THE WEIGHT (2026)

September 17, 2026

Greetings again from the darkness. Padraic McKinley, a film editor by trade, makes his feature film directorial debut with one that feels like a throwback. And that’s not just because it’s based in 1933 Eugene, Oregon during the depression.  This is a period thriller that maintains our interest through characters and setting and story. What’s unusual is that there are four writing credits: Matthew Booi, Shelby Gaines, Leo Scherman, and Matthew Chapman … usually not a good sign, but most of it works pretty well here.

Ethan Hawke stars as Samuel Murphy, a single dad devoted to his precocious young daughter Penny (Avy Berry, A QUIET PLACE: DAY ONE, 2024). Times are tough, and father and daughter return from church service to find they’ve been evicted. This leads to an alleyway skirmish resulting in Samuel being wrongfully arrested and separated from his daughter. Sentenced to a work camp run by Warden Clancy (Oscar winner Russell Crowe), Samuel’s resourcefulness in engineering the removal of a boulder and fixing up a broken down 1918 bootlegger’s car, impresses Clancy.

Samuel is laser-focused on getting released and reuniting with his daughter, so he accepts a deal with Clancy. The job is moving a supply of gold bars through the rough forest terrain before the government confiscates it. He has five days and must depend on a couple other convicts. We get a countdown through the trek, where they meet up with native American Anna (Julia Jones, WIND RIVER, 2017) and a creepy stranger (Cameron Brady). The journey is anything but simple as challenges include more than a creepy stranger … also, a dangerous rope bridge, campfires, weather, and mostly distrust, backstabbing, and greed.

The film’s only weakness is in the non-descript secondary characters, although the cast (Austin Amelio, Avi Nash, Lucas Lynngaard Tonnesen, Sam Hazeldine, George Burgess, Alec Newman) does the best with what they are given. In fact, only Mr. Hawke, Mr. Crowe, and Ms. Jones are memorable in their roles, and what’s interesting is that both Hawke and Crowe quietly underplay their characters using eyes and body language, making them stand out even more. Hawke has really put together a varied career, and he’s coming off a terrific season one of “The Lowdown” (plus he’s had five Oscar nominations over the years). Oscar winner Crowe remains one of the most powerful screen presences when he’s in the mood.

As previously stated, McKinley’s first feature is a bit of throwback, but one with heart and depth … and plenty to keep us engaged (although I’ll admit Clancy’s infatuation with baseball felt like a piece was missing). Whether a happy ending is in the wings is in doubt until the very end.

Opening in theaters on September 18, 2026

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Posted by David Ferguson

BLUE MOON (2025)

October 23, 2025

Greetings again from the darkness. Most everyone, especially lovers of Broadway musicals, knows the work of Rodgers and Hammerstein. And they should. Richard Rodgers and Oscar Hammerstein II are regarded among the most prolific musical production writers in history. Their projects include “The King and I”, “Carousel”, and “The Sound of Music”. Their first collaboration, “Oklahoma!” is at the center of this latest from acclaimed director Richard Linklater (his NOUVELLE VAGUE coming out this year) and writer Robert Kaplow (ME AND ORSON WELLES, 2008). Yet we can’t help but wonder why so few are familiar with the work of Rodgers and Hart. Together, composer Richard Rodgers and lyricist Lorenz Hart wrote more than one thousand songs, including “My Funny Valentine”, “The Lady is a Tramp”, and of course, “Blue Moon.”

An opening title card provides quotes made about Lorenz Hart. The first describes him as “fun”, while the second states, “he was the saddest man.” The contrast is startling. We first see Ethan Hawke as Lorenz Hart as he stumbles and collapses in a dark alley. We then flash back seven months to March 31, 1943, the opening night of “Oklahoma!” on Broadway. Hart leaves the production before it’s over and heads to Sardi’s, where he plants himself at the bar, conversing with Eddie (Bobby Cannavale), his favorite bartender. This kicks off one of the more dialogue-heavy movies we will likely ever see … fitting for a man who excelled at assembling words.

