THE LOST LEONARDO (2021, doc)

August 26, 2021

Greetings again from the darkness. This is an unusual documentary from Andreas Keofoed. The first part examines the attempts to solve the origin mystery of a discovered painting, while the second half takes us inside the mysterious money side of the collectible art world. Both mysteries are fascinating on their own, and they blend together to track the 15 year history of a painting that may have come from the brushes of Leonardo da Vinci more than 600 years ago. Or it may not have.

We first meet Alexander Parish, a self-described “Sleeper Hunter” – one always on the lookout to purchase undervalued artwork. “That’s what I do”, states Parish. He’s the one who found the Salvator Mundi painting at a 2005 New Orleans art auction. He and his partner, Robert Simon, paid $1175 for the painting, though they had no idea what they were getting. Director Keofoed spoils any surprise, by delivering an opening credit graphic that traces the painting’s international travels over the next dozen years by itemizing the sales: $1175 in 2005, $83 million in 2013, $127.5 million in 2013, and $450 million in 2017.

Part 1: The Art Game focuses on the examination, investigation, and restoration of the painting. On one hand we have restorer Dianne Modestini meticulously working her magic to discover what she believes is without question, a da Vinci painting. On the other hand we have noted art critic Jerry Salz who is less skeptical and more mocking in his conclusion that not only is it not from da Vinci, it’s not even a ‘good’ painting. A great deal of effort goes into formulating the painting’s provenance – the family tree of ownership. This is crucial to the process in establishing whether it belongs with one of the 15 known Leonardo paintings, or perhaps, at best, from the work of his pupils.

Beginning with Part 2: The Art Game, the film shifts focus from the origin of ‘The Male Mona Lisa’ (as it was dubbed) to its sale and subsequent flip, and the associated investigation by the CIA into possible money laundering. It’s at this point where we meet Yves Bouvier and learn of his purchase and flip to Russian Oligarch Dmitry Rybolovlev, who is none too happy once he puts the pieces of the transaction together. The use of Freeports by the rich is also discussed. These high-security fortresses allow the owners to avoid taxes by maintaining a state of “in transit”. It’s also in this section where the role of Christie’s auction house comes into play and we learn of the brilliant hype/marketing of ‘The Lost da Vinci’.

When spending $450 million on an object, most of us would likely verify the item’s authenticity. But then most of us aren’t the Crown Prince of Saudi Arabia. Part 3: The Global Game details how the authenticity of the painting might not even matter when the purpose is to move or protect money. A “dark transaction” allows the purchase to remain anonymous, and when the identity is discovered, it’s clear that the art world is now about money, not art.

For some purists, the question of authenticity remains for the Salvator Mundi, and restorer Modestini remains haunted by her conclusion. The art of the deal is clearly less about the art and more about the deal. Leonardo da Vinci’s legacy is not impacted by this debate, but the impact of the painting on many other folks is undeniable … and it has served a purpose as an eye-opener and economics lesson for the rest of us.

Opens in select theaters on August 27, 2021

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Posted by David Ferguson

TOGETHER (2021)

August 26, 2021

Greetings again from the darkness. As expected, we are beginning to see an influx of “pandemic” movies and TV shows. What wasn’t expected is the unique and creative approach in this one from Co-directors Stephen Daldry (THE HOURS, 2002) and Justin Martin. The script is from Dennis Kelly and the writing, directing, and acting all work together seamlessly to create quite an unusual viewing experience.

The weight of the movie rests on the outstanding performances from James McAvoy and Sharon Horgan (GAME NIGHT, 2018). They don’t simply break the fourth wall, they outright obliterate it. These two characters, whose names we never learn, talk directly to us viewers at least as often as they do to each other. The story begins in March 2020 on the first day of COVID quarantine, and carries through for a full year. As we open, the relationship has admittedly run its course, though as the days go by, circumstances can change things. The two are joined in the house by 10 year old son Artie (Samuel Logan), who spends an inordinate amount of time hovering in the background, hearing the two adults say things he shouldn’t hear. They appear to devote very little time to the boy’s stress … although their own feelings are front and center.

