HARD LUCK LOVE SONG (2021)

October 14, 2021

Greetings again from the darkness. The opening credits inform us that the film is based on Todd Snider’s 2006 song, “Just Like Old Times”. This caused me to stop the film before it ever really got started. I was initially stumped … other than Christmas and Elvis movies, what others were based on a song?  I spent a few minutes thinking and came up with ALICE’S RESTAURANT (1969, Arlo Guthrie song), THE INDIAN RUNNER (1991, based on Springsteen’s “Highway Patrolman”), ODE TO BILLY JOE (1976, Bobbie Gentry’s song about that Tallahatchie Bridge), and of course, CONVOY (1978, CW McCall’s annoying song). To my surprise, It turns out a movie based on a song is uncommon, but certainly not rare. I’m sure you can come up with others.

Director and co-writer (with first time screenwriter Craig Ugoretz) Justin Corsbie grew up in Austin, the live music capital of Texas, so it’s only fitting that he would deliver a movie about a dreamer who never realizes his dream of songwriting and performing. In fact, Jesse (Michael Dorman, THE INVISIBLE MAN, 2020) probably would be considered a “loser” by most. He certainly drinks too much. Drugs are not off limits. He tells lies with ease in social situations. And he ruined the best relationship he ever had, although he was too drunk to remember how it happened. Despite those “flaws”, Jesse is a pretty easy guy to like – quick with a smile and a hug.

Jesse doesn’t work as hard at songwriting as he should, but he does have a knack for hustling games in pool halls. One particularly big score puts him at odds with local baddie Rollo, played by mohawked and grilled-out Dermot Mulroney, looking about the roughest he’s ever looked. Once he slides out the backdoor to escape, Jesse immediately calls Carla (Sophia Bush, “Chicago P.D.”), his one-that-got-away. When they meet up at his room at the Tumble Inn (as cheap as it sounds), he tells her he’s on a lucky streak and “I’m doing good now”. They fall into a natural and familiar rhythm of old habits that include booze and drugs. Carla knows Jesse better than he knows himself, but she can’t help the attraction.

Of course, Jesse and Carla never have a smooth evening. First, Officer Zach (Brian Sacca, THE WOLF OF WALL STREET) knocks on the door after a noise complaint, and searches the room. It’s another Jesse interaction that pays off later. Next, while visiting the bar where she works, Carla and Jesse cross paths with her boss Skip (Eric Roberts playing Eric Roberts) and bartender Sally (the always great Melora Walters (MAGNOLIA). And yet we knew it was only a matter of time until Rollo and his crew would track down Jesse.

The confrontation gets ugly and violent and noisy, and we meet our final key character in Louis (RZA, AMERICAN GANGSTER, 2007), who is Carla’s boyfriend with a certain talent that comes in handy for Jesse. It’s an odd ending befitting the characters. Filmmaker Corsbie has a feel for the underbelly of music towns like Austin, train wreck characters like Jesse, and bad seed relationships of the ‘can’t live with him – can’t live without him’ type. Extra points are scored for the FIVE EASY PIECES nod, and Ms. Bush and Mr. Dorman perform admirably. A clip of Todd Snider performing his song plays over the closing credits, and we can’t help but chuckle at how the lyrics mirror what we just watched. A nice final touch.

Roadside Attractions will release HARD LUCK LOVE SONG in theaters October 15th, 2021

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Posted by David Ferguson

CAT DADDIES (2021, doc)

October 14, 2021

Greetings again from the darkness. There are so many ways to divide the world, but few lines of demarcation are clearer than ‘dog people’ versus ‘cat people’. Being firmly planted in the former group, while being confounded by the latter, it was for edification purposes that I agreed to watch Mye Hoang’s documentary. We got off to a rocky start when a Mark Twain quote popped up: “When a man loves cats, I am his friend and comrade, without further introduction.” Nope, Mr. Twain and I will simply disagree on this.

