I LOVE MY DAD (2022)

March 22, 2022

SXSW 2022

Greetings again from the darkness. It’s difficult to know whether the biggest story here is the one of the cringiest movies you’ll see or the fact that writer-director-star James Morosini based it on the actual relationship and events with his own father. Morosini opens the film with this: “The following actually happened. My dad asked me to tell you it didn’t.” That sounds kinda funny and sets the stage for some father-son conflict. But it certainly doesn’t prepare us for what we are about to watch.

The always terrific Patton Oswalt plays Chuck, the father. We listen to a steady stream of voicemails Chuck leaves for his son over the years, and we know immediately what kind of absentee, break-another-promise father he’s been to his son. Franklin (played by filmmaker Morosini) is finishing up his stint in therapy after a suicide attempt. By his side is his protective and worried and hopeful mother (Amy Landecker). Guess who is not there.

Being that it’s a movie, albeit one based on real life, we wonder if this is going to be a story of redemption for the father, the son, both, or neither. As part of the boundaries set by Franklin after his therapy, he blocks his father from social media. So desperate he is to re-connect with his son that Chuck undertakes a catfishing strategy. Yep, he creates a fake account using the identity of a cute waitress named Becca (a charming Claudia Sulewski) to befriend Franklin and talk about life. Of course, Franklin is so in need of human interaction that he begins to fall for virtual Becca, and Chuck’s mess just gets messier. He even involves his co-worker friend (Lil Rey Howery) and his boss/lover (Rachel Dratch), but who stand opposed to the whole thing.

The story is horribly sad and pathetic, but the actors inject enough levity that we aren’t wallowing in pain while watching. In an innovative step, Becca and Franklin appear together during their texting conversations – well, it’s a virtual representation of Franklin’s imagination. Mr. Oswalt is extremely effective at generating human emotions in a guy that could easily be vilified as public enemy number one. At his core, Chuck is just a well-meaning guy who stinks at being a parent – despite being desperate to connect with his son. As a parent, presence is crucial and much of it is about effort. Desperation can lead to bad decisions, and Mr. Morosini bravely exposes his own turmoil for a film that might hit home to more people than we imagine.

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Posted by David Ferguson

TO LESLIE (2022)

March 22, 2022

SXSW 2022

Greetings again from the darkness. We have all heard the stories of lottery winners who blow the entire pot and end up back where they started, or sometimes even worse off. There is also no shortage of stories where alcoholism ruins lives and relationships. Director Michael Morris’ first feature film combines the two elements in a script by Ryan Binaco, who based the lead character on his own mother. The two men have done their work well and, in a way, win their own lottery by having cast Andrea Riseborough in the lead. Ms. Riseborough has long been labeled underrated, but I believe the more accurate label is underappreciated.

Small town Texan Leslie (Riseborough) is seen celebrating her $190,000 lottery win by lifting the giant check for TV cameras. She admits to picking her son’s birthday as the winning number and says her plan is to buy a house and open a diner … right after she buys the first round at the local bar. We then flash forward six years to find Leslie homeless, having just been evicted from a fleabag motel. Toting her pink suitcase, she is forced to trace her steps back to the bridges still smoldering from her past actions. She tracks down her son James (Owen Teague, IT), whom she abandoned years ago.

Of course it doesn’t take long for Leslie to break James’ one house rule of ‘no drinking’, and soon he is shipping her back to their hometown to stay with the friends who raised James. Nancy (Oscar winner Allison Janney) and Dutch (Stephen Root) are a biker couple still upset with Leslie’s actions from years ago, but willing to give her a roof over her head. Leslie is a master of saying the right thing, but never doing the right thing. She can sweet talk anyone who might buy her next drink, but her history is one of burning bridges and leaving a wake of shattered emotions.

Leslie is an uncontrollable alcoholic and she’s self-destructive, but not in a LEAVING LAS VEGAS way. We sense that in her lucid moments … when she’s not screaming at someone or flirting for a drink … that she does want to be a better person and live a better life. It takes local motel manager Sweeney (Marc Maron) to give her a real shot at cleaning up. Literally cleaning up, as she’s hired to clean the motel rooms. Sweeney’s patience with Leslie stems from his past, and it’s as painful to watch his efforts as it is to watch Leslie’s swings. Andrea Riseborough delivers a raw and riveting performance – one worthy of awards consideration. She captivates us with an emotional and physical performance. Director Michael Morris has directed some terrific TV episodes for shows like “Better Call Saul”, “Bloodline”, “Animal Kingdom”, and “House of Cards”, and this film leaves us with hope that the support of one person can make a difference for someone in desperate need of help.

