ALINE (2022)

April 8, 2022

Greetings again from the darkness. Ana Gasteyer’s “Saturday Night Live” parody of Celine Dion not-so-humbly announcing herself as “the greatest singer in the world” was brilliant sketch comedy and good for a hearty laugh. All these years later, filmmaker Valerie Lemercier cast herself as the lead in this unofficial biopic “inspired by” the story of Celine Dion. It’s a fictionalized account co-written with Brigitte Buc that sticks to the real story in some parts, while also being a bit creepy and serving up a quasi-horror film sensation in others. You might ask, “How can the story of Celine Dion” have anything to do with horror?”, and well the answer is that Ms. Lemercier (a woman in her 50’s), plays the fictionally named Aline Dieu at ALL ages (thanks to some CGI). Seeing that face on the young girl peering up at her family on stage is as creepy and discomforting as any screen image we will see this year.

It’s no accident that Lemercier’s character is named Dieu, which is French for God. She clearly worships the real Ms. Dion, and this is intended as a loving tribute to the singer. Aline Dieu is the 14th child born into a French-Canadian family. Many of the family members perform as a singing act … think The Osmonds or the Cowsills, and Aline is still young when her amazing vocal talent is discovered and becomes a featured part of the performances. Her headstrong mother, Sylvette Dieu (played by Danielle Fichaud), is very protective of her youngest child and is involved as the family contacts a well-known talent manager named Guy-Claude Kamar (Sylvain Marcel).

Aline becomes a teenage singing sensation, and of course, later becomes an international icon, especially after singing the TITANIC (1997) song, “My Heart Will Go On”. The film tracks the meteoric rise of her career, but as in real life, much of the focus is on the relationship between Aline and Guy-Claude (obviously the stand-in for Rene Angelil). They first met when she was 12, and despite the 26-year age gap, a love developed that resulted in marriage years later (when she was of legal age). Aline’s mother’s reaction to this relationship was disgust – in a funny kind of way. She felt her princess deserved better than “an old prune”. We also learn of Aline’s vocal cord scare, the couple’s initial struggles to have kids, and how he focused on the business side to protect her … a cause he remained devoted to because of his heart condition. A big part of this was the infamous Las Vegas residency, which has since been copied by many artists.

Despite the success and brilliant artistry, there is a certain sadness to a woman who seemed quite isolated from everything but her family. This point is driven home when she admits to never have seen the city where she’s been performing, and the fact that she seems to have no friends outside of her makeup artist Fred (Jean-Noel Broute). Ms. Lemercier does a fine job capturing the various looks and style over the years, and her movements on stage are spot on. She lip-syncs to the familiar songs … sung not by Celine, but rather Victoria Sio. The movie will likely work best for fans of Celine Dion, while others may not recover from the Act I creep factor.

Opening in theaters on April 8, 2022

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Posted by David Ferguson

EVERYTHING EVERYWHERE ALL AT ONCE (2022)

April 5, 2022

Greetings again from the darkness. It’s bonkers, I tell ya’! Co-writers and co-directors Daniel Kwan and Daniel Scheinert, known collectively (by their choice) as “Daniels”, follow up their ‘farting corpse movie’ SWISS ARMY MAN (2016) with one that is somehow more bizarre, more audacious, and more fun. It’s one of the most innovative films I’ve seen in a while, and although I can point out influences, I’ve yet to come up with a movie comparison that seems just or fair.

Every small business owner can relate to the stress Evelyn Wang (Michelle Yeoh) is under as she attempts to organize her documents in preparation for an IRS audit of the laundromat she owns with her husband Waymond Wang (Ke Huy Quan). As if that’s not enough, her father is scheduled to arrive the same day. She knows Gong Gong (James Hong) is disappointed in his daughter for the husband and life she chose. And while being crushed with those two events, Evelyn’s strained relationship with her daughter Joy (Stephanie Hsu) continues to fracture as Evelyn wants to keep Joy’s girlfriend status with Becky (Tallie Medel) a secret from dear old conservative dad/grandfather.

