POOR THINGS (2023)

December 6, 2023

Greetings again from the darkness. Greek filmmaker Yorgos Lanthimos is possibly the most divisive director working today. Movie goers tend to either love his films like THE FAVOURITE (2018), THE KILLING OF A SACRED DEER (2017), THE LOBSTER (2015), and DOGTOOTH (2009) or walk away baffled that any decent human being could enjoy such dark works of strangeness and oddity. Despite this, two of his films have received Oscar nominations, and this latest may be both his most accessible and most outrageous project yet. It’s also a rare outing where Lanthimos left the writing to others. His co-writer on THE FAVOURITE, Tony McNamara (“The Great”) has adapted the screenplay from the 1992 novel by renowned Scottish writer Alasdair Gray, whose tome was influenced by Mary Shelley’s “Frankenstein”.

Oscar winner Emma Stone delivers a truly remarkable (and physically demanding) performance as Bella Baxter. When we first meet Bella, she has the mind and coordination of a toddler in an adult woman’s body … the product of Dr. Godwin Baxter (you can call me God), played by Willem Dafoe. God is a surgeon-slash-mad scientist, his own scarred body the result of experiments conducted by his father. God is both doctor and monster. Although various animal blends (ducks, chickens, dogs, etc) roam the premises, it is Bella who is clearly God’s most treasured production. Her reanimation process and backstory are spelled out in the movie.

Bella develops daily, and when Godwin’s lawyer, Duncan Wedderbum (Mark Ruffalo) shows up to take care of some business, he is intrigued by Bella and offers to take her on an adventure … one that ultimately spans Lisbon to Paris, and a luxury cruise ship to a brothel. Duncan and Bella engage in “furious jumping” (her phrase for sex) and soon her libido is quite advanced, and her river of independence flows freely, turning Duncan into a whiny buffoon. This story, Bella’s story, is really about a woman finding her own way in a world where men try to control/manager her. It’s fascinating to see her hyper curiosity about the world and her surroundings. On top of that, Bella is often quite direct and unfiltered in her statements.

The humor here is frequent and unconventional as evidenced by Bella being described as “a beautiful retard”, and the stream of deadpan one-liners. Still, the message comes across loudly and clearly as we marvel at Bella and Emma Stone’s performance. I hesitate to use the word fearless (unless it’s Tom Cruise) since it’s just acting, but the word applies to Ms. Stone here. Supporting work comes from Christopher Abbott, Margaret Qualley, Ramy Yussef, Jarrod Carmichael, Hannah Schygulla, and Kathryn Hunter, while Mark Ruffalo revels in flashing his comedic chops.

Cinematographer Robbie Ryan interjects black and white for effect and makes good use of the fish-eye lens. Production Designers James Price and Shona Heath get creative with set pieces, especially the cruise ship and brothel, and Costume Designer Holly Waddington nearly steals the spotlight with Bella’s outfits, which are always a bit exaggerated. The music adds a specific element and works quite well, and there is a truly awesome dance scene. Yorgos Lanthimos again earns the title Master of Strangeness with this outlandish film with bits from Frankenstein, Bride of Frankenstein, and Young Frankenstein (a common thread). The film is somehow both extremely funny and severely disturbing, and is an example of good people trying to come to grips with the realization that people often do bad things. My only complaint is the film features what are possibly the worst closing credits ever.

Opening in theaters on December 8, 2023

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Posted by David Ferguson

THE BOY AND THE HERON (2023, Japan, animation)

December 6, 2023

Greetings again from the darkness. Fast approaching his 83rd birthday, legendary Japanese animator Hayao Miyazaki claims this is the final film of his illustrious career. In 2015, he was presented with an honorary Oscar, and he has had three films nominated for Best Animated Feature: THE WIND RISES (2013), HOWL’S MOVING CASTLE (2005), and Oscar winner SPIRITED AWAY (2002). His career in animation dates back to the early 1960’s and this latest, which took six-plus years to complete, proves he is still amongst the best.

