A TASTE OF HUNGER (2022, Denmark)

January 27, 2022

Greetings again from the darkness. I’ll try to avoid the temptation of including overtly cute food references … especially those that might leave a bad taste (!). Writer-director Cristoffer Boe and his talented co-writer Tobias Lindholm (ANOTHER ROUND, THE HUNT) have collaborated on a film that centers on the world of haute cuisine, and how it can impact the mindset and relationships of those immersed in what may be the most bizarre art form on the planet. Despite the strain of the co-working spouses, rather than describing this as a romantic drama, I believe it might be better termed an obsessive drama.

Maggi (Katrine Gries-Rosenthal) and her husband Carsten (Nikolaj Coster-Waldau, “Game of Thrones”) have been working together for 10 years to build a special restaurant in Copenhagen with the goal of earning a Michelin star. We see how committed to the cause they are, and while they appear to have a solid marriage and are decent parents, it’s clear the kids and the family are not the priority that the quest for that star is.

While most of us are challenged with balancing family and profession, the obsessive tendencies displayed by both Maggi and Carsten are a bit unsettling. To what lengths would you go in order to achieve your dream? At what point does that obsession negatively impact other aspects of your life, and when it happens, will you even notice? What happens if your young daughter … in this case Chloe (Flora Augusta) notices and is impacted?

Director Boe opens with the perfect quote from Kathy Acker: “If you ask me what I want, I’ll tell you. I want everything.” Of course, like everyone with this attitude before them, Maggi and Carsten discover their ego and obsessiveness carries a hefty price. Everything is not possible without sacrifice, which means everything is not possible. Boe also splits the film into cooking-related terms: Sweet, Sour, Fat, Salt, Heat, etc. It’s a tad tricky, but we can see how the labels fit each section. Another lesson we learn is that blackmail is never a good strategy when wooing a lover, but here it serves to confront Maggi with quite the dilemma

Food and obsession are two common movie themes, and here we get an explosive food obsession, although the food is merely the conduit in the pursuit of the award and the recognition that comes with it. Unbridled ambition is rarely attractive and often ends with a dose of disappointment or come-uppance. Director Boe, and two fine lead performances, give us a seat at the table for all courses.

A TASTE FOR HUNGER is being released in theaters on January 28, 2022

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Posted by David Ferguson

CLEAN (2022)

January 27, 2022

Greetings again from the darkness. “The trash man wasn’t always a trash man.” Writer-director Paul Solet re-teams with his BULLET HEAD (2017) star, Oscar winner Adrien Brody, who not only has the lead, but also co-wrote the script, produced the film, and gets a “Music by” credit. Following in the cinematic footsteps of John Wick or most any recent Liam Neeson character, this trash man is the lone beacon of hope possessing a particular set of skills that he uses to escape peril, save the innocents, and generally rid the world of bad guys. He’s the avenging angel of Utica.

On the job, Brody’s character is referred to as “Clean”, and he’s so mechanically inclined that he often salvages items from his route, repairs them with parts he gathers from the junk yard where he feeds the guard dog, and then sells the refurbished goods at the pawn shop run by RZA. When he’s not working the garbage truck, Clean whitewashes the graffiti from the ramshackle homes in his hood, and brings homecooked meals to Dianda (Chandler DuPont), a local girl who lives with her grandmother. Now you might wonder how one man can accomplish so much, and the answer is that he barely sleeps. He’s haunted by demons of his own past via nightmares and flashbacks. It’s through these that we learn Dianda reminds him of the daughter he lost, and his past is one filled with violent images.

Clean attends group therapy sessions and has support from a “sponsor” played by Mykelti Williamson. Of course, as we’ve come to expect from this genre, past violence and efforts to redeem himself, won’t insulate him from modern day violence. In an early voice-over, a tormented Clean offers up a TAXI DRIVER-loner-style philosophy as he discusses the sad state of the streets, and a “sea of filth”. One particular good deed involving Dianda, places Clean in the deep end of that sea he finds so disgusting. It’s also a sea he masterfully maneuvers.

