WAKE UP DEAD MAN: A KNIVES OUT MYSTERY (2025)

December 10, 2025

Greetings again from the darkness. The phrase ‘Third time’s the charm’ loses impact when the first two times were also charmed. Such is the case for writer-director Rian Johnson and his ‘Knives Out’ trilogy (so far). The filmmaker has really tapped into the joy of whodunits for those of us who are big fans of the genre. This third one has a darker tone and feel than the first two, but many of the elements remain in place – including a stellar ensemble of well-known actors, some whom only appear briefly.

Rising star Josh O’Connor plays troubled young Priest Jud Duplencity. If you are unfamiliar with O’Connor, I highly recommend REBUILDING (2025) and EMMA. (2020). After a physical confrontation, this Priest gets reassigned to Chimney Rock, where arrogant Monsignor Jefferson Wicks (Josh Brolin) rules over his loyal flock which includes devoted assistant Martha (Glenn Close), depressed Dr. Nat Sharp (Jeremy Renner), stressed out lawyer Vera Draven (Kerry Washington), best selling sci-fi author Lee Ross (Andrew Scott), cellist Simone (Cailee Spaeny), groundskeeper Samson Holt (Thomas Haden Church), and ambitious politician/social media influencer wannabe Cy Draven (Daryl McCormack). As I previously stated, it’s quite an ensemble … and it also includes Mila Kunis, Bridget Everett, Annie Hamilton, Jeffrey Wright, and James Faulkner.

Having this set at a church with two rival Priests make ‘The Good Friday Murder’ one for the Knives Out pages. When superstar detective Benoit Blanc (Daniel Craig)  arrives on the scene, he calls it “The Holy Grail” of murder and a “perfectly impossible” crime. A ‘closed room’ murder with all suspects seated in the church pews – except Priest Duplencity, who is front and center at the altar, creates quite a conundrum for Blanc and the Priest. Of course, that’s where the fun comes in for Rian Johnson and his writing. He excels at weaving a tapestry of confusion sprinkled with just enough witty humor to prevent the mood from sinking too low.

A secret that’s been held for 60 years leads to another contemporary secret, as well as a few more between characters. Eve’s Apple and the religious inserts are a welcome addition, and mostly this is designed as yet another fun treat for the ‘Knives Out’ fan base. There’s even Tom Waits singing “Come On Up to the House” to close things out.

Opens on Netflix on November 12, 2025

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Posted by David Ferguson

THE PHOENICIAN SCHEME (2025)

June 11, 2025

Greetings again from the darkness. At this point it seems clear that Wes Anderson makes movies for himself and his devoted followers … and his loyal troupe of actors. I can’t think of another filmmaker whose movies are so instantly recognizable and consistently similar in look and feel. The pacing, verbal style, color palette, and overall rhythm of his latest compares favorably to some of his previous, including: ASTEROID CITY (2023), THE FRENCH DISPATCH (2021), THE GRAND BUDAPEST HOTEL (2014), and MOONRISE KINGDOM (2012). Rather than a criticism, that’s intended instead as a notice to viewers. If, like me, you’ve enjoyed his past films, you’ll likely take pleasure in this one.

Benecio Del Toro (one of the great faces in cinema) takes the lead here as wealthy businessman Zsa-zsa Korda, who inexplicably defies death about as often as most people brush their teeth. Due to his frequent near-death experiences and the risk involved in pursuit of his latest project, Korda names his daughter, Liesl (Mia Threapleton, daughter of Kate Winslet), a nun-in-training, as his sole heir and invites her to be part of the latest venture. The enterprise is exceedingly well-planned as evidenced by the labeled wardrobe boxes. Of course, the project is too convoluted for us to understand, but that matters little. It’s the globe-trotting and interactions with famous faces that raise the entertainment value.

‘Deadpan’ is today’s magic word – as it is in most Wes Anderson films. And if there is a secondary word of the day it would be ‘goofy’, because this undoubtedly falls on the light-hearted end on the Anderson scale. It’s filled with jokes, site gags, and purposefully oddball moments designed to elicit laughter (or at least enjoyment). The third of the lead triumvirate here is Michael Cera, who seems completely at ease – actually excelling in the Anderson world. He plays Bjorn, a character more complex than we are initially led to believe … although we don’t believe it, even initially.