We are all too familiar with “crazy cat lady” syndrome – an often reclusive, usually elderly woman, whose love of cats has resulted in a veritable feline zoo in her home. The memes are all over social media, and they are usually good for a chuckle and a cringe. But what about the stereotype of men and cats? In the 1970’s and 80’s the catchphrase was “Real men don’t eat quiche”, and there was even a (comical) best-selling book by that title. But men with cats … well that’s a stereotype that never needed a book. Even many women shy away from the guy with a cat. It’s this baggage and history that inspired Ms. Hoang to explore the topic. Well that, plus her own husband’s personality shift associated with a cat.

The filmmaker first introduces us to “Nathan the cat lady”, which is how he’s known to his 300,000 Instagram followers. He’s an actor and has 4 cats, each of whom play into his popular, often humorous posts. But it’s not all fun and games for Ms. Hoang. As she shifts from California to New York City, the camera turns to David, a homeless immigrant and former construction worker. David’s story is the most poignant, and actually seems a bit out of place with the other 8 subjects in the film. In fact, David and his cat and his story could easily have been the focus of an interesting documentary short.

“Real men” and their cats make up most of the rest of the film. A fireman, long-haul trucker, trainer/stuntman, and avid hiker are included. Each offers up a tale of how their own mental well-being was transformed by their pet cat. There is also a segment on a non-profit cat rescuer whose mission is to minimize the number of stray cats strutting aimlessly. Perhaps these stories resonate a bit more as we approach two years on the pandemic calendar. One thing is certain, in a purr-fect world, cat ladies will now share the market with cat daddies.

The film had its World premiere at the 2021 Dallas International Film Festival, and will be featured at several other film festivals prior to year-end.

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Posted by David Ferguson

NO TIME TO DIE (2021)

October 10, 2021

Greetings again from the darkness. Bond 25 is here, and it’s quite a curtain call for actor Daniel Craig. The film’s release has been postponed numerous times since September 2019, which has caused expectations and anxiety to build amongst Bond fans. It’s been almost six years since SPECTRE (2015), and this is Daniel Craig’s fifth and final turn as 007. This production faced challenges even before the pandemic hit. Cary Joji Fukunaga (best known for “True Detective” and BEASTS OF NO NATION, 2015) was hired to direct after Danny Boyle stepped down (or whatever happened), and Phoebe Waller-Bridge was brought in to spice up the dialogue on the script from Fukunaga, Neal Purvis, and Robert Wade (the latter two having been involved in writing all five Bond movies for Craig). Of course, it’s Ian Fleming to whom we stand eternally grateful for the original characters.

For those accustomed to the James Bond cinematic formula, you’ll notice quite a few differences – beginning with the opening scenes. Traditionally, breathtaking action kicks off the film; but this time a shift in tone and style serves up a tension-filled opening that occurs a few years prior to the rest of the story. It takes a few minutes before we get the first true action sequence. Of course, we must keep in mind that we are dealing with a “retired” James Bond (don’t worry, it’s not like “fat Thor”) … in fact, there’s already a replacement 007 and she (Lashana Lynch, CAPTAIN MARVEL, 2019) packs quite an attitude and skill set.

It’s his old CIA buddy, Felix Leiter (Jeffrey Wright), who draws Bond back into the espionage game, and of course, the reason is to save the world (what else could it be?). This year’s world-domination-seeking villain is the cleverly named Lyutsifer Safin, and he’s played by Oscar winner Rami Malek (BOHEMIAN RHAPSODY, 2018). Safin is a low-key baddie whose weapon is a DNA-altering chemical that’s probably a bit overly complex for a Bond movie, and it’s also a bit strange that Safin/Malek only has a few substantive scenes. For those who saw SPECTRE, you’ll recognize many of the faces, including Lea Seydoux as Madeleine Swann, Ralph Fiennes as M, Ben Whishaw as Q, Rory Kinnear as Tanner, and Naomie Harris as Moneypenny. Also back for a terrific scene is Oscar winner Christoph Waltz as Blofield. The new faces include the aforementioned Lashana Lynch as Nomi, Billy Magnusson as Logan Ash, and Craig’s KNIVES OUT co-star Ana de Armas as Paloma. Ms. de Armas brings a jolt of energy and some smiles to the proceedings, and it’s a shame her appearance is so short.