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Posted by David Ferguson

SPIN ME ROUND (2022)

March 22, 2022

SXSW 2022

Greetings again from the darkness. Expectations were sky high for the latest from writer-director Jeff Baena. His twisted humor was evident in THE LITTLE HOURS (2017), and he has collaborated again with his HORSE GIRL (2020) co-writer Alison Brie, who also takes the lead role. The assembled cast is filled to the brim with folks who have proven comedy chops, and much of the film takes place in gorgeous Italy. What could go wrong? Well, technically nothing goes wrong, it’s just not as right as we hoped.

Alison Brie stars as Amber, a dedicated 9-year manager of the Bakersfield, California Tuscan Grove restaurant. It’s a chain of Italian fast casual clearly meant to mock Olive Garden, and we get multiple shots of their pre-packaged bulk Alfredo sauce. When Amber’s District Manager (Lil Rey Henry) informs her that she’s been selected for an all-expense paid trip to Italy for the company’s immersion program, she’s thrilled to have some excitement in her life – plus her friend (Ego Nwodim) floats the idea of her finding love on the trip.

The group of managers is disappointed when the promised Italian villa is actually next door to the non-descript box motel where their rooms are located (Amber has a view of dumpsters). Sessions are held in a bland conference room, and those sessions are mostly unnecessary cooking lessons run by Lauren Weedman, offering no flavor of the country’s culture. The fun here is derived from the interplay between the characters/actors. Zach Woods plays Dana, an over-the-top superfan of Tuscan Grove and its owner; Tim Heidecker is Fran, the full-of-himself type; Ayden Mayeri is the giggly one; Debby Ryan the aloof participant; and Molly Shannon frets incessantly over her lost luggage and erases all boundaries once Amber offers to lend her some clothes. The facilitator of the sessions is oddball Craig (Ben Sinclair), who excels in moments that beg, “was that supposed to be funny?”

The dynamics change when Tuscan Grove owner Nick (Alessandro Nivola) drops in to the sessions with his assistant Kat (Aubrey Plaza, married to director Jeff Baena). Nick takes an immediate shine to Amber and their scene aboard his yacht is one of the film’s best. His attraction seems to stem from the fact that she favors his deceased sister. That’s wrong on so many levels. Beyond that, when Amber and Kat take off for a spin through the town, it’s another highlight, as Ms. Plaza and Ms. Brie play off each other magnificently.

There is a creepy element to the film. The manager’s retreat plays out differently than hoped, and the names Dana and Fran play a significant role in what is actually going on. Nick’s actions are a bit disturbing, and Kat’s role could easily be interpreted as falling into the Ghislaine Maxwell category. And then there is a tonal shift to the point where it seems we may be in the midst of a murder mystery. It’s all a bit chaotic, but never quite as funny or tense as we hope.

Ms. Brie has a wonderful screen presence as she bounces from naïve to hopeful to confused to concerned. Mr. Nivola is also terrific flashing the charisma in TV ads and then transitioning to the soulful, manipulative, entitled rich scumbag. The contrast in the story is as distinct as the two books mentioned, Elizabeth Gilbert’s “Eat, Pray, Love”, and Gabriel Garcia Marquez’s “News of a Kidnapping”. Few movies combine the blandness of Bakersfield, the romance of Italy, near slapstick comedy, the suspense of a thriller, the lameness of corporate America, a kinky sex party, and a pack of stampeding wild boars. It’s a lot to take on, and some parts work better than others. While we expected it to be more clever, just know going in that you should be like Amber – guarded with an open-mind.

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Posted by David Ferguson

FACING NOLAN (SXSW 2022, doc)

March 21, 2022

SXSW 2022

Greetings again from the darkness. Having been a baseball fan for as long as I can remember, I can list the handful of players that I got to see play in person who left me in utter awe of their talent. Lynn Nolan Ryan was definitely one of them, so when I saw Bradley Jackson’s documentary listed on the SXSW schedule, I immediately sent my RSVP.

