JUNCTION (2024)

January 25, 2024

Greetings again from the darkness. Actor Bryan Greenberg’s (PRIME, 2005) first feature film as writer-director could have been subtitled, “those who suffer vs those who profit.” Most of us can agree that businesses providing a desired product or service are entitled (not guaranteed) to turn a profit. And on a seemingly unrelated note, most of us can agree that those suffering from addiction deserve and need assistance in breaking the cycle that is destroying their life. The road where these two intersect is when drug companies produce an effective yet addictive product that is prescribed by doctors. The issue arises when profits soar due to the spread of addiction.

The story focuses on the Opioid crisis, and evidently, it’s a topic that filmmaker Greenberg feels strongly about. He serves up three perspectives so that we better grasp the full reach. Greenberg himself plays Michael, a restaurant owner in desperate need of a refill on his Oxycodone prescription. Ashley Madekwe (“Revenge”) plays Mary, a doctor whose practice has grown due to her willingness to write these prescriptions. Griffin Dunne (AFTER HOURS, 1985) and Ryan Eggold (“The Blacklist”) play CEO father Lawrence and ambitious son Jacob, who run one of the drug companies producing and marketing Oxy.

The three-tiered approach works as we see Michael, divorced from Allison (Sophia Bush), is no longer attentive to his work or family, Mary has good intentions but carries the guilt of the drug’s effect on her patients, and the heads of the drug company are facing an FDA hearing to determine their level of guilt and damages. It’s a bad day for everyone. Perhaps Greenberg over-complicated the story unnecessarily with some additions like Mary’s afternoon delight with the drug rep, Jacob’s planned corporate coup over his dear old dad, and Michael’s, umm, digestive issues at his son’s basketball game. Of course, all of these elements are meant to show the progression of cause and effect when it comes to addictive drugs. One subplot that I couldn’t make work was that of the doctor having financial troubles with patients lined up for the next prescription. It makes sense that she wants to escape the oxy world, but with her practice booming, why the financial woes?

Familiar faces appear throughout, and include Dash Mihok (“Ray Donovan”), Jamie Chung (“The Gifted”, married to Greenberg), Josh Peck (THE WACKNESS), Yara Martinez (“True Detective”), Michaela Conlin (“Bones”), Hill Harper (“CSI:NY”), and Dascha Polanco (“Orange is the New Black”). The cycle of addictive drugs presents itself as causing money issues, trust issues, personal and marital issues, health issues from addiction, kids that can’t count on parents, and political ramifications that lead to corruption. While it has the look and feel of one to stream, the film’s message is quite clear and powerful.

The film will be in theaters and on demand on January 26, 2024

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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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ALL ROADS LEAD TO PEARLA (2020)

September 24, 2020

 Greetings again from the darkness. Rural, small town America forms an appealing backdrop for filmmakers due to the great divide: those who are desperate to “shake the dust off” and head for greener grass, and those who can’t imagine any other way of life. In his first feature length film, writer-director-editor-producer Van Ditthavong seizes on the small town atmosphere to create a sense of danger that complements the above-mentioned divide.

Alex MacNicoll stars as Brandon, a high school wrestler in non-stop training mode – replete with nose bleeds, early morning runs, and the quest to cut weight. Brandon lives in a trailer with his mother (Morgana Shaw) who has never gotten over the death of Brandon’s beloved brother. She’s an aggressive griever and takes out her anger on Brandon, leaving him squarely in the “can’t wait to get out of this town” mode. Brandon and Ellie (Paige McGarvin), the local grocery checker, are attracted to each other, yet, despite her warning, Brandon falls for the wicked charms of the mysterious bad girl Pearla (Addison Timlin, FALLEN). Naïve Brandon knows nothing of the town’s criminal underbelly, but Pearla is connected to the psychotic Oz (Dash Mihok, “Ray Donovan”), who is part of it.

Mihok seems to revel in playing the deranged Oz. He expertly balances his scenes as a vicious mask-wearing, gun-toting thug with his small town country-bumpkin mentality … one who spells bidet, “b-a-d-a-y”. Somehow in a town this small, almost no one is who they appear to be. This certainly includes Coach Baker (played by Nick Chinlund, who you’ll likely recall from CON AIR), the motivating wrestling coach with a dark side. Also in the ‘bad guy’ mix are Cowboy Loy (Corin Nemac) who is after revenge on Pearla, and shop owner Mamo (Tina Parker), who seems to control the local crime element, or at least tries to – “Nobody steals from me”.

Brandon’s English class covers a pertinent passage from Orwell’s “1984”, and his big dream involves saving enough money to drive his truck to El Paso for a job on an oil rig. There is some similarity in tone to the Coen Brothers’ classic BLOOD SIMPLE (1984), but of course, Mr. Ditthavong is not yet at that level as a filmmaker. However, for a low budget film that sometimes mixes up day and night, it benefits from nice performances and an atmosphere of dread. The entertainment value is such that I look forward to more projects from the cast and Van Ditthavong.

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TOO LATE (2016)

April 7, 2016

too late Greetings again from the darkness. The first feature film from writer/director Dennis Hauck has a number of elements that are appealing to movie lovers on the lookout for something a bit outside the box. It’s the type of film that would be a festival favorite, as it provides no shortage of “talking points” for discussion afterwards.

Of course, casting John Hawkes is always a good start. Here he plays a Private Investigator named Sampson. The story is presented in 5 segments – each filmed in one extended shot. Oh, and it’s not presented in sequential order, so some assembly is required. The real end to the story is not the same as the ending of the movie, and the beginning of the story is actually in the middle of the movie. Confused yet? Well a loss of equilibrium is what makes this one so much fun to watch. Characters and story lines are intertwined – some accidentally, some secretly, and some surprisingly.

Hawkes appears in each of the five segments, and sprinkled throughout you will find such recognizable faces as Robert Forster, Jeff Fahey, Natalie Zea, Joanna Cassidy, Crystal Reed, Dash Mihok, Rider Strong, Vail Bloom, Sydney Tamilia Poitier and singer Sally Jaye. A strip club, the Hollywood hills, a Park Ranger, a suicide, and multiple murders all are key pieces to the puzzle … and none are presented exactly as we would expect.

With an unpolished 1970’s look and feel, the film offers a touch of Tarantino (including some of the actors who have worked with him), but mostly the vibe is refreshingly throwback. Even the music … Joe Tex, Cowboy Junkies, etc … is a bit offbeat, and of course, any movie that references Genevieve Bujold and Choose Me deserves a special place in my heart. It may not be the typically structured PI murder mystery that we have come to expect, but an unusual approach and the performance of Hawkes, makes this one to see.

watch the trailer: