THOSE WHO WISH ME DEAD (2021)

May 18, 2021

Greetings again from the darkness. Taylor Sheridan was Oscar nominated for his screenplay of the superb HELL OR HIGH WATER (2016). He also wrote and directed WIND RIVER (2017), wrote the screenplays for both SICARIO movies, and is the creative force behind the TV series “Yellowstone”. He has excelled in generating slow-burn tension and conflict. For his latest film, he’s back in the director’s chair after co-writing the script with Charles Leavitt (BLOOD DIAMOND, 2006) and the 2014 novel’s author, Michael Koryta.

Oscar winner Angelina Jolie stars as Hannah, a thrill-seeking smokejumper (those folks who jump out of airplanes to fight fires and save lives) burdened with a faulty decision that cost lives in a massive forest fire the previous year. After flunking her psyche-evaluation, Hannah packs up the blame and her flashbacks and accepts her low-key assignment to the solitude of “Fire Tower”, a lookout perched above the tree line of Soda Butte, a park area within Yellowstone that encompasses the Continental Divide. Early on we see the camaraderie of the smokejumpers as they tease each other and “welcome” the new firefighters to the park.

In a seemingly unrelated storyline (although we know the intersection is coming), Owen (Jake Weber, “Medium”) and his son Connor (Finn Little) take an emergency detour on the way to school. Owen is a forensic accountant who uncovered some corruption while working for a Florida DA who was recently murdered by the same hitmen now chasing Owen and his son. Soon, Connor is wandering alone through the forest looking for someone he can trust, and up pops Hannah. The pair of calm-cool-collected hitmen are played by Aidan Gillen (“Game of Thrones”) and Nicholas Hoult (MAD MAX: FURY ROAD, 2015). They track down Owen’s brother-in-law Ethan (Jon Bernthal, BABY DRIVER, 2017), who happens to work for the sheriff’s department in the same park.

Whether you call it a hunt or a chase, it’s always a bit creepy when professional hitmen are tracking down an innocent kid, and the tension is elevated when we see the bad guys take their direction from a higher-up bad buy played by Tyler Perry in one brief scene. The film features a hand full of excellent action sequences, including a shootout between the hitmen and Ethan’s pregnant wife Allison (Medina Senghore). Conveniently, Allison runs a survivor camp, and despite her belly, manages to put up quite a fight.

Cinematographer Ben Richardson (BEASTS OF THE SOUTHERN WILD, 2012) capitalizes on the extraordinary vastness and beauty of Soda Butte, and some of the forest fire effects are so good we can almost feel the heat. The supporting cast is excellent and the multiple story lines all work together nicely. For me, what prevented the film from reaching the level it could have, was the presence and performance of Angelina Jolie. Her last action movie was SALT in 2010, and here she seems too concerned with a look of glamor – right down to consistently brushed hair and perfect make-up – than fitting the profile of the courageous (and slightly off-center) smokejumpers. She stands out from the others on the team not because of her inherent extreme risk-taking, but rather because of her magazine-cover approach – something not limited to the hair and make-up, but also her posing and preening, including many of the same gazes from other movies like GONE IN SIXTY SECONDS (2000). I often admire and respect the choices actors make, but in this case, those choices work against everything else in what could have been an excellent dramatic thriller.

Now available on HBO Max

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Posted by David Ferguson

THE WOMAN IN THE WINDOW (2021)

May 13, 2021

Greetings again from the darkness. Agoraphobia (the fear of leaving one’s home) has been the topic of a few films over the years, but for whatever reason, none of them have really clicked. Of course, director Alfred Hitchcock brilliantly used a wheelchair-bound James Stewart to create his tension-packed classic REAR WINDOW (1954); however, there’s a psychological difference in being stuck at home due to injury, and being mentally and emotionally unable to bring yourself to walk out the front door due to anxiety and fear. Controversial author/editor AJ Finn (pseudonym of Dan Mallory) wrote a 2018 best-selling debut novel around this affliction, and now Tracy Letts has adapted the novel for the screen and director Joe Wright (DARKEST HOUR 2017, ATONEMENT 2007).