Jackson opens with the numbers: 7 no-hitters, 100.9 mph, 5714 career strikeouts, and 51 Major League Baseball records. Big Tex. The Ryan Express. If he wasn’t flesh and blood, Nolan Ryan could be the lead character in a graphic novel. An intimidating player with a Texas drawl borne of his upbringing in tiny Alvin, Texas. We see a fuzzy clip of Nolan pitching in high school, and his wife Ruth drives us by his childhood home. As a long-time fan, I’m relieved to see that Ruth Ryan is finally exposed as a guiding force in his life and career. Their first date is recalled … watching ROME ADVENTURE (Suzanne Pleshette, Troy Donahue) … as is their second – a baseball game to see Sandy Koufax pitch. Ruth explains that Nolan had no aspirations of a professional baseball career, and instead was determined to become a veterinarian. It was Mets’ scout Red Murff who changed the trajectory of animals and hitters everywhere when he convinced the team to draft Nolan.

Jackson includes interviews with players such as Pete Rose, Randy Johnson, and Jerry Grote (his catcher with the Mets). Rose talked about how difficult it was to face Nolan, while Johnson labels him the most intimidating pitcher of all-time. Others interviewed include Ryan’s biographer Rob Goldman and former President George W Bush, who was one of the team owners when Ryan signed with the Texas Rangers.

Some terrific archival footage shows Nolan’s World Series contribution to the 1969 Miracle Mets, his subsequent trade to Gene Autry’s (“The Singing Cowboy”) California Angels, and his early no-hitters and dominance. We learn about the impact of Tom Morgan, his first “real” pitching coach, and later, Ryan’s stunning free agent contract with the Houston Astros – making him the first athlete to sign a million-dollar contract. Jackson even includes the replay of the moment in 1973 when Norm Cash came to the plate with a table leg instead of bat to face Ryan during his second career no-hitter.

More footage is shown of Ryan’s 5th and 6th no-hitters, including Terry Puhl’s running catch. What a fun moment it is when Mr. Puhl proves that, even to this day, he still has the clip of that catch on his iPhone. And yes, it was the Astros’ blunder of inviting Nolan to take a ‘hometown’ pay cut, that drove him to sign with the cross-state rival Texas Rangers and write the final chapter of his storied baseball career. What followed was his 300th win, his 5000th strikeout, and remarkably, his 7th no-hitter. Of course, one of the most famous events of Ryan’s career occurred in 1993 when Robin Ventura charged the mound against the 46-year-old Ryan. What’s fascinating is how this is tied back to a previous incident with Dave Winfield years ago. Winfield discusses what happened, while Ryan admits to the impact.

The baseball content served up here is enough for any fan, but the real insight comes from the talks with Ruth and Nolan and their family members. Sure, he spent 27 years in the league and delivered a humble Hall of Fame induction speech (which is included here), but at the core of the player is the man with values … the man Ruth chose so many years ago. The kids and grandkids speak of Nolan and Ruth as role models, and we witness firsthand the difference between the Hall of Fame pitcher and the man fishing on the riverbank or at the head of the table for family meals. We have Red Murff and Tom Morgan to thank for the pitching, Ruth Ryan to thank for the man, and Bradley Jackson to thank for this profile.

WATCH THE ENTIRE MOVIE ON NETFLIX

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Posted by David Ferguson

SOFT & QUIET (SXSW 2022)

March 21, 2022

SXSW 2022

Greetings again from the darkness. If you prefer your movies light-hearted, good-natured, and relaxing to the spirit, then you need to avoid writer-director Beth de Araujo’s first feature film at all costs. I’m not sure I’ve ever been more uncomfortable watching a movie than I was during this one. Whatever you do, don’t assume that a story featuring a group of young women meeting in a church for snacks and socializing will be cute or funny. This is neither. In fact, I’m at a loss for the properly descriptive words.