That’s just about the end of the “normal” part of the story, other than Waymond has had divorce papers prepared, not for the purpose of ending the marriage, but with the hope that the threat might force Evelyn to have a real conversation with him about their relationship. Things start to get weird even before they head to the IRS meeting with an agent played with gusto by Jamie Lee Curtis, but while there, we get our first real taste of the fantastical trip we (and Evelyn) are about to take. Of course, I can’t really offer any description of the action that occurs, but nothing is spoiled if I tell you that some characters cross multiple dimensions and universes in an attempt to ‘save the world’. While doing this, they mix in some acrobatic martial arts that would make Jackie Chan envious.

It’s the rare film where the frenetic pace of dialogue keeps pace with breakneck action sequences. A fanny pack, trophies with an unfortunate shape, and blue-tooth type devices all play unusual roles here, and this film challenges everyone from the actors to the directors to the editors to the fight coordinators. You’ll likely recognize Evelyn’s husband as the grown-up version of the child actor who played Short Round in INDIANA JONES AND THE TEMPLE OF DOOM (1984), and daughter Joy is portrayed by Stephanie Hsu (a contributor to “The Marvelous Mrs. Maisel”), who gets to cover just about the widest range of character we’ve likely ever seen on screen. The estimable James Hong is a riot as Gong Gong. Mr. Hong is now 93 years old with an incredible canon of 450 credits in his 8 decades of work. His presence is quite crucial to the film. It should also be noted that, as we would expect, Jenny Slate shines in her brief role as “Big Nose”, a regular customer at the laundromat.

As terrific as the cast is, this is really a chance for Michelle Yeoh to bring her full arsenal to the role of Evelyn. She’s angry, frustrated, scared, courageous, and even adds her comic timing. Ms. Yeoh flashes her CROUCHING TIGER, HIDDEN DRAGON fighting skills, while also brining a regal presence to a film that requires a strong core. It’s no mystery that family and love can solve many of the world’s issues, and Daniels have delivered a wild ride that defies simple description. It’s a long one at 139 minutes, but you’ll thank me later for not saying much more than … it’s bonkers!

Opens in select markets on March 25 and April 1, 2022 and nationwide on April 8, 2022

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Posted by David Ferguson

MORBIUS (2022)

April 1, 2022

Greetings again from the darkness. Trust the science, they said. Dr. Michael Morbius is a brilliant doctor/scientist who has devoted his life to formulating a cure for the rare and crippling blood disease he and his friend Milo were born with. This is an origin story pulled from the Marvel comic book characters created by Roy Thomas and Gil Kane. The film is directed by Daniel Espinosa (LIFE 2017, SAFE HOUSE 2012) with a script adapted by Matt Sazama and Burk Sharpless, who previously collaborated on DRACULA UNTOLD (2014) THE LAST WITCH HUNTER (2015) and GODS OF EGYPT (2016). Sometimes past work tells you what you need to know.

An opening sequence features the always cool shots of a helicopter zipping around the water and cliffs of Costa Rica, before landing at the mouth of a cave that houses zillions (I counted) of vampire bats. The brilliant Dr. Morbius (Jared Leto) plans to blend vampire at blood with human blood in his latest try at finding a cure. All of his work is funded by the ultra-rich and equally suffering Milo, both men desperate for relief from their deteriorating bodies. We flashback 25 years to a clinic in Greece where young Michael (Charlie Shotwell, CAPTAIN FANTASTIC, 2016) and Milo (Joseph Esson) first meet as they are being treated with regular blood transfusions by Dr. Nikolis (Jared Harris, “Mad Men”).

Jared Leto stars as Dr. Michael Morbius, who is known in Marvel comics as “The Living Vampire”, so we kinda know where things are headed. It’s a surprisingly subdued performance by an actor renowned for his characterizations that are anything but. His grown-up friend Milo is played by the always entertaining Matt Smith, and Morbius’ love interest and research partner is Dr. Martine Bancroft (an excellent Adria Ariona). You’ve probably guessed that the blood blend works … right up until it turns Morbius into a blood thirsty killing machine. This puts FBI agents played by Tyrese Gibson and (master of wisecracks) Al Madrigal on his trail. And yes, we know this is headed to the high noon (or midnight) showdown between childhood blood buddies and it’s the do-the-right-thing Morbius versus the ‘hey, I like this superhuman power’ Milo.