A young boy’s mother dies in a hospital fire during WWII. Mahito arrives to witness her become part of the flames – the first example of Miyazaki’s method of creating occurrences that are outside the norm. Many of his films include childhood trauma, and a few years after the fire, Mahito and his father move to a new home where his mother’s younger sister, Nutsuko, is to become his stepmother, while expecting a new child. Dad’s factory, which produces fighter jet parts, is booming during the war, and Mahito rebels a bit due to grief and all the changes … and has no appreciation for the titular gray Heron that’s obsessed with him.

A mystical tower on the grounds leads Mahito to an alternate world delicately balanced between the living and the dead. The intrusive Heron follows him, seemingly offering bad advice at most every step. On this journey, Mahito meets Kiriko, a great adventurer who takes him under her wing as he crosses paths with large hungry parakeets who sharpen their giant knives, and the Warawara, who are funny little creatures headed to life in another dimension – at least those that escape the pelicans. We understand who Kiriko represents, but it takes Mahito a while to catch on.

Spirit animals and mysticism follow Mahito along the way, and the themes of life and death are mixed in throughout. Miyazaki offers a world teetering and with an uncertain future. The stories are inspired by his own life and the 1937 childhood book, “How Do You Live?” by Genzaburo Yoshino. Miyazaki co-founded Studio Ghibli, and he remains a true artist with his stunning and beautiful hand-drawn animation blended into a multi-faceted story. We learn Mahito means “sincere one”, and his lesson here is that life is worth living and fighting through.

Opening in theaters December 8, 2023

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2 Comments | Animation, Fantasy, World Cinema/Foreign | Tagged: , | Permalink
Posted by David Ferguson

CONCRETE UTOPIA (2023, S Korea)

December 6, 2023

Greetings again from the darkness. Dropping ordinary people into extraordinary circumstances is sure to generate some interesting cinematic results, and that’s what writer-director Tae-Hwa Eom and co-writer Lee Shin-ji do in South Korea’s official submission to this year’s Academy Award for Best International Feature Film. The film opens with a devastatingly powerful earthquake in 2020 Seoul.

When the dust settles, the Hwang Gung Apartment building is still standing. This is in stark contrast to the surrounding rubble as far as the eye can see. The city lies in ruins, at least in this section of the heart of town. Initially things go as you’d hope with neighbors helping neighbors and families re-grouping and embracing. However, with temperatures dropping and other shelter impossible to find, the residents of the Hwang Gung Apartments become concerned about the influx of ‘outsiders’. As everyone becomes anxious about resources and supplies, the building residents begin to organize, and have soon voted to evict the outsiders, while naming one man, Yeong-tak (Lee Byung-hun) as the Delegate (leader) of their cause. This, after he is seen courageously sacrificing his own safety to put out a fire in an apartment.

The initial neighborly courtesies transition to self-preservation and protection of family. Much of the story focuses on one young couple, Min-sung (Park Seo-jun) and his wife, altruistic nurse Myung-hwa (Park Bo-young), who shows concern about human nature exposing the dark side for many of the fellow tenants. The apocalyptic or dystopian environment brings out the worst of many who seem unwilling to consider the proverbial ‘shoe on the other foot’. The residents organize into factions: anti-crime, rations, medical, maintenance, and waste management. The organization provides not just a way to occupy minds and keep residents alive, but also an ‘us against them’ mentality.

When Hye-won (Park Ji-hu), a Hwang Gung resident who was not there when the quake hit, makes her way back home, the tone shifts and the organization is exposed. She brings information about the Delegate, implying that he may not be the hero they presume him to be. This segment brings some flashbacks to just before the quake hit, allowing context that helps us understand more. Her arrival makes the third act even more emotional and frantic.

The politics of South Korea living spaces is touched upon in the opening, but director Eom is much more focused on exploring human nature … those ordinary folks in an extraordinary situation. Desperation leads to irrational thought and survival mode overrides all logic. Normal people become more militant, more unforgiving, and less charitable. What the apartment residents did not consider is that those “outsiders” (or “roaches”, as they are called) become even more desperate and their aggressiveness is certain to rise along with their will to survive.

