MOUNTAINHEAD (2025)

May 30, 2025

Greetings again from the darkness. Artificial Intelligence and the uncertainty of its uses and power are real world concerns. On the heels of MISSION: IMPOSSIBLE – THE FINAL RECKONING, which dealt with AI as an omnipotent force, comes an HBO film that focuses more on the human beings driving the technology. Jesse Armstrong, the creator of “Succession”, delivers his feature film directorial debut as a combination of satire and caution.

Four ‘Tech Bros’ meet for poker weekend at a stunning mountainside home (an actual ski resort in Park City, Utah). Randall (Steve Carell, “The Office”) is the elder of the group, and is referred to as “Papa Bear”. He’s also convinced he can overcome his terminal cancer (these guys aren’t accustomed to taking no for an answer). Venis (Cory Michael Smith, Chevy Chase in SATURDAY NIGHT, 2024) is the world’s richest man, and behind the deep-fake tool causing so much of the global turmoil. Jeff (Ramy Yousef, POOR THINGS, 2023) is the renowned developer of an AI platform that Venis desperately needs to acquire for guardrails on his own system. Lastly, there is Hugo (Jason Schwartzman, MOONRISE KINGDOM, 2012), nicknamed “Souper” – as in Soup Kitchen – since he is the least filthy rich of the foursome, having not yet attained “B” status. It’s his house, nicknamed Mountainhead (a play on Ayn Rand’s “Fountainhead”), where the group has gathered.

Obvious from the beginning is the tension between hyper and cocky Venis and self-righteous Jeff, since the latter won’t sell to the former despite knowing full well how vital the transaction could be. In fact, it takes little time to note the massive egos on full display are used to mask each man’s insecurities. The rapid-fire sharp dialogue with cutting quips is normal to these guys, although at times Souper comes across as a bit desperate to impress the others. Does Jeff actually have morals, or is he simply enjoying his own power trip over Venis? Although that’s the biggie, there are numerous other minor moments of one-upmanship. Along the way, we get a couple of twists.

From their phones and TV, the four keep a constant watch on world events which seem to get darker and more dangerous by the minute … all the while these rich clowns battle over their personal minutiae. These are the kind of guys who may get a call from the President at any time. By the end, we are convinced of a few things. Rich people have their own personal agendas, often turning their money into toxic wealth. It seems likely that there are no limits to how far they would go to achieve their desired results. Also, any affiliation is possible, and all past misdeeds can be forgotten for the right gain. Lastly, despite the satire, AI is a danger if for no other reason than the humans driving it.

Debuts on HBO/Max on May 31, 2025

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Posted by David Ferguson

THE LAST SHOWGIRL (2024)

January 9, 2025

Greetings again from the darkness. I get that many would quickly toss this one aside without so much as a second thought. After all, Pamela Anderson hasn’t been featured much in the last decade (or two), and most only recall her from “Baywatch” in the 1990’s and, umm, perhaps an infamously intimate video. My advice would be to reconsider. She’s now 57 years old and is absolutely terrific in this film from director Gia Coppola (granddaughter of legendary director Francis Ford Coppola; her big screen debut was as baby Zoe in NEW YORK STORIES, 1989). The screenplay is from TV scribe Kate Gersten (“Mozart in the Jungle”).

The film opens with Shelly (Ms. Anderson) in a close-up during an audition. She’s obviously quite nervous and a bit out of her comfort zone. It turns out most of the movie is a flashback that leads up to the full audition, including her verbal sparring with the show’s casting director (Jason Schwartzman, director Gia Coppola’s cousin). We soon learn that Shelly is a veteran dancer who has been a part of the ‘Razzle Dazzle’ burlesque show in Las Vegas for 38 years. The show’s promotional posters from the late 1980’s feature a young Shelly – and she’s been there ever since.

We experience the frenetic energy and near chaos backstage during the show, as Shelly and her fellow dancers, Mary-Anne (Brenda Song, THE SOCIAL NETWORK, 2010) and Jodie (Kiernan Shipka, “Mad Men”) juggle for dressing room space and costume changes between numbers. The two younger dancers look up to Shelly, who even fills the role of mother-figure for Jodie – a youngster dealing with family issues. All of the timing is coordinated by the Stage Manager Eddie (Dave Bautista, GUARDIANS OF THE GALAXY, 2014), a figure of calm who has a history with Shelly.

