THE WHALE (2022)

December 10, 2022

Greetings again from the darkness. Brendan Fraser deserves an Oscar nomination. There’s a sentence I never even imagined writing. If you recall (and you are excused if you don’t), Mr. Fraser’s early acting career is noted for such ‘prestige’ films as ENCINO MAN (1992), GEORGE OF THE JUNGLE (1997), DUDLEY DO-RIGHT (1999), and BEDAZZLED (2000). And yes, I’m being a bit unfair in the films I chose to name, as he has also had some solid performances along the way. However, nothing on his resume could have prepared us for what he delivers on screen in this latest from director Darren Aronofsky (BLACK SWAN, 2010).

Award-winning playwright Samuel D Hunter adapted his own play for the big screen, and it’s one that will surely drag you down and pound your emotions, even as it mesmerizes you. We first hear Charlie’s (Fraser) soothing voice as he addresses the online college writing class he teaches. We see the students’ faces on his laptop, but Charlie’s square is blacked out. He explains the camera on his laptop is still “broken”. Class ends and Charlie’s friend Liz (a terrific Hong Chau, “Watchmen”) shows up to read his blood pressure at 238/134. Charlie is a massive human being, barely mobile, and nearing death.

Liz is also a nurse and tends to Charlie in a sense of loyalty and caring through their friendship … the origin of which we learn later in the story. Thomas (Ty Simpkins, JURASSIC WORLD, 2015), who says he’s a missionary from New Life Ministries, knocks on the door as Charlie is in medical distress. Liz treats Thomas as an intruder and demands he leave, while Charlie remains civil to him. Given his ticking clock, Charlie reaches out to his teenage daughter Ellie (Sadie Sink, “Stranger Things”). The two haven’t seen each other in the years since Charlie left for a new lover. To say that Ellie has pent-up rage and anger directed at her long-lost dad would be understating the situation. She blows into his apartment like a tornado, spewing venom towards Charlie. They do come to an arrangement that entices her to return to visit while he agrees to assist with her delinquent school assignments.

Almost the entirety of the story takes place in about 300 square feet of the upstairs apartment Charlie is confined to. The tight space adds tension to every interaction between the four characters, including Charlie’s ex-wife Mary (Samantha Morton, IN AMERICA, one of my favorite forgotten gems from 20 years ago). Brendan Fraser uses his eyes to convey so many thoughts, even as we turn in disgust at his eating habits. An excellent score from Rob Simonsen and expert camera work from cinematographer Matthew Libatique complement the stunning performance from Fraser, and the numerous moments of intense tension and emotional turmoil. There are only a few times throughout where the live stage source material sticks out, and the ending is handled beautifully, allowing us a respite from the emotional rollercoaster of the past two hours.

Now showing in theaters

WATCH THE TRAILER

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Posted by David Ferguson

NOAH (2014)

March 30, 2014

noah Greetings again from the darkness. Since I am no biblical scholar, my comments are those of a movie lover. Tackling any part of a story from the bible is a journey filled with land mines and aggressive criticism – and that’s before your movie is released! Surely director Darren Aronofsky was prepared for backlash from those who forbid any interpretation of the Good Book. The story of Noah lasts but a few pages in the bible, meaning Aronofsky had to creatively fill some space to produce a 2-plus hour film.

Russell Crowe makes a fine Noah. He is relentless in his quest to fulfill The Creator’s request … and he flashes his “Gladiator” glare on a few occasions. Rather than an uplifting childhood bedtime story, this Noah carries the burden of God, his own family and the survival of all beings … his days are filled with moral dilemmas much larger than what you and I go through.

With all the miscommunication afforded by email and text these days, imagine if God conversed with you through images in your dreams. Maybe that process creates some areas of gray? Not if you are Noah. I guess he only dreams when God wants to show him something, so his decision making and mission is pretty focused. He is to build a giant floating warehouse to save two of every creature. Yes, that means a lot of death for those not invited. See, God is using Noah and his family to help cleanse the earth of mankind … God is ready for a re-boot. He is really not happy with how mean and nasty man has become ever since that whole apple debacle and the murder of Abel by Cain.

Some of the visual effects are spectacular. I especially enjoyed the high-speed montage showing the creation of life … you know, that first week. Also, the beginning of the flood is quite a spectacle, but the ark itself is actually quite stunning … constructed per the size noted in the Bible. The animals are all digitally created and we actually see little of them, though the on-boarding process goes remarkably smooth – considering this happens before the herbal sleep concoction is disbursed.

Most of the discussion will probably be on The Watchers … the fallen angels who once tried to help mankind, and for their efforts, God turned them into giant stone creatures. I will add that The Watchers need a new nickname since they did the bulk of the manual labor in constructing the ark and then protecting it … not much watching going on for these poor guys (voiced by Nick Nolte and Frank Langella, among others).

