THE MARSH KING’S DAUGHTER (2023)

November 3, 2023

Greetings again from the darkness. Karen Dionne’s 2017 bestselling novel is the source of this film from director Neil Burger (THE ILLUSIONIST, 2006), and it has been adapted for the screen by co-writers Elle Smith and Mark L Smith (THE REVENANT, 2015). Having not read the book, I am unable to offer a comparison, however, it’s probable that the film moves at a faster pace and that the book fills in much detail that the two-hour runtime is forced to skip over. Typically, neither of this would result in an improvement, yet the performances are strong enough to generate enough tension and suspense to satisfy most viewers (if not the book’s fans).

Opening with some very cool shots through the marshlands, the story takes us deep in the forest as a father (Ben Mendelsohn) teaches survival skills to his 10-year-old daughter, Helena, played by Brooklynn Prince who was so memorable in THE FLORIDA PROJECT (2017). One of the lessons ends with the father proclaiming, “You must always protect your family.” Yes, it’s about as obvious as foreshadowing can get. There is a level of creepiness to the off-the-grid cabin living of Jacob, his daughter Helena, and Helena’s mother (Caren Pistorius, SLOW WEST), and once we realize the situation, it leaves us wishing we had experienced a bit more of the misery and fear that will ultimately determine the future of these three people (plus some others). In other words, the film shoots through this first act a bit too quickly.

We then flash forward twenty or so years, and find a grown-up Helena (Daisy Ridley) married to Stephen (Garrett Hedlund, MUDBOUND) living a comfortable suburban life as they raise their young daughter Marigold (Joey Carson). Helena has chosen not to tell Stephen her past, and that secret comes crashing down when her father Jacob (known as The Marsh King) escapes from prison and comes looking for her. Father and daughter reunite at the old cabin in the woods, and things go a bit bonkers; however, that earlier foreshadowing comes into play, and Helena finds herself utilizing those early daddy lessons against that same daddy.

Daisy Ridley has the physicality required to pull off this role and her resemblance to young Brooklynn Prince is uncanny. Mendelsohn is, as always, a menacing presence using subtle movements and that remarkable voice. A supporting nod goes to Gil Birmingham (HELL OR HIGH WATER, 2016) for a key role as well. At its best, the film (and I assume the book as well) captures the sometimes remarkable contrast between childhood perspective and that of a grownup. We can only hope that for most folks, it’s not similar to that of Helena.

Opening in theaters on November 3, 2023

WATCH THE TRAILER

1 Comment | Drama, Thriller | Tagged: , , , , , , , , , , | Permalink
Posted by David Ferguson

FINGERNAILS (2023)

November 3, 2023

Greetings again from the darkness. Certifiable love. Trust the science. Anna and Ryan are in love and they have the certification (and sore fingers) to prove it. One minor problem is that they don’t seem to have much in common, other than a love for the fatty parts of a well-cooked steak. And even this common ground leads to a certain dishonesty. Writer-director Christos Nikou and his APPLES co-writer Stavros Raptis, along with co-writer Sam Steiner, have given us a film that appears to lean heavily into science-fiction, while also poking a bit of skepticism that direction.

Most of this film didn’t work for me, however, the depth that the two lead actors, Jessie Buckley (I frequently recommend WILD ROSE, 2018) and Riz Ahmed (SOUND OF METAL, 2020, and an Oscar winner for his short film THE LONG GOODBYE, 2021), bring such an intimacy and sincerity to their scenes that we can almost overlook the absurdity of the story. And maybe that’s the point.

Anna (Ms. Buckley) has recently lost her job as a teacher, and when she lands the job she wants as a trainer at The Love Institute, she opts not to tell her husband Ryan (Jeremy Allen White, “Shameless”). The Love Institute is run by Duncan (Luke Wilson) and the mission is to test couples for scientific compatibility in a long-term relationship. This is done by pulling a fingernail from each and testing in a machine invented by Duncan (don’t worry, he is always looking to improve it). The idea is that science can take the guesswork out of relationships and put folks at ease that they found the “right” partner.

Of course, as soon as we see Anna and Amir (Mr. Ahmed) working alongside each other, we know where this is headed. The two actors are terrific together and excel at selective gazing, while maintaining professionalism. Science, chemistry, and biology all play a role here, but the thought that folks would volunteer to have their fingernails yanked out (while biting a block of wood) is ludicrous, even if the film opens by telling us fingernails often display the first symptoms of heart issues (physical not emotional). The film is evidently supposed to prove yet again that matters of romance are beyond the scope of science, even in movies.

Opens on AppleTV+ beginning November 3, 2023

WATCH THE TRAILER

2 Comments | Drama, Sci-Fi | Tagged: , , , , , , | Permalink
Posted by David Ferguson

WHAT HAPPENS LATER (2023)

November 3, 2023

Greetings again from the darkness. Meg Ryan will forever be linked to her popular and beloved romantic comedies, WHEN HARRY MET SALLY (1989) and SLEEPLESS IN SEATTLE (1989). She wore the crown of “America’s Sweetheart” for years, and then after years of hard work, she pumped the breaks on her acting career, resurfacing periodically for a TV or film role, often in support. In 2015 she took her first shot at directing with ITHACA, in which she also starred, and now after an 8 year big screen absence, she’s back as writer-director-producer and star of a film that harkens back much closer to her rom-com roots.

