THE BRIDE (2026)

March 4, 2026

Greetings again from the darkness. I became a Universal Monsters fan as soon as I reached the age where my parents would let me stay up to watch the later horror movies on Fridays and Saturdays. That love for the films and the stories and the monsters has only grown over the years, so you can only imagine the excitement I held for this film … especially on the heels of last year’s impressive FRANKENSTEIN from visionary Guillermo Del Toro. When my movie hopes and expectations reach this level, disappointment often follows; however, not this time!

You likely know Maggie Gyllenhaal from her superb acting in such films as SECRETARY (2002), THE DARK KNIGHT ((2008), and CRAZY HEART (2009). You may not know that her feature film directorial debut was the excellent THE LOST DAUGHTER (2021), for which she also adapted the screenplay from the novel. The success of that ‘little’ film gave her the clout to create her dream project: a reimagining of James Whale’s 1935 classic, BRIDE OF FRANKENSTEIN. For this one, Ms. Gyllenhaal directs her own incredibly creative and innovative tale, two adjectives that also describe her stunning and original script.

A big-time project requires a top-notch cast, and the filmmaker secured two of the best working today for her leads: Jessie Buckley and Oscar winner Christian Bale. The supporting cast is also impressive, and includes (5-time Oscar nominee) Annette Bening, Peter Sarsgaard (Maggie’s real-life husband), Oscar winner Penelope Cruz, Jake Gyllenhaal (Maggie’s brother), and John Magaro (SEPTEMBER 5, 2024). The number of crossovers and intersections in the careers of these actors and Maggie are too many to list, but it speaks to the admiration these talented folks share for each other.

Obviously, Ms. Gyllenhaal’s inspiration was borne from James Whale’s two films, BRIDE OF FRANKENSTEIN (1935) and FRANKENSTEIN (1931), as well as the 1818 novel, “Frankenstein; or the Modern Prometheus”, written by Mary Shelley. Certain touches within her new movie pay homage to all three, plus a bonus tip of the top hat to Mel Brooks’  YOUNG FRANKENSTEIN (1974). Ms. Gyllenhaal opens the film in mob-filled 1930’s Chicago with a truly fantastic prologue sequence that introduces us to Ida, the first of three characters played by Ms. Buckley. Her performance in this segment is nothing short of mesmerizing, and it’s capped off by the ingenious inclusion of the deceased Mary Shelley … a type of spin on the iconic opening scene of BRIDE OF FRANKENSTEIN. Soon after, we find ‘Frank’ (Mr. Bale) making his plea to Dr. Euphronius (Ms. Bening) and her intriguing assistant Greta (Jeannie Berlin) to reinvigorate a life partner that can cure his many years of loneliness.

As you would surmise, Dr. Euphronius is successful, and soon Frank and Penny (Ida’s new name) have paired up and carve their way through society – often making headlines ala Bonnie and Clyde. Their road trips create moments of tenderness, longing, sensuality, and violence … yes, plenty of violence. A radical women’s social movement is started as a result of one of Penny’s key feminist moments. Despite a blank memory, Penny understands the power of women. Movie musicals featuring hoofing star Ronnie Reed (Mr. Gylenhaal) play a crucial role in Frank’s life, though it’s not until later in the story that the reason is revealed. All this time, two detectives (Mr. Sarsgaard and Ms. Cruz) are tracking Frank and Penny, and we note the soft spot one of them holds for The Bride.

The film is a majestic triumph for Maggie Gylenhaal as a filmmaker, and surely will open many doors for future projects. Visually, the film is stunning to watch. The Bride and Frank are both magnificent creatures, yet every set and every scene are a feast for the eye and ears (yes, the sound is equally superb). The actors have all delivered their A-game, yet somehow Jessie Buckley continues to stand out (she’s Oscar nominated this year for her memorable performance in HAMNET). It’s not just her shock of white hair or stained face (explained in the film). No, the performance is much deeper and multi-faceted. Without spoiling anything, Ms. Buckley must adjust to the requirements of each scene, as well as the wide realm of emotions her roles demand. For fans, we do get the left-hand twitch, and as for viewing this film only once … “I prefer not to.”

