STREET GANG: HOW WE GOT TO SESAME STREET (2021, doc)

April 22, 2021

Greetings again from the darkness. Kermit the Frog. Bert and Ernie. Big Bird. Cookie Monster. Abby Cadabby. Grover. Oscar the Grouch. Guy Smiley. Mr. Snuffleupagus. Prairie Dawn. The Two-Headed Monster. Elmo. Count Von Count (The Count is my personal favorite). What a lineup of characters … each with their own personality and look, and every one designed to appeal to kids and help educate. It’s been more than 50 years since “Sesame Street” first hit the TV airwaves, and filmmaker Marilyn Agrelo (MAD HOT BALLROOM, 2005) uses Michael Davis’ book, “Street Gang: The Complete History of Sesame Street” as a guide to this personal peek behind the curtain, and a look at the folks who made the show such a success.

The four main drivers responsible for the show were Joan Ganz Cooney, Lloyd Morrisett, Jon Stone, and Jim Henson. Ms. Cooney and Mr. Morrisett co-founded the Children’s Television Workshop, which led to the research and funding necessary to kick off “Sesame Street”, the show. Ms. Cooney brought on Mr. Stone to develop and produce the programming, and of course, Mr. Henson, the creator of the Muppets and “Fraggle Rock” was the master puppeteer who was with the project from its inception in 1969.

The background information is quite interesting. Morrisett recalls hearing his 3 year old daughter singing beer jingles she had memorized from watching TV. He instinctively knew TV was making an impact and could be better utilized. Cooney talks about her initial business plan and how, at the time, a woman wasn’t going to be accepted as the face of an innovative program – risky for investors and networks. We also see many clips of Stone and Henson at work on set, and numerous people offer perspective on the creativity and effort that went into those early years. In fact, the film opens with a look at the 1981 New York City set as an episode is being filmed. Some of the cast members interviewed include Roscoe Ormon (Gordon), Sonia Manzano (Maria), and Bob McGrath (Bob).

With an early emphasis on providing educational programming for minority and inner city kids, we hear of Mississippi’s refusal to air the program due to minority cast members. The focus on 3 to 5 year olds was revolutionary at the time, and the societal benefits of injecting fun into learning was immense, though brilliantly, the creators made it interesting for adults as well. Filmmaker Agrelo has much to cover here, and does a nice job segmenting so that each piece of the Sesame Street puzzle is clear. The focus is on the early years (pre-Elmo). The dynamics of Frank Oz and Jim Henson as master puppeteers is a joy to behold, while Joe Raposo and Christopher Cerf offer perspective on the frantic pace to generate the music necessary for each episode … including the “lawsuit” involved with “Letter B”.

As with any educational efforts, but especially those with an entertainment push, addressing the difficult and uncomfortable issues is critical. We hear about the iconic segment where the characters deal with Mr. Hooper’s death in the 1980’s. Even today, it’s held up as the standard for helping kids deal with death. Jim Henson’s unexpected death at age 53 in 1990 is also discussed, and clips from that funeral will likely bring a tear to your eye. Big Bird singing Kermit’s signature song, “Bein’ Green” got to me. There is a bit on Carroll Spinney (Big Bird and Oscar), who passed away just over a year ago, and all of the key characters get their moment.

This is an HBO Documentary and Chicken Soup for the Soul production, and it’s an enlightening ‘behind-the-scenes’ look at the visionaries responsible for this groundbreaking, Emmy and Peabody award-winning show that probably saved public television. So my advice is to “Put down the Ducky” and give this documentary a watch. It’s sure to take you to where “the air is sweet.”

The film will be released in theaters on April 23, 2021 and On Demand on May 7, 2021

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Posted by David Ferguson

TINY TIM: KING FOR A DAY (2021, doc)

April 22, 2021

Greetings again from the darkness. I’m not sure how many people under age 50 even know who Tiny Tim was. Perhaps they recall a mention of his most popular song “Tiptoe Through the Tulips” in one of the Harry Potter books, or remember hearing the song in the 2010 horror film INSIDIOUS; but if they happen to recognize his name, I expect very few in that age group understand the cultural phenomenon that was Tiny Tim … albeit for a short period of time.

Filmmaker Johan von Sydow opens with a clip of Tiny Tim singing “I’ve Got You Babe”, a hit song for Sonny and Cher. It’s likely a jarring opening for those unfamiliar with him, but it captures his unique style and stage presence. Weird Al Yankovic is the narrator that guides us through the story, and there are interviews with Tiny Tim’s widow Susan, his daughter Tulip (yep),  and personality Wavy Gravy (best known for the WOODSTOCK movie), as well as friends, musicians, directors, and others who provide insight into the man and his life and career.