Joining in the fun is an all-star line-up of actors other filmmakers only dream of casting. These include: Willem Dafoe, Scarlett Johansson, Rupert Friend, Richard Ayoade, Jeffrey Wright, Hope Davis, Benedict Cumberbatch, and Mathieu Amalric, each memorable in their segments. You won’t want to miss Tom Hanks and Bryan Cranston as brothers taking on the infinitely unskilled duo of Del Toro and Riz Ahmed (as a crowned Prince) in a game of basketball … and even that pales to the scene with Bill Murray as God.

Anderson co-wrote the script with frequent collaborator Roman Coppola and the score comes from 2-time Oscar winner Alexandre Desplat. Cinematographer Bruno Delbonnel perfectly captures the Anderson flavor in what I believe is their first time working together. What I find fascinating is that while watching the film, the characters and story struck me as a bit of a lark, yet some moments have come back around in my mind, and it seems quite clear that Anderson purposefully and slyly buried some life messages in this little comedy. What I’m saying is that the film works as a comedy, but also may carry a bit more heft that what I thought while watching. That falls under the definition of refined filmmaking.

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Posted by David Ferguson

AMERICAN FICTION (2023)

December 20, 2023

Greetings again from the darkness. From one who watches too many movies every year, I’m amazed this film is the work of a director making his feature film directorial debut. Writer-director Cord Jefferson was one of the lead writers for the excellent series “Master of None”, and he has adapted the 2001 novel “Erasure” by Percival Everett for the big screen. It’s a brilliant satire and commentary on a society that has twisted things to the point where no one knows what to say or how to say it.

The film opens with a college professor pushing back on a student’s overly emotional reaction to his use of the N-word in class. What strikes us in the scene is that the professor is black and the student is white. The confrontation costs Thelonious “Monk” Ellison (the always great Jeffrey Wright) his job at a New England university, and perfectly sets the stage for the rest of the story – much of which centers on Monk’s incredulity at the progression of events around him.

Without a steady teaching paycheck, Monk heads to his see his agent Arthur (well-known character actor John Ortiz), who informs that his most recent intellectual book has no market, and suggests he write something a bit more mainstream. Monk heads to the Boston book festival and hears author Sintara Golden (comedian Issa Rae, BARBIE) in a public reading of a particularly stereotypical excerpt from her latest best-seller, purported to telling “black stories, our stories”. Monk simply can’t believe there is an audience for this or that it passes for black representation.

On a lark, Monk sits down to crank out a “black” story by a black writer. He does so as a joke, and is shocked, and a bit annoyed, that a publisher comes back with a huge offer. The negotiations with the publisher are hilarious. We see two white professionals desperate to offer a cool black book, yet so afraid to say the wrong thing (something offensive), that they inexplicably agree to Monk’s terms … changing the title to an unpublishable curse word. As a bonus, Monk has published the book under the pseudonym Stagg R. Lee (a takeoff on the classic Lloyd Price song). The publishing deal requires Monk to assume the identity of a wanted fugitive as part of the backstory for marketing purposes. When the movie offer rolls in, Monk is again beside himself, and states, “the dumber I act, the richer I get.”

While all this is going on, Monk is also facing some struggles in his personal life with his mother (80 year old Leslie Uggams, “Roots”) who is struggling with dementia, his financially-strapped sister Lisa (Tracee Ellis Ross, Diana’s daughter, THE HIGH NOTE, 2020), and brother Cliff (Sterling K Brown, WAVES, 2019, “This is Us”) whose recent divorce was caused by his revealing his preference for a gay lifestyle. All of this for a family whose dad committed suicide years ago. In the midst of all the family and professional drama, Monk strikes up a relationship with Coraline (Erika Alexander, GET OUT, 2017), a neighbor across the street, though he can’t bring himself to come clean with this latest publishing scheme.

