THE FALL GUY (2024, extended version)

May 23, 2024

Greetings again from the darkness. Today’s CGI and special effects can be stunning and awe-inspiring, and clearly movie audiences have come to embrace this approach as evidenced by the success of Star Wars and superhero franchises, as well as plenty of other blockbusters over the past couple of decades. In contrast, stuntman-turned-director David Leitch (BULLET TRAIN, 2022, ATOMIC BLONDE, 2017, JOHN WICK, 2015) and screenwriter Drew Pearce (MISSION: IMPOSSIBLE – ROGUE NATION, 2015) have delivered a throwback by adapting the TV series from creator Glen A Larson, which ran for 112 episodes in the 1980’s.

Two key players from last year’s “Barbenheimer” box office rivalry, Ryan Gosling and Emily Blunt, are the featured players here as Colt Seavers and Jody Moreno. Colt is a renowned stuntman and Jody is a camera operator and aspiring film director. When we first see them on set, Colt is preparing for a dangerous stunt as a double for mega-action film star Tom Ryder (Aaron Taylor-Johnson, BULLET TRAIN). Between shots, Colt and Jody are expounding on their previous flirtations and making plans for the future. The stunt goes wrong. Colt is rushed to the hospital and the film flashes forward 18 months to find Colt working a menial non-stuntman job, and Jody directing her first film, METALSTORM, a sci-fi action thriller.

Jody’s directorial debut also stars Tom Ryder and is produced by fast-talking producer Gail Meyer (Hannah Waddingham, “Ted Lasso”). Gail draws Colt out of retirement and back to the set under false pretenses. Of course, sparks fly again between Colt and Jody, but Gail’s ulterior motive is for Colt to track down the missing Tom Ryder. So, let’s stop here and chat about this movie for a moment. First of all, it’s rare action-comedy-romance-mystery film. It also offers a peek at the structured chaos of a movie set, as well as the diverse personalities of actors, crew, and producers. Possibly what it does best is shine a spotlight on the stunt crew, noted here as the unsung heroes. There is even a crack about there not being an Oscar for stunt work (a topic that’s been debated and discussed at the Academy).

The film certainly benefits from the charisma and talent of Gosling and Blunt, both of whom were nominated for Oscars last year. And Leitch’s film also deserves credit for being an ode to action movies and a love letter to stunt performers. But let’s face it … the story here is pretty thin and seems to exist only to provide a reason for the stream of ideas designed to take advantage of Gosling and Blunt and a few other gags. Drugs that cause unicorn sightings, a running joke about a cup of coffee, a “Miami Vice” jacket, a dog that responds only to French commands, and some ‘on the nose’ music – and familiar sound effects from “The Six Million Dollar Man” all add to the nostalgic feel (along with a Wilhelm scream). And while I join many movie-goers in sharing Colt’s desire to “beat the ____ out of Aaron Taylor-Johnson’s character”, I’ll admit to finding some joy in Tom Ryder riffing on Matthew McConaughey.

The extended version I saw featured an additional 20 minutes to the theatrical version, and it appears most of it was for one particular fight scene being filmed in Jody’s movie. Supporting work seemed a bit sparse for the talented Stephanie Hsu (EVERYTHING EVERYWHERE ALL AT ONCE, 2022), Winston Duke (BLACK PANTHER, 2018), and Teresa Palmer (BERLIN SYNDROME, 2017). What wasn’t sparse was the number of adrenaline-pumping stunts and explosions. Those segments were big fun and a welcome answer to the recent barrage of CGI/Special Effects blockbusters. This one has a throwback feel that bathes us in nostalgia at times, recalling the wild films of Burt Reynolds and Indiana Jones. There is even a late scene featuring the two lead actors (Lee Majors, Heather Thomas) of the old TV series. Whatever you do, stick around for the closing credits to get a look at the actual process behind the stunts included in the film … educational and full of wow factor.

Now showing in theaters and available on Digital.

WATCH THE TRAILER

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Posted by David Ferguson

OSCARS 2024 recap

March 13, 2024

OSCARS 2024 recap

The year of “Barbenheimer” concluded with one of the best and best-paced Oscars ceremonies in recent history. Of course, there were ups and downs … even an awkward Best Picture finale (which isn’t far off from becoming a tradition). Despite the bumps, the show served up plenty of entertainment for movie lovers and very few surprises for followers of the awards circuit.

Talk show host (and overall nasty comedian) Jimmy Kimmel returned as emcee, and his opening monologue set the tone with very little political commentary (other than his support of industry unions) – an approach that most presenters and winners maintained throughout, with only a couple of exceptions. The ceremony was what it should be: a celebration of the year in movies. And as my “Best of 2023” showed, it was an excellent year for a wide variety of film genres.

