LOREN & ROSE (2023)

June 23, 2023

Greetings again from the darkness. In addition to being a talented filmmaker, writer-director Russell Brown must be an admirer of movie history. His latest serves up tributes to some classics, and even borrows directly from some … the two most obvious being MY DINNER WITH ANDRE (1981) and CITIZEN KANE (1941). As evidence, the viewer will notice the vast majority of the film features two characters conversing over meals while dining in a restaurant, and the narrator walks us through his history and relationship with the most interesting and intriguing character.

Up and coming film director Loren (Kelly Blatz) is on the cusp of his debut feature film thanks to the film festival success of his recent short film. He’s meeting legendary actress Rose Martin (Jacqueline Bisset) at her favorite restaurant to discuss a lead role, which would be a comeback of sorts for the aging actress now best remembered for her turn in the cheesy “Mega-Gator’s Mom”. The young director is a bit insecure and anxious about this next career step, while Rose is impressed that he knows some of her more obscure work, and begins to steer the conversation deeper, offering advice and counseling – some which might be construed as manipulative to a degree.

Two framing structures are at play here. The straightforward one comes with title cards during the three meals when we see these two meet: Appetizer, Main Course, and Dessert. The appetizer is their getting to know each other and work towards the first film. The main course occurs after that first film when the two go much deeper into philosophy, art, relationships, etc. Finally, the dessert is served years later when the dynamics are much different for a number of reasons. The second structure is a recurring look at the auctioning off of Rose’s memorabilia and personal items. All of this blends to form an unusual friendship.

Veteran actor Paul Sand (“St Elsewhere”) deserves mention as Phil, Rose’s friend and the restaurateur who chats with them during their three meals. He adds an entertaining personality to the mostly talky proceedings. And in all fairness, it should be noted that many will find this a slow-moving, uneventful film with little in the way of plot. That would not be an incorrect conclusion, yet there is actually much going on here. These are two artistic personas from different generations and their exchanges take us down backroads of perspectives molded by their own experiences and expectations. Rose tries to guide Loren through her stories and opinions, and much of their dialogue involves the nuances of living and dying – Rose has learned, and Loren is learning.

Ms. Bisset is such a joy to watch, and she seems to be all-in for the role. She along with Jane Fonda, Charlotte Rampling, and others, have proven that fulfilling and interesting roles are being written for aging actresses, and they are certainly capitalizing on this. For this film, legendary actress Jacqueline Bisset plays (fictional) legendary actress Rose Martin, and we can’t help but apply some biographical symmetry. Filmmaker Russell Brown has infused some depth into her character, and then he memorably plays Sandy Denny’s version of “Who Knows Where the Time Goes” over the closing credits. Judy Collins may have delivered a softer version, but it’s Ms. Denny who delivers a haunting interpretation of her own song.

In select theaters on June 23, 2023

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Posted by David Ferguson

LOVE GETS A ROOM (2023)

June 23, 2023

Greetings again from the darkness. Most of us will never know the agony and desperation felt by Jews in 1942 Warsaw, the setting of the latest from writer-director Rodrigo Cortes (the underappreciated thriller, BURIED, 2010). Co-written with David Safier, the film benefits from an extraordinary performance by Clara Rugaard as Stefcia, the lead actress in a live performance of Jerzy Jurandot’s “Love Looks for an Apartment” taking place in a rundown theater within the slums of Warsaw.

The genius of the film is the symmetry between the play and the real-world developments occurring for Stefcia. Fellow actors in the troupe include her current boyfriend Edmund (Ferdio Walsh-Peelo) and her ex-boyfriend Patrik (Mark Ryder), whose latest proposition has caused quite the conundrum for all three – as well as Edmund’s little sister Sara (Dalit Streett Tejeda), who ends up on stage for the climax. Although the play is a musical romantic comedy being performed to bring a glimmer of joy to local residents, there is even more drama occurring backstage, and all of this takes place at a frenetic pace that plays out in mostly real time.

