F1: THE MOVIE (2025)

June 26, 2025

Greetings again from the darkness. I can’t explain why auto racing movies have always appealed to me. This dates back to such classics as GRAND PRIX (1966, with James Garner), WINNING (1969, with Paul Newman), and LE MANS (1971, with Steve McQueen). Toss in the more recent films like SENNA (2010), RUSH (2013), and FORD V FERRARI (2019), and that’s a lot of roaring engines and squealing tires on the track and the big screen. Writer-director Joseph Kosinski is no stranger to movies with stunning action and movement and speed as evidenced by his TOP GUN: MAVERICK (2022), OBLIVION (2013), and TRON LEGACY (2010). Kosinski co-wrote the story here with Ehren Kruger, his screenwriter from that high-flying 2022 gem.

Led Zeppelin’s “Whole Lotta Love” blasts through the IMAX sound system as we are introduced to brash driver Sonny Hayes (Oscar winner Brad Pitt, ONCE UPON A TIME … IN HOLLYWOOD, 2019) during 24 Hours at Daytona. We learn quickly that Sonny marches to his own drummer and is a bit of a loner living and traveling in his van. When Ruben (Oscar winner Javier Bardem, NO COUNTRY FOR OLD MEN, 2007), his long-ago friend and one-time racing rival, shows up to offer him a seat for the Formula One team he now owns, Sonny politely declines, despite his friend’s financial struggle and desperate need to win a race or risk losing his team. Of course, we know Sonny will show up.

Sonny discovers that the other driver on the team is an arrogant and talented rookie named Joshua Pearce (Damson Idris, “Snowfall”). Pearce represents a certain generation with arrogance and entitlement beyond his actual success (along with a supportive mama, Sarah Niles, “Ted Lasso”). He certainly wants nothing to do with an ‘old man’ who hasn’t driven F1 in decades. The two polar opposite drivers provide the conflict in the film, but it’s Sonny’s backstory that makes things click. As an immensely talented young driver, his dreams and expectations came crashing down, leaving him a broken man with no home – other than his life as a gypsy driver bounding from one racetrack to the next.

If you’ve seen BULL DURHAM (1998) or THE COLOR OF MONEY (1996), you know how it goes when the grizzled veteran mentors the cocky (and talented) newcomer. It’s a rough start and slowly the two begin to work as teammates. Sonny’s sixth sense on the track stems from knowledge and experience. His swagger initially rubs former aerospace-engineer-turned-car-designer, Kate (Kerry Condon, THE BANSHEES OF INISHERIN, 2022), the wrong way, but of course anyone who has ever seen a movie knows where they are headed.

As with everything these days, especially when big money is at stake, politics and power play a huge role. This time it’s sleazy investor Peter Banning (Tobias Menzies, YOU HURT MY FEELINGS, 2023) who provides the ugly underbelly of greed and corruption. Still, none of that much matters … same with the dialogue that often veers into pure cheesiness. What matters is that the race scenes are exhilarating … the best we’ve ever seen on screen (and make that an IMAX screen if possible – for both sight and sound). Cinematographer Claudio Miranda won an Oscar for LIFE OF PI (2011), and I’m guessing the filming during actual Formula One events proved even more challenging than that one. Definitely deserving of attention are co-editors Stephen Mirrione (Oscar winner, TRAFFIC, 2000) and Patrick J Smith, as well as the entire Sound team. I’ll admit it’s not my favorite Hans Zimmer score, and I’m certain that neither he nor his two Oscars care about my thoughts on the matter.

As an actor, Brad Pitt no longer survives simply by existing – he actually emotes (and does so quite well). He’s a big movie star in a BIG movie that strives to wow viewers. The mystery is how many will be drawn to the theaters for fast cars. For those that do, this one delivers.  On the other hand, if TALLADEGA NIGHTS (2006) or Pixar’s CARS franchise is more your speed, well there’s no shame in that.

Opening in theaters nationwide on June 27, 2025 followed by streaming on AppleTV+

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Posted by David Ferguson

WOLFS (2024)

September 26, 2024

Greetings again from the darkness. George Clooney and Brad Pitt are both two-time Oscar winners and are both north of 60 years old now. This latest film from writer-director Jon Watts (three Spider-Man movies) seems to ask the question: Are they still cool in a wise-cracking action movie star way? It’s been twenty-three years since the two long-time friends co-starred in the first (of 3) “Ocean’s” movies, and there is no doubt they were the epitome of cool then. But what about now?  And does it matter? The argument can be made that it does matter since so few non-superhero and non-comic book movies are capable of drawing big crowds to the theater these days. Unfortunately, this film won’t answer the question about drawing power, as a very limited one-week theatrical release will be followed by a run on Apple TV+.

The sound of shattering glass is followed by three F-words, the first dialogue we hear (and also the last). It turns out, the local District Attorney (Amy Ryan, “The Office”) is justified in using the language as she finds herself in a luxury hotel room with an apparently dead, underwear-clad young man on the floor, and blood all over her clothes. Now, if you or I were in this situation, we would quickly surmise there is no way out. In contrast, a powerful politician has a phone number to call. Soon, George Clooney is at her door. He’s a “fixer” or “cleaner”, depending on your preferred nomenclature. He’s calm and cool (there’s that word again) under pressure, and claims to be the only one who can do what he does. This claim is soon shattered as Brad Pitt shows up – equally calm and cool (!) – disavowing Clooney’s ‘only’ claim. If not for the blood and the body, Amy Ryan might be just fine with Clooney and Pitt popping into her hotel room. But that “if” looms large.