It takes little time for us to recognize Hart’s bitterness and envy towards his former partner’s (Rodgers) success with a new collaborator (Hammerstein). He’s alternatingly condescending and profane … until Richard Rodgers (Andrew Scott) shows up and Hart turns on the fake charm. For a single setting film (rare in movies, not so rare in live theater), this one is surprisingly complex. Hart’s sexuality is hidden much better than his alcoholism. In fact, Rodgers offers to work with him again for a revival of their “A Connecticut Yankee” – but only if Hart stops drinking and behaves professionally towards their work. These are the issues that previously divided them.

Adding yet another layer is the presence of Elizabeth Weiland (Margaret Qualley). She has charmed ‘Larry’, who claims to love her … although he states, “everybody loves her.” Their relationship is askew, as he adores her and likely wants more, while she wants him to introduce her to the great Richard Rodgers. Also in the mix is a terrific sequence between Hart and the “Charlotte’s Web” writer E.B. White (Patrick Kennedy). Their wordplay nears competition and ends with what would be a Stuart Little idea. Periodically drawn into the evening’s progression is Sardi’s house pianist (Jonah Lee), who idolizes the work of Rodgers and Hart. As if all that isn’t enough, we get interactions with future director George Roy Hill (David Rawle), whom Hart counsels to concentrate on friendships (i.e., Butch and Sundance), and an obnoxiously whip smart young theater protégé named Stevie (Cillian Sullivan as teenage Stephen Sondheim).

Seemingly an odd casting decision for a short, Jewish, alcoholic man who is both miserable and talented, Ethan Hawke is absolutely terrific as Lorenz Hart. Alcoholism may destroy a partnership, and true love may constantly elude him, yet Hawke allows us to see the genius within. Hart would be dead just a few months after this painful (for him) opening night of “Oklahoma!” … leaving little doubt that his all-time favorite line was fitting: “Nobody ever loved me that much.” (from CASABLANCA)

Opening nationwide on October 20, 2025

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Posted by David Ferguson

RAYMOND & RAY (2022)

October 15, 2022

Greetings again from the darkness. Hey, you know that Dad we hated … the one that ruined our lives? Well, he died and I need you to come with me to the funeral. Writer-director Rodrigo Garcia (ALBERT NOBBS, 2011) starts his film in this manner by having Raymond knock on the door of his half-brother Ray’s cabin door in the middle of the night. They haven’t seen each other in five years, but their shared bond is an ill will towards the father who stirred such misery during their childhood that neither have made much of their time since.

Raymond (Ewan McGregor) is a persnickety type; a pent-up bundle of anxiety who has gone through a couple of divorces and is currently separated from his third wife. Ray (4-time Oscar nominee Ethan Hawke) is his opposite – the former addict (7 years sober) puts off the ultra-cool guy vibe with rumpled clothes, tousled hair, and non-stop flirtations. His talent with music was never encouraged by the father and has since been a source of frustration. In other words, these two grown men are messes due to the resentment they’ve carried for their father and his inexcusably poor parenting.

At first, we assume the two men are going to sit around reminiscing about their horrible memories of dear old dad. Instead, they hop in the car and head out of town to the funeral. It’s here where they begin to piece together the last years of their father’s life. Bedridden at the end, he had a room in a former (and younger) lover’s house. Lucia (an excellent Maribel Verdu, Y TU MAMA TAMBIEN, 2001) welcomes the men with the surprise disclosure that her young son is their half-brother. At the viewing, they meet dad’s nurse Kiera (the always terrific Sophie Okonedo). No, she doesn’t have another half-brother for them, but she zeroes in on Ray and his approach to the proceedings.