It’s unusual for a Bond song to win its Grammy before the movie is ever released, but that’s exactly what happened for Billie Eilish’s achingly somber title song. Oscar winner Hans Zimmer (THE LION KIING) delivers a wonderful score in his first Bond outing (you’ll hear how he incorporates the Eilish song), and the cinematography from Oscar winner Linus Sandgren (LA LA LAND) is everything we could hope for in the action sequences (there is no shortage of bombs), as well as the quiet moments.

Speaking of the quiet moments, this is undoubtedly the most sentimental and emotional of all Bond films. Sure, we get the amazing set pieces, the crazy stunts, the awesome Aston Martin (until it isn’t), the cool gadgets, the wisecracks, and the shootouts – but we also get Bond at his most reflective and personal. There is a line in the film, “Letting go is hard.” And it is … both for Bond and for us. So welcome back and adieu, Mr. Bond. Craig. Daniel Craig.

The film opens in U.S. theaters on October 8, 2021

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Posted by David Ferguson

MASS (2021)

October 8, 2021

Greetings again from the darkness. A normal life is no longer possible. The question becomes, how does one go on in the aftermath of an unimaginable (yet all too common) tragedy that takes the life of one’s child? This the feature film debut of writer-director Fran Kranz. He’s an actor you’d likely recognize from JUNGLELAND and THE CABIN IN THE WOODS. Rather than choose some lightweight project to kick off his filmmaking career, Franz serves up a gut-wrenching confrontation that would work just as well (if not even better) on stage in live theater.

It’s an awkward and maladroit opening as two church volunteers (Breeda Wool and Kagen Albright) and another woman (Michelle N Carter, who’s either an attorney or a therapist), are preparing an isolated room for what is clearly a high-stakes meeting. The room will have a table and four chairs, and enough refreshments for 20 people. Almost the entire movie will take place in this room, around that table and away from the church choir practice.

The four anticipated guests arrive, and it’s two couples – four people uneasy and unsure about the meeting. After some initial small talk, we finally learn Evan, the son of Martha Plimpton and Jason Isaacs, was shot by Hayden, the son of Ann Dowd and Reed Birney. It’s been six years since the Columbine-like school shooting and both couples are seeking closure to the immense grief they’ve carried. There is also the overwhelming burden of guilt and the weight of blame.

These are four recognizable and accomplished actors working in ways we typically only see on stage. The always superb Ms. Dowd (“The Handmaid’s Tale”) and the often villainous, yet always effective, Mr. Isaacs (“The OA”) are truly at the top of their game, which is to take nothing away from the performances of Mr. Birney (“House of Cards”) and Ms. Plimpton (Keith Carradine’s daughter, and from a child actor in THE GOONIES to a series lead in “Raising Hope”). Their interactions mostly feel grounded in emotions, and we as viewers find ourselves dragged right into their personal misery.

A flower arrangement, a box of Kleenex, bagels, piano music, and a Christmas photo all play a role, but this is an actor’s showcase, and director Kranz gives each their time in the spotlight. These are four people who consider themselves good parents, and one has the fortitude to say it aloud, “I raised a murderer.”

This is couples therapy re-imagined, and it’s a necessary but painful step for four people who have endured more than any parent should endure. Both sides of the table highlight our worst fears as parents, but equally as important, is the need for forgiveness – of others and ourselves. This one will likely stick with you for a while.

