ELEANOR THE GREAT (2025)

September 25, 2025

Greetings again from the darkness. You’ve likely heard the old saying that you can’t put the genie back in the bottle. Well, the same goes for a lie … and sometimes even an innocent lie takes on a life of its own and begins to wreak havoc. This happens to Eleanor, and yet we somehow empathize with her in this film that is not just the first screenplay from Tory Kamen, it’s also the first feature film directed by Scarlett Johnansson.

When we first meet Eleanor (June Squibb, fresh off her lead role in THELMA, 2024) and Bessie (Rita Zohar, AMADEUS, 1984), the two elderly ladies are best friends who have lived together for fifteen years or so in Florida. They spend their days regaling each other with stories over coffee, at the beach doing bench exercises, and at home around the kitchen table. We see how much they appreciate and value each other’s friendship. As happens with old friends, Bessie passes away, and 94-year-old Eleanor moves back to New York to live with her daughter Lisa (Jessica Hecht, DAN IN REAL LIFE, 2007) and grandson Max (Will Price, “Goosebumps”).

Despite her age, or perhaps emboldened by it, Eleanor’s sharp tongue too often hits hard, especially when criticizing Lisa. It’s a trip to JCC that erroneously misdirects Eleanor into a support group of Holocaust survivors. Whether she’s embarrassed or just lonely for company, Eleanor doesn’t come clean and instead begins telling Bessie’s stories as if they were her own. One of the group’s observers that day is Nina (Erin Kellyman, THE GREEN KNIGHT, 2021), a university journalism student, who is so moved by Eleanor’s stories that she pesters her to sit for an interview.

Remember that whole thing about a lie taking on a life of its own? Well, Nina and Eleanor become friends, and Eleanor’s wisdom helps Nina deal with a particularly emotional period. Oh, and Nina’s dad, Roger Davies (Chiwetel Ejiofor, 12 YEARS A SLAVE, 2013), is a local TV journalist who sees the potential of taking Eleanor’s stories to a wider audience. It’s truly a mess that Eleanor finds herself in, and if/when the truth comes out, so many could be hurt from her break in trust.

It’s June Squibb’s remarkable performance that elevates this film to one that many will find emotional. Ms. Squibb turns 96 years old this year and now has a couple of strong lead roles to her credit after a terrific career as a character actor (NEBRASKA, 2013). Here, it’s Eleanor’s bond with Nina that’s the heart of the story, and a reminder that sometimes good people do bad things – and those bad things may be driven by good intentions … or even grief. Additionally, we must now recognize Scarlett Johnansson as a filmmaker who can handle complex stories and characters, and deliver entertainment for an audience.

Opens in theaters on September 26, 2025

WATCH THE TRAILER

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Posted by David Ferguson

THELMA (2024)

June 20, 2024

Greetings again from the darkness. With so many senior citizens (Boomers) around these days, we should expect more movies featuring older characters, and movies that this demographic might enjoy watching. Instead, most movies treat seniors as either mostly silent set pieces in family scenes or as awkward buffoons (see the recent SUMMER CAMP, or better yet, don’t see it). Writer-director Josh Margolin apparently understands this, and his first feature film is not just funny, it also allows a few elderly actors to lead the way.

June Squibb is not just any 94-year-old leading lady. Of course, that’s a bit facetious, since such a list would be very short. For someone whose film and TV career didn’t get started until she was in her 60’s (she was on stage prior), Ms. Squibb has put together a remarkable career. She’s been memorable in such films as NEBRASKA (where she received an Oscar nomination), BLOW THE MAN DOWN (2019), and ABOUT SCHMIDT (2002), as well as numerous TV shows along the way. Here she stars in the titular role as Thelma, and wins us over with her charm and determination.

Based on a true story (there really was a Thelma that went through this), we find Thelma still living in her own house gladly accepting periodic assistance from her beloved and kind grandson Daniel (Fred Hechinger, “The White Lotus”). The two have a close relationship, and that’s precisely what makes Thelma such an easy target for the clever phone scammer. She panics in her desire to quickly rescue Daniel from the legal scrape the caller informs her of, and she mails off a chunk of cash believing she’s doing what’s best for him. Embarrassed once she discovers the ruse, Thelma listens as her daughter Gail (Parker Posey, BEAU IS AFRAID, 2023) and son-in-law Alan (Clark Gregg, Agent Coulson in the Marvel Universe) discuss moving her into an assisted living facility. However, since she and Daniel have recently watched Tom Cruise and his daring stunts in MISSION: IMPOSSIBLE, Thelma has other ideas … she (secretly) sets out to find the bad guys and retrieve her money.

