MATTER OF TIME (2025, doc)

November 6, 2025

Greetings again from the darkness. Epidermolysis bullosa (EB) has been labeled as “the worst disease you’ve never heard of.” After watching this documentary from Matt Finlin, it’s safe to say EB is now one of the worst diseases I have heard of. Watching anyone suffer is torturous, and when those suffering are young and simply drew a short straw in genetics, the difficulty is even greater. The excruciating disease causes the blistering of skin and is typically visually apparent to all, requiring delicate and frequent bandaging to minimize further damage.

Rock star Eddie Vedder and his wife Jill founded EB Research Partnership, and the film covers a couple of 2023 mostly acoustic concerts Eddie gave at Seatle’s Benaroya Hall to raise money and awareness of the disease. Vedder is well-known for his work (since 1990) with Pearl Jam (originally Mookie Blaylock), a band synonymous with Seattle’s grunge rock. His musical numbers here act as a framing device around the education we receive on the disease and the interviews with the families and individuals touched by EB. This also includes the doctors and researchers dedicated to finding not just a treatment, but a cure.

The families and this community are very strong and diligent despite the enormous challenges – both emotionally and physically. We spend time with 31-year-old Deanna, a remarkable lady with an incredible life attitude she describes as “quality over quantity”. Her artistic ability is as exceptional as her approach to each day. EB robbed her of her ability to walk, and it took the limbs she once used to paint. However, she has not allowed the blisters and fragility of life to stop her from painting. Deanna is but one of the courageous folks we meet here, and the film ends with an unfortunate update on her.

Eddie Vedder comes across as very humble and committed to helping in the cause. The proceeds for the concerts and the film go to the EB Research Partnership. Periodically joined on stage by a string quartet, his music is welcomed between segments with the community. We learn the significance of “Come and Say Hi” … an invitation from those who might be a little different, and Vedder ends the show with a touching and fitting version of Tom Petty’s “I Won’t Back Down”.

For more information on EB: https://www.ebresearch.org/

Prior to a theatrical release, the film will have a one week run in Seattle beginning November 7, 2025

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Posted by David Ferguson

PETER HUJAR’S DAY (2025)

November 6, 2025

Greetings again from the darkness. “How was your day?” It’s a question we have each asked and been asked thousands of times. In 1974, writer Linda Rosenkrantz thought the answer to the question would make a fascinating book … considering her plan was to talk to her New York City artist friends. She had already written her best-selling book “Talk” (1968), and her idea with this new project was to discover how people fill up their day.

Director Ira Sachs (LITTLE MEN, 2016) opens the film with a note explaining that the recorded tapes of the conversation between Linda and famed photographer Peter Hujar on December 19, 1974, were misplaced. It wasn’t until 2019 when the typed transcript of their conversation was recovered that the idea of publication and a dramatized film version gathered strength. Ben Whishaw (WOMEN TALKING, 2022) plays Peter Hujar and Rebecca Hall (CHRISTINE, 2016) portrays Linda. These two, along with a tape recorder and Linda’s apartment, are the key characters in what, perhaps even more effectively, could have been a stage presentation. Although it’s not textbook cinema to film two characters having a long conversation, there is no denying the artistry to this film.

Still, this is a full run of two friends basically hanging out as one recounts the minutiae of his previous day. With Hujar being a well-known photographer, his name-dropping is probably more impressive than yours or mine. Susan Sontag and William Burroughs come up, and Hujar’s contract with the ‘New York Times’ to photograph Allen Ginsburg takes up much of the day’s energy. Whishaw’s take on Hujar’s oversharing can be interesting to watch – especially when he loses his train of thought and Hall’s Linda is there to rein him back in. The film surely works best as a time capsule of 1970’s artsy NYC, but tell me more about this “Topaz Caucasian”.

Opening in NYC and Los Angeles on November 7, 2025

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Posted by David Ferguson

ALEX VS AROD (2025)

November 5, 2025

HBO Documentary 3-episode mini-series

Greetings again from the darkness. Over 3000 hits. Almost 700 Home Runs (696). 3 MVP awards. A 14 time All-Star. A World Series champion. There is no debate that Alex Rodriguez was one of the greatest baseball players of all time. It’s just that every other aspect of ARod’s life is up for animated debate, and that’s what this 3-part series from co-directors Gotham Chopra (numerous sports documentaries) and Erik LeDrew attempts to explore.

