THE KILLER (2023)

October 27, 2023

Greetings again from the darkness. There is a reason I choose not to interview directors, writers, actors, or anyone else involved with the movies I watch and review. It’s because I prefer to evaluate based on what we see on screen rather than whether it’s the product of someone likable or not, quick witted or not, or passionate about their work or not. Anytime I start to waver on this approach, I’m quickly reminded why the decision was made. David Fincher is unquestionably one of the finest filmmakers working today. His work includes such films as SEVEN (1995), THE GAME (1997), FIGHT CLUB (1999), PANIC ROOM (2002), ZODIAC (2007), THE SOCIAL NETWORK (2010), THE GIRL WITH THE DRAGON TATTOO (2011), GONE GIRL (2014), and MANK (2020). Despite this remarkable resume of successful films, each new one deserves to be judged on its own … there is no extra credit for past brilliance.

The all-too-brief and remarkably cool opening credit sequence sets the stage for a film that looks absolutely marvelous. This leads us to an extended opening sequence where we learn about our titular cold-blooded assassin played by Michael Fassbender. It’s through his redundant narration that we learn about his meticulous and detail-oriented approach to a job that has made him a very wealthy man. He listens to various songs by The Smiths, does yoga in the dark, and repeats his mantras to keep himself centered and focused on the job at hand. After all, he cautions us that this job is only for those who can handle boredom – as if committing cold-blooded murder is somehow a more natural trait than handling down time on the job.

Getting to know the quirks and nature of this hitman is actually the highlight of the movie, because he botches this job in the worst possible manner, and then must step outside his norm to handle this ‘new’ development. When he discovers that his partner has been seriously wounded as fallout for his blown job, the Killer conveniently drops his ‘nothing personal’ mantra and proceeds to pursue very personal revenge.

SEVEN screenwriter Andrew Kevin Walker has adapted the graphic novel written by Alexis Nolent and illustrated by Luc Jacamon, and Fincher is clearly having fun with the material. It’s not accurate to call this a dark comedy, but there are some comedic elements included to lighten things up a bit. Most of these struck me as a bit lame: shots at our societal dependence on name brands (Amazon, WeWork, Starbucks, etc), the Killer’s disguise as a ‘German tourist’, and the endless string of 1970’s sitcom names used in his travels (think “The Odd Couple”, “Happy Days”, and even “The Partridge Family”).

To ensure no viewer is left behind, the film is divided into six chapters highlighted by the geographic location and the reason for being there: Paris – the Target, Dominican Republic – the hangout, New Orleans – the lawyer, Florida – the brute, New York – the expert, and Chicago – the client. Each of these chapters involves a piece of the revenge puzzle, and include fine actors Charles Parnell, Tilda Swinton, and Arliss Howard. Ms. Swinton’s segment offers the most, but her presence is over much too soon. It’s the mano-y-mano fight with the brute that is the weakest, since the fight is so over-the-top that neither would walk away … yet Killer departs with only a scratch over his eye.

While most of the story seems too familiar and kind of ludicrous, the film itself is a work of art. Fassbender perfectly captures the icy killer, and Oscar winning cinematographer Erik Messerschmidt (MANK, 2020) delivers in the multitude of locales, as well as the action shots. Two-time Oscar winners Trent Reznor and Atticus Ross handle the score of this film that will undoubtedly be regarded more highly by most other critics than by me, since a line like WWJWBD simply falls flat in my mind.

Opens in theaters on October 27, 2023 and on Netflix beginning November 10

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Posted by David Ferguson

ANATOMY OF A FALL (2023, France)

October 27, 2023

Greetings again from the darkness. It’s not really possible to combine a murder trial with divorce proceedings, but this year’s Palme d’Or winner at Cannes comes about as close as we can imagine. Writer-director Justine Triet and co-writer (and husband) Arthur Harari wrap a ‘did she or didn’t she’ murder mystery in a relationship drama that plays out in a gripping courtroom drama. As for the title, there is an actual fall which leads to the dissecting of the slow fall of the marriage, as well as the emotional fall of having one’s entire life laid bare in a public setting.

