THE UPRISING (2026)

September 10, 2026

Greetings again from the darkness. It can be challenging to relate to an historical drama set in the 14th century, yet the Peasants’ Revolt of 1381 in medieval England sometimes hits quite close to home. Writer-director Paul Greengrass directed three of the Jason Bourne movies, so we can expect the action sequences to be frenetic and thrilling … often relying too heavily on handheld cameras.

Andrew Garfield is ‘Ploughman’, a self-imposed moniker since “I am what I do”. We watch as he works his plot of land around the three graves near his cabin. He’s grieving and lonely, having paid a steep price from the bubonic plague known as “Black Death”. While he’s toiling away, the council for teenage King Richard II (Woody Norman, C’MON C’MON, 2021) is plotting behind closed doors whether to save the kingdom by taxing the rich or by taxing the poor. The rich would expect a seat at the proverbial table, so it all falls to the poor, of course. Ploughman doesn’t take kindly to the announcement and violently lashes out in anger … an action that John Ball (Jamie Bell) and Wat Tyler (Cosmo Jarvis) use as step one in the uprising of the frustrated masses.

The king’s council of corruption and manipulation is made up of elders: Archbishop Sudbury (Stephen Dillane), Chief Justice Belknap (Stanley Townsend), Treasurer Hales (Tom Hollander), and Mayor of London William Walworth (Jonny Lee Miller). While this group protects their own cone of power, the young king cowers in dark corners, escaping nightmares and uncertainty. Even his mum (Katherine Waterston) struggles to get him to govern.

Those in the rebellion are joined by Alyce (Thomasin McKenzie), a character clearly designed to represent the strong and determined women of the era. Injustice is readily accepted in no particular era, so an upswell of anger towards an oligarch by the oppressed is not surprising … although Ploughman’s elite fighting skills certainly are. The progression of the story and the battle scenes deliver significant intensity, and we can’t help but wince as those involved prove the adage, ‘power corrupts’.

If you know any of this history, you know the timid King makes a shocking turn, and one can only assume filmmaker Greengrass had no qualms about any modern-day symmetry shown in this saga from almost 650 years ago. The performances are quite good, and the Bavarian shooting locales perfectly capture the time period. Cinematographer Pal Ulvik Rokseth (ARMAND, 2024) embraces the feel of this setting, despite the trademark Greengrass overuse of handhelds. History can provide lessons of inspiration or lessons of caution, sometimes within the same story.

Opens nationwide in theaters on September 11, 2026

WATCH THE TRAILER

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Posted by David Ferguson

THE MAGIC FARAWAY TREE (2026)

August 21, 2026

Greetings again from the darkness. Director Ben Gregor may have delivered the rarest of films in this day and age … one filled with adventure, goodness, and life lessons … and one the entire family can watch and enjoy together. Simon Farnaby (PADDINGTON 2, 2017) adapted the screenplay from Enid Blyton’s series of four books published between 1939 and 1951. Ms. Blyton passed away in 1968, yet she remains one of the best-selling authors of children’s books.

Tim (Andrew Garfield) and Polly (Claire Foy, “The Crown”) are a married couple with three kids. Polly comes home in a stupor one evening, confessing to Tim that she quit her job due to a principle that meant a great deal to her. Since she’s the breadwinner of the family, and their car and apartment were tied to the job, they find themselves instantaneously broke and homeless. Their plan is tied to a ‘Dream Binder’ put together many years ago, and off they go to live in a rustic barn landlorded by marble-mouthed Brian (the film’s writer Simon Farnaby) and Bella (Farnaby’s real life wife Claire Keelan). Rustic is a bit of an understatement as the place is a mess and has no electricity.

Youngest daughter Fran (Billie Gadsdon, HERE, 2024) doesn’t speak much, while Joe (Phoenix Laroche) is having video game withdrawals. Beth (Delilah Bennett-Cardy) is the angry teen who wants nothing to do with a place lacking WIFI and friends. Daddy Tim is the dreamer, while Mama Polly is the practical one. Together they plan to grow tomatoes and market Tim’s delicious tomato sauce recipe. Meanwhile, Fran discovers the titular magic tree which leads to an enchanted land of colorful characters, including the charming and delightful Fairy Silky (Nicola Coughlan, “Bridgerton”) and the skeptical Moonface (Nonso Anozie, “Sweet Tooth”). Things escalate once Fran’s siblings join in the magic. Trips to Land of Goodies (“Don’t be greedy”) and Land of Birthdays (cold due to icing) also involve an angry Pixie, Saucepan Man, Mr. Wazisname, and Dame Washalot. The kids find out it’s not all rainbows and unicorns when they cross paths with the vicious Dame Snap (Rebecca Ferguson).