Fear is ever-present in the form of a rifle-wielding Nazi soldier (Magnus Krepper) who interrupts the show and plops down on the front row. He’s the type of arrogant soldier who finds joy in flaunting his power and watching others cower in his presence. Of course, the audience is oblivious to the fact that the emotions played out on stage – love, fear, confusion, and passion – are also playing out in the real lives of those same actors. Life here is bleak, yet the play brings a form of hope that goodness and joy still exist.

Fueled by adrenaline, putting nerves on edge, the film is enhanced by Victor Reyes’ score and the tremendous camera work by cinematographer Rafa Garcia. The camera is almost always in motion, mirroring the key players and the drama and decisions unfolding. Additionally worth noting is a frantic scene over the opening credits that revs us up so we can keep pace with the coming story. This is excellent filmmaking by Rodrigo Cortes, and the message emphasizing the human spirit to always carry on is on full display. On a personal note, one of my favorite takeaways here is the dedication the actors show in delivering a show that offers a window of joy to those in dire need of it.

The film will be released June 23 in limited theaters and available on Digital + VOD June 30th

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Posted by David Ferguson

EXTRACTION 2 (2023)

June 15, 2023

Greetings again from the darkness. Our favorite fearless, black-market mercenary is back … and this time it’s personal! (read that line with your best “In a world” voice). Well, initially, Tyler Rake is only back while comatose after his last job nearly got him killed. When he awakens, his finely-tuned body is broken and in need of repair and recovery. Of course, it’s only a matter of time before his particular set of skills are back in demand. A visit from a mysterious man (Idris Elba) provides a personal offer that spurs Rake into ‘Rocky Balboa’ training mode, replete with chickens and wood-chopping.

Director Sam Hargrave and writer Joe Russo stick to the formula that worked in their popular EXTRACTION from 2020, only this time they go even bigger. Mr. Hargrave is a long-time stunt coordinator and Mr. Russo often works with his own brother Anthony on Marvel movies, so you can expect an overdose of action sequences, fight scenes, and shootouts. And regardless of how many of each you expect, the film will very likely deliver more. It is relentless in its commitment to action … never more so than the elaborately staged prison break. It’s a remarkable action sequence that lasts about 20 minutes and includes guns, knives, explosives, car chases, helicopters, and most anything else ever seen in a battle. One key difference is that the first film’s cinematographer, Newton Thomas Sigel, has been replaced by Greg Baldi, creating a different look and style to the film.

Chris Hemsworth returns as Tyler Rake, and the actor has publicly stated that he’s tired of playing Thor. It’s difficult to imagine this role is more fulfilling, but perhaps he simply enjoys being the main attraction. Also returning in this sequel are Tyler’s handler, Nik Khan (Golshifteh Farahani) and her brother Yaz (Adam Bessa). Their mission is to extract the sister of Tyler’s ex-wife, along with two kids, from the prison where her evil gangster husband is serving time. As one might expect, the extraction goes sideways, and soon the gangster’s equally evil brother (as proven earlier by his pitchfork handywork) is pursuing them in revenge. Bullets fly and bodies fall. Both sides are curiously well-equipped and better funded than many governments. Weapons and military equipment and soldiers seem to pop up instantaneously when trouble starts, and sometimes just before that. For those who enjoy over-the-top action and violence, get your popcorn ready.

In addition to worldclass bone-crunching, the participants enjoy worldclass globetrotting … bouncing to and fro: Dubai, Georgia (the country, not the state), the Amalfi Coast, Austria, and Sydney. The two gangster brothers are played by Tornike Bziava and Tornike Gogrichiani, while the sister being rescued is Tinatin Dalakishvili, and her troubled son is played by Andro Japaridze. Appearing in only two scenes each are Olga Kurylenko and Idris Elba, although Mr. Elba’s final scene seems to set the stage for his return in another sequel … which if it occurs, we can assume will somehow have an even bigger bullet budget.

