EDDINGTON (2025)

July 17, 2025

Greetings again from the darkness. It’s frightening to see how societal norms and individual behavior have shifted over the past five years. It seems clear that the COVID Pandemic was a turning point … or at a minimum, an accelerant. Writer-director Ari Aster (MIDSOMMER, 2019; HEREDITARY, 2018) uses this as a theme in this Neo-noir Western that takes place in a small fictional town in 2020 New Mexico as the pandemic was kicking into gear.

You should know upfront that Aster serves up a giant pot of cinematic vegetable soup. Topics touched on include: politics, racism, pedophilia, Antifa, gun rights, Black Lives Matter, White guilt, envy, divisiveness, murder, conspiracy theories, George Floyd, David Hogg, face masks, social distancing mandates, cults, ambition, abortion, and Native American land rights. If that’s not enough for you, the film also includes an abundance of dark comedy and the final act features a barrage of violence. Just writing that is exhausting, yet nowhere near as exhausting as watching this film.

Oscar winner Joaquin Phoenix (JOKER, 2019) stars as Sheriff Joe Cross, an odd man in a white hat who dares challenge his rival, the sitting town Mayor, Ted Garcia (Pedro Pascal) for the office in the upcoming election. Cross is the one who eschews wearing a mask, while Garcia is the smooth-talking type who encourages commitment to the mandates. The differences between the men are obvious when we see Garcia’s heart-warming (pandering) TV ad as contrasted to Cross’ campaign car sign with “You’re” spelled “Your”. The two men don’t like each other, a situation exacerbated by rumors of a long-ago incident between Garcia and Cross’ wife, Louise (two-time Oscar winner Emma Stone).

Being ill-equipped to run an election, even with the assistance of his two deputies, Michael (Michael Ward, EMPIRE OF LIGHT, 2022) and Guy (Luke Grimes, “Yellowstone”), isn’t the extent of Cross’ problems. His marriage to Louise is rocky at best, and having her mother, Dawn (Deidre O’Connell, a talented actor in TV and movies since the 1980’s) live with them and spew her conspiracy theories only adds to the bumpy ride. Things get worse for Joe when Louise grows close to charismatic but vacuous cult leader Vernon (Austin Butler) … a guru who manages to calmly say things that rile folks up in a hollow-cause kind of way.

Cinematographer Darius Khondji works his magic with a film that bounces all over the place thematically. In traditional Westerns, it was always good versus evil; however, this contemporary version is more political and seems to lack any people who are actually good. Joaquin Phoenix goes all in for his role, and Pedro Pascal continues to prove he can play just about any character. Emma Stone and Austin Butler take on minor roles, while Deidre O’Connell gets to shine in a couple of scenes. Don’t believe for a second that filmmaker Aster is attempting to explain how we’ve reached this moment. It’s more a snapshot in time of how people react under extreme pressure and how everyone has a snapping point. Is the film provocative or is Aster just having fun stirring the pot? Talk amongst yourselves (after watching).

Opens in theaters on July 18, 2025

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Posted by David Ferguson

NAPOLEON (2023)

November 21, 2023

Greetings again from the darkness. Ridley Scott long ago etched his name on the list of filmmakers whose projects are nearly always interesting and deserving of a watch. After all, he has helmed such beloved classics as ALIEN (1979), BLADE RUNNER (1982), THELMA AND LOUISE (1991), and Best Picture winner GLADIATOR (2009). Returning to the historical epic genre and working from a script by his ALL THE MONEY IN THE WORLD writer, David Scarpa, Scott takes on the life and legend of Napoleon Bonaparte. Of course, that legend is a bit conflicted since Napoleon and his bicorne hat remains a hero to France, yet something less to England.

With thousands of books written on Napoleon, most of us still possess only rudimentary knowledge of the man, even though we do understand his namesake ‘complex’. One would think a movie that spans a quarter century and runs 2 hours and 38 minutes in length would sufficiently fill in the gaps, but unfortunately the result is a fascinating mess that wows mightily with its battle scenes, while mostly falling flat in every other area. This is especially disappointing since the film tries to juggle Napoleon’s brilliance as a military leader, the muddled and complex politics of the era, and the strange obsession he held for Josephine de Beauharnais.