Amy Adams stars as Anna Fox, a child psychologist suffering from agoraphobia after a horrible car accident. She never leaves her Brownstone. She has groceries and prescription drugs delivered to her door, and conducts business over the phone. She has also mastered the internet and memorized dialogue from numerous classic films. Anna also spends an inordinate amount of time spying … um, observing … her neighbors through the window. Anna has a pet cat, and also a tenant living in her basement. We don’t learn much about David (Wyatt Russell) until later in the film.

The story is broken down by the days of the week, and begins with Monday when Anna meets Ethan (Fred Hechinger), the son of the Russells who just moved in across the street. On Tuesday, Anna meets the character played by Julianne Moore, and the two have a chat about her son Ethan, in addition to bonding over wine … a beverage of frequent choice for Anna. On Wednesday and Thursday, all heck breaks loose as Anna hears a scream and witnesses a stabbing in the home of her new neighbors. The cops don’t believe her and Ethan’s dad, Alistair Russell (Gary Oldman), shows up accusing her of lying, boozing, and hallucinating on prescription drugs. It’s not a pretty sight for Anna.

The first hour does a nice job of setting the scene for Anna and her struggles, plus creating confusion and misdirection on what she’s experiencing and “seeing” in regards to the situation in the Russell home across the street. We get a feel for the strange dynamic with David, the phone calls with her husband Ed (Anthony Mackie), and her therapy sessions with Dr. Landy (screenwriter Tracy Letts). It’s really Act 3 where things went off the rails for me. It seemed there was an attempt to cram too much into too short of time. The ending is clear and helps us make sense of everything that has come before; however, it just came across as forced, and out of step with what we had watched in the first hour.

Other supporting roles include Brian Tyree Henry as a Detective, and Jennifer Jason Leigh. In fact, the stellar cast includes two Oscar winners in Julianne Moore and Gary Oldman, a previous Oscar nominee in Jennifer Jason Leigh, and of course, Amy Adams, who has six Oscar nominations. Ms. Adams carries most of the movie with yet another terrific performance, while the others really aren’t given much to do. It’s rare for me to say this, but I believe the material would have been better served as a two- or three-parter, rather than a relatively short movie. It was initially delayed in 2019 for re-shoots and a re-edit, and then again in 2020 due to COVID. I might have been somewhat disappointed in the final project, but I suspect this will be hugely popular on Netflix.

Premieres on Netflix on May 13, 2021

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Posted by David Ferguson

THE KILLING OF TWO LOVERS (2021)

May 13, 2021

Greetings again from the darkness. The film opens with a man pointing a gun at a sleeping couple. We hold our breath in anticipation until the tense moment abruptly passes. At its most extreme moments, life can push people to their emotional and physical limits, and that’s what we see with David, played exceptionally well by Clayne Crawford (TV series: “Lethal Weapon”, “Rectify”).

The foreboding of that opening scene cloaks the entire film with an inevitability that we never shake. David is living with his ailing father (Bruce Graham) right down the street from Niki (Sepideh Moafi, “The Deuce”), his high school sweetheart, and the mother of his teenage daughter and three younger sons. David and Niki are in the midst of a trial separation, in which they’ve agreed to see other people while also trying to work things out. They even try “date night”, which is where it becomes painfully clear to us that Niki not only has a new boyfriend (Chris Coy), but she’s doing well at her job, and is looking to the future. It’s likely she agreed to the separation to make the transition easier on David, whose pride will not allow him to accept the break-up of his family.

David’s a loving father, but he lacks the emotional maturity to handle the situation. The strain of it all has him simmering with rage – even as he hustles for manual labor jobs and tends to his dad. His dream of being a singer-songwriter is in the distant past and now he’s in crisis mode. Even his daughter Jesse (Avery Pizzuto) advises him of Niki’s situation. This is a small town with wide open spaces, but David can barely breathe, and this is perfectly captured by cinematographer Oscar Ignacio Jimenez.

