QUEER (2024)

December 6, 2024

Greetings again from the darkness. Some filmmakers have earned the benefit of the doubt to the point where each film they release is worthy of consideration. Luca Guadagnino is one such filmmaker. He first captured my attention with I AM LOVE (2009) and has since followed that with such interesting films as A BIGGER SPLASH (2015), CALL ME BY YOUR NAME (2017), SUSPIRIA (2018), BONES AND ALL (2022), and CHALLENGERS, his first film released in 2024. This time he and his CHALLENGERS screenwriter, Justin Kuritzkes, take on the 1985 William S Burroughs novella, “Queer”, which was linked to his 1953 novel, “Junkie”.  Taking on the writing of William S Burroughs is challenging enough as a reader, much less as a filmmaker.

Daniel Craig stars as William Lee. If you are familiar with Burroughs’ writing, then you are aware the character of William Lee shares many of the same personal attributes as Burroughs himself. He’s a gay man who drinks too much, does hard drugs, and is quite sexually promiscuous. The film opens with Chapter 1: How do you like Mexico?  Lee spends his time drinking non-stop and carousing for his next roll in the proverbial hay. He has a few fellow ex-pat friends, including Joe Guidry (Jason Schwartzman), but it’s a certain cool cat that catches his eye. Eugene Allerton (Drew Starkey) is a young ex-soldier and Lee is quickly enamored.

The two hang out together, although Lee is never really certain if Eugene is gay or not since he spends much of his time playing chess with fellow bar patron, Mary (Andra Ursula). One night of passion between Lee and Eugene leads to Chapter 2: Travel Companions. The two men make their way to South America as their awkward relationship (and agreement) leads to more booze. Chapter 3: The Botanist in the Jungle is certainly one of the most bizarre segments of any movie this year, as the men hike deep in the jungle to connect with a doctor who has researched some ‘vegetation’ that may solve Lee’s fascination/obsession with telepathy. There is no viable description for this segment, but kudos to anyone who recognizes Leslie Manville – the one who has a pet sloth and keeps a viper for home security.

The Epilogue picks up two years later, and it’s here where Lee’s long struggle with loneliness becomes most apparent. His time with Eugene provides home of a true, lasting relationship with something other than a tequila bottle or a heroin needle. Daniel Craig and Drew Starkey are both excellent here, and may each receive awards consideration. If your previous exposure to Mr. Craig is through the James Bond movies, you might find this role a bit surprising, but those who have followed his career are in the know. One final note (no pun intended), the score from Trent Reznor and Atticus Ross perfectly captures the longing for connection (aka loneliness).

Opening in theaters on December 6, 2024

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Posted by David Ferguson

NIGHTBITCH (2024)

December 6, 2024

Greetings again from the darkness. J.D. Salinger once wrote, “Mothers are all slightly insane.”  Rachel Yoder’s critically acclaimed 2021 novel has been adapted for the big screen by writer-director Marielle Heller, and it seems to confirm the Salinger theory. Ms. Heller has previously directed A BEAUTIFUL DAY IN THE NEIGHBORHOOD (2019), CAN YOU EVER FORGIVE ME? (2018), THE DIARY OF A TEENAGE GIRL (2015). She excels in projects that focus on human nature.

Amy Adams jumps into the role with both feet (or is it four paws?). Having been previously nominated for six Oscars, her seventh would certainly not be surprising. She plays a renowned artist-turned-stay-at-home mom, and proceeds to convey the frustrations and anxiety that accompany such self-sacrifice. We watch as her feelings result in an unusual transition that finds her with a heightened sense of smell, an innate dislike of cats, and an inordinate ability to attract and run with the neighborhood canines. There are even some physical attributes that occur, further blurring the line between fantasy and reality. At times, it’s a bit surreal.

We are clued-in to her inner-dialogue early on when she meets a professional acquaintance at the grocery store. With her son (played by twins Arleigh and Emmett Snowden) in the buggy seat, we hear both what this mother is thinking and then what she actually says out loud. It’s a terrific shortcut for viewers. When she finally lashes out at her husband (Scoot McNairy), he reacts in the typically clueless, though well-meaning manner we’ve come to expect from dads in this situation.