It’s a bit off-putting at first as we adjust to the couple speaking directly to us. On top of that, the sharing of personal information and the overlapping dialogue of their caustic exchanges meant to hurt, make this feel a bit like we are intruding. But the conversations are so relatable since we’ve all experienced the uncertainty and frustration wrought by the pandemic. In a short amount of time, we understand these two. He shares the story of his early confrontation with a grocery clerk over his son’s food choices, while she explains the guilt associated with an ailing elderly mother during a lockdown. Their “mushroom” story is certainly one for the ages, and again, provides much insight into these two people of distinctly opposite political spectrums.

Daldry and Martin filmed this in just 10 days, and with the entire piece taking place on the lower level of the couple’s flat, the film has a definite stage feel – accentuated by the long takes and aura of live performances. The dialogue stands in for action, and Ms. Horgan’s explanation of the reality of “exponential growth” in regards to COVID is one of the most stunning math classes you’ll attend. This is a case study of personalities and the relationship effects of a pandemic, and it is infused with enough dark comedy to keep it entertaining, rather than depressing. Some similarities exist to the SXSW film THE END OF US, though this one is quite a different viewing experience.

Bleeker Street is releasing TOGETHER in theaters on 8/27/21 and digitally on 9/14/21

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Posted by David Ferguson

THE OUTSIDER (2021, doc)

August 23, 2021

Greetings again from the darkness. September 11, 2001 was “a blue sky day” in New York City. Until it wasn’t. Co-directors Pamela Yoder and Steven Rosenbaum previously collaborated on 7 DAYS IN SEPTEMBER (2002), a documentary focusing on how the tragic events of that day impacted the lives of various folks. Their work on that film led the filmmakers directly to this project which examines the seven year process of opening the National 9/11 Museum at Ground Level. The result is as much a case study in personality clashes as it is a recording of artifacts.

Yes, we do see some of the archival video footage that deep down we always hope to never see again. The towers collapse, the air is clouded, and people are panicked. Soon after the attack, Michael Shulan converts his Soho storefront space into a crowd-sourced photo exhibit called “Here is New York. He invited people to bring their own photos for display. Shulan had instinctively created a shared space where people would come to pay tribute to lives lost and remember the day that should not be forgotten. A few years later, something strange happened … Michael Shulan was named Creative Director of the museum that was in the early planning stages.

Shulan’s vision conflicted at times with Museum Director Alice Greenwald’s vision. “What should the museum be?” Ms. Greenwald had run the Holocaust Museum in NYC, and had a definite idea of what this should be, while Shulan had zero museum experience and wondered if they were creating a memorial or a museum. He wanted to provoke questions, while she wanted to provide answers. A $500 million budget was at stake, and they couldn’t even agree on the approach.

We get a countdown to the museum’s opening, and even hear from the Construction Manager as work proceeds. ‘The Last Column’ provides for an interesting segment, and we see the flood that affected many of the collected artifacts. Michael Bloomberg’s influence is noted, and we see the ‘composite’ – the compacted floors on display. The documentary does focus on emotions, but it’s not the emotions we typically associate with 9/11. Instead, it’s Shulan’s disappointment and frustration. The film touches on the criticism received from the family in regards to the high ticket costs and souvenir shops, and it’s the posted quote that sticks with us: “No day shall erase you from the memory of time.”

Available now on VOD

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Posted by David Ferguson

FLAG DAY (2021)

August 19, 2021

Greetings again from the darkness. Life is full of choices, however sometimes destiny takes charge and there’s little we can do about it. One’s parents are the most obvious and crucial example. We don’t choose our parents and yet their impact on our lives is unavoidable. Jennifer Vogel’s book, “Flim-Flam Man: The True Story of My Father’s Counterfeit Life”, has been adapted for the screen by the FORD V FERRARI screenwriting brothers, Jez Butterworth and John–Henry Butterworth. The film is directed by two-time Oscar winner Sean Penn, who also co-stars.