Oscar winner Joaquin Phoenix (JOKER, 2019) stars as Napoleon, and the exceptional Vanessa Kirby (PIECES OF A WOMAN, and The White Widow in the two most recent Mission Impossible movies) co-stars as Josephine. One can’t help but fear the effect had this film been made without two such talented leads. Still, at least for me, there was a cold disconnect with Napoleon and Josephine, as we never quite grasp his military leadership, nor her hold on him.

Director Scott kicks off the film by showing a bound Marie Antoinette (Catherine Walker) trudge through the angry masses on her way to the guillotine in 1789. Sound effects add to sense of realism, as does the executioner’s final act of display. After this chilling sequence, a young Napoleon goes on his quest for battlefield victories, military promotions, more power, and a male heir.

The battle scenes are truly epic and as spectacular as any we’ve seen on screen. Two particular standouts are the 1793 Siege of Toulon and the 1805 battle at Austerlitz. The first shows the brutality of war and gives us a glimpse of Napoleon’s renowned strategic expertise, while the second has some remarkable footage on (and under) the frozen lake. In between these two are bits from Napoleon’s conquests in 1798 Egypt and The Coup of 1799. Napoleon gains power with each step, and ultimately, his battlefield wins make him a hero at home where he ultimately claims the title of Emperor. Director Scott and Director of Photography Dariusz Wolski shine in this sequence and re-create the familiar Jacques-Louis David painting of the coronation.

Unable to produce a male heir, Josephine must be cast aside and divorced, although their letters to and fro make up most of the film’s structure of their relationship, even after divorce. The 1812 invasion of Russia is shown, as is Napoleon’s exile to the Isle of Elba, where he escapes after a year to reclaim his power in France. Of course, we do know how this ends, as the brilliant military strategist meets his literal Waterloo at the hands of the Duke of Wellington (Rupert Everett). His second exile to St. Helena concludes with his death at age 51 in 1821.

Ridley Scott’s director cut is rumored to be an additional two hours in length and is supposedly headed to AppleTV+ in January. Although that is an incredibly long run time, Napoleon’s short up-and-down life was filled with so many events (61 battles and more than 3 million deaths) and deserves a more complete telling than what this theatrical version offers. For those historians who are quick to point out inaccuracies, the well-known grump, Ridley Scott, has made his response to you quite clearly and succinctly.

Opens in theaters on November 22, 2023

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Posted by David Ferguson

C’MON C’MON (2021)

November 24, 2021

Greetings again from the darkness. Not all filmmakers have something to say about human beings and human nature, but writer-director Mike Mills does … and he continues to prove it. His three previous feature films are all excellent. 20th CENTURY WOMEN (2016) was based on his experience being raised by his mother, while BEGINNERS (2010) was a tribute to his father. THUMBSUCKER (2005) focused on teen angst, and his latest is inspired by interactions with his own son and Mills’ documentary projects.

From the mouths of babes. Early on, we watch and listen as radio journalist Johnny (Oscar winner Joaquin Phoenix, JOKER, 2019) interviews kids in Detroit to get their opinions on all aspects of life and the world, including their hopes and expectations for the future. This and additional segments and the kids’ responses seem real, not staged, presenting a documentary feel – especially since everything is filmed in Black and White. In a rare phone call with his estranged sister Viv (Gaby Hoffman, who will always be remembered as Ray’s daughter in FIELD OF DREAMS, 1989), Johnny offers to take care of Viv’s 9 year old son, Jesse (Woody Norman), while Viv assists Jesse’s father, Paul (Scoot McNairy), who battles ongoing mental health issues.

Viv is reticent to leave Jesse with Uncle Johnny, an unmarried man with no kids of his own. But she’s desperate for the help. Most of the film revolves around Johnny and Jesse spending time together and getting to know each other. Circumstances take the story from Detroit to New York City to Los Angeles to New York City to New Orleans. It’s a terrific journey that lacks any jaw-dropping cinematic elements. These two aren’t mountain climbing or spelunking. They simply walk and talk. This allows Jesse to experience a father-figure that’s been lacking in his life. For Johnny, he gains a perspective on parenting, which contrasts with his professional work interviewing kids. Jesse is whip smart and funny, but also manipulative and confused and downright quirky. The two of them together is quite something to watch as their relationship develops.