A massive winter storm rolls in – a Bomb Cyclone with Snow Thunder. This grounds all planes  at a regional airport (it was filmed at the airport near Bentonville, Arkansas) where ex-lovers Willa (Meg Ryan) and Bill (David Duchovny) bump into each other for the first time since they broke up twenty-five years ago. Initial awkward small talk soon transitions into ‘large’ talk, and the two fall into rhythmic banter befitting of two who were at one time very close. He’s a stockbroker on the way to Austin to meet with his demanding, much younger boss, and she’s a wellness practitioner on her way to Boston. For emphasis, he wears a dark business suit and necktie, while she sports clunky boots and bouncy hair.

What follows is a passive-aggressive twist on Richard Linklater’s “Before” trilogy. In the industry, this is called a two-hander, as there are only two speaking parts – not counting the slyly intrusive airport PA announcer (credited as Hal Liggett?) – and the two characters carry on a conversation for most of the run time. Ms. Ryan wrote the script with Steven Dietz and Kirk Lynn and based it on Dietz’s play, “Shooting Star.” It’s a dialogue heavy approach designed to let us get to know the characters, but also allow Willa and Bill to catch up as they re-live moments from the past. Some of this is painful for them, and some of it provides previously lacking clarity. Memories and quirks pop up, and the manner in which they are addressed speaks volumes to how close these two once were. We learn their secrets as they each peel back layers.

Tom Petty’s lyrics, “Most of the things I worry about never happen anyway” are utilized to effect here, and missed connections has multiple meanings. With Meg Ryan and David Duchovny past the 60 year mark, this isn’t one of the cutesy rom-coms we’ve grown accustomed to with twenty-somethings. These are grown-ups who once shared dreams and are now taking stock of life and reality. Even the commentary on society is head-on rather than cleverly disguised as is common for this genre. Director Ryan and cinematographer Bartosz Nalazek insert more than a few falling snowflake shots, and the point is driven home about just how much has occurred since these two became a couple while attending the University of Wisconsin. As a writer, director, and actor, Meg Ryan certainly is in her wheelhouse here, and fittingly, she ends with a “For Nora” tribute to her late friend and mentor, Nora Ephron.

Opens in theaters on November 3, 2023

WATCH THE TRAILER

1 Comment | Drama, Rom-Com | Tagged: , , , , | Permalink
Posted by David Ferguson

IN THE COURT OF THE CRIMSON KING: KING CRIMSON AT 50 (2023, doc)

November 3, 2023

Greetings again from the darkness. King Crimson was founded in 1969 and to this day, no one can properly describe their music. Even co-founder and band leader Robert Fripp avoids labeling the music and instead states, “King Crimson is a way of doing things”. Documentarian Toby Amies takes on the challenge of examining the band after 50 years.

While most associate guitarist Fripp as being the face of the band, he himself claims that it’s an ensemble and always has been. But then he also describes the years 1969 through 2013 as “wretched”, and that only with this most recent iteration has he found satisfaction. At a minimum, Fripp is a perfectionist, and it’s likely he is also a tortured genius who constantly strives for different, more, and better. He makes for a frustrating interview, and director Armies shows him mostly in various short clips, while letting current and former band members offer their opinions.

Co-founder Ian McDonald’s zoom interview is the most touching. Taking place shortly before McDonald’s passing in 2022, he breaks down and says, “I’m sorry Robert”, for leaving Fripp and King Crimson after only a year. Obviously, there was some bad blood between the two men, even after so many years. McDonald went on to co-found the band Foreigner in the 1970’s before taking on a solo career. Fripp remained with King Crimson and pursued his idea of what a band should be.

Former King Crimson bassist Trey Gunn explained being in the band was like “a low-grade infection”, while current drummer/keyboardist Bill Rieflin thrived with the band. Rieflin was performing with Stage four colon cancer and countless other health issues, yet viewed making music as what he was meant to do, right up until his passing during filming of this documentary. Numerous other former members were interviewed, and the comments range from annoyance to reverence. Current singer/guitarist Jakko is cautious about what he says so as not to cross Fripp. He cracks, “you’re irreplaceable … like the last bloke.”

It’s a unique band playing unique music – a style where each world class musician plays their part based on what fellow band members (usually 8 including 3 drummers) are playing. The result is often a peak experience for the audience, even for those who have attended many shows over the years. There is an interesting segment featuring a nun who is also a devoted fan of the band. She compares it to religion, and between the immersive music and Fripp’s commentary, we can’t help but put this in terms of philosophy, psychology, religion, and even a cult-like atmosphere. Always impeccably dressed like a British gentleman, Fripp’s obsessive discipline and demanding ways leave us with a better feel for the band, while being no closer to offering a label of description. This is not your parents’ music documentary … even if it happens to be your parents’ favorite band.