The first segment of the film does a terrific job of setting the stage, but the story, the characters, and the execution let us down for the final two acts. The fight scenes feature some of the worst special effects I’ve seen in years. Sure, the film’s release has been delayed a couple of years, but that’s no excuse for what we see. On the bright side, some of the effects do work, and Matt Smith is fun to watch in a couple of his scenes. We do wish for more of Martine’s story, and for a better story overall (after the intro). The film is part of the SSU (Sony Spider-man Universe) and perhaps its best comparison is VENOM, sans the chuckles. It’s clear this film’s mission was to set the stage for a sequel, and that becomes even more obvious in the mid-credit scenes. Normally, I wouldn’t mention this, but since the director has already discussed, and an appearance was made in SPIDER-MAN: NO WAY HOME, I believe it’s fair game. The great Michael Keaton pops in as Adrian Toomes (aka Vulture), giving us an indication where the sequel is headed.

Opening in theaters April 1, 2022

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Posted by David Ferguson

NITRAM (2022)

April 1, 2022

Greetings again from the darkness. “What made him do it?” That’s the question we always ask after a mass shooting. Rarely does any answer make much sense. Director Justin Kurzel and his TRUE HISTORY OF THE KELLY GANG (2019) screenwriter Shaun Grant join forces in collaboration again for a story based on the man responsible for the 1996 Port Arthur Massacre in Tasmania. It was the worst lone gunman mass shooting in Australian history with 35 killed and 23 injured. The filmmakers tread lightly here and never mention the shooter’s name, though the film’s title is a backwards hint. Their film is an attempt to answer that question we always ask.

Opening with archival news footage from 1979 in a burn unit, where a young boy has been injured by fireworks happily proclaims he will continue the fun that fireworks bring. We then flash-forward to a young man (presumably the same) setting off fireworks in his parents’ backyard as the neighbor yells at him to stop. His weathered mother (two-time Oscar nominated Judy Davis) puffs on a cigarette while looking on with a feeling of resignation. The young man is Nitram (though his parents never call him by name) and is played by Caleb Landry Jones, in his most off-kilter and disturbing role yet. His mom is fed up with him, though she attempts to get him on track, while his father (Anthony LaPaglia) is more reserved and forgiving of the boy they have raised – one who not only has no direction in life, but has social and likely mental issues.

Nitram’s long, stringy hair constantly provides cover for eyes that rarely look up. His world transforms one day when he asks a local recluse if he can mow her yard. Helen (played by Essie Davis, who is married to director Kurzel, and was fantastic in THE BABADOOK) takes a liking to him, and the two loners form an unconventional relationship where the wealthy woman buys him gifts, and offers him a home and what may be his first ever friend. Of course, this causes much consternation for his parents, as they carry an undefined concern about their son’s stability.

A dramatic event causes yet another shift in the young man’s life, and it allows the further exploration of how the world can become unbearable for such a person. A separate event results in an unwelcome change for dad, and it’s an event that certainly plays a part in putting Nitram on the deadly path. Nitram as a misfit is also on display through his interactions with a local surfer, and it’s at this point where the film shifts into commentary on gun control laws and the ease with which restrictions can be evaded. It’s a strange tonal shift, but for a mass murder movie that doesn’t show murders, we can at least understand the approach.

The four main actors are consummate professionals and always bring realism and interest to their roles. Here, Caleb Landry Jones delivers a performance that is both terrifying and empathetic. He of course appeared in THREE BILLBOARDS OUTSIDE EBBING, MISSOURI (2017), and I’ve been following his career since I first noticed him as one of the bike-riding boys near the end of NO COUNTRY FOR OLD MEN (2007). While the film attempts to answer the original question, “What made him to it?”, perhaps many tragic scenarios could be avoided if we could sooner answer, “What’s wrong with you?” Depression, mental illness, gun control, and parental frustration are all prominent here. Filmmaker Kurzel ends the film with some startling details and statistics on Australia’s National Firearms Agreement.

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Posted by David Ferguson

YOU WON’T BE ALONE (2022)

April 1, 2022

Greetings again from the darkness. Perhaps you are a normal movie lover and have never wondered what it might be like if director Terrence Malick delved into the horror genre. Well, the first feature film from writer-director Goran Stolevski gives every indication that he has spent entirely too much time with such thoughts. This arthouse folk horror film will likely frustrate many with its unconventional approach, odd narrative, and spiritual narration that hardly contributes to the characters in the story.