Viv shows up mostly in phone calls with Johnny and Jesse, but flashbacks help us understand the emotional break that occurred between she and Johnny. As the two siblings mend their relationship despite the distance, Mills and cinematographer Robbie Ryan effectively use the black and white palette to negate the excitement of big cities and travel, so that we focus on the personal interactions of the characters. The photography may be beautiful to look at, but it also reminds us that to a kid, a city is a city is a city, and what matters is an emotional bond and sense of security.

Young Woody Norman is a revelation as Jesse. He perfectly portrays a normal kid with normal issues in a grown up world. Gaby Hoffman doesn’t have as many scenes as we’d like, but we certainly wish she would work more frequently. As for Joaquin Phoenix, it’s a welcome change of pace and tone after JOKER. He plays a man learning to deal with his own vulnerabilities, and he really gets to show off his extraordinary acting talent. The script is filled with psychology and philosophy, but in a grounded manner – ways we recognize from our own lives. It’s a reflective film that shows the balance of trying to protect kids and shield them from some adult stuff, while also allowing them to explore and find themselves. The impact of adults on kids and the impact of kids on adults is on full display, but it’s also just a couple of guys getting to know each other. And that’s pretty special to watch.

The film had a limited opening on November 19, and expands to more cities and theaters on November 24, 2021

WATCH THE TRAILER

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Posted by David Ferguson

OSCARS 2020 recap

February 10, 2020

Oscars 2020 recap

 It could be argued that the last 5 years of Best Picture announcements have each provided somewhat of a surprise as the title was announced. However, the noise level and affection directed towards the stage as those associated with PARASITE assembled, gave this year’s announcement a distinct and special feel. Filmmaker Bong Joon Ho has won over many in the industry during this awards season, and the historical significance of having the first non-English language winner shouldn’t be minimized. However, there was something else at play as the applause and whistles boomed throughout Hollywood’s Dolby Theatre. This was an auditorium filled with movie lovers who were celebrating a creative, unique, meaningful, and entertaining cinematic achievement … in other words, the things that movie making is meant to deliver. It was quite a moment.

While my predictions were correct on 20 of 24 categories this year, I can’t help but kick myself for not foreseeing this PARASITE juggernaut (it won 4 of its 6 Oscar nominations). Director Sam Mendes’ WWI visual masterpiece 1917 seemed to be on an unstoppable roll after winning Best Picture at BAFTA, Critics Choice, Directors’ Guild, and Producers’ Guild. But taking a step back and analyzing how the Oscars voting works – success is heavily dependent on how many ballots have a film in the first/favorite position – it becomes much easier to understand how this “upset” occurred. Ever since it won the Palme d’Or at Cannes, the number of crazed and vocal fans for PARASITE have been all over social media encouraging others to check it out. While almost everyone was wowed with the visual experience of 1917, it was the rabid fandom for the South Korean film that really stood out.

 So it was Bong Joon Ho’s film making Oscar history, and yet there are also other things to discuss. Choosing to go “host-less” for the second straight year, the very talented Janelle Monae opened the show by performing a take-off on Mister Rogers and then exploding into a high-octane song and dance featuring many of the nominated films, and a few that weren’t. Ms. Monae also infused the first political statement of the evening – one that would surely be followed by many more. Steve Martin and Chris Rock then took the stage, and though they apparently had not rehearsed their time together, there were a couple of good zingers … especially those aimed at Amazon’s Jeff Bezos … and more than a few that fell flat.

In his acceptance speech for Best Supporting Actor (ONCE UPON A TIME IN … HOLLYWOOD), Brad Pitt infused a bit of political commentary, as did Olaf, I mean Josh Gad, as he introduced Idina Menzel to sing the nominated song from FROZEN 2 (along with some talented international help). Diane Keaton did her best Warren Beatty/Faye Dunaway impression through incoherence and cluelessness (at the expense of good guy Keanu Reeves), and one of the best moments of the show was followed by one of the strangest. Lin-Manuel Miranda introduced a wonderful medley clip of film songs which played right into Eminem taking the stage to perform his Oscar winning “Lose Yourself.” Why is that strange?  Well, 8 MILE came out in 2002, and ‘18’ is rarely celebrated as a commemorative year (unless you are a 17 year old rejoicing in legal impendence). Eminem’s song is a favorite of many, but his inclusion here left us with one unanswered question … why?

