THE JUSTICE OF BUNNY KING (2022)

September 25, 2022

Greetings again from the darkness. Most of us are quick to judge others. Often too quick. This superb (and bleak) feature film debut from writer-director Gaysorn Thavat reminds us that our initial judgments might just be an easy “out” for us so that we may go on about our way, oblivious to the struggles of others. There is observational commentary here on what it means for a parent to love their kids so deeply, for someone to believe in themselves whole-heartedly, and for the pain an institution can cause under the guise of doing the right thing.

Essie Davis (THE BABADOOK, 2014) delivers a ferocious and authentic performance as Bunny, who is much stronger than we might originally think. Is she more determined or desperate? We aren’t sure. She’s also very clever at times, though sometimes unable to control her emotions. Bunny’s focus is on securing housing so that Social Services will permit her kids to live with her. Currently, she’s only allowed supervised visits, and we see loves them intensely. Shannon (Amelia Baynes) is a disabled 5-year-old who loves her back, while Reuben (Angus Stevens) is an angry and frustrated 14-year old who just wants a ‘normal’ life that doesn’t involve foster homes.

Bunny is perpetual motion. She describes herself as self-employed, spending days as a “Squeegee Bandit” cleaning windshields at stoplights for loose change. She’s saving that change in a soda bottle that she keeps in the linen closet of her sister’s house. It’s here where she cleans house, cooks dinner, does laundry, and watches kids all for the benefit of getting to sleep on the couch. Her sister Grace (Toni Potter) is a late shift nurse whose husband Bevan (Errol Shand) is a d-bag in so many ways. In fact, Bevan is at the center of an incident with Bunny’s niece Tonyah (Thomasin McKenzie, JOJO RABBIT, 2019; LAST NIGHT IN SOHO, 2021) that cuts right to the heart of Bunny’s character. We see how she reacts and begin to understand how she arrived at this particular lot in life.

Thavat’s co-writers Sophie Henderson (BABY DONE, 2020) and Gregory King center much of Bunny’s actions around the birthday party she has promised daughter Shannon for her upcoming birthday party. Is Bunny fit to be a mother?  Most of the time we think she is devoting every waking moment to reuniting with her kids. However, in her worst moments, she lashes out and displays poor judgment, leaving us and Social Services with serious doubt. The past is brilliantly unfolded and never dwelled on because Bunny wakes up every morning optimistic about what lays ahead. There is a terrific sequence involving her attire, and Ms. Davis just nails the shift in tone. Hers is an award-worthy performance, if only enough people will see the film (which is doubtful). This New Zealand production expertly sets the stage with 4 Non Blondes “What’s Up” and then bookends with a different version by Willa Amai.

Opens in theaters on September 23, 2022

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Posted by David Ferguson

ESCAPE FROM KABUL (2022, doc)

September 25, 2022

Greetings again from the darkness. We watched it play out on television, seemingly getting worse and more tragic and more convoluted by the day. It was painful to watch the United States evacuation of Afghanistan, and now, Jamie Roberts documents what actually happened with previously unseen archival footage supplemented with remarkably candid personal interviews.

The war was in its 18th year when, in 2020, President Trump announced we would be ending the war and bringing our folks home. It was President Biden who gave the final deadline for evacuation by August 2021. Of course, most of us doubted it could happen that swiftly, and given what unfolded, maybe it shouldn’t have.

Previously unseen footage is remarkable, and certainly provides a true sense of what was happening at the time and how our undermanned military faced numerous obstacles – some dangerous, others humanitarian – and performed admirably given the circumstance. The insight from the Marines who were there is especially impactful, and their recollections cut to the quick. Their mission was to evacuate US citizens and “at risk” Afghans who had been helpful to the cause, but we learn the first couple of days were spent evacuating “VIPs” … always a sign of political motivation.

