LOVE, WEDDINGS & OTHER DISASTERS (2020)

December 3, 2020

 Greetings again from the darkness. Very much in the same mold as the late Garry Marshall’s VALENTINE’S DAY (2010), NEW YEAR’S EVE (2011), and MOTHER’S DAY (2016), this one also utilizes the multi-story approach with all characters ultimately crossing paths as a payoff. If you are familiar with those movies, then you know what to expect here. However, if you are not familiar, there is no good way to prepare you, other than you’ll either love it or hate it.

Writer-director Dennis Dugan has been a frequent Adam Sandler collaborator, with movies landing in the “good” (HAPPY GILMORE, 1996), the “bad” (GROWN UPS 2, 2013), and the “ugly” (JACK & JILL, 2011). Mr. Dugan’s co-writers here are married couple Eileen Conn and Larry Miller. The cast includes Oscar winners Diane Keaton (ANNIE HALL, 1977) and Jeremy Irons (REVERSAL OF FORTUNE, 1991), and many faces you’ll recognize from other films.

The opening sequence will be enough to let you know where you fall on the ‘love it or hate it’ scale. Jessie (Maggie Grace, TAKEN) is skydiving with her local news anchor fiancé, and their mid-dive argument leads to a break-up and a crash landing into a lakeside wedding. The video (there’s always a video these days) goes viral, and Jessie becomes a social media celebrity burdened with the moniker, “Wedding Trasher” … not the best marketing for a wannabe wedding planner.

Jessie goes up against legendary wedding planner Lawrence (Mr. Irons) for the soon-to-be Mayor’s wedding, which loosely ties into the Mayor’s brother’s participation in a TV Game Show called “Crash Couples”, where mismatched folks are chained together in hopes of taking home the one million dollar prize. The show is hosted by the film’s director, Dennis Dugan. Lawrence is an egomaniacal high-falutin wedding planner and all-around rude dude who gets set up on a blind date with Sara (Diane Keaton), who is, yes, actually blind. Her entrance is just one of the painfully overdone physical pratfalls dropped in throughout the film, presumably to appeal to a wider comedy audience.

Andrew Bachelor plays the charismatic laugh-a-minute guide on a Duck tour who goes searching for his “Cinderella” … love at first sight for him. Next up we have Diego Bonita as a sensitive guitar player in the band Jessie wants to hire for the Mayor’s wedding. And I’ve yet to mention the involvement of the mafia thanks to the Mayor’s brother’s partner in the “Crash Couples” game. The multitude of characters and story lines all intersect at the wedding Jessie has planned – an event with hurdles just high enough for her to conquer. Some of the characters tie in more easily than others, but it’s best to just go with the flow here, no matter how cringe-inducing it might be at times.

On the bright side that surely most of us can agree on, Elle King (Rob Schneider’s daughter) is superb as the singer in the park who reappears throughout. Her songs fit the story, and her voice and sound are top notch and quite welcome. Romantic comedies sometimes get a bum rap, and few slide as cleanly into the “love it or hate it” mode as this one.

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Posted by David Ferguson

DEAR SANTA (2020, doc)

December 3, 2020

 Greetings again from the darkness. In an era when being nasty to those who don’t share your opinion is de rigueur, it’s such a pleasant relief to watch a story centered on generous folks who want nothing more than to bring joy to others … especially those in need. Director Dana Nachman is fast becoming a master of ‘feel good’ documentaries, and this one fits nicely with her recent projects, PICK OF THE LITTER (2018) and BATKID BEGINS: THE WISH HEARD AROUND THE WORLD (2015).

Bringing a smile to our face quickly is the opening where kids excitedly talk about Santa Claus and the letters they write to him. There is nothing more pure than a young child’s hope and belief that someone is devoted to delivering happiness, and yes, presents! A quick history lesson explains that kids have been writing letters to Santa for more than 150 years, and in 1912, the United States Postal Service began Operation Santa – a way to process the letters being sent to Santa Claus each year. It wasn’t until the 1940’s that the program was opened up to the public, and only recently has gone online. These days, it’s a remarkably coordinated effort involving individuals, companies, organizations, and non-profits.