The rest of the story revolves around Thelma’s mission and Daniel’s attempt to bring her home safely (and prove his own worthiness). Thelma hooks up with old (no pun intended) friend, Ben (Richard Roundtree, SHAFT, 1971) and the two set off on an exciting (mis)adventure that must be seen to appreciate. The two make a great team – sometimes bonding over humor, sometimes disagreeing about the plan … just like real people would do. The trail finds Thelma crossing paths with another elderly gent played by Malcolm McDowell (A CLOCKWORK ORANGE, 1971), and it’s a scene that I look forward to watching again.

The film is quite entertaining and, quite fittingly, appropriate for most ages (except for a smattering of kinda blue language). It’s such a pleasure to see elderly characters that matter and think and react and participate in life. When Thelma says, “I didn’t expect to get so old”, we understand exactly what she means. The various times she proclaims, “I think I know her”, we can relate. With a rare score that features a flute, this is not just one of the more realistic depictions of seniors we’ve seen, filmmaker Margolin has actually delivered a case study on how to create a movie starring senior citizens that is both funny and respectful. This is one I hope many will see.

Magnolia Pictures will release THELMA in select theaters on June 21, 2024

WATCH THE TRAILER

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Posted by David Ferguson

SOUL (2020)

December 30, 2020

Greetings again from the darkness. With their first 22 feature films, Pixar excelled at balancing the eye candy and action kids favor with the second level intellect needed to simultaneously keep adults entertained. As proof, one need only think of such classics as TOY STORY, CARS, and THE INCREDIBLES. Surprisingly, film number 23 is the first Pixar film aimed directly at adults. It’s a marvelous companion piece to the brilliant INSIDE OUT (2015), but be forewarned, there is simply nothing, or at least very little, for kids to latch onto.

The film is co-directed by 2 time Oscar winner Pete Docter (INSIDE OUT 2015, UP 2009) and Kemp Powers (the screenplay and stage production of ONE NIGHT IN MIAMI, 2020), and they were joined on the screenplay by Mike Jones. And yes, it’s a brilliant script to go along with the always stunning Pixar visuals and effects. Brace yourself for a metaphysical exploration of the meaning of life and finding one’s purpose. As we’ve come to expect on Pixar projects, the voice cast is deep and filled with well-known folks such as Graham Norton, Rachel House, Alice Braga, Richard Ayoade, Phylicia Rashad, Angela Bassett, Questlove, Daveed Diggs, Wes Studi, and June Squibb. Leading the way is the dynamic duo of Jamie Foxx and Tina Fey.

Mr. Foxx plays Joe, a junior high band teacher still chasing his dream of performing jazz and experiencing the feeling that only music can provide … “the zone”. Instead, the school offers him a full-time teaching job, and his mother demands he seize the stability (and insurance) and give up his silly dream of jazz. As seen in the preview, shortly after an audition lands him his dream jazz gig, a freak accident occurs and Joe finds himself in “The Great Beyond”, where a conveyor belt takes those souls whose time has come to that giant bug zapper in the sky. Joe’s not willing to accept his plight and finagles his way into being a mentor for Soul 22 (Tina Fey) in “The Great Before” where unborn souls search for their “spark”. It’s all very existential.

After a look back at his life, Joe takes 22 to “The Hall of Everything”, which is the one segment in the film which felt underplayed … much could have been done with 22 looking for a reason to live. Instead, it’s a few great punchlines, including a Knicks gag that will surely play well among basketball fans. We learn of the fine line separating “lost souls” from those “in the zone”, and mostly we take in the banter between Joe and 22, as purpose and passion become the subjects of chatter.

As with most Pixar movies, multiple viewings are required to catch all the sight-gags, one-liners, and Easter eggs, however, the first viewing is like unwrapping a giant Christmas present. The opening Disney theme is hilariously played by a junior high school band, and the score is courtesy of Oscar winners Trent Reznor and Atticus Ross (THE SOCIAL NETWORK, 2010). Director Docter claims Pixar good-luck charm John Ratzenberger makes a vocal appearance, but I didn’t catch it. The film leaves us with the message that the meaning of life is simply living life … and keep on jazzing.

