TICKET TO PARADISE (2022)

October 21, 2022

Greetings again from the darkness. I’ll begin things with a personal note, followed by a more objective and professional review. From the personal side: Writer-director Ol Parker (MAMMA MIA! HERE WE GO AGAIN, 2018) has delivered the textbook example of the type of movie that, while I understand why they get made, I find the hollowness and predictability to be anything but entertaining. On a more objective note, George Clooney and Julia Roberts are huge movie stars and will almost certainly lead the way to box office success.

Oscar winner Clooney plays David, a highly successful Chicago-based architect. Oscar winner Roberts plays Georgia, a highly successful Los Angeles-based art dealer. David and Georgia have been divorced for twenty years, and have bickered and fought a war of words and ideology ever since. They are forced to reunite and put on a happy face for the law school graduation of their daughter Lily (Kaitlyn Dever from “Justified” and BOOKSMART, 2019). The (un)wise cracks and cringe-inducing one-liners start immediately and continue as David and Georgia drop off Lily and her BFF Wren (Billie Lourd, also BOOKSMART) for their post-graduation vacation to Bali (although it’s filmed in Australia).

A googly-eyed, love-at-first-sight meet cute finds Lily falling hard and fast for local dreamboat and seaweed farmer Gede (introducing Maxime Bouttier). In the blink of an eye, David and Georgia are on a plane to Bali. Only this time they share the same mission … sabotage the wedding to prevent their daughter from making a mistake. Their “Trojan Horse” strategy and insistence on being in ‘lockstep’ are meant to be humorous, but mostly we wonder why these two can’t have an adult conversation with their adult daughter. Adding complications (though not really) to the mix is Georgia’s much younger boyfriend Paul (Armie Hammer lookalike Lucas Bravo, MRS HARRIS GOES TO PARIS, 2022). He’s a handsome French pilot who is so goofy, we can’t possibly take him seriously or think he could give Georgia pause on where the relationships in this movie are obviously headed.

This is the fifth film collaboration between mega-stars Clooney and Roberts, and after all these years, we know exactly what to expect from each of them. Clooney exaggerates his facial contortions and plays his part right down the line, while Roberts gets in a cackle or two while often wearing the most unflattering onesies you’ll ever see. If ‘paint by numbers’ is considered art, then romantic-comedy by rote would be as well. We know where this is headed within the first five minutes and only those who enjoy knowing every bump in the road ahead of the trip will find it satisfying. It’s a shame that the talented Dever, Lourd, and Bouttier couldn’t have had more to do here, but it seems superstars still rule the roost.

Opening in theaters on October 21, 2022

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Posted by David Ferguson

MY POLICEMAN (2022)

October 21, 2022

Greetings again from the darkness. This is one of those prestige movies that simply isn’t as important as it portends to be. That doesn’t mean it’s unwatchable, only that it lacks the emotional weight and depth to which it strives. Director Michael Grandage (GENIUS, 2016) is working from a script that Ron Nyswaner (PHILADELPHIA, 1993) adapted from the 2012 book by Bethan Roberts … itself inspired by the true story of writer EM Forster.

The film employs a familiar structure, alternating between the 1950s and 1990s, utilizing two sets of actors playing three main characters. Pop star Harry Styles and his handsome face and lush head of hair plays young police officer Tom, who one day at the beach is introduced to the lovely and educated Marion (Emma Corrin, Lady Di in “The Crown”). The two begin spending a good deal of time together with Tom being the perfect ‘gentleman’, even after an extended courtship. He introduces art-loving Marion to his friend Patrick (David Dawson, ALL THE OLD KNIVES, 2022), a museum curator who has many common interests with Marion … including that of Tom.

The decades-later episodes find Marion (Gina McKee, IN THE LOOP, 2009) inviting stroke victim Patrick (Rupert Everett) to convalesce at the seaside village home she shares with long-time husband Tom (Linus Roche, BATMAN BEGINS, 2005). What we learn is that Marion has done so out of guilt and Tom is not happy with her for doing so, and completely avoids his long-ago friend by taking an inordinate number of walks with his dog along the shoreline. If the two time periods aren’t enough for us to understand these relationships, older Marion begins reading Patrick’s diaries from those past years and learns the details of what she suspected all along. This cruel invasion of privacy goes far beyond the doubts her younger self had when she saw the portrait of Tom that Patrick drew, or the time Patrick hired Tom as an assistant on art excursion to Venice.