More surprises await Ray and Raymond, not the least of which is that dad’s final wish was for them to dig his grave by hand. At the grave site, they are joined by dad’s flamboyant pastor (Vondie Curtis Hall), as well as others with a bond to the man in the pine box. Most of these people are unknown to Ray and Raymond, and they begin to realize the man they’ve held in contempt went on to live a full life. Veteran actor Tom Bower has limited screen time as the dad, and overall the cast is strong and deserving of a script that could take the topic and these characters much deeper. Hawke is especially good as the brother holding in so many emotions, while McGregor plays off of him quite well. While there is nothing here we haven’t seen before, we do wish the cast had more to work with.

The film will have a limited theatrical release on October 14, 2022 prior to screening on AppleTV+ beginning October 21, 2022

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Posted by David Ferguson

THE NORTHMAN (2022)

April 21, 2022

Greetings again from the darkness. After two incredible arthouse films that earned the label “visionary filmmaker” for Robert Eggers, some would not have been surprised to find him cashing in on a huge payday for the next colossal superhero movie. But for those of us who adore and respect him for THE WITCH (2015) and THE LIGHTHOUSE (2019), we knew Mr. Eggers was not the comic book type. Instead, he secured a hefty budget (still less than $100 million) and with his co-writer, Icelandic author Sjon (writer of last year’s mesmerizing LAMB), created the most epic Viking movie to date … while firmly maintaining his artsy stylings.

Every now and then a movie comes along and I must accept that my words will fall short; that I won’t be able to do justice to what I’ve experienced on screen. This is certainly one of those times. Based on the same Scandinavian folk tale that inspired Shakespeare to pen “Hamlet”, this Eggers film is not just meticulously researched, it also pulls us right in so that we slosh through the mud and muck. We shiver from the cold. We feel the wind and the brutality of the violence. We live the harsh elements of Viking life.

The film opens in the year 895 AD as young Prince Amleth welcomes home his battle-weary father, King Aurvandil (Ethan Hawke). Not long after jester Heimer the Fool (Willem Dafoe) jokes about the Queen and the King’s brother, the boy witnesses his uncle Fjolnir (Claes Bang, the excellent “Dracula” TV mini-series, 2020) strike dead the king. Amleth escapes, pledging to avenge his father’s murder and the kidnapping of his mother, Queen Gudrun (Oscar winner Nicole Kidman). Flash forward twenty years and Amleth has become a behemoth of a man played by Alexander Skarsgard (Eric Northman in “True Blood”), who lives, fights, and kills alongside violent 10th century Vikings. Amleth is a hulking beast unmatched in battle, yet one who never unnecessarily harms women or children.

His revenge plan leads him to the farming village where his mother and Uncle Fjolnir now live as wife and husband, an arrangement Amleth is certain she adheres to for her own safety and that of her new son. Bjork, in her first big screen role since DANCER IN THE DARK (2000), appears as the seeress who knows Amleth’s destiny. It’s here where Amleth meets Olga “of the Birch Forest” (Anya Taylor-Joy) and reveals his plan to her. Olga describes her supernatural abilities as breaking men’s minds in contrast to his breaking their bones. The two are quite the match.

Eggers stages a stunning final showdown with a naked sword fight atop a burning volcano to ensure we aren’t subjected to an ending that falls short. The visceral savagery on the screen is somehow both brutal and beautiful. This is epic cinematic brilliance from Eggers and cinematographer Jarin Blaschke, who treat us to numerous long takes in harsh weather and discomforting action. This is 136 minutes featuring some of cinemas best faces, while also proving that visionary is simply not a strong enough word to describe director Robert Eggers.

Opening in theaters on April 22, 2022

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Posted by David Ferguson

THE GUILTY (2021)

September 30, 2021

Greetings again from the darkness. Let’s start with this disclosure: the original Danish film from Gustav Moller was one of my top 5 favorite films of 2018. Even then, I fully expected an Americanized version to happen at some point. The surprise is having director Antoine Fuqua (TRAINING DAY, 2001) handle the remake. He’s known more for bombast and action, than the nuanced suspense delivered by the original. To offset this, Mr. Fuqua wisely chose the dependable Jake Gyllenhaal as his lead, and the talented Nic Pizzolatto (creator and lead writer of HBO’s “True Detective”) to adapt the screenplay.