It was literally day 2 (August 15) when the Taliban seized control of Kabul, causing desperation and fear and chaos. The footage is vivid in showing what was happening, and how confusion permeated every action. It’s stunning to watch as Taliban leaders are interviewed and laugh at the US for such a botched plan after a two-decade war. Interviews with some Afghan citizens who made it out display the emotions of those driven from the homes under extreme stress. And those Marines offer the most direct feedback for the operation and the no-win decisions they faced when deciding who could leave.

We have all seen the newscast images of those desperately clinging the airplanes, but what about the canal of sewage many spent days wading in, hoping for a chance to leave? The “deal” struck with the Taliban to allow evacuations is a bit confusing to us, but even more so to the Marines stationed at the time. Despite 124,000 people being evacuated and most of the military equipment destroyed prior to the last plane filled with Marines, it’s still sickening to see the Taliban immediately shift into victory celebration mode. We know where this is headed, and so do those who remained.

An HBO documentary premiering on September 21, 2022

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Posted by David Ferguson

GOD’S COUNTRY (2022)

September 25, 2022

Greetings again from the darkness. Do you ever have that feeling that if no one’s going to do something then “I guess I will”? These days it seems our systems and institutions are failing us, and that’s at the heart of what is eating at Sandra (Thandiwe Newton), a college professor living in a remote house in the mountains. When the film opens, she is at the crematorium for her recently deceased mother. Soon after, two hunters park on her land, and their reactions after she politely asks them not to, tells us where this story is headed.

Writer-director Julian Higgins and co-writer Shaye Ogbanna never give Sandra (or us) any reason to think everything is going to be just fine. It’s a slow-burn towards disaster, and we can’t help but watch to see how bad situations turn worse and how the conclusion plays out. Violence is expected … especially after we see how ineffective the local acting Sheriff (Jeremy Bobb) is at his job.

The ”chapters” in this story are actually the days numbered so that we can keep up with the tension. A red truck, an arrow in the door, a police report, a faculty meeting, a church organist, and the disclosure by a student (Tanaya Beatty) all lead us to the dreaded seventh day. The stress builds for Sandra, who manages to hold her tongue quite often, right up until she doesn’t. It’s clear to us that she’s carrying a bitterness and a chip … and seeking vengeance. It’s easy for us to emphasize with Sandra in the first two acts, though it’s likely many will join me in being a bit disappointed in the final act.

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Posted by David Ferguson

SEE HOW THEY RUN (2022)

September 16, 2022

Greetings again from the darkness. It’s 1953 in London’s West End and the cast of “The Mousetrap” is celebrating its 100th performance. Of course, Agatha Christie’s play with the twist ending would go on to be the all-time longest running show in the West End, interrupted only by COVID restrictions in 2020. This is the first feature from director Tom George, and the screenplay by Mark Chappell involves a murder mystery wrapped around the murder mystery play.

Harris Dickinson plays the Dickie Attenborough, the original Detective Sergeant Trotter … and yes, that’s the same Richard Attenborough who played the likable John Hammond, the developer who “spared no expense” in creating Jurassic Park. So while Dickinson plays the detective on stage, it’s Oscar winner Sam Rockwell who plays Inspector Stoppard … the London detective assigned to solve the real murder of Leo Kopernick (Oscar winner Adrien Brody), which occurred in the theater during the cast party. Kopernick, an abrasive American director, was in talks to create a film version of the play.

Assisting Stoppard with the investigation is rookie Constable Stalker (Saoirse Ronan), who writes every detail in her notepad, and is overly quick to name the killer in her eagerness to solve the case. Rockwell chooses a laconic, prosaic approach for his Inspector Stoppard to contrast mightily with Ronan’s overzealous Constable Stalker. We are treated to two terrific actors playing off each other. Unfortunately, the screenplay and overall movie simply doesn’t deserve these two … or the balance of the talented cast which includes Ruth Wilson, an unusually flamboyant David Oyelowo, and the always great (and criminally underappreciated) Shirley Henderson.

