THE ACCOUNTANT 2 (2025)

April 24, 2025

Greetings again from the darkness. As disappointing as most sequels are, there is a glimmer of hope when the original creative team and key cast members return. Such is the case with this sequel to the 2016 film, THE ACCOUNTANT (yes, it’s been nearly a decade). Director Gavin O’Connor and writer Bill Dubuque are back, and both have skins on the wall. O’Connor also directed MIRACLE (2004) and the criminally underrated WARRIOR (2011), while Dubuque was the creator of the hit series “Ozark”.

Two-time Oscar winner Ben Affleck returns as the brilliant and autistic accountant known as Christian Wolff (as well as a few other names). In what may be the least amount of screen time ever afforded a previous Oscar winner, JK Simmons’ Ray King – former director of FinCEN is assassinated, and his former protégé MaryBeth Medina (a returning Cynthia Asdai-Robinson) tracks down Christian to help solve the case. But, of course, things are never that easy, and they also find themselves knee deep in another case – one that hits mighty close to real world headlines with human trafficking and gang activity.

Christian contacts his lethal-weapon brother … yep, for the first time since the end of the first film … and Braxton (Jon Bernthal) reluctantly agrees to join the hunt. The two brothers interact in a manner we’re familiar with from all the ‘mismatched buddy films’ over the years, and Affleck and especially Bernthal excel at this, although it’s impossible not to note Affleck’s too-frequent smirks this time around. An early speed-dating sequence feels totally forced and out-of-place, and one can only assume it’s included for anyone who didn’t watch the first movie (which I highly recommend prior to viewing this one).

As good as the brother banter plays, the mish-mashed stories, lack of central villain, and over abundance of action sequences, turn this into a film trying too hard to please all audiences. Toss in extended segments featuring the autistic techno geniuses at Harbor Neuroscience Academy, and a description of Acquired Savant Syndrome, and the best advice is to just sit back and watch after turning off your own plot-solving brain cells. Christian has developed and funded the group of young geniuses at the Academy, and they are led by non-verbal Justine (played by Allison Robertson, and computer-voiced by Alison Wright of “The Americans”). The missing persons case centers around highly-trained assassin Anais (Daniella Pineda from the Jurassic World franchise), and we can’t help but think she could hold her own as a story and character.

The abundance of comedic elements might surprise fans of the first film, as might the war zone style shootout during the film’s climax and the overly-animated Affleck – all extremes when compared to the original, yet Affleck and Bernthal make the brotherly thing work

Opens in theaters on April 25, 2025

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Posted by David Ferguson

AIR (2023)

April 10, 2023

Greetings again from the darkness. “Where’s the Beef?” That iconic Wendy’s TV commercial featuring Clara Peller is but one of the many references flashed during the opening montage designed to ensure every viewer understands we are headed back to 1984. Yes, it’s been nearly 40 years since Michael Jordan was drafted third overall by the Chicago Bulls. An important point to make is that this is only tangentially a basketball movie, and it’s certainly not a Michael Jordan profile. SPACE JAM (1996) had more basketball and more Jordan than this one. Instead, this is a rare business movie … specifically the story of how one decision by Nike not only saved their basketball shoe division, but also revolutionized the entire sports shoe market and the relationship between shoe manufacturers and athletes (at all levels, though the focus here is the NBA).

Chicago native Alex Convery’s script (his first feature film) had long been on Hollywood’s blacklist of screenplays, and it wasn’t until lifelong friends Ben Affleck and Matt Damon got involved that the project gained legs. The two buddies previously won an Oscar for their GOOD WILL HUNTING (1997) screenplay, and Affleck won a Best Picture Oscar for producing ARGO (2012). This time, in addition to their script tweaks, Affleck appears as Nike CEO Phil Knight (he of the grape Porsche), while Damon stars as Nike recruiting expert, Sonny Vaccaro.