The film opens with Dean Martin crooning his classic, “Memories are Made of This”, and while it may be an obvious precursor to what we are to watch, it’s always a pleasure to hear Dean on a modern sound system. The three characters navigate (quite poorly actually) a messy taboo triangle of love, passion, and deceit, making for a mostly sad story from all angles. It may stress the 1950’s attitudes toward sexual preferences, but mostly it shows how the past is always present … always hovering, even over once-close friendships and loves.

The film opens in select theaters on October 21 and on Prime Video on November 4, 2022

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Posted by David Ferguson

TILL (2022)

October 21, 2022

Greetings again from the darkness. Don’t look away. Whether referring to Mamie Till-Mobley telling family members to look at the disfigured boy in the casket, or to the general counsel to all citizens in this day of division, the sentiment is the same … see with your own eyes so that you understand the injustice. Writer-director Chinonye Chukwu (CLEMENCY, 2019) and her co-writers Michael Reilly and Keith Beauchamp allow us to see the tragic story of Emmett Till through the eyes of his mother, and it’s a powerful approach. It’s Mr. Beauchamp who has diligently researched this story for almost 25 years, and was the driving force behind the 2005 documentary, THE UNTOLD STORY OF EMMETT LOUIS TILL.

The film certainly benefits from the powerhouse performance of Danielle Deadwyler (THE HARDER THEY FALL, 2021) as Mamie Till-Mobley. Mamie’s love and concern for her 14-year-old son Emmett (a terrific Jalyn Hall) is only surpassed by her strength and dignity after his death … and all of this is masterfully portrayed by Ms. Deadwyler in her surefire Oscar contending role. We see just enough of young Emmett to realize he’s a well-raised, considerate, and fun-loving boy who sometimes stutters. He’s so excited for his trip from Chicago to Mississippi to meet some of his relatives, while seeing and doing new things. It’s 1955, and Mamie tries to caution Emmett on the differences between their world at home and the southern world he’s about to enter.

There are varying accounts of what Emmett actually did or didn’t do to Money, Mississippi store clerk Carolyn Bryant (played by Haley Bennett, SWALLOW, 2019), but the shock of seeing Emmett’s disfigured face and body is handled brilliantly here, and though the actual violence occurs off screen, the impact remains. Against all of her motherly protective instincts, Mamie seizes the power of the moment to have a photograph taken and demand an open casket so that the world can witness the result of the atrocity. Her ability to think clearly catapulted the case to national attention, and allowed Emmett Till to become a name and example that is still studied today.

The supporting cast includes Frankie Faison (Mamie’s father), Whoopi Goldberg (Mamie’s mother), Sean Patrick Thomas, Tosin Cole (as Medgar Evers), John Douglas Thompson, and Jayme Lawson. The trial of the men accused of beating and killing Emmett plays a part here, but the only real courtroom drama occurs when Mamie takes the stand. It’s in that moment when Ms. Deadwyler truly shines and allows us to feel a mother’s pain and disgust. Afterwards, we get a taste of her activism … something she continued until her death in 2003 at age 81. Filmmaker Chukwu benefits from the performance of Deadwyler and the years of research by Mr. Beauchamp, and she delivers a film that allows us to experience a dark moment in history from a different perspective – the eyes of a mother.

Opens in theaters on October 21, 2022

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Posted by David Ferguson

RAYMOND & RAY (2022)

October 15, 2022

Greetings again from the darkness. Hey, you know that Dad we hated … the one that ruined our lives? Well, he died and I need you to come with me to the funeral. Writer-director Rodrigo Garcia (ALBERT NOBBS, 2011) starts his film in this manner by having Raymond knock on the door of his half-brother Ray’s cabin door in the middle of the night. They haven’t seen each other in five years, but their shared bond is an ill will towards the father who stirred such misery during their childhood that neither have made much of their time since.

Raymond (Ewan McGregor) is a persnickety type; a pent-up bundle of anxiety who has gone through a couple of divorces and is currently separated from his third wife. Ray (4-time Oscar nominee Ethan Hawke) is his opposite – the former addict (7 years sober) puts off the ultra-cool guy vibe with rumpled clothes, tousled hair, and non-stop flirtations. His talent with music was never encouraged by the father and has since been a source of frustration. In other words, these two grown men are messes due to the resentment they’ve carried for their father and his inexcusably poor parenting.