The movie has a relatively short runtime (barely 90 minutes), and we gain insight into her frustrations through mom-groups (Zoe Chao, Mary Holland, Archana Rajan), exchanges with the librarian (Jessica Harper), flashbacks to her childhood, and of course, the ‘real’ moments with her husband. The inner-dialogue moments could have been used even more frequently, and the canine moments are effective despite not really pushing the envelope as far as we’d have liked.

Losing one’s self is perhaps the biggest threat from motherhood, and we aren’t certain whether to classify the ending as redemption or reclamation. Either way, the motherhood path is absurdly challenging physically, mentally, and emotionally. Loving one’s child and spouse is not enough to maintain a sense of sanity and self, and the film picks up on all of this from a personal perspective, while also giving a glimpse at how the outside world (former colleagues) simply can’t understand. The film lends itself to further discussion and analysis, but that’s enough for now.

Opening in theaters on December 6, 2024

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Posted by David Ferguson

FLOW (2024, animated)

December 5, 2024

Greetings again from the darkness. Cats tend to be solitary creatures. And by ‘tend’ I mean about 99% of the time. In this superb animated fable from writer-director Gints Zilbalodis (AWAY, 2019) and co-writer Matiss Kaza, our protagonist is a cat who learns (and teaches us) that a community working together is more powerful than any single being working alone.

Clocking in at a brisk 84 minutes, the film opens with the cat gazing at his own reflection in the river. After a frantic chase with dogs on it’s trail, the cat escapes back to the house where he was once cared for by a cat-loving carpenter who has presumably since passed away. After a thundering herd of deer run by, a massive flood hits the forest and sends the cat scurrying for higher ground. The adventure begins … and though there are some similarities to other animal journey movies, this one is unique in its approach.

Zilbalodis has utilized no humans or human voices. The animal sounds are actually recorded animal sounds specific to each critter (no cute voiceovers). The exception is the capybara, where a camel’s recording is used instead. Much of the time is spent on a floating sailboat filled with an odd group of animals: our ever-present cat, the capybara (sleepy but loyal), a labrador (playful and friendly), a ring tail lemur (collecting all sorts of items along the way), and a large white bird ( I believe an African secretarybird who steers the boat despite a broken wing).

As you might imagine, this group of misfit sailors learn that survival depends on getting along and working together. Their teamwork is quite impressive, even as they encounter obstacles, and their own conflict – which leads to a stronger bond. This is not the hyper-realistic animation we’ve recently seen with animals, but the movements are extremely true-to-form for each of them. Zilbalodis includes some mystical elements, but as a fable, the message is that community and teamwork are stronger than solitude, and the final shot reinforces this. The filmmaker purposefully avoided any particular geographic locale (as noted by the various species) in order to ensure the deeper message is not lost. This is Latvia’s Oscar submission, and it will likely gain support in the animation category.

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Posted by David Ferguson

GET AWAY (2024)

December 5, 2024

Greetings again from the darkness. Every movie review provides the opportunity to walk the line between telling enough, but not too much. Some movies pose more of a challenge than others, and this is one. Director Steffan Haars (the ‘New Kids’ movies) and writer-actor Nick Frost team up to deliver a devilish and campy folk horror-slasher-comedy that brings a bit of innovation to genre that could use a boost.

Nick Frost stars as Richard Smith, a Dad-Joke-loving goof desperate for a relaxing holiday with his family. He’s joined by his wife Susan (the multi-talented Aisling Bea), and their teenagers Sam (Sebastian Croft, “Heartstopper”) and Jessie (Maisie Ayers in her first feature film). Their odd choice for the ‘get away’ is Svalta, a remote Swedish island that sports a dark history with its tragic 19th century plague that nearly wiped out the population. The family has scheduled the trip around the Festival of Karantan (Quarantine) marking the unfortunate events of yesteryear.

