AMERICAN: AN ODYSSEY TO 1947 (2023, doc)

September 8, 2023

Greetings again from the darkness. Let’s begin with this: Danny Wu’s documentary ties legendary filmmaker Orson Welles into one of the most tumultuous periods of history. This is done not so much in a FORREST GUMP or ZELIG style, but more like one of those push pin boards Claire Danes used in “Homeland” by looping red thread around all the key characters and events. Wu opens with Webster’s 1913 definition of an “American” – originally applied to the aboriginal inhabitants, now applied to descendants of Europeans born in America, and especially to the citizens of the United States.

For cinephiles, much of Welles’ personal and professional story is well-known. Born in 1915, his mother died when he was ten. His father shipped him off to a liberal boarding school where he was free to pursue his passion in the theater, and all things creative. Fellow actor Simon Callow spends a good amount of time on camera recounting Welles’ passion for the theater, and especially acting, and how playwright Thornton Wilder and another legend, John Houseman, were instrumental in assisting Welles with early career breaks.

It’s at this stage where Wu drops in some ‘strange bedfellow’ politics, showing media mogul William Randolph Hearst playing a key role in getting Franklin Delano Roosevelt elected President. As the film progresses, we learn how this relationship shifted 180 degrees, and also how Welles later bore the brunt of Hearst’s powerful reach. FDR pushes through the Federal Theater Project, which keeps Welles working, and it’s in 1938 when Welles’ infamous broadcast of H.G. Well’s “War of the Worlds” puts folks on edge, and it’s the year Howard Kakita is born. We only get bits and pieces of Kakita’s story, but he and his family are linked to the United States, Hiroshima, and the internment camps established by FDR during the war.

By this stage, we have a grasp on what Wu is doing with his film – a blend of historical and biographical material. As a 25-year-old wunderkind, Welles secured an unprecedented contract with RKO, giving him total control of his work. The rough draft of his initial project is co-written with Herman Mankiewicz and John Houseman, and is titled “American”. This work is fine-tuned and becomes the 1941 classic, CITIZEN KANE. It’s at this point that Welles experiences the power of William Randolph Hearst, who crushes the distribution and box office of the film. Of course, even more than 80 years later, it’s still considered a cinematic masterpiece.

What many may not know is how Welles used the theater for many projects promoting anti-racism, at a time when Jim Crow laws were booming. Wu uses the example of Isaac Woodard to bring home the often-disgusting nature of this era. Sgt Woodard was headed home after serving in the war, when he was severely beaten to the point of having his eyes gouged out by a small-town sheriff and deputy. The tragic story is told by Woodard’s nephew and author Laura Williams. The blinding of Isaac Woodard is described as igniting the Civil Rights Movement.

Mr. Kakita offers more details of his family revisiting Hiroshima after the bomb, and we learn how J Edgar Hoover started a file on Welles during the era of McCarthyism and blacklisting suspected communists. After RKO re-edited (butchered) Welles’ film, THE MAGNIFICENT AMBERSONS, Welles felt rejected at most every turn and decided to move to Italy and live a quiet life focusing on the art of moviemaking. Described as transitioning from “Boy Wonder” to the “youngest has-been”, Welles did visit the U.S. periodically, and here his life has provided quite the perspective for Danny Wu’s innovative storytelling.

The film has a limited theatrical release on Sept 8, 2023 and digital release on Sept 12.

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Posted by David Ferguson

PORTRAIT OF THE QUEEN (2023, doc)

September 5, 2023

Greetings again from the darkness. Although not one of those Americans mesmerized by every move made by the Royal Family, I have long admired Queen Elizabeth II for the manner in which she conducted herself in public. Having served as Monarch for seventy years at the time of her death, the Queen displayed a rare and much appreciated decorum throughout her lifetime in the public eye. In fact, director Fabrizio Ferri begins the film by asking citizens to describe her in one word, and what we hear is no surprise: consistency, constraint, strong, constant, respect. Obviously, she was Queen for the entire life of most British citizens, so her passing was an emotional jolt.