“Tiptoe through the Tulips” was actually a hit song from 1929, and Tiny Tim reinvented it as a novelty song – and we see the clip of him performing it in 1968 for a national audience on “Rowan and Martin’s Laugh-In”. Yankovic reads passages from Tiny Tim’s diary, and we gain perspective on what it’s like to go through life as a “freak”. From the diary we learn, “God told me to sing the sissy way”, and that was evidently his motivation for using the falsetto … allowing him to be billed as “The Human Canary” early on. His first album, “God Bless Tiny Tim”, was released in 1968, but it was the following year that caused the biggest splash. In December 1969, Tiny Tim married 17 year old Miss Vicki Budinger live on “The Tonight Show with Johnny Carson”, and 45 million viewers tuned in.

Born in New York as Herbert Butros Khaury, he was focused at an early age on being famous – on making an impact. Carrying a shopping bag on stage and pulling out a ukulele, Tiny Tim crafted a stage persona that took over his life. Of course the thing about fame is that it’s often fleeting. Director von Sydow pulls much of the story from the biography, “Eternal Troubadour: The Improbable Life of Tiny Tim”, by Justin Martell and Alanna Wray Mcdonald. Sure, there’s the photo by Diane Arbus, but there’s also the mob control and gigs with the traveling circus. In 1995, he married lifelong fan Susan Gardner. This was the year before his death, and we see the clips of his time on stage as he has a heart attack, and just prior to his final collapse a couple of months later. How can so much sadness come from a man who entertained so many? We are reminded of the song, “Tears of a Clown”, yet when one’s goal is fame, the piper must be paid.

Being released in theaters on April 23, 2021

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Posted by David Ferguson

WE BROKE UP (2021)

April 22, 2021

Greetings again from the darkness. They’ve been together for 10 years, and when Doug proposes – seemingly spontaneously – to Lori, her reaction is ‘slightly’ askew from what he expected. The real question here is, how do two people have a 10 year romantic relationship and never once discuss marriage, kids, a house, or literally anything to do with their future? That’s the premise for the dramedy from writer director Jeff Rosenberg and co-writer Laura Jacqmin.

Aya Cash (“Fosse/Verdon” and a Jodie Whitaker lookalike) stars as Lori, longtime girlfriend of Doug, played by William Jackson Harper (MIDSOMMAR, 2019). If the proposal-gone-wrong and subsequent fallout weren’t uncomfortable enough, the timing couldn’t be much worse. Lori and Doug are scheduled to leave for her sister’s wedding, and both have roles in the wedding party … he’s “King of the Ushers”. Since staying away is not an option, the dilemma they face is whether to announce the break-up or pretend everything is fine until the vows are exchanged. They decide not to spoil the wedding and head off to Camp Arrowhead, the former summer camp site that the wedding couple selected for the ceremony.

Sarah Bolger (IN AMERICA, 2002) plays Bea, Lori’s betrothed sister. She’s been dating Jayson (Tony Cavalero, “School of Rock” TV series) for a whole month, and the two energetic free-spirits are total personality opposites from Lori and Doug. As mother of the two girls, Peri Gilpin (“Frasier”) is a tad less than supportive of her daughter’s spontaneous life decisions, while initially clueless to the difficulties faced by her stable and dependable daughter.

The film is well acted by the leads, but most of it feels like a missed opportunity to explore the psychological differences of the sisters or the effects of a long-term “comfortable” relationship with no eye towards the future. Both of the topics are begging for more in-depth coverage, and instead we are left with mostly predictable behavior. One couple that is too fast to the altar, while the other is too slow, presents a goldmine of opportunity. On the bright side, there are some small moments and subtle jokes and gags that are beautifully executed and work much better than the overall comedy efforts. Filmed at Calamigos Ranch in Malibu, the film touches on anger and hurt and excitement, and all emotions attached to love and relationships.

In theaters and On Demand April 23, 2021

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Posted by David Ferguson

SECRETS OF THE WHALES (2021, docuseries)

April 21, 2021

Greetings again from the darkness. For many of us, our exposure to whales is limited to learning in school they are the largest mammals on Earth, and browsing travel guides displaying fantastic photographs of breeching whales alongside various tour excursions. National Geographic is on a mission to take us deeper into the world of these marvelous marine creatures. This 4-part docuseries is Executive Produced by Oscar-winning director James Cameron and award-winning photographer Brian Skerry, and was filmed over 3 years in multiple locations around the globe.