The three episodes are not clearly defined by time or segments of ARod’s life or career, yet by the end, it feels like most every aspect has been covered – although, outside of his marriage to Cynthia Scurtis, his infamous love life is skimmed over (Cameron Diaz, Torre Wilson, Anne Wojcicki, Jennifer Lopez). The focus here is on baseball and, as the title infers, the two personalities of Alex “ARod” Rodriguez. One of the first clips shown is Rodriguez being questioned about his PED (Performance Enhancement Drugs) suspension. He immediately responds by telling the interviewer he will give two answers and to use the one he thinks is best. So, from the opening pitch, we see the two sides of the man.

The first episode relays the good … the youngest player to 500 home runs … and the bad … the record 211 game suspension for PED. His former manager, Lou Pinella (now 82) delivers a brief scouting report recalling the prodigal talent of the number one overall draft pick of the Mariners in 1993. ARod made his major league debut in 1994 at the age of eighteen. We hear from his brother who says Alex was a baseball junkie at an early age and spent a great deal of time talking baseball with their dad. The childhood was unusual in that the family moved from New York to the Dominican Republic when Alex was four and then to Miami a few years later. Dad left the family when Alex was ten, and only ever saw him play four MLB games in person. Instead, it was Mom’s ‘tough love’ that helped raise Alex. In this episode, we also hear from Alex’s first wife, Cynthia, and the segment ends with ARod becoming a Free Agent in 2000 and signing a massive $252 million deal thanks to is agent, Scott Boras, and the owner of the Texas Rangers, Tom Hicks.

It’s commonplace for celebrities to have a public persona that’s a bit different than their private persona, yet in the second episode, Alex’s brother claims there are two distinct personalities present … even Alex admits that ‘ARod’ took over when the pressure of ‘$252’ got to him. Of course, that pressure jumped quickly when the Rangers traded him to the New York Yankees. Ego comes up frequently when discussing ARod, but he did agree to move from SS to 3B in order to fit in with the Yankees, allowing their captain, Derek Jeter, to remain at his position. The trade took place in 2004, which is also the year Alex’s daughter Natasha was born. The personal joy contrasted with the professional challenge of meeting Jeter’s relentless playoff mentality and the rivalry against the Red Sox. One of the film’s most fascinating segments occurs when Katie Couric recounts her meeting with ARod. She uses the term “Gatsbyesque” when describing him. This second episode also includes the relief ARod felt when the Yanks won the 2009 world series … justifying his recent $275 million contract extension. His hip surgery is mentioned, and we get the lead into the third episode – an into to the PED report.

Stressed in episode three is ARod’s lifelong love of the game. He hit home run number 600 in 2010, two years after his divorce from Cynthia. It’s in this episode where his relationship with therapist Dr David Snarch in Colorado and the BioGenesis PED scandal with Tony Bosch becomes clear. Although ARod was an aging player who had been hit with a few injuries, the rules in baseball were clear … PEDs were not allowed. It’s around this time when the nicknames began: A-Droid, A-Fraud, A-Hole, etc. After missing the entire 2014 season, he returned to the field in 2015 … this time as a full-time DH, and retired after the 2016 season.

Throughout the series, we hear insight from a number of folks, including ARod’s brother, former manager Lou Pinella, former teammates Derek Jeter and Ken Griffey Jr., his ex-wife Cynthia, Yankees announcer Michael Kay, and sportswriter Mike Francesa. And Alex Rodriguez sits for multiple interviews as well, bits and pieces of which are included. It should be noted that after all the talk regarding ARod’s love of the game, when his playing days ended, he transitioned into a key piece of an Emmy winning sports broadcasting team. There is probably less actual baseball in this series than you’d expect, as it’s more of a character study … of quite a character. As one of the sport’s greatest ever players, he remains one of its most polarizing figures .. yet he’s also one of the most knowledgeable and experienced. He’s described as a Shakespearean figure -one responsible for his own fall from grace.

