TOP GUN: MAVERICK (2022)

May 22, 2022

Greetings again from the darkness. Heavy on melodrama. Heavy on cockiness. Heavy on fighter jets. Heavy on nostalgia. Check. Everything that we want and expect in the long-awaited sequel to the 1986 film is present. It’s a movie spectacle featuring one of the few remaining bonafide movie stars front and center, as well as breathtaking action sequences that beg to be experienced on the largest screen possible and with the highest quality audio available. Jim Cash and Jack Epps Jr are credited for the characters, while the new screenplay involved collaboration from Ehren Kruger, Eric Warren Singer, Christopher McQuarrie, Peter Craig, and Justin Marks. The original film’s director, Tony Scott, passed away in 2012 at age 68, and Joseph Kosinski (OBLIVION, 2013, also starring Tom Cruise) takes the helm.

Callbacks to the original are plentiful, and we get our first in the opening title card – the same one used in 1986 to explain the “Top Gun” training center. Of course, there is one reason we are here, and that’s Tom Cruise. He was only 24 years old in the original, and now lives and exudes the swagger of Pete “Maverick” Mitchell. When the film opens, Maverick is an extreme test pilot pushing himself and an experimental aircraft to Mach 10, and yes, this goes against the wishes and order of the program’s Rear Admiral in charge played by a curmudgeonly Ed Harris. It’s a shame that Harris only has a couple of brief scenes, but he is the one that informs Maverick of his new orders to return to Top Gun immediately. His new commanding officer is Beau “Cyclone” Simpson (Jon Hamm), who is none too happy about Maverick being back. However, the order came directly from Maverick’s old nemesis/friend, Tom “Iceman” Kazansky (Val Kilmer), now a highly decorated Admiral in failing health.

Maverick is disappointed to learn that he has been brought in, not to fly, but to teach a group of Top Gun graduates how to execute an extraordinarily dangerous mission involving extended high speeds at a low altitude, dropping bombs on the uranium enhancement plant protected by a mountain range, and then immediately elevating to a nearly impossible level to avoid a crash – all while being targeted by the enemies radar and defense system. The enemy goes unnamed so that the movie can remain timeless and avoid any type of political backlash. Plus, this film is about thrills and action, not a political statement.

Being back means Maverick crosses paths with Penny Benjamin (Jennifer Connelly), who was mentioned briefly in the first film as an Admiral’s daughter. She now owns the local bar, has a daughter, races sailboats, and still carries a bit of a torch for Maverick, although she’s quick to bust his chops whenever possible. However, it’s the pilots he’s charged with training that cause the biggest issue for Maverick. One of them is Bradley “Rooster” Bradshaw (Miles Teller). Rooster is the son of “Goose” (played in the original by Anthony Edwards), who flew with Maverick as his Radio Intercept Officer (RIO) and died in an ejection mishap. Rooster holds Maverick responsible and Maverick is still haunted by his friend’s death. Goose is seen in photos and via flashbacks, and Rooster emulates his dad at the bar’s piano. The conflict between Rooster and Maverick adds complications to the mission – and a bit of melodrama to the entire film.

The newbies (and the Navy) consider Maverick a relic of a bygone era, so of course, ‘instructor’ Maverick takes to the sky to strut his pilot stuff. In addition to Rooster, the standouts in the new group include Phoenix (Monica Barbaro), Bob (Lewis Pullman), and Hangman (Glen Powell), the latter of whom, along with Rooster, tries to recreate that symbiotic relationship we originally saw with Iceman vs Maverick. Teller and Powell are both solid, but this aspect never really clicks like the Rooster vs Maverick piece.

We can’t help but notice that the dramatic elements seem to be more of a focus this time around. The biggest impact comes from the scene where Mavericks visits Admiral Kazansky (Iceman) at his home. Despite his well-known physical limitations, Val Kilmer delivers a memorable performance, and the two actors seem to relish this opportunity. The situation is handled with grace, and we are appreciative of Cruise standing firm in his demand for Kilmer to appear in the film. As for the love story between Penny and Maverick, it had to be a bit frustrating for Ms. Connelly to work so hard on an underwritten role, while Jon Hamm’s constant furrowed brow and barking leaves him coming across as little more than jealous of Maverick.

Obviously it’s the fighter jets and aerial sequences that folks will come for, and spectacular and exhilarating are the best words I can find to describe what we see. I was fortunate to see his in IMAX, and if you have one near you, it’s certainly the preferred viewing format. Thanks to the Navy and the training and equipment received by the cast, there is an authentic feel that’s almost throwback in this day and age of CGI. We sense the speed and gravity pulls, even if we are never in peril. The aircraft carrier sequences are mind-boggling, though it’s jets in the air that provide the energy jolt.