With the recent success and popularity of Rian Johnson’s KNIVES OUT (2019), it’s perfectly understandable why producers and movie studios would want to capitalize on the newly discovered beauty of whodunnits, but there is a distinct line drawn between effective murder mysteries (whether dramatic or comedic) and those that offer no real punch or tension. The theater makes a grand setting, and the well-choreographed hallway scene provides a dash of fun, but overall this one is just too flat to recommend.

Opens in theaters on September 16, 2022

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Posted by David Ferguson

THE SILENT TWINS (2022)

September 16, 2022

Greetings again from the darkness. Twins often have their own language or way of communicating. However, sisters June and Jennifer Gibbons of Wales took this to a new level, creating a mysterious dark connection that no one else every understood. Andrea Siegel has adapted the screenplay from Marjorie Wallace’s book, and Polish director Agnieszka Smoczynska (THE LURE 2015) delivers the style and creep factor, while missing out on answering the questions raised with the story.

The young sisters are seen giving a fake radio broadcast, and we get a glimpse of their awkward behavior during childhood … behavior that left their parents and siblings feeling helpless. Letitia Wright (BLACK PANTHER, 2018) and Tamara Lawrance (KINDRED, 2020) take over as teenage June and Jennifer, respectively. While the young ones are well cast, it’s the work of Ms. Wright and Ms. Lawrance that keep this one watchable despite the meandering. The awkward behavior of adolescents evolves into bizarre behavior of teens, and ultimately criminal behavior and some type of mental illness.

Pure elation of a new typewriter is all too quickly erased by irritation and anger that leads to fighting, or worse. Director Smoczynska does well to use stop motion animation periodically in helping to explain what’s happening with the two girls. Child psychologists have no luck breaking through and the sisters are ultimately separated and locked away at Broadmoor psychiatric hospital by age 19. By this time, it’s difficult not to view them as psychopaths.

It’s interesting to watch as these two survive on the fringes of society in near mental isolation, and use writing as a creative outlet to unleash their inner thoughts. We never really know if we should have empathy for the girls, and that becomes even more difficult given their later behavior. Journalist Marjorie Wallace (played here by Jodhi May) documented her interactions with the sisters, but we can’t help but wonder if this story is better told in documentary form – despite the strong work from Letitia Wright and Tamara Lawrance.

Opens in theaters on September 16, 2022

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Posted by David Ferguson

RIOTSVILLE, USA (2022, doc)

September 16, 2022

Greetings again from the darkness. A couple of old sayings came to mind while watching this. “The more things change, the more they stay the same.” This ties together what we see from the 1960’s with what we’ve seen very recently in the U.S. Next would be, “You made your bed, now sleep in it.” This references the manner in which our government reacted to civil unrest in the 1960s has affected our society for the past 50+ years.

Documentarian Sierra Pettingill utilizes only archival footage from TV (newscasts and talk shows) and military footage filmed during the era. The clips are edited in a way to tell the story of how the government responded to increased civil unrest, and how those responses not only made the situation worse, it also set the table for ongoing societal issues for decades to come.

Historical background includes President Lyndon Johnson forming the Kerner Commission (officially The National Advisory Commission on Civil Disorders), and how the resulting 700 page 1968 report did not provide the conclusions expected by the government. It warned of two societies – one white, one black, separate and unequal. The corresponding action items were deemed too expensive due to the ongoing Vietnam War. Instead an addendum suggested expanded federal funding for police … that one hit home with politicians.

Much of the footage, as well as the film’s title, comes from the model town constructed by the military at Fort Belvoir in Virginia. It’s here where training sessions occurred with military personnel cast as rioters and law enforcement learned the approaches to quell the uprising. Unfortunately, most of these approaches involved law enforcement escalation during civil unrest, leaving us wondering which causes the most damage. We even see military leaders observing the drills from the grandstands, applauding and laughing in some parts. It’s impossible not to notice that these are all white faces.

