THE THURSDAY MURDER CLUB (2025)

August 27, 2025

Greetings again from the darkness. This is the type of movie that almost begs to be criticized, while at the same time, deserves to be enjoyed for being exactly what it tries to be. Author Richard Osman now has five books in this series, and the first has been adapted by co-writers Katy Brand (GOOD LUCK TO YOU, LEO GRANDE, 2022) and Suzanne Heathcote (“Fear the Walking Dead”). It’s directed by Chris Columbus, known for HOME ALONE (1990), MRS DOUBTFIRE (1993) and a couple of the Harry Potter movies. These are professionals who know how to entertain … and just as importantly, they know how to cast.

Take two Oscar winners, a former James Bond, a few British acting stalwarts, and add in a stunning English countryside manor and a murder mystery, and the result is low-key, crowd-pleasing entertainment (even if it panders a bit to its target audience). The setting is Cooper Chase, a scrumptious estate serving as a much-desired retirement home. Hobbies among the residents include the expected crafts, archery, crosswords, sudoku, jigsaw puzzling, and various committees. The most unusual is the Thursday Murder Club, where Elizabeth (Oscar winner Dame Helen Mirren), Ron (former 007 Pierce Brosnan), and Ibrahim (Oscar winner Sir Ben Kingsley) meet up to discuss an open police case provided by Elizabeth’s now comatose ex-cop friend.

It doesn’t take long for new resident Joyce (Celia Imrie, THE BEST EXOTIC MARIGOLD HOTEL, 2011) to be accepted into the club, where her nursing experience perfectly complements the diverse skills of former union leader Ron, former psychiatrist Ibrahim, and the mysteriously clever Elizabeth (whose background takes a while to come to light). Greedy owner Ian Ventham (David Tennant) wants to transition the home into luxury condos, and this irritates the residents while putting a spotlight on the other two owners, Tony Curran (Geoff Bell) and Bobby Tanner (Richard E Grant). 

When the murder occurs, the TMC springs into action with a “real” case. If they can solve it, they may even save Cooper Chase for all residents. The story unfolds in the manner of most whodunits, and our attention is on the main characters as well as others who come into play: Stephen (Jonathan Pryce) is Elizabeth’s dementia-stricken husband, DCI Chris Hudson (Daniel Mays) doesn’t appreciate the talents of TMC, while his assistant, Officer Donna de Freitas (Naomie Ackie) certainly does.

The clues, the research, and the disclosure of mastermind Elizabeth’s past are all fun to watch, and Joyce’s obsession with baking fancy cakes provides a necessary distraction at times. Fifteen-time Oscar nominee Thomas Newman provides the score, and we also get a bit of T Rex (“Bang a Gong”), a Springsteen ‘The River’ t-shirt, and a finale featuring an on-the-nose Cat Stevens’ “Oh Very Young”. One blink and you’ll miss it one-liner occurs when Stephen tells his wife, “You look like the Queen”. Gray cinema murder mystery is definitely having a moment thanks to “Only Murders in the Building”, the “Matlock” reboot, and the recently announced reboot of “Murder She Wrote.” It’s interesting to note that Helen Mirren, Pierce Brosnan, and Geoff Bell were all key players in the recent “MobLand”, a much darker limited series. I’m sure Dame Helen Mirren is enjoying the resurgence … just don’t call her “feisty”.

Opens on Netflix beginning August 28, 2025

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Posted by David Ferguson

THE PENGUIN LESSONS (2025)

March 28, 2025

Greetings again from the darkness. Penguins are darn cute. A penguin that follows you around and chooses to live with you is almost too cute for words. But in this story inspired by true events, that’s exactly what happens. Directed by Peter Cattaneo (THE FULL MONTY, 1998), the film was adapted by screenwriter Jeff Pope (PHILOMENA, 2014) from Tom Michell’s 2015 book.

