TMI – Movie Backdrops/Backings

August 1, 2022

Greetings again from the darkness. It’s unusual for a story on movies to mention such dissimilar films as Hitchcock’s NORTH BY NORTHWEST (1959) and the sci-fi cult favorite FORBIDDEN PLANET (1956), or two classics as diverse as SINGIN’ IN THE RAIN (1952) and BEN-HUR (1959). What could these four films, and thousands of others, possibly have in common? The answer is the magic and artistry of backdrops or backings – a history as old as cinema.

This February 2020 segment from CBS Sunday Morning is only about six minutes long, yet provides a nice overview of how these have been used, and are continuing to be used, to create some of the scenery that sets the mood for memorable moments from our favorite movies (as well as those we wish we could forget).

Thanks to reader BG for passing this along:

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Posted by David Ferguson

RESURRECTION (2022)

July 28, 2022

Greetings again from the darkness. You never want to be the ex-partner who causes a panic attack for another person … especially after 22 years apart. Writer-director Andrew Semans puts a face to whatever you call the opposite of a dream partner or role model by casting Tim Roth as David Moore. However, before we first glimpse Roth’s David, we meet Margaret (Rebecca Hall), a woman who seems to have seized control over every part of her life. Her apartment is immaculate. Her business attire classy. Her glass-paned manager’s office efficient. Her married-co-worker-with-benefits at her beck and call. Her speedy runs through town keep her focused and fit. Her about-to-turn 18-year-old daughter is prepped for college. Yep, every aspect of Margaret’s life is under control.

Most of us know what happens when we are arrogant enough to believe we are in control – life usually slaps us with a dose of reality. For Margaret, the hints are there. A tooth found in her daughter’s wallet. A bike ride gone wrong. A glimpse across the room at a seminar. Another at the shopping mall. And finally, a confrontation in the park. This is how, after 22 years, David drops back into her life – a stalker creating turmoil, doubt, and anxiety. By this point, we’ve seen Margaret doling out advice to young intern Gwyn (Angela Wong Carbone) on how to handle a manipulative boyfriend – one she deems sadistic. Margaret appears strong and is counseling Gwyn on how to be strong and find someone worthy of her love. It’s this conversation, along with how Margaret hovers over her daughter Abbie (Grace Kaufman), that tells us Margaret has a past that’s not as perfect as her present.

Margaret’s backstory is told via a single-shot extended monologue where she recounts her relationship with David. It’s a stunning bit of acting by Ms. Hall, and filmmaking that not only explains the emotional baggage weighing down Margaret, but also makes her relatable. The moment is so taut with emotion that it ends with a kinda-sorta punchline from Gwyn. The first two acts build tension and hint at the bizarre nature of the long-ago David/Margaret relationship, and the “kindnesses” (twisted shows of loyalty and devotion) involved, but we simply can’t prepare ourselves for the ‘off-the-rails’ occurrences in the final act.

Wyatt Garfield’s cinematography and the muted colors of every scene and set, enhance the feeling of suspense and pending trauma. The film provides an excellent example of the long-reaching impact of mind-control, gaslighting, and sadistic manipulation as one person tries to control another. Since Margaret refuses to come clean with her daughter, Abbie is convinced her heading off to college is causing her mother’s breakdown. Instead, the psycho-thriller goes much deeper in showing just how Margaret’s vulnerability at a young age has stuck with her more than two decades later, and no amount of Helen Reddy’s “I am Woman” can break the spell … it requires action to stifle a diabolical jerk like David.

Ms. Hall is outstanding and believable in the role, and without her performance, the story would seem like a parody of the genre. She has quite a career of playing the victim, which seems to come naturally to her, as she’s proved in such films as CHRISTINE (2016). Mr. Roth is a multi-talented actor and doesn’t shy away from becoming a despicable face of evil. Both are ‘all-in’ for these characters, as is Grace Kaufman, who has worked consistently as an actor since the age of nine, mostly in TV roles. While I’m not a huge fan of the third act or the ending, there is plenty here to admire.

Opens in theaters on July 29, 2022

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Posted by David Ferguson

VENGEANCE (2022)

July 28, 2022

Greetings again from the darkness. Cultural differences between various states are a big part of what gives the United States its flavor of diversity. The west coast is much different from the east coast, and both coasts contrast with the Midwest. Even within states, the differences can be fascinating. Think of upstate New York versus Manhattan, or the forests of Redding versus the glitz of Los Angeles. Perhaps no cultural comparison of states is more stark than that of the home pride of Texas versus the elitism of New York City. Writer-director-producer-lead actor BJ Novak seizes the opportunity to serve up these differences on a platter, while exposing a touch of reality and hope from both geographic areas.

