RADICAL WOLFE (2023, doc)

September 14, 2023

Greetings again from the darkness. There have been many great writers over the years, yet only a handful of these have become celebrities themselves … in contrast to celebrities who become “writers”. Tom Wolfe was one whose personality was as big (sometimes larger) than his books. Sporting the trademark white suits that had him labeled “a dandy”, making frequent talk show appearances and numerous public book readings and speeches, Wolfe achieved the celebrity status that evidently was important to him. Richard Dewey’s documentary is based on the “Vanity Fair” article written by Michael Lewis (“Moneyball”, “The Big Short”, “The Blind Side”), who also appears on screen here providing insight into Wolfe the writer and Wolfe the man.

Dewey presents a pretty basic chronological biography of this man whose mastery of word usage has led him to be recognized for introducing some familiar phrases into the language. These include: “the right stuff”, “good ol’ boy”, and “the Me decade”. Wolfe penned many bestsellers across multiple genres, as well as countless articles and essays with his observations and commentary on society and counterculture. Some of his most famous works are “The Right Stuff” (adapted into an exceptional 1983 film), “The Bonfire of the Vanities” (adapted into a regretful 1990 DePalma flop), and “A Man in Full”. It’s that latter 1998 novel that kicked off the high-profile literary feud between Wolfe and rival writers John Updike, Norman Mailer, and John Irving.

Wolfe’s background as a newspaper journalist certainly contributed to his long-standing commitment to research and details. Among those interviewed here and speaking to his expertise are Gay Talese, Christopher Buckley, Tom Junod, and the aforementioned Michael Lewis. Also included are numerous clips of Wolfe’s TV appearances, and even comments from his daughter, Alexandra. Talese in particular captures the essence of Wolfe when he describes him as (something along the lines of) an extremely polite man who transitions into a terrorist with a pen in hand. Not many can be described as an elegant gentleman AND with adjectives such as cynical, mean, outlandish, and contrarian. Tom Wolfe can … and has been.

As a writer, Wolfe turned his focus on Black Panthers, Leonard Bernstein, astronauts, New York City, Junior Johnson’s NASCAR, and Ken Kesey’s LSD hippie counterculture. Sure, he was often criticized for his use of exclamation points and ellipses (a habit we share), yet he was also behind “New Journalism”, aka literary journalism – making stories more interesting to read. He suffered through depression after a heart attack, but the man did things with words most of us can only dream of. Tom Wolfe passed away in 2018 at age 88, but his white suit lives on in images, and magical words live on through publications. For a man who adored adoration, he would likely be fine with that.

The film will debut in limited theaters beginning September 15, 2023

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Posted by David Ferguson

CASSANDRO (2023)

September 14, 2023

Greetings again from the darkness. One of the possible indicators that a movie is well done and interesting is when it draws you in despite having no similarities to the world you live in. I was transfixed by this film from writer-director Roger Ross Williams (Oscar winner for MUSIC BY PRUDENCE, 2009 short) and co-writer David Teague. I am not Hispanic, have no affinity for wrestling, am not gay, and don’t wear makeup or do drugs or crave attention … all part of Saul’s life in this terrific little film.

The always outstanding Gael Garcia Bernal gives a top-notch performance as Saul Armendáriz who transforms into the titular Cassandro, an Exotico luchrador in the colorful world of Lucha libre (Mexican wrestling). Tradition says Exoticos take a beating in the ring while being subjected to the rowdy crowd’s homophobic slurs screamed at maximum vocal volume. But Saul, who took his performance name Cassandro from a soap opera, has a vision where he body slams tradition, and periodically wins matches while simultaneously winning over the crowd.

Saul and his mother (Perla De La Rosa) have a tight bond, one developed after Saul’s dad left home rather than accept his son who had come out as gay. We watch as Saul’s skill and notoriety improve thanks to his trainer Sabrina (Roberta Colindrez) and promoter Lorenzo (Joaquin Cosio). In this world, unique relationships develop, and we see Saul with both fellow wrestler Gerardo (Raul Castillo) and Lorenzo’s right-hand man Felipe (Bad Bunny). Ever-present is the cloud of ‘daddy issues’ that Saul carries, and we do wonder if the situation with his religious and closed-minded father (Robert Salas) will be resolved.