We visit big cities and small ones as director Nachman shows us the impact these “North Pole elves” have on their communities. A ‘Countdown to Christmas’ is used to keep track of the deadline facing each and every person. We see how the USPS has digitized the letters and categorizes according to location, age, and type of request. There is even discussion about the surprising variances in gift requests based on geographic locations. It might also interest you that many adults write letters to Santa each year, although it probably wouldn’t surprise you to know that many of these are folks facing tough times, and their requests tend to be necessities like mattresses for the kids or a functioning appliance.

Most of the letters to Santa are heartfelt, and many are requests for others rather than gifts for themselves. Families displaced by fire or divorce will surely strike an emotional chord, as will the reactions of the “elves” reading the letters. Delivering the many donated gifts requires a highly coordinated effort – especially when live animals are involved. Yes, sometimes pets are requested, and again, the joy on the faces of those receiving gifts may only be equaled by the smiles by the givers.

The true spirit of giving at Christmas is on display throughout, and we have director Nachman to thank for bringing this to light. There are so many generous and caring people involved with the program, and their goal is to make sure others experience joy at this time of year. If you are interested in getting involved or learning more, the website is https://www.uspsoperationsanta.com/

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Posted by David Ferguson

ELYSE (2020)

December 3, 2020

 Greetings again from the darkness. We aren’t sure what to make of Elyse Bridges as we are first getting to know her. She seems a bit unstable and unpredictable, and even her husband Steven and her mother are at a loss with how to get along with her. The Bridges live in a beautiful modern mansion, and their live-in help is excellent at helping take care of their son, something Elyse seems to have minimal interest in.

Of course this is a movie, and things aren’t always what they seem. Writer-director Stella Hopkins and co-writer Audrey Arkins keep us guessing for quite a while before revealing the twist. Ms. Hopkins is the wife of Sir Anthony Hopkins, and it’s her directorial debut. Many filmmakers would appreciate having the advantage of a built-in Oscar winner to give their film a shot of prestige, and he does just that, elevating the film with his all-too-brief turn as a psychologist.

Surprisingly, this movie doesn’t belong to Mr. Hopkins, as his role is relatively minor. Instead, it’s Lisa Pepper in the titular role that has us initially grasping at straws, trying to make sense of her behavior. Ms. Pepper only rarely acts in films, as this is her fourth film spread over 13 years. Elyse’s attorney husband Steven is played by Aaron Tucker, whose movie credits come even less frequently than Ms. Pepper’s. This film is a bit of a reunion for Mr. and Mrs. Hopkins, as well as Ms. Pepper and Mr. Tucker, as they all previously appeared together in the 2007 film SLIPSTREAM (written and directed by Sir Anthony).

The pieces finally come together in the third act, and by that time, it’s quite apparent that director Hopkins was attempting to create a stylish psychological drama that keeps the audience guessing. There are a couple of references to “The Wizard of Oz”, including Dorothy’s quote, “If we walk long enough, we will surely come to some place.” Not much more can be said without spoiling the story and what caused the changes within Elyse. Memories are a field of study with many unanswered questions, and the unfortunate path of Elyse is spurred by a single event … something that could happen to any of us. Anthony Hopkins is credited with writing music for the film, and it would have been nice to have him in a few more scenes.

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Posted by David Ferguson

PRINCESS OF THE ROW (2020)

November 26, 2020

 Greetings again from the darkness. Writer-director Van Maximilian Carlson and co-writer A. Shawn Austin touch on a wide variety of controversial topics in this one: PTSD, Veterans’ Affairs, homelessness, foster care, social workers, and mental illness. At the heart of their story is the touching and strong bond between a father and daughter, even when life’s obstacles become too much to overcome.

Tayler Buck delivers a career-changing performance as Alicia Willis (ANNABELLE: CREATION, 2017), the adolescent daughter of Sgt Beaumont “Bo” Willis (Edi Gathegi, “The Blacklist”), an Iraqi War veteran whose PTSD is linked to a brain injury sustained while deployed. Bo is mostly non-verbal and often disconnected, and living a tough life with the homeless on Skid Row. Alicia is devoted to her father, and worships him as the man who told her bedtime stories when she was young. Those memories not only inspire her to take care of him now, but also to write her own award winning short stories, and to view her life as a sort of Fairy Tale (rather than a tragedy).

