YOU GOTTA BELIEVE (2024)

August 29, 2024

Greetings again from the darkness. As a lifelong avid baseball fan, I recall the 1973 season when relief pitcher Tug McGraw (father of country performer and actor Tim McGraw) elevated the phrase “You Gotta Believe” to the rallying cry for his New York Mets team that year (they ultimately lost the World Series to the Oakland A’s). So, I’ll admit to a touch of skepticism when I saw this was a baseball movie. Director Ty Roberts and writer Lane Garrison previously collaborated on 12 MIGHTY ORPHANS (2020) and THE IRON ORCHARD (2018), and after watching this one, I’ll give them full credit for bringing very human stories of real people to the screen.

Based on the true story of the 2002 Fort Worth (Texas) Little League team that advanced all the way to the Little League World Series, this one has the bones of the always enjoyable youth ‘underdog’ story in the vein of THE MIGHTY DUCKS (1992) and HARDBALL (2001). The big difference here is that there is also some personal and family drama that’s not quite so uplifting … heartwarming, yes … but not uplifting. We first meet this team as they are finishing their winless season. Optimistic coach Bobby Ratliff (Luke Wilson) and distracted manager Jon Kelly (Greg Kinnear) both have sons on the team, but from the action we see, this team rarely practices and has a shocking lack of athleticism for a bunch of 12-year-olds.

It’s the glimpse of on-field action that makes this version of reality a bit difficult to swallow. When the league commissioner, played by Patrick Renna (from the truly classic baseball film THE SANDLOT, 1993) pleads with too-busy attorney Jon to take his team to the all-star tournament, logic tells us, it’s one and done. However, the dynamics change quickly when coach Bobby is diagnosed with melanoma and a brain tumor. The team now has something to play for, and we are to believe that with the help of Coach Mitch Belew (hard-working character actor Lew Temple, ONCE UPON A TIME … IN HOLLYWOOD, 2019), this team improves enough to win regionals and sectionals (in a montage) while qualifying for the Little League World Series.

Bobby’s two sons Robert (Michael Cash) and Peanut, and Jon’s pitching son, (the ironically named Walker (Etienne Kallici) have key supporting roles, as do Molly Parker as Jon’s wife Kathy and Sarah Gadon (COSMOPOLIS, 2012) as Bobby’s wife Patti. The team has “Bobby” embroidered on their caps as motivation, and the team’s winning ways help keep up spirits for Bobby as he goes through treatment. There is a “Rawhide” theme song sequence that adds a bit of comic relief to help offset the heaviness of cancer.

The film highlights the remarkable game the team played in Williamsport, and we get a Satchel Paige reference (or two). The downside is that by exaggerating the ineptitude of the team when we first see them, their turnaround and entire journey seem a bit hokey. Of course, no game is bigger than life, and the film ends with the expected harsh reality of the boys wearing their uniform one more time. We do get a shot of Bobby’s grown-up son reading a letter to his young son, and it concludes with clips of the actual Little League World Series – complete with players, coaches, and Bobby. Once again, a story of underdogs manages to make solid contact.

In theaters nationwide on August 30, 2024

WATCH THE TRAILER

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Posted by David Ferguson

CRISIS (2021)

February 25, 2021

 Greetings again from the darkness. The best thrillers often interweave multiple story lines to create a complex web of detail for viewers to unwind. Writer-director Nicholas Jarecki (ARBITRAGE, 2012) serves up three story lines, all related to the current Opioid crisis. Although the film looks great and has a deep cast, we’ve seen most of this before and no new insight is provided in regards to the struggle. Instead, it’s really standard thriller fare that never goes deep enough into any of the characters to make us care.

Armie Hammer (along with the recent personal baggage attached to him) stars as Jake Kelly, a DEA Agent who has worked undercover in hopes of exposing the Armenian-Canadian-American drug traffickers responsible for a significant portion of opioids crossing the border. Hammer spends the entire movie with an intensely furrowed brow that would likely inspire distrust amongst any potential drug syndicates.