Bleecker Street will release MASS in theaters on October 8th, 2021

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Posted by David Ferguson

LAMB (2021, Iceland)

October 8, 2021

Greetings again from the darkness. The opening sequence is surreal and a bit creepy, and with it, first time director Valdimar Johannsson accomplishes a couple of things. First, we witness the rugged beauty of rural Iceland, and second, he sets us up for a bizarre tale, as we follow a heavy-breathing unseen creature (or being) that frightens some wild horses before making its way into the sheep pen. Johannsson co-wrote the script with Sjon, the renowned Icelandic novelist, poet, screenwriter, songwriter, and composer.

Noomi Rapace (THE GIRL WITH THE DRAGON TATTOO, 2009) stars as Maria, and we watch as she and her husband Ingvar (Hilmer Snaer Gudnason) work their remote sheep farm mostly in silence. There seems to be no joy and little connection between them as they go about their chores and duties. The seasons pass until its time for the sheep to give birth (as you might have guessed from the title). It’s at this point where I simply must be careful about what I write, as the less one knows about this one going in, the more effect it’s likely to have. Personally I knew nothing ahead of time, and had not even watched the trailer. Because of that, this easily rates as one of the most bizarre movies I’ve ever watched.

Remember the old margarine commercial, “It’s not nice to fool Mother Nature”? Well, Maria and Ingvar interpret one strange occurrence as “a gift” from nature and the key to their re-discovered happiness. When Ingvar’s troubled brother Petur (Bjorn Hlynur Haraldsson) shows up, his first question is “WTF is this?” That’s as close to a spoiler as I’ll come here, but there are multiple interpretations to be had: the power of nature, loneliness, the challenges and rewards of parenting, commentary on those who treat their pets as kids, and the devastation of grief followed by the hope of redemption.

There are moments of irony with wool sweaters and entrée selections, as well as some dark humor in regards to bath time, an observant cat, a loyal and smart dog, and one specific irked ewe. This is a remote farm in rural Iceland and the setting adds to an already unorthodox story … one which is pulled from Icelandic folklore. Johannsson is to be commended for his initial work. It easily could pass as a project from the creative mind of Yorgos Lanthimos (THE LOBSTER) or Robert Eggers (THE WITCH). In fact, the film’s co-writer, Sjon, is also writing Eggers next film, THE NORTHMAN, slated for April 2022.

Beyond the setting, the atmosphere, and bizarre aspects of the story, what makes it work is how the characters play it straight. These aren’t talkative folks and we believe they could exist in this environment. Ms. Rapace delivers a strong performance, and that shocking ending reminds us not to mess with nature.

A24 is releasing the film in theaters beginning October 8, 2021

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Posted by David Ferguson

OLD HENRY (2021)

September 30, 2021

Greetings again from the darkness. When asked to explain the appeal, many fans of Western movies note how the clear division of good and bad, and right and wrong, allows for easy identification of those to root for, or even admire. Writer-director Potsy Ponciroli muddies the water with this one, blurring the lines between good guys and bad guys, and keeping us guessing until the end.

The film opens in the Oklahoma territory in 1906, a mere seventeen years after the Land Rush of 1889. The farmer we meet, Henry McCarty (a perfectly chosen name) may or may not have been a ‘sooner’, but he admits to his son that the idea of free land is what drove him to settle here, on the plot next to his deceased wife’s brother Al (Trace Adkins). Tim Blake Nelson is superb in the role, and plays Henry as a man with deep, and likely dark secrets. The land is challenging to work and he expends energy farming as well as protecting his son Wyatt (Gavin Lewis), a typical whiny teenager with little regard for adult struggles. Wyatt is anxious to escape the structure and limitations of life with dad.

Breaking a long string of days where nothing much happens for Henry and Wyatt, an injured man with a satchel full of cash is discovered on their land. Henry patches up the gunshot wound, and puts the unconscious man in bed, albeit with ropes binding him to the frame – one of the glimpses of Henry cluing us to waters that run much deeper than we’d typically expect for a farmer in the middle of nowhere. When the man awakens, he claims to be Sheriff Curry (Scott Haze) and that the three men chasing him are the bad guys. The dilemma for Henry is heightened in that he’s not an inherently trusting fellow, and the Sheriff badge is actually on one the vest of those three men, Ketchum (a fun turn from Stephen Dorff).

