THE FALL GUY (2024, extended version)

May 23, 2024

Greetings again from the darkness. Today’s CGI and special effects can be stunning and awe-inspiring, and clearly movie audiences have come to embrace this approach as evidenced by the success of Star Wars and superhero franchises, as well as plenty of other blockbusters over the past couple of decades. In contrast, stuntman-turned-director David Leitch (BULLET TRAIN, 2022, ATOMIC BLONDE, 2017, JOHN WICK, 2015) and screenwriter Drew Pearce (MISSION: IMPOSSIBLE – ROGUE NATION, 2015) have delivered a throwback by adapting the TV series from creator Glen A Larson, which ran for 112 episodes in the 1980’s.

Two key players from last year’s “Barbenheimer” box office rivalry, Ryan Gosling and Emily Blunt, are the featured players here as Colt Seavers and Jody Moreno. Colt is a renowned stuntman and Jody is a camera operator and aspiring film director. When we first see them on set, Colt is preparing for a dangerous stunt as a double for mega-action film star Tom Ryder (Aaron Taylor-Johnson, BULLET TRAIN). Between shots, Colt and Jody are expounding on their previous flirtations and making plans for the future. The stunt goes wrong. Colt is rushed to the hospital and the film flashes forward 18 months to find Colt working a menial non-stuntman job, and Jody directing her first film, METALSTORM, a sci-fi action thriller.

Jody’s directorial debut also stars Tom Ryder and is produced by fast-talking producer Gail Meyer (Hannah Waddingham, “Ted Lasso”). Gail draws Colt out of retirement and back to the set under false pretenses. Of course, sparks fly again between Colt and Jody, but Gail’s ulterior motive is for Colt to track down the missing Tom Ryder. So, let’s stop here and chat about this movie for a moment. First of all, it’s rare action-comedy-romance-mystery film. It also offers a peek at the structured chaos of a movie set, as well as the diverse personalities of actors, crew, and producers. Possibly what it does best is shine a spotlight on the stunt crew, noted here as the unsung heroes. There is even a crack about there not being an Oscar for stunt work (a topic that’s been debated and discussed at the Academy).

The film certainly benefits from the charisma and talent of Gosling and Blunt, both of whom were nominated for Oscars last year. And Leitch’s film also deserves credit for being an ode to action movies and a love letter to stunt performers. But let’s face it … the story here is pretty thin and seems to exist only to provide a reason for the stream of ideas designed to take advantage of Gosling and Blunt and a few other gags. Drugs that cause unicorn sightings, a running joke about a cup of coffee, a “Miami Vice” jacket, a dog that responds only to French commands, and some ‘on the nose’ music – and familiar sound effects from “The Six Million Dollar Man” all add to the nostalgic feel (along with a Wilhelm scream). And while I join many movie-goers in sharing Colt’s desire to “beat the ____ out of Aaron Taylor-Johnson’s character”, I’ll admit to finding some joy in Tom Ryder riffing on Matthew McConaughey.

The extended version I saw featured an additional 20 minutes to the theatrical version, and it appears most of it was for one particular fight scene being filmed in Jody’s movie. Supporting work seemed a bit sparse for the talented Stephanie Hsu (EVERYTHING EVERYWHERE ALL AT ONCE, 2022), Winston Duke (BLACK PANTHER, 2018), and Teresa Palmer (BERLIN SYNDROME, 2017). What wasn’t sparse was the number of adrenaline-pumping stunts and explosions. Those segments were big fun and a welcome answer to the recent barrage of CGI/Special Effects blockbusters. This one has a throwback feel that bathes us in nostalgia at times, recalling the wild films of Burt Reynolds and Indiana Jones. There is even a late scene featuring the two lead actors (Lee Majors, Heather Thomas) of the old TV series. Whatever you do, stick around for the closing credits to get a look at the actual process behind the stunts included in the film … educational and full of wow factor.

Now showing in theaters and available on Digital.