Polly’s ultra-wealthy and snobbish mother (screen veteran Jennifer Saunders) can’t comprehend this new lifestyle and looks forward to telling them, “I told you so.” Of course, this is a throwback fairy tale, so we are fairly certain she won’t get the chance. The closest comparisons to the film would be along the lines of THE CHRONICLES OF NARNIA (2005), THE ADVENTURES OF BARON MUNCHAUSEN (1988), and most any Monty Python feature. This particular family adventure leads to some wonderful life lessons and yes, brings the family closer together. The books from Enid Blyton are from another era, but the film has a contemporary feel as it reminds us that somewhere along the line, we lose the magic we had as kids … well, all except Tim, who has held on tightly.

Opens nationwide in theaters on August 21, 2026

WATCH THE TRAILER

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Posted by David Ferguson

TICK, TICK … BOOM! (2021)

November 18, 2021

Greetings again from the darkness. Success comes in many shapes and sizes. Sometimes it brings happiness, glory, and financial gain, while other times there is an emptiness or sadness. Who better than Lin-Manuel Miranda (of “Hamilton” fame) to direct the cinematic tribute to composer and playwright Jonathan Larson? You likely know Larson’s name from his long-running Broadway smash hit, “Rent”, but this is his autobiographical project based on his early struggles in trying to write the next great American musical. It has been adapted for the screen by Steven Levenson (“Fosse/Verdon”).

Opening in January 1990, a full (i.e., long) version of Larson’s “30/90” song kicks us off with singing, dancing, and choreography. It’s important to note that this was the era of AIDS raging through the New York arts scene – people were dying, and friends were frightened. Andrew Garfield leaps into the role of Jon, sporting Cosmo Kramer hair, and a boundless, frenetic energy that overshadows his friends and loved ones. Jon is in full panic mode as his 30th birthday approaches and he rushes to finish his futuristic rock-musical “Superbia”, which he expects will be his springboard to stardom. In the meantime, he works at the Moondance Diner while remaining committed and obsessed with his art.

Director Miranda adds a structural element with cut-aways to Jon (Garfield) performing his own musical onstage at New York Theater Workshop. However most of the run time is focused on Jon’s writer’s block associated with the final song he must write. His idol, the legendary Stephen Sondheim (Bradley Whitford) advised him of the importance, and we aren’t sure if the block stems from this or the fact that it’s the final missing piece. Garfield is exceptional as the self-absorbed, and obviously talented Jon. As his friend and roommate Michael (Robin de Jesus, THE BOYS IN THE BAND, 2020) has surrendered his dream of art for a well-paying advertising job, it’s clear that Jon still believes art can change the world.

Alexandra Shipp (LOVE, SIMON 2018) plays Susan, Jon’s dancer-girlfriend. She also is considering the reality of a teaching job versus the dream of performing, yet Jon is too immersed in his own work to take heed of her warnings. He is so against ‘selling out’ that he even cruelly debates Michael on the pursuit of creature comforts. Of course, much of this would eventually lead Larson to write “Rent”, but this film doesn’t cover that period. Vanessa Hudgens (HIGH SCHOOL MUSICAL franchise) and Broadway standout Joshua Henry perform much of the singing here, but Garfield holds his own on the musical and dance numbers.

Other supporting roles are filled by Judith Light as Jon’s agent, Rosa Stevens, and Richard Kind as a both-sides-of-his-mouth stage critic, while director Miranda makes a cameo as a short order cook at the diner. The challenges of New York City life in the art world are clearly shown here, and mostly this is a loving tribute to Jonathan Larson by his admirer Lin-Manuel Miranda … with an exciting performance from Andrew Garfield. It’s an entertaining production that never pretends to offer up inspiration or false hope to the dreamers in the audience.

