OSCARS 2023 recap

March 13, 2023

OSCARS 2023 recap

For movie lovers, the Academy Awards ceremony is usually a fun night designed as a celebration of the art form, with recognition for some of the best work released the previous year. This year’s presentation marked the 95th ceremony, and as always, provided cynics ample opportunity to cast aspersions, while for the rest of us, there were many moments to treasure – some even falling into the category of ‘history-making.’

An opening faux trailer, with a superimposed Jimmy Kimmel sharing the cockpit in a fighter jet with Tom Cruise in TOP GUN: MAVERICK, concluded with the show’s host ‘parachuting’ onto the stage. Kimmel’s opening monologue was entertaining and didn’t shy away from last year’s stunning moment known as “the slap.” Noted in the monologue was a tip of the cap to composer John Williams, who at age 91, received his 53rd Oscar nomination, second all-time to Walt Disney’s 59. It’s also of interest to note that Mr. Williams has scored 25 of director Steven Spielberg’s 27 films.

The only things I’ll mention from the pre-show are that the carpet was “champagne” colored instead of the traditional red, Hugh Grant was an immense jerk during his arrival interview, and the odds-on favorite to have a huge night of awards was EVERYTHING EVERYWHERE ALL AT ONCE (EEAAO), a film with co-directors and featuring many Asian actors in a bizarre story that breaks the mold for traditional Oscar-type films. If you’ve read my “Best of 2022” post, you know that my personal favorite was THE BANSHEES OF INISHERIN, which garnered nine nominations, the same as ALL QUIET ON THE WESTERN FRONT (AQOTWF), with both just behind the eleven nominations of EEAAO. Yes, this year lends itself to abbreviated initials for two long-titled films!

Although I’m not one to buy into the idea of “snubs” since I believe such a label is an insult to others that are honored with a nomination and/or win, it is always fun to see which categories produce surprise winners. Kimmel pointed out that there were 16 first-time nominees and 5 Irish actors nominated – setting up a pretty good punchline. He also noted the absence of James Cameron and Tom Cruise … both A-listers rumored to have had their feathers ruffled due to a lack of nomination for directing (Cameron) and acting (Cruise), although both were producers on films up for Best Picture.

The first award went to the creative genius behind GUILLERMO DEL TORO’S PINOCCHIO (the actual title to differentiate it from other versions). This award was presented by Dwayne “The Rock” Johnson who was sporting a form-fitting pink silk sports coat. Not to be outdressed, Troy Kotsur sported a purple velvet suit as he and joined Ariana DeBose in presenting the awards for Best Supporting Actor and Best Supporting Actress. Both were highlights and an early indication of the success that lay in store for EEAAO. Ke Huy Quan was emotional and inspirational as he reminded us of what the American Dream really means to those who value it, and Jamie Lee Curtis’ win is a testament to perseverance and support, as she thanked her many collaborators over the years, including her famous parents, Tony Curtis and Janet Leigh.

Each of the five nominated songs were performed live throughout the evening. 14-time nominee Diane Warren was first, soon to be followed by David Byrne and Stephanie Hsu (EEAAO). One of the evening’s true highlights was a rousing song and dance performance of the song, “Naatu, Naatu” from India’s RRR, the eventual winner. Also impressive were a no-make-up and torn-jeans performance from Lady Gaga (TOP GUN: MAVERICK), for some reason filmed almost entirely in extreme close-up; and a pregnant Rhianna (fresh off the Super Bowl) singing “Lift Me Up” from BLACK PANTHER: WAKANDA FOREVER.

Best Documentary Feature was awarded to NAVALNY, and Alexei Navalny’s wife sent a message from the stage. This powerful moment was followed by an audience participation version of “Happy Birthday” during the speech for Best Live Action Short film (AN IRISH GOODBYE). Although I found that moment a bit odd, it was the follow-up that hit me as truly bizarre … a no-holds barred, live from the stage promo for Disney’s upcoming live action, THE LITTLE MERMAID, followed by the first full trailer. I don’t recall such unadulterated marketing schemes every being a part of the ceremony in previous year. Later we did receive a tribute to Warner Brothers for their 100th anniversary of motion pictures – much different than a promo for an upcoming film.