We learn that Alicia has already been in three foster homes, including one with her mean-spirited aunt (Tabitha Brown), who likely took her in only for the money. Social Worker Magdalene (Ana Ortiz, “Ugly Betty”) shows true compassion for Alicia, and understands the love she has for her father. Of course Magdalene is also pragmatic and does her best to find a stable environment for Alicia. That’s where writer John Austin (Martin Sheen) comes in. He and his wife agree to take in Alicia, despite this putting her a 10 hour drive from Bo. But distance can’t hold her back.

Following Alicia around is exhausting, yet fascinating. Director Carlson and cinematographer Maz Makhani do a terrific job of capturing her various adventures – each with the purpose of being with her father. Alicia understands, and we see evidence, of Bo’s unpredictability and propensity for violent outbursts. Oh, but in those few fleeting moments when the father she remembers reappears, it’s emotional and heart-warming. Alicia has a wonderful line that will surely touch viewers. She says, “I love it when you come back to me.” And so do we … the world seems right, even if it’s only a blink.

This performance should elevate Tayler Buck amongst young actors, and we will likely be seeing her quite often over the next few years. And as strong as she is here, we shouldn’t overlook the work of Edi Gathegi and Ana Ortiz, or even Martin Sheen (now 80 years old), who always seems a natural for movies with a message. Jessica Childress sings a beautiful song, “Walk with Me”, that is the exact fit for this film that puts love and hope amidst misery and hopelessness.

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Posted by David Ferguson

ZAPPA (2020, doc)

November 26, 2020

 Greetings again from the darkness. Frank Zappa’s music was never considered mainstream. His songs were rarely played on the radio. In his entire career, he charted one Top 40 song, and that was driven by his daughter. To some, he was known as a political activist and a spokesperson first, and a musician second. At times he was an enigma and a rebel or maverick, and he’s even described as trying not to write a hit song. Alex Winter may be best known as Bill in the “Bill and Ted” movies, and he’s also a successful documentary filmmaker (DEEP WEB, 2015). This time out he turns his focus on the career and life of Frank Zappa.

One of the first things we see is Frank Zappa taking us on a tour of his personal vault located at his Laurel Canyon home. It’s an enormous private collection that captures quite a bit of history from the 1960’s forward. Zappa points out some of his favorites including his jams with Eric Clapton in the basement and music with his friend Captain Beefheart (Don Van Vliet). These are original masters of Zappa’s work over the decades, and he was nothing if not prolific, releasing 62 albums during his career, and another 53 following his death in 1993.

Acting as bookends for the film are clips of Zappa’s 1991 live show in Prague, where he is helping celebrate the withdrawal of Russian troops. It’s also his last guitar performance on stage. An incredible amount of footage exists of Zappa pontificating on one subject or another, sometimes on television, sometimes in front of news cameras, and even in front of a Senate committee. His music and his life was usually focused on social commentary, opinions not always popular with the establishment.

It’s very interesting to hear Zappa talk about his early influences, particularly how he never outgrew his love for editing – something that began with the 8mm films at his childhood homes. He didn’t begin playing music until his early teenage years, and it was orchestral before rock. He always considered himself a composer, and what a prolific writer he was. It’s an unusual film in that it not only tracks the timeline of his career, but we are privileged to hear Zappa’s opinions directly from him thanks to the unending recordings and archival footage available.

Mr. Winter includes much more than Zappa. We hear from musicians that made up the Mothers of Invention, including Steve Vai, Bunk Gardner, Ian Underwood, and an emotional Ruth Underwood. We also hear from renowned Rock n Roll groupie Pamela Des Barres, and Frank’s wife Gail. It’s noted that Zappa disbanded the Mothers of Invention in 1969, and there were many iterations that played afterwards. Some of the prominent names included violinist Jean Luc Ponty, and Howard Kaylan and Marc Volman of The Turtles fame. There is even a terrific clip of John Lennon and Yoko Ono performing on stage with Zappa and his band … shocking for anyone not familiar with Yoko’s infamous primal screams.

