THE DUKE (2022)

April 26, 2022

Greetings again from the darkness. It made headlines in 1961. Francisco Goya’s ‘Portrait of the Duke of Ellington’ was stolen from London’s National Gallery. Director Roger Michell, with a screenplay from Richard Bean and Clive Coleman, dramatize the story so that it’s part comedy and part love story, and thanks to screen veteran James Broadbent, full of charm.

Oscar winner Broadbent (IRIS, 2001) stars as Kempton Bunton. We first see him in the midst of his courtroom trial. Pretty quickly, the film flashes back to 6 months prior. Kempton hasn’t had much luck in keeping his job as a cab driver, or a baker, or any other. He’s a bit of a rabble-rouser, quick to share his unsolicited opinions, and on a constant mission to look out for ‘the little guy.’ He is also a would-be writer who cranks out novels (“Susan Christ”) and plays that never get published, all of which adds to the chagrin of Kempton’s wife, Dorothy, played by Oscar winner Helen Mirren (THE QUEEN, 2006). Dorothy works as a maid, and only desires a simple, steady, and predictable life with her husband … who delivers quite the opposite.

Living in a working-class neighborhood with one of their sons, Jackie (Fionn Whitehead, DUNKIRK), Kempton and Dorothy have an interesting relationship … one that includes contrasting methods of grieving over the death of their daughter. She internalizes while he writes about it. Kempton’s latest protest is against the government buying back the Goya painting while so many citizens suffer the indignity of paying a television licensing tax. He insists the government should spend the money on the people, not on frivolities like art. It’s during this phase when we wonder if son Jackie is learning more from dad than we originally suspect.

Director Michell includes some fascinating shots, including the theft of the painting, which leaves Edvund Munch’s “The Scream” in the video wake. We also see the scene in the 1965 James Bond film DR NO which features the Goya painting and a little inside humor. There are also numerous shots with Broadbent superimposed into archival footage of 1960’s London, and actual newsreels from the era. The tone shifts when Kempton turns himself and the painting into the authorities. His courtroom behavior plays like a stand-up comedy routine, while his barrister (played by Matthew Goode) uses Kempton’s everyman-likability to his advantage.

Director Roger Michell passed away in September 2021. He’s best known for NOTTING HILL (1999) and VENUS (2006), and unfortunately, he didn’t get to see his final film released in theaters. Broadbent’s charm is on full display here, and the film easily could have gone deeper into the topics of social inequality and governmental mismanagement. Instead, it’s more sentimental and funny than enlightening … an outlandish heist story that plays just as well as a gentle love story. And that’s a pretty good cause for Mr. Michell the filmmaker.

Opens in NYC and LA on April 22, 2022 and nationwide on April 29, 2022

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“Bring a Friend Back to the Movies” will provide one complimentary ticket to customers who purchase a ticket directly from the Angelika website, app or in theaters to see “The Duke” during the first week of its release. Select Angelika locations will also offer each ticket holder for “The Duke” a specially priced split of bubbly to share with their friend in celebration of their return to the movies

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Posted by David Ferguson

POLAR BEAR (2022, doc)

April 23, 2022

Greetings again from the darkness. After filming their award-winning documentary PENGUINS (2019) in Antarctica, co-directors Alastair Fothergill and Jeff Wilson re-teamed and headed to Norway, not far from the North Pole, to capture life and the fight for survival by polar bears in this feature for Disneynature.

As we would expect, the adult polar bears are majestic and powerful, while the cubs are just about the cutest things on the planet. Also, as we have come to expect from Disneynature, the photography is stunning in its clarity and ability to take our breath away. Unfortunately, much of the story here is focused on climate change and its impact on these creatures. Filmed over years, we follow a mother “ice bear” after her two cubs are born. We watch as the mother first hunts for food and later trains her cubs. Seals are the preferred dish of the day, but seals have become harder to find due to the warming waters and reduced ice.

Three other segments feature Baluga whales, walruses, and an incredible few minutes of birds flocking along the side of a steep cliff. A dead whale gives us a look at the fearsome male polar bears and their intimidating force over females and cubs. Disneynature doesn’t shy away from the harsh realities and mortal danger faced by polar bears, as we witness both death and separation … though, as the circle of life indicates, these are offset with new birth and arrivals.