Circumstances being what they are, the two lone ‘wolfs’ are forced to work together. Their rivalry is enhanced by the one-liners, facial gestures, and body language that stems from Clooney and Pitt knowing each other so well. Their mission is made abundantly clear once a bag with four bricks of heroin is found … just prior to the body on the floor springing back to life. What follows is a unique and extended (too long) chase scene through the city at night. It turns out the body/young man/kid (played well by Austin Abrams, PAPER TOWNS, “Euphoria”) adds to the complication for our two fixers … despite finding them quite cool (!).

This trio crosses paths with Poorna Jagannathan (“The Night Of”) playing a Chinatown doctor they can trust, Zlatko Buric playing a nasty Albanian mob boss, and Richard Kind as the Kid’s dad with a Sinatra fixation (in a clever scene). It’s entertaining to see the long-time friends playing on screen rivals – both with bad backs, reading glasses, and a shared bottle of Advil. They probably aren’t as witty (or cool) as they imagine, but filmmaker Watts uses their camaraderie as an asset (and also Sade’s “Smooth Operator”). You’ll notice a few tips of the cap to previous characters and films, including Butch and Sundance near the end. Although she’s uncredited, you’ll appreciate knowing that is Oscar winner Frances McDormand’s voice on the phone in an early scene. Overall, it’s decent entertainment while reminding us to “check the pulse.”

Premieres on Apple TV+ beginning September 27, 2024

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Posted by David Ferguson

BABYLON (2022)

December 23, 2022

Greetings again from the darkness. It’s 1926 and a movie mogul is planning yet another massive debauchery-filled industry party at his palace of a home in still-developing Bel-Air, California. Lest we have any doubt that this party is over-the-top, we are forced to witness the handlers of the main attraction – a circus elephant – get sprayed from the wrong end as they push the colossal beast up the hill. Once the party starts, things get even crazier. Orgies, drugs, nudity, wild dancing, and a golden shower and drug overdose in the room of a Fatty Arbuckle type … yes, this opening party sequence lasts 20-30 minutes, and occurs before the opening credits. The only touch of class is the old school Paramount logo.

Writer-director Damien Chazelle (Oscar winner, LA LA LAND, 2016) sets the stage for his wild and frenzied epic meant (I think) as a tribute to early Hollywood and the uneasy transition from silent films to talkies. Of course, that topic has been handled in other prestige films – recently with THE ARTIST (2011), as well as the classic SINGIN’ IN THE RAIN (1952). It’s the latter which serves as a template or guidepost for Chazelle, to such an extent that he shows clips from it, quotes it, and even has a couple of his characters share similarities with Lina Lamont and Don Lockwood.

From the moment she crashes onto the party scene, this becomes Margot Robbie’s movie. Fully engaged doesn’t begin to describe how she embodies the Nellie LaRoy character. Nellie is a displaced Jersey girl desperate to break into showbiz, and she pursues stardom with everything she has to offer. Nellie is a risk-taker and literal gambler, and the character is supposedly inspired by the infamous Clara Bow. It’s at that first wild party where she meets both Jack Conrad (Oscar winner Brad Pitt) and Manny Torres (Diego Calva). Conrad is a huge silent movie star, and also a boozing womanizer with the accompanying swagger (supposedly based on actor John Gilbert). Manny, though a much quieter soul, is much like Nellie in that his ambition is to work in the movie business. The two discuss their dreams while tearing into mounds of cocaine.

Nellie’s fearlessness in front of the camera (much like Ms. Robbie’s) pays off as the offers roll in and she makes her name. She and Manny periodically cross paths as he climbs the ladder towards studio executive. We also keep up with Jack Conrad and his stream of wives, and how things begin to change with THE JAZZ SINGER and the advent of talking motion pictures. While all this is happening, the film also (sorta) follows the career of jazz trumpeter Sidney Powell (Jovan Adepo) as he builds a career as a black performer on screen. One of the more interesting characters who we wish had more screen time is Lady Fay (played by Li Jun Li). We are rarely treated to a Chinese lesbian chanteuse, and she makes each of her scenes quite fascinating.

Others in the cast include Olivia Wilde as one of Jack Conrad’s many wives, Lukas Haas as an industry guy, Eric Roberts as Nellie’s hustler dad, Pat Skipper as William Randolph Hearst, and Max Minghella as the legendary Irving Thalberg. They are each fine, but none as memorable as Tobey Maguire (also a producer on the film), who has a funny/creepy cameo as a fictional giggling gangster named James McKay. However, it’s Jean Smart as Elinor St John, a gossip columnist in the mold of Hedda Hopper and Louella Parsons, who has the film’s best scene when she deals the hard truth to Jack Conrad. Ms. Smart seems to excel in every role she takes these days, and this may be one of her best, albeit with limited screen time.