Those living in South Korea will surely have an appreciation for the political aspects of the film, and everyone will recognize the warning signs of human nature when things go sideways – as they seem to quite frequently these days. Whether it’s political commentary or a precautionary tale, filmmaker Eom makes the points effectively.

Opening in NYC and LA on December 8, 2023 and nationwide on December 15, 2023

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Posted by David Ferguson

PAST LIVES (2023)

December 5, 2023

Greetings again from the darkness. Circumstances being what they can be, I missed a couple of chances to see this one earlier in the year and have just recently been able to catch up. And such a treat it is. The first feature film from South Korean writer-director Celine Song is certainly one of the best movies of the year … and with a budget hundreds of millions below some of this year’s blockbusters.

Korean school kids Na Young (Moon Seung-ah) and Hae Sung (Leem Seung-min) are besties whose close friendship abruptly ends when Na Young emigrates to Canada with her parents. Twelve years pass with no communication between the two. Na Young, now going by Nora, moves to New York City to pursue her lifelong dream of becoming a playwright. Hae Sung remains in Korea, takes a break from his engineering education to serve a stint in the military, before finishing up his studies. On a whim, Nora tracks down Hae Sung’s social media account, and it’s not long before the two have a Skype call and reminisce about their once strong bond, while also discussing how time has moved on.

Greta Lee (“The Morning Show”) plays adult Nora, while Teo Yoo is the grown Hae Sung. Twelve more years pass as Nora establishes herself as a NYC playwright and marries Arthur (John Magaro), while Hae Sung takes on a job in Korea. When Hae Sung decides to visit Nora in New York, he’s clearly hoping to rekindle the childhood bond. In many romantic movies, this reunion would end with the two lovers recapturing each other’s hearts, yet director Song ensures these characters stay grounded in reality, even as destiny and fate (described here as In-Yun) play a role.

The opening scene in a local bar bookends the film, and along the way, we are taught, “If you leave something behind, you gain something too.” There is a terrific pillow talk scene, and in fact, the dialogue throughout remains true to each character. This is a film about adulting, not fantasy, though the latter can have appeal at times. No matter how strong reality is, it never precludes us from wondering “what if?” … even if a sure sign of maturity is making decisions that keep us committed to our cause. This is a terrific film with characters whose story is remarkably relatable to just about any moviegoer.

Available on VOD

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Posted by David Ferguson

DREAM SCENARIO (2023)

November 30, 2023

Greetings again from the darkness. David Bowie’s 1975 song “Fame” has a line, “Fame … what you get is no tomorrow”, and that stuck with me during the second half of this terrific and wild film from Norwegian writer-director Kristoffer Borgli (SICK OF MYSELF, 2022). Borgli not only tackles the issue of sudden fame and the weight that goes with it, but he also comments on ego and today’s cancel culture. Subtext runs throughout a film that feels descended from the mind of Charlie Kaufman and/or Spike Jonze.

Oscar winner Nicolas Cage is perfectly cast as Paul Matthews, a bland Evolutionary Biology professor, living a satisfactory life with his wife Janet (the always strong Julianne Nicholson) and their two daughters Sophie (Lily Bird) and Hannah (Jessica Clement). As for his career, Paul, always dressed in a sweater and green jacket, is frumpy and awkward and an undistinguished faculty member who speaks frequently of writing a book, though he never actually writes anything.

Things change quickly for Paul as he begins showing up in people’s dreams. As in his life, Dream-Paul doesn’t do much other than ‘be there’, but as the number of people who experience this grows exponentially, Paul becomes a celebrity … leading to the publicity machine we’ve witnessed many times in real life. Basically, Paul goes viral. Cage masters the delivery of this line: “Have you been dreaming about me?”, and it’s the point where we recognize he is delivering an outstanding performance. When do-nothing dream-Paul turns aggressive and violent in folk’s dreams (now nightmares), his experience shifts dramatically. Cancel culture kicks in and Paul becomes an outcast or pariah. Filmmaker Borgli could draw from numerous real-life situations where teachers have been dismissed for absurd reasons … OK, maybe not as absurd as actions in a dream, yet the concept is the same.