You likely recall Mr. Novak as Ryan, the young staffer on the TV series “The Office” (in which he also had a hand in writing and directing some episodes). He quickly establishes that stereotypes will be hit head-on, and his self-awareness is at play in an opening sequence featuring Novak’s Ben Manalowitz and his bro-buddy John (a cameo by John Mayer). They improvise the douchey attitude of city-dwelling types whose interest in one-night gratifications overrides any deeply buried thoughts of a meaningful relationship with the opposite sex. Their constant use of “hundred percent” to express agreement in the latest lame point made by the other won’t be the last humorous sequence that also conveys a bit of disappointment in society.

One night, Ben receives a call from Ty Shaw (Boyd Holbrook) informing him that Abilene Shaw (Lio Tipton) has died unexpectedly. Ty believes Ben was Abilene’s serious boyfriend, while Ben has to search his phone to discover that she was but one of many casual hook-ups. Roped into flying to Texas for the funeral, Ben stumbles through the eulogy by saying “she loved music”, a sentiment that endears him to her family. Despite having a coveted job as a writer for ‘The New Yorker’, Ben has his sights set on becoming a popular podcaster, and things fall into place when Ty discloses his conspiracy theory that, rather than die of an afterparty overdose in an oil field, his sister Abilene was murdered – perhaps by a Mexican cartel. Ben quickly pitches the idea to renowned podcast producer Eloise (Issa Rae), who green lights “Dead White Girl.” OK, so most of the humor here is a bit dark.

This much information is included in order to give a taste of the twists and turns that Novak has in store. Abilene’s family embraces him for staying to investigate, not understanding that his goal here is professional advancement rather than solving a case … a case that was closed by the local law enforcement – an incompetent and apathetic Mike and Dan. It’s Ben’s interaction with the family that are key to many of Novak’s points. Mother Sharon (J. Smith-Cameron, “Succession”) is quietly wise. Granny (Louanne Stephens, “Longmire”) is excessively direct. Abilene’s two sisters, Paris (Isabella Amara) and Jasmine (Dove Cameron), are respectively, a goth wanna-be filmmaker and a rudderless dreamer of becoming famous. The little brother, nicknamed “El Stupido” by the family, is played by newcomer Eli Bickel and he has a particular phobia that adds yet another touch.

Ben’s investigation finds him crossing paths with a local drug dealer named Sancholo (Zach Villa), who displays polar opposite personalities in front of his crew and then behind closed doors with Ben. Perhaps the most interesting character in the film is local record producer Quentin Sellers (Ashton Kutcher). Quentin is a smooth talker who impresses Ben with his philosophical meanderings, while donning attire that pops with flair. It’s also during the investigative stage that Ben learns all there is to learn about the sanctity of Whataburger for Texans, and how those in West Texas view the big cities of Dallas and Houston … again, more humor and truth.

My description of Novak’s film is ‘observational dramedy’. He utilizes the current political divisions in the country and blends it with the dominance and corruption of social media. By embracing stereotypes, he manages to pull back the curtain and expose the humanity that exists, as well as the darkness in some. The abrupt finale is startling as it seems to go against many of the points Novak makes throughout, but it’s clear he has a bright future as a filmmaker with something to say.

Opens in theaters July 29, 2022

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Posted by David Ferguson

IT SNOWS ALL THE TIME (2022)

July 28, 2022

Greetings again from the darkness. Dementia and/or Alzheimer’s Disease have touched most every family by now; a fact that works to the detriment of this film from writer-director Jay Giannone and co-writers Erich Hover and Eric Watson. The opening screen informs us that it’s based on a true story, and in fact, it’s actually similar to countless family stories around the globe. Of course, this doesn’t minimize the stress and strain and frustration and pain that this causes for family and friends, and it likely helps some understand that they aren’t alone in this battle.