The issues with the film have nothing to do with its entertainment value and outrageous moments or with the performances. Each of those things keep us watching. It’s only when we stop and think about it when the problems come into focus. Most blatant is the love story between Manny and Nellie. They actually spend very little time together after their cocaine feast. Certainly not enough to fall in love. There is a ‘blackface’ scene unlike anything you’ve seen before, and in 3 hours and 8 minutes director Chazelle follows up the projectile elephant poop with vomit from a drug overdose, vomit from something other than a drug overdose, a urine stream, and rattlesnake venom. At times it seems like he wanted to see just how much he could get away with.

Chazelle collaborators from LA LA LAND include cinematographer Linus Sandgren composer Justin Hurwitz, and Film Editor Tom Cross, all three are Oscar winners from that film, and all provide superb work here. The technical aspects of the film are terrific, it’s as a story (or stories) where things unravel. It’s simply bloated and overly ambitious, while having some of the frenetic pacing of Baz Luhrman’s MOULIN ROUGE! or THE GREAT GATSBY. It appears filmmaker Chazelle is attempting to reinforce cinema is art as a spectacle, when most of us don’t require more proof. The movie montage at the end is fun to watch, but strikes this viewer as a bit indulgent after a long movie. Buckle up for a wild ride and enjoy the good stuff.

Opens in theaters on December 23, 2022

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Posted by David Ferguson

BULLET TRAIN (2022)

August 3, 2022

Greetings again from the darkness. If you are one that still needs proof that movie stars matter, this latest from director David Leitch (a former stuntman who also directed ATOMIC BLONDE, 2017) and screenwriter Zak Olkewicz (adapted from Kotaro Isaka’s 2010 novel, “Maria Beetle”) may be submitted as evidence. Replace Brad Pitt with almost any other actor, and this one becomes borderline unwatchable. However, with the Oscar winner, there is sufficient charm, humor, and entertainment to keep us around for the more than two hour run time.

Mr. Pitt stars as Ladybug, a floppy bucket hat wearing last minute fill-in for an assassin who called in sick. His handler (voiced by Oscar winner Sandra Bullock) walks him through what is supposed to be a simple snatch and grab job involving a briefcase. Of course, it turns out to be anything but simple as the train is filled with what seems to be an endless stream of contract killers intent on securing the same briefcase. Among those are Tangerine (Aaron Taylor-Johnson) and Lemon (Brian Tyree Henry). Mr. Taylor-Johnson continues his tradition of over-acting and lacking the charm he believes he has, while Mr. Henry’s obsession with Thomas the Tank Engine at least gives his character a reason for us to be annoyed. The two are referred to as British brothers or even ‘twins’, which gives you some idea of what the film wants you to buy as humor.

A slew of other characters include Joey King as Prince, the “Shibumi” reading type who pushes a kid off a roof, and then uses her skill of crying-on-demand to escape most danger; Andrew Koji as Kimura, that kid’s distraught father; Hiroyuki Sanada as Kimura’s father; Zazie Beetz as The Hornet; rapper Bad Bunny as Wolf; Logan Lerman as the son of a Russian gangster, and Lerman spends much of the movie auditioning for the title character in “Weekend at Bernie’s”; and Michael Shannon as said Russian gangster, White Death. Beyond all of these highly recognizable folks, we also get two very high-profile cameos, both used for comic effect.

In between the one-minute stops on the trip from Tokyo to Kyoto, there is an abundance of fighting – comical, rapidly-paced, and violent – using such available props as the features on a smart toilet, knives, guns, swords, poison, bombs, and a venomous (incorrectly labeled as poisonous in the movie) Boomslang snake. Since most of the action takes place on the train, we get action in passenger cars, the galley, the lounge, the control booth, and even on top of the speeding train.

It’s Pitt’s character who keeps us interested, and the movie drags when he is off screen. Ladybug is a skilled improvisational fighter, although his recent personal growth through therapy has him eschewing guns, dwelling on his inherent bad luck, and reciting affirmations and wisdoms, when he can remember them. Mostly, by golly, he just wants to be a nicer person (quite a short trip for a contract killer). This chaos and spontaneous convention of bad players were all part of White Death’s plan, which is revealed late in the film.

It appears director Leitch (a former renowned stuntman) worked diligently to create a new form of zany by blending Guy Ritchie’s best work with Tarantino’s “Kill Bill” films, and then adding a dash of ‘who-done-what-to-whom?” Instead, with the near slapstick action and goofy dialogue, it plays more like a modern day CANNONBALL RUN, which was also directed by a former stuntman (the legendary Hal Needham). As a bonus, we also get the Japanese version of “Stayin’ Alive”, replete with Brad Pitt strutting through Tokyo in tennis shoes.

Opens in theaters on August 5, 2022

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Posted by David Ferguson

THE LOST CITY (2022)

March 24, 2022

Greetings again from the darkness. It’s not billed as a remake of ROMANCING THE STONE (1984), and perhaps that’s because it borrows from many adventure romantic-comedies over the years. Brothers and co-directors Aaron Nee and Adam Nee (BAND OF ROBBERS, 2015) have proven they can deliver exactly what is promised from a script by co-writers Oren Uziel (MORTAL COMBAT, 2021) and Dana Fox (CRUELLA, 2021). Seth Gordon receives a story credit, which is a bit ironic considering he has been quoted with, “The best stories are rooted in reality.”