Borgli was surely inspired by Spike Jonze’s excellent ADAPTATION (2002), which featured Nic Cage in a dual role (as Kaufman and his fictional brother). Although this isn’t technically a dual role, Cage certainly gets to carve a wide swath through the film and through dreams … and he appears to be having a great time doing so. Supporting work is provided by Dylan Baker, Tim Meadows, Dylan Gelula, and Kate Berlant. Michael Cera has a humorous sequence as a PR agent at a marketing firm that is trying to cash in on Paul’s newfound fame as a “dream influencer”. We even see capitalism at work in a further attempt to create an industry out of this flukey situation.

The brilliance of the film stems from Borgli presenting this as an entertaining comedy-horror film with ‘everyman’ Paul at the center. It’s a clever idea that is not-so-subtle in its willingness to show us how easily cancel culture can spin out of control and how monetizing our addiction to attention can go wrong. One specific thing that I admired in Borgli’s approach was how he made Paul a normal guy, and yet, he’s one of those who always believes someone has wronged him or stolen his work – despite the fact that he never actually produces any work or takes his own risk. There is so much to like about this film, not the least of which is one of Nicolas Cage’s best ever performances (even in David Byrne’s oversized suit).

Opens in theaters on December 1, 2023

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Posted by David Ferguson

FALLEN LEAVES (2023, Finland)

November 30, 2023

Greetings again from the darkness. Finland is often listed as the country having the happiest people, and this latest from writer-director Aki Kaurismaki (Oscar nominated THE MAN WITHOUT A PAST, 2002) arrives to make sure we never again believe this. It’s not that the film is oppressively sad, but it does focus on loneliness … especially that of the two main characters.

These two leads are Alma Poysti as Ansa and Jussi Vatanen as Holappa. The timeline of their relationship goes something like this: They notice each other on karaoke night at the local tavern, but they don’t speak to each other. They cross paths at a bus stop, again not speaking. When they finally do meet, they go for coffee and a movie (Jim Jarmusch’s zombie flick, THE DEAD DON’T DIE). He then loses her phone number. They almost meet a couple of times outside the cinema (where a Bardot poster is displayed), but just miss each other. When they do meet again, they part ways over a ‘deal-breaker’. She adopts a stray dog she initially names “dog”. When they meet again, they don’t speak.

Some may call this progression dry, but with filmmaker Kaurismaki at the helm, a better description is wry. Ansa expertly sports a forlorn look most of the time. The only exception is when she flashes subtle signs of hopefulness when she looks at Holappa. On the other hand, he spends most every day and evening guzzling from a glass, a bottle, or a flask … a habit that costs him various jobs. His circular reasoning is explained as: “I’m depressed because I drink and I drink because I’m depressed.”  Adding to the tone are reports of Russia’s invasion of Ukraine every time Ansa clicks on her kitchen radio.

Ansa has a friend named Tanya (Alina Tomnikov) and Holappa has a buddy named Huotari (Janne Hyytiainen). He is attracted to her and she admires his singing voice, yet deems him too old to date. These two characters could have been expanded, but Kaurismaki is so efficient at storytelling that the film barely lasts 80 minutes. Static shots and wordless exchanges fill much of the time, each scene with a definitive purpose that we fully understand. Personally, I’ve rarely been so filled with hope as watching Ansa purchase a single plate and corresponding utensils.

The film is spartan and quiet, yet the deadpan characters feel real and fully developed despite minimal dialogue. There is certainly a message about alcoholism and how outside forces can have such an impact, and yet the film seizes on Ansa’s hope for a better day. Kaurismaki’s film won a Jury Prize at Cannes, and is Finland’s submission for Best International Feature Film. For those who thrive on intimate cinema, it’s a gem … and for those who doubt that “happiest country” label for Finland, you now have your supporting documentation.

Opened in NYC and Los Angeles on November 22, 2023, other cities to follow

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Posted by David Ferguson

BILLION DOLLAR BABIES: THE TRUE STORY OF THE CABBAGE PATCH KIDS (2023, doc)

November 22, 2023

Greetings again from the darkness. While in protective mode attempting to avoid being trampled during Black Friday shopping, you may wonder how the frenzy all started. Well, documentarian Andrew Jenks is happy to inform you that it dates back to 1983 when the first battles in the retail aisles were over an odd-looking doll (only don’t call them dolls) called Cabbage Patch Kids. To get us in the mood for shopping combat, the film opens by blasting Alice Cooper’s 1973 hit, “Billion Dollar Babies”.