At first, we assume the two men are going to sit around reminiscing about their horrible memories of dear old dad. Instead, they hop in the car and head out of town to the funeral. It’s here where they begin to piece together the last years of their father’s life. Bedridden at the end, he had a room in a former (and younger) lover’s house. Lucia (an excellent Maribel Verdu, Y TU MAMA TAMBIEN, 2001) welcomes the men with the surprise disclosure that her young son is their half-brother. At the viewing, they meet dad’s nurse Kiera (the always terrific Sophie Okonedo). No, she doesn’t have another half-brother for them, but she zeroes in on Ray and his approach to the proceedings.

More surprises await Ray and Raymond, not the least of which is that dad’s final wish was for them to dig his grave by hand. At the grave site, they are joined by dad’s flamboyant pastor (Vondie Curtis Hall), as well as others with a bond to the man in the pine box. Most of these people are unknown to Ray and Raymond, and they begin to realize the man they’ve held in contempt went on to live a full life. Veteran actor Tom Bower has limited screen time as the dad, and overall the cast is strong and deserving of a script that could take the topic and these characters much deeper. Hawke is especially good as the brother holding in so many emotions, while McGregor plays off of him quite well. While there is nothing here we haven’t seen before, we do wish the cast had more to work with.

The film will have a limited theatrical release on October 14, 2022 prior to screening on AppleTV+ beginning October 21, 2022

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Posted by David Ferguson

ONODA: 10,000 NIGHTS IN THE JUNGLE (2022)

October 15, 2022

Greetings again from the darkness. There has been no shortage of conspiracy theories, either recently or historically, that have left non-believers bewildered at how ‘the other side’ held firm. Writer-director Arthur Harari and his co-writers Bernard Cendron and Vincent Poymiro bring the remarkable struggle of Hiroo Onoda to the screen. Onoda was a Japanese soldier who refused to believe WWII ended, and instead, continued his mission of resistance by spending thirty years in a Filipino jungle.

Onoda was only 22 when he entered the war in 1944. He is played as a young man by Yuya Endo, and in later years by Kanji Tsuda. The film goes mostly in chronological order, with only occasional flashbacks to Onoda’s “special training” by Taniguchi (Issey Ogata), his trainer and trainer. The passing of years is noted on screen, and we watch as Onoda’s squadron shrinks in size, holding at four for quite a while, before shifting to two, and finally only he remains. During the special training, Taniguchi declares, “You don’t have the right to die”, instilling a firm commitment to the cause in Onoda.

Also seared into Onoda’s brain is the proclamation of, “We’ll come back for you. No matter how long it takes, we’ll come back for you.” Still, it’s fascinating to see his determination to keep fighting, despite so many signs that the war was over. He viewed magazine articles and radio broadcasts as tricks to draw him away from his mission … going so far to decipher a coded message that was anything but that.

The young man who finally succeeds in lulling Onoda out of the jungle has his own mission – actually three of them: finding a panda, locating Onoda (by this time a legend), and tracking down a Yeti. It’s a bittersweet moment for the long-dedicated soldier, and he went on to live many more years as a home country icon – considered a nationalist man of honor by some, a murdering fool by others. The film, and Onoda’s saga, makes us question the point of war when it’s impossible to tell if the war is over or ongoing. Harari’s film is almost three hours, which is entirely too long … but significantly shorter than the time Onoda spent in the jungle.

Releasing in theaters on October 14, 2022

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Posted by David Ferguson

THE SAME STORM (2022)

October 15, 2022

Greetings again from the darkness. When is it too soon to look back? We all experienced the pandemic, and yet, things aren’t quite normal again … at least not the ‘old’ normal. Talented writer-director Peter Hedges (the underrated PIECES OF APRIL, 2003) shows us the various ways in which the pandemic affected folks, and how zoom and other virtual connections became the lifeline to the outside world for many.

