ONE FAST MOVE (2024)

August 8, 2024

Greetings again from the darkness. One result from the expansion of the movie streaming universe is that independent films with specific topics can find a home for niche audiences. Actor-turned-director Kelly Blatz (he was a co-lead in LOREN & ROSE, 2022) turns in a rare motorcycle racing movie, although to enhance the odds, it also features the familiar tropes of an angry young man, an estranged father-son reunion, and a love story.

KJ Apa (“Riverdale” heartthrob) plays Wes, the angry young man who displays poor judgment in the opening motorcycle race on a military base. After a stint in Fort Leavenworth and his discharge, Wes and his bike head out to find long-lost (by design) dad. Dean (Eric Dane, “Euphoria”, Grey’s Anatomy”) is a racer who had some success in the past, though his best days are far behind him. He’s a party boy who never grew up – one still trying to live life on the wild side through motorcycles, alcohol, and women. Wes just wants his old deserting dad to coach him on the track so he can make something of himself. Wrangling these two cats is bike shop owner Abel (Edward James Olmos). Think of him as the Mr. Miyagi for these two emotionally stunted polar opposites.

And yes, we do get a budding romance for Wes with the stunning smile of Camilia (Maia Reficco, “Pretty Little Liars: Original Sin”). She’s a charming waitress at the local diner and studying to be a nurse. The two hit it off while also keeping secrets from each other. Where Eric Dane overplays his part, Edward James Olmos and his reserved manner and screen presence brings a needed depth to the ongoings. Olmos has had quite a career, appearing in both BLADE RUNNER (1982) and BLADE RUNNER 2049 (2017), as well as “Miami Vice” and “Dexter”, and receiving an Oscar nomination for STAND AND DELIVER (1988). “Riverdale” fans will be pleased to note that KJ Apa does find reasons to lose his shirt. Motorcycle fans will be happy with the motor-revving and racetrack shots.

Releases on Prime Video August 8, 2024

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Posted by David Ferguson

ELIZABETH TAYLOR: THE LOST TAPES (2024, doc)

August 1, 2024

Greetings again from the darkness. Not many people are famous for their entire life. Elizabeth Taylor came about as close as one can. Director Nanette Burstein uses 40 hours of recordings that resulted from journalist Richard Meryman’s 1964 interviews with 32-year-old Ms. Taylor. This was at the height of her fame and popularity.

Liz claims her infamous “violet” eyes are actually “dark blue”. She is quite forthcoming during the recordings, and we can’t even imagine a top-tier celebrity today offering this much personal insight … outside of the obvious blabbering we are subjected to on social media and talk shows. Liz became famous at 10 years old when she starred in LASSIE COME HOME (1943) and was a cinema sex-symbol at age 16 when she played the beautiful wife of Robert Taylor (12 years her senior) in CONSPIRATOR (1949). We hear Liz recall her idyllic childhood, yet also describing herself as a “terrified little girl” during those early Hollywood years.

In addition to the recordings which give the documentary a certain structure, director Burstein also includes a treasure trove of personal photos, home movies, archival interviews, and archival footage. A slew of photos of her famous dates stream by – even including football star Glenn “Mr. Outside” Davis. Liz was only 18 years old when she married Conrad “Nick” Hilton Jr, heir to the hotel magnate. She explains how she locked herself in the bathroom on her wedding night, and was so nervous, it took 3 days to consummate the marriage. Of course, Elizabeth Taylor is as famous for her marriages as she is her acting. She wed 8 times to seven different men. The most interesting of those are detailed here, including the plane crash death of true love Mike Todd, which led to Liz wooing singer Eddie Fisher from her friend Debbie Reynolds. What a scandal!

Despite the marriages, she also had close friends – some of whom were closeted homosexuals in order to protect their career and image. Roddy McDowell, Rock Hudson, Montgomery Clift, and James Dean were all close to Liz. She details the shock at Dean’s car crash death and notes she had been cruising with him in his Porsche earlier that same day.

During the interviews, Liz makes the point a few times that it was so important for her to be accepted as an actress, not just a movie star. She expresses a humble pride in being the first actor to be paid one million dollars for a role, but then things went sideways for CLEOPATRA, when Liz was hospitalized with pneumonia so serious it required a tracheotomy. Production on the film was delayed more than two years, and it was during her recovery that she won the first of her two Oscars. However, it’s surreal hearing her bash BUTTERFIELD 8 as an inferior film. When production on CLEOPATRA re-started, she met her real life Marc Antony in actor Richard Burton, thus kicking off their years-long on-again/off-again intense relationship (including two marriages).

