OMAHA (2026)

April 23, 2026

Greetings again from the darkness. Memorable movies need not have a huge budget or special effects. All that’s needed is an interesting story and characters we care about. Screenwriter Robert Machoian (the excellent THE KILLING OF TWO LOVERS, 2020) fully understands this, while Cole Webley’s feature film directorial debut (after many shorts and videos) transitions the story to the big screen in a way that leaves us emotionally drained. It’s one of the obligatory ‘tough watches’ that plays the festival circuit – only this one is extremely well written, directed, and acted.

John Magaro (SEPTEMBER 5, 2024; PAST LIVES, 2023; FIRST COW, 2019) continues racking up his list of strong performances. It’s very early morning (in 2008) when he wakes up his two young kids and loads them, along with the family dog, in the car. Nine-year-old Ella (a shockingly good performance from Molly Belle Wright) and six-year-old Charlie (Wyatt Solis) aren’t told where the trip will lead, but as viewers, that familiar feeling of dread hits the minute dad speaks with the Sheriff, and we understand the family has been evicted. It doesn’t take long for us to figure out dad is not only grieving the loss of his wife (the mother of the kids), but he is also dealing with severe poverty. This combination explains the desperation he works so hard to hide from the kids.

Lest you think this is one big show of misery, you should know that some fun is mixed in on the road trip … a bag of candy here, flying a kite on the Salt Flats there. This father and these kids adore each other, and it’s the remarkably insightful Ella who continually pushes dad for a reason and destination of the trip. In fact, we see most of this story from Ella’s perspective, making things all the more emotional at times. Those distinctly expressive eyes of Magaro allow him to convey so much, despite saying so little. Talia Balsam (“Mad Men”) has a crucial role near the end of the film, yet by then, we are so invested in dad, Ella, and Charlie, that it’s difficult to accept another.

Over the closing credits, director Webley explains the Safe Haven Law and how it applies to the titular city … and how it has since been amended.

Opens in theaters on April 24, 2026

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Posted by David Ferguson

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

SEPTEMBER 5 (2024)

January 3, 2025

Greetings again from the darkness. The 1972 Olympics are remembered for a few highlights. Swimmer Mark Spitz set seven world records on his way to seven gold medals. Belarusian gymnast Olga Korbut won three gold medals (although not in the all-around). The United States and Russia played one of the strangest and most controversial games in Olympics history. And most importantly, the 1972 Munich Olympics are remembered for the tragedy surrounding 10 members of Israel’s team being taken hostage by a masked Palestinian militant group.

Writer-director Tim Fehlbaum and co-writers Moritz Binder and Alex David recreate the events from the perspective of the ABC television production crew. For some historical perspective, this was the first OIympics with widespread and comprehensive live television coverage. It was also the first Olympics held in Germany since 1936 (the Jesse Owens’ games). These games were merely 27 years after the end of WWII. Quick math tells us that 27 years ago from this film’s release was 1997, the year Princess Diana died. To put it plainly, physical and emotional wounds had not completely healed, and Germany was striving to put the past out of mind.

Renowned ABC sports producer Roone Arledge (played here by Peter Sarsgaard) is the man running the Olympics coverage. Newbie broadcast producer Geoffrey Mason (John Magaro, PAST LIVES, 2023) is brought in to run the “off hours”, while Arledge rests. Mason’s experience includes covering minor league baseball, so this is his first shot at the big time. His supervisor, Marvin Bader (played by Ben Chaplin, THE THIN RED LINE, 1998) has confidence in his young protégé, but things go sideways quickly when gunfire is heard.

The genius of the film stems from Director Fehlbaum and Cinematographer Marcus Forderer (I ORIGINS, 2014) choosing to shoot everything inside the ABC control room. This heightens the claustrophobia and pressure as the crew struggles with how best to handle this developing and obviously historic moment. It’s no longer about swimming and sprinting, but now it’s ABC Sports versus ABC News … and since possession is the proverbial 9/10 of the law, Arledge fights to keep the story with his team who is in close proximity. Anchor Jim McKay is seen in archival footage, while reporter Peter Jennings is on the grounds. Translator Marianne Gebhardt (Leonie Benesch, who was amazing in THE TEACHER’S LOUNGE, 2023) is the only one who speaks German and she is vital in her reporting of what’s being broadcast via local radio.