Opens in theaters March 6, 2026 (see it on the big screen!)

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Posted by David Ferguson

HAMNET (2025)

December 7, 2025

Greetings again from the darkness. Watching so many movies each year usually raises my defense mode against cinematic emotional manipulation. However, all hope is not lost for me as the best filmmakers and talented writers and top notch actors can still get to me, as evidenced by this latest from writer-director Chloe Zhao (two Oscars for NOMADLAND, 2020; plus the underappreciated THE RIDER, 2017) and novelist-screenwriter Maggie O’Farrell (her 2020 novel is the source material).

The actors who manage to elevate this extraordinary work to new heights are two of the best actors working today: Jessie Buckley (highly recommend WILD ROSE, 2018) and Paul Mescal (AFTERSUN, 2022). Mr. Mescal plays Will Shakespeare as a tutor at a rural school. He aspires to be a writer (spoiler alert: he succeeds). Ms. Buckley plays Agnes, a local who is labeled as a child of the forest witch, and she actually possesses the spirit of nature and healing. The meet-cute of Will and Agnes is anything but. Spotting Agnes out the window as she carries her pet hawk back to the barn, Will abandons his students and rushes outside to meet her. Yada-Yada … she’s pregnant … the families are not happy … the young couple begins their life together.

Even in the late 16th century, succeeding as a playwright was no easy task. Will often took leave from his family to travel to London for work. A second pregnancy for Agnes bore twins, including daughter Judith who was weakened, and son Hamnet. All in all, this was a close-knit family who experienced joy together despite the challenges – quite a contrast from Will’s family where his dad called him “useless”.

It should be noted that this does not come across as the story of the great William Shakespeare. Instead, it’s the story of a family whose heart is Agnes, and it’s told from her perspective. We are informed that names of the time often had various spellings, so you might be more familiar with Agnes as Anne Hathaway, and son Hamnet as Hamlet, the inspiration for one of Shakespeare’s greatest works. To say more on this would be a spoiler I’m unwilling to provide. You should know that son Hamnet is played by Jacobi Jupe (PETER PAN & WENDY, 2023) and the stage character Hamlet is played by his real-life brother Noah Jupe (FORD V FERRARI, 2019). Emily Watson and Joe Alwyn also have supporting roles.

To be or not to be … a tearjerker … is no question. Director Zhao is a master and Mr. Mescal and especially Ms. Buckley cut right to the heart of a story that will have quite an impact on most every viewer. Grief is such a powerful emotion, and the contrast in how a couple handles it … even a couple deeply in love … makes for a story and a film that is surely one of the year’s best.

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Posted by David Ferguson

WICKED LITTLE LETTERS (2024)

April 4, 2024

Greetings again from the darkness. “This is more true than you’d think.” Director Thea Sharrock (ME BEFORE YOU, 2016) kicks off the film with this statement. The movie then proceeds to twist and stretch and outright change many of the details from the actual story and case outlined in the 2017 book, “The Littlehampton Libels: A Miscarriage of Justice and a Mystery about Words in 1920’s England” by Christopher Hilliard. However, from an entertainment perspective, the script from Jonny Sweet combined with the stellar British cast works pretty well as a glimpse of that era’s patriarchal society, as well as the need for attention from someone who has been stifled for far too long. And it even includes a few laughs along the way.

As Edith Swan (Oscar winner Olivia Colman) and her elder parents Edward (Timothy Spall) and Victoria (Gemma Jones) gather around the table to read the anonymous profanity-laced letter, we learn it’s the 19th one received by Edith. The decision is made to contact Constable Papperwick (Hugh Skinner, FALLING FOR FIGARO), who is quick to accept as fact their presumption that the letters’ source is neighbor Rose Gooding (Jessie Buckley). See, the Swan’s are a God-fearing family (and quick to advertise the fact), while Rose is an Irish immigrant and single mom with a loud mouth … one often filled with colorful curse words. It’s little wonder holier-than-thou Edith’s accusations are believed while denials from rough-around-the-edges Rose are dismissed.