Robert Machoian is the writer-director-producer-editor, and he keeps the characters and situation grounded in reality and familiarity. He was co-director with Rodrigo-Ojeda Beck of GOD BLESS THE CHILD, a film I saw at the 2015 Oak Cliff Film Festival in Dallas, and he possesses a distinct feel for the little things that seem big in life. Crawford expertly captures the essence of a man caught in a grim situation. I would have liked to have seen another interaction between he and Chris Coy, but what we do see is chilling. Take special note of the sound effects from Peter Albrechtsen – highly unusual, but effective in helping us understand the chaos inside David’s head. Mr. Machoian is a filmmaker to follow.

Available in select theaters and VOD on May 14, 2021

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Posted by David Ferguson

PROFILE (2021)

May 13, 2021

Greetings again from the darkness. French journalist Anna Erelle documented her month-long correspondence with an ISIS terrorist in her 2015 book, “In the Skin of a Jihadist.” Her experience resulted in a fatwa being issued for her … basically an Islamic death sentence on her head. Based on (more like influenced by) Ms. Erelle’s story, writer-director Timur Bekmambetov (ABRAHAM LINCOLN: VAMPIRE HUNTER, 2012) and co-writers Brittany Poulton and Olga Kharina bring us a movie version via computer screen storytelling.

Valene Kane (“The Fall”) stars as Amy Whittaker, a British freelance journalist with a bright idea for an important story. With so many western girls being recruited by ISIS and sold as sex slaves, Amy decides to track down a recruiter and gain intel on how the process works. She does this by creating new Facebook and Skype accounts under the fictitious name of Melody Nelson, an “almost” 20 year old new convert to Islam who just doesn’t fit in to her current world. With the beep of a new post, Melody is contacted by Bilel, a terrorist and ISIS recruiter, whose profile expertly blends cat videos with bombings and beheadings.

Bilel (Shazad Latif, “Star Trek: Discovery”) is handsome and charming. He talks the talk and walks the walk as both a terrorist and man who can seduce vulnerable young women via FaceTime. There is a lot happening on Amy’s/Melody’s screen at any given time. The pop ups come fast and frequently from her hard-nosed news editor Vick (Christine Adams, “Black Lightning”), curious best friend Kathy (Emma Cater), confused boyfriend Matt (Morgan Watkins), and IT specialist Lou (Amir Rahimzadeh), himself the son of a Muslim. As if all that isn’t enough, YouTube videos come and go, and Melody is constantly googling the latest topic of conversation so she doesn’t give away her ruse.

Artistic license is taken with her in-the-moment research and blunders. Although Ms. Kane is strong in the role, Amy never comes across as a professional journalist on a job. She does, however, expertly play to the stresses – rent due, concerned boyfriend, social commitments, dual personas, work deadlines, and the social media chaos that comes with flirting with terrorists or “making friends with jihadists”. It’s just impossible to imagine a job like this wouldn’t find all parties better prepared and protected.

Still, the reality of young women being seduced and recruited by terrorists is quite real, and this should generate fear in every parent. I kept thinking “that wouldn’t happen”, all the while my stomach churned with the tension. It’s the reality of the threat that creates the fear, but director Bekmambetov effectively uses the online interactions to create a current and urgent scenario.

In theaters on May 14, 2021

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Posted by David Ferguson

RIDERS OF JUSTICE (2021)

May 12, 2021

Greetings again from the darkness. Carl Jung coined the term synchronicity to describe occurrences that appear related, yet lack a clear connection. Writer-director Anders Thomas Jensen (Nicolaj Arcel is credited with the idea) starts us off with a slew of coincidences: Mathilde’s bike is stolen, her dad calls to say his military assignment has been extended, her mom decides they should take the train to town, a man surrenders his seat to Mathilde’s mom, a passenger throws away his sandwich while getting off the train, a bomb derails the train after that stop, a key witness in a criminal trial is killed, and the man who gave up his seat is a probability expert who begins assembling the pieces before going to Mathilde’s dad to present his case. Were these coincidences related or is it possible meaning is being found where none exists?