Dating back to the 1970 TV series “Mission: Impossible”, and her 1980’s movie work (VICTOR VICTORIA, the excellent CHOOSE ME, and classic CLUE), Lesley Ann Warren has long been one of my favorite actors, and here she again shows her feel for the material and each scene she’s a part of. She plays Anne, wife of Paul (an excellent Brett Cullen, Thomas Wayne in JOKER), and mother of three sons: Tony (played by director Jay Giannone), Art (Sterling Knight), and Jesse (writer Erich Hover). The story picks up with Jesse coming back home to Omaha for a visit after moving to Los Angeles for work and adventure. Dad is late picking him up from airport, but mom is thrilled to see Jesse. Brother Art recently dropped out of college, and brother Tony is just so busy, it’s hard for him to find time.

It’s immediately obvious to Jesse that something is off with dad, though everyone else just seems oblivious or accepting of his diminishing abilities each time dad answers with his favorite line, “I’m fine.” Denial is, of course, an easy initial response and obvious issue for loved ones, and mother Anne puts on an optimistic front with an ever-present smile … all while living in fear of losing her life partner. Once Jesse forces the family to discuss the situation and have dad properly evaluated, the finger-pointing commences, until acceptance can be found … all natural steps in the process.

Jesse tries to find common ground with his father via an old pickup truck and they take a fishing trip as a final hurrah. Again, all understandable reactions, while not necessarily being the wisest. There is nothing especially wrong with the film, although a stronger actor in the Jesse role could have helped, but mostly it plays like a film that should have been made 30 years ago when information on dementia was a bit more difficult to come by. Today, we look at this family and can’t help but judge them for not reacting sooner to keep the dad safe and reduce their own stress. Jesse’s relationship challenges (an underutilized Taryn Manning) seem misplaced and over-simplified, but we do witness what is possibly the worst on screen bar fight in the history of cinema. It’s the clips at the end that sober us up quickly … home movies of a vacant-eyed dad holding his first grandchild. Does he even know who he’s holding? We can’t be sure, but that’s the horror of this disease.

In select theaters and VOD on July 29, 2022

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Posted by David Ferguson

MY OLD SCHOOL (2022, doc)

July 22, 2022

Greetings again from the darkness. The world can be divided into those who dream of going back to their glory days of high school, and those who fight off seizures over the thought. Documentarian Jono McLeod broaches this topic through the story of legendary Scottish conman ‘Brandon Lee.’ Since this dates back almost 30 years, you may not be familiar with the details, but even if you are, McLeod’s film will likely fill in the gaps while serving up firsthand recollections from those who were there.

An early twist is just the beginning of this oddity. Brandon Lee agreed to be interviewed for this documentary, but he refused to appear on camera. So, we hear his voice and his own words, but they are being lip-synched by actor Alan Cumming. The additional talking head interviews are the classmates who attended Bearsden Academy in Glasgow alongside Brandon Lee, as well as an administrator and teachers. The former students reminisce about Brandon’s first day at the school as a transfer in 1993. All agree he had an unusual look: gaunt, pale, funny hair, older looking … these are just some of the descriptions.

Equipped with a backstory, Brandon was exceptionally bright, while not quite fitting in. His goal was to attend medical school, and he informed others that he was from Canada and had been very close to his mother, a renowned opera singer who died in a car crash. Teachers were impressed with his knowledge, and he even excelled in the school’s musical production of “South Pacific”.

Rather than live action re-enactments, McLeod uses a significant amount of animation to visualize the moments and events discussed by these now-fully-grown former students. This adds to the comical feel of the story and works to distract us from what we really want – photos and video of Brandon in school. The animation even works as a bit of misdirection for how the final act plays out, and what happens when he finally comes clean with who he is and what he’s done.

The name is critical to the story. First of all, the name Brandon Lee was all over the news in 1993, as the actor and son of legendary Bruce Lee had only recently been accidentally killed on the set of his film, THE CROW. There is even speculation that he drew the name from Jason Priestley’s character on the hit TV show, “Beverly Hills, 90210”. And later, when his actual name is revealed, there is a connection that leads to further complications and confusion. Some of the theories tossed around are quite interesting, not the least of which is that Brandon possessed mind control skills and could actually hypnotize people. Whether this a crime of fraud, an elaborate prank, one man’s way to achieve his dream, or simply twisted morality, is something you’ll have to decide after hearing what Jono McLeod’s film has to say … and McLeod discloses that he was also a student Bearsden Academy.