Billie Eilish delivered a beautiful version of “Yesterday” as the annual In Memoriam slides played, but live performances from Randy Newman and Elton John (whose song won) paled in comparison to that of Cynthia Erivo. We were rewarded yet again by the brilliance of Olivia Colman, following up last year’s win with a turn as presenter. Her line, “Last year was the best night of my husband’s life” deserves to become part of Oscar lore alongside streakers, no-shows, and botched announcements. We were then subjected to two much-too-long ramblings from Acting winners Joaquin Phoenix and Renee Zellweger. Mr. Phoenix at least made some sense in his plea for justice for all (and a nice quote from his deceased brother River: “Run to the rescue with love, and peace will follow”), while Ms. Zellweger babbled “ums” and “you knows” about heroes, and proved why most actors should stick to a script.

As I’ve stated before, celebrities are welcome to their political opinions, which many share frequently and openly. My issue is that the Academy Awards ceremony was designed as a once a year opportunity to celebrate cinema and those who make it such an enticing and entertaining art form. Especially in this day of social media, I find the political outbursts to be in poor taste … similar to bringing McDonalds carry-out to a dinner party. It seems the proper approach would be to thank the Academy and those who helped the winner with their achievements, and then head backstage and tweet all the political opinions swirling about in their head. Having one’s own hair stylist, make-up artist, limo driver, and fashion designer, does not seemingly make one an expert on equality or geopolitics, so my personal preference would be for political opinions to be stifled for a few hours.

 All the best stories have memorable endings, and this year’s Academy Awards certainly delivered that. Political ramblings were forgotten as soon as Jane Fonda, after pausing for dramatic effect (and to ensure she had the correct envelope) announced PARASITE as Best Picture. Watching movie history unfold was exhilarating, and Bong Joon Ho’s promise to “drink till the morning” was well-deserved. He has announced his involvement with an HBO series based on this Oscar winning film, so we can expect to see his creativity on one screen or another for the next few years.

***NOTE: Tom Hanks announced during the ceremony that the long-awaited Academy Museum of Motion Pictures will open December 14, 2020 in Los Angeles’ Miracle Mile district.

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Posted by David Ferguson

JOKER (2019)

October 3, 2019

 Greetings again from the darkness. The first thing to know is that this is not a Superhero movie. In fact, there are no heroes in the movie – unless you would like to apply the label to a single mom who lives down the hall from Arthur Fleck. Mr. Fleck lives at home with his invalid mother in a grungy, run-down apartment. He works as a clown-for-hire, dreams of becoming a stand-up comedian, and depends on social services to supply the 7 medications he takes since being released from Arkham State Hospital. It’s a bleak existence at a bleak time in a bleak city. Gotham is in the midst of a garbage workers’ strike (only the ‘super rats’ are happy), political upheaval, and a growing chasm between the classes. And then it gets worse for Arthur.

The second thing to know is that this is a standalone Joker film, and one mostly unrelated or not connected to previous projects featuring the colorful Clown Prince character played (and voiced) by such memorable actors as Cesar Romero, Jack Nicholson, Heath Ledger, Mark Hamill, Jared Leto and even Zach Galifianakis. Director Todd Phillips (who co-wrote the script with Scott Silver) is best known for such extreme comedies as “The Hangover” franchise and OLD SCHOOL, so he’s a bit outside of his usual wheelhouse. Phillips and Silver seem to embrace not just the history of the character, but also the look, texture and tone of filmmaking from an earlier era. The gritty and outcast feel of Scorcese’s TAXI DRIVER and THE KING OF COMEDY is present, and so are numerous tributes to familiar Joker moments of days gone by.