Rather than produce a traditional documentary on her life, director Ferri instead opts to use Paola Calvetti’s 2019 book, “Elisabetta II, Ritratto di regina” as the focus (pun intended). With apologies to the Kardashians, supermodels, and Tom Brady, it’s likely that Queen Elizabeth has been the most photographed person on Earth since she ascended the throne. In contrast to the usual chronological lifeline, we get a fascinating look at some of the photographs and photographers … those that have recorded history via Royal portraits.

Actor Charles Dance is the (often) on screen narrator, and even he and the photographers being interviewed are shot with artistic lighting. Elizabeth and her family had early photos taken by Marcus Adams and Cecil Beaton, and we hear directly from many of the later photographers such as Brian Aris, Jason Bell, Julian Calder, Chris Levine, David Montgomery, and John Swannell, and their insight is often quite intimate and enlightening. One of the best is when we are told that once you photograph the Queen, no other subject will ever be intimidating for the photographer. The only segment that seems out of place is the interview with Susan Sarandon, who recalls meeting the Queen. This comes across as a disruptive celebrity inclusion meant to appeal to American viewers, rather than a contribution to the film.

The film is a brisk one hour and fourteen minutes, and is a stellar balancing act between the actual portraits (some which we’ve seen, others we haven’t), those shooting the portraits, and insight into the world-famous woman at the center. Dating back to her coronation and the eleven-pound bejeweled crown, Queen Elizabeth II’s presence was that of style, grace, and dignity. The pictures don’t lie.

Available on digital beginning September 5, 2023

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Posted by David Ferguson

MR. JIMMY (2023, doc)

August 30, 2023

Greetings again from the darkness. Obsession. Commitment. Dedication. Devotion. Pursuit of perfection. Whatever this is, it goes deeper than imitation. Akio Sakurai has spent thirty-plus years trying to become … well, let’s use his quote: “I want to be Jimmy Page.” Yes, Akio is not paying tribute to his guitar hero, and he zooms past the definition of fanboy. Director Peter Michael David chronicles Akio’s dream (over 8 years), and the film left me with conflicting emotions. Should I be in awe of Akio’s guitar-playing, or should I be worried about the mental state of someone so focused on being someone else?

Akio tells us it happened when he was about 19 years old. He watched the 1976 documentary, THE SONG REMAINS THE SAME, a concert film showcasing Led Zeppelin’s famed 1973 shows at Madison Square Garden. He along with many of us, were enthralled by the band, and especially by their ferocious guitarist, Jimmy Page. But it’s only Akio, a resident of Japan, and the son of a Kimono designer, who decided to ‘become’ Jimmy Page.

We are along for the ride as Akio meets with his costume designer, the technician who creates his pickups, the factory where his guitars are made, and the tuner of his amps. These are steps most guitarists take, but Akio’s difference is that everything must exactly match what Jimmy Page used … right down to the vintage amps and painstakingly matching stitching on the infamous Black Dragon suit.

Akio played clubs in Japan for years … matching note for note the way Jimmy Page a particular song in a particular year at a particular concert. It was 2012 when things changed. While on tour in Japan, Jimmy Page (yes, THE Jimmy Page) attended one of Akio’s shows and gave him an enthusiastic reception, truly appreciating the attention to craft on display. This ‘dream-like’ moment inspired Akio’s wife to encourage him to follow his dream to America, specifically California.

From this point on, the film follows Akio as he joins a club fand, Led Zepagain. As you can imagine, Akio’s obsession over every note played didn’t always sit well with bandmembers who just wanted to be a tribute band. We see clips of the band performing, and we go behind the scenes for some uncomfortable debates. Akio continues to hone his Page-ness by obsessing over bootleg recordings of Zeppelin concerts through the years. When the band dissolves, Akio forms another band and books a gig at Hollywood’s iconic Whisky A Go Go (opened in 1964), a standout performance that we see, yet one that cost Akio a great deal of money.

