DEATH ON THE NILE (2022)

February 8, 2022

Greetings again from the darkness. For us Agatha Christie fans, a certain amount of trepidation exists every time a new movie or TV version of her work hits. Stress level was reduced a bit this time since director-actor Kenneth Branagh and screenwriter Michael Green are back following their collaboration on Christie’s MURDER ON THE ORIENT EXPRESS (2017). Although the star power this time isn’t quite at the level of ‘Orient’, it seems Mr. Branagh has grown quite fond and confident of his own Hercule Poirot, the Belgian super-sleuth.

Director Branagh takes an unusual approach with a black and white Prologue from 1914 as a young Poirot shows flashes of his intellect as a soldier in WWI. The real purpose of this segment is to show Poirot was once a young man in love, and then a wounded soldier in love, and then a broken-hearted wounded man who would go on to become the world’s greatest detective. The prologue also provides backstory on the infamous mustache that is so much a part of Poirot.

We then flash forward to a 1937 London speakeasy where a fastidious Poirot fusses over dessert while watching the formation of a shaky love triangle unfold on the dance floor as Salome Otterbourne (Sophie Okonedo, with singing vocals from Sister Rosetta Tharpe) belts out her bluesy tunes on stage. Initially it’s Jacqueline de Bellefort (relative newcomer Emma Mackey) in the throes of lustful dance moves with her fiancé Simon Doyle (Armie Hammer in the last gasp of a once skyrocketing career). Things change quickly when Jacqui’s former schoolmate, Linnete Ridgeway (Gal Gadot), makes her show-stopping appearance in a glittery metallic gown. Flash forward again, this time 6 weeks, and its Linnete and Simon tying the knot at the picturesque Cataract Hotel in Aswan on the River Nile. See, Linnete is an heiress to her less-than-scrupulous father’s fortune, and Simon had no trouble trading up. Jacqui, on the other hand, doesn’t take it so well.

Of course the fun part of Agatha Christie’s murder mysteries involves getting to know the players and watching as the clues reveal themselves, and then how Poirot handles the big reveal. This film’s only real weakness is the character development of everyone not named Hercule Poirot. We only skim the surface of Euphemia Buoc (Annette Bening) as Buoc’s (a returning Tom Bateman) disapproving mother, Dr. Windlesham (an unusually reserved Russell Brand), Linnete’s chambermaid Louise (Rose Leslie), Linette’s Godmother and her “nurse” (Jennifer Saunders and Dawn French, respectively), family attorney Andrew (Ali Fazal), and Salome’s niece and manager, Rosalie (Letitia Wright), the proverbial sharpest knife in the drawer.

So what do we get? Well, first and foremost, a fully formed Poirot. Branagh seems to have embraced the character and the mustache, having a blast with his scenes. We also get stunning work from cinematographer Harris Zambarloukos, as he films the beautiful people, the beautiful wardrobes, and such sites as the Pyramids of Giza, the Sphinx, Ramses statues of Abu Simbel, and the excellent set piece known as the Karnak luxury steamer. There are some metaphorical effects inserted that periodically startle us, and seem unnecessary, but then over-the-top moments are not unusual in film presentations of Christie’s writing. She passed away in 1976, and now there are almost 200 film and TV projects associated with her work.

Love and betrayal are key elements here, and for fans of the original book and the 1978 film version, comparisons are unavoidable. Ms. Mackey’s jilted lover stalker is a marked improvement over Mia Farrow’s character, while Salome and Rosalie and terrific additions. Ms. Saunders and Ms. French follow in the footsteps of cinematic heavyweights Bette Davis and Maggie Smith, and your choice of Branagh or Peter Ustinov as Poirot is one left up to you. It’s tough to beat ‘whodunnit escapism’, though it’s a personal choice on which of Christie’s stories serve up the best puzzle pieces on the big screen.

Opens in theaters on February 11, 2022

WATCH THE TRAILER

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Posted by David Ferguson

CRISIS (2021)

February 25, 2021

 Greetings again from the darkness. The best thrillers often interweave multiple story lines to create a complex web of detail for viewers to unwind. Writer-director Nicholas Jarecki (ARBITRAGE, 2012) serves up three story lines, all related to the current Opioid crisis. Although the film looks great and has a deep cast, we’ve seen most of this before and no new insight is provided in regards to the struggle. Instead, it’s really standard thriller fare that never goes deep enough into any of the characters to make us care.

