FOOD, INC. 2 (2024, doc)

April 9, 2024

Greetings again from the darkness. It’s likely director Robert Kenner and producer Melissa Robledo assumed their Oscar nominated documentary FOOD INC (2008) would generate change and improvement in what we eat and how our food supply works. To some extent they were correct, yet here we are 16 years later, and Kenner and Robledo are back with FOOD INC 2, this time as co-directors, to emphasize the dangers of having a few mega-corporations in control of what we eat.

That first documentary has been described as the beginning of “the food movement”, and it’s true that many people have improved their diet by focusing on more natural and organic food sources, and depending less on fast food and processed items. However, it’s also true that mergers and acquisitions have allowed food suppliers to get bigger and more powerful over those years … and the Pandemic contributed as well. That first film highlighted our overdependency on corn products, and has led to more local farmers markets and more organic offerings (although still at elevated prices).

This second film informs us that the pandemic exposed just how delicate (and wobbly) our system is. Supermarket shelves sat empty while farmers destroyed crops and animals. The filmmakers hope this film will be a catalyst for closer inspection on how the mega-food companies are controlling what we eat, with a focus on profits rather than nutrition. Author and journalist Michael Pollan and “Fast Food Nation” author Eric Schlosser are back to lend their knowledge and expertise and concerns. The concern regards monopolies within the various food segments.

Discussion is held regarding President Trump issuing a 2020 executive order citing the Defense Production Act to keep meat packer plants open despite COVID outbreaks. It’s reported here that most of the meat was shipped to China, but U.S. corporate greed and profits remained intact, although no concrete data is provided. Mostly they call for anti-trust laws to be enforced.

Specifics are provided in the various food segments. The filmmakers take us to Immokalee, Florida where mistreatment of migrant workers is the story; Iowa, where the Tyson plant COVID outbreaks are detailed; Wisconsin, where the dairy industry is mentioned; back to Iowa where crops and soil issues are identified; New Jersey, where US Senator Cory Booker of the Agriculture committee is interviewed; and Montana, where US Senator Jon Tester speaks from experience. The demise of family farms is a by-product of the mergers and trend toward bigger, and the most frightening aspect is in regards to “ultra-processed foods” … those with additives and artificial sweeteners. These are the driving force behind diabetes, obesity, and other diseases … and the changes in Brazil diets are especially telling on the last point.

The value in this documentary from Kenner and Robledo is in the information and details. We learn that the big companies are investing in alternative meat and food (such as Impossible Burger), while at the same time taking advantage of research and data focused on sweetness and calories. Foods from science labs may be our future, right along with innovation in “weird” farming sustainability (Stockcropper) and kelp fishing/harvesting in Connecticut. Farm-to-table school lunches in Camden, New Jersey provide us some hope, and we learn about the conflicts with the Fair Food Program and labor relations.

There are no easy answers when billions of people on the globe must be fed. What we must demand is that efforts in the field go towards nutrition and sustainability, and not just profits for a few mega-companies.

Here are some of the provided statistics:

Four companies have a stranglehold on 85% of beef processing.

Three companies dominate 83% of cold cereal.

Two companies control 70% of the carbonated soft drink market.

Two companies control 80% of the baby formula market.

Ultra-processed foods make up about 58% of US adults caloric intake.

Special theater screening on April 9, 2024 and on Digital beginning April 12, 2024

WATCH THE TRAILER

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Posted by David Ferguson

WICKED LITTLE LETTERS (2024)

April 4, 2024

Greetings again from the darkness. “This is more true than you’d think.” Director Thea Sharrock (ME BEFORE YOU, 2016) kicks off the film with this statement. The movie then proceeds to twist and stretch and outright change many of the details from the actual story and case outlined in the 2017 book, “The Littlehampton Libels: A Miscarriage of Justice and a Mystery about Words in 1920’s England” by Christopher Hilliard. However, from an entertainment perspective, the script from Jonny Sweet combined with the stellar British cast works pretty well as a glimpse of that era’s patriarchal society, as well as the need for attention from someone who has been stifled for far too long. And it even includes a few laughs along the way.