My favorite movie of the year, OPPENHEIMER, was the night’s big winner with 7 Oscars, including Best Picture. Christopher Nolan’s film is quite an achievement, juggling history, a deep roster of actors, and an era that now seems foreign to most people under 40. However, this film is only half of the “Barbenheimer” label, and the BARBIE faction delivered the showstopper thanks to sparkly pink suit attired Ryan Gosling and his rousing “I’m Just Ken”. It was the kind of spectacle and audience participation moment that will go down in Oscars lore.

There were plenty of other moments worth mentioning. How about Robert DeNiro and Jodie Foster both being nominated again – just like in 1976 (48 years ago for TAXI DRIVER)? Best actress nominee Sandra Huller starred in two foreign language films that were both nominated for Best Features this year. The Academy made the absolutely brilliant decision to replace clips of each acting nominee with a short tribute given live by a previous winner in the category. Let’s hope this tradition is back to stay as it lends an air of intimacy and professionalism. The evening’s first announced winner, Da’Vine Joy Randolph (THE HOLDOVERS), had one of the most heartfelt and emotional responses one will ever witness at an awards show. Hands down, my two favorite scripts of the year won both writing categories, Original (ANATOMY OF A FALL) and Adapted (AMERICAN FICTION). Billie Eilish and her brother and co-writer Finneas O’Connell gave a nice performance (with Barbie pink backlighting) of their nominated and ultimately winning song, “What was I Made For?”.

Comedy kicked in when nominees Emily Blunt and Ryan Gosling offered a tribute to Stunt performers in the form of a competitive rivalry between OPPENHEIMER and BARBIE (their two movies). Two other comedy bits also stood out, one for falling so flat. Presenters Melissa McCarthy and Octavia Spencer pushed an unfunny gag based on Chippendale/Chip ‘n Dale, while John Cena nailed it in his faux-streaker bit. In a touching moment with a comedy background, Robert Downey Jr became the first former “Saturday Night Live” cast member to win an acting Oscar, and his long-overdue recognition reinforced his real-life comeback (thus overshadowing Jimmy Kimmel’s went-too-far monologue attack). The show ended with three of the final four “big” awards going to OPPENHEIMER (Actor, the humble Cillian Murphy; Director, the brilliant Christopher Nolan; and Best Picture). The extraordinary performance Emma Stone gave in POOR THINGS was justly rewarded with the Best Actress award.

As for surprises, I missed out on two winners in my predictions. In the Special Effects category, GODZILLA MINUS ONE bested my pick MISSION: IMPOSSIBLE – DEAD RECKONING PART ONE, and for Cinematography, Hoyte Van Hoytema (OPPENHEIMER) edged out my choice, Rodrigo Prieto (KILLERS OF THE FLOWER MOON).  The latter film, directed by Martin Scorsese, was shut out despite ten nominations, (remarkably) making it the esteemed filmmaker’s third film to go O-for-10 at Oscar. Many expected Lily Gladstone to take home the award for Best Actress in a Leading Role, and as important has her performance was to the film, I remain solid in my belief that Emma Stone’s Oscar-winning performance was transformative and will stand the test of time. 

Overall, I would rate the presentation as pretty darn good, and fitting for a year that featured so many fine films (and, perhaps not coincidentally, so few superhero movies). TV ratings were up, and we hope the Academy can actually stimulate some box office action, rather than exist for the sole purpose of critical bashing. And yes, acting legend Al Pacino gave us a near-MOONLIGHTING disaster as he skipped the listing of nominees and just blurted out “Oppenheimer” to end things. This is one trending tradition that could be skipped and no one outside of the media would mind.

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Posted by David Ferguson

OPPENHEIMER (2023)

July 22, 2023

Greetings again from the darkness. As pupils slouched in our school desks during history class, we easily and naturally disassociated with the many stories of war. World War II was lumped in with WWI, the Civil War, and The Revolutionary War. There were names and dates to memorize for quizzes and final exams, yet even with relatives recounting stories of kin, a personal connection was rare. As we aged and experienced modern-day warfare, the personal connection became all too real. Reality struck that soldiers are human beings with families, and despite their missions and marching orders, most are as innocent as the ‘tragic civilian casualties’ reported on the newswires. Along these lines, an aspect of war that has often remained overlooked is the behind-closed-doors decision-making of politicians and military leaders. Filmmaker-extraordinaire Christopher Nolan takes us behind those doors through the eyes of J Robert Oppenheimer, the Father of the Atomic Bomb. What we see is quite frightening.

Prepare yourself. At a full three hours in length, Nolan’s film is a hefty undertaking for viewers. It demands full focus and attention to details and nuance, as you spend significant time listening to brilliant men talk amongst themselves. Nolan adapted the screenplay from the 2005 biography, “American Prometheus: The Triumph and Tragedy of J Robert Oppenheimer”, written by Kai Bird and Martin Sherman. The end result is a film centered on complex physics and mathematics, yet presented in a simplified manner such that it’s much more a character study than a science class. The key is what characters say to each other, how they say it, and how they debate and rationalize the morality of the objective … building a bomb designed to kill people.