It’s difficult to convey just how much tension runs through this film for both the television crew and the viewers. Ten members of Israel’s Olympic team was taken hostage inside the Olympic Village by the masked Palestinian militant group Black September. We know how history played out over those hours and it’s chilling to revisit from this perspective. The geopolitical aspects are touched upon (Bader was Jewish), but this isn’t about that. Journalism may be heavily criticized these days, but it’s historic moments like this when we depend on competent trained professionals to tell (and show the stories the world needs to know. The haunting archival clips used here add to the quasi-documentary feel.

Opening in select theaters on December 13, 2024 and wide on January 10, 2025

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Posted by David Ferguson

PAST LIVES (2023)

December 5, 2023

Greetings again from the darkness. Circumstances being what they can be, I missed a couple of chances to see this one earlier in the year and have just recently been able to catch up. And such a treat it is. The first feature film from South Korean writer-director Celine Song is certainly one of the best movies of the year … and with a budget hundreds of millions below some of this year’s blockbusters.

Korean school kids Na Young (Moon Seung-ah) and Hae Sung (Leem Seung-min) are besties whose close friendship abruptly ends when Na Young emigrates to Canada with her parents. Twelve years pass with no communication between the two. Na Young, now going by Nora, moves to New York City to pursue her lifelong dream of becoming a playwright. Hae Sung remains in Korea, takes a break from his engineering education to serve a stint in the military, before finishing up his studies. On a whim, Nora tracks down Hae Sung’s social media account, and it’s not long before the two have a Skype call and reminisce about their once strong bond, while also discussing how time has moved on.

Greta Lee (“The Morning Show”) plays adult Nora, while Teo Yoo is the grown Hae Sung. Twelve more years pass as Nora establishes herself as a NYC playwright and marries Arthur (John Magaro), while Hae Sung takes on a job in Korea. When Hae Sung decides to visit Nora in New York, he’s clearly hoping to rekindle the childhood bond. In many romantic movies, this reunion would end with the two lovers recapturing each other’s hearts, yet director Song ensures these characters stay grounded in reality, even as destiny and fate (described here as In-Yun) play a role.

The opening scene in a local bar bookends the film, and along the way, we are taught, “If you leave something behind, you gain something too.” There is a terrific pillow talk scene, and in fact, the dialogue throughout remains true to each character. This is a film about adulting, not fantasy, though the latter can have appeal at times. No matter how strong reality is, it never precludes us from wondering “what if?” … even if a sure sign of maturity is making decisions that keep us committed to our cause. This is a terrific film with characters whose story is remarkably relatable to just about any moviegoer.

Available on VOD

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Posted by David Ferguson

LANSKY (2021)

June 24, 2021

Greetings again from the darkness. If asked, the vast majority of movie lovers would name THE GODFATHER (1972), THE GODFATHER II (1974), and GOODFELLAS (1990) as the quintessential mafia movies. Sure, there are dozens of others, but that mob triumvirate has ruled the roost for many years. It’s doubtful writer-director Eytan Rockaway ever gave one moment of thought that his second feature, written from a story by his father, author Robert Rockaway, might join the ranks of those top three, but that doesn’t prevent it from being a quite interesting tale based on true events.

Sam Worthington (AVATAR, 2009) stars as David Stone, a writer who had some success a few years back with his Kennedy biography. Since then, he’s struggled in both his personal and professional life. In 1981 when an elderly Meyer Lansky (Harvey Keitel) contacts him to write the true Lansky story, David jumps at the opportunity, seeing it as a solution to his many problems. The two men meet at a Miami diner that Lansky frequents. These diner meetings form the structure of the story, and director Rockaway uses flashbacks to the 1940’s to “show” us what Lansky is telling his biographer from the booth.

John Magaro plays the younger Lansky, a man who is remarkably good with numbers and calm, yet forceful, in his demeanor. Lansky has partnered with Ben “Bugsy” Siegel (David Cade), who provides some muscle and flamboyance that Lansky lacks. We see the development of their business, and how Lansky’s shrewd business acumen leads to a connection with Lucky Luciano, as well as providing the government with intelligence during the war. Lansky’s story to David glosses over the bootlegging and other revenue streams to concentrate on gaming, which of course, is now legal in many states.