As Edith Swan (Oscar winner Olivia Colman) and her elder parents Edward (Timothy Spall) and Victoria (Gemma Jones) gather around the table to read the anonymous profanity-laced letter, we learn it’s the 19th one received by Edith. The decision is made to contact Constable Papperwick (Hugh Skinner, FALLING FOR FIGARO), who is quick to accept as fact their presumption that the letters’ source is neighbor Rose Gooding (Jessie Buckley). See, the Swan’s are a God-fearing family (and quick to advertise the fact), while Rose is an Irish immigrant and single mom with a loud mouth … one often filled with colorful curse words. It’s little wonder holier-than-thou Edith’s accusations are believed while denials from rough-around-the-edges Rose are dismissed.

“Female” Police Officer Gladys Moss (Anjana Vasan, CYRANO, 2021) is the only one who notices the massive inconsistencies in the “evidence”, and sets out to investigate. This, of course, goes against the wishes of the police captain, and overall dismissal from fellow officers since she is such an oddity as a female officer. Moss is following in her father’s footsteps with the badge, and has more instinct and powers of observation than the others … especially Papperwick, who is clueless and arrogant.

As Edith finds pleasure in the notoriety, Moss enlists help from a couple of community ladies who don’t buy into the Swan’s pious attitude. The film’s best line is, “Congratulations on your tragedy.” These women, played beautifully by Joanna Scanlan (AFTER LOVE, 2020) and Eileen Atkins (“Doc Martin”) devise a strategy to catch the true culprit in the act. Of course, most if not all viewers will have solved the case long before the police or jury do, but that won’t lessen the enjoyment of watching the drama play out, sometimes with a dash of humor.

The 1923 Poison Pen scandal of Littlehampton was a real thing, with court case and all. The film makes a point of the Patriarchal society in place at the time (the onset of the Suffragette movement), and it helps us gain an understanding of Edith and Officer Moss, as well as the quick-to-judge folks so easily accepting Rose’s guilt. I probably enjoyed this a bit more than many since I’m a big fan of both Colman and Buckley, who also co-starred together in THE LOST DAUGHTER. Timothy Spall reminds us that few can chew scenery like he, and the other familiar English actors all do their part. Those creative and sometimes confusing epithets (more likely to result in chuckles than anger) were taken from the actual letters in the case, and Ms. Colman’s cackle at the end is itself worthy of a ticket price.

The film opens in theaters on April 5, 2024

WATCH THE TRAILER

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Posted by David Ferguson

THE GREATEST HITS (2024)

April 4, 2024

Greetings again from the darkness. If you are one for whom hearing a particular song, no matter how many times over however many years, brings back vivid memories of a person close to you or a memorable event, then you will likely relate to Harriet, the lead character in this film from writer-director Ned Benson (THE DISAPPEARANCE OF ELEANOR RIGBY, 2014). Additionally, if you have tragically lost someone special to you and find yourself cloaked in unshakeable grief, then you will also likely find common ground with Harriet.

Harriet (Lucy Boynton, so good in SING STREET, 2016) wears noise-cancelling headphones whenever she is in public. She is so concerned with controlling the songs she hears, that she now works in a library for the serenity that silence brings. These steps are for a good reason … they protect her from instantaneously being transported back in time to a specific moment with her beloved boyfriend Max (David Corenswet, “Hollywood” mini-series, and he’s the new Superman). For Harriet, these aren’t merely flashbacks or memories – she is physically transported back in time when she hears a song. Rather than HOT TUB TIME MACHINE, she’s living “Hi-Fidelity Time Machine”. Her trip only lasts as long as the song is playing, yet she has no control. Once back in real time, she is viewed as having had a seizure. It’s frightening stuff for her. However, instead of being concerned about her health, she is intent on finding the song that takes her back to the moment she can change the past and prevent the accident that cost Max his life.

Harriet’s BFF Morris (Austin Crute, BOOKSMART, 2019), a local DJ, has been very supportive of her grief, but it’s been two years since Max died, and Morris wants his friend to move on with life. Hope springs when Harriet meets David (a terrific Justin Min, “Beef”) at a grief counseling group event. The two are understandable tentative around each other, yet it’s obvious David is a good dude with the necessary patience to allow her to work through her grief. Harriet’s case of déjà vu with David comes full circle, and adds a nice touch to the delicate situation they find themselves locked in.

