TRAIN DREAMS (2025)

November 20, 2025

Greetings again from the darkness. Is there such thing as an ordinary life? If so, what does it look like? Writer-director Clint Bentley and co-writer Greg Kwedar have collaborated twice before – first on the underrated JOCKEY (2021), and then on SING SING (2023), the latter of which they received Oscar nominations for writing. For this latest, they have adapted the late Denis Johnson’s 2011 novella for the big screen, and the result is one of the most soulful films we’ve seen.

The story follows Robert Grainier, and evolves into a character study running cradle to grave. After a rough childhood, though not one necessarily unusual for the late 1800’s, the adult Robert is portrayed by Joel Edgerton (a career best performance). Robert is a quiet man who works as a logger. We see him on crews that clear forests, build bridges, and lay railroads for a country that is rapidly developing. His jobs during logging season take him away from home for extended periods of time. This is never an issue until he meets Gladys (Felicity Jones). These two fall deeply in love and are clearly soul mates. A terrific scene finds the giddy and hopeful couple laying rocks on a riverbank to map out the foundation of the log cabin home they are to build. The two in love become three when baby Kate arrives. Robert’s extended time away from home becomes more challenging, yet he manages since he now has a reason to return.

Although Robert rarely speaks while on jobs, narrator Will Patton and the individual scenes tell us much about him and the interesting folks he works alongside. William H Macy plays Arn Peeples, an old-timer who is not only the dynamite expert, he’s also the on-site philosopher (acting as a life mentor to Robert). Other standout supporting characters include Clifton Collins Jr as an unfortunate soul, Paul Schneider as a bad luck apostle, John Diel as one who teaches us the importance of boots nailed to a tree, and Kerry Condon as a forester who shares a sense of loss with Robert. It’s Robert’s loss that becomes the heart of the story and sticks with him for the balance of his years.

Tragedy turns Robert into a hermit, a heartbroken hermit. His titular dreams sometimes have a hallucinogenic feel as they come in flashes. Some of this revolves around his regret for not doing more to stop the mistreatment of a Chinese man, Fu Shang (Alfred Hsing) on the railroad crew. He’s haunted by that event. Of course, Robert’s other dreams take him back to childhood or recall Gladys and Kate. When it seems that Robert can’t sink any lower, a local Native American store owner named Ignatius Jack (Nathaniel Arcand) selflessly offers support, kindness, and friendship. The sequence reminds us of the humanity that exists in all of us … and that there’s a fine line between offering kindness and needing it.

This beautiful film will undoubtedly remind many of the works of Terrence Malick, mostly thanks to the connection between life and nature. One of the messages conveyed is that the deeper one loves, the more painful loneliness can be when it arrives. Life and death make up the cycle as evidenced by majestic trees being cut down to build houses and bridges. Kerry Condon’s character has the film’s best line, “The dead tree is as important as the living one.” Beauty and harsh reality are as connected as art and tragedy. Cinematographer Adolpho Veloso uses creative framing throughout the film, while composer Bryce Dessner perfectly captures the essence – with an assist from Nick Cave’s song, “Train Dreams”. For those seeking emotional depth and philosophical meanderings, this film from Clint Bentley is tough to beat. And if that’s not your thing, just enjoy the beauty of nature.

Begins streaming on Netflix on November 21, 2025

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Posted by David Ferguson

F1: THE MOVIE (2025)

June 26, 2025

Greetings again from the darkness. I can’t explain why auto racing movies have always appealed to me. This dates back to such classics as GRAND PRIX (1966, with James Garner), WINNING (1969, with Paul Newman), and LE MANS (1971, with Steve McQueen). Toss in the more recent films like SENNA (2010), RUSH (2013), and FORD V FERRARI (2019), and that’s a lot of roaring engines and squealing tires on the track and the big screen. Writer-director Joseph Kosinski is no stranger to movies with stunning action and movement and speed as evidenced by his TOP GUN: MAVERICK (2022), OBLIVION (2013), and TRON LEGACY (2010). Kosinski co-wrote the story here with Ehren Kruger, his screenwriter from that high-flying 2022 gem.