James Friend winning for Best Cinematography for AQOTWF became the first of enough wins that some began to question if the film might pull off a Best Picture surprise to end the night. Best Make-up and Hairstyling went to THE WHALE, the first film to use digital prosthetics in order to allow an actors’ true features to flow through. All the donkey lovers were thrilled to see ‘Jenny the donkey’ led on stage by Kimmel. Unfortunately, this became one of the few nods to my favorite film, THE BANSHEES OF INISHERIN. Best Costume went to BLACK PANTHER: WAKANDA FOREVER, and AQOTWF won Best International Feature Film (Germany). Next up were awards for Documentary Short (THE ELEPHANT WHISPERER) and Animated Short (THE BOY, THE MOLE, THE FOX, AND THE HORSE). What was notable was that the first winner was cut off from their acceptance speech, while the second was allowed to babble on.

The award for Production Design became my first “miss” of the night, as AQOTWF took the award over the visually stunning BABYLON. This was quickly followed by another AQOTWF win for Best Score – a straight-to-the-gut musical punch composed by Volker Bertelmann. Best Visual Effects went to AVATAR: THE WAY OF WATER, an award presented by Elizabeth Banks and a ‘fake’ Cocaine Bear (her recent movie) as she explained the importance of visual effects. Another odd moment occurred as amazing actress Florence Pugh purposefully held her slit dress open as she presented awards for Original Screenplay (EEAAO) and Adapted Screenplay (WOMEN TALKING). As strange as the spandex undergarment sighting was, I was so excited for Sarah Polley’s win … hopefully this talented writer and filmmaker will be inspired to share more of her work.

Best Sound went to TOP GUN: MAVERICK, and it was the speech given by the RRR winners for Best Song, MM Keeravani and Chandrabose that stole the moment, as Keeravani sang his speech, adapted to “Top of the World” by The Carpenters, a pop group he says influenced him as he grew up. Lenny Kravitz performed during the “In Memoriam” segment … a segment that the Academy seems to botch with omissions every year (this year being no exception). EEAAO won for Best Editing, though it wasn’t until ‘Daniels’, co-directors Daniel Kwan and Daniel Scheinert, won for Best Director that we sensed EEAAO would hold off AQOTWF for the big prize.

A humble and grateful Brendan Fraser (THE WHALE) was nearly overcome with emotions during his speech for Best Actor, and making history as the first Asian actress to win was Michelle Yeoh for EEAAO, an award presented to her by Halle Barry, the first woman of color to win Best Actress. At this point, we felt pretty certain of the film title Harrison Ford would read for the final award of the evening, and sure enough it became a night of history for EVERYTHING EVERYWHERE ALL AT ONCE as it was named Best Picture. The film totaled 7 wins out of 11 nominations, and only two other films took home more than one award: ALL QUIET ON THE WESTERN FRONT (4) and THE WHALE (2). EEAAO also joined A STREETCAR NAMED DESIRE (1951) and NETWORK (1976) with winners in three of the four acting categories. It was also a record-breaking night for cutting edge studio A24 as it won 6 of the 7 ‘above-the-line’ awards (Picture, Director, Original Screenplay, Actress, Supporting Actor, Supporting Actress).

Leaving empty-handed were ELVIS, THE FABELMANS, and THE BANSHEES OF INISHERIN, each coming in with multiple nominations. And though we got a bit tired of Kimmel’s running jabs at Matt Damon (who wasn’t attending), it was very cool to see him point out the legendary 94 year old James Hong, who has nearly 500 credits on IMDb dating back to the mid-1950’s … his latest, of course, being the night’s big winner, EVERYTHING EVERYWHERE ALL AT ONCE. And I’m certain Mr. Hong was relieved to not be seated behind actress and presenter Danai Gurira, whose unique hairstyle stood up about 2 feet from the top of her head. Imagine being seated behind that for 3.5 hours! TV viewership for the ceremony was up 12% over last year’s program, though we can’t help but wonder if some tuned in to see if the Hollywood tradition included a sequel to “The Slap.”

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Posted by David Ferguson

OSCAR Nominated Shorts – Documentary (2022 releases)

March 3, 2023

Greetings again from the darkness. Every year this is one of my favorite categories. Typically, these filmmakers are committed to a subject and have very little money to work with, making their work easily categorized as passion projects. This year is no exception, and once again we are amazed at the wide range of topics and subjects covered: the transformation of an angry war veteran, true love at an elephant sanctuary in India, a profile of a key player during the Watergate era, the effects of climate change on walruses in the Arctic, and a father-daughter video project covering 16 years. Below is my breakdown of this year’s nominees:

THE ELEPHANT WHISPERERS

Director Kartiki Gonsalves introduces us to Bomman and Bellie, indigenous Kattunauakans working together to care for Raghu, an elephant rescued as an injured orphan in Tamil Nadu, India in 2019. The elephant preserve where they live and work is run by the Forest Department, and Bomman’s hut is right next to the stall where Raghu sleeps.