The best comedies have something to say, and the best satires are often quite cynical as they expose the absurdity of our world. Monk is dumbfounded at many of the same things that dumbfound us, and this peaks at his meeting with an aptly named movie producer, Wiley Valdespino (played by Adam Brody, READY OR NOT, 2019). Myra Lucretia Taylor (THE BIG SICK, 2017) has a supporting role as the housekeeper, and there are too many terrific scenes to count. One of the best is a debate between Monk and Sintara, and the writing is priceless and brilliant. An intelligent man like Monk cannot wrap his head around the fact that black books pandering to white readers who are trying to follow the rules is the new path to success. Filmmaker Cord Jefferson delivers the message (warning?) in a smart, funny movie featuring a wonderful lead performance by Jeffrey Wright.

Opening in theaters nationwide on December 22, 2023

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Posted by David Ferguson

RUSTIN (2023)

November 4, 2023

Greetings again from the darkness. Organizing an event is often tedious and frustrating and stressful. Rarely is it entertaining. Such is the challenge faced by director George C Wolfe (MA RAINEY’S BLACK BOTTOM, 2020) and co-writers Justin Breece and Dustin Lance Black (Oscar winner for MILK, 2007). Take that and add a central character that most have never heard of, and the challenge seems questionable, if not undesirable. What happens if that main character has more charisma than the beloved Reverand Martin Luther King? Well, that’s something we can work with.

Colman Domingo (IF BEALE STREET COULD TALK) stars as Bayard Rustin, the gay, black, outspoken civil rights activist and organizer … and one-time communist … who coordinated efforts for the 1963 March on Washington for Freedom and Jobs. If that doesn’t sound familiar, it’s the official name of the event where MLK gave his “I Have a Dream” speech. That day is remembered for King’s speech, but the event never would have occurred without the herculean efforts behind the scenes by Mr. Rustin and his team. Since it wasn’t easy, there is a story worth telling.

Director Wolfe is a Tony Award winner and his stage roots are on full display. Many scenes play like live theater, and the performances are elevated to the point of over-dramatizing. There is nothing subtle about Bayard Rustin and nothing subtle about the film, with the exception of Ami Ameen as MLK. By watching this, we wonder how King ever became the leader of a movement – and this after an early scene where Rustin urges him to “own your power”. It’s a power we don’t see here, yet understand it existed in real life. The film opens by reminding that it was 1954 when the Supreme Court ruled segregation was illegal.

Most of what we see occurs in 1963, a couple of years after King and Rustin had a falling out. When the friendship and partnership are re-established for the purposes of the march, it brings together the previously disparate organizations (and their egos) that had been striving independently for power. One in particular was the NAACP, with its director, Roy Wilkins, played here by Chris Rock. The behind-the-scenes bickering and posturing is one of the film’s strengths. Other players of interest here include A Philip Randolph (Glynn Turman), Anna Hedgeman (CCH Pounder), Representative Adam Clayton Powell (a properly pompous Jeffrey Wright), and Elias Taylor (Johnny Ramey) as an attraction and distraction for Rustin.

The goal of 100,000 peaceful attendees initially seemed nearly impossible, and of course, history tells us the final number was closer to 250,000. This group of activists not only faced opposition from white establishment, including (according to this) the Kennedy brothers, but there was also an incredibly tight timeline to work with. It’s the group of dedicated and passionate volunteers that go to the heart of a grassroots movement, and these folks are given their due. The film’s weakness is in its attempt to balance the movement with the scandals surrounding Rustin’s homosexuality. That angle simply doesn’t work as well. As viewers, we are bombarded with monologues galore and stagey acting and scenes, but at the center is a man whose story should be told.

https://www.netflix.com/title/81111528

In select theaters November 3, 2023 and on Netflix beginning November 17, 2023

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Posted by David Ferguson

THE BATMAN (2022)

February 28, 2022

Greetings again from the darkness. Riddle me this: does “The Bat, The Cat, and The Rat” sound more like an opening line to a joke or the title of a Dr. Seuss book? In fact, those are three core elements of this new, COVID-delayed, and highly anticipated film from writer-director Matt Reeves and co-writer Peter Craig. I’ll confess to being a huge fan of Christopher Nolan’s ‘Dark Knight’ trilogy (that concluded 10 years ago), and being a bit skeptical to a new version featuring Robert Pattinson in the titular role (I’m choosing to totally ignore the in-between portrayals in the “Justice League” movies). Knowing full well how important it is for fans to watch these films with fresh eyes and a clear head, this review is purposefully vague on what will surely prove to be some of the more popular and contentious discussion points.