Armie Hammer (along with the recent personal baggage attached to him) stars as Jake Kelly, a DEA Agent who has worked undercover in hopes of exposing the Armenian-Canadian-American drug traffickers responsible for a significant portion of opioids crossing the border. Hammer spends the entire movie with an intensely furrowed brow that would likely inspire distrust amongst any potential drug syndicates.

In storyline number 2, Evangeline Lilly (Wasp in the ANT-MAN movies) is Claire Reimann, an architect and recovering drug addict, who is out for vengeance when her beloved high school athlete son is found dead with drugs in his system. The third segment features Oscar winner Gary Oldman (DARKEST HOUR, 2017) as Dr. Tyrone Brower, a science professor at a private Detroit university. He runs a drug-testing lab and faces a moral dilemma when questionable lab results for “the first non-addictive painkiller” puts people at risk, not to mention funding for his work.

Any one of these actors or stories could carry the weight of a movie, but when combined, they succeed only in crushing the entertainment value and tension level. Oldman’s story is easily the most interesting. It addresses how Big Pharma gets new drugs rubber-stamped by funding otherwise cash-strapped labs and schools. There is also the skepticism involved with the drug-producer’s influence over the supposedly independent FDA, and on top of all that, there is the ethical concerns of everyone putting the almighty dollar ahead of safety.

Director Jarecki (the brother of Andrew Jarecki who directed the superb 2003 documentary CAPTURING THE FRIEDMANS) kicks off the movie with a beautifully filmed, albeit brief, chase scene through the snowy Canadian forest. In fact, the camera work throughout is fine. It’s really the overloaded script that prevents any of the stories or characters from clicking. Mr. Oldman seems to sense that he needs to overcome the lack of complexity in his story, and because of the effort, loses his usual reserved cerebral approach for which he’s known.

Supporting work is provided by Greg Kinnear as the Dean willing to sacrifice ethics and friendship for money, Michelle Rodriguez as the DEA supervisor in a budget crunch, and Lily-Rose Depp as Jake’s strung out sister. Also contributing are Indira Varma, John Ralston, Martin Donovan, Mia Kirshner, Kid Cudi, Michael Aronov, Luke Evans, and Veronica Ferres. The weakest link here is director Jarecki himself, who for some reason, thought he could play Jake’s partner … a role that would have benefited from a more refined actor.

The horrific effects of the Opioid crisis are known to most, and the film plays like a Wikipedia explanation for anyone who doesn’t read or watch the news. Certainly not helping is the “Miami Vice” type score that accompanies many scenes, and the choppy editing that causes many scenes to fail. Better movies in this genre would include THE INSIDER (1999, ironically directed by “Miami Vice” creator Michael Mann) and Soderbergh’s TRAFFIC (2000). The obstacles faced by whistleblowers, the importance of funding to academia, budgetary concerns for law enforcement, the tragic impact of drugs on families, and the systemic corruption that has fueled the epidemic … all of these are touched on. It’s just that it all seems too obvious. If somehow you didn’t already know, the money-hungry don’t play fair – whether they be drug dealers or drug companies.

The film will hit theaters on February 26, 2021 and Digital and On Demand March 5, 2021

WATCH THE TRAILER

 

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Posted by David Ferguson

HOTEL MUMBAI (2019)

March 28, 2019

 Greetings again from the darkness. A group of quiet and focused young men with backpacks arrive by boat and then split into taxis. We hear the calm voice being fed into their ear buds. The voice assures them that “God is with you” and “Paradise awaits.” Of course, since this is based on true events from 2008, we know the horror that is about to be unleashed by these terrorists (more than 170 killed).

This is the first feature film from writer-director Anthony Maras, and with his co-writer John Collee (MASTER AND COMMANDER: THE FAR SIDE OF THE WORLD, 2003), we are taken to CST, the train station which is one of the 12 terrorist targets. Actual footage is mixed in, leaving no doubt as to the panic and violence that unfolded. As the individuals in the group divide into their well-orchestrated terrorist teams, we flash to the morning routine at a nearby home. Arjun (Dev Patel) is frantically getting prepared for work before heading to his pregnant wife’s place of work. He is dropping off their young child since the sitter was a no-show.