Two-time Academy Award nominee Catherine Keener (BEING JOHN MALKOVICH, CAPOTE) uses her distinctive voice to capture the wonder of the bears and their harsh environment, as well as the overall challenges occurring due to climate change. We are informed that the Arctic circle could be ‘ice-free’ by 2040, which means the polar bears must adapt quickly or face the dire consequences. Hopefully it’s clear that this is not one of the warm and fuzzy Disney docs that many of us grew up on, and therefore, not for the youngest kids (no matter how much they love polar bears).

Premieres on Earth Day (April 22, 2022) on Disney +

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Posted by David Ferguson

THE NORTHMAN (2022)

April 21, 2022

Greetings again from the darkness. After two incredible arthouse films that earned the label “visionary filmmaker” for Robert Eggers, some would not have been surprised to find him cashing in on a huge payday for the next colossal superhero movie. But for those of us who adore and respect him for THE WITCH (2015) and THE LIGHTHOUSE (2019), we knew Mr. Eggers was not the comic book type. Instead, he secured a hefty budget (still less than $100 million) and with his co-writer, Icelandic author Sjon (writer of last year’s mesmerizing LAMB), created the most epic Viking movie to date … while firmly maintaining his artsy stylings.

Every now and then a movie comes along and I must accept that my words will fall short; that I won’t be able to do justice to what I’ve experienced on screen. This is certainly one of those times. Based on the same Scandinavian folk tale that inspired Shakespeare to pen “Hamlet”, this Eggers film is not just meticulously researched, it also pulls us right in so that we slosh through the mud and muck. We shiver from the cold. We feel the wind and the brutality of the violence. We live the harsh elements of Viking life.

The film opens in the year 895 AD as young Prince Amleth welcomes home his battle-weary father, King Aurvandil (Ethan Hawke). Not long after jester Heimer the Fool (Willem Dafoe) jokes about the Queen and the King’s brother, the boy witnesses his uncle Fjolnir (Claes Bang, the excellent “Dracula” TV mini-series, 2020) strike dead the king. Amleth escapes, pledging to avenge his father’s murder and the kidnapping of his mother, Queen Gudrun (Oscar winner Nicole Kidman). Flash forward twenty years and Amleth has become a behemoth of a man played by Alexander Skarsgard (Eric Northman in “True Blood”), who lives, fights, and kills alongside violent 10th century Vikings. Amleth is a hulking beast unmatched in battle, yet one who never unnecessarily harms women or children.

His revenge plan leads him to the farming village where his mother and Uncle Fjolnir now live as wife and husband, an arrangement Amleth is certain she adheres to for her own safety and that of her new son. Bjork, in her first big screen role since DANCER IN THE DARK (2000), appears as the seeress who knows Amleth’s destiny. It’s here where Amleth meets Olga “of the Birch Forest” (Anya Taylor-Joy) and reveals his plan to her. Olga describes her supernatural abilities as breaking men’s minds in contrast to his breaking their bones. The two are quite the match.

Eggers stages a stunning final showdown with a naked sword fight atop a burning volcano to ensure we aren’t subjected to an ending that falls short. The visceral savagery on the screen is somehow both brutal and beautiful. This is epic cinematic brilliance from Eggers and cinematographer Jarin Blaschke, who treat us to numerous long takes in harsh weather and discomforting action. This is 136 minutes featuring some of cinemas best faces, while also proving that visionary is simply not a strong enough word to describe director Robert Eggers.

Opening in theaters on April 22, 2022

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Posted by David Ferguson

THE UNBEARABLE WEIGHT OF MASSIVE TALENT (2022)

April 21, 2022

Greetings again from the darkness. Calling all Nicolas Cage fans! Put the bunny back in the box and get ready for the most fun you’ll ever have with Nicolas or Nic or Nick or Nicky. And if one Cage isn’t enough for you, you’re in luck. This film has Nicolas Cage playing the (somewhat) fictional Nick Cage, and Nicolas Kim Coppola (Nicolas Cage’s birth name) playing imaginary alter-ego Nicky, a younger version of Nicolas Cage from the WILD AT HEART era who spends the movie constantly reminding Nick that he’s a movie star.