Wise-cracking and heartstring-tugging moments fill the screen, and you can relax knowing Kenny Loggins’ “Danger Zone” is back, while Berlin is thankfully not. Sand volleyball has been replaced by some semblance of shirtless and sweaty beach football as a team-builder, and yes, we get the patented Tom Cruise sprints – three times: on a treadmill, during beach football, and in a forest. The familiar sounds of Harold Faltermeyer’s original score are back, this time enhanced by Hans Zimmer and an ending song by Lady Gaga. Those from the original who are absent this time are the great Tom Skerritt, James Tolkan, Kelly McGillis, and Meg Ryan (whose character is mentioned as having passed away). Producer Jerry Bruckheimer is back, though his partner on the original, Don Simpson, died in 1996 at age 52. Deserving of kudos are cinematographer Claudio Miranda, film editor Eddie Hamilton, and those involved with sound, visual effects, and music. For those feeling the need for speed, this sequel delivers; just embrace the cliches and familiarity, and predictability.

Only in theaters (as it should be) Friday May 27, 2022

Here is my link to my 2013 article when I revisited the original TOP GUN

WATCH THE TRAILER

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Posted by David Ferguson

DUNE (2021)

October 21, 2021

Greetings again from the darkness. It’s been nearly 40 years since David Lynch directed DUNE (1984). The film received an Oscar nomination for Best Sound, and has since been a cult favorite, though not one I’m particularly drawn to. All these years later, Frank Herbert’s 1965 novel (there are 5 sequel novels) has been re-made by acclaimed writer-director Denis Villeneuve (ARRIVAL, 2016) and his co-writers Eric Roth (Oscar winner, FORREST GUMP, 1994) and Joe Spaihts (PROMETHEUS, 2012). The new version looks absolutely fantastic, even if the story is a bit convoluted and the characters don’t always make the best, or even logical, decisions.

The year is 10191, likely the most futuristic movie we’ve seen. Oscar Isaac is Duke Letto Atreides and Rebecca Ferguson is Lady Jessica Atreides, though the story mostly focuses on the son, Paul, played by Timothy Chalamet. The story revolves around the protection of spice, the most valuable resource in the universe/galaxy. However the real focus is on politics and power plays … so I guess not much really changes over the next 8170 years – except, of course, the colonization and travel between multiple planets (surprisingly, none of these planets is named Elon or Bezos). There is much talk of “the plan” with emphasis on whether young Paul is “the one” mentioned in their legends. Paul does have some special abilities, but Chalamet’s understated (and mostly monotone) portrayal makes everyone, even Lady Jessica, a bit unsure of whether he’s the leader they need.

The supporting cast is impressive and all do their part to drive the action and story forward. Jason Mamoa is Duncan Idaho, the warrior who humorously belittles Paul’s fragile physical frame. Josh Brolin is Gurney Halleck, the bodyguard to the noble family, and Charlotte Rampling plays the Reverend Mother (a creepy nun). Oscar winner Javier Bardem is under-utilized as Stilgar, while Zendaya shines as Chani, one who bonds with Paul. Of course the most outrageous role finds Stellan Skarsgard (with some heavy make-up and special effects) as the grand emperor of Harkonnen, with Dave Bautista as his brother, the Beast.

For me, the movie’s technical aspects are what stand out. It deserves awards consideration in multiple categories, especially Sound, Visual Effects, Cinematography, and Score. Oscar winner Hans Zimmer really delivers a score that compliments and enhances what we see on screen. Cinematographer Greig Fraser has been involved in numerous high profile projects, like ROGUE ONE: A STAR WARS STORY (2016) and the highly anticipated THE BATMAN (coming in 2022).  The effects are special and include the sandworms, as well as dragonfly choppers that are quite impressive. It was a bit annoying to see the desert sand blowing constantly, yet goggles and masks are hardly ever used. I guess these faces are too expensive to cover up!

Familiarity abounds as some bits recall MAD MAX, EDWARD SCISSORHANDS, STAR WARS, and THE MATRIX. Director Villeneuve shot the film in Norway and Jordan, and to answer the question from fans of the original … no, Sting does not make a cameo appearance. The film looks stunning and will likely satisfy the target audience. Whether it’s enough to expand the audience is something we will know soon enough. The film ends with “This is only the beginning”, and Mr. Villeneuve has Dune Part Two in the planning stages.

The film will be released October 22, 2021 in theaters, on IMAX, and streaming on HBO Max

WATCH THE TRAILER

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Posted by David Ferguson

NO TIME TO DIE (2021)

October 10, 2021

Greetings again from the darkness. Bond 25 is here, and it’s quite a curtain call for actor Daniel Craig. The film’s release has been postponed numerous times since September 2019, which has caused expectations and anxiety to build amongst Bond fans. It’s been almost six years since SPECTRE (2015), and this is Daniel Craig’s fifth and final turn as 007. This production faced challenges even before the pandemic hit. Cary Joji Fukunaga (best known for “True Detective” and BEASTS OF NO NATION, 2015) was hired to direct after Danny Boyle stepped down (or whatever happened), and Phoebe Waller-Bridge was brought in to spice up the dialogue on the script from Fukunaga, Neal Purvis, and Robert Wade (the latter two having been involved in writing all five Bond movies for Craig). Of course, it’s Ian Fleming to whom we stand eternally grateful for the original characters.

