 2024

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Posted by David Ferguson

WHAT’S NEXT (2024, doc)

April 11, 2024

Greetings again from the darkness. As an avid documentary fan, I typically don’t have much patience for docs that fawn over their subject. The exception to that is this one from filmmaker Taylor Taglianetti, which plays like a family home video, yet the man in focus is so engaging that we hang on his every word. Why is that? Well, at age 100, Dr. Howard Tucker was certified by the Guiness Book of World Records as “the oldest practicing doctor”.

We first see the southpaw doctor throw out the ceremonial first pitch at a game for his hometown Cleveland Guardians (MLB), and though his throws might have been truer when he was younger, his inner-strength is on full display as he walks off the field and declines the use of a wheelchair. This is a man who has made his own way for a century, and isn’t about to take a free ride now.

Dr. Tucker has been a neurologist for 75 years, and if you are curious as to the kind of man he is, you should know that he became a lawyer at age 67 just to say he accomplished it. He’s also the guy who broke his neck snow skiing – at age 87. His grandson, Austin Tucker, is a producer on the film and acts as our guide in getting to know this medical marvel. We also meet the charming “Grandma Sue”, Dr. Tucker’s wife of 65 years … herself almost 90 years old, and still active as a Psychoanalyst.

St Vincent Charity Hospital is where Dr. Tucker teaches residents and conducts research. Well, he did right up until the day the hospital shut down. So, what was Dr. Tucker’s response? Of course, he tells everyone he’s looking for a job!  What else would a centenarian do in this situation? When Dr. Tucker flunks his driving test, he’s mighty disappointed that he can no longer zip around in his classic cherry red MG, and must now be dependent upon Uber.

Dr. Tucker briefly discusses the Jewish bias and antisemitism he has faced over the years, though he refused to be held back. He visits his 96-year-old high school friend who is a car collector, and Dr. Tucker even shows off his own collection … hundreds of the trademark bow ties that he’s worn over the years.  We see some of the video congratulations he received from celebrities on his 100th birthday, a mark he doesn’t seem overly interested in. We understand why Dr. Tucker names Satchel Paige as one of his role models, as they are both men who persevered and accomplished beyond what others said was possible. Two distinct pieces of wisdom are passed along through Taglianetti’s film. “Grandma Sue” tells us “denial” is a useful part of our thinking, while Dr. Tucker reminds us that retirement is the enemy of longevity. Perhaps now you understand why I was so taken with this “home movie”.

Premiered at the Cleveland International Film Festival on April 7, 2024

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

FOOD, INC. 2 (2024, doc)

April 9, 2024

Greetings again from the darkness. It’s likely director Robert Kenner and producer Melissa Robledo assumed their Oscar nominated documentary FOOD INC (2008) would generate change and improvement in what we eat and how our food supply works. To some extent they were correct, yet here we are 16 years later, and Kenner and Robledo are back with FOOD INC 2, this time as co-directors, to emphasize the dangers of having a few mega-corporations in control of what we eat.

That first documentary has been described as the beginning of “the food movement”, and it’s true that many people have improved their diet by focusing on more natural and organic food sources, and depending less on fast food and processed items. However, it’s also true that mergers and acquisitions have allowed food suppliers to get bigger and more powerful over those years … and the Pandemic contributed as well. That first film highlighted our overdependency on corn products, and has led to more local farmers markets and more organic offerings (although still at elevated prices).

This second film informs us that the pandemic exposed just how delicate (and wobbly) our system is. Supermarket shelves sat empty while farmers destroyed crops and animals. The filmmakers hope this film will be a catalyst for closer inspection on how the mega-food companies are controlling what we eat, with a focus on profits rather than nutrition. Author and journalist Michael Pollan and “Fast Food Nation” author Eric Schlosser are back to lend their knowledge and expertise and concerns. The concern regards monopolies within the various food segments.

Discussion is held regarding President Trump issuing a 2020 executive order citing the Defense Production Act to keep meat packer plants open despite COVID outbreaks. It’s reported here that most of the meat was shipped to China, but U.S. corporate greed and profits remained intact, although no concrete data is provided. Mostly they call for anti-trust laws to be enforced.

Specifics are provided in the various food segments. The filmmakers take us to Immokalee, Florida where mistreatment of migrant workers is the story; Iowa, where the Tyson plant COVID outbreaks are detailed; Wisconsin, where the dairy industry is mentioned; back to Iowa where crops and soil issues are identified; New Jersey, where US Senator Cory Booker of the Agriculture committee is interviewed; and Montana, where US Senator Jon Tester speaks from experience. The demise of family farms is a by-product of the mergers and trend toward bigger, and the most frightening aspect is in regards to “ultra-processed foods” … those with additives and artificial sweeteners. These are the driving force behind diabetes, obesity, and other diseases … and the changes in Brazil diets are especially telling on the last point.

The value in this documentary from Kenner and Robledo is in the information and details. We learn that the big companies are investing in alternative meat and food (such as Impossible Burger), while at the same time taking advantage of research and data focused on sweetness and calories. Foods from science labs may be our future, right along with innovation in “weird” farming sustainability (Stockcropper) and kelp fishing/harvesting in Connecticut. Farm-to-table school lunches in Camden, New Jersey provide us some hope, and we learn about the conflicts with the Fair Food Program and labor relations.