The supporting cast includes Minka Kelly as David’s fling at the motel, AnnaSophia Robb as Lansky’s wife Anne, Shane McRae as Lucky Luciano, and David James Elliott as the FBI Agent obsessed with solving the long-dead Lansky case and locating the $350 million supposedly hidden away. As you might expect, the story bounces from Miami to New York City to Cuba (a stunning Colonial Hotel in Havana) to Vegas to Geneva and even Israel, where Lansky attempted, unsuccessfully, to live out his life.

Lansky’s biggest impact was facilitating the connection between the Italian, Irish, and Jewish mafia at a time when so such bond existed. We twice hear him answer, “I have no knowledge on the subject”, when questioned about organized crime. On his death in 1983, Lansky had no convictions – all charges had been dropped. A doctor’s diagnosis of terminal lung cancer led him to reach out to an author so that his story could be told. We don’t learn much about “Murder, Inc.” but we do understand Lansky’s commitment to “control the game”. Rockaway has delivered an intriguing profile of an enigma from inside the mafia … and screen vet Keitel makes it all believable.

In Select Theaters & On Demand June 25, 2021

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Posted by David Ferguson

THE BIRTHDAY CAKE (2021)

June 17, 2021

Greetings again from the darkness. All it took was one look at the cast for me to agree to watch and review this mob film. It’s the first feature film from writer-director Jimmy Giannopoulos, and he co-wrote the screenplay with Diomedes Raul Bermudez and Shiloh Fernandez (who also stars). Most will agree the world never really needs another mob movie, but gosh, when they work, they are quite fun to watch. Filmmakers Guy Ritchie and Martin Scorsese have figured this out.

And then there are those that try hard, but for whatever reason, it doesn’t quite click. Sometimes too many characters are crammed in to execute (pun intended) as many familiar mob movie tropes as possible. Director Giannopoulos opens his film with a flashback scene from 10 years ago. The rest of the movie takes place in one evening – one that goes better for some than others. Gio (co-writer Shiloh Fernandez) is dressed in his suit as this is the night “the family” celebrates the death of his father 10 years prior. Gio’s mother (Lorraine Bracco) has baked the titular cake, as she has done each of the previous years. She tells Gio she does this “for your father.” Gio then sets out to walk the streets of Brooklyn in order to bring the cake to his Uncle Angelo’s house for the celebration.

Gio is good-natured and prefers talking and smiling his way through confrontations, rather than the violent tendencies of those around him. Most of the movie revolves around his interactions along the way – with some friendlies and some not-so-friendlies. It seems his chocolate allergy comes up in conversation enough times that we know it will come into play at some point. If it’s not his food allergy, then it’s the whereabouts of his Cousin Leo (Emery Cohen) that makes up most of the conversations we hear. Leo is recently out of prison, but hasn’t contacted his mother yet … a real no-no in the family. Leo had previously crossed a Puerto Rican gang and now he’s missing – hence all the questions.

If you come for the story, you’ll likely be disappointed. This is more a series of vignettes featuring familiar faces such as Luis Guzman as a concerned Uber driver, William Fichtner as a man with a violent nature, and John Magaro, Aldis Hodge, Ashley Benson, Vincent Pastore (of course), Penn Badgley, Jeremy Allen White, and even Marla Maples (yes, the former Mrs. Trump). Once at the party, Gio meets with an ailing Uncle Carmine played by Paul Sorvino, and best of all, Uncle Angelo played by Val Kilmer. If you have not heard, Mr. Kilmer had throat cancer and now speaks through a voice box. Subtitles are utilized to assist viewers. Watching him act with his eyes and body language is a pleasure, and it’s great to have him back on the big screen. The final big name to appear in the film is Ewan McGregor as Father Kelly, who has an early scene with David Mazouz (“Gotham”) as young Gio, and a later scene with modern day Gio and his mother.

We follow Gio in his strange, messy night … think AFTER HOURS (1985) … only mob-related, and lacking most of the dark comedic touches. Other than Fernandez, most of the actors are only in a scene or two, so there’s a novelty effect that doesn’t seem quite right for this genre. Paul Sorvino has only a solitary two-word line of dialogue that starts with an F and ends with you. Still a well-executed crescendo of death and getting to see so many familiar faces in one film makes it worth sticking till the end.