Available on Disney+

WATCH THE TRAILER

 

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Posted by David Ferguson

BLOW THE MAN DOWN (2020)

March 20, 2020

 Greetings again from the darkness. Who better to sing the title song than Gloucester, Massachusetts singer David Coffin … while wearing the attire of the local fishermen of fictional Easter Cove, Maine? Mr. Coffin’s rich vocals (and face) pop up periodically throughout the film and provide an unusual bit of story structure to the feature film debut of co-writers and co-directors Bridget Savage Cole and Danielle Krudy. It’s a nifty little indie film that’s fun to watch, despite some gaps in the storytelling that keep it from ‘what could have been.’

Sophie Lowe and Morgan Saylor star as the Connolly sisters, Priscilla and Mary Beth. Their mother Mary Margaret Connolly has just died, and it appears they may lose their family home as well as the family business – a local fish market. Priscilla is the reserved, level-headed one, while Mary Beth (who put off college for a year) is impulsive and reactionary. A poor decision made while drinking with bad boy Gorski (Ebon Moss-Bachrach) leads to a violent confrontation involving a harpoon, a brick and cole slaw. Well, technically the cole slaw comes in during the clean-up being orchestrated by Priscilla.

There are some Coen Brothers and neo-noir elements at play here, which, along with the intriguing small town characters keeps us connected to the story and wondering how things will end up. An interesting twist has Easter Cove with a Matriarchal town structure, one of which the recently deceased Mary Margaret Connolly was instrumental. Three elderly ladies played with glee by June Squibb, Marceline Hugot, and Annette O’Toole take it upon themselves to continue the behind-the-scenes power brokering, while at the same time ‘cleaning up’ the town a bit. After the murder of a local prostitute, the triumvirate of senior women confront Enid Nora Devlin (yet another scene-stealing turn from Margot Martindale), who runs Ocean View B&B, the town’s brothel. Enid listens to their request to shutter the doors … or at least transition into a traditional bed and breakfast.

A found bag of money plays a role, as does Priscilla’s carving knife, and Alexis (Gayle Rankin), a friend of the murdered girl. Will Brittain plays Officer Justin Brennan, a young policeman who fancies Priscilla and is committed to solving the crime(s). All of these interactions are quite something to watch, as most every character has their own secrets and motivations. As mentioned, the story structure may remind some of Coen Brothers projects, however as fun as it is to watch, it’s lacking the sharp and witty dialogue of the Coens. Also, while many of us enjoy movies that don’t fill in every detail, there are gaps crucial to understanding the actions of these characters … gaps that probably should have been colored in a bit more.

Harpswell, Maine poses as Easter Cove, and there is something about this small fishing community on the northeast coast that creates a unique and appealing setting for a movie. Additionally, the dialect and personalities make for entertaining cinema. It’s a nice first feature for Ms. Cole and Ms. Krudy and we look forward to more of their work.

*available on AMAZON PRIME

watch the trailer:

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Posted by David Ferguson

TABLE 19 (2017)

March 3, 2017

table-19 Greetings again from the darkness. Writer/director Jeffrey Blitz (Spellbound) takes the approach that many wedding guests would prefer – he skips the wedding and heads straight to the reception. Another wise move by the filmmaker is assembling a very talented ensemble of funny folks. This cast proves they can wring a laugh from dialogue and moments that would probably otherwise not elicit much of an audience reaction. Instead, the full house on this evening had quite boisterous responses on numerous occasions.

The initial set-up drags a bit as we are introduced to the characters that will soon enough populate Table 19 at the reception. Tony Revolori (The Grand Budapest Hotel bellhop) is Renzo, the longing for love (or anything similar) high schooler who might be a bit too close to his mother (voiced by the great Margo Martindale). Lisa Kudrow and Craig Robinson are the Kepp’s, a mostly unhappily married couple who own and run a diner together. June Squibb is Jo, the bride’s long-forgotten nanny who sees and knows more than most. Stephen Merchant plays the outcast nephew/cousin who has been recently released from his prison sentence for white collar crime. Lastly we have Anna Kendrick as Eloise, the fired maid of honor and former girlfriend of the bride’s brother (Wyatt Russell), who also happens to be the best man and now dating the new maid of honor.

This is the island of misfit wedding guests known as Table 19, and purposefully placed in the back corner as far as possible from the family and favored guests. Of course we know immediately that this Team Reject will unite for some uplifting purpose at some point, and the movie improves immediately once that goal has been revealed. Comedic timing in a group setting can often come across on screen as forced, and it’s a tribute to the cast that these characters come across as human and real.