Sandra Huller was brilliant in TONI ERDMANN (2016), a film that you should see if you haven’t already. She also starred in director Triet’s film SIBYL (2019), which led her to be cast here as Sandra Voyter, a German writer, wife, and mother. If Huller’s performance isn’t the best of the year, it certainly is in the top three or four. She is stunning as a complex character grappling to hold on to the life she wants despite the obstacles beyond her control … including an indictment and trial for murdering her husband.

There are so many pieces to this storytelling puzzle that it’s quite challenging to paint a proper picture without giving away any of the minutiae surrounding what is the film’s core: we never really know another person, and even knowing ourselves requires an honesty and perception most lack. Some of these pieces include jealousy, the motivation of a writer, guilt, blame, a child’s view of his parents, the French courtroom process, and the need for understanding and closure. These aspects (and more) weave a tangled web over an extended runtime of 152 minutes that not only keep us focused on the trial, but also on the behavior of Sandra, and the excruciating thought process of her 11-year-old son Daniel (a remarkable Milo Machado Graner).

A wonderfully awkward opening scene sets the stage for us to recognize Sandra’s annoyance and her (unseen) French husband Samuel’s purposeful intrusion. This leads to their partially-sighted son Daniel taking the dog for a walk, and his subsequent stumble upon his father’s dead body in the snow. The police investigation is inconclusive, with an explanation available for three possible causes: an accidental fall from the attic window, a suicidal dive from the window, or a deliberate push from that window. With conflicting evidence, and only theories at hand, Sandra is indicted and faces a trial focused less on her husband’s death, and more on the secrets and arguments – the ups and downs – of their relationship.

It seems the prosecution case boils down to … she must have done it because they had arguments and she wrote about it. The prosecutor is played by a fiery Antoine Reinartz, while Sandra’s defense attorney (and long-ago lover) Renzi is played by a calm Swann Arlaud. It’s only in a crucial flashback that we witness husband Samuel (Samuel Theis) and wife Sandra in the midst of an argument that seems to hold the clues needed to assist viewers in a final decision. However, even that isn’t simple due to the approach taken by son Daniel with his dog Snoop (also remarkable!).

The chalet in the French Alps plays a role in the fall as well as the relationship. Verbal sparring is not limited to the above-mentioned flashback, but also in the courtroom where the lines between solicitors crackle with preciseness as Sandra controls her emotions. Even the language differences between French husband and German wife are part of this, but the odd French courtroom process will likely catch outsiders off guard. This is a gem where we as viewers are chugging right along with Daniel and the judges as words and emotions take the place of physical evidence. Camera work from Simon Beaufils is unconventional yet succeeds in putting us in the chalet as well as the courtroom. Some may see the ending as ambiguous, but listening to the big argument and following the dog and Daniel should provide the clarity viewers seek.

Opens in theaters on October 27, 2023

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Posted by David Ferguson

THE MISSION (2023, doc)

October 27, 2023

Greetings again from the darkness. What is left that no one has done? It’s a question that the most adventurous among us ask themselves. John Chau was certainly an adventurer. He ran marathons, loved hiking through forests, and enjoyed rock and mountain climbing. His dream was to venture onto the North Sentinel Island and introduce Jesus to the island’s sole inhabitants. The Sentinelese are an isolated human community of hunter-gatherers who have made it abundantly clear over the years that they do not welcome outside visitors.

In 2018, when the news report hit that 26-year-old John Chau had been killed while trying to make contact with The Sentinelese, my initial and immediate reaction was to call him an arrogant jerk who probably got what he deserved. Co-directors Amanda McBaine and Jesse Moss, through National Geographic Documentary Films, have brought us more of John Chau’s story so that we (me) can better understand his motivation and how it fits into the historical aspect of missionary work.