Mads Mikkelsen stars as Markus, who returns home from military service to care for his teenage daughter Mathilde (Andrea Heick Gadeberg) after the train wreck killed his wife/her mother (Anna Birgitte Lind). The problem is that Markus is a no-nonsense man who deals with his grief by not dealing at all … except for guzzling beer and slapping Mathilde’s boyfriend. Markus is a different look than what we usually get with Mads. His tussled hair has been sheared and he sports a full beard. He’s a combustible man about to burst with pent-up aggression, which makes him especially accepting to the theory he’s about to hear.

Otto (Nikolaj Lie Kass) is the statistical analyst who gave up his seat on the train. His partner Lennart (Lars Brygmann) is a brilliant man, likely on the spectrum, while Emmenthaler (Nicolas Bro) is an obese loner and computer whiz. This trio reminds of The Lone Gunman from “The X-Files”, and add a dash of dark comedic flair to an otherwise weighty and somber affair. Soon joined by Bodashka (Gustav Lind), a victim a human trafficking, this is a team of flawed and damaged individuals, each dealing with their own personal baggage – while focused on Markus’ obsession with vengeance.

The titular Riders of Justice are a criminal gang whose leader was set to go on trial. The key witness died in the train wreck, kicking off the domino effect for Otto’s theory and Markus’ path of wrath. Can the series of coincidences be mathematically explained, and if so, can this group of overly intelligent, geeky misfits lead the vengeance-seeking husband down the path of vigilante justice?

Filmmaker Jensen nicely balances the moments of extreme violence with the Brainiac segments so that we can easily follow what Markus is doing, and why. The group therapy has us questioning if life can be mathematically predicted, or if coincidences are simply that. Other supporting work comes from Roland Moller and Albert Rudbeck Lindhart, but as you might expect, it’s Mikkelsen who captivates on screen. He’s not skilled as a cuddly parent, but his military training suits this mission. Were this to receive a U.S. remake (hopefully not), we could expect Liam Neeson or Denzel Washington as obvious choices for the lead.

NY & LA theaters May 14th, 2021 and everywhere May 21st, 2021.

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Posted by David Ferguson

THE MAN IN THE HAT (2021)

May 12, 2021

Greetings again from the darkness. Who is the woman in the picture? What did the five men toss in the river? Why are those men chasing the man in the hat? Why is that other man wet? If the man in the hat is running from the five men, why does he keep running into the same people? What are those two measuring now? Why doesn’t anyone (ok, almost no one) speak? Why are there so many questions, and why, by the end, do we not care that most go unanswered?

John-Paul Davidson, known mostly as a travel documentarian, and Stephen Warbeck, an Oscar-winning composer, have teamed up as co-directors and co-writers to deliver an unusual and whimsical road trip movie that tips a cap to the silent comedy films of yesteryear. Adding to the unusual elements is Ciaran Hinds starring as the titular man in the hat. Mr. Hinds is a long-time terrific actor, but not one we think of for jocular comedies requiring exaggerated facial expressions, physical pratfalls, and squeezing into a tiny Fiat for a back roads drive through rural France.

As the film opens, the man in the hat spends the day sharing a table with the woman’s photo at a charming riverside café. That evening, while still seated at the table, he witnesses 5 grown men pile out of a clown car Citroen and dump what appears to be a body into the river. The man escapes with the framed photo and one of the film’s recurring gags is the close calls he has with the five men as they drive through the countryside. The film plays a bit like Homer’s Odyssey in that the only real story occurs as the man interacts with various folks he meets along the way. The Damp Man is played by the always interesting Stephen Dillane, and a lovely woman on a bicycle who exchanges flirtations with hat man is played by Sasha Hails.