Wanting to change the past is something we have all thought of at one time or another, yet the physical transformations that Harriet experiences feel like something beyond science fiction, and bordering on psychological torture. Filmmaker Benson has delivered a film that is simultaneously relatable, while also landing pretty far outside the box. There is a throwback feeling here, despite the characters feeling very much of this day. As you might expect, the soundtrack is quite varied with some deep cuts … with Roxy Music being a key. Although there may not be any big surprises in how the story unfolds, the characters are so relatable, and it’s so well acted, that we find ourselves pulling for each of them to have a happy ending.

Opens in theaters beginning April 5, 2024, and streaming on Hulu on April 12, 2024

WATCH THE TRAILER

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Posted by David Ferguson

BLOGATHON: MISMATCHED COUPLES (2024)

March 29, 2024

THE BANSHEES OF INISHERIN (2022)

Former BFF’s Colm and Padraig

Greetings again from the darkness. It’s always an honor to be invited to participate in the movie blogathons hosted by Gill and Barry. So many fine writers participate, and it’s a chance to really hone in on a particular topic, while learning what tickles the fancy of others taking part. Maintaining the pace of new movie reviews that I’ve committed to often prevents me from joining in, but this time, it worked out well.

The title of the blogathon makes the mission crystal clear. We are to select a mismatched couple/pair from a film and write about why it was interesting and/or entertaining. Mismatched couples have been a staple of cinema since the early days, and the trope is certainly not tied to any particular genre. Maybe “Cop” movies are most commonly recognized for this, as they often use the “good cop vs bad cop” approach, but it’s also prevalent in domestic dramas (THE ODD COUPLE), action movies (TANGO & CASH), mysteries (Sherlock Holmes and Dr Watson), classic films (Rhett and Scarlet in GONE WITH THE WIND) and even romantic-comedies (WHEN HARRY MET SALLY). For my entry, I chose former BFF’s Colm and Padraig from THE BANSHEES OF INISHERIN, which also happens to be my favorite movie of 2022.

Wickedly talented writer-director Martin McDonagh is the creative force behind this movie, as well as the instant classic, IN BRUGES (2008). In a brilliant move, McDonagh re-paired the lead actors from the earlier film in hopes of re-capturing their onscreen magic. The move definitely worked, as Colin Farrell as Padraic and Brendan Gleeson as Colm are both terrific in this film as they personify “Mismatched Couples.”

It’s 2:00 in the afternoon and Padraic does what he does every day. He knocks on the door of his lifelong friend, Colm, so they can head to the pub for a pint. Only this isn’t every other day. It’s a new day. Colm doesn’t answer. Padraig is a simple man who thrives on his routine and his friendship with Colm. Now for this to qualify as a ‘mismatched couple’, there must be conflict and tension. Initially we are as confused as Padraig, but soon enough Colm bluntly informs him that they are no longer friends, and that not even pleasantries will be exchanged – despite their history, and the forced proximity of living in the same village on an island. Colm has visions of a brighter future without Padraig, and Padraig is bewildered as he tries to figure out what he did wrong.

Part of the brilliance of the film and this relationship stems from the fact that these two gents are not the only mismatched couple, yet it’s their abrupt fallout that has an impact on so many others in the close-knit community. As Colm pursues his fiddle music and builds a new network, Padraig plunges into a funk, and finds the troubled town oddball (an excellent Barry Keoghan) buddying up to him in hopes of befriending Padraig’s sister (a terrific Kerry Condon). All of this creates choppy waters and dark comedic elements (just as McDonagh designed it), yet the driving force here is the broken relationship between Padraig and Colm. Both actors are so good. The turns of violence are shocking, and because of it, fiddle playing becomes more challenging … and things don’t go so well for Jenny the miniature donkey either (yet another victim of the broken relationship).

Watching these two actors at the top of their game (Farrell received an Oscar nomination) allows us to buy into this unfortunate break in what had been a long friendship. Some of the situations come across as outlandish, yet the actors bring a nuance to the characters that draws in as we anxiously hope for reconciliation, rather than a war to match what’s occurring across the bay. The idea of a couple of buddies becoming ‘mismatched’ after years of friendship makes this one of the more unusual … and interesting … and tragic … ‘mismatched’ couples in cinema.