McBaine and Moss explore the various stories here, which include: a community of folks living life on their own terms, the overreach of religion, the role of missionaries, a young man wanting to make a difference, and a father-son relationship. Much of John’s story is taken directly from the journal he kept right up until the day he died. The directors also effectively use the letter from John’s father, which is read aloud and displayed through animation. Additionally, there are interviews with John’s friend, an historian, and a long-time missionary. We learn that as a kid, John was attracted to stories such as “Robinson Crusoe” and “Tintin”, as well as drawing inspiration from movies like END OF THE SPEAR. His attraction to adventure began at an early age, and it was the draw of religion that really struck a chord.

As a Chinese-American and evangelical Christian, it is said that he might have believed the indigenous people were waiting for him to bring them The Truth. Whether he believed this or instead simply felt it was his responsibility, speaks to a level of conceit rarely seen outside of religion or politics. What is abundantly clear is that as a disciple of ‘The Great Commission’, John’s radical approach paid little mind or respect to the uncorrupted culture of this isolated tribe. This is why, as his long-time friend describes, he had to pay pirates to take him uninvited to the island to talk about Jesus. It’s a conceit that will not compute for me, regardless of his religious beliefs.

North Sentinel Island is part of the Andaman Islands (where the legend of King Kong took place) and it is protected by the government of India. John Chau’s “Plan” even included a section detailing the illegality of his mission. The filmmakers structure the film with the first hour being mostly background and setup, while the final 45 minutes dig into John’s trip to the island – a trip best described in the movie as ‘idealism masquerading as God’s will.’ John’s father carried a burden of parental guilt, which is understandable; however, most of this boils down to John’s own ignorance and conceit. As thorough as the research is, and as interesting as the history is, none of it has changed my mind about John Chau.

Opens October 27, 2023 in select theaters

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Posted by David Ferguson

PUPPY LOVE (2023, doc)

October 23, 2023

Greetings again from the darkness. “What a good boy!” That’s something every (boy) dog owner has said a thousand times … but probably not like what we see here. Director Gail Gilbert brings us a story that will tear at the heartstrings of every pet owner, and likely any viewer with a heartstring to tear. An Illinois breeder named Cindy welcomed what was to be her final litter of pure-bred Labrador Retrievers. The pups were beautiful, and everything was fine … right up until it wasn’t.

After only a few weeks, the male pups were stricken with paralysis of their legs and voice. The affliction had no effect on the two female pups, and whatever caused it was a mystery. A local veterinarian could only guess whether it was related to the vaccinations, a virus, a parasite, genetics, or some other cause. The recommendation was euthanasia. But Cindy was not ready to give up. She took back the pups and was joined by a trainer and some other gold-hearted animal lovers. Rather than put them down, these women worked with the pups daily. Therapy and massages and nutrition became standard daily rituals. Their courage and determination was remarkable since no one could even tell them what was wrong and whether their efforts stood any chance of helping the pups.

The reality was, many people questioned why they would work so hard for “defective” dogs. But then around 10 weeks, most of the pups began showing signs of improvement. The daily feedings by syringe, and then bottle, began to take on a more normal feeding process. And the pups’ legs began to get stronger – some were even able to stand, if a bit wobbly. It was like watching a slow miracle occur … a miracle that required an enormous amount of work and attention and love.

At times, this had the look of a M*A*S*H unit, minus the surgery. It’s truly shocking to see the pups go from little furry blobs sunning in the grass to what we see by the end of the film. In fact, the saddest part of the film comes not from the pups, but rather from people. Of course, anyone watching the film will fall for these pups, but we also have full admiration for those who used their optimistic and determined approach to make a difference. It’s been said that ‘love cures all things”, and while “all things” may be a stretch, certainly these puppies are beneficiaries.

Available On Demand and on digital platforms beginning October 24, 2023

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Posted by David Ferguson

Book Review- OPPOSABLE THUMBS: HOW SISKEL & EBERT CHANGED MOVIES FOREVER (2023)

October 23, 2023

By Matt Singer

Published by Penguin Random House, 2023

Ah yes, the memories of spending so much time glued to that portable 13 inch black and white TV perched on a folding chair in my dorm room watching and listening intently as film critics Gene Siskel and Roger Ebert discussed, debated, and dissected the latest movie releases. Of course, by then I had watched hundreds of movies and fully subscribed to the magic of cinema. However, we all knew there was something different with this weekly PBS show featuring these two men who were so opinionated, yet so knowledgeable about film. As a bonus, we were never sure if they were friends or not… this despite their weekly lessons on how we should discuss movies with our own friends.  