Streaming on Netflix beginning November 19, 2021

WATCH THE TRAILER

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Posted by David Ferguson

THE EYES OF TAMMY FAYE (2021)

September 16, 2021

Greetings again from the darkness. We now have the latest example for those who fall on one side or the other when it comes to documentary vs dramatized biopic. Director Michael Showalter (the excellent THE BIG SICK, 2017) and writer Abe Sylvia have adapted the 2000 documentary from Fenton Bailey and Randy Barbato – and even kept the same title. The focus here (obviously) is on Tammy Faye Bakker, as she and her televangelist husband Jim skyrocketed to fame before imploding in a quite public and spectacular fashion. Jim went from world-renowned Christian TV personality to scandal-burdened prison inmate, while Tammy Faye rose up from roots of poverty to beloved personality, before becoming a media and Talk Show punchline caricature.

Regardless of your preferred biopic style, or your memories of the Bakkers’ rise and fall, most of us can agree that Jessica Chastain delivers a superb and entertaining performance as Tammy Faye. Already established as one of our finest actors, this is truly a passion project for Ms. Chastain, as she purchased the film rights nearly a decade ago. Here, as you might expect, her features are often buried under prosthetics and mounds of make-up to achieve the oh-so-familiar Tammy Faye look. She captures the babyish voice, the recognizable chuckle, and even sings the songs (very well) that Tammy Faye sang on camera and released albums.

Depending on your expectations, the film serves up a sympathetic view of a true believer with a heart of gold, or it merely skims the surface of a ministry filled with fraud, greed, and deception. And it’s likely both. Tammy Faye is a bit of an enigma. As a child, she was forbidden by her mother (Cherry Jones) from attending church, as she served as a reminder of the ‘Scarlet D’ (divorce) burdening her mother. However, one sip of the sacrament sent young Tammy Faye (Chandler Head) into speaking in tongues and on the road to North Central Bible College where she would meet Jim Bakker.

Andrew Garfield portrays Jim Bakker, and captures the very familiar speech pattern and effeminate mannerisms of the man who proclaimed God did not want poverty for his followers … a belief that led first to the Bakkers’ “The 700 Club” on Pat Robertson’s (Gabriel Olds) Christian Broadcasting Network, and ultimately to their own network and “The PTL Club”, followed by Heritage USA, a Christian theme park. Along the way, they crossed paths with the powerful, ultra conservative Christian, Jerry Falwell (a reserved Vincent D’Onofrio), a man who was envious of the number of followers and the dollars generated by Jim and Tammy Faye. Falwell filled a significant role in how things played out for the Bakkers, and that part is touched on here.

Showalter opts to open the film with a montage of newscasts reporting the Bakker collapse, followed by Tammy Faye in 1994 commenting on her famous eyelashes by stating, “That’s who I am.” The rest of the film is a re-telling of the Tammy Faye story, though we are left to ponder, ‘How much did she really know?”. We see a good-hearted person – a woman brave enough to publicly stand up for the LGBTQ community despite the objections of powerful men in the church. We also see a woman who enjoys fine luxury living and asking few questions, while consistently holding to her message, “God loves you. He really does.” Evangelicals, hypocrisy, financial standing, and political influence are all part of the story, but this is no deep dive into what sent Jim Bakker to prison. Even the Jessica Hahn scandal garners but a brief mention. Instead, this is the story of one woman who was trusted by so many prior to becoming a punchline. One could even say Jim and Tammy Faye were the pioneers of Reality TV, and their rise and fall are only unusual due to the ties to Christianity.

In theaters September 17, 2021

WATCH THE TRAILER

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Posted by David Ferguson

SILENCE (2016)

January 5, 2017

silence Greetings again from the darkness. Martin Luther King said “Faith is taking the first step even when you don’t see the whole staircase”. Martin Scorcese’s esteemed film career could be described as unveiling that staircase, one step/film at a time. Religion, spirituality and yes, faith, have played a key role in his life and his films – most notably, Kundun and The Last Temptation of Christ, but also most of his other projects.

A high-ranking priest (Ciaran Hinds) is meeting with two younger Portuguese priests and informing them of the rumor that their mentor Father Ferreira (Liam Neeson) has reportedly renounced his faith and is now living as a Japanese Buddhist in Nagasaki. The two young Jesuit priests, Rodrigues (Andrew Garfield) and Garupe (Adam Driver) refuse to believe this and request to be allowed to track down Ferreira and bring him home. It could be termed a rescue mission, and the two men could be called missionaries, but what follows is an excruciating test of their own faith.