Arjun is part of the staff at the prestigious Taj Mahal Hotel Palace, affectionately referred to as “The Taj”. The service is impeccable … to the point of checking the temperature of bath water for one of the guests. Those who stay here are accustomed to and demanding of the very finest. However, on this stay, they will experience the sharp contrast of ultimate luxury and raw terror. As viewers, our guts sense the feeling of dread, even as the hotel managers and staff are welcoming arriving guests such as a retired Russian Special Forces officer turned wealthy playboy (Jason Isaacs) and newlyweds David (Armie Hammer) and Zahra (Nazanin Boniadi, “Homeland”), along with their newborn baby and nanny Sally (Tilda Cobham-Hervey).

As the cold-blooded attack is carried out by the terrorists at The Taj, we witness so many innocent people mowed down with precision – some execution style. Many hotel guests find hiding spots, including an exclusive club in the heart of the hotel. The staff, including Arjun and renowned Chef Hermant Oberoi (Anupam Kher), courageously try to survive while also protecting the guests. David and Zahra get separated from each other and from their baby, leaving the nanny desperately trying to keep the oft-crying infant from being heard.

We also witness the local police – undermanned, under-armed, under-trained – try their best to defuse the situation, knowing that Special Forces are “hours away”. Courage is on display throughout the film, but this is no Jason Bourne or John McClane scenario. These are cooks and waiters and hotel guests caught in one of the most frightening situations imaginable.

For cinematic effect, the attack seems to take place over the course of a single night, whereas the actual events were over 3 days, resulting in 31 deaths at The Taj. The level of tension is maintained throughout … it’s a well-made thriller centered on actual events and real people. The filmmakers seem to go out of their way to avoid any political, social or religious commentary or insight. We only know the terrorists are told to take American prisoners and “Go and do Jihad”. It’s described as “indiscriminate terror” and that they are reclaiming what has been taken from them over the years. It is a difficult film to watch, though we understand there will always be bad people doing bad things for what they believe are the right reasons. Fortunately, there will also always be courageous and good people. More than once we hear the staff mention “Guest is God” … but not all of these guests were welcome.

watch the trailer:

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Posted by David Ferguson

ON THE BASIS OF SEX (2018)

December 22, 2018

 Greetings again from the darkness. Earlier this year, the documentary RBG (co-directed by Julie Cohen and Betsy West) was a film festival and box office hit, helping turn 85 year old Supreme Court Justice Ruth Bader Ginsburg into a celebrity and cult icon, complete with best-selling “Notorious RBG” t-shirts and her own action figure. That documentary allowed us the rare opportunity to hear directly from a currently sitting Justice, and just about every viewer came away in awe – regardless of one’s political affiliations. Now, a few months later, we get the story of her younger years in a (loving) script written by Ms. Ginsburg’s nephew Daniel Steipleman.

The film opens with a lone woman in a dress engulfed by a sea of young men in conservative business suits marching up the steps on day one of Harvard Law School in 1956. Inside the oak paneled hall, the school’s dean, Erwin Griswold (Sam Waterston) discusses what it means to be a ‘Harvard man’ and how this is only the sixth year women have been admitted. As he speaks, young Ruth (Felicity Jones) glances around the room at the (only) 8 other female students. At a later reception for the females, Dean Griswold asks each to stand and explain why they are worthy of taking a man’s spot in the class. It’s our first (not last) example of the sexism obstacles of the time – much different than those of today, where women procure more higher education slots than men.

By this time, Ruth and Martin Ginsburg (Armie Hammer) are both Columbia graduates, have been married for a couple of years, and are raising their first child, Jane. When Marty is diagnosed with testicular cancer, Ruth covers his classes and hers, is mother to young Jane, and also caregiver to a recovering Marty. Of course, her husband recovers and goes on to be a highly successful tax attorney on Wall Street, and their marriage continues until his death in 2010.

But this is Ruth’s story, and her strength is on display. As uplifting as it is to see that Marty was an immensely supportive husband, it’s deflating to see how a brilliant woman – number one in her class – is so disrespected during this era that she can’t even find a job at a law firm. For one committed to doing, Ruth accepts a job teaching instead. Her time as a professor at Columbia is spent encouraging students to explore the inequities of the law when it comes to men and women. In fact, it’s 1970 when Ruth and Marty work their only case together. A Colorado man, Charles Moritz (Chris Mulkey), is denied a tax deduction for the caregiver expenses in caring for his sick mother. By law, the deduction is only allowed for female caregivers, and this gives Ruth her first taste of ‘doing’.