It’s 1976 in Buenos Aires, Argentina. A Military coup is in the works to take down the government of President Isabel Peron, who had served since the death of her husband Juan Peron in 1974. As you might imagine, the citizenry was on edge. Even St George’s School for the sons of privileged families was not immune. It’s also the school where Tom Michell (Steve Coogan, PHILOMENA) was hired to teach English. Michell shows up a bit haggard and unmotivated. He goes from one frustration to another: armed guards in the street, paint on his shoe, the strict rules of the Headmaster (Jonathan Pryce, THE TWO POPES), a bonk on the forehead from his housekeeper (Vivian El Jaber), and an intrusive fellow teacher in the Finnish Tapio (Bjorn Gustafsson).

Initially, it seems the perfect role for Mr. Coogan who excels at playing a curmudgeon oozing deadpan cynicism. For Coogan’s Michell, everything changes on a joy ride to Uruguay where he hopes to dance and mingle with the ladies. The dancing (with Micaela Breque) leads him to a near-death penguin washed ashore in an oil slick. In keeping with his luck, Michell doesn’t get the girl, but does get the penguin … a penguin that now refuses to leave his side.

You can likely guess where this is headed. Juan Salvador (Michell’s name for the penguin) changes lives. There is a sub-plot involving the housekeeper’s granddaughter Sofia (Alfonsia Carrocio), but the key here is that everything works to move Michell to rejoin life and shed the grief he’s carried from a personal tragedy. In fact, loss plays a substantial role throughout, having left Michell only able to react by doing nothing.

Steve Coogan is not the actor one imagines when thinking of sentimental movies, but it’s precisely his style that prevents this story from becoming overly mushy. Yes, it’s a bit comical to watch a penguin provide therapy sessions (and the titular lessons) for so many, but the redemption of Tom Michell is the key. Director Cattaneo includes the real clip of the penguin in the school’s pool that Michell shot on a handheld so many years ago. There are also a few inclusions of political commentaries that seem out of place – although not so considering the timeframe.

Opens in theaters on March 28, 2025

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Posted by David Ferguson

ALL THE OLD KNIVES (2022)

April 8, 2022

Greetings again from the darkness. Thanks to James Bond, Jason Bourne, and Ethan Hunt, we’ve grown accustomed to globetrotting action-packed thrillers in the spy genre. But of course, there is the flip side: the quiet and unheralded work done by intelligence agents … those who typically use their brains more often than their fists or guns. Director Janus Metz (the underrated BORG VS MCENROE, 2017) has based his film on the 2015 book by Olen Steinhauer.

It’s 2012 and we are inside the Vienna station of the CIA as the agents meet to strategize their response to a terrorist act – the hijacking of Turkish Alliance Airline Flight 127. The team is unable to prevent tragedy, and it’s clear this is a case that will stick with them. Eight years later, the station chief (Laurence Fishburne) calls Henry Pelham (Chris Pine) back in to let him know that on orders from Langley the case has been re-opened. The terrorist behind that hijacking has been recently captured and disclosed that he had a CIA mole inside the Vienna station. Henry is to re-interview everyone involved to uncover the double-agent.

One of those interviewed is the former supervisor played by Jonathan Pryce. He’s now retired, and Henry forces him to go back through all details, some of which are uncomfortably personal. But that doesn’t compare to how personal the next interview hits. Celia (Thandiwe Newton) was not just Henry’s fellow agent, but also his lover. She has since left the agency and is living a pleasant family life in stunning Carmel-by-the-Sea, perhaps the most picturesque coastal area in the U.S. Chris Pine gets to look really cool driving a convertible over Bixby Bridge.

Director Metz works in numerous flashbacks to the relationship between Henry and Celia, and it’s through these that we come to understand their connection and the type of people they are. But ultimately, it’s their meeting at the fancy restaurant with the breathtaking view that serves as the key to the movie and the story. In fact, because their time sharing a table and wine is so substantial and critical, it could easily transition to a stage play. It’s a high-level game of cat-and-mouse between two beautiful and smart characters. You may know where it’s headed, but it’s unlikely you’ll know how it will get there.

It’s easy to see this being a popular streaming choice as the characters and setting are easy on the eyes. The deeper questions asked here are what to do when a loved one isn’t who you thought they were. Also, can you trust those trained to not trust others? As previously stated, it’s a bit of a different spin on the spy genre – less action/thriller and more character study.