This background and the following years until Gene Siskel’s death in 1999 are the reason Matt Singer’s new book was a must read for me. Nostalgia can be a comforting thing, and Singer’s work perfectly captures the history and memories of what made the show so special. Singer is a passionate film critic, and that passion shines through in his admiration and respect for the two men who inspired folks like him (and me) to better understand the art form and ultimately write about our own feelings and observations driven by the movies we watch.

Structurally, the book outlines the chronological order of the Siskel and Ebert partnership, while specific examples, quotes, or other input is frequently used to reinforce the progression. The awkward beginnings that led to the 1975 pilot are detailed, as are behind-the-scenes challenges such as contract disputes, rehearsals, lunch menus, seating positions, number of words spoken, seats on talk shows, and the order of the names. Yes, these two men who argued about movies also argued about most everything associated with the show. Singer makes the point that the two men were direct competitors in the Chicago newspaper world and were constantly looking for ways to ‘win’ or one up the other.  What also becomes crystal clear as we read the book is that both men cared very much for the show and the integrity of their work.

Pitting rivals against each other in such a debate format was a new thing at the time, although as author Singer points out, it has become quite common in TV news, sports, politics, and entertainment … most of these owing a debt to Siskel and Ebert. Singer walks us through the evolution of the show and its many producers, titles, and distributors. From “Sneak Previews” to “At the Movies” to “Siskel & Ebert” (amongst others), and from PBS to the Disney Corporation, the show itself remained true to the two stars, regardless of what was happening off screen. Gene and Roger never wavered from their commitment to honesty with the viewers.

Their show ran in one form or another, and on one channel or hundreds, from 1975 to 1999. The book details how their chemistry changed (and how it didn’t) over the many years. While the memories come racing back through some of the stories, the real gems here are the behind-the-scenes tales of how these two men perfected the presentation, while earning the respect of the rival/partner seated across the aisle.

The first ten chapters make for fascinating and entertaining reading, but just as occurred in real life, the book shifts suddenly. Siskel’s passing meant the show lost its spark. Ebert remained a stellar film critic, of course, but the relentless pursuit of a new partner or format was as painful to read about as it was to experience at the time. By this time, other film critic duos had been given a shot at replicating the success, yet none created the magic of Siskel & Ebert – and that included Ebert and anyone else who joined him in the balcony. Why none of these other attempts clicked is understandable when Singer provides perspective: Siskel & Ebert were a team for as many years as Abbott & Costello. These final two chapters chronicle Ebert’s own health struggles, as well as his excellent memoir and subsequent documentary, both entitled “Life Itself”.

Should anyone doubt the unique accomplishments of the show, consider that the Siskel & Ebert audience was composed of not just cinephiles and movie lovers, but also those who had little interest in movies and tuned in solely for the entertainment value of watching two articulate and knowledgeable experts go at each other verbally. Most were either Team Gene or Team Roger. As for me, I found myself more often in agreement with Siskel on movies, while probably learning more from Ebert. These two men, along with Louis Black (co-founder of both “The Austin Chronicle” and the SXSW festival), taught me how to watch movies, how to think about what is on screen, while inspiring me to put my own observations in writing. Matt Singer’s book will be a cruise through nostalgia for many, yet the structure will make it just as easy for those who are just learning about the origin of those almighty thumbs.

