AGNES (2021)

December 9, 2021

Greetings again from the darkness. William Friedkin’s 1973 movie THE EXORCIST, adapted from William Peter Blatty’s novel, shook the movie world at the time. It even garnered 10 Oscar nominations, winning two (Best Sound, Best Adapted Screenplay). Over the nearly 50 years since, there have been five sequels in the franchise, and it has inspired countless genre movies, including parodies and knock-offs. Writer-Director Mickey Reece and co-writer and frequent collaborator John Selvidge deliver a set-up that leads us to believe we are in for yet another faith-based horror film focusing on demonic possession. Instead, what follows is more like two distinct stories.

Hayley McFarland (THE CONJURING, 2013) plays the titular Sister Agnes, and her outburst during a group meal with her fellow nuns startles us, and leads the Mother Superior (Mary Buss) to request assistance from the Catholic Church to address what appears to be demonic possession of Agnes. Chosen for the mission are a contrasting oddball pair of priests. The young, full of faith, not yet ordained Benjamin (Jake Horowitz, THE VAST OF NIGHT), and the elder, cynical, soon-to-be-banished Father Donaghue (Ben Hall) are sent to administer the exorcism … a process that Father Donaghue views as a convenient “out” for the one suffering.

The priests arrive at the convent, making for an interesting and uncomfortable dynamic. The exorcism takes a nasty turn that stuns Benjamin and the nuns, and leaves Donaghue humiliated and damaged. Desperate for the right step, Father Black (Chris Browning), a celebrity priest, is called in, along with his strange and out-of-place chain-smoking travel partner. This attempt at dispensing the demon goes no better than the first, but it’s here where some will find a touch of dark humor and really get a sense of filmmaker Reece’s unconventional style of storytelling. Reece then shifts our attention and the film’s focus to Mary (Molly C Quinn, “Castle”), Agnes’s best friend in the convent. After the incidents with Agnes, Mary’s faith is shaken. She turns in her habit and heads out into the real world. The entire perspective shifts as we follow Mary’s attempt to find her place … searching for something to believe in while struggling to pay the rent, and fending off unwelcome advances and oddball co-workers.  

Mary’s naivety is not an asset to her in this new life, and she does connect with stand-up comedian Paul (Sean Gunn), who was once in a relationship with Agnes. The character of Paul injects yet another dimension here, but we never lose sight of what Mary is going through. The topics of power and faith stand out most as we work through the film. Those expecting a traditional horror movie may be disappointed after the first act, while those open to some dark humor may be rewarded.

In theaters and VOD beginning December 10, 2021

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Posted by David Ferguson

BACK TO THE OUTBACK (2021, animation)

December 7, 2021

Greetings again from the darkness. Capturing a kid’s attention is difficult enough, but these days, it’s a real challenge to hold that attention for 90 minutes. You best offer something extremely entertaining, which is exactly what first time (co-) directors Harry Cripps and Clare Knight have done. Ms. Knight previously worked as the Editor on the MADIGASCAR and KUNG FU PANDA movies, and is married to actor Wayne Knight (Newman from “Seinfeld”). Mr. Cripps previously wrote the screenplay to THE DRY (2020) and here he co-wrote the script with producer Gregory Lessans. Of course making animals the center of a kids’ story is nothing new, and neither are the central topics of respect and family, yet this is quite an entertaining way to do so.

While watching the film with a four and five year old, I was able to witness first-hand the reactions and whether or not attention lapsed (theirs, not mine). The film opens at Australian Wildlife Park where Chaz Hunt (voiced by Eric Bana) is a Steve Irwin-type trainer who entertains the crowds and his son Jessie (Diesel La Torraca) with personal adventure stories that may or may not have a sprinkle of truth. But it’s the animals who are the main attractions here. The park features the world-famous cutest animal, Pretty Boy (Tim Minchin), a Koala who excels at posing for pictures. In contrast, the “ugly” ones, or the deadliest ones, include Nigel the neurotic scorpion (Angus Imrie), Zoe the wise-cracking thorny devil lizard (Miranda Tapsell), Frank the funnel web spider who breaks out in dance when attraction strikes (Guy Pearce), and the newest addition, Maddie a taipan snake (Isla Fisher). Acting as a mother-figure to these creatures is Jackie the crocodile (Jackie Weaver).