The morality of The Manhattan Project is under the microscope here, as is the motivation and concern of Oppenheimer. We get some early background establishing him as an upcoming mind in the world of physics from his academic stops around the globe. Some know Cillian Murphy from “Peaky Blinders” or as Scarecrow in Nolan’s Batman movies. I’d also recommend a couple of Murphy’s underrated gems: FREE FIRE (2016) and RED EYE (2005). It’s hard to overstate how spot on Murphy is as Oppenheimer. He lost weight for the role and captures the distinctive movements and speech patterns, as well as the familiar poses and deep-in-thought eyes. We never once question whether this is Oppenheimer, the leader of the science team at the Los Alamos Lab and the Father of the Atomic bomb … the one who “sees beyond the world we live in.”

Once Major Groves (Oscar winner Matt Damon) recruits Oppenheimer to run and assemble the great scientific minds, the obvious question to those involved is … even if we can create this bomb, should we do it? This weighs heavily on Oppenheimer – a man so engulfed by science that his haunting visions are that of atoms and particles and experimental reactions (perhaps a bit too heavy in the first act). Groves is the military leader of the project and the liaison between the scientists, the military, and the government. It’s also clear that while Oppenheimer’s brilliance is recognized and necessary to the project, almost no one outside of the scientists trusts him. This is where antisemitism and fears of communism arise. Oppenheimer was Jewish and, though he never joined the communist party, was associated with many who did. This included his love interest, Psychiatrist Jean Tatlock (the fabulous rising star Florence Pugh), his wife Kitty (Emily Blunt), and his brother Frank (Dylan Arnold).  

The teamwork and stress involved with building the bomb in Los Alamos is conveyed as rooms full of brilliant minds determine the future path of the country and the world. This culminates in the stunning sequence of The Trinity Test near Alamogordo. A blending of complete silence, along with spectacular sound and light, is truly a technical highlight of the film. The initial celebration of success initially overshadows the true meaning … the bomb is now ready for Hiroshima and Nagasaki, killing two hundred thousand people and essentially ending WWII, less than four years after the bombing of Pearl Harbor by the Japanese (never mentioned here).

The bombings are heard via radio news reports, and it’s at this point where the weight of what the scientists have done is fully realized. Oppenheimer became a national hero and his Time Magazine cover proves it. A meeting with President Harry S Truman (Oscar winner Gary Oldman sporting a Missouri accent) doesn’t go well, as Oppenheimer is introduced to political gamesmanship, something he would face even more directly in the near future. Lewis Strauss (Oscar winner Robert Downey Jr) is a key player as chairman of the US Atomic Energy Commission, and through him, we witness ego, ambition, and petty behavior that leads to a level of vindictiveness typically only seen at the junior high level.

Multiple timelines are covered. There is the background information on Oppenheimer’s early years, his well-rounded academia, his love life (lives), his building of the Los Alamos lab team, the overseeing of the bomb development, his time as a hero, the later backroom kangaroo court designed to disgrace him, and Strauss’ Senate Confirmation hearing for Secretary of Commerce. All of these tie together, and it’s those final two that make up the last act of the film – giving us a taste of just how nasty politics was 70 years ago (not unlike these days).

Nolan has assembled a deep cast with numerous Oscar winners and a roster of talented actors. Among the familiar faces not already named above are: Oscar winner Kenneth Branagh as Danish Physicist Neils Bohr, Oscar winner Rami Malek as experimental physicist David Hill, Oscar winner Casey Affleck as Military security advisor Boris Pash, Tom Conti as Albert Einstein, Benny Safdie, Dane DeHaan, Jason Clarke, Josh Hartnett, David Krumholtz, Matthew Modine, Alden Ehrenreich, Scott Grimes, Tony Goldwyn, James D’Arcy, James Urbaniak, Olivia Thirlby, James Remar, and (Nolan regular) David Dastmalchian.

The film is a historical biopic and also an unconventional thriller. Is this about unparalleled advancement in science or is it about the moral dilemma of mass destruction and death? Politics, military, ego, power, science, love, revenge, and redemption are all displayed as Oppenheimer struggles with the power he has created and the lack of power in how it’s used. My favorite line in the film is aimed at Oppenheimer when someone informs him that he’s now “not just self-important, but actually important.” The stakes are clear during the test when it’s stated that there is a “near zero” chance of destroying the world.

Cillian Murphy is a shoe-in for a Best Actor nomination, and his performance mesmerizes us. It’s nice to see Robert Downey Jr remind us of his true talent, and he should be rewarded with a Best Supporting Actor nomination. Florence Pugh and Emily Blunt, in the only two substantive women roles, should both receive consideration as well. Pugh’s role is limited but memorable, while Blunt shines in her best scene during the security hearing.