Make no mistake though, this is Anna Kendrick’s movie. She plays Eloise as we would imagine Anna Kendrick in this real life situation. Sure, a wedding reception is low-hanging fruit for comedy, but it’s the third act where Ms. Kendrick’s talent really shines. Comedy drawn from emotional pain is the most fulfilling because we’ve all been there. The melodrama that creeps in is pretty predictable, but that doesn’t mean it’s not a good time. The scenes with Ms. Kendrick and Wyatt Russell (Everybody Wants Some!, and Kurt and Goldie’s son) are the best, and it leaves us wishing for more attention to both.

Don’t worry, the film features the required wedding cake mishap, a flirtatious wedding crasher (Thomas Cocquerel) and a drunken mother of the bride singing karaoke to Etta James’ “At Last”. It’s designed to be a crowd-pleaser, and mostly succeeds with a nice blend of silly, cute, and emotional tugs.

watch the trailer:

 

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Posted by David Ferguson

NEBRASKA (2013)

November 24, 2013

nebraska1 Greetings again from the darkness. Director Alexander Payne has proved yet again that he has a remarkable eye for characters, and no need to bury those characters deep in plot. About Schmidt, Sideways, and The Descendants provided us with characters we could laugh with, cry with and feel with. His latest is his first film which he did not write, but it’s clear that he and screenwriter Bob Nelson are similar type people watchers.

What you notice immediately is that this film and its characters move at their own pace. There is no rushing or urgency. They do nebraska2things and say things in due time. Or not. What you also notice is that the camera does the same thing. Filmed in stark black and white, the camera is exceedingly quiet and still … just like the characters and landscape. We can thank Director of Photography Phedon Papamichael, who also worked with Payne on Sideways and The Descendants. Even the score is a bit offbeat. The blending of trumpet and guitar is rare, yet seems to fit just right.

Bruce Dern is 77 years old and in his sixth decade of acting. While I have liked him quite often – and really liked him in The King of Marvin Gardens (1972) – this may be his best performance and best role yet. Dern’s Woody Grant is an alcoholic, nebraska4and hard of hearing, and crotchety, and isolated. More seriously, he seems to be in the early stages of dementia given his insistence on walking to Nebraska to collect his “winnings” from a mass marketing mailing similar to Publishers Clearing House. With minimal dialogue, we “get” Woody. That’s thanks to Dern’s physical performance and ability to emote through simple gestures. We feel his quiet desperation in the search for meaning in a life that is slipping away. He just wants to be somebody before the end.

The delivery mechanism is a road trip shared by Woody and his very patient son David (Will Forte). We sense David looks at the trip as an opportunity to connect for the first time with his dad, and maybe even get some life questions answered along the way. On the trip, other family members join in, including Woody’s other son Ross (Bob Odenkirk), and Woody’s colorful wife Kate (June Squibb). The trip takes them to Woody’s hometown where they cross paths with other family and old friends.

nebraska3 Woody’s insistence that he is about to be a millionaire brings out the “true self” in those whose paths they cross. Many of his old friends are truly happy for him and wish him nothing but the best. Others aren’t so kind. True colors can be hard to watch, especially as shown by Woody’s old partner Ed Pegram (Stacy Keach), and other family members who are just after “their fair share” of the loot. The movie excels in these moments … watching a fiery Kate put these vultures in their place, while defending the husband she has spent the whole time badgering is priceless.

Ms. Squibb delivers the film’s funniest lines, but she also gives a depth to Kate that adds the level of realism. Will Forte is surprisingly effective given his “Saturday Night Live” background, but we never lose sight of Bruce Dern (and his hair). The characters we see are grounded rural midwesterners who live their life from day to day, depending heavily on family and friends. Their interpersonal skills are quite different than what is found in metropolitan areas, and those born and raised in heavily populated areas may struggle to relate.

The film should garner Oscar nomination consideration in multiple categories, and Mr. Dern is probably a shoe-in for a Best Actor nom. So slow down and share this trip from Montana to Nebraska … while I can’t promise a prize of one million dollars, you will definitely be rewarded.

SEE THIS MOVIE IF: you enjoy character driven dramatic comedies based on people you might know (if you know people in the rural midwest)

SKIP THIS MOVIE IF: your sense of humor is more likely to parallel that of Adam Sandler or Will Ferrell than Sideways or About Schmidt.

watch the trailer:

https://www.youtube.com/watch?v=UT5tqPojMtg

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Posted by David Ferguson