Director Burstein flashes clip after clip to convince those who don’t already know that Elizabeth Taylor was an actor, a movie star, and a cultural icon. The film is quite a tribute, though it kind of blows through the later years of a couple of marriages, rehab, and weight gain. She does commit time to Liz’s relentless work as an AIDS activist, including her support of long-time friend Rock Hudson. So many of Liz’s memorable performances came in 1967 and earlier (some of those not mentioned above are NATIONAL VELVET (1944), FATHER OF THE BRIDE (1950), A PLACE IN THE SUN (1951), GIANT (1956), CAT ON A HOT TIN ROOF (1958), and of course, WHO’S AFRAID OF VIRGINIA WOOLF? (1966, her second Oscar). Despite her career peaking in that era, Elizabeth Taylor remained a star until her death in 2011 at age 79.  Nanette Burstein has delivered a worthy tribute.

Premieres August 3, 2024 on HBO and MAX

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Posted by David Ferguson

KNEECAP (2024)

August 1, 2024

Greetings again from the darkness. The Troubles of Northern Ireland were a 30-year political and social conflict that officially ended in 1998 with the Good Friday Agreement. Even today, the pain and memories and divisions remain. Writer-director Rich Peppiatt’s film is set in 2019 (West Belfast) and is billed as a “mostly true story” involving controversial hip-hop group Kneecap and the push to make Irish an official language. Early on we are told, “A country without a language is only half a country.”

A circumstantial fluke brings music teacher JJ (DJ Provai) into the world of self-described “low life scum”, Naoise ( Moglai Bap) and Liam Og (Mo Chara) – drug dealers and wannabe musicians. Performing their raps in native Irish tongue, the trio inexplicably and by happenstance, becomes the unlikely face and voice of the language movement. The resistance they face is stout and sometimes dangerous … yet possibly they remain their own biggest hurdle to success.

Another plot line occasionally rears its head – Naoise’s father Arlo (Michael Fassbender) has been on the run since Naoise’s childhood and is now a paramilitary figure pursued by the police, despite family efforts to convince he’s dead. Popping up now and again, Arlo offers guidance and words of advice to the boys who face oppression and opposition from the conservative and proper forces fighting their rebellious nature and pursuit of radical change.

Adding to the interest level here is that all three members of Kneecap play themselves. With no acting experience, they are convincing enough in telling (mostly) their own story in comedy-drama style. They are also experts at flowing f-words. We have witnessed Irish chaos many times, yet director Peppiatt and the trio generate an energetic cheekiness that plays well in establishing cultural and class differences. This may not be the first story of drug dealers becoming lyricists, performers, and social influencers, but we certainly appreciate the moments of authenticity proving yet again the power and influence of music (even if the bouncing subtitles are a step beyond challenging). The 2022 Identity and Language (Northern Ireland) Act affirmed Irish as an official language, and Kneecap shows punk rebellion will carry on. Oh, and ask your friends, “What’s the craic?”

In theaters August 2, 2024

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Posted by David Ferguson

DEADPOOL & WOLVERINE (2024)

July 23, 2024

Greetings again from the darkness. The secret sauce for movies based on comic books and superheroes has always seemed pretty obvious … give the hardcore fans what they want. Somewhere along the way, the industry shifted its focus from entertainment to pushing the boundaries of technology. The result was a (many) years long stream of visual extravagance with little heart and soul. Writer-director Shawn Levy and co-writers Rhett Reese, Ryan Reynolds, Zeb Wells, and Paul Wernick have managed to right the wrong and put things back on track. Of course,  Disney’s purchase of 20th Century Fox and the Marvel Universe slowed down development, but they have finally capitalized on two fan-favorite characters developed by Rob Liefeld and Fabian Nicieza … Deadpool and Wolverine.