The Three episodes will air on HBO and then be available for streaming on HBO Max

Episode 1: November 6, 2025 9:00pm ET

Episode 2: November 13, 2025 9:00pm ET

Episode 3: November 20, 2025 9:00pm ET

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Posted by David Ferguson

ANNIVERSARY (2025)

October 29, 2025

Greetings again from the darkness. Brace yourself for one of the first films to take on the societal and political changes occurring within the United States. This is an exceptionally well-made film with a stellar cast and an eye-opening cautionary message from writer-director Jan Komasa (Oscar nominated for the excellent CORPUS CHRISTI, 2019) and co-writer Lori Rosene-Gambino. It features a deep and talented cast and would make a formidable double-feature with last year’s CIVIL WAR (directed by Alex Garland).

While the acting is top notch, the brilliance of the film is in the storytelling. Rather than a blatant attack on political extremists, this is presented as a type of thriller – the story of how one family is slowly, meticulously, and deliberately torn apart through ideology and by revenge. The film opens as Paul and Ellen Taylor (Kyle Chandler and Diane Lane) are throwing a 25th wedding anniversary party at their home. Their family has joined in the celebration: daughter Cynthia (Zoey Deutch, THE OUTFIT, 2022) and her husband Rob (Daryl McCormack, GOOD LUCK TO YOU, LEO GRANDE, 2022); rebellious daughter Anna (Madeline Brewer, “The Handmaid Tale’s”); and youngest daughter Birdie (Mckenna Grace, WHAT WE HIDE, 2025). Also attending are their son Josh (Dylan O’Brien, SATURDAY NIGHT, 2024) and his new girlfriend Liz Nettles (Phoebe Dynevor, INHERITANCE, 2025).

It’s the presence of that girlfriend that rocks Ellen, a university professor. Liz Nettles was a disruptive former student and the history between the two was not pleasant … but we watch as present day devolves into something much worse. Paul attempts to calm Ellen by telling her that “People change”. Ellen replies, “No, they don’t.” This ‘perfect family’ full of intelligent and creative folks is headed for a ride no one can prepare for. Two years later, the family reunites for a holiday meal, and Liz’s latest radical book now sits atop the best-sellers list, and she’s turned into a spokesperson for a movement.

The film and the story and the characters perfectly capture just how divisive politics have become – even, or maybe especially, between loved ones. The acting here is as good as anything we will see all year. Ms. Dynevor and Ms. Grace are certainly headed towards stardom. There are a few really powerful scenes, and the most chilling occurs when the ‘census workers’ interview Paul and Ellen. By this point, nerves and relationships are frayed, and the targeting of ‘non-changers’ is in full mode, leading societal change. A father-son conversation between Paul and Josh leads to the most important line in the film: “We are the keepers of our own souls.” The conclusion revolves around the 30th anniversary party for Paul and Ellen, ensuring all viewers understand just what has happened over five short years. This film hits hard due to the real-world synchronicity and concerns.

In theaters October 29, 2025

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Posted by David Ferguson

BALLAD OF A SMALL PLAYER (2025)

October 29, 2025

Greetings again from the darkness. It’s not Las Vegas. It’s not Monte Carlo. Somehow even more gamblers head to Asia, specifically the gambling capital of Macau … and that’s where this film from director Edward Berger (Oscar nominated for CONCLAVE, 2024) is set. Rowan Joffe (son of Roland Joffe, who directed THE KILLING FIELDS, 1984) has adapted the 2014 novel by Lawrence Osborne. That may be the last part of this that makes any sense.

Colin Farrell stars as Lord Doyle, a gambling addict laying low in his swanky hotel suite as he dodges those from whom he’s run up massive debts ($350k to the hotel). Lord Doyle presents himself as a high-roller aristocrat, but we quickly note he’s little more than a fraudster both in identity and wealth. A casino floor manager named Dao Ming (a lovely Fala Chen) takes pity on him as a ‘lost soul’ for no apparent reason, but it significantly impacts his direction. Hot on his trail is a Private Investigator named Cynthia Blithe (Oscar winner Tilda Swinton), hired by a woman whom Lord Doyle (under his real Irish name) bilked out of a large sum of money.

“All I need is one big score”. How many times have we heard a gambling addict state this? It’s a cliché, yet there are a few elements here that seem interesting and unusual. For some reason, the film seems to hit and run to the next point without ever giving us what we need. In other words, the structure is as messy as the constant rain on the streets of Macau. On the other hand, cinematographer James Friend (Oscar winner for Berger’s ALL QUIET ON THE WESTERN FRONT, 2022) turns Macau into a kaleidoscope of color and texture and beauty and danger. There are even a few times that the film tends to mirror the iconic visual style of director Wes Anderson.