Martin Scorcese has been working on this passion project for more than two decades – ever since he read the Shusaku Endo novel (published in 1966). Cast members have changed through the various iterations of the project, but after the box office success of The Wolf of Wall Street, Scorcese received the financial backing to bring his vision to the screen. He co-wrote the screenplay with Jay Cocks (Gangs of New York) and the result is the visual and emotional epic that you might expect from one of the greatest filmmakers of all time.

17th century Christianity in Japan might be a difficult subject to sell to the general movie-going public, and Scorcese goes out of his way to leave unanswered the multitude of questions the film raises. Rather than wrapping it up with a clean ending, he leaves viewers craving further discussions, clarity and explanations. In other words, it lacks mass appeal and shouldn’t be confused with light-hearted entertainment.

Rodrigues is resolute in his belief that God is the answer … even when the film’s title is at the forefront. As Rodrigues and Garupe minister to the village of secret Christians (led by Yoshi Oida and Shinya Tsukamoto) at night and hide during the day, we learn of the Japanese state’s commitment to eradicating Christians and Christianity to ensure the power and isolation of the country. The oddest character in the film is that of Kichijiro (an excellent Yosuke Kubozuka). He is both guide to the priests and a constant challenge to their faith, while also providing moments of comic relief in a film with very few. Were this a Kurosawa film, this role would have been a perfect fit for the great Tishiro Mifune.

The most obvious adversary for the priests is the Japanese elder known as The Inquisitor. Issei Ogata excels in the role as a wily, half-smiling, quite knowledgeable wartime (a war on Christianity) leader intent on creating the most painful and public extermination of Christian believers and those priests who dare to infect his country (Japan’s 1614 Edict of Expulsion). The torture and persecution is too much to detail here, but it portrays how even the most ardent believers could choose life over faith.

The film blends fiction with some true-to-life aspects, and is most effective at asking questions and spurring thought. Which is more crucial – public or private faith? Is doubt allowable and even understandable? Is Rodrigues so committed to faith or is there also an element of martyrdom present? How about the “Judas” sub-plots? Is it betrayal if it saves one’s own life? Just where is that line? Is Ferreira a disgraced priest or simply a man valuing survival? The film is beautiful to look at (superb work from cinematographer Rodrigo Prieto and editor Thelma Schoonmaker) while being exceedingly tough to watch (and quite long). Be prepared to set aside time for reflection and discussion … you may even discover some surprises in your views and beliefs.

watch the trailer:

 

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Posted by David Ferguson

HACKSAW RIDGE (2016)

November 3, 2016

hacksaw-ridge Greetings again from the darkness. Why doesn’t every high school student learn about Desmond Doss in History class? Beyond that, why isn’t Desmond Doss profiled in every Psychology and Philosophy class? It’s inexplicable that more Americans aren’t familiar with his story, much less failing to honor his legacy with a well deserved tribute. Fortunately director Mel Gibson (Braveheart) and screenwriters Andrew Knight (The Water Diviner) and Robert Schenkkan (“The Pacific”) bring us a spirited look at this underappreciated American war hero.

Andrew Garfield (The Amazing Spider-Man) plays Desmond Doss and perfectly embodies the conviction and dedication of this extraordinary (not hyperbole in this case) man. See, Desmond Doss was one of the first conscientious objectors in the U.S. Army. His religious beliefs (Seventh Day Adventist) prohibited him from using a weapon or killing another person … two things that don’t go over well with fellow soldiers or commanding officers. Yet, Doss was committed to serving his country as a medic and saving lives, rather than taking them.

Unbelievable may be the best description even though his story is absolutely true. Credited with saving the lives of at least 75 wounded soldiers, Doss and his fellow soldiers are depicted in the film fighting the Battle of Okinawa at Hacksaw Ridge … a topographical challenge punctuated by the need to climb a rope wall in order to scale the face of the cliff. Their reward was facing thousands of Japanese hiding in tunnels and bunkers, waiting patiently to kill in mass. There will be no spoilers here on the courageous actions of Doss … you should see for yourself.

The early part of the film features a heart-warming first love story involving Desmond Doss and Dorothy Schutte (Teresa Palmer, The Choice). Watching young love bloom is precious and provides a stark contrast to the battle scenes. The two make a lovely couple and we can’t help but root for them. Once Doss hits basic training, we find Vince Vaughn in the role of Sergeant Howell, Sam Worthington (failing to hide his Aussie accent) as Captain Glover, and Luke Bracey (Point Break, 2015) as Smitty, one of the soldiers who initially has no interest in serving with Doss. The Army Psychologist is played by Richard Roxburgh, whom movies lovers will recognize as The Duke from Moulin Rouge! (2001).

Some of the best scenes involve Desmond’s parents played by screen vets Hugo Weaving and Rachel Griffiths. Both are excellent in roles requiring very different and extreme emotional moments. It’s a credit to Gibson’s filmmaking expertise that he is able to add depth to all aspects – family turmoil, a classic love story, the brutality of war, and the deep religious convictions. There are a few moments of “artistic license” and some of the CGI is inconsistent and even over-produced at times, but the intensity of the battle scenes rival that of Saving Private Ryan and the landing at Omaha Beach. It’s a passionate piece of filmmaking centered on a most passionate man. You may disagree with much of what Mel Gibson has said and done in his personal life (and I hope you do), but as a film director he has earned much respect. And speaking of respect … Desmond Doss. Enough said.

watch the trailer:

 

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Posted by David Ferguson

99 HOMES (2015)

October 8, 2015

99 homes Greetings again from the darkness. Thumping music, the aftermath of a suicide, and an arrogant and immediately dislikable real estate agent fill the screen in a tension-packed opening sequence. This is how writer/director Ramin Bahrani begins our descent back to 2010 during the severe housing and economic crash. While the foundation of the story is the “system” that screwed over so many homeowners, it’s really more a tale of morality and how we react during desperate times.

Andrew Garfield plays Dennis Nash, a skilled construction worker scrounging for jobs as he tries hard to make ends meet in the house-building industry so devastated by the economy. He lives in his childhood home with his mom (Laura Dern) and his young son. In an attempt to stave off foreclosure, Dennis goes to court pleading his case. See, he received contradictory instructions from his bank, and he ends up on the wrong end of the bailout. Watching a family getting booted from their home is excruciatingly emotional, and we empathize with the anger, frustration and helplessness of Dennis as realtor Rick Carver (Michael Shannon) and the Sheriff’s department execute the eviction.

In an odd turn of events, Dennis ends up working for Carver and quickly becomes addicted to the money. As Carver pulls him deeper into his scheme of bilking the banks and government agencies, Dennis rationalizes with the knowledge that he is providing for his family and on track to get his family house back. Watching Garfield’s emotionally vulnerable character interact with Shannon’s brutal businessman is pretty fascinating. It’s a bit Faustian as Dennis basically sells his soul to the devil (Carver), though he continually struggles with the moral issues until the final act … where the true line in the Florida sand is drawn.

Garfield makes the acting transition to adult in a fine turn, but it’s Shannon’s creepy Realtor who dominates the picture. From the beginning, we don’t like him – but we find ourselves better understanding his motivations after we finally get his personal explanation. The film does a nice job pointing out all parties who are somewhat responsible for the horrific housing downturn, and does so without sermonizing on the evils of big banks. In fact, it could be taken as a reminder that the “system” so many love to bash is actually made up of individuals who, in the words of Rick Carver, have learned to go “numb” rather than show emotion or respect. It’s a tough movie to watch, but a needed reminder of the importance of humanity during desperate times.

watch the trailer:

 

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Posted by David Ferguson

THE AMAZING SPIDER-MAN 2 (2014)

May 11, 2014

spider 2 Greetings again from the darkness. This follow-up to The Amazing Spider-Man (2012) seems to have the mission of throwing as much onto the screen as possible. There are not one, but three key villains, a teenage love story, a deathbed scene, numerous moments of soul-searching, a stream of wise cracks and puns, the most outrageous laboratory setting, a cartoonish evil doctor accent, the constantly furrowed brow of Aunt Mary (Sally Field), flashbacks and video of the mysterious father, teasers for future movies, and of course, enough action and special effects to ward off any thoughts of peace.

Personally, I find Andrew Garfield to be a nice fit as Spidey, but I just can’t buy him as ultimate science geek Peter Parker. He bumbles about and bats his eyes too much for my tastes, and can’t stand toe to toe with Gwen Stacy (real life squeeze Emma Stone) in scientific banter. Still, the original story is interesting enough that any minor issues are easily overlooked.