For those accustomed to the James Bond cinematic formula, you’ll notice quite a few differences – beginning with the opening scenes. Traditionally, breathtaking action kicks off the film; but this time a shift in tone and style serves up a tension-filled opening that occurs a few years prior to the rest of the story. It takes a few minutes before we get the first true action sequence. Of course, we must keep in mind that we are dealing with a “retired” James Bond (don’t worry, it’s not like “fat Thor”) … in fact, there’s already a replacement 007 and she (Lashana Lynch, CAPTAIN MARVEL, 2019) packs quite an attitude and skill set.

It’s his old CIA buddy, Felix Leiter (Jeffrey Wright), who draws Bond back into the espionage game, and of course, the reason is to save the world (what else could it be?). This year’s world-domination-seeking villain is the cleverly named Lyutsifer Safin, and he’s played by Oscar winner Rami Malek (BOHEMIAN RHAPSODY, 2018). Safin is a low-key baddie whose weapon is a DNA-altering chemical that’s probably a bit overly complex for a Bond movie, and it’s also a bit strange that Safin/Malek only has a few substantive scenes. For those who saw SPECTRE, you’ll recognize many of the faces, including Lea Seydoux as Madeleine Swann, Ralph Fiennes as M, Ben Whishaw as Q, Rory Kinnear as Tanner, and Naomie Harris as Moneypenny. Also back for a terrific scene is Oscar winner Christoph Waltz as Blofield. The new faces include the aforementioned Lashana Lynch as Nomi, Billy Magnusson as Logan Ash, and Craig’s KNIVES OUT co-star Ana de Armas as Paloma. Ms. de Armas brings a jolt of energy and some smiles to the proceedings, and it’s a shame her appearance is so short.

It’s unusual for a Bond song to win its Grammy before the movie is ever released, but that’s exactly what happened for Billie Eilish’s achingly somber title song. Oscar winner Hans Zimmer (THE LION KIING) delivers a wonderful score in his first Bond outing (you’ll hear how he incorporates the Eilish song), and the cinematography from Oscar winner Linus Sandgren (LA LA LAND) is everything we could hope for in the action sequences (there is no shortage of bombs), as well as the quiet moments.

Speaking of the quiet moments, this is undoubtedly the most sentimental and emotional of all Bond films. Sure, we get the amazing set pieces, the crazy stunts, the awesome Aston Martin (until it isn’t), the cool gadgets, the wisecracks, and the shootouts – but we also get Bond at his most reflective and personal. There is a line in the film, “Letting go is hard.” And it is … both for Bond and for us. So welcome back and adieu, Mr. Bond. Craig. Daniel Craig.

The film opens in U.S. theaters on October 8, 2021

WATCH THE TRAILER

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Posted by David Ferguson

WONDER WOMAN 1984

December 26, 2020

 Greetings again from the darkness. Some of the key elements that make Wonder Woman appealing is that she’s smart, she’s nice, she’s dedicated to doing good, she’s grounded in her history, and her use of her powers makes sense (in a comic book kind of way). Most of that holds true in filmmaker Patty Jenkins’ sequel to her 2017 blockbuster WONDER WOMAN. So why did that one work so well, while this one falls short? It’s not an easy question to answer, though it could be as simple as having the wrong target.

Gal Gadot returns as Diana Prince, and this time she’s plopped into 1984 (the year, not the novel). This creates a cornucopia of opportunity for social commentary and satire from Ms. Jenkins and her co-writers Geoff Johns and Dave Callaham. After all, it was the era of atrocious popular music, outlandish fashion, and a relentless pursuit of greed by the “me” generation. The film pounces on each of these by using the return of Diana’s main squeeze, Steve Trevor (Chris Pine), as a device for highlighting the absurdity of belly bags and pastel tank tops for men. In the first movie, the WWI pilot wakes up in Themyscira, and this time, he just kind of materializes in the year of GHOSTBUSTERS, shopping malls, and President Ronald Reagan. While this certainly qualifies as extreme culture shock, the parade of outfits and Steve’s wide-eyed tour through the city are over-the-top, even for their attempted comedic effect.

Over-the-top also describes the film’s two main villains. Pedro Pascal (“Game of Thrones”) plays TV hypester and con man Maxwell Lord. He’s a greedy, self-centered man willing to do anything to get “more”. Kristen Wiig is Barbara Minerva, a bumbling, forgettable klutz who works at the same museum as Diana. She simply wants to be cool like Diana and have people acknowledge her existence. Things shift quickly thanks to the Dreamstone sitting in Barbara’s in-box waiting for research. What follows is more than two hours of seeing the fallout of people having their wishes come true. If you’ve learned anything about human nature during this pandemic year, then you won’t be surprised at how people react to gaining power.

Maxwell Lord is not dissimilar to Lex Luthor in SUPERMAN (1978), as his goal is ultimate power and control – though to what end, he’s not sure. Barbara Minerva was never really power hungry, but a taste of it was much to her liking, and she transitions to The Cheetah for Wonder Woman’s biggest fight scene. There is also a message about what one sacrifices to have their wishes come true. This aspect of the film could be psychoanalyzed were one so inclined. Lord’s relationship with his son is convoluted, and the early Barbara is a mess … making their “sacrifices” a bit less obvious than that of Diana.