Gyllenhaal never cheats the audience, and he dives into the role with his typical full force commitment. Except for a few blurry visuals of cars on the highway and the dramatic opening shots of the raging California fires, Gyllenhaal’s Joe Baylor is on screen for the entire run. He’s a detective on desk duty at the 911 call center pending his court case on charges that only become clear towards the end. Joe is also separated from his wife and daughter; a crucial element in how his shift plays out in front of us.

As we listen in on his first few calls, it becomes obvious how Joe’s time on the streets have fine-tuned his quick-to-judge persona. He’s not shy about telling callers their own choices are responsible for their current predicament. Just as he’s about to dismiss his latest caller Emily, his instincts kick in, and he discerns that she’s been abducted by her husband in a white van, and fears for her safety. This initial call between Joe and Emily is a work of art, and kicks off the nearly unbearable tension for the rest of the movie and Joe’s shift.

Fuqua and Pizzolatto infuse commentary unique to modern day America. The fires are always in the background impacting emergency resources, as well as the air being breathed. Police collusion and abuse of power are also an underlying aspect of what unfolds in front of us. Yet somehow, the film (perhaps accidentally) speaks to the immense pressure faced by law enforcement and how instincts and quick judgments are crucial to assistance and survival. Joe bounces from calm demeanor to explosive overreaction in the blink of an eye – or the beep of an incoming call. We witness how preconceived notions can lead one astray, even if they’ve worked in the past.

In addition to Gyllenhaal’s commendable performance, the film includes terrific voice work (via phone) from such actors as Riley Keough (as Emily), Peter Sarsgaard, Ethan Hawke, Da’Vine Joy Randolph, Christiana Montoya, and Paul Dano. Adrian Martinez and Christina Vidal appear alongside Gyllenhaal in the call center, although the single setting contributes to this being mostly a one-man show.

We understand that Joe Baylor is seeking personal redemption in his all-out pursuit to save Emily, and one line in the film speaks directly to this: “Broken people save broken people.” If you haven’t seen the original, you are likely to get caught up in the tension, and ask yourself many of the same questions Joe is asking himself at the end. Gyllenhaal previously teamed with director Fuqua in SOUTHPAW (2015), but this crime thriller is something different for both. If you are up to the challenge, watch this version and the original, so that you can compare the contrasting approaches.

Streaming on Netflix beginning October 1, 2021

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Posted by David Ferguson

THE TRUTH (La Verite, France, 2020)

July 2, 2020

 Greetings again from the darkness. Surely every movie lover will savor the chance to watch two of France’s screen titans go at each other as combative mother and daughter. Catherine Deneuve and Juliette Binoche don’t disappoint in this latest from writer-director Hirokazu Koreeda, who was previously Oscar nominated for SHOPLIFTERS (2018).

Ms. Deneuve stars as Fabienne Dangeville, an aging French Oscar winning actress who has recently published her memoir. To celebrate the book, her daughter Lumir (Ms. Binoche) is coming with her family for a visit. Husband Hank (Ethan Hawke) is a self-admitted second rate actor, and their daughter Charlotte (newcomer Clementine Grenier) is awfully cute and meeting her grandmother for the first time. Lumir is a scriptwriter, and harbors less-than-favorable childhood memories of dear old mom.

The personalities of mother and daughter are pretty easy to ascertain. Fabienne admits “I’d rather be a bad mother, a bad friend, and a good actress.” She’s a petty and sometimes nasty woman, who’s quite self-aware. Lumir is the type that has critiqued her mother’s memoir with post-it notes throughout, and calls her out on the false claims of being a doting mother. Most of the movie deals with memories, honesty, and family relationships. It’s not just Lumir who is bothered by book. Fabienne’s long time handler Luc (French screen veteran Alain Libolt) reacts strongly to being omitted entirely, as if he never existed.

Fabienne waves off the criticisms by claiming she’s an actress, so the naked truth is not expected … whereas interesting stories are.  The film opens with Fabienne being interviewed by a journalist (Laurent Capelutto, “Black Spot”), and between this interview and what we learn of the memoir, we can’t help but chuckle at some of the real life similarities. First, Ms. Deneuve’s real middle name is Fabienne, and there are teases of her multiple lovers and “almost” movie with Alfred Hitchcock.

A large portion of the film is spent on the film-within-the-film that Fabienne is working on. It’s a science-fiction film (from a short story written by Ken Liu) that focuses on an unusual and difficult mother-daughter relationship. Lumir spots the obvious symmetry, but we are never really sure if Fabienne does, as she’s so busy firing barbs at the lead actress played by rising star Manon Lenoir (the first feature for Manon Clavel). For the elder Fabienne, acting has always been about being a star, so she struggles seeing the younger actress take a role she herself would have embodied 50 years prior.

Other supporting work comes from Christian Crahay as Jacques, Fabienne’s live-in cook (and more); Roger Van Hool as Pierre (man, not turtle) as Lumir’s father who is listed as deceased in the book; and Ludivine Sagnier (SWIMMING POOL, 2003) who plays a younger version of Fabienne’s character in the film-within-the-film. One key character we never actually see is Sarah, a deceased woman who was a friend and fellow actress to Fabienne, and a kind of surrogate mother to Lumir when she was a young girl. Sarah’s memory still hovers over the lives of Fabienne and Lumir, and may be at the heart of any possible reconciliation. Koreeda is a terrific director, and watching the performances here is quite entertaining. We do have the feeling that the script could have gone deeper emotionally had it not attempted to tackle so much. Additionally, many scenes felt like they were begging for more biting comedy than what was there. This is mostly played straight, which leaves Ms. Deneuve and Ms. Binoche to carry the load – a burden they handle quite capably.

watch the trailer:

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Posted by David Ferguson

STOCKHOLM (2019)

April 13, 2019

 Greetings again from the darkness. The film opens with a title card informing us that it is “based on an absurd but true story”. In 1973 the Kreditbanken of Stockholm Sweden was held up by an armed man. The ordeal was unusual for low-crime Sweden and it was broadcast live on TV. It has also been credited as being the origin for the term “Stockholm Syndrome” – a term to describe the bonding that sometimes occurs between a hostage and their captor.

Writer-director Robert Budreau wisely wastes little time with setting the stage. Lars (Ethan Hawke) dons a disguise meant to trick the police, and storms the bank lobby armed with a sub-machine gun. Wearing a cowboy hat and a leather jacket with a Texas flag, he proclaims “Remember the Alamo” as he secures some hostages and presents himself as Kaj Hansson, a well-known criminal. Of course, Mr. Hawke is certainly an American, and the actual robbery/hostage event was conducted by a Swede.

Lars is loud and boisterous to the cops, while simultaneously being sympathetic and understanding to the hostages – especially Bianca (Noomi Rapace), a married woman with two kids. Christopher Heyerdahl plays Police Chief Mattison, and he employs some unexpected psychological gamesmanship with Lars that gets even more convoluted when Swedish Prime Minister Olaf Palme becomes involved. Lars’ real goal here is to spring his buddy Gunnar Sorensson (Mark Strong) from jail and have them both ride off to freedom in a mustang like the one Steve McQueen drove in BULLITT.

Yes, I should mention that although guns are fired and hostages are held, this is really an offbeat comedic bank heist. It focuses on how the hostages bond with their captors and how Bianca quickly realizes that not only is she smarter than Lars and Gunnar, but that the cops are more of a threat to her than the criminals. She strategizes better than either side, and Ms. Rapace (from the original Millennium Trilogy) is the standout performer in the film.

Filmmaker Budreau and Mr. Hawke previously collaborated on an intimate look at jazz trumpeter Chet Baker in BORN TO BE BLUE (2015), and they prove again that they work well together. The other two hostages are played by Bea Santos as Clara and Mark Rendall as Elov. When Prime Minister Palme refuses to negotiate or allow Lars to leave with hostages, we can sense the emotional tide turn as Clara, Elov and Bianca realize they are safest remaining with the hostages.

Of course there are some liberties with history taken for cinematic reasons, and since most of the filming takes place within the confines of the bank, we do get to know each of the participants pretty well. The similarities to Sidney Lumet’s DOG DAY AFTERNOON (1975) are unmistakable, and one of the reporters covering the story even comments that it’s “almost like watching an American movie.” The odd ending works for the film, and thanks to Ms. Rapace, there is enough heft to the characters to prevent the humor for taking over.

watch the trailer:

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Posted by David Ferguson

BLAZE (2018)

August 23, 2018

 Greetings again from the darkness. “When the legend becomes fact, print the legend.” “I don’t want to be a star, I wants to be a legend.” The first quote comes from THE MAN WHO SHOT LIBERTY VALANCE and the second is drawled by Blaze Foley as he snuggles with his muse and lover in the back of a pickup truck. We can imagine the first quote inspired many stories over the years by those who knew Blaze, and it might also have served as a driving force for writer/director Ethan Hawke as he crafted this graceful tribute to an underappreciated songwriter and his too short life.

Mr. Hawke is a 2-time Oscar nominee as an actor, and his best known previous turn as director was for CHELSEA WALLS (2001). He (a distant relative of Tennessee Williams) has also been twice Oscar nominated as a writer (BEFORE SUNSET, BEFORE MIDNIGHT), and his movies are often music related or influenced. His latest is a biopic of a mostly unrecognized country-folk artist, and Hawke collaborated with Sybil Rosen to adapt her memoir “Living in the Woods in a Tree: Remembering Blaze Foley”. It’s Ms. Rosen who shared the bed of that pickup referenced in the first paragraph above.

Ben Dickey plays Blaze and Alia Shawkat plays Sybil. Not only does Dickey capture the spirit and sound of Foley’s music, but the scenes with Blaze and Sybil as a couple are some of the most touching and realistic relationship sequences we’ve seen on screen. We understand their connection … and their disconnection. It’s proof that two people can be both ‘made for each other’ and ‘wrong for each other’. Director Hawke utilizes different time periods, as well as a framing device in the form of a radio interview. None of this works in traditional biopic manner as the interview features the great troubadour and musical poet Townes Van Zandt (played exceptionally well by Charlie Sexton) recollecting the times (both good and bad) he spent with his friend Blaze. He’s joined by another Foley friend and collaborator, Zee (Josh Hamilton) as the two color in the blanks to ensure the legendary status desired by Blaze. The DJ is voiced by Ethan Hawke, who is only seen from behind.

In addition to the radio interview and the relationship with Sybil, we also have multiple scenes of Blaze’s final live show being recorded at the old Austin Outhouse. The nearly two hours of music and philosophizing were turned into a record release that remains (nearly 30 years later) a mesmerizing listen. These 3 very distinct pieces fit together to bring Blaze into focus as both a songwriter and troubled man – one who found himself in too many fights and, ultimately, on the wrong end of a gunshot in 1989.

Philosophy and homespun wisdom and catchphrases flow from Blaze during his songs and even when he’s just hanging with his buddies or Sybil. The real Sybil Rosen plays her own mother in a scene where Blaze meets the parents, and there is a touching moment in the film where Blaze plays for his estranged dad (a wonderful, albeit brief performance from Kris Kristofferson), the founder of The Singing Fuller Family where Blaze got his musical start. It’s these kind of touches that elevate the film into a must see whether you are familiar with Blaze Foley or not.

BLAZE FOLEY: DUCT TAPE MESSIAH is a 2011 documentary that would nicely compliment Mr. Hawke’s film, although this version contains much more humor – including cameos by Steve Zahn, Richard Linklater and Sam Rockwell as Zephyr Records executives. With Louis Black (founder of SXSW and a former film class TA of yours truly) as an Executive Producer, and songs by Blaze Foley and Townes Van Zandt, this little gem is likely to awaken viewers to a bygone era of music that tends to be remembered only for Willie, Waylon, Jerry Jeff and Merle.

watch the trailer:

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Posted by David Ferguson

THE KING (2018, doc)

July 19, 2018

 Greetings again from the darkness. Those of us in the United States have always loved a rags-to-riches success story … it’s the personification of the American Dream. The only thing we seem to enjoy more is tearing down the pedestals that we build for those folks, and then ripping apart their legacy. Acclaimed director Eugene Jarecki (WHY WE FIGHT, 2005) strains rigorously in his attempts to connect Elvis Presley selling out his talent for money with the transformation of the U.S. from a democracy to a crumbling capitalistic empire (likened to ancient Rome). The really interesting thing is that the film, despite being a staccato mess, is quite fascinating.

Director Jarecki’s gimmick here is that he is taking a musical and historic road trip in the 1963 Rolls Royce once owned by Elvis. Along the way, he picks up passengers – some of which are musicians who perform in the backseat. The passenger list includes James Carville, John Hiatt, M Ward, Linda Thompson (ex-girlfriend of Elvis), Immortal Technique, and “best friend” Jerry Schilling (a comical description if you’ve read his book).

Chuck D from Public Enemy is interviewed due to his famous lyric: “Elvis was a hero to most, but he never meant s**t to me”. The contradictions from this interview fit nicely with the contradictions throughout the film. George Klein takes Jarecki on a quick tour of Humes High School, and Ashton Kutcher babbles about fame – though he makes one spot on remark regarding the prison of fame, something much of the film seems to ignore. Producer Ethan Hawke spends a good amount of time on camera and in the front seat, while author and activist Van Jones seems narrowly focused on cultural appropriation and angry that Elvis never used his clout to help the minorities that influenced him.

Filmed in 2016, the film works hard to include the Presidential election, and we even see the sanctimonious Alec Baldwin adamantly proclaiming that Trump won’t win. Jarecki is himself an activist, and here he stretches to prove his points – tying together everything from Elvis’ induction into the Army to the Trump election more than a half-century later (and 40 years after his death).

The road trip kicks off in Elvis’ birthplace of Tupelo, where we meet some locals who talk about the lasting impact of Elvis on their town – a town still drenched in poverty. Memphis is next, and we hear about the 3 local kings: BB, Elvis and MLK. Jarecki even inserts a shot of the Rolls next to the Lorraine Motel. There is a terrific bit with the students from Stax Music Academy who perform “Chain of Fools” in the backseat. We then head to NYC and Nashville, capping off the musically creative portion of Elvis’ career. Next up is Hollywood, Hawaii, and finally Las Vegas.

At times, the film is just flat out weird. One segment force feeds parallels with the 1933 KING KONG movie (yes, really), then Elvis as a tourist, and finally, Dan Rather’s all too familiar voice performing “America the Beautiful” … each piece featuring the Empire State Building. But just when a Bernie Sanders rally makes you want to turn off the film, we get an insightful Mike Myers effectively pointing out the hypocrisy of the American Dream as sold by the government, or David Simon questioning the choice of the Rolls over one of Elvis’ prized Cadillacs, or Sam Phillips’ (Sun Records) son re-telling the story of how his father lost Elvis to the carnival-barker Colonel Tom Parker (neither a Colonel nor a Parker).