The verbal exchanges between Henry and Ketchum are oratory poetry, and it makes for a juicy and tension-packed chain of events. We are left to deduce which of the men – Henry, Curry, and Ketchum – are who they say they are. It’s a game of Clue featuring rifles, holsters, and horses. Cinematographer John Matysiak does a nice job with a wide-range of shots: outdoors, in the cabin, the big shootout, and even a doorway shot as a tribute to John Ford.

The two twists are what really made this click for me. And one of them is quite a whopper. The suspense generated by the situation is certainly enhanced by the fancy verbal sparring, including a terrific line from Henry when asked about his background: “Many vocations, some more marginal than others.” But it really comes down to us as viewers, along with Henry, attempting to discern the good guys from the bad, and constantly asking ourselves … who do we trust? Mysteries are fun, especially when a good old-fashioned shootout is included, and the film’s big reveal turns out to be etched in western lore.

Coming to theaters on October 1, 2021

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Posted by David Ferguson

THE GUILTY (2021)

September 30, 2021

Greetings again from the darkness. Let’s start with this disclosure: the original Danish film from Gustav Moller was one of my top 5 favorite films of 2018. Even then, I fully expected an Americanized version to happen at some point. The surprise is having director Antoine Fuqua (TRAINING DAY, 2001) handle the remake. He’s known more for bombast and action, than the nuanced suspense delivered by the original. To offset this, Mr. Fuqua wisely chose the dependable Jake Gyllenhaal as his lead, and the talented Nic Pizzolatto (creator and lead writer of HBO’s “True Detective”) to adapt the screenplay.

Gyllenhaal never cheats the audience, and he dives into the role with his typical full force commitment. Except for a few blurry visuals of cars on the highway and the dramatic opening shots of the raging California fires, Gyllenhaal’s Joe Baylor is on screen for the entire run. He’s a detective on desk duty at the 911 call center pending his court case on charges that only become clear towards the end. Joe is also separated from his wife and daughter; a crucial element in how his shift plays out in front of us.

As we listen in on his first few calls, it becomes obvious how Joe’s time on the streets have fine-tuned his quick-to-judge persona. He’s not shy about telling callers their own choices are responsible for their current predicament. Just as he’s about to dismiss his latest caller Emily, his instincts kick in, and he discerns that she’s been abducted by her husband in a white van, and fears for her safety. This initial call between Joe and Emily is a work of art, and kicks off the nearly unbearable tension for the rest of the movie and Joe’s shift.

Fuqua and Pizzolatto infuse commentary unique to modern day America. The fires are always in the background impacting emergency resources, as well as the air being breathed. Police collusion and abuse of power are also an underlying aspect of what unfolds in front of us. Yet somehow, the film (perhaps accidentally) speaks to the immense pressure faced by law enforcement and how instincts and quick judgments are crucial to assistance and survival. Joe bounces from calm demeanor to explosive overreaction in the blink of an eye – or the beep of an incoming call. We witness how preconceived notions can lead one astray, even if they’ve worked in the past.

In addition to Gyllenhaal’s commendable performance, the film includes terrific voice work (via phone) from such actors as Riley Keough (as Emily), Peter Sarsgaard, Ethan Hawke, Da’Vine Joy Randolph, Christiana Montoya, and Paul Dano. Adrian Martinez and Christina Vidal appear alongside Gyllenhaal in the call center, although the single setting contributes to this being mostly a one-man show.

We understand that Joe Baylor is seeking personal redemption in his all-out pursuit to save Emily, and one line in the film speaks directly to this: “Broken people save broken people.” If you haven’t seen the original, you are likely to get caught up in the tension, and ask yourself many of the same questions Joe is asking himself at the end. Gyllenhaal previously teamed with director Fuqua in SOUTHPAW (2015), but this crime thriller is something different for both. If you are up to the challenge, watch this version and the original, so that you can compare the contrasting approaches.