Streaming on Netflix beginning June 16, 2023

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Posted by David Ferguson

BUFFALO SOLDIERS: FIGHTING ON TWO FRONTS (2023, doc)

June 12, 2023

Greetings again from the darkness. PBS excels at documentaries that bring to light a subject or topic which has been overshadowed or overlooked. In conjunction with WORLD channel and filmmakers Dru Holley, Jerome Young, and Jerry Bell Jr, this latest focuses on the previously uncelebrated role of African American soldiers in numerous wars dating back more than 150 years.

For those only familiar with the term “Buffalo Soldiers” thanks to the 1983 Bob Marley song, the film explains how legend tells us that the Native Americans gave the name to African American soldiers on the frontier, and it evolved into a nickname for all African American soldiers. Although the precise reason why the name was applied is still debated, the term has survived and can still be used today.

Timed to release on Juneteenth, the one-hour film depicts the crucial role of African American soldiers in war, and how their willingness to fight for the country was associated with their desired right to citizenship … and money. Perhaps the most revelatory moment occurs when we are informed that the infamous storming of San Juan Hill by Teddy Roosevelt and the Rough Riders during the Spanish-American War actually occurred AFTER the Buffalo Soldiers had cleared the way for them. The famous photograph is widened to provide evidence of these Buffalo soldiers.

Utilizing the fascinating stories of Moses Williams, William Cathay, and Charles Young delivers the personal aspect necessary to have the story resonate with skeptics. Williams spent 37 years in the military was the first African American to be awarded the Medal of Honor, and the stories of Cathay (a female pretending to be a man in order to enlist) and Young (stationed in Liberia where blacks ruled over indigenous blacks) are equally enthralling.

Much of the focus here is on the Indian War, the Civil War, and the Spanish-American War, and the film succeeds in proving its point: Black history is American history. This is a piece of history that many of us have not been previously exposed, and it rights that wrong.

Premieres June 12 on PBS and June 19 on WORLD Channel’s Local, USA series

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Posted by David Ferguson

DALILAND (2023)

June 9, 2023

Greetings again from the darkness. Sure, it’s an unusual approach; however, when it comes to Salvador Dali, the eccentric and iconic Spanish surrealist, a ‘normal’ introduction simply won’t do. Director Mary Harron (I SHOT ANDY WARHOL 1996, AMERICAN PSYCHO 2000, THE NOTORIOUS BETTIE PAGE 2005) shrewdly opts for an opening scene of the artist appearing on the classic TV game show, “What’s My Line?”. Lead actor Ben Kingsley (Oscar winner for GANDHI, 1982) has been superimposed over the familiar archival footage as he mimics the artist’s actual answers more than 60 years ago.

Screenwriter John Walsh (director Harron’s husband) structures the story around James (newcomer Christopher Briney), a young man Dali selects as his new assistant … and nicknames San Sebastian. This approach makes some sense as Dali was seemingly always on display and viewed as a curiosity to most. Yet James turns out to be the least interesting character on screen, and we wish for less of him and more of Dali, or Dali’s wife Gala, or Dali’s transgender nurse and muse Amanda Lear (Andreja Pejic), or even the flashbacks with Ezra Miller and Avital Lvova as young Dali and Gala.

It’s 1974 and “Welcome to Daliland” is how James is first invited into the St. Regis Hotel suite where Dali spent winters in New York City for forty years. Production Designer Isona Rigau captures the essence of the hotel, especially during the infamous parties thrown by Dali … even as Gala urged him to focus on work. Gala, played exceedingly well by Barbara Sukowa (HANNAH ARENDT, 2012), and Dali, show us the ups and downs of a codependent arrangement. She is shown pushing him towards success, and also at least partially responsible for his burnout and decline. Money was a constant battle as both enjoyed the high life. Dali loved the parties, while Gala enjoyed the company of younger men. The long-rumored signatures on blank canvas and the uncashed personal checks with the valuable signature are both addressed here.