The love they share for Raghu soon develops into a romance between Bomman and Bellie. They talk to Raghu, train him, feed him, bathe him, play with him, and even tuck him in bed at night. Later when they also become caregivers for 5-month-old Baby Ammu, we can see the similarities to raising human children. Both elephants make it into the wedding day pictures of Bomman and Bellie, but when Raghu is re-assigned to other caregivers, we witness the grieving of the couple, as well as that of Ammu, who has lost a friend and role model. The 41-minute film serves to show how animals and people can live off the same forest and share a love.

HAULOUT (UK, Russia) 25 min

For the first few minutes, we aren’t sure what we are watching. Maxim is huddled in a rustic cabin on the shore of the Russian Arctic. He eats canned good (from the can), boils his water, and recycles his cigarettes. One morning he awakens to the grunting and groaning noises occurring outside. What follows is a stunning and spectacular shot of tens of thousands of walruses huddled on the beach by his hut.

It turns out Maxim is a Marine Biologist, and he spends 43 days observing this annual ritual of walruses as part of a 10 year study. Although the walruses show up every year, the effects of climate change are obvious. There is no longer ice for them to rest on during the trek. This exhausts the creatures, causing the death toll to increase each year. Co-directors (and brother and sister) Maxim Arbugaev and Evgenia Arbugaeva deliver a beautiful (considering the harsh conditions) 25-minute film, and a stark reminder of how animals are being forced to adapt to the changes.

HOW DO YOU MEASURE A YEAR

We must admire Jay Rosenblatt’s foresight as a father. It’s a simple idea, yet brilliant in it’s lasting impact. Beginning on his daughter Ella’s second birthday, Mr. Rosenblatt maintained a tradition of videotaping an “interview” with her each year. This tradition, or ritual, continued through her 18th birthday. The result bounces between predictable, stunning, sad, joyful, and touching … all in a condensed 29-minute run time.

To watch the progression of a precocious two-year old and three-year old toddler obsessing over a lollypop and make-up to a poised eighteen-year old on the brink of independence is fascinating. As a parent, we recognize the many stages … some so cute, others so challenging … each to be treasured.

Dad’s questions include: What do you want to do when you grow up? What are you afraid of? What is power? What are dreams? What is most important to you? You get the idea. He wants to document her progression as a person and as a thinker. In addition to the lollypop and desire to wear make-up, Ella’s singing voice develops beautifully as she grows into a 12-year-old who has learned sign language, and a 13-year-old fresh off her Bat Mitzvah. We see her with braces on her teeth, and as a 14-year-old toting the burden of her age. It’s those last couple of years that really give us hope for Ella’s future, and an insight into what the project has meant.

As a teenager, what would you have told your 25-year-old self?

THE MARTHA MITCHELL EFFECT

Fifty years have passed, yet the Watergate scandal continues to provide us with stories. Co-directors Anne Alvergue and Debra McClutchy turn their attention to one of the fascinating figures of the era in this 40 minute short. Martha Mitchell was the wife of Richard Nixon’s campaign manager and subsequent Attorney General, John Mitchell. Outspoken Martha was a colorful personality and characterized as “a menace” by Nixon himself.

The directors utilize archival footage and news reels to show how Martha became a media darling during one of the most closed-off administrations in recent history. Reporters such as Helen Thomas and Connie Chung bring a media perspective, as do the numerous newscast clips shown. However, things took a pretty dark turn for this charming lady, and her story provides a stark reminder of just how corrupt and extreme the Nixon administration became.

Once news of the Watergate break-in hit the news, Martha seemed to vanish from the public eye. Her story is that she was held captive, basically kidnapped, as the administration advanced a public character assassination on her. When the secret tapes were revealed, and Martha discovered her husband had conspired with Nixon on the break-in, she became a high-profile whistleblower, After Nixon’s resignation, Martha became a celebrity, frequently seen on talk shows. Cast by many as a ‘crazy’ lady, the “Martha Mitchell effect” became the description for those whose ‘delusions’ turned out to be true. The recent TV miniseries “Gaslit” also focused on Martha Mitchell, who died in 1976 from a blood disease.

STRANGER AT THE GATE

Should you ever doubt that kindness and understanding can make a difference, please watch this film from director Joshua Seftel (WAR, INC, 2008). The 29 minute run time may just rejuvenate your faith in human beings to change their attitude and be accepting of those they once distrusted.