Three time Oscar nominee Joaquin Phoenix plays Arthur Fleck, and he delivers Arthur’s slow descent into madness, or shall we say further descent. It’s clear from the beginning that Arthur views himself as ignored by society, while all he wants to do is bring joy and laughter to others … and be noticed. His daydreams or visions of himself in a better world send a strong message. Phoenix shows us what full commitment to a role looks like. He lost 50 pounds, leaving a frame that contorts, moves and dances in a manner unlike what we’ve seen before. In fact, it’s a toss-up on which shows up more frequently, his dances moves or his maniacal, pained laughter. We are informed Arthur suffers from Pseudobulbar Affect, also known as emotional incontinence, which causes that creepy laughter to pop up at some inappropriate times. Of course, the comparisons to Heath Ledger’s Oscar winning turn in THE DARK KNIGHT are inevitable. The roles and films are written quite differently, and it’s safe to say both actors were all-in.

Action sequences and special visual effects are both noticeably absent, but the violence is sure to shock. This is not one for the younger kids, no matter how much they enjoy THE AVENGERS or WONDER WOMAN (or any other DC or Marvel film). This gritty, visceral approach is often a tough watch, and is much more a character study of mental illness than a costume drama … although Arthur’s clothes and make-up are front and center. When Arthur states, “I have nothing but bad thoughts”, we believe him. And the sympathetic back story explains a great deal, and will likely prove quite controversial.

Phoenix dominates the film (as he should), and supporting work is provided by Robert De Niro as Murray Franklin, a TV talk show host in the Johnny Carson mode; Zazie Beetz (DEADPOOL 2) as the single mom neighbor Sophie Dumond; Frances Conroy as Penny Fleck, Arthur’s mother; Brett Cullen as a not so empathetic Thomas Wayne; and Shea Whigham and Bill Camp as police detectives. I’ll hesitantly mention that Dante Pereira-Olson makes a couple of brief appearances as an adolescent Bruce Wayne, and just for fun, we get a shot of the young man honing the batpole skills he will use later in life. Just don’t expect any “real” Batman references.

Director Phillips delivers a film that looks and feels and sounds much different than other comic book movies. Cinematographer Lawrence Sher is a frequent Phillips collaborator (all 3 Hangover movies) and the dark look and gritty feel are present in most every shot. Hildur Guonadottir (this year’s Emmy winner for “Chernobyl”) serves up a foreboding score – one that never overwhelms, and one that contrasts perfectly with the more traditional songs utilized throughout: Stephen Sondheim’s “Send in the Clowns”, Jimmy Durante singing “Smile”, Cream’s “White Room”, “That’s Life” by Frank Sinatra, and Gary Glitter’s familiar “Rock and Roll Part 1 and 2”. The “Smile” song is especially relevant as its origins can be traced by to Charlie Chaplin’s MODERN TIMES, a silent movie classic featured in this film. Phillips even uses the Saul Bass designed Warner Bros logo to open the credits, making sure we understand the time period (no cell phones, etc).

The film traces Arthur’s slide into crime … a transition that he wasn’t seeking, and one that he believes was forced upon him. His rise as a savior to the working class is secondary to his own journey, and the chaos is handled on the perimeters of the film, preventing this from becoming a Super Villain movie. Keep in mind JOKER played at Venice, Telluride and Toronto – three prestigious festivals. This is just another thing that sets it apart from others in the genre. Despite the 1981 time stamp, the consistent anti-rich message and class disparity is prevalent throughout. This appears to be Phillips’ way of including a contemporary theme in a decades-old setting. And it’s a cautionary tale that there should be no clown left behind.

watch the trailer:

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Posted by David Ferguson

DON’T WORRY, HE WON’T GET FAR ON FOOT (2018)

July 20, 2018

 Greetings again from the darkness. Being neither an alcoholic, an artist nor a quadriplegic, I found myself wondering if I would be able to connect at all with the real life story of John Callahan. At most, I figured another stellar, oddball performance from Joaquin Phoenix might keep me engaged. It turns out, director Gus Van Sant (GOOD WILL HUNTING, 1999) focuses more on the quite interesting road to sobriety … a road that also happens to lead directly to a reason to live.

