MIRANDA’S VICTIM (2023)

April 19, 2023

Greetings again from the darkness. “You have the right to remain silent.” Whether you say it out loud or just finish it in your head, the vast majority of us know what follows, even if it’s (hopefully) just from watching TV and movies. You likely also know that it’s part of The Miranda Rights … a list of rights that anyone being arrested is entitled to. If you are like me, you probably hadn’t put any thought into the origin of those rights or the requirement for law enforcement to recite them in a timely manner. Director Michelle Danner (THE RUNNER, 2021) and co-writers George Kolber and J Craig Stiles are here to educate by bringing us the story of Trish Weir and Ernesto Miranda.

The film is based on the true story of Trish, an 18-year-old working at a local movie theater. After one late night bus ride home from work, she was abducted and raped. As Trish, Abigail Breslin proves yet again that she is a terrific actor, and fully grown up since her breakthrough performance in LITTLE MISS SUNSHINE (2006). What follows is gut-wrenching, and likely a scene that played out all too frequently fifty years ago, and still occurs today. Trish’s mom (Mireille Enos, “The Killing”) tries to dissuade her from going to the police by warning her that “they never believe the victim”, and that she will then be considered “damaged goods.” It’s painful to watch this play out, despite knowing that mom thinks she is protecting her young daughter. Trish’s sister Ann (Emily Van Camp, “Revenge”) is very supportive and follows her to the doctor for the initial check-up, to the police station for filing the report, and ultimately to the courtroom.

There is much to consider in this story. How courageous was Trish for standing up and pursuing the case? How about the detectives (played by Enrique Murciano, Brent Sexton) who recognized that even though other victims had chosen not to come forward, Trish could help them stop a really bad guy? And then there is a legal system that was unfair to both Trish and Ernesto Miranda (Sebastian Quinn), as well as the attorney, judges, and jurors involved with the cases. Fittingly, a clip of the 1962 classic TO KILL A MOCKINGBIRD is shown, emphasizing the wheels of justice turn slowly. We see that the ACLU attorney (Ryan Phillippe) gets involved when he believes Mr. Miranda was coerced into a confession. This is the case that changes everything.

Supporting work comes from Luke Wilson as Trish’s attorney, Lawrence Turoff; Andy Garcia as Miranda’s first defense attorney, Alvin Moore; Donald Sutherland as a judge in the case; Taryn Manning (“Orange is the New Black”) as a key witness; Dan Lauria as the examining doctor; and Kyle MacLachlan as Chief Justice Earl Warren, who is excited for a rare public reading of the Supreme Court’s landmark ruling in 1966. It should be noted that the film is very well acted, with the notable exception of Ryan Phillippe, who tries oh-so-hard to steal his scenes, failing painfully.

Michelle Danner’s work as director here is exceptional, given how many facets to the story must be juggled and given proper due. Even the re-trial of Miranda is handled well, as Trish is put through another round of emotional turmoil, this time involving her spouse. The film ends with a startling statistic: only 5 of every 1000 sexual assaults result in a conviction. Those are today’s figures, so we are left to wonder just how much has changed over the past 60 years.

The film is currently playing the Film Festival circuit

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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

WATCH THE TRAILER

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Posted by David Ferguson

WORDS ON BATHROOM WALLS (2020)

August 20, 2020

 Greetings again from the darkness. Very little outside ‘the norm’ is required for teenagers to ostracize one of their own. Sometimes it’s a haircut or a brand of shoes, or even some other minor detail that sets them apart. But when it’s a mental illness, the tribe can be merciless. Director Thor Freudenthal (DIARY OF A WIMPY KID, 2010) takes on Julia Walton’s 2017 novel, with a screenplay from Nick Naveda. The film features two rising young stars and addresses some of the challenges brought on by the uncertainties associated with a mental illness.

Charlie Plummer (so terrific in LEAN ON PETE, 2018) stars as Adam, a high school senior who has dealt with the challenges of undiagnosed mental health issues since he was quite young. His father abandoned the family years ago, and Adam’s devoted mother (Molly Parker, “House of Cards”) is not only patient and loving, but also committed to researching any possible treatment that would lead Adam to a better life. On the other hand, Adam and his mother’s new live-in lover Paul (Walton Goggins) don’t exactly see eye-to-eye on things, leading to more anxiety for Adam.