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6 Comments | Action, Comedy, Rom-Com | Tagged: , , , , , , , , , , , | Permalink
Posted by David Ferguson

CLODAGH (2024, short film, Ireland)

May 22, 2024

Greetings again from the darkness. No dialogue is spoken for the first two minutes, which is significant when you note this is a 16-minute Short Film. That first couple of minutes features Mrs. Kelly (Brid Ni Neachtain, THE BANSHEES OF INISHERIN, 2022) diligently going about her business as housekeeper and assistant for a rural Irish priest. As she polishes shoes, vacuums the church, and scrubs the tub, it’s clear Mrs. Kelly is a woman of faith and structure.

Though we are a bit surprised to learn Mrs. Kelly also runs a dance school, it’s no shock when she initially blocks a new student from entering the class since the proper paperwork hasn’t been completed. “We’ll have no Dallas, Texas here”, Mrs. Kelly sternly informs the young girl as she wipes away the glitter make-up. This new student is Clodagh (Katelyn Rose Downey, THE NUN II, 2023), and she unwittingly awakens something in both Mrs. Kelly and her fiddle player, Mr. Hickey (Jim Kitson).

This is the fourth short film from writer-director Portia A Buckley, and the script is co-written by Michael Lindley (TWIST, 2021). The film expertly sets up the internal conflict that plays out as commitment and dedication versus inspiration and passion. This little gem is making the festival rounds, including Tribeca in June 2004.

Here is an 18 second TRAILER

2 Comments | Drama, Short film, World Cinema/Foreign | Tagged: , , , , | Permalink
Posted by David Ferguson

THE BLUE ANGELS (2024, doc)

May 20, 2024

Greetings again from the darkness. My preferred method of movie watching means no trailer to set the stage prior to the lights dimming. Sometimes this leaves my assumptions a bit off-track, which can result in either a pleasant surprise or a bit of disappointment. Acknowledging that The Blue Angels seem tailor-made for an IMAX presentation, I was prepared for a combination of cool photography and a history lesson. The surprise here was that filmmaker Paul Crowder (probably best known as the Editor for Ron Howard’s 2017 Beatles documentary) chose to only dabble in the history and instead focus on a single performance season of one team.

Without a doubt, the camera work is spectacular and takes full advantage of the IMAX screen. Some of the shots are breathtaking, and yet the awe generated by the actual technical maneuvers performed (regularly) by the team somehow eclipses what would otherwise be more than enough to keep us engaged. Crowder takes us into the prep room as the new team members study techniques that if performed incorrectly, could result in death. Six Navy and one Marine pilot make up each team, and these pilots enter as well-trained and then take it up a notch.

We do learn The Blue Angels were established in 1946 by Chief of Naval Operations, Admiral Chester Nimitz, a Commander of Allied forces during WWII. His original mission for the team remains in place today. The Blue Angels are really a marketing device with a dual purpose: to convince taxpayers that their money is well spent and to motivate youngsters to pursue a career as a Navy pilot. Yes, it’s every bit the recruiting tool of the TOP GUN movies, as The Blue Angels perform 60 aerial shows for hundreds of thousands of spectators around the country each year. If you are curious, this year’s budget for The Blue Angels is $36 million straight from the Department of Defense by way of tax dollars. You might ask if that’s a legitimate use of defense funds, but this movie is not going to answer that or even address it.

The behind-the-scenes and up-close analysis of the pilots and the program is quite impressive, and a hierarchy exists, as one would expect in the military. They are now flying Boeing F/A 18E/F Super Hornets, and the precision involved with their aerial maneuvers is mind-boggling. I won’t give it away other than to say inches are involved at 400 mph, making these visuals look like something out of a video game, rather than the actual sky with actual jets and actual pilots. While we aren’t allowed much insight into the maintenance of the jets, Crowder does emphasize how many are included on the total team. We learn about the 28 deaths that have occurred in the program over the years, and the final act revolves around the selection of the new team (including the first woman, Lt. Amanda Lee) and the transition of leadership. Like the flying, it’s all very precise. One thing becomes quite clear, they are all … “happy to be here.”