Christopher Nolan has delivered near perfection in technical movie-making, and on top of that, the story and characters are real life, and the performances are top notch. His use of Black & White film for Strauss’ perspective allows the viewer to differentiate the Oppenheimer viewpoint. Impressively, while there are some visual effects, Nolan has stated that no CGI was used in the film, and that’s most evident in the relatively short closing credit roll – where we typically get dozens if not hundreds of technical experts listed. Ludwig Goransson’s (Oscar winner for BLACK PANTHER) score packs an emotional punch, and Jennifer Lame’s editing is excellent and vital. Lastly, cinematographer (and regular Nolan collaborator) Hoyte Van Hoytema drives home the power of smart men in a room, as well as the devastation of the bomb test. This is excellent filmmaking and a reminder that the only thing we love more than lifting new heroes onto the pedestal of worship is tearing down those same heroes with a dose of humility. These types of movies rarely get produced these days, so here’s hoping enough people go back to the theater to see it to inspire more filmmakers to take a shot.

Opened nationally July 21, 2023

WATCH THE TRAILER

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Posted by David Ferguson

WILD MOUNTAIN THYME (2020)

December 10, 2020

 Greetings again from the darkness. While I have Irish ancestors, the uproar of the Irish press over the accents in the film is a bit puzzling to me. Any frequent movie watcher can tell you that cinema history is filled with actors giving difficult accents their best shot – and the results have ranged from ‘spot’ on to ‘not even close’, and everything in between. As a Texan, I can vouch for the sometimes cringe-inducing ‘not close’ efforts, but I’ve never judged a film by such trivial matters. Why do I start with this? Only to get it out of the way in order to have a more meaningful discussion of the latest film from writer-director John Patrick Shanley (DOUBT, 2008, and an Oscar winner for the MOONSTRUCK screenplay, 1987). It’s based on his 2014 Broadway play, “Outside Mullingar”.

After the breathtaking shots of the Irish countryside over the opening credits, we learn of two neighboring farms belong to the Muldoons and the Reillys. Rosemary Muldoon (Emily Blunt) and Anthony Reilly (Jamie Dornan) have known each other their entire lives, and it’s been assumed by locals that they would someday marry each other. Their elderly parents are dying off, yet what prevents the relationship from deepening beyond “Good morning to ya’” is Anthony’s bizarrely awkward social skills compounded by his constant bickering with his father (Christopher Walken), and his belief in a family curse. The two men still mourn the passing of Anthony’s mother, and Rosemary has her own sadness to deal with … while growing a bit antsy waiting for Anthony to come around.

Anthony’s father is concerned that the family name is in danger of ending, due to his reticence to marry. Because of this, dad decides to give the family farm to another relative. The fun kicks off when Adam (Jon Hamm) arrives. Adam is the stereotypical “Yank” – arrogant and showy, with only a romantic notion of what being an Irish farmer means. If that’s not bad enough news for Anthony, Adam also sets his sights on Rosemary and convinces her to visit him. He can’t imagine how the excitement of New York City contrasted with daily life in Ireland won’t win her over.

We don’t actually see any real farming in the movie, and Anthony’s sullen act gets a bit tiresome, but the message is conveyed well by Ms. Blunt and Mr. Dornan. Filmmaker Shanley has delivered more of a romantic drama than romantic comedy, but there are humorous moments included, not the least of which being Anthony’s practice proposal to a donkey. Ms. Blunt proves again what a fine actor she is, and her sequence inside her home in the final act is terrific. As for the accents, Mr. Dornan’s holds up the best, while Mr. Walken’s downright comical, but the story and characters are what we remember when this one ends … unless, of course, you are part of the Irish media.

In theaters and On Demand November 11, 2020

watch the trailer

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Posted by David Ferguson

MARY POPPINS RETURNS (2018)

December 17, 2018

 Greetings again from the darkness. The 1964 classic Disney film MARY POPPINS is much beloved and has been shared across generations for more than 50 years. It won 5 Oscars on 13 nominations, and shifted Julie Andrews from a Broadway star to an international movie star, as she won the Oscar for Best Actress while becoming the ideal nanny for most every boy and girl. Rarely do reboots, remakes, or sequels to the classics make much of a dent with the movie-going public, but it’s likely director Rob Marshall’s (CHICAGO, INTO THE WOODS) film will be an exception. Marshall balances nostalgia with contemporary, and benefits from a marvelous successor to the Mary Poppins role … Emily Blunt.

The film opens in low-key fashion as we follow Jack (Lin-Manuel Miranda) through town as he performs his lamplighting duties singing the melancholic “Underneath the Lovely London Sky”. It’s actually a bit of a dry opening that may have some impatient kids wondering why their parents dragged them to see this. Soon after, we are at the familiar 17 Cherry Tree Lane – the Banks’ home – easily recognizable from the original film. We meet grown up siblings Michael (Ben Whishaw) and Jane (Emily Mortimer). Jane is a labor organizer following in her mom’s footsteps, and Michael is a struggling artist and widower raising 3 kids. He has taken a teller job at the Fidelity Fiduciary Bank where his dad (now deceased) worked, but mostly he’s an emotional wreck. In fact, the only way to save the family home from foreclosure is with proof of his father’s bank shares … something the evil new Bank President, William Weatherall Wilkins (Colin Firth), conspires to prevent.