Led Zeppelin’s “Whole Lotta Love” blasts through the IMAX sound system as we are introduced to brash driver Sonny Hayes (Oscar winner Brad Pitt, ONCE UPON A TIME … IN HOLLYWOOD, 2019) during 24 Hours at Daytona. We learn quickly that Sonny marches to his own drummer and is a bit of a loner living and traveling in his van. When Ruben (Oscar winner Javier Bardem, NO COUNTRY FOR OLD MEN, 2007), his long-ago friend and one-time racing rival, shows up to offer him a seat for the Formula One team he now owns, Sonny politely declines, despite his friend’s financial struggle and desperate need to win a race or risk losing his team. Of course, we know Sonny will show up.

Sonny discovers that the other driver on the team is an arrogant and talented rookie named Joshua Pearce (Damson Idris, “Snowfall”). Pearce represents a certain generation with arrogance and entitlement beyond his actual success (along with a supportive mama, Sarah Niles, “Ted Lasso”). He certainly wants nothing to do with an ‘old man’ who hasn’t driven F1 in decades. The two polar opposite drivers provide the conflict in the film, but it’s Sonny’s backstory that makes things click. As an immensely talented young driver, his dreams and expectations came crashing down, leaving him a broken man with no home – other than his life as a gypsy driver bounding from one racetrack to the next.

If you’ve seen BULL DURHAM (1998) or THE COLOR OF MONEY (1996), you know how it goes when the grizzled veteran mentors the cocky (and talented) newcomer. It’s a rough start and slowly the two begin to work as teammates. Sonny’s sixth sense on the track stems from knowledge and experience. His swagger initially rubs former aerospace-engineer-turned-car-designer, Kate (Kerry Condon, THE BANSHEES OF INISHERIN, 2022), the wrong way, but of course anyone who has ever seen a movie knows where they are headed.

As with everything these days, especially when big money is at stake, politics and power play a huge role. This time it’s sleazy investor Peter Banning (Tobias Menzies, YOU HURT MY FEELINGS, 2023) who provides the ugly underbelly of greed and corruption. Still, none of that much matters … same with the dialogue that often veers into pure cheesiness. What matters is that the race scenes are exhilarating … the best we’ve ever seen on screen (and make that an IMAX screen if possible – for both sight and sound). Cinematographer Claudio Miranda won an Oscar for LIFE OF PI (2011), and I’m guessing the filming during actual Formula One events proved even more challenging than that one. Definitely deserving of attention are co-editors Stephen Mirrione (Oscar winner, TRAFFIC, 2000) and Patrick J Smith, as well as the entire Sound team. I’ll admit it’s not my favorite Hans Zimmer score, and I’m certain that neither he nor his two Oscars care about my thoughts on the matter.

As an actor, Brad Pitt no longer survives simply by existing – he actually emotes (and does so quite well). He’s a big movie star in a BIG movie that strives to wow viewers. The mystery is how many will be drawn to the theaters for fast cars. For those that do, this one delivers.  On the other hand, if TALLADEGA NIGHTS (2006) or Pixar’s CARS franchise is more your speed, well there’s no shame in that.

Opening in theaters nationwide on June 27, 2025 followed by streaming on AppleTV+

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Posted by David Ferguson

BLOGATHON: MISMATCHED COUPLES (2024)

March 29, 2024

THE BANSHEES OF INISHERIN (2022)

Former BFF’s Colm and Padraig

Greetings again from the darkness. It’s always an honor to be invited to participate in the movie blogathons hosted by Gill and Barry. So many fine writers participate, and it’s a chance to really hone in on a particular topic, while learning what tickles the fancy of others taking part. Maintaining the pace of new movie reviews that I’ve committed to often prevents me from joining in, but this time, it worked out well.