In theaters and On Demand June 18, 2021

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Posted by David Ferguson

SYLVIE’S LOVE (2020)

December 22, 2020

 Greetings again from the darkness. For those who enjoy an old fashioned Hollywood romance, with set design and costumes taking priority over the intricacies of a story, then writer-director Eugene Ashe has the cure for what ails you. In contrast to the numerous films this year addressing topics of socially-conscious issues, this is an unapologetic, soapy, melodrama with beautiful actors and some cool jazz.

Tessa Thompson (CREED, 2015; AVENGERS: ENDGAME, 2019) stars as Sylvie, a young woman working in her daddy’s (Lance Reddick) Harlem record store while her fiancé is off fighting in the war. Her co-star is Nnamdi Asomugha (a 10 year NFL career, mostly with the Raiders) as Robert, a saxophone player in the Dickie Brewster Quartet. They have their ‘meet-cute’ moment, and despite the fiancé and Sylvie’s career aspirations of being a TV producer, they fall in love. The chemistry between Sylvie and Robert works because Ms. Thompson can light up the screen with her smile.

Director Ashe starts the movie in 1962 as Sylvie and Robert bump into each other by mere chance. It’s then that we flashback 5 years to their first meeting in the record shop. It doesn’t take long to establish that Sylvie is an expert on music and television, and has an independent streak that would be considered unusual for the era. As the two fall in love and appear well-matched, Robert’s group lands a prestigious gig in Paris. Just like that, the relationship is over.

Falling in and out of love over many years isn’t the right description for what happens to Sylvie and Robert. No, they are always in love (whether together or apart) … it’s just that life happens, and timing can be cruel in such matters. Additional supporting performances include Jemima Kirke as the Countess and Robert’s agent, a character based on Baroness Pannonica de Koenigswarter; Wendi McLendon-Covey as Lucy, a TV actor on a cooking show; Erica Gimpel as Sylvie’s appearances-obsessed mother; Eva Longoria as Carmen, replete with a New Year’s Eve song and dance routine; John Magaro as a music producer; and Alamo Miller as Lacy, Sylvie’s fiancé and husband. Despite her limited screen time, Aja Naomi King is a standout as Sylvie’s friend and party-girl-turned Civil Rights Activist. Her character is one of the few that gives any indication of what’s happening socially in the country at that time.

It’s a film that fully embraces the melodrama – a predictable love story, contrived to the point that Sylvie keeps a secret so personal that we would ordinarily find her despicable; yet in this film, her actions are presented as compassionate. Mr. Ashe’s film is a soap opera that looks fantastic, while glossing over the real challenges faced by blacks in the era. It’s truly a throwback in style, era, and substance. The people are beautiful. The cars are shiny. The music is hypnotic. Production design by Mayne Berke and Costumes by Phoenix Mellow add to the elegance presented by Ms. Thompson and Mr. Asomugha. You surely know if this is your type of movie. See you later alligator.

Available on Amazon Prime December 23, 2020

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Posted by David Ferguson

FIRST COW (2020)

December 19, 2020

 Greetings again from the darkness. A modern-era woman (Alia Shawkat) is hiking along an Oregon river with her trusty dog. Something catches her eye and she begins tentatively brushing away decades of leaves and soot. Ultimately it turns into an excavation of two human skeletons nestled together. How many years since these two laid down for the last time? Why in this spot?  It’s a terrific way to begin a story, and does justice to what follows … all of which takes place in the early 19th century.

Director Kelly Reichardt has already made her mark with such standouts as CERTAIN WOMEN (2016), MEEK’S CUTOFF (2010), and WENDY AND LUCY (2008), and this time she adapts the screenplay with Jonathan Raymond from his 2004 novel, “The Half-Life”. Cookie (John Magaro, also seen in this year’s SYLVIE’S LOVE) is initially seen traveling west with a band of trappers. Skirting the law as they make their way in this new world, the men act as bullying brutes towards Cookie, a quiet and sensitive man. During one stop for camp, Cookie is rummaging the brush for food when he stumbles upon a naked Chinese man who is hungry and running from Russians (aren’t we all?). Cookie provides King-Lu (played by Orion Lee) with food and shelter, a Golden Rule act that comes full circle not long thereafter.