It doesn’t take long for us to realize these ladies aren’t soccer moms here to discuss cupcake recipes or romance novels. When Kindergarten teacher Emily (Stefanie Estes) pulls the cover back from the homemade pie she baked, the swastika carved into the crust is clear as day. Their club, “Daughters for Aryan Unity”, is actually a group of racist bigots filled with extreme hatred towards people of color. Their stated mission is ‘multi-cultural warfare’ and standing up for the place in society they have earned. One of Emily’s phrases is “feminine, not feminist”, and she explains why. This conversation continues until the Pastor overhears and kicks them out of his church.

Adding to the tension and contributing to the profuse feeling of disgust is the filmmaker’s decision to avoid cuts and present real time in one continuous shot. We never get a breather from these despicable people. The big concern with bigotry is that unforgivable words can shift into dangerous actions, and that’s what happens here. A store confrontation over a bottle of wine leads to a prank that goes horribly awry.

I’m not sure if the film is meant as a lead-in to serious dialogue on the topic, or whether it’s a cautionary tale about the dangers of racism and bigotry. Perhaps it’s a reminder that racism and evil behavior is not limited to southern rednecks in pickup trucks. Whatever purpose Ms. de Araujo had in mind, the film (even with a surprise ending) is certainly uncomfortable to watch.

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Posted by David Ferguson

CROWS ARE WHITE (SXSW 2022, doc)

March 21, 2022

SXSW 2022

Greetings again from the darkness. The synopsis for this documentary had me excited to learn about the Tendai sect of monks on Mt Hiei in Japan. Known as “the Marathon Monks”, the sect has been a part of the mountain for more than 1200 years and are known for their extreme tests of physical endurance on the path to enlightenment. Director Ahsen Nadeem set out to explore his own faith, and looked to these monks for guidance.

This is a film of contradictions. It’s not really about the monks, and Nadeem’s true objective seems to be tricking the monks into guiding him through his messy life … a mess he created through his many deceptions. Nadeem seeks out time with Kamahori, a monk in the midst of a difficult 7-year journey to enlightenment. Kamahori has taken a vow of silence, which, as you can imagine, doesn’t make for a much of a cinematic interview. Instead, the monks kick Nadeem off the mountain when his cell phone rings. It’s at this point where we realize Nadeem is all about himself, and the tone of the film shifts.

Raised by strict Muslim parents, Nadeem recollects his childhood for us. It’s this background that allows us to understand how severe his broken trust with his parents has become. See, Nadeem is engaged to a non-Muslim woman, but he keeps this fact (and her) a secret despite regular Facetime calls. It’s a double-life that continues to get more complicated as the lies and deceptions pile up.

Still seeking answers, Nadeem heads back to the mountain where he meets Ryushin, a monk working the gift shop. We learn Ryushin is a black sheep monk … one who loves sake, ice cream, and heavy metal music (Slayer and Slipknot). Their odd friendship is the most interesting part of the film, and perhaps the portion that most helps Nadeem. Some of the best monk sayings come out in this part, though mostly we (and Nadeem) learn that perception is truth, and that we often lie to ourselves regarding key elements in life. And then Nadeem is again kicked off the mountain.

After returning to Los Angeles for his wedding, Nadeem admits that he still hasn’t told his parents. We find ourselves not liking Nadeem very much and certainly struggling to have any respect for a man who deceives his loved ones. In fact, his wife seems to take our side and is the one who pushes him to ‘come clean’ with the parents he hasn’t seen for 10 years, 3 of which cover his secret marriage. The way this portion is handled is downright despicable and we feel for his parents and the pain they experience.

We can remain in awe of the monks and their extreme physical feats. Walking the circumference of the globe over 1000 days is fascinating, and Kaihogyo – no sleep or lying down for 90 days – is dangerous and incredible. It’s very likely a second viewing of the film would allow for more focus on the spiritual aspects regarding faith and love and self. The contradictions in life – especially those we create for ourselves – are most certainly worth exploring, but our dislike of Nadeem (in spite of his honesty in front of the camera) is too distracting to pull out the wisdom and counseling that is present. Perhaps that is one more contradiction or paradox that we should deal with.

