Greetings again from the darkness. George Clooney and Brad Pitt are both two-time Oscar winners and are both north of 60 years old now. This latest film from writer-director Jon Watts (three Spider-Man movies) seems to ask the question: Are they still cool in a wise-cracking action movie star way? It’s been twenty-three years since the two long-time friends co-starred in the first (of 3) “Ocean’s” movies, and there is no doubt they were the epitome of cool then. But what about now? And does it matter? The argument can be made that it does matter since so few non-superhero and non-comic book movies are capable of drawing big crowds to the theater these days. Unfortunately, this film won’t answer the question about drawing power, as a very limited one-week theatrical release will be followed by a run on Apple TV+.
The sound of shattering glass is followed by three F-words, the first dialogue we hear (and also the last). It turns out, the local District Attorney (Amy Ryan, “The Office”) is justified in using the language as she finds herself in a luxury hotel room with an apparently dead, underwear-clad young man on the floor, and blood all over her clothes. Now, if you or I were in this situation, we would quickly surmise there is no way out. In contrast, a powerful politician has a phone number to call. Soon, George Clooney is at her door. He’s a “fixer” or “cleaner”, depending on your preferred nomenclature. He’s calm and cool (there’s that word again) under pressure, and claims to be the only one who can do what he does. This claim is soon shattered as Brad Pitt shows up – equally calm and cool (!) – disavowing Clooney’s ‘only’ claim. If not for the blood and the body, Amy Ryan might be just fine with Clooney and Pitt popping into her hotel room. But that “if” looms large.
Circumstances being what they are, the two lone ‘wolfs’ are forced to work together. Their rivalry is enhanced by the one-liners, facial gestures, and body language that stems from Clooney and Pitt knowing each other so well. Their mission is made abundantly clear once a bag with four bricks of heroin is found … just prior to the body on the floor springing back to life. What follows is a unique and extended (too long) chase scene through the city at night. It turns out the body/young man/kid (played well by Austin Abrams, PAPER TOWNS, “Euphoria”) adds to the complication for our two fixers … despite finding them quite cool (!).
This trio crosses paths with Poorna Jagannathan (“The Night Of”) playing a Chinatown doctor they can trust, Zlatko Buric playing a nasty Albanian mob boss, and Richard Kind as the Kid’s dad with a Sinatra fixation (in a clever scene). It’s entertaining to see the long-time friends playing on screen rivals – both with bad backs, reading glasses, and a shared bottle of Advil. They probably aren’t as witty (or cool) as they imagine, but filmmaker Watts uses their camaraderie as an asset (and also Sade’s “Smooth Operator”). You’ll notice a few tips of the cap to previous characters and films, including Butch and Sundance near the end. Although she’s uncredited, you’ll appreciate knowing that is Oscar winner Frances McDormand’s voice on the phone in an early scene. Overall, it’s decent entertainment while reminding us to “check the pulse.”
Premieres on Apple TV+ beginning September 27, 2024
Posted by David Ferguson 
Greetings again from the darkness. With any discussion or article about relationships these days, there is inevitably a mention of ‘red flags’ … warning signs in a potential partner that shouldn’t be ignored. Thanks to writer-director Fernando Trueba (BELLE EPOQUE 1992, CHICO & RITA 2009) and co-writer Rylend Grant, there is now a movie that offers clear examples of red flags for those who can’t manage to spot them without assistance.
Greetings again from the darkness. The seeds of some of the best comedies are sown in real life scenarios and take advantage of the awkward reactions of everyday folks. The first feature film from writer-director Brandon Tamburri and co-writer Jean S Monpere takes on a cringeworthy situation that likely happens more frequently than we’d expect: a drunken woman sleeps with a guy and ends up pregnant from the encounter. Her decision tree is questionable leading to drama with real world ramifications. To make this palatable, the filmmakers take a comedic approach.
Greetings again from the darkness. The distance between desperation and hopelessness can sometimes be very narrow, although desperate folks can make for interesting story characters thanks in part to the unexpected actions one can take when not thinking clearly. In his first feature film, writer-director Simon Hacker tackles a desperate man, only he kicks things up a notch by including a surprise visitor.
Greetings again from the darkness. When the history of music in the United States is discussed, it seems most of the gushing is reserved for Memphis, Chicago, and New Orleans. Documentarian Alan Swyer puts forth a legitimate case for Houston (and its corresponding night clubs) to at least be a part of the conversation. For those who shy away from documentaries due to the stream of talking heads, you’ll likely cringe at the lineup here; however, the difference is that some of the interviews go back a few years and are those who were there … the musicians who drove the Houston influence.
Greetings again from the darkness. Writer-director Bernardo Britto has delivered a modern-day cinematic rarity: a Science Fiction film without overblown special effects. Time travel is a vital part of the story, but at its core, this is a film about human emotions, and it has quite a message for viewers.
Greetings again from the darkness. I’ve always been enamored with movies which are paced so deliberately that it can easily seem like not much is happening, when actually we drift from dark comedy to tenderness to tragedy. It’s likely why I’ve been drawn to films from Iceland, including this one from writer-director Elfar Adalsteins (END OF SENTENCE, 2019) who has adapted the 2005 novel from renowned Icelandic author Jon Kalman Stefansson. The culture in this small village is such that folks mostly keep to themselves, and nature is a constant companion.
Greetings again from the darkness. Part of my attraction to arthouse films is the often-unconventional path to storytelling that the filmmakers take – sometimes expending more effort on the look and style than on the characters and plot. These films once only had life in film festivals, and today many also carry on in the streaming revolution. I’ll go ahead and admit upfront that this latest from Argentinian filmmaker Lisandro Alonso (JUAJA, 2014) and co-writers Martin Caamano and Fabian Casas is a bit esoteric for my tastes … although it looks beautiful.
Greetings again from the darkness. The second annual IT CAME FROM TEXAS FILM FESTIVAL was held September 13-15 at the Plaza Theatre in Garland, Texas. The festival salutes films made in Texas illustrating the Independent Texas spirit. This year’s showcase included three Oscar-winning films: TENDER MERCIES (1983), THE LAST PICTURE SHOW (1971), and GIANT (1956). Although I was out of town and unable to attend, the festival’s director, Kelly Kitchens, was kind enough to provide screeners for three documentaries scheduled for the festival. Al three speak to the pride of Texas.
Co-directors: Allen Mondell, Cynthia Salzman Mondell, and Phil Allen
Director: Anne Rapp
Director: Hector Galan
Greetings again from the darkness. Eighteen-year-old Elliott is counting down the twenty-two days remaining until she leaves home for her freshman year of college. For anyone who was once 18 or has raised an 18-year-old, you know that 22 days is the future. Writer-director Megan Park follows up her excellent feature film debut, THE FALLOUT (2021), with a different tone, albeit another one that focuses on the stress of being a teenager.