At this point in 1984, Nike has recently gone public, having built their reputation on running shoes. However, the basketball division has never really succeeded due to the dominance of industry leaders Converse and Adidas. In fact, Vaccaro has been warned by Knight that the division could be shut down by the board of directors if this year’s budget isn’t turned into a pot of gold. Vaccaro, a recognized guru in scouting basketball talent, seems to be working from a point of desperation … or perhaps it’s excitement … when he becomes obsessed with signing Michael Jordan. Hilarious and profane exchanges with Jordan’s powerhouse agent, David Falk (Chris Messina) offer little hope, so Vaccaro sees only one chance at success – a personal visit to the Jordan home in North Carolina. This is typically a taboo move, and one that causes grief for Vaccaro from all sides.

It’s at this initial meeting with Jordan’s parents, Deloris (EGOT Viola Davis) and James (Julius Tennon, also Ms. Davis’ real life husband) where the door cracks for Vaccaro due to his sincerity and idealism. The battle at the corporate office finds Phil Knight reminding Vaccaro who’s in charge, Vaccaro reminding Knight of the risk-taking that built the company, and marketing director Rob Strasser (Jason Bateman) doing what he can to inject rational thought, while hoping to keep his job. As the big presentation approaches, it’s shoe designer Peter Moore (Matthew Maher), who pulls a rabbit out of the hat with his design and name for the shoe. Maher is fabulously awkward during his scene-stealing. There has always been conflict on who came up with “Air Jordan”, Moore or Falk, and the film handles this admirably.

Damon gets a few scenes to rattle off big moments of dialogue, but none matches his peak inspirational soliloquy during the presentation. And this despite the rapid-fire musings of Chris Tucker. Tucker, in a rare big screen appearance, plays Howard White, who would become Jordan’s personal handler (and friend) for Nike over the years. As you might guess, it’s the always terrific Viola Davis who outshines everyone. Her final phone call with Vaccaro is a thing of beauty, and a moment that will likely find her in awards discussion at year end.

Three-time Oscar winning cinematographer (and 10-time nominee) Robert Richardson finds the perfect throwback look for the film, while Costume Designer Charlese Antoinette Jones captures the frumpy look of Vaccaro and the arrogance of Knight and Falk. The only real weakness here stems from director Affleck’s insistence on over-doing the “remember 1984” moments with music and cultural references … including cracks at the expense of Kurt Rambis and the late Mel Turpin. No real suspense exists since the entire world knows Jordan signed with Nike, but the risk-taking in business is reference numerous times. While many kids truly dreamed of being like Mike, many Business majors and CEOs dreamed of being like Knight. The best comparison here is probably MONEYBALL (2011), since at its core, this is the story of an underdog.

Currently showing nationwide in theaters, will stream on Prime Video later this year.

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Posted by David Ferguson

DEEP WATER (2022)

March 17, 2022

Greetings again from the darkness. Based on his work, arguments can be made on both sides. Director Adrian Lyne is either a staunch believer in monogamous marriages, or he enjoys mocking the concept altogether. Surprisingly, this is his first film in 20 years since UNFAITHFUL (2002). To refresh your memory, he’s also the force behind 9 ½ WEEKS (1986), FATAL ATTRACTION (1987), and INDECENT PROPOSAL (1993). Co-writers Zach Helm and Sam Levinson have adapted the script from the 1957 novel by Patricia Highsmith, who also wrote “The Talented Mr. Ripley” and “Strangers on a Train”.

“Do you know I love you?” When one spouse feels the need to ask about love rather than declare it, you know it’s an unusual marriage. And in the category of unusual marriages, you’d be hard-pressed to find an arrangement more bizarre than the one between Vic (Ben Affleck) and Melinda (Ana de Armas). Thanks to real life public drama for Will Smith and Jada Pinkett, we all know that “open marriages” are a thing. But this with Vic and Melinda is neither fully “open” nor fully a marriage. Vic invented and sold a computer chip used in drones (mostly for warfare) and he’s so rich, that he’d rather watch his free-spirited wife drag home new boy-toys than give her an expensive divorce. But that’s as much explanation as we receive for what seems like a lose-lose-lose scenario. That third lose is for Melinda’s gentlemen friends who seem to mysteriously disappear once Vic becomes aware of them. One is gone before the movie even starts, and he’s followed by Jacob Elordi, Brandan Miller, and Finn Wittrock.