In theaters on July 22, 2022

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Posted by David Ferguson

NOPE (2022)

July 20, 2022

Greetings again from the darkness. With his first two films, GET OUT (2017) and US (2019), writer-director-producer Jordan Peele already has an Oscar and has firmly established himself as one of the most innovative and visionary filmmakers working today. He has entered the revered class of directors whose new films are automatically ‘must see’. This is in spite of our knowing full well that he doesn’t strive for mass accessibility, and typically seems less focused on character development and more focused on what’s happening to those characters and how they react. Mr. Peele’s latest is a unique blend of Science Fiction, Horror, and Comedy, with a dose of horses, UFOs, and box store employees. At its core, the film is about chasing the spectacle of a spectacle, so that one might also become a spectacle.

A cold opening is a bit of ‘found footage’ from a horrific event on the set of a TV show featuring a chimp named Gordy. We have no idea how this fits in to what we are about to watch, but it’s shocking and disturbing. We then shift to find Otis Haywood Sr (Keith David) working the horses on a ranch with his son, OJ Jr (Oscar winner Daniel Kaluuya, JUDAS AND THE BLACK MESSIAH, 2021). Dad founded the Haywood Hollywood Ranch to train and handle horses for the entertainment industry – movies, TV shows, advertisements. A mysterious death means OJ Jr and his sister Emerald (Keke Palmer, AKEELAH AND THE BEE, 2006) must take over running the ranch; however, a hilarious scene on set highlights the differences between big brother and little sister. OJ understands horses, but is laconic and reserved. Emerald is hungry for personal fame and is bursting with energy and dreams. She has little use for the ranch, while OJ is devoted to carrying on dad’s work – knowing he needs Emerald’s personality.

The suspense is turned up to 11 when strange things begin happening on the ranch and in the sky. OJ (his name is a running gag) and Emerald recognize this is their opportunity to cash in by securing photographic evidence of UFO (or UAP) and alien activity. Joining in on the mission is Angel (a terrific Brandon Perea), a tech nerd from Fry’s Electronics. The trio is joined later by renowned cinematographer Antlers Holst (Michael Wincott using a Tom Waits voice), who understands the importance of capturing what OJ and Emerald call “the Oprah shot”. Obviously, this is Peele’s commentary on how folks today long for their chance to shine in the spotlight – and capitalize monetarily on the moment. Also recognizing this shot at fame is Ricky “Jupe” Park (Steven Yeun), the owner of a local western-themed amusement park. Jupe is a former child actor whose career included “Kid Sheriff” and a role in the sitcom featured in the opening sequence with Gordy the chimp. He has tapped into the skyward activities, but longs for more.

Purposefully vague is my approach in writing about this, as director Peele and cinematographer extraordinaire, Hoyte Van Hoytema (frequent collaborator with Christopher Nolan) serve up some incredible visuals and high-suspense sequences, and it’s best if you know as little as possible going in. It’s easy to spot influences of CLOSE ENCOUNTERS OF THE THIRD KIND (1977), “The Twilight Zone”, and other Sci-Fi classics, as well as directors Steven Spielberg and Alfred Hitchcock. In a tip of the cap to film history, Peele ties in the early moving picture work of Eadweard Muybridge and his 1878 clip, “The Horse in Motion.” It’s a brilliant touch that cinephiles will appreciate.

Supporting work comes from Donna Mills, Oz Perkins, Eddie Jemison, and Terry Notary as Gordy the Chimp, but it’s the chemistry between Kaluuya and Palmer that make a relatively thin story succeed as commentary on society. Peele even gets in a few pot shots at the media (TMZ) and the oversaturation of celebrity. The desolate setting of the hills and valleys outside of Los Angeles make for a perfect setting, as does the contrasting use of daytime and nighttime for certain shots. Peele proves yet again that he has a real feel for serving up commentary disguised as tension, or is it tension doused with commentary? Either way, I’m lining up now for his next film, whatever that may be.

Opening in theaters July 22, 2022

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Posted by David Ferguson

GABBY GIFFORDS WON’T BACK DOWN (2022, doc)

July 20, 2022

Greetings again from the darkness. If you get shot in the head, you will likely die. If somehow you survive, and never fully regain speaking competence or full physical coordination, what would be your outlook on life and on gun control? Gabby Giffords, a former member of the U.S. Congress, did survive, and co-directors Julie Cohen and Betsy West (the duo behind the 2018 documentary, RBG) show us that Gabby remains a committed optimist and activist … a gunshot victim, a gun owner, and a gun control activist with reasonable goals for gun ownership. She confidently proclaims, “I’m not against guns. I’m against gun violence.”