In an interesting and unique approach, director Freudenthal allows us to not only hear the voices Adam hears, but also see the hallucinations and visions he sees – three of whom are Rebecca (AnnaSophia Robb, THE WAY WAY BACK), a sweet, hippie-ish optimist; The Bodyguard (Lobo Sebastian), a cigar-chomping, bat swinging he-man; and Joaquin (Devon Bostick), an inappropriately horny ‘best friend from a 90’s move.” On top of that, there is a black mist that periodically manifests, enveloping Adam and bringing on crippling fear and isolation. After a years-long stream of drug therapy, Adam is pronounced “treatment resistant” and diagnosed as schizophrenic. Adam’s only mind-calming escape is when he’s cooking. He knows his way around the kitchen and his goal is to attend Culinary School after graduation.

One day, Adam has a psychotic break during Chemistry class. He gets expelled, which jeopardizes his Culinary School dream. His mother gets him admitted to a Catholic School run by Sister Catherine (Beth Grant) at the same time he is accepted into an experimental drug trial. He’s allowed to stay in school as long as he takes his meds and maintains his grades. It’s here where he meets the dynamic Maya (Taylor Russell, WAVES, 2019). Maya is smart and ambitious and proud, and the two quickly form a bond – an interesting bond between two smart high school kids carrying their own burdens and holding their own secrets.

Sister Catherine is balancing the specific needs of Adam with her responsibility to the school, and then there is also prom and graduation to deal with. With the new drug, the voices and visions disappear, but Adam has some issues with the side effects. A desperate plea for help from Father Patrick (Andy Garcia), the school priest, provides a boost as Adam tells him, “It’s nice to be listened to and not just observed.” That line provides significant insight into what it’s like to have this affliction, and that’s really where the movie excels … putting us in the shoes of a schizophrenic and allowing us to experience the good and bad moments. What can Adam trust? His eyes? His ears? His mind?

Adam and Maya are both trying to figure out who they are, at the same time learning what it really means to love someone. Adam refers to his illness as his “burgeoning insanity”, and in fact, schizophrenia does have a history of accelerating over time once it strikes a young person. The movie succeeds in taking away some of the mystique of mental illness, by making it approachable and something we want to better understand. There is a visual reference to Van Gogh’s “Starry Night” that might be a bit too “nail on the head”, but Freudenthal’s movie is profound and features two very talented young actors. The humanity beneath the surface of those society would rather pretend don’t exist is effectively compared to those stricken with cancer … those we would do anything for. I watched this film back-to-back with another teen-drama-romance new release entitled CHEMICAL HEARTS, and it’s extremely rare to find two such thought-provoking films centered on a pair of high school students … but quite a treat (although I believe all 4 actors are long past high school age).

Being released on August 21, 2020 in THEATERS ONLY

watch the (entirely too long) trailer:

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Posted by David Ferguson

THE MULE (2018)

January 5, 2019

 Greetings again from the darkness. When a film is inspired by a true story detailed in a 2014 New York Times article entitled “The Sinoloa Cartel’s 90 Year Old Drug Mule” written by Sam Dolnick, we should expect a message delivered with a certain amount of tension. Unfortunately, tension is somehow lacking throughout, and the only real message delivered is the same of most every elderly person (even those who aren’t drug runners) – they regret not spending more time with family. That’s not to say the movie doesn’t have its moments (it does), but know going in that the terrific ensemble cast is given little to do in a script painted with such broad strokes that no other message or image ever emerges.

Clint Eastwood directs his second movie of the year (THE 15:17 TO PARIS being the other) and stars in his first acting role since TROUBLE WITH THE CURVE in 2012. Here he plays Earl Stone, a popular horticulturalist who admittedly devoted more time and love to his prize-winning daylilies than to his family. A flashback to 2005 shows us Earl in his element at a convention where he is treated as a celebrity, and as a man who would rather buy a round of drinks at the hotel bar than show up to his daughter’s wedding and walk her down the aisle. The family has grown weary of and accustomed to his no-shows, and Earl displays little remorse.

Pushing forward twelve years, we find Earl’s house and farm in foreclosure – and him blaming the internet (just one of many ‘good old days’ syndrome bits). When his appearance at his granddaughter Ginny’s (Taissa Farmiga) engagement party causes turmoil with his ex-wife (Dianne Wiest) and daughter (the aptly named) Lilly (Alison Eastwood), he is approached by one of the attendees who tells him he can make money ‘just driving’.