Shelly’s best friend is Annette (Oscar winner Jamie Lee Curtis), who plays an aging cocktail waitress trying to hang on despite the generational shifts. What seems quite clear is that all of these folks are caught in a web of day-to-day survival – never able to get ahead (despite a career spanning almost 4 decades). When the new owners decide to shut down Razzle Dazzle in favor of a circus, Shelly experiences double panic mode. Not only is her livelihood at stake, but her estranged daughter Hannah (Billie Lourd, “American Horror Story” and daughter of Carrie Fisher) is showing signs of wanting to reconnect with, or at least make sense of, a mother who chose the stage over her. The two share some emotional scenes.

Many will be surprised at the range Pamela Anderson shows in her performance, and the story itself should not be overlooked. Razzle Dazzle acts as a stand-in for the life so many folks have led, and just how untethered and lost they feel when the rug is pulled from the only life they’ve known. Shelly mentions a couple of times how she’s always having to defend her life, somehow not recognizing the need … even when Hannah is standing face to face with her. There’s a lot here, and I’m hoping movie lovers give this one a shot.

Opens in theaters on January 10, 2025

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Posted by David Ferguson

QUEER (2024)

December 6, 2024

Greetings again from the darkness. Some filmmakers have earned the benefit of the doubt to the point where each film they release is worthy of consideration. Luca Guadagnino is one such filmmaker. He first captured my attention with I AM LOVE (2009) and has since followed that with such interesting films as A BIGGER SPLASH (2015), CALL ME BY YOUR NAME (2017), SUSPIRIA (2018), BONES AND ALL (2022), and CHALLENGERS, his first film released in 2024. This time he and his CHALLENGERS screenwriter, Justin Kuritzkes, take on the 1985 William S Burroughs novella, “Queer”, which was linked to his 1953 novel, “Junkie”.  Taking on the writing of William S Burroughs is challenging enough as a reader, much less as a filmmaker.

Daniel Craig stars as William Lee. If you are familiar with Burroughs’ writing, then you are aware the character of William Lee shares many of the same personal attributes as Burroughs himself. He’s a gay man who drinks too much, does hard drugs, and is quite sexually promiscuous. The film opens with Chapter 1: How do you like Mexico?  Lee spends his time drinking non-stop and carousing for his next roll in the proverbial hay. He has a few fellow ex-pat friends, including Joe Guidry (Jason Schwartzman), but it’s a certain cool cat that catches his eye. Eugene Allerton (Drew Starkey) is a young ex-soldier and Lee is quickly enamored.

The two hang out together, although Lee is never really certain if Eugene is gay or not since he spends much of his time playing chess with fellow bar patron, Mary (Andra Ursula). One night of passion between Lee and Eugene leads to Chapter 2: Travel Companions. The two men make their way to South America as their awkward relationship (and agreement) leads to more booze. Chapter 3: The Botanist in the Jungle is certainly one of the most bizarre segments of any movie this year, as the men hike deep in the jungle to connect with a doctor who has researched some ‘vegetation’ that may solve Lee’s fascination/obsession with telepathy. There is no viable description for this segment, but kudos to anyone who recognizes Leslie Manville – the one who has a pet sloth and keeps a viper for home security.

The Epilogue picks up two years later, and it’s here where Lee’s long struggle with loneliness becomes most apparent. His time with Eugene provides home of a true, lasting relationship with something other than a tequila bottle or a heroin needle. Daniel Craig and Drew Starkey are both excellent here, and may each receive awards consideration. If your previous exposure to Mr. Craig is through the James Bond movies, you might find this role a bit surprising, but those who have followed his career are in the know. One final note (no pun intended), the score from Trent Reznor and Atticus Ross perfectly captures the longing for connection (aka loneliness).

Opening in theaters on December 6, 2024

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Posted by David Ferguson

BETWEEN THE TEMPLES (2024)

August 22, 2024

Greetings again from the darkness. It seems wrong (and a bit cheap and obvious) to use the word “unorthodox” to describe this latest movie from writer-director Nathan Silver (STINKING HEAVEN, 2015) and co-writer C. Mason Wells. However, that description fits … even if a bit too perfectly. The word also accurately describes the look and camera work from cinematographer Sean Price Williams, using harsh close-ups for immediacy and a filtered soft look for connection.