Let’s start with a general description and the setup. The film is dark and gloomy and gritty and grimy. Gotham is a cesspool of corruption and crime, and we get no glimpse into the other side, assuming there is one. Billionaire Bruce Wayne (Robert Pattinson) is still in his second year as the Batman, often referred to as “Vengeance”. There is substantial backstory for Mr. Wayne, who lives in relative seclusion with his trusty manservant Alfred Pennyworth (Andy Serkis), while the Batman prowls at night in his efforts to clean up the city. Of course he is unable to keep pace with crime and corruption, even with the close alliance he has built with good cop, Police Lt. James Gordon (Jeffrey Wright). It takes Batman’s Poirot-like detective skills to solve a riddle left as a clue in a particularly high-profile murder case. Soon it’s obvious a serial killer is at work and he has purposefully drawn the Batman into his game.

The caped crusader proceeds to cross paths with Selena Kyle/Catwoman (a terrific Zoe Kravitz), Oswald Cobblepot/Penguin (an unrecognizable Colin Farrell), District Attorney Gil Golson (Peter Sarsgaard), and crime lord Carmine Falcone (John Turturro). As city VIPs begin showing up dead, it’s a masked Edward Nashton/Riddler (Paul Dano) who always seems a step ahead. All of the above receive their chance to shine on screen, and while none let us down, it’s not until the mask is ripped from Riddler, and Dano really shines, that we are left wanting more. It should be noted that Farrell (with his facial prosthetics and fat suit) is kind of a second fiddle here, but it’s surely intentional and meant to set the stage for more Penguin antics down the road.

Pattinson will certainly receive the most scrutiny. I found him to be an excellent Batman, with black eye makeup smeared by sweat under his cowl, maintaining the grungy tone. His whispery voice differs from Christian Bale’s gravely growl, but works for the character’s withdrawn nature and preference for detective work over than fighting. Staying true to the premise that this is only his second year, there is a significant shortage of “wonderful toys”, and the batmobile is less rocket ship and more souped-up coupe. The contrast to these is a batsuit that seems quite advanced (and looks cool). It’s Pattinson’s Bruce Wayne that didn’t work for me. I respect the reclusive billionaire aspect, but he mostly looks like someone on their way to a Nirvana gig, leaving us wondering how the heck could anyone not connect the dots between a creepy rich guy and a nearly identical creepy guy in a bat suit. It’s a minor complaint, but one that stuck with me.

Oscar-winning composer Michael Giacchino (UP, 2009) takes a more classical approach than the dramatics of predecessors Hans Zimmer and Danny Elfman. Giacchino has been a frequent Pixar contributor, and scored some well-known blockbusters in franchises like ‘Jurassic World’, ‘Star Trek’, ‘Planet of the Apes’, ‘Mission Impossible’, ‘Spider-man’, and ‘Star Wars’. His work fits nicely here. Adapting characters and stories originated by Bob Kane and Bill Finger, Matt Reeves and Peter Craig have found a way to put their own stamp on the work. Mr. Craig is Oscar winner Sally Field’s son, and his previous scripts include THE TOWN (2010), parts 1 and 2 of THE HUNGER GAMES: MOCKINGJAY, and upcoming high-profile projects in TOP GUN: MAVERICK and GLADIATOR 2. Director Reeves has previously helmed the excellent horror film LET ME IN (2010), as well as DAWN OF THE PLANET OF THE APES (2014) and WAR FOR THE PLANET OF THE APES (2017).

This marks the first in a planned Batman trilogy, and a couple of the last scenes seemingly set the stage for what’s to come. Although this is an odd movie, here’s hoping the franchise maintains this tone and avoids the typical Marvel/DC overblown CGI approach. After all, the Batman is but one man, not a God of superpowers. This film is an unusual blend of noir-horror-detective-action-psychological thriller wrapped in a gray box with a black bow, and though it will likely be divisive among fans (isn’t everything?), this 3-hour epic leaves us anticipating the next ‘bat time’ and ‘bat channel’.