THE BLUE ANGELS is playing for one week at IMAX theaters through May 23, 2024, and streaming on Prime Video beginning May 23.

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Posted by David Ferguson

Book Review- WITH LOVE, MOMMIE DEAREST (2024)

April 29, 2024

With Love, Mommie Dearest: The Making of an Unintentional Camp Classic

By A. Ashley Hoff

Published by Chicago Review Press

Available May 7, 2024 at https://www.amazon.com/Love-Mommie-Dearest-Unintentional-Classic/dp/1641607688

“No wire hangers ever!” Thanks to the internet and memes and gifs, that iconic line is familiar today to some people who haven’t even seen the 1981 movie, MOMMIE DEAREST. Author A. Ashley Hoff is a Hollywood historian, researcher, and writer, and he takes us on a deep dive behind the scenes of one of the most notorious cinematic camp classics of all time.  “How did they do that?” “Who decided that?” “What were the filmmakers thinking?” What was it like on set?” If you are the kind who asks these types of questions about the movies you watch, Ashley’s book will deliver all the answers you could possibly desire, while also cluing us in a bit on the industry itself – including who holds the power.

Author Hoff does an excellent job distinguishing Christina Crawford’s best-selling 1978 memoir, “Mommie Dearest”, from the adapted screen version, MOMMIE DEAREST (1981). It’s likely many will be surprised at just how uninvolved Christina (Joan Crawford’s adopted daughter) was with the making of the movie. On the other hand, what’s not surprising is the amount of information and detail provided on lead actress, Faye Dunaway. By 1981, Ms. Dunaway was a true movie star. She exploded onto the screen with Warren Beatty in Arthur Penn’s BONNIE AND CLYDE (1967), and again with Jack Nicholson in Roman Polanski’s brilliant CHINATOWN (1974). It’s fair to say her career peaked from a prestige level with her Oscar winning performance in Sidney Lumet’s NETWORK (1977), and that MOMMIE DEAREST was integral to a change in the types of roles she was offered.

 Personal interviews with key players, as well as previously published comments, paint the mosaic of the many moving parts beginning in pre-production, and progressing through casting (Anne Bancroft!), set design, costuming, hair, and make-up, all while balancing the first ever child’s view of abuse, and the conflicts between producer, director, and diva star. ‘The Franks’ (Producer Yablans and Director Perry) were respected industry professionals, yet we are left with the impression that neither was able to exert much control over Faye Dunaway, infamous for both her preparation and inflexible views. Two of the more interesting perspectives are sprinkled throughout with observations from actress Ratanya Alda (who plays Joan Crawford’s assistant Carol Ann) and Tracy Hotchner, who wrote the original screenplay.

Remembered as Hollywood royalty, Joan Crawford passed away in 1977, before Christina’s memoir was published and obviously prior to the film’s release. She won an Oscar for her outstanding performance in MILDRED PIERCE (1945), and later appeared alongside her big screen rival, Bette Davis, in WHATEVER HAPPENED TO BABY JANE? (1962). These days, more people associate her with the infamous wire hangers and Dunaway’s portrayal of her in the film. It’s fascinating to read how those involved were absolutely convinced they were making a serious drama featuring an ultra-serious topic and a Hollywood legend. When the reviews became progressively more scathing and audiences began to laugh at the over-the-top moments, a camp classic was born. Since then, the comparisons to THE ROCKY HORROR PICTURE SHOW (1975) are inescapable. Midnight showings found audiences dressed in costumes, waving wire hangers, and shouting lines of dialogue at the screen.

As we make our way through Hoff’s book, we find ourselves feeling empathy towards the filmmakers, the cast, the crew, Joan Crawford, and Christine Crawford. No one received the acclaim they expected (instead, the film racked up some Razzies that year). Some viewed it as a missed opportunity to drive serious conversation on child abuse, yet ‘serious’ just seemed to be the one thing never associated with the film. Hoff has provided an extraordinary amount of information for those interested in the mysterious ways of Hollywood, or for those who simply can’t get enough of “Mommie Dearest” in any format.

