@ZOLA

July 1, 2021

Greetings again from the darkness. As far as I can tell, this is the first feature film based on an actual Twitter thread. Writer-director Janicza Bravo (LEMON, 2017) works with co-writers Jeremy O Harris and the real life Zola, A’Ziah King to mold the viral 148 Tweets (#TheStory) from 2015 into a somewhat coherent film that may just provide a bit more insight into the social media world than we’d prefer in one sitting. A24 movie studio proves yet again their original, creative, and unique films are unapologetically outside the industry norm … and they are generating quite a loyal following because of it.

Taylour Paige (Dussy Mae in MA RAINEY’S BLACK BOTTOM, 2020) stars as Zola, a waitress with perfect certain “features” according to one of her customers. Zola and Stefani (played by Riley Keough, Elvis’ granddaughter who continues to build a strong and diverse resume, including a standout performance in AMERICAN HONEY, 2016), have an instant connection, and the next day they are off on a road trip to Florida to make big bucks dancing at exotic clubs. Accompanying them are X (Colman Domingo, Cutler in MA RAINEY’S BLACK BOTTOM, 2020), and Derrek (Nicolas Braun, “Succession”), Stefani’s doofus boyfriend.

Be forewarned: this is not the zany female buddy comedy the trailer teases. It’s a dark, twisted comedy laced with dangerous situations and violence. While Zola was led to believe this was a dancing trip for real cash, it turns out X is really Stefani’s pimp, and though Zola stands firm in not taking the sex for cash route, she’s prevented from leaving by a forceful X, no longer the charmer she first encountered. Zola’s wise-to-the-world ways allows her to assist Stefani in upping her cash flow, but things go wrong when Derrek socializes outside the group.

After the infamous Twitter thread, “Rolling Stone” writer David Kushner published an article entitled, “Zola Tells All: The Real Story Behind the Greatest Stripper Saga ever Tweeted”. This is an alternate universe to many of us, though it’s pulled from the “pages” of today’s online culture. Much of the dialogue is in Twitter-speak, and the new Tweet ding is used to emphasize certain spoken lines (think rim shots). Director Bravo instills the “B-word” at the same pace that Tarantino uses the F-word, and it should be noted that both actresses are terrific. Ms. Keough will likely make you laugh, while simultaneously making you uncomfortable. It’s a case study in cultural appropriation – especially her dialect, which is purposefully offensive. We aren’t accustomed to seeing this type of humor these days, but Keough is to be commended for going all in. Ms. Paige’s performance is much different, but no less impactful as her Zola tries to make the best of a horrible situation.

This is a wild story with characters I can only hope you don’t recognize from your own life. It begs the question, what kind of relationships arise from social media? We go a bit deeper on Zola, but really we don’t know much about these people. They are as deep as social media allows, while also serving up a warning to those who might somehow believe internet interactions are anonymous and harmless.

Now showing in theaters nationwide.

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Posted by David Ferguson

A&E Biography: KISStory (2021)

June 27, 2021

Biography: KISSTORY (2021, 2-part Documentary)

Greetings again from the darkness. Even for those who aren’t rock ‘n roll fans, there is a familiarity and curiosity about the band KISS and their fans, known as the KISS Army. It’s the face make-up, the outlandish costumes, the raucous concerts, the best-selling albums, and of course, that tongue. Director D.J. Viola, working in conjunction with A&E’s “Biography” series, has put together a comprehensive 2-part documentary billed as a backstage pass to the history and impact of the band.

KISS has been performing and recording for almost 50 years, and Volume One (as the first episode is titled) goes back even further, as we learn Gene Simmons was born in Israel and moved to the U.S. in 1958, while Paul Stanley was born in Queens. The two men met in 1970, and much of the time is spent with the two co-founders of the band recollecting those early years. Viola chronicles their memories with clips and photographs, as well as commentary from others. The band’s “End of the Road” tour, supposedly their farewell act, began in 2019 and has been suspended until August 2021 due to COVID.