Oscar winner Sandra Bullock stars as grieving, reclusive and highly successful romance novelist Loretta Sage, and Channing Tatum co-stars as her long-time and extremely popular cover model, Adam (in what is obviously a ‘wink and a nod’ to Fabio). Loretta’s love of history, and the passing of her husband, have combined to make her despise the books she writes and the publicity tours she’s required to attend … especially when being forced to wear a skintight purple/fuchsia sequined onesie. On the other hand, vapid model Adam relishes giving the audience what they want – strutting, hair waving, and bare chest.

After their most recent event goes sideways, Loretta is kidnapped by the villainous rich guy with a so-called gender-neutral name of Abigail Fairfax (Daniel Radcliffe). He’s read her latest book and needs her help in locating the ‘Crown of Fire’ hidden somewhere on a remote island he purchased for this reason. Things have to move quickly before the volcano erupts and buries the treasure. At this point, Adam is committed to rescuing Loretta and proving that he’s more than a pretty face. Loretta’s stressed out literary agent Beth (Da’Vine Joy Randolph, DOLEMITE IS MY NAME, 2019) is determined to save her writer-asset, while the newly hired social media director (Patti Harrison) acts goofy (and deserved better lines).

It’s regrettable, yet a sign of the times, that (2-time Oscar winner) Brad Pitt’s cameo is included in the trailer. This should have been a pleasant surprise for viewers, and instead is spoiled by the clip. He has fun with his role as former Navy Seal and meditation partner with Adam, as the two work towards Loretta’s rescue. The time on the island combines the adventure sequences with the slow-build of the romantic bond between Loretta and Adam, and both actors do their thing. It’s mostly Mr. Radcliffe who seems a bit out of place as he goes big in his role as villain, when some subtlety might have played better. Then again, there is nothing subtle about this production, including the scenes with Beth and an oddball pilot with a goat-fetish played by Oscar Nunez (“The Office”).

Sandra Bullock and Channing Tatum can play these characters in their sleep, and to their credit, they both seem engaged and willing to put forth the necessary effort. Tatum especially embraces the duality of a preening cover boy and the sensitive type out to prove he has substance. It’s an easy film to criticize, but why would you? It’s meant to be harmless fun and bring joy to movie lovers. It’s totally fine to make a silly formulaic movie when your objective is to make a silly formulaic movie.

Opening in theaters on March 25, 2022

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Posted by David Ferguson

OSCARS 2020 recap

February 10, 2020

Oscars 2020 recap

 It could be argued that the last 5 years of Best Picture announcements have each provided somewhat of a surprise as the title was announced. However, the noise level and affection directed towards the stage as those associated with PARASITE assembled, gave this year’s announcement a distinct and special feel. Filmmaker Bong Joon Ho has won over many in the industry during this awards season, and the historical significance of having the first non-English language winner shouldn’t be minimized. However, there was something else at play as the applause and whistles boomed throughout Hollywood’s Dolby Theatre. This was an auditorium filled with movie lovers who were celebrating a creative, unique, meaningful, and entertaining cinematic achievement … in other words, the things that movie making is meant to deliver. It was quite a moment.

While my predictions were correct on 20 of 24 categories this year, I can’t help but kick myself for not foreseeing this PARASITE juggernaut (it won 4 of its 6 Oscar nominations). Director Sam Mendes’ WWI visual masterpiece 1917 seemed to be on an unstoppable roll after winning Best Picture at BAFTA, Critics Choice, Directors’ Guild, and Producers’ Guild. But taking a step back and analyzing how the Oscars voting works – success is heavily dependent on how many ballots have a film in the first/favorite position – it becomes much easier to understand how this “upset” occurred. Ever since it won the Palme d’Or at Cannes, the number of crazed and vocal fans for PARASITE have been all over social media encouraging others to check it out. While almost everyone was wowed with the visual experience of 1917, it was the rabid fandom for the South Korean film that really stood out.

 So it was Bong Joon Ho’s film making Oscar history, and yet there are also other things to discuss. Choosing to go “host-less” for the second straight year, the very talented Janelle Monae opened the show by performing a take-off on Mister Rogers and then exploding into a high-octane song and dance featuring many of the nominated films, and a few that weren’t. Ms. Monae also infused the first political statement of the evening – one that would surely be followed by many more. Steve Martin and Chris Rock then took the stage, and though they apparently had not rehearsed their time together, there were a couple of good zingers … especially those aimed at Amazon’s Jeff Bezos … and more than a few that fell flat.

In his acceptance speech for Best Supporting Actor (ONCE UPON A TIME IN … HOLLYWOOD), Brad Pitt infused a bit of political commentary, as did Olaf, I mean Josh Gad, as he introduced Idina Menzel to sing the nominated song from FROZEN 2 (along with some talented international help). Diane Keaton did her best Warren Beatty/Faye Dunaway impression through incoherence and cluelessness (at the expense of good guy Keanu Reeves), and one of the best moments of the show was followed by one of the strangest. Lin-Manuel Miranda introduced a wonderful medley clip of film songs which played right into Eminem taking the stage to perform his Oscar winning “Lose Yourself.” Why is that strange?  Well, 8 MILE came out in 2002, and ‘18’ is rarely celebrated as a commemorative year (unless you are a 17 year old rejoicing in legal impendence). Eminem’s song is a favorite of many, but his inclusion here left us with one unanswered question … why?

