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

QUEEN MARIE OF ROMANIA (2021)

May 6, 2021

Greetings again from the darkness. There are likely those who know less about the history of Romania than I, but that list is pretty short. Co-writers and co-directors Alexis Sweet Cahill of Italy and Brigitte Drodtloff of Germany, along with three other listed co-writers: Gabi Antal, Ioana Manea, and Maria-Denise Teodoru, bring us the more than 100 year-old story of Queen Marie, and it’s “based on True Events” (including the Queen’s own writings).

Roxana Lupu, originally from Romania, plays Queen Marie, a Monarch who likely doesn’t receive the historical credit she deserves. Her husband, King Ferdinand I is played by Daniel Plier, who really isn’t given much to do here … hence the film’s title.  A spectacular opening shot takes us over a frozen river and drops us into Bucharest in 1919. World War I has recently ended, and no one seems to care much about the state of Romania, except Romanians. Having sided with the Triple Entente (Russia, France, and Great Britain), hopes are now fading for a united Romania.

Against the preferences of Romanian Parliament, her husband, and just about everyone else, Marie headed to the Peace Talks being held in Paris … yes, the talks that led to the Treaty of Versailles. Though most tried to encourage her to let the politicians handle the politics, Marie reminded them that she was the granddaughter of Queen Victoria, and thus is not silenced easily. She forced and maneuvered her way in to meetings with powerful world leaders of the time to negotiate for international recognition (and assistance) of a united Romania.

Above all else, this is the story of strong woman fighting for her country. She goes toe-to-toe with Prime Minister Ion Bratianu (Adrian Titieni), French Prime Minister Clemenceau (Ronald Chenery), and U.S. President Woodrow Wilson (Patrick Drury) in her efforts to be heard. She even battles her own son Prince Carol II (Anghel Damian), who would later become King. Ms. Lupu is excellent in the role, and she has previously played Queen Elizabeth (twice), as well as a Princess and a Grand Duchess, so clearly has the screen presence to pull off such royal and regal roles. The film only teases her attraction to Prince Stirbey (Emil Mandanac), and the personal history between her and her cousin, King George V (Nicholas Boulton).

It’s a period drama with the requisite costumes, hair styles, and set design necessary to whisk us away to a century ago, and mostly we learn there was more to this popular Queen than her commitment to feeding citizens during a difficult time. The closing credits give us archival footage as well as the political developments that occurred. The time period covered is limited, but one that was crucial for a country and her Queen.

Available On Demand and on Digital May 7, 2021

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Posted by David Ferguson

LOCKED IN (2021)

May 6, 2021

Greetings again from the darkness. The first feature film from writer-director Carlos V Gutierrez is a B-movie thriller with the rare cinematic setting of a self-storage facility. Now you might think corrugated metal doors on rollers and concrete walkways don’t add up to an exciting and picturesque filming location, and, well, you’d be right. However, Gutierrez uses the security cameras and maze-like corridors to generate some suspense, and he benefits from a cast that draws out every possible ounce of tension from the script.

Mena Suvari (from Best Picture winner AMERICAN BEAUTY, 1999) stars as Maggie, an employee at the storage facility, and mother to teenage daughter Tarin (Jasper Polish, THE ASTRONAUT FARMER, 2006). Mother and daughter are living in a rundown motel, and are about to be evicted due to non-payment. There is some family baggage here, as the husband/father is in prison, and Maggie is focused on finding religion to get beyond her checkered past. The last thing she needs is a night like she’s about to experience.

Bruno Bichir (younger brother of Oscar nominated Demian Bichir) plays Lee, Maggie’s boss who expertly plays the nice guy, while being a bit too obvious at keeping his own dark secrets. The film opens with the tail end of a diamond heist by two masked men, one who has an overactive trigger finger. Of course, the two thieves have a tie to Lee, and things go sideways quickly. Maggie and Tarin are trapped in a game of cat-and-mouse, and they don’t initially understand why. Multiple bad guys enter the picture, and Maggie leaps into protective-mother mode while dealing with Ross (Manny Perez) and Mel (Jeff Fahey), the masked men from the diamond heist. Fahey is always a fun bad guy to watch, and this time is no exception. Soon, a third party enters the scene – Harris (Costas Mandylor from the “Saw” franchise), creating an even more tangled web of deceit and danger.

The film leans a bit heavy on crying and tough guy posturing, but it also makes clever use of the security cameras, the stark corridors, and even candy wrappers. The movie succeeds at being what it is: a creative low-budget thriller with an entertaining cast.