There are no easy answers when billions of people on the globe must be fed. What we must demand is that efforts in the field go towards nutrition and sustainability, and not just profits for a few mega-companies.

Here are some of the provided statistics:

Four companies have a stranglehold on 85% of beef processing.

Three companies dominate 83% of cold cereal.

Two companies control 70% of the carbonated soft drink market.

Two companies control 80% of the baby formula market.

Ultra-processed foods make up about 58% of US adults caloric intake.

Special theater screening on April 9, 2024 and on Digital beginning April 12, 2024

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Posted by David Ferguson

WICKED LITTLE LETTERS (2024)

April 4, 2024

Greetings again from the darkness. “This is more true than you’d think.” Director Thea Sharrock (ME BEFORE YOU, 2016) kicks off the film with this statement. The movie then proceeds to twist and stretch and outright change many of the details from the actual story and case outlined in the 2017 book, “The Littlehampton Libels: A Miscarriage of Justice and a Mystery about Words in 1920’s England” by Christopher Hilliard. However, from an entertainment perspective, the script from Jonny Sweet combined with the stellar British cast works pretty well as a glimpse of that era’s patriarchal society, as well as the need for attention from someone who has been stifled for far too long. And it even includes a few laughs along the way.

As Edith Swan (Oscar winner Olivia Colman) and her elder parents Edward (Timothy Spall) and Victoria (Gemma Jones) gather around the table to read the anonymous profanity-laced letter, we learn it’s the 19th one received by Edith. The decision is made to contact Constable Papperwick (Hugh Skinner, FALLING FOR FIGARO), who is quick to accept as fact their presumption that the letters’ source is neighbor Rose Gooding (Jessie Buckley). See, the Swan’s are a God-fearing family (and quick to advertise the fact), while Rose is an Irish immigrant and single mom with a loud mouth … one often filled with colorful curse words. It’s little wonder holier-than-thou Edith’s accusations are believed while denials from rough-around-the-edges Rose are dismissed.

“Female” Police Officer Gladys Moss (Anjana Vasan, CYRANO, 2021) is the only one who notices the massive inconsistencies in the “evidence”, and sets out to investigate. This, of course, goes against the wishes of the police captain, and overall dismissal from fellow officers since she is such an oddity as a female officer. Moss is following in her father’s footsteps with the badge, and has more instinct and powers of observation than the others … especially Papperwick, who is clueless and arrogant.

As Edith finds pleasure in the notoriety, Moss enlists help from a couple of community ladies who don’t buy into the Swan’s pious attitude. The film’s best line is, “Congratulations on your tragedy.” These women, played beautifully by Joanna Scanlan (AFTER LOVE, 2020) and Eileen Atkins (“Doc Martin”) devise a strategy to catch the true culprit in the act. Of course, most if not all viewers will have solved the case long before the police or jury do, but that won’t lessen the enjoyment of watching the drama play out, sometimes with a dash of humor.

The 1923 Poison Pen scandal of Littlehampton was a real thing, with court case and all. The film makes a point of the Patriarchal society in place at the time (the onset of the Suffragette movement), and it helps us gain an understanding of Edith and Officer Moss, as well as the quick-to-judge folks so easily accepting Rose’s guilt. I probably enjoyed this a bit more than many since I’m a big fan of both Colman and Buckley, who also co-starred together in THE LOST DAUGHTER. Timothy Spall reminds us that few can chew scenery like he, and the other familiar English actors all do their part. Those creative and sometimes confusing epithets (more likely to result in chuckles than anger) were taken from the actual letters in the case, and Ms. Colman’s cackle at the end is itself worthy of a ticket price.

The film opens in theaters on April 5, 2024

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Posted by David Ferguson

THE GREATEST HITS (2024)

April 4, 2024

Greetings again from the darkness. If you are one for whom hearing a particular song, no matter how many times over however many years, brings back vivid memories of a person close to you or a memorable event, then you will likely relate to Harriet, the lead character in this film from writer-director Ned Benson (THE DISAPPEARANCE OF ELEANOR RIGBY, 2014). Additionally, if you have tragically lost someone special to you and find yourself cloaked in unshakeable grief, then you will also likely find common ground with Harriet.

Harriet (Lucy Boynton, so good in SING STREET, 2016) wears noise-cancelling headphones whenever she is in public. She is so concerned with controlling the songs she hears, that she now works in a library for the serenity that silence brings. These steps are for a good reason … they protect her from instantaneously being transported back in time to a specific moment with her beloved boyfriend Max (David Corenswet, “Hollywood” mini-series, and he’s the new Superman). For Harriet, these aren’t merely flashbacks or memories – she is physically transported back in time when she hears a song. Rather than HOT TUB TIME MACHINE, she’s living “Hi-Fidelity Time Machine”. Her trip only lasts as long as the song is playing, yet she has no control. Once back in real time, she is viewed as having had a seizure. It’s frightening stuff for her. However, instead of being concerned about her health, she is intent on finding the song that takes her back to the moment she can change the past and prevent the accident that cost Max his life.