It’s at this point that the kids’ popcorn should just about be gone, so it’s fortunate that our beloved nanny makes her timely appearance … literally floating (with practically perfect posture) into the park where Georgie (an adorable Joel Dawson) and lamplighter Jack are flying a very recognizable kite. Jack, having been an apprentice under Bert the Chimney Sweep, is quite familiar with the significance of Mary Poppins’ arrival. Back on Cherry Tree Lane, Michael and Jane are shocked to see their childhood nanny back in the house, and Michael’s two spunky twins Anabel (Pixie Davies) and John (Nathanael Saleh) aren’t sure what to make of this mysterious visitor.

Director Marshall wisely utilizes the template from the original film, so many of the subsequent sequences have a familiar and cozy feel to them. Mary Poppins’ “Off we go” kicks off a fantastical bathtub adventure and leads to the first of many smile-inducing, visually spectacular moments. A broken porcelain bowl guides us to a beautiful hand-drawn animation (from Walt Disney Studios) sequence with horse-drawn carriage, penguins, and more. Meryl Streep performs “Turning Turtle” in her topsy-turvy studio, and there is an extended (perhaps a bit too long) dance sequence featuring Jack and the other lamplighters singing “Trip a Little Light Fantastic”.

Julie Walters appears as the Banks’ housekeeper and David Warner is Admiral Boom, the Banks’ canon-firing neighbor; however it’s two cameos that will really hit home with the older viewers: Angela Landsbury (not in the original) is the balloon lady singing “Nowhere to Go but Up”, and the remarkable Dick Van Dyke (a huge part of the original) plays an elderly Mr. Dawes Jr from the bank – and even performs a dance routine atop a desk. All of the actors perform admirably, yet this is clearly Emily Blunt’s movie. She shines as the practically perfect nanny, whether debating with her umbrella, digging in her mystical baggage, filling heads with ‘stuff and nonsense’, teaching life lessons to those in need, or singing solo and with others. It’s a wonderful performance and she becomes Mary Poppins for a new generation.

Director Marshall co-wrote the story and screenplay with David Magee and John DeLuca, and they have created a worthy sequel (a quite high standard) from P.L. Travers’ original books that is delightful and a joy to watch. The group of original songs by Marc Shaiman and Scott Wittman serve the story fine, but the one downside to the film is that none of the new songs are as catchy or memorable as those of the Sherman Brothers (Richard and Robert) from 54 years ago. They won Oscars for Best Score and Song (“Chim Chim Che-ree”), and left us singing others such as “Spoon Full of Sugar”, “Let’s Go Fly a Kite” and of course, “Supercalifragilistic”. These new songs including “Can You Imagine That”, “The Place Where Lost Things Go”, “A Cover is not the Book”, “Nowhere to Go but Up” all contribute to the story and to the viewer’s enjoyment, but none leave us singing or humming as we depart the theatre.

This is film where those behind-the-scenes are crucial to its success. Oscar winning cinematographer Dion Beebe (MEMOIRS OF A GEISHA) and Editor Wyatt Smith both are at the top of their game, and Costume Designer Sandy Powell delivers stunners, not just for the singing nanny, but for all characters. The core of the story remains rediscovering the magic in life, and finding joy in each other – and this sequel also provides the adventures to match the original. It’s simultaneously familiar and fresh, which is key to a successful follow up to a beloved classic. Director Marshall has signed on to Disney’s live action THE LITTLE MERMAID, but it’s with MARY POPPINS RETURNS where he has delivered a film that is practically perfect in every way.

watch the trailer:

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Posted by David Ferguson

SICARIO (2015)

September 24, 2015

sicario Greetings again from the darkness. Really good thrillers – the kind that make our palms sweat and cause us to forget to blink – are increasingly rare in the world of cinema these days. Writer Taylor Sheridan’s script doesn’t choose the good guys, but instead highlights the terror and lack of rules and morality that guide the border wars and drug cartels. It turns out the border isn’t the only line being crossed. Director Denis Villeneuve (Prisoners, Incendies) elevates Sheridan’s excellent script further with a strong cast and some outstanding camera work from the best Director of Photography working today, Roger Deakins.

The opening sequence is about as tense as anything we could ever hope for on screen, and it introduces us to FBI Agent Kate Macer, played by Emily Blunt. We soon learn Kate is a focused and dedicated tactical expert, who also happens to be idealistic enough to believe the raids conducted by her team are making a difference … at least until this belief is later challenged.