It was January 8, 2011, when Gabby (I’m referring to her this way out of ultimate respect and because this is how she often refers to herself) was meeting and greeting her constituents outside the front doors of a Safeway store in suburban Tucson. A gunman opened fire attempting to assassinate her, and in the process, shot 19 people, killing six – including a federal judge and a young girl. Though initially reported as dead, Gabby did survive despite the bullet passing through her skull and brain. Gabby’s husband, Space Shuttle Endeavor Commander Mark Kelly, decided to film her in the hospital for the days and weeks after the shooting, so that one day she could see what she had endured. Some of these segments are quite difficult to watch, especially when we see her uncontrollably repeating the word “chicken”, and subsequently breaking down with her speech pathologist. These segments convince us of two things: Gabby’s recovery was remarkable, and she’s an incredibly determined person.

Filmmakers Cohen and West provide some background on Gabby. After graduating college, she had a NYC job with a large firm, and resigned that to move back home and run El Campo Tire, the family business. We even see her appearance in a local TV commercial, her charm and leadership skills clearly on display. After negotiating the sale of the business. She turned her attention to politics and we see some of her early campaigning. Articulate, forceful, and immediately likable, Gabby was a moderate who used logic in the stands she took, and was a rising political star on the national scene. We hear from Gabby’s parents, as well as her stepdaughter, who admits to not being especially warm to Gabby when her dad (Mark Kelly) began dating her. It’s refreshing to see that their relationship is quite strong today.

Aphasia is a disorder that affects a person’s ability to communicate. There can be few things worse for anyone, especially a politician. Former President Barack Obama is interviewed and speaks glowingly of Gabby as a politician and a person; however, it’s the relationship between Gabby and husband Mark that is the heart of her recovery, her work since, and his successful run for Congress in 2020. This is the husband that commanded the Space Shuttle concurrently with his wife’s latest brain surgery. The couple founded a gun control organization in 2013, and it’s now known simply as “Giffords”. We see Gabby’s triumphant return to Washington, DC, and understand her subsequent resignation a few months later. This is the story of a unique and strong woman in a true relationship with a strong man. Together they do amazing things. Consider me “Gabbyfied”.

Opened in theaters on July 15, 2022

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Posted by David Ferguson

THE GRAY MAN (2022)

July 15, 2022

Greetings again from the darkness. You’ve likely heard, and maybe used, the old adage, “everything but the kitchen sink.” It’s typically meant to emphasize the inclusion of many unrelated and often unnecessary elements into a conversation or event. It also provides a description of the strategy filmmaking brothers Anthony Russo and Joe Russo have taken with the action sequences in the highest budget Netflix original movie to date. Of course the Russo brothers have directed numerous Marvel movies, including AVENGERS: ENDGAME (2019), so subtlety is never anticipated in their films. If you are curious to know what kind of kitchen sink you get for $200 million, Anthony and Joe show us: lots of guns, a global trek to various countries, more big guns, plenty of characters – some relevant, some not, even larger guns and weapons, lots of rayon, and the destruction of a town square in Prague.

Fans of turbo-charged action films such as the John Wick and Jason Bourne films will likely be quite satisfied with the set pieces, stunts, and manic gun fights and fist fights that are packed into a two-hour run time. There is so much bouncing around the globe that it’s kind of difficult to keep up – especially since there doesn’t seem to be any particular reason for all of the globetrotting (well, other than it’s pretty unusual). I couldn’t keep track of every locale, but we definitely visited Bangkok, Austria, Croatia, and Czechoslovakia. And that’s beyond Washington, D.C., and Langley, where we spend time in dark offices.

Co-director Joe Russo co-wrote the screenplay with frequent Russo Brothers collaborators Christopher Markus and Stephen McFeely, and it was adapted from Mark Greany’s novel (the first in a series). Ryan Gosling stars as Court Gentry, codename Sierra Six, a CIA black ops hit man recruited directly from prison by veteran CIA agent Donald Fitzroy (Oscar winner Billy Bob Thornton). This is Gosling’s first movie in 4 years (FIRST MAN, 2018) and it’s nice to have him back in a role that will recertify his ‘man card’ before next year’s BARBIE movie. As you might expect, Gosling’s Six is cool as a cucumber, popping off quips, and stoic in the face of adversity. In fact, much is made of his character’s ‘street cred’, despite most every scene involving colossal mistakes, should-be death encounters, and enough mayhem to make Allstate jealous. Six is so cool that he has less reaction to being shot or stabbed than I have when I stub my toe on the leg of the bed.