As a Marine, Richard “Mac” McKinney was trained to hate and kill Muslims. He was informed that they were terrorists out to destroy his country, and September 11, 2001 was all the proof he needed. A simple question from his young daughter Emily convinced him he needed to act, so he plotted to bomb the Islamic Culture Center of Muncie (Indiana). So this former Marine, a trained killer and hater, headed to the mosque to obtain the “proof” he needed to convince his daughter that his actions were righteous.

A funny thing happened. Mac was treated kindly by the folks there. They asked him questions and guided him to a better understanding. Now this didn’t happen overnight. A shift in beliefs never occurs quickly. However, their treatment of Mac not only (unknowingly) saved their own lives, it saved his as well. He may have been trained to not think of his war targets as human beings, but he found them to show him more humanity than he’d ever known. It’s chilling to see Emily ponder what it would have been like to have a mass murderer as a father, and mostly we are inspired to see good people work so diligently at accepting someone who initially showed them nothing but hatred. Nobel Prize winner Malala Yousafzai is one of the producers of the film.

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Posted by David Ferguson

BOYCOTT (2023, doc)

March 2, 2023

Greetings again from the darkness. It’s pretty obvious these times are quite tumultuous when it comes to political views, as well as social and religious beliefs. Of course, differences of opinions have always existed, however the focus by media attention has created new types of monsters … the vocal types who yell into microphones and cameras about how anyone who disagrees with their extreme view is a danger. Most of us understand that the real danger lurks in the things that get decided ‘quietly’ … legislation that impacts people just trying to live their lives and do their jobs.

Documentarian Julia Bacha presents an extraordinary look at this exact topic … legislation that restricts civil liberties guaranteed by the Constitution. We are informed that 33 states passed some form of legislation outlawing the boycotting of Israel, and punishing individuals and companies that don’t abide. Three specific cases are presented: a newspaper editor in Arkansas, a speech pathologist in Texas, and a lawyer in Arizona. Through this, we learn a great deal about how legislation affects those with viewpoints outside the accepted norm.

Bahia Amawi is a speech pathologist and mother of five in Austin Texas. She is also Palestinian. She refused to sign a document promising to never boycott Israel, and was subsequently fired from her position. Alan Leveritt is the founder and publisher of “Arkansas Times”, a free community paper that survives on advertising revenue. He refused to sign a document promising to never boycott Israel, and his advertising revenue from state colleges and organizations immediately stopped. Mikkel Jordahl was part of a state-sponsored program in Sedona, Arizona offering legal representation for inmates. He refused to sign a document promising to never boycott Israel, and he was fired. Jordahl began offering free counsel while his case made its way through the courts.

Brian Hauss, an ACLU lawyer labels this as a First Amendment issue, and explains that boycotts (whether politically motivated or even something as foolish as a fan boycotting a sport or team) have long been a crucial part of this country’s freedom, and a legal way to debate controversial issues. The 1955 Montgomery bus boycott lasted more than one year, and was a protest against racially segregated seating. This consumer-led boycott resulted in change for fairness and equity.

The difference here is that the legislation is politically driven to support Israel, a United States ally, in its occupation of Palestine. This tangled web brings antisemitism and political favoritism into the same argument. The BDS movement (Boycott, Divestment, and Sanctions) is a Palestinian movement with the intent to pressure Israel regarding its Palestinian occupation. The support of Israel may make sense for the federal government, but for a Palestinian mother living in the U.S. to lose her job because she won’t give up her right to boycott the Israeli presence seems to make little sense.

Ms. Bacha’s documentary is so effective because three smart people are able to clearly vocalize how this legislation requires them to carry an unfair burden. Watching Arkansas state senator Bart Hester explain his stance is painful and ludicrous, and offers little support for our trusting of politicians to understand issues prior to voting. This is certainly not a Republican versus Democrat issue, and it’s a solid reminder of Americans’ right to debate and disagree. Most of us agree that antisemitism is despicable, but freedoms are the fiber of the country. The use of music here is often annoying, but a tremendous amount of information is packed into these 70 minutes. It’s quite an education.