In storyline number 2, Evangeline Lilly (Wasp in the ANT-MAN movies) is Claire Reimann, an architect and recovering drug addict, who is out for vengeance when her beloved high school athlete son is found dead with drugs in his system. The third segment features Oscar winner Gary Oldman (DARKEST HOUR, 2017) as Dr. Tyrone Brower, a science professor at a private Detroit university. He runs a drug-testing lab and faces a moral dilemma when questionable lab results for “the first non-addictive painkiller” puts people at risk, not to mention funding for his work.

Any one of these actors or stories could carry the weight of a movie, but when combined, they succeed only in crushing the entertainment value and tension level. Oldman’s story is easily the most interesting. It addresses how Big Pharma gets new drugs rubber-stamped by funding otherwise cash-strapped labs and schools. There is also the skepticism involved with the drug-producer’s influence over the supposedly independent FDA, and on top of all that, there is the ethical concerns of everyone putting the almighty dollar ahead of safety.

Director Jarecki (the brother of Andrew Jarecki who directed the superb 2003 documentary CAPTURING THE FRIEDMANS) kicks off the movie with a beautifully filmed, albeit brief, chase scene through the snowy Canadian forest. In fact, the camera work throughout is fine. It’s really the overloaded script that prevents any of the stories or characters from clicking. Mr. Oldman seems to sense that he needs to overcome the lack of complexity in his story, and because of the effort, loses his usual reserved cerebral approach for which he’s known.

Supporting work is provided by Greg Kinnear as the Dean willing to sacrifice ethics and friendship for money, Michelle Rodriguez as the DEA supervisor in a budget crunch, and Lily-Rose Depp as Jake’s strung out sister. Also contributing are Indira Varma, John Ralston, Martin Donovan, Mia Kirshner, Kid Cudi, Michael Aronov, Luke Evans, and Veronica Ferres. The weakest link here is director Jarecki himself, who for some reason, thought he could play Jake’s partner … a role that would have benefited from a more refined actor.

The horrific effects of the Opioid crisis are known to most, and the film plays like a Wikipedia explanation for anyone who doesn’t read or watch the news. Certainly not helping is the “Miami Vice” type score that accompanies many scenes, and the choppy editing that causes many scenes to fail. Better movies in this genre would include THE INSIDER (1999, ironically directed by “Miami Vice” creator Michael Mann) and Soderbergh’s TRAFFIC (2000). The obstacles faced by whistleblowers, the importance of funding to academia, budgetary concerns for law enforcement, the tragic impact of drugs on families, and the systemic corruption that has fueled the epidemic … all of these are touched on. It’s just that it all seems too obvious. If somehow you didn’t already know, the money-hungry don’t play fair – whether they be drug dealers or drug companies.

The film will hit theaters on February 26, 2021 and Digital and On Demand March 5, 2021

WATCH THE TRAILER

 

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Posted by David Ferguson

FRANKIE (2019)

November 7, 2019

 Greetings again from the darkness. Sintra is a resort town in Portugal, not far from Lisbon. It is breathtakingly beautiful with mountains, beaches, cliffs, colorful gardens and a picturesque town filled with charming churches and majestic castles. Writer-director Ira Sachs’ film probably should have been bank-rolled by Sintra’s tourism committee, because the town is surely to be on the must-see travel list of every person who sees this movie. Unfortunately, what works as a travel tease, offers little else as a cinematic or entertainment vehicle.

Beloved French actress Isabelle Huppert stars as beloved French actress Francois, better known as Frankie. She has organized a vacation gathering for her modern day family consisting of her second and current husband, Scotsman Jimmy (Brendan Gleeson), her first husband, gay man Michel (Pascal Gregory), teenage granddaughter Maya (Sennia Nanua) and Maya’s two quarrelling parents Ian (Ariyon Bakare) and Sylvia (Vinette Robinson), and Frankie’s self-centered and problematic son Paul (Jeremie Renier). Also invited is Ilene (Marisa Tomei), Frankie’s long-time friend and hair stylist, who without telling Frankie, brought along a date, cinematographer Gary (Greg Kinnear). When someone complains about her inviting Ilene, Frankie replies, think of it as “Family Plus One.”