Episode One is titled “Orca Dynasty”, and it explores communication and social structure that occurs within the family pod and community … a recurring theme in each of the episodes, and across the five types of whales covered. Orcas, sometimes referred to as “killer whales”, are the gorgeous black and white whales often featured at water parks … although thankfully not as frequently as in the past. This segment takes us to New Zealand where we see the Orcas work together in hunting stingray, and utilize sophisticated sonar as their guide. We also follow them to the frigid water of the Arctic Ocean, as well as their confrontations with elephant seals in The Falklands.

Episode Two, “Humpback Song”, features a baby learning to “speak”, and again focuses on the culture and communication of the humpbacks. We witness these whales using their large brains for “bubblenet” fishing in Alaska – a highly coordinated effort that has been occurring for 40-plus years. The humpbacks breech and then slap their fin to communicate with each other. Their ‘song of the sea’ is featured in the Cook Islands, and we see the bonding that occurs between mother and calf. It’s awe-inspiring to note that 100,000 whales from around the world simultaneously head to Antarctica for a krill buffet that results in each whale gaining up to 12 pounds an hour!

In Episode Three, “Beluga Kingdom”, we follow along as these creamy white whales and their exceptionally social manner, adopt a stray narwhal whale into their pod so that it doesn’t die alone. The narwhals are the most unusual looking whale in existence, even in comparison to the Belugas. With skin 100 times thicker than humans, Belugas are also known for group births, and generations of Belugas have spent one-third of their summers in Hudson Bay (Canada).

The fourth and final episode, “Ocean Giants” focuses on the massive sperm whales, best known as “Moby Dick”. We learn their brains are six times larger than humans, and they use a Morse Code style clicking sound to communicate with each other. In Dominica (eastern Caribbean) we find 20 sperm whale families who deep dive to feed on 100 squid per day. This segment also includes the often tragic ramifications of human debris in the ocean, as sea turtles are entangled in discarded fishing nets.

Photography throughout the series is stunning and breath-taking. It takes us to places we never knew existed or might have previously only dreamt of. The only downside is the narration from Sigourney Weaver, whose lack of energy in reading, periodically gives this the sound of an old-school educational film. James Cameron provides an epilogue for each episode, but without a doubt, it’s the fabulous creatures themselves that hold our attention. We find the Orcas, Humpbacks, Belugas, Narwhals, and Sperm Whales to be awe-inspiring and mesmerizing, and it’s fascinating to learn how intricate and complex their social structures and cultures are. These intelligent giants of the sea draw us right into their world; and we are better off for it.


Disney+ original series Secrets of the Whales, from National Geographic, premieres Earth Day, April 22, 2021. The three-year project will also be featured in the new National Geographic book Secrets of the Whales, on sale April 6, and the May issue of National Geographic magazine, The Ocean Issue, available online on April 15. 

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Posted by David Ferguson

GUNDA (2021, doc)

April 15, 2021

Greetings again from the darkness. We open on a pig in prone position with her head sticking through an opening in the barn. It takes a minute to realize the sow isn’t sleeping, but rather giving birth. Slowly the newborn piglets begin tumbling out into the world. Cutting to a reverse camera angle, we see the 12-13 babies desperately trying to latch onto mom for their first meal. The runt of the litter struggles more than the others. Award-winning filmmaker Viktor Kosakovskiy runs this first segment just over 19 minutes. There is no dialogue. No human on screen. The soundtrack is all natural from nature: the snorts from mama sow, the squeals from piglets, and unseen birds chirping.

Our second segment finds roosters in a crate. Clearly new to the surroundings, and likely never-before “free” to roam the land, these chickens cautiously explore as the camera focuses on their tentative initial steps from the cage and startled reactions to birds. A one-legged rooster captures our attention as it makes its way through the grass and over fallen logs. It’s likely the longest amount of time a movie camera has been dedicated to following roosters around.

We then head back to find the piglets have grown substantially. We don’t know how much time has passed, but we watch along with their mother as the youngsters play in the field, fight with each other, and bully their youngest sibling. Gunda, the mother sow, watches over them just as any mother would watch over her kids. Our third group is introduced as the barn door opens and the cows are released. They romp into the fields like school kids at recess. Some of the cows stare directly into the camera as if to inform us they are ready for their close-up. It’s fascinating to see how they use teamwork for an ingenious head-to-tail solution to the annoying flies that relentlessly pester them.