One of the best stories included is how Zappa’s biggest hit came to be. A note from his young daughter, Moon Unit, introducing herself to her frequently absent father led to a collaboration on the single “Valley Girl”, which cracked the Top 40. There are also stories on his dreaded hosting of “Saturday Night Live”, as well as pieces on the Kronos Quartet, London Symphony Orchestra, and Ensemble Modern performing his music. In 1979, Zappa became the first musician to go completely independent with his own label, and this is only a few years after he was seriously injured by being attacked on stage.

Some may recall Zappa’s appearance in front of the Senate committee in regards to the drive to include Parental warning labels on published music. Zappa viewed this as nothing more than censorship, and he was one of the few musicians to fight the battle against the opponents led by the wife of White House Chief of Staff James Baker. Zappa was certainly a man of principles, and had no time for those who weren’t. It was pancreatic cancer that took his life, but a life well lived it was. His time as a symbol of freedom in Czechoslovakia is proof that he never shied away from standing up for what he believed in. So like his music or not – he surely didn’t care. But he respected those who cared for society and freedom. Filmmaker Winter does a nice job with a two hour run time, when the material exists for a 4 part series.

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Posted by David Ferguson

UNCLE FRANK (2020)

November 24, 2020

 Greetings again from the darkness. Alan Ball has been behind such high profile projects as Best Picture Oscar winner AMERICAN BEAUTY (1999), “Six Feet Under”, and “True Blood”. This time, he is writer-director-producer for a film that he partially based on his own father. Repressed homosexuality, alcoholism, death, and family dysfunction all play a role in a film that starts out beautifully insightful and then morphs into something totally different.

Paul Bettany stars as the titular Uncle Frank Bledsoe. When we first see Frank, he is the calm amidst the chaotic family gathering in their tiny hometown of Creekside, South Carolina. His 14 year old niece Beth (Sophia Lillis, IT) serves as our narrator, and she quickly discloses her admiration for her favorite uncle. He’s a college professor at NYU, and the only adult “who looked me in the eye”. He even wore after shave! The two are oddities in this family since they both love to read, have deep conversations, and can’t escape Creekside soon enough.

Beth is too sheltered to realize that Frank has kept his homosexuality a secret from the family. She’s shocked at how cross the family patriarch Daddy Mac (Stephen Root) acts to his son Frank, which contrasts to his affinity for his other son, and Beth’s father, Mike (Steve Zahn). A terrific ensemble cast fills out the family: Margot Martindale as Mammaw Bledsoe (Frank’s mother), Judy Greer as Kitty (Mike’s wife), Lois Smith as Aunt Butch (Frank’s stuck-in-the-past Aunt), and Jane McNeil as Neva (Frank’s sister).

We flash forward 4 years and Beth is now a freshman at NYU where her favorite uncle is a professor. Of course it doesn’t take long before Frank’s secret is revealed, and Beth meets his longtime partner Wally (Peter Macdisi, who is director Alan Ball’s real life partner) and their pet iguana named Barbara Stanwyck. When the call comes through that Daddy Mac has died, the film shifts to the road trip portion of the show, and the excellent tone set in the first half is shattered.

With a shift to Frank’s perspective, we experience his flashbacks to childhood and what caused the rift with his father. The memories of his first encounter with another boy turn horrific, and explain much about why Frank and his closed-minded father don’t have a relationship, and why Frank has a nasty history with booze. The road trip itself is enlivened thanks to the enthusiastic presence of Wally, a man with a good heart who tries to always be there for Frank. This is a coming of age trip for Beth, but her role goes pretty quiet until the ending.

The story has elements of small southern town contrasted to New York City, and the pent up frustrations that accompany a life of closeted homosexuality and lack of honesty with one’s family. The bond of family outsiders could have been a full movie unto itself, but filmmaker Ball chose to explore numerous emotional points, rather than one. The unforgivable nature of Frank’s dad provides an emotional wallop that embraces the melodrama of the film’s second half. It’s sure to draw out tears from more than a few viewers, and a film that connects like that, surely has something to say.

Premieres on Amazon Prime on November 25, 2020

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Posted by David Ferguson

THE MYSTERY OF D.B. COOPER (doc, 2020)

November 24, 2020

 Greetings again from the darkness. Nearly 50 years have passed and it remains the only unsolved Air Piracy case in America. For HBO, documentarian John Dower (MY SCIENTOLOGY MOVIE, 2017) chronicles the investigation and four main suspects in the mystifying D.B. Cooper case. It’s a case that has fascinated people and frustrated authorities for five decades.