If you can’t make much sense out of all that, don’t worry, writer-director Tom Gormican and co-writer Kevin Etten have created a film that is sure to strike a chord with Nicolas Cage fans. What we see is a parody going meta in a surreal way. Very few get to star in the tribute to their own legend, but that’s what happens here. Nicolas Cage goes ‘inside baseball’ on the career of Nicolas Cage … only he does so as struggling actor Nick Cage, an actor so desperate for “the role of a lifetime” that he improvs a reading for director David Gordon Green (Cage’s director on JOE) in the parking lot of Chateau Marmont.

Having been kicked out of his rental after falling behind $600,000 in rent, Nick agrees to take a humiliating job pitched by his agent, Fink (Neil Patrick Harris). For one million dollars, he is to fly to Mallorca and hang out at the birthday party of rich super fan, Javi Gutierrez (a terrific Pedro Pascall, “The Mandalorian”). The twist here is that CIA agents played by Tiffany Haddish and Ike Barinholtz suspect Javi of being a notorious gun dealer who has kidnapped the young daughter of the Catalonia President. Spy-type shenanigans ensue as Nick and Javi develop a bromance that finds the two new buddies writing a film script together. And if that’s not quite enough subplots, you should know that Nick is at a breaking point in his relationship with his ex-wife Olivia (Sharon Horgan) and teenage daughter Abby (Lily Sheen, real life daughter of Michael Sheen and Kate Beckinsale).

The zaniness includes nods to more than a dozen Nicolas Cage movies, and much of the fun is derived from recognizing these. Easter eggs are everywhere for fans, and Nic expertly plays Nick (and Nicky) as a loving tribute to the characters we’ve seen in so many iconic films over the years. Additionally, on screen love is provided for the 1920 classic, THE CABINET OF DR. CALIGARI, as well as the more recent gem, PADDINGTON 2 (2017), making this a tribute to cinema lovers, Nicolas Cage fans, and comedies in general. I will admit to disliking director Gormican’s 2014 movie, THAT AWKWARD MOMENT, so much that I hoped he was done as a filmmaker. It turns out, he’s back (and much improved) … not that he ever went anywhere.

Opens in theaters on April 22, 2022

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Posted by David Ferguson

UNTIL THE WHEELS COME OFF (2022, doc)

April 15, 2022

Greetings again from the darkness.  Who among us doesn’t enjoy a nice, leisurely bike road around the neighborhood? Taking in the fresh air while getting a little exercise is good for the mind, body, and soul. While golf has been described as “a good walk spoiled”, after watching this documentary, I believe it’s safe to say that the Race Across America (RAAM) is “a good ride spoiled.” RAAM is an ultra-endurance bicycle race that begins in Oceanside, California and winds across the continent to the finish line in Annapolis, Maryland.

For those counting, that’s 3071 laborious and tortuous miles pedaling through desert, mountains, plains, and just about all types of weather. And if that’s not enough, most of the ride is on open road where the danger of automobile and truck traffic is usually present. Oh, and riders get very little sleep, must meet certain markers within a given timeline to stay eligible, and require a full team to help prevent death, injury, starvation, dehydration, or insanity. To put this in perspective, we are told a rider would need to average 10.5 mph for 12 days riding 24 hours per day. While that is obviously unsustainable for humans, you should know that those who finish, typically do so in 8-12 days, while riding 20+ hours per day. That, my friends, is why they call it ultra-endurance.

Those are the details to know about the race itself, but this is really the story of one man and his crew. John Tarlton’s daughter kicks things off by explaining that “my dad” finished the RAAM in 2014 and is preparing to go again for 2019 (the basis for this project). We learn only about 300 riders have ever finished the race, and Mr. Tarlton explains that he will be much better prepared this time, with a goal of winning his age 50-59 bracket. Joining his crew this time will be his wife Jeanne, and their kids … turning this into a true family experience (or nightmare, depending on your perspective).

Climbers go up Everest “because it’s there”, and clearly this is just another way to push one’s mind and body to the extreme … an extreme most of us will never experience ourselves, especially after watching the pain endured by Tarlton and his family. If you’ve watched a loved one suffer with an illness, you know how difficult it can be. What about a loved one who chooses to suffer? His family is there as his body slowly deteriorates and his tired mind becomes muddled. In addition, we witness some of the tension and drama as it unfolds within his crew – something that obviously doesn’t help in these circumstances. In fact, the only downside here is that Tarlton’s wife (the film’s producer) pushes a bit too hard on her own story, rather than the guy pushing through exhaustion and pain.