Among the strange and wacky paths that cross are a couple of onion-chomping geezers who fix his car, a cluster of singing female mechanics, a solo French biker, and a pair of city workers with a measuring tape and eyes for each other. Music plays a huge role here, which is not surprising given the presence of Mr. Warbeck. Not only does the accompanying music feature an unusual and varied blend of music types, but we also see and hear many local musicians, including Mathilda Homer. And for the finale, music again plays a role, bringing things full circle.

Coming up with a comparison movie is not easy, though one description could be director Michael Winterbottom’s “The Trip” franchise … if Steve Coogan and Rob Brydon were not allowed to speak! This isn’t a laugh out loud type of comedy, rather it’s mostly just pleasant and odd. For a drive through rural France or a chance to watch Ciaran Hinds chase his shoe down a drain, this bizarre little ditty from Davidson and Warbeck will work just fine.

In theaters and on demand on May 14, 2021

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Posted by David Ferguson

THE DJINN (2021)

May 12, 2021

Greetings again from the darkness. Some of the best horror films are low-budget affairs, and David Charbonier and Justin Powell fully embrace this concept. As with their previous collaboration (THE BOY BEHIND THE DOOR, 2020), the production company partners are co-writers and co-directors on this latest – an effective “legend” thriller that plays like a live-action campfire story.

Ezra Dewey stars as 12 year old Dylan Jacobs, a mute boy who moves into an apartment with his dad (Rob Brownstein) after a tragic incident on “a quiet summer night in 1989” leaves Dylan without a mother. Dad works the graveyard shift as a disc jockey, so Dylan is left alone their first night in the new place. Dylan discovers a leather-bound “Book of Shadows” in the closet. Left behind by the previous owner – an old man who died in the place – the book has a chapter, “Wish of Desire”, which especially appeals to Dylan, who would love to have a “voice”.

As one would expect from a 12 year old, and just about anyone at any age, he doesn’t read the fine print in the book, and immediately prepares to perform the spell. All he needs is a couple drops of blood, some candles, a clock and a mirror. The only question is whether the spell will work with sign language. By this time, we’ve also learned that a previous lung operation has Dylan dependent on his inhaler when he’s stressed – something we horror fans recognize is going to happen not long after he lights that candle.

Of course this is no genie-in-a-bottle granting wishes. Nope, Dylan soon learns it’s a supernatural being that takes the form of those already dead – some Dylan recognizes and some he doesn’t. The Djinn is the “guardian of the shadow realm” and the challenge for Dylan is to stay alive until midnight while the entity tries to end him. What makes the film click is the performance of young Ezra Dewey. He carries the film on his back while, obviously, dialogue is not an option. Having a clever and quick-thinking young protagonist gives us someone to root for. The filmmakers wisely stage this confrontation within the confined space of this small apartment. DP Julian Estrada does excellent work and never resorts to trickery – we understand the floorplan and always know where Dylan is at any moment.

The 1980’s vibe is present via a boom box, phone cord, TV with antennae, dad’s pager, and composer Matthew James’ synth score. There is also the interesting contrast of Dylan’s inability to speak, and the Djinn spending much of the time without sight. The filmmakers take a simple approach to the story (the legend) and let Dylan fight his way to midnight as we squirm (and yes jump a couple of times). It’s a brisk 80 minute runtime and one that most horror film fans will appreciate, despite the cruel twist.

Opening in select theaters and VOD on May 14, 2021

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Posted by David Ferguson

WRATH OF MAN (2021)

May 6, 2021

Greetings again from the darkness. Cinematic Alert: Guy Ritchie has gone straight! That’s right, the filmmaker we’ve come to bank on for dynamic action, creative editing, and clever, rapid-fire dialogue laced with dark humor and outright hilarious, offbeat moments, has delivered a straightforward, by-the-book revenge-crime thriller. Of course, despite it being about as good as anything else in the genre, we just can’t help but feel a little (and maybe a lot) disappointed that Ritchie has shifted his approach and left us wondering why. After all, he’s the genius behind THE GENTLEMEN (2019), SHERLOCK HOLMES: A GAME OF SHADOWS (2011), and SHERLOCK HOLMES (2009), as well as his brilliant first two films: LOCK, STOCK, AND TWO SMOKING BARRELS (1998) and SNATCH (2000).