Streaming on Prime Video beginning April 8, 2022

WATCH THE TRAILER

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Posted by David Ferguson

THE TWO POPES (2019)

December 19, 2019

 Greetings again from the darkness. Abba versus Classical. Perhaps nothing more clearly separates the two men than their musical tastes. Of course, it’s their widely disparate views of society and the role of Catholicism that matter most. Expert filmmaker Fernando Meirelles (CITY OF GOD, 2002) and screenwriter Anthony McCarten (BOHEMIAN RHAPSODY, THE THEORY OF EVERYTHING) have crafted a beautiful telling of the story of how these two men crossed paths, and they selected two preeminent actors to play the two Eminences.

Jonathan Pryce plays Cardinal Jorge Bergoglio, now known as Pope Francis, and Oscar winner Sir Anthony Hopkins plays Joseph Ratzinger, now known as Pope Benedict XVI. The story kicks off in 2005 with the announcement that Pope John Paul II has died. The proceedings for the election of the new pope provide us our first glimpse at the differences between ultra-conservative and traditional German Joseph Ratzinger and the progressive Jorge Bergoglio, so in touch with the people. It’s portrayed as a passive-aggressive rivalry, and an election between humility and ambition. Director Meirelles does a terrific job of establishing the pomp and tradition that goes with the election of a new pope … we see the quite amazing process in quick-cut form so that it doesn’t drag out.

There are flashbacks to Bergoglio’s early days in Buenos Aires, and Juan Minujin portrays him as a younger man making the all-important life decision. But of course the real fun here is the verbal sparring and intellectual chess match played out between the older men in 2012. Pope Benedict is dealing with church scandals involving financial fraud and sex-abuse cover-ups. He is, for lack of a better term, beaten down in his job. Bergoglio has requested permission to retire from his post, and he makes the trip to secure Benedict’s signature on the papers. Pope Benedict deftly avoids the papers and the topic as he engages Bergoglio in meaningful dialogue. Their conversation is at times combative, as their disparate philosophies become apparent. Bergoglio is a humble man of the people and understands the public perception of the Church. Benedict embraces the sanctity and power of his position and holds tightly to tradition.

As the two men philosophize on the Catholic religion and church, these two acting legends make every moment a pleasure to watch. Watching men of faith with differing ideals could have been either of two extremes: dry or over-the-top. Instead, we have meaningful dialogue on faith and the role of the church. Also, the set of the re-created Sistine Chapel is breathtaking and accurate. For those of us who have been inside the walls of the Chapel, we can’t help but recall the architectural and artistic details captured here. Cinematographer Cesar Charlone (Oscar nominated for CITY OF GOD) captures the beauty of the Chapel, as well as the immense size of Vatican City. As an added bonus, the aerial shots of Rome are not to be missed.

With more than one billion Catholics around the globe, it’s actually quite impressive that Pope Benedict was willing to step down and take the role of pope emeritus. For such a proud man to recognize that he was no longer the right man for the job is quite rare, but even more impressive is how he understood that his diametric opposite, Pope Francis, was the right man for the times. Fanta, futbol, Fitbit and Tango all surprisingly have their moments. The running gag with Fitbit provides levity when needed. The film might let Pope Benedict off a bit too easy as it showers Pope Francis with affection, but the real fun here is watching these two fine actors go at it.

watch the trailer:

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Posted by David Ferguson

THE MAN WHO KILLED DON QUIXOTE (2019)

April 22, 2019

 Greetings again from the darkness. When watching, discussing or reviewing a movie from filmmaker Terry Gilliam, it’s often best to relax one’s expectations for a linear story line, and maybe even the hope for a coherent one. He’s the creative force behind such diverse and divisive films as THE FISHER KING (1991), THE ADVENTURES OF BARON MUNCHAUSEN (1988), BRAZIL (1985), TIME BANDITS (1981), and of course, comedy classic MONTY PYTHON AND THE HOLY GRAIL (1975). We’ve seen his movies described as crazy, confusing, and messy – and also brilliant, unique, and creative. Mr. Gilliam himself would likely agree with all of those descriptions, while adding a few colorful terms of his own.