We are treated to clips from many of Mr. Jimmy’s performances, and his guitar skills are obvious. Bouncing back and forth from Japan to the United States allowed him to do what he loved, but we can’t help but wonder at what cost. Akio’s need to control details and unwillingness to compromise cost him his bandmates. We are told these traits are ‘very Japanese’, so it’s excused as a cultural thing We do see Akio’s joy at being selected to join Jason Bonham’s (son of the late John Bonham), but we can’t help wonder what drives one man to inhabit the style of another for so many years. As impressive as Akio is, it’s also kind of sad.

*NOTE: the film made the festival circuit in 2019, and is only now being released

Abramorama will release the film in theaters beginning September 1st. 

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Posted by David Ferguson

GOLDA (2023)

August 24, 2023

Greetings again from the darkness. More than forty years have passed since the great Ingrid Bergman portrayed Israel Prime Minister Golda Meir in the TV miniseries, A WOMAN CALLED GOLDA (1982). Fighting through cancer during filming, it was Ms. Bergman’s final role, and she won a posthumous Emmy for a performance that left quite a mark on this young (at the time) viewer. Guy Nattiv won an Oscar for his excellent short film, SKIN (2018), and here he takes on a narrow, yet vital window in the term of Golda Meir … a time when the survival of her country was in jeopardy. The screenplay was written by Nicholas Martin (FLORENCE FOSTER JENKINS, 2016).

Under heavy make-up and facial prosthetics, Oscar winner Helen Mirren expertly captures the essence of Golda Meir at a time she was carrying an unimaginable burden. The opening shoots through a quick slideshow of history before settling into 1973 and the escalating conflict between the Arab states (led by Egypt and Syria) and Israel. Despite the presence of some intelligence warning of such, Israel was caught off-guard by the surprise attack, and found themselves scrambling for the next 3 weeks – the period that makes up the core of the movie. Slump-shouldered and chain-smoking (sometimes defiantly), we see Golda making huge decisions between trips for lymphoma treatments. Her decisions would be the determining factor on how many soldiers would die, and whether Israel would remain independent.

It’s the level and question of that intelligence that provides the film’s framing structure of Golda Meir appearing before the Agranat Commission – a commission designed to render after-the-fact judgment on her decision-making and war strategy. As we witness, some of that strategy involves gut feelings and instincts, yet what the film makes clear is that Golda understands war kills real people – these aren’t just numbers in a report. Included in these meetings are the Minister of Defense, Moshe Dyan (Rami Heuberger), Chief of Staff “Dodo” Elazar (Lior Ashkenazi), and Field General (and future Prime Minister) Ariel Sharon (Ohad Knoller). Camille Cotton plays Golda’s longtime personal assistant Lou Kaddar, and some of the best scenes are the private conversations between U.S. Secretary of State Henry Kissinger (Liev Schreiber) and Golda, as she pushes for assistance and support, with Kissinger in a tough spot.

This Yom Kippur War lasted barely three weeks, yet the profound stress of war-induced decisions is obvious in Golda, as is her stance as a tough leader. For her, this did not mean sacrificing human emotions, but rather being decisive, communicative, and surrounding yourself with a capable team … although disloyalty in her administration is hinted at by some. Golda lived (just) long enough to witness the infamous Treaty signed by Menachim Begin and Answar Sadat, a treaty made possible through her leadership.

The film more closely resembles DARKEST HOUR (2017), with Gary Oldman’s Oscar-winning performance as Winston Churchill during WWII, than THE QUEEN (2006), Ms. Mirren’s own Oscar-winning turn as Queen Elizabeth. Actual newsclips are mixed in for historical perspective and the score by Dascha Dauenhauer leans heavily on dramatic stringed instruments. A final song by Leonard Cohen caps things off. While it’s true that most of the storytelling doesn’t reach the level of Ms. Mirren’s performance, that performance is enough to convey the high stakes involved.

Opens on August 25, 2023

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Posted by David Ferguson

RETRIBUTION (2023)

August 24, 2023

Greetings again from the darkness. Fully deserving of a tip of the cap is Liam Neeson, who used the popularity of TAKEN (18 years ago) to create a new sub-genre: the annual Liam Neeson action film where he gets to be the hero. This latest is from director Nimrod Antal (PREDATORS, 2010) with Christopher Salmanpour adapting the screenplay from Alberto Marini’s 2015 original, EL DESCONOCIDO (Spain). This is actually the third remake of that film, including those from Germany and South Korea.