Here is my original review of THE BANSHEES OF INISHERIN from November 2022

https://moviereviewsfromthedark.com/2022/11/03/the-banshees-of-inisherin-2022/

To read more entries in this blogathon and to access sites for Gill and Barry:

https://weegiemidget.wordpress.com

https://cinematiccatharsis.blogspot.com

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Posted by David Ferguson

STEVE! (MARTIN): A DOCUMENTARY IN 2 PIECES (2024, doc)

March 28, 2024

Greetings again from the darkness. We are now two full generations past the peak (and end) of Steve Martin’s superstardom as a stand-up comedian. Today, he is mostly known as a banjo player, a writer, or as one of the three co-stars of the hit show, “Only Murders in the Building”. That’s right. At almost 80 years of age, and removed from his two previous fame-inducing careers (comedian and movie star), he “only” has three remaining paths to fame, glory, and gobs of money. Regardless of the Steve Martin era studied, what stands out is his remarkable ability to entertain – something he says captured his fancy the very first time he saw a stage.

Documentarian Morgan Neville won an Oscar for the spectacular 20 FEET FROM STARDOM (2013). He’s also behind WON’T YOU BE MY NEIGHBOR (2018), an excellent profile of Mister Rogers, as well as numerous other documentary projects. With more than a half-century of Martin’s career to somehow cover, Neville takes a “then” and “now” approach with what is effectively two films that split Martin’s fabulous career into the two titular ‘pieces’. “Then” covers the early developmental period, right up until 1980, when Steve Martin shocked the world by walking away from stand-up. “Now” offers a more personal and reflective look at his endeavors since.

For those of us who were around in the 1970’s, “Then” is not just a nostalgic look back at how one man reinvented stand-up comedy (though it is that). It’s also a fascinating look at Martin’s childhood and his early pursuit of finding his place in the entertainment world. We hear Martin state, “I guarantee you I had no talent.” Of course, whether that’s accurate is debatable, but what he certainly had was persistence, ambition, and a desire to make it. As a 15-year-old working at Disneyland (he was born in Waco, Texas but raised in southern California) he learned the basics of magic and balloon animals through observation and relentless practice. He admits his educational background in Philosophy gave him a unique perspective in understanding himself and audiences. He gave himself until age 30 to “make it”, and a fortuitous turn of events, made that birthday a special moment. He worked and massaged and practiced his routine – refining such silliness as an arrow through the head, happy feet, “Excuuuuuse Me!”, King Tut, and “Wild and Crazy Guy” – all while wearing a white suit and sporting premature gray hair. In 1976, Lorne Michaels invited Martin to host a relatively new comedy show called, “Saturday Night Live” (something he has now done 16 times). Soon after, Martin released the first two comedy albums to ever go Platinum. This led to the first of his many movie roles in the classic comedy, THE JERK (1979). Director Neville highlights each step of Martin’s amazing ascension via rare clips and input from Martin himself. And just like that … comedy’s first rock star walked off stage at age 35 and on top of the world.

“Now”, the second entry in Neville’s in-depth documentary, is much less about Steve Martin’s varied career and much more about Steve Martin the person. To emphasize the contrast between ‘Then’ and ‘Now’, this second piece begins in Martin’s kitchen showing him poaching two eggs (heavy on the pepper) for breakfast. Does that sound like showbiz? It’s an entirely different approach as we watch Martin and Jerry Seinfeld have a conversation about comedy, while Tina Fey, his sister, and others give brief insight into their paths crossing with Martin. Even his wife, Anne Stringfield, offers up some personal scoop on the man who has protected his privacy all these years … although it should be noted that their daughter only appears as a cartoon stick figure.

Much of this segment revolves around Steve Martin and his friend and “Only Murders in the Building” co-star, Martin Short, as they collaborate on jokes for their stand-up show … all while jabbing each other with friendly one-liners. Short says the reason Martin hasn’t aged is because he looked 70 when he was 30. It’s that kind of friendly banter between friends. A most poignant moment occurs as Martin is going through his bound copies of movie scripts. PLANES, TRAINS, AND AUTOMOBILES (1987) takes him back to his close friendship with the late, great John Candy, and the memories are almost too painful for Martin to bear.

It’s fascinating to hear Martin talk about his humiliation when PENNIES FROM HEAVEN (1981) failed, and learn more about his devotion to fine art. To emphasize the personal change Martin has gone through, the director shows an interview clip from decades ago where Martin refuses to discuss the first painting he bought, and then juxtaposes it with a contemporary clip where he eagerly expounds on that painting and others. Martin doesn’t appear to carry as much pride in his movie career as he should, and we see him working with illustrator Harry Bliss on a collection of memories and anecdotes from each film.