Opens wide in theaters on March 4, 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

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

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Posted by David Ferguson

THE LAUNDROMAT (2019)

October 10, 2019

North Texas Film Festival (NTXFF) 2019

 Greetings again from the darkness. The meek may inherit the earth, but if this Steven Soderbergh movie based on Jake Bernstein’s book (screenplay by Scott Z Burns) is correct, they aren’t likely to get the money too. To put it more bluntly, the first of the film’s 5 rules of creating and protecting wealth is, “the meek are screwed.” In order to follow this film that is “based on true secrets”, it helps to have a basic knowledge of the Panama Papers … a 2016 anonymous leak of more than 11 million documents exposing how the rich skirt the laws when it comes to protecting their money. Offshore entities had previously been a mainstream punchline, but these documents from Mossack Fonseca, a law firm in Panama, clearly outlined just how widespread the practice had become.

Rather than traditional narrative form, the information is presented through multiple vignettes featuring an impressive roster of well-known actors: Meryl Streep, Jeffrey Wright, Sharon Stone, Melissa Rauch, David Schwimmer, James Cromwell, Matthias Schoenaerts, Robert Patrick, Nonso Anozie, and Rosalind Chao, plus a few others you’ll recognize. In the role of tongue-in-cheek emcees are Gary Oldman and Antonio Banderas, as Jurgen Mossack and Ramon Fonseca, respectively. Their coordinating flamboyant outfits correspond to these caricatures of the real men behind this web of fraudulent activity. They are meant to add humor to the situation, but also tell “their side of the story.”

We are caught off-guard when Meryl Streep’s story and her character are not the main focus. Her slow unraveling of insurance fraud after her husband’s death is but one segment of the lesson that will likely confuse most people. The easy comparison is Adam McKay’s THE BIG SHORT (2015), which used some of this style in explaining the mortgage backed securities market. Whereas Mr. McKay won an Oscar for his screenplay, that’s highly unlikely for this one. Scott Z Burns is a talented writer, but this was simply too complex of a subject to tackle in 95 minutes. Mr. Soderbergh, as is tendency, not only directs the film, but is also the cinematographer, editor and producer.

This is a Netflix production that I caught at the inaugural North Texas Film Festival, and thanks to the presence of Ms. Streep, will likely have at least a limited theatrical release. Unfortunately, neither big screen nor small will solve the inherent issues here. There are some nuggets such as Delaware, despite its population of less than one million, being king of corporation filings (thanks to its business-friendly tax laws). Understanding shell companies, tax evasion, and other illicit financial activities among the world’s ultra-rich requires more than a talented cast, but perhaps there is enough here to motivate some to dig a little deeper with their own research. That is, if the film’s finale – a lecture on reform – doesn’t turn you off completely. Many of us appreciate being informed, but rebel against the preaching.

watch the trailer:

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Posted by David Ferguson

THE GOLDFINCH (2019)

September 12, 2019

 Greetings again from the darkness. The challenge after watching this movie is deciding whether it needed more time or less. With a run time of two-and-a-half hours, that may seem like a ludicrous question, but Donna Tartt’s Pulitzer Prize (fiction) winning 2013 novel was almost 800 pages long, covering many characters and spanning more than a decade. What to include and what to omit surely generated many discussions between director John Crowley (the excellent BROOKLYN, 2015) and screenwriter Peter Straughan (Oscar nominated for the fantastic TINKER TAILOR SOLDIER SPY, 2011).

13 year old Theo (Oakes Fegley) is visiting the Metropolitan Museum of Art with his mother when a bomb explodes leaving Theo dazed in the rubble and his mother dead. An encounter with an injured stranger causes Theo to take a painting and flee the museum. Theo proceeds to hide the artwork as the family of one of his schoolmates takes him in. The painting is “The Goldfinch” by Rembrandt’s pupil Carel Fabritius. In the first of many parallels separated by time, we learn Fabritius was killed (and most of his work destroyed) in an explosion. In fact, it’s these parallels and near-mirror-images are what make the story so unique and interesting … and so difficult to fit into a film.

When Theo’s long-lost drunken shyster father (Luke Wilson) shows up with his equally smarmy girlfriend Xandra (Sarah Paulson), they head to the recession-riddled suburbs of Las Vegas. It’s here where Theo meets Boris (Finn Wolfhard, Richie from the two IT movies), a Ukranian emigrant living with his dad (yet another parallel). The two boys become friends, partaking in drugs, alcohol, and shoplifting. Another tragedy puts Theo on the run. He finds himself back in New York, where he takes up with Hobie (Jeffrey Wright), the partner of the stranger from the museum.