Premiering March 1, 2023 on AppleTV and Prime Video

WATCH THE DIRECTOR DISCUSS THE FILM

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Posted by David Ferguson

COCAINE BEAR (2023)

February 23, 2023

Greetings again from the darkness. Dorothy Gale from Kansas may have been worried about ‘Lions and Tigers and Bears”, but even with a wicked witch and flying monkeys chasing her, she never faced anything as fierce as Cocaine Bear! The story is inspired by true events in 1985 when a plane load of cocaine was inadvertently dropped over a national forest in Georgia. Screenwriter Jimmy Warden takes that premise and imagines what would happen if a ferocious bear had ingested mass quantities of the drug and then rampaged while on the ensuing high. Elizabeth Banks, known mostly for her acting (THE HUNGER GAMES), adds this to her growing list of directorial outings (CHARLIE’S ANGELS, PITCH PERFECT 2), and her latest is sure to find a place in cinematic lore.

The film opens with a reenactment of the plane and parachute mishap that caused the drugs to dump into the forest. A crazed Matthew Rhys (“The Americans”) bonks his head on the skydiving exit, setting the stage for our bear to discover the scattered drug bricks. Of course, as we know from so many movies, TV shows, and national news reports, when a drug delivery goes sideways, bears aren’t the only ones on the hunt. A local drug dealer played by Ray Liotta sends his son (Alden Ehrenreich, SOLO: A STAR WARS STORY, 2018) and henchman (O’Shea Jackson, son of Ice Cube) to retrieve the misplaced shipment … all while a detective (Isiah Whitlock Jr) is on their trail.

Looking-for-love Park Ranger Liz (the always great Margot Martindale) envisions a romantic hike with the Park inspector she fancies (Jesse Tyler Ferguson), but her plans are spoiled when a frantic mom (Keri Russell, “The Americans”) shows up looking for her missing daughter Dee Dee (Brooklynn Prince, THE FLORIDA PROJECT, 2017) and her child’s friend Henry (Christian Convery, “Sweet Tooth”), who skipped school to explore the park. While all this is occurring, there is also a band of thugs wreaking havoc on park visitors, one of which (Aaron Holliday) gets looped in with the drug dealers. Once EMS workers (Scott Seiss and Kahyun Kim) show up, peak bear intensity is reached.

Now all of this may sound somewhat normal for a movie set up, but nothing prepares you for a rampaging bear desperately seeking that next hit of cocaine. I don’t have the words to express just how ‘off the rails’ this thing goes (in a riotous and fun way). What I can tell you is that it’s the ultimate crowd-pleaser, and certainly the most effective movie I’ve ever watched featuring a drug-fueled apex predator. I saw this in a crowded theater and the shared laughter and audience-reactions definitely added to the entertainment experience. Key elements have been omitted here because this is one of the wildest rides I’ve ever had in a movie theater … and my hope is that many other fun-seekers will agree. Not only is there humor, adventure, action, and violence, but there are also some brilliant ‘little touches’ that elevate the story (a cute dog, a double-cross, a broken heart, etc).

For almost fifty years, THE ROCKY HORROR PICTURE SHOW (1975) has ruled the Midnight Movie circuit. There have been a few contenders along the way (THE ROOM, THE WARRIORS, EVIL DEAD), but this Elizabeth Banks movie may finally be the one that reignites the late night movie crowd with this raucous, thrilling trip as a coked-up bear (a bear that looks fantastic) runs amok through a national forest, desperate for the next hit. On a side note, this was the final film for Ray Liotta before he passed away in 2022. With a legacy of memorable characters in SOMETHING WILD, GOODFELLAS, and FIELD OF DREAMS, Liotta’s final scene is quite a gut punch. COCAINE BEAR is a “hard R-rating” and not advisable for the 7- and 8-year-old kids brought along by their parents at the screening I attended.

Opens in theaters on February 23, 2023

WATCH THE TRAILER

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Posted by David Ferguson

THE QUIET GIRL (2022)

February 23, 2023

Greetings again from the darkness. What a treat to watch a film that doesn’t drown us in the obvious or spell out each character’s precise thoughts. There are no explosions or action sequences, and these folks are ever so believable and grounded in life. With the depth of emotions relayed, and the unhurried pacing, it’s remarkable that this is a first feature film. Writer-director Colm Bairead has based his debut on “Foster”, a story by Claire Keegan.

It’s 1981 and a mother (Kate Nic Chonaonaigh) is calling for her daughter … young Cait (an extraordinary Catherine Clinch) is difficult to spot, blending in with nature in the pasture of her family’s farm. Being nearly invisible is how Cait spends her days. Mom is just about ready to deliver a new addition to the already crowded home. One more is one too many mouths to feed since dad (Michael Patric) works the liquor harder than the farm. With no discussion, or even an explanation, Cait (approximately 9 or 10 years old) is unceremoniously dropped off at a relative’s house for the summer. By this time, we’ve noticed she is extraordinarily quiet as she tries to remain unnoticed in her out-of-sync world – a home that lacks warmth and obvious love.