On November 24, 1971 – Thanksgiving Eve – a man using the name Dan Cooper (a communication mix-up caused him to be later identified as D.B. Cooper) boarded a Northwest Airlines flight in Portland. Once in the air, he handed Flight Attendant Tina Mucklow a note informing that he had a bomb and was hijacking the plane. His demands were simple: $200,000 in cash and 4 parachutes. In Seattle, his demands were met. He released the passengers, keeping only the crew on board. At an altitude of 10,000 feet, Cooper jumped from the Boeing 727 under the cover of darkness and rain over a heavily forested area. As far as authorities are concerned, he’s never been seen again.

Some presume he died on the jump, while others turned him into a folk hero. He was credited with an act of defiance during times of economic hardships for many. The “Cult of Cooper” was born, as was one of the great mysteries of the 20th century. Director Dower interviews some key folks and shows clips of interviews and statements of interested parties who have since passed. The structure of the film revolves around the four main suspects … those who have not been ruled out. Segments are devoted to each of the four: Duane Weber, Robert/Barb Dayton, LD Cooper, and Richard McCoy.

Personal testimony and recollections from relatives and associates of these four leave us with little doubt that a case can be made for each, and those going on camera absolutely believe “theirs” is the infamous DB Cooper. We hear from Duane Weber’s wife who states her husband confessed, “I’m Dan Cooper” on his death bed. Robert/Barb Dayton was one of the first me to have a sex change operation, and his neighbors provide details on Dayton’s own confession, “I am Dan Cooper”. Marla Cooper was 8 years old when the hijacking even took place, and she recalls specifics of her Uncle LD Cooper, and being told “We hijacked the plane” and “We’re rich!” Lastly, Richard McCoy was arrested 5 months later for a copycat hijacking. His pattern was quite similar and his facial features almost identical to the DB Copper sketch.

Tina Mucklow was the flight attendant on the hijacked flight and she provides details of that fateful event, as do other members of the flight crew, a passenger who observed most of what happened on the first flight, and a retired FBI agent who worked the case. Two authors, Bruce Smith (“DB Cooper and the FBI: A Case Study of America’s Only Unsolved Skyjacking”, 2016) and Geoffrey Gray (“Skyjack: The Hunt for DB Cooper”, 2011) provide significant insight into the research they have conducted into the investigations. There seems to be plenty of criticism of the FBI in regards to lost evidence (cigarette butts from the flight, fingerprints), and a delayed ground search that gave Cooper a 40 hour head start.

Some reenactments are used here, but a significant portion is filmed interviews with those who have something to say about the investigation, or who DB Cooper might be. The 1980 discovery of 3 bundles of cash with matching serial numbers on the banks of the Columbia River is discussed, and a possible explanation is provided in one of the segments. It’s likely you’ll come away from this as baffled as the authorities have been for 50 years, but also loaded with some good fodder for holiday conversation (via Zoom, of course).

Premieres November 25, 2020 on HBO

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Posted by David Ferguson

STARDUST (2020)

November 24, 2020

 Greetings again from the darkness. Traditionally, an “unauthorized biopic” will contain some of the less-desirable, and often more entertaining aspects of its subject; however, writer-director Gabriel Range (with co-writer Christopher Bell) admit up front that this is mostly “fictional”. Since David Bowie’s son, filmmaker Duncan Jones, announced that the family was not participating in the project, we somehow miss out on both the personal “dirt” and the actual music of the icon. What remains is an odd couple road trip representing Bowie’s first American tour in 1971.

Johnny Flynn stars as a young (early 20’s) David Bowie. Flynn is a musician-actor recently seen as Mr. Knightley in this year’s excellent EMMA. He’s very talented, but certainly bears little physical resemblance to the androgynous waif of early-1970’s Bowie. We first see Flynn’s Bowie through his dream during an airplane flight. The riff on 2001: A SPACE ODYSSEY is our first clue that the film will track Bowie’s transformation from David Jones to David Bowie to Ziggy Stardust. It plays as a search for his identity … though he mostly just seems to desire being hailed as a star, rather than a musical genius.