That good (and violent deed) finds Clean crossing paths with local drug kingpin Michael (a menacing Glenn Fleshler), who runs his operation through the fish market he inherited from his grandfather. Michael’s wannabe-gangster son Mikey (Richie Merritt, WHITE BOY RICK) doesn’t appreciate his dad’s “smell of success” and is the reason Clean and Michael square off. This also causes the big reveal in regards to Clean’s past life, and explains his proficient use of a screwdriver and pipe wrench.

For those familiar with this genre and its use of violence, you’ll notice many of the familiar and expected components. It’s really Mr. Brody’s expertise as a master mumbler, and his character’s (initially) low-key approach to improving the neighborhood, that provide the touch of difference making this watchable.

Opens on January 28, 2022

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Posted by David Ferguson

MUNICH: THE EDGE OF WAR (2022)

January 21, 2022

Greetings again from the darkness. It seems reasonable to ask why someone didn’t take it upon themselves to stop Hitler before things went so far. Of course we now have 80 years of hindsight to benefit our thoughts, but surely there were those who recognized the reign of terror brewing. The 2017 international best-selling novel, “Munich”, by Robert Harris, has been adapted for the screen by writer Ben Powers, and is directed by Christian Schwochow. It has the look and feel of a political spy thriller, right down to the clandestine meetings, smoking jackets, and heavy mahogany furniture in the conference rooms.

George Mackay (WOLF, 2021) stars as Hugh Legat, and Jannis Niewohner co-stars as Paul von Hartman. We first see them as 1932 Oxford classmates with their mutual friend, Lenya (Liv Lisa Fries) … one English, one German, and one Jewish. A ferocious disagreement over Hitler sent the three friends off in different directions. It’s not until late in the film that we discover what happened to Lenya, but the bulk of the story features Hugh as an attaché to British Prime Minister Neville Chamberlain (Oscar winner Jeremy Irons), and Paul as a German diplomat under the Fuhrer (Hitler is played by Ulrich Matthes who was Goebbels in DOWNFALL).

The timeline revolves around the build-up to the 1938 Munich agreement, just on the brink of WWII. Chamberlain remains focused on avoiding war, while Paul has secured documentation proving Hitler’s plan goes far beyond taking on the Sudetenland area of Czechoslovakia. Paul remains loyal to his homeland, but understands Hitler must be stopped. Working with Helen Winter (played by Sandra Huller), his co-conspirator and paramour, they devise a plan to get the documents to Paul’s old friend Hugh, in hopes that he will deliver to Chamberlain so that Hitler’s vision of domination can be stopped.

This is a dramatized and fictionalized version of what transpired, and Chamberlain’s legacy is still debated to this day. Did Hitler outmaneuver him or was Chamberlain buying needed time to build up the military and garner strength with allies? It’s great fun to watch Mr. Irons jump into this role, even if this is a favorable and somewhat forgiving view of Chamberlain’s approach. The tension is created as old pals Paul and Hugh secretly unite in cause, and is especially present in a scene where Paul is alone with Hitler. Unlike Chamberlain, the goal of the former classmates is to stop Hitler, not just stop or delay a war.

History buffs may cringe a few times, but for an entertaining political drama inspired by history, the film delivers enough to keep us interested. The weakest links involve Hugh’s struggles at home with his wife Pamela (Jessica Brown Findlay), who doesn’t understand why her husband can’t explain to her what’s happening at work. Performances from Mr. Irons and Mr. Niewohner are quite interesting, as is the provided quote, “Hoping is waiting for someone else to do it”.

Available on Netflix beginning January 21, 2022

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Posted by David Ferguson

THE KING’S DAUGHTER (2022)

January 21, 2022

Greetings again from the darkness. It happens sometimes where the most memorable part of a movie is its setting. Plenty of non-descript westerns (and also some really good ones) took place in Monument Valley. MAMMA MIA! was fine, but that Greek isle of Skopelos was dreamy. Even those who aren’t big fans of Wes Anderson movies would likely agree that his sets and filming locations are something to behold. Somehow, director Sean McNamara surpasses all of these by filming inside and on the grounds of the Palace of Versailles, a truly gorgeous and historical setting.