An artful assembling of a bomb takes place over the opening credits, and then we cut to Matt Turner (Neeson) getting his morning workout on the boxing bag hanging in his loft. Other than fast-driving, that’s the biggest action-hero moment Liam gets in the film, although he is in the middle of plenty of other explosive moments. We quickly recognize Matt Turner as a successful Financial executive living in Berlin who is too consumed with work to be an attentive husband to his wife (an underused Embeth Davidtz) or involved father to his kids, Zack (Jack Champion, AVATAR: THE WAY OF WATER) and Emily (Lilly Aspell, played young Diana in the two Wonder Woman movies). Of course, everyone recognizes his there-not-there approach except him.

Guilted into the rare task of taking the kids to school one morning, Matt takes a call from an “unknown caller” on an unrecognized cell phone located in the console of his car. The disguised voice informs Matt that there is a bomb in his car that will detonate if he gets out, and there is a remote device that will allow the bomb to be set off if Matt doesn’t do exactly what the caller says. The plan revolves around big money, and Matt’s kids begin to question if their father has cheated people. Matt’s awkward behavior doesn’t put them at ease. This ordeal involves other people as well, and soon a Europol detective (Noma Dumezweni, THE LITTLE MERMAID, 2023) is involved and assuming Matt is the real threat.

With no apologies, the film borrows heavily from SPEED (1994) and PHONE BOOTH (2002), as time becomes a crucial element, along with following precise instructions. As viewers, we are right there with the kids – trying to figure out what’s happening, why it’s happening, and who is behind it. Most of the time is spent in Matt’s Mercedes, and we see two other luxury vehicles (Maserati, Tesla) on the wrong end of bombs. There are some holes in how the story progresses, as well as some inconsistencies in the look of the vehicle – clean, dirty, damaged, undamaged – although the weakest point is Matt’s absurd call with a client early on. This was obviously written by someone with very little business acumen. Matthew Modine has a supporting role and one of the film’s producers is Jaume Collet-Serra, a frequent collaborator on the many Liam action-movies. This one should work for those who enjoy the thrill of the moment before moving on to the next one.

Opening in theaters on August 25, 2023

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Posted by David Ferguson

WAYNE SHORTER: ZERO GRAVITY (2023, doc)

August 24, 2023

Greetings again from the darkness. When the musical geniuses we respect and admire speak in awe and wonderment about another musician, we know it’s time to pay attention. Of course, Wayne Shorter has long been recognized as a Jazz giant, and unfortunately he passed away earlier this year. For this three-plus hour documentary, director Dorsay Alavi interviews such renowned artists as Joni Mitchell, Sonny Rollins, Carlos Santana, and Herbie Hancock. It’s fascinating to hear those on top of the mountain express high-level respect for Shorter using such descriptions as greatness, visionary, and genius.

Progressing in mostly chronological order, Alavi divides the film into 3 parts, or “portals” paying tribute to Shorter’s Buddhist practices. Portal 1 is subtitled “Newark Flash in NYC 1933-1971”. Portal 2 is “Faith is to be Fearless 1972-1999”, and Portal 3 is “Zero Gravity 2000”. We learn about Shorter’s childhood, including the bond with his mother, his early artistic talent, and his influences: movies, comic books, and music on the radio. Early on, he performed with his brother, and they went by Mr. Weird and Doc Strange. Later, Wayne became known as “Fast Fingers” for his work on the clarinet and sax, and after a stint in the Army, he joined Art Blakey’s band. When Miles Davis pursued Shorter to replace John Coltrane, the move freed Shorter to concentrate on his own compositions, leading to Miles Davis’ “ESP”.

The second portal focuses more on Shorter’s family life, which featured some highs to go with much tragedy – more than one man’s share. The challenges of marriage(s) and parenting are discussed, as is Shorter’s transition to fronting Weather Report, the band that brought jazz fusion to mass audiences and mainstream radio. It’s also in this phase where a grieving Shorter bonds with his third wife Carolina, a close friend of his second wife Ana Maria. It’s also here where Herbie Hancock and Wayne cement a friendship strengthened by musical talent and appreciation.