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Posted by David Ferguson

DEADSTREAM (SXSW 2022)

March 21, 2022

SXSW 2022

Greetings again from the darkness. How about a modern day version of THE BLAIR WITCH PROJECT (1999) leaning heavily into our social media world? Co-writers and co-directors Joseph Winter and Vanessa Winter include touches of the multitude of Ghost Hunter-type TV shows while blending humor with a heavy dose of make-up, especially in the film’s second half.

Joseph Winter stars in his film as Shawn Ruddy, a recently disgraced You-Tuber known for dumb pranks (in the mode of Johnny Knoxville) for his show, “Wrath of Shawn.” In an effort to redeem his reputation, Shawn plans to live-stream his overnight in a dilapidated haunted in house in Utah. Built in 1880, it’s known as ‘Death Manor’ due to the history of many deaths that have occurred within its walls. Shawn believes this will make great live content since he’s deathly afraid of ghosts.

The set-up and first half of the film are excellent and a lot of fun. We get to know Shawn for what he is, including his effeminate screams of terror as things go bump in the night … and even sometimes when they don’t. Some of the best moments happen as he reads the viewer comments alongside his live stream. Just when it starts to drag a bit, Shawn’s plan is upended by Chrissy (a terrific Melanie Stone), who claims to be a superfan. She brings a jolt of energy and immediately shifts the tone.

The best horror films employ a setting that takes on a role of its own, and ‘Death Manor’ is perfectly trippy to explore via GoPro and flashlight. The legend of Mildred collecting souls makes for an enticing legend, but the film’s second half goes over-the-top, despite the most creative use of beef jerky and duct tape that you’ll likely see in any movie. It just seems a bit too long, though lovers of midnight movies will appreciate the mixture of comedy and horror.

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Posted by David Ferguson

MASTER (SXSW 2022)

March 21, 2022

SXSW 2022

Greetings again from the darkness. With her first feature film, writer-director Mariama Diallo shows us that the terror of racism need not be blatant and obvious, and can be subtle and generational. Thanks to Jordan Peele, horror films have become de rigueur for exposing and exploring the many facets of racism. Ms. Diallo embraces the genre, while also mixing in the element of classism and entitlement.

Regina Hall is superb as Gail Bishop, the newly hired first black House Master at Ancaster College, a fictional, Ivy League-type school in the northeast that is as old as our country. Also excellent is Zoe Renee as Jasmine, a high-achieving black incoming freshman. A brilliant touch displays the symmetry of move-in day. Gail moves in to a creaky, dusty old home on campus, while Jasmine draws “the room” in dormitory. What is “the room”? Well, there is a legend tied to student deaths and long-ago witch trials … and 3:33am on the clock.

The supernatural forces attached to her room are only part of the challenges facing Jasmine. There is also her roommate played by Talia Ryder, the overall entitlement of other students, and another interesting character – her professor of Literature, Liv Beckman (Amber Gray). Ms. Beckman is friends with Gail, but Jasmine files an official complaint alleging she was targeted on her grade for a paper on racism in “The Scarlet Letter”. Complicating the matter, Ms. Beckman is also black and up for tenure, despite a shaky publishing record and a curious lack of background detail.

The multiple story lines become more intricate with the odd editing and threads as presented. Cinematographer Charlotte Hornsby works wonders with the creep factor, but the editing choices are often curious. Gail’s big career stepping stone introduces her to institutional racism at the institution where she’s employed. The three main characters each have their own story arcs, and the intersections are often quite advanced. However, the multiple stories do create some cinematic obstacles, and not all are handled smoothly, especially in the final act. Still, Ms. Diallo announces herself as a filmmaker to watch, and all three lead actors perform admirably.

In select theaters and on Prime Video beginning March 18, 2022

WATCH THE TRAILER

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Posted by David Ferguson

LINOLEUM (SXSW 2022)

March 21, 2022

SXSW 2022

Greetings again from the darkness. For those of us who spend entirely too many hours of our life watching movies, it’s always a welcome pleasure to stumble upon one that is creative and innovative and entertaining. The first feature film from writer-director Colin West is all that, plus it’s funny and touching and features some science. As an added bonus, it features the always great Jim Gaffigan in a dual starring role.