As for the movie, the 1997 novel “The Moon and the Sun” by Vonda N McIntire has been adapted for the screen by a list of screenwriters including Ronald Bass, Barry Berman, Laura Harrington, and James Schamus. Since it’s told in a storybook format, with narration from the great Julie Andrews, one must fight the urge to label this as ‘heavy-borrowing’ from the 1987 classic, THE PRINCESS BRIDE, and instead view it as a historical-adventure-fantasy attempting to appeal to most everyone, while likely not satisfying any particular demographic … despite some worthy elements.

Pierce Brosnan stars as King Louis XIV (who became the longest ruling monarch between 1638-1715), known as The Sun King. He has just returned from a victorious battle when an assassin’s bullet reminds him of his own mortality, spurring a plan from the weirdo royal doctor, Dr. Labarthe (Pablo Schreiber). The plan involves sacrificing a mermaid during a lunar eclipse in order to capture the “light” from her heart and provide immortality to the King … for the good of France, of course. So the King sends dashing Captain Yves De La Croix (Benjamin Walker, ABRAHAM LINCOLN: VAMPIRE KILLER, 2012) to find the lost City of Atlantis and capture one of the famed mermaids.

At the same time, the King has sent for his illegitimate daughter Marie-Josephe (Kaya Scoderlario, PIRATES OF THE CARIBBEAN: DEAD MEN TELL NO TALES, 2017). She has lived her life in a nunnery, and now is to use her musical talent to takeover as the royal composer – whilst not knowing who her father is. Adding to the confusion is the King’s ulterior motive. The kingdom is in dire financial straits, and in addition to his own immortality, he also plans to have his daughter marry the son (Ben Lloyd Hughes, DIVERGENT, 2014) of the richest merchant in France. A dandy plan were it not for the independent-minded non-Princess falling hard for the swashbuckling Yves. Another complication arises when Marie-Josephe befriends the captive mermaid (Bingbing Fan), pitting the daughter against the father … a scenario many parents have experienced (only not typically with mermaids).

It’s only fair when discussing this movie to mention its own history. Filmed in 2014, the reasons for a delayed release are many and varied. No need to go into the studio and distributor issues, but you may have heard about Bingbing Fan’s (the mermaid) saga. She’s the biggest star in China, and in 2018 she disappeared for a few months after a tax evasion scandal. Fortunately, she’s back working. Another oddity, is that co-stars Kaya Scoderlario and Benjamin Walker met on this set, married a year later and now have two children. That’s how long ago this was filmed! Oscar winner William Hurt adds a touch of class as Father La Chaise, and the talented Rachel Griffiths makes a brief appearance as the Abbess. The film is plenty watchable, yet nothing really stands out as distinctive or memorable … of course, other than the breathtaking sights of the Palace of Versailles, including the stunning Hall of Mirrors.

Opening nationwide in theaters on January 21, 2022

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Posted by David Ferguson

PARALLEL MOTHERS (2022)

January 13, 2022

Greetings again from the darkness. As a devoted follower of films by Almodovar for more than 35 years, I still find myself enchanted by his stories, his visuals, his characters, and his consistency in writing complex and engaging parts for women. Oscar winning writer-director Pedro Almodovar’s last film, PAIN AND GLORY (2019) may be considered his semi-autobiographical masterpiece, but this latest proves he still has much to say, and will do so with his customary flair.

I often write about a filmmaker ‘delivering’ a film, and in this case, Almodovar literally serves up dueling deliveries in the maternity ward. The births are edited for a bit of comedic relief, but the sequence also makes the all-important point about the connection between the two mothers. Oscar winner Penelope Cruz stars as Janis, a woman pushing 40 who has a fling with married Arturo (Israel Elejalde). He’s the forensic archeologist working on the project to excavate a mass grave from the Spanish Civil War rumored to hold the remains of relatives of Janis, as well as others from the community.

While awaiting the birth of her child, Janis meets her roommate Ana (a terrific Milena Smit), a 17-year-old who is much less thrilled than Janis at the thought of becoming a mother. The two women of different ages, different attitudes, and different, yet similar, situations give birth on the same day at the same time – each becoming a single mother. The exhausted women have no clue of what is to cause their lives to become intertwined and push the story forward. While in recovery, we are introduced to each women’s support. Janis’ lifelong friend Elena (played by Almodovar favorite Rossy de Palma) bursts into the room (and onto the screen) in a flash of color and smile. On the other side, Ana’s narcissist mother Teresa (Aitana Sanchez-Gijon) immediately begins recounting her latest audition, which could lead to the big break in her acting career. As an afterthought, she then asks about the babies. We learn so much in these few minutes.