“Female” Police Officer Gladys Moss (Anjana Vasan, CYRANO, 2021) is the only one who notices the massive inconsistencies in the “evidence”, and sets out to investigate. This, of course, goes against the wishes of the police captain, and overall dismissal from fellow officers since she is such an oddity as a female officer. Moss is following in her father’s footsteps with the badge, and has more instinct and powers of observation than the others … especially Papperwick, who is clueless and arrogant.

As Edith finds pleasure in the notoriety, Moss enlists help from a couple of community ladies who don’t buy into the Swan’s pious attitude. The film’s best line is, “Congratulations on your tragedy.” These women, played beautifully by Joanna Scanlan (AFTER LOVE, 2020) and Eileen Atkins (“Doc Martin”) devise a strategy to catch the true culprit in the act. Of course, most if not all viewers will have solved the case long before the police or jury do, but that won’t lessen the enjoyment of watching the drama play out, sometimes with a dash of humor.

The 1923 Poison Pen scandal of Littlehampton was a real thing, with court case and all. The film makes a point of the Patriarchal society in place at the time (the onset of the Suffragette movement), and it helps us gain an understanding of Edith and Officer Moss, as well as the quick-to-judge folks so easily accepting Rose’s guilt. I probably enjoyed this a bit more than many since I’m a big fan of both Colman and Buckley, who also co-starred together in THE LOST DAUGHTER. Timothy Spall reminds us that few can chew scenery like he, and the other familiar English actors all do their part. Those creative and sometimes confusing epithets (more likely to result in chuckles than anger) were taken from the actual letters in the case, and Ms. Colman’s cackle at the end is itself worthy of a ticket price.

The film opens in theaters on April 5, 2024

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Posted by David Ferguson

FINGERNAILS (2023)

November 3, 2023

Greetings again from the darkness. Certifiable love. Trust the science. Anna and Ryan are in love and they have the certification (and sore fingers) to prove it. One minor problem is that they don’t seem to have much in common, other than a love for the fatty parts of a well-cooked steak. And even this common ground leads to a certain dishonesty. Writer-director Christos Nikou and his APPLES co-writer Stavros Raptis, along with co-writer Sam Steiner, have given us a film that appears to lean heavily into science-fiction, while also poking a bit of skepticism that direction.

Most of this film didn’t work for me, however, the depth that the two lead actors, Jessie Buckley (I frequently recommend WILD ROSE, 2018) and Riz Ahmed (SOUND OF METAL, 2020, and an Oscar winner for his short film THE LONG GOODBYE, 2021), bring such an intimacy and sincerity to their scenes that we can almost overlook the absurdity of the story. And maybe that’s the point.

Anna (Ms. Buckley) has recently lost her job as a teacher, and when she lands the job she wants as a trainer at The Love Institute, she opts not to tell her husband Ryan (Jeremy Allen White, “Shameless”). The Love Institute is run by Duncan (Luke Wilson) and the mission is to test couples for scientific compatibility in a long-term relationship. This is done by pulling a fingernail from each and testing in a machine invented by Duncan (don’t worry, he is always looking to improve it). The idea is that science can take the guesswork out of relationships and put folks at ease that they found the “right” partner.

Of course, as soon as we see Anna and Amir (Mr. Ahmed) working alongside each other, we know where this is headed. The two actors are terrific together and excel at selective gazing, while maintaining professionalism. Science, chemistry, and biology all play a role here, but the thought that folks would volunteer to have their fingernails yanked out (while biting a block of wood) is ludicrous, even if the film opens by telling us fingernails often display the first symptoms of heart issues (physical not emotional). The film is evidently supposed to prove yet again that matters of romance are beyond the scope of science, even in movies.

Opens on AppleTV+ beginning November 3, 2023

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Posted by David Ferguson

WOMEN TALKING (2023)

January 12, 2023

Greetings again from the darkness. Do nothing. Stay and fight. Leave. Those are the three options a group of women debate in the loft of a barn on the edge of their religious commune. The true story that inspired Miriam Toews to write her 2018 novel is horrific. Between 2005 and 2009, there were more than 150 cases of females being drugged (with livestock tranquilizers) and violently raped. They ranged in age from three to sixty-five, and this occurred in a deeply religious Mennonite community in Bolivia. The great writer-director Sarah Polley has adapted Ms. Toews’ novel for her first feature since STORIES WE TELL (2012), and we welcome her back as a voice always deserving of a platform.