The opening sequence is the one this viewer most enjoyed. Spectacular camera work takes us to a competition on Themyscira, as a very young Diana (Lilly Aspell returns) goes against the grown warriors, while Antiope (Robin Wright) and Hippolyta (Connie Nielsen) look on and teach hard life lessons. Not only do these actors return, but most of Ms. Jenkins’ WONDER WOMAN crew is back, including cinematographer Matthew Jensen. The changes include Film Editor Richard Pearson and Hans Zimmer provides the new score. Some of the dialogue is tough to take. As an example, Diana says “I don’t know what to think, Steve. I only hope I’m wrong.” And later, Steve explains, “Flying is easy. It’s only wind and air.” Dialogue like this makes us want to renounce our own wishes. It may be one film later than it should have been, but Ms. Jenkins does deliver a much-appreciated cameo at film’s end, and if nothing else, it leaves us wondering, ‘what would you give up for a wish?’

watch the trailer

 

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Posted by David Ferguson

THE LION KING (2019)

July 16, 2019

 Greetings again from the darkness. If you have come here to read yet another take on how this next-gen remake of a beloved film doesn’t bring anything new to the story, you’ve come to the wrong place. I love cinema as an art form, and when analyzing a movie, I typically look for the good and enjoyable, rather than focusing on every element I might be able to criticize … never forgetting that the on screen presentation is the culmination of work performed by many dedicated people so that I might sit back in a comfy seat within the confines of an air-conditioned theatre and be entertained for a couple of hours. And entertained I was.

It only takes a few moments for the awe to set in. The look is at times so realistic that kids may actually believe animals can talk. More than once the fur of an animal or the splash of the river reminded of a National Geographic program with ultra-High Definition photography. So let’s clear up something right now. This has been labeled as a “live action” remake of the animated classic from 1994. You should know, even if your eyes tell you otherwise, that there is nothing “live” in the film. Instead, everything you see on screen is computer-animated/generated. No, the lions and elephants aren’t real and neither are the trees or distant mountains. The look of the film is as revolutionary as when the first TOY STORY stunned us in 1995. We had never seen animation like that then, and we’ve never before seen computer effects like this. What is familiar are two early songs, “The Circle of Life” and “I Just Can’t Wait to be King”.

Of course, neo-realism can be admired only as a technical achievement when we are discussing a movie in which lions talk and warthogs sing. So while we marvel at the technical achievement, let’s not lose sight of the story … what made the original so popular and beloved 25 years ago. Although it’s approximately a half-hour longer than the original, this one is exceedingly close to a scene-for-scene remake. Only minor tweaks will be noticed, mostly in the demeanor of Scar and the banter between Pumbaa and Timon – each actually improving on the first film. What remains is the coming-of-age story that will now touch many new hearts and minds.

Kids will be immediately entranced with the cubs, Simba and Nala, voiced by JD McCrary and Shahadi Wright Joseph (the daughter in Jordan Peele’s US), and with Zazu (voiced by John Oliver), the goofy and comical bird tasked with keeping an eye on the two adventurous youngsters as they get themselves into trouble. James Earl Jones (now 88 years old) reprises his iconic voice role as the wise Mufasa, and Alfre Woodard voices Sarabi, the pride’s leading female. Chiwetel Ejiofor is excellent as the bitter Shakespearian villain Scar, but I couldn’t help but wish Jeremy Irons had returned for this interpretation of the jealous and power-hungry brother of Mufasa.

The energy level jumps once Simba meets Pumbaa the warthog and Timba the meerkat. Seth Rogen and Billy Eichner take the comedy routine to a new place, and we can only assume much of their banter is off-script. Kids may not get every joke, but they are sure to respond to this odd couple. Donald Glover and Beyonce voice the grown Simba and Nala, and both are outstanding – especially with their singing (no surprise there). Nala’s role is expanded a bit … as expected when you cast Queen Bey. Her original song “Spirit” is included but it’s her duet with Glover on “Can You Feel the Love Tonight?” that is a real musical standout.

Director Jon Favreau has been in the chair for such hits as IRON MAN 2 (2010), IRON MAN (2008), and ELF (2003), and he was also behind Disney’s live-action remake of THE JUNGLE BOOK (2016). The writing credits belong to Jeff Nathansan (CATCH ME IF YOU CAN, 2002) for the screenplay, Oscar winner Brenda Chapman (BRAVE, 2012) for the story, and Irene Mecchi, Jonathan Roberts, and Linda Woolverton for the characters. The latter three were among the 28 writers credited for the 1994 version. Also back is composer Hans Zimmer, who won an Oscar for his 1994 score, and songwriters Elton John and Tim Rice, also Oscar winners for their 1994 song, “Can You Feel the Love Tonight?”.