Billie Eilish delivered a beautiful version of “Yesterday” as the annual In Memoriam slides played, but live performances from Randy Newman and Elton John (whose song won) paled in comparison to that of Cynthia Erivo. We were rewarded yet again by the brilliance of Olivia Colman, following up last year’s win with a turn as presenter. Her line, “Last year was the best night of my husband’s life” deserves to become part of Oscar lore alongside streakers, no-shows, and botched announcements. We were then subjected to two much-too-long ramblings from Acting winners Joaquin Phoenix and Renee Zellweger. Mr. Phoenix at least made some sense in his plea for justice for all (and a nice quote from his deceased brother River: “Run to the rescue with love, and peace will follow”), while Ms. Zellweger babbled “ums” and “you knows” about heroes, and proved why most actors should stick to a script.

As I’ve stated before, celebrities are welcome to their political opinions, which many share frequently and openly. My issue is that the Academy Awards ceremony was designed as a once a year opportunity to celebrate cinema and those who make it such an enticing and entertaining art form. Especially in this day of social media, I find the political outbursts to be in poor taste … similar to bringing McDonalds carry-out to a dinner party. It seems the proper approach would be to thank the Academy and those who helped the winner with their achievements, and then head backstage and tweet all the political opinions swirling about in their head. Having one’s own hair stylist, make-up artist, limo driver, and fashion designer, does not seemingly make one an expert on equality or geopolitics, so my personal preference would be for political opinions to be stifled for a few hours.

 All the best stories have memorable endings, and this year’s Academy Awards certainly delivered that. Political ramblings were forgotten as soon as Jane Fonda, after pausing for dramatic effect (and to ensure she had the correct envelope) announced PARASITE as Best Picture. Watching movie history unfold was exhilarating, and Bong Joon Ho’s promise to “drink till the morning” was well-deserved. He has announced his involvement with an HBO series based on this Oscar winning film, so we can expect to see his creativity on one screen or another for the next few years.

***NOTE: Tom Hanks announced during the ceremony that the long-awaited Academy Museum of Motion Pictures will open December 14, 2020 in Los Angeles’ Miracle Mile district.

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Posted by David Ferguson

AD ASTRA (2019)

September 19, 2019

 Greetings again from the darkness. Astronaut Roy McBride’s pulse rate may never go above 80 bpm, but mine certainly did during the opening sequence which features a stunning and spectacular space fall. It’s unlike anything we’ve seen before. Roy has trained his entire life for this work; however his true mental state is only revealed slowly throughout the film’s run. After witnessing his actions and hearing (through narration) his thoughts, we are left to decide what we think of Roy … stoic hero or simmering psychopath? Either way, he’s haunted by a past that has rendered him mission-focused and the world’s worst party guest. The film takes place in the not-too-distant future.

Brad Pitt stars as Roy McBride, in what may be his career best (and most inward-looking) performance. Roy is the son of NASA hero Clifford McBride (Tommy Lee Jones), the leader of The Lima Project – a decades old mission to Neptune tasked with searching for extraterrestrial life. The elder McBride has long been assumed dead with no signals or response signs in many years. A recent power surge that threatens humanity has been traced to Neptune, and now Roy is being used as bait to track down his rogue astronaut father and prevent him from causing further damage.

Roy’s assignment requires him to journey from Earth to the Moon to Mars and, ultimately, on to Neptune. Along the way, he travels with Colonel Pruitt (Donald Sutherland), an old friend of Clifford’s, who is sent along to make sure the son doesn’t acquiesce to the father. Of course, it’s a nice touch to have Tommy Lee Jones and Donald Sutherland together again in a space movie 20 years after SPACE COWBOYS, a more upbeat adventure. Here we see a populated moon – yet another place we humans have messed up – replete with turf wars. There is also a shootout in a space capsule, and an unscheduled stop that provides shocking visuals and causes a shift in the crew.

James Gray, who directed the vastly underrated THE LOST CITY OF Z (2016) delivers a space film with terrific visuals and a script he co-wrote with Ethan Gross, that examines how a father can affect the life of his son even when he’s not present. The film has an unusual pace to it. There are a few action sequences, but the core of the film is the psychological state of son versus absent father. Roy’s inability to connect with loved ones is displayed through flashbacks involving Liv Tyler, and it’s his own narration that provides us much more insight than his regularly scheduled psychological tests.

Ruth Negga (LOVING) has a nice turn as Helen Lantos, one of the key officials at the Mars space station, and her encounter with Roy provides him with yet more background on his father. It’s easy to recall both APOCALYPSE NOW (only with Tommy Lee Jones as Colonel Kurtz) and 2001: A SPACE ODYSSEY given the isolation, questionable mental state, and mission-gone-wrong. The cinematography Hoyte Van Hoytema (DUNKIRK) is outstanding, and never allows us to forget Roy is in space … with danger present in every moment. The title translates “to the stars”, and it’s true in every sense.