We first meet Ben (Jason Schwartzman) as his moms, Meira (Caroline Aaron) and Judith (Dolly De Leon) are trying to set him up with a plastic surgeon. Their efforts come mostly from a good place – helping him get through the grief of his wife dying, yet they would also like him to get his life back together and move back out of their basement. It’s been a hard year for Ben, and his grief along with questioning his faith and the fairness of life have left him unable to fulfill the singing portion of his work as a Cantor at the Temple.

Rabbi Bruce (Robert Smigel, former SNL writer) promises to help Ben get through this, but Ben’s trip to the local bar result in his getting punched in the face and reuniting with his elementary school music teacher, Carla Kessler O’Connor (the great Carol Kane). It turns out Carla’s husband died and she’s also dealing with being forced out of her music teaching job after 42 years. From here, things only get more interesting between Ben and Carla.

Joining his mitzvah class, Carla wishes to experience the Bat Mitzvah she never had as a 13-year-old girl. Rabbi Bruce reluctantly approves, and Ben begins the unusual process. Clearly, he’s attracted to her lust for life, while she understands his inherent sadness when he states, “even my name is in the past”. Rabbi Bruce also tries to set up Ben with his daughter Gabby (Madeline Weinstein), whom he describes as “a mess”. Gabby has excellent comedic timing with car locks.

Things get convoluted for all involved, even as Ben and Carla grow closer … even agreeing that sometimes the brain feels like it’s having a heart attack. Emotions (and confusion) hit a peak during the most awkward Shabat dinner on record. All characters have their moment to shine.

Jason Schwartzman delivers one of his most reserved performances to date. We can feel his grief turn to hope. However, it’s Carol Kane who brings the most interesting aspects of the film alive. Ms. Kane, with her trademark hair and recognizable voice was a true star early in career with memorable performances in CARNAL KNOWLEDGE (1971), THE LAST DETAIL (1973), DOG DAY AFTERNOON (1975), ANNIE HALL (1977), WHEN A STRANGER CALLS (1977), “Taxi”, THE PRINCESS BRIDE (1987), and SCROOGED (1988). It’s a treat to see her have a chance to shine again.

When one mentions Jewish movie comedies, it’s Mel Brooks and early Woody Allen that tend to come to mind. It’s possible some might be offended at Mr. Silver’s clever approach here, but I prefer to note the dual meaning of this film’s title … call it ‘unorthodox’ and leave it at that.

Opening in theaters on August 23, 2024

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Posted by David Ferguson

THERE THERE (2022)

November 18, 2022

Greetings again from the darkness. It’s understandable why we ended up with so many Pandemic-based movies. Writers need to write. Actors need to perform. Filmmakers need to make movies. Even the trickery can be accepted given the unusual circumstances. With his latest, writer-director Andrew Bujalski, the father of Mumblecore, delivers an unusual ensemble piece – one where the actors share scenes, but not the set.

The opening sequence is easily the film’s best and most interesting. Lili Taylor and Lennie James awaken in the afterglow of their first hook-up. Things obviously went well … and plenty far … and now two grown-ups are trying to figure out the next step. He seems to be upbeat and optimistic about their spending more time together, while she sports her battle wounds by assuming things won’t work out … going so far to ‘joke’ about him murdering her. With very little effort, it’s obvious to see the two actors are not in the same room despite the cleverly edited shots blended to pretend otherwise. The interaction between the two characters says much about ‘no-longer-youngsters’ and their attitude towards new relationships.

It’s in the next scene where we begin to catch on to Bujalski’s approach. Lili Taylor meets up with her AA sponsor (Annie LaGanga) for some tough love and some awkward conversation. It happens this quickly … the film begins to veer off and leave us wondering about the characters we are meeting. Our fears are solidified in the next sequence when Ms. LaGanga confronts her son’s teacher (Molly Gordon) in what comes across as an inhumane manner. And Ms. Gordon’s reactions are equally unlikely. So through three vignettes, we have met four characters, and now we don’t much care for three of them. By the end of the film, we find ourselves not really liking anyone we’ve come across.