The beloved 1994 version didn’t win the Oscar for Best Animated Feature film because the award didn’t exist until 2002; however, it did spawn the 1997 Broadway smash musical. This more realistic version is rightly rated PG rather than G, as some of the scenes are likely to be a bit intense for younger viewers. And it’s important to remember that this version is meant to bring Simba’s story to a whole new generation – it’s not meant to replace the 1994 version for those who were kids when it came out so many years ago. The story and characters, while familiar to those age 30 and up, will be a whole new viewing experience for today’s kids. So while we may prefer the 1994 animated version, kids today will likely be enthralled by this updated look. And we all better get used to it, because Disney has 18 more “live action” remakes in the works (some of which will actually be “live” action).

watch the trailer:

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Posted by David Ferguson

BLADE RUNNER 2049 (2017)

October 4, 2017

 Greetings again from the darkness. Ridley Scott’s original film was released in 1982 and based in 2019. The highly anticipated sequel from Denis Villenueve is being released in 2017 and based in 2049. So we have 35 years between films, and 30 years between story settings. Expect that to be the most complicated part of this review since we were mandated by the studio to follow many rules – write this, don’t write that. Such rules would normally be frowned upon (and even ignored by many), but in fact, this film does such a masterful job of paying homage to the first, while enhancing the characters and story, that we are eager for every viewer to experience it with fresh eyes and clear mind … no matter how tempting it is to talk about!

Obviously, the massive fan base that has grown over the years (the original was not an initial box office hit) will be filling the theatres the first weekend – even those who are ambivalent towards, or adamantly against, the idea of a sequel. The big question was whether screenwriters Hampton Fancher (maybe every writer should begin as a flamenco dancer) and Michael Green would be able to create a script that would attract new viewers while honoring the original film and source Philip K Dick novel, “Do Androids Dream of Electric Sheep?” The answer is not only a resounding yes, but it’s likely even those who usually shy away from science-fiction may find themselves thoroughly enjoying the nearly 2 hours and 43 minute run time (it doesn’t seem too long).

The cast is deep and perfectly matched, and there are even a few surprises (no spoilers here). Ryan Gosling is fun to watch as the reserved K, an expert Blade Runner who tracks and “retires” old model replicants – the Nexus 8’s have been replaced by the more-controllable Nexus 9’s. An early sequence has K in combat mode against a protein farmer named Morton (played by the massive Dave Bautista). With all that is going on in these few scenes, director Villenueve is training us to lock in and pay attention, lest we miss the key to the rest of the movie and K’s motivation for most everything he does from this point on. Robin Wright plays K’s icy Lieutenant Joshi, who administers “baseline” tests to him after every successful mission – just to make certain he is still under her control.

Jared Leto delivers an understated and mesmerizing performance as the God-like Wallace who not only managed to solve global hunger, but also is a genetic engineer creating new beings. Somehow, this is one of Leto’s most normal roles (which makes quite a statement about his career) and yet his character is so intriguing, it could warrant a spin-off standalone film. Wallace’s trusted assistant is the ruthless bulldog mis-named Luv, played by Sylvia Hoeks. Her scene with Robin Wright is one of the best onscreen female duels we’ve seen in awhile. One of the more unusual characters (and that’s saying a lot) is Joi (Ana de Armas), the Artificial Intelligence/hologram companion to K, whose presence is cued by Prokofiev’s Peter and the Wolf notes. Other support work to notice comes in brief but crucial roles by Hiam Abbas, Mackenzie Davis, Carla Juri, Barkhad Abdi and Lennie James.

Who is not listed above? Of course it’s Harrison Ford (as seen in the trailer), who reprises his Deckard role from the original. All these years later, he’s a grizzled recluse who doesn’t take kindly to home visitations. Mr. Ford offers up proof that he still possesses the acting ability that made him a movie star (even if his best piloting days have passed him by). It’s such a thrill to see him flash the screen presence that’s been missing for many years. And yes, fans of the first film will mourn the absence of the great Rutger Hauer, yet there is no need to dwell on one of the few negatives.

The story leans heavily on philosophical and metaphysical questions … just like every great sci-fi film. What makes us human, or better yet, is there a difference between humans and machines that can think and feel? Can memories be trusted, or can they be implanted or influenced over time? These are some of the post-movie discussion points, which are surely to also include the cutting edge cinematography and use of lighting from the always-great Roger Deakins, and the production design from Dennis Gassner that somehow fits the tone, mood and texture of both the first film and this sequel. The set pieces are stunning and sometimes indistinguishable from the visual effects – a rarity these days. My theatre did feature the “shaky seats” that work in conjunction with the sound design … a gimmick I found distracting and more in line with what kids might find appealing.

There was some unwelcome drama a couple of months ago as noted composer Johann Johannsson dropped out and was replaced with Hans Zimmer and Benjamin Wallfisch. The resulting score complements the film without mimicking the original. Ridley Scott, who directed the original BLADE RUNNER (and its numerous versions over the years), was involved as Executive Producer, and to put things in perspective, the first film was released the same year as TOOTSIE and TRON. Denis Villenueve was Oscar nominated for directing ARRIVAL, and he has proven himself to be a superb and dependable filmmaker with SICARIO, PRISONERS, and INCENDIES. He deserves recognition and respect for his nods to the original (Pan Am, Atari) and ability to mold a sequel that stands on its own … and in my opinion, is better than the first. Hopefully stating that is not against the Warner Bros rules.

watch the trailer:

 

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Posted by David Ferguson

DUNKIRK (2017)

July 19, 2017

 Greetings again from the darkness. Even for us frequent movie-goers, a truly great film is a rare and emotional experience. Leave it to Christopher Nolan, one of the finest film makers working today, to deliver a World War II masterpiece centered on a remarkable and historic evacuation, rather than one of the epic battles that more directly led to an Allied victory. The result is a spectacular, stunning and relentlessly intense assault on our eyes, ears and emotions … it’s a horrific thing of artistic beauty.