Despite the oddball career he’s had, none of his movies have had the topsy-turvy, on-again/off-again path to production as THE MAN WHO KILLED DON QUIXOTE. Gilliam’s first attempts at getting the movie made date back to 1989 (yes, 30 years ago), and the first round of financing was secured in 1998 with Johnny Depp in a lead role. By 2002, there was a fascinating documentary, LOST IN LA MANCHA, which chronicled the reasons the film failed to get made and would never be finished. Mr. Gilliam has proven, 17 years later, that he should never be counted out.

Gilliam co-wrote the screenplay with Tony Grisoni, and the two have previously collaborated on TIDELAND (2005) and FEAR AND LOATHING IN LAS VEGAS (1998). As you might guess, it’s not a typical screenplay or story, and one certainly need not be an expert on the original Cervantes book or character to find value (or not) in this tale.

“I am Don Quixote de la Mancha.” There is something distinctly prideful about the proclamation, but it’s also used somewhat ironically at least once in this film. Adam Driver plays hotshot and cynical filmmaker Toby, and things change abruptly for him when he returns to the Spanish town where he shot his student film ten years prior. In that film, he had cast locals, including the town cobbler as Don Quixote. A bootleg DVD of the film drags Toby into the fallout that has occurred over the past decade.

Jonathan Pryce co-stars as Javier, the former cobbler who now lives his life believing he is actually Don Quixote. He then sees Toby, and “recognizes” (mistakes) him as Sancho Panza, his trusty and loyal sidekick. This kicks off a series of adventures/misadventures that is a blend of fantasy, reality and imagination. Paths are crossed with Jacqui (Olga Kurylenko), Angelica (Joana Ribeira), and the head of the studio (Stellan Skarsgard). At times, it’s a movie within a movie, and a key is the name of the town: Suenos means dreams. Dreamlike or surreal is the best description for many of the best sequences.

Mr. Gilliam dedicates the film to Jean Rochefort and John Hurt, both cast in early versions and both now deceased. Somehow the film is simultaneously smart and goofy; thought-provoking and confusing. It’s definitely not for everyone – more for those who enjoy digging in to philosophical meanings, and less for those who prefer to kick back and be entertained. There is a lot here about how we see ourselves, how our dreams impact us, and of course, the lost art of chivalry. Above all, we admire the outlook: “This is a marvelous day for an adventure. I feel it in my bones.”

watch the trailer:

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Posted by David Ferguson

THE WIFE (2018)

August 31, 2018

 Greetings again from the darkness. THE STEPFORD WIVES was stocked with some men’s ideal of the perfect spouse … attractive, dutiful, always ready to serve. In director Bjorn Runge’s adaptation of the novel by Meg Wolitzer (screenplay by Jane Anderson), Joan Castleman is all of that and more as she constantly caters to her literary giant of a husband, writer Joe Castleman. It’s 1992 in coastal Connecticut, and in only a few days, things will change dramatically for Mr. and Mrs. Castleman.

When we first meet this long married couple, they are in bed – she’s sleeping soundly, while he’s full of anxiety and anticipation over a phone call that may or may not happen. See, Joe is up for the Nobel Prize in Literature, and when the early morning call from Stockholm does come, Joe eagerly prompts Joan to listen in on the extension (it’s 1992, so these are land lines). As the authoritative voice on the other end announces Joe’s prize, it’s the look on Joan’s face that tells us that, for her, this is no celebratory moment. The facial expression is quite powerful, and it’s our first inclination that 6 time Oscar nominee Glenn Close (as Joan Castleman) is delivering a performance as memorable as her work in DANGEROUS LIASONS and FATAL ATTRACTION (only this time there’s no bunny).

Jonathan Pryce is spot on as the narcissistic Joe Castleman. He’s clearly addicted to the pedestal upon which he sits and the corresponding adoration from worshipping fans. He’s the type of guy who thinks he’s doing Joan a favor by mentioning her in his speeches and calling her over to be part of his oh-so-important conversations. But as good as Mr. Pryce is, this is a tour de force from Ms. Close. She’s always a step ahead of her husband – finding his glasses, ensuring he takes his pills, and monitoring his diet and sleep. It’s the Nobel Prize phone call that stirred some long-suppressed feelings; lighting a fuse that will leave us anxiously awaiting the fireworks.