All of this is told from the perspective of young adult Theodore Decker, played by Ansel Elgort (BABY DRIVER). We see him bunkered in a hotel room contemplating suicide. The story we watch shows how his life unfolded and landed him in this particular situation. And it’s here where we find the core of the story. Circumstances in life guide our actions, and in doing so, reveal our true character. Theo carries incredible guilt over his mother, and his actions with Hobie, regardless of the reasons for doing so, lead him to a life that is not so dissimilar to that of adult Boris (Aneurin Barnard, DUNKIRK) when their paths cross again.

Other supporting work is provided by Ashleigh Cummings as Pippa, the object of Theo’s desire, Willa Fitzgerald (played young Claire in “House of Cards”) as Kitsey Barbour, Theo’s fiancé, as well as Denis O’Hare, Peter Jacobson, and Luke Kleintank. As a special treat, Oscar winner Nicole Kidman plays Mrs. Barbour in what feels like two different performances. When Theo is young, she is the cold, standoffish surrogate mother who takes him in; however when older Theo returns, her own personal tragedies have turned her into a warm bundle of emotions in need of pleasantry. It’s sterling work from an accomplished actress.

The segments of the film that resonate deepest are those featuring Oakes Fegley as young Theo. Fegley was so good in the criminally underseen WONDERSTRUCK (2017), and here he conveys so much emotion despite maintaining a stoic demeanor. It’s rare to see such a layered performance from a young actor. Of course the film is helped immensely by the unequaled work of cinematographer Roger Deakins. Mr. Deakins finally won his first Oscar last year in his 14th nomination. Trevor Gureckis provides the music to fit the various moods and the two time periods. All of these elements work to give the film the look of an Oscar contending project; however, we never seem to connect with the older Theo, which leaves a hollow feeling to a story that should be anything but. Instead we are left to play “spot the parallels” … a fun game … but not engaging like we would hope.

watch the trailer:

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Posted by David Ferguson

THE GOOD DINOSAUR (2015)

December 3, 2015

the good dinosaur Greetings again from the darkness. Two Pixar films in one year? Earlier this year, the brilliant Inside Out reminded us just what sets Pixar apart from other animation studios … the film was intelligent, insightful, thoughtful, beautiful, funny and emotional enough to bring tears to the eyes of many parents. In other words, it’s a tough act to follow – even for Pixar!

Of course, 2015 was not intended to be a double-header for Pixar. The Good Dinosaur ran into serious production and story issues at the same time the studio was going through layoffs and reorganization. So the six year project turned into eight, as a new creative team was brought in (led by director Peter Sohn), and the story and characters were re-worked and re-imagined. The finished product is likely the most staggeringly beautiful animation to ever hit the big screen, while at the same time being some of the darkest and bleakest material ever presented by Pixar.

The premise is pretty interesting: What would Earth be like if THE asteroid had missed, and the dinosaurs survived? That’s about as sciency as the story gets, other than it does portray nature as a colossal adversary (what’s with the hallucinogenic berries?). We first meet Momma and Poppa Apatosaurus as they work their corn fields (huh?) and wait for their baby eggs to hatch. The runt of the litter is Arlo, who just can’t keep up with his more active siblings and who feels inadequate in comparison to his majestic father.

Arlo and nature are responsible for the tragedy that sends Arlo off on a journey that features the full spectrum: the importance of family, the sadness of loss, the strength of friendship, and the self-discovery that leads to independence. While there are quite a few laughs along the way, the fear and isolation that Arlo experiences takes up most of the movie, and could leave all but the strongest kids feeling anything but upbeat and happy.

There is a life lesson about making one’s mark, and an oddball friendship between Arlo and young boy (named Spot??) who is wise to nature. But this one lacks the charm of most Pixar outings, while at the same time reaching technical levels that are breathtaking to behold. It’s difficult to imagine many kids wanting to watch this one again and again, but for all you Pixar nerds, you can rest easy … John Ratzenberger does make a vocal appearance.

watch the trailer:

 

 

 

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

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