Mr. Gray has delivered a thought-provoking big budget science fiction film. It has incredible special effects, but the personal story packs even more punch than the galactic adventure. Many will compare this to other space films like CONTACT, GRAVITY, and FIRST MAN, but this one requires more investment from the viewer, as it’s the character study that resonates. This is Brad Pitt’s movie (he’s in most every scene), and the ties to his father are never more evident than when he (and we) see The Nicholas Brothers performing in black and white on that monitor. If a daily psychological profile was required for each of us, it would be interesting to see how much work would actually be accomplished. Now, imagine yourself stationed in space and just try to keep your heartrate below 80!

watch the trailer:

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Posted by David Ferguson

ONCE UPON A TIME … IN HOLLYWOOD (2019)

July 25, 2019

 Greetings again from the darkness. Hippies, westerns, short skirts, pompadours, catchy pop songs … all have (mostly) disappeared from our world. Back to save the day and the memories, and twist a little history, is Quentin Tarantino, the ultimate film geek. His latest reminds us of a bygone era of movie stars and old school filmmaking … a once beloved industry which has been described as being on life support. There have been plenty of big screen love letters to Hollywood, but few if any, were filmed with so many personal touches and call-backs to the director’s own films.

In keeping with the request from Mr. Tarantino, this review will not include any spoilers or details that might negatively impact anyone’s initial viewing of the film. It’s a reasonable request since the film is so unique and literally packed with nostalgia, sight gags, and historical bits and pieces – some accurate, some not so much. There is a lot to take in and process, and the full impact of the initial viewing might result in awe, shock or disgust … and maybe even all of the above. So this will be a pretty simple overview peppered with some insight that should enhance rather than spoil the experience.

The film covers about 6 months in 1969, but in reality, it all takes place (at least what we see on screen) in 3 days. Leonardo DiCaprio (possibly his best ever performance) plays Rick Dalton, an actor who had a hit (fictional) TV western series in the 50’s and 60’s entitled “Bounty Law”. Since the show ended, Rick has been unable to make the successful transition to movies. For comparison, think of Clint Eastwood, Steve McQueen and Burt Reynolds – all actors in TV westerns who found greater career success in movies. Brad Pitt (the epitome of cool) stars as Cliff Booth, Rick’s stunt double, friend, driver, handyman, etc. While Rick is desperate to find the next stage of his career and fend off being forgotten, Cliff, a Vietnam vet, is accepting of his lot in life. Rick lives in a swanky Hollywood Hills home next door to hotshot director Roman Polanski and his starlet wife Sharon Tate; and Cliff lives in a trailer behind the Van Nuys Drive-In with his well-trained Pit Bull Brandy.

There are multiple parallel stories to follow, and a key one involves the aforementioned Sharon Tate. Margot Robbie nails the role and bounces about town with the energy and sweet aura that we imagine she possessed. All 3 of the lead actors – DiCaprio, Pitt, Robbie – have knockout scenes that I’d love to be able to discuss, but I’m not sure how without giving away too much. What I can say is that each of these three talented actors prove that movie stars still exist.

This is Tarantino’s 9th film as a director (he counts the 2-part KILL BILL as one film), and he claims he will stop making films after number 10. There are multiple features we can count on in a QT film, and a ridiculously deep supporting cast is one. Going through each of the characters played by actors you will recognize would take a page and a half, so I’ll cover only a few here. Margaret Qualley is a scene stealer as Pussycat, one of the Manson family girls. You likely remember her from the recent “Fosse/Verdon” or “The Leftovers”, and here she fully embraces the hippie look and spirit. Emile Hirsch plays hairdresser Jay Sebring, one of those in the house with Ms. Tate on that fateful night, and Mike Moh plays Bruce Lee so convincingly that I was momentarily confused when he took off his sunglasses. Also making appearances are some Tarantino regulars: Kurt Russell (as a stunt coordinator and narrator), Michael Madsen (as an actor), and Bruce Dern as George Spahn (a late replacement after Burt Reynolds passed away). Others of note include Maya Hawke (Uma Thurman’s daughter), Austin Butler (recently cast in the title role of Baz Luhrmann’s Elvis biopic) as Tex Watson, Rumer Willis (Bruce’s daughter) as actress Joanna Pettet, Damian Lewis as Steve McQueen, Al Pacino as agent Marvin Schwarzs, Dakota Fanning as Squeaky Fromme, and the late Luke Perry as actor Wayne Maunder (“Lancer”). 90 year old Clu Gulager (“The Virginian”, THE LAST PICTURE SHOW) makes an appearance, and Nicholas Hammond (Friedrich from THE SOUND OF MUSIC) tears into his role with gusto as director Sam Wanamaker. There is even a TV Guide cover featuring the late great character actor Andrew Duggan (“Lancer”). Some of these, and many more, are like cameos, but it’s still fascinating to see the faces.