You will surely recognize many of the faces being filmed by smart phones and zoom recordings. These include: Mary-Louise Parker, Sandra Oh, the great Elaine May, Rosemarie Dewitt, Ron Livingston, Alison Pill, John Gallagher Jr, Noma Dumezweni, Judith Light, and many others. Twenty-four characters in all (according to the synopsis), and we see most of them in two different scenarios. We see young people worried about old people, and vice versa. We see parents worried about kids, and kids worried about parents. Significant others check in on their “better half”, while a ‘ground zero’ nurse searches for a different kind of companionship and escape. We see the struggles of teachers and parents, and witness the loss of loved ones. There is even an online yoga class, a virtual AA meeting, and the challenges of Tele-doc.

You will recognize most of these situations and exchanges, whether you went through them yourself, or heard about them from friends or family members. What’s obvious is the heightened stress level of every person during this unique time period. The effects of isolation and loneliness are expertly portrayed here, and we should all be quite appreciative of zoom meetings, Facetime, and all other virtual connection applications. Only you can decide if it’s too soon or not, but either way, we can tip our caps to Peter Hedges and the actors.

Opening in theaters on October 14, 2022

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Posted by David Ferguson

SELL/BUY/DATE (2022)

October 15, 2022

Greetings again from the darkness. Sarah Jones is a Tony winning actress and comedian, and one thing is obvious after watching her first film – she is a sensitive and intelligent person. Co-written with David Goldblum, this partially scripted docu-com is described on screen as an “Unorthodoc”. This is an odd film with seemingly conflicting objectives: documenting the process of adapting Ms. Jones’ stage presentation to the big screen or acknowledging the backlash to this by following her on a philosophical journey of self-discovery.

We begin by meeting Sarah Jones and her troupe of characters: an octogenarian Jewish grandmother, a social media-obsessed twenty-something student, a Puerto Rican women’s advocate, and a mouthy Uber driver. Ms. Jones plays each of these characters. Throughout the film, we also meet her real-life mother Leslie, who is helping and sharing in the grief over the recent death of Sarah’s sister. Over the course of the film, Sarah also crosses paths with some familiar faces like Rosario Dawson, Bryan Cranston, Ilana Grazer, Evan Seinfeld, and others (each of these appear as themselves).

Sarah’s elation at having her work turned into a film is soon thwarted by the social media backlash claiming she has no right to tell the story of sex workers within the sex industry. In other words, Sarah herself becomes a victim of cancel culture and scrambles to find a path forward. Now considered an outsider who is not entitled to tell these stories, she digs in and meets with those in the industry to determine whether they are being exploited or if they view this as seizing an opportunity.

What this boils down to is what we once called research, discussion, and debate – all four-letter words these days, but this was the ‘old school’ way of learning about a topic. Sarah heads to Las Vegas for a sex industry conference and even visits the infamous Chicken Ranch, a legally-operated brothel. Sure, some of the bits feel a bit contrived, but it’s a pleasure, and often entertaining, to see Sarah Jones dig deep to find answers to questions she doesn’t already know the answer to. It turns out that old school research and curiosity can also provide some entertainment value.

Releasing in theaters on October 14, 2022

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Posted by David Ferguson

AMSTERDAM (2022)

October 7, 2022

Greetings again from the darkness. Sometimes no matter how hard we try to like a movie, it simply doesn’t work for us. In those instances, I typically attempt to focus on what I did like and offer an explanation of why it fell short of expectations. And it’s that word, “expectations”, that is usually the culprit. High expectations often lead to disappointment, whereas ‘low’ or ‘no’ expectations at least have a shot of ending up a pleasant surprise. So when the writer-director of SILVER LININGS PLAYBOOK (2012) and THE FIGHTER (2010) rolls out his first film in seven years, and his cast is filled with Oscar winners, Oscar nominees, and other talented actors … well, high expectations are in order. Unfortunately, so is the disappointment.

David O Russell is the filmmaker noted above, and despite some disturbing accusations made against him recently, his cinematic track record and ability to attract deep and talented casts and crews make his new project something to check out. This one is inspired by the true story of a1933 political conspiracy, and that’s where the story begins before flashing back to 1918 and ultimately returning to 1933. It’s during the flashback where we see the beginnings of the friendship between Burt Berendsen (Oscar winner Christian Bale) and Harold Woodman (John David Washington). It’s here that we also witness the presence of racism in the military during the Great War. When Burt and Harold are injured, they are cared for by nurse Valerie Voze (Margot Robbie). Harold and Valerie fall in love, and third wheel Burt joins them as a roommate in Amsterdam, where they live a blissful bohemian existence … right up until Burt returns home to his wife and Valerie vanishes.