Tarlton rides to raise money for the Stanford Cancer Institute, though we are never quite sure how the fundraising is handled. This is definitely not a cheap hobby, nor is it one for the masses. You are either the type that wants to push your body, mind, and finances to the limit, or you’re not. Described here as “a defining life experience”, it’s a race where the clock never stops and the scenery is unparalleled (though riders are likely too groggy to appreciate it). Don’t confuse this race with the Tour de France (stages over 3 weeks) or this movie with the HBO documentary, TONY HAWK: UNTIL THE WHEELS FALL OFF.

Available on VOD

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Posted by David Ferguson

PARIS, 13TH DISTRICT (2022)

April 15, 2022

Greetings again from the darkness. Jacques Audiard is one of the filmmakers who has won my cinematic loyalty through his consistently thought-provoking and entertaining films. His five features since 2005 have all been excellent: THE BEAT THAT MY HEART SKIPPED (2005), A PROPHET (2009), RUST AND BONE (2012), DEEPHAN (2015), THE SISTERS BROTHERS (2018). This latest is a different kind of story for Audiard, and it’s based on the stories from animator Adrian Tomine. Audiard adapted the screenplay with Nicholas Livecchi, Lea Mysius, and Celine Sciamma (writer and director of PORTRAIT OF A LADY ON FIRE, 2019). The result is a unique vision of modern-day love set in an area of Paris that is rarely featured in films.

Audiard gives us a REAR WINDOW-esque opening that lands on a couple evidently singing naked Karaoke. We are then informed, “It began like this.” Emilie (newcomer Lucie Zhang) is a tele-salesperson augmenting her income by renting out a room in her apartment … well, it’s her grandmother’s apartment, but she is confined to a nursing home suffering from Alzheimer’s. Emilie wants a female roommate and Camile is the first to schedule a showing. Only Camile (Makita Samba) isn’t female. Instead, he’s a handsome teacher working on his doctorate, and since there is a spark between he and Emilie, she agrees to let him move in. The attraction plays out as you would imagine, right up until Camile slams on the brakes and informs a frustrated Emilie that he has no intention of being a couple, and soon invites another lady friend over for an evening of intimacy. The micro-aggressions between Emilie and Camile escalate, and soon he moves out.

Next we meet thirty-something Nora (Noemie Merlant, PORTRAIT OF A LADY ON FIRE) who is excited (almost giddy) to be headed back to law school. It doesn’t take long for classmates to mistake her for a popular online sexy cam-girl named Amber Sweet. The mistaken identity and bullying cause Nora to drop out and return to her previous profession – real estate. It turns out the local office is being managed by Camile, who, disillusioned with teaching, is looking for a fresh start by helping out a friend. Nora sets the ground rules and the two maintain a professional relationship, right up to the point where they cross the line and become lovers.

Audiard shoots most of the film in black and white, which gives it the timeless feel of so many French romantic dramas over the years. The difference here stems from the sexual dynamics and interconnected stories and characters all within Paris’ 13th arrondissement. One of the terrific storylines has Nora cultivating a chat relationship with the same Amber Sweet (Jehnny Beth of the English rock band Savages) she was mistaken for. Personal grief plays a role with two of the main characters, while a dark family secret burdens another. This emphasizes how we each carry the past and it sticks with us regardless of the path we choose. The film also reinforces how there are invariably contradictions in how we see ourselves and our actual behavior. These characters may engage in casual sex, though by the end, it’s clear each wants more than they are willing to admit. Things wrap up pretty neatly in the end, but the road travelled is a bit rocky.

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Posted by David Ferguson

FATHER STU (2022)

April 12, 2022

Greetings again from the darkness. Well, if you are going to make a movie about redemption and bettering one’s self, who better to cast than Mark Wahlberg and Mel Gibson? Both men are stars who on multiple occasions have needed redeeming. Writer-director Rosalind Ross’ first feature film is based on the true story of Stuart Long, and Mr. Wahlberg was so committed to the project that he funded production when others chose not to.