Although it’s been forty years since Sir Ben Kingsley won his Oscar, he still knows how to seize a character and fill the screen. Not only does he embrace the pumped-up ego of a genius, he also conveys the worst fear of an artist – a tremor in his painting hand … although, to be fair, his fear of abandonment might have been even stronger. This is a man who knows he’s approaching the end of his career and life, but chooses to live until he can’t.

The flashbacks and the artsy moments where Dali conducts the wind from atop a seaside cliff are creative inserts worthy of one viewed as an icon, rather than as a man. Watching Dali hum while he works, or dominate a moment with his verbosity, or become emotional with Gala, all combine to provide a glimpse into Dali, the man and the artist.

In theaters and On Demand beginning June 9, 2023

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Posted by David Ferguson

HEROES OF THE GOLDEN MASKS (2023, animation)

June 8, 2023

Greetings again from the darkness. It’s a stretch to say this is the rare, animated kids’ action movie grounded in reality, yet we can say it is based on John Wilson’s 2018 YA novel, which in turn was inspired by the Bronze Masks of Sanxingdui unearthed by archaeologists in Sichuan, China back in 1986. The film is directed by Sean Patrick O’Reilly, known for his work on the “Howard Lovecraft” franchise, and twelve contributing writers are noted, including creator Xiaoming Yao.

This one is for the younger kids, probably ages 5 to 10, who enjoy action-adventure stories where the screen is flooded with colors. Older kids would likely be disappointed in the animation and overall look of the film. Most parents will approve since there is a message delivered by the end. A quintet of Chinese superheroes who get their special powers from the ancient masks they don, are defending their kingdom of Sanxingdui from Kunyi, an evil would-be conqueror. In the battle, the group’s leader is killed, and his daughter Li takes a mystic portal to modern day Chicago (?), so the mask can choose it’s new hero.

Charlie is a wise-cracking street urchin who survives on this wits and instincts (stealing). Local gangster Rizzo is pursuing Charlie when, for some reason, the mask picks Charlie and he and Li transport back to her homeland. She begins to train and mentor Charlie, even though she has little faith that this rebel can be transformed into a hero. Charlie even doubts it himself, and has his own plan to undermine the team and reap the reward.

Soon enough, Kunyi and his band are attacking the city on their quest to steal the mystical Jade Blade and obtain the enhanced powers it brings. Of course, the quintet in masks, now including Charlie, engage in battle. The message here is obvious: being a team player, rather than a selfish loner, allows for a more fulfilling life … and it’s important that we each find our own place.

This will be marketed as Christopher Plummer’s final film (he passed in 1991), and the voice acting he provides as gangster Rizzo, is not the silky-smooth Plummer voice we expect. Ron Perlman does admirable work as the villain Kunyi, while Natasha Liu Bordizzo is Li, and Patton Oswalt is recognizable as the voice of Aesop. The director’s son, Keifer O’Reilly, is age appropriate as the voice of Charlie, but it’s the action and color palette that will most appeal to kids, rather than the characters. While not especially memorable, the film will likely entertain a particular age group on a rainy day.

On digital platforms beginning June 9, 2023

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Posted by David Ferguson

IT AIN’T OVER (2023, doc)

May 25, 2023

Greetings again from the darkness. In a perfect world we would judge each other by character, personality, integrity, and accomplishments. Unfortunately, too many still judge the book by its cover, and therein lies the only explanation for why Yogi Berra was not on the field at the 2015 All-Star game with Hank Aaron, Willie Mays, Sandy Koufax, and Johnny Bench as one of the greatest living players. Berra, though he never cut the imposing athletic figure as those players, certainly fulfilled the four attributes listed above … including his accomplishments in the very game that was offering tribute to the greats of the game. Director Sean Mullin expertly proceeds to prove that Lorenzo Pietro “Yogi” Berra was not just one of the best baseball players of all-time, he was also a war hero, beloved father, grandfather, husband, public figure, and above all, a world-class person.