Cait is immediately struck by the kindness and tenderness shown by Eibhlin (Carrie Crowley), the woman at the new house who casts a fawning gaze at the child. Eibhlin’s husband, Sean (Andrew Bennett), is not nearly as welcoming of the girl, and seems to avoid speaking directly to her initially. Where previously Cait lived a life of isolation, missing the adoration young kids expect from parents, she’s quick to embrace Eibhlin’s attention and chips in with chores around the farm.

For a while, our focus is on Cait and Eibhlin, but slowly it shifts as Sean gradually thaws from his early silent treatment. It’s fascinating to watch the subtle ways in which Cait and Sean develop a bond. He even acknowledges her natural tendency towards silence by advising something along the lines of, ‘many people have missed the opportunity to say nothing.’ For her, it’s been a survival instinct. To Sean, it’s often a wise choice.

The work by Director of Photography, Kate McCullough, is exceptional. The shots of nature are lovely, but it’s the way she shoots these evolving characters that really makes an impact. An example of the complexity embedded in this ‘simple’ story is how Eibhlin informs Cait that secrets within a home are a bad omen; so imagine Cait’s surprise when the neighbor (Joan Sheehy) spills the dark secret held by Eibhlin and Sean.

Gaelic is the predominant language spoken herd, making subtitles a necessity for most of us. Mr. Bairead’s film has received an Oscar nomination for Best Foreign Language feature film, and although the story doesn’t move at the pace we’ve grown accustomed to, the ending strikes us square in the heart as we realize Cait truly feels loved for the first time.

Opens in theaters on February 24, 2023

WATCH THE TRAILER

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Posted by David Ferguson

JUNIPER (2023)

February 23, 2023

Greetings again from the darkness. A tale as old as time. No, this first feature film from writer-director Matthew J Seville is not a new spin on ‘Beauty and the Beast’, however it is a story that has a familiar feel, and one made more meaningful through terrific acting and expert cinematography. We are engaged through characters rather than plot, and in fact, we grow to care about two of these people after initially finding both a bit abrasive.

Charlotte Rampling stars as Ruth, aging mom to Robert (an underutilized Marton Csokas). The two have never been especially close as Ruth’s career as a war photographer allowed her to escape traditional parental duties. With a recent broken leg set in a cast and brace, Ruth finds her wings clipped and Robert senses an opportunity. By moving Ruth into the house during recovery, he can have his son, Sam (George Ferrier), help Nurse Sarah (Edith Poor). Sam is a party boy recently expelled from his boarding school and wants nothing to do with the convalescing grandmother he barely knows.

Dad’s ulterior motive gets off to a rough start. Both Ruth and Sam are hard-headed and rebellious. In fact, it’s these traits that end up drawing them closer. Ruth seems to survive on her all day gin-binges as her vile vocal spewings are those of a woman whose world has shrunk to the point of feeling captive. Sam is one who doesn’t take direction well as he tries to hide his depression and grief driven by the death of his mother. Adding to this mess is Nurse Sarah’s consistent attempts to inject some religion into Ruth before the bell tolls.

What we have is self-destruction times two. Ruth and Sam are rude and self-centered, and those shared traits end up thawing the icy relationship and improving their much different circumstances. George Ferrier is a relative newcomer from New Zealand, and he has the looks and on-screen charm to build a nice career. Of course, Charlotte Rampling is in her seventh decade of acting, and she instinctively knows how far she can push this character and still keep us engaged. It’s a terrific performance that probably deserved an Oscar nomination. The cinematography of Marty Williams works in the enclosed spaces of the house, as well as the beautiful landscape when the characters head outdoors. Some of the scenes may be a bit too much ‘on the nose’, but the humor and acting allows for the desired impact.

Opens February 24, 2023

WATCH THE TRAILER

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Posted by David Ferguson

MY HAPPY ENDING (2023)

February 23, 2023

Greetings again from the darkness. When it comes to death, everyone hopes to go out on their own terms. Perhaps that’s at an advanced age surrounded by family. Or maybe it’s before the loss of physical or mental capacities. And then there are those who just want to pass quietly while sleeping. Whatever terms one might envision, the odds are we will have little say in when, where, or how. Co-directors Tal Granit and Sharon Maymon previously collaborated on THE FAREWELL PARTY (2014), and here they are working on Rona Tamir’s adaptation of the stage play by Anat Gov.