Noah’s wife is played by Jennifer Connelly and their sons are played by Logan Lerman, Douglas Booth and Leo McHugh Carroll. They welcome Emma Watson into their family in what turns into a very odd plot twist, and the villain, Tubal-Cain is payed by Ray Winstone. Methuselah, Noah’s grandfather, is played to the hilt by Anthony Hopkins. All of these characters are pretty one dimensional, but it matters little since this is Noah’s story. The burden he carries is quite heavy and his decisions aren’t always popular.

If you are looking for the well documented story of Noah, it’s no mystery what book you should be reading. If you are after a pretty impressive visual interpretation, you could certainly do worse than Aronofsky’s take. And the best news … no Morgan Freeman voice-over!

SEE THIS MOVIE IF: you want to see one of the most impressive set pieces ever built (the ark), plus some pretty cool fallen angels made of stones, a ferocious flood and a few trademark “Gladiator” glares courtesy of Russell Crowe.

SKIP THIS MOVIE IF: if you are extremely particular about bible movies … you know it will annoy you.

watch the trailer:

 

 

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Posted by David Ferguson

BLACK SWAN (2010)

December 4, 2010

 Greetings again from the darkness. Normally, I watch a movie, organize my thoughts and write my comments. Not surprisingly, this film has me all tangled up in thoughts, opinions and analysis. Though I won’t, I could easily write 10 pages on this mesmerizing work from visionary director Darren Aronofsky. It’s best if this film is allowed to work it’s (black) magic on each individual viewer.

What I can tell you is that similar to Christopher Nolan‘s Inception, there will be a definite line of demarcation between those who like and those who don’t. And just like with Nolan’s exceptional film, among those who “like” this one, there will still be much debate and discussion about themes, meanings, presentation, performances and message. In my opinion, that’s a pretty good report card for both films.

Be forewarned … this is a very dark, risky and edgy film. Know that it steps even farther out than Mr. Aronofsky’s previous work in The Wrestler, The Fountain, Requiem for a Dream and Pi. In other words, he works very hard on the presentation so that the viewer can be whisked away in many different directions emotionally.

The multi-faceted story has many angles, any of which could be construed as the lead. Natalie Portman (Nina) stars as a mid-20’s member of a struggling New York ballet company. Barbara Hershey is Nina’s smothering mother, who gives all dance mom’s a bad name with her attempts to live vicariously through her daughter, while also stifling her growth into adulthood (the pink bedroom looks as if an 8 year old girl would be in heaven). Wynona Ryder (Beth) plays the “aging” prima ballerina who is forced into retirement, and Mila Kundis (Lily) is the mysterious newcomer who may or may not have an agenda. The powerful Vincent Cassel (Thomas) is the company director and plays the role full bore.

Thomas announces that the company will be performing “Swan Lake” and, almost knowing the dancers will hiss at the re-tread, he quickly adds that it’s never been done his way … the same dancer playing both the White and Black Swan. He knows that Nina is the perfect choice as the White Swan but isn’t sure she can dig deep enough for the dark side. Lily is her polar opposite … mirror image … as the emotionally free, with a comfortable level of darkness and evil. I mention mirrors because they play a key role throughout the film.

When Nina is chosen for the role, a twisted friendship with Lily emerges. This draws Nina further inside herself exposing thoughts and actions she never before imagined. On top of this, Thomas is the predatory authoritarian who constantly challenges her, leading to even more self-doubt.

 As Nina slowly transforms from little girl into womanhood, we witness what looks like a slow slide towards madness. Has she gone too far? Will she snap out? Much of what we see is a clash between reality and her delusional mind. The viewer must decipher where the line is … often multiple times within a single scene! We are left wondering if Lily is stealing Nina’s identity or is it the other way around?

The other topic we cover is the constant battle that dancers face. The cutthroat competition, backstage battles, increasing pain and injuries, the fear of failure – both physically and emotionally, and the immense dedication and skill required for this short-lived profession. There is a drive for perfection in these dancers, just like in the best athletes, musicians, actors, etc. Of course, perfection as a goal leads to disappointment in result.

As for similar type movies, I really can’t name one.  What I can do is tell you there are bits and pieces of The Red Shoes (1948), All About Eve (1950) and some early Polanski (Repulsion, The Tenant).  I can’t rave enough about the script from Mark Heyman, Andres Heinz and John McLaughlin.  Camera work is ground-breaking during the actual performance.  We are weaving in and out of the stage with the dancers.  Breathtaking! The musical score combined with the familiar songs topped with amazingly subtle (and some not so subtle) effects makes this best described as an artsy horror film meshed with a crackling psychological thriller held together by nightmarish melodrama. Hopefully you are intrigued and this one is just “perfect” for you!

SEE THIS MOVIE IF: you have no idea what I mean when I say “artsy horror film”, but you are intrigued by the thought.

SKIP THIS MOVIE IF: the mere mention of “artsy horror film” has you reaching for a Julia Roberts DVD

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Posted by David Ferguson