Frankie has arranged this trip under the guise of ‘a final goodbye’. Her cancer has returned, and it’s likely to take her life very soon. Despite that, it really appears Frankie is acting as a matchmaker for her jerky son Paul, by thinking he and the delightful Ilene might be a good fit … you know, since she lives in New York and he’s moving there. This speaks to the blindness of parents towards their own kids, but also the never-ending hope for their happiness. During this trip, we witness one of the most awkward proposals ever, plus a re-telling of a family secret at a most inopportune time. The latter is likely the most interesting segment of the movie.

Ira Sachs and his writing partner Mauricio Zacharias are known for NYC-based stories like LITTLE MEN (2016) and LOVE IS STRANGE (2014), so this idyllic setting is a bit outside their wheelhouse. We listen in on many awkward conversations, and the film involves mostly walking and talking … with a high percentage of it being Frankie hiking on trails while wearing heels. There is an effective cloud of sadness over most every moment, and the overload of melancholy represents the struggles of this group getting through a single day. Somehow even the beautiful final shot doesn’t deliver any more emotional impact than the rest of the film. There just isn’t much here other than what most of us regularly experience in life … well, other than Sintra as a setting.

watch the trailer:

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Posted by David Ferguson

BRIAN BANKS (2019)

August 8, 2019

 Greetings again from the darkness. With the momentum of the #MeToo movement, and the attention being paid to harassment and discrimination in all walks of life, there really is no better time for a film that tells the story of Brian Banks. We are counseled to believe women as they recount their heart-breaking and life-altering stories, and it’s Mr. Banks’ story that reminds us what should matter in all situations … truth and justice.

Brian was a 16 year old football star at Polytechnic High School in Long Beach, California when Wanetta Gibson (renamed Kennisha Rice in the movie) accused him of rape on school grounds. Banks was expelled from school, lost his athletic scholarship to USC, and poor legal advice led him to a plea bargain that resulted in his serving a 5 year prison sentence and another 5 years on restrictive probation. From day one, Brian Banks never wavered in the proclamation of his innocence.

In his situation, the only way for Brian to get some semblance of his life back was exoneration by the judge; and the only way that could happen would be new evidence or a recant of testimony by the accuser. Justin Brooks (played here by Greg Kinnear), the founder of the California Innocence Project, was touched by Brian’s story, but just couldn’t find a way to help. Surely the film offers some dramatization of actual events, but Brian Banks and his story are fascinating on many levels … and it makes for a though-provoking and inspirational 99 minutes.

Banks was a convicted man whose own conviction of his innocence is proof of just how strong the human spirit can be. Director Tom Shadyac (PATCH ADAMS 1998, ACE VENTURA: PET DETECTIVE 1994) had his own life-altering event, and it’s partly why this is his first narrative feature in more than a decade. It’s likely the “second chance at life” hit home, and the script from Doug Atchison (AKEELA AND THE BEE, 2006) manages to hit the high and low points experienced by Banks and his single mom (played by Sherri Shepherd), who never lost faith.

Aldis Hodge (“City on a Hill”) is outstanding as Brian Banks. He perfectly conveys the multitude of feelings of a man so confounded by a life gone wrong – yet so dedicated to staying on the right path despite all obstacles. In addition to the aforementioned Greg Kinnear and Sherri Shepherd, Melanie Liburd shines as Karina – Brian’s new romantic interest (who shares her own story of past sexual abuse), and Xosha Roquemore performs admirably and memorably in the thankless role of Kennisha Rice. It should also be noted that Morgan Freeman has a cameo as a prison counselor who makes an impact on Brian.