It’s at this point, where Kathy Bates appears as civil liberties lawyer Dorothy Kenyon, and Justin Theroux as Mel Wulf, the ACLU Legal Director. Adding spice to Ruth’s and Marty’s life is their teenage daughter Jane (a very good Cailee Spaeny) who is quite headstrong in her own beliefs. The scenes in the Appellate Court are the film’s best, as is the Moot Court sequence – though we do wish more time had been devoted to the prep work and details for the court arguments.

Director Mimi Leder is known mostly for her TV work, and she delivers the story of an amazing woman in an easily accessible manner for mass audiences. It’s an approach that will hopefully allow many young people (yes, especially women) to gain a better understanding of what this woman went through and fought for during the decades before she became the second woman to serve on the US Supreme Court.  Two takeaways here are that Ruth Ginsburg is a superhero and pioneer of social change, and also that a marriage of equal partners carries great power. Her cameo as the film’s final shot, leaves no doubt that RBG is no longer concerned about which dress will make her look like a “Harvard man”.

watch the trailer:

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Posted by David Ferguson

SORRY TO BOTHER YOU (2018)

July 12, 2018

 Greetings again from the darkness. All movie watchers know that the first rule of Fight Club is ‘Don’t talk about Fight Club’. And now we know that the first rule of Telemarketing is STTS: Stick to the script. The similarities between the two movies may be few, but hip-hop artist (The Coup) turned first time filmmaker Boots Riley comes out swinging in this offbeat, quite clever satire on race, corporate culture, economic factions, social division, and politics. It makes for a nice companion piece to last year’s critical darling, GET OUT.

LaKeith Stanfield (GET OUT, SHORT TERM 12) stars as Cassius “Cash” Green, a low key good dude living with his girlfriend Detroit (Tessa Thompson) in his uncle’s (Terry Crews) garage. Four months behind on rent, Cash wants to do something important with his life, he just doesn’t know how … and his current financial circumstances aren’t helping. You may call him a dreamer, but he’s not the only one (a Lennon reference seems fitting for this film).

Cash’s best buddy Salvador (Jermaine Fowler) gets him an interview at a dingy basement telemarketing firm – an interview that clues us in on the type of humor we are in for. Thanks to advice from one of the veteran telemarketers (Danny Glover), Cash utilizes his “white voice” and immediately has remarkable success … and we get some pretty funny sales call visuals to correspond to the obvious capitalism statement.

Ultimately his sales success gets him promoted to the “power caller” level and his own mentor, accessible only through the gold elevator. This leads to conflict with his friends, his girlfriend and his own moral standards. See, the basement dwellers are being led by Squeeze (Steven Yeun) in an effort to unionize for a living wage and tolerable work environment. As Cash continues to pursue … well, uh … cash … his friends carry out their form of civil disobedience. This leads to police brutality, examples of corporate greed, and the downside to individual ambition.

Armie Hammer plays Steve Lift, the egomaniacal corporate d-bag who takes Cash under his wing – for the purpose of making more money. The sales pitch turns to “Worry Free”, a lifestyle being marketed through brain-washing advertisements for guaranteed food and shelter. One need only commit to a lifetime of corporate servitude. If that sounds like slavery, well, that’s the point Riley is making. It’s not so far off from the life many of us lead today, but of course this is presented in satirical fashion, so we are manipulated into laughing at ourselves and our society. There is even a popular reality TV show titled “I Got the S**T Kicked Out of Me”, and folks can’t get enough!

The story kind of flies off the rails in the second half with some wacko-science fiction genetic engineering. The equisapiens have to be seen, as no written description will do. Even this segment has purpose. It speaks to how individuals and corporations can seize power and head in a questionable direction – all in the name of progress, efficiency and stock price.

Stanfield excels in one of his first lead roles, and Ms. Thompson is her usual shining star. Kate Berlant (as the humorously named Diana DeBauchery) has a couple of excellent scenes, and David Cross and Patton Oswalt are terrific as the (extremely) white voices of Cash and Mr. _________ (played by Omari Hardwick).