The early formation of the band is a bit unusual, as Gene and Paul found drummer Peter Criss from an advertisement Criss put in the newspaper, and Ace Frehley answered the band’s “Village Voice” ad for a lead guitarist. 1973 brought the first KISS photograph, their earliest known recording, and the earliest concert footage. Their time in Electric Lady Studio, the same one used by Jimi Hendrix, is recalled with reverence, and we get to hear how the band was committed to being “big” on stage, and were influenced in their style by New York Dolls, Alice Cooper, and the idea of a full musical production on stage. It didn’t take long for smoking guitars, airborne drum sets, blood baths, and pyrotechnics to become inseparable from the music and these comic book heroes.

Each band member created their own makeup and character. For instance, Gene’s demon was supposedly influenced by “Phantom of the Opera”. Their new manager, Bill Aucoin recognized the potential and hooked them up with Neil Bogart’s Casablanca Records. By 1975, the band had their anthem, “Rock ‘n Roll All Nite”, and as Dave Grohl describes, their stage show was “ballistic”. Despite all of that, they were definitely a “people’s band, not a critics’ band”, and it took the huge success of their “Alive!” album to save the band and the record label. And what typically follows success?  Yes, turmoil. By 1982 both Criss and Frehley had left the band, due to drugs and creative differences.

Volume 2 of the two-part documentary focuses on the band’s ever-changing musical styles and various personnel changes at drummer and lead guitarist, as well as the rollercoaster ride of popularity and faded stardom followed by recapturing the magic. It’s difficult for a band to reinvent themselves once their look, style, music, and stage show have garnered such a loyal following. Disco, dance music, androgyny, and a rock opera didn’t work for the band or their fans, and Gene and Paul readily admit they spent some years floundering.

It was 1983 on MTV when the band first appeared without makeup, in yet another attempt to reinvent themselves. After the split with Criss, Frehley, and Aucoin, the next dozen years brought multiple lead guitarists, the tragic loss of one drummer to cancer, and even a delve into acting by Simmons. It was an appearance on “Unplugged” in 1995 that led to a huge reunion tour for the band, including KISS Convention – a traveling museum for fans. Predictably, the big bucks tour as not enough to stave off yet another band breakup. Gene and Paul were the leaders of the band, as they were the two that had stuck it out through good times and bad.

This is a band that has sold more than 100 million records and countless concert tickets over a five decade span. Self-destructive band members, an addict as a manager, and changing music tastes of the public were all obstacles that couldn’t ultimately stop the band. Peter Criss and Ace Frehley declined to participate in the making of this documentary, so we have to accept most of this is told from the viewpoint of co-founders Paul Stanley and Gene Simmons. Still, it’s been a fascinating journey for one of rock’s most unusual bands. If it truly ends after the farewell tour, their place in history is secure (2014 inductees into the Rock ‘n Roll Hall of Fame). Until then, “You wanted the best, you got the best. The hottest band in the world. KISS!”

The four hour, two-night event airs on A&E on Sunday, June 27 and Monday, June 28, 2021, from 9-11pm ET/PT.

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Posted by David Ferguson

THE ICE ROAD (2021)

June 24, 2021

Greetings again from the darkness. Somehow, it’s already time for Liam Neeson’s semi-annual macho thriller. In this one, he gets to drive a big rig. Over a frozen river. He also gets to wear flannel, chew on a toothpick, and punch two guys (but no wolves) … all while doing the right thing in order to save some trapped miners. And it’s not about the money. Well, it starts out about the money, but in the end, it’s not about the money!

Neeson stars as Mike, a trucker whose spotty employment record is likely as much his own doing as it is that of his brother John/”Gurtie” (Marcus Thomas), who is not just a super mechanic, but also a war veteran with some mental challenges. The VA hospital quickly diagnoses Gurtie with PTSD and prescribes multiple pills for him. Mike tosses out accusations and the pills, as the two brothers head to Winnipeg for a rescue mission.