Billed as a ‘threequel’, this follows the 2016 and 2018 Deadpool movies that vaulted Ryan Reynolds to superstardom. His quick and colorful banter and wit were perfect complements to his physical gifts. When Reynolds’ Deadpool and Hugh Jackman’s Wolverine first shared the screen in X-MEN ORIGINS: WOLVERINE in 2009, the spark between the two was clear. Here we are 15 years later, and the two characters share an entire film – and the real life friendship between Ryan Reynolds and Hugh Jackman is well-documented.

This is not the place to come for spoilers or a recap of the story. No, that place would be the theater. What I will say is that it’s very impressive how the filmmakers get both Deadpool and Wolverine/Logan back in the saddle, while at the same time paying homage to the past. The tributes begin even as the movie starts with a new montage reminding us of those who have built the MCU. Additionally, the re-introduction of Wade Wilson’s circle (Morena Baccarin, Karan Soni, etc), is remarkably simple, yet effective … and of course, Blind Al (the great Leslie Uggams) is especially fun. However, what’s most impressive and ingenious is the manner in which Deadpool tracks down Wolverine/Logan, one who was unmistakably dead at the end of LOGAN (2017).

Together they are to save Wilson’s world … and perhaps other worlds as well. This danger occurs due to Mr Paradox (an over-the-top Matthew MacFadyen) working at the direction of Time Variance Authority. It’s really not too complicated, which is why this works. Even those of us who don’t spend hours pouring over comic books will follow the story and understand how Cassandra Nova (an excellent Emma Corrin) is the key onscreen antagonist, although it must be noted that this genre demands surprises and director Levy does not disappoint. Whether it’s Rob Delaney, twists on the Deadpool character, the Wolverine cowl, or enough F-bombs to challenge a Tarantino movie, this first R-rated Marvel film is packed with aha moments. And yes, Jackman flashes his stunning physique and the slew of cameos are sure to satisfy.

World class zingers are delivered with charm (or Logan’s trademark grumpiness), and the laughs are many, though they work well with the heart and soul of what is not just a ‘save the world’ flick, but also a terrific buddy film. The two cautions I’ll offer here: it’s definitely a hard “R” and make sure you stay for the closing credits for a bit of nostalgia.

Opens in theaters on July 26, 2024

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Posted by David Ferguson

GETTING IT BACK: THE STORY OF CYMANDE (2024, doc)

July 23, 2024

Greetings again from the darkness. Discovering a new band that plays the kind of music you love is exhilarating. But what if that band has been around for years? And what if the bands you listen to were heavily influenced by this mystery band … and may have even sampled their work in songs? Tim MacKenzie-Smith profiles “the greatest band you’ve never heard of” with this documentary on the 1970’s British funk band, Cymande.

Where are they from? Where did they go? Why weren’t they more successful? All good questions that MacKenzie-Smith tackles with help from Cymande superfans like producer Mark Ronson and My Morning Jacket’s Jim Jones, the latter who describes his love of the Fugees “The Score” in which they sample Cymande’s “Dove”. It’s this and other examples that allow us to discover the band’s influence on the beginning stages of hip-hop. It also helps makes sense of an included quote, “some music is bigger than music.”

With most early band members hailing from the West Indies, they were never accepted in the U.K., and discrimination and racism clearly played a part in blocking their success. The band did find more popularity in the U.S. thanks to their fresh and original music, but one of the band members admit they were beaten down by the system. MacKenzie-Smith includes many interviews with band members, most of whom are now in their 70’s. They come across as likable guys carrying almost no bitterness.

Of course, Cymande should be well-known for their contributions and influence over the years, and the film features much of their music, as well as clips from live performances. It’s a smooth groove with a fantastic bass line, and it’s the music itself that helps us understand how it contributed to club and dance music of the 1980’s and 90’s. The film made the festival rounds in 2022 and is now getting a limited theatrical release in conjunction with the band re-forming and touring. Perhaps that lucky break is finally happening all these years later, but regardless, these guys will be playing music … as it should be.

opens in NYC July 26, 2024

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Posted by David Ferguson

TWISTERS (2024)

July 18, 2024

Greetings again from the darkness. Those that have lived through one often describe it as sounding like the roar of a freight train. Of course, they are referring to a devastating tornado … or “twister”. Oscar nominated director Lee Isaac Chung (MINARI, 2020) and writers Mark L Smith and Joseph Kosinski take on the follow up to Jan de Bont’s fan favorite TWISTER (1996). The earlier film featured a screenplay from renowned writer (the late) Michael Crichton and his then-wife Anne-Marie Martin, and the cast included the late Bill Paxton, the late Phillip Seymour Hoffman, Helen Hunt, Cary Elwes, and Lois Smith.  In that one, we learned Aunt Meg’s gravy is a food group, and are left with the memorable line, “We got cows”.

