THE LAST SHOWGIRL (2024)

January 9, 2025

Greetings again from the darkness. I get that many would quickly toss this one aside without so much as a second thought. After all, Pamela Anderson hasn’t been featured much in the last decade (or two), and most only recall her from “Baywatch” in the 1990’s and, umm, perhaps an infamously intimate video. My advice would be to reconsider. She’s now 57 years old and is absolutely terrific in this film from director Gia Coppola (granddaughter of legendary director Francis Ford Coppola; her big screen debut was as baby Zoe in NEW YORK STORIES, 1989). The screenplay is from TV scribe Kate Gersten (“Mozart in the Jungle”).

The film opens with Shelly (Ms. Anderson) in a close-up during an audition. She’s obviously quite nervous and a bit out of her comfort zone. It turns out most of the movie is a flashback that leads up to the full audition, including her verbal sparring with the show’s casting director (Jason Schwartzman, director Gia Coppola’s cousin). We soon learn that Shelly is a veteran dancer who has been a part of the ‘Razzle Dazzle’ burlesque show in Las Vegas for 38 years. The show’s promotional posters from the late 1980’s feature a young Shelly – and she’s been there ever since.

We experience the frenetic energy and near chaos backstage during the show, as Shelly and her fellow dancers, Mary-Anne (Brenda Song, THE SOCIAL NETWORK, 2010) and Jodie (Kiernan Shipka, “Mad Men”) juggle for dressing room space and costume changes between numbers. The two younger dancers look up to Shelly, who even fills the role of mother-figure for Jodie – a youngster dealing with family issues. All of the timing is coordinated by the Stage Manager Eddie (Dave Bautista, GUARDIANS OF THE GALAXY, 2014), a figure of calm who has a history with Shelly.

Shelly’s best friend is Annette (Oscar winner Jamie Lee Curtis), who plays an aging cocktail waitress trying to hang on despite the generational shifts. What seems quite clear is that all of these folks are caught in a web of day-to-day survival – never able to get ahead (despite a career spanning almost 4 decades). When the new owners decide to shut down Razzle Dazzle in favor of a circus, Shelly experiences double panic mode. Not only is her livelihood at stake, but her estranged daughter Hannah (Billie Lourd, “American Horror Story” and daughter of Carrie Fisher) is showing signs of wanting to reconnect with, or at least make sense of, a mother who chose the stage over her. The two share some emotional scenes.

Many will be surprised at the range Pamela Anderson shows in her performance, and the story itself should not be overlooked. Razzle Dazzle acts as a stand-in for the life so many folks have led, and just how untethered and lost they feel when the rug is pulled from the only life they’ve known. Shelly mentions a couple of times how she’s always having to defend her life, somehow not recognizing the need … even when Hannah is standing face to face with her. There’s a lot here, and I’m hoping movie lovers give this one a shot.

Opens in theaters on January 10, 2025

WATCH THE TRAILER

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Posted by David Ferguson

TICKET TO PARADISE (2022)

October 21, 2022

Greetings again from the darkness. I’ll begin things with a personal note, followed by a more objective and professional review. From the personal side: Writer-director Ol Parker (MAMMA MIA! HERE WE GO AGAIN, 2018) has delivered the textbook example of the type of movie that, while I understand why they get made, I find the hollowness and predictability to be anything but entertaining. On a more objective note, George Clooney and Julia Roberts are huge movie stars and will almost certainly lead the way to box office success.

Oscar winner Clooney plays David, a highly successful Chicago-based architect. Oscar winner Roberts plays Georgia, a highly successful Los Angeles-based art dealer. David and Georgia have been divorced for twenty years, and have bickered and fought a war of words and ideology ever since. They are forced to reunite and put on a happy face for the law school graduation of their daughter Lily (Kaitlyn Dever from “Justified” and BOOKSMART, 2019). The (un)wise cracks and cringe-inducing one-liners start immediately and continue as David and Georgia drop off Lily and her BFF Wren (Billie Lourd, also BOOKSMART) for their post-graduation vacation to Bali (although it’s filmed in Australia).

A googly-eyed, love-at-first-sight meet cute finds Lily falling hard and fast for local dreamboat and seaweed farmer Gede (introducing Maxime Bouttier). In the blink of an eye, David and Georgia are on a plane to Bali. Only this time they share the same mission … sabotage the wedding to prevent their daughter from making a mistake. Their “Trojan Horse” strategy and insistence on being in ‘lockstep’ are meant to be humorous, but mostly we wonder why these two can’t have an adult conversation with their adult daughter. Adding complications (though not really) to the mix is Georgia’s much younger boyfriend Paul (Armie Hammer lookalike Lucas Bravo, MRS HARRIS GOES TO PARIS, 2022). He’s a handsome French pilot who is so goofy, we can’t possibly take him seriously or think he could give Georgia pause on where the relationships in this movie are obviously headed.