The final segment returns us to the pigs as they display the same feeding frenzy as one might witness at the buffet on a Carnival cruise. An ending that will surely evoke emotions in viewers, though maybe not at the extreme of Gunda herself. Filmmaker Kosakovskiy leaves us wondering how a black and white film with no dialogue or human characters makes such an impression as it focuses on farm animals. Pork, chicken, and beef. Clearly it’s no coincidence that he chose three staples of the American diet. There is no lecture on animal rights, and none of the brutality of other “raised for food” documentaries is shown. But the message is there. It was filmed on farms in Norway, Spain, and the U.K., but the locales matter little. Director Kosakovskiy previously brought us the excellent AQUARELA (2018), a documentary showcasing the nature of water and ice, and here he assisted Egil Haskjold Larsen with cinematography, and Ainara Vera with editing. It’s an unusual film, and one meant to inspire reflection and thought … and hopefully change.

In theaters beginning April 16, 2021

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Posted by David Ferguson

MONDAY (2021)

April 15, 2021

Greetings again from the darkness. I will admit upfront that I’m no fan of watching late thirty-somethings living their lives like a never-ending fraternity party. So when the film opens on a disco ball, and we see a woman breaking up with her boyfriend on the phone while the thumping dance blasts, and then she immediately hooks up with the equally-aged DJ … well, I was concerned that writer-director Argyris Papadimitropoulos and co-writer Rob Hayes decided to make this film as a kick to the shins of any job-holding, respectable grown-up movie watcher. Fortunately, it’s not as bad as all that.

The two instant-lovers wake up naked on the beach the next morning and introduce themselves while handcuffed in the back of a police car. Denise Gough (JULIET, NAKED) is Chloe, an immigration lawyer who has been in an abusive relationship, and seemed to move on quickly (minutes later), without much thought. Sebastian Stan (Bucky from “The Avengers” franchise) is Mickey, a party boy DJ who is also an advertising jingle writer. Chloe and Mickey are both American ex-pats living in Athens, Greece. He’s been knocking around for almost 7 years, and after 18 months, she’s now scheduled to head back to the U.S.  And yes, we do get the obligatory frantic airport moment – this one is less touching and more contrived.

The next few weekends basically involve these two going at it like rabbits at any time and in any place. Chloe and Mickey are a beautiful couple in a gorgeous setting, and it’s quite obvious they are incompatible as a couple doing anything other than coupling. If thirty-somethings bonding over partying seems like a recipe for disaster, the party they throw will prove your point. It’s an understatement to say her circle of sophisticated friends don’t mingle well with his group of belligerent scofflaws. Supporting work is provided by Dominique Tipper as Bastian, a former bandmate with Mickey, and Yorgos Pirpassopoulos as Argyris, Mickey’s close friend who wields power locally due to family money.

This is really the Sebastian Stan and Denise Gough show. He’s a good fit as the charming, self-defeating guy who can’t grow up, while she’s an enigma – a woman seemingly too smart to fall for this guy and screw up her life after a weekend fling. Ms. Gough is strong in her ability to create a complex character from a fragmented script that forces her to overcome weak dialogue and absurd situations. As an example, Chloe and Mickey have 3 police encounters … which is 3 more than the average person experiences in a lifetime.

Athens and the island of Antiparos make for a stunning setting for a movie, but the script falls short of the work necessary for this couple to transition from a wild weekend fling to an actual relationship with responsibilities, jobs, and a kid. We see how Chloe feels trapped, but the third act spins out of control as lot of Fridays turn into the titular Monday of reckoning.

In theaters and On Demand April 16, 2021

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Posted by David Ferguson

DEADLY CUTS (2021, Ireland)

April 15, 2021

Greetings again from the darkness. If we have to depend on Dublin filmmaking for the year’s first stellar comedy, then so be it. This is the first feature film from writer-director Rachel Carey, but it certainly won’t be the last. Somehow she’s created a black and blue comedy that plays like a mash-up of ZOOLANDER (2001) and BLOW THE MAN DOWN (2018), two films I feel sure had not previously been mentioned in the same sentence.