Cookie and King-Lu begin establishing something more than a friendship. It’s a life bond (but probably not in the way you might be thinking). It’s more natural instinct – a ‘two heads are better than one’ partnership. Despite the hardships of early frontier days, the two men share their version of the American Dream, and it’s about this time that our titular bovine makes her entry stage left. The cow belongs to Chief Factor (Toby Jones) who is eager to create a more refined life in this untamed wilderness. Cookie views the cow’s milk as the key to creating tasty biscuits (a rare treat), and King-Lu immediately recognizes the possibility of profit. The nightly heist features Cookie’s one-directional conversation with Evie the cow … presumably making her first screen appearance.

Ms. Reichardt’s film is not nearly as simple or slow moving as it appears. She fills it with a slow-build tension, especially in the second half. The film requires patience and attention to detail from viewers. How can something so quiet and peaceful be filled with such danger and difficulty? That’s the brilliance of the film. Supporting work is provided by Scott Shepherd as a military officer Factor tries to impress, the late Rene Auberjonois (whose presence seems a tip of the cap to Altman’s classic MCCABE AND MRS MILLER), Ewan Bremner (whose accent requires subtitles for comprehension), and Lily Gladstone as Factor’s Native American wife.

This is the first film I recall where a clarfoutis plays a key role, and there are sprinkles of dark comedy throughout … which plays well off the rugged characters and environment. William Tyler’s score and Christopher Blauvelt’s cinematographer mesh well with the fine performances throughout.  Ms. Reichardt opens the film with a William Black quote, “The bird a nest, the spider a web, man friendship”. We witness the friendship, and by the end, we wonder if it’s also a web.

Available on Showtime and streaming outlets

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Posted by David Ferguson

THE FINEST HOURS (2015)

January 29, 2016

finest hours Greetings again from the darkness. The U.S. Coast Guard has played a role in many movies over the years, but only a few have placed this service branch directly in the heart of the story … most recently The Guardian (2006), which was little more than a cheesy, too-talkative water-based rip-off of Top Gun.  Director Craig Gillespie (Lars and the Real Girl, 2007) takes a much different approach as he presents a look at one of the most legendary and heroic real-life rescues in Coast Guard history.

The Oscar-nominated writing team behind The Fighter (2010): Scott Silver, Paul Tamasy, and Eric Johnson have collaborated on the screenplay based on the book from Casey Sherman and Michael J Touglas. It’s a worthy tribute (and clearly Disney-influenced) to what is described as the greatest Coast Guard small-boat rescue. It combines a boat-load (sorry) of tension-filled ocean-based sequences with some pretty interesting character-based sub-plots within a Massachusetts community that has become all too familiar with storm-based catastrophes.

Chris Pine stars as Bernie Webber, an awkwardly shy and obsessive rule-follower, who has lived under a cloud of doubt ever since a previous rescue mission failed, resulting in the death of a local fisherman/husband/father. We first meet Bernie as he bungles through a first date with Miriam (Holliday Grainger, a young Gretchen Mol lookalike). The film then jumps ahead to 1952 when they become engaged and Bernie is ordered into a questionable mission by his “not-from-around-here” commanding officer Daniel Cluff (Eric Bana). See, a huge storm has literally ripped apart not one, but two giant tankers, leaving crew members battling for survival. It should be noted that Bana the Australian, tosses out a laughable southern accent that is a joke within the movie and within the theatre (for different reasons).

Bernie and his crew: Richard Livesay (Ben Foster), Andy Fitzgerald (Kyle Gallner), and Ervin Maske (John Magaro), take off against all odds in a too-small boat against too-big waves in a desperate attempt to rescue the tanker crew that includes brilliant engineer (and quiet leader) Ray Sybert (Casey Affleck) and characters played by John Ortiz and Graham McTavish. Affleck excels as what can be termed a quiet leader. Of course, we know how the story ends, but the heroic efforts against a very powerful Mother Nature show-of-force make for compelling movie watching.