Andie MacDowell stars as Julia Roth, a once famous actress who is attempting to receive medical treatment while remaining incognito. Arriving for her first chemotherapy session, she admits to not having told friends, family, or even her loyal assistant Nancy (Tamsen Grieg). The three women currently receiving chemo all recognize Julia, but it becomes clear that no one being treated for cancer cares much about spotting a celebrity. It’s interesting to watch as Julia is brought down a notch or two from her arrogance as she realizes two things: these folks aren’t impressed, and her own cancer is much more advanced than she originally thought.

This little chemo support group provides the heart of the film. Screen veteran Miriam Margolyes plays Judy, a retired teacher and lifelong single. Sally Phillips plays Mikey, a former rocker and the most optimistic of the group. Rakhee Thakrar plays Imaan, a young Muslim mother hoping to be cured so she can watch her kids grow up. They are all being treated by Tom Cullen, who they’ve nicknamed, “Dr Handsome”. Julia’s motivation is the upcoming wedding of her daughter, and the mood shifts quickly when Nancy shows up to “take care of this” for her boss.

There are times in life when we must be open to the help and guidance of others. Julia is a bit slow on the uptake, but soon enough, figures out that listening to those who have been going through what she’s about to go through provides the insight she needs to make up her own mind … finding a way of doing things on her own terms. Given the subject matter, the film from Granit and Maymon offers a good dose of humor, and it’s also effective in reminding us that taking a “vision trip” can be the holiday that leads to clarity and making decisions that work best for ourselves.

Opens in theaters on February 24, 2023

WATCH THE TRAILER

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Posted by David Ferguson

EMILY (2023)

February 16, 2023

Greetings again from the darkness. These days, it seems like we know entirely too much about the personal and professional lives of writers, actors … well, just about everyone. Of course, it wasn’t always like that. And taking that to an extreme is the all-too-brief life of Emily Bronte. Imagine if someone wrote a book today as popular and terrific as “Wuthering Heights”. We would likely know the name of their pet, their spouse, and where they eat lunch. For Emily Bronte, the details are not only scarce, but also not totally trustworthy, given that much of it comes from her older sister who had a touch of envy, or at least a competitive edge.

Frances O’Connor (known as an actor in such films as AI: ARTIFICIAL INTELLIGENCE and MANSFIELD PARK) chose a dramatic imagining of Emily’s life as her first feature film as writer-director. Emma Mackey (DEATH ON THE NILE, 2022) stars as Emily Bronte, and turns in a really nice and believable performance as someone whom we can only imagine her life in the 19th century. The reputation is that of someone who was socially awkward, and a bit of a sickly recluse. We do know that she died at age 30. We can also relate to the opening scene when Charlotte asks an ill Emily “How did you write it?” (referring to “Wuthering Heights”).

In fact, filmmaker O’Connor likely based her entire script on that question, and what she presents is quite interesting – regardless of how accurate it might (or might not) be. Emily and her younger sister Anne (Amelia Gething) spend days constructing stories together, and then Emily takes it further by writing poetry. As the eldest sibling, Charlotte (Alexandra Dowling) is the favorite of their father (Adrian Dunbar), a priest at the local church. Emily is known as “the strange one”, despite her beautiful piano playing, and mostly secret writing skills.

Emily and her brother Branwell (Fionn Whitehead, DUNKIRK, 2017) have an unusual bond. He’s a troubled young man weakened in spirit by spirits (the alcoholic kind). All of the dynamics shift quickly when William Weightman (Oliver Jackson-Cohen, MR MALCOLM’S LIST, 2022) arrives as the new curate. His sermons are a form of poetry, and this intrigues all Bronte sisters, especially Emily. As Weightman teaches her French, their relationship transforms from one of butting heads to one of clandestine intimacy … and both are changed.

Although the film does explore the effect of the mother’s previous death, in real life, this family faced even more grief from death … including Emily’s at age 30. The sibling rivalry is a believable aspect, as Emily wrote “Wuthering Heights” and Charlotte wrote “Jane Eyre” (and a portion of “Emma”). With such a legacy, we have been left to wonder what became of Emily’s other writings, and Ms. O’Connor offers up one idea. The proof of Emily’s brilliance and talent is on the page for all to read, however, we will never truly know her inspirations and desires. Kudos to Frances O’Connor and Emma Mackey for filling in the gap … even if we will never know how close or far from the truth they landed.