When Six’s mission goes awry due to his human compassion, three things happen. First, Agent Dani Miranda (Ana de Armas) bails him out (the first of a few). Second, his target gives him advice and the always mysterious thumb drive with incriminating evidence; and third, his corrupt station chief, Denny Carmichael (Rege-Jean Page, “Bridgerton”) throws a tantrum and hires a psychopath to track down Six and eliminate him. The psychopath is Lloyd Hansen played by Chris Evans, sporting an evil mustache and resort casual attire. It seems Mr. Evans is having fun with the villainous role that he hopes will put distance between his career and the Captain America role he has embodied for more than a decade. The argument could be made that he overplays his hand here, but he does get to spout the already infamous line, “If you want to make an omelet, you gotta kill some people”.

Other players here include the always terrific Alfre Woodard as a former station chief, Jessica Henwick (Bugs from THE MATRIX RESURRECTIONS), Dhanush as yet another hired assassin, Shea Whigham in flashbacks, and Julia Butters as the ‘damsel in distress’. You might recall Ms. Butters’ scene-stealing turn as the precocious child actor in Tarantino’s ONCE UPON A TIME … IN HOLLYWOOD. This film’s title is derived from the term for a CIA operative who effectively moves around without being noticed or remembered (the opposite of a Kardashian). The ironic thing is that Gosling’s Six is almost never undetected. He is frequently in fights, shootouts, car chases, and either causing or escaping explosions. Even the Russo’s “gray” lacks subtlety! It makes perfect sense that the film’s cinematographer, Stephen F Windon, is best known for his work on multiple entries in “The Fast and the Furious” franchise. Here he employs some supersonic drone shots in order to add further hyper-activity to the proceedings. Again, this one is for extreme action fans, not those looking for a brainy spy-thriller.

Opens in theaters on July 15, 2022 and on Netflix beginning July 22, 2022

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Posted by David Ferguson

MRS. HARRIS GOES TO PARIS (2022)

July 14, 2022

Greetings again from the darkness. Leslie Manville is one of those actors we take for granted. She’s so talented and versatile and typically “perfect” in the supporting roles she embodies. For us followers of British filmmaker Mike Leigh, we’ve been treated to numerous Manville performances over the years, but it’s likely she’s most widely recognized for her Oscar nominated performance in Paul Thomas Anderson’s PHANTOM THREAD (2017), where she played Daniel Day-Lewis’ sister and business partner with an icy efficiency that added heft to a terrific film. This time, Ms. Manville embraces the lead and delivers a turn as a Mrs. Harris that we would all welcome into our lives.

Writer-director Anthony Fabian (SKIN, 2008) co-wrote the script with Carroll Cartwright (WHAT MAISIE KNEW, 2012), Keith Thompson, and Olivia Hetreed (GIRL WITH A PEARL EARRING, 2003), and it is based on the 1958 Paul Gallico novel, “Mrs. ‘Arris goes to Paris”. There were four books in the series (leading to speculation of sequels), and Mr. Gallico also wrote “The Poseidon Adventure”, from which the 1972 disaster movie was adapted. We first meet Ada Harris (Manville) as she makes her rounds cleaning the homes of upper crest society. She rides the bus with her best friend Vi (Ellen Thomas), and occasionally meets up for an end of the day drink at the local pub, where Archie (Jason Isaacs) flirts a bit with her. Mrs. Harris has been biding her time for news of her beloved Air Force husband, MIA for 12 years. It’s a simple life she leads, but it’s one filled with optimism and hope and determination to live the right way.

The film shifts into ‘Adult Fairy Tale’ mode when one day Mrs. Harris falls hard for a couture Dior dress purchased by one of her clients. It’s a symbol of the beauty and opulence that has eluded Mrs. Harris her entire life. At that moment, she commits to saving enough money to purchase her own Dior dress … something that she has no rational use for. It’s mostly just a way for one ‘invisible’ woman to fulfill her own fantasy by experiencing a taste of dreamlike luxury … a rare pursuit of pleasure for this woman. A somewhat comical chain of events occurs in montage fashion as Mrs. Harris scrimps and saves (and gambles) her way to the monetary goal that puts the dress in play.