Based on Mr. Callahan’s autobiography, the film stars the enigmatic Mr. Phoenix. First seen as a 21 year old (a bit of a stretch) slacker who constantly needs a “fix” of alcohol, no matter the time of day, the talented actor excels after the alcohol-induced car accident that robs Callahan completely of the use of his legs, leaving him only minimal function with arms and hands. Even this doesn’t inspire Callahan to give up the bottle. However, a vision of his mother does. Callahan’s mommy issues are a key element of the story, as she gave him up for infant adoption – leading to many years of drowning his self-pity in whatever type of alcohol was in the glass.

The film picks up some momentum once Callahan begins attending AA group therapy sessions conducted by Donnie (Jonah Hill). Donnie is part Zen sponsor and trust fund guru. It’s a wonderful performance from Mr. Hill, who makes the most of each of his scenes. Others in the group include a terrific (musician) Beth Ditto, Kim Gordon (of Sonic Youth fame), (German icon) Udo Kier, Ronnie Adrian and Mark Webber. Individually they don’t have much to do, but they do make for a fascinating group. Also appearing are Tony Greenhand as Callahan’s attendant, the fabulously talented Carrie Brownstein (“Portlandia”), and Rooney Mara as Callahan’s physical therapist-turned-girlfriend. Ms. Mara is especially short-changed in the script.

It was 1972 and Callahan was 21 when the car accident left him a quadriplegic. Slowly, he discovered his talent as a cartoonist – albeit a controversial and darkly funny one. In today’s climate of political correctness, it’s likely Callahan would find no audience, but at the time, he developed a national following. This was the time of other single panel cartoonists like Gary Larson and Bill Watterson.

Attempting to avoid the traditional and familiar biopic structure, director Van Sant (who has a cameo) chops the movie into bits that work better individually than as a whole. At times it plays like an advertisement for Alcoholics Anonymous. But some of the bits are outstanding. The film is somehow both funny and sad, and includes a terrific scene near the end with Callahan and Jack Black’s Dexter reuniting for the first time since the accident. It’s a powerfully honest scene.

A destructive lifestyle doesn’t always lead to good things, and substance abuse is not very entertaining – though, the road to recovery can be. Getting of glimpse of the 12 step program, we see that not drinking is merely the beginning. It’s like a runner who must first lace up his shoes before beginning the actual run. Callahan died in 2010 at age 59, but his impact continues.

watch the trailer:

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Posted by David Ferguson

YOU WERE NEVER REALLY HERE (2018)

April 12, 2018

 Greetings again from the darkness. Scottish director Lynne Ramsay doesn’t shy away from tough material. In fact, she seems to thrive on it. Following the emotional turmoil of WE NEED TO TALK ABOUT KEVIN (2011) she delivers her latest, which can best be described as brutal. The brutality here is not the on screen violence – we get mostly the aftermath or only see the ‘edges’ of terrible deeds. No, the brutality here is in a world that needs a man like Joe.

Joaquin Phoenix plays Joe, a former military man who lives with his mother. Joe has a particular set of skills that fit into the narrow career niche of rescuing kidnapped girls and ridding society of their captors. Rather than a hired gun, Joe is a hired hammer … ball-peen hammer being his sentimental and strategic weapon of choice. Joe is also a bit mentally unstable, likely suicidal, and haunted by inner demons. Yet he is also patient and kind with his elderly mother (Judith Roberts).

Joe’s most recent job is to find and rescue a State Senator’s daughter (Ekaterina Samsonov) from an underground sex ring run by some powerful political types. The job is a success right up until it isn’t. It’s at this point when Joe finds a reason to live … vengeance. It’s also when Mr. Phoenix becomes a legitimate contender for an Oscar nomination. He’s a hulk of a man with a lumbering gait experiences and dozens of body scars. He has these flashbacks which are so short spurts, at times they feel like mere teases. Soon enough we assemble the pieces to know the baggage from a traumatic childhood event, and the front lines of a horrific war, have created this shell of a man with his own set of principles.

John Doman and Alessandro Nivola have minor supporting roles, but this one rides on the battered and no longer symmetrical shoulders of Joaquin Phoenix, and the creative stylings of filmmaker Lynne Ramsay. It is imagery combined with performance and the result is spellbinding. If you can handle it, the film provides a cinematic journey to depths not typically reached.