Jena Malone appears as Bowie’s first wife, Angie. She’s presented as quite controlling and eager to bask in the success she expects from her husband. We also see her teasing their open marriage, and pregnant with Duncan. When Bowie lands in America, he’s put through the ringer with U.S. Customs and Immigrations – his flowing dress doesn’t help. Bowie is disappointed that Mercury Records has sent Ron Oberman (an excellent Marc Maron) as his station-wagon driving publicist – not exactly the red carpet he envisioned.

Bowie and Oberman on the road is the highlight of the movie. Bowie is relegated to playing the worst imaginable gigs … like a Eureka vacuum salesman conference, while Oberman preaches practicality. Beyond that, Bowie seems self-defeating at every opportunity and we never quite understand his motivation. Miming during an interview with a rock publication can’t seem wise to anyone, no matter how offbeat they perceive themselves. On top of the disastrous American trip, Bowie is dealing with the “family curse”, as his mother describes it. Bowie’s brother Tony (Derek Moran) is shown battling a mental illness, likely schizophrenia. Of course, given his gene pool, David is concerned for his own well-being.

Recent biopics of Elton John (ROCKETMAN, 2019) and Freddie Mercury (BOHEMIAN RHAPSODY, 2018) are perfect examples of what this film is not. This is more of an exploration of identity before Bowie became an iconic theatrical rocker. The influences of Iggy Pop and Marc Bolan (played by James Cade) are hinted at, but mostly the birth of Ziggy Stardust just seems to happen. Commencing countdown to a biopic of a musician before he’s famous, and being handicapped by not having access to his original music, is quite a challenge, and considering those things, even if it’s watchable, it’s likely to be crucified by Bowie devotees.

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Posted by David Ferguson

HILLBILLY ELEGY (2020)

November 23, 2020

 Greetings again from the darkness. “We don’t use that word.” That is law school student JD’s reaction when someone refers to those like his family as hillbillies. He’s understandably defensive, despite his daily navigations between two distinct worlds. Oscar winning director Ron Howard (A BEAUTIFUL MIND, 2001) presents the true story of JD Vance, a young man who earns his way out of his Appalachian background to gain admittance to Yale Law School, only to get dragged back into the life he worked so hard to escape. Vanessa Taylor (Oscar nominated for THE SHAPE OF WATER, 2017) adapted the screenplay from Vance’s own memoir.

The first thing noticed about this film is that it stars Amy Adams (6) and Glenn Close (7), who between them, have 13 Oscar nominations for acting. That’s a pretty distinguished pedigree for a cast. Ms. Adams has been seen recently in the TV mini-series “Sharp Objects” and as Lynn Cheney in Adam McKay’s VICE (2018). Ms. Close was most recently nominated for her performance in THE WIFE (2018). Other notables in the cast include Haley Bennett (excellent in SWALLOW earlier this year), Freida Pinto (SLUMDOG MILLIONAIRE), and Gabriel Basso (THE KINGS OF SUMMER, 2013).

As the film begins in 1997, we find a young JD (Owen Asztalos) in a tough spot, and we quickly get a feel for the chaos commonplace around his family in Jackson, Kentucky … and also the bond that comes with being a family in the hills. The obligatory family photo ends the segment. We then skip ahead 14 years as the family has 3 houses on the same street in Middletown, after some of them find a way out of Jackson. In this blue collar town hit hard by a financial downturn, they admit to missing only “hope”. The story is told from the perspective of an older JD (Basso), who struggles with the emotional turmoil that his mother Bev (Adams) constantly creates. Remarkably, it’s Mamaw (Close) who provides the strength and stability in the family, and yet, she always seems one small step from exploding at the universe. There is an odd grounded nature and tough-mindedness to Mamaw that Ms. Close radiates on screen. It’s an interesting performance, that some may call over-the-top … a phrase also likely to be used for Ms. Adams as she displays the desperation of an addict, and the broken spirit of one whose shot at life disappeared early on.

For such a stereotypical “simple” family, the complexities of the story and characters are sometimes difficult to appreciate. JD’s sister Lindsay (Bennett) does her best to raise her own family while also managing her mother and grandmother, so that JD can pursue law school. She understands he has possibilities, whereas she has few. And JD’s law school girlfriend Usha (Pinto) truly has no concept of his childhood and family. Class differences are on full display not just with Usha, but also at the dinner where JD (a former Marine) is maneuvering to secure a summer internship that keeps him teetering in the balance of moving forward or falling back.