The title of the blogathon makes the mission crystal clear. We are to select a mismatched couple/pair from a film and write about why it was interesting and/or entertaining. Mismatched couples have been a staple of cinema since the early days, and the trope is certainly not tied to any particular genre. Maybe “Cop” movies are most commonly recognized for this, as they often use the “good cop vs bad cop” approach, but it’s also prevalent in domestic dramas (THE ODD COUPLE), action movies (TANGO & CASH), mysteries (Sherlock Holmes and Dr Watson), classic films (Rhett and Scarlet in GONE WITH THE WIND) and even romantic-comedies (WHEN HARRY MET SALLY). For my entry, I chose former BFF’s Colm and Padraig from THE BANSHEES OF INISHERIN, which also happens to be my favorite movie of 2022.

Wickedly talented writer-director Martin McDonagh is the creative force behind this movie, as well as the instant classic, IN BRUGES (2008). In a brilliant move, McDonagh re-paired the lead actors from the earlier film in hopes of re-capturing their onscreen magic. The move definitely worked, as Colin Farrell as Padraic and Brendan Gleeson as Colm are both terrific in this film as they personify “Mismatched Couples.”

It’s 2:00 in the afternoon and Padraic does what he does every day. He knocks on the door of his lifelong friend, Colm, so they can head to the pub for a pint. Only this isn’t every other day. It’s a new day. Colm doesn’t answer. Padraig is a simple man who thrives on his routine and his friendship with Colm. Now for this to qualify as a ‘mismatched couple’, there must be conflict and tension. Initially we are as confused as Padraig, but soon enough Colm bluntly informs him that they are no longer friends, and that not even pleasantries will be exchanged – despite their history, and the forced proximity of living in the same village on an island. Colm has visions of a brighter future without Padraig, and Padraig is bewildered as he tries to figure out what he did wrong.

Part of the brilliance of the film and this relationship stems from the fact that these two gents are not the only mismatched couple, yet it’s their abrupt fallout that has an impact on so many others in the close-knit community. As Colm pursues his fiddle music and builds a new network, Padraig plunges into a funk, and finds the troubled town oddball (an excellent Barry Keoghan) buddying up to him in hopes of befriending Padraig’s sister (a terrific Kerry Condon). All of this creates choppy waters and dark comedic elements (just as McDonagh designed it), yet the driving force here is the broken relationship between Padraig and Colm. Both actors are so good. The turns of violence are shocking, and because of it, fiddle playing becomes more challenging … and things don’t go so well for Jenny the miniature donkey either (yet another victim of the broken relationship).

Watching these two actors at the top of their game (Farrell received an Oscar nomination) allows us to buy into this unfortunate break in what had been a long friendship. Some of the situations come across as outlandish, yet the actors bring a nuance to the characters that draws in as we anxiously hope for reconciliation, rather than a war to match what’s occurring across the bay. The idea of a couple of buddies becoming ‘mismatched’ after years of friendship makes this one of the more unusual … and interesting … and tragic … ‘mismatched’ couples in cinema.

Here is my original review of THE BANSHEES OF INISHERIN from November 2022

https://moviereviewsfromthedark.com/2022/11/03/the-banshees-of-inisherin-2022/

To read more entries in this blogathon and to access sites for Gill and Barry:

https://weegiemidget.wordpress.com

https://cinematiccatharsis.blogspot.com

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Posted by David Ferguson

NIGHT SWIM (2024)

January 4, 2024

Greetings again from the darkness. Over the years, there have been many movies reinforcing why we should “be afraid of going in the water.” This includes CREATURE FROM THE BLACK LAGOON (1954), DEEP SEA BLUE (1999), OPEN WATER (2003), and of course, the all-time classic, JAWS (1975). Beyond the ocean, swimming pools always create a level of anxiety for parents, because most kids can’t imagine something that’s so much fun carrying any type of danger. Thanks to horror producers Jason Blum and James Wan, writer-director Bryce McGuire and co-writer Rob Blackhurst have expanded their 4-minute 2014 short film and try their darndest to make a backyard pool the source of supernatural evil.