Jarecki and co-writer Christopher St. John try to weave a tapestry of fame and money with cultural and societal shifts. Some segments work, while others fall flat. The editing of talking heads sometimes gives the feel of a debate, but often the scattered and choppy film meanders through multiple messages whilst driving the backroads of the country. We get clips of Elvis on the Ed Sullivan Show and getting his famous locks sheared in the Army, and the 1968 comeback special; however, there is little mention of Priscilla, Lisa Marie or Graceland.

Judging Elvis for money grab without seeming to take into account his young age (he was 21 when he first appeared on Sullivan, and 23 at his Army induction) and his extreme poverty of youth, much less the power of his domineering agent, seems to be harsh judgement in an era that had never seen such media giants as the Kardashians or Justin Bieber. When Jarecki’s road chief admits, “I don’t know what the hell you’re doing” (when Jarecki asks him what he thinks he’s doing with the movie), it’s the first time we can actually relate to what someone has said. Despite all of that, you’ll likely be glued to the screen for the full run time – either enjoying the songs, watching the clips, or trying to see if Jarecki’s puzzle pieces even fit together.

watch the trailer:

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Posted by David Ferguson

FIRST REFORMED (2018)

May 31, 2018

 Greetings again from the darkness. “A crisis of faith” is merely the tip of the theological iceberg in this gripping, thought-provoking, debate-inspiring oddity from legendary filmmaker Paul Schrader. Mr. Schrader has long specialized in messed up/conflicted gents struggling in a world-gone-wrong in films like HARDCORE (1979), AMERICAN GIGOLO (1980), AFFLICTION (1997), and AUTO FOCUS (2002). Of course he is best known for his TAXI DRIVER (1976) and RAGING BULL (1980) screenplays. This latest is his best work in years, though few will likely describe it as entertaining.

Ethan Hawke digs deep in his performance as Toller, a former military Chaplain now relegated to caretaker for a small church whose historical marker informs us was organized in 1767 and built in 1802. Although Toller has a very small congregation, the church itself is now mostly a tourist stop and throwback to the days of rural community churches.

Thanks to Toller reading us his daily journal entries, we know that he is already dealing with doubt and grief even before Mary (whose name is no coincidence) approaches him about speaking with her husband Michael (Philip Ettinger). Toller’s teetering emotional stability is further jolted by a mesmerizing talk with Michael, whose work as an environmental activist/extremist leaves him unable to reconcile bringing a child into this doomed world … despite his wife Mary (an excellent Amanda Seyfried) being pregnant. (Though no further proof is needed that I should never offer counseling to confused folks, I couldn’t help but wonder why Toller didn’t challenge Michael on why he risks having sex if he is so adamant against making a baby.)

With Michael’s global and societal warnings piling on Toller’s personal tragedy and disintegrated marriage, he sinks deeper into his funk and deeper into the bottle. There is also the pressure of the upcoming 250 year reconsecration ceremony and the expectations of Abundant Life’s Pastor Jeffers (Cedric the Entertainer in perfect casting). Abundant Life stands in for all of the mega-churches that specialize in money grabbing these days (more business than religion). Here, big money is represented by billionaire industrialist Edward Balq (played by a less than patient Michael Gaston). He is truly the higher power in this relationship.

Toller explains to us that we hold both hope and despair in our thoughts, and that these are life itself. He has an intensity towards life and his role in the church that would make most uncomfortable, if not a bit frightened of and for him. And those concerns would be quite accurate. Some people are just never comfortable in their own skin, and these are often the most intriguing movie characters. Schrader and Hawke ensure that Toller is every bit of that and more. It’s a bleak story with some dark and twisted humor, and it’s shot in old style ratio which adds an element of harshness to every moment. Austere might be the best one word description of the look captured by Schrader, but the story is sure to generate some colorful and intense post-viewing debate … with an open for interpretation ending being the cherry on top. Welcome back Mr. Schrader and kudos to Mr. Hawke.

watch the trailer:

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Posted by David Ferguson

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