Neil Patrick Harris narrates as the history of the Cabbage Patch Kids is tracked. I’ll admit to expecting a ‘cute documentary’ on the popular toys-babies-kids (anything but dolls), and while the cuteness is discussed, what we really get is yet another lesson in cut-throat business practices. Xavier Roberts is the one who manufactured the CPK and signed the licensing rights to Roger Schlaifer, who in turn sold the marketing rights to Coleco’s executive, Al Kahn. To understand the era, one must know that this was the front end of the 1980’s consumerism spike, as well as new advertising rules from the FCC, which permitted direct-to-kids ads. All of these fell into place to create the demand for the one-of-a-kind CPK.

But were they really one-of-a-kind? The second half of the film details the multi-year legal battle of Martha Nelson Thomas, who had been selling her ‘doll babies’ in the craft shop managed by Xavier Roberts. Her handmade babies looked almost identical to his, and even came with adoption papers that became so vital to the CPK marketing efforts. We hear from her attorney and her two adult kids, as Ms. Thomas has since passed away. The lawyer explains the case and how they attempted to have Xavier Roberts held accountable for his ‘theft’.

To his credit, Mr. Roberts gives his first interview in 20+ years, and is joined by Della Tolhurst, the former President of his company. Roberts explains how he was inspired by Walt Disney, and we tour his Babyland in Georgia, which provided an all-encompassing background story for the Cabbage Patch Kids and an experience for his customers. Whether you fall on the side of Xavier Roberts or the side of Martha Nelson Thomas, the courts affirmed his rights to the CPK empire.

Journalist Connie Chung offers her recollection of the frenzy, and we hear from the Proseys, a couple of collectors who once owned more than 6000 Cabbage Patch Kids. They explain how the re-sell market for the kids was bonkers, and parents just had to have these for their kid’s Christmas. So, beyond the shady business practice, there is the whole Black Friday frenzy. Sure it started with Cabbage Patch Kids and rude people yanking packages right from the hands of kids, but did we learn our lesson? Evidence suggests it’s only gotten worse over the years thanks to items like Beanie Babies, Tickle Me Elmo, American Girls dolls, and others. Beauty may be in the eye of the beholder for CPK, but our society tends to wash, rinse, repeat.

Coming to theaters beginning November 24, 2023

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Posted by David Ferguson

SALTBURN (2023)

November 21, 2023

Greetings again from the darkness. Emerald Fennell won an Oscar for her original screenplay of her dark and divisive debut feature film, PROMISING YOUNG WOMAN (2020). She’s back as writer-director of her second feature film, and it’s every bit as dark, and even more scathing in its takedown of the rich and entitled. We are also treated to yet another awkwardly disturbed character for the growing resume of Barry Keoghan.

Oliver Quick (Keoghan) is a newly arrived student of the Class of 2006 at Oxford, and it’s clear from the first moment that he doesn’t really fit in, whether it’s his clothes, not smoking, his uneasiness with his tutor, or his social ineptness. He becomes transfixed on the BMOC, Felix Catton (Jacob Elordi, fresh off his turn as Elvis in PRISCILLA). Felix is tall, handsome, charming, and rich. Life comes easy for him, and students are drawn to him – both male and female. He’s a modern-day aristocrat, and one day Oliver helps him out of a jam. This leads to a bonding, or more like worlds colliding. The first act is devoted to the development of this unexpected friendship, and leads to Felix inviting Oliver to spend the summer at his family estate … Saltburn.