Available October 24, 2023

Review by David Ferguson

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Posted by David Ferguson

NYAD (2023)

October 20, 2023

Greetings again from the darkness. All great athletes aren’t great competitors, and all great competitors aren’t great athletes. But when the two merge, the result is elite. Think Michael Jordan, Muhammed Ali, Novak Djokovic, Tiger Woods, and Michael Phelps. Of course, there are others, and this biopic focuses on one you might not have previously considered since she’s so unique. Diana Nyad was a world class distance swimmer and had a tremendous career prior to becoming an analyst and commentator for ABC Sports. She had a career that made her famous in her field and a well-respected sports personality … but that’s not what made her the focus of this film from co-directors Jimmy Chin and Elizabeth Chai Vasarhelyi, the Oscar winning duo behind the extraordinary documentary FREE SOLO (2018).

In 2010, after a surprise 60th birthday party thrown for her by her friend Bonnie Stoll, Diana Nyad made up her mind to make the “Mount Everest” of open water swims … from Cuba to Florida. Mind you, Nyad had failed on her attempt at this swim when she was 28 years old and in peak form. And yes, everyone thought she was a bit crazy and tried to talk her out of it. The swim is 103 miles, and the dangers included box jellyfish, sharks, and unpredictable weather and currents, not to mention the stamina and physical health required. But Diana would not be swayed from her goal.

Annette Bening stars as Nyad, and two-time Oscar winner Jodie Foster co-stars as best friend Bonnie. As remarkable as Nyad’s marathon swim goal was, much of the film focuses on the journey of friendship between Diana and Bonnie, especially once Bonnie takes on the role of coach and trainer. Their relationship (and the actors’ performances) is the strength of the film. We feel the love and the frustrations. Diana’s extreme level of determination (and hard-headedness) is paired with her equally extreme level of self-absorption and narcissism. Bonnie’s loyalty is tested daily and over many years.

Why many years? The answer to that is in the number of failures Nyad experiences on her quest to complete the swim. The multiple attempts allow us to get familiar with the crew, especially navigator John Bartlett, played by the always interesting Rhys Ifans. The relationship between the crew and the swimmer builds the bridge between isolation and team sport. We see Diana use 4/4 music for the rhythm of her strokes and to keep her mind from wandering (or worse). The mental aspect of distance swimming is just as challenging as the physical side.

The story continues through 2013 at age 64, when we learn that the rules mean both ankles must be out of the water for the swim to count … this after more than two full days and nights of swimming. Screenwriter Julia Cox has adapted the story from Diana Nyad’s memoir, “Find a Way”, and Oscar winning cinematographer Claudio Miranda (LIFE OF PI) works wonders in capturing the enormity of the swim as well as the intimacy of this deep friendship and the commitment of the crew.

Flashbacks of Diana’s childhood are shown, which clue us in on what motivated her to push her body and mind to extremes. The film begins with a recap of Nyad’s swimming career to ensure that viewers understand what a decorated athlete she was. Annette Bening is terrific here and it will be interesting to see if, after four previous nominations, this is the role that delivers that elusive gold statue. As for Jodie Foster, her rare screen appearances make it too easy to forget just how amazing she can be – it’s nice to be reminded (be on the lookout for her in the new season of “True Detective” next year). Music by two-time Oscar winner Alexandre Desplat works well on the swims, and Nyad’s dreams (and misses) inspire us to pursue our own … even if our dreams are a bit less dramatic than “Mount Everest.”

Opens in select theaters on October 20, 2023 and streams on Netflix November 3, 2023

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Posted by David Ferguson

THE PIGEON TUNNEL (2023, doc)

October 20, 2023

Greetings again from the darkness. When John le Carre passed away in 2020 at the age of 80, conversations and debates raged about the best spy novelists, and what stood out was, no matter how many writers were mentioned – Ian Fleming, Tom Clancey, Robert Ludlum, Ken Follett – everyone’s list included le Carre. Oscar winning documentarian Errol Morris (THE FOG OF WAR, 2003) has taken le Carre’s final and most personal interview and adorned it with film clips, rare archival footage, and some dramatic effects to create a lasting tribute to a superb writer and a most interesting man.