The film opens with an armored vehicle heist that ends in gunfire. This heist and the crew of criminals are the key to the story, and Ritchie utilizes his non-linear, multiple perspective story-telling technique to fill in the gaps for us and provide context to everything else that unfolds. Needless to say, there’s more to this heist than what we initially witness. Jumping ahead a few months, the next thing we see is Jason Statham as the mysterious “H” joining Fortico, the cash truck/armored vehicle company victimized in that early sequence. H is clearly wound tightly and not great at making friends … at least until his heroics thwart another attempted robbery and saves the lives of co-workers Bullet (Holt McCallany) and Boy Sweat Dave (Josh Hartnett).

H’s motivation is slowly revealed, as is the fact that he’s not such an outstanding citizen himself. However, it’s clear his mission of revenge is the most important thing in his life, and he’ll stop at nothing to get the person he’s after. His target is part of a criminal team of former military buddies that include Jackson (Jeffrey Donovan), Ian (Scott Eastwood), Brad (Deobia Oparei), and Sam (Raul Castillo), who want nothing more than one huge score so they can walk away and enjoy life. Other key members of Fortico’s staff are played by Niahm Algar, Eddie Marsan, and Rob Delaney. H’s contacts are played by Lyne Renee, Darrell D’Silva, and Andy Garcia, while singer Post Malone (billed as Austin Post) makes an appearance as a robber.

Filmmaker Ritchie is working with many of his regular collaborators. He co-wrote the screenplay with Marn Davies and Ivan Atkinson, and it’s based on the 2004 French movie, LE CONVOYEUR (“Cash Truck”) by Nicolas Boukhrief, Eric Besnard. Others from his usual team include cinematographer Alan Stewart, composer Christopher Benstead, and editor James Herbert. It’s not unusual to find Jason Statham bring his action expertise to a Guy Ritchie crime movie, but Statham really plays it straight here as he sets out to settle a score. The almost non-existent wise-cracking leaves us feeling a bit adrift due to expectations, but the result is a fine, action-packed movie with one excessively long shootout near the end. Ritchie has certainly earned the right to make the movies he wants, but in the words of main character H, “I do bear a grudge.”

Opens in theaters on Friday May 7, 2021

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Posted by David Ferguson

CITIZEN PENN (2021, doc)

May 6, 2021

Greetings again from the darkness. As a two-time Oscar winner for MILK (2008) and MYSTIC RIVER (2003), Sean Penn is unquestionably one of the finest actors of his generation. He’s also an accomplished writer, director, and producer, and has been in two high-profile marriages/divorces: once to pop superstar Madonna, and then to actress Robin Wright. Over the years, Penn has been labeled Hollywood’s bad boy, anti-American, an opportunist, an activist, a philanthropist, and a humanitarian. Documentarian Don Hardy sets the stage by acknowledging all of that, and then focuses on Sean Penn’s work with his relief organization J/P HRO (now CORE).

Director Hardy interviews Penn in what appears to be his living room. Penn rarely stops smoking and does an admirable job of taking us through how he became more than just a celebrity seeking a photo op. It was 2010 when Haiti was hit by a massive 7.0 earthquake that killed 250,000, injured 300,000, and displaced 1.5 million from their home. Penn’s personal life was at a fork, and he viewed this as a way to do the right thing and help those in need. So he made some calls and along with other volunteers, headed to Haiti. Penn describes this as “building the airplane after takeoff”. Stunned by the devastation, Penn used his connections to garner medical supplies and other items.