Perhaps the biggest mystery here is in deciding who displays more charisma, Affleck in this role or the snails that his character Vic breeds. We’ve joked about actors sleepwalking through roles before, but there are scenes here where that may actually be happening. Affleck mostly just dead-eyes Melinda and her men, though we are supposed to interpret his lack of expression as a combination of anger, jealousy, and lust. Fortunately, we have Ana de Armas to liven things up. She’s a full-grown party girl going through various stages of designer dress and un-dress. The supporting cast is comprised of Dash Mihok, Lil Rey Howery (who is in every movie these days), Kristen Connolly, Grace Jenkins as the smarter-than-parents kid to Vic and Melinda, and Tracy Letts as a curious novelist constantly side-eyeing Vic as research for a new book.

Is it cheesy? Yes. Is it sleazy? Yes. Despite twenty years of no movies, director Lyne delivers another high-gloss, play-pretend trashy erotic thriller that will fit perfectly in the streaming world. Affleck disappoints here after strong turns in THE TENDER BAR (2021) and THE WAY BACK (2020), and Ms. de Armas will next appear as Marilyn Monroe in BLONDE. Ben and Ana had their tabloid moment as a romantic couple after filming, but she is now the gone girl, and he has since reunited with JoLo. There are too many gaps in the story and characters for this to be considered a serious movie, but it’s sure to be entertaining enough for many.

Premiers on HULU beginning March 18, 2022

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Posted by David Ferguson

THE LAST DUEL (2021)

February 24, 2022

Greetings again from the darkness. This review comes a bit late in regards to last year’s release date, but one of the most fun things about the film was the veteran director’s response to it being one of the biggest box office ‘bombs’ of 2021. Ridley Scott’s blamed those of a certain age group, as he criticized millennials for being too attached to their cell phones to recognize an interesting, informative, and entertaining movie. Octogenarian Scott knows a bit about big budget films after directing such films as ALIEN (1979), BLADE RUNNER (1982), GLADIATOR (2000), PROMETHEUS (2012), and THE MARTIAN (2015), however we get the feeling that his reaction stemmed from ego, and overlooked the fact that older movie goers had not returned to the theater due to the ongoing pandemic.

Based on true events and Eric Jager’s 2004 bestseller, “The Last Duel: A True Story of Trail by Combat in Medieval France”, the script was co-written by Nicole Holofcener, Matt Damon, and Ben Affleck (the latter two being Oscar winners for their GOOD WILL HUNTING script in 1997). Damon and Affleck were initially set to co-star here, but scheduling conflicts forced to Affleck to take a lesser role, allowing for the addition of Adam Driver. The film opens in 1386 as Damon’s Jean de Carrouges and Driver’s Jacques Le Gris prepare for the titular jousting duel. We then flashback to a battle scene during the Hundred Year War featuring the two fighting alongside each other for France.

Utilizing a RASHOMON-inspired story structure, the film is divided into three “The Truth According to …” chapters: Jean de Carrouges, Jacques Le Gris, and Lady Marguerite. A sly use of chapter titles informs us which of these is considered the real truth, but this is 14th century history, so there’s always some doubt. And doubt plays a key role in the crucial conflict at the film’s core. Carrouges and Le Gris have a friendship initially, however where Carrouges is hard and withdrawn, Le Gris is more politically savvy – building a relationship with Pierre (Affleck), powerful cousin to King Charles VI. The friendship dissolves into a rivalry that culminates with Carrouges’s wife Marguerite (Jodie Comer) accusing Le Gris of rape. We see the three versions of this occurrence, leaving little doubt.