Told through the eyes of Jennifer (played here by Sean Penn’s daughter Dylan Penn, a lookalike of her mother Robin Wright), this is the “based on a true story” of John Vogel, but also the story of Jennifer, who managed to overcome challenges that stemmed from her far-from-ideal childhood. Jennifer’s mother Patty (Katheryn Winnick, “Vikings”) is an alcoholic and has a tumultuous marriage to John, a con man who constantly spews bombast and fabrications (aka lies) as he tries to scam the system and impress his family with his big plans (that go nowhere).

Since the film opens with a law enforcement standoff, and with Jennifer being interviewed by a Federal Marshal (Oscar winner Regina King), we know how John’s saga concludes, and most of the movie is spent in Jennifer’s memories to paint the picture of her dad and her life. Some of these are “flashes” of moments, while others are extended segments where we really get a feel for the father that cluttered a daughter’s mind and life. It’s tough to watch 105 minutes of a guy with little redeeming value.

This is not the place to detail what we see, but it’s at times disturbing to see the memories of a father who doesn’t so much slip in and out of the lives of Jennifer, younger brother Nick (played by Sean’s son Hopper Jack Penn), and mom Patty, as he appears and vanishes in proverbial explosions akin to the Wicked Witch of the West. Given that her mom is equally inept at parenting, high school Jennifer seems destined to follow in her father’s footsteps.

Covering a period from 1975 through 1992, we see Jennifer as a young kid, and then Ms. Penn takes over the role in high school. She is also our narrator, some of which is overwrought for a film that mostly strives to stay grounded in family dynamics, as Jennifer works to overcome. In addition to the previously mentioned appearance by Ms. King, there are also brief yet effective turns by Josh Brolin (as John’s brother Uncle Beck), Dale Dickey (as John’s crusty mother), Norbert Leo Butz (as Patty’s sleazy boyfriend), and Eddie Marsan (near the film’s end).

In addition to overuse of voiceover, director Penn includes a few too many song/musical interludes. Some of these songs are excellent (Cat Power, Eddie Vedder, Glen Hansard), but they feel a bit heavy-handed and forced into the film. In fact, melodrama is chosen over nuance on multiple occasions, but when the film is good, it’s very good. The best scenes are between father and daughter, Sean and Dylan, the latter of which shows flashes of incredible depth. We look forward to more of her work. As for Sean, can you name another actor whose natural look better exemplifies a guy who has had the snot kicked out of him by life (even if he’s made his own bed)? He portrays John Vogel as a con man who believes achieving the American Dream is something he’s owed, not something to earn. His love of Chopin is not enough to excuse his horrific parenting, scamming, or felonious behavior. There are various forms of freedom, and Jennifer must discover freedom from someone who has prevented you from being her true self.

Opens in select theaters on August 20, 2021

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Posted by David Ferguson

THE MAGNIFICENT MEYERSONS (2021)

August 19, 2021

Greetings again from the darkness. It might have been quite enjoyable had we just continued to eavesdrop on Kate Mulgrew and Barbara Barrie as they strolled through the park talking about life – past, present, and future. Their segment is easily the highlight of the film, and unfortunately, it’s difficult to put a positive spin on any other piece of this project from writer-director Evan Oppenheimer. Okay, some of the drone shots of New York City are lovely, however, it’s important to know when enough is enough.

The film opens by introducing the titular Meyersons. Ian Kahn plays eldest son Roland, a grumpy, uptight dude who seems to care only about 3 things: his young daughter, his success in business, and his strength in holding the family together during tough times. Relative newcomer Jackie Burns plays eldest daughter Daphne, who is married to nice guy Alan (Greg Keller), and she’s the type who holds grudges against him for what she dreamt, and keeps secrets that shouldn’t be kept. Shoshannah Stern plays Susie, the deaf daughter with an unscrupulous business plan and a luminescent also-deaf girlfriend Tammy (Lauren Ridloff, “The Walking Dead”). Youngest son Daniel (Daniel Eric Gold, a Josh Groban lookalike) is a Rabbi-in-training, while questioning all aspects of religion.