After a dangerous event caused panic and misunderstanding, Jackie is shipped off away from the park. The other “ugly” animals decide to escape and head home (check the title). Pretty Boy accidentally gets caught up in the escape, and he ends up being quite obnoxious – in constant need of catering and compliments. This stands in stark contrast to the other animals who are quite likable and charming. That’s the gag here, as well as our lesson in ‘beauty is on the inside’.  The road trip through the city and into the desert and mountains is quite an adventure and filled with things that don’t go quite right for this band of misfits. Along the way, they learn of the U.S.S. – the Ugly Secret Society, which is a rescue operation run by animals for other animals that aren’t lovable pets. They even have a funny catchphrase/password! Two of the most fun sequences involve Tasmanian Devils and a couple of toads named Doug and Dorene, who sing “When a Man Loves a Woman”.

The film is obviously aimed at kids who are fascinated with animals, and it’s charming and funny and entertaining for both kids and adults – exactly what you hope for with animated movies. The morals of the story about not judging a book by its cover, and the importance of family, are always good lessons to reinforce for kids. We should all be this ugly.

Available December 10, 2021 on Netflix

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Posted by David Ferguson

WEST SIDE STORY (2021)

December 6, 2021

Greetings again from the darkness. My ‘old school’ nature causes me to cringe at the thought of classic films being remade. Why mess with something that’s already beloved? However, since we know this happens (and will continue to happen), let’s at least breathe a sigh of relief that a true lover of cinema and one of our legendary filmmakers, Steven Spielberg, is responsible for this one. Teaming once again with screenwriter Tony Kushner (MUNICH, LINCOLN), the love and admiration of the 1957 stage production, its music, and the 1961 film (by Robert Wise) shine through in this beautiful presentation. It’s Spielberg’s 35th movie, yet it’s his first musical. You will note a few changes from the stage production and 60 year old movie, but the timing of a couple of songs, more realistic brawling, and additional on-location scenes all blend seamlessly into this lovely version.

Kushner’s adaption of Arthur Laurents’ original work contributes to the contemporary, yet nostalgic feeling. It maintains the “Romeo and Juliet” story of star-crossed lovers at the core of a turf battle between the Sharks (Puerto Ricans) and Jets (white immigrants), which is driven by a prejudice stirring the hatred that leads to conflict. Sound familiar? It could be taken from the local news headlines just about any day over the past few years. What also hasn’t changed is that the Sharks and Jets are so blinded by hate and pride that they can’t see how much they have in common, with the same loss looming. In fact, the point is driven home in the film’s opening. Cinematographer and two-time Oscar winner Janusz Kaminski (SCHINDLER’S LIST, SAVING PRIVATE RYAN) has his camera soaring and swooping to show us the neighborhood and ongoing demolition before zeroing in on a sign “Property Purchased by New York City for Slum Clearance”. It comes in like a wrecking ball (literally). The two factions are fighting over turf that will soon be transitioned to Lincoln Center and high dollar real estate.

Ansel Elgort stars as Tony, the former leader of the Jets attempting to find a new path for his life after spending a year in prison for nearly killing an Egyptian immigrant in a rumble. Rachel Zegler, in a remarkable silver screen debut, stars as Maria, a bright-eyed Puerto Rican who sees the upside to limitless opportunity. Early on, we get our first conflict between the rival gangs, which introduces us to Riff (a terrific Mike Faist) as the quick-tempered Jets leader so desperate to protect the neighborhood, and Bernardo (a dynamic David Alvarez), Maria’s older brother and proud leader of the Sharks – whose goal is to carve out a place in the new land as equal citizens. That first brawl gives Spielberg a chance to show off the choreography, as well as the new approach to fight scenes, which are less balletic and more bone-crunching. It’s also the first run-in with local cops, Officer Krupke (Brian d’arcy James) and Lt. Schrank (Corey Stoll), neither of whom have much empathy or respect for the two gangs.

Tony (Ansel Elgort has a physical resemblance to Richard Beymer from the original film) and Maria get their ‘eyes lock across the gymnasium during the dance’ moment that really lights the candle for the big rumble. Of course, this is one of the most famous musicals of all-time, and the songs have become iconic. Elgort is handsome and has a smooth singing voice, but it’s Ms. Zegler whose voice transcends and sounds heaven sent. If there is a negative, it’s that no one will be able to sing along with her, as she hits notes most can only dream of. Listening to her sing is reward enough. Beyond the singing, it’s the dance choreography that most recall, and although eclipsing what we saw in the original movie is beyond reach, the work of this cast will not likely disappoint anyone. The dance numbers are exhilarating and colorful. It’s energized entertainment with a message.