What Mr. Mullin does to elevate this documentary is not just focus on Yogi’s fabulous career as a player, but also on the rest of his life. This allows us to understand what a special man he was. Yogi’s granddaughter Lindsay frequently pops up for commentary, and she makes it abundantly clear that while Yogi learned to accept being baseball’s most overlooked superstar, she certainly has not. After all, Berra is the all-time leader in World Series championships as a player with 10, and has 13 rings total, including his time coaching. He was an 18 time All-Star and was voted onto the All-Century team. Remarkably, Yogi caught both ends of 117 doubleheaders in his career, and of course, caught Don Larsen’s World Series Perfect Game. As a New York Yankees player and coach, his presence in pinstripes linked the careers of Babe Ruth, Joe DiMaggio, Mickey Mantle, Reggie Jackson, and Don Mattingly.

Those are some of the pieces of a life that are indelibly linked to baseball history, and in this documentary, we learn even more. He grew up on the same St Louis street as (another future major league catcher) Joe Garagiola, and the Branch Rickey story involving the two is fascinating. After signing with the Yankees for $500, Berra enlisted in the Navy, and found himself in the middle of the Normandy landings. Lindsay recounts the story of why Berra never received his Purple Heart, and the process she went through to ensure that he received a posthumous Presidential Medal of Freedom. He was married to Carmen for 65 years, and they raised three sons, Dale (a Major Leaguer), Tim, and Larry. The story of how Carmen named Dale is one of the highlights of the film.

Lest you buy into the image of Yogi as the cartoon character (Yogi Bear) in Yellowstone, or the lovable post-career pitchman for Amtrak, Aflac, YooHoo, and Miller Lite, pay particular attention to the segment on Jackie Robinson’s steal of home in the World Series. This will clue you in on what an intense competitor Yogi was – helping to explain his incredible track record of winning. Of course, none of this is meant to minimize Yogi’s creative use of the English language. He became iconic for his malapropisms … often referred to as “Yogiisms”. This includes the famous one from which this film’s title was derived, “It ain’t over till it’s over” … right up there with “I really didn’t say everything I said.”

Berra’s rift with Yankees owner George Steinbrenner is analyzed, leaving us respecting Yogi’s years-long stance over being disrespected. Their eventual make-up led to an incredible “Yogi Berra Day” at Yankee Stadium, where the game remarkably lived up to the pre-game moment when Don Larsen threw out the ceremonial first pitch to Yogi. Director Mullin capitalizes on a long stream of former teammates, opponents, players, writers, and family members to provide insight into Yogi Berra. There is little doubt even more would have loved to contribute, as much in the way Yogi gives credit to Hall of Famer Bill Dickey for tutoring him on catching, so many are anxious to offer stories on how Yogi Berra influenced them. Let’s end this with more of Yogi’s wisdom. “If you come to a fork in the road, take it.” And when it comes to this excellent and entertaining documentary from Sean Mullin, keep in mind that “You can observe a lot by watching.”

Opens in theaters on May 26, 2023

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Posted by David Ferguson

BEING MARY TYLER MOORE (2023, doc)

May 25, 2023

Greetings again from the darkness. It’s borderline unfathomable that someone who has worked for almost 20 years as a cinematographer and a decade as a TV director could be “unfamiliar” with the work and career of one of the industry giants, yet that’s the claim of director James Adolphus (“Soul of a Nation” mini-series) when it comes to Mary Tyler Moore. His film does play a bit as if he’s opening a Christmas present that everyone else in the room knows what’s under the wrapping, and it’s because of this, the film works as not just a retrospective of her career, but also a tribute to a woman who influenced so many.