Max Irons (Jeremy’s son) plays an aspiring writer and son to Joe and Joan. David’s bitterness towards his father is evident throughout and his desperate attempts to gain his father’s respect are nothing short of heart-breaking. Christian Slater plays Nathaniel Bone, a would-be biographer of Joe Castleman … if only Joe would give him the time of day. Nathaniel is often quite intrusive in his pursuit of the truth – at least what he hopes it would be since it would make a fantastic book. Karin Franz Korlof plays Linnea, a young photographer assigned to Joe during the Sweden trip. It’s an odd role as none of the other winners have their own photographer … but not as odd as the small talk amongst the various category Nobel winners. Those scenes, and the verbal exchanges, are as awkward as one might imagine.

Director Runge utilizes flashbacks to 1958 Smith College to provide us a foundation and narrative for the relationship between Joe and Joan. She was once a budding star writer under the tutelage of the young, married professor. Her flirting, babysitting and writing all worked to win Joe over, and they were soon married. Young Joe the professor is played by Harry Lloyd (great-great-great grandson of Charles Dickens), and young Joan is played beautifully by Annie Stark (Glenn Close’s real life daughter). These early days and an encounter with a broken female writer (played terrifically by Elizabeth McGovern) lead Joan to surrender her writing dreams and put her support behind her husband. Shooting down the purity of “a writer must write”, McGovern’s beaten down character instead says “a writer has to be read”.

Glenn Close will likely receive much Oscar chatter for her role. Her transformation from dutiful sidekick to self-enlightenment is a performance laden with subtle and nuanced signs of resentment. Her early disquiet could be compared to a volcano – the inside building towards eruption while the outside remains strong and majestic. Living a lie never becomes truth … even after 30 plus years.

watch the trailer:

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Posted by David Ferguson

THE MAN WHO INVENTED CHRISTMAS (2017)

November 22, 2017

 Greetings again from the darkness. Most would agree there is only one Christmas story that surpasses the popularity and familiarity of Charles Dickens’ “A Christmas Carol”, and both have had numerous film and screen adaptations. Rather than offer up yet another film version of the Dickens novella, director Bharat Nalluri (MISS PETTIGREW LIVES FOR A DAY, 2008) instead uses the Susan Coyne screenplay adapted from the non-fiction work of Les Standiford to present the lively and entertaining tale of HOW Dickens wrote his iconic book.

Dan Stevens (BEAUTY AND THE BEAST, 2017) stars as the esteemed writer Charles Dickens, and he bounds from scene to scene like a moody and spoiled Energizer Bunny. Attempts to capture the process behind creative writing usually falls into one of two buckets: dry and boring, or outlandish and over-the-top. Mr. Stevens easily fits into the latter, but as a testament to the strength of the story and supporting cast, we viewers are nonetheless quite entertained.

It should surprise no one that Christopher Plummer steals each of his scenes as Ebenezer Scrooge. What a delight to behold the talented octogenarian as he leaves us wishing for even more of the grumpy and miserly old former partner of Jacob Marley. Jonathan Pryce also excels as Charles’ father John, a charming man who has never quite figured out the economics of life … and whose long ago debt sent young Charles to a work house mixing shoe black. Even as an adult, Charles had recurring nightmares of his time in child labor, and fortunately he was able to use those memories to create many long-lasting stories, each oblivious to generational change.

In 1843 London, the renowned Dickens is coming off three straight flops and experiencing financial woes that are exacerbated by his insistence on the finest materials for the large home he and wife Kate (Morfydd Clark, LOVE & FRIENDSHIP) are renovating. Dickens is in the midst of severe writer’s block, and only the quiet strength of his wife and never-wavering loyalty of friend/agent John Forster (Justin Edwards) are able to keep in from sinking to even lower emotional depths. Screen veteran Miriam Margolyes plays the housekeeper, and Anna Murphy is Tara, the Irish nanny who serves as a muse for Dickens.

Having the characters of the story appear on screen and interact with the writer is a terrific way to explain how the creative mind works, although at times, the sources of ideas, characters and key lines seem a bit too convenient. We often get the feeling that perhaps too much was crammed into the run time, what with the conflicts over money, renovations, family matters, and publishing. The best parts are also the easiest with which to relate – those involving the characters and the story slowly coming together.