Mr. Nolan chooses a triptych approach to tell the May/June 1940 Dunkirk story from three distinctly different perspectives: The Mole, The Sea, and The Air. The Mole (term for protective sea walls) is the “by land” segment, and it shows nearly 400,000 soldiers lined up on the beach – nervously waiting to be either rescued or massacred. The Sea puts us not on the deck of the Navy destroyers, but rather alongside the citizen volunteers who answered the call to ferry men off the beach with own pleasure vessels. The Air plops us inside the Spitfire cockpits of two Royal Air Force pilots battling low fuel as they attempt to protect their fellow soldiers below. This 3-part film harmony expertly captures the disorientation of war by shuffling between the three segments, and varying the timelines and sequence of each.

This all happened pretty early in the war, as Winston Churchill had only become Prime Minister a few weeks prior. It should be noted that Mr. Nolan purposefully avoids the usual war room blustery (we see neither Churchill nor Hitler, and there is little mention of the infamous Halt Order) and allows the action to tell the story. Instead, his focus on the (very) young men being sent to battle makes a clear political statement on the absurdity of war. One of “The Sea” volunteers (an excellent Mark Rylance) delivers the message when he states it’s the old men running the war, so he can’t be expected to just sit back as young sons are sent to fight and die.

Despite the epic look, feel and sound of the film and the massive scale of the event, this film is surprisingly at its best in the small moments of heroism and the dogged determination of individuals to survive. Minimal dialogue allows the horrors of war to take center screen. Danger and death are at every turn – bombings, torpedoes, drowning, gunfire, and most any imaginable peril is ever-present. We witness PTSD (shell-shock) in the form of Cillian Murphy’s shivering rescued soldier, and are reminded that every young man present will be either dead or scarred for life. No one escapes war unscathed.

The opening sequence finds young Fionn Whitehead and his squad being targeted with gunfire as German leaflets fall from the sky. The leaflets are maps outlining the hopelessness as German forces have them surrounded. The film is meticulously researched and historically based, though the few characters we get to know are fictionalized accounts. The practical effects throughout are breath-taking and much of it was filmed on location at the Dunkirk beach. There will likely be some complaints regarding the scarcity of female characters and those of color, but the technical aspects of the film are beyond reproach – although the French might have preferred their military receive a bit more attention. Hans Zimmer’s score is unique and searing as it perfectly captures the intensity of the film. His use of a ticking watch only perpetuates the constant feeling of running out of time. Cinematographer Hoyte Van Hoytema and Editor Lee Smith prove why they are among the best at their profession.

Given the spectacle of the action (if possible, see it in IMAX or 70mm), it’s remarkable how we still manage to get to know some of the characters. From The Mole segment, Fionn Whitehead, Aneurin Barnard and Harry Styles represent the young soldiers, while Kenneth Branagh and James D’Arcy play officers. Tom Hardy and Jack Lowden are piloting the Spitfires, while Mark Rylance, Barry Keoghan, Tom Glynn-Carney, and Cillian Murphy are aboard the rescue yacht. Nolan regular and good luck charm Michael Caine can be recognized as the voice on Air Force radio. There is a 1958 film with the same title, and it stars John Mills and Richard Attenborough. The connection (other than the Dunkirk title) is Sir Attenborough’s grandson Will appears in this current film.

The horrors and impact of World War II continue to be an abundant garden – ripe for the picking when it comes to movies. Over the past 70 years there have been numerous approaches to telling part of the story that redefined the world: Judgment at Nuremberg (legal aftermath), Casablanca (romance), I Was a Male War Bride (comedy), Tora! Tora! Tora! and From Here to Eternity (Pearl Harbor), Shoah (documentary), Schindler’s List and Son of Saul (holocaust), Downfall (Hitler), The Great Escape (entertainment), Patton (bio), The Pianist (personal), Saving Private Ryan (Normandy), Das Boot (U-boat), The Thin Red Line (Guadalcanal), and Letter From Iwo Jima (two opposing perspectives). Each of these, and many others, have their place in War movie history, and now Christopher Nolan’s film belongs among the best.

watch the trailer:

 

 

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

HIDDEN FIGURES (2016)

December 21, 2016

hidden-figures Greetings again from the darkness. The space program has created many iconic images over the years: rhesus monkeys in space suits, the Mercury 7 Astronauts press conference, Neil Armstrong and Buzz Aldrin erecting a flag on the moon, and numerous Space Shuttle missions – some successful, others quite tragic. We’ve even been privy to cameras inside the space station and the NASA control center. Despite all of that, director Theodore Melfi’s (St Vincent, 2014) latest film uncovers a part of history of which most of us knew nothing.