Best not to fill in many of the film’s specifics, but the comparisons to TAXI DRIVER are apropos. I found myself wondering if Paul Schrader was consulted in the adaptation of Jonathan Ames’ source material book. The city streets and dank hotel rooms scream gritty 1970’s thriller, and the recurring shots of plastic bags over the head emphasize the claustrophobia Joe experiences. This is doubtless meant to be commentary on politicians and the corrupt power they wield, but it works less as that and more as a glimpse at one man’s darkness. Add to that the pulsating score from Jonny Greenwood, and the creepy use of “My Angel Baby” by Rosie and Originals, and only one word can describe Ms. Ramsay’s film … brutal.

watch the trailer:

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Posted by David Ferguson

IRRATIONAL MAN (2015)

July 30, 2015

irrational man Greetings again from the darkness. Woody Allen turns 80 years old later this year, and he continues to crank out a new movie every 12 -15 months. While his production level is impressive, many of his films cause us to question if possibly fewer films, each receiving a bit more attention to detail, might prove more effective. Revisiting one of his favorite themes – life is meaningless – this latest provides a funked-up burned-out philosophy professor as our tour guide.

We feel for the three lead actors: Joaquin Phoenix, Emma Stone, and Parker Posey. Somehow all three roles are underwritten, causing some awkward moments on screen as these talented folks grasp for inspiration or direction in many scenes. The character of Abe (Mr. Phoenix) is introduced as a brilliant mind and popular teacher who has a reputation of being intimate with his students. When we first see him, he’s but a paunchy, alcoholic shell of a man … nearly oblivious to social graces. Jill (Ms. Stone) is the talented and gregarious student, and daughter of two professors, who should be entirely too smart to fall for anyone as self-loathing and careless as Abe. Drawing the shortest of all short straws is Ms. Posey as the stereotypical middle-aged woman seeking excitement somewhere other than her stable husband.

Evidently quoting Kant is designed to provide depth to character and story, and trick us into thinking existentialism is the only topic worthy of discussion … as long as it occurs while sucking down beer and nursing a flask. We are to believe that Abe’s decision to carry out a horrific crime can be justified since the victim was not a “good person” and it leads to a shift in attitude and renewed interest in life and yes, even sex. The film’s title does little to extinguish the writer/director’s apparent belief that questionable personal actions do not make a bad person. It seems real life and cinema have intersected yet again.

There are many topics touched on here, though unfortunately the story merely scratches the multiple surfaces. The professor’s reputation precedes his arrival, but we are never given any indication what makes him brilliant … what makes him popular with students … or what makes him attractive to so many. The idea of a crime being justified if the victim is not a credit to society has been explored much better in numerous other stories. Murder acting as Abe’s muse may be the most intriguing aspect of the script, but it’s treated mostly as a gimmick and never allowed to fully develop. Lastly, there are a couple of lines that seem to contradict each other. One is related to whether a passionate thinker can change the world, while the other says “wishing doesn’t work”. Again, these competing thoughts could have been explored and provided more thought-inducing moments. Instead, we are left with an excellent jazz score (especially the Ramsey Lewis Trio) on a paved road with few answers to the basic philosophical questions offered up by default.

watch the trailer:

 

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Posted by David Ferguson

INHERENT VICE (2014)

January 12, 2015

inherent vice Greetings again from the darkness. What is an absolutely critical element to a good whodunit? The answer is “it”. By definition there must be an “it” that someone has performed or carried out.  Director Paul Thomas Anderson’s adaptation of Thomas Pynchon’s novel kicks off with a terrific scene that appears to set the stage for a big mystery that must be solved. But don’t fall for it … it’s really a parody of film noir that depicts the end of the care-free hippie era in southern California. Or maybe it’s the beginning of the paranoid era in southern California. Or maybe it’s something else all together. Whatever it’s meant to be, it is certainly a wild ride with a never-ending stream of colorful characters in strange situations.

Many of us consider Paul Thomas Anderson to be one of the true creative geniuses of the film world. His 2007 There Will Be Blood was a towering achievement and complements his other films such as The Master, Magnolia, Boogie Nights, Punch-Drunk Love, and the underrated Hard Eight. His latest veers into new territory and features one of his more outlandish characters in “Doc” (Joaquin Phoenix), a mutton-chopped hippie Private Investigator who never misses a chance to indulge in his marijuana habit. Welcome to 1970 SoCal.