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Posted by David Ferguson

THE IDEA OF YOU (2024)

April 29, 2024

Greetings again from the darkness. You’d be forgiven, and I ask for that same forgiveness, if a cringey look of pain comes across the face every time a new Rom-Com is announced. Most in this genre are filled with lame dialogue and absurd love connections. Cautious hope springs when writer-director Michael Showalter (THE BIG SICK, 2017) and co-writer Jennifer Westfeldt (FRIENDS WITH KIDS, 2017) adapt the 2017 novel by Robinne Lee. Mr. Showalter, especially, has proven his approach leans into sensitivity, rather than over-cooked romanticism.

Oscar winner Anne Hathaway stars as Solene, a recently divorced mother celebrating her 40th birthday. She owns an art gallery in ultra-hip Silver Lake, and has a close relationship with her teenage daughter Izzy (Ella Rubin). When her ex (Reid Scott) breaks yet another commitment, Solene agrees to take Solene and her friends to the Coachella Music Festival. The meet-cute occurs as Solene searches for a bathroom and ends up meeting Hayes Campbell (Nicholas Galitzine), a 24-year-old pop star who performs with a popular boy band called August Moon.

The two make goo-goo eyes at each other, and after Hayes sings a song just for Solene, a whirlwind romance begins … against all the good judgment she can muster. Great sandwiches, art purchases, and a pricey watch left behind all play a role in the development of this relationship. Soon, Solene is dropping Izzy at Summer Camp and hopping a private jet to join Hayes (a Harry Styles stand-in) for the European leg of August Moon’s tour. It’s all a bit predictable and expected, however Hathaway and Galitzine are strong enough to prevent the film from sinking into muck.

As you would guess, fame and celebrity are not an easy adjustment for a grounded single mom, no matter how much she enjoys the May-December benefits. Contrary to what we hear these days, going viral is not for everyone, and the complications are almost too much for Solene.  To his credit, Hayes is not a typical twenty-something icon, and he works to figure out a relationship infinitely more complex than the nightly groupies that surround him and his bandmates.

Many will dwell on the age discrepancy between Solene and Hayes, but what elevates this one is the reality of the choices faced by parents – their own fun versus what’s best for their children. Being called Yoko 2.0 is a brilliant take by the writer, but it’s a painful moment for an good-hearted mom. Of course, some of the dialogue here does qualify as rom-com drivel, and the him vs her lipstick battles are distracting, but for the most part, the actors and Showalter keep us interested in the human aspects of a tangled web.

Begins streaming on Prime Video on May 2, 2024

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Posted by David Ferguson

CHALLENGERS (2024)

April 25, 2024

Greetings again from the darkness. Director Luca Guadagnino continues to prove that he excels at making gorgeous-looking movies featuring gorgeous-looking actors. Previous proof includes SUSPIRIA (2018), CALL ME BY YOUR NAME (2017), A BIGGER SPLASH (2015), and now this latest, with a screenplay by Justin Kuritzkes. If you are looking for a film that oozes flashy style and sex appeal, you’ve chosen the right movie. You can even pretend it’s a tennis movie, though you’re not likely to fool anyone.

Zendaya (DUNE: PART 2, 2024, DUNE, 2021, “Euphoria”) stars as Tashi, a rising young tennis protégé when we meet her in flashback. Doubles partners and best friends, Art Donaldson (Mike Faist, WEST SIDE STORY, 2021) and Patrick Zweig (Josh O’Connor, EMMA., 2020) are immediately smitten by Tashi’s stunning looks and equally stunning tennis talent. She toys with the boys as they strive for her attention … leading to a hilarious and surprisingly escalated encounter in a hotel room. It’s the first, but not the last time a sexual encounter plays a part with these three. It’s likely the Intimacy Coordinator was on set most every day of shooting.