This becomes the story of the two women and their babies, yet always hovering is a story about the history of the country, and the families affected by the Spanish Civil War atrocities. The story structure isn’t seamless, but then neither is life … especially of those impacted. Past and present have unbreakable links, as do the generations of strong females who carried on. As Janis pursues the archaeological dig, we contrast that with the self-centered Teresa who states, “I’m apolitical. My job is to please everyone.” Of course, by the end, Janis, Ana, and Teresa have all grown as people after facing morally challenging dilemmas.

This is Penelope Cruz’s 8th Almodovar film, and, to no one’s surprise, she excels in the role of Janis. It’s unfortunate that very few actors receive Oscar recognition for Foreign Language films because her work stands with that of any actor this year. Almodovar is a master, and proves time and again that melodrama is not a taboo approach to storytelling when handled properly. On display throughout is his trademark use of color – in clothes, cars, art, and yes, the hospital room. Even his closing credits are stylish. Frequent Almodovar collaborators include Production designer Antxon Gomez, composer Alberto Iglesias (heavy on the strings), and cinematographer Jose Luis Alcaine … and what a team they make. The film can be viewed as a tribute to (and reminder of) the history of Almodovar’s beloved Spain. He even includes a fitting quote, “History refuses to shut its mouth”, something he works to ensure.

Opens in select theaters on January 14, 2022

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Posted by David Ferguson

HOTEL TRANSYLVANIA: TRANSFORMANIA (2022, animation)

January 13, 2022

Greetings again from the darkness. There is nothing wrong with delivering exactly what’s expected for kids’ movies. It’s a bit bewildering that so many fall short. This is the fourth (and final) film in the hugely successful “Transylvania” animated movie franchise, although it’s the first not directed by Genndy Tartakovsky (credited here as co-writer and Executive Producer). Also missing this time are Adam Sandler and Kevin James, who previously voiced Dracula and Frankenstein, respectively. The character voices have been replaced by Brian Hull and Brad Abrell, and rest assured, the vast majority of young fans will never notice. The film is co-directed by Derek Drymon (one of the creative forces behind the ‘SpongeBob SquarePants’ franchise – including video games and movies) and Jennifer Kluska (the main director in the ‘Wild Kratts’ series). What they’ve done is deliver exactly what’s expected … a fun time for kids.

It’s been 10 years since the first HOTEL TRANSYLVANIA (2012) and nearly four years since the most recent, HOTEL TRANSYLVANIA 3: SUMMER VACATION (2018). As this one begins, Dracula is throwing a party to celebrate the hotel’s 125th anniversary. It opens with Dracula and his daughter Mavis (Selena Gomez) dancing to “Just the Two of Us”. The sweet moment soon morphs into “Just the Three of Us” as her husband Johnny (Andy Samberg) joins in. This is the first, but certainly not the last, transformation – as you’ve probably guessed by the title.

The characters and visuals are the key elements for most kids, and ‘Transylvania’ is here to serve. What’s interesting this time is that Johnny and Mavis are the key players. Thanks to a special ray gun that transforms (there’s that word again) humans to monsters and monsters to humans, the big kick here is that Johnny is zapped and becomes a colorful and zany dragon that is sure to generate laughs. Cellar-bound Van Helsing (a returning Jim Gaffigan) is the developer of the ray gun. After a series of mishaps result with the party punch turning most of the monsters into human form, the whole crew sets off on a South American adventure to locate a replacement crystal so the ray gun can return them to their natural monster state.

Since most kids’ movies include a life lesson or moral, you can probably guess what happens to the characters on that journey. Being transformed gives them a different perspective and appreciation of the “other” side. That said, the comedy here leans towards the slapstick and pratfalls of classic cartoons, especially Looney Toons. Kids are sure to enjoy the ‘physical’ comedy, in particular that of Johnny as an eager-to-please dragon.