“The Dick Van Dyke Show” ran for 158 episodes between 1961 and 1966, and “The Mary Tyler Moore Show” ran for 168 episodes between 1970 and 1977. These were two immensely popular shows during their respective eras, and because of her characters in each, Mary Tyler Moore spent time as both America’s favorite wife and America’s favorite single woman. These characters were cutting edge (for different reasons) for their time. Director Adolphus also provides insight into her childhood and early career. Mary was first married in 1954, not long after high school graduation. She found work as ‘Happy Hotpoint’, the dancer on Hotpoint advertisements, and clips of the ads are included here. Even after she became a world-famous actor, she remained a dancer at heart.

Betty Friedan and “The Feminine Mystique” are referenced a few times, and the point is made, even if it’s in a subtle manner, that Mary’s impact on feminism has long been overlooked. We hear from such industry folks as Julia Louis-Dreyfus, Ed Asner, James L Brooks, and Treva Silverman, as well as friends and family, but it’s really Mary herself that we see on screen for the vast majority of the two-hour run time. In particular, a loose structure is formed from clips of her appearances on “The David Susskind Show” and an interview with Rona Barrett. These segments allow for some rare personal insight into Mary Tyler Moore as a person.

So many rare pictures, clips, and home movies are included that we easily follow a career that spanned 50 years … and three marriages. The first marriage produced her only child. The second marriage, to Grant Tinker, resulted in MTM Productions and her greatest professional success. However, it was the third marriage to Dr. Robert Levine, where she found true and long-lasting love, as well as the motivation to find herself with a stint at the Betty Ford Clinic for rehab in 1984. We learn of her Broadway redemption with “Whose Life is it, anyway?”, after her setback on stage many years earlier with a musical “Breakfast at Tiffany’s”. Probably the most surprising segment here revolves around the original pilot for “The Mary Tyler Moore Show” … it has great video and behind-the- scenes scoop.

Given her comedic chops displayed in her two most famous sitcoms, many of us were caught off guard with her Oscar nominated performance in Robert Redford’s ORDINARY PEOPLE (1980). What we discover here is that Mary’s personal life was nearly as rosy as Laura Petrie’s or Mary Richards’, and many real-life personal losses allowed her to reveal a bit more of her true self on screen. Most of us know that Mary was the female lead in Elvis Presley’s final feature film, CHANGE OF HABIT (1969), but we might not have known that Carl Reiner was her comedy hero, or that her own struggles with diabetes (over decades) led her to become International Chairperson of the Juvenile Diabetes Research Foundation (JDRF). For one who seemed to constantly define the contemporary woman, Mary Tyler Moore’s story is impressive, and her personal archives bring more meaning to “Love is All Around.”

Beginning May 26, 2023, the documentary will air on HBO and stream on MAX

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Posted by David Ferguson

KANDAHAR (2023)

May 25, 2023

Greetings again from the darkness. The tough road this film faces could be blamed on the unfortunate timing of release on the heels of a similar story in GUY RITCHIE’S THE COVENANT; however, that’s not the only reason the latest collaboration between Gerard Butler and director Ric Roman Waugh (ANGEL HAS FALLEN, GREENLAND) will likely struggle to find an audience. Other obstacles include a script with entirely too many storylines and character arcs that dead end, as well as an overall lack of intensity when it was necessary.

Since the script was written by Mitchell LaFortune, and drawn on his personal experience as a Military Intelligence Officer in Afghanistan, the lack of intensity and danger is quite surprising. Gerald Butler does Gerald Butler things here. He has patented this type of character in the same manner that Liam Neeson has perfected his familiar action hero. This time, Butler plays CIA Operative Tom Harris, whom we first see working at gunpoint to assist in bombing an Iranian nuclear facility. When his mission is exposed by a whistleblower through a female British journalist (Elnaaz Norouzi), it seems half of the middle east is contracted to kill him … and the reporter herself is kidnapped.