Returning to 1933, we find Burt is a doctor experimenting with multiple medical options focused on injured war veterans, and Harold is a distinguished lawyer. Burt has a scarred face and glass eye from his war injuries, and Harold has been contacted by the daughter (Taylor Swift) of their former commanding officer (Ed Begley Jr). The daughter suspects foul play in the death of her father, who was scheduled to give a speech at an upcoming military reunion gala. Ms. Swift’s appearance is in fact swift, and leads to the murder and scandalous autopsy findings.

Going through all that happens next would be as convoluted on paper as it was on screen. There are so many characters and so many story lines and so many familiar faces that the film couldn’t possibly be expected to flow smoothly. And it doesn’t. A mention of some of the supporting cast includes standout Anya Taylor-Joy as the wife of filthy rich Tom Voze played by (Oscar winner) Rami Malek. When the murder occurs, Burt and Harold are the prime suspects of the detectives played by Matthias Schoenaerts and Alessandro Nivola. Andrea Riseborough plays Burt’s estranged and ultra-snobby wife Beatrice, while Chris Rock is another old war buddy of our wrongfully accused murder suspects. Robert DeNiro (another Oscar winner) plays General Gil Dillenbeck (who we learn is based on real life Major General Smedley Butler). Others making an appearance include: Michael Shannon and Mike Myers as American and British spies, Timothy Olyphant as an undefined henchman, Zoe Saldana as the autopsy nurse, and the always dependable Colleen Camp and Beth Grant. Now you understand what I mean by so many characters and familiar faces.

All of the actors are as strong as you would expect. Mr. Bale and Ms. Robbie go “big”, while Mr. Washington stays in a low-key mode for balance. The film has an unusual look through the camera of 3-time Oscar winning cinematographer Emmanuel Lubezki, and seems to be filled with an endless stream of close-ups shot upward at the subject’s face. It’s not a whodunnit since we see the crime happen, and instead is more of a “we must solve the case to avoid prison” – kind of a quasi-comedy caper film, only they aren’t trying to get away with anything. It’s also not quite a farce, and is a madcap with a shortage of “mad”. We see the power play between various factions that catches the unsuspecting types in the crosshairs, while raising points of fascism, antisemitism, and racism. The film meanders when it’s not downright choppy, and it often plays like a scripted series trying too hard to appear improvisational. I believe the message is the power of friendship and love wins over the lust for power, however it’s hard to know for sure. Drake as an Executive Producer adds an element of interest, but as a movie, this one mostly falls flat despite the efforts of a sterling cast.

Opens in theaters on October 7, 2022

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Posted by David Ferguson

CATHERINE CALLED BIRDY (2022)

October 7, 2022

Greetings again from the darkness. Lena Dunham, the creator of the HBO series, “Girls”, is probably not the first name that comes to mind when you think of costume dramedies set in the Middle Ages. However, for her third feature film, the writer-director has adapted Karen Cushman’s 1994 YA novel, and in doing so, has shrewdly given Bella Ramsey her first lead role.

Ms. Ramsey (played Lorna Luft in JUDY, 2019) plays Lady Catherine, aka Birdy, and is on screen almost the entire time. Birdy is a rebellious 14-year-old who is a master at skirting all responsibilities while finding/causing mischief throughout her village. Birdy is quite a spirited character, one who is properly self-absorbed for her age. The story is structured around her diary entries, and keep in mind this takes place in the year 1290. A raucous mud fight between Birdy and her friends opens the movie and sets the stage for the filmmaker’s approach to the novel – comedy trumps drama.

Birdy learns that her father (Andrew Scott) has depleted the family finances to the point where the only option is to marry off Birdy to the highest bidder. Of course, this won’t be easy, as her father describes her as “one step away from a leper”, and her brother’s description is even more graphic. One obstacle is her not-so-secret crushing on her Uncle George (Joe Alwyn), and mostly we get to watch as Birdy cleverly repels/outmaneuvers each potential suitor, solidifying her lack of interest in getting married. In Medieval times, women were like bartering chips – a family asset not to squander; and soon enough, Birdy is engaged to Sir Paul Henry Murgaw (Paul Kaye, one of the film’s highlights), whom she calls “Shaggy Beard”.