John le Carre was a former member of MI5 (British Security Service) and MI6 (British Intelligence Service), only at the time he was David Cornwell. Adapting his now world-famous nom de plume, le Carre became a spy who wrote spy novels. Really good spy novels. Not only were many of these to become bestsellers, many were also primed to be adapted to a film version or TV series. A few of his best-known novels include: “The Spy Who Came in From the Cold”, “Tinker Tailor Soldier Spy”, “The Night Manager”, “The Constant Gardener”, and “A Perfect Spy.” His recurring character George Smiley was always a favorite, and was played expertly by two Oscar winners, Sir Alec Guiness and Gary Oldman.

For anyone who hasn’t read le Carre’s 2016 autobiography, “The Pigeon Tunnel: Stories from My Life”, Morris is kind enough to include the explanation of the title. “The Pigeon Tunnel” was the working title le Carre used for many of his books while in progress, and we do get to hear the author detail how that particular phrase happened to stick. In fact, the real treasure here is in hearing le Carre’s distinctive voice spin the yarn on so many stories. Whether writing or speaking, he was a fantastic storyteller, mesmerizing the readers and listeners.

With his storytelling-on-the-fly approach, le Carre recalls his childhood and life with a seamless blend of experience, memory, and imagination … often with the Cold War as a backdrop. We aren’t always sure where the blurred line between fact and embellishment falls, but we do know we are along for the ride. When John le Carre speaks of his fascination with “betrayal”, we can’t help but wish he were still around to provide commentary on this modern world.

Streaming globally on AppleTV+ beginning October 20, 2023

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Posted by David Ferguson

KILLERS OF THE FLOWER MOON (2023)

October 18, 2023

Greetings again from the darkness. Read the book and see the movie. The order doesn’t much matter, as David Grann’s best-selling non-fiction novel is an incredibly emotional read, while Martin Scorsese’s film is an example of elevated filmmaking. Of course, it’s understandable if a book detailing a repulsive historic travesty is not your cup of tea, or if a three-and-a-half-hour movie on the same subject holds no appeal for you. However, if you are up for the challenge, both are extraordinary works of art, though surprisingly, quite different experiences.

Oscar winner Scorsese worked on the script adapting Grann’s novel with Oscar winning screenwriter Eric Roth (FORREST GUMP, 1994), and Scorsese has stated Leonardo DiCaprio encouraged some changes in perspective. Scorsese also spent a great deal of time with Osage folks making sure to gain insight on how to properly tell their story with all due sensitivity and respect. And what a story it is. While reading Grann’s book, I remained in a state of disbelief that this tragic story from the 1920’s was not common knowledge. In contrast, I felt the telling of this story in the movie, softened the edges just a bit.

Oscar winner DiCaprio stars as Ernest Burkhart, a man returning to town after serving in WWI. Ernest is a simple man, and DiCaprio plays him with a SLING BLADE jaw line and a constant state of being a half-step behind goings on. He’s not a total sap, but close enough that he can be manipulated. This is especially true when it comes to his rancher Uncle William King Hale played by two-time Oscar winner Robert DeNiro. The two men are related but seemingly share no other characteristics. “King” is a master schemer who has spent decades cultivating a relationship and image with the Osage, only to secretly take advantage of their trust at every opportunity. Ernest is a self-described lazy man who ‘loves money’, though he has little interest in earning it the hard way.

There are multiple relationships that are crucial to follow closely. Ernest and his Uncle, Ernest and his Osage wife Mollie (a brilliant Lily Gladstone), Hale and the Osage, Federal investigator Tom White (Jesse Plemons) and everyone to whom he speaks, and then the network of interactions between Ernest and the locals. The long roster of characters jumps in numbers again during the final act, which offers a courtroom drama and interrogations that deliver the conclusion. It’s the first act where Scorsese portrays the dramatic shift from the “old” Osage culture to their staggering newfound wealth. Of course, at the core of all of this is the despicable scheme used by Hale in a heartless strategy to steal the wealth. For those who haven’t yet read the book, it’s best if no more of the story is known prior to seeing the movie. One thing that can be disclosed is that this true story proves the exception to “them with the gold make the rules.” This was also the first case of the newly formed FBI under J Edgar Hoover.