Upon their arrival, the locals give them an icy and somewhat threatening reception. Referring to the festival as a “play” doesn’t help their cause, and it’s only when their creepy Airbnb landlord (Eero Milanoff) shows up to claim them does the tension soften a bit. The house they’ve rented seems perfect, but soon things feel a bit off. Sam’s vegetarian diet and Jessie’s spirited approach add an extra dimension, while Richard and Susan play off each other expertly (as we’d expect from Frost and Bea).

This was my second Nick Frost horror movie in less than a month, as this is on the heels of his much less funny turn in BLACK CAB. Of course, he’s known for his comedic turn in the Cornetto trilogy, and his screenplay here is quite impressive. The film really plays up the whole “outsiders” feeling unwanted … just before the magnificent twist that turns the film into an off-the-rails blood bath. Barry Blue singing “I Eat Cannibals” provides a fitting musical ending to this wild ride from Shudder Films.

Opening in theaters on December 6, 2024

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Posted by David Ferguson

NUTCRACKERS (2024)

November 28, 2024

Greetings again from the darkness. I’ll give you the set-up and you tell me how it ends. A workaholic real estate developer drives his yellow Porsche from Chicago to a middle-of-nowhere Ohio farm after his sister and brother-in-law die in a car crash. He’s there to sign paperwork for a foster family to take the four brothers left behind. However, there’s a glitch, and the stressed-out uncle is forced to extend his time with the four boys. Since, we can all guess how this story ends, the determining factor on whether it’s worth watching is what happens in-between.

Director David Gordon Green has had quite a strange and diverse string of projects, going back to PINEAPPLE EXPRESS (2008), his recent horror reboots with HALLOWEEN (2018) and THE EXORCIST: BELIEVER (2023), and numerous TV series, including “Eastbound & Down”. The screenplay comes from Leland Douglas, and the film draws Ben Stiller out of leading man semi-retirement (he’s been directing episodes of “Succession”).

Michael (Stiller) is shown zipping through the countryside conducting important business on his cell phone as he drives. When he arrives on the farm, he immediately steps his expensive loafers into animal excrement. The social worker (a criminally underutilized Linda Cardellini, “Mad Men”) informs him that the foster family backed out and he’s now responsible for his four nephews, until a new foster family can be found. The boys have been home-schooled and living off the grid (pigs in the house, etc). They obviously have trust issues with an uncle who obviously doesn’t want to be there.

For this story to work, we have to believe two things: that the boys connect with Mike and that Mike learns what really matters in life and is willing to drastically change. The four Kicklighter boys are played by real life Hanson brothers Atlas, Ulysses, Arlo, and Homer. They are truly the highlight of the movie, and it’s a shame the story doesn’t better utilize the dynamic of their transformation. Instead, there are a couple of side stories involving the town’s rich man (played by Toby Huss, The Wiz from that “Seinfeld” episode), and a greedy professional foster home mother (Edi Patterson, KNIVES OUT, 2019). These stories should have been better explored or ignored completely to concentrate on Michael and the boys,

Some comedy elements are introduced – Michael paddleboarding in the pond and Captain Bebop’s Ice Cream truck, but the attempt at a sentimental ending is never earned and feels out of place, based on what we’ve watched. This has the look and feel of a Hallmark Christmas movie, yet it’s missing charm and seasonal spirit. Perhaps UNCLE BUCK (1989) is the closest comparison, but this one never really comes close to matching that one.

Releases on Hulu on November 29, 2024

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Posted by David Ferguson

BEATLES ’64 (2024, doc)

November 28, 2024

Greetings again from the darkness. It’s been 60 years since ‘Beatlemania’ hit the United States. As impressive as Taylor Swift’s ascendance has been, it pales in comparison to the cultural impact of the Fab Four those many years ago. Documentarian David Tedeschi, working with raw footage shot by brothers and renowned documentary collaborators, Albert Maysles and David Maysles, takes us back to those frenzied 14 days of The Beatles’ first U.S. trip, including the infamous appearance on “The Ed Sullivan Show”.

