SONG SUNG BLUE (2025)

December 22, 2025

Greetings again from the darkness. ‘Do what you love’ and ‘Pursue your passion.’ That’s the traditional advice we give youngsters, so they won’t grow up to live a mundane life filled with regrets. Perhaps there is no better example of living your dream than the real-life love story of Mike Sardina and Claire Stengl-Sardina. These two Milwaukee residents not only found a path to sing on stage, they also found true love with each other.

Writer-director Craig Brewer (the underrated DOLEMITE IS MY NAME, 2019) was inspired by watching the 2008 documentary by Greg Kohs with the same title and same subject. Speaking of inspired, the casting of Hugh Jackman as Mike (or as he prefers to be called, Lightning) and Kate Hudson as Claire certainly qualifies. Their harmony is obvious in both their singing and their acting. We first see Mike at an AA meeting, celebrating 20 years sober. He then heads to the Wisconsin State Fair where he is scheduled to take part in a musical legends program. Only he refuses to fulfill his duties as Don Ho, but does take notice of Claire and her performance as the great Patsy Cline.

It’s Mike who envisions the two being billed as Lighting (him) and Thunder (her), but it’s Claire who pitches the idea of a Neil Diamond ‘interpretation’ … as opposed to an impressionist. If you are fan, you know that Neil Diamond was a prolific songwriter with hundreds of songs from his career spanning more than five decades. Even if you aren’t a Neil Diamond fan, you are likely to know many of the songs – especially “Sweet Caroline”, which is a bit of a running gag in the film (and in real life as well).

Filmmaker Brewer brilliantly mixes the pursuit of stage fame with the blended personal family life – two teenage daughters, Rachel (a terrific Ella Anderson) and Angelina (King Princess), and a young son, Dana (Hudson Hensley). The family moments ground the film and allow us to accept the human side of Mike and Claire – especially after tragedy and near tragedy strike. Other supporting work is provided by Jim Belushi, Fisher Stevens, Michael Imperioli, and Mustafa Shakir.

There is an excellent sequence where Mike and Claire get to open for Eddie Vedder and Pearl Jam when the grunge band’s tour hits Milwaukee. This is one of the feel good moments – and there are a few of these, as well as a few that don’t feel quite so good. Mental issues, physical issues, and personal issues all create obstacles for these folks, and yet the dreams stay alive. Hugh Jackman is all in as Mike, and yet it’s Kate Hudson who is the memorable one with both her performance and her surprisingly elite singing voice. Ms. Hudson’s performance in ALMOST FAMOUS (2000) will always be iconic, however, she built a career doing many films of which I’m not particularly fond. Her work here is awards-worthy … or as Mike would say, “Huge”. The film is a crowd-pleaser that’s neither corny nor lame. Brewer includes a closing shot of the real Mike and Claire as the credits roll.

Opens in theaters on Christmas Day, December 25, 2025

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Posted by David Ferguson

SHELL (2025)

October 3, 2025

Greetings again from the darkness. Every one of us wants to look good and feel good. But how far will we go? What if our livelihood depended on looking young? There is no denying that societal pressures favor those who are pleasing to the eye, and of course, Hollywood is the poster child for rewarding beauty and youth … and penalizing, or at least ignoring, the other end of the spectrum. The second film from director Max Minghella (his first was TEEN SPIRIT, 2018) features a screenplay from Jack Stanley (THE PASSENGER, 2023), and it likely pays a price for coming on the heels of last year’s THE SUBSTANCE (2024), a body horror film with a similar theme, but one that was far more extreme.

The film opens with a terrific sequence with the rarely seen Elizabeth Berkley (SHOWGIRLS, 1995) as Jenna Janero. The sequence firmly establishes that we’re in for a ‘body horror’ ride; although unfortunately, this is one of the best scenes for quite a while. We then meet Samantha Lake (Elisabeth Moss, “Mad Men”), a struggling actor who has hit the dreaded age of 40 – a poor ‘choice’ in Hollywood. Sam’s career peak seems to have passed her by and now she’s auditioning for roles against much younger actors – including Chloe Benson (Kaia Gerber, SATURDAY NIGHT, 2022), whom Sam babysat years ago.