Ms. Dunham mines for humor in nearly every scene, and some moments work, while others fall flat. A use of contemporary music accompanies the more modern-day wordplay used by the characters. Supporting work is provided by Billie Piper (Birdy’s consistently pregnant mother), Sophie Okonedo (another highlight as George’s new rich bride), screen vet David Bradley, and Leslie Sharp (as Birdy’s supportive and interesting nursemaid). There is even an odd cameo from Russell Brand.

Despite some of the strained comedy playing directly to the audience, it’s a treat to watch Bella Ramsey embrace the role of Birdy. The film has the feel of a coming-of-age story, but it’s mostly her father who seems to grow up … although Birdy is striving for independence and does reach a certain maturity level by the end. Filmmaker Dunham presents this as a mostly light-natured romp that gives the feeling of a movie with a much more meaningful message buried deep and left unexamined. Regardless, the best parts are really good (including Julian Day’s costumes), and the rest kind of drags out a bit.

On Prime Video beginning October 7, 2022

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Posted by David Ferguson

PRETTY PROBLEMS (2022)

October 7, 2022

Greetings again from the darkness. I have always assumed the familiar phrase “green with envy” was somehow related to green being the color most associated with money. Director Kestrin Pantera’s latest film does nothing but reinforce this. The script and story come from co-writers Britt Rentschler, Michael Tennant, and Charlotte Ubben, each who also play a key character in the film.

We first meet married couple Lindsay (Ms. Rentschler) and Jack (Mr. Tennant) as they finish up “good try” morning sex before heading off to work. Their lack of enthusiasm for intimacy is matched by the rest of their daily lives. She is a clerk at “Gift of Garb”, assisting others with selecting outfits, all while silently dreaming of designing her own fashions and running her own place. Jack is in an even less desirable spot. On probation stemming from an assault, he has been disbarred and can no longer practice law. He now sells solar energy door-to-door.

The set-up gets more interesting when oddball store client Cat (a terrific JJ Nolan) befriends Lindsay with some textbook positive image philosophy, and then invites ‘Linz’ and Jack to spend a weekend at her place in Sonoma. Jack finds the idea of spending the weekend with people they barely know to be unfathomable, yet relents when Lindsay persuades him and says they need new friends and experiences.

When they arrive, both Lindsay and Jack are stunned at the beauty and size of the estate. He references PURGE and calls it “a murder house”, while she is anxious to see how the other half lives. Another surprise greets them when it turns out to be Cat’s birthday weekend, and it’s to be shared with Cat’s husband Matt (Graham Outerbridge), and their friends Kerry (Alex Klein) and Carrie (Charlotte Ubben) … yes Kerry and Carrie. Also present for the weekend are Cat’s and Matt’s servants, Dan (Clayton Froning) and Becca (Katarina Hughes) … along with enough drugs and alcohol to supply a Los Angeles rave.

No cell or internet service and the bizarre personalities of these ultra-rich friends has us believing Jack’s initial assessment could be spot on. The constantly vaping Cat buddies up to ‘Linz’, while the drugs and booze lead to behavior that allows us to understand no amount of money leads to happiness – even if the parties can get pretty wild and the houses are spectacular. Yet another surprise unfolds thanks to the presence of Dan, the possessor of an enviable nickname. In other words, the escapist fun bears a price to pay, and it puts definite strain on the relationship between Lindsay and Jack.

Keeping up with the Joneses is rarely an admirable direction to take, and here a certain sadness permeates most scenes of indulgence. The newcomers experience feelings of inadequacy and respond quite differently – Jack understands they don’t fit in and simply wants to leave, while Lindsay also sees they don’t fit in, but is drawn to the “better” life and the idea of wallowing in affluence. This could have been biting satire were it a bit more clever. Instead, we are left watching as unhappiness takes shape across multiple economic sectors. The poor are overtaken by envy, while the rich are desperate to feel. Director Pantera’s film follows the template for a successful low budget film festival flick, and in fact, won an Audience Award at SXSW.

Opens in theaters October 7, 2022

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Posted by David Ferguson

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