Portal three takes us through Shorter’s life post-Weather Report, allowing Wayne to explore even more new avenues for his music. The Wayne Shorter Quartet is featured and we hear from the other musicians that played with him. We are struck by how Shorter pushed each of them towards freedom and musical expression … they describe it as building the composition live, improvising the feel. It’s in this later stage where Shorter mentors many young musicians who are drawn to his brilliance. He is a musical Yoda … taking them off the page and into a new realm of artistry.

One of my favorite sequences comes when Wayne Shorter and Esperanza Spalding collaborate on “Gaia”. Her singing and bass playing are ethereal, while his playing was never more free. One of Shorter’s fellow musicians describes his career as “the soundtrack of his life”, and another that his “music sounds like life.” Perhaps no other musician has received such compliments from those they played alongside and those they influenced. Wayne Shorter certainly deserves to be mentioned with Miles Davis, Charlie Bird, John Coltrane, Duke Ellington, and Thelonius Monk as being among the greats of jazz, and while Dorsay Alavi’s documentary may be a bit long, the case is made.

Premiering on Prime Video on August 25, 2023

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Posted by David Ferguson

LANDSCAPE WITH INVISIBLE HAND (2023)

August 18, 2023

Greetings again from the darkness. Alien invasion movies have long been a favorite of science-fiction filmmakers, as well as platform for those who strive to caution us to our societal missteps and wrong choices along life’s muddy path. Within the past couple of weeks I watched JULES (2023), a cute, heart-warming story about an alien who crash-lands in Pennsylvania and is cared for by Ben Kingsley’s character. Going back further we have the thoughtful ARRIVAL (2016), the outlandish MEN IN BLACK (1997), the precious E.T. THE EXTRA-TERRESTRIAL (1982) from Spielberg, the frightening ALIEN (1979) by James Cameron, the often-re-made WAR OF THE WORLDS (1953), and the classic FORBIDDEN PLANET (1956). Of course, this is but a tiny portion of the complete list, but it gives some idea of the long-lived fascination.

Writer-director Cory Finley has become a rising star with the devilishly entertaining THOROUGHBREDS (2017) and BAD EDUCATION (2019). For his third feature, he has chosen to adapt MT Anderson’s 2017 novel, and in the process delivers a hit and miss commentary on the human race. Artwork is creatively utilized to provide the timeline and backstory of how the technologically advanced aliens invaded and began rule the planet. It takes us to the year 2036, five years after “First Contact.” It’s here where we find the Campbell family: mother Beth (Tiffany Haddish), son Adam (an excellent Asante Blackk, “This is Us”), and daughter Nathalie (Brooklynn MacKinzie). Beth is a former lawyer, unable to find work and struggling to make ends meet for the family. Adam is the main feature here, as a high school student who is exploring his talent as an artist, while also falling for new girl Chloe (Kylie Rogers, “Yellowstone”) who is homeless with her dad (Josh Hamilton) and bitter brother Hunter (Michael Gandolfini).

The aliens, known as Vuvv, have their own scratchy language, and the appearance of slimy loaves of bread with four paddle legs and two caterpillar eyes. As a species, they are mesmerized by human romance, and the newest Courtship Broadcast they follow is “Adam and Chloe in Love.” The two teenagers gain a following, which means money for their families. However, since much of the movie is spent harping on the evils of capitalism, the two soon find themselves being sued by the aliens for misrepresentation, putting themselves and their families at risk. A particularly creative solution to the problem finds one of the Vuvv moving into the home and attempting to emulate sitcom family life as seen on “The Adventures of Ozzie and Harriet” (personally I would have preferred “Leave it to Beaver”).