Ariana DeBose is outstanding as Anita, and takes the lead on “America”, one of the most inspiring and fun musical numbers ever on screen. In addition to her singing and dancing, Ms. DeBose delivers a superb performance in the role that won an historic Oscar for Rita Moreno in the 1961 film. Sixty years later, the now 89 year old Ms. Moreno appears as Valentina, the widow of Doc. She now runs Doc’s Drug Store and is acting as surrogate mother to Tony. It’s certainly no cameo, and though Ms. Moreno doesn’t have a dance number, she does get to sing “Somewhere”, and this time is on the heroic end of the rape scene. She is the connective fiber to the original film and delivers a heart-warming performance, and is a strong presence where needed.

Other key supporting roles are Chino, Maria’s would-be suitor, played by Josh Andres Rivera, and ‘Anybodys’, played by Iris Menas in a non-binary rather than tomboyish portrayal of the one skulking in the shadows. It’s no surprise that Riff and Bernardo and Anita are the heftiest roles, and all three actors nail their parts. The big (and pleasant) surprises are newcomer and future star Rachel Zegler and the return of Ms. Moreno. Zegler sings “I Feel Pretty” while working the cleaning crew at Gimbel’s, and her divine sweetness gets blown away in the finale, exhibiting an acting range that complements that voice.

The always stunning score from composer Leonard Bernstein sounds amazing as performed by the New York Philharmonic, and much of original choreographer Jerome Robbins’ work is reproduced here. It’s unfortunate that renowned lyricist Stephen Sondheim passed away mere days before the premiere, but his work lives on through new voices. “Tonight” and “Cool” both receive fresh treatments and are standouts in this version. The 1961 film won 10 Oscars, including Best Picture, and there is little doubt this remake will receive consideration in numerous categories, including Production Design and Costume Design. Spielberg opted to go with a more ethnically appropriate cast (no Natalie Wood-type in heavy make-up), and there is some Spanish dialogue without subtitles (the acting and situation keep us clear). It’s a nostalgic, yet contemporary version that may not have you singing, “Krup You!”, but will have you in awe with the story, dancing, music, acting, and story.

Opening in theaters on December 10, 2021

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Posted by David Ferguson

THE POWER OF THE DOG (2021)

December 4, 2021

Greetings again from the darkness. Don’t mess with the smart ones, as brains often outlast brawn. I’m conflicted on how best to describe this film. Perhaps … It’s nuanced storytelling at its finest. Jane Campion won an original screenplay Oscar for THE PIANO (1993), while also becoming only the second woman to receive a nomination as Best Director. This is her 8th feature film to direct, and the first since the underrated BRIGHT STAR (2009). Ms. Campion is such a smooth filmmaker, and her latest is so expertly crafted and so beautifully filmed, that some may find themselves not recognizing the underlying tension between characters. I urge you to remain diligent and take note of the subtle gestures and facial expressions, as the emotions run deep.

Benedict Cumberbatch stars as Phil Burbank. He runs a successful cattle ranch with his brother George, played by Jesse Plemons. Though they sleep in the same room and have been driving cattle together for 25 years, the brothers couldn’t be less alike. George is a soft-spoken man with few needs or aspirations other than wishing to not grow old alone. He lives in the shadow of his formidable brother, an educated man with a domineering personality. Phil is constantly proving how tough and macho he is by bullying others, even calling his more sensitive brother “Fatso”. That thundering you hear is Phil purposefully slamming his heels into the wood floors so that his spurs never stop jangling.

Phil is playing a game that only he knows the rules to. George bows his head in shame as he hears Phil belittle the frail and effeminate teenage Peter (Kodi Smit-McPhee), who is waiting on their table at the Red Mill. Peter’s widowed mother Rose (Kirsten Dunst) owns the place, and after George provides some comfort to her, George and Rose secretly marry. Viewing this as a personal affront, Phil is merciless in his cruelty towards Rose and Peter. It turns out that Phil is masquerading as one thing in order to hide another truth. An intriguing sequence (that is so well acted I could watch it 10 times) leads to a warming of the relationship between Phil and Peter. The two bond over horseback riding, rope-braiding, and stories of Phil’s now-deceased ‘mentor’, Bronco Henry.

This setting is 1925 Montana, though it’s filmed in New Zealand. The majestic mountain range constantly looms on the horizon. Yet despite the beauty, it’s a tough life made tougher by Phil’s menacing behavior – psychological torturing of Rose that leads her to the bottle – something that clearly holds unfavorable memories. The four leads are truly outstanding, and supporting work is provided by Thomasin McKenzie as the young housekeeper, and Keith Carradine, Frances Conroy, Allison Bruce, and Peter Carroll as uncomfortable guests at a dinner party.