Chung’s opening sequence is frenetic and powerful … just as we’d hope and expect. Oklahoman Kate Carter (Daisy Edgar-Jones, WHERE THE CRAWDADS SING, 2022) is leading her team dangerously close to a tornado so that she might obtain enough data to earn the grant needed to keep her dream alive. Hers is a dream of affecting tornadoes in such a way to minimize their power, and thereby minimize the death and destruction. The team is young and smart and passionate; however, they pay the price for the unpredictability of the same storms they are chasing and studying.

Five years later, we find Kate stuck in a NYC cubicle as a bullpen meteorologist. She’s given up on her dream of minimizing the effects of tornadoes. Well, at least until her old storm chasing teammate Javi (Anthony Ramos) shows up with a funded and credentialed team. All they need is Kate’s extraordinary ability to read storms so they can realize the dreams they had years ago.

Once in Oklahoma, Kate realizes that storm chasing is now entertainment for locals, and a social media ego trip for root’n toot’n cowboy Tyler Owens (Glen Powell, who has seemingly appeared in every single movie over the past two years, including TOP GUN: MAVERICK, 2022). Owens is a cult figure with one million followers as he broadcasts live while creating a spectacle in the storm. Soon enough we and Kate (although she’s a bit slow on the uptake) figure out that Javi’s well-funded team, including snooty MIT grad Scott (future SUPERMAN David Corenswet) is not what it seems (rich guys are evil), and of course, neither is Tyler Owens (there’s a tender heart buried in that ego).

The storm effects here are quite stunning. We feel the power and danger. It’s a remarkable technical achievement. Admittedly, this is a wild and fun ride … one filled with tense action and breathtaking visuals. On the other hand, most of the non-storm parts didn’t work for me, often dipping into a cheesy level. Daisy Edgar-Jones comes across as an Anne Hathaway knock-off, while Glen Powell re-deploys his 1970’s Burt Reynolds imitation filled with grins, smirks, struts, and self-satisfying charm. Both actors are lovely to look at, however, the connection comes across as fabricated. The character interactions and story depth stand in contrast to the original, and it’s impossible to avoid comparison.

Director Lee Isaac Chung last delivered a beautiful film with MINARI. In my review of that film, I called it “gentle story grounded in realism”. Obviously, his latest film was never meant to be that, but it’s a shame some of that couldn’t have been captured here. Perhaps the easiest way for me to explain this is by noting the similar feelings I had for the recent ROAD HOUSE remake of the 1989 original. Both of these new versions have exaggerated characters and hyper-action scenes. On the bright side, this difference is likely one that will only bother me and a few others, as I expect TWISTERS will be a massive late summer hit and one most will find thoroughly entertaining … despite replacing cows with chickens.

Opening in theaters on July 19, 2024

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Posted by David Ferguson

ODDITY (2024)

July 18, 2024

Greetings again from the darkness. For me, the best horror movies aren’t a factor of jump-scare after jump-scare, but rather of the level of lingering unease and ominous atmospheric dread they generate. Writer-director Damian McCarthy has accomplished just such a movie with his second feature film.  Oddly enough, ODDITY could be described as a murder mystery cloaked in supernatural horror, yet I believe most horror fans will welcome this one from the edge of their seat.

Dr. Ted Timmis (Gwilym Lee, BOHEMIAN RHAPSODY, 2018) works at a psychiatric asylum, and a late-night call with his wife Dani, finds her informing him that she’ll stay the night alone at the house they are renovating. A knock on the door, followed by the stranger’s warning, sets things up for us. Debating whether to open the door, Dani is told that she’s not alone in the house and the stranger identifies himself as Olin Boole (Tading Murphy, THE NORTHMAN, 2022), a former patient of her husband’s. He says he just wants to help. For reasons never explained, Dani sleeps in a tent in the unfurnished great room – although a tent is typically used as protection from the elements, and she’s inside the house. She’s not affected by weather, yet other elements are afoot, and the vinyl tent offers no defense.