This is not one of the post-apocalyptic films that have become so popular. Rather it’s social commentary that doesn’t dig very deep and sticks to the easy targets. There are a few doses of clever humor, including a SHAWSHANK REDEMPTION shot in a golf course sandtrap, and a school lunch menu that includes Saturn sliders and Moon nuggets. Adam’s story is one of a young man striving to maintain his sense of self despite other-worldly obstacles. The lessons are clear in that money can’t buy happiness, but even that lesson doesn’t prevent us from wanting satire to go a bit deeper with its commentary … warbling music (Michael Abel) isn’t quite enough. Although this film isn’t at the level of his first two features, filmmaker Cory Finley will surely deliver future projects that inspire thought and soul-searching.

Opens in theaters on August 18, 2023

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Posted by David Ferguson

BIRTH/REBIRTH (2023)

August 17, 2023

Greetings again from the darkness. When Colin Clive bellowed, “It’s alive. It’s alive”, in James Whale’s classic FRANKENSTEIN (1931), it instantly became an iconic moment in cinema history, and inspired many new readers to seek out Mary Shelley’s 1818 novel. Since then, there have been numerous takes on the idea of bringing the dead back to life, and this latest is the first feature film from writer-director Laura Moss and their co-writer and collaborator on their award-winning short film, FRY DAY (2017), Brendan J O’Brien.

The film opens with the frantic emergency delivery of a newborn where the mother’s life is in danger. This scene bookends the story, and it’s not until the end when we realize what’s happening and why. As an opener, this throws us a bit off track, and it’s followed up by showing us the close mother-daughter bond between maternity nurse Celie (a terrific Judy Reyes, “Scrubs”) and six-year-old Lila (AJ Lister). The next morning is a mother’s worst nightmare, and this takes us into the depths of the hospital and the story.

Bacterial Meningitis takes Lila’s life in a matter of hours, and her body ends up with onsite pathologist Dr Rose Casper (Marin Ireland, “Justified: City Primeval”). Socially awkward doesn’t do justice to Rose’s personality, as she seems to be incapable of empathy or even a normal conversation. However, she is obsessed with finding a cure. No, not a cure for meningitis or even cancer, but a cure for death. And her latest “patient” is the recently deceased Lila.

When Celie tracks down Rose at her apartment, she is stunned to see Lila in bed attached to monitors, while Rose’s pet pig tromps around the kitchen. It’s at this point where we realize we have been horror-conditioned to expect Lila to stagger from bed and spread atrocities across the city, wreaking havoc on all who have wronged her. With the creativity of the filmmakers, not only does that not happen, but instead an odd example of teamwork builds between Celie and Rose. It’s a brilliant turn of events, and one that elevates the film within the horror-thriller genre.

Rose’s obsession and focus is quirky and odd and unconventional, and watching Celie not just join in the mission, but actually contribute, is quite interesting. The contrast between the two women is obvious – Celie sees people (babies) as they are born into the world, while Rose seems them just after they depart … these are the first and last stages. There is really only one misstep here – involving Muriel the pig – but most of the movie is exceptionally well written and acted. Ms. Ireland’s Rose will surely make most viewers quite uncomfortable – especially with her method for gathering fetuses for research.

Playing God or trying to outwit nature and biology is typically a losing battle. The film has bits of Frankenstein, PET SEMETARY, Chucky from the Child’s Play franchise, as well as HP Lovecraft’s RE-ANIMATOR. As the two women begin to share traits previously only visible in the other, the film harkens back to the old adage – just because we can do something doesn’t mean we should – only with a big twist from a unique point-of-view as a final shot. It’s a dark movie that certainly isn’t for everyone, but here’s hoping Laura Moss’s film finds a midnight movie audience.

Opens August 18, 2023

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Posted by David Ferguson

THE MONKEY KING (2023, animated)

August 17, 2023

Greetings again from the darkness. Adapting literary works for the big screen is common practice; however, the stakes are a bit higher when dealing with a beloved classic Asian work that is more than 400 years old. “Journey to the West” was initially written during the Ming Dynasty and no original author has ever been confirmed. The stories were re-imagined for an English audience in 1942 by Arthur Waley and published as “Monkey”, and now director Anthony Stacchi and co-writers Steve Bencich, Ron J Friedman, and Rita Hsiao have brought their vision to the screen … focusing on one specific segment of the story.