The film begins with Brian explaining that he never really knew what “freedom” meant until it was taken from him, and then he re-gained it. That’s a powerful statement, and it nicely corresponds to another lesson the film provides: “All you can control in life is how you respond to life.” The film may be a bit glossy at times, but its message and its central character are inspirational … and a source for further important discussions.

watch the trailer:

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Posted by David Ferguson

BRIGSBY BEAR (2017)

August 10, 2017

 Greetings again from the darkness. Many kids get obsessed with their favorite TV show and characters. Perhaps it’s Minnie Mouse, Sesame Street or even Teenage Mutant Ninja Turtles. Whatever or whomever it is, they typically enjoy sharing their experiences with their friends. When we first meet James, he is staring, fully-engaged, at an odd, poorly produced show that appears to be a relic from the 1970’s. His room is packed with franchised merchandise like a bedspread, a lamp, toys, and even a stuffed animal. We immediately notice two problems: we don’t recognize this talking TV bear and James appears to be not a child, but a twenty-something with a 3 day beard growth.

Kyle Mooney has gained a following with his work (especially his quirky short films) on “Saturday Night Live”. Here he collaborates with director Dave McCrary (another SNL stalwart) and co-writer Kevin Costello on their first feature film. Mr. Mooney also stars as James, the “Brigsby Bear” expert who was kidnapped as an infant, held captive in a desert bunker and brainwashed by his captor “parents” Ted and April (an excellent Mark Hamill, Jane Adams).

Being confined and isolated in a controlled environment with only artificial culture in no way prepares James for the long-delayed release back into the wild known as society. His biological parents Greg and Louise (Matt Walsh, Michaela Watkins) are thrilled to reunite with their long lost son, and very patient with James’ struggles to assimilate.

James is unceremoniously dumped into the real world without his one security blanket: a TV bear that doesn’t exist. He goes from being disconnected from the outside world to being disconnected inside a new world he doesn’t know or recognize. Despite the pressures he is up against (police, family, new friends), he refuses to let go of his obsession.

It’s at this point where we really root for Mooney and McCrary to embrace the weirdness. Instead, the story takes a bit of a conventional turn and we find ourselves no longer reveling in oddity, but instead cheering for James to continue influencing those who initially viewed him as the proverbial fish out of water. The film ends up as a creative story about creativity … if that’s what it’s about (or if it’s about anything).

Strong supporting work is provided by Greg Kinnear as Detective Vogel (with a secret passion), Ryan Simpkins (sister of Ty) as James’ somewhat reluctant sister, and Alexa Demie and Jorge Lendeborg Jr as the new friends who come to appreciate him for his perspective. Claire Danes is a misguided psychiatrist, Buck Bennett is a detective, Andy Samburg appears an acquaintance, and Kate Lyn Scheil is Arielle (and Nora).

The film can best be described as Funny-Sad, and a blend of ROOM (isolated and held captive), NAPOLEON DYNAMITE (a quirky dude), BEING THERE (an innocence that influences others), and ENCINO MAN (a guy being introduced to a new world). It has an emotional and heartfelt climax that is crowd-pleasing, and certainly deserves bonus points for not being a superhero movie, remake, sequel or reboot. Still, it leaves us wondering what direction this could have gone had the filmmakers remained true to the cause of embracing the weirdness.

watch the trailer:

 

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Posted by David Ferguson

LITTLE MEN (2016)

August 25, 2016

USA Film Festival 2016

little men Greetings again from the darkness. There is a lot going on in this latest from writer/director Ira Sachs, and every bit of it provides some commentary on the basic everyday life struggles faced by normal folks. There is also a continuation of the ongoing NYC vs Brooklyn “friendly competition”, as well a reminder of the downside of gentrification.