It seems new characters and scenarios are being thrown at us in every scene, as Doc readily accepts new cases and new leads … only there really is no case, even though he spends most of the movie looking into things. His efforts find him crossing paths with his ex-girlfriend, the wife of a missing real estate tycoon, the Aryian brotherhood, a sax player who is either a Federal informant or a student dissident, a coke-fueled dentist, an Asian massage parlor, the FBI, a maritime lawyer, his pizza-delivering sometimes girlfriend who is also a District Attorney, a mysteriously named entity Golden Fang, and the tightest-wound/probably corrupt/ TV-acting police detective named Bigfoot.

Should you require additional weirdness, check out how many character names come right out of cartoons (Doc, Mickey, Bambi to name a few). Need more?  How about a soundtrack that features Neil Young, Sam Cooke, Can’s “Vitamin C”, and a score from Radiohead’s Jonny Greenwood? Or film stock that has the look of 70’s vintage … shot beautifully by Oscar winning DP Robert Elswit. There is just no describing the shenanigan’s other than to say the characters, situations and dialogue are alternatingly confounding and humorous. Our movie-watching brains are trained to follow a plot, but Anderson and Pynchon seem to be laughing in the face of this tradition as we try to assemble the nominally related puzzle pieces.

The cast is varied and fun. Katherine Waterston (Sam’s daughter) plays Doc’s ex who kicks off that first scene, Eric Roberts is the kinda missing rich guy, Michael Kenneth Williams delivers a clue, Benecio Del Toro is the maritime lawyer, Owen Wilson is the sax player, Jena Malone is his clean and sober wife, Reese Witherspoon plays the DA, Martin Short is the horny dentist, Martin Donovan is another creepy rich guy, Joanna Newsome is the narrator and periodic assistant to Doc, Serena Scott Thomas (sister of Kristin Scott Thomas) plays the wife of the missing rich guy, and Maya Rudolph (the director’s real life partner) is Doc’s receptionist … and Maya’s late mother Minnie Ripperton sings “Les Fleurs” on the soundtrack. But it’s Joaquin Phoenix and Josh Brolin who really take this thing to the edge. It’s clear both are having fun, which is the best you can hope for while watching this one.

watch the trailer:

 

 

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

HER (2013)

January 11, 2014

her Greetings again from the darkness. Well, critics have been raving about this film so strongly the past few weeks that I almost feel guilty going against the grain. Almost. Where they see a masterpiece with insight into love and self, I see an implausible story bordering on ludicrous.

Writer/director Spike Jonze is an incredibly creative filmmaker. His Adaptation and Being John Malkovich are two movies I can watch repeatedly. I was a fan of his film version of Where The Wild Things Are, but this one just brought me nothing but annoyance, frustration and irritation.

Rather than defend my minority stance, I’ll just admit to not being onboard with this one. I have always believed we should each judge a film by how it touches us … how we connect with it. I was neither touched nor connected.

What I will say is the premise of technology replacing human interaction in the near future is not unthinkable and has already happened for some. But to say that a real relationship … that true love … can not just occur, but become commonplace between people and machines just simply contradicts what I believe comprises true love.

The film is extremely well made and visually beautiful. The acting is superb: Joaquin Phoenix, Rooney Mara, Amy Adams are all terrific. Voice acting is spot on including Scarlett Johansson, Brian Cox, Kristen Wiig, and even Spike Jonze. But falling in love with an operating system? Maybe what Osgood Fielding III said at the end of Some Like it Hot is really true … “Nobody’s perfect“.

SEE THIS MOVIE IF: you would like to see a very sad version of what could happen if technology continues to expand its role in our lives OR cyber-sex with Kristen Wiig is appealing to you

SKIP THIS MOVIE IF: you prefer your love stories to involve two PEOPLE!

watch the trailer:

http://www.youtube.com/watch?v=WzV6mXIOVl4

http://www.youtube.com/watch?v=WzV6mXIOVl4

 

2 Comments | Drama, Fantasy, Sci-Fi | Tagged: , , , , , , | Permalink
Posted by David Ferguson

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