Jonny Greenwood provides the music. It’s not so much a score as it is mood-enhancing messaging through guitars, violins, and pianos – each piece delivering just the right note. Cinematographer Ari Wegner (THE TRUE HISTORY OF THE KELLY GANG, 2019) works seamlessly with director Campion to capture the shifts in tone and the minutiae of the performances. An early shot through the kitchen windows captures Phil strutting through the ranch. The shot is repeated later with a contrasting look. The film is based on the 1967 novel by Thomas Savage, and it includes some of his personal experiences. Nothing haunts us more than the lingering effect of words Peter provides as narration near the film’s opening, when he informs us that a real man must save his mother. Oh yes, this is nuanced storytelling at its finest. By the way, you know how to whistle, don’t you?

Streaming on Netflix

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Posted by David Ferguson

CITIZEN ASHE (2021, doc)

December 4, 2021

Greetings again from the darkness. Growing up, I loved watching Jimmy Connors and John McEnroe play tennis. Their talent was unmistakable and they had a certain flair for dramatic moments. But even as a kid, I was more drawn to the personalities of Bjorn Borg and Arthur Ashe – two champions who carried themselves with a quiet dignity and respect for the game and their opponents. They acted like grown-ups, not petulant kids. It wasn’t until later that I really understood the obstacles Ashe faced, and co-directors Rex Miller and Sam Pollard expertly handle this remarkable man’s story.

Ashe’s championship at Wimbledon in 1975 was likely the peak of his tennis career, yet not of his impact on society. It took more than a trophy for him to be labeled “the Jackie Robinson of Tennis”. The film takes us back to his childhood in Richmond, Virginia, described here as ‘the heart of Confederacy’. Many of those memorial statues that stood when Ashe was young have now been removed, but at the time, he accepted that his tennis playing was limited to the court at the public park next to his house. It wasn’t until Althea Gibson’s mentor, Dr. Johnson, brought Ashe into the fold that he began to hone his talent, as well as his demeanor.

Against the odds, Ashe was awarded a tennis scholarship to UCLA in 1966, and there is some terrific footage and photographs of him on campus. Ashe later served in the US Army, and won the 1968 US Open. Some of the archival footage stands on its own, and especially insightful are the numerous interviews where we get to hear Ashe in his own words. Of course, others also have much to say, including his brother Johnnie, and Civil Rights activists Harry Edwards, (Olympian) John Carlos, and (US diplomat) Andrew Young. Tennis players Billie Jean King and John McEnroe also offer personal memories.

 This is not really a tennis documentary, but it’s quite interesting to hear Ashe reveal the “why” behind his strategy against the aggressive Jimmy Connors at Wimbledon. Ashe was also a dynamic supporter of the Davis Cup and believed playing for one’s country was an honor. Of course, Arthur Ashe is remembered as a tennis player and Human Rights Activist. He pushed to play in South Africa while Nelson Mandela was imprisoned to show the population what a free black man could do. He and Mandela later became friends. The personality contrast is also distinct between Ashe and fellow sports activists like Muhammad Ali and Lew Alcindor/Kareem Abdul-Jabbar, and it’s pointed out that although the approaches differed, Ashe’s words carried significant weight. This is quite apparent in the clip of the roundtable discussion featuring Ashe, Harry Edwards, and Jackie Robinson, amongst others. The respect for Ashe is evident.

Genetics caused a heart attack at the early age of 36, and blood transfusions during his medical procedures led to his being HIV-positive. As you would expect, Ashe turned his attention to raising money and awareness for AIDS research, all while never losing his elegance and grace. It seems fitting that the story of Arthur Ashe is being told at the same time KING RICHARD is playing in theaters. Ashe clearly opened the door for black athletes like Venus and Serena Williams, and also inspired their activism, as well as that of athletes in other sports. The video footage and interviews allow this story to be told, and it leaves us with the message that Ashe never forgot his race … the human race.

In theaters and On Demand beginning December 3, 2021

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Posted by David Ferguson

BENEDETTA (2021)

December 3, 2021

Greetings again from the darkness. Filmmaker Paul Verhoeven has long made his cinematic living on the fringes: the brutality of the Middle Ages in FLESH + BLOOD (1985), the violence and thirst for power through technology in ROBOCOP (1987), the buried dark side (and other uses of ice picks) of our personality in BASIC INSTINCT (1992), more thirst for power combined with a baffling lack of sex appeal in SHOWGIRLS (1995), and the unbridled desire for revenge in ELLE (2016). This latest displays his mastery of ‘nun-on-nun’ eroticism and the duplicity of religious faith. Verhoeven’s usual goal is to provoke, and along with his co-writer David Birke, this ‘based on true events’ story (adapted from the 1986 Judith C Brown book, “Immodest Acts: The Life of a Lesbian Nun in Renaissance Italy”), is a natural fit.