Opening in a remote mountain village in 19th century Macedonia, we witness a ‘Wolf-eatress” witch named ‘Old Maid Maria’ (Anamarie Marinca; 4 MONTHS, 3 WEEKS AND 2 DAYS, 2007) visiting a mother (Kamka Tocinovski) and her newborn baby. It turns out Maria has a taste for newborn blood, but the mother negotiates a deal which would allow her to raise her daughter Nevena until Maria takes her in teen years. The child is then hidden away in a cave, isolated for years and mostly feral when Maria returns. Teenage Nevena (Sara Klimoska) knows nothing of the outside world and sets out on her journey of life lessons, guided by Maria, a witch who may or may not have her best interests at heart.

Shape-shifting, or assuming the form of their victims is a trait that Maria passes along to her protégé. This process is quick and brutal, and we see it played out along the way as Nevena takes over a local mother (Noomi Rapace), so as to get a taste of normalcy, a wolf (just because?), a man (Carlota Cota) so as to absorb power and experience sex, and a young woman (Alice Englert) in order to give birth to a child. This shape-shifting is referred in the movie as “dressed in corpse”, which is a spot-on description. The Wolf-eatress follows closely, but does give her new daughter the space to explore humans, though Maria does not share the appeal.

There are some excellent scenes in the film, but it leaves the impression of trying too hard to come across as Malick doing horror. Still, with some similarities to Robert Eggers’ horror gem, THE WITCH (2015), there is enough atmosphere of terror to keep us engaged and working through the often-confounding narration. As a bonus, it leaves us with the perfect final line, “And yet …”

Opening in theaters on April 1, 2022

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Posted by David Ferguson

BARBARIANS (2022)

April 1, 2022

Greetings again from the darkness. Dinner parties are ripe for generating just about any kind of conflict between characters … loud and rude, or subtle and passive-aggressive. Many filmmakers have used the setting to their advantage, and from that we’ve heard some sharp dialogue and seen some tremendous acting performances. And yes, we’ve suffered through the other end of that spectrum as well. The first feature film from writer-director Charles Dorfman (producer on THE LOST DAUGHTER, 2021) comes from a story by Statten Roeg, and it awkwardly morphs into a blend of dinner party and home invasion.

The morning sun shining through the window causes a couple to slowly awaken. Eva (Catalina Sandino Moreno, MARIA FULL OF GRACE, 2004) and Adam (Iwan Rheon, “Game of Thrones”) are in the stunning home on which they expect to finalize the purchase this same evening when the real estate developer (and friend) and his girlfriend arrive for dinner. Our first exposure to Lucas (Tom Cullen) is an infomercial where he’s ‘selling’ the beauty, serenity, and history of the property. It’s located near the Gaeta (Gateway) Stone, which holds historical (and possibly mystical) relevance. Through the advertisement, we immediately recognize that Lucas is not exceptionally trustworthy, and may even be a bit of a scammer. We soon enough have clarity on Lucas’ carefully constructed online image contrasted with reality.

The dinner party is not just to finalize the purchase of the home, but also to celebrate Adam’s birthday. Eva is a renowned artist who has been crafting a sculpture for the property – it’s a replica of the nearby Gaeta Stone. Adam is a director who struggles not just with his career, but also with the truth. Dinner begins okay as Lucas and his girlfriend, Chloe (Ines Spiridonov) arrive. Wine is consumed and some friendly needling occurs. After a few minutes, we realize these are self-centered and entitled folks who can’t even be honest with each other. When the confessions begin to roll, things get ugly … but then the home invasion hits, and with it, an abrupt tonal shift.

Some similarities exist between Mr. Dorfman’s film and THE FEAST, with a touch of Kubrick’s classic A CLOCKWORK ORANGE, but unfortunately, it never reaches the level of either. While we learn the motivation for the home invasion, it comes at a time when we’ve already given up caring about any of the four main characters. It just doesn’t matter other than seeing what might trigger someone to live up to the film’s title – as if they hadn’t already done so. Composer Marc Canham teases us with the score and purposefully overuses dramatic musical booms. For a thriller to work best, the audience must have someone or something to root for – a not so minor detail missing here. But, oh my, what a cool house!