Adapted from the book by Margot Lee Shetterly, the film stuns us with the story of the “Colored Computers” … the African-American female mathematicians who manually checked and cross-checked the endless calculations, formulas and theories required to launch a rocket into space and bring it (and the astronaut) back home. It’s a crowd-pleasing history lesson and an overdue tribute to, and celebration of, three intelligent women of color who played crucial roles in the success of the American space program

We first meet a young Katherine Johnson as a child math prodigy whose school can’t provide her the challenge she needs. Next we see her as a bespectacled adult (Taraji P Henson) on the side of the road beside a broken down car with her friends and co-workers Dorothy Vaughan (Octavia Spencer) and Mary Jackson (musician Janelle Monae). They are on their way to work at Langley in the computing department. Dorothy is the ad hoc supervisor of the group and is in a non-stop battle for the title and increased pay that comes with the job. Mary is the razor-tongued one who is striving to overcome all of the obstacles on her way to becoming the first female African American Engineer at NASA. These are good friends and smart women caught up in the racism and sexism of the times and of the organization for which they work.

Soon, Katherine is promoted to the Space Task Group run by Al Harrison (Kevin Costner). This is a group of true rocket scientists, and Katherine is charged with checking and confirming their work … a thankless job for anyone, but especially for a black woman in the early 1960’s. Her supervisor (Jim Parsons) refuses to give her the necessary security clearance – huge portions of the work are redacted, making it increasingly difficult for Katherine to run the numbers. This is a seemingly accurate and grounded portrayal of racism in the workplace. At the time, racism and sexism were mostly woven into the fabric of society … it’s “just the way things are”. It’s almost a passive-aggressive environment with separate coffee pots and restrooms clear across campus.

There are numerous sub-plots – probably too many. We even get an underdeveloped romance between Katherine and a soldier named Jim Johnson (Mahershala Ali, so great in this year’s Moonlight). We follow Mary as she goes to court in pursuit of the right to take the engineering courses required for her certification. We see Dorothy with her kids, as well as her ongoing head-butting with her condescending supervisor (Kristen Dunst), who claims to have nothing against ‘you people’. Dorothy’s response is clever, crowd-pleasing and a reminder that this is an air-brushed version of reality … but also a view that we rarely see. As the Mercury Project progresses, we note how Harrison (Costner) is so focused on getting the job done, that he is oblivious to the extra challenges faced by Katherine – that is until her emotions erupt in a scene that will have Henson under Oscar consideration.

The slow implementation of the first IBM mainframe is important not just to NASA, but also to Dorothy and her team. They see the future and immediately start self-training on Fortran so that they are positioned for the new world, rather than being left behind. Eye-opening sequences like this are contrasted with slick mainstream aspects like no slide-rules (not very camera friendly, I guess), stylish and expensive clothing for the underpaid women, and a steady parade of sparkling classic cars in vibrant colors – no mud or dents in sight. Sure, these are minor qualms, but it’s these types of details that distract from the important stories and messages.

The film does a nice job of capturing the national pride inspired by the Mercury project, and astronauts such as John Glenn (played here by Glen Powell, Everybody Wants Some!!). It even deploys some actual clips and captures the pressure brought on by the race to space versus the Russians. There is an interesting blend of Hans Zimmer’s score and the music of Pharrell Williams that gives the film a somewhat contemporary feel despite being firmly planted in the 60’s. This mostly unknown story of these women is clearly about heroes fighting the daily battles while maintaining exemplary self-control. It offers a positive, upbeat and inspirational message … believe in yourself, and don’t pre-judge others. Don’t miss the photos over the closing credits, and don’t hesitate to take the family to the theatre over the holidays.

watch the trailer:

 

 

 

Leave a Comment » | Comedy, Drama | Tagged: , , , , , , , , , , | Permalink
Posted by David Ferguson

BATKID BEGINS (2015, doc)

July 10, 2015

batkid Greetings again from the darkness. Our world is filled with anger and frustration and evil, and should we ever doubt this, a simple click over to the local or national news will prove it so. Even the non-terrorist majority are simply too busy or self-absorbed to show kindness or respect. Subways are jammed with people glued to their smart phones, oblivious to the sea of real humans. Highways are real world video games of dodging the closest road rager. A trip to the shopping mall reveals those too self-centered to simply hold open a door or allow a pedestrian to calmly cross the parking lot. What we need is a Superhero … and in November 2013, we got just that.

Director Dana Nachman chronicles the story of young Miles Scott from Tulelake, California. As a toddler, Miles was diagnosed with Leukemia and went through chemotherapy and other cancer treatments. By age 5, he was on the road to recovery and that’s when the Make-A-Wish foundation became involved. It turns out Miles’ greatest wish was to be Batman for a day. And this is where the documentary takes an unexpected turn.

Nachman chooses not to focus on Miles’ illness, but rather on the heroic efforts of Make-A-Wish director Patricia Wilson and her team to make this wish come true for him. This is not the story of gravely ill little boy, but rather it’s the piecing together of a global phenomenon. A challenging wish transformed into a worldwide viral event constructed by countless volunteers, the San Francisco Chief of Police, the Mayor of San Francisco, 25,000 people lining the streets, and millions more watching via social media.