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Posted by David Ferguson

THE SONS OF SAM: A DESCENT INTO DARKNESS (2021, docuseries)

May 5, 2021

Greetings again from the darkness. Obsession can take many forms, and a few are on display in this latest Netflix docuseries from filmmaker Joshua Zeman. For those alive in 1977, you likely remember the reign of terror in New York City due to the “.44 Killer”, later known as “Son of Sam”. Fear was pervasive, and the shootings that actually started in the summer of 1976 but not connected until months later, mostly seemed random, which added to the public panic. Despite the title, Zeman’s docuseries is not so much about the murders, but about one man’s obsession with proving the ‘Son of Sam’ was really more than one person, and that the relief felt by citizens after the arrest of David Berkowitz, was misplaced.

Maury Terry was an IBM employee with an exceedingly inquisitive mind. His interest in the Son of Sam case pushed him to slowly evolve into an investigative journalist ultimately convinced that the NYPD had closed the case too soon, and not approached his own level of in-depth research and detail. Terry’s work is presented here after being delivered to Zeman in three boxes after Terry’s death. Paul Giamatti reads Terry’s own notes and book passages, and Zeman fills the four episodes with archival news clips, Terry’s own videos, shots of newspaper clippings, and interviews (past and present) from family members, cops, journalists, and even surviving victims. There is a recounting of columnist Jimmy Breslin’s time as a conduit to Berkowitz, a clip of Berkowitz’s father’s press conference after the arrest, and a fascinating tale of Maury Terry’s first date with his ex-wife … anyone looking for a good dating tip should ignore this segment.

Towards the end of the first episode, we see the iconic video of David Berkowitz smiling at the camera as police take him into custody. Since a (at the time) rare .44 caliber pistol was found with him, and Berkowitz confessed to the murders during his interrogation, the NYPD was quick to go on TV and announce to a relieved citizenry that the streets of New York were again safe, and Son of Sam was behind bars.

However, for Maury Terry, the case and the evidence just didn’t add up. He was intrigued by many bits and pieces. Berkowitz stated that his actions had been guided by a 1000 year old demon through his neighbor Sam’s dog. Additionally, the variances in police sketches drawn from eyewitnesses over the year simply didn’t add up to being the same guy. As to Berkowitz himself, the personality of the Yonkers postal worker didn’t fit cleanly into the police profile either. The more skeptical Terry became, the more doubt his research created. The final 3 episodes really focus on the case work he performed over decades … especially his belief that the murders traced back to a satanic cult.

The show is well crafted as it connects us visually with Terry’s writings and findings (including his 1987 book “The Ultimate Evil”). We see ‘The Devil’s Cave’ and get a nice overview of the neighborhood where Terry spent much of his time investigating. We also head to Minot, North Dakota and Stanford University to gain intel on how those two sites tie-in to the case. Additionally, there’s a possible connection to the Charles Manson family. The show is elevated by real life occurrences such as the letter Berkowitz wrote to Terry, and how seemingly unrelated murders might have a connection. In fact, by the end of episode four, we can’t help but take note of the chain of dead bodies beyond those of the Son of Sam victims. Could it all be coincidence, or possibly the result of Maury Terry stretching too hard to make his case?

Crime shows are big TV ratings business these days, and this one blends the best of that with a notorious real life event. Having the retired Police Captain Borelli defend the work of the police somehow doesn’t make us feel more satisfied with their findings, and by the end, we are just as skeptical of Terry’s beliefs as we are of the department’s proclamation that Berkowitz acted alone. Of course, the highlight of the show are the videos of Terry interviewing Berkowitz in person at Attica. This was influential for Netflix’s brilliant series “Mindhunter” where Oliver Cooper played Berkowitz. We are tuned in to the body language of a guy who has been in prison for years. Even more than 40 years later, the events prove traumatic to revisit, and are only made creepier by Terry’s theories. Were his theories on the right path or was he a lunatic conspiracy theorist, as many described? It’s only now that we can question the accuracy of Berkowitz’s first letter to Terry when he told him, “The public will never truly believe you.” Whether accurate or not, there is no questioning Maury Terry’s obsession with the Son of Sam case. Zeman’s docuseries will tax your armchair detective skills and leave you wondering what’s real.

***NOTE: the opening credits of each episode feature a rocking version of “Season of the Witch” performed by Joan Jett. It’s certainly not the chilling version by Lana Del Rey or the psychedelic version from Donovan, but it’s the perfect fit for this docuseries.

***NOTE: David Berkowitz turns 68 years old in June 2021, and is currently housed at Shawangunk Correctional Facility in upstate New York

Releasing on Netflix May 5, 2021

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Posted by David Ferguson

PERCY VS GOLIATH (2021)

April 29, 2021

Greetings again from the darkness. When one thinks of casting a farmer in a legal drama, surely Oscar winner Christopher Walken (THE DEER HUNTER, 1978) is not even on the first two pages of the casting director’s list. However, lest we forget, a great actor will make a role their own, which is exactly what Mr. Walken does here. Director Clark Johnson (known mostly for his TV acting and directing) is working from a script by co-writers Garfield Lindsay Miller and Hillary Pryor, and it’s based on the true story of Canadian farmer Percy Schmeiser, who fought corporate giant Monsanto all the way to the Supreme Court.