In theaters and On Demand beginning April 1, 2022

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Posted by David Ferguson

BETTER NATE THAN EVER (2022)

April 1, 2022

Greetings again from the darkness. Maybe the only great thing about adolescence is that dreams are still alive … and in full bloom. Writer-director Tim Federle has adapted his own best-selling Young Adult novel for the big screen, and the result is a fun, uplifting adventure that should really hit home for theater kids. It’s very much in the vein of HIGH SCHOOL MUSICAL, and that makes sense as Mr. Federle is the creator of “High School Musical: The Musical – The Series”.

Casting is crucial in a film like this, and Rueby Wood excels as the titular Nate, a 13-year-old growing up in suburban Pittsburgh while dreaming of starring on Broadway. One of Nate’s challenges is that he can’t even get cast for a significant role in his school’s stage production. This is the first big screen appearance for young Wood, though he has starred in the national tour of “Charlie and the Chocolate Factory.” He is immensely talented and sings, dances, and acts his way through this story in a way that draws us in to the point that we embrace his dreams and cheer him on.

To help her best friend overcome his disappointment in the school play and encourage him to chase his dream, Libby (Aria Brooks) informs Nate that auditions are being held for a Broadway production, “Lilo & Stitch: The Musical”. Excited for the opportunity, the two sneak off to New York City. By this point, we’ve seen that Nate’s mother and father (real life married couple Michelle Federer and Norbert Leo Butz) accept that their son is ‘different’, while Nate’s jock brother Anthony (Joshua Bassett) puts up with him the way most big brothers do with their weird siblings.

Once in NYC, the story takes a turn. Nate and Libby run into his Aunt Heidi (Lisa Kudrow). Although estranged from her sister, Nate’s mom, Heidi’s experience as an actress in New York has made her an idol to the young actor wannabe. Of course some of what happens at the audition is a bit far-fetched, but Nate’s optimism and determination and faith restore some of those long-past emotions in Heidi and the two establish quite a bond. In an interesting turn, Libby is much more than the loyal friend to Nate, as the experience/adventure shines a light on a path that suits her oh so well.

Rueby Wood delivers a sparkling performance as Nate, flaunting his vocal pipes in Times Square. Aria Brooks is every bit as impressive as Libby, and we get the feeling her career is about to explode. This is comedy and quasi-musical that acts as an uplifting adventure movie serving up life lessons along the way. Most parents would prefer their unaccompanied minor kids not hop a bus to the Big Apple, but the messages of pursuing a dream and the importance of friendship and family are well made. It’s nice to see a film directed at theater kids and one that the whole family (other than the youngest of kids) can enjoy together.

April 1, 2022 launch on Disney+

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Posted by David Ferguson

OSCARS 2022 recap

March 28, 2022

For years, the Academy of Motion Picture Arts and Sciences has been working to punch up the Oscars broadcast in an attempt to appeal to a wider audience. Who knew that Will Smith would take that mission literally? We just thought announcing the wrong Best Picture winner at the 2017 ceremony was a low point in Oscar history, but Will Smith punching/slapping comedian Chris Rock across the face on stage after a joke directed as Smith’s wife, Jada Pinkett Smith, has again lowered the bar for Oscar.

If most of us displayed a similar violent reaction to say, a fellow shopper in Kroger, we would at least spend the night in jail. And our assault would not have been broadcast across the globe! But of course, most of us aren’t Will Smith. We aren’t absurdly wealthy and famous and beloved, and we likely wouldn’t be minutes away from winning our first Oscar. So, Mr. Smith was not arrested. He was not even escorted out of the theater. In fact, he returned to his seat, yelling profanity at Mr. Rock, who handled this with exceptional grace. Smith remained seated front row center until his name was announced as an award winner. Well, there was a commercial break where he huddled with his publicist (What? You don’t have a publicist?), which allowed him to gather his thoughts before delivering his acceptance speech.

And what happened when he was announced as winner of the Best Actor award? Well, obviously the room gave him a standing ovation. Yep, the folks who frequently use their celebrity status to influence our political beliefs, stood there cheering the man who had just assaulted another man during the most prestigious event in their industry. Smith proceeded to tear up and give a speech that invoked God, his calling, love, and protection. He apologized to some, but not to the man he assaulted. Instead, he seemed to justify his violent outburst as if it was some acceptable form of protection of his wife. Although the band had ‘played off’ other winners who were deemed to have taken too much time, Smith’s speech rambled on with no music … the second time that evening he should have been escorted away. And when he was finally done, the room again gave him another standing ovation. We certainly won’t be surprised if we soon hear it explained that Will Smith is yet another celebrity struggling with “mental health” issues. What better way to gather sympathy after a vile act?  But then, I don’t have a publicist, so perhaps a better way does exist.