The footage is fascinating not just because it includes the band performing live on Sullivan, at the Washington Coliseum, and at Carnegie Hall, but rather because it puts us in the Plaza Hotel room where they stayed, and in the backseat of the cars as they are transported. We hear interviews and conversations, and gain some perspective on what these young men went through physically and emotionally and musically on their first trip across the pond. Girls were hyped for this group of four lads who certainly didn’t fit the mold of traditional masculinity, while parents were caught off-guard.

What I found most thought-provoking of all was Tedeschi’s presentation as history intertwined with one of the most impactful moments in U.S. history. President John F Kennedy was assassinated on November 22, 1963. The plane carrying The Beatles touched down on February 7, 1964. In plain language, Beatlemania struck as a nation mourned. You may view these as unrelated, but music is known to heal. Perhaps the frenzied young fan reactions to “I Want to Hold Your Hand” that caused the rift with parents and older Americans was just the diversion needed to help a country move forward. That first appearance on the Sullivan show took place on February 9.

Tedeschi supplements the video with a multitude of interviews. We hear from fans, other musicians, and the band members themselves … even Marshal McLuhan. Surviving members Paul and Ringo were involved in the film’s production, as were the estates of John and George. Archival interviews are included here – George from his own lawn, and John on a couple of TV talk shows. Paul is shown at the museum that featured Beatles photography. Yet, the interview that packs the biggest punch is likely that of Ronald Isley of The Isley Brothers. He acknowledges the impact of sales when The Beatles recorded “Twist and Shout”, and he punctuates this with the fact that it did not lead to an invitation for The Isley Brothers to perform on the Sullivan show.

It’s clear how much respect these four young lads had for black musicians and how much their music influenced The Beatles. They were excited to meet with and learn more about the key black musicians such as Little Richard or the Ronettes. Ronnie Spector is interviewed here and offers her recollection of the band, the music, and the times. Tedeschi’s (and the Maysles’) work offers an inside glance at what was happening at the time, and when we hear the wisecracking and see the raw energy of the boys, it helps to know that George (the youngest) would not turn 21 until the band returned to England. We get the feeling they believed this happened to them, not that they caused it. Perhaps they were at least partially right … as the times, they were achangin’.

Streaming exclusively on Disney+ beginning November 29, 2024

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Posted by David Ferguson

THE PIANO LESSON (2024)

November 26, 2024

Greetings again from the darkness. Playwright August Wilson has a nice string of his stage work being adapted for the big screen. First, there was FENCES (2018), then MA RANEY’S BLACK BOTTOM (2022), and now this latest is the first feature film from writer-director Malcolm Washington (son of Denzel), with a screenplay co-written with Virgil Williams (MUDBOUND, 2017). This thoughtful allegory asks the question, when is a piano more than just a piano?

The film opens on Independence Day in 1911, and as fireworks fill the sky, a group of men steal a piano from their slave owner. We quickly jump ahead 25 years to 1936 and find Boy Willie (John David Washington, also son of Denzel) and his friend Lymon (Ray Fisher, “True Detective”) taking a wagon full of watermelons to Boy Willie’s sister house. The plan is to sell the watermelons and his sister’s piano so that Boy Willie can purchase a plot of land where his ancestors worked as slaves. It’s a simple plan that makes sense … except his sister, Berniece (Danielle Deadwyler, so good in TILL, 2022) has no intention of selling the piano, a family heirloom.

Berniece and her daughter Maretha (Skylar Aleece Smith) live in Uncle Doaker’s (a reserved Samuel L Jackson) home and the piano sits, unplayed, in the living room. Ironically, it’s Boy Willie who talks us – and Maretha – through the piano’s history, including how his grandfather had hand-carved family faces into the front. Maretha was previously clueless as her mother Berniece had chosen to carry the weight of history to herself. The more brother and sister argue, the more activity from the spirits occur – known as ‘Ghost of the Yellow Dog.”

Doaker attempts to keep the peace, while wannabe preacher Avery (Corey Hawkins, THE COLOR PURPLE, 2023) relentlessly woos Berniece. Danielle Deadwyler delivers a remarkable performance as she remains steadfast. With a polar opposite personality to brother Boy Willie, she is a picture of pride and strength, and delivers the film’s best line directed to her brother, “All you ever had going for you in life is talk.” For those who don’t appreciate the stage-to-screen adaptations, the recommendation is to focus on the storytelling, rather than the sometimes distracting staginess. It’s a terrific script and, led by Ms. Deadwyler, the acting is mostly top notch.