Most of the Meyersons are not very adept at being decent human beings. Their mother is played by the aforementioned Ms. Mulgrew (“Orange is the New Black”, Star Trek: Voyager”), and she’s a pediatric Oncologist, who questions her career choice since she has to regularly deliver such horrific news. Ms. Barrie plays her mother Celeste, who seems to be the only one with any real perspective on life or the family. Also appearing is terrific character actor Richard Kind as father Morty Meyerson, who is seen mostly through flashbacks prior to abandoning his family some twenty years prior.

It’s quite possible this would work better as a stage play, but that would mean the loss of the multiple street shots of the city, which are far more interesting than most of the conversations we are forced to hear. If a filmmaker chooses to fill the screen with a bunch of whiny New Yorkers, the whining should at least be interesting and/or entertaining. And while it’s understandable for a director to want to give his own child some screen time, all objectivity cannot be surrendered. This is quite simply a painful and laborious film to sit through. I don’t say that easily or often, as I inevitably find something or someone to latch onto in the 250+ movies I watch each year. This time I failed.

Limited theatrical release in NYC on August 20, and Los Angeles August 27

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Posted by David Ferguson

CODA (2021)

August 12, 2021

Greetings again from the darkness. Ruby Rossi is a high school student. She is also a CODA – Child of Deaf Adults. Her older brother is deaf too, meaning Ruby’s life has been spent as an interpreter for her family, while also working on the family fishing boat in Gloucester, Massachusetts, where they are treated as outcasts and viewed as oddities by others. Ruby also loves to sing and listen to music, activities she can’t share with her family. This is no coming-of-age tale, as Ruby has long been wise beyond her years. It is, however, a story of a young person finding their true self and breaking from the ties that bind to the only life she’s known.

Emilia Jones (HIGH-RISE, 2015) stars as Ruby, and we first see her slinging fish on the boat with her father Frank (Troy Kutsor) and brother Leo (newcomer Daniel Durant). Ruby belts out songs while the two men handle their duties, unaware of the lovely melodies filling the air. At home, the dinner table conversation is handled through ASL (American Sign Language) with mom/wife Jackie (Oscar winner Marlee Matlin, CHILDREN OF A LESSER GOD, 1986) leading the way.

At school, Ruby is an outcast due to her clothes, the lingering aroma of fish, and her “weird” family. With a silent crush on Miles (Ferdio Walsh-Peelo from the excellent SING STREET, 2016), Ruby signs up for choir, but freezes during the audition. The choir director, Bernardo (roll the r’s) Villalobos, is played energetically and colorfully by Eugenio Derbez (OVERBOARD, 2018), and he offers encouragement to Ruby – mostly because she has a beautiful singing voice. Bernardo explains how her singing voice offers a path to college, something she’s never before considered due to family responsibilities.

There is a lot going on in this film from writer-director Sian Heder (TALLULAH, 2016). It’s obviously adapted from the 2014 French film LA FAMILLE BELIER, and plays as a mainstream crowd-pleaser, when it just as easily could have been a deep cut indie film. Ms. Heder’s approach means a larger viewing audience, though there are elements we wish had been further explored. The teen romance never really clicks, and there are hints that Bernardo’s story holds more levels than we get. However, the Rossi family dynamics are quite something to behold. Father Frank wears his emotions on his sleeve. Sometimes those emotions are angry and bitter, while other times quite comical or even horny (for his wife). Brother Leo wants desperately to lead the family business towards prosperity. He has ideas for growth, but is frustrated being dependent on Ruby as a conduit to the community.