There is an odd cadence to the story’s progression, and a few times it feels like the script skips through some important moments, while dwelling on some lesser scenes. Examples of this include Cassandro’s climb to fame and an awkward talk show appearance where he is treated as a role model by a gay youngster. Still, the performance from Gael Garcia Bernal is so strong and charming … his face truly lights up while in the ring … that we can imagine on our own how he climbed the ladder of Lucha libre, as he instills in us the message of being who you are and staying true to yourself. All of this is complemented by a terrific score from Brazilian composer Marcelo Zarvos, who excels in the use of the trumpet here.

Opening in theaters on September 15, 2023 and on Prime Video beginning September 22.

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Posted by David Ferguson

SITTING IN BARS WITH CAKE (2023)

September 8, 2023

Greetings again from the darkness. By coming clean up front, my hope is that forgiveness and understanding is in order, and maybe others will be diverted from the same path I took. Between the film’s title, the trailer, and knowing it was based on Audrey Shulman’s book and true story, my assumption was that this was going to be a straightforward, good old fashioned chick flick. And although comparisons to BEACHES (1988) are not without merit, director Trish Sie (PITCH PERFECT 3, 2017) serves up additional layers (yes, pun intended).

Jane (Yara Shahidi, “Blackish”, Ticker Bell in PETER PAN & WENDY, 2023) and Corinne (Odessa A’zion, HELLRAISER, 2022) are lifelong friends, roommates and polar opposite twenty-somethings. Jane is an introvert who is pleasing her parents by studying for the LSAT in order to become a lawyer. Corinne is an extroverted party girl hoping to move up at the creative agency where she works for a tough boss played by Bette Midler.

Jane is really committed to two things: her friendship with Corinne and baking desserts, especially cakes. Corinne comes up with a strategy to help Jane meet more men. The plan is for Jane to bake 50 cakes over the next year, and the group will take each cake to a different bar to meet new people. They map out the bars geographically by stereotypes of local guys, and hang it on the wall. Corinee calls this “Cake-barring”, and Jane reluctantly agrees to participate, and we are along for the ride and an introduction to the beautiful SoCal people. The plan is progressing swimmingly until Corinne is diagnosed with a life-threatening disease.

Taking care of her friend becomes Jane’s focus, going against the preferences of Corinne’s parents, a bearded Mr. Fix-it played by Ron Livingston, and a deadpan mom played by Martha Kelly (“Baskets”). Corinne insists that the cake-barring continue, even as her health declines. Jane does find a boyfriend (Rish Shah), and during all of this, learns quite a lot about herself.

Cancer plays a more substantial role than the trailer would lead us to believe, and at the core, this film is about friendship and self-discovery. Corinne remains steadfast with cake-barring because she understands her friend Jane needs to build her confidence in social settings – and her delicious cakes are just the ticket.

Audrey Shulman’s book is based on her experiences of a similar year, and though it’s not a cookbook, it does contain 35 recipes. Here, director Sie uses very creative counters/chapters to keep us up to speed on the latest flavor, and the film admits to a year of “hospitals and bars”, It’s also the first time I recall hearing the phrase “underwear bully”, so kudos for that! The additional layers mentioned above are quite satisfying despite some of the unavoidable cliches. It’s a pleasure to see grown women in a true friendship built on doing the right thing for the other, and also for themselves.

Releasing exclusively on Prime Video on September 8, 2023

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Posted by David Ferguson

AMERICAN: AN ODYSSEY TO 1947 (2023, doc)

September 8, 2023

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

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

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

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

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

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

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

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Posted by David Ferguson

PORTRAIT OF THE QUEEN (2023, doc)

September 5, 2023

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

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

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

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

Available on digital beginning September 5, 2023

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Posted by David Ferguson

MR. JIMMY (2023, doc)

August 30, 2023

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

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

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

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

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

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

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

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

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Posted by David Ferguson

GOLDA (2023)

August 24, 2023

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

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

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

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

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

Opens on August 25, 2023

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Posted by David Ferguson

RETRIBUTION (2023)

August 24, 2023

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

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

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

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

Opening in theaters on August 25, 2023

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Posted by David Ferguson

WAYNE SHORTER: ZERO GRAVITY (2023, doc)

August 24, 2023

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

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

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

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

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

Premiering on Prime Video on August 25, 2023

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Posted by David Ferguson

LANDSCAPE WITH INVISIBLE HAND (2023)

August 18, 2023

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

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

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

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

Opens in theaters on August 18, 2023

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

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