As always, Scorsese has assembled a deep supporting cast to complement the stellar leads. A few of those playing key roles include Tantoo Cardinal, Gene Jones (the coin flip clerk in NO COUNTRY FOR OLD MEN), John Lithgow, Oscar winner Brendan Fraser, Cara Jade Myers, Jason Isbell, Jillian Dion, Scott Shepherd, William Belleau, Sturgill Simpson, Ty Mitchell, Tommy Schultz, (personal favorite) Barry Corbin, Pete Yorn, and Jack White. With apologies to Jesse Plemons who is solid as Tom White, it’s the three leads who captivate us. DiCaprio turns in what is likely his best ever performance, while DeNiro eerily captures the sneaky and devastating evil of Hale (and we get a nod to his Al Capone role from 36 years ago). What can we say about Lily Gladstone? She was a standout in CERTAIN WOMEN (2016), and here she is the heart and soul of the story (though DiCaprio’s Ernest gets much more screen time). Her expressive eyes convey so much, even when she speaks no words.

In addition to the talented cast, Scorsese’s technical group is just as outstanding. Cinematographer Rodrigo Prieto (BROKEBACK MOUNTAIN, 2005) perfectly balances the vastness of the setting with the intimate moments. Production Designer Jack Fisk (THERE WILL BE BLOOD, 2007) delivers the look and feel of the times, while three-time Oscar winner Thelma Schoonmaker works her magic as an Editor to create a manageable flow of this epic. The film’s score, expertly tied to the story’s measured pacing, comes from Robbie Robertson (longtime leader of The Band), who passed away soon after. There is a Scorsese cameo, and I left the theater thinking how usual it is to find a movie so ambitious in scale, yet so intimate and searing in its personal moments. Some may find the larger story a bit difficult to grasp, and that’s likely due to our humanity and desire to believe in the non-existence of this level of evil.

Opens in theaters nationally on October 20, 2023

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Posted by David Ferguson

THE BURIAL (2023)

October 12, 2023

Greetings again from the darkness. “Let’s shake on it.” There was a time when a person’s word and their handshake was enough to seal a deal – whether it was settling on the price of a horse, the bottom line on a new car, or the buyout of a business. Most of us realize those days are long gone, and now it’s too often about winning and taking advantage of every situation, regardless of whether that’s at someone else’s expense. Jonathan Harr’s article from “The New Yorker” serves as the source of this “inspired by a true story” tale, with a script from writer-director Maggie Betts (NOVITIATE, 2017) and co-writer Doug Wright (QUILLS, 2000).

Every movie lover recognizes the advanced warning of “inspired by” and prepares for some artistic license being taken. Enter Oscar winner Jamie Foxx as Willie Gary, a personal injury attorney who is flashy to the point of gaudy. His suits are as colorful as his speech patterns, and he zips through the sky in his aptly named jet, “Wings of Justice.” We’ve all been berated with TV commercials from these obnoxious lawyers, and Willie Gary is all of them rolled into one third-person speaking courtroom orator.

Foxx nails the role and is the perfect counterpoint to his first white client, 75-year-old Jeremiah O’Keefe (Oscar winner Tommy Lee Jones), a Biloxi, Mississippi funeral home owner in a financial bind. While Willie Gary and his wife (Amanda Warren, THREE BILLBOARDS OUTSIDE EBBING, MISSOURI, 2017) live a life so high it’s featured on “Lifestyles of the Rich and Famous”, Jeremiah is a salt-of-the-earth type who shares 13 kids and 24 grandchildren with his wife (Pamela Reed, THE RIGHT STUFF, 1983). Jeremiah cuts a deal with Ray Loewen (Bill Camp, “The Queen’s Gambit), owner of a multi-million-dollar conglomerate. Or at least Jeremiah took it as a deal since the two men shook hands on it aboard Loewen’s stunning yacht.