After a professional nudge, Sam finds herself at Shell Corporation, a strange place that promises its clients vitality and the end of aging. The Director and face of the company is Zoe Shannon (Kate Hudson, ALMOST FAMOUS, 2000), a 68-year-old woman who doesn’t look a day over 40. Not surprisingly, delivering youth to women is extremely lucrative, and Zoe lives her luxurious lifestyle in a stunning mansion. Oh, there is a downside … some clients have to be ‘disappeared’ when the side effects pop up.

Dressed in a ridiculous oversized Columbo trench coat (supposedly to trick us into believing Ms. Moss is a hefty woman), Sam is a bit reluctant at first to join the Shell program. All it takes is handsome and smooth-talking Dr. Hubert (Arian Moayed, “Inventing Anna”) to ease her into the program. Soon Sam and Zoe are buddies and spending a great deal of time together, relishing their youthful looks and subsequent riches.

Of course, all fantasies must come crashing down at some point, and although her psoriasis is gone, the side effects cause the worst Vanity Fair interview in history, and lead to an extreme third act. Dr. Thadeus Brand (Peter MacNicol, “Ally McBeal”), the inventor of Shell returns for Sam’s debrief. His use of lobster enzymes comes into play, resulting in a sequence of splatter.

It’s a bit odd that the film never capitalizes on women taking power, or even taking control of their own life. Although Kate Hudson does nice work here, I couldn’t help but think that casting Gwyneth Paltrow would have added a touch of irony. Este Haim provides a bit of support work as Sam’s assistant and friend, and the focus pretty much remains on the obsession/pursuit of youth and beauty – at any cost. Director Max Minghella is best known as an actor (“The Handmaid’s Tale”) and as the son of Oscar winning director Anthony Minghella (THE ENGLISH PATIENT, 1996). It’s likely meant as satire, but the film strikes so close to today’s societal pressures, especially on women, that we can’t help but be a bit saddened by it. One thing’s certain … there was a missed opportunity for the B52’s “Rock Lobster”.

In Select Theatres & On Digital October 3, 2025

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Posted by David Ferguson

GLASS ONION: A KNIVES OUT MYSTERY (2022)

November 24, 2022

Greetings again from the darkness. Of course we do get a murder mystery (maybe even more than one!), yet the real case study may be in how the billionaire tech mogul celebrated for his business savvy and creative genius is actually an egotistical putz who stole one brilliant idea from his former partner. Another mystery is what to say about writer-director Rian Johnson’s (STAR WARS VIII – THE LAST JEDI, 2017) follow up to his superb first KNIVES OUT (2019), without giving away too much. Clearly, Johnson went all-in for the entertainment factor, and it’s a sure bet that most will find a good amount of joy watching this.

The traditional introduction of characters and suspects is handled through the arrival of seemingly impenetrable wooden boxes delivered to the five friends of the above-referenced billionaire Miles Bron (an overly-hyped Edward Norton). Birdie Jay (Kate Hudson) is a former model clueless to the ways of ‘woke’ society, blocked from social media by her assistant Peg (Jessica Henwick). Duke Cody (Dave Bautista) is a pistol-packing testosterone-fueled Twitch influencer who hangs with his girlfriend Whiskey (Madeline Kline). Claire Debella (an underutilized Kathryn Hahn) is a regretfully-for-sale ambitious politician. Lionel Toussaint (Leslie Odom Jr) is the genius tech inventor who receives middle-of-the-night faxes from Miles. Lastly, a terrific Janelle Monae plays the former business partner outmaneuvered in a dirty way by Miles.