Further escalation and federal funding resulted in specialty tanks, and we see the training videos around this weapon. At its core, what we see is a simulated riot in a simulated city. It’s easy to view this as training hate and power, rather than learning de-escalation techniques. Director Pettingill also includes clips from PBL (precursor to PBS) talk shows like “Civil Disorder”. These shows, and their debates, caused Ford Motor Company to withdraw funding in 1969. The news clips from the 1968 Democrat and Republican conventions provide some insight into the reporting during this era. Especially biting is David Brinkley’s response to Strom Thurmond’s comments. The film’s only weakness comes in the form of narration from Charlene Modeste. The words are simply too flowery or artsy for such subject matter. This is a film that urges you to feel the frustrations. It turns out “Law & Order” can be twisted by those in power.

Releasing in theaters and OnDemand beginning September 16, 2022

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Posted by David Ferguson

THE BENGALI (2022, doc)

September 16, 2022

Greetings again from the darkness. We don’t often get tales in documentaries, but that’s the interesting approach documentarian Kavery Kaul takes here. Rather than reporting only the results, Ms. Kaul travels with Fatima Shaik as she pursues answers to the questions of her family’s roots.

Ms. Shaik is an African-American writer from New Orleans, and she’s on a quest to find out if all the stories she heard growing up are true. The only way to know is for her to travel to the village in India where her grandfather, Shaik Mohamed Musa, lived prior to emigrating to the United States in the very late 19th century. She carries one photo of him.

Fatima is friendly enough as she works her way through the village, but it’s fascinating to see how the locals treat her. First, they have never seen an African-American, and her skin color is a topic of discussion. But more importantly, they are clearly suspicious of her, and even say, she “doesn’t belong here.” The language barrier causes some issues, but mostly they view Fatima as a threat – someone attempting to reclaim land owned by her ancestors. Further distrust occurs because Fatima is a Christian, and the Catholic Church is not trusted here.

Her encounters with the villages are interesting, and it provides a case study in how humans react to those who look and talk differently … it’s not a reaction limited to white Americans. For the most part, director Kaul’s travelogue approach works, and Fatima gets the results she was seeking. Perhaps the time with the locals could have gone deeper, but the 70-minute run time feels just about right.

The film opened at the Quad in NY on September 9, 2022 and will open at the Laemmle Royal in LA on September 16, 2022

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Posted by David Ferguson

BARBARIAN (2022)

September 9, 2022

Greetings again from the darkness. It’s a dark, stormy night. If that’s not scary enough, Tess is in Detroit. She hops out of her car and dashes to the front door only to find the key is missing from the lockbox. Her Airbnb has been double-booked and a confused and sleepy man answers the door. When Tess agrees to ‘come in’, we veterans of the horror genre know exactly where this movie is headed. The only problem with our theory is that writer-director Zach Cregger has made it his mission to mess with our heads – and the genre – by confounding us at every turn.

Georgina Campbell (“Broadchurch”) plays Tess and Bill Skarsgard (Pennywise in IT, 2017) is Keith, the settled Airbnb tenant. The two actors are superb during their awkward encounter, as Tess comes across as an intelligent and cautious woman, fully aware of the red flags in this situation. Keith is a bit shy, yet polite and accommodating – and also aware of what might make Tess uncomfortable. But Keith looks exactly like the guy who played Pennywise, so Skarsgard’s look results in the perfect contrast with this character’s demeanor … keeping us viewers (and Tess) on our toes.  