Morgan Neville likely underestimated the project when it began. He certainly benefitted from Steve Martin’s willingness to open up and share his personal archives. A man of many talents and interests, with multiple careers spanning decades may be a challenge for a biographer, but for viewers, it’s pure joy to stroll through the many reinventions of Steve Martin. His work is worthy of admiration, as is his willingness to open his life and reveal the hard work and dedication that goes on behind the curtain.

The film will be on Apple TV+ on March 29th.

WATCH THE TRAILER

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Posted by David Ferguson

SLEEPING DOGS (2024)

March 21, 2024

Greetings again from the darkness. It’s easy to forget that Russell Crowe was once Oscar nominated three years in a row, winning Best Actor for Ridley Scott’s epic, GLADIATOR (2000), and has probably deserved two or three additional nominations. His reputation has not won him many industry friends over the years, but to his credit, he keeps plugging away – some minor roles in big films, and some lead roles in smaller films. Crowe can still command the screen with his presence, even when the material is slight (see THE POPE’S EXORCIST, 2023).

This project from writer-director Adam Cooper (writer, EXODUS: GODS AND KINGS, 2014) and his frequent writing partner Bill Collage has been adapted from Eugen O. Chirovici’s 2017 novel, “The Book of Mirrors”. It’s Cooper’s directorial debut, and it’s entertaining enough, especially if one can avoid comparisons to other similar crime drama films, especially the classic MEMENTO (2000). In this one, Crowe stars as Roy Freeman, a former homicide detective who lost his badge after a drunk driving accident. He has recently undergone an experimental brain procedure designed to help him regain some of the memories Alzheimer’s has robbed him of. Roy’s apartment has notes posted everywhere. These notes remind him of his name, remind him of his shoe size, and remind him that his Hungry Man dinners are hot when they come out of the microwave. Turns out, it’s too late for a note to remind him not to put the TV remote in that same mircrowave.

A ten year old case he worked is brought up by a group looking to prevent an innocent man from being executed. Roy has no memory of the case, so he re-visits the files and tracks down his old partner, Jimmy Remis (played by Tommy Flanagan, in a reunion of GLADIATOR actors). What follows is a sufficiently intricate web of characters to keep us interested and guessing. The murder victim was Professor Wieder (Marton Csokas), and the usual suspects include his PTSD-suffering handyman Wayne Devereaux (Thomas M Wright), Wieder’s research assistant and lover Laura Baines (Karen Gillan, Nebula in the Marvel Universe), Laura’s other lover Richard Finn (Harry Greenwood) who is writing a book on the murder, and a couple other characters tossed in to knock Roy and us off track.

Flanagan and Csokas are two of my favorite character actors – both always bring something interesting to their roles, and here it’s Gillan’s Laura that seems to offer the most intrigue – changing names, locales, and personalities, all while publishing a book on a theory of how ‘bad’ memories can be replaced with good ones, or erased altogether (think of another classic film, ETERNAL SUNSHINE OF THE SPOTLESS MIND, 2004). Roy’s flashbacks are handled by quick spurts of moments that he struggles to assemble, which allows us to struggle right alongside him. Roy’s plight leaves us with the thought that it’s possible to find yourself, and not like what you see. Memory is obviously crucial to the story, and for a second-level crime thriller, there is enough here to keep us going until the conclusion.

In theaters beginning March 22, 2024

WATCH THE TRAILER

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Posted by David Ferguson

CAROL DODA TOPLESS AT THE CONDOR (2024, doc)

March 21, 2024

Greetings again from the darkness.  Co-directors Marlo McKenzie and Jonathan Parker have teamed up for one of the most ‘revealing’ documentaries you’ll ever watch. OK, all I can do is try my best to minimize the use of puns and double entendre as the review progresses. But that won’t be easy as the filmmakers strip away the excess and serve up a bouncy peek at one of the more influential figures driving cultural change in San Francisco during the 1960’s.

Carol Doda became famous for more than two reasons. She was the first topless dancer in the Bay Area, and was so popular her name was a permanent fixture on the neon sign at the Condor Club in North Beach. Archival footage and photographs are used to take us back sixty years to 1964 when multiple battles were being fought: the Vietnam war, the Civil Rights Movement, and Feminism. The film uncovers Carol’s transition from spirited cocktail waitress to featured stage go-go dancer to, ultimately, the main attraction. She would make her much-anticipated entrance as a baby grand piano descended from the ceiling, slowly revealing a topless Carol Doda dancing on the instrument.  She was truly a popular tourist attracting in San Francisco, second only to the Golden Gate Bridge.