This is the fifth film collaboration between mega-stars Clooney and Roberts, and after all these years, we know exactly what to expect from each of them. Clooney exaggerates his facial contortions and plays his part right down the line, while Roberts gets in a cackle or two while often wearing the most unflattering onesies you’ll ever see. If ‘paint by numbers’ is considered art, then romantic-comedy by rote would be as well. We know where this is headed within the first five minutes and only those who enjoy knowing every bump in the road ahead of the trip will find it satisfying. It’s a shame that the talented Dever, Lourd, and Bouttier couldn’t have had more to do here, but it seems superstars still rule the roost.

Opening in theaters on October 21, 2022

WATCH THE TRAILER

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Posted by David Ferguson

STAR WARS: THE RISE OF SKYWALKER (2019)

December 18, 2019

 Greetings again from the darkness. Ending the final trilogy of trilogies that covers 42 years of storytelling, was never going to be easy. And, given the rabid fan base’s backlash from the penultimate episode, the ending was unlikely to appease all (or even most?).  Keeping respectful of the sensitivity associated with this franchise, no spoilers are included here, certainly nothing that hasn’t already been dissected and debated after the trailers were released.

As I approached the theatre, it was impossible not to chuckle at the irony of seeing the life-sized marketing prop for KNIVES OUT in the lobby. Of course, that current release is directed by Rian Johnson, who caused such an uproar with the aforementioned STAR WARS: THE LAST JEDI (Episode VIII), a franchise entry that happens to be one of my personal favorites. But we are here for Episode IX, the wrap-up of George Lucas’ masterful vision. JJ Abrams (STAR WARS: EPISODE VII – THE FORCE AWAKENS) is back in the director’s chair, and knowing what a fanboy he is, it’s not surprising to see the familiarity and tributes to the franchise interjected throughout.

In fact, this finale leans heavily on nostalgia and humor, while tying up most loose ends – as well as some that weren’t even all that loose. Writers Derek Connolly, Colin Trevorrow (originally slated to direct), Chris Terrio, and Abrams seemed intent on giving each beloved character their moment, as a sign of appreciation for their contributions to a legacy that covers a period longer than the lifespan of some of the biggest Star Wars fans. As one who stood in line in 1977, it’s an approach that I respect and have no problems with – knowing full well that some will.

Any attempt to tie up previous threads must focus on the odd, mystical relationship between Kylo Ren (Adam Driver) and Rey (Daisy Ridley). Both are still conflicted and attempting to come to grips with who they are. Rey especially is struggling with her identity and roots. One of my favorite elements from The Last Jedi was inner-head conversations blended with cross-dimensional physical interactions between Kylo and Rey, and it’s used beautifully here.

So, the biggest complaint from me is that despite its nearly two-and-a-half hour run time, there is simply too much crammed in. Too much story and too many characters and too many things that get a glimpse or mention, but no real development. This movie is jam-packed, and ‘convoluted’ would not be too strong of a word to describe. There are times we aren’t sure where the characters are or what they are doing or why they are doing it. We do know that everything good is dependent on ‘this mission’, a mission that seems to change direction about every 12 minutes. In fact, the “new” players – Rey, Poe (Oscar Isaac) and Finn (John Boyega) – spend very little time together on screen. And really, Finn is given almost nothing to do except look worried most of the time. On the bright side for characters, Chewbacca (Joonas Suotamo) and C3PO both get their own sub-plots. Anthony Daniels (as C3PO) becomes the only actor to appear in all 9 episodes, although R2D2 joins C3PO as characters appearing in all.

There are many old familiar faces, both good and evil. Some of these play key roles, while others are brief cameos. Much has been speculated about how Carrie Fisher’s role as Leia will be handled. Archival footage, combined with special effects and camera angles, allows her to be present throughout, and yes, she gets the send-off she deserves. There are even some new characters/creatures introduced, including a cute new droid (never underestimate or under-market a droid) that is already for sale in Disney stores.