It’s really the structure of the storytelling that gives this one a creative punch. Cregger serves up 3 different perspectives and then tries to wrap things up in a final act. I actually found all three puzzle pieces well done and interesting, leaving only the wrap-up a bit lacking. In addition to Tess and Keith, we get Justin Long as a cocky actor named AJ cruising along the California coast in his convertible, singing along at full pitch. A phone call abruptly shifts the tone and soon AJ is on a flight leading him to the front porch of a rental property he owns in Detroit. Yep, the same Airbnb Keith and Tess double-booked. Thirdly, there is a flashback to well-kept homes with perfectly manicured lawns. Right again … the same house a few decades earlier before blight took over the neighborhood. It’s in this stage where we note the homeowner (played by Richard Brake) follows a young woman home from the store and gains entrance under false pretenses.

If this seems like a lot to tie into one horror film, that’s because it is. We’d like to know more about Tess. We welcome AJ’s natural sarcasm, and Brake’s early years could have been the creepiest of the bunch. Cregger excels at atmospheric tension and disorienting camera angles, especially in the always dreaded dank basement with hidden hallways and secret rooms. He’s also clever with his misdirection and inclusion of contemporary issues like immediate ramifications of accusations, and the defensive mode that women must maintain when deciding to accept a cup of tea. I certainly enjoyed the jolting cuts from one storyline to the next. However, I will admit to feeling frustration that Tess was set up as such an intelligent person, only to make multiple decisions that force us to suspend disbelief … a trait of far too many horror films.

Opens in theaters on September 9, 2022

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Posted by David Ferguson

MEDIEVAL (2022)

September 9, 2022

Greetings again from the darkness. There are some actors I follow simply because I admire their work. Ben Foster earned that loyalty with his performances in such films as LEAVE NO TRACE (2018), HELL OR HIGH WATER (2016), and 3:10 TO YUMA (2007). Here he is cast as Jan Zizka, the legendary 15th century Czech icon whom historians have pegged as having never lost a battle. At the helm is Czech writer-director Petr Jakl whose previous films did not come close to this scale. The list of credited screenwriters includes director Jakl, his father Petr Jakl Sr, Marek Dobes, Michal Petrus, Kevin Bernhardt, and Petr Bok. I don’t pretend to know which of these writers had the greatest impact, but what I can report is that the film looks great and includes some of the best battle scenes you’ll find in any film set in the Middle Ages.

“Tyranny.” The narrator opens the film with that word, followed by an explanation of the ongoing battle for the power and control of the Catholic Church. That narrator is Lord Boresh, played by 2-time Oscar winner Michael Caine, who has paid Jan Zizka and his band of rebels to protect him from assassination attempts. Director Jakl doesn’t make us wait long for the first skirmish, and it gives us a taste of what’s to come. These are no-holds-barred battles where bones and faces are crushed, and horses toppled into rivers. This is Italy 1402.

After the battle, Zizka heads to Prague to reunite with his brother, and while he’s there, the political maneuvering and power-brokering is occurring. Those involved include Lord Boresh, the King of Bohemia (Karel Roden, ROCKNROLLA, 2008), his half-brother, the King of Hungary (Matthew Goode, THE IMITATION GAME, 2014), and nobleman Rosenberg (Til Schweiger, INGLOURIOUS BASTERDS, 2009). When Rosenberg refuses to cooperate, a plan is hatched to kidnap his fiancé Katherine (Sophie Lowe, so good in BLOW THE MAN DOWN, 2019), who also happens to be the niece of the King of France. It may seem challenging to keep the political alliances straight, but fear not, double-crossing and backstabbing adds to the fun.

Katherine is in fact kidnapped. And then kidnapped from the kidnappers. And then rescued … well, you get the idea. It seems her own allegiance transitions as she discovers the true character of her fiancé. Plus, it seems she walks at least 42 miles during all of this. What really makes this one worth watching are the battle scenes, including a face-off between Zizka and his mentor, the intimidating Torak (Roland Moller, ATOMIC BLONDE, 2017). The fights are bloody and gruesome and violent. The brutality is as realistic as you could want, while cinematographer Jesper Toffner captures these scenes in the most visceral manner possible … we are not let off the hook from the damage caused by swords, axes, maces, and mauls.