Interviews are conducted with surviving dancers, staff, and club owners. The admiration these folks have for Carol is impressive. Her mounds of courage at being the first topless dancer is obvious, and her gut-feeling for what was entertaining demands respect. We see in her interviews just how lovely, charismatic, and playful she was – always with a quip about her assets. The filmmakers also tie in Carol and others to the dance and song inspired by “The Swim”, ultimately recorded by Bobby Freeman. We also get a history lesson on ‘the Monokini’, a topless swimsuit designed by Rudi Gernreich, as well as Carol’s acceptance of silicone injections. She viewed this as a marketing necessity as these took her from a 34B to a 44DD, allowing for a competitive advantage. The 1964 Republican Convention at the Cow Palace featuring Barry Goldwater is discussed, as are Condor Club regulars such as Liberace and Walter Cronkite, and Carol’s relationship with Frank Sinatra.

Historically speaking, prior to WWII, women’s legs (Betty Grable, Betty Boop) were featured as the sexual attraction for men, while afterwards, attention shifted a bit higher thanks to Marilyn Monroe, Jayne Mansfield, and others. It was Carol Doda who capitalized on this trend with her live performances. We learn of the influence of her manager, Davey Rosenberg, and how, as they do, times shifted yet again, causing Carol to adapt to the times (bottomless), even as she aged. Very little of Carol’s personal life is covered here, though most admit they found her to be a bit of a loner, focused mostly on her career. I was a bit disappointed that Carol’s appearance in Bob Rafelson’s movie with The Monkees, HEAD (1968) wasn’t mentioned, but overall this is anything but a bust … instead a worthy history lesson and a lovely tribute to a woman who made her own way, despite the backlash from the feminist movement – those who should have been applauding her entrepreneurial spirit.

Opening in limited theaters on March 22, 2024 and expanding to more cities on March 29.

WATCH THE TRAILER

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Posted by David Ferguson

OSCARS 2024 recap

March 13, 2024

OSCARS 2024 recap

The year of “Barbenheimer” concluded with one of the best and best-paced Oscars ceremonies in recent history. Of course, there were ups and downs … even an awkward Best Picture finale (which isn’t far off from becoming a tradition). Despite the bumps, the show served up plenty of entertainment for movie lovers and very few surprises for followers of the awards circuit.

Talk show host (and overall nasty comedian) Jimmy Kimmel returned as emcee, and his opening monologue set the tone with very little political commentary (other than his support of industry unions) – an approach that most presenters and winners maintained throughout, with only a couple of exceptions. The ceremony was what it should be: a celebration of the year in movies. And as my “Best of 2023” showed, it was an excellent year for a wide variety of film genres.

My favorite movie of the year, OPPENHEIMER, was the night’s big winner with 7 Oscars, including Best Picture. Christopher Nolan’s film is quite an achievement, juggling history, a deep roster of actors, and an era that now seems foreign to most people under 40. However, this film is only half of the “Barbenheimer” label, and the BARBIE faction delivered the showstopper thanks to sparkly pink suit attired Ryan Gosling and his rousing “I’m Just Ken”. It was the kind of spectacle and audience participation moment that will go down in Oscars lore.

There were plenty of other moments worth mentioning. How about Robert DeNiro and Jodie Foster both being nominated again – just like in 1976 (48 years ago for TAXI DRIVER)? Best actress nominee Sandra Huller starred in two foreign language films that were both nominated for Best Features this year. The Academy made the absolutely brilliant decision to replace clips of each acting nominee with a short tribute given live by a previous winner in the category. Let’s hope this tradition is back to stay as it lends an air of intimacy and professionalism. The evening’s first announced winner, Da’Vine Joy Randolph (THE HOLDOVERS), had one of the most heartfelt and emotional responses one will ever witness at an awards show. Hands down, my two favorite scripts of the year won both writing categories, Original (ANATOMY OF A FALL) and Adapted (AMERICAN FICTION). Billie Eilish and her brother and co-writer Finneas O’Connell gave a nice performance (with Barbie pink backlighting) of their nominated and ultimately winning song, “What was I Made For?”.