Filmmaker Riley offers up not a call to arms, but rather a call to wake up! Many of the decisions here mirror real life. Personal success can cost us friends, and political and professional choices may challenge our inherent morals (here, bordering on Faustian). The film is both provocative and funny, though a bit messy at times. You’ll laugh while you think, or laugh after you think, or think after you laugh … somehow you’ll do both. OFFICE SPACE and Terry Gilliam’s BRAZIL may be the closest comparisons; just be cautious if Boots Riley ever invites you to join in some horse play.

watch the trailer:

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Posted by David Ferguson

FINAL PORTRAIT (2018)

April 5, 2018

 Greetings again from the darkness. Geoffrey Rush is such a uniquely talented performer that I wouldn’t hesitate to walk into any of his projects with little hint as to the subject matter. He is simply that good at what he does. Here he plays renowned Swiss sculptor and painter Alberto Giacometti, a man Rush seems destined to play given their quite similar physical appearances. It’s a 90 minute joy ride (though it’s not really joyful) for anyone who enjoys watching an artist work … or in this case, an artist working as an artist.

Writer-director Stanley Tucci is best known for his acting career, and he also has an eye for the camera and clearly admires Giacometti and his work. Set in 1964 Paris, most of the film takes place in Giacometti’s shabby little compound that includes his studio and a bedroom he sometimes shares with his wife Annette (Sylvie Testud). Occasional forays take us to his favorite café, or walks through the city by his latest portrait subject, the American art writer James Lord (Armie Hammer). In fact, the film is based on Mr. Lord’s memoir “A Giacometti Portrait”, which details his experience posing for the master … a task that was originally promised to last a couple of hours, and turned into 3 weeks.

Also appearing are Tony Shalhoub as Diego, the artist’s brother and assistant, and Clemence Poesy (IN BRUGES) as Caroline, a local prostitute who also serves as Giacometti’s muse. It’s a fine and talented cast, but this just as easily could have been a one-actor play. Rush plays the lead as a typical artist in shambles – one who cares as little for relationships as he does about money, clothes and appearances. He’s perpetually rumpled with mussed hair and a dangling cigarette being his sole accessory.

He is both charming and miserable, sometimes in the same breath – unwittingly pitting his forlorn wife against his more pampered muse … never more obvious than when comparing gifts of a new dress versus a new BMW. Much of the time on screen is spent in the daily ritual: adjusting the chair just so, Lord sitting down and assuming the pose, an artistic gaze cast, followed by the careful selection of a particular brush. More often than not, Giacometti mutters an “Ahh F***”, and proceeds to start over (and over and over). An honored yet frustrated Mr. Lord is forced into numerous flight reschedules, as time means nothing to an artist.

Director Tucci shoots through the smudged window panes more than once, and when Giacometti tells Lord, “I’ll never be able to paint you as I see you”, it really captures the tortured madness and brilliance of such an amazing artist. He doesn’t see the world the way most of us do, and that’s what sets his art apart. Of course the personal toll on the man and those around him is quite high … Giacometti passed away less than two years after the Lord portrait.

watch the trailer:

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Posted by David Ferguson

CALL ME BY YOUR NAME (2017)

December 21, 2017

 Greetings again from the darkness. Although confusing the two is understandable, there is a difference between a story of romance and a story of love. That’s not to say that the two can’t overlap; in fact, they often do. In movies, romance is the dish most often served because it’s usually more interesting. Watching the flirtatious dance and often awkward exploratory stage of what was once called the rituals of courting offers a writer, actor and director infinitely more possibilities than what we associate with the years of deep connection labeled as love. Andre Aciman’s novel is adapted by James Ivory (of Merchant-Ivory fame, and 3 times Oscar nominated for Best Director) and the script leans heavily on romance … lustful romance, to be specific.

Director Luca Guadagnino (A BIGGER SPLASH, I AM LOVE) is an expert at making movies that engage our senses. His movies delicately tease us – they slowly absorb us into the emotions and feelings of the characters. Very few filmmakers have the skill to subtly seduce the viewer, and draw us into the story so that we are no longer merely observing. It’s nuanced story-telling at the highest level.