Director Jakl highlights Zizka as a military strategist and tactician, and not just a brute. It’s this part of the personality that best fits Foster’s talent. It’s difficult to know how much of this true story is accurate and how much is legend (always print the legend!), but the push for religious and political power and control seems a common topic regardless of century.

Opening in theaters on September 9, 2022

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Posted by David Ferguson

PINOCCHIO (2022)

September 8, 2022

Greetings again from the darkness. Once upon a time … in 1880 (or so) … writer Carlo Collodi (aka Lorenzini) had his original “Story of a Marionette” published. The story of his character Pinocchio has since been told to countless children through just about every possible form of media. The classic Disney animated feature film from 1940 won two Oscars (song, score) and the recent 2019 Italian film version received two Oscar nominations. So why is it that we continue to find new ways to tell the story? Well, because the messages are crucial for kids to understand: pay attention to your conscience, beware of temptations, and decisions have consequences. Of course, anytime a filmmaker re-imagines a classic, folks will line up to shout about how unnecessary it is. However, with a kids’ movie, we must recognize that expectations and tastes have shifted. It’s a bit more challenging to get today’s kids to pay attention for 90 minutes.

This version comes to us from Disney as a Live Action film enhanced with computer animation. No, Pinocchio isn’t played by a real person, and in fact, there are only a few real actors on screen – the most important being Oscar winner Tom Hanks as Geppetto. However, the computer-generated Pinocchio (looking almost identical to the 1940 animated version) interacts with both human actors and other computer-generated characters, almost always in a seamless manner.

The film opens as our narrator (Jiminy Cricket) explains that we are in for a “humdinger of a tale.” We soon see low-talking Geppetto (Oscar winner Tom Hanks) in his shop of ‘Toys, Clocks, and Oddments.” He’s busy crafting, and talking to, a wooden puppet meant to fill the void that has left Geppetto a grieving man. His fantastical wall of cuckoo clocks features beloved Disney characters, including the instantly recognizable Jessica Rabbit from WHO FRAMED ROGER RABBIT (1988). That film, as well as this one, were directed by Robert Zemeckis (an Oscar winner for FORREST GUMP, 1994). Mr. Zemeckis was also one of the screenwriters along with Chris Weitz and Simon Farnaby.

Most everyone on the planet knows the story of Pinocchio. The Blue Fairy (Cynthia Erivo) tasks Jiminy Cricket (voiced perfectly by Joseph Gordon-Levitt) to be the conscience of the ‘almost real boy’ and sets the ground rules for becoming real: Pinocchio must be brave, truthful, and unselfish. As with all of us, Pinocchio immediately faces temptation and danger. His comes in the forms of Stromboli, Pleasure Island, and ultimately, Monstro the giant sea creature. Tension is elevated when Geppetto and Pinocchio are separated, and a great adventure follows. Much of this follows the original storyline, with contemporary flourishes included … not all of which are positive additions.

Benjamin Evans Ainsworth (TV mini-series “The Haunting of Bly Manor”) voices Pinocchio, and of course, Mr. Hanks is spot on as Geppetto. Other voice and live acting is delivered by Angus Wright, Keegan-Michael Key, Kyanne Lamaya, Luke Evans (as The Coachman), and Lorraine Bracco (voicing new character Sofia the Seagull). Alan Silvestri composed the film’s score and Don Burgess was the Director of Photography. Ms. Erivo serves up a “big” version of “When You Wish Upon a Star” in a key most kids won’t come close to, but other than a few moments too dark for the youngest of kids, this should make for enjoyable family viewing … which may not be the case when Guillermo del Toro releases his stop-motion animated version later this year for Netflix.

Premieres on DISNEY+ on September 8, 2022

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1 Comment | Comedy, Fantasy, Musical | Tagged: , , , , , , , , , , , , , , | Permalink
Posted by David Ferguson

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