When two girls spot a rapist running away one evening, an emotional fire is lit. The man is charged, and this leads the women to organize their own meeting to discuss the three options noted above. Rooney Mara plays Ona, the good-hearted optimist. Claire Foy plays her sister Salome who spends much time in rage mode. Jessie Buckley is Mariche, the often brutally abused woman who has her own strong ideas. If you are a movie lover, you immediately recognize that these three are among the best young actresses working today. What a pleasure to watch them do what they do … despite the material often being extremely uncomfortable and stress-inducing. This new generation of community women are joined in debate by the elders: Agata (Judith Ivey) and Greta (Sheila McCarthy), who both carry the burden of shame having raised their daughters in this environment. Scarface Janz (Oscar winner Frances McDormand, also a producer on the film) only has a couple of scenes, as she is stays strong in her ”do nothing” stance.

As the dialogue continues in the loft, we learn much about what these women, as well as the generations before them, have endured. Over the years, whenever victims have spoken up about the horrible abuses, their accusations have been dismissed as “wild female imagination.” The religious patriarchy has led to many years of submission and resignation to a lesser life – one that includes manual labor and a lack of education. These women cannot read or write, so they have asked August (an excellent Ben Whishaw) to take notes and list the pros and cons of the options. August is a gentle soul and the local schoolteacher who has an eye towards Ona.

Revenge, forgiveness, protecting one’s self and their children is all part of the discussion, as is the difference between fleeing and leaving. These women are finding their voice through the strength of each other. Cinematographer Luc Montpellier uses mostly black and white with some subtle color gradation for effect, as well as a contrast between interior (barn loft) shots and those of the outdoor vistas and fields (representing the outside world). The score from Hildur Guonadottier is heavy on strings and works perfectly for the story, and the inclusion of “Daydream Believer” from The Monkees is a welcome inclusion.

We don’t normally think of cinema as watching people sit around and talk. One of the best ever movies showing debate among adults is 12 ANGRY MEN, and this film takes a similar approach and is not far off from the level of that all-time classic. The courage of those real women from Bolivia was staggering, and Sarah Polley offers up this intellectual and thought-provoking approach to these women taking stock of their situation. It’s a gut punch, yet somehow inspiring.

Opens in theaters on January 13, 2023

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Posted by David Ferguson

MEN (2022)

May 20, 2022

Greetings again from the darkness. This is only the third feature film directed by Alex Garland, but his creativity and innovative nature in the first two (EX MACHINA, 2014 and ANNIHILATION, 2018) established him as a writer-director to follow. His latest is certainly deserving of those descriptions, yet it’s also less assessable while being more open to interpretation and worthy of discussion. Reactions from viewers are sure to be varied.

Jessie Buckley, one of the finest actors working today, takes on the lead role in yet another of her unconventional projects. We absolutely respect and admire her risk-taking, and each project benefits from her presence. Some of her recent work includes THE LOST DAUGHTER (2021), I’M THINKING OF ENDING THINGS (2020), WILD ROSE (2018), and a great arc in the “Fargo” series (Season 4). Here she stars as Harper, a Londoner heading to holiday in the English countryside after the death of her husband. When she arrives at her bucolic Airbnb manor, the serenity is apparent … right up until she meets Geoffrey, the landlord. He’s played by Rory Kinnear (Tanner in the recent James Bond movies, and excellent in the “Penny Dreadful” series and its spinoff). Geoffrey’s awkward social skills involve colloquialisms and country charm to ensure that Harper knows she’s no longer in London.