The story then skips ahead over a period of time, and finds widower Ted in a new relationship with Yana (Caroline Menton), who prefers not to sleep alone in the now renovated house where the wife of her boyfriend was previously murdered. Meanwhile, Ted wanders into the creepy mystical trinket store where Darcy (Carolyn Bracken, THE QUIET GIRL, 2022) works, and makes an innocent remark about having her visit sometime. Darcy is the blind twin of Dani, and her short blonde hair stands in stark contrast to sister Dani’s previous long, auburn tresses. Darcy claims to have certain powers as a medium, and we can’t help but wonder if she has thoughts of avenging her sister’s death.

The elements of Irish folk horror work well here. These include a rundown asylum with a creepy orderly, a frantic one-eyed stranger pounding on the door, a remote house with a woman staying alone, and a trap door in an expansive house replete with staircases and corridors. The only thing missing is a skittish dog. However, the piece de resistance is the “gift” Darcy brings Ted and Yana … a trunk containing a large wooden mannequin. This terrifying work is not a gift anyone would welcome from the psychic twin sister of one’s murdered wife.

Some of the best scenes are exchanges between Yana and Darcy (Ms. Bracken is exceptional here). Their verbal jousting is filled with intrigue, all while we are left to ponder the history and meaning of the bizarre mannequin, a family heirloom. That terrific opening sequence sets the stage, and the film gets even better from there. Director McCarthy, editor Brian Philip Davis, cinematographer Colm Hogan, and Production Designer Lauren Kelly work together to create an eerie tone filled with tension … and yes, there is even a well-placed jump-scare for those in need. This is one of those low-key horror films that we can hope finds an appreciative audience.

In theaters beginning July 19, 2024

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Posted by David Ferguson

THE CONVERT (2024)

July 12, 2024

Greetings again from the darkness. Ten years ago, no one would have thought twice about a preacher traveling to a remote island with the given mission of converting souls – both indigenous and British – to Christianity. But much has changed in those 10 years, and writer-director Lee Tamahori (hit and miss with NEXT, 2007; DIE ANOTHER DAY, 2002; ALONG CAME A SPIDER, 2001; THE EDGE, 1997) and co-writers Michael Bennett and Shane Danielson take head-on on the “white savior” backlash that’s surely coming their way (not from me).

It’s 1830 and Thomas Munro (Guy Pearce) is catching a ride across the rough waves of the Tasman Sea. His beautiful white steed doesn’t much care for the boat’s ups and downs, and both man and beast are happy to go for a run on the sandy shore once they reach their destination. And that’s pretty much the end of the good times. Munro has been hired by the colonists to be their preacher and bring Christianity to the locals … tribes of Maori. Munro stumbles into the brutal inter-tribe battles and he quickly negotiates to save the life of Rangimai (a stunning Tioreore Ngatai-Melbourne), the daughter of the other tribe’s chief.

Early on, we also learn that Munro is no ordinary preacher. He has a past that haunts him – and skills that come in handy in this new environment. Mostly though, he does a great deal of talking – regularly negotiating one thing or another with one side or another. His sketch book offers proof that he’s a good man with good intentions, and one who seeks the good in others. What he also learns is that muskets are often more powerful than Christian words.

Munro’s mission is aided by Charlotte (a terrific Jacqueline McKenzie) who acts as a translator, while carrying her own personal history of tragedy. Racism is of course on full display, despite Munro’s efforts to negotiate peace between the tribes and the always-hovering British colonists. Throughout the film, there are some sloppily staged fight scenes, yet the cinematography from Gin Loane is exceptional. We do get the crescendo of a final showdown, as well as a somewhat surprising ending on display in a “Four years later” epilogue. Director Tamahori hits us very early with a smaller bird being attacked midair by a larger bird, with the survival of the fittest on display – whether here in New Zealand, or most any other place throughout history.

Opening July 12, 2024

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Posted by David Ferguson

DANDELION (2024)

July 12, 2024

Greetings again from the darkness. Creativity is such an intangible topic … so esoteric in nature that those most driven by it are likely misunderstood by everyone else. The second feature film from writer-director Nicole Riegel (HOLLER, 2020) focuses on a talented, yet frustrated troubadour living in Cincinnati.