Streaming on Netflix beginning October 1, 2021

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Posted by David Ferguson

CLEANIN’ UP THE TOWN: REMEMBERING GHOSTBUSTERS (2021, doc)

September 30, 2021

Greetings again from the darkness. For fans of the 1984 megahit GHOSTBUSTERS, this is the ultimate gift from the brother and sister filmmaking team of Anthony Bueno and Claire Bueno. It’s a deep cut “making of” feature that takes us behind the scenes for a detailed explanation of just how this comedy-horror-science fiction film made it to the big screen, became such a huge hit, and has maintained such an enduring impact.

If you’ve ever wondered about the origin of the story, you’ll be surprised to learn that Dan Aykroyd’s great-grandfather was both a dentist and a dedicated researcher of psychic phenomena and the paranormal. This documentary is filled with surprises and insider scoops on everything from the development of the script, the assembling of the crew, the craziness of the special effects team, and finalizing the cast. What makes this different from other ‘movies about movies’ is that many of the talking heads here are the crew and technicians from whom we rarely have access. There are even segments on the iconic logo and the popular theme song (“Who you gonna call?”).

Of course we also get interviews from the cast, including Aykroyd, Harold Ramis (who passed away in 2014), Ernie Hudson, and Sigourney Weaver. Mr. Hudson and Ms. Weaver are especially forthcoming – he about how his role as Winston was reduced at the last minute, and she about her audition and game-changing idea for her character Dana, a role she compared to the great Margaret Dumont. Many of the secondary characters offer insight as well, including Alice Drummond, Annie Potts, and William Atherton, the latter since stuck with a not-so-flattering nickname.

Director Ivan Reitman recollects many of the challenges, not the least of which were an incredibly tight time line for what was actually an experimental film for the times. They were given one year to formulate a script, secure the locations, finalize the costumes, film the gags, and create the ‘monsters’. The famed NYC Firehouse was used for the exterior shots, though a Firehouse in Los Angeles (built in the same year) was used for internal scenes. But the real fun here is supplied by the crew, eager to tell their own stories. The creation of Slimer, with John Belushi eyebrows, is taken from sketch to final. There is an extended sequence on the Stay Puft Marshmallow Man and the challenges incurred. Ray Parker Jr discusses his rapid work on the theme song, and we even learn about the siren on Ecto-1, the Ghostbusters iconic vehicle.

GHOSTBUSTERS: AFTERLIFE, the sequel to the 1984 original hits theaters this fall, and the sibling Buenos even have a documentary in the works for the GHOSTBUSTERS II (1989). It’s disappointing that neither Bill Murray nor Rick Moranis were interviewed for the film, and it’s really sad to learn that the salary demands of the great John Candy kept him from appearing in the original film (in the role ultimately owned by Moranis). Sure, we miss hearing the theme song, but this documentary is everything fans of the 1984 comedy masterpiece could want. And you’ll have to watch if you want to know the importance of the leopard howl.

In theaters October 1, 2021 and On Demand October 5.

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Posted by David Ferguson

WHAT BREAKS THE ICE (2021)

September 30, 2021

Greetings again from the darkness. We’ve seen movies where the seasonal residents interact with the locals, and often the class differences come into play. The term for northerners who head south for the winter is ‘snowbirds’. In the Hudson Valley, we learn the ‘townies’ have a nickname for the rich folks who come for the summer … ‘Joy Riders’. This is the first feature film from writer-director Rebecca Eskreis, and she displays a real feel for the contrast that exists between these two groups.

Madelyn Cline (BOY ERASED, 2018) stars as Emily, one of the wealthy ‘joy riders’ who befriends local townie Sammy (Sofia Hublitz, who is so good as the daughter in “Ozark”). For no good reason, other than Madelyn’s boredom, the two girls become friends. They hang out, play tennis, and have lunch together. One night they are at a party and things go bad with Sammy’s creepy stepbrother Travis (Joel Allen, THE PURGE, 2019). The event not only tests the friendship of Sammy and Emily, but also reveals character and secrets from the past.