In theaters November 3, 2023 and VOD beginning December 1, 2023

WATCH THE TRAILER

1 Comment | Documentary | Tagged: , | Permalink
Posted by David Ferguson

Texas Rangers WORLD SERIES 2023

November 2, 2023

***NOTE: a rare diversion from movies

“Finally.” That word is being used in most every report on the 2023 World Series championship of the Texas Rangers. Oxford offers a definition of the word as ‘after a long time, typically involving difficulty’. My question is, what constitutes a long time and who found this difficult? Jose LeClerc is the only player who has been on the team for the past 7 years. Most on the roster have only worn “Rangers” on their jersey for one of two years, so that doesn’t seem to qualify as a long time. Of course, the real answers to my questions are … since 1972 and the fans.

As sports fans we understand that the score of a game or a trophy held high matters little when compared to the suffering of those in Ukraine and other areas where innocent citizens are being mercilessly attacked, injured, and killed. But to argue that sports don’t matter would be an oversimplification and, well, incorrect. Just ask those fans who have loyally followed the Texas Rangers since 1972. There is a bond that forms around a hometown team. It’s a bond of shared emotions, both high and low. Over those 50+ seasons for the Rangers fans, the lows have been plenty, while the highs have been all too brief. Until now. Has it been a long time? Yes. Has it been difficult? Yes.

Since 1972, I have attended many games, crossing the three Arlington ballparks (assuming that first one actually qualifies as a ballpark) the Rangers have called home. I’ve seen Ted Williams and Billy Martin manage the team. I’ve seen Nolan Ryan throw a no-hitter and Juan Gonzalez hit three dingers in a game. I’ve seen Buddy Bell make gold glove plays at the hot corner and Charlie Hough light a cigarette in the dugout. I’ve watched Benji Gil airborne yet another throw into the stands, and Pudge Rodriguez shoot down many would-be base stealers. I’ve watched as Will Clark delivered a stream of warning track fly balls, and Adrian Beltre barehanded another dribbler from third base. I’ve also seen Michael Young rip countless line drives in the gap, Rusty Greer hustling to turn a single into a double, and Josh Hamilton destroy so many baseballs (and his career). I’ve watched Neftali Feliz buckle A-Rod’s knees with a curve and cringed as Nelson Cruz leapt to no avail at a David Freese fly ball in the World Series. And while all of those games and moments are important, what really matters to me is that bond with other fans.

I’ve shared the stands – some good seats, some not so great – with so many over the years. My uncle took me to the David Clyde game and made sure I had many other game tickets through the years (he was a big fan of Buddy Bell and Toby Harrah and Charlie Hough, and because of that, so was I). I’ve sat in the left field bleachers with parents and players from the youth baseball team I coached as the blazing Texas summer sun beat down and sapped the grown-ups of energy (our players didn’t seem to mind). I’ve dragged my beloved wife to a few games, and she never once complained. I have a good friend who was gracious enough to front me tickets during times when money was a bit tight. We even managed to attend multiple playoff games over the years – one being very special, as that’s where I first met my future daughter-in-law, one of those surprises only a son can deliver. Other games have allowed time with friends (even a future boycotter), family, co-workers, and business associates. It’s the shared experiences that matter most.

As I reflected on the World Series victory and the many years of Rangers baseball, a sense of melancholy hit. My brother-in-law passed away earlier this year. He was a huge Rangers fan. Our relationship wouldn’t be considered close, but the two best conversations we ever had were about Rangers baseball. He loved the game and he loved the team. It was a love he had previously shared with his father and many others since. Although he didn’t live long enough to ‘finally’ enjoy the championship, he certainly followed the team for a long time and experienced the difficulty. A passion for the Rangers and for baseball was also shared with many others who have since moved away. Friends and fellow Rangers fans now populate other places like California, Florida, Virginia, Wisconsin, and then there is my own son, who now lives in The Netherlands with his family – including that same daughter-in-law I met at a playoff game.

As for “finally”, these are just a fraction of the folks who have experienced both a long time and difficulty. Yet there is nothing final about this, as the banner will fly indefinitely at the latest ballpark (one with a roof and air conditioning), and the Texas Rangers fans will begin the next long and difficult journey when Spring Training rolls around in 2024.

2 Comments | Articles, Uncategorized | Permalink
Posted by David Ferguson

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

WATCH THE TRAILER

2 Comments | Thriller | Tagged: , , , , , , , , , , | Permalink
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

WATCH THE TRAILER

4 Comments | Drama, World Cinema/Foreign | Tagged: , , , , , , , | Permalink
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

WATCH THE TRAILER

2 Comments | Documentary | Tagged: , | Permalink
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

WATCH THE TRAILER

1 Comment | Documentary | Tagged: | Permalink
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

1 Comment | Articles, Uncategorized | Tagged: , , , | Permalink
Posted by David Ferguson

« Previous Entries
Next Entries »