Jason Schwartzman plays sketchy attorney to an equally-sketchy tech guru played by Avi Nash, and Schwartzman’s character is later visited in the night by his mentor-ghost (Roy Nathanson). What we have is a series of interconnections that overlap and tie-in the lives of multiple characters. Between each segment, there is a musical interlude where we see Jon Natchez performing the music. It’s an odd, experimental, extremely talkative approach to COVID cinema that seems to play on our many insecurities and frustrations. It’s difficult to imagine too many finding this entertaining now that so many new features are being released, so it’s best to keep in mind that the actors, crew, and filmmakers all continued to work in spite of the many challenges.

Available in theaters and On Demand beginning November 18, 2022

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Posted by David Ferguson

THE FRENCH DISPATCH (2021)

October 28, 2021

Greetings again from the darkness. Few things in the cinematic world are more instantly recognizable than a Wes Anderson movie. In fact, historically speaking, perhaps only Jacques Tati comes as close to having a signature style easily spotted by viewers (unless you want to count Tom Cruise sprinting or Julia Roberts cackling). This is Mr. Anderson’s 10th feature film in 25 years, and I now rate 5 of these very highly, though all 10 have a certain appeal. This latest, co-written by Anderson with frequent collaborators Roman Coppola, Hugo Guinness, and Jason Schwartzman, could be considered his most ambitious to date … and likely the most ‘Wes Anderson’ of all.

Billed as a love letter to journalists, it becomes crystal clear, that by this, Anderson means the esteemed stable of writers from the early days of “The New Yorker”. In fact, Anderson structures the film as if it were following the path of a magazine being published. We are informed upfront that this edition features “an obituary, a travel guide, and 3 feature articles”. An episodic format is not unusual for films, yet Anderson never does anything by the book. Each piece takes place in its own time period, and there appears to be little connection or crossover among key characters. Still, somehow he makes this work by ensuring each piece stands on its own and is filled with unusual characters and those patented, fabulous Anderson visuals.

The obituary is that of Arthur Howitzer Jr (a deadpan Bill Murray), the founder and publisher of “The French Dispatch” magazine, a spin-off from The Liberty Kansas Evening Sun … a move from a small town in Midwestern United States to a charming small town in France (hilariously and fittingly) named Ennui-sur-Blasé. Howitzer adores his writers, and the only guidance he offers them is, “Just try to make it sound like you wrote it that way on purpose”. He also has a “No Crying” sign posted in his office, likely as much as a reminder to himself as a rule for the staff.

Our travel guide section is fortunately quite brief since it involves Owen Wilson as a bicycle tour guide showing us around the town – the “Local Color”- of Ennui-sur-Blasé. This takes us to the first feature story, and the best of the lot. Tilda Swinton excels (doesn’t she always?) as a writer and art expert giving a colorful lecture entitled “The Concrete Masterpiece”. She tells the story of Moses Rosenthaler (Benecio del Toro), a genius modern artist serving a life sentence for murder, and as she lectures, we see it play out. While incarcerated, Moses continues to work and his muse is a prison guard named Simone, played exceptionally well by Lea Seydoux. Her nude posing for him leads to his signature modern art piece, which attracts the attention of an ambitious art dealer played by Adrien Brody.

“Revisions to a Manifesto” is the next feature, and it involves a young activist named Zeffirelli (Timothee Chalamet). He’s a chess expert, quite moody and has a questionable quest. He’s being covered by writer Lucinda Krementz (Frances McDormand), who is unable to maintain objectivity, and inserts herself right into the story, amongst other things. The segment pays tribute to the activism of the 1960’s and is filmed mostly in black and white.

The third feature, “The Private Dining Room of the Police Commissioner” involves writer Roebuck Wright (Jeffrey Wright) telling his story while a guest on Liev Schreiber’s Talk Show in the 1970’s. Roebuck is obviously inspired by James Baldwin, and he famously recalls every line he’s ever written. The story he recites involves a legendary chef played by Steve Park.

Actors mentioned so far are just the headliners, and Anderson has packed the film with his usual troupe, as well as dozens of others – some you’ll recognize, and some you won’t. There are at least seven Oscar winners involved: Christoph Waltz, Fisher Stevens, and Angelica Huston (as narrator), in addition to the aforementioned Swinton, McDormand, del Toro, and Brody. Numerous Oscar nominations and awards are included in the group of other familiar faces like Willem Dafoe, Saoirse Ronan, Edward Norton, Lois Smith, Henry Winkler Bob Balaban, Elisabeth Moss, and Mathieu Amalric.