Mother Jackie and Ruby have a typical mother-teenage daughter relationship. The mother wants status quo where the daughter remains an integral part of the family, while the daughter wants her mom to acknowledge the dreams for a different life – one that capitalizes on her talents. When Jackie questions her daughter on her singing, she does so in the most hurtful way possible (brilliant writing). And yet, when mom recounts Ruby’s birth, the love is as clear as the disconnect … and likely to draw a tear or two. Filmmaker Hader serves up numerous strong scenes, but two really stood out for this viewer. First, when Ruby is singing on stage, we “hear” what the parents hear, and their pride is obvious. The second occurs when dad asks Ruby to sing for him as they are perched on the backend of the car. It’s phenomenal acting by Kutsor, and further clarifies a lifelong father-daughter bond … and the first time he fully comprehends her talent. All four leads give strong performances, and it’s a star-making performance from Ms. Jones (think a young Saoirse Ronan).

Apple paid a record-breaking $25 million for the film’s rights at Sundance, and the mainstream appeal of this family drama sprinkled with comedy and life messages is indisputable. So while my preference would have been more focus on the ‘outsider’ aspect of the Rossi family in the community, it’s easy to see why this choice was made. It’s an entertaining film that will likely land on many year-end “Best” lists. Maybe even mine.

Streaming on AppleTV+ on August 13, 2021

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Posted by David Ferguson

NOT GOING QUIETLY (2021, doc)

August 12, 2021

Greetings again from the darkness. Nicholas Bruckman provides an intimate profile of a fascinating man, Ady Barkan, a brilliant and relentless advocate for health care rights. Barkan’s ALS diagnosis and commitment to cause is interesting enough to carry the film, but by following Barkan, the film serves a dual purpose of educating us on activism and political maneuverings.

Bruckman bookends his film with Ady’s testimony to a congressional committee on healthcare. He’s in a wheelchair and speaking through an eye-controlled speech machine, similar to the one we saw Stephen Hawking use for many years. We then flashback 3 years to meet Ady’s wife – his college sweetheart Rachael – at their home in Santa Barbara, California. As an attorney and activist, we get to know Ady as a man who cares deeply and is committed to fighting injustice. He’s especially keyed in on healthcare and social issues.

At only 32 years of age, Ady is diagnosed with ALS. Amyotrophic Lateral Sclerosis is commonly referred to as “Lou Gehrig’s Disease”. He explains that there is “no cure, and very little treatment”, and that the doctors tell him he has three to four years to live. Ady explains that “dying is bad”, but dealing with the insurance company is even worse. The ventilator prescribed by is doctor is deemed “experimental” by the insurance company, meaning it’s not covered. So what would any good activist do? Well Ady, turns his own experience into a crusade. He founds the #BeAHero campaign with Liz Jaff, a social media strategist. She films Ady’s interactions and confrontations with politicians, and they put together a 40 day, 30 congressional district road trip in a specially equipped RV. Their team also includes Tracey, who leads the role-playing on birddogging politicians, and Ady’s friend Nate, who assists him with the physical challenges. Their goal is to flip the House in the 2018 election.

Ady Barkan is a funny, intelligent, informed, opinionated, and impassioned man. He knows how to speak to an audience, as well as to politicians who don’t share his commitment to healthcare rights, including coverage for pre-existing conditions. On the trip, Ady’s health and condition deteriorate before our eyes. It’s frightening to watch, knowing how quickly his body begins to fail. But his spirit and his team are relentless, and when circumstances force the dialogue and cause to shift, there is no hesitation.

Bruckman avoids turning Ady into a one-dimension savior. We get to see him with his precocious young son Carl, who was born one year after Ady’s diagnosis. Rachael probably doesn’t get the screen time she deserves as working mother and caregiver, but it’s clear this family has chosen to live every minute they have, and even plunge into the future with optimism. Ady notes how losing his voice is worse for him than paralysis, but his eyes light up when he’s with his family. We aren’t sure which aspect of Ady is most inspirational, but it’s obvious that he’s a special man. This was an Audience Award winner at SXSW, and deservedly so.

