A COMPLETE UNKNOWN (2024)

December 24, 2024

Greetings again from the darkness. As a nineteen-year-old college dropout, Robert Zimmerman traveled from his hometown of Hibbing, Minnesota to New York City so that he could play music and visit his folk hero, Woody Guthrie, who was hospitalized with Huntington’s Disease. Of course, Zimmerman became known as Bob Dylan, and his musical genius continues to this day – more than 60 years and counting. Those early formative years are recounted here by writer-director James Mangold (WALK THE LINE, 2005; 3:10 TO YUMA, 2007; FORD V FERRARI, 2019) and co-writer Jay Cocks (GANGS OF NEW YORK, 2002), who used Elijah Wald’s 2015 book, “Dylan Goes Electric! Newport, Seeger, Dylan and the Night that Split the Sixties” as inspiration.

Timothee Chalamet perfectly captures the essence of young Bob Dylan – one who was driven to write songs, and one destined to change the music scene. Was he focused? Absolutely. Was he arrogant? Without a doubt. Was he talented? So much so that for decades he has inspired other musicians and songwriters. Edward Norton is uncanny as folk icon and activist Pete Seeger, even nailing the distinctive accent and mannerisms, while Scoot McNairy plays legendary Woody Guthrie (“This Land is Your Land”), already robbed of voice by disease. The two men are taken aback by the first song Dylan plays for them – providing just the boost of confidence the young man needed to take to the streets and clubs, honing the sound that would bring joy to so many.

We get a sense of Dylan’s journey and rise to fame, as well as a couple of his romantic dalliances – specifically, artist Sylvie Russo (an odd name change for a character clearly based on Suze Rotolo) and activist and fellow folk singer Joan Baez. Elle Fanning plays Russo/Rotolo, who appeared with Dylan on the cover of his “The Freewheelin’s Bob Dylan” album, and Monica Barbaro plays Baez and gets to showcase her own lovely voice on stage a few times (as well as Baez’s frequent frustration with Dylan). Other supporting roles include Boyd Holbrook as Johnny Cash, Charlie Tahan as Al Kooper, Dan Fogler as Albert Grossman, and Norbert Leo Butz as Alan Lomax. All of these were key players in the development of Dylan.

Dylan’s obsession with writing is established – at the expense of most personal relationships. However, the crux of this story is the moment that transformed Bob Dylan from a folk music favorite to a musical icon. A good deal of time is spent showing the number of people who assertively fought against Dylan turning electric for the 1965 Newport Folk Festival. It’s such a classic example of an institution trying to protect its territory from change … as if the plugging of a guitar into an amp could ruin music that has constantly evolved over many centuries. Contradictory reports claim Dylan was booed mercilessly while he played that day, while other reports claim there were a few in the audience upset, but most reacted warmly to the new style. I don’t believe the film mentions that Dylan was backed that day by a good chunk of The Paul Butterfield Blues Band, but we do get to experience the new sensation, “Like a Roling Stone”.

Chalamet surprises here with his depth of performance, as well as his musical ability – singing and guitar playing. Rabid Dylan fans will surely find fault with some details, but most music fans will embrace the look at Dylan’s musical roots and the development of his genius and songwriting prowess.

Opens in theaters on December 25, 2024

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Posted by David Ferguson

INDIANA JONES AND THE DIAL OF DESTINY (2023)

June 29, 2023

Greetings again from the darkness. “They look like snakes.” It’s such a simple line of dialogue, yet after 42 years and four previous movies, we know exactly what that means to retiring archaeology professor, Dr. Henry Jones, best known to all as the swashbuckling Indiana Jones. As the final chapter of the beloved franchise, this entry is the first one not directed by the legendary Steven Spielberg (listed here as an Executive Producer). Instead, James Mangold takes the reins, and also shares writing credit with his frequent collaborators Jez Butterworth and John Henry Butterworth, as well as “Indiana Jones” veteran David Koepp. Of course, George Lucas and Philip Kaufman receive credit for their original characters.