What stands out through most of the story is just how little power or standing women had during this time. It was a man’s world and women were treated as property, much the same as a plat of land. But the most ludicrous commentary on the times is the hearing that results in the King authorizing the Duel that will determine a verdict. If Le Gris kills Carrouges, then it is determined that Marguerite was lying and she will be burned to death. If Carrouges kills Le Gris, then his old friend will be considered guilty of rape. Either way is supposedly “God’s will”.

Harriet Walter is perfectly creepy as Jean de Carrouges’ mother, as is Alex Lawther as “The Mad” King Charles VI (age 15 at the time of the duel). I found Damon and Affleck to be distractions in their roles, but Ms. Comer was outstanding – believable in all aspects of the character. Ridley Scott delivered a realistic look to the film, and the brutality and visceral violence are true standouts, especially in the duel. Having the three perspectives worked well, and drove home the point of how delusional men were/are. Surprisingly, there is an undercurrent of contemporary attitude here, and for the most part, Mr. Scott was correct … it’s an entertaining film, even if it wasn’t technically the “last” duel.

WATCH THE TRAILER

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Posted by David Ferguson

THE TENDER BAR (2021)

December 21, 2021

Greetings again from the darkness. Pulitzer Prize winning novelist and journalist JR Moehringer published his memoir in 2005. Fortunately for him, it led to his being in high demand to pen the memoirs of others. Unfortunately for us, it also led to George Clooney directing a mostly listless movie version. Adapted by Oscar-winning screenwriter William Monahan (THE DEPARTED, 2006), the film does offer a surprisingly interesting performance from Ben Affleck, while also failing to capitalize on other elements that could have provided a boost.

Opening with Golden Earring’s “Radar Love” blasting over the speakers, this is the story of JR – from his childhood through young adulthood. Young JR (the acting debut of Daniel Ranieri) is being raised by his resourceful single mom (Lily Rabe, ALL GOOD THINGS, 2010). Financial hardships force them from the city, back to the Long Island home of JR’s grumpy grandfather (Christopher Lloyd). Although his mother is a bit down at having to move back home, young JR embraces the slew of family members who use the house as a congregating spot. He’s also taken under the wing of Uncle Charlie (2 time Oscar winner Ben Affleck), who runs the neighborhood bar called The Dickens.

Uncle Charlie becomes JR’s adult male role model, and he passes along his love of reading to the boy. It’s this that inspires JR to dream of becoming a writer – a dream that doesn’t necessarily conflict with his mother’s dream for him to attend Yale. Other life lessons include cancer, bowling, and living with regular disappointment courtesy of JR’s absentee dad, a radio DJ referred to by the family as ‘The Voice’ (Max Martini, the “Fifty Shades” movies). In addition to Uncle Charlie’s ever-present cigarette, adult beverage, and book of the day, are the regulars at the bar played by Max Casella, Michael Braun, and Matthew Delamater. Regrettably, these guys rarely offer anything outside of well-placed one-liners. JR is surrounded by folks who say they will always be there for him. And they mean they will always be there. They aren’t going anywhere. Dreams and ambition don’t exist, except for JR’s mother – for her son, not for herself.

The first half of the movie is significantly more interesting and entertaining than the second. Once Tye Sheridan (MUD, 2012) takes over the role of JR, we immediately miss the bright eyes and eager spirit of young Daniel Ranieri. The realities of getting older set in as JR heads to Yale (class of ’86). As JR fumbles through a romantic relationship with classmate Sidney (Brianna Middleton), he’s little more than a typically clueless young man blind to realities of his situation. JR’s post-college stint at the New York Times delivers very little that interests us … heck, we aren’t even sure JR is interested in the job.

I rarely find Ben Affleck’s performance to be the best thing about a movie, but he is excellent here, following yet another terrific performance in THE WAY BACK (2020). Growing up, we all have role models. Affleck’s Uncle Charlie is one of those well-meaning adults who seemed larger than life when we were young. His endless advice can be categorized as some good, some not so good – a combination which renders most of it meaningless. But instilling a love of reading and learning is one of the most important traits one can pass along to a youngster. The movie’s issues aren’t with that message, but rather with the bland storytelling. The recurring gags of ‘what does JR stand for?’ and ‘where’s my 30 bucks?’ are just the most obvious misguided attempts at cuteness.