As best I can tell, the story covers about a 13-year period from juniors to the professional level, although the tennis balls bounce on the court less frequently than the time period bounces around as the stories unfold. And actually, the tennis serves as a means to an end. The real drama and competition comes from the relationships: Art and Patrick, Patrick and Tashi, Tashi and Art, and Tashi and Art and Patrick. Yes, tennis is an integral part of this since it forged the bonds – heck, it’s sometimes difficult to discern tennis talk from pillow talk – yet it’s the personal dramas that make the film what it is.

All three leads are excellent, yet somehow Zendaya’s performance stands out … even beyond Josh O’Connor who delivers his best performance to date. Her lithe physique passes for a tennis player despite the lack of muscle tone that would accompany an athlete, yet her movements work. The players move on the court and make the strokes, while CGI handles the ball movements at an accelerated pace (reminding us this isn’t really a movie about tennis). Initially, the club dance beat of the score from Oscar winners Trent Reznor and Atticus Ross seems an odd choice, yet it becomes the perfect fit as things progress. Guadagnino re-teams with cinematographer Sayombhu Mukdeeprom to create some fantastic and creative shots, even making the tennis exciting. Editor Marco Costa deserves a shoutout as well.

With Hollywood’s overdose of caution these days when it comes to sexuality, the energy here feels a bit naughty at times. The shifting power dynamics of this trio reminds of the “Seinfeld” episode where characters discuss having “hand” in a relationship. Of course, Guadagnino takes this one much farther, although it’s every bit as entertaining. And that’s the best way to think of this – a big ol’ movie that lets us enjoy and even laugh a bit. It’s a wild ride and it’s gorgeous.

Opens in theaters on April 26, 2024

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2 Comments | Comedy, Drama | Tagged: , , , , , , , , | Permalink
Posted by David Ferguson

THE FEELING THAT THE TIME FOR DOING SOMETHING HAS PASSED (2024)

April 25, 2024

Greetings again from the darkness. It’s billed as a comedy, though for many, the funniest part may be in trying to remember the film’s title. Deadpan reaches a new level in this debut feature film from actor-writer-director-producer-editor Joanna Arnow. It’s tough to recall any film that more belongs to one person. Indie filmmaker Miranda July’s work is the closest I can think of, yet in comparison, her work comes closer to mainstream Spielberg than it does to this one from Ms. Arnow. None of that is meant to be harsh, it’s simply a challenge to describe this film to anyone who hasn’t seen it … or even to someone who has.

The film is divided into five chapters, each named for the key “other” characters (not named Ann). Arnow stars as Ann, and the opening scene finds her in bed next to the much older Allen (Scott Cohen). It’s here we discover she’s age 33 and has been Allen’s submissive since age 24. In fact, two of the chapters are named “Allen”, and Ann even suggests they were “destined to be together”. She makes this proclamation after a couple of attempts to try a modern approach to dating, each creating complications for her. These ventures are presented as vignettes and include a musician, a sleepover with her sister, a role-play costumer, dating app (mis) matches, and a film buff with a love of pickled herring.  To cap it off, these interactions provide a certain symmetry with Ann’s soulless work at a generic corporation. Imagine being rewarded with a one-year acknowledgement after you’ve worked there more than three years. You are getting a sense of Ann’s personality … somewhat less than memorable.

Ann is slumpy and frumpy, and her deadpan delivery masks a sharp wit and a spark that rarely comes through to others. As she begins the foundation of a more traditional relationship with Chris (Babak Tafti, “Billions”), her path to self-discovery seems to open up … although that path may or may not surprise you by this point. Some of the vignettes are shockingly brief, and many feature Ann in an exposed (literally) state of vulnerability. As the vignettes zip by, watching this isn’t dissimilar to scrolling through a feed. Joanna Arnow’s real life parents (David Arnow, Barbara Weiserbs) play her parents here, and serve up the only raised voices in the film as they sing an animated version of “Solidarity”. And no, Ann’s relationship with her parents is not much different than the rest of her life. At times, this ‘comedy’ feels like a beatdown, but leaves us with one key life lesson: pay attention the first time you ask, “What college did you go to?”.