The special effects are stout, though not be as spectacular as The Perfect Storm (2010) or In the Heart of the Sea (2015), and it’s the human-factor that provides more than enough thrills, excitement, and tension. In fact, the biggest issue I had was that I saw a 3-D version which is an absolute disservice to the film. Most of the story takes place at night and at sea, so the 3-D consequence of dimmed light and muted colors results in a far too dark and dull look to the film. I spent much of the movie sliding the 3-D glasses down my nose in a simple attempt to enjoy a bit more brightness. The recommendation would be to skip the higher-priced (money grabbing) 3-D version and take in the more pleasing “standard” version.

Disney makes feel-good movies. Their target market is not cynics or the overly critical among us. The romance pushes the “corny” meter, but keeps with tradition of other Disney movies based on true stories like The Rookie (2002) and Dreamer: Inspired by a True Story (2005). Keep this in mind you’ll likely find this one pretty entertaining. Stick around for the closing credits as a slew of real photographs from the actual 1952 event are displayed, as are photos of the real heroes from that night.

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Posted by David Ferguson

CAROL (2015)

December 26, 2015

carol Greetings again from the darkness. When Patricia Highsmith first wrote her novel “The Price of Salt”, she had it published in 1952 under a pseudonym (Claire Morgan). This was a sign of the unforgiving social conventions of the era, which also play a key role in the story. At the time, no author would publically admit to writing a book about lesbian lovers, much less admit their participation in such an affair. Highsmith’s novel is the source material for director Todd Haynes’ bookend to his stellar 2002 film Far From Heaven. In that film, Dennis Quaid’s character struggles with his secret life as a gay man while married to Julianne Moore. In this new movie, Cate Blanchett is a married upper class socialite trying to deal with her true feelings for the opposite sex, while fighting to not lose custody of her young daughter.

Haynes has a real feel for attraction … what causes two people to be attracted to each other, and how do they handle it? He re-teams with cinematographer Ed Lachman to create yet another beautiful film with camera work, sets, costumes and a score (Carter Burwell) that complement the romance depicted by the two outstanding lead actresses: Cate Blanchett (Carol) and Rooney Mara (Therese). Ms. Blanchett is a 2-time Oscar winner (5 time nominee), and has become one of the few actors who make each of their films a must-see. She is a true force here as she sweeps into the captivating first sequence (a wonderful long take) and has her first interaction with wide-eyed shopgirl Therese as the two dance together through words and innuendo. It may be the best scene of the movie … at least up to the stunning final shot.

At its core, this is a pretty simple romance of two opposite worlds colliding at a time when their attraction was just not tolerated. 1950’s social conventions, being what they were, meant Carol’s husband (Kyle Chandler) could use her sexual preferences as evidence of immorality in his fight to gain sole custody of their daughter. Cinematically, it’s much more about style. Carol is a beautiful mink-wearing work of art, while Therese is seeking her place in the world, while trying to make sense of her feelings. Every scene drips with style … the cars, the clothes, the restaurants; even cigarettes become a fashion accessory between the fingers of Carol.

Carol and Therese take a road trip, and it’s not until Iowa that the relationship is consummated – a scene that finds neither actress shying away from the moment. Fittingly, this occurs in a motel located in Waterloo … leaving little doubt the turn this story will take.

Supporting work is provided by Sarah Paulson (“American Horror Story”) as Carol’s friend and ex-lover, Jake Lacey (“The Office”) as Therese’s would-be suitor, John Magaro (The Big Short) as her friend and supporter, and Cory Michael Smith (“Gotham”) as a double-life salesman. But this show belongs to Blanchett and Mara. They are terrific together – capturing the unspoken, subtle gestures required by the repressive era they find themselves.  Mara’s character is difficult to describe, but most intriguing to watch and absolutely vital to the message.

Phyllis Nagy adapted Ms. Highsmith’s novel (which was re-published in 1990 under her own name), and her care for the material is clear. Todd Haynes then worked his magic with the look of the film, and the two lead actresses deliver a clinic in nuance and dealing with oppression. As it plays, the strength of the film is with the internal struggles faced by the two lead characters. It leaves us to wonder if the film might have been more powerful had it delved a bit deeper into what the characters would have faced from the outside world.

watch the trailer:

 

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Posted by David Ferguson