In theaters August 13, 2021

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Posted by David Ferguson

THE MEANING OF HITLER (2021, doc)

August 12, 2021

Greetings again from the darkness. The Holocaust and Nazi Germany. No subjects are likely even close in regards to the number of documentaries on topic. Yet somehow, there always seems to be more to mine. Co-directors Peppa Epperline and Michael Tucker have based their project on the 1978 book by Sebastian Haffner. The objective is to pull back the curtain on the self-conceit at the center of the cult of Hitler. How did this happen? How has it been repeated? How do we expose this without adding to the fascination of Hitler? It’s quite a conundrum, and one not easily navigated.

One of the first points made near the film’s beginning is that most agree understanding Hitler is not possible. So by that definition, a cinematic pursuit for meaning is a futile undertaking. But that doesn’t stop the filmmakers from trying. On their quest, they interview many experts and travel to various places of interest – museums, historical sites, camps, and even Treblinka.

Hollywood’s fascination with Hitler is discussed, including Mel Brooks’ THE PRODUCERS (2005) and the “Springtime for Hitler” sequence, Quentin Tarantino’s INGLOURIOUS BASTERDS (2009), and the superb DOWNFALL (2004). An excellent point is made in regards to the film comparisons of how Hitler’s suicide is typically portrayed behind closed doors, while Holocaust victims are not afforded such dignity. There is even a segment on Leni Riefenstahl’s documentary on the Nazi way, TRIUMPH OF THE WILL (1935). Novelist Francine Prose labels the work, “kitsch”.

Infamous Holocaust denier David Irving is featured, and we hear him describe Auschwitz as “not important”. The technological advances in microphones are explained in regards to how the “Hitler bottle” allowed him to be more demonstrative during speeches, often resulting in working the audience into a frenzy. Interviews are included throughout the film, and feature historians (Saul Friedlander), authors, deniers, psychologists, and even Nazi hunters.

“Fascinating Fascism” is examined as pageantry and spectacle and other enticing aspects. The theatrical presentation that led to this fetish might today be termed marketing. It’s a bit of a relief to see the filmmakers avoided focusing too much on the parallels to a particular modern day phenomenon, despite the timing being right to study similarities. They do, however, make the comparison to Beatlemania, and how history has a tendency to repeat itself in various forms.

The film bounces around some, with certain segments more insightful than others, and there are some astounding points made. One of those interviewed states, “The Nazi ideals were acted out by people who were absolutely normal.” It’s a frightening thought. Another discusses the human conflict: humans are animals that kill, as well as being herd animals. The Nazi mission played into both. What the film left me with was the belief that the Nazi propaganda has been repurposed as history, leading to the fascination, whereas the focus of that era should be something else.

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Posted by David Ferguson

CRIME STORY (2021)

August 12, 2021

Greetings again from the darkness. Thanks to (or maybe because of) Stallone, Schwarzenegger, Bruce Willis, and Liam Neeson, we are rarely without a senior citizen action film. However, it’s a bit surprising for most of us to see Oscar winner Richard Dreyfuss (THE GOODBYE GIRL, 1977) load up his gun and take to the streets for revenge. Writer-director Adam Lipsius scored a double Oscar coup by also casting Mira Sorvino (MIGHTY APHRODITE, 1995) as Dreyfuss’ detective-daughter.

“Based on actual events”, Mr. Lipsius bookends the film with the elderly Ben Myers (Dreyfuss) riding in the back of a limousine. He’s barely coherent, but in the opening we can make out, “If I wake up, I’ll choose different.” We then flashback 12 hours to re-live what is likely Ben Myers’ worst day ever. He’s been diagnosed with terminal cancer, and though he’s a former mobster, he says he went “legit” 12 years ago, and runs a local bar with his loyal-to-a-fault sidekick Tommy (the always interesting Pruitt Taylor Vince). Ben’s estranged daughter (Sorvino) hits him up for money she says is for the daughter and grandkids that Ben has never acknowledged. Next thing we know, Ben’s house has been robbed of all his cash (a quite substantial amount) and trashed by 3 men who take advantage of Ben’s beloved dementia-stricken wife Nan (Megan McFarland).