Kate quickly finds herself “volunteering” for a special task force with muddled goals, uncertain tactics, and secretive leadership. Josh Brolin plays Matt, the leader of the team. He charms his way through answering Kate’s questions without offering any substantive intel. When asked about the mission objective, Matt responds with “to create chaos” and a smirk. Adding to her confusion and wariness is the mysterious “consultant” Alejandro (the “hitman” of the title) played by Benecio Del Toro. Part of the brilliance of the script is that everyone seems to know what’s happening except Kate and us (the viewers)!  Our understanding comes through the slow-drip method and keeps us fully engaged.

Similarities to both Zero Dark Thirty and Apocalypse Now struck me as the film progressed, but the sheer number of stress-inducing sequences set this apart as something different. A family dinner with a drug lord is one of the more fascinating and tension-packed scenes of the year. The moral complexity is thought-provoking, and the abundance of corruption and politics in relation to the cartels and war on drugs, leave us wondering not just whether this war can be won, but through what methods is it being fought.

“Welcome to Juarez”, says Alejandro, as the SUV motorcade makes its way past the remnants of a brutal crime scene. Although there are some tremendous sequences of tactical raids (and the best traffic jam you’ve seen), this should not be labeled as an action film … it’s so much more. Ms. Blunt’s character is the conscience of the film, but it’s Brolin’s Matt that makes us curious as to his background and motivation. And as interesting as are those two characters, they pale in comparison to Benecio’s man on a mission. Del Toro doesn’t act frequently, but he possesses the gift that has him dominating the screen … forcing our eyes to follow his every movement. Rumors have a prequel in the works that will focus on Alejandro’s roots. It’s the “land of wolves”, and Alejandro is an alpha.

Lastly, it must be stated that the film is a technical treat. The unique score from Johann Johannsson is never overbearing, and often mimics our pounding hearts. It’s worth taking note. Best of all is the work of the great Roger Deakins. His photography is astounding and this could be his best work yet. The desert landscapes are just as crucial as the claustrophobic raids or the impromptu strategy sessions, and Deakins puts us right where we need to be. As a companion piece to this excellent film, I would recommend Matthew Heineman’s extraordinary documentary from earlier this year, Cartel Land.

watch the trailer:

 

 

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Posted by David Ferguson

INTO THE WOODS (2014)

December 23, 2014

 

into the woods Greetings again from the darkness. It’s a musical, but not a typical musical. It’s a fairy tale, but not a typical fairy tale. It’s funny, but not a typical comedy. It’s a bit frightening, but not a typical monster film. It’s filled with lessons of morality and responsibility, but certainly not a typical parable. In fact, there is nothing typical about director Rob Marshall’s (Oscar winner for Chicago) screen adaptation of the smash Broadway hit from Stephen Sondheim and James Lupine.

The story revolves around 4 classic Fairy Tales: Little Red Riding Hood, Jack and the Beanstalk, Rapunzel, and Cinderella, in a style much more similar in tone to the edgy Brothers Grimm, than the cuddly Walt Disney traditionals. These four are intertwined with the saga of a baker (James Cordon) and his wife (Emily Blunt) who discover they have been unable to have children due to a long ago spell cast by a wicked witch (Meryl Streep). With a secret agenda, the witch offers the couple a way to break the spell, and that’s what ties-in the four tales and provides a reason for adventure and song.

Filmed seamlessly between an elaborate sound stage and a couple of park locations, the film has a dark and eerie feel to it that’s probably too intense for younger children. And much of the dialogue and lyrics is aimed directly at adults and will be a blur to kids. Additionally, in typical Sondheim fashion, the songs aren’t catchy and melodic in the manner of most movie musicals … instead the lyrics propel the story and help shape the characters. Oh, and by the way, don’t expect any fancy dance sequences – this is pretty serious stuff with plenty of angst amongst the characters.

Ms. Streep is extraordinary as the witch (both nasty and beautiful) and does a terrific job with her three main songs. She is especially fun in her entrances and exits, and while wearing the most impactful of all the costumes. Emily Blunt also handles her vocals very well and offers up some of the film’s most witty dialogue. Chris Pine (as the Prince) is flat out hilarious, and with a twinkle in his eye, spouts lines such as “I was raised to be charming, not sincere”. He also shares the screen with Billy Magnussen (playing the younger brother) in the most audacious of the musical numbers, “Agony”. As Cinderella, Anna Kendrick once again proves she is an exceptionally talented singer, and James Cordon anchors the production as the nice guy village baker we are rooting for.

In supporting roles, we have a devilish Johnny Depp whose screen time as the Big Bad Wolf is quite limited, and a perfectly cast Christine Baranski as the evil step-mother in cahoots with her non-Cinderella daughters played by Lucy Punch and Tammy Blanchard. Lilla Crawford is Little Red Riding Hood, and her young age snuffs out much of the innuendo that the Wolf scenes should have provided, and takes the edge off the song “I Know Things Now”. Daniel Huddlestone is an energetic Jack, and dependable Tracey Ullman plays his frustrated mom. MacKenzie Mauzy captures the awakening of Rapunzel, while Frances de la Tour frightens everyone involved as the agitated (for good reason) Lady Giant.