Benedetta Carlini is delivered to the convent at a young age by her well-heeled parents. The girl claims to have a direct line to God, who delivers well-aimed bird droppings when called upon. OK, that’s just the first somewhat comical event in this film that seems less interested in the documented antics of the real Sister Benedetta, than in tantalizing today’s viewers with the behind closed doors sins of the flesh between she and fellow nun, Bartolomea (Daphne Patakia). Portraying Sister Benedetta, Viginie Elfira never shies away from the material, whether it’s the stigmata, bedtime play with a specially carved Virgin Mary statuette, or channeling the voice of God during outbursts claiming blasphemy.

Felicita, the abbess of the convent, is played by the always interesting Charlotte Rampling. Sister Felicita’s real talent seems unrelated to issues of God, and instead lies in matters of money. Because of this, she capitalizes on Benedetta’s visions as a form of fundraising, while turning away (except during moments of voyeurism) from her other activities and claims. Our early caution comes from Benedetta being told upon arrival that, “Your body is your worst enemy”. After more dreams and visions, and a possible miracle or two, we understand that nuns are to believe that suffering is the road to salvation and redemption … a theory that leads to one of the more humorous moments as a sword-wielding Jesus saves Benedetta from a gaggle of attacking serpents.

Is there such thing as erotic religious satire played straight? We must assume that Verhoeven has his tongue planted firmly in cheek for this one, as it goes beyond skepticism of religion and directly to the morally adrift. Whether Benedetta’s claims of visions are/were true or fake, Verhoeven is a filmmaker who takes pleasure in the pleasure of nuns, no matter how prohibited it might be. We can just never be certain whether his objective is to expose religion, or simply expose.

Available in theaters on December 3, 2021 and On Demand beginning December 21, 2021

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Posted by David Ferguson

ENCOUNTER (2021)

December 2, 2021

Greetings again from the darkness. It’s all in the terminology you opt to use. Secret rescue mission or kidnapping. Protective or paranoid. Alien invasion or mental illness. By opening on a meteor flashing across the night, and following that with National Geographic-style shots of bugs in nature, parasites attacking hosts, and news clips of violent rioters, we can’t help but assume that writer-director Michael Pearce (BEAST, 2017) and co-writer Joe Barton want us to believe the end is near.

Riz Ahmed (SOUND OF METAL, 2019) stars as Malik Khan, a former Marine and paroled ex-convict who is on a mission to rescue his boys from the “non-terrestrial micro-organisms” infecting the human race and taking over the planet. His oldest, Jay (Lucian-River Chauhan) is observant and smart, while the younger Bobby (Aditya Geddada) is a bit quick with his outbursts. Since the boys live with Malik’s ex-wife, his midnight visit awakens them for a “surprise” vacation trip.

The bulk of the movie is the father-sons road trip. Most of the best scenes – those that generate the most tension – are between these three. One exception is a terrific sequence featuring a confrontation between Malik and a cop during a 3:00am traffic stop. It’s well-staged and plays right into our initial thoughts on the alien invasion, while simultaneously being our biggest clue. Soon, Malik is in touch with Hattie (Oscar winner Octavia Spencer, THE HELP, 2011), his sympathetic Parole Officer, who then involves the FBI – including kidnapping expert “Shep” (Rory Cochrane), who heads the manhunt and categorizes Malik as a “family annihilator” (exactly what it sounds like).

Cinematographer Benjamin Kracum makes the film looks top end, and Riz Ahmed shows again what a powerful actor he is. The frustrating thing here is that the first half of the film is a terrific set-up for a story that doesn’t happen. Instead this train changes tracks and devolves into something we’ve seen too many times before. If not for the included Townes Van Zandt song, this would have really “bugged” me.

In theaters Friday December 3, 2021

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Posted by David Ferguson

WOLF (2021)

December 2, 2021

Greetings again from the darkness. We all know that gender identity, and identity in general, are topics receiving a great deal of attention these days. Writer-director Nathalie Biancheri latches on to the discussion by bringing up Species Identity Disorder, also known as Otherkin. These are folks who identify as something other than human, typically a type of animal. It’s easy enough to connect the dots to gender dysphoria, but it also walks a fine line between mental health and sadness (and if we are being honest, a bit of humor – at least as presented here).

The film opens on the bare butt of a male in the forest. That’s a sentence I hope to never write again. George MacKay stars as Jacob, a young man who identifies as a wolf. It’s his butt we first glimpse as he prowls the vegetation growing in nature. Next we see Jacob with his parents at an institution that specializes in Species Identity Disorder. The questionable curative therapies conducted by Dr. Mann (get it?) seem more like torture and humiliation than treatment. Dr. Mann (played straight-faced by Paddy Considine) is also known as ‘The Zookeeper’ as the patients include: a parrot, a duck, a squirrel, a horse, and a German shepherd.

It’s unsettling to see the actions and mannerisms of these patients, but equally unsettling to witness Dr. Mann’s methods. If you’ve ever seen THE SNAKE PIT (1948), then you have some idea of how disturbing institutional treatment can be. Of course, this movie is not at the level of that Anatole Litvak classic, but George MacKay’s performance is quite something to appreciate. We saw his physical abilities as he performed yoga in CAPTAIN FANTASTIC (2016), and here he expertly creates the movements (and howls) of the wolf he believes himself to be.

Lily-Rose Depp plays Cecile, a long-term patient who has yet to fully kick her wildcat tendencies. She and Jacob manage to become friends, and the attraction goes deeper through Jacob’s primal urges and tendencies. The two actors have one scene together that, by itself, elevates the film. Obviously the real mystery is whether Jacob’s bonding with Cecile is enough to change his outlook. He much choose between what he sees as his true self, and life as a man. Director Biancheri has delivered a high-concept arthouse film that will likely find a niche audience, while others are likely to brush it off as cinematic absurdity.

Opens in theaters on December 3, 2021

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Posted by David Ferguson

THE BEATLES: GET BACK (2021, doc)

November 28, 2021

Greetings again from the darkness. It’s a lot of Beatles. The three episodes total more than 7 hours of run time. It will be likely be too much for most folks. Not for me. In fact, I envy Oscar-winning director Peter Jackson, who got to go through every minute of 60 hours of video and 150 hours of audio from the 1969 sessions that led to the “Let it Be” album and documentary, as well as the band’s infamous rooftop live performance atop Apple Studios. The 1970 film won the band an Oscar for best original music, but unfortunately, that 42 minutes on the rooftop would be their final public live performance as The Beatles.

For those who have seen the 1970 documentary LET IT BE, you are aware of the discord amongst the band members during the sessions, but Peter Jackson’s project shows us there was much more to the story: pressure, expectations, creative forces, doubt, friendship, young men changing, and plenty of laughter and joking. And cigarettes. An incredible number of cigarettes. Keep in mind that even though they were the biggest band in the world, these lads from Liverpool still only ranged in age from the youngest, George at 25, to the oldest, John at 28.

One thing we notice is that there was a very small group involved with the daily activities. Outside of the band members, the faces we see most are Music Producer George Martin, the band’s long-time assistant Mal Evans, and renowned Sound Engineer Glyn Johns. It’s not really discussed here, but despite all the work we see Mr. Johns perform over the 22 days, it was Phil Spector who ended up with the production credit on the album. The director of the LET IT BE documentary, Michael Lindsay-Hogg, is seen quite a bit in the first two episodes, although he’s not as funny as he seems to think he is. Film Producer Denis O’Dell initially sets the band up at Twickenham Film Studios, which he rented as the location for his upcoming zany comedy THE MAGIC CHRISTIAN starting Peter Sellers and, yes, Ringo Starr. It’s this movie that has the Beatles on such a tight schedule, and it’s at Twickenham where Peter Jackson’s film kicks off.

PART 1 (2 hours, 34 minutes) provides a quick history of the band, dating back to 1956 when John Lennon and Paul McCartney formed The Quarrymen and invited George Harrison to join as a guitarist. There is a clip of the band performing at The Cavern, and a note on how Brian Epstein became the band’s manager. It was 1963 when George Martin began producing the band and that’s they year they hit #1 in Britain, kicking off Beatlemania. The following year took them to the United States for the appearance on The Ed Sullivan Show, and it was 1966 when the band faced the backlash over John’s comment about “being more popular than Jesus.” That was also the year when the band decided against future tours, choosing instead to focus on studio work and albums. 1968 brought the death of Brian Epstein at age 32, and the infamous trip to India, where they spent time with Maharishi Mahesh Yogi. So here they are in January 1969, with the goal of writing, rehearsing, and recording 14 songs, and then performing live over about a three week period.

Director Jackson uses the 22 days as a framing structure, going day-by-day to track the progress. Day 1 is kind of a feeling-out day as the band checks out the studio. Day 2 finds Paul in business mode, as the other band members poke fun at the Fan Club publication. Day 3 delivers the familiar setting of George being “annoyed” by Paul, but it’s Day 4 where “Get Back” is born, “Across the Universe” is introduced, and a terrific then-and-now montage of “Rock and Roll Music”. Day 5 gives us “I Me Mine”, as the band discusses ideas for the live show, and we learn code names for Ringo (Russian) and George (France). Day 6 finds Linda Eastman (not yet married to Paul) snapping photos in the studio while the band works on “The Long and Winding Road”, and “Let it Be.”. Day 7 is critical, as we get more “Get Back”, numerous mentions of Eric Clapton, and George leaving the band with “See ya’ in the clubs.” This is when we are subjected to our first Yoko Ono banshee screams. She has been attached to John’s hip for most every minute.

This first episode provides us our first look as the band works out songs on the fly. Ringo keeps amazing rhythm, while remaining mostly quiet. George’s insecurity and annoyance with his role (and Paul’s bossing) is beyond obvious (resulting in his leaving), and the band’s uncertainty about the best direction for the live performance is a bit unsettling. Despite all of that, it’s truly fascinating and humbling to watch and listen as they create the rough early versions of songs that we now know so well.

PART 2 (2 hours, 12 minutes) is probably my favorite episode of the three. For Day 8, with George having quit the band, Ringo is the first to show up as flowers are delivered for George from the Hare Krishnas. We eavesdrop as Paul (with Linda in tow) analyze the John and Yoko relationship, and we are privy to a secret conversation between John and Paul regarding George and the band. The rest of the day is spent rehearsing 3 songs, including Paul and John brainstorming fine-tuning “Get Back” lyrics. Day 9 has Peter Sellers stopping by – and likely wondering what the heck kind of mess he’s wandered into. This is Paul’s day to be irritated and stating they can’t go on like this. Day 10 reports on the band’s meeting at George’s house, which results in his return to the band and a shift from Twickenham studios to the Apple Studios on Savile Row, This throws a delay into things, and makes Day 11 a lost day.

Day 12 has the four band members back recording, despite technological challenges and a scathing article on the band in local publications. It’s this day when we hear an amazing version of “I Dig a Pony”, followed by “I’ve Got a Feeling”, “Don’t Let Me Down”, and “She came in through the Bathroom Window” (which would end up on Abbey Road). On Day 13, John recalls the Martin Luther King Jr speech, and the band gets a jolt of energy from keyboardist Billy Preston. Watching them perform “I’ve Got a Feeling” is pure musical joy. Day 14 stars strangely with more Yoko banshee screams, and Maxwell’s anvil is in the middle of the room, while the band solidifies the “Get Back” single. Day 15 offers discussions of Billy Preston as the 5th Beatle, while we get a Pattie Harrison sighting, and performances of “Two of Us” and “Polythene Pam.” Day 16 includes flashbacks to the trip to India, George working on “For You Blue”, the band’s first look at the rooftop, and early work on “Let it Be”. Once again, watching the creativity in action is simply mesmerizing.

PART 3 (2 hours, 19 minutes) begins on Day 17, which is only 3 days until the rooftop performance. George is assisting Ringo with writing “Octopus’s Garden”, which will end up on the Abbey Road album. Linda’s young daughter Heather bounces around the studio, and we can all relate to her cringing at Yoko’s latest banshee scream. We see John go hard on “Dig it”, while the band spends a great deal of time jamming to their favorite classics. These are musicians collaborating on the music they love – and enjoying every bit. Day 18 has George running through “Old Brown Shoe”, and John and Yoko celebrate her divorce being final. With Alan Parsons in the booth, the band goes through many takes of “Get Back”. On Day 19, George begins early work on “Something”, which would be featured on the Abbey Road album, and they wrap up the “Don’t Let Me Down” recording. With the live performance scheduled for tomorrow, Paul and John have a serious discussion about the payoff for all of this work. Is an album and one live show enough, if there is no TV special? As Paul’s brother Michael watches, we can’t help but think Paul was really hoping for another tour – one that would never happen.