What follows are a few too many courtroom drama tropes that would drag the film down if not for the fine performances of the cast. Jeremiah and Willie develop a friendship, despite their contrasting styles and personalities. Willie’s adversary in the case is Mame Downes (Jurnee Smollett, SPIDERHEAD, 2022), a top of her Harvard Law Class attorney who has the upper hand on legal issues and a competitiveness to match. Adding depth to the story are Alan Ruck (FERRIS BUELLER’S DAY OFF, 1986), Jeremiah’s long-time attorney and friend, and Mamoudou Athie (UNDERWATER, 2020) as Hal Dockins, the rookie attorney who brings fresh eyes and keen observations to the proceedings. Athie is a standout here.

There are multiple aspects to the film. The core of the case is about doing what you say you are going to do (the phrase “my word is my bond” comes to mind), while at the same time, elements of racism and bigotry hover over most every scene – sometimes to the extreme (a burial ground for slaves). Since there are no shortage of ultra-serious deep dives into racism and predatory business practices, filmmaker Betts takes a different approach. The end result is an entertaining crowd-pleaser with a few too many close-up shots and a creative use of Toni! Tony! Tone! and other music to set the era for us. This is one that allows the entertainment value to take the lead, while not totally overshadowing the key points it wants to make.

Premiering on Prime Video beginning October 13, 2023

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

TOTALLY KILLER (2023)

October 5, 2023

Fantastic Fest 2023

Greetings again from the darkness. All Hallows’ Eve approaches, so we know to expect the latest from Blumhouse Productions. What we didn’t expect was a rare blend of comedy, horror, science fiction, and time-travel wrapped in 1980’s nostalgia. Director Nahnatchka Khan (“Fresh Off the Boat” creator) and a trio of co-writers, David Matalon, Sasha Perl-Raver, and Jen D’Angelo (HOCUS POCUS 2, 2022), deliver a film that pays tribute to many that have come before, most notably BACK TO THE FUTURE (1985) and HALLOWEEN (1978). Or maybe it’s HOT TUB TIME MACHINE (2010) and SCREAM (1996). Either way, it’s a good ride as we poke fun at the culture of 1987.

Jamie (Kiernan Shipka, “Mad Men”) is a teenager fed up with her overprotective mom (Julie Bowen, “Modern Family”). However, this mom has history on her side when it comes to being protective. It’s Halloween night, and thirty-five years ago, three girls in North Vernon, all friends of hers, were stabbed sixteen times. These days, the most popular Halloween costume in Vernon is that of the ‘Sweet Sixteen Killer” … all black attire and a creepy blonde mask (one that seems like we should recognize, but I didn’t).

Of course, it’s this year that the killer returns to claim another victim. While being pursued by the masked killer, Jamie heads to the rundown amusement park where the school science fair is set up. In my day, most science projects were done with a poster board and colored pens. Times have changed, and Jamie’s smart friend Lauren (Troy Leigh-Anne Johnson) has transformed a photo booth into a time travel machine. Although it hasn’t previously worked, the killer’s knife plunging into the control panel sends Jamie back to 1987, where she meets her high school aged mother (Olivia Holt) and tries to prevent the original tragedy from ever occurring.

It’s at this point that the nostalgia kicks in. Most would agree the 1980’s was not a pretty time, and it’s even more cringe-inducing now. Pam is in a ‘Mean Girls’ type group called The Mollys (because they worship 80’s icon Molly Ringwald), and there are cracks about the music, the clothes, and cocaine. But the best part is seeing how Jamie is aghast at the insensitivity and lack of political correctness in the era. Security is so lax, she easily passes as a Canadian exchange student, and spends an inordinate amount time telling people they shouldn’t say or do something that was commonplace in the 80’s and outlawed these days.

The expected wise cracks counterbalance the violent murders, and for the most part, the film works just fine as an entertaining and fun trip down memory lane. As a bonus, it gives Kiernan Shipka a lead role that she can build upon.

Available on Prime Video beginning October 6, 2023

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3 Comments | Comedy, Thriller | Tagged: , , , , , , , | Permalink
Posted by David Ferguson

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