Other frequent Anderson collaborators who deliver standout work include Production Designer Adam Stockhausen, Cinematographer Robert Yeoman, Editor Andrew Weisblum, and composer Alexandre Desplat. The film looks and sounds remarkable, and somehow it doesn’t feel like it’s moving fast – although we can barely keep pace. The film can be compared to ordering a flight at your local distillery. Each flavor is tasty, but they may not add up to a full drink.

Wes Anderson has delivered another stylish, fun film to watch, and one that is endlessly entertaining. It may not have as many moments of laughter as some of his previous films, yet there are still plenty of sight gags, insider references, and light-heartedness bathed in nostalgia – even if it’s not quite as whimsical. Shot in the French town of Angouleme, the visuals are as impressive as any you’ll find, serving up a collage of time, caricatures, color, and topics.

Opening nationwide in theaters on October 29, 2021

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Posted by David Ferguson

ISLE OF DOGS (2018)

March 29, 2018

 Greetings again from the darkness. It’s referred to (sometimes affectionately, sometimes not) as Wes World. Many directors have their own style, though few are as immediately recognizable as a film by Wes Anderson. THE GRAND BUDAPEST HOTEL, MOONRISE KINGDOM, FANTASTIC MR FOX, THE ROYAL TENNEBAUMS, and RUSHMORE all share a tone and style … a cinematic personality, if you will, that places them squarely in Wes World. Beyond the similarities, there is also a level of innovation and creativity in each of his projects. He consistently delivers a “Wow” factor, or in the case of his latest, a “bow-wow” factor (my one and only pun, I promise).

Expanding on the stop-action animation he used in FANTASTIC MR. FOX, director Anderson also plays homage to Japanese filmmaking – especially the animation of Hayao Miyazaki and the cinematic legend Akira Kurosawa. The film’s prologue, “The Boy Samurai” is a Japanese fable and sets the stage for a futuristic Japan where the Mayor of Megasaki, Kobayashi (voiced by Kunichi Nomura), has decreed that all dogs should be banned from society due to dog flu, snout fever and canine saturation. Kobayashi (an embittered politician who looks eerily similar to Japanese acting legend Toshiro Mifune) even ships off his nephew’s beloved Spots (Liev Schreiber) to Trash Island. In Part 1 “The Little Pilot”, that nephew, Atari (Koyu Rankin) crash lands his plane on Trash Island while attempting to rescue Spots.

Part 2 (“The Search for Spots”), Part 3 (“The Rendez-Vous”), and Part 4 (“Atari’s Lantern”) break the story into segments, but the real fun here is in the visual effects and the banter amongst the dogs. The five main dogs we follow are Chief (Bryan Cranston), Rex (Edward Norton), Boss (Bill Murray), King (Bob Balaban), and Duke (Jeff Goldblum). Chief is a stray dog who is the group skeptic and doesn’t hesitate in greeting most anyone with “I bite”. We know this because director Anderson explains “Barks are rendered in English”.

While assisting Atari with his search, the five dogs alternate between gossiping and decision-making by committee … spouting one-liners that are consistently funny and incisive. Anderson co-wrote the script with Roman Coppola and his frequent collaborator Jason Schwartzman. Kunichi Nomura provided expertise to ensure the Japanese segments were accurately portrayed. The usual Wes-style droll humor is evident throughout, though viewers must make sure their hearing is fined tuned to catch some of the wise-cracks that almost seem like background noise at times.

In addition to the humor, political corruption and conspiracies are at the core of what could be described as an animated rescue adventure comedy. Narrator Courtney B Vance ensures we are following along with the story, although the artistic beauty of Trash Island – a garbage strewn wasteland – is enough to hold our interest. Keeping track of the homages is challenging enough, but we also get Haikus, Puppy Snaps, and Yoko Ono as a scientist. Greta Gerwig voices Tracy, an idealistic Foreign Exchange student who recognizes a corrupt politician when she sees one, and there are a couple of brilliant noirish scenes between Chief and Nutmeg (Scarlett Johansson). A recurring visual of dogfights in a cloud of dust harken back to the days of classic cartoons and the unbridled violence that we’ve always found so comical in animation.