Saltburn is nothing short of a magnificent castle. Felix’s eccentric family includes Farleigh (Archie Madekwe, GRAN TURISMO), an adopted “cousin” fellow Oxfor student who sees all but would never blow this gig; Venetia (Alison Oliver), the total mess of a daughter and sister; Poor Dear Pamela (Carey Mulligan), the total mess of a houseguest who has overstayed her welcome; Sir James Catton (Richard E Grant), the childlike father; and Espeth Catton (Rosamund Pike), the former model drama queen passive-aggressive mother. It’s a motley crew that puts ‘The Royal Tenenbaums’ to shame for entitlement.

As the summer progresses, we see Oliver in action as he weasels his way into the good graces of some, while creating leverage over others. His non-descript looks, quiet demeanor, and background story lead some to protect him at the same time others distrust him. As viewers, it’s obvious to us that something isn’t right with Oliver, yet director Fennell and Keoghan’s performance keeps us hopeful that things won’t become too skewed. Those hopes are dashed once we see Keoghan’s first bathtub scene (and subsequent disturbing moments), and Fennell serves up multiple references to his mouth in letting us know it’s not to be trusted.

The third act goes full dark in a deliciously wicked manner with Fennell and Oscar winning cinematographer Linus Sandgren (LA LA LAND) creating an Old World style within a contemporary world. The film is perfectly cast with Elordi quite magnetic as Felix, the not-so-obscure object of Oliver’s desire. Madekwe is spot on as the turf-protecting Farleigh, and Grant and Pike make the perfectly mismatched couple of privilege. Alison Oliver delivers the film’s best scene with her bathtub monologue, while Keoghan nails the creepy Oliver (in line with his roles in THE BANSHEES OF INISHERIN, THE KILLING OF A SACRED DEER, and THE BATMAN. He has become the go-to psychopath. He even combines humor and horror for his happy naked castle dance in this film that has THE TALENTED MR RIPLEY (1999) as its most obvious comparison. Ms. Fennell strikes another blow against the entitled elite, although we do wish she hadn’t spelled out everything to end the film … a bit of mystique would have worked.

Opening in theaters on November 22, 2023

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Posted by David Ferguson

NAPOLEON (2023)

November 21, 2023

Greetings again from the darkness. Ridley Scott long ago etched his name on the list of filmmakers whose projects are nearly always interesting and deserving of a watch. After all, he has helmed such beloved classics as ALIEN (1979), BLADE RUNNER (1982), THELMA AND LOUISE (1991), and Best Picture winner GLADIATOR (2009). Returning to the historical epic genre and working from a script by his ALL THE MONEY IN THE WORLD writer, David Scarpa, Scott takes on the life and legend of Napoleon Bonaparte. Of course, that legend is a bit conflicted since Napoleon and his bicorne hat remains a hero to France, yet something less to England.

With thousands of books written on Napoleon, most of us still possess only rudimentary knowledge of the man, even though we do understand his namesake ‘complex’. One would think a movie that spans a quarter century and runs 2 hours and 38 minutes in length would sufficiently fill in the gaps, but unfortunately the result is a fascinating mess that wows mightily with its battle scenes, while mostly falling flat in every other area. This is especially disappointing since the film tries to juggle Napoleon’s brilliance as a military leader, the muddled and complex politics of the era, and the strange obsession he held for Josephine de Beauharnais.

Oscar winner Joaquin Phoenix (JOKER, 2019) stars as Napoleon, and the exceptional Vanessa Kirby (PIECES OF A WOMAN, and The White Widow in the two most recent Mission Impossible movies) co-stars as Josephine. One can’t help but fear the effect had this film been made without two such talented leads. Still, at least for me, there was a cold disconnect with Napoleon and Josephine, as we never quite grasp his military leadership, nor her hold on him.

Director Scott kicks off the film by showing a bound Marie Antoinette (Catherine Walker) trudge through the angry masses on her way to the guillotine in 1789. Sound effects add to sense of realism, as does the executioner’s final act of display. After this chilling sequence, a young Napoleon goes on his quest for battlefield victories, military promotions, more power, and a male heir.