For a guy that thrives on scamming folks, Lord Doyle’s choice of baccarat never makes any sense. Why choose a game that’s purely a game of chance/luck? As we struggle along with Doyle to keep up with the loose ends, a supernatural element appears, causing a shift in tone. It’s like dinner and dancing really did lead to an arrangement – only we weren’t present for it. The frantic pace is something Colin Farrell works very well. As I’ve stated in other reviews, he’s turned into a terrific actor who elevates every project. And though she’s underutilized here, Tilda Swinton continues to be an actor worth watching in any role. Watching the movie is entertaining enough, yet at its conclusion, we feel a bit cheated. Many that’s fitting after following Lord Doyle for 101 minutes.

Begins streaming on Netflix on October 29, 2025

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Posted by David Ferguson

COUNTRY DOCTOR (2025, doc short)

October 27, 2025

Greetings again from the darkness. With healthcare in the headlines most every day, this 37 minute documentary short film from co-directors Shari Cookson and Nick Doob couldn’t be more timely, nor more important. Rather than present a general overview of the crisis in rural America, the filmmakers present one specific real world case study from tiny Fairfax, Oklahoma, with a focus on the local doctor and the foundering hospital.

Dr. James Graham (not ‘Moonlight’ for you FIELD OF DREAMS fans) has practiced in the area for 41 years and has treated multiple generations of residents. Despite growing up poor and having had two kidney transplants himself, Dr. Graham is one of two doctors at the Fairfax hospital. He’s also the only doctor providing service to the local nursing home and three clinics … and he makes house calls and gives out hugs and philosophy (hope) to patients in need. It’s not unusual for his patients to pay him with fresh produce from their own gardens … sometimes secretly delivering these to the back end of his truck. This community knows how fortunate they are to have Dr. Graham, and it’s obvious he cares deeply about providing care to these neighbors – many he’s known since they were born.

Filming of this story dates back to pre-pandemic, and Dr. Graham mentions how many patients were lost due to COVID and the limitations brought on by the struggling hospital. It was a hosptial run by a group/individual who committed fraud and apparently put little effort toward medical care, the efficient running of the hospital, or the proper management of staff. Dr. Graham went as far as to speak directly with state politicians to explain the situation. He was met with, “Let us know if we can help …”, the infamous empty words politicians have become known for. The hospital was put up for auction, and the film covers the fascinating process. When a group run by Newport Beach (California) physician Dr. Elizabeth Pusey won the bid, skepticism was noted by Dr. Graham, the community, and the local newspaper. Capital improvements and infrastructure expansion began, yet communication from Dr. Pusey’s group was minimal.

What makes this documentary so powerful is that it’s a real-world example of what’s occurring around the country. So many citizens are at risk. More than 140 rural hospitals have closed since 2010, and more than 600 others remain at risk. It’s a travesty that the elected officials don’t share the humanity displayed on a daily basis by Dr. James Graham.

This documentary short premieres on HBO beginning October 28, 2025

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Posted by David Ferguson

THE FRENCH ITALIAN (2025)

October 27, 2025

Greetings again from the darkness. Are you a good person? It’s really not that difficult to determine … although it does require a bit of honest self-reflection. The debut feature film from writer-director Rachel Wolther (co-written with Jesse Millward) is clearly meant to be comical satire, and even more clearly does not include me in the target audience. It seems to me the window for putting whiny, entitled complainers in the spotlight has closed, and these folks are more sad and annoying than funny. Still, since I’m likely in the minority, I’ll strive for objectivity here.

Valerie (Catherine Cohen, DATING & NEW YORK, 2021) and Doug (Aristotle Athari, MOLLI AND MAX IN THE FUTURE, 2023) are thirty-somethings living in New York City in a rent-controlled Brownstone. Their careers are stagnant (his) and borderline non-existent (hers). She doesn’t seem to have a clue about how to take responsibility at work, or even how to fulfill the basic duties. When girlfriend Mary (Chloe Cherry) moves in with usually quiet downstairs neighbor Jordan (Jon Rudnitsky, STEALING PULP FICTION, 2025), she brings along her karaoke machine, and immediately Valerie and Doug are annoyed with the sound pollution and constant “La Bamba”, and begin creating scenarios that might explain their neighbors.