Soon Harris’ handler (Travis Fimmel, LEAN ON PETE) throws enough money at Harris to motivate him to perform one more mission before he heads home to a graduating daughter and a divorce-seeking wife. This “one last job” means Harris and his new interpreter “Mo” (Navid Negahban, “Homeland”) are on a road trip through the desert trying not to get killed as Mo searches for his missing sister-in-law. There are some cool drone shots showing the endless miles of desert desolation and some night vision goggle sequences that are better than what we’ve seen before, but the big-time weaponry doesn’t make up for too many characters and crummy music. To his credit, director Waugh doesn’t lean on an excess of action sequences.

Perhaps the most interesting aspect of the movie is that it was actually filmed in Saudi Arabia. Of course, that parcel of rare trivia doesn’t make up for the feeling that this film is just a bit too familiar with too many unfinished story lines.

Opens in theaters on May 26, 2023

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Posted by David Ferguson

MASTER GARDENER (2023)

May 18, 2023

Greetings again from the darkness. The word of the day is “awkward.” Every character, every situation, every moment, and every conversation in this film can be described with that word. An attempt will be made to not overuse that adjective here, but yours truly offers no guarantees. Paul Schrader has had a long and impressive career as both writer and director. His early successes include screenplays for TAXI DRIVER (1976), ROLLING THUNDER (1977), RAGING BULL (1980), and THE LAST TEMPTATION OF CHRIST (1988), as well as directing AMERICAN GIGOLO (1980) and AFFLICTION (1997). The past few years have been a bit of a resurgence for Schrader with the excellent FIRST REFORMED (2018) and THE CARD COUNTER (2021).

In his latest, Schrader gives us Narvel Roth, an expert horticulturalist played by Joel Edgerton. Narvel is responsible for the massive gardens on the estate of wealthy dowager Norma Haverhill (Sigourney Weaver). Narvel’s daily rituals are carried forth with his meticulous approach, including daily journaling in his sparse living quarters located on the grounds of the estate. As narrator, Narvel tells us, “a change will come in its due time”, and though he’s speaking of the garden, we understand the words also apply to him. Soon enough, we learn that this current lifestyle represents a significant change from his past, and it’s clear another is brewing.

The relationship between Narvel and Ms. Haverhill is quite unorthodox, and yes, awkward (she has nicknamed him ‘Sweet Pea’). She is filled with entitlement and thrives on her power over others, not hesitating to use Narvel for more than his gardening skills. In fact, his past likely provides quite an enticement for her. Ms. Haverhill soon charges Narvel with taking her estranged and off-track great-niece Maya (Quintessa Swindell, BLACK ADAM, 2022) under his wing and teaching her the profession of gardening. This creates the second and third of the three relationships at play in the film. Narvel and Maya hit it off, as her intelligence and work ethic win him over. However, things aren’t as smooth between Maya and Ms. Haverhill. Their first chat, though long delayed, epitomizes the awkwardness prevalent throughout the film.

Adding complexity to the story is Maya’s personal life which brings a couple of drug dealers to the forefront. It’s this development that uncovers the past Narvel has worked so hard to cover up. After a meeting with his Witness Protection contact (Esai Morales), Narvel begins his process of ‘saving’ Maya … a clear attempt at redemption from his past life, and this is where her being bi-racial is a significant plot point.

The first two acts offer an unconventional form of entertainment. Edgerton nails the Narvel role with his Steven Wright delivery, slicked back hair, SLING BLADE wardrobe, and fastidious procession through the day. Even his posture and stride change along with his character’s shifting outlook. The three relationships between the tormented characters weave quite the web, and as secrets are exposed, the dynamics of these relationships change as well. Schrader includes a few cringy lines of dialogue (perhaps by design?), and the drug dealers seem purposefully cartoonish, rather than intimidating or menacing. There are call-backs to earlier Schrader works, as it seems many of his characters over the years have battled personal demons, yet this one does offer a glimmer of optimism, which could be considered a step forward … even if it’s a bit awkward.

Opens in theaters on May 19, 2023

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Posted by David Ferguson

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