Available on Netflix

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Posted by David Ferguson

GLADIATOR II (2024)

November 22, 2024

Greetings again from the darkness. Like many of you, I’m not usually a fan of sequels. Too often they feel like a money grab or an unapologetically opportunistic way to capitalize on previous success without much creativity or artistry required. Of course, there are exceptions. Sometimes sequels advance the story or offer additional development on an interesting character. So where does this one fit? It’s been almost a quarter-century since GLADIATOR (2000) received 12 Oscar nominations, winning 5, including Best Picture. The original is a film I revere. Director Ridley Scott is back at the helm, and at age 86, he proves he’s still a master of scope and scale and visceral action sequences.

Russell Crowe is not back for this one, and if you saw the first film, you understand why. Crowe is shown in a couple of flashbacks and is mentioned periodically. But this film belongs to Paul Mescal as Lucius, a natural leader and preternatural fighting soldier. That last sentence probably seems like a mistake to anyone who has seen Mescal in ALL OF US STRANGERS (2023), AFTERSUN (2022), or THE LOST DAUGHTER (2021). In each of those films, his talent and presence were obvious, yet he gave no indication of being able to play a tough warrior. After bulking up for the role, Mescal proceeds to step into movie stardom, as he truly commands the screen.

Much like Maximus (Crowe) in the first film, Lucius (Mescal) is forced into slavery, which translates into Gladiator training and fighting for Macrinus (two-time Oscar winner Denzel Washington). However, this comes after one of the most intense and ferocious opening battle scenes we’ve ever witnessed on screen. During this battle, Lucius’ wife Arishat (Yuval Gonin), a fierce warrior herself, is killed by the Roman General Acacius (Pedro Pascal, “The Mandolorian”), setting off grief and a thirst for revenge in Lucius. Once he’s witnessed Lucius fighting, the overly ambitious and conniving Macrinus pegs Lucius as driven by “the rage”, and sees him as a secret weapon in his quest for power.

Acacius turns out to be husband of Lucilla (Connie Nielsen reprising her role) and is hailed a Roman hero by the goofball twin emperors Geta (Joseph Quinn, A QUIET PLACE: DAY ONE, 2024) and Caracalla (Fred Hechinger, THELMA, 2024). Lucilla has maintained her clandestine connection to the council, led by Gracchus (a returning Derek Jacobi, now 84 years old). Political maneuvering and desire for power are at the forefront for most of these characters, yet it’s Lucius and his determination that harken back to the themes of the original … oh, and a very personal connection that most will have figured out from the trailer.

The Colosseum battles (and effects) are spectacular, and include a tribe of saber-toothed baboons, a giant and ferocious prehistoric rhinoceros, and a shiver (that’s what it’s called) of hungry sharks that appear once the Colosseum floor is flooded. There’s a certain satirical symmetry to using sharks to ‘jump the shark’. Although the sharks are a bit questionable (and likely not historically accurate), the best and most brutal fighting occurs mano y mano. Of course, we know that Lucius will get his shot at revenge, and maybe even redemption … the only questions are how and when.

Paul Mescal handles the role of Lucius with aplomb, and Denzel Washington appears to be having an extraordinarily good time as power-hungry Macrinus – a significant (and welcome) departure from his usual roles. Additionally, the technical aspects of the film are stellar. Ridley Scott brings back many of his previous collaborators from the 2000 film. John Mathieson is back as Cinematographer, while Arthur Max and Janty Yates return as Production Designer and Costume Designer, respectively. This sequel is co-written by David Scarpa and Peter Craig, and David Franzoni gets credit for his original characters. Arguments can be made both ‘for’ and ‘against’ the need for this sequel, especially since the look and tone are so similar to the original. However, very few can claim that this is anything but an entertaining spectacle loaded with stunning visuals – and a straightforward link to the original. The two films can rightfully claim strength and honor. It should be noted that Ridley Scott has already announced plans for a third film in the series, and by nature, I fall right back into my skeptical self, questioning the need.