Opening in theaters December 22, 2021

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Posted by David Ferguson

THE WAY BACK (2020)

March 5, 2020

 Greetings again from the darkness. So much beer and booze. It would be easy to classify this latest from writer-director Gavin O’Connor as a sports movie. After all, he has given us two excellent ones in MIRACLE (2004) and WARRIOR (2011). However, as with those two films, there is much more going on here. This is about grief and addiction, and the difficulties in mending a life in tatters.

Jack Cunningham likes his morning shower. It helps get him prepared for a day of construction work and get over a late night of drinking. What’s unusual about his morning routine is that he drinks a beer while taking his morning shower, and then fills his Yeti with gin as he takes his post at the building site. Jack is played by Ben Affleck, who has returned to the screen with a serious acting gig after his fling as Batman. Of course, anyone who even casually keeps up with Hollywood gossip knows Mr. Affleck and his character here have in common a drinking problem. In fact, the actor filmed this immediately after his latest rehab stint. It’s quite possible that the collision of real life and fiction explain why this is Affleck’s best performance in many years (at least since HOLLYWOODLAND in 2006). He re-teams here with O’Connor, who directed him in THE ACCOUNTANT (2016).

As a former high school basketball star, Jack’s life has turned out much differently than expected. His construction job is beating him down, alcohol abuse is slowly destroying him, and he recently split with his wife Angela (Janina Gavankar) after a tragedy. Has he hit rock bottom? It’s likely he thinks so. As happens so often in life, an opportunity presents itself. The head Priest at his former catholic high school asks him to step in as basketball coach after the current coach has a heart attack. The team is terrible, and has been that way since Jack graduated 25 years ago. After a painful-to-watch evening of decision-making, Jack accepts the job.

As you would expect, it’s a team of misfits who have little concept of teamwork. Affleck excels as a coach who evaluates the talent he has and devises a strategy to not only improve individual player performance, but also inject the philosophies of teamwork and cohesion and commitment. He does this with the help of Algebra teacher slash Assistant Coach Dan (Al Madrigal, “I’m Dying Up Here”), who appreciates what Jack brings to the position, but is also protective of the boys and the school mission.

Jack manages to stay sober while coaching, but we see how fine that line is for an addict. Life suddenly rears up and plops down an emotional situation that is simply too much form him to handle. It’s here when we realize that while it appeared coaching the team gave Jack a glimmer of hope for a better life, it also allowed him to ignore the personal issues and relationships that had driven him to the bottle. The basketball scenes are the most fun to watch, but it’s the realistic life elements that elevate the story. It’s excruciating to watch Jack re-telling glory days stories to his ‘buddies’ at the local neighborhood bar, only to be helped home by the same old man who used to carry his father home from the same bar. The perpetuation of misery is a story that is all too relatable for many.

Jack’s good qualities are evident when he’s prodding ultra-quiet point guard Brandon (Brandon Wilson) into taking on a leadership role and thinking of his future, but that’s contrasted with his inconsiderate treatment of his sister Beth (Michaela Watkins) and Father Mark (Jeremy Radin), the team/school Chaplain. It’s the two sides of Jack that so clearly resonate with those who have experienced addiction. This is a guy who botched his college/basketball opportunity, but managed to build a new life, only to have it snatched away in the cruelest way possible. It’s imperative that he come to grips with all of that in some place other than the bottom of a beer mug.