1969 was 50 years ago, and Tarantino does a remarkable job of recreating the look of Sunset Boulevard, Hollywood Boulevard, Cielo Drive, and studio backlots. Much credit goes to Production Designer Barbara Ling and Set Decorator Nancy Haigh (frequent Coen Brothers collaborator and an Oscar winner for BUGSY). Arianne Phillips does a tremendous job with the costumes that look natural for the time period, and not like something right off the wardrobe racks. Three-time Oscar winning Cinematographer Robert Richardson (HUGO, THE AVIATOR, JFK) is back for his 6th Tarantino film, and he captures the look and feel and vibe of a time that is so personal to the director.

It’s been three and a half years since THE HATEFUL EIGHT, Tarantino’s most recent film, and probably his worst received. This one is clearly personal as it captures the time and place that he fell in love with movies. The dichotomy of rising starlet and fading cowboy as neighbors is a brilliant way to make a point about times changing. This was a time of transition in the United States – a new culture was upon us, and whatever innocence remained, was surely snuffed out on a hot August night in 1969. As usual, his use of music serves a purpose. We are treated to Roy Head, The Royal Guardsmen, and Paul Revere and the Raiders, among others. QT also shows us plenty of bare feet (another trademark). What is unusual is that the film lacks the trademark mass dialogue. This one kind of meanders … right up until it doesn’t.

Quentin Tarantino is a living, breathing film geek (that’s a compliment) who has earned the right to make the movies he wants to make. This one took him a lifetime to live, 5 years to write, and it will take you 161 minutes to watch. It was warmly received at Cannes, but no one can expect to “catch” everything Mr. Tarantino has served up in one viewing. That said, one viewing will likely be one too many for quite a few folks (especially many under 40 who have no recollection of this Hollywood). Some will categorize this as an overindulgent nostalgia trip for movie nerds. And they are likely correct. But for those of us who complain that too many movies are remakes, re-treads and comic books, there is no denying Tarantino delivers a unique and creative viewing experience – and it’s not meant for everyone.

watch the trailer:

4 Comments | Comedy, Drama, Fantasy | Tagged: , , , , , , , , , , , , , , , , , , , , , , , , , , | Permalink
Posted by David Ferguson

ALLIED (2016)

November 22, 2016

allied Greetings again from the darkness. Every writer, director and actor dreams of being part of the next Casablanca … a timeless movie beloved by so many. It’s rare to see such a blatant homage to that classic, but director Robert Zemeckis (Oscar winner for Forrest Gump) and writer Steven Knight (Dirty Pretty Things, Eastern Promises) deliver their version with an identical setting, nearly identical costumes, and the re-use of a song (“La Marseillaise”) which played such a crucial role.

Spy movies typically fall into one of three categories: action (Bourne), flashy/stylish (Bond), or detailed and twisty (Tinker Tailor Soldier Spy). This one has offers a dose of each blended with some romance and a vital “is she or isn’t she” plot. The “she” in that last part is French Resistance fighter Marianne Beausejour played by Marion Cotillard. Her introduction here is a thing of beauty, as she floats across the room thrilled to be reuniting with her husband Max Vatan. Of course the catch is that Max (Brad Pitt) is really a Canadian Agent and their marriage is a cover for their mission to assassinate a key Nazi. Yes, it’s 1942 in Morocco.

The two agents work well together and it’s no surprise when this escalates to a real romance between two beautiful and secretive people. It seems only natural that after killing Nazi’s and making love in a car during a ferocious sandstorm that the next steps would be marriage, a move to London, and having a kid. It’s at this point where viewers will be divided. Those loving the action-spy approach will find the London segment slows the movie to a crawl. Those who prefer intelligence gathering and intrigue may very well enjoy the second half more.

What if your assignment was to kill your beloved wife if she were deemed to be a double-agent? Max finds himself in this predicament, and since no one ever says what they mean in the community of spies, he isn’t sure if the evidence is legit or if it’s really a game to test his own loyalty. This second half loses sight of the larger picture of war, and narrows the focus on whether Max can prove the innocence of Marianne … of course without letting her know he knows something – or might know something.

Marion Cotillard is stellar in her role. She flashes a warm and beautiful smile that expertly masks her true persona. The nuance and subtlety of her performance is quite impressive. Mr. Pitt does a nice job as the desperate husband hiding his desperation, but his role doesn’t require the intricacies of hers. Supporting work comes via Jared Harris, Lizzy Caplan, August Diehl, Marion Bailey, Simon McBurney, and Matthew Goode.

The Zemeckis team is all in fine form here: Cinematographer Don Burgess captures the feel of the era, Composer Alan Silvestri never tries to overpower a scene, and Costume Designer Joanna Johnston is likely headed for an Oscar nomination. For a spy movie, the story is actually pretty simple and the tension is never over-bearing like we might expect. While watching the performance of Ms. Cotillard, keep in mind her most telling line of dialogue: “I keep the emotions real.” It’s a strategy that is a bit unusual in her world. How effective it is will be determined by the end of the movie.

watch the trailer:

 

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Posted by David Ferguson

THE BIG SHORT (2015)

December 24, 2015

big short Greetings again from the darkness. Since there are so few subjects more hilarious than the 2008 financial crisis, let’s get the writer/director of Anchorman and Step Brothers to adapt the Michael Lewis best-selling book. OK, so it’s improbable that was the thought process, but kudos to whomever was responsible for bringing Adam McKay to the project. Before you go assuming it’s a poor fit, it should be noted that McKay is also one of the creative minds behind “Funny or Die”, a site filled with political and social satire. It’s that satirical approach that makes this explanation of what went wrong so accessible to the masses. Make no mistake … this is entertaining and educational and thought-provoking and nauseating and infuriating and funny and disheartening.