As a lifelong lover of movies, I’ve enjoyed watching the Oscars ceremony for what it once was, and should still be … a celebration of the industry and the art of making movies. Being that many fans of movies are mostly interested in the “big” categories, the decision was made this year to shift many categories to a pre-show event, and then air the replay of the winners from those categories during the main show. This promised a brisker pace and shorter run time. The result gave us a show that dragged with a run time 20 minutes longer than last year, and a show that disrespected many of the technicians and craftsmen who work behind the cameras, and the short films that are often the proving ground for rising visionary writers and directors. I believe the term for that is failure.

As for the actual awards, the surprises were few, but the history was inspiring. CODA’s Troy Kutsur became the first deaf man to win an acting award (Marlee Matlin had won Best Actress for CHILDREN OF A LESSER GOD, 1986). Ariana DeBose became the first openly gay woman of color to win an acting award, and she did so in the same WEST SIDE STORY role that won the award for Rita Moreno in the 1961 version … and 90-year-old Ms. Moreno was on hand to see this happen. Jessica Chastain won her first Best Actress Oscar (THE EYES OF TAMMY FAYE), and in doing so, became the 7th person from the cast of THE HELP (2011) to win an Oscar. Mr. Kutcher, Ms. DeBose, and Ms. Chastain all gave gracious and appreciative speeches.

Should we call CODA’s Best Picture win a surprise? Probably not. It had picked up significant momentum over the past few weeks. The film’s win, along with Kotsur’s win and Sian Heder’s Adapted Screenplay Oscar was an inspiring triumph for the Deaf community. It’s also a counterargument to all those who claim only artsy stuff ever wins – CODA is a heart-warming and entertaining movie with a terrific family story. It was also a rare Best Picture win for a film whose director (Ms. Heder) was not nominated.

Perhaps the real surprise of the evening was THE POWER OF THE DOG. Despite leading the pack with 12 nominations, the only victory on the evening was for its director Jane Campion. She became the first woman to win the award twice, and this also meant that THE POWER OF THE DOG was the first film to win Best Director and no other awards since THE GRADUATE (1968). WEST SIDE STORY and BELFAST were two other heavily nominated films that managed but one win, although this was Kenneth Branagh’s first Oscar, likely long overdue. And speaking of overdue, songwriter Diane Warren’s 13th nomination again left her with no Oscar. History was missed as Lin-Manuel Miranda remained an Oscar short of EGOT when his ENCANTO song didn’t win, and Ari Wegner missed out on becoming the first woman to win Best Cinematographer. DUNE was the big winner of the night with 6 Oscars, but only cinematographer Greig Fraser’s award was presented live on the main show.

In an attempt to honor the history of cinema, some “Tributes” were included, and yet they all came off a bit awkward. In celebration of 60 years of James Bond, the presenters were … snowboarder Shaun White, skateboarder Tony Hawk, and surfer Kelly Slater. Huh? Their uncomfortable banter was followed by a poorly edited montage of the many Bond films. For the 50th anniversary of THE GODFATHER, director Francis Ford Coppola, Al Pacino, and Robert DeNiro marched out on stage; however, only Coppola spoke. And if that’s not strange enough, Mr. DeNiro did not appear in the first film, though he won an Oscar for THE GODFATHER: PART II. Finally, there was the 28th anniversary of PULP FICTION. Who celebrates year 28? Uma Thurman and John Travolta danced a bit, while Samuel L Jackson carried out a gag with the mystery briefcase. Happy 28th everyone!

One new feature this year involved the Academy’s attempt to tie-in with a social media contest where ‘real fans’ could vote for the “Fan Favorite” and the “Best Moment”. To no one’s surprise – except maybe the Academy’s – Zack Snyder’s fandom flooded the voting to the point where the Fan Favorite was his zombie movie, ARMY OF THE DEAD, while the Best Moment was Flash Speed Force in JUSTICE LEAGUE. Another segment that deserves mentioning (or forgetting) was “In Memoriam” where the stage performers were the focus rather than the recently deceased legends who actually helped build the industry.