Mr. Sachs and his frequent collaborator and co-writer Mauricio Zacharias kick off the story with Greg Kinnear’s Brian awkwardly exchanging greetings with Paulina Garcia’ s (so terrific in Gloria, 2013) Leonor while the son’s of these two share an equally awkward meeting. Leonor is the long-time tenant in the dress shop located below the apartment where Brian’s recently deceased father resided.

Jake (Theo Tapitz) is an aspiring artist who doesn’t easily make friends. Tony (Michael Barbieri) is a brash, fast-talking kid who is a bit more street wise and outgoing. The two boys quickly bond … while at the same time, the parents begin a quiet battle. Brian’s sister (played by Talia Balsam) demands her fair share of their father’s estate through higher rent on Leonor’s dress shop. It turns out their dad never raised the rent despite the number of years and the developing neighborhood. Kinnear’s wife Kathy (the underrated Jennifer Ehle) tries to play peace-keeping negotiator so that the boys’ friendship is not affected. As is often the case, the kids handle the situation better than the adults.

The film’s best scenes feature the two young boys … a blossoming childhood friendship that is all too rare on the big screen. If the boys weren’t so severely impacted, the adult interactions could almost be white noise. Themes of money vs love, greed vs emotion, as well as recurring and various instances of rejection, all play a part in this multi-faceted story. Examples of rejection include a girl rejecting a boy, Brian’s rejection as an actor, and the multiple rejections in the negotiations for the shop. Mr. Sachs has a real knack for putting real people in real situations that result in difficult decisions.

All of the acting is top notch, including Alfred Molina in a small role as Leonor’s attorney and advisor. But it’s the boys – Tapitz and especially Barbieri – that elevate the film. Watching the boys grow closer despite the all-too-close conflicts reminds a bit of the friendships in Rob Reiner’s classic Stand By Me. Young Mr. Tapitz already has a few short films under his belt as a director, and Mr. Barbieri is certain to get many more opportunities to flash his on screen talent.

watch the trailer:

 

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Posted by David Ferguson

GREEN ZONE (2010)

March 13, 2010

 Greetings again from the darkness. The trailers and the involvement of director Paul Greengrass and Matt Damon gave me the initial impression this was to be little more than a “Bourne” rip-off. I am happy to report that’s not the case. This is a fantastic story that is a cross between an Iraqi War movie and political thriller.

Matt Damon plays an officer responsible for following the military intel for WMD locales in the early days of the invasion. He gets more frustrated and untrusting as each target comes up empty. When he questions the intel to his superiors, he is “politely” told to follow his orders. At the same time, he is approached by a grizzled CIA veteran played by Brendan Gleeson. The CIA happens to agree with Damon’s character … the intel is faulty and the belief is an ulterior motive is at play by the administration.

Of course, this is not a documentary. It is merely another step in the exploration of what the driving force was for invading Iraq in the first place. Were WMD’s a cover for the pursuit of Saadam? The script is based on a book, and leads us to believe the WMD intel was rigged because that was a great reason to present to our allies and citizens. The disconnect between the administration and the CIA appears evident. A smarmy Greg Kinnear plays an administration official who has much power … and a special forces team reporting directly to him.

The film highlights the blunders and poor decisions made early on in the invasion. Not really sure if they were blunders or if the mission was simply misguided. Either way, this makes for a great story and an intense one to follow. A real statement is made when one of the locals who has been assisting Damon, surprises him and states something along the lines of “You don’t get to decide the fate of my country”. That’s not the exact quote, but it is the key point the film is making.  We also get a replay of President Bush on the deck of the USS Abraham Lincoln proclaiming “Mission Accomplished”.  That gets more painful upon each viewing.

The bad news is that Paul Greengrass is at his shaky camera worst. The first 15 minutes of the film and the climax chase scene to, through and outside the safe house were so bad that I felt queasy. I love well placed hand-held camera work, but this was beyond extreme – it was quite simply over the top and distracts from what should have been a near-classic.

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Posted by David Ferguson