Once they escape to the suburbs, the childish couple began strategizing to get revenge on the old neighbors, and with the help of equally unstable friend Wendy (Ruby McCollister), they decide to take advantage of Mary’s pursuit of acting. Their ‘ingenious’ plan involves putting on a fake play and inviting Mary to audition for the part. The plan makes little sense and ends up drawing in another actor named Joe (Ikechukwu Ufomadu, JUDAS AND THE BLACK MESSIAH, 2021) in what ends up being a quite fortunate move.

While this movie didn’t scratch an itch for me, I certainly appreciate the performances. Ms. Cohen and Mr. Athari nail characters who are impossible to like. Why they decided to relocate and gain revenge without ever bothering to meet the neighbors is quite a statement. Ms. McCollister brings some much needed quirky energy to the proceedings. Ms. Cherry transitioned from years in the adult film industry to more conventional acting with “Euphoria”. Her take on Mary in this film is definitely interesting and unusual. While I appreciated the “Atlas Shrugged” spoof, I found this satire to be less of a comedy and more of a generational snapshot for dummies (like me).

Available on VOD beginning October 28, 2025

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Posted by David Ferguson

Book Review- FEVER: THE COMPLETE HISTORY OF SATURDAY NIGHT FEVER (2025) by Margo Donohue

October 26, 2025

Book Review- FEVER: THE COMPLETE HISTORY OF SATURDAY NIGHT FEVER

by Margo Donohue

For many, SATURDAY NIGHT FEVER is remembered as that disco movie from the 1970’s where John Travolta danced to music by The Bee Gees. And they are correct. However, this common description is missing what made the film resonate with me and so many others. Author Margo Donohue understood the gap and her new book excels at connecting the dots for these two sides. In the process, she expertly serves up some inside scoop on the filmmaking process, the actors, and the era.

Author Donohue explains why opinions on the film are so widely varied. First of all, there are two versions … an R-rated version released theatrically, and a PG version that ran in prime-time television. The differences go much deeper than cleaning up the profanity. Some of the topics addressed in the original are so glossed over in the TV version that one would be excused for being unaware. At its core, the story is about a young man searching for a path to adulthood that doesn’t limit him in ways that remaining in the neighborhood would.

For film buffs, Donohue details how little faith the studio had in the film, the budgetary limitations, the change of director from John G Avildsen (coming off his Oscar win for ROCKY, 1976) to John Badham (coming off THE BINGO LONG TRAVELING ALL-STARS & MOTOR KINGS, 1976), and the concerns about whether “Welcome Back, Kotter” star John Travolta could transition his popularity from TV to the big screen. She also breaks down some of the most memorable scenes – that iconic opening strut swinging a paint can, and the significant and relatable family dinner, among others. Donohue also spills the beans on Travolta’s dance training and the choreography during filming.

Some of the best writing and research is found in the segments (seemingly) directed at those who tend to off-handedly dismiss this as just a disco dancing film. Donohue drills down into the manner in which Donna Pescow made her Annette into such a complex character. It’s a shame that the author wasn’t able to interview Travolta for the book, but many of his past quotes about playing Tony in the film are included. Personally, I always struggled with Tony choosing Stephanie as his dance partner (when she appeared to be a mediocre dancer) yet I found Stephanie to be so familiar as a person – wanting to be an adult and desperate to make herself seem so important. Both female characters are heartbreaking in their own way and Donohue provides a great deal for us to chew on.

In writing the book, Margo Donohue makes the point that much of what’s in the film would not be included were it to be remade today. Racism, misogyny, abortion, suicide, religion, family dysfunction, and sexual abuse are key elements to Badham’s true version (R, not PG). It’s a gritty street movie that offsets poverty and other less desirable attributes with some historically popular music and some stunning dance sequences. In addition to the heaviness, there are also moments of levity: “Attica!”, Marisa Tomei’s line is always good for chuckle, as is, “He hits my hair!”. My personal favorite occurs while the group is at White Castle, and they ask, “Don’t you never chew, Tony?”. If a writer chooses to take on a movie that has had a lasting impact on so many, there better be some valuable insight and some behind-the-scenes intel that pack a punch. Margo Donohue has succeeded in delivering all of that and more. Unfortunately, Ms. Donohue passed away unexpectedly earlier this year at the age of 58, and her legacy is her writing and the influence of her podcast.