Once she arrives in Paris, the film becomes a fish-out-of-water story, as Mrs. Harris seemed to think she could stroll up to the House of Dior and have a dress wrapped up for the trip home. Claudine Colbert (the always great Isabelle Huppert), the gatekeeper of Dior, will have none of this … Dior is only for those who are deserving, not the riffraff. The scenes with the two women expertly highlight the personality differences. Mrs. Harris immediately begins to win people over with her nice demeanor. One of the keys is Marquis de Chassagne (Lambert Wilson), who takes a liking to her and invites her to view the new line as his guest. Another is Andre Fauvel (Lucas Bravo), the young accountant whose cutting-edge ideas are ignored by the “old school” stodgy types in charge. Lastly, there is supermodel Natasha (Alba Baptista), as the “Face of Dior”. She admires Mrs. Harris’ tenacity and kindness, which assists Natasha is discovering her true self.

Seeking to reach her own goal, Mrs. Harris ends up affecting the future of many others, as well as the future of the House of Dior. She has the kind of demeanor and spirit that draws in other people, while inspiring goodness. This is less about exposing elitism than applauding niceness. People are drawn to inherently nice people. As an adult fantasy, the film is likely to hold the most appeal for middle-aged women, and should be a perfect day at the theater for mothers and their adult kids.

Opening in theaters on July 15, 2022

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Posted by David Ferguson

DON’T MAKE ME GO (2022)

July 14, 2022

Greetings again from the darkness. Sometimes a movie synopsis just screams “Lifetime Channel”. As an example: A road trip movie with a single father and his teenage daughter would be a typical beginning. Oh, and the father has been recently diagnosed with a brain tumor. And then, let’s have them track down the mother that abandoned the girl when she was a baby. Those pieces certainly lay the groundwork for a sappy melodrama meant only to induce tears from those who enjoy a good cry after a hard week of work. Fortunately and surprisingly, crisp writing, proficient filmmaking, and a talented cast work together to make this film something entirely different – a heartfelt saga grounded in real life feelings and moments.

Hannah Marks is an actress now making her mark as an up-and-coming director, while the script was written by Vera Herbert (“This is Us”). A perfect example of their grounded approach to these storylines comes near the film’s beginning when Max Park (John Cho, Star Trek franchise as Sulu, COLUMBUS, 2017) reacts to the doctor’s diagnosis of brain tumor and prognosis of one year to live. His movements strike us as real to the moment, rather than staged for effect. Max immediately rules out an option for a highly-risky surgery, choosing instead to bribe his 15-year-old daughter Wally (newcomer Mia Isaac) to take a road trip with him under the auspices of attending his 20-year college reunion. The bribe? Driving lessons.

Wally is a ‘normal’ teen who makes both good and bad decisions, while often getting frustrated at her ‘boring’ and restrictive parent. Max chooses not to tell Wally of his condition or his ultimate goal of reuniting her with her mother, in hopes that she will have family once he’s gone. The drive takes place in Max’s old wood-paneled Jeep Wagoneer, an example of how he has sacrificed to provide for her all these years. Another deeper sacrifice is revealed on the trip, and there are moments of disagreement and aggravation, but also special moments of bonding that can only happen when a parent and teenager communicate.

Since it was filmed in New Zealand during the pandemic, the staged road trip from California through Arizona, New Mexico, Texas, Louisiana, and ultimately, Florida, does not offer the familiar landmarks along the way that we’d expect. But this story isn’t about cool pit stops or Bourbon Street (although we do get some killer shooting stars), it’s about a father understanding his daughter and that daughter understanding her father.

Excellent supporting work is provided by Kaya Scodelario (a mutual booty call buddy for Max), Josh Thomson (Max’s oldest friend), Otis Dhanji (Wally’s first crush), Stefania LaVie Owen (Wally’s friend), Jemaine Clement (as Max’s ex’s ex), and Jen Van Epps (as Wally’s mom). But make no mistake, this movie crackles thanks to the chemistry between Mr. Cho and Ms. Isaac. We believe in them, and though the ending is a bit creaky, their relationship is fully-formed in reality. When he counsels, “A good man will take you dancing”, we smile along with Wally, knowing this father wants only the best for her. The opening voiceover warns us, “You’re not going to like the way this story ends. But you’re going to like the story.” That turns out to be true, although it doesn’t stop the appreciation for all involved. This journey on the road turns into a journey in life.

Streaming on Prime Video beginning July 15, 2022

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Posted by David Ferguson

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