Dandelion (played beautifully by KiKi Layne, IF BEALE STREET COULD TALK, 2018) has a three-nights per week gig at a local hotel bar. Whether she plays familiar covers or her own original songs, the bar audience pays her little attention, opting instead for personal chatter and cell phone time. The gigs provide a paycheck, but it’s not enough to cover her expenses, and those of her sick mother (Melanie Nicholls-King). Mom doesn’t exactly help her own situation, and neither does she offer much encouragement to her daughter, generating more friction between the two.

It’s the age old “paying your dues” syndrome that so many musicians experience. When the bartender shoves a flyer at her, Dandelion scoffs at the notion of playing a music festival at a South Dakota motorcycle rally … so we know immediately she’ll be headed there, selling off her beloved Gibson guitar and leaving mom at home. Once in South Dakota (Sturgis is never mentioned), her time on stage doesn’t go well for Dandelion, and neither does much else. Well, that is, until sparks fly with fellow musician Casey (Thomas Doherty, “The Lodge”), one who surrendered his own dream years before. The sparks are both romantic and musical, though everyone but Dandelion knows Casey from Edinburgh is not all he seems.

The two bond through songwriting and other intimate activities … right up until the not shocking twist occurs. I couldn’t help but think of the similarities (and differences) between this and two other films, ONCE (2007) and FLORA AND SON (2023). Chasing dreams and creating music never stops for Dandelion, despite the constant influences and hurdles. The music is definitely a standout here, as it’s written by twin brothers Aaron and Bryce Dessner of The National.

Director Riegel and cinematographer Lauren Guiteras use a heavy dose of close-ups and tight shots to convey the strains of emotions, especially for Dandelion, while also serving up some beautiful shots and unusual camera angles. The camera work here is as artsy as the music. The ending finds Dandelion working through her pain to discover her true self. While not a masterpiece, there is enough depth here to set it apart from many indies.

Opening in theaters July 12, 2024

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Posted by David Ferguson

SORRY/NOT SORRY (2024, doc)

July 11, 2024

Greetings again from the darkness. In the twisted nature of many humans, there is a need for heroes and a corresponding sense of satisfaction as those heroes are knocked from their pedestal of idolization. Louis C.K. may not have been a hero, but as a comedy genius, he had reached the pinnacle of his profession while building a massive fan base. It may seem that five brave women knocked him from the proverbial pedestal, but the truth is … his own arrogance and behavior did so.

The purpose of this documentary from co-directors Cara Mones and Caroline Shu is not to re-hash the sordid details of Louis’s actions, but rather to ask … what now? Fellow comedian Michael Ian Black eloquently presents his considered thoughts on this, as do others who were more directly involved. The film draws heavily from the November 2017 New York Times article written by Melena Ryzik, Cara Buckley, and Jodi Kantor, each of whom share their view here. There are also interviews with others, including Jen Kirkman and Megan Koester. I believe Abby Schachner is the only one of the original four who were named to appear in the film, however it seems quite clear that Louis C.K.’s tendencies were as well-known throughout the industry as those of Harvey Weinstein and Bill Cosby. And yes, his defenders make the argument that his actions were nowhere near the level of those two figures of the #MeToo movement.

As has been pointed out many times in these cases, the sexual predator aspect is not the only issue. The abuse of power is every bit as crucial. The film is divided into seven “parts”: Louis, Jen, Open Secret, These Stories are True, Abby, Comeback, and Cancelled. In contrast to Weinstein and Cosby and so many others, when publicly confronted with the accusations, Louis C.K. stated, “These stories are true.” Much of the fallout was from his fans who went after the accusers on social media. Louis C.K. disappeared from public life for about 9 months before beginning his comeback … using his history as fodder for joke-telling.

Louis C.K. being ‘cancelled’ ended when he won a Grammy for his comedy album. He hasn’t yet been welcomed back to mainstream Television or Film, but his stand-up tours remain popular. The film serves to ignite dialogue and debate on a tough topic, and we find ourselves admiring those who stepped up to shine the light. Although it cost her a career, respect goes to Megan Koester who states, “I don’t want to work with those who blindly ignore morality.” It’s a statement on which too few of us seem to stand with her. We must each answer for ourselves … What now?

In theaters beginning July 12, 2024

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Posted by David Ferguson

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