Simon Callow plays John Leech, the famed illustrator of the finished novella, and Miles Jupp adds a bit of twisted fun as Dickens’ rival William Makepeace Thackery. There are some interesting lines that add color, such as, “People will believe anything if you are properly dressed”, and “blood of iron, heart of ice”. It’s these pieces that allow us to view this as a journey of self-discovery for the author, and not just a famous story being assembled. The overall trouble with the film stems from that title. It seems we could have expected more than a tease of what Christmas was at the time, and more specifically how “A Christmas Carol” inspired a revolutionary new approach to the holiday. We are left to connect many dots. In fact, Dickens didn’t so much invent Christmas as allow folks to re-imagine it.

Is “A Christmas Carol” the most famous Dickens story? Arguments could also be made for “Oliver Twist”, “David Copperfield”, “Little Dorrit”, “Nicholas Nickelby”, and of course, “A Tale of Two Cities”. What can’t be argued is the brilliance of the writer and the impact of his books. His passion is evident in his determination to self-publish at a time when such practice was a rare as it is commonplace today. The film is rated PG, but younger kids are likely to be confused with the frenetic approach; however, all ages will get a merry kick out of Mr. Plummer’s Scrooge!

watch the trailer:

 

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Posted by David Ferguson

WOMAN IN GOLD (2015)

March 31, 2015

woman in gold Greetings again from the darkness. The responsibility of the filmmaker when the project is “based on a true story” is elevated when the story has significant historical relevance and blends such elements as art, identity, justice and international law. Add to those the quest of a remarkable woman whose family was ripped apart by Nazi insurgents, and more than a history lesson, it becomes a poignant personal story.

Helen Mirren portrays Maria Altmann, the woman who emigrated to the United States by fleeing her Austrian homeland during World War II, and leaving behind her beloved family and all possessions. After the death of her sister, Ms. Altmann becomes aware of the family artwork stolen by the Nazi’s during the invasion. This is not just any artwork, but multiple pieces from famed Austrian artist Gustav Klimt … including “Portrait of Adele Bloch-Bauer”. See, Adele was Maria’s aunt, and the stunning piece (with gold leaf accents) has become “the Mona Lisa of Austria”, while hanging for decades in the state gallery.

The story revolves around Maria’s partnering with family friend and upstart attorney Randol Schoenberg (Ryan Reynolds) to take on the nation of Austria and reclaim the (extremely valuable) artwork that was seized illegally so many years ago. They are aided in their mission by an Austrian journalist (played by Daniel Bruhl) who is fighting his own demons. The seven-plus year legal saga is condensed for the big screen and we follow Maria and Randol as they meet with the Austrian art reclamation committee, a federal judge (played by the director’s wife Elizabeth McGovern), the U.S. Supreme Court (Jonathan Pryce as Chief Justice), and finally a mediation committee back in Austria. But this is not really a courtroom drama … it’s a personal quest for justice and search for identity. What role does family roots and history play in determining who we are today? It’s the age old question of past vs. present, only this is seen through the eyes of a woman who has survived what most of us can only imagine.

Director Simon Curtis (My Week with Marilyn) uses startling flashbacks (with Tatiana Maslany as the younger Maria) to provide glimpses of Maria’s childhood through her marriage and subsequent escape. We get to know her family, including some scenes featuring Aunt Adele (Antje Traue), and Maria’s father and uncle (Henry Goodman, Allan Corduner). We understand this family’s place in society and just how dramatically they were impacted by the Nazi takeover.

Helen Mirren delivers yet another exceptional performance and manages to pull off the snappy lines without an ounce of schmaltz, while also capturing the emotional turmoil Ms. Altmann endures. Director Curtis and writer Alexi Kaye Campbell round off some of the rough edges and inject enough humor to prevent this from being the gut-wrenching process it probably was in real life. This approach makes the film, the story and the characters more relatable for most movie goers … and it’s quite an enjoyable look at a fascinating woman and a pretty remarkable underdog story.

watch the trailer:

https://www.youtube.com/watch?v=geJeX6iIlO0

 

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Posted by David Ferguson