Day 21, January 30, is when the rooftop performance actually happens. There are 10 cameras in place, 5 of which are on the roof with the band. Most of us have seen these performances, but director Jackson includes some of the ‘second takes’. The band opens with two takes of “Get Back”, followed by “Don’t Let Me Down”, “I’ve Got a Feeling”, “One After 909”, “Dig a Pony”, and second takes of “I’ve Got a Feeling” and “Don’t Let Me Down”. Included here are some of the interviews from folks on the street, and we see the cops who are unsure how to handle the noise complaints. What’s obvious and thrilling is that John’s and Paul’s voices are in prime form, and the band is truly enjoying doing what they do better than any other band … despite the cold London weather. You can sense their pride as they head to the booth for the playback. Day 22 is the Final Day, and the band finishes the mostly acoustic recordings for the album.

Over the three episodes, we hear bits and pieces of more than 100 songs, and we witness the collaboration and tribulations of a band that reached heights of popularity previously unimaginable (remember Elvis never performed in the UK). It’s quite a privilege to witness artists at work during the creative process. Tension and disagreements are to be expected, and yes, they did occur. Perhaps those tensions drove the individuals to be even more creative and better at their craft. Regardless of your thoughts on this, one thing is certain … The Beatles “passed the audition”.

Now streaming on Disney+

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4 Comments | Documentary, Musical | Tagged: , , , , , | Permalink
Posted by David Ferguson

C’MON C’MON (2021)

November 24, 2021

Greetings again from the darkness. Not all filmmakers have something to say about human beings and human nature, but writer-director Mike Mills does … and he continues to prove it. His three previous feature films are all excellent. 20th CENTURY WOMEN (2016) was based on his experience being raised by his mother, while BEGINNERS (2010) was a tribute to his father. THUMBSUCKER (2005) focused on teen angst, and his latest is inspired by interactions with his own son and Mills’ documentary projects.

From the mouths of babes. Early on, we watch and listen as radio journalist Johnny (Oscar winner Joaquin Phoenix, JOKER, 2019) interviews kids in Detroit to get their opinions on all aspects of life and the world, including their hopes and expectations for the future. This and additional segments and the kids’ responses seem real, not staged, presenting a documentary feel – especially since everything is filmed in Black and White. In a rare phone call with his estranged sister Viv (Gaby Hoffman, who will always be remembered as Ray’s daughter in FIELD OF DREAMS, 1989), Johnny offers to take care of Viv’s 9 year old son, Jesse (Woody Norman), while Viv assists Jesse’s father, Paul (Scoot McNairy), who battles ongoing mental health issues.

Viv is reticent to leave Jesse with Uncle Johnny, an unmarried man with no kids of his own. But she’s desperate for the help. Most of the film revolves around Johnny and Jesse spending time together and getting to know each other. Circumstances take the story from Detroit to New York City to Los Angeles to New York City to New Orleans. It’s a terrific journey that lacks any jaw-dropping cinematic elements. These two aren’t mountain climbing or spelunking. They simply walk and talk. This allows Jesse to experience a father-figure that’s been lacking in his life. For Johnny, he gains a perspective on parenting, which contrasts with his professional work interviewing kids. Jesse is whip smart and funny, but also manipulative and confused and downright quirky. The two of them together is quite something to watch as their relationship develops.

Viv shows up mostly in phone calls with Johnny and Jesse, but flashbacks help us understand the emotional break that occurred between she and Johnny. As the two siblings mend their relationship despite the distance, Mills and cinematographer Robbie Ryan effectively use the black and white palette to negate the excitement of big cities and travel, so that we focus on the personal interactions of the characters. The photography may be beautiful to look at, but it also reminds us that to a kid, a city is a city is a city, and what matters is an emotional bond and sense of security.

Young Woody Norman is a revelation as Jesse. He perfectly portrays a normal kid with normal issues in a grown up world. Gaby Hoffman doesn’t have as many scenes as we’d like, but we certainly wish she would work more frequently. As for Joaquin Phoenix, it’s a welcome change of pace and tone after JOKER. He plays a man learning to deal with his own vulnerabilities, and he really gets to show off his extraordinary acting talent. The script is filled with psychology and philosophy, but in a grounded manner – ways we recognize from our own lives. It’s a reflective film that shows the balance of trying to protect kids and shield them from some adult stuff, while also allowing them to explore and find themselves. The impact of adults on kids and the impact of kids on adults is on full display, but it’s also just a couple of guys getting to know each other. And that’s pretty special to watch.

The film had a limited opening on November 19, and expands to more cities and theaters on November 24, 2021

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2 Comments | Drama | Tagged: , , , , , | Permalink
Posted by David Ferguson

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