Fresh off her Oscar nomination for THE BANSHEES OF INISHERIN (2022), Kerry Condon stars as Eve Waller, and Wyatt Russell (EVERYBODY WANTS SOME, 2016) co-stars as her husband Ray, whose major league baseball career has been cut short due to the early onset of a degenerative disease. The family finds a spacious home with a swimming pool in the backyard, and the kids, 15-year-old Izzy (Amelie Hoeferle, THE HUNGER GAMES: THE BALLAD OF SONGBIRDS AND SNAKES) and her younger brother Elliot (Gavin Warren, “Fear the Walking Dead”) are thrilled to leave the gypsy life of baseball behind and finally settle down and make friends. As viewers, we know something the family doesn’t. The opening scene (expertly filmed) shows us a tragic event that occurred in this same pool a few years back. Nothing is given away, but it’s an ominous start featuring some fuzzy bunny slippers.

Once the Wallers move in, each of them have their own encounters while swimming. Eve, Izzy, and Elliot each get spooked, while Ray immediately begins to feel better and more energetic. Ben Sinclair (SPIN ME ROUND, 2022) adds a dose of humor as the pool servicer, while also informing the family that it’s a natural spring-fed pool. For some unknown reason, Sinclair’s character only gets one scene – a definite flaw in the filmmaking. The Wallers throw a neighborhood party and, no surprise, it goes sideways. From here, things get progressively worse (and sillier) as a supernatural entity or demon is clearly having its way with the family.

Cinematographer Charlie Sarroff (SMILE, 2022) does nice work with the pool, especially the underwater scenes at night … although the night isn’t the only time bad stuff happens. Other than the kinda funny idea that a swimming pool can possess evil, the film clunks along by touching on numerous ideas, some of which are creative, only to leave us hanging on most. The backstory of the house and swimming pool is investigated by Eve, and that alone could have injected a heavy dose of drama and creepiness. Instead, we get a couple of glimpses of a hokey looking presence … and we can’t help but wonder why this family keeps sticking their hands in every skimmer and drain opening – much less why they insist on swimming alone at night.

It feels like a pretty intense and more complete story is lurking just beneath the surface here … as there are some good ideas, as well as believable performances from Condon, Russell (who nails a couple of punchlines), Hoeferle, and Warren. Similarities to the horror classic POLTERGEIST (1982) are evident, and that’s a pretty lofty goal. Producers Jason Blum and James Wan have recently finalized the merger of their two production studios, Blumhouse and Atomic Monster, so we can expect regular releases of horror films from the group. The expectation is there will be more hits than misses.

Opens nationwide in theaters on January 5, 2023

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Posted by David Ferguson

THE BANSHEES OF INISHERIN (2022)

November 3, 2022

Greetings again from the darkness. IN BRUGES is a cinematic litmus test. It turns out, whether someone is a fan of that movie or not is a particularly dependable indicator of similar or disparate tastes in dark comedy material. For me, it’s a film I never tire of … whether re-watching in its entirety or catching just a few scenes while surfing. The plot is bleak, yet we laugh. The characters are sad, yet we are charmed. It’s the perfect blend of character, story, and setting … and proves how exceptional and precise screenwriting can be. So why am I writing so much about a movie from 2008? Well, that film’s writer-director, Martin McDonagh, is back, and he’s brought along that film’s co-stars, Colin Farrell and Brendan Gleeson.

Now don’t think this is yet another in the endless stream of Hollywood sequels. It’s not. These are (much) different characters in a (much) different setting. What does remain the same is the onscreen magic when Colin Farrell and Brendan Gleeson collaborate with writer-director McDonagh. It’s how some singers are meant to sing one song (Sinatra belting “New York, New York”), or how some athletes are tied to a particular team (Sandy Koufax to the Dodgers). These three talented men are at their best when working together.