Piglinstown is a small, working class community in Dublin … the metaphorical ‘other side of the tracks’. Michelle (Angeline Ball, THE COMMITMENTS, 1991) runs the salon, and is just one of the local business being threatened by gang activity and gentrification driven by greedy politicians. Michelle’s staff includes Stacey (Erika Roe, HERSELF, 2020), a stylist who believes winning an upcoming competition can not only save the salon, but also her dreams of finally being accepted by the mother that deserted her many years ago; Gemma (Lauren Larkin), the in-house amateur psychologist and therapist; and Chantelle (Shauna Higgins, “Red Rock”), a socially awkward wizard with hair color. It’s a motley crew of women who are stronger than they think, and display a camaraderie that defines small business and small towns.

The ladies embrace the upcoming “Ahh Hair” competition as their road to salvation, where a win would boost the salon’s reputation and make tearing the shop down for luxury apartments an unthinkable act. The problem is that the annual competition is consistently won by the posh shop where Michelle once worked before a catastrophic on stage occurrence many years ago. The high end shop is now run by her hilariously intimidating rival Pippa (Victoria Smurfit, “Marcella”). This becomes a bit of a parody of class distinction between Dublin’s north and south side.

But there is much more here than the hair styling competition. Some of the grit of the working class rears its head one evening when the gang leader threatens the ladies of the salon. One thing leads to another and soon the shop has earned its name, “Deadly Cuts.” Although crime and violence play a role here, the gore is minimal and mostly occurs off screen, and even packs its own level of humor. Ms. Carey loads up her script with a slew of one-liners, each expertly delivered by a cast that embraces the cinematic lampoon. “The hair tongs are heating up” is merely one example of what is broadcast by FAD TV during the competition. For a rollicking good time, check this one out … though you may need the closed captions unless your ears are in full Irish mode.

Featured at the 2021 Seattle International Film Festival

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Posted by David Ferguson

BETTER DAYS (2021, China)

April 12, 2021

Greetings again from the darkness. Chinese gaokao is the College Entrance Exams that determine the future of high school students and their families. The pressure is extreme for the kids, and when the film opens, the exams are only 60 days away. One of the students leaps to her death from an upper breezeway to the concrete courtyard below. Her fellow classmates converge on the scene with cell phones recording the tragedy. One girl, Chen Nian, quietly covers up the body. While most assume the pressure of the impending test was too severe for the girl, Nian knows better. The relentless bullies that motivated the suicide have now turned their attention to Nian.

Director Derek Tsang (aka Kwok Cheung Tsang) delivers a beautiful film with compelling characters and a heart-wrenching story. Jiuyue Xi’s novel, In His Youth, In Her Beauty” has been adapted for the screen by co-writers Wing-Sum Lam, Yuan Li, Yimeng Xu, and Nan Chen. Filmed in 2018, the Chinese government delayed its release due to concerns over how its society would be perceived, given extreme bullying, class differences, and the extensive use security cameras throughout. Instead, we note the similarities in people, and how young people carry burdens that often go unacknowledged.

Zhou Dongyu gives a terrific performance as Chen Nian. She’s an excellent, devoted student who has no one to depend on thanks to a mostly absentee mother who spends her time scamming for money and dodging creditors. Nian has no real friends, and her closest companion was the one whose body lay crumpled in the courtyard. Nian stumbles into a situation that could not be described as a ‘meet-cute’, and soon she has requested street punk Xiao Bei (played by Jackson Yee) to act as her protector against the bullies, so that she may focus on the exams. Additionally, she’s been questioned by the police in regards to the suicide, and Detective Zhang (Yin Fang) takes a particular interest given his knowledge of schoolyard bullies.

The bond between equally adrift and confused teenagers Nian and Bei grows, despite his being a dropout. Are they star-crossed lovers? Is it a budding romance? What makes it interesting is that it doesn’t even matter. What does matter is the courage these two youngsters show in the face of adversity. Does it go too far? The third act will leave you wondering just what is the answer to their dilemma. How harshly can you judge those in self-preservation mode when the school motto is “Work Hard. No Regrets”? There is a retro feel to Tsang’s filmmaking style, and we are left with the reminder that “used to be” infers a sense of loss … and we all experience different types of loss. Excellent filmmaking that rightly earned an Oscar nomination.

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Posted by David Ferguson

FUTURE PEOPLE: THE FAMILY OF DONOR 5114 (2021, doc)

April 9, 2021

Greetings again from the darkness. Over the past five decades, blended families have become commonplace, while at the same time single women and same-sex couples have utilized sperm-donors to enrich and expand their families. Michael Rothman’s documentary kind of combines these two as he explores the 37 half-siblings resulting from anonymous sperm-donor number 5114 at the California Cryobank.