Jonathan Hensleigh also wrote and directed the 2011 film KILL THE IRISHMAN which I enjoyed. This time he serves up some nice opening shots that give us a real feel for the isolation and frozen tundra of the setting. When the mine collapses, trapping the workers, the oxygen clock starts, and Goldenrod (Laurence Fishburne) is charged with finding 2 other available and experienced truckers who can drive over the ice road and deliver the necessary equipment within 30 hours. Mike and Gurtie are chosen for one truck, and Tantoo (Amber Midthunder, “Legion”) is chosen for the other. She has extra incentive, as her brother Cody (Martin Sensmeier, WIND RIVER, 2017) is one of the trapped miners.

We do get brief segments with the miners, including Cody and Lampard (Holt McCallany, “Mindhunter”) who are focused on saving as many men as possible. Of course, all of this is the fault of yet another big, bad corporation led by a profit-oriented GM (Matt McCoy, known by “Seinfeld” fans as Lloyd Braun). Along for the ride with the truckers is Varnay (Benjamin Walker, ABRAHAM LINCOLN: VAMPIRE HUNTER, 2016), introduced as an insurance actuarial. And yes, there’s more to his story.

If you’ve ever seen “Ice Road Truckers” on the History Channel, you have some idea what’s about to occur. Thrills, chills, and unforeseen obstacles come at a rapid-fire pace … as if driving 75,000 pounds on 30 inches of slowly melting ice-covered rivers wasn’t enough. This is a wild movie, so expect even more. The bobbleheads on the dash aren’t just good luck charms, and everyone isn’t who they seem. Big companies who cut corners and those who don’t treat vets properly are the targets here, but it’s to be enjoyed as a frigid and perilous rescue mission – and one more chance for Liam Neeson to prove he’s a man’s man.

Available on Netflix beginning June 25, 2021

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Posted by David Ferguson

LANSKY (2021)

June 24, 2021

Greetings again from the darkness. If asked, the vast majority of movie lovers would name THE GODFATHER (1972), THE GODFATHER II (1974), and GOODFELLAS (1990) as the quintessential mafia movies. Sure, there are dozens of others, but that mob triumvirate has ruled the roost for many years. It’s doubtful writer-director Eytan Rockaway ever gave one moment of thought that his second feature, written from a story by his father, author Robert Rockaway, might join the ranks of those top three, but that doesn’t prevent it from being a quite interesting tale based on true events.

Sam Worthington (AVATAR, 2009) stars as David Stone, a writer who had some success a few years back with his Kennedy biography. Since then, he’s struggled in both his personal and professional life. In 1981 when an elderly Meyer Lansky (Harvey Keitel) contacts him to write the true Lansky story, David jumps at the opportunity, seeing it as a solution to his many problems. The two men meet at a Miami diner that Lansky frequents. These diner meetings form the structure of the story, and director Rockaway uses flashbacks to the 1940’s to “show” us what Lansky is telling his biographer from the booth.

John Magaro plays the younger Lansky, a man who is remarkably good with numbers and calm, yet forceful, in his demeanor. Lansky has partnered with Ben “Bugsy” Siegel (David Cade), who provides some muscle and flamboyance that Lansky lacks. We see the development of their business, and how Lansky’s shrewd business acumen leads to a connection with Lucky Luciano, as well as providing the government with intelligence during the war. Lansky’s story to David glosses over the bootlegging and other revenue streams to concentrate on gaming, which of course, is now legal in many states.

The supporting cast includes Minka Kelly as David’s fling at the motel, AnnaSophia Robb as Lansky’s wife Anne, Shane McRae as Lucky Luciano, and David James Elliott as the FBI Agent obsessed with solving the long-dead Lansky case and locating the $350 million supposedly hidden away. As you might expect, the story bounces from Miami to New York City to Cuba (a stunning Colonial Hotel in Havana) to Vegas to Geneva and even Israel, where Lansky attempted, unsuccessfully, to live out his life.