Comedy kicked in when nominees Emily Blunt and Ryan Gosling offered a tribute to Stunt performers in the form of a competitive rivalry between OPPENHEIMER and BARBIE (their two movies). Two other comedy bits also stood out, one for falling so flat. Presenters Melissa McCarthy and Octavia Spencer pushed an unfunny gag based on Chippendale/Chip ‘n Dale, while John Cena nailed it in his faux-streaker bit. In a touching moment with a comedy background, Robert Downey Jr became the first former “Saturday Night Live” cast member to win an acting Oscar, and his long-overdue recognition reinforced his real-life comeback (thus overshadowing Jimmy Kimmel’s went-too-far monologue attack). The show ended with three of the final four “big” awards going to OPPENHEIMER (Actor, the humble Cillian Murphy; Director, the brilliant Christopher Nolan; and Best Picture). The extraordinary performance Emma Stone gave in POOR THINGS was justly rewarded with the Best Actress award.

As for surprises, I missed out on two winners in my predictions. In the Special Effects category, GODZILLA MINUS ONE bested my pick MISSION: IMPOSSIBLE – DEAD RECKONING PART ONE, and for Cinematography, Hoyte Van Hoytema (OPPENHEIMER) edged out my choice, Rodrigo Prieto (KILLERS OF THE FLOWER MOON).  The latter film, directed by Martin Scorsese, was shut out despite ten nominations, (remarkably) making it the esteemed filmmaker’s third film to go O-for-10 at Oscar. Many expected Lily Gladstone to take home the award for Best Actress in a Leading Role, and as important has her performance was to the film, I remain solid in my belief that Emma Stone’s Oscar-winning performance was transformative and will stand the test of time. 

Overall, I would rate the presentation as pretty darn good, and fitting for a year that featured so many fine films (and, perhaps not coincidentally, so few superhero movies). TV ratings were up, and we hope the Academy can actually stimulate some box office action, rather than exist for the sole purpose of critical bashing. And yes, acting legend Al Pacino gave us a near-MOONLIGHTING disaster as he skipped the listing of nominees and just blurted out “Oppenheimer” to end things. This is one trending tradition that could be skipped and no one outside of the media would mind.

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Posted by David Ferguson

LOVE LIES BLEEDING (2024)

March 12, 2024

Greetings again from the darkness. The first feature film from writer-director Rose Glass was delayed almost two years due to COVID, but when SAINT MAUD hit in 2021, we knew immediately she was a filmmaker to watch. Along comes her second feature, co-written with Weronika Tofilska, and as a rare lesbian neo-noir, it’s sexy and violent and stylishly filmed … confirming Glass as one to follow.

To ensure that every viewer knows that glitz and glamour will not be featured, we are introduced to Lou (Kristen Stewart) as her gloved hand is elbow deep in a clogged toilet at the gym she manages. The gym is filled with sweaty bodies pumping iron, and Lou looks on mostly disinterested, save for gym rat Daisy (Anna Baryshnikov, Misha’s daughter) who is obsessed with Lou thanks to their previous amorous interactions. Though Daisy is smitten, Lou is clearly disinterested, while being as nice as possible. As one lonely heart looking for love, Lou’s eyes light up when she spots drifter Jackie (Katy O’Brian, “The Mandalorian”) working out one evening. Jackie is making her way to Las Vegas to compete in a bodybuilding competition, and she and Lou hit it off that first night.

The film is set in the late 1980’s in some nowhere town in New Mexico, where nefarious doings are the only path to survival. In fact, the most nefarious of the bunch is Lou’s father, Lou Sr (Ed Harris). Sporting shoulder length hair that gives him a “Tales from the Crypt” aura, Lou Sr runs a shooting range, while also running guns across the border, and in an unusual choice for a hobby, he collects live bugs. As the local crime lord, Lou Sr has a favorite spot for dumping the bodies of those who cross him.

One other local scumbag on display here is JJ (Dave Franco), husband to Lou’s sister Beth (the great Jena Malone). JJ is a world class wife-beater and the source of much angst for Lou … this despite Beth’s constant willingness to forgive her husband, due to her fear of being alone. JJ is the lowest form of life, and when he puts Beth in the hospital, it sends Lou into emotional turmoil, which in turn forces her new lover Jackie to turn She-Hulk, and flash the dark side from her past.