You may have seen one or both of the film comedies, STARBUCK (2011) and DELIVERY MAN (2013). The first from Canada, the re-make two years later starring Vince Vaughn. Both were directed by Ken Scott and revolve around a sperm-donor who discovers he fathered 533 offspring. Well, Mr. Rothman’s documentary is not quite that outlandish, and it’s told from the perspective of the kids, who slowly uncover and communicate with their half-siblings. They even have their own Facebook group!

Rothman’s approach allows us access to the meet-ups (reunions) of the half-siblings as more of them are able to make the trips. Over the years this was filmed, we are there for Taos, Los Angeles, Plymouth, and Breckenridge. We even join them for a tour of the California Cryobank, where one couple takes the last two vials of 5114, in hopes of adding to their own family, as well as this connected one.

These are mostly just normal kids who are trying to fill that familial gap that occurs when one doesn’t know a parent. It’s both understandable and emotional. As Mattie from Dallas turns 18, she’s encouraged to reach out to the donor through the organization. The burden she carries for the group proves a bit too heavy, but later one of the siblings does make contact virtually … and Rothman has us in the room as the correspondence is read.

We are shown a timeline for the kids, and we hear the same audio recording they do – that of the donor at the time of his 1996 application. Hearing his voice provides comfort, but his self-description of “optimistic and curious” with a love of fly-fishing, leaves the kids wishing (and deserving) of more. As with any group of 37 kids, there is a wide variance in personalities, but the kids enjoy exploring their similarities. We are told that the average donor leads to 12-14 offspring, so 37 is a statistical anomaly, and hats off to these half-siblings for bonding with each other to complete the circle.

Streaming on Discovery+ on April 10, 2021

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Posted by David Ferguson

HELD (2021)

April 9, 2021

Greetings again from the darkness. Co-directors Travis Cluff and Chris Lofing previously collaborated on the horror film, THE GALLOWS (2015), and this time they are working from a script by Jill Awbrey, who also stars. It’s Ms. Awbrey’s first feature film as a writer or actor. Most people agree that marriage can be challenging, but this one introduces thrills and chills into a relationship that’s already navigating in choppy waters.

Writer Awbrey (a Julie Harris lookalike) plays Emma Barrett, who we see in an early flashback as a young woman trapped in a car with two men. We don’t see it, but we know what’s about to happen against her will. Today’s Emma is then seen again in the backseat … as her Uber driver (Rez Kempton) asks inappropriate questions, and comes across more than a bit creepy as he notes the remoteness of her drop-off and pressures her for a bonus tip. These two scenes remind us of how women must always have their defense mechanism on high alert around men.

Emma and her husband Henry (Bart Johnson, HIGH SCHOOL MUSICAL) have set up a rendezvous to see if they can rekindle what’s waning between them after 9 years of marriage. We get an aerial view of the ultra-modern and ultra-smart house stuck in a cornfield miles from civilization. The terror and mystery begin the next morning when Emma and Henry wake up in different clothes and with missing phones. A “voice” tells them that the secrets of their marriage are no longer secret, and they must “obey”. If not, the implanted sensor behind their ear will act as a shock collar, causing extreme discomfort and pain. Emma and Henry both experience this the hard way.

The film appears to be a VRBO home invasion movie wrapped in the contemporary issue of surveillance and security. However, that’s only part of the story. The “voice” is pushing the couple into a 1950’s version of THE STEPFORD WIVES, replete with veggies in the fridge, modest wardrobes in the closet, and an apron for Emma. She is being coerced into acting like a submissive wife, as if anyone today still fantasizes about a 1950’s marriage. It’s disturbing to watch as Emma and Henry try to find a way to escape, while not triggering another jolt of pain, and complying with commands from the voice (who seems to be Jigsaw from the SAW series transformed into a marriage counselor).

The objective here seems to be as satire and commentary on male privilege in a male-dominated society … one where women always carry a bit of fear, despite being so much stronger and forceful than what we saw in 1950’s TV series. That traditional marital structure no longer exists, but when combined with a luxurious smart house, does make for an interesting premise in the horror-thriller genre. When save-the-marriage transitions to survival mode on top of fear of being watched and manipulated, the terror is palpable. The only frustration is that so much more could have been done, over and above the twist. Despite the lags, the film does provide ‘talking points’.

In theaters and On Demand April 9, 2021

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Posted by David Ferguson

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