Lansky’s biggest impact was facilitating the connection between the Italian, Irish, and Jewish mafia at a time when so such bond existed. We twice hear him answer, “I have no knowledge on the subject”, when questioned about organized crime. On his death in 1983, Lansky had no convictions – all charges had been dropped. A doctor’s diagnosis of terminal lung cancer led him to reach out to an author so that his story could be told. We don’t learn much about “Murder, Inc.” but we do understand Lansky’s commitment to “control the game”. Rockaway has delivered an intriguing profile of an enigma from inside the mafia … and screen vet Keitel makes it all believable.

In Select Theaters & On Demand June 25, 2021

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Posted by David Ferguson

MARY J BLIGE’S MY LIFE (2021, doc)

June 24, 2021

Greetings again from the darkness. The project began as a way to document the 25th anniversary of Mary J Blige’s enormously influential album “My Way” and her celebratory live performance to mark the milestone of the album. Vanessa Roth won an Oscar for Best Documentary Short Subject FREEHELD (2007), and as director of this film, she turned it into a profile of the woman behind the music, resulting in surprisingly effective life lessons for those in need.

As if to caution viewers that this is more than a concert film, we are five minutes in before director Roth allows us to hear Mary sing. We learn of her childhood in poverty living in the Yonkers projects, and how singing was her escape – a way to feel free. It was Sean “Diddy” Combs who discovered her for Uptown Records. Of course, Combs is now a hugely successful producer, musician, and entrepreneur, and he’s forthcoming in his recollections of those early years. “My Life” was Mary’s second album, and she’s credited with blending hip-hop and R&B and bringing a new music style to the masses. How successful has she been? Try 31 Grammy nominations (9 wins) and Two Oscar nominations (including one for acting).

Actress Taraji P Henson and multi-Grammy winning musician Alicia Keys both provide perspective on Mary’s influence, not just in the music world, but also in helping women believe in themselves. Mary J Blige has had emotional struggles, survived an abusive relationship, and overcome addictions to drugs and alcohol. Sharing her story and how she has persisted through the years turns this into a story of feelings, truth, and heart. The music is impressive and provides the platform, however, it’s the woman who shines through here.

Available exclusively on Amazon Prime Video on June 25, 2021

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Posted by David Ferguson

CHASING CHILDHOOD (2021, doc)

June 23, 2021

Greetings again from the darkness. Yours truly is of the age where childhood presented an abundance of freedom to play unsupervised outside, parenting years were filled with coaching and volunteering for the various structured kid activities, and grandparenting is comprised of waxing nostalgic for a simpler time when kids could be kids and parents weren’t so focused on their kids’ achievements and pursuit of perfection. Co-directors Margaret Munzer Loeb and Eden Wurmfeld dig into the evolution of parenting and the banishment of “free play”.

The topic is broached across diverse socio-economic classes in Wilton, Connecticut (a cluster of one-percenters), Patchogue, New York (a blue-collar, working class area), and Manhattan with its cross-section of race and class. The co-directors lean heavily on author and psychology researcher Peter Gray, who wrote “Free to Learn” and is considered an expert on “play”, and Lenore Skenazy, the founder of the “Let Grow” organization. Ms. Skenazy received worldwide attention when she allowed her 9-year old son to ride the New York subway alone. For that, she was labeled “America’s Worst Mom.”

Of course much of the societal shift can be associated with the concerns parents have of putting their kids in harm’s way. “Stranger Danger” and the faces of missing kids on milk cartons, as well as the tragic story of Adam Walsh in 1981 should all be factored in to the foundation of what we now call “helicopter parenting.” Instead of parents directing their kids to be home by dark, as the screen door slams behind them, the days and evenings and weekends of kids are structured and entered into the family calendar.