Padraic (Farrell) and Colm (Gleeson) have been best buddies for most of their lives. Every day at 2:00, Padraic fetches Colm and they head to the pub. One could set their watch by this. That all changes one day when Colm refuses to answer the door when his pal knocks. Later that day, he informs Padraic that they are no longer friends, as he refuses to waste another moment drowning in inane conversation, and instead will focus on fiddle music and living his life to the fullest. Padraic is shook and confused … as are the bartender and the other folks in this quaint (fictional) seaside village in coastal Ireland. There is a certain symmetry with the civil war playing out on the mainland and this break in a friendship. A crack about not knowing why the sides are fighting in the war adds yet more symmetry as Padraic searches for meaning in the rift.

When Colm finally tells Padraic that he doesn’t like him anymore and he doesn’t want his old friend speaking a word to him, we initially understand and agree with his reasoning, even if it seems a bit harsh. Padraic is a bit of a bore – a man satisfied with his work as a milk farmer and spending off hours petting Jenny, his pet donkey, before blowing a couple more hours chatting at the pub, and ultimately retiring to the tiny cottage he shares with his erudite sister Siobhan (a superb Kerry Condon, “Better Call Saul”, “Ray Donovan”). Dull, dim, not a thinker … all descriptions of Padraic we hear, though his self-reflection finds a gentle, kind soul – mostly harmless and enjoying his daily life. Well, that is, right up until his best friend locks him out.

The interactions between Padraic and Colm are fascinating to watch. The two actors play off each other so well, we find ourselves hoping they will be together on screen without a break. It’s here where McDonagh’s script really shines. Ms. Condon as Siobhan and Barry Keoghan (DUNKIRK, THE KILLING OF A SACRED DEER, 2017) as Dominic both play significant roles  (as does Jenny the miniature donkey). What initially seems like commentary on a shattered friendship between two men expands significantly thanks to these two characters. It reminds us that our network, regardless of how small, has an impact on others, even on a remote island in Ireland. The script and actors blend here to drive home the point.

Siobhan begins to question her own existence and how she might pursue her own dreams. Local boy Dominic is the son of an abusive policeman, and his troubles seem to run deeper than just being the town oddball. He likely has mental issues, yet occasionally shows flashes of hyper-awareness. He befriends Padraig after the split, and his unconventional personality never quite sits well with others. When Dominic’s own dream gets shot down, he doesn’t possess the capacity to handle it well. The story and the island sustain tragedies, both small and large, and to top it off, there is a creepy old woman in the village who has visions of death.

Once we have settled into the drum beat of the split between Padraig and Colm, McDonagh raises the stakes, bringing an unusual form of violence into the proceedings. This catches us and Padraig and the whole of the village off guard, and makes for a stunning visual and eye-opening shock. There is no way to go into further detail without spoilers that should not be conveyed. What you need to know is that this is expert filmmaking, superb screenwriting, and the best acting of Colin Farrell’s career … leading the way for other excellent performances. Facing one’s own mortality is never easy, and we can each relate to Colm’s search for meaning as he sees time slipping away. The film also treats us to the best ever confessional scene, and more frequent uses of the word “fecking” than we’ve ever experienced. The beauty of the island is shown, but never featured. Instead, McDonagh does what he does best – delivers memorable characters and dialogue and unforgettable surprises. He also makes us wonder if our laughter is socially acceptable, causing us to be thankful for the dark theater.

Opening wide in theaters on November 4, 2022

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Posted by David Ferguson

DREAMLAND (2020)

November 12, 2020

 Greetings again from the darkness. Outlaws on the run have been fertile ground for movies over the years, and young director Miles Joris-Peyrafitte and writer Nicolas Zwart give the genre their best shot (pun intended). The easiest comparisons are probably Sam Peckinpah’s THE GETAWAY (1972), Jonathan Demme’s SOMETHING WILD (1986), and Arthur Penn’s Oscar nominated classic BONNIE AND CLYDE (1969). However, given the style of this film, Terrence Malick’s BADLANDS (1973) was likely more of an influence for the filmmakers.