Despite facing cynicism from many, Penn mostly avoided cameras, except when he granted interviews to Anderson Cooper on CNN in hopes of raising awareness and funds for relief efforts. Penn spent several months in Haiti and his team evolved from emergency relief (medical support, food, clean water) to temporary housing, to the removal of tons of debris and rubble, and finally to new development. One of the camps that housed 60,000 people began as a tent city and is today a new city of its own.

Director Hardy weaves in some terrific video footage that corresponds to Penn’s recollections, and there are especially tension-filled moments involving diphtheria, cholera, and an emergency birth. To Penn’s credit, he doesn’t harp on the political unrest within Haiti, and spends his time and energy on helping the citizens and his JP/HRO team as best he can. We also see clips of the organization’s annual gala and witness Penn’s growing frustration at the number of wealthy individuals who partake in the food, party, and music, yet don’t crack open a checkbook. He shows gratitude to those who are generous, but can’t hide his distaste for the others – proving that his passion goes much deeper than good PR.

Penn recruited Ann Lee from her work at the U.N. to head the newly named CORE (Community Organized Relief Effort), and the relief work from this organization has carried on through Hurricane Matthew in 2016, as well as the COVID-19 Pandemic, as they distributed tests to underserved areas. You may be the kind that volunteers for everything. Or you may be the kind that critiques others while lounging on your sofa. But even if your political views don’t align with Penn’s, the film will surely have you respecting his sacrifices for those in needs. His are real actions … nothing for “show”.

Premiering on Discovery+ on May 6, 2021

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Posted by David Ferguson

THE HUMAN FACTOR (2021, doc)

May 6, 2021

Greetings again from the darkness. It’s truly (and sadly) the never-ending story. The ongoing conflict between Israel and Palestine, or Jews and Arabs, has a history of more than one hundred years. Documentarian Dror Moreh was Oscar nominated for his 2012 film THE GATEKEEPERS, which told the story from the Israeli security perspective, and this time he focuses on the U.S. negotiators’ viewpoint. He covers a 30 year time period, but a substantial portion is dedicated to the Clinton administration.

The list of familiar names from Israel includes: Yitzhak Shamir, Ytizhak Rabin, Shimon Peres, Bibi Netanyahu, and Ehud Barak. From the Palestine Liberation Organization (PLO), there is the ever-present Yasser Arafat. And from the United States, we see Jim Baker, George H.W. Bush, Bill Clinton, Warren Christopher, and Madeleine Albright. But beyond the names and faces we know, Moreh interviews negotiators such as Dennis Ross, Martin Indyk, Daniel Kurtzer, Robert Malley, and diplomat Galal Hamel for their distinct insight into the years of meetings and attempts at agreement. These interviews blended with the extraordinary archival footage provide more information than an endless stream of newscasts over the last thirty years.

Elections, assassinations, wars, and culture clashes have combined to bring constant shifts to negotiations. We are told that even the language differences creates problems, as each side defines “history” and “future” in their own way. One of the most fascinating segments revolves around the infamous/iconic handshake at the 1993 Oslo Accords. The importance of the handshake was relayed to Rabin, and he was adamant that Arafat not be in uniform, not carry a gun, and that there be no cheek-kisses, which Arafat was known for. So the negotiators came up with “Safari suit” as a description, and the handshake occurred. 

Numerous moments like this are discussed by the negotiators, and we realize that posturing and power plays have been the main reason nothing has really changed (hence, the film’s title). Peace seemed within grasp in 1995 … right up until Rabin was assassinated. And the Clinton segment around the failed last gasp of the 2000 Middle East Peace Summit at Camp David is exceptional with its photographs and insight from the interviews.

Moreh has delivered the ultimate behind-the-scenes look at one of the most frustrating global situations, and the negotiators offer insight into the process – and the role played by manipulation, credibility, trust, and empathy. Mostly, we are left with what might have been, and are told “peace” is not even the right word when no solution exists.

Opens in theaters May 7, 2021

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Posted by David Ferguson

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