Each friend solves the intricate puzzles required to open the box, it’s Duke’s ma (Jackie Hoffman) who excels as a puzzle whiz in the most comical manner … well, maybe not as funny as Janelle Monae’s approach. While all the puzzle-solving is occurring, we see super sleuth Benoit Blanc (Daniel Craig) soaking in his bathtub, wishing for a stimulating case as he Zoom calls with his friends – including Stephen Sondheim, Angela Lansbury, and Kareem Abdul-Jabbar. This is the first of many high-profile cameos sprinkled throughout, including Ethan Hawke, Hugh Grant, Serena Williams, Natasha Lyonne, and Yo-Yo Ma.

Discovered inside the wooden box is an invitation to a Murder Mystery party at Miles’ lavish private Greek island resort. When they arrive, Miles is baffled by Benoit’s admission that he had received an invitation, as only five were sent. The five friends are referred to as “disruptors”, and though each has been the recipient of Miles’ funding, they also have their own reasons for revenge … these reasons venomously pointed out by Ms. Monae’s character as they lounge around the pool.

Benoit Blanc spoils the murder-mystery party Miles has planned almost before it starts, however, a real murder kicks things into frenetic gear. A humorous complement to Benoit Blanc’s saucy southern accent is Miles’ world-class word butchering – constantly mispronouncing words, making them up, or using them incorrectly (each to the annoyance of Benoit). The overuse of “buttress” is quite the gag, as is the famous portrait hanging in the main hall, and the consumption of caviar. Another ongoing joke is Benoit Blanc’s annoyance at the game of “Clue”, which he terms “a terrible game.”

Despite the many red herrings, McGuffins, and misdirections, we realize what suffers is the actual murder investigation. It’s no surprise that the rich and famous aren’t upstanding citizens, and we see they don’t even make good friends. While the first KNIVES OUT movie focused on the fight for the generational money of Christopher Plummer, director Johnson has this time opted for jabs (stops short of satire) at the nouveau-rich, who are portrayed as entitled, spoiled, and out-of-touch. Johnson made a conscious decision to focus on the comical aspects of society and these characters, and the result is entertainment that feels good in the moment, but leaves us wanting a bit more substance. Still, “Knives Out 3” is expected in a couple of years and we look forward to an even different approach.

Opens in theaters on November 23, 2022 and begins streaming on Netflix December 23, 2022

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Posted by David Ferguson

MARSHALL (2017)

October 12, 2017

 Greetings again from the darkness. The question must be asked: is the movie worthy of the man? The man was the first attorney for the NAACP. He won 29 of the 32 cases he argued in front of the U.S. Supreme Court, including the ground-breaking 1954 Brown v. Board of Education (separate but equal public education). This man was a trailblazer for Civil Rights, and in 1967 became the first African-American Supreme Court Justice. This man was, of course, Thurgood Marshall … a man who unquestionably deserves not just a movie, but a really good and important one.

Chadwick Boseman has taken on film versions of such icons as Jackie Robinson in 42 and James Brown in GET ON UP, so he likely jumped at the chance to play the revered figure, Thurgood Marshall. Mr. Boseman has true movie star screen presence, and supplies the young Mr. Marshall with a self-assured swagger that accompanies a brilliant legal mind – a mind that refused to be ignored during a time it was desperately needed. Lest he be labeled a superhero, the film does portray Marshall smoking and drinking, while also hinting at his carousing. The common flaws of a great man.

It’s 1941 and the young (33 years old) Marshall is the lone NAACP attorney, so he spends his time ping-ponging around the country fighting for fair trials for those African-Americans accused simply because they aren’t white. He works only for “innocent” people and his efforts during this time were crucial to the Civil Rights movement gaining attention and legitimacy. Most of the film centers on a case in Connecticut (no, not the Jim Crow south) where a black man, Joseph Spell (Sterling K Brown), is accused of sexual assault of a “respectable” married white woman, Eleanor Strubing (Kate Hudson). If you are reminded of the great book and film TO KILL A MOCKINGBIRD, you must know that those literary and cinematic standards are such that few can ever hope to reach.