Four of the five nominated songs were performed (no Van Morrison). Beyonce performing “Be Alive” from the streets of Compton was quite something, as was the NOT-nominated “We Don’t Talk About Bruno” from ENCANTO – which featured Megan Thee Stallion shifting it from kids’ song to adult themed. You might ask why a song not nominated was performed, and the answer is as simple as Disney owns ABC, the network broadcasting the ceremony.

After a few shows with no host, this year’s show featured three talented women: Amy Schumer, Wanda Sykes, and Regina Hall. Each landed a good line or two, while each had a gag that fell flat (or worse). Schumer’s Spider-Man bit was awkward, but nowhere nearly as cringe-worthy as Ms. Hall’s horny bit as she dragged handsome men onstage for some poorly constructed backstage COVID testing. Somehow the industry’s reaction to Harvey Weinstein and years of inappropriate behavior from men was to have a woman publicly harass men. The fallout would be unfathomable if the script were flipped and a man did that to the women. A dear friend made an excellent point when he noted how different the reaction to Will Smith’s stunt might have been if Ricky Gervais had been hosting. Fashion discussion is typically off-limits for me since I’m a jeans and t-shirt guy, but Timothy Chalamet going shirtless under his sparkly jacket seemed inappropriate … well, until Will Smith redefined that word.

On the bright side for the Academy (and they are probably still in shock), the early ratings show 15.4 million viewers, which is a 56% percent jump over last year. It’s quite impressive considering the vast majority of movie watching occurred via streaming the last two years, as movie theaters are just now starting to see an uptick in attendance. Questlove (for his documentary SUMMER OF SOUL) gave the evening’s most emotional speech, while Billie Eilish (songwriter for NO TIME TO DIE) flashed unbridled joy. Those two and the sight of a roomful of people in formal attire standing and waving their hands as applause for Troy and CODA made for the kind of heart-warming moments we’ve seen from the Oscars over the years, and would have made the night a success if those same people had not stood and applauded for Will Smith … twice.

Sir Anthony Hopkins, showing the wisdom of age, said it best: “Let’s have peace and love and quiet.”

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Posted by David Ferguson

THE LOST CITY (2022)

March 24, 2022

Greetings again from the darkness. It’s not billed as a remake of ROMANCING THE STONE (1984), and perhaps that’s because it borrows from many adventure romantic-comedies over the years. Brothers and co-directors Aaron Nee and Adam Nee (BAND OF ROBBERS, 2015) have proven they can deliver exactly what is promised from a script by co-writers Oren Uziel (MORTAL COMBAT, 2021) and Dana Fox (CRUELLA, 2021). Seth Gordon receives a story credit, which is a bit ironic considering he has been quoted with, “The best stories are rooted in reality.”

Oscar winner Sandra Bullock stars as grieving, reclusive and highly successful romance novelist Loretta Sage, and Channing Tatum co-stars as her long-time and extremely popular cover model, Adam (in what is obviously a ‘wink and a nod’ to Fabio). Loretta’s love of history, and the passing of her husband, have combined to make her despise the books she writes and the publicity tours she’s required to attend … especially when being forced to wear a skintight purple/fuchsia sequined onesie. On the other hand, vapid model Adam relishes giving the audience what they want – strutting, hair waving, and bare chest.

After their most recent event goes sideways, Loretta is kidnapped by the villainous rich guy with a so-called gender-neutral name of Abigail Fairfax (Daniel Radcliffe). He’s read her latest book and needs her help in locating the ‘Crown of Fire’ hidden somewhere on a remote island he purchased for this reason. Things have to move quickly before the volcano erupts and buries the treasure. At this point, Adam is committed to rescuing Loretta and proving that he’s more than a pretty face. Loretta’s stressed out literary agent Beth (Da’Vine Joy Randolph, DOLEMITE IS MY NAME, 2019) is determined to save her writer-asset, while the newly hired social media director (Patti Harrison) acts goofy (and deserved better lines).