Unconventional is the best description of this production, and there is a group of viewers who will be totally captivated by it, while a much larger group will probably find it too dark and bleak, and lacking the easy charm we have come to expect from movie musicals. However, for those of us in the first group, we will be totally enchanted by the characters, story lines, wry humor, costumes, sets, and songs.

SEE THIS MOVIE IF: you prefer your fairy tales a bit on the dark side OR you want to see yet another incredible performance from Meryl.

SKIP THIS MOVIE IF: you are looking for a light-hearted holiday matinee for the little kiddies

watch the trailer:

 

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Posted by David Ferguson

EDGE OF TOMORROW (2014)

June 8, 2014

edge Greetings again from the darkness. Director Doug Liman is best known for his fine work at the beginning of the “Bourne” franchise. His latest has so many obstacles to overcome, a tip of the cap is in order for a thriller that isn’t altogether without merit.

These obstacles include such things the all too familiar sub-genre of alien-invasion, an overload of special effects, a familiar actress in an unfamiliar action-hero role, and above all others, the casting of the divisive Tom Cruise … whose detractors will certainly get a kick out of the nearly endless stream of on screen deaths his character experiences. After all, what’s more fun than bashing Cruise over and over and over again? On the plus side, the special effects are very well done; Emily Blunt (despite being the best tanned Brit ever) more than holds her own; and the role allows Tom Cruise to do the two things he does best: incredible stunts and action sequences, and transform from cocky d-bag to dependable, highly competent icon. Without much thought, it’s pretty easy to see the similarities to his characters in Top Gun, Jerry Maguire, A Few Good Men, and The Color of Money … and of course, his recent outing in Oblivion. There is also a convenient excuse for Cruise to lose his battle helmet, an unnecessary segment of him riding his motorcycle, and of course, the patented Cruise sprint is on display.

The movie itself begs for the obvious comparison to Groundhog Day and Source Code, with elements of Aliens, District 9, and The Matrix. Despite all the familiarity, this one kind of works thanks to the screenplay of Christopher McQuarrie (3 other Cruise movies) based on the 2004 novel from Hiroshi Sakurazaka entitled “All You Need is Kill”. Why the Producers chose this generic, daytime soap opera type title over the cool source material title is beyond me.

Cruise especially takes to the first half comedic moments, and that explains why the first half of the movie is much stronger than the second. The phrase “On your feet, Maggot” takes on the the Sonny and Cher role from Groundhog Day, and to great effect. Supporting work from Noah Taylor, Brendan Gleeson, and (a gleeful scene chewing) Bill Paxton add sufficient distraction from the heavy action moments.

So whether you enjoy special effects, intense action scenes, or just watching Tom Cruise get killed time and time again, you will probably find this one entertaining enough … even though not much will stick with you a day later.

SEE THIS MOVIE IF: big budget Sci-Fi action movies on the big screen are your thing OR you can find humor in a Tom Cruise character being killed off over and over and over again … purely to advance the plot!

SKIP THIS MOVIE IF: you consider alien-invasion movies to have reached the saturation point

watch the trailer:

 

Leave a Comment » | Action, Sci-Fi, Thriller, War | Tagged: , , , , , , , | Permalink
Posted by David Ferguson

LOOPER (2012)

September 29, 2012

 Greetings again from the darkness. Writer/Director Rian Johnson (Brick) delivers a very entertaining, creative, thrilling and clever sci-fi film that features time travel, dark comedy, romance, metaphysics, and enough action to keep just about any viewer engaged … as long as you enjoy using your brain a bit.  This one requires some assembly … and the ability to ignore the horribly distracting make-up/prosthetic/special effects used to make Joseph Gordon-Levitt look like a young Bruce Willis (he doesn’t).

Source Code, the recent film from Duncan Jones, used time travel in very limited segments. In 2074, time travel is perfected, but has been declared illegal. So, of course, only crime syndicates use it. When you think about it, sending your enemies back in time to be killed and disposed of is brilliant. It’s very difficult to solve a missing person case when the body has been incinerated 30 years prior. The future mob boss known as The Rainmaker hires “loopers” from 30 years past to handle the dirty work. When The Rainmaker begins “closing loops”, he does so by sending the loopers back in time to be killed by their younger selves. Yes, somehow this works.

Well it works until Seth (Paul Dano) chokes up and lets his future self escape. That doesn’t go over well with the modern day (sent from the future) crime boss (Jeff Daniels) who just can’t allow these future guys to be roaming free. Then, just like that, the same thing happens to Joe (Joseph Gordon-Levitt). His future self (Bruce Willis) appears, young Joe flubs the kill, and the next thing you know, Young Joe and Old Joe are seated in a booth at a remote diner ordering the same breakfast and staring into their own eyes.  You may recall that Mr. Willis is an acting time travel expert thanks to his “trips” in Tweleve Monkeys and The Kid.