We hear directly from kids as they go through their daily commitments: sports, band, dance, tutoring, etc. Hanging out with friends is never mentioned. The film does a terrific job of detailing the consequences of this contemporary form of parenting. High stress and frazzled nerves for both kids and parents are commonplace. Free-play offers many opportunities for learning – especially the life skills that allow kids to grow into independent thinking adults, and hopefully, happy people. The film should resonate with parents, kids, and teachers, and this quote from the film will stick with many viewers (at least me): “All the worry in the world doesn’t prevent death. It prevents life.”

Abramorama will release the film via a virtual live world premiere event screening on June 24th followed by a nationwide Watch Now @ Home Cinema Release on June 25th. 

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Posted by David Ferguson

RITA MORENO: JUST A GIRL WHO DECIDED TO GO FOR IT (2021, doc)

June 17, 2021

Greetings again from the darkness. There she sits. Rita Moreno looks directly into the camera as she tells her own story. And what a story it is. She talks about the good times and bad. She recalls the challenges of being a Puerto Rican immigrant in a predominantly white industry. Documentarian Mariem Perez Riera understands there is no one who can tell Rita’s story better than Ms. Moreno herself, yet knows the story becomes even more powerful with the insight of others.

We get the background on her childhood, and what stands out is Rita’s admission that she was born to be a performer and danced professionally at age 6 (made her Broadway debut at age 13). It’s heart-breaking to hear her talk of breaking into movies, stating, there’s nobody “like me” up there. Forced to take “exotic” roles and speak with a heavy accent while wearing makeup “the color of mud”, Rita initially took every role she could. The prestige projects finally started to come: SINGIN’ IN THE RAIN (1952), THE KING AND I (1956), and yes, WEST SIDE STORY (1961). Her role as Anita in the latter won her an Oscar, which shockingly, did not lead to more quality film roles.

It’s stunning to find out that she went seven years without making a movie, but Rita is never shy about her personal life … which includes being raped by her agent, and having a 7 year affair with Marlon Brando that resulted in an abortion and a suicide attempt. Rita is matter-of-fact about the low points, and positively glowing about the good stuff: her work and music on “The Electric Company” (with Morgan Freeman) earned her a Grammy, her stage performance in “The Ritz” won her a Tony, and “The Muppet Show” and “The Rockford Files” won her Emmys. If you are keeping score, that places Rita Moreno in rarified air – she’s an EGOT.

Two of the film’s producers, Lin-Manuel Miranda and Norman Lear also provide their own perspective, as do Rita’s daughter, fellow EGOT Whoopi Goldberg, her WEST SIDE STORY co-star George Chikiris, Mitzi Gaynor, and other Latinos who pay their respects, including Eva Longoria, Gloria Estefan, and Hector Elizondo. This is a profile and tribute to a woman who turns 90 this year and is still hard at work. Some of her recent work includes playing a nun on “Oz”, being a regular on “One Day at a Time”, and an upcoming role in the Steven Spielberg remake of WEST SIDE STORY … now that is what’s called “Full Circle”!

The American Dream didn’t come easy for Rita Moreno, but her commitment to her profession took her to the top not just an as EGOT, but also her own star on the Hollywood Walk of Fame, a Kennedy Center Honor, and the Presidential Medal of Freedom. She’s an energetic woman with amazing talent, and director Mariem Perez Riera includes some of Moreno’s work on the Civil Rights Movement and political issues. The film is part of the American Masters series on PBS, and I’ll leave you with this: “Hey, you guys!” … watch this movie!

In theaters June 18, 2021

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Posted by David Ferguson

RISE AGAIN: TULSA AND THE RED SUMMER (2021, doc)

June 17, 2021

Greetings again from the darkness. It’s inexplicable how so much hate-based violence was ignored by the mainstream media for so long. Documentarian Dawn Porter is here to correct some of that. The film opens as a backhoe breaks ground in search of a mass grave site in Tulsa. If you watch or read the news, you have seen the current day reporting of the 100 year old massacre that occurred in 1921 in Greenwood, the “Black Wall Street” area of Tulsa. Over two days, an angry white mob killed hundreds of blacks, destroyed buildings and homes, looted valuables, and displaced thousands.