Amazon link for the book

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Posted by David Ferguson

SPRINGSTEEN: DELIVER ME FROM NOWHERE (2025)

October 23, 2025

Greetings again from the darkness (on the edge of town). My connection to Bruce Springsteen’s music dates back more than 50 years and includes hitchhiking (from San Antonio) to a gig at the Armadillo World Headquarters in Austin. As much as I loved the early tunes from his first two albums, it was the 1975 release of the “Born to Run” album that spoke to me on a mystical level. His storytelling and anthems on that instant classic, as well as the next two albums, “Darkness on the Edge of Town” and “The River”, had a way of drawing us in for a pure escape. By 1981, Springsteen’s albums were huge and his live performances were legendary and exhilarating. It’s the time period just after that serves as the basis for this film from writer-director Scott Cooper, based on the 2023 book, “Deliver Me From Nowhere: The Making of Bruce Springsteen’s Nebraska” by Warren Zanes.

A black & white opening takes us to Bruce’s childhood (he’s played by newcomer Matthew Anthony Pellicano Jr) where we get a feel for his rocky home life with mom Adele (Gaby Hoffman, C’MON C’MON, 2021) and on-the-verge of violence dad “Dutch” (a terrific Stephen Graham, “Adolescence”). Cooper then cuts to the closing night of the 1981 tour in Cincinnati, where Jeremy Allen White (“Shameless”) as Bruce belts out “Born to Run” with the E Street Band (decent lookalikes). At this point, I found myself a bit deflated. It all felt too cliché and the song just wasn’t up to the standard I’d hoped. Fortunately, things were about to get much more interesting with a deep dive into the birth of “Nebraska”.

Bruce was 31 years old and on the verge of superstardom after his first true hit, “Hungry Heart” (which fortunately is mentioned but never heard). The record company is itching for the next round of hits, while Bruce is clearly dealing with some mixed emotions. His rented house in Colts Neck, New Jersey affords him the solitude he needs to obsess over Terrence Malick’s BADLANDS (1973) with Martin Sheen as a psychotic killer based on real life killer Charles Starkweather (the last name plays an interesting part of Springsteen trivia). Bruce fans know what happens next – in the sanctity of the home’s bedroom, and with the help of guitar tech Mike Batlan (Paul Walter Hauser, RICHARD JEWELL, 2019), he records the songs for the “Nebraska” album using low-tech equipment. His insistence on releasing the album in raw form sends the record company into a tizzy. Bruce also works in a few jam sessions at the infamous club, The Stone Pony, where we see him cut through Little Richard’s “Lucille” and John Lee Hooker’s “Boom Boom”.

It’s here where the deep friendship between Bruce and his agent, Jon Landau (a wonderful Jeremy Strong, THE APPRENTICE, 2004) becomes the heart of the film. Nope, it’s not the music that makes this story work … it’s the support of Landau for his friend, whom he also recognizes as a genius. During this dark emotional time, Bruce somehow begins a romance with Faye (Odessa Young, MOTHERING SUNDAY, 2021), a local single mom – who is also an amalgam of women in Bruce’s life at the time. This contributes to the complexities of Bruce’s mental state during this time, and helps us (and him) understand why this particular music is so necessary for him.

“I have seen rock & roll’s future and his name is Bruce Springsteen”. That’s a quote from a 1974 concert review by music writer Jon Landau. Yes, the same man who became Springsteen’s long-time manager and close friend. But this movie isn’t about Bruce Springsteen the rock icon. It’s a meditative and exploratory peek at a soulful artist during a dark and confusing time. He is sliced open to reveal someone still dealing with a less-than-joyous childhood while balancing the pressure of becoming an international sensation. This was the calm before the storm of “Born in the U.S.A.” … only it wasn’t anything near calm for Bruce. He was in pain – a true tortured soul working through the emotions of finding himself. It’s quite fascinating to watch, though most assuredly, a departure from the mainstream music biopics we have seen over the past few years.