Now, if that first paragraph sits a bit heavy, you should know this is an animated movie targeted at kids. It’s action-packed, colorful, and funny … all while packing a message or moral that most parents will appreciate. Much of the Chinese spiritual and philosophical and cultural aspects are included, but never so heavy-handed as to lose the attention of kids. In fact, if any aspect is somewhat overboard, it’s the martial arts fighting and action sequences … of which there are many. Possibly too many for some kids and some parents, and if the messages somehow get lost, it’s likely in the crash-boom-bang overdose because the action, while well done, is relentless.

Monkey King (voiced by comedian Jimmy O Yang) is birthed/sprung from a rock and has special powers. Unfortunately, he is not accepted by the local clan of monkeys, even after saving them from a threat. Instead, he turns his attention to being accepted into The Immortals (Gods of the animal world). To prove his worthiness, he sets out to defeat 100 demons, but along the way, we witness an oversized ego and lack of humility. Monkey King is simply not very likable. On this journey, he gains an assistant in his number one fan (not in a MISERY way) Lin (Jolie Hoang-Rappaport). Monkey King even treats her poorly.

The next best character, and Monkey King’s nemesis, is the underwater Dragon King (SNL’s Bowen Yang). Their exchanges and ego-wrangling are some of the best in the movie, and the underwater scenes provide a welcome CGI change of pace. With no family and his only friend being his magic stick, Monkey King is an outsider with special powers and the kind of attitude that gets junior high kids sent to the Principal’s office. No matter how many heroic feats he turns, his lust for power and lack of humility win him no points with The Immortals.

The Dragon King gets the best musical number, while Monkey King’s journey leads him through Buddha (BD Wong) and literally into both heaven and hades. The film’s big question is how long it will take Monkey King to learn humility and show kindness to others. As has been stated, an ego trip is a journey to nowhere … it’s a lesson this talented Monkey King must learn.

Opens on Netflix beginning August 18, 2023

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Posted by David Ferguson

JULES (2023)

August 11, 2023

Greetings again from the darkness. Senior citizens sometimes nearly cease to exist for the outside world, or at best, are humored in a ‘there-there’ manner. So, what do you think happens when an elderly gentleman in a small western Pennsylvania town repeats the same suggestions at multiple City Council meetings, and then, in a nonchalant way, mentions that a spaceship crash-landed in his backyard, damaging his azaleas and birdbath? Right, others just shrug and move on, assuming the ol’ geezer is just imagining things.

But what if the old man is not imagining? What if that spaceship/UFO did crush his azaleas and he’s now being quite hospitable and nursing the injured alien back to health? Well, that’s the story here in the first feature film screenplay from Gavin Steckler (“Review”) in a film directed by Marc Turtletaub, best known as a Producer on such fine films as THE FAREWELL (2019), LOVING (2016), and LITTLE MISS SUNSHINE (2006).

Oscar winner Ben Kingsley plays Milton Robinson, a gentle soul and widower whose veterinarian daughter Denise (Zoe Winters, “Succession”) helps him out with finances, while also encouraging him to see a doctor in hopes that he’ll agree to move into an assisted living home. We see her concerns as Milton is forgetful and repetitive and lonely … yet we also see his insistence on maintaining independence. Obviously, this is a situation many families deal with on a daily basis.

Things get really interesting when a couple of the other town elders become involved. Sandy (Harriet Sanson Harris) is the chipper do-gooder who is always trying to better the community, while Joyce (Jane Curtin) is the nosy one who wants to know everyone’s business. Watching these three deal with the quiet and calm alien they name Jules is almost a therapeutic experience in bonding over a secret.

Mostly a charming, feel-good movie, Ms. Curtin does deliver a dose of comedy with her rendition of “Free Bird”, and having Milton admit to three jaywalking tickets while addressing the City Council is a nice touch. This little film is full of kindness – unless you are a cat – and most will recognize that sliced apples take the place of Reese’s Pieces. It’s likely the most pleasant and easy-going science fiction movie we’ve seen … at least until the few moments when the government is involved. Let’s hope we would all treat outsiders the way Milton treats Jules.

Opens in theaters on August 11, 2023

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

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