The country manor is walking distance to town (which apparently consists of a church and pub), and sits alongside a forest, seemingly perfect for nature hikes. Harper’s first walk in the woods has a fascinating scene as she experiments with the echoes of a tunnel by singing notes in harmony with herself. This simple pleasure ends when she notices a nude man apparently stalking her. After calling the local police, she heads to the church where she encounters a rude boy and a vicar who is unsympathetic to her plight. All of these interactions could fit into an interesting story, but filmmaker Garland takes things to another level. Geoffrey, the stalker, the cop, and the vicar are all played by Rory Kinnear … even the boy! Later, we see that Kinnear even plays the pub’s clientele. Since it’s obvious to us, and she doesn’t seem to notice, we can assume this is a major clue for how we are to interpret what’s happening with (and to) Harper.

Flashbacks are employed so that we are able to piece together the strained relationship between Harper and her husband, James (Paapau Essidieu). Her emotional turmoil plays into what’s happening during this rural getaway meant for relaxation, yet often this has a surreal or dreamlike feel, making it challenging to know what is real or what she is imagining. Harper holds the occasional FaceTime with her friend Riley (Gayle Rankin), and the broken signal on these calls may or may not be real … like so much of what we see. Garland’s third act goes a bit bonkers, and includes some icky body horror effects ala Cronenberg. The mythology of Sheela la nig and The Green Man (rebirth) are part of the numerous uses of symbolism throughout.

The film is beautiful to look at thanks to the cinematography of Rob Hardy, and the frequent use of vibrant green jumps off the screen during many scenes. The atmosphere created is primed for something that may or may not pay off by the end, but it’s certainly another artsy creep-fest in the A24 universe. Ms. Buckley proves again what a talent she is, and Mr. Kinnear joins Peter Sellers (“Dr. Strangelove”), among others, in mastering multiple roles. Lesley Duncan’s spiritual and melancholic “Love Song” is the perfect accompaniment for Harper’s drive, and Kinnear’s frequently appearing face enhances the myth that men are all the same – a constant threat lurking for women. Folk horror resurgence continues, and viewers will have to decide if they can reconcile the abundance of symbolism.

Exclusively in theaters on May 20, 2022

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Posted by David Ferguson

THE LOST DAUGHTER (2021)

December 18, 2021

Greetings again from the darkness. There are so many things that go unspoken about parenting, and first time writer-director Maggie Gyllenhaal specifically focuses her lens on the pressures of motherhood, by adapting the 2006 novel from the anonymous and talented and mysterious Italian writer Elena Ferrante. Of course, we are all aware of Ms. Gyllenhaal’s fine work as an actor, yet it’s almost beyond belief that this is her debut as a feature film director. The source material is strong, but Ms. Gyllenhaal, along with a terrific performance from Olivia Colman (Oscar winner, THE FAVOURITE, 2018), turn a coastline vacation into a mesmerizing psychological case study.

Ms. Colman proves yet again what a fine and versatile actor she is. Here she plays Leda, a divorced professor on solo holiday on a picturesque Greek island, staying in a refurbished lighthouse tended by longtime caretaker Lyle (Ed Harris). Leda is packing a satchel full of books and academia work, and is a bit perturbed when her isolated beach time is suddenly interrupted by a large and noisy family of vacationers from Queens. Being an observant loner, Leda eyes young mother Nina (Dakota Johnson) who is struggling with her daughter, as well as her husband and other family members. This triggers memories in Leda that are handled via flashbacks with a terrific Jessie Buckley (I’M THINKING OF ENDING THINGS, 2020) as young Leda, stressed out wife and mother to two daughters. She longs for her own space.

At face value, this appears to be a movie about a woman annoyed that she can’t just enjoy a quiet holiday on the sandy beach as she reads her books. However, there are so many layers to the story and to Leda, that as viewers, we must remain on high alert to pick up all the queues and subtleties. Watching Nina with her daughter and husband sends Leda deep into her past … a past that still haunts her to this day. At the same time, while gazing at Leda, Nina can’t help but wonder if she is looking at her own future self.

Much of what we see (past and present) reinforces the isolation and frustration felt by so many mothers. It has nothing to do with loving one’s kids, but rather maintaining one’s sanity and self-being. There are a few key moments, including one that creates tension between Leda and the vacationing family, and another that immediately connects the two. Leda’s past includes steps that would be considered taboo for any wife and mother, and the symmetry of her past and Nina’s present are striking.