It’s a dystopian tale … well it is if you happen to be a dog. Cat lovers probably view this as paradise. An all-star cast of voice actors keeps us interested even when the story bogs down at times, although the look of the film always seems to be priority one. It’s such an easy movie to respect, however, one that’s a bit more difficult to speak passionately about. This review doesn’t address the ever-present complaints from those looking to create a race or nationality based scandal. To me, the film is creative and appears to be against unkindness and discrimination and corruption. Perhaps that message overrides some easily ruffled feathers.

watch the trailer:

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Posted by David Ferguson

THE OVERNIGHT (2015)

June 27, 2015

overnight Greetings again from the darkness. For kindergartners, making friends is as easy as a bag of gummy worms on the playground. For adults, it’s a bit more complicated.  According to writer/director Patrick Brice (Creep, 2015) making adult friends can involve rectum paintings and penis prosthetics … at least after a lot of wine and too many bong hits.  While this is not my wheelhouse for humor, it’s clearly a bold cinematic step and pushes the boundaries even further than other recent Duplass Brothers projects (they are Producers here).

Emily (Taylor Schilling) and Alex (Adam Scott) have recently moved to L.A. from Seattle with their young son. Emily and Alex are good parents, good people, and a solid couple – except for some sexual incompatibility. While at the park, their son (and his gummy worms) befriends the son of Kurt (Jason Schwartzman), one of the endless oddballs that populate L.A. Kurt charms Emily and Alex into visiting his home for an adult dinner party/kid playdate.

Greeted at the door of the mansion by Kurt’s French wife Charlotte (Judith Godreche), Emily and Alex are clearly wooed by the worldliness and sophistication of their new friends. Kurt is a bit of a renaissance man and he and Charlotte also appear to be a solid couple … though as the evening unfolds, we soon enough discover their own sexual incompatibility. And therein lies the core and conflict of the film – relationship dynamics impacted by sexual tension explored through raunchy humor.

It’s interesting to compare Brice’s film with Paul Mazursky’s 1969 Bob & Carol & Ted & Alice, and analyze the cultural and cinematic differences brought on by the 46 year difference. What was shocking then, is nothing compared to what this film has us believe that most young adult couples are struggling with now. Emily and Alex spend the evening exploring their boundaries as individuals and as a couple, while being softly pushed by the more adventurous Kurt and Charlotte. Were it not so raunchy, the theme would be more interesting … though significantly less appealing at the box office.

All four lead actors are strong, but Schwartzman and Scott handle the more challenging roles with aplomb. Given my preferences, I could have used a safe word on a couple of occasions, but the real test will be whether audiences find the film a bold step forward, or whether it is judged to be shock for shock’s sake.

watch the trailer:

 

 

 

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Posted by David Ferguson

BIG EYES (2014)

December 22, 2014

big eyes Greetings again from the darkness. Based on the true events of artist Margaret Keane and her husband Walter, the latest from director Tim Burton is the closest thing to reality he has produced since his only other biopic, Ed Wood (1994). But fear not, ye fans of the Burton universe, his style and flair remains ever-present with a stunning color palette on this trek through the 1950’s and 60’s.

If you have never heard the story, Margaret Keane is an artist with a unique style that features exaggerated eyes of her subjects, hence the movie title. When she first met Walter, she fell hard for his charm and his exuberance and professed love of her work. What happened next seems impossible to imagine these days, but this was the 1950’s. Walter began to market and sell her paintings as his own … in fact, the real marketing was himself as an artist. The empire of Keane paintings, postcards, posters, etc literally exploded forcing Margaret to paint in silence and solitude while her husband inexplicably took public credit, sighting his defense as no one will buy “lady art”.

That may sound like the description of an “issues” film – one that digs into the male dominance of the pre-women’s movement era, or possibly even a look at artistic integrity or the battle of popular kitsch versus critical acclaim. Instead, this is more of a relationship film and a character study. We witness how Walter (Christoph Waltz) lures Margaret (Amy Adams) into this trap and truly undervalues her as an artist or a person. She is merely a means to his financial and public success. Margaret feels trapped right up to the point where she doesn’t.

