TOW (2026)

March 20, 2026

Greetings again from the darkness. Not many interesting stories feature a 1991 Toyota Camry as a main focus. The exception is this one based on the real-life journey of Seattle’s Amanda Ogle. Directed by Stephanie Laing and co-written by Jonathan Keasey and Brant Bolvin, it’s a story of Amanda’s tenacity and perseverance, and how it is sometimes possible for the little guy/gal to win.

Rose Byrne (fresh off her Oscar nomination for IF I HAD LEGS I’D KICK YOU, 2025) stars as Amanda and gives a showy performance as a woman whose addiction has resulted in her being estranged from her teenage daughter and living for months in the above-mentioned Camry … one of a couple of million “vehicular residents” as we are informed. Amanda is smart enough to have earned her Veterinary Tech certificate, yet her situation seems to constantly prevent her from getting back on solid ground. Most of this is her own doing, but one day her Camry is stolen, setting off a series of events that are quite remarkable.

Her car is recovered and Amanda can’t afford to pay the fee to have the car released from the tow lot. This sends her to a shelter managed with a firm hand by Barbara (Oscar winner Octavia Spencer, THE HELP, 2011). It also pits Amanda against the city’s red tape and the tow lot’s arrogant attorney (Corbin Bernsen, MAJOR LEAGUE, 1989).

Adding an interesting element to this story is that Amanda is not terribly likable. She’s brash and plays the victim in many situations. On top of that, she misleads (lies to) her daughter Avery (Elsie Fisher, so good in EIGHTH GRADE, 2018) about visiting her in Utah, and always seems to have enough money for cigarettes, alcohol, hair dye, make-up, etc. The daughter storyline is especially tough since Avery ‘needs’ her mother and desires support for her dream of being a fashion designer. Despite her flaws, we still find ourselves pulling for Amanda. It may be difficult to muster sympathy for her actions, but our humanity wants her situation to improve.

An inexperienced non-profit attorney, Kevin (Dominic Sessa, THE HOLDOVERS, 2023) takes an interest in her case, yet the wheels of the judicial system do not move quickly – especially when up against the tow company’s slick attorney … a character intended to emphasize the class difference. At the shelter, Amanda befriends Nova (pop star Demi Lovato who gets in one song) and tough-talking Denise (Oscar winner Ariana DeBose, WEST SIDE STORY, 2021). She also has an ongoing dialogue with Cliff (Simon Rex, RED ROCKET, 2021) at the tow yard. He’s sympathetic to her situation, but powerless to help.

The film doesn’t really focus on the hardships of the ‘unhoused’ but rather the challenges of being a societal afterthought going up against ‘the system’.  Director Laing finishes it off with a final shot of real-life Amanda, Avery, and Kevin together.

In theaters beginning March 20, 2026

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Posted by David Ferguson

THE HOLDOVERS (2023)

November 9, 2023

Greetings again from the darkness. We’ve all had that teacher. You know, the one with an evil streak who just seemed to thrive on making students miserable. Throw in a staff and administrators who feel the same way, and the casting choice for the teacher becomes obvious.  Enter the always great and perfectly curmudgeonly Paul Giamatti. This is the first time Giamatti has worked with two-time Oscar winner Alexander Payne since their brilliant SIDEWAYS (2004), and it’s clear these two share a wavelength for comedy and drama, even in throwback form.

Paul Hunham (Giamatti) is a long-time professor at Barton Academy, an all-boys private prep school located in the snowy northeast. It’s December 1970, and an early scene exemplifies how he relishes the failing grades he bestows upon desperate students so afraid to disappoint their rich parents. In the final class before the holiday break, the student-teacher banter doesn’t go so well for the boys, and they head to break with an extra workload. Hunham is easily manipulated into babysitting the titular holdovers – students stuck at school over the break, while most others spend time with family, often on exotic trips.

Initially there are five students, but after a certain development, what remains is Hunham, smart but troubled Angus Tully (first timer Dominic Sessa) and the school’s head cook, Mary Lamb (a divine Da’Vine Joy Randolph, DOLEMITE IS MY NAME, 2019). Hunham is perpetually annoyed and has a weakness for booze. Angus is frustrated that his mother left him at school so she could travel with her new husband, and Mary is grieving over her son who was killed in Vietnam. Watching these three struggle to bond is a case study in psychology, yet of course we know they will ultimately form a family of misfits, depending on each other to offset the loneliness.

The genius tagline for the film is “Discomfort and Joy”, and initially the first overshadows the latter. Isolated from the world in their own way, the three characters begin to influence each other, showing broken/wounded people need and deserve love and friendship as much as anyone else. “Entre nous” (just between us) becomes a kind of calling card for this trio, and a Christmas party thrown by an eternally optimistic staffer (Carrie Preston) is a turning point.

Giamatti is master of this material and only goes over the top a time or two. It’s painful and humorous each time he is so anxious to infuse his breadth of ancient civilization facts into even the most mundane conversations. Newcomer Sessa possesses star potential and nails a complex first role. Da’Vine Joy Randolph’s Mary is the heart of the film, doling out advice to Hunham and comfort to Angus. Depression is a vein running through these characters and it’s acknowledged, though not the focus.

This is Alexander Payne’s first film since the disappointing DOWNSIZING (2017), but his brilliance has been proven in ABOUT SCHMIDT (2002), SIDEWAYS (2004), THE DESCENDANTS (2011), and NEBRASKA (2013). This time he’s working from a screenplay by successful TV writer, David Hemingson, and though there is never much suspense about where the story or characters are headed, we enjoy the ride immensely. Cinematography from Eigil Byrld (IN BRUGES, 2008), perfectly complements the emotions (shot on digital, graininess added in post), and the soundtrack is period-specific, including the great Cat Stevens. Pay attention to the retro opening credits and logos, and enjoy a smart and funny film (an Alexander Payne trademark).

Opening in theaters November 10, 2023

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Posted by David Ferguson