At its core, this entry is a story of revenge. The foundation for Peter Parket’s troubles all stem from Oscorp, so we are treated to some behind the facade sets that will keep viewers on their toes. After an initial face-off with bad guy Aleksei Sytsevich (a maniacal Paul Giamatti), we see the transformation of goofy Max Dillon (Jamie Foxx) into the shocking (get it?) Electro. If that’s not enough, childhood buddies Peter Parker and Harry Osborn (Dane DeHaan) are reunited to set the stage for more good vs evil.

The story would have benefited from more concentration on any of these three stories, while dropping one altogether. The viewer would have benefited from a slower jolt (one more!) in the transformation of Max to Electro. We needed to find the humanity, rather than just desperation. The same goes for Peter and Harry. The dots are a bit too far apart for connection, though DeHaan (so good in Lawless and Chronicle) is a striking contrast to the doe-eyed, beautifully coiffed Garfield.

It’s nice to see Stone’s Gwen portrayed as a smart, ambitious young woman who also understands how demanding a relationship is, and the responsibility that goes with dating a superhero. Speaking of responsibility, the lack of Uncle Ben’s influence here is disturbing, though probably necessary given the exploration of backstory on Peter’s parents (Campbell Scott, Embeth Davidtz).

When Paul Giamatti reappears near the end as Rhino, it’s a bit difficult to not think “enough is enough”. And oddly, this fight sequence ends abruptly, evidently setting the stage for future Spidey. And speaking of the future, the end credits scene plays as nothing more than a teaser trailer for the next X-Men movie, while robbing us of any details to the Sinister Six.

Admittedly, I feel somewhat overdosed on Superhero and Comic book adaptations, yet the action and effects are still quite fun to watch, even if director Marc Webb (Ok, that pun is just too easy) seems to jumble up too many story lines.

***NOTE: I find humor in the fact that both lead actors from Sideways (2004) have now played villains in Spider-Man movies. Paul Giamatti in this one and Thomas Haden Church in Spider-Man 3 (2007)

***NOTE: fans of The Matrix will experience deja vu as Peter Parker discovers his father’s laboratory

watch the trailer:

 

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Posted by David Ferguson

THE AMAZING SPIDER-MAN (2012)

July 7, 2012

 Greetings again from the darkness. The big debate seems to be whether it is too soon for the Spider-Man franchise to be re-booted. It was just 10 years ago when Tobey Maguire first appeared as Spidey and a mere 5 years ago when director Sam Raimi delivered the last leg in his trilogy. Obviously the reason to re-boot starts with “doll” and ends with “ars”. It is more interesting to decide if this is an improvement over the previous series.

We must first look at Spider-man himself. Played here by Andrew Garfield, we get a more thoughtful Peter Parker and a more athletic Spidey version than we had with Maguire. As usual, my pet peeve is that Garfield is a 28 year old man cast as an 18 year old high school science nerd. Looking past that, Garfield manages to pull off the stunts without looking too much like a real super hero. So that’s a plus. Luckily for him, his scenes with Gwen Stacy (Emma Stone) work because Ms. Stone is such a super talent. She makes everything she is in, just a little bit better.

Next we look at the villain. Rhys Ifans plays scientist Dr Curt Connors, who transforms into Lizard in the quest to regenerate growth of his lost right arm. He was once partners with Peter’s dad in their research into reptilian genetics. While Doc Ock (Alfred Molina) from Spider-Man 2 is still my favorite villain in the series, it’s clear that Lizard is certainly capable of frightening the younger viewers, so parents beware. It should also be noted that Dr Curt Connors was played by Dylan Baker in the Sam Raimi trilogy.

 Lastly, we look at the story. This take is much more personal and provides detail to the backstory of Peter Parker. We learn how (but not exactly why) he lost his parents (Campbell Scott and Embeth Davidtz) and see how he came to be raised by Aunt May (Sally Field) and Uncle Ben (Martin Sheen). We see how Peter and Gwen Stacy come together and learn that she is every bit his equal intellectually, if not a notch above. Casting Dennis Leary as Gwen’s Police Chief dad works as Leary and Garfield exchange barbs at the table. Peter is still a photographer, but this time for the school instead of The Daily Bugle … whose logo makes an appearance on TV.