Scott Cooper’s film, CRAZY HEART (2009) won Jeff Bridges an Oscar, and proved the director had a feel for angst in musicians. Warren Zanes wrote the book this film is adapted from, and as guitarist for the Del Fuegos and Tom Petty biographer, Zanes absolutely understands this life. It’s because of these two gentlemen and superb performance in Acts 2 and 3 by Jeremy Allen White and Jeremy Strong that this film never wallows in melodrama, despite the lead character suffering with depression and anxiety.  While we hear cuts from the Nebraska album, Springsteen fans should know this is not a concert film. The music is utilized precisely and purposefully, but the music does not drive this film. The exception might be White’s rendition of “Born in the U.S.A.” while in the studio. That’s the one time audience members might be tempted to yell: “BRRUUUUUCE!”

Opens wide on October 24, 2025

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Posted by David Ferguson

BLUE MOON (2025)

October 23, 2025

Greetings again from the darkness. Most everyone, especially lovers of Broadway musicals, knows the work of Rodgers and Hammerstein. And they should. Richard Rodgers and Oscar Hammerstein II are regarded among the most prolific musical production writers in history. Their projects include “The King and I”, “Carousel”, and “The Sound of Music”. Their first collaboration, “Oklahoma!” is at the center of this latest from acclaimed director Richard Linklater (his NOUVELLE VAGUE coming out this year) and writer Robert Kaplow (ME AND ORSON WELLES, 2008). Yet we can’t help but wonder why so few are familiar with the work of Rodgers and Hart. Together, composer Richard Rodgers and lyricist Lorenz Hart wrote more than one thousand songs, including “My Funny Valentine”, “The Lady is a Tramp”, and of course, “Blue Moon.”

An opening title card provides quotes made about Lorenz Hart. The first describes him as “fun”, while the second states, “he was the saddest man.” The contrast is startling. We first see Ethan Hawke as Lorenz Hart as he stumbles and collapses in a dark alley. We then flash back seven months to March 31, 1943, the opening night of “Oklahoma!” on Broadway. Hart leaves the production before it’s over and heads to Sardi’s, where he plants himself at the bar, conversing with Eddie (Bobby Cannavale), his favorite bartender. This kicks off one of the more dialogue-heavy movies we will likely ever see … fitting for a man who excelled at assembling words.

It takes little time for us to recognize Hart’s bitterness and envy towards his former partner’s (Rodgers) success with a new collaborator (Hammerstein). He’s alternatingly condescending and profane … until Richard Rodgers (Andrew Scott) shows up and Hart turns on the fake charm. For a single setting film (rare in movies, not so rare in live theater), this one is surprisingly complex. Hart’s sexuality is hidden much better than his alcoholism. In fact, Rodgers offers to work with him again for a revival of their “A Connecticut Yankee” – but only if Hart stops drinking and behaves professionally towards their work. These are the issues that previously divided them.

Adding yet another layer is the presence of Elizabeth Weiland (Margaret Qualley). She has charmed ‘Larry’, who claims to love her … although he states, “everybody loves her.” Their relationship is askew, as he adores her and likely wants more, while she wants him to introduce her to the great Richard Rodgers. Also in the mix is a terrific sequence between Hart and the “Charlotte’s Web” writer E.B. White (Patrick Kennedy). Their wordplay nears competition and ends with what would be a Stuart Little idea. Periodically drawn into the evening’s progression is Sardi’s house pianist (Jonah Lee), who idolizes the work of Rodgers and Hart. As if all that isn’t enough, we get interactions with future director George Roy Hill (David Rawle), whom Hart counsels to concentrate on friendships (i.e., Butch and Sundance), and an obnoxiously whip smart young theater protégé named Stevie (Cillian Sullivan as teenage Stephen Sondheim).

Seemingly an odd casting decision for a short, Jewish, alcoholic man who is both miserable and talented, Ethan Hawke is absolutely terrific as Lorenz Hart. Alcoholism may destroy a partnership, and true love may constantly elude him, yet Hawke allows us to see the genius within. Hart would be dead just a few months after this painful (for him) opening night of “Oklahoma!” … leaving little doubt that his all-time favorite line was fitting: “Nobody ever loved me that much.” (from CASABLANCA)

Opening nationwide on October 20, 2025

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Posted by David Ferguson

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