It’s impossible not to compare to some other time travel movies (there have been MANY).  There are certainly similarities to The Terminator, but not so much to Hot Tub Time Machine or Bill and Ted’s Excellent Adventure.  It’s a tricky topic because it involves the uncertainty of how things done today might impact what has already happened. Or something like that.  It would have been interesting to get more flavor from the 2074 world, since all we see is the blissful (until it’s not) presence of Old Joe and his saviour bride. Also, you have to believe that if you came face to face with the future “you”, there might be at least a brief Q&A.

 Plenty of fun stuff in this one, although, I had a tough time buying a blond Emily Blunt as a Kansas farmer. Her young son Cid, played very well by Pierce Gagnon, is one of the more interesting characters in the film. He is supposed to the young version of the future Rainmaker, and he possesses some unusual traits … with Blunt trying to supply sufficient motherly love to prevent him from spinning off track.

Director Johnson has a knack of tossing in some dark humor at just the right time. Some of the romance seemed a bit forced, but the criminal element and the Joe vs Old Joe stuff was really fascinating to keep up with. If you enjoy movies that are somewhat challenging, and you can suspend reality for the time travel elements, it’s one that you’ll probably find quite entertaining.

SEE THIS MOVIE IF: time travel and sci-fi tickle your fancy OR you want to see Hollywood’s best attempt to make Joseph Gordon-Levitt look like a young Bruce Wills

SKIP THIS MOVIE IF: Hot Tub Time Machine or Austin Powers are the level of seriousness you expect from time travel flicks

watch the trailer:

http://www.youtube.com/watch?v=2iQuhsmtfHw

Leave a Comment » | Fantasy, Sci-Fi, Thriller | Tagged: , , , , , , , , , , | Permalink
Posted by David Ferguson

SALMON FISHING IN THE YEMEN (2012)

March 25, 2012

 Greetings again from the darkness. This is one of those times where I am going to be somewhat critical of a movie that is based on a book I haven’t read. That doesn’t change my belief that this movie is stuck in the gray area between romantic drama and comedy, and because of it, comes across as just a lightweight film with no real message or emotion. For this, the director Lasse Hallstrom gets the accusatory glance. His history with Chocolat and Dear John are examples of how his fondness for all things mushy gets in the way of real story-telling.

The best parts of this movie are the comedic elements. Stuffy British fish expert Ewan McGregor has some really funny deadpan moments and his inner office battles with his boss wreak of truism. Same with Kristin Scott Thomas, who plays the Prime Minister’s Press Secretary as if she were told this was a screwball comedy. She is funny and over the top, and was probably horrified when she saw the final version of the movie.

 The story is quite creative and interesting – a Yemeni Sheikh (Amr Waked, Syriana) has a vision of creating a vast green-land around a man-made freshwater river where Salmon spawn and feed the community. Unfortunately, the story leaks to the locals that this Sheikh with too much money is playing God just to satisfy his fishing hobby. Local rebels get involved in trying to stop the Sheikh and the project. Meanwhile, this Sheikh spouts off wisdom and advice as if he just finished reading the greatest hits of Confucious.

To bring this fishy project to fruition, the Sheikh enlists the British government’s help and that’s how Ms. Thomas, Mr. McGregor and a wonderful Emily Blunt get involved. We see early on that McGregor is stuck in a loveless marriage to a witch (figuratively speaking) played by Rachael Stirling (who may have the deepest voice of any actress since Lauren Bacall). Blunt’s character is a bit desperate for love and falls quickly for a soldier (Tom Mison) who is shipped off to war. So when Blunt and McGregor first meet … it seems destiny that these two opposites will attract.

 The scenery here is pretty impressive – especially the Scottish castle that houses the team for a brief period. I was just continually frustrated that more insight wasn’t provided into what makes this Sheikh tick. Is he truly the visionary he claims? If so, why? What did the locals really think of the project and was any effort made to deliver the long term vision? If not, why? Why did Blunt fall so quickly for this soldier? Just because they had fun in bed? Seems a bit shallow for someone who can peer into the soul of a nerd like McGregor. And why did McGregor ever fall for this ice-queen he married? Makes no apparent sense.

Simon Beaufoy‘s screenplay of Paul Torday‘s novel delivers a few good chuckles, but mostly leaves us wanting a real direction for the story and bit more depth of character. It’s always frustrating when a promising premise leaves us fighting so hard to swim upstream … just like the salmon and characters of the film.

SEE THIS MOVIE IF: if your favorite movie genre is non-descript love stories OR you have been anxiously awaiting a film with a lead character who is a fish expert

SKIP THIS MOVIE IF: you are looking for an expert comedy or an expert love story

watch the trailer:

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

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