Walken as Percy admits, “I save my seeds.” If this were the story of canola seeds that some farmer saves each year for his crops, I’m guessing there would be little interest. But of course this is the story of one independent farmer standing up for the rights of all farmers against agricultural giant Monsanto. This is the age old story of “the little engine that could”, or the high hopes of ‘the little old ant who thought he could move the rubber tree plant.’ Percy and his wife Louise (Roberta Maxwell) are grounded folks – he mostly keeps to himself, and she is known locally for her pie-baking expertise. These are good folks who are working the same land that’s been passed down for generations in his family.

The lives of Saskatchewan farmers Percy and Louise get rocked when, in 1998, Monsanto sues them for the presence of a patented formula in Percy’s canola crop. He’s no dummy, and Percy knows that he has always carefully collected his own seeds each season … just as his father taught him. He’s also a fighter, so Percy enlists local attorney Jackson Weaver (Zach Braff) to handle the case against a sea of Monsanto white man attorneys (yet another battle pitting a little guy against big money). Overly enthusiastic environmental activist Rebecca Salcau (Christina Ricci) offers help to Percy from her organization, and this leads to multiple speaking engagements for him as he literally travels around the world. Their objectives are different – Rebecca wants safe crops (not sprayed with harmful chemicals), while Percy wants independence to farm. Monsanto is there to protect their patented process that increases yields and profits.

There is a 2009 documentary that focuses on Percy Schmeiser, but I have no idea where to find it. The story is fascinating, as it involves unusual characters and the safety of food crops. Supporting work is provided by Luke Kirby and Martin Donovan, though neither are given much to work with. The joy here is in watching Christopher Walken dig in to a role that demands much from him. It’s far removed from the caricatures he often plays these days. Veteran Cinematographer Luc Montpellier (CAIRO TIME, 2009) is stuck in the courtroom a bit too much, but when the camera heads outside, he does his best work. Percy died in October 2020 at the age of 89, and director Johnson includes a photo of Percy and Louise over the closing credits. He was quite a little engine that could … and did.

In Select Theaters, on Digital and On Demand April 30

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Posted by David Ferguson

FOUR GOOD DAYS (2021)

April 29, 2021

Greetings again from the darkness. Drug addiction provides bountiful harvesting for emotional message movies, though I’ll admit to some difficulty in relating to the subject matter. Writer-director Rodrigo Garcia (ALBERT NOBBS, 2011) has worked with co-writer Eli Saslow to adapt Saslow’s 2016 Washington Post article, “How’s Amanda: A story of truth, lies and American Addiction”. It’s an all-too-common tale of how addiction ruins lives and tears families apart. If not for two strong lead performances, Garcia’s latest movie would be just ‘another log on the fire’.

The filmmaker has re-teamed with his ALBERT NOBBS star, Glenn Close, who plays Deb, mother to Molly (Mila Kunis), a 10 year drug addict who shows up at mom’s house asking for help “getting clean”. Of course, mom has heard this too many times over the years. See, Molly has not only stolen from her mother and lied to her frequently, but she’s also been through detox/rehab 14 times over those 10 years. Deb initially refuses to let Molly in the house, but relents the next morning and drives her straight to the detox center. The doctor tells her she qualifies for a new magic shot that will block the drug cravings and effects if she can stay clean for four days (hence the film’s title). Any drugs in the system will cause complications, and likely prove fatal.

So Deb babysits Molly, who we learn has two kids by her ex-husband, Sean (Joshua Leonard). Turns out, he’s not such a great guy either. I’m certainly no expert, but it appears to me that Ms. Kunis goes all-in as an addict, replete with rotted teeth, damaged skin, and an attitude that warrants a swift kick. Ms. Kunis was excellent in BLACK SWAN (2010), but it seems she spends most of her time in comedies. She proves again that she has some dramatic chops, and hopefully will continue to pursue more serious roles. Ms. Close, who recently set the record for futility by becoming the first actor with 8 Oscar nominations and no wins, dons yet another terrible wig (ala HILLBILLY ELEGY, 2020) and works very hard to create a full-fledged mother from an underwritten character. The film briefly dabbles with the mother-daughter history of abandonment, but never digs deep enough for real meaning.

Stephen Root is given little to do as Deb’s second husband, and Sam Hemmings has one good scene as Molly’s dad who is confronted by Deb. Clichés abound in the story, yet the underlying message of a parent who refuses to give up on their kid, even when every time the result is disappointment, is grounded in reality. It’s certainly no TRAINSPOTTING (1996) as far as depressing drug addiction stories, but the two leads make it watchable.

In theaters April 30, 2021

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Posted by David Ferguson

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