THE GET OUT (2026)

June 26, 2026

Greetings again from the darkness. So what is it that differentiates this one from the many other crime-comedies that have come before? The truth is … not much, but maybe just enough to keep fans of the genre tuned in. It certainly has an intriguing cast, and writer-director Derrick Borte (back with his UNHINGED star) and co-writer Daniel Forte have adapted the 2010 Thomas Perry novel, “Strip”.

Oscar winner Russell Crowe stars as Manco Kapek, an Albanian immigrant who has been in the United States for twenty-plus years. He runs a successful Los Angeles nightclub that he converted from a strip joint, explaining that one must be willing to change with the times. The club’s bookkeeper is Sunny (an enchanting Teresa Palmer, THE FALL GUY, 2024), who is also Manco’s much younger, but very devoted, girlfriend. Also in the mix is Spence (Benedict Hardie, HACKSAW RIDGE, 2017), Manco’s (mostly) trusty assistant. A cardiac incident jolts Manco into thoughts of retirement, and he contacts Joe (Luke Evans, BEAUTY AND THE BEAST, 2017), a New Jersey transplant who has previously expressed an interest in buying the club.

Next up, we have college professor Jeff (Aaron Paul, “Breaking Bad”), one the most high-strung and polite robbers we’ve seen … well, until bank teller Carrie (Nina Dobrev) forces him into a partnership. She’s giddy for crime and is obsessed with the movie, POINT BREAK. Two other key characters are Detective Slosser (Josh McConville, ELVIS, 2022) and Rodriguez (Daniel Zovatto, “Penny Dreadful: City of Angels”). It’s Rodriguez’s money that makes Manco well-to-do and puts him in danger.

So, here’s the lineup of what Borte’s film delivers: armed robbery, murder, a shootout, drugs, drug cartel money, money laundering, arson, a car explosion, off-key karaoke, a Viagra overdoes, extortion, a double-cross, and somehow … a large bear (possibly a grizzly, but I’m no expert). I lost count on the number of twists and turns, but these are certainly the film’s focus rather than character development or character connection. Crowe’s screen presence is always off-the-chart, and he’s coming off an underappreciated performance in NUREMBERG. He plays Manco with his tongue planted firmly in cheek. The film is entertaining enough for those who just want simple entertainment for an evening, and it even ends with the Gipsy Kings’ version of “Hotel California” (Spanish).

Opens in select theaters on June 26, 2026 and On Digital and On Demand June 30.

WATCH THE TRAILER

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Posted by David Ferguson

UNHINGED (2020)

August 25, 2020

 Greetings again from the darkness. A phone call from her divorce attorney awakens Rachel. She’s already running late for work and for dropping her son Kyle at school. Her estranged husband is being ruthless in the negotiations, while her mother’s health is deteriorating. Her hairdressing gig is falling apart, and the financial strain is becoming too much. Rachel is having what most of us would agree is a bad day. But when she lays on her horn at the truck in front of her at a signal light, the man confronts her. She refuses to apologize for not offering up “a courtesy tap”, and the man’s demeanor immediately shifts as he spouts, “I don’t even think you really know what a bad day is.”

Thanks to the prologue, we see the man in the truck (Russell Crowe) pop some pills, break into a house, severely beat a man, and proceed to set the house on fire. This human wrecking ball is the same man Rachel (Caren Pistorius) refuses to apologize to. Her morning has been hectic and stressful, but his has been disastrous. Her bad day is about to get much worse. Imagine if “Mayhem” from the Allstate commercials was in a bad mood and ready to seek vengeance. Crowe plays the menacing man in a menacing truck.

Director Derrick Borte (THE JONESES, 2009) and writer Carl Ellsworth (the underrated horror thriller RED EYE, 2005 and DISTURBIA, 2007) have created an extremely volatile dangerous cat and mouse between Rachel and The Man. As he proceeds to destroy those in her life, she fights to save her son by using her wits. During the film, we see some vicious acts of violence and some spectacular car crashes. There is also a lesson about cell phones – the remarkable handheld computers that we run our lives from – in a battle of convenience versus security risk.

Over the opening credits we see and hear a montage of road rage episodes of real people “losing it”, and the corresponding commentary. It sets the stage, but not for what our initial impressions tell us. While a statement is made about de-funding or under-funding the police, the filmmakers avoid turning this into a giant political agenda. Instead, it’s a good old fashioned manic-thriller in the vein of Spielberg’s underrated DUEL (1971), THE HITCHER (1986), and FALLING DOWN (1993). Extreme stress can generate anger which results in a loss of control, and that’s what we witness here in extreme form.

20 years ago Russell Crowe won the Oscar for GLADIATOR, and his current bloated face and body are picture perfect for a man who has slipped over the edge. Two scenes allow him to flash some of that extraordinary talent: the initial interaction with Rachel and son Kyle (Gabriel Bateman), and then again in the diner with Rachel’s attorney played by Jimmi Simpson (“Westworld”). Caren Pistorius holds her own as the frantic, perpetually late mother, but that’s not surprising given her excellent work in the underrated SLOW WEST (2015). Keep Shelly in Athens offers up a nice remake of “Don’t Fear the Reaper”, as we are reminded to always keep an eye on your candy cane scissors.

This was the first film to open wide in theatres since the pandemic began.

watch the trailer:

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Posted by David Ferguson

LONDON TOWN (2016)

October 8, 2016

london-town Greetings again from the darkness. The late 1970’s in London were filled with political, social and labor discontent. Director Derrick Borte (The Joneses, 2009) and writer Matt Brown (The Man Who Knew Infinity, 2015) use this backdrop, along with some cutting edge music of the era, to tell a coming-of-age story that is enjoyable despite its predictability.

Daniel Huttlestone (Into the Woods) plays 15 year old Shay (not Che) who carries the burden of babysitting for his sister Alice (Anya McKenna-Bruce) and cooking for his two-job dad Nick (Dougray Scott), as he dreams of meeting up with his free-spirited mom Sandrine (Natascha McElhone) who lives a bohemian lifestyle in London. Things start to change for Shay once he receives a package from his mom … his first taste of music from The Clash.

Soon enough, Shay finds himself chatting it up on a commuter train with wild girl Vivian (Nell Williams), who generously shares her own music from The Clash, as well as some insight into the band, and even a ticket to their next concert. After the best night of Shay’s life, a work accident puts his dad in the hospital, requiring the son to take on even more responsibility.

More than a coming of age story, this is what I call “the teenage awakening”. Once the world starts opening up to Shay, he begins to question everything. A serendipitous night in the clink with Joe Strummer (Jonathan Rhys Meyers) brings some surprisingly grounded philosophy and guidance. “Some people just burn bright” is a spot-on description of Shay’s mom and a lesson to Shay that parents are people too.

The movie belongs to Huttlestone, who bounces between responsible young man, bullied teen, and anti-establishment rebel. Ms. Williams is delightful in her role, and JRM brings the necessary hard edge to Strummer. Director Borte has a really nice eye for scenes, but probably was a bit too stingy with Clash tunes. The timing for the film is a bit unfortunate, as it’s released in the same year as the similar but superior Sing Street. Still it’s an enjoyable little film with enough philosophy sprinkled in that we don’t even mind the predictable ending with “I Fought the Law” carrying us to closing credits.

watch the trailer:

 

 

 

Leave a Comment » | Drama, World Cinema/Foreign | Tagged: , , , , , , , | Permalink
Posted by David Ferguson