Elio’s (Timothee Chalamet) family spends the summer at their estate in northern Italy. You’ve likely never met a more cultured family. His father (Michael Stuhlbarg) is a renowned professor, his mother (Amira Casar) a recognized translator, and Elio himself is a musical prodigy who whiles away the days by transcribing classical music and reading every book he can get his hands on. Oh, he also flirts with the local girls because he is, after all, a 17 year old boy. His intelligence and corresponding wit is of a much older person, standing in stark contrast to his innocence and childlike maturity level with all other pieces of life’s puzzle.

Elio’s world is rocked when his father’s newest research assistant, Oliver (Armie Hammer), shows up. An “Americano” who offsets his extreme politeness with an unrefined “Later” when departing any encounter, Oliver explodes on the scene like a Greek God. He and Elio have an initial passive-aggressiveness towards each other as they test the boundaries for weakness, and more importantly, interest. Things move very slowly as the passion and curiosity brews during their bike rides, walks through the apricot orchards (forbidden fruit), swimming in every watering hole, and competitive banters on intellectual topics. There is a sensuality to most every scene, though those same scenes are filled with unspoken tension.

The sunlit beauty as each summer day passes initially masks the emotions, and the stunning setting, people, colors, and music is accentuated by the camera work of cinematographer Sayombhu Mukdeeprom. Nature is on display in its full glory; not just through trees, sunlight, and water, but in that elusive and unexplained connection between two people so strongly drawn to one another.

Director Guadagnino’s film easily slides into the romantic sub-genre of such films as BLUE IS THE WARMEST COLOR, BROKEBACK MOUNTAIN, and CAROL, and the artistic approach provides a gentleness that even the peach scene can’t undo. Michael Stuhlbarg (who seems to be everywhere these days) has an extraordinary father/son scene near the end which reminds us that each one of us has a story on how life may or may not have turned out as planned. The gut-wrenching pain with sharing that story usually means it remains untold; however, the invaluable lesson is not lost on Elio. First love and first heartbreak bring both emotional ecstasy and emotional devastation, and whether you believe the film’s statement “We have less to give each new person”, you’ll likely agree that the use of Psychedelic Furs “Love My Way” is spot on.

watch the trailer:

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Posted by David Ferguson

FREE FIRE (2017)

April 19, 2017

 Greetings again from the darkness. Searching back through more than a decade of film reviews, I can confirm that the phrase “slapstick shootout” has not previously been part of my movie lexicon … which is a relief since it could never be more accurately placed than in description of this latest from the husband and wife filmmaking team of director Ben Wheatley and writer Amy Jump (prior works include High-Rise, Kill List and a few others). The zingers are plentiful – both in bullets and dialogue. It’s unlikely you’ve ever laughed as much during such a violent/gory/graphic assault on the senses (especially auditory).

Set in 1978 Boston, which allows for added humor via music, attire, hairstyles and vehicles, the basic premise is a meet-up for the deal between an IRA faction and a gun-dealer, with the brokers and “muscle” of each side along for the ride. When cases of AR70’s are presented instead of the ordered M16’s, the deal gets a bit shaky until cooler heads prevail. That is until one of the gun-runners recognizes an IRA guy as the one who disrespected his 17 year old cousin the night before. It’s at this point that the film cranks to a frenzy that would make the Mayhem commercial guy proud. It’s the visual definition of a cluster.

A stand-off and shootout occurs (with side deals and betrayals) over the next hour and yet the early comical dialogue somehow becomes next level great despite bullets whizzing through a terrific setting in an abandoned umbrella warehouse. Unlike in some movies, these bullets inflict pain (and the subsequent cries and wails). The characters continue to banter and threaten one another, all while dragging their lead-induced injuries across the dusty floor between various forms of protective shields strewn about the warehouse.

Normally I would concentrate on the major characters, but most everyone involved in the deal-gone-bad has at least a couple of memorable lines and moments. The gun-runners are led by Sharlto Copley as Vernon, a cocky, mouthy South African whose dialect sounds an awful like New Zealander Murray in the classic TV gem “Flight of the Conchords”. In a movie that seems impossible to steal, Copley comes the closest and his Vernon would make a perfect Halloween costume and annoying party guest. His cohorts are Marion (Babou Cesay), Gordan (Noah Taylor, Max 2002) and Harry (Jack Reynor, Sing Street, 2016). The IRA group is led by uptight Chris (Cillian Murphy), Stevo (a hilarious Sam Riley, Mr Darcy in Pride and Prejudice and Zombies), Frank (Michael Smiley) and Bernie (Enzo Cilenti). The two deal brokers are the ultra-debonair Ord (Armie Hammer) and the lone female Justine (Brie Larson). It’s a terrific cast having a ridiculously good time with a creative and rollicking script.

Know going in that the film is a very hard R-rating for violence, drug use (in the middle of the shootout), and a bounty of flowing F-words. It’s neither for the faint of heart nor those who take their standoffs too seriously. Director Wheatley employs a vast array of unusual camera angles to ensure the action never looks boring, and his use of secondary and tertiary sound (especially with dialogue) is expert and dizzying at times. Don’t expect too many layers or sub-plots. It’s simply a shoot ‘em up romp capitalizing on black comedy to the nth degree. John Denver might not have approved of the use of his song, and just remember, “We can’t all be nice girls”.

CAUTION: this is the RED BAND trailer and is NSFW or Kids:

 

 

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Posted by David Ferguson

NOCTURNAL ANIMALS (2016)

November 17, 2016

nocturnal-animals Greetings again from the darkness. First rule of Write Club … ABC. Always Bring Conflict. Alright, so I blended famous lines from a couple of movies there, but the point is a good script inevitably has conflict throughout. Director Tom Ford (A Single Man, 2009) adapted the screenplay from Austin Wright’s novel “Tony and Susan”, and while significant conflicts abound, it’s the multiple and vivid contrasts that take this one to the next level.

Director Ford jolts us with one of the most unique and unwelcome opening scenes ever as the credits flash by. A high gloss art gallery is the setting for a combination of video/performance art taking place that could only be appreciated by those with very specific tastes … those who favor obese naked dancing ladies. Extremely obese and absolutely naked. It’s not the last time we as viewers will be uncomfortable, but it is the last time we will chuckle (even if it is awkwardly).

The curator of the art gallery is Susan, played by the always excellent Amy Adams. She lives in a stunning, ultra-contemporary mansion with her picturesque husband played by Armie Hammer. Their relationship is apparently as cold as his business, resulting in an empty relationship and the need to maintain the façade with their friends while quietly selling off assets to buy time. On the day that he leaves on a “business trip”, she receives a package containing a galley of her ex-husband Edward’s (Jake Gyllenhaal) first novel … some interesting reading during her time alone.

A creative story structure has Susan reading the book (dedicated to her) in bed while we “see” what she’s reading/envisioning. The story starts out as just another road trip for a husband (Gyllenhaal in a dual role), wife (Isla Fisher) and their teenage daughter (Ellie Bamber). However, on the desolate back roads of west Texas things get intense – almost unbearably so. The young family is terrorized by a trio of rednecks led by sociopath Ray Marcus (played by Aaron Taylor-Johnson in what is head and shoulders above anything he’s done to date). What follows is the fear of every man … unable to protect his family, and every woman … being abducted.

Thanks to flashbacks and some simple inferences, we soon realize the novel is corresponding to Susan and Edward’s past relationship, as well as Susan’s current situation. The previously mentioned contrasts really kick into gear. It’s the past versus the present, west Texas tumbleweeds versus the sleek and glamorous art world, Susan’s first artsy husband versus her new ideal one, young Susan versus current Susan, the physical beauty of those in Susan’s world versus the grit and ugliness of the novel, and finally, reality vs what’s not real.

The revenge-thriller portion of the novel makes for fascinating story-telling, and we get drawn in fully once Michael Shannon (playing a west Texas detective) arrives on the screen. Always one to disappear into his role, this may be Mr. Shannon’s best yet. Though he doesn’t have significant screen time, we are mesmerized by him during his scenes. He and Gyllenhaal are terrific together. Also appearing in supporting roles are Michael Sheen, Andrea Riseborough, Jena Malone, and a chilling scene from Laura Linney as Susan’s high society mother.