It’s at this point where JD receives a call from Lindsay informing that mother Bev has overdosed on heroin. It’s yet another example of his own mother inadvertently subverting his efforts to make a new life for himself. Addiction, relapse, financial struggles, family abuse, and untold secrets are the pieces that make up JD’s family pie. When his “old” life collides with his “new” life, will it drag him back down? He periodically faces decisions that are legal and/or morality based, and given his circumstances, it’s never as straightforward as it should be.

Without the power of Glenn Close and Amy Adams, director Howard likely would have had the film slide into the maudlin mode so common with Hallmark or Lifetime Channel movies, and while it’s not the Oscar bait Howard aims for, Netflix has yet another watchable film in their stable. Mr. Howard’s decision to bounce back and forth between 1997 and 2011 does provide the history we need to understand JD’s dilemma, but the see-saw approach is at times distracting. Home movies provided by JD Vance are shown over the closing credits, and it’s here where we realize just how closely Ms. Close physically resembles the real Mamaw. We walk away easily seeing how the circle of this life becomes perpetual, and just how challenging it can be to break free.

Premieres on Netflix November 24, 2020

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Posted by David Ferguson

SOUND OF METAL (2020)

November 19, 2020

 Greetings again from the darkness. Many of us have attended concerts and experienced a ringing in our ears for a while afterwards. Have you ever thought about the musicians who are playing that music night after night? It’s a risk requiring precautions … and even then, disaster can occur. The first narrative feature from writer-director Darius Marder uses the hearing loss of a heavy metal drummer to explore what happens when the life we know is suddenly snatched away.

Riz Ahmed (TV mini-series “The Night Of”) stars as Ruben, the aforementioned drummer. The film opens with Ruben drumming on stage as his lead singer/girlfriend Lou (underrated Olivia Cooke, THOROUGHBREDS, “Bates Motel”) screams out the lyrics punk-style for their band, Blackgammon. We witness Ruben’s euphoria in the moment, with his “Please Kill Me” tattoo visible across his chest. Afterwards, we see the couple in their RV living a happy life of veggie juice, yoga, and slow dancing between gigs. The first crack in the armor is Lou’s scratching her arm from anxiety, and the next is devastating for Ruben and the couple.

Ahmed is terrific in the most important moments, and he’s assisted by top notch sound design from Nicolas Becker (GRAVITY, 2013). This allows us to feel and experience the moment Ruben realizes he has a problem, and how he begins to process this. Director Marder utilizes subtitles/closed captioning throughout, both for the deaf community and to make Ruben’s situation visceral for viewers. When the doctor explains hearing loss, frustration and defiance kick in for Ruben. He becomes focused on the $40-80,000 cochlear implant option, and views it as a way to maintain his normal life.

Lou becomes worried for Ruben’s well-being, and we learn he’s a recovering heroin addict. He reluctantly agrees to a remote deaf community/rehab facility run by Joe (Paul Raci). It’s here that Ruben learns sign language and begins to adjust to his new reality. Joe is a very patient and sage advisor, and preaches that being deaf is not a handicap – it’s not viewed as something to fix. Implants are considered an affront to the deaf culture, and the film neither shies away from this conflict, nor magnifies it.

The clash between Joe’s patience and guidance, and Ruben’s desire to get his normal life back comprise much of the film. The final scene between the two is gut-wrenching thanks to extraordinary acting from Ahmed and especially Raci. Supporting work in the film is provided by Lauren Ridloff (a hearing-impaired actor) and Mathieu Amalric as Lou’s dad. The final act is quite something to watch. The director says the film is about the finality of life changes, and letting go of what we can’t fix. Joe urges Ruben to appreciate the stillness, and we also see a love story that served its purpose and run its course. Will the distortion lead Ruben to find peace in the stillness? Depending on your stance in regards to the debate within the deaf community, the ending either works for you or it doesn’t. Either way, it’s well done and well-acted.

Amazon Studios will release this in theaters November 20, 2020 and on Prime Video December 4, 2020

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Posted by David Ferguson

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