Opening February 17, 2023

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

MARLOWE (2023)

February 16, 2023

Greetings again from the darkness. The great Raymond Chandler created the now iconic Private Investigator, Philip Marlowe. Over many years, we have gotten to know Marlowe through novels and film adaptations. Actors as varied as Humphrey Bogart, Robert Montgomery, Dick Powell, Robert Mitchum, and Elliott Gould have played the cynical P.I., and now Oscar winning writer-director Neil Jordan (THE CRYING GAME, 1996) has added Liam Neeson to the list. Oscar winning writer William Monahan (THE DEPARTED, 2006) adapted the screenplay from John Banville’s (writing as Benjamin Black) 2014 novel, “The Black-Eyed Blonde”.

It’s 1939 in Los Angeles when Clare Cavendish (Diane Kruger) strolls into Marlowe’s (Neeson) office and hires him to find Nico Peterson (Francois Arnaud). Simple enough, only there’s a catch (of course): Nico has been declared dead and the body identified by a relative. Adding to the intrigue (of course) is Clare (she prefers to be called Cavendish) herself, the daughter of powerful former film star Dorothy Cavendish (played by two-time Oscar winner Jessica Lange, TOOTSIE, BLUE SKY).  As you would expect, the case leads Marlowe to cross paths with many ‘bad’ folks and a few instances of danger, which he (of course) manages to maneuver or outmaneuver.

The supporting cast is strong and includes Colm Meaney, Alan Cumming (with a southern accent?), Danny Huston (a nod to his father’s noir classic CHINATOWN?), and Adewale Akinnuoye-Agbaje. A couple of things are unfortunately quite clear. First, every noir cliché and trope is included here; and second, Liam Neeson is not the guy to pull off the Marlowe role – unless it was a full-on parody, in which case, he might have been a better fit. If he has put forth any effort into the role, it was apparently to ensure that his Marlowe is the least memorable one ever. There is no personal stamp on the role, and because of that, nothing really clicks here.

On the upside, the set decorations and costumes are divine. The film has the right look, but just brings nothing new or exciting to one of my favorite genres. It’s a throwback to hard-boiled detective crime stories of the 1940’s without the grit or charm. Marlowe first appeared in Raymond Chandler’s 1939 novel, “The Big Sleep”, and most iterations bring something new to the character or story. Perhaps the only thing director Jordan serves here is a shootout near the end. It’s more drawn out and noisy than what we would have seen 80 years ago, and it’s probably the right choice for today’s audience.

Opens in theaters on February 15, 2023

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

DEVIL’S PEAK (2023)

February 16, 2023

Greeting again from the darkness. It’s been (crudely) stated that one can pick their nose, but not their family. That sentiment has been the basis for many movies over the years, and it’s the driving force behind the latest from director Ben Young (HOUNDS OF LOVE, 2016) working from a script that Robert Knott (APPALOOSA, 2008) adapted from David Joy’s 2015 novel, “Where All Light Tends to Go”.

The film opens with a man frantically bounding from his truck to cock his rifle and aim down the road, clearly expecting trouble around the bend. Jacob (Hopper Penn) is the young man with the rifle, and also our narrator. The rest of the movie leads us back to this tense moment on the road. Jacob is the son of menacing Charlie (Oscar winner Billy Bob Thornton), the local drug lord who deals the methamphetamine that has ruined so many lives in his area of Appalachian Mountains in rural North Carolina. Charlie rules with an iron fist and expects blind loyalty, especially from his son … which is a problem since Jacob is the sensitive type who wants nothing to do with the family business. Instead, he’s focused on Maggie (Katelyn Nacon), the college-bound daughter of a local politician (Brian d’Arcy James).

Charlie intimidates his much younger girlfriend Josephine (Emma Booth), pays the local sheriff (Jackie Earle Haley) to look the other way, and mostly ignores his ex-wife Virgie (Robin Wright), as she battles addiction and tries to give Jacob a chance at a better life. So what we have is a ‘Romeo & Juliet’ story in the middle of a “Justified” episode. Life is tough here, and most anyone would dream of leaving, but after he fails in a task assigned by his dad, and another tragedy strikes, Jacob decides he and Maggie must get out now. Of course, it can’t possibly be that easy … and Jacob finds out it’s not.

As far as I can tell, this is the first lead role for Hopper Penn, the real-life son of Robin Wright and Sean Penn, who is named after Dennis Hopper. He has a kind of young Adrien Brody look to him, and it will be interesting to see if this leads to more high-profile acting jobs. This movie has a good look to it, but the story doesn’t really offer anything new. However, it’s always a pleasure to watch Billy Bob Thornton turn evil, and Jackie Earle Haley play any role.

Opens on February 17, 2023

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

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