Opens April 26, 2024

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Posted by David Ferguson

THANK YOU, GOODNIGHT: THE BON JOVI STORY (2024, doc)

April 23, 2024

Greetings again from the darkness. Documentaries on bands, singers, and musicians have become very popular over the last few years, and although filmmaker Gotham Chopra has focused mostly on sports in his previous work, he dives right in with a four-part HULU series covering the forty years of stadium rockers Bon Jovi and their electric lead singer Jon Bon Jovi (nee John Bongiovi). This is not the first documentary on the band, so Chopra takes an unconventional approach. The series jumps around (and weaves back and forth) through the years, with the band’s 40-year anniversary tour acting somewhat as a structuring device, along with Jon Bon Jovi’s struggle with his voice.

Contrasting with a traditional chronological trip through the band’s history, this approach requires a bit more concentration from the viewer. It also makes all four episodes ‘must watch’ TV in order to get the full backstory along with Jon Bon Jovi’s (JBJ) personal journey. It is recommended that those interested commit to all four episodes, as the clips, photos, and interviews are mostly previously unseen. To assist with the overview, this review will break down each of the episodes separately.

Episode 1: New Jersey vs Everybody

The only way this could begin is by reintroducing the 1980’s hair band with clips of their live shows and videos. We then jump to 2022 as JBJ explains the band has rented the now unused Meadowlands Arena for their rehearsals for a mini-tour (15 shows) to prepare for their 40th anniversary celebration. He also discusses his voice struggles and the surgery for his vocal cords. Chopra takes us back to JBJ’s childhood and high school, and we learn about his first couple of bands, along with the crucial role played by (1978) The Stone Pony and Southside Johnny and, of course, Bruce Springsteen in Asbury Park. Four additional key elements discussed here are JBJ commenting on his commitment to the craft of songwriting, the start of a beautiful affiliation with sound engineer Obie O’Brien, the partnership with Richie Sambora – a perfect blend of voice and guitar expertise, and the opportune gap created by the breakup of mega-band Van Halen. We hear very little actual music.

Episode 2: Nowhere to Everywhere

The first (of 15) shows occurs in Omaha, and we also get the first bit of the modern-day Richie Sambora interview. The band reminisces about the early days on the road, and the make-or-break nature of their third album. Of course, they need not have worried as “Slippery When Wet” sold millions and established the band as king of the rock anthem with huge singalong hits, “You Give Love a Bad Name” and “Livin’ on a Prayer”. The band also hit at the peak of MTV, and the combination of hair, catchy tunes, and JBJ’s blinding smile drove their album and ticket sales higher and higher.  In this episode, we learn about the hiring of agent Doc McGhee, the formation of the Make a Difference Foundation, and playing Russia on the global tour. There are flash cuts between different versions of “Livin’ on a Prayer”, and it’s the first we hear of issues with band cohesion.

Episode 3: Brothers in Arms

This episode kicks off with the 15th and final stop of the tour in Nashville. As he comes off stage, his wife tells him, “It wasn’t great”.  Being a perfectionist, JBJ takes it to heart and at that point decides he must move forward with the vocal cord surgery. It’s a huge risk that could end his career … or possibly allow it to move forward. We get the flashback to JBJ and Dorothea eloping to Vegas, as well as various versions of the band breaking up. The family nature of the band is mentioned frequently, and it conflicts with the “I’ll show you” battle of 1990 solo albums by JBJ and Richie Sambora. There is some mention of JBJ’s acting career and desire to write soundtracks, but he never loses sight of what is clear to us: he was born to be a band leader. Much more than a pretty face and booming voice, JBJ had visions for the band and was always strategizing about the next few steps. We can’t help but chuckle as he recalls the hoopla over his haircut, and his reflections on what Elvis went through. A standout point in this segment is the huge international following the band developed as ‘grunge’ took over the rock scene in the U.S. Sadly, the effects of drugs on the band are detailed here as well … including Richie heading to rehab.