Mr. Gaffigan stars as Cameron, a middle-aged guy who writes, acts, and films an educational children’s science show for Public Access TV titled, “Above and Beyond”. Imagine a blend of Carl Sagan and Bill Nye the Science Guy. It’s a show he and his wife Erin (Rhea Seehorn, “Better Call Saul”) started together, but now she works at the local Air & Space Museum as the two await the finalization of their divorce.

Cameron has been waiting patiently for a preferred time slot, and one day his producer delivers news that’s both good and bad. The show is being picked up for distribution, but they have hired a new host. In what is anything but the oddest thing to happen so far in the story, Cameron can’t help but notice how much he and the new host look alike – although the personality differences are startling. It turns out the new guy bought the house right across the street from Cameron and Erin, and new guy has a teenage son, Marc (Gabriel Rush), who awkwardly befriends their daughter Nora (Katelyn Nacon).

When a satellite crashes in his yard, Cameron seizes the opportunity to become the astronaut he always dreamt of being by attempting to re-build the tangled mess into a custom rocket ship. Obviously I have left out many details in an effort to avoid spoilers for a story that is at times surreal, and can be best enjoyed going in cold. Other familiar faces appearing briefly in supporting roles include Tony Shalhoub, Amy Hargreaves, and Michael Ian Black. We have seen parallel universe films before, but filmmaker Colin West treats us to something a bit different. It may seem like a low-key affair, but “it’s not that simple.”

Narrative Feature Competition Category – SXSW

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Posted by David Ferguson

THE OUTFIT (2022)

March 17, 2022

Greetings again from the darkness. Graham Moore won an Oscar for his screenplay on Alan Turing’s life in THE IMITATION GAME (2014). Now he has directed his first feature film, one he co-wrote with Johnathan McClain. The final product is a bit unusual in that it takes place almost entirely in one spot … a tailor’s shop … and features only a handful of characters. It’s a film that would transition easily to the stage for live performances.

Mark Rylance (Oscar winner for BRIDGE OF SPIES, 2015) excels here as Leonard, a Savile Row-trained tailor now working his craft in his own shop in 1956 Chicago. His path from London to the windy city is a bit murky, but we immediately take note of Leonard’s calm and elegant presence accompanied by his soothing voice. Rylance uses that voice as narrator to explain the intricacies involved with creating a man’s suit, and the importance of reading the man prior to utilizing the 4 fabrics and 38 pieces that make-up the outfit. Leonard is also protective of Mable (Zoey Deutch, ZOMBIELAND: DOUBLE TAP, 2019), his assistant who dreams of traveling the globe.

An early montage shows us how the mob utilizes Leonard’s shop for drops, and trusts him due to his ‘see no evil, hear no evil, speak no evil’ demeanor. Leonard is one cool dude, and it’s obvious we (and the mob) are underestimating him … but we can’t quite figure out why or by how much. One crazy night changes everything. Richie (Dylan O’Brien, THE MAZE RUNNER franchise) is brought into the tailor shop after being shot by a rival gang ambush. He’s accompanied by Francis (Johnny Flynn, EMMA., 2020), and the dynamics between these two is quite interesting. Richie is the son of the Boyle family patriarch and has been seeing Mable on the side, while Francis is the favored employee after saving Roy Boyle (Simon Russell Beale) by taking gun fire. Richie is a whiny, spoiled wannabe tough guy, while Francis is volatile and constantly sneering.

What follows is a bit Hitchcockian. We have plot twists, murder, backstabbing, danger, and surprises. When it’s discovered the Boyle family has a rat that is feeding details to the rival cross-town gang and the FBI, things get tense thanks partially to a MacGuffin audio tape. It all leads to confrontations in the shop, and some nice scene-chewing from Simon Russell Beale and Nikki Amuka-Bird as the leader of the rival gang. An elaborate plan by one of the characters is a pleasant surprise (to us, not the others). As Leonard points out on a couple of occasions, he’s a “cutter”, not a tailor – a distinction he takes as seriously as his skill with shears. The film’s title has double meaning: the suits Leonard crafts, and the national syndicate that involves the Boyle family. Most of this we’ve seen before, but it’s Rylance’s portrayal of Leonard that offers a different look and feel. Fans of deceptive thrillers will find some joy here.

Opens in theaters on March 18, 2022

WATCH THE TRAILER

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Posted by David Ferguson

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