The outstanding screenplay comes from Brad Ingelsby (OUT OF THE FURNACE, 2013), and with director O’Connor and the cast, the film has a throwback to the 70’s feel … gritty and realistic. This is not the smirking, strutting stud we are accustomed to seeing with Affleck. He seems immersed in the role and brings an understanding to the struggles, the rehab, and the importance of a support system. Redemption played a huge part in the classic HOOSIERS (1986) and most every other rag-tag sports team in movies, and THE WAY BACK shows us there really is no going back … instead, we must deal with life in order to move on.

watch the trailer:

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Posted by David Ferguson

GONE GIRL (2014)

October 5, 2014

gone girl Greetings again from the darkness. One of the benefits of seeing so many movies is the ability to readily ascertain whether the appeal is to specific movie-goers (teens, romantics, et al), to mass audiences, or perhaps only to film critics and cinephiles. The downside is that when one of the rare mass appeal thrillers hits theatres, my enjoyment of the twists and surprises tends to suffer. Such is the case with director David Fincher‘s version of Gillian Flynn‘s best-selling novel.

Whether or not you are a devotee of Ms. Flynn’s novel, you are likely to find guilty pleasure in this pulpy, neo-noir thriller featuring Ben Affleck as the man who may or may not have killed his missing wife (Rosamund Pike). This is less “whodunit” and more “did he do it?”, at least for the first half. When Nick (Affleck) returns home to discover his wife (Pike) is missing, we hear Amy’s voice guiding us through her journal as we go from blossoming romance to crumbling marriage. Nick’s perspective is derived from his work with the detectives (Kim Dickens and Patrick Fugit) and conversations with his sister (Carrie Coon).

This story-telling structure is beautifully executed, and when combined with director Fincher’s fascination with the dark side of people (The Social Network, Zodiac, Se7en, Fight Club), and the terrific camera work and lighting, we witness elevated   technical filmmaking. Watch how Fincher uses lighting and shadows to change the tone of the film as the noose tightens on Affleck’s character.

Much has been made of the critically acclaimed performances of Affleck and Pike, so I’d prefer to focus on a couple of others. Carrie Coon steals every scene as Nick’s twin sister Margot. She is the moral compass of the film, and gives the absolute best performance. Kim Dickens provides the necessary screen presence and wry humor to prevent the stereotypical detective role from emerging. This is a real person working a complicated case. Also of note is Missi Pyle‘s obnoxious Nancy Grace style TV reporter clearly attempting to build ratings by guiding the sheep (everything we hate about the media, but continues to draw big ratings). Lastly, and most surprising, Tyler Perry‘s slick and slimy headline-grabbing defense attorney provides a punch when the film needs it.

The second half of the film transitions from mystery to anatomy of a scheme, and features one of the most brutal and bloody on screen murders you will ever see. It also provides more excellent support work from Lola Kirke and Brad Holbrook as a couple of trailer park opportunists, and Scoot McNairy and Neil Patrick Harris (against type) as Amy’s former lovers.

The wicked fun in this movie is derived mostly from the misdirection and personalities of Nick and Amy. It’s nice to see a female lead character with some real scene-chewing, even though I believe many actresses would have been better picks. When I hear talk that it could be best movie of the year, I certainly hope that’s off base. This one is at the level of other mainstream thrillers such as Fatal Attraction and Basic Instinct, and it’s not difficult to imagine Michael Douglas in the lead, were this 1988. Adding to the fun is the satire and social commentary … especially on the current trend of media speculation in place or reporting. So enjoy the twists and ask yourself just how much you really know about your spouse.

***NOTE: for those who read the book, this would be considered a faithful adaptation … unlike some of the early rumors led us to believe

SEE THIS MOVIE IF:  you enjoy your thrillers with a dose of social commentary OR you want a glimpse of the new Batman body in progress.

SKIP THIS MOVIE IF:  an exceptionally gruesome and bloody murder scene is something you prefer to avoid

watch the trailer:

 

 

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Posted by David Ferguson

RUNNER RUNNER

October 13, 2013

runner1 Greetings again from the darkness. I can sit in a theater and watch a mediocre movie, but when it comes time to write about it, there is no motivation or appeal. The most positive comment I can make about this one is that it stars two very pretty men.