There could have been real fun in the exploration of Dick Nolan (played by Danny Huston) from the “San Francisco Examiner” in his role as cheesy journalist contrasted against the socially revered serious art critic John Camady (played by Terence Stamp). Instead, both the relationship aspects of the Keanes and the tabloid battles of the critics come off as a bit lightweight, though right in line with Mr. Waltz’ incessant smirk through most of his lines. Fortunately, the film is filled with subtext … each scene carrying the weight of multiple issues.

Many will enjoy the deliciously evil approach Waltz takes for the role, but I mostly felt sad that a woman as apparently smart as Margaret would fall for this obvious shyster and his over the top self-promotion. Still, her battle for independence and ownership is quite interesting given the times and the hole that was dug. Adams is terrific in the role, and she is one of many actresses who bring their own “big eyes” to the picture (Krysten Ritter and Madeleine Arthur are others).

The film never attempts to answer any social issues or even take on the question of “what is art?”. The lack of a stance doesn’t change the fact that it’s beautiful to look at, and brings to light an incredible true story. The set design and costumes are wonderful, and composer Danny Elfman delivers a complimentary score. For those wondering, neither Johnny Depp nor Helena Bonham Carter (both Burton staples) appears in the film. However, the real Margaret Keane is shown sitting on a park bench while Ms. Adams paints in one scene. So if you are after a good-looking film that doesn’t (on the surface seem to) ruffle many feathers, the battle of the Keanes is one that should satisfy.  If you are willing to dig a little deeper, there is much to discuss afterwards.

SEE THIS MOVIE IF: you enjoy the “truth is stranger than fiction” stories

SKIP THIS MOVIE IF: you are expecting the Burton bizarre style

watch the trailer:

https://www.youtube.com/watch?v=YOavDSErmak

 

 

 

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Posted by David Ferguson

THE GRAND BUDAPEST HOTEL (2014)

March 16, 2014

grand budapest Greetings again from the darkness. Some of the finer things in life are an acquired taste. The exception to that is the film canon of writer/director Wes Anderson. You either “get” it or you don’t. Which side of the line you fall is much more a matter of style and taste than intellect.

This latest from Anderson may be his most visually distinct and stylistic presentation yet. He even tosses in a bit of a plot so that we have more reason to follow the outlandish antics of master concierge (and murder suspect) M Gustave – played with comic verve by Ralph Fiennes. Yes, the Ralph Fiennes known for such comedy classics as Schindler’s List, The English Patient and The Hurt Locker. Admit it, when you need a laugh, you fire up the Ralph Fiennes stand-up routine. OK, so he did have a role in the terrific dark comedy In Bruges, but nothing has prepared us for seeing him in this witty, fast-talking role at the center of Anderson’s wildest ride yet.

As any follower of Anderson films will tell you, there is always fun to be had in picking out the members of his supporting cast. Assisting Mr. Fiennes with this one are Edward Norton, Jude Law, F Murray Abraham, Tilda Swinton (oddly cast after Angela Lansbury dropped out), Adrien Brody, Willem Dafoe, Jeff Goldblum, Harvey Keitel, Tom Wilkinson, Saoirse Ronan, Lea Seydoux, Mathieu Amalric, Jason Schwartzman, and Owen Wilson. Of course, there is also Bill Murray, in his seventh collaboration with Anderson. The most impressive new face is that of Tony Revolori, who plays the teenage Lobby Boy in-training … a role that turns vital when he is befriended by Gustave, and is invaluable in the telling of the story.

None of that really matters though, as the best description I give this is “spectacle”. It’s a whimsical romp with nostalgic tributes throughout. It’s a movie for movie lovers from a true movie lover. You will notice the three distinct aspect ratios used to depict the different time periods, and the music is perfect … from Vivaldi’s Concerto for Lute and Plucked Strings to Alexandre Desplat’s fantastic composition over the closing credits. If you are up for some hyper-stylistic eye candy, this one is tough to beat (especially this time of year).

SEE THIS MOVIE IF: colorful costumes and wild set design combined with oddly humorous deadpan dialogue delivery from the mind of Wes Anderson is something you “get” OR you never miss a Ralph Fiennes comedy!

SKIP THIS MOVIE IF: traditional story telling is your preference for movies

Below you will find two links … one for the trailer and one for the Desplat’s closing credit song.

the closing credit song:

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

the trailer:

http://www.youtube.com/watch?v=1Fg5iWmQjwk

 

 

 

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Posted by David Ferguson

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