Episode 4: Legendary

A fitting final episode takes the split with Richie Sambora head on. His replacement, Phil X, receives plenty of kudos for his stepping in on short notice as the band went on tour. The stress on JBJ, and his desire to carry even more of the burden, is evident. To his credit (albeit only partial credit), Richie’s interview includes an apology to the fans and “the guys”. A reunion occurs at the 2018 Rock and Roll Hall of Fame induction, but it ends there. It’s also in this episode where JBJ discusses his fundraising for Al Gore’s Presidential campaign, which served as his initial foray into politics – leading to more political activism and a heightened social consciousness.

The band’s albums and hits and tours are mentioned throughout the four episodes, but fans should know that this is an informative documentary, not a musical one. Most of the insight here comes from Jon Bon Jovi himself, as well as bits and pieces from the Richie Sambora interview. Band members David Bryan (keyboard), Tico Turner (drums), Hugh McDonald (bass), John Shanks and Phil X (guitarists), and Everett Bradley (percussion and vocals) are given time to comment, as is Bruce Springsteen. Mostly what we are left with is the high regard they each had for JBJ as a leader. The bouncing around of years and eras may be a bit challenging for some viewers, yet Bon Jovi’s music is universal and it becomes quite clear that Jon Bon Jovi cares very much for his legacy … a legacy entrenched through his 40 years of art.

The 4-episode docuseries premieres all episodes April 26, 2024 on Hulu

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Posted by David Ferguson

HARD MILES (2024)

April 18, 2024

Greetings again from the darkness. When Greg Townsend states, ‘hard work overcomes hard luck’, it’s as much a reminder to himself as it is a motivation for the boys he’s dealing with. The film from writer-director RJ Daniel Hanna (MISS VIRGINIA, 2019) and co-writer Christian Sander is inspired by a true story, and comfortably fits into the ‘inspirational sports story’ category, perhaps most similar to MCFARLAND USA (2015) starring Kevin Costner.

Matthew Modine plays Greg Townsend, a social worker at Ridge View Academy. It’s a correctional facility for troubled youths, and Greg is a teacher and mentor. When the state threatens to revoke Ridge View’s charter, Greg decides to take the four boys from his welding class on a 762-mile bike ride to the Grand Canyon. Previously termed Tour de Greg by his co-workers (or Tour de Canyon by Greg), his belief is that the trip will teach life lessons and cooperation to the boys. Without his realizing, it’s also a trip to help Greg himself deal with an ailing (and estranged) father in hospice, an imprisoned brother, and some health issues of his own. Just like in real life, everyone has stuff going on.

Greg encourages (begs) the local bike shop owner, Speedy (Sean Astin), to sponsor his rag-tag team of misfits. Child psychologist and Ridge View co-worker Haddie (Cynthia McWilliams) agrees to drive the SAG wagon (supplies and gear). And after welding the frames of their own bikes … and fighting with each other … the boys reluctantly agree to go on the trip.  The boys are Smink (Jackson Kelly), Rice (Zack T Robbins), Atencia (Damien Diaz), and Woolbright (Jahking Guillory), the latter being the most troubled of the group.

The trip goes about as you’d expect – with literal and emotional ups and downs. In fact, the movie itself is easily predictable and formulaic for the genre. However, it’s an inspirational and uplifting story and we find ourselves rooting for the boys to pull together as a team, and for Greg to deal with his own demons while teaching the boys the ultimate life lesson: keep going. The best movie focused on bike riding is probably the classic BREAKING AWAY (1979), and this one from filmmaker Hanna could be called, coming of age on wheels.

Opens in theaters on April 19, 2024

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Posted by David Ferguson

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

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