Many of the voices are returning actors, and include Fran Drescher (Eunice, the Bride of Frankenstein), Steve Buscemi (Wayne the Werewolf), David Spade (Griffin the Invisible Man), and Keegan-Michael Key (Murray the Mummy). There is a humorous recurring gag for grown-ups with Frankenstein and how much he admires his human looks, a startling visual of BB the guinea pig, and a reminder of why momma always told you to keep an eye on your drink at parties. Those familiar with the Transylvania franchise should be satisfied, and any new viewers should be entertained … exactly what’s expected.

Premieres on Amazon Prime Video this Friday, January 14, 2022

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Posted by David Ferguson

BEST OF 2021

January 5, 2022

My BEST OF 2021, including my personal TOP 10 … and a whole lot more … is now live!

Just click HERE

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Posted by David Ferguson

SEE FOR ME (2022)

January 5, 2022

Greetings again from the darkness. For those of us who enjoy the burst of adrenaline provided by thrillers, the premise of a blind person in peril is something we’ve seen a few other times, including WAIT UNTIL DARK (1967) with Audrey Hepburn, SEE NO EVIL (1971) with Mia Farrow, BLINK (1993), and the more recent DON’T BREATHE (2016, 2021) series with Stephen Lang. Director Randall Okita, working from a screenplay by Adam Yorke and Tommy Gushue, manages to use modern technology to provide a twist to a familiar set-up.

When we first see Sophie (the feature film debut of Skyler Davenport), she’s getting caught by her mom sneaking out of the house. Now this wouldn’t be that unusual were it not for the fact that Sophie is blind … a degenerative disease robbing her of her dream of making the Olympic ski team. She is independent to the point of stubborn, and has found a way to supplement her house/cat-sitting gigs with the help of her only friend Cam (Keaton Kaplan). Homeowner Debra (Laura Vandervoot) greets her at the sprawling, snow-covered remote mansion Sophie has been hired to ‘watch’.

Of course we know where this is headed, because who is more vulnerable than a blind girl alone in the house (with a cat)? The twist here is an app recommended by Sophie’s mom. It’s called “See For Me” and it’s a way for someone to assist a blind person by using the smart phone camera. Sophie is hooked up with Kelly (Jessica Parker Kennedy, “Black Sail”), a military veteran whose expertise at video game invasions will come in handy. Kelly is direct and efficient in her instructions to Sophie – from helping her jiggle open a sliding glass door to evading the three men who break into the house while she’s asleep.

The cat and mouse between Sophie and the intruders provides the necessary tension, and the main twists involve Kelly on the app and Sophie as a tough-to-like person. This is no angelic type that you’d like to hug and protect, in fact, she’s often abrasive to the point of rude. But most importantly, she’s tough and strong-minded. The interaction between Sophie and Kelly is the most interesting, and there’s also a sequence with a police officer that plays like a chain of events that could happen. Kim Coates adds a nice touch in his role … you might recall him as the drifter in WATERWORLD (1995).

By opening the film with “Introducing Skyler Davenport”, we know right away who the film belongs to. Skyler is a non-binary actor whose adult-onset vision impairment make the performance that much more impressive. Skyler is attempting to transition from a successful voice acting career into an on screen one, and this is a terrific start. We do wish the film had taken a few more risks, rather than sticking with some of the old stand-bys. The opportunities were there, but the punches weren’t thrown. Still, for a January thriller, director Okita’s film holds its own.

In select theaters and On Demand beginning January 7, 2022

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Posted by David Ferguson

ENCANTO (2021, animation)

January 5, 2022

Greetings again from the darkness. Well we knew this day would come – an animated film that eclipses Pixar’s COCO (2017) in vibrant colors and stunning animation. The opening credits celebrate this as Disney’s official 60th animated feature film, and it’s truly prismatic and a glorious visual treat. The trio of directors include ZOOTOPIA (2016) collaborators Jared Bush and Byron Howard, as well as first time director Charise Castro Smith.