The battle scenes are truly epic and as spectacular as any we’ve seen on screen. Two particular standouts are the 1793 Siege of Toulon and the 1805 battle at Austerlitz. The first shows the brutality of war and gives us a glimpse of Napoleon’s renowned strategic expertise, while the second has some remarkable footage on (and under) the frozen lake. In between these two are bits from Napoleon’s conquests in 1798 Egypt and The Coup of 1799. Napoleon gains power with each step, and ultimately, his battlefield wins make him a hero at home where he ultimately claims the title of Emperor. Director Scott and Director of Photography Dariusz Wolski shine in this sequence and re-create the familiar Jacques-Louis David painting of the coronation.

Unable to produce a male heir, Josephine must be cast aside and divorced, although their letters to and fro make up most of the film’s structure of their relationship, even after divorce. The 1812 invasion of Russia is shown, as is Napoleon’s exile to the Isle of Elba, where he escapes after a year to reclaim his power in France. Of course, we do know how this ends, as the brilliant military strategist meets his literal Waterloo at the hands of the Duke of Wellington (Rupert Everett). His second exile to St. Helena concludes with his death at age 51 in 1821.

Ridley Scott’s director cut is rumored to be an additional two hours in length and is supposedly headed to AppleTV+ in January. Although that is an incredibly long run time, Napoleon’s short up-and-down life was filled with so many events (61 battles and more than 3 million deaths) and deserves a more complete telling than what this theatrical version offers. For those historians who are quick to point out inaccuracies, the well-known grump, Ridley Scott, has made his response to you quite clearly and succinctly.

Opens in theaters on November 22, 2023

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3 Comments | Drama, War | Tagged: , , , , , , | Permalink
Posted by David Ferguson

MAXINE’S BABY: THE TYLER PERRY STORY (2023, doc)

November 17, 2023

Greetings again from the darkness. For those who have scoffed at the “Madea” movies, or the periodic screen appearances of Tyler Perry in supporting roles, this documentary from Gelila Bekele (she and Perry share a child) and Armani Ortiz will open your eyes to the money-making machine and unstoppable force that is Tyler Perry. Clearly more of a tribute to his accomplishments than a deep dive into the man, his business, and his life, the film leaves us with full respect for what he has accomplished, as well as an understanding of an industry mogul who maintains complete control of his projects.

The opening credits play like a four-minute trailer for the movie we are about to watch, and that’s likely for the benefit of those who haven’t been paying attention to Perry’s ongoing success and his building of a media empire over the last two decades. Time is spent on his childhood in New Orleans, where sadly, he was so severely mistreated by his father that he later changed his name from Emmett Perry Jr to Tyler, in order to create the emotional distance he needed.

His close friend Oprah Winfrey states that Perry “turned pain into power”, and most of the film details how he went from self-financing a small theater production to constructing the sprawling Tyler Perry Studios on a 330-acre site in Atlanta that was originally the Confederate Army base, Fort McPherson. In fact, the 2019 grand opening of the studios is used as a bit of defining structure throughout, although it times, bouncing back and forth gives a sense of redundancy.

The studios are quite impressive, as is the fact that Perry accomplished this outside of the traditional Hollywood system. And other than the remarkable ‘rags-to-riches’ story, it’s Perry’s ability to blaze his own unconventional trail that garners the most respect. He recognized the underserved and underestimated Black audience and committed to providing material for “his audience”. Beginning with his first movie, DIARY OF A MAD HOUSEWIFE (2005), Perry worked his plan. While the critics bashed, the film cashed. Lionsgate President Michael Paseornek took notice, and again, Perry bucked the system by demanding creative control, ownership of his work, and establishing new parameters for TV series and syndication.

Perry’s work ethic is dwelled upon here, as is his love for his mother Willie Maxine Perry, who shows up in some clips and photos. Cousin Lucky Johnson offers the most insightful personal observations of what Perry’s traumatic childhood was like, lending credence to the remarkable success. Perry’s determination is beyond reproach, as is his mental toughness and ability to stick to his focus on control and ownership. The music/score of the film is frequently intrusive and overbearing, often distracting from the story, and the film is probably 20 to 30 minutes longer than it should be. However, taking a love-fest approach makes sense in this case, as Tyler Perry has progressed from dreamer to achiever, and the lessons are crystal clear.

Releases on Prime Video on November 17, 2023

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Posted by David Ferguson

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