No matter one’s feelings or expectations, an area that surely will not disappoint is the visual effects. Somehow, this one is even more impressive and awe-inspiring than the others. In particular, a couple of scenes filmed in and around an angry sea left me dumbfounded, mouth-agape. However, what’s most amazing is the consistency of the visuals throughout. It’s just a stunning film to look at.  Some of the story may be a bit confusing or cheesy, but some parts of the film are truly great. Cinematographer and Special Effects guru Dan Mindel deserves special mention, as do Production Designers Rick Carter and Kevin Jenkins. Of course the visual effects team is without peer – and take up about 5 minutes in the closing credits.

Lastly, composer John Williams gets to add his well-deserved personal stamp on this final chapter with new work added to the already iconic score. Very few moments compare to the opening notes blasting away on the theatre sound system as a Star Wars film begins. And as much as we’d like to treat this as the end, we all know Disney will find a way to keep us interested in a galaxy, far far away.

RIP: Peter Mayhew and Carrie Fisher

watch the trailer:

 

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Posted by David Ferguson

BOOKSMART (2019)

May 23, 2019

 Greetings again from the darkness. Every generation tends to get the high school movie (the movie about high school life) they deserve. Going back to James Dean in REBEL WITHOUT A CAUSE (1955) and Sidney Poitier in TO SIR WITH LOVE (1967), what followed were such memorable films as CARRIE (1976), GREASE (1978), FAST TIMES AT RIDGEMONT HIGH (1982), most every John Hughes movie from the 80’s, FERRIS BUELLER’S DAY OFF (1986), SAY ANYTHING (1989), DAZED AND CONFUSED (1993), CLUELESS (1995), 10 THINGS I HATE ABOUT YOU (1999), MEAN GIRLS (2004), HIGH SCHOOL MUSICAL (2006), JUNO (2007), and SUPERBAD (2007). It’s that last one on the list that this directorial debut from Olivia Wilde is likely to draw the most comparisons to.

Kaitlyn Dever (“Justified”) and Beanie Feldstein (LADY BIRD, and sister of Jonah Hill) star as Amy and Molly, two best friends and high school seniors who have sacrificed a social life (i.e. partying) for academics in order to position themselves for the best colleges. Amy has decided to take a gap year doing charity work in Botswana, while Molly wears her intelligence and class ranking on her sleeve and sits in judgement of her less disciplined classmates. She is headed to Yale with her ultimate life goal being an appointment to the Supreme Court (she has an RBG poster up in her room).

Imagine their shock when, the day before graduation, Amy and Molly discover that many of their less-disciplined (i.e. hard partying) classmates will also be attending elite schools. The besties immediately scheme to make up for 4 years of nose-to-the-grindstone by attending the biggest party of the year … and showing others how much fun they can be. Plus, the party affords each the opportunity to pursue their crush: skater-girl Ryan (Victoria Ruesga) for Amy, and athlete Nick (Mason Gooding) for Molly.

Although (full disclosure) I was never a high school girl, the one thing that stands out about the film is how the kids seem like real kids. That’s not to say most every aspect isn’t slightly exaggerated, because it is. The level of gayness in the Drama club is a bit difficult to take, and the teenage body is objectified in more than one shot; however, director Wilde has a knack for making high school look cinematic. Two sequences are particular standouts for the way they are filmed: the swimming pool scene with Amy underwater, and the house party as the characters weave in and out of rooms in the large house

Supporting roles add depth to the comedy thanks to Jason Sudeikis as the school Principal/Lyft driver; Billie Lourd (daughter of Carrie Fisher) as Gigi, who is always popping up and stealing scenes; Lisa Kudrow and Will Forte as Amy’s parents; Molly Gordon (“Animal Kingdom”) as the misunderstood ‘Triple A’; the aforementioned Victoria Ruesga and Mason Gooding; and star-in-the-making Diana Silvers as Hope – the aptly named rebel who clicks with Amy.

Co-written by Susanna Fogel, Emily Halpern, Sarah Haskins, and Katie Silberman, the film presents a realistic friendship between two teenage girls, and mines some common and recognizable personalities for comedy gold. Smart and funny female characters are interesting at any age, and “no one knows me” is the anthem of most every high school student since caveman days. The inevitable comparisons to SUPERBAD will likely be favorable to this film, and it will probably be the perfect fit for this generation – even if we hope most students avoid many of the happenings. With Will Ferrell and Adam McKay as producers, you should prepare for the harsh language high school kids are known for, as well as that ‘brazen, yet insecure’ blend so common to the age. Of course, we can’t help but find the timing of release quite interesting, given the recent college admissions scandal. It won’t replace AMERICAN GRAFFITI for me, but with Olivia Wilde having been known as an actress, we now recognize her as a legitimate director.

watch the trailer:

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Posted by David Ferguson