Harrison Ford once again dons the familiar whip and hat, and at 80 years of age, still possesses the screen persona and magnetism that first won us over in “Raiders of the Lost Ark”. The extended and frenetic opening sequence finds a young Indy (Ford is digitally de-aged for the sequence) at the tail end of WWII fighting Nazis over what else, a prized ancient artifact. I’ll leave the specifics to those who watch the film, but just know that it’s an interesting historical choice, and also one that matters little in relation to the enjoyment of the film.

Working alongside Indy in the opening sequence is his pal and fellow archaeologist, Basil Shaw (talented character actor Toby Jones, who seems to be in most movies these days). However, the fun part for me is seeing Thomas Kretschmann and Mads Mikkelsen share scenes as Nazi Colonel Weber and Dr. Voller, respectively. These are two of my favorite actors and I do wish they had a couple more exchanges … although Mikkelsen’s character gets significant screen time and plays a crucial role in how the story unfolds and concludes (he is also digitally de-aged for the opening sequence).

The story picks up with modern day Dr Voller and his band of misfits tracking down the relic and disturbing Dr. Jones’ retirement party. It’s at this point where Indy’s Goddaughter Helena (Phoebe Waller-Bridge) pops up creating a three-way battle for the priceless relic. This sets off a chain of events that leads them on a global trek to desert, sea, and hallowed cities of antiquity. Helena’s partner in crime is young Teddy (Ethann Isidore, sporting a Bob Griese Dolphins jersey), who is clearly the scrappiest of the bunch. Dr Voller’s troupe includes Shaunetta Renee Wilson as the misguided Mason, Brad Holbrook as sleazy Klaber, and Olivier Richters as one of the largest bodyguards you’ve ever seen.

Fans of the franchise know that the story is secondary to the characters and action, and there is no shortage of action on speeding trains, galloping horses, motorcycles, tuk tuks, vintage airplanes, and scuba dives. Antonio Banderas shows up as a boat-owning old friend of Indy, but it’s the appearance of series favorites John Rhys-Davies as Sallah, and Karen Allen as Marion, that generated cheers from the audience. Ms. Waller-Bridge holds her own with screen legend Ford, and it will be interesting to see the career path she chooses after her success on TV and now film. There could be criticism directed at the action sequences and the film’s pacing, but what’s the point? Mangold has delivered what the fans want. At times this feels like a live action cartoon, and that’s not meant as criticism. It’s pure fun, fantasy, and adventure cloaked in nostalgia; and the film is a fitting conclusion to a world class franchise.

Opens in theaters June 30, 2023

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Posted by David Ferguson

FORD V FERRARI (2019)

November 19, 2019

 Greetings again from the darkness. 7000 RPM. Racing legend Carroll Shelby describes that as the moment of racing bliss in the opening of the film. We are reminded of early test pilots breaking the sound barrier, or explorers reaching the peak of Mt. Everest. What follows is two-and-a-half hours of history, rivalries, egos, and sport. The racing scenes are exhilarating, and the men are driven by testosterone and compelled to be the best. They are throwbacks to a different era. An era that wasn’t about fairness and feelings, but of determination and focus that produced results – either success or failure. There were winners and losers, and the ceremonies awarded no participation ribbons.

Who are these men? They are Carroll Shelby, Ken Miles, Henry Ford II, and Enzo Ferrari. Director James Mangold (LOGAN, WALK THE LINE) takes the 1966 24 Hours of Le Mans and turns it into a rivalry between car makers, a friendship between racing icons, a look at corporate buffoonery that still exists today, and an old-fashioned movie that is fun to watch … regardless of whether you know the first thing about racing or cars.

Matt Damon plays Carroll Shelby, the war veteran race driver-turned-designer hired to push Ford racing into world class status. Shelby is an industry icon who won the 1959 Le Mans before retiring due to a heart condition. He then founded and ran Shelby-American for designing and improving cars. He wore cowboy hats that were only eclipsed in size by his bravura in most situations. Christian Bale plays legendary driver Ken Miles, another war veteran and bombastic friend of Shelby, who can best be described as a race car savant. Contrary to the film’s title, the story belongs to these two men, and the film belongs to these two actors.