The story is set in Columbia, continuing the current trend of global trekking in animated films like LUCA, MOANA, RAYA AND THE LAST DRAGON, and the aforementioned COCO. It’s also in keeping with Disney’s feel-good approach to a kinder, gentler world where there are no real villains, and most of our protagonists discover their inner-strength. This story revolves around the Madrigal family, who live in a magical house that takes strength from a magical candle, and all of the family members possess their own special power. Well, all of them except for Mirabel (voiced exceptionally well by Stephanie Beatriz, “Brooklyn Nine-Nine”). Mirabel’s special night fell flat and she’s the only one in the family lacking a “gift” … and her judgmental Abuela Alma (voice by Maria Cecilia Botera, singing by Olga Merediz) never lets her forget. Of course what we notice, and no one else seems to, is that Mirabel is a caring, loving, soul, and we know a payoff is coming.

The songs are from the talented Lin-Manuel Miranda, and the bloodlines connected to his IN THE HEIGHTS movie are readily apparent. It’s likely a few of the songs will stick with kids, not the least of which is, “We Don’t Talk About Bruno”. What won’t be as popular with kids is a story over-crowded with characters and a backstory seemingly inserted to ensure the film slides into the modern day political climate. There are simply too many characters (and too many powers) for young kids to keep track of – not to mention the two factions within the family (Julieta’s side and Pepa’s side). There is a flashback to the family’s history and how they came to live in the magical house, and it’s a story that mirrors the journey of many immigrants.

The voice acting and singing are all superb, and mostly stay consistent to the Columbian story line. And Mirabel is certainly a character we expect kids to take a shine to. She’s kind and friendly and has a loving heart. Pixar tends to offer up stories that are perfectly structured, while Disney has always known how to tug on the heartstrings.

Now streaming on Disney+

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Posted by David Ferguson

A HERO (2021, Iran)

January 4, 2022

Greetings again from the darkness. “Oh, what a tangled web we weave, when first we practice to deceive.” That line from a Sir Walter Raleigh poem hit me early, and stuck with me through this latest superb film from Iranian writer-director Asghar Farhadi. Having won me over a decade ago with A SEPARATION (2011), and again 5 years ago with THE SALESMAN (2016), Farhadi excels at pushing our buttons on the complexities of human nature.

Rahim (Amir Jadidi) receives a two day leave from debtor’s prison, and has reason for optimism. He has a legitimate plan to make good on his debt and gain his release. A taxi drops him at the tomb of Xerxes where his sister’s brother Hossein (Alireza Jahandideh) is working on the preservation. Rahim, a low-key guy with an easy smile, asks Hossein for help in brokering a deal with Bahram (Mohsen Tanabandeh), the man who paid off the loan shark on Rahim’s behalf, and filed the complaint that sent him to jail.

The divorced Rahim meets up with his secret lover, Farkhondeh (Sahar Goldust), to cash out the 17 gold coins she recently found. Unfortunately, the exchange rate is less than expected, and worse than that for Rahim, Bahram refuses to accept the partial payment in conjunction with a promissory note. This leads to the aforementioned ‘tangled web’ and allows filmmaker Farhadi to do what he does best … cause us to question everything.

The web involves Rahim, Bahram, the jailer, and a local charity that gets involved for what is initially termed the actions of ‘a hero’. But that’s just the tip of who gets dragged in, and that includes Rahim’s son, who has a significant speech impediment. So what happens? Well, without giving anything away, we learn there’s a fine line between a lie and the truth, and between a heroic act and manipulation. In fact, Farhadi has us questioning what it means to be a hero. What impact does media attention have? Is it heroic to do the right thing? What if that thing also helps you?  What role do the reasons for your actions play?

Rahim faces a steady stream of moral forks in the road. Which path to take at any given time has ramifications on him, his situation, and countless others. As the fibs pile up, soon others are lying to help you or telling stories to hurt you. There is so much grey area here, we can’t be certain whether black and white even exists. Farhadi’s film seems like a simple story about a simple man, but neither the story nor the man are simple. It’s not about the money, but the money reveals character. Reputation and integrity are on the line. We may first root for Rahim and jeer Bahram, but upon reflection, we likely shift our support. This is Iran’s submission to the Academy, and it’s a good one.

In theaters January 7, 2022 and streaming on Amazon Prime January 21, 2021

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Posted by David Ferguson

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