This kicks off Ben’s mission of revenge. Gun by Glock, body by Devito. His daughter is concerned he’s taking this on by himself, and there is the added complication of her working for a politician that Ben once helped out of what would have been a career-ending jam. In fact, there are so many sub-plots, sub-sub-plots and characters who come and go, that much of this makes little sense. It works best when focusing on an aging (former) mobster trying to even the score, and gets a bit shaky when it reverts to dysfunctional family stuff. I believe there are five crying scenes, which is entirely too many for any movie not named SOPHIE’S CHOICE.

For those of us who recall Dreyfuss from his early TV days, a brief appearance in THE GRADUATE (1967), and of course in AMERICAN GRAFFITI (1973) and JAWS (1975), there is some enjoyment to be had in watching ‘Mr. Holland’ take a violent approach to revenge … though he’s certainly no AARP reincarnation of John Wick. Overall, it’s a pretty generic take on geriatric anger, with bonus points for a spot on description of what it feels like when one’s spouse is ravaged by dementia.

Arrives August 13, 2021 in select theaters, On Demand, and on Digital

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Posted by David Ferguson

NINE DAYS (2021)

August 5, 2021

Greetings again from the darkness. The meaning of Life is an ambitious topic to tackle for any filmmaker, but certainly as a first feature film. Japanese-Brazilian writer-director Edson Oda not only doesn’t shy away from existential questions, he has found a creative way of exploring these, leaving us with plenty to discuss after viewing. His approach is often bleak and slow-moving, yet his film excels in pushing us to examine our own attitude and appreciation for the gift of life.

Winston Duke (US, 2019) stars as Will, a kind of guardian angel charged with selecting the replacement souls after deaths occur on his watch. Will has a wall of old-style tube TVs, each with its own VCR wired up. He spends his time watching folks go about their lives. He takes notes and maintains files. See, those he watches are the ones Will previously selected for life. He picks his team, but he no longer plays the game (although he was once alive). His job now is to tweak humanity in the right direction by selecting “good” souls who are tough enough to handle life – not overly sensitive types, and certainly not those too self-centered.

There is no denying Oda’s film is high-concept, and some may outright dismiss his premise. What if pre-life was a competition to determine worthiness?  Will sets up nine days of interviews for the next round of souls. Of course, some won’t last the full nine days, but the process involves a series of quizzes as the candidates watch the wall of TVs and offer up their answers to Will’s questions. Well, all but one, that is. Emma (Zazie Beetz, JOKER, 2019) is a free-spirited soul who sees Will for what he is and what he was. She answers his questions with her own questions, or simply states that she can’t answer. He is intrigued and frustrated by her willingness to play this out in her own way.

Tony Hale (“Veep”) and Bill Skarsgard (IT, 2017) are a couple of the other candidates, and each has their moments to shine. Benedict Wong (DOCTOR STRANGE, 2015) plays Kyo, Will’s co-worker and the one who assists him with the interview process. Kyo also strives to make sure Will maintains some humanity, despite a recent event that shook him to his core, and now has Will second-guessing himself. As Emma slowly gets Will to open up about his ‘alive’ time, we also see how Will recreates a special moment for the candidates as they are dismissed … providing them with a taste of life.

A ‘taste of life’ is fitting because the point Oda is trying to make is that the best parts of life are emotions and sensations – the intangibles that bring joy, fear, and sadness. It’s not all cupcakes and unicorns, and being so tough to block out the senses is not the best way of living. Without him realizing, Emma helps Will re-connect with his inner-being of when he was alive. His re-awakening is a highlight.

The candidates are informed that, if chosen, their memories will be wiped clean, yet “you’ll still be you”. This conforms to the theory that much of who we are is inherent at birth. Again, some may disagree. Oda’s film will inspire thought and debate. If each of us aced our pre-life interviews, let’s make the most of it!  This is a terrific film with a unique look and style, and a standout performance from Winston Duke. We can only hope enough folks take the time to watch and think about the message.

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Posted by David Ferguson

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