Director Marc Webb was somehow selected for this despite his only feature film being (500) Days of Summer … not exactly a film known for its CGI. Admittedly, the CGI used here is less rushed and cluttered than in previous Spidey films and many of the stunts look to be real stunts instead of the fake stuff. The closing credit cookie clearly sets up the sequel, though I can only guess that the shadowy figure is Norman Osborn. That’s still up for debate.

** NOTE: fear not, we get the now expected Stan Lee cameo

SEE THIS MOVIE IF: you are a fan of comic book heroes and simply enjoy the bigger than life films, even if it’s not at the level of The Avengers (it’s still better than Green Lantern)

SKIP THIS MOVIE IF: you are limiting yourself to one super hero movie this year … if so, make it The Dark Knight Rises

watch the trailer:

 

 

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Posted by David Ferguson

THE SOCIAL NETWORK (2010)

October 2, 2010

 Greetings again from the darkness. This is a film with good genes. It’s based on Ben Mezrich‘s novel “The Accidental Billionaires”, screenplay by Aaron Sorkin (West Wing, A Few Good Men) and directed by one of the best directors working today, David Fincher (Fight Club, Zodiac). The film is dialogue driven and my advice is to shift your ears into turbo-mode to keep up. These Harvard types never stammer and are quite speedy in making their oh-so-clever points.

This film is not so much the history of Facebook as it is a glimpse into the individuals behind the idea. Foremost, of course, is Mark Zuckerberg (played with rapid-fire tunnel vision by Jesse Eisenberg). The programming guru behind the code, Zuckerberg is depicted as a guy who is not just socially inept, but also unaware of social mores and code. I am not sure if he is best described as a prodigy, genius or even (possibly) a sufferer of Asperger’s Syndrome. Whatever he is/was, he became a billionaire in his early 20’s by proving he could put together the world’s dominant social network while having no redeeming social or relationship skills of his own. Fascinating.

Zuckerberg’s best and only friend (and business partner) is Eduardo Saverin (played by the next Spider-Man, Andrew Garfield). Saverin fronted the money to get Facebook started and was one of the parties who brought suit against Zuckerberg, claiming he was cheated out his place in the company.

The third key player is the infamous Sean Parker (played by Justin Timberlake). Founder of Napster and Plaxo, Parker manages to get his hooks into Zuckerberg and apparently was behind the snubbing of Saverin. This is the most charismatic role in the film (and real life), yet also the role that may have the most dramatic license taken in the film.

The story is told in non-linear form, weaving multiple depositions from different lawsuits. One includes the Winklevoss twins from Harvard who claim Zuckerberg stole their idea. They later settled for millions.

As I said, this is not so much a history of Facebook as it is a display of the characters involved. These are all brilliant people who are also ignorant to the ways of the world. It seems they all have significantly different goals, yet never really stop to agree on strategy. Instead, the site growth is non-stop, as is the back-stabbing.

Interestingly, the film uses a girl (Rooney Mara) in the opening scene as the single biggest influence on Zuckerberg’s brainstorm. Her rejection of his self-centered speed-talking kicks his creative wheels into motion and his relentless energy never slows for the rest of the story. One thing is clear, Zuckerberg did not single-handedly create Facebook and there is little doubt some key people were given short straws along the way. No way to discern what really happened as all that was battled out behind closed doors in sealed records and settlements. What we do know is that Facebook now has over 500 million users worldwide.

This is an extremely well crafted movie, though in my opinion, none of the acting is up to the script. It’s a film that provides enough insight into the players and enough entertainment for the ticket. That’s really sufficient. Some are proclaiming this as a Best Picture contender.  It may very well get enough momentum to be nominated, but here’s hoping this isn’t the year’s best.  Coming next … David Fincher is set to direct and Rooney Mara is cast as Lisbeth in the Americanized version of the fabulous Swedish hit, The Girl with the Dragon Tattoo. So enjoy this one and look forward to that!

SEE THIS MOVIE IF: you are one of the 500 million Facebook users OR you thrill to the challenge of high-voltage, college-genius dialogue that always instantaneously delivers the single best comeback possible.

SKIP THIS MOVIE IF: you think every person has redeeming value OR you have to ask “What is Facebook?”

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Posted by David Ferguson

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