This one has “paycheck project” written all over it. Ben Affleck and Justin Timberlake simply go through the motions as if someone is feeding them their lines through an ear piece. Gemma Arterton should never stoop to such a mundane and lifeless role … though her hair and make-up are terrific. Only John Heard and Anthony Mackie come across as professional actors, and their minor roles are so limited, they barely register.

runner2 Writing partners Brian Koppelman and David Levien co-wrote the excellent Rounders, but this one merely teases the dark underbelly of online gambling with one preposterous turn after another. It has neither the depth, plot or character development that we would expect from a movie with this premise and cast. Director Brad Furman showed promise with The Lincoln Lawyer, but his latest comes across as being rushed through production and dressed up with fake style.

The closest comparison I can come up with is last year’s Savages, directed by Oliver Stone … and even that was more enjoyable than this one. Rather than a MPAA warning for Language, I would prefer a heads-up whenever the filmmaking team really doesn’t care much for the project. At least I could spend my money and time watching a different movie.

SEE THIS MOVIE IF: two pretty men and Arteton’s hairstyles are somehow interesting to you

SKIP THIS MOVIE IF: you believe that the beauty of Costa Rica will overcome the weak story, acting and directing (SPOILER: very little of Costa Rica is shown)

watch the trailer:

http://www.youtube.com/watch?v=UFPqyNvNzvU

 

 

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Posted by David Ferguson

TO THE WONDER (2013)

May 3, 2013

to the wonder1 Greetings again from the darkness. Director Terrence Malick makes films that typically fall into the “love it or hate it” genre. He has a very loyal group of fans (of which I am one) who appreciate the unique mental and emotional ride that his projects provide. To say that his films are not accessible to mainstream movie-goers is understandable. His objective is to challenge you to access your own beliefs and thoughts, rather connect with the characters in his movies … they are simply the tools he uses.

Less than two years ago, I was struggling to put thoughts into words after watching Malick’s The Tree of Life. Now, in record time for him, he releases another film that is even more impressionistic … actually abstract is not too strong a description. It could fairly be called a companion piece to The Tree of Life. The usual to the wonder2Malick elements are present – nature, uncomfortable relationships, minimal dialogue, breathtaking photography, and powerful music. Where The Tree of Life focused on Creation and Family, To The Wonder takes on Love and Faith.

Water imagery is a frequent key as we see the personal relationship mimic the changing of the seasons. Neil (Ben Affleck), an American visiting Paris, meets and falls for Marina (Olga Kurylenko), a free-spirited local filled with light and energy. Their love affair moves to the stunning Mont Saint-Michel before settling in the drab plains of Bartlesville, Oklahoma.

to the wonder4 It’s not surprising that the relationship suffers as the newness wears thin. The interesting part is how Malick presents it. We mostly witness bits and pieces … he shows us moments, not events. We easily see that Neil’s aloofness and sullen moods don’t jibe with Marina’s effervescence. When she returns to Paris, Neil easily falls in with an old flame played by Rachel McAdams. When she later accuses him of making what they had “nothing”, we all understand what she means … and why.

While Neil is proving what a lost soul he is, we also meet Father Quintana (Javier Bardem). He has lost the light of his faith and is in full crisis mode, even as he attempts to console and guide Marina. There is no secret that much of this film is autobiographical and that Malick is working through wounds he still carries these many years later. As a movie-goer, there is little to be gained from Alleck’s disconnected character or from Kurylenko dancing in the to the wonder3rain. The real prize is awakening the thoughts and feelings many of us probably buried over the years to hide emotional pain. Malick seems to be saying that it’s OK to acknowledge your foundation, regardless of your ability to deal with these feelings in a socially acceptable manner.