Harriet’s BFF Morris (Austin Crute, BOOKSMART, 2019), a local DJ, has been very supportive of her grief, but it’s been two years since Max died, and Morris wants his friend to move on with life. Hope springs when Harriet meets David (a terrific Justin Min, “Beef”) at a grief counseling group event. The two are understandable tentative around each other, yet it’s obvious David is a good dude with the necessary patience to allow her to work through her grief. Harriet’s case of déjà vu with David comes full circle, and adds a nice touch to the delicate situation they find themselves locked in.

Wanting to change the past is something we have all thought of at one time or another, yet the physical transformations that Harriet experiences feel like something beyond science fiction, and bordering on psychological torture. Filmmaker Benson has delivered a film that is simultaneously relatable, while also landing pretty far outside the box. There is a throwback feeling here, despite the characters feeling very much of this day. As you might expect, the soundtrack is quite varied with some deep cuts … with Roxy Music being a key. Although there may not be any big surprises in how the story unfolds, the characters are so relatable, and it’s so well acted, that we find ourselves pulling for each of them to have a happy ending.

Opens in theaters beginning April 5, 2024, and streaming on Hulu on April 12, 2024

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

BLOGATHON: MISMATCHED COUPLES (2024)

March 29, 2024

THE BANSHEES OF INISHERIN (2022)

Former BFF’s Colm and Padraig

Greetings again from the darkness. It’s always an honor to be invited to participate in the movie blogathons hosted by Gill and Barry. So many fine writers participate, and it’s a chance to really hone in on a particular topic, while learning what tickles the fancy of others taking part. Maintaining the pace of new movie reviews that I’ve committed to often prevents me from joining in, but this time, it worked out well.

The title of the blogathon makes the mission crystal clear. We are to select a mismatched couple/pair from a film and write about why it was interesting and/or entertaining. Mismatched couples have been a staple of cinema since the early days, and the trope is certainly not tied to any particular genre. Maybe “Cop” movies are most commonly recognized for this, as they often use the “good cop vs bad cop” approach, but it’s also prevalent in domestic dramas (THE ODD COUPLE), action movies (TANGO & CASH), mysteries (Sherlock Holmes and Dr Watson), classic films (Rhett and Scarlet in GONE WITH THE WIND) and even romantic-comedies (WHEN HARRY MET SALLY). For my entry, I chose former BFF’s Colm and Padraig from THE BANSHEES OF INISHERIN, which also happens to be my favorite movie of 2022.

Wickedly talented writer-director Martin McDonagh is the creative force behind this movie, as well as the instant classic, IN BRUGES (2008). In a brilliant move, McDonagh re-paired the lead actors from the earlier film in hopes of re-capturing their onscreen magic. The move definitely worked, as Colin Farrell as Padraic and Brendan Gleeson as Colm are both terrific in this film as they personify “Mismatched Couples.”

It’s 2:00 in the afternoon and Padraic does what he does every day. He knocks on the door of his lifelong friend, Colm, so they can head to the pub for a pint. Only this isn’t every other day. It’s a new day. Colm doesn’t answer. Padraig is a simple man who thrives on his routine and his friendship with Colm. Now for this to qualify as a ‘mismatched couple’, there must be conflict and tension. Initially we are as confused as Padraig, but soon enough Colm bluntly informs him that they are no longer friends, and that not even pleasantries will be exchanged – despite their history, and the forced proximity of living in the same village on an island. Colm has visions of a brighter future without Padraig, and Padraig is bewildered as he tries to figure out what he did wrong.

Part of the brilliance of the film and this relationship stems from the fact that these two gents are not the only mismatched couple, yet it’s their abrupt fallout that has an impact on so many others in the close-knit community. As Colm pursues his fiddle music and builds a new network, Padraig plunges into a funk, and finds the troubled town oddball (an excellent Barry Keoghan) buddying up to him in hopes of befriending Padraig’s sister (a terrific Kerry Condon). All of this creates choppy waters and dark comedic elements (just as McDonagh designed it), yet the driving force here is the broken relationship between Padraig and Colm. Both actors are so good. The turns of violence are shocking, and because of it, fiddle playing becomes more challenging … and things don’t go so well for Jenny the miniature donkey either (yet another victim of the broken relationship).

Watching these two actors at the top of their game (Farrell received an Oscar nomination) allows us to buy into this unfortunate break in what had been a long friendship. Some of the situations come across as outlandish, yet the actors bring a nuance to the characters that draws in as we anxiously hope for reconciliation, rather than a war to match what’s occurring across the bay. The idea of a couple of buddies becoming ‘mismatched’ after years of friendship makes this one of the more unusual … and interesting … and tragic … ‘mismatched’ couples in cinema.

Here is my original review of THE BANSHEES OF INISHERIN from November 2022

https://moviereviewsfromthedark.com/2022/11/03/the-banshees-of-inisherin-2022/

To read more entries in this blogathon and to access sites for Gill and Barry:

https://weegiemidget.wordpress.com

https://cinematiccatharsis.blogspot.com

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Posted by David Ferguson

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