Ms. Wilson’s incredible “can-do” attitude and boundless positive energy are complimented by Eric Johnston, an inventor and stuntman, who dives headfirst into his role as Batman and mentor to Miles the Batkid. Others key to the event were Mike Jutan who stepped into the role of The Penguin, Oscar winning composer Hans Zimmer, and even “Lou Seal”, the mascot of the San Francisco Giants. Are you starting to get the idea? See, it’s the masses that made this happen … the San Francisco Opera contributed costume work, and even a young boy donated the Batsuit for Batkid – it was homemade!  So many offers of help came in that a portion of San Francisco was turned into Gotham City for a day so that Batman and Batkid could fight crime together. Words fail me as it’s an emotional stunner to see this unfold.

Of course the power of social media (Twitter, Facebook, etc) is on full display here – even President Obama tweeted about Batkid! However, what is most awe-inspiring is the massive display of kindness and generosity from so many strangers from so many various backgrounds.  As with everything these days, there were critics. A few wailed about the cost to the city, while others expressed outright disgust that such hoopla was for one kid, rather than hundreds. A generous donor made the city whole by stroking a check, thereby shutting up the first group of complainers. As for the second group, they simply miss the point. It was a-dream-come-true for one boy robbed of childhood years by a cruel disease, and beyond that, it provided a respite from “bad news” and allowed the reporting of “good news”. It was also a much needed reminder that the human spirit is alive and that being kind and courteous is contagious, and creates a virus of feel good and do good.

Some may describe this as a promotional film for the Make A Wish foundation, but it might better be described as a film that promotes the positive impact people can have when they unite for a worthy cause. This wasn’t about politics, race relations, or financial turmoil … it was about people doing something nice for others, and discovering the payback is pure joy. Batkid was the hero we deserved and the one we needed.

watch the trailer:

 

 

Leave a Comment » | Documentary | Tagged: , , , , , | Permalink
Posted by David Ferguson

12 YEARS A SLAVE (2013)

October 27, 2013

slave1 Greetings again from the darkness. Should this be labeled a historical drama? Is it one man’s extraordinary tale of strength and survival? Does this fall into the “art film” category that so divides the movie-going public? The answer to all is YES, and I would add that it’s a masterfully crafted film with exquisite story telling, stunning photography and top notch acting throughout.

The movie is based on the real life and writings of Solomon Northrup, a free man who was kidnapped and sold into slavery from 1841-53. Northrup’s story provides us a look inside the despicable institution of slavery. Needless to say, it’s a painful and sad process made even more emotional by the work of director Steve McQueen (Hunger, Shame). McQueen takes a very direct approach. Not much is left to the imagination. Torture, abuse, cruelty and misery take up the slave2full screen. The only subtlety comes from the terrific work of Chiwetel Ejiofor as Northrup. His facial expressions and eyes are more powerful and telling than any lines of dialogue could be.

You will not find many details from the movie here. This is one to experience for yourself. It lacks the typical Hollywood agenda when it comes to American history. Instead this era is presented through the eyes of a single wronged man and his quest to return to his wife and kids, no matter the inhumane obstacles. We see Paul Giamatti as an emotionless, all-business slave trader. Benedict Cumberbatch is a plantation owner who has a heart, but lacks business savvy. And finally we enter the world of cotton farmer Michael Fassbender, who twists Bible scripture into threats directed at the slaves – his “property”.

slave3 Fassbender dives deep into evil to find his character, and along with Ejiofor, Sarah Paulsen (who plays Fassbender’s icy wife), and Lupita Nyong’o (who plays slave Patsey, the center of the two most incredible scenes in the film), provide more Oscar worthy performances than any one movie can expect. You will also note Quvenzhane Wallis (as Northrup’s daughter) and Dwight Henry (as a slave) in their first appearances since Beasts of the Southern Wild. Other strong support comes from Scoot McNairy, Taran Killam (SNL), Michael K Williams, Alfre Woodard, a nasty Paul Dano, Garret Dillahunt and Adepero Oduye.

Steven Spielberg gave us a taste of the holocaust with Schindler’s List, but not since the TV mini-series “Roots” has any project come so close to examining the realities of slavery. Northrup’s story seems to be from a different universe than the slave4charming slaves of Gone with the Wind. I would argue that what makes this watchable (though very difficult) is the focus on Northrup’s story. While tragic, his ending actually deflects from the ongoing plight of those not so fortunate. It’s a story of a man who states he doesn’t wish to merely survive, he wants to live a life worth living.

McQueen’s direction will certainly be front and center come awards season, as will many of the actors, John Ridley (the screenwriter), Sean Bobbitt (cinematographer) and Hans Zimmer (score). The only question is whether the subject matter is too tough for Oscar voters, who traditionally lean towards projects a bit more mainstream.

SEE THIS MOVIE IF: you want to see filmmaking and story-telling at the highest level and based on the true path of one man during one of America’s most despicable periods.

SKIP THIS MOVIE IF: slavery, complete with explicit scenes of turture and cruelty, is something you would rather read about than see depicted onscreen.

watch the trailer:

http://www.youtube.com/watch?v=vUQNjfhlREk

1 Comment | Drama | Tagged: , , , , , , , , , , , , , , , , , , | Permalink
Posted by David Ferguson

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