Being hard up for cash, Earl takes the job driving his truck and dropping off his unknown cargo. In one of numerous convoluted moments we are supposed to accept, Earl is shocked when he discovers the cargo he’s been toting is bags of illegal drugs. Now mind you, this is a Korean War veteran who has spent his life on the road running his own business. The naivety is a bit too much for us to swallow. Comparisons are expected to Eastwood’s turn as Walt in GRAN TORINO (2008), but here his being an off-the-cuff racist is seemingly excused by his age and generation … plus it’s meant as comic relief quite often. Earl becomes a trusted mule for the cartel led by a kingpin played by Andy Garcia, and transports record amounts of drugs valued at millions. Still, Earl is a cranky old geezer who does things his own way, whether that’s stopping for the world’s best pulled pork sandwich or helping a stranded family change a tire. He’s also a 90 year old with the libido of a 28 year old gigolo (which given Eastwood’s real life track record, may or may not be fiction).

While Earl makes his commutes through the picturesque Midwest (including White Sands National Park) singing classic country songs and ballads, the Chicago DEA is busy tracking the cartel. Two partner agents (Bradley Cooper and Michael Pena) report to the Station Chief (Laurence Fishburne) and are under pressure for drug “busts”. It’s this segment that truly causes the story structure to crumble. Cooper, Pena and Fishburne are all excellent actors and it’s a bit embarrassing to see them with such limited and basic roles. Fishburne especially seems relegated to intricate dialogue such as “get it done” and “do it”. There is also a Waffle House scene shared by Cooper and Eastwood that so unreasonably requires us to suspend all disbelief that it ends up just being an eye-roller.

One’s expectation for the film should be tempered by the knowledge that Earl’s line, “For what it’s worth, I’m sorry for everything”, is really the crux of the film. An elderly drug runner’s life regrets and attempts to make amends and re-connect with his family somehow plays like a disjointed soap opera than a real life drama. That said, even at age 88, Mr. Eastwood still has a strong screen presence, and we can’t help but find it interesting that both he and Robert Redford (THE OLD MAN AND THE GUN) had roles this year as criminals with a certain appeal.

watch the trailer:

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Posted by David Ferguson

MAMMA MIA! HERE WE GO AGAIN (2018)

July 19, 2018

 Greetings again from the darkness. It’s been 10 years since director Phyllida Lloyd presented the crowd-pleasing MAMMA MIA! movie. It was a box office hit (over $600 million worldwide) and was, for a few years, the highest grossing musical of all-time. Most importantly, it was extremely entertaining and a joyous cinematic romp for viewers. This year’s sequel is directed by Ol Parker (THE BEST EXOTIC MARIGOLD HOTEL and husband to actress Thandie Newton), and though the melancholy is slathered on a bit too thick, it also fulfills its number one priority – entertaining the fans.

The story begins with Sophie (Amanda Seyfried) putting the final touches on the house-turned-hotel in preparation for the upcoming Grand Opening. It’s named Hotel Bella Donna in honor of Sophie’s mother (Meryl Streep). What looks to be a straight-forward story surprises us with a flashback to Donna’s 1979 graduation, which features not only the first song-and-dance number “When I Kissed the Teacher”, but also the first of two ABBA cameos … Bjorn Ulvaeus as a professor. The young Donna is played brilliantly by Lily James, and she effortlessly captures the free-spiritedness that led to the conundrum of the first movie – 3 possible dads for Sophie.

Those 3 dads return not only as Pierce Brosnan (Sam), Stellan Skarsgard (Bill), and Colin Firth (Harry), but also as Jeremy Irvine (young Sam), Josh Dylan (young Bill), and Hugh Skinner (young Harry). In fact, most of the run time is dedicated to the backstory of these characters and how they first met as youngsters. Each has a segment (and song) with young Harry featured in “Waterloo” accompanied by Benny Andersson (ABBA cameo #2) on piano. Young Bill is the charming sailor who saves the day for Donna, while young Sam assists her with saving a storm-shaken horse (kind of humorous since Mr. Irvine starred in WAR HORSE).

Also back are Dominic Cooper as Sky, Sophie’s true love, who can’t decide between romance and career, and Donna’s life-long friends Tanya (Christine Baranski) and Rosie (Julie Walters), who are also part of the flashback as Jessica Keenan Wynn (excellent as young Tanya) and Alexa Davies (as young Rosie). New to the cast are Celia Imrie in the graduation number, Andy Garcia as the hotel manager, and drawing the biggest applause of all … Cher as Sophie’s grandmother (and as my viewing partner commented, an early peek at what Lady Gaga will look like as a grandma)! It’s best if you experience Cher for yourself, and it should be noted that this is her first big screen appearance since BURLESQUE in 2010.