Opening wide in theaters on November 22, 2024

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Posted by David Ferguson

PORCELAIN WAR (2024, doc)

November 22, 2024

Greetings again from the darkness. While we have grown accustomed to movies about war, this documentary is a true and stunning war movie. There are no special effects or stunt doubles or guns with blanks. The bombs are as real as the three people bringing us an all too intimate look at the war.

Slava Leontyev creates porcelain figurines, and his wife Anya Stasenko paints them – often with color and inspiration from nature. Slava and Anya are dedicated artists and it’s art that connects them to their friend Andrey Stefanov. Slava and Anya bring the personal aspect to this film, while Andrey’s work with the camera speaks the horrific truth. The war in Ukraine began in 2022, and when we meet Slava and Anya, they are in Kharkiv, a mere 25 miles from Russia.

“We are ordinary people in an extraordinary situation.” What initially hits as such an understatement, soon make sense as we watch Slava and Anya go about living within their new reality … a reality that involves warning sirens, underground shelters, and the whistle of incoming bombs that lead to explosions causing and property damage and human deaths. The tenacious and disrespected Ukrainian army is made up mostly of civilians willing to fight for their country after the invasion. Slava spends a good amount of time training civilians on basic firearm usage. It’s quite a contrast to his art, yet both are crucial.

We are told, “If one doesn’t stop evil, it keeps going” … a lesson we hope world leaders understand. The homes and lives of these folks will never be the same, but as they explain, stories told through art prevent erasure. Andrey states, “Bad people are not as creative at being bad, as good people are at being good.” We hope he’s right and we hope that matters. These stories are told amidst craters and rubble and incoming missiles. The danger and urgency of each minute ensures the horror is always as present as their pet pooch, Frodo. It is explained to us that porcelain and Ukraine are similar in that they both break but are nearly impossible to destroy. Co-directed by Brandon Bellomo and Slava Leontyev, this was the Grand Jury Prize winning documentary at Sundance.

PORCELAIN WAR will open in theaters, beginning on November 22, 2024 in NYC, on November 29 in Los Angeles, followed by a roll out across North America

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Posted by David Ferguson

BREAD & ROSES (2024, doc)

November 22, 2024

Greetings again from the darkness. After so many decades of groups fighting to gain acceptance and rights and freedom, it seems recently there has been entirely too much focus on removing rights from some. Likely the most harrowing example of this is what’s described as lightning striking in August 2021 when the Taliban entered Afghanistan. Documentarian Sahra Mani goes deep inside the country to show and tell the personal stories of three Afghan women.

Life is described as “normal” prior to the Taliban takeover. Zahra was a working dentist and recently engaged to Omid. There is happiness in the families and community. Soon, Zahra’s dental office becomes a clandestine meeting place for activists seeking a way to rebel without getting detained or tortured. Taranom struggles with the isolation that goes with living in a safe house away from her community, while Sharifa serves as the most common example of women stuck at home with few liberties. If you need a definition of systemic oppression, this film provides it.

No education past sixth grade. No speaking in public. Very limited job opportunities. This new world finds women are first oppressed at home via fathers, brothers, and husbands, and then from a larger perspective by the Taliban. Activism and resistance require great courage, and those involved in the Civil Rebellion prefer peaceful protests, not violence. Their chants of “Education is our right” and “Work, bread, education” are simple and direct.

Prevented from leaving the country – there’s always a documentation issue with visas – the women who are able form backroom schools and work strategically against Taliban mandates. Zahar is even arrested and later goes missing for months. This is the life of women whose personal rights have been stripped. Director Sahra Mani ends with updates on Zahar, Taranom, and Sharifa, and the film serves as a gut-wrenching viewing experience for those who have gotten ‘comfortable’ with the phrase ‘Taliban mandates’. This is a plea for attention and assistance. Producers on the film include Jennifer Lawrence and Malala Yousafzai.

On Apple TV+ beginning November 22, 2024

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Posted by David Ferguson

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