It’s regrettable, yet a sign of the times, that (2-time Oscar winner) Brad Pitt’s cameo is included in the trailer. This should have been a pleasant surprise for viewers, and instead is spoiled by the clip. He has fun with his role as former Navy Seal and meditation partner with Adam, as the two work towards Loretta’s rescue. The time on the island combines the adventure sequences with the slow-build of the romantic bond between Loretta and Adam, and both actors do their thing. It’s mostly Mr. Radcliffe who seems a bit out of place as he goes big in his role as villain, when some subtlety might have played better. Then again, there is nothing subtle about this production, including the scenes with Beth and an oddball pilot with a goat-fetish played by Oscar Nunez (“The Office”).

Sandra Bullock and Channing Tatum can play these characters in their sleep, and to their credit, they both seem engaged and willing to put forth the necessary effort. Tatum especially embraces the duality of a preening cover boy and the sensitive type out to prove he has substance. It’s an easy film to criticize, but why would you? It’s meant to be harmless fun and bring joy to movie lovers. It’s totally fine to make a silly formulaic movie when your objective is to make a silly formulaic movie.

Opening in theaters on March 25, 2022

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Posted by David Ferguson

INFINITE STORM (2022)

March 24, 2022

Greetings again from the darkness. Naomi Watts is a gifted actress and always elevates her films, but can someone please cast her in a comedy? The lady deserves a chance to lighten up a bit. Known for her dramatic turns, this may be her most physically demanding role yet. The film is based on a true story and the life of Pam Bales. Director Malgorzata Szumowska and co-writer Joshua Rollins, with input from Ms. Bales, recreate the remarkable events of 2010 on Mount Washington in The White Mountains of New Hampshire.

We first see Pam Bales (Watts) as her alarm goes off early, and she goes about preparing for a six-hour trek up the mountain. This includes layering her backpack and her clothes for the below freezing temperatures. She stops by the café where her friend (Denis O’Hare) pours her some hot cocoa and tries to talk her out of the climb due to the possibility of lousy weather (which is saying something for this area). However it’s clear this date is important to her when she says the climb is “cheaper than therapy”, because “mountains always listen and don’t talk back.” Pam has a special connection to the mountain and to nature.

As she begins her journey, Pam sees a couple of campers finishing up their stay. One of them is Eliot Sumner (offspring of musician Sting), who also wrote and performed a song for the film. The other is played by the film’s writer, Joshua Rollins. Pam also notices another car in the parking lot, which, although she doesn’t know it at the time, does set the stage for her day. Often covered in goggles and snow gear, the hike offers Pam the serenity for reflection, as well as some mind-clearing physical exertion. One misstep sends us the flashback of why this day and climb is so important to Pam; but it’s a trail of sneaker tracks in the snow that change the day every bit as much as the approaching storm that caused her to cut the hike short.

Those sneaker tracks are a recognizable sign of trouble to an experienced climber, nurse, and Search and Rescue Team member. Pam follows them to a near-death man suffering from hypothermia. Since he is initially non-responsive, she calls him “John” (Billy Howle, ON CHESIL BEACH, 2017) and proceeds to coax, drag, and all but carry him as they begin the slow battle down against the mountain and the weather elements. As he regains some semblance of awareness, John makes it clear he doesn’t want to be rescued and was trying to end his life on the mountain. Pam ignores this and sternly informs him that she will not leave him behind.

Cinematographer Michal Englert does a terrific job of capturing both the beauty and danger, although there is one close-up of Pam’s whistle that seems a bit out of place (minor quibble). Filmed in Slovenia (as a stand-in for New Hampshire), the weather and the view are co-stars with Ms. Watts, and the blizzard is blinding and treacherous, making Pam’s actions even more incredible. The film can be taken as the story of one woman’s determination, but it can also show how grief is powerful … and so is a helping hand. One person can certainly have a dramatic impact on the life of another and the way this real-life ordeal played out is quite interesting. Ty Gagne’s was the first to publish Pam’s story in his article, “Footprints in the Snow lead to an Emotional Rescue” in New Hampshire Union Leader. As always, the film earns bonus points for including “Katie Belle Blue” by Townes Van Zandt … and we can relate to Pam’s difficulty in singing along. The likelihood of Naomi Watts taking on a comedy seems remote, as she’s already slated for a remake of the 2014 Australian horror movie, GOODNIGHT MOMMY.

Opens in theaters Friday, March 25, 2022

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Posted by David Ferguson

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