OK, so maybe it’s a bit of a stretch having Mr. Wahlberg play the guy who becomes a priest, but that’s why they call it, “the magic of Hollywood.” Stuart Long was a real person and his story is compelling and worth sharing. Wahlberg so believed this that he self-funded the production, and clearly gave his all in the performance. My advice to anyone watching the movie is to stay seated. Things move extremely fast … and it’s that expeditious approach to storytelling that gives this a bit of a movie-of-the-week feel. Here’s what I mean by fast: We see Stu (Wahlberg) as a boxer. His parents are long-divorced, and after an injury, Stu decides to head to California to be an actor. He falls in love with a girl who convinces him to get baptized, and the experience inspires him to become a Catholic priest. Severe health issues ensue, yet he persists. That’s a whole lot to cover in two hours, and it explains why each piece skims only the surface and feels rushed … and this is only a partial list!

The pedigree here is beyond question. Wahlberg has twice been Oscar nominated. Two-time Oscar winner Mel Gibson plays his father, while 2-time Oscar nominee Jacki Weaver is Stu’s mother. Screen legend Malcolm McDowell plays the local monsignor who finds himself in a pickle, and the always-great Colleen Camp has a brief appearance as a seen-it-all motel clerk. Teresa Ruiz is terrific as Carmen, Stu’s reluctant love interest who first think she understands him, then learns she doesn’t, and then ultimately respects what he’s made of himself.

Catholicism plays a big role here, and there is plenty of guilt to go around. Wahlberg leans heavily into his charm to help us relate to Stu, but he and Gibson both have cringe-inducing moments for those familiar with some of their off-screen activities. Gibson’s ‘Hitler’ crack seems to walk an especially fine line. On the other hand, Gibson delivers a couple of memorable lines: one early on when he’s watching young Stu dance, and another later on when the two are re-connecting as grown men. Filmmaker Ross includes some actual Stuart Long audio recordings, photographs, and video over the closing credits.

Opens in theaters April 13, 2022

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Posted by David Ferguson

ALL THE OLD KNIVES (2022)

April 8, 2022

Greetings again from the darkness. Thanks to James Bond, Jason Bourne, and Ethan Hunt, we’ve grown accustomed to globetrotting action-packed thrillers in the spy genre. But of course, there is the flip side: the quiet and unheralded work done by intelligence agents … those who typically use their brains more often than their fists or guns. Director Janus Metz (the underrated BORG VS MCENROE, 2017) has based his film on the 2015 book by Olen Steinhauer.

It’s 2012 and we are inside the Vienna station of the CIA as the agents meet to strategize their response to a terrorist act – the hijacking of Turkish Alliance Airline Flight 127. The team is unable to prevent tragedy, and it’s clear this is a case that will stick with them. Eight years later, the station chief (Laurence Fishburne) calls Henry Pelham (Chris Pine) back in to let him know that on orders from Langley the case has been re-opened. The terrorist behind that hijacking has been recently captured and disclosed that he had a CIA mole inside the Vienna station. Henry is to re-interview everyone involved to uncover the double-agent.

One of those interviewed is the former supervisor played by Jonathan Pryce. He’s now retired, and Henry forces him to go back through all details, some of which are uncomfortably personal. But that doesn’t compare to how personal the next interview hits. Celia (Thandiwe Newton) was not just Henry’s fellow agent, but also his lover. She has since left the agency and is living a pleasant family life in stunning Carmel-by-the-Sea, perhaps the most picturesque coastal area in the U.S. Chris Pine gets to look really cool driving a convertible over Bixby Bridge.

Director Metz works in numerous flashbacks to the relationship between Henry and Celia, and it’s through these that we come to understand their connection and the type of people they are. But ultimately, it’s their meeting at the fancy restaurant with the breathtaking view that serves as the key to the movie and the story. In fact, because their time sharing a table and wine is so substantial and critical, it could easily transition to a stage play. It’s a high-level game of cat-and-mouse between two beautiful and smart characters. You may know where it’s headed, but it’s unlikely you’ll know how it will get there.

It’s easy to see this being a popular streaming choice as the characters and setting are easy on the eyes. The deeper questions asked here are what to do when a loved one isn’t who you thought they were. Also, can you trust those trained to not trust others? As previously stated, it’s a bit of a different spin on the spy genre – less action/thriller and more character study.