If the film were described as a tutorial on MBS (Mortgage-backed Securities), CDO (Collateralized Debt Obligations), Credit Default Swaps, Tranches, Bond Ratings, and Sub-Prime ARMs, most people’s eyes would glaze over and they would keep skimming for showtimes of other new movie releases. In truth, it is those things – and so much more. This is the story of how the housing market collapsed leading the government to the massive bailout that saved some of our largest financial institutions … and how a small group of people recognized what was happening and literally bet against the U.S. economy. It follows the bread crumbs to re-assemble the slow process of spotting the fault in the analysis that lead to massive corruption that finally crossed over into systematic fraud … and does so by using creative presentation approaches like a Bond Rating game of Jenga, and celebrity snippets for definitions and examples.

Ryan Gosling stars as Jared Vennett (based on Greg Lippmann), a slick Deutsche Bank trader who acts as our guide through the muck of shorting securitized mortgages, while simultaneously working the system for his personal benefit. He works with Mark Baum (a character based on Steve Eisman, played by Steve Carell) who manages FrontPoint Partners, and Baum’s team played by Rafe Spall, Hamish Linklater and Jeremy Strong (whom you might remember as Lee Harvey Oswald in Parkland). While this is going on, there are two other similar story lines we are following. The first is Christian Bale playing hedge fund manager and savant analyst Dr. Michael Burry at Scion Hedge Fund. Burry is often cited as the first to recognize the impending collapse and invest against the market. Finally, we have the “garage band” investment company based on Cornwall Capital run by (names changed) Jamie Shipley (Finn Wittrock) and Charlie Gellar (John Magaro) with a big boost from former trader Ben Rickert (played by Brad Pitt in a role based on Ben Hockett). The stellar cast is rounded out by Marisa Tomei as Baum’s concerned wife, Tracy Letts as the head of Scion, Max Greenfield and Billy Magnussen who play cocky and clueless subprime mortgage brokers, and Melissa Leo who plays a Standard & Poor’s employee.

It’s difficult to tell this story without casting blame, and few escape the wrath of Lewis, McKay and co-writer Charles Randolph. Those absorbing shots to the bow include: the Federal Reserve, the SEC, Rating Agencies, big Banks and Investment firms, Fund Managers, Traders, Realtors, and Mortgage Brokers. Companies specifically named include JP Morgan Chase, Bank of America, Deutsche Bank, Barclays, Merrill Lynch, Goldman Sachs, WAMU, Option One, Lehman Brothers, Bear Stearns, and The Wall Street Journal. The point made is that the problem goes/went beyond greed, and is/was truly system-wide, with each segment protecting themselves and their turf. Somehow the name Barney Frank is not mentioned, and FNMA and FHLMC escape mostly unscathed, while CRA lending requirements are not discussed.  It’s not politically correct (and not mentioned here) to question why so many borrowers who couldn’t pay their rent regularly accepted loans that they knowingly couldn’t afford to repay. But that’s a topic for another time.

With full disclosure, I will admit to having been in the mortgage business for 18 years. Though I was never involved with subprime loans, I will always disagree with the stance that the industry and institutions were not aware of the risk and impending collapse. It was common knowledge that “no doc” loans were absurd, and the adjustable rate schedules and prepayment penalties for subprime (and some conventional) loans were beyond impractical and more like homicidal (from a lending perspective). In the film, Baum interviews an exotic dancer who owns multiple homes … all loans made with minimal documentation due to the cash basis of her business. The terms of the loans set her, and other similar borrowers, up for financial ruin … right along with the housing sector and economy. The subprime mortgage brokers portrayed by Max Greenfield and Billy Magnussen may seem cartoonish, but Baum’s confusion with their “confession” versus “bragging” is spot on. There were many just like these two clowns who considered themselves “rock stars”, when in fact, there were really “bartenders who now own a boat”.  These weren’t the type to question whether the loans made sense … only how many could they close to pad their 5 and 6 figure per month income levels.  Of course, in defense of these morons, it was the banks and lenders who designed the loan programs to “feed the machine” with more and by necessity, higher risk loans … to the point where it was no longer possible to spread the risk wide enough for protection. Hence, the collapse.

By the end of the movie, you should expect to have a headache and feel quite cynical towards the system. Despite the humor interjected by quick-hit segments from Margot Robbie, Selena Gomez and Anthony Bourdoin, the seriousness of the topics is more than bubble baths, blackjack and fish stew. The film leaves us angry and nauseous from what happened in 2008, but more importantly questioning … Has anything changed? Have we learned anything? These answers are likely to cause a more sickening reaction than looking back seven years.

A recommended Economic Movie Marathon would include: Inside Job (2010 documentary from Charles Ferguson), Margin Call (2011, JC Chandor), The Big Short (2015, Adam McKay), and 99 Homes (2015, Ramin Bahrani)

watch the trailer:

 

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

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