Just about anything that can go wrong for these folks, does. It’s an endless stream of bad luck, bad decisions, and just plain bad; however, it’s mesmerizing to watch. We see a four-way battle: guns versus muscles versus love versus inner-strength. Some characters get what they deserve, while others just wallow in the mess. Daisy shows she is not as ditzy as she seems once she gains leverage, yet she also proves she’s not as clever as she thinks.

The performances here are quite fun to watch – Stewart, (especially) O’Brian, Harris, Baryshnikov, and Malone are all superb, and bring heft to an already creative and heavy-duty story. The score from Clint Mansell is a perfect fit, and Rose Glass’s film bears a slight tonal resemblance to the Coen Brothers’ classic BLOOD SIMPLE (1984). As in that one, the characters here often zig when we assume they will zag, and though the final act likely jumps the shark for some viewers, there is so much good here, that it prepares us for Glass’s future visions.

In theaters beginning March 15, 2024

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

AMERICAN DREAMER (2024)

March 7, 2024

Greetings again from the darkness. Owning a home remains the American Dream, and being unrealistic about the topic makes one an American Dreamer. The first few scenes of the film make it obvious that American Dreamer is not just the title of Dr. Phil Loder’s in-progress novel, but also a term that describes him. This is Paul Dektor’s directorial debut, and the script is co-written by Theodore Melfi (HIDDEN FIGURES 2016, ST VINCENT 2014) and Christopher Wehner. It’s loosely based on a true story.

Phil (Peter Dinklage) is an adjunct college professor who dreams of purchasing one of the multi-million-dollar mansions in the market. Inexplicably, he often crashes the open houses on these properties, or has his friend Dell schedule a viewing appointment. It’s inexplicable because Phil earns less than $50k per year.  Dell (1980’s heartthrob Matt Dillon) is a smug high-producing realtor, and we never quite understand the bond between he and Phil. They are like oil(y) and vinegar, and Dell cuts to the quick when he tells Phil, “You’re a dreamer, not a doer.” (Just in case every single viewer hasn’t quickly figured that out)

We’ve all heard the adage: if it’s too good to be true, it probably is. Well, Phil proceeds to learn this lesson over and over … whether it’s through a real estate deal or the attraction of a beautiful woman. When Phil stumbles on an ad (in the classifieds section, no less), he has Dell check it out. The “deal” is for $240k, Phil can buy one of the spectacular mansions he’s been dreaming of. The catch? He must accept a “live-in” – the current owner, an elderly woman who Dell describes as “actively dying”. Phil is confined to a small, run-down apartment on the property “til she croaks”.

Of course, like Doc Holiday in TOMBSTONE, the elderly woman wasn’t quite as sick as she made out. Astrid Fanelli (Oscar winner Shirley MacLaine) intends to hold Phil to the agreement which includes his paying upkeep, repairs, and property taxes. This is just one of the pieces that is never explained and makes zero sense. It’s clear, these two will go one of two ways – either fight like proverbial cats and dogs, or become close friends.

Phil teaches a class in cultural economics, and the first question he asks his class is, “What do we need to be happy?”. Similar to the novel he’s writing, there is a “we see right through you” element to the autobiographical account of Phil’s own thoughts and dreams (including a fantasy relationship with twin beauties). Bottom line, Phil is not a likable guy, especially after liquidating his retirement fund and selling his personal belongings to get this “deal” (Phil is later seen packing up a U-Haul, though we never see him buy anything after liquidation of his assets).

Supporting work is by Danny Pudi (“Community”) as Phil’s supervisor, Michelle Mylett (“Letterkenney”) as Phil’s amorous student, Kimberly Quinn (HIDDEN FIGURES, 2016) as Astrid’s lawyer “daughter” and yet another with amorous intentions (though conflicted) towards Phil, and Danny Glover (at 78, not getting too old for this “stuff”) as a Private Investigator. The film belongs to Mr. Dinklage and Ms. MacLaine, and they do all they can with the material, expertly generating some terrific scenes … scenes that too often get crushed by the weight of other scenes and subplots that make little sense. Beyond that, though no one should be pleased with how the characters of Maggie and Claire are written, the film is certainly watchable, even with a weak ending.

In select theaters and OnDemand beginning March 8, 2024

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

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