Streaming on Prime Video beginning April 8, 2022

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Posted by David Ferguson

MOTHERING SUNDAY (2022)

April 8, 2022

Greetings again from the darkness. Every writer has a story about what inspired them to put words on the page. What we have here is Eva Husson directing a script from Alice Birch (LADY MACBETH, 2016) who has adapted the 2016 novella from British author Graham Swift. We follow Jane Fairchild through three stages, as her work as a maidservant allows her to become “an occupational observer of life.”

It’s Mothers’ Day 1924 and Jane (Odessa Young, SHIRLEY, 2020) is anticipating her latest romantic tryst with Paul Sheringham (Josh O’Connor, EMMA., 2020). Both know this is their final time together, and they take full advantage. Jane’s employers, Godfrey and Clarrie Niven, are meeting Paul’s parents for a celebratory luncheon with Emma (Emma D’Arcy), the ‘proper’ woman Paul is to marry. Oscar winner Colin Firth (THE KING’S SPEECH, 2010) and Oscar winner Oliva Colman (THE FAVOURITE, 2018) play the Nivens, and deaths from WWI hang over all of these families like the darkest of clouds.

The story is told in non-linear fashion, with Jane and Paul’s final lovemaking session being that which all other events seem to revolve. We also spend some time with Jane in her 40’s as she is living with her philosopher husband Donald (Sope Dirisu), and then in her 80’s as she is celebrated as a renowned and prize-winning author. In this last stage, Jane is surprisingly played by the great Glenda Jackson, a two-time Oscar winner (A TOUCH OF CLASS, 1973, and WOMEN IN LOVE, 1969), who has only appeared in a handful of TV movies these past thirty years. Ms. Jackson turns 86 next month, and spent time as an elected member of Parliament. She’s always been an interesting person, and it’s terrific to see her back on the big screen – even if she only gets a couple of brief scenes followed by one substantial one near the end.

It’s a beautiful film and it’s sensuously photographed, though maybe a bit odd in that it focuses so diligently on the visuals (thanks to cinematographer Jamie D Ramsay), while actually following a woman’s journey into writing. Love (or lack of it) and grief and life’s transitions are all on display, as are the harsh realities of class differences. Ms. Young and Mr. O’Connor are both terrific, and though she has minimal screen time, we are stunned again at just how much emotion Ms. Colman can convey with her face.

Memories and recollections of “that day” play a crucial role as the mature Jane wrestles with writing her novel … one that her publisher expects to be a thriller. Of course, we watch as Jane’s story plays out, so we know where her writing is headed. The film has a vagueness to its storytelling that prevents us from ever fully engaging with Jane or any of the rich, sad people, yet it’s such a beautiful film to look at that we never seem to mind.

In theaters on April 8, 2022

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Posted by David Ferguson

COW (2022, doc)

April 8, 2022

Greetings again from the darkness. Farming and ranching are about two main things: commerce and sourcing food and other items (wool, leather, cotton, etc). Director Andrea Arnold won an Oscar for her short film WASP (2003), and also directed a couple of narratives that I’ve seen, WUTHERING HEIGHTS (2011) and AMERICAN HONEY (2016). Her first feature documentary takes us to a dairy farm in rural England, and closely follows the daily life of the cows on the farm.

We open with the birth of a calf and the instant bonding with its mother, Luma. Then, as we’ve seen in other documentaries, the two are separated and we clearly see the anxiety this creates in the bovines. But this is a working dairy farm and cows exist for two reasons: to produce milk and to have babies. Ms. Arnold wisely keeps the focus on the cows, and the human workers are rarely seen or heard. It’s not a pleasant existence for the cows. They spend time being milked by a metallic contraption or being impregnated by a local bull. Denied connection with their offspring, the cows seem to be allowed very little time to frolic or graze in the fields.

Cinematographer Magda Kowalczyk does get some creative shots, but there are a few times the closeness of the camera to the cows gives us a feeling of temporary motion sickness. We are also bounced between mother and calf quite often, and we ‘feel’ the mother’s bellowing as she longs for her baby. The point is made that cows have feelings, especially as related to their offspring, but some of the attempts to drive that home stretch credulity a bit too far. Also responsible for a slight dulling of the film’s impact is that it arrives so closely to last year’s artistic masterpiece, GUNDA (2021) from Viktor Kosakovskiy, though director Arnold wins for the most abrupt ending (for us and the cow).

In theaters and On Demand beginning April 8, 2022

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Posted by David Ferguson

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