What follows is not one of the more dramatic or tension-filled cinematic courtroom dramas. There is simply too much levity for the film to be classified as a historical heavyweight. That said, the man and his story are fascinating, and though director Reginald Hudlin chooses a deft touch rather than a sledge hammer, it’s likely the wise choice if the goal is to entertain, while also educating the masses to Marshall’s early career. Josh Gad co-stars as Marshall’s co-counsel Sam Friedman, a specialist in legal technicalities within the insurance industry. Boseman and Gad have nice chemistry (at times it feels like a buddy movie), and as a Jew in those times, Friedman is himself stuck in limbo between staunch racism and acceptance by the white community.

James Cromwell plays Judge Foster, yet another man caught between the old world he has lived in his entire life and the fast-changing society and legal system that permits him to silence Marshall, while also forcing (somewhat) fair treatment of the accused Spell. Dan Stevens (BEAUTY AND THE BEAST) is Loren Willis, the disgusted and disgusting prosecutor. This character is so cartoonish that the only thing missing is a neon necklace that flashes “racist” as he speaks. Sophia Bush has a brief, yet important scene and Sterling K Brown (as Mr. Spell) has the film’s most heart-breaking moment as he sits on the stand and explains why he lied.

Director Reginald Hudlin seems like an odd choice for the project. He has been working mostly in TV since back-to-back-to-back bombs BOOMERANG (Eddie Murphy), THE LADIES MAN (Tim Meadow) and SERVING SARA (Matthew Perry). Mr. Hudlin has experienced more success as a Producer, having been Oscar nominated for DJANGO UNCHAINED. Here he works with the father and son screenwriters Jacob Koskoff and Michael Koskoff. The elder Michael is a well respected criminal attorney and legal historian, and certainly understands the expectations that come with offering a public look at a near-mythical figure … especially one as revered as Thurgood Marshall.

This isn’t so much a movie about the icon as it is about a young man on the path to greatness and importance (he served on the Supreme Court from 1967-1991). The soundtrack is filled with jazz which complements the light-hearted approach, and further distances from any semblance of “heavy” or “historical”. Director Hudlin adds a contemporary touch by having Trayvon Martin’s parents (Sybrina Fulton, Tracy Martin) appear in a scene near the end. On the downside, multiple upshot camera angles are designed to make his lead character look larger than life. The truth is, Thurgood Marshall required no help in looming large. Hopefully this mainstream approach pays off and many are introduced to the legacy of a man who is more than worthy of this movie … and another.

watch the trailer:

 

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Posted by David Ferguson

THE KILLER INSIDE ME (2010)

July 18, 2010

 Greetings again from the darkness. The film is based upon the work of crime novelist Jim Thompson, who is quite famous as a writer and whose works have often been translated to film. This time oft-creepy director Michael Winterbottom is in charge and comes pretty close to creating a masterpiece. Unfortunately, the bits that fall short, very nearly ruin the film.

Psychological crime thrillers can be the most fascinating genre (see Inception), but only when the lead psycho is relatable in some sense and the story is complete. Here, Casey Affleck gives an outstanding performance as the dude you don’t want your daughter to date. There is a deep darkness hidden behind his aw-shucks facade of innocence and cutesy west Texas drawl.

The violence is expected, yet still shocking, when it first rears its head on poor Jessica Alba. We feel the first punch. What happens in this first encounter catches us off-guard and leaves us wanting to know more background on Affleck’s character. Instead, we are really only spectators in his plan of violence that seems to have no real goal. Think Natural Born Killers. Heck, even Ted Bundy had a real plan!

The creepiness factor is upped a bit since most everyone associated with the crimes seems to suspect Affleck’s character, but no one knows what to do or how to stop him. Kate Hudson, Elias Koteas and Simon Baker (miscast) give it a go. Personally I wanted more of the Koteas character as well as Ned Beatty, who plays a powerful developer against whom Affleck holds a grudge.

Bill Pullman is tossed in near the end to help wrap things up, but mostly the ending is as unsatisfying as the rest of the story. It is uncomfortable to watch Affleck’s character, so devoid of morals and empty of soul, but it feels wasted on a small town deputy sheriff with no vision. Maybe that’s not such a bad thing … but it makes for a much weaker film.

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Posted by David Ferguson