Peter Sarsgaard (director Gyllenhaal’s real life husband) has a supporting role in the flashbacks, while Dagmara Dominczyk plays a critical role as Callie, part of Nina’s large family. Bonus points are won with a Leonard Cohen reference (that may or may not be true), and also playing key roles here are a missing doll (connecting Leda’s past and present) and the proper way to peel an orange. Cinematographer Helene Louvart works wonders balancing the beautiful setting with the not-always-beautiful actions of the characters. Especially potent here is the performance of Olivia Colman, who proves she can play most any role. It’s also remarkable what first time director Maggie Gyllenhaal has accomplished here. This is a multi-layered, nuanced look at how relentless parenting can often feel overwhelming and may even lead to feelings of guilt later in life. It’s rare to see such a raw look at the emotions behind what is often referred to as the joy of motherhood. The film leaves little doubt that the always-dependable actor Maggie Gyllenhaal is now one of the most interesting new filmmakers on the scene.

In select theaters on December 17, 2021 and on Netflix beginning December 31, 2021

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Posted by David Ferguson

THE COURIER (2021)

March 19, 2021

 Greetings again from the darkness. Spies, and the whole world of espionage, are prime for cinema thanks to the globe-trotting and varied settings, the personality of those drawn to such a calling, and the intrigue and two sides of the work itself – either turning on those to whom one was once loyal, or even pretending to. Director Dominic Cooke (ON CHESIL BEACH, 2017) and writer Tom O’Connor (THE HITMAN’S BODYGUARD, 2017) enter the spy thriller genre with a strong cast and a Cold War setting … not the first to do so, and certainly not the last.

The film is based on a true story, so of course there are conflicting recollections of how this all went down. Oleg Penkovsky (played expertly by Merab Ninidze, McMAFIA, 2018) was part of GRU, the main intelligence agency of the Soviet Union. His front row seat to, and subsequent concern with, Soviet Premier Nikita Khrushchev’s apparent obsession with starting a nuclear war with the United States, led Penkovsky to reach out to the U.S with classified intelligence in hopes of thwarting global doom. This was the height of the Cold War, with the Cuban Missile Crisis ultimately a key element of Penkovsky’s intel.

Ambitious CIA Agent Emily Donovan (Rachel Brosnahan, “The Marvelous Mrs. Maisel”) reached out to MI6 Agent Dickie Franks (Angus Wright), who recruited British salesman Greville Wynne (Benedict Cumberbatch) to be their amateur spy … a regular citizen to conduct regular business while procuring valuable documents from Penkovsky. Greville is portrayed as anything but a James Bond-type. Instead, he’s a fun-loving family man whose wife Sheila (Jessie Buckley, I’M THINKING OF ENDING THINGS, 2020) has forgiven him once for marital indiscretion, and is not inclined to do so again.

This story occurred not long after Pyotr Semyonovich Popov was executed for delivering Soviet intelligence to the United States. Because of this, the CIA had a weak presence and required Britain’s assistance … enter Greville Wynne. Greville is an odd bird. One could even say a bit goofy. However, Cumberbatch delivers a terrific performance as he transitions into a more complex and courageous man than the one we initially meet.

Although the story is not as tightly told as the best spy thrillers, there are two segments that are pretty well done. Watching Penkovsky (code name “Ironbark”) and Greville get to know each other and then work together is quite interesting – and made even better by the two actors. Also the final act, with both men in KGB prison, finally ups the tension level to what we expect for the genre. The brutal environment and mistreatment is well conveyed, and it’s the point where we realize what the risk-taking of espionage can lead to. There are times the film is similar in tone to THE INFORMANT, and other times it recalls BRIDGE OF SPIES, though the latter is a superior film. This was a crucial point in the Cold War, and the film is interesting enough thanks to the cast and real life story.