If you prefer not to dig so deep emotionally, this is a beautiful film to look at – thanks to Director of Photograpy Emmanuel Lubezki (a frequent Malick collaborator), and listen to – a blended soundtrack with many notable pieces from various composers. While this will be remembered as Roger Ebert’s final movie review (he liked it very much), it will likely have very little appeal to the average movie watcher – and I’m confident that Terrence Malick is fine with that.

watch the trailer:

http://www.youtube.com/watch?v=rjVDnwGsAF4

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Posted by David Ferguson

ARGO (2012)

October 15, 2012

 Greetings again from the darkness. “Based on a true story” is always a bit unsettling to see at the beginning of a movie. There are so many degrees to truth (especially when told by Hollywood), that we are never really sure how big the dosage might be. With this film, we get the inside track on the all-too-familiar Iranian hostage situation that began on November 4, 1979 and ended 444 days later with the release of 52 U.S. Embassy workers. The story within that story is the focus … six escaped as the Embassy was being seized.

The film begins with a Cliff’s Note history lesson on the fall of the U.S.-backed Shah of Iran and the assumption of power by Ayatollah Khomeini. The six who escaped were welcomed into the home of the Canadian Ambassador Ken Taylor (played with grace by Victor Garber). Of course, this had to be kept secret or a terrible situation could have taken a turned much worse.

 This story really takes off when the CIA gets involved and drums up a scheme to extricate the six in hiding. Ben Affleck stars as Tony Mendez, the real life CIA Agent, who uses the international fascination with movies to create a plan that involves making a fake Star Wars rip-off with the help of award winning make-up artist John Chambers (Planet of the Apes) and a long-time and old school Hollywood producer named Lester Spiegel. These two inject the film with humor and positive energy as played by John Goodman and Alan Arkin. Their levity is much appreciated given the unrelenting tension delivered by the rest of the story.

 This is extraordinary filmmaking thanks to the script from Chris Terrio, realistic camera work from Rodrigo Prieto and top-notch directing by Ben Affleck … yes, the same Ben Affleck who stars in the film. The team creates a period piece that has not just the look and feel of 1979-80, but some of the most gut-wrenching on screen tension since Three Days of the Condor or Munich. Many thrillers utilize car chases and gunfire. Here, we get personal tension thanks to politics and real life unknowns.

The film is perfectly cast and strong support work is provided by Bryan Cranston as the CIA chief, Kyle Chandler as Hamilton Jordan, Bob Gunton as Cyrus Vance, as well as Chris Messina, Zeljko Ivanek, Richard Kind, Clea DuVall and Tate Donovan. There are also brief appearances by Philip Baker Hall, Adrienne Barbeau and the great Michael Parks.

There are only two negatives to the film. First, Ben Affleck is miscast as Tony Mendez. The closing credits show what a perfect job they did with the rest of the cast, but to have a superhero looking American walking around Iran is certain to draw attention where it’s not wanted. Plus, as director, Affleck suffers from Warren Beatty syndrome. He LOVES seeing his face on screen. The number of Alleck close-ups has to push 20. It’s too much too often. Secondly, the final escape scene at the airport is just a bit too Hollywood and really stands out from the rest of the movie. There was no shortage of tension and the Armageddon style chase just looked cheesy.  However, I will admit, the audience with whom I watched, reacted quite emotionally when the race ended how it must.

 Those two things noted, this is Oscar material for sure. If you remember this era, the yellow ribbons and news clips featuring Cronkite, Koppel and Brokaw will bring back a frustrating time in U.S. history. If you are too young to remember, this acts as a reminder of just how powerful and quiet the CIA can be when it is doing its job properly.  Plus it’s nice to see the CIA doing something right, instead of being the bad guys from the Bourne movies.  Alexandre Desplat delivers a fine score, but the story provided plentiful suspense, so the musical guidance wasn’t as crucial.

Don’t miss the final credits as we hear Jimmy Carter narrate his memories as President, and we see real life photos of the six escapees.

SEE THIS MOVIE IF: you wish to see one of the finest Political thrillers in years OR you need proof that the CIA can be the good guys

SKIP THIS MOVIE IF: the Iranian hostage ordeal is still too fresh

watch the trailer:

http://www.youtube.com/watch?v=w918Eh3fij0

 

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Posted by David Ferguson

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