The two parts of the film play off each other like Brian DePalma against Sergio Leone. Slick against dusty … but of course, there is misery and disappointment and deceit in each. The cinematography (2 time Oscar nominee Seamus McGarvey) and editing (Joan Sobel) are superb and complemented by a spot on score from composer Abel Korzeniowski (a mixture of Bernard Hermann and Basic Instinct). The ending may frustrate some (not me) and though it may not find a huge audience, a loyal fan base is quite likely.

watch the trailer:

 

 

2 Comments | Drama, Fantasy, Thriller | Tagged: , , , , , , , , , , , , , , , | Permalink
Posted by David Ferguson

THE BIRTH OF A NATION (2016)

October 6, 2016

birth-of-a-nation Greetings again from the darkness. Rarely is a director’s feature film debut one that has historical and societal relevance … and certainly few first-timers would dare “borrow” the title of one of the most iconic films in cinematic history (regardless of the irony). But it seems Nate Parker may be no ordinary filmmaker. His 7 year passion project is well made, well acted and worthy of discussion.

Though the films share the title card (right down to the font), there are almost no similarities between Mr. Parker’s film and the 1915 D.W. Griffith movie. Griffith’s movie (set 30-40 years later) is known as the first blockbuster and historical epic, was the first film screened at The White House (by Woodrow Wilson), and has been studied for its advanced filmmaking techniques. It’s also notorious for the despicable portrayal of racism, and has even been credited/blamed for re-energizing the activities of the Ku Klux Klan. Parker’s film is neither a remake nor a historical epic – it’s more of a biographical portrait of the most famous figure in the 1931 Southampton, Virginia uprising … Nat Turner.

This is the story of Nat Turner, but it’s clearly Nate Parker’s film. He is producer, co-writer (with Jean Celestin), director and lead actor (as Turner). Previously recognized for his acting (The Great Debaters, 2007), Parker’s passion for the story is evident. He takes creative license in some key elements (Turner’s marriage, the interracial baptism, the armory battle), but the fundamental truth that Turner was driven by his religious beliefs and visions to fight in order to free slaves is profound and ingrained in each scene.

Supporting work is solid and comes from Armie Hammer as Nat’s plantation owner and master, Penelope Ann Miller (The Shadow, 1994) as the plantation matriarch who teaches young Nat to read the bible (not the white man books), Jackie Earle Haley (The Bad News Bears, 1976) as the villainous slave hunting ranch hand, Mark Boone Junior as the scheming Reverend, Gabrielle Union as a rape victim, and Aja Naomi King (“How to Get Away with Murder”) as Cherry (Turner’s wife).

Nat Turner’s uprising lasted a mere 48 hours, and resulted in the slaughtering of dozens of slave owners and their families. Of course, many slaves were also killed and the fallout was that slave owners became more wary of the possible actions of slaves … while it also provided a glimmer of hope, and generational stories, for those who remained enslaved.

Religion was a driving force in Turner’s actions, and it’s fascinating to see a movie acknowledge conflicting bible verses, and how support can be found for most any action … in this case, slavery AND the battle against it. Turner’s sermons to slaves evolve over time from a message of “obey your master” to the point where he is inspiring the uprising – all with words directly from the scripture.

The end for Nat Turner provides the end of the movie, but of course, it’s not the end of the story. One need only check today’s headlines to know that racial tensions are prevalent and that society still has a ways to go for equality and humanity for all. Nina Simone’s “Strange Fruit” is one of the more haunting songs one will ever hear in a movie (originally recorded in 1939 by Billie Holliday), but it’s spot-on in its inclusion. A detailed song about lynching grabs our attention amongst the whippings, force-feedings, rape and other torturous mistreatments.

Slavery has been portrayed on screen in such films as 12 Years a Slave, “Roots”, Django Unchained, and Amistad. Nate Parker’s film deserves to be mentioned among these projects, and there is little doubt we will hear and see even more from Parker as a filmmaker (and actor). As a final benefit, the film reminds us to never bring a hatchet to a canon fight.

**NOTE: for those who follow the NBA, you’ll notice Michael Finley and Tony Parker are Executive Producers for the film.

**NOTE TO AMC NorthPark: my movie buddy was not pleased with his $7.03 small popcorn. Being one of the few who pays with cash, he questions why you can’t make 3 cents less per bag rather than load down your customers with 97 cents change … to say nothing of the inefficiencies in having your concession workers count out the 3 quarters, 2 dimes, 2 pennies

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Posted by David Ferguson

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