THE COURIER is receiving a theatrical release on March 19, 2021

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Posted by David Ferguson

I’M THINKING OF ENDING THINGS (2020)

September 3, 2020

 Greetings again from the darkness. We should never look to Charlie Kaufman to pull us out of the pandemic doldrums, although he is an absurdly talented writer who specializes in unusual plots and oddball characters. Mr. Kaufman is also an over-thinker and a non-stop thinker – I would imagine his brain rarely goes quiet. This time out, he directs his own adaptation of Iain Reid’s novel, and the result is a mind and time bending existential crisis that leaves us feeling a bit down. Yet, as always, Kaufman’s work keeps our minds racing.

Jessie Buckley, who was so terrific in WILD ROSE (2019), stars as The Young Woman going on a blizzardy road trip with Jake (Jesse Plemons, THE IRISHMAN, 2019), her boyfriend of the last six weeks or so. They are headed to visit Jake’s parents who live in a “farmy” and remote area. Act 1 is spent in the car as the wipers flap, and the woman and Jake hold awkward conversation. We, as the audience, listen to her inner thoughts, including, “I’m thinking of ending things.” She is truly an outstanding actress, and carries much of the weight with this one.

The woman is not really unnamed, in fact, throughout the movie, she has multiple names including Lucy and Louisa. And character names aren’t the only fluid piece of Kaufman’s puzzle. She is variously labeled as studying Quantum Physics, a writer of poetry, and an artist. Are you confused yet?  If not, you will be.

Act 2 takes place at the farm house where Jake’s parents live, and it shifts the film from awkward to bizarre. Toni Collette (HEREDITARY, 2018) and David Thewlis (“Fargo”) play his mother and father, both excited for the visit, but unconventional, to say the least, in their social graces. Ms. Collette over-laughs just beyond the point of perplexing and nudges the beginning of downright weird. She and Thewlis are exceptional in their ability to keep Lucy off-balance, and Jake hyper-annoyed. We aren’t sure what to make of what we are seeing … and neither is Lucy. While none of these folks takes a single bite of the dinner spread, the tone turns to surreal. Overlapping time lines of past, present, and future become haunting and hypnotic.

The film itself is disorienting, and Act 3 does little to help us regain our equilibrium. Jake and Lucy finally start their drive back, as the snow begins falling even harder. Throughout the production, Kaufman includes references to William Wordsworth, Pauline Kael, Andrew Wyeth, Mussolini, and more. He also inserts clips of a high school janitor (played by Gus Boyd) as he goes about his duties. This janitor is part of a finale featuring an animated pig and a dance number … both of which occur after Jake and Lucy have debated the importance of Cassevetes’ A WOMAN UNDER THE INFLUENCE, and the performance of Gena Rowlands.

Oklahoma plays a role as both a setting and a reference musical, and a stop for ice cream at Tulsey Town, adds to the oddity and the feeling of dread that encompasses us for much of the movie (when we aren’t chuckling at the absurdities). Kaufman mixes genres with glee – horror, comedy, and psychological thriller all lead us to a dance scene and many unanswered questions about what is real and what is only in Lucy’s mind. We never see what attracted these two to each other, but we do wallow in their misery and discomfort. Charlie Kaufman’s previous screenplays include such brilliance as ETERNAL SUNSHINE OF THE SPOTLESS MIND, BEING JOHN MALKOVICH, and ADAPTATION, although this one may have more in common with his SYNECHDOCE, NEW YORK – a film that can wrestle with this one over which is his least accessible. An existential film where past, present, and future mingle and bizarre observations are made on aging and memory, can only fit into Charlie Kaufman’s oeuvre. It will surely make you think, though it may end with you asking ‘why?’

Netflix September 4

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Posted by David Ferguson

JUDY (2019)

September 26, 2019

 Greetings again from the darkness. It’s been 80 years since THE WIZARD OF OZ was released and 50 years since Judy Garland died. So why do we still care so much? Of course the obvious reason is that, for many generations, her adventures as Dorothy Gale from Kansas marked the first time many of us kids could put ourselves in the shoes (mine weren’t ruby sparkles) of a lead character in a movie. Her fantastical journey ignited our imaginations and whisked us away to fight witches and flying monkeys, while making wonderful friends in a corn patch and enchanted forest. Oh, and that voice! However, there is another side to this coin. Judy’s story is also an example of the dark and tarnished side of Hollywood … she pulled back more than one curtain.