Of course, the songs are key and many of the ABBA numbers from the first movie are featured again this time. In particular, “Dancing Queen” is a nautical standout, and “Fernando” is a show-stopper. While it may not be quite as raucous as the first, it’s a treat watching Lily James, and there is a wonderful blending of “old” and “new” in the finale. The only real question remaining is, did the casting director do the math before casting Cher (age 72) as Meryl Streep’s (age 69) mother?

*As a special treat, there is a “most interesting” cameo near the end of the film

watch the trailer:

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Posted by David Ferguson

KILL THE MESSENGER (2014)

October 13, 2014

kill the mesenger Greetings again from the darkness. This is one of those true stories that probably works better as a drama than as a documentary. Jeremy Renner brings passion and believability to his role as infamous journalist Gary Webb. This allows us to gain insight into Mr. Webb as a father, husband and man, rather than only as a fiery investigative reporter.

You likely recall Webb’s published story (San Jose Mercury News) from 1996, when his research uncovered the likelihood that cocaine imported into the US was sold as crack cocaine and the profits had funded arms for the Contra rebels in Nicaragua in the prior decade. The kicker being that the CIA was well aware of these activities.

The film presents Webb as an idealist, too naive to comprehend that the story would have ramifications to his employer, his family and his self. The use of actual news footage adds a dose of reality, as does the inclusion of Ronald Reagan, Oliver North, John Kerry … and even the role Bill Clinton and Monica Lewinsky played in outshining the ultimate redemption of Webb’s work.

The underlying message here … beyond the governmental cover-up … is the lack of a truly free press. Of course, the issue remains front and center today, but in this particular instance, it’s surprising to see the influence and pressure applied by outside forces. It’s further proof that any hope for checks and balances from our news outlets was snuffed out many years ago.

The movie is based on two books: Gary Webb’s own “Dark Alliance” and Nick Shou’s “Kill the Messenger”. The frustration as a viewer is derived from the fragmented presentation brought on by steady stream of new characters who mostly appear in only one or maybe two scenes. The list of known actors is impressive: Rosemary DeWitt, Oliver Platt, Robert Patrick, Tim Blake Nelson, Michael Sheen, Mary Elizabeth Winstead, Paz Vega, Barry Pepper, Michael Kenneth Williams, Andy Garcia, Gil Bellows, Lucas Hedges, Richard Schiff, and Ray Liotta. That should help explain what I mean by fragmented.

The story is an important one and the film is worth seeing. Director Michael Cuesta’s approach makes it impossible to not think of All the President’s Men while watching. The Granddaddy of crusading journalism continues to produce heirs … those that are a black eye for the newspaper industry and our government.

watch the trailer:

 

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Posted by David Ferguson

CITY ISLAND (2009)

April 4, 2010

 Greetings again from the darkness. I am always amazed, amused and somewhat satisfied when a writer gathers up multiple stereotypes, massages the conflict and dialogue, and emerges with a script that captures interest and holds attention. Writer/director Raymond De Felitta has done just that with working class Italian New Yorkers.

All story lines revolve around the secrets each of the family members keep from the others. Sure, we all understand that two-way communication and trust create a much stronger and healthier family, but sometimes, it’s just not that simple.

Andy Garcia plays the head of this secretive bunch and he sets the stage with two whoppers. The first is his slinking off to acting classes while chasing his lifelong dream of becoming an actor – like his inspiration, Marlon Brando. To cover this one up, he tells his wife (Julianna Margulies) that he is off to another poker game, unaware that she interprets this as code for his having an affair.

They have a daughter (Dominik Garcia-Lorido) who has lost her college scholarship and is saving money to re-enroll by working (secretly) as a stripper. Guess what?  Her parents don’t know.  Their odd ball son (Ezra Miller), who believes he is too smart to attend classes, develops an online fetish habit that ends up VERY close to home.  Again, his parents are oblivious.

In most films, this would be plenty of ammunition to create havoc among the players. Not here. Garcia’s second, and much larger secret, throws this dysfunctional family into a tailspin – and he somehow is the last to realize. Emily Mortimer, Steven Strait and Alan Arkin all provide strong support to the story and this “family”.

Mr. De Felitta explored some of these family topics in The Thing About My Folks, but here he is working with his own script. The balance between comedy, conflict and insight is actually very good; though, the New Yorker habit of loud mealtime conversation is somewhat discomforting for this southern boy. Still, I have nothing but positive things to say about how the stereotypes end up providing self-realization to each of the characters, and even more importantly, an understanding of what their family really is. Good stuff here.

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Posted by David Ferguson