Details of the Tulsa massacre have finally been brought to light, but Ms. Porter, working in conjunction with “Washington Post” reporter DeNeen Brown, also pulls back the cloak of secrecy on how the Red Summer actually began in 1919 with tragic and violent events that led up to Tulsa. These events occurred in East St Louis, Omaha, Washington DC, and Chicago. We learn that Elaine, Arkansas still refuses to search for what might be one of the largest mass grave sites in U.S. history. Of course, the connection to the modern era is easily traced to the 1992 Los Angeles riots and too many other events to list here.

The film is well-researched and well-documented. Reporter Brown acknowledges picking up the torch left by Ida B Wells, whose courageous reporting and research were instrumental in leading to these stories getting published – even if it’s decades later than it should have been. Historians and academic leaders are given a platform to discuss how the media previously ignored these stories, and the 1990s interviews with survivors of the Tulsa massacre are especially poignant.

Tulsa’s mayor, GT Bynum, and Reverend Dr Robert Turner, are both working in their own way to find justice for those impacted. Bynum’s directive for mass graves is: location, excavation, and identification, so that names will be known. Turner is pushing for reparations as the main form of justice. The talk of reparations and the importance of the Black Press are provided substantial emphasis in the film, and the inclusion of D.W. Griffith’s racist 1915 film, THE BIRTH OF A NATION, allows for familiar and distinctive visuals to reinforce the points being made. The old saying is that there are two sides to every story, but in this case, the hatred on one side deserves no attention, while the stifling of the victims’ stories has gone on for too long. Dawn Porter’s film ensures the story doesn’t remain buried.

Premieres on NatGeo and Hulu on June 18, 2021

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Posted by David Ferguson

THE SPARKS BROTHERS (2021, doc)

June 17, 2021

Greetings again from the darkness. Over the past 5 decades, the number of bands that have broken up is, well, almost all of them. For two brothers to write songs and perform together over that span, and still be at it in their 70’s is remarkable. Sparks is made up of Ron Mael and younger brother Russell. They’ve published 25 albums with 300 songs, and performed thousands of concerts. Somehow they still like each other, respect each other, and work well together. As unusual as their music is and as strange as their stage show can be, it seems only fitting that their cinematic profile would be directed by Edgar Wright, who is best known for SHAUN OF THE DEAD (2002) and BABY DRIVER (2017). This is his first documentary.

Mr. Wright establishes the necessary unconventional start by having Sparks perform the opening credits. Not a song to open the film, but rather they actually perform the opening credits. We are then introduced to Ron and Russell, and we get some childhood family photos and an explanation about how their artist father taking them to the movies would later influence their work. And other than learning that Ron has a massive snow globe collection, that’s the end of the insight into their personal lives. Normally that would be a mistake, but there is nothing normal about Sparks.

Instead of personal profiles, director Wright opts for a chronological discography – a walk through the band’s timeline of recordings. Each step is punctuated with insight from fellow musicians or celebrities, and clips of the band performing their music from each era. The interviews are filmed in black & white so that the color of the stage performances really pop on screen. Some of those interviewed include producer Todd Rundgren, Jane Wiedlin (The Go-Go’s), Flea (Red Hot Chili Peppers), Pamela Des Barres (a musician and, umm, certain other skills), and other musicians who played with Sparks over the years.

Often thought of as a novelty act, Sparks music and shows are filled with humor, but are not a joke. The two brothers have stayed committed to the music and the performances. To cover an extended gap in their career, director Wright utilizes 6 years of “Dick Clark’s Rockin’ New Year’s Eve”, but more impactful is finding out that they worked on the music every day during those 6 years. The Mael brothers define persistence. The brothers’ desire to break into film music fizzled a couple of times due to Jacques Tati and Tim Burton, but they do appear in the 1977 thriller ROLLERCOASTER.