The film opens with a cool shot of Hudson Valley, and in fact, cinematographer Greta Zozula does a nice job through the entire film. As you would expect with teenagers, things get complicated, and the class difference is only part of what makes the story and characters interesting. Supporting roles are filled by Lukas Gage (“The White Lotus”), Aimee Mullins (“Stranger Things”), and Shakira Barrera (“GLOW”), but most of the heavy lifting here comes courtesy of Ms. Cline and Ms. Hublitz, despite both being a bit too old to play teenagers.

Not quite at the level of THOROUGHBREDS, a similar movie from 2018, the film certainly proves Rebecca Eskreis is a filmmaker to follow. She understands small town dynamics, class disparities, and female friendships … and does so in a way that’s grounded and realistic. There is no staginess to this production, and we have a real feel for the characters almost immediately – a tribute to the actors and the script. 

In theaters and on Digital beginning October 1, 2021

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Posted by David Ferguson

FALLING FOR FIGARO (2021)

September 30, 2021

Greetings again from the darkness. There aren’t many Opera singer-Romantic Comedies, so that alone made this one worth checking out. Writer-director Ben Lewin (THE SESSIONS, 2012) co-wrote the script with Allen Palmer (his first feature film) and cast the film perfectly, while also gifting us an inordinate amount of beautiful singing voices, as well as a uniquely picturesque setting in the Scottish Highlands.

Danielle Macdonald (PATTI CAKE$, 2017) stars as Millie, an American who has been living in London, and establishing herself as a highly successful fund manager. After an evening at the opera with her boyfriend (and co-worker) Charlie (Shazad Latif, “Penny Dreadful”), Millie makes a life-altering decision. Rather than accept a big promotion at work, she’s going to sacrifice her career and follow her dream of becoming an opera singer. Of course, as with most rom-coms, none of this really makes much sense. Rather than compare this to reality, it’s best to enjoy the fun parts (and there are plenty) and disregard the rest.

Those fun parts begin once Millie leaves London and lands in the Scottish Highlands. Her first comical interaction is with the proprietor of The Filthy Pig played by Gary Lewis (GANGS OF NEW YORK, 2002). This only pub in the village also serves as its only restaurant and motel. More zaniness ensues as Millie auditions for Megan Geoffrey-Bishop (a terrific Joanna Lumley, “Absolutely Fabulous”), a “retired” singing teacher who once made her own mark on the stage. Her only current pupil is Max (Hugh Skinner, LES MISERABLES, 2002), a local who has been training for years. Max and Millie have the same goal – qualify for the ‘Singer of Renowned’ competition. So we immediately know where this is headed … and sure enough, it does.

While much of the story focuses on the ‘will they or won’t they’ connection between Millie and Max, it’s Ms. Lumley who steals every scene she’s in. Her theory that opera singers must suffer is part of her curriculum for both of her students. At first we aren’t sure whether she’s just taking Millie’s money because she needs it, but that answer comes soon enough. The actual competition is packed with amazing singing voices, and the three-way love story follows many of the rom-com clichés – though we don’t seem to care because Millie and Max are so torn between their dream and each other, and Ms. Lumley just keeps cracking wise.

Of course we know that opera singers train most of their lives for competitions and stage roles, so it’s absurd to think that a fund manager can take a year off work and reach this level. But again, this isn’t about reality. No, this is about Millie singing “Twinkle Twinkle Little Star” like you’ve never heard it before. It’s about “fish and chips without the vinegar”. It’s about not wanting to rent a room because the floor would need to be mopped. It’s about opening your heart and chasing a passion – following a dream. And we can all use a little of that right now.

In select theaters and on VOD beginning October 1, 2021

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Posted by David Ferguson

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