Co-writers Jez Butterworth, John-Henry Butterworth, and Jason Keller take some liberties with the script and bend a few historical details to make the parts fit a Hollywood production … but for the most part, the story is pretty accurate. Just a few years after the Edsel fiasco, Henry Ford II is agitated at the state of Ford Motor Company, and after a bitter and personally insulting failed buyout of Ferrari, Mr. Ford (played with proper arrogance by Tracy Letts) decides to engage in motor-measuring with the Italian company run by Enzo Ferrari (Remo Girone). He hires Shelby to elevate Ford racing to elite status with one main goal – beating Ferrari at Le Mans. Shelby’s cocksure approach manages to keep Miles onboard despite the internal battles with Ford executives, especially Leo Beebe (a smarmy Josh Lucas). Beebe doesn’t see Miles as “a Ford man”, and in what is all too common in corporate life, prefers style over substance.

The film could have easily been titled Corporate vs Cars. Although the Henry Ford vs Enzo Ferrari segment is quite entertaining, most of the time is spent with Shelby and Miles trying to reach their dream while negotiating corporate obstacles. These two men have a love for racing and each other – in an old school, manly-respect kind of way. They are simpatico in their quest for the perfect car, and as Miles explains to his son (Noah Jupe) in a terrific scene, the perfect lap.

Additional supporting roles include Jon Bernthal as young visionary Lee Iacocca (who died earlier this year), Caitriona Balfe as Miles’ supportive wife, and Ray McKinnon as Phil Remington, the lead engineer on Shelby’s team. Of course, Iacocca went on to become Chairman of Chrysler, where he brought in Shelby to consult on the Dodge Viper, among other models. Supposedly Le Mans racing legend and 6-time winner Jackie Ickx appears in a crowd shot, but I missed it.

There is a stark contrast between the Ferrari factory and the Ford assembly line, but the egos at the top are remarkably similar. A bruised ego lit the fuse for the rivalry, but it was the car guys who made it happen. The racing scenes are adrenaline-packed and the sound in the theatre, combined with Cinematographer Phedon Papamichael (SIDEWAYS, NEBRASKA) close-ups inside the car, allow us to feel the rumble and vibration and speed sensation inside the Ford GT40. Damon and Bale are terrific. Damon struts with Shelby’s confidence, and Bale (after a huge weight loss from his role as Dick Cheney in VICE) captures the cantankerous genius of Miles – plus seeing his yell at other drivers during races is hilarious. There is a comical rumble between Miles and Shelby that will remind no one of Batman and Jason Bourne, but as difficult as it is to make popping a clutch exciting on the big screen, Mangold’s team comes through.

watch the trailer:

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Posted by David Ferguson

KNIGHT AND DAY (2010)

June 29, 2010

Greetings again from the darkness. I really liked director James Mangold‘s two most recent films – Walk the Line, and 3:10 to Yuma. Tom Cruise and Cameron Diaz both have great smiles and look really good in swim attire. Paul Dano (There Will Be Blood, Little Miss Sunshine) is well cast as an off-center nerdy scientist. That’s the end of all the positive comments I have for this film.

The negative comments are for just about everything else in this summer “blockbuster”. It is billed as an Action-Comedy. There is plenty of action, though much of it is so far-fetched and ludicrous. There is almost no comedy. The rapid fire banter between Cruise and Diaz would have been much more effective had it been well written, instead of just fast paced.  Even the music is distracting.  Hall & Oates and Christopher Cross are painful enough, but they really should have let the composer watch the film before creating the score.

A quality action movie needs a real force coming from the bad guy. Here, the filmmakers instead provide us with a “is he a good guy or a bad guy” story line with Cruise. Anyone surprised at the real answer? Because of that, we don’t have anyone to root against. Some generic Spainish arms dealer played by Jordi Molla (Blow) and the government agent played generically by Peter Saarsgard. Generic is not a word you want associated with your movie.

This is Cruise and Diaz together for the first time since the far-superior Vanilla Sky. They both deserve better than this slop, though I feel confident they had a good time with the globe-trotting to Spain, Austria, Jamaica and a few U.S. stops in between. The fun they had filming did not translate into fun for me as a viewer. In fact, as they were driving away, I kept hoping for an ending like Thelma and Louise.

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Posted by David Ferguson