Renee Zellweger (Oscar winner for COLD MOUNTAIN, 2003) stars as Judy Garland, and her performance will likely put her in line for her fourth Oscar nomination. The film basically covers the last year of Judy’s life, and director Rupert Goold (TRUE STORY, 2015) is working from a script by Tom Edge adapted from Peter Quilter’s stage play, “End of the Rainbow”. There is no Lollipop Guild here. Instead, the harsh realities of Judy’s life are explored. The film opens with Judy and her kids, Joe and Lorna, performing on stage … and then being unceremoniously denied a room at a nearby luxury hotel. See, Judy’s career is in a bad way (admittedly undependable and uninsurable) – as is her health. She is broke, has no home, and offers for roles or performances have dried up. She ends up at her ex-husband Sid Luft’s (Rufus Sewell) home, which after some former-spouse bickering, is where the kids stay.

With no other real prospective gigs, Judy accepts an offer from Bernard Delfont (Michael Gambon) to perform at his Talk of the Town theatre in London. Most of the film covers her time in London, and the challenges for all involved. She’s 46 years old in the winter of 1968, and though her voice no longer carries the sublime purity of those early years, Judy still has incredible stage presence and an ability to connect with the audience. The challenges occur for her assigned assistant Rosalyn Wilder (who served as a consultant on the film, and is played here by rising star Jessie Buckley), as well as Judy herself. She misses her kids, and is battling loneliness and an addiction to pills – causing her to rarely eat or sleep. When her “friend” (and fifth husband) Mickey Deans (Finn Wittrock) shows up, Judy’s attitude perks up, but her already questionable dependability falters.

Flashbacks to Judy’s teenage years at MGM are used to portray how the studio and industry took control of her body, soul and career. Watching studio head Louis B Mayer (Richard Cordery) bully young Judy (played by newcomer Darci Shaw) by pretending to be a father figure while keeping her weight in line with a diet of cigarettes, diet pills, and soup, is just painful. These scenes, including those with young Judy’s frequent co-star Mickey Rooney, help us understand why she was in such a state by the time she hit London. Ms. Zellweger embodies the blend of frailty and determination and talent, as well as the insecurities that simultaneously drove Judy and held her back. Of course, few singers have ever possessed the vocal talent of Judy, but Zellweger admirably brings the appropriate strain and pain to the songs she sings for the movie, including “By Myself” and “The Trolley Song”.

Born Frances Ethel Gumm, Judy Garland first hit the stage at age 2, and never experienced a “normal” childhood or traditional relationship. Despite her immense talent, she was never able to find peace with the pressures of performing. Years of abuse led to an early death, not long after she finished her London run. The film never backs away from the tragic story, but also allows one of the brightest stars of an era to shine through. For those who only know Judy as that homesick girl from Kansas, or maybe also as the rosy-cheeked youngster on the Trolley in the holiday favorite MEET ME IN ST LOUIS (directed by her future husband Vincente Minnelli), there is likely a shock factor in seeing the broken icon in middle age. The film also deals with that always-present bond she had with her audience, especially with the gay community – although a certain sequence of the film involving a gay couple (both huge fans) seems quite improbable.

For a film like this to work (it was not sanctioned by Judy’s daughter Liza Minnelli), it all rides on the lead performance.  Renee Zellweger beautifully captures both the tragic essence and the stunning talent of the late 1960’s Judy Garland, an iconic and revered entertainment figure. The film allows us to understand the lifelong mistreatment and heartbreak of this woman, as well as the strength and joy she received while performing live. Balancing the “early” Judy with the “later” Judy was a brilliant way of bringing her life full circle. Ms. Zellweger’s performance goes so much deeper than singing on stage … she embodies the insecurity and frailties of a woman who was never afforded the opportunity to live her own life.

NOTE: There was a 2001 TV mini-series entitled “Life with Judy Garland: Me and My Shadows”, based on daughter Lorna Luft’s memoir, in which Judy Davis (lip-synching to Ms. Garland’s songs) delivered an impressive and Emmy winning performance.

watch the trailer:

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Posted by David Ferguson

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