Songwriter Ron is the brother with the Hitler/Chaplin mustache, while singer Russell was the matinee idol in the early years. They are referred to as the “Best British group to come out of America”, and their musical influence can be traced to many more popular bands. A collaboration with Franz Ferdinand pushed their creativity, but it’s an outlandish 21 shows in a row, each featuring a different album performed live that may best define their love of music and performance (and stamina). So while Mr. Wright offers zip in regards to their personal lives, the abundance of live performance clips and the quite funny Sparks “Facts” over the closing credits make this a documentary worth watching (even with its 140 minute run time).

In theaters June 18, 2021

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Posted by David Ferguson

THE BIRTHDAY CAKE (2021)

June 17, 2021

Greetings again from the darkness. All it took was one look at the cast for me to agree to watch and review this mob film. It’s the first feature film from writer-director Jimmy Giannopoulos, and he co-wrote the screenplay with Diomedes Raul Bermudez and Shiloh Fernandez (who also stars). Most will agree the world never really needs another mob movie, but gosh, when they work, they are quite fun to watch. Filmmakers Guy Ritchie and Martin Scorsese have figured this out.

And then there are those that try hard, but for whatever reason, it doesn’t quite click. Sometimes too many characters are crammed in to execute (pun intended) as many familiar mob movie tropes as possible. Director Giannopoulos opens his film with a flashback scene from 10 years ago. The rest of the movie takes place in one evening – one that goes better for some than others. Gio (co-writer Shiloh Fernandez) is dressed in his suit as this is the night “the family” celebrates the death of his father 10 years prior. Gio’s mother (Lorraine Bracco) has baked the titular cake, as she has done each of the previous years. She tells Gio she does this “for your father.” Gio then sets out to walk the streets of Brooklyn in order to bring the cake to his Uncle Angelo’s house for the celebration.

Gio is good-natured and prefers talking and smiling his way through confrontations, rather than the violent tendencies of those around him. Most of the movie revolves around his interactions along the way – with some friendlies and some not-so-friendlies. It seems his chocolate allergy comes up in conversation enough times that we know it will come into play at some point. If it’s not his food allergy, then it’s the whereabouts of his Cousin Leo (Emery Cohen) that makes up most of the conversations we hear. Leo is recently out of prison, but hasn’t contacted his mother yet … a real no-no in the family. Leo had previously crossed a Puerto Rican gang and now he’s missing – hence all the questions.

If you come for the story, you’ll likely be disappointed. This is more a series of vignettes featuring familiar faces such as Luis Guzman as a concerned Uber driver, William Fichtner as a man with a violent nature, and John Magaro, Aldis Hodge, Ashley Benson, Vincent Pastore (of course), Penn Badgley, Jeremy Allen White, and even Marla Maples (yes, the former Mrs. Trump). Once at the party, Gio meets with an ailing Uncle Carmine played by Paul Sorvino, and best of all, Uncle Angelo played by Val Kilmer. If you have not heard, Mr. Kilmer had throat cancer and now speaks through a voice box. Subtitles are utilized to assist viewers. Watching him act with his eyes and body language is a pleasure, and it’s great to have him back on the big screen. The final big name to appear in the film is Ewan McGregor as Father Kelly, who has an early scene with David Mazouz (“Gotham”) as young Gio, and a later scene with modern day Gio and his mother.

We follow Gio in his strange, messy night … think AFTER HOURS (1985) … only mob-related, and lacking most of the dark comedic touches. Other than Fernandez, most of the actors are only in a scene or two, so there’s a novelty effect that doesn’t seem quite right for this genre. Paul Sorvino has only a solitary two-word line of dialogue that starts with an F and ends with you. Still a well-executed crescendo of death and getting to see so many familiar faces in one film makes it worth sticking till the end.

In theaters and On Demand June 18, 2021

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Posted by David Ferguson

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