Phoebe Evans (as voiced by Lola Kirke, GONE GIRL, daughter of Bad Company drummer Simon Kirke) is our narrator, and from 1955 she recounts the story of her half-brother Eugene. Most of what she tells takes place twenty years earlier – 1935 Dust Bowl Texas during the Great Depression. Finn Cole (“Animal Kingdom”) stars as Eugene, and we pick up a few years after his dad left the family behind and headed for what he expected would be an easier life in Mexico. Mother Elizabeth (Kerry Condon, “Breaking Bad”) is now re-married to local Deputy George Evans (Travis Fimmel, LEAN ON PETE) and his bad haircut, and they now have a young daughter Phoebe (the magical smile of Darby Camp, THE CHRISTMAS CHRONICLES). Eugene reads Detective stories and mostly tries to stay out of George’s way, while Phoebe is a curious little sister, easily the most intelligent of the lot.

One fateful day, Eugene’s beloved detective stories come to life. After a local bank robbery turns violent, he discovers Allison Wells (two-time Oscar nominee Margot Robbie, I TONYA) hiding in his barn, with a bullet in her leg. Despite the $10,000 reward on her head, Allison sweet talks young Eugene into keeping her whereabouts secret, and helping her plot an escape. She swears she didn’t kill anyone and rationalizes the bank robbery by blaming the government for letting people suffer hard times. Eugene may or may not buy her story, but he recognizes this is the most excitement he’s likely to ever have in his life … plus, he’s smitten.

During the first half of the film, we follow Eugene as he helps Allison and holds the secret. When the second half kicks in, we find ourselves along for the ride as the two are on the run from the law, including Eugene’s stepfather George. Along the way director Joris-Peyrafitte includes some flashbacks to the botched bank robbery giving us a look at Allison’s “Clyde”, Perry Montroy (played by Garrett Hedlund). There are also numerous artsy flashes of coastline, supposedly representing Allison and Eugene’s landing spot should they escape. Of course, we know where this is headed – a shootout finale. Filmed in New Mexico, we do get the feel of the hard life fought by those during this era, including the powerful and devastating dust storms that require gas masks to prevent suffocation. The film is watchable thanks to the performances and atmosphere, though it’s not at the level of similar type movies listed earlier.

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Posted by David Ferguson

THREE BILLBOARDS OUTSIDE EBBING, MISSOURI (2017)

November 15, 2017

 Greetings again from the darkness. Once out of our teen years (though some take a bit longer), the vast majority of us accept the obvious truth to the adage “life is not fair”. Despite this, we never outgrow our desire for justice when we feel wronged. Uber-talented playwright/screenwriter/director Martin McDonagh delivers a superb drama blended with a type of dark comedy that allows us to deal with some pretty heavy, and often unpleasant small town happenings.

Oscar winner Frances McDormand plays Mildred, a grieving mother whose daughter was abducted and violently murdered. With the case having gone cold, Mildred is beyond frustrated and now desperate to prevent her daughter from being forgotten. To light the proverbial fire and motivate the local police department to show some urgency in solving her daughter’s case, Mildred uses the titular billboards to make her point and target the Police Chief Willoughby (Woody Harrelson).

The billboards cause quite the ruckus as the media brings extra attention, which in turn creates conflict between Mildred and the police department, the town citizens, and even her own son (Lucas Hedges). The film could have been titled ‘The Wrath of Mildred’ if not for so many other facets to the story and characters with their own layers. Her anger is certainly understandable, though some of her actions are impossible to defend. Things can never again be square in the life of a parent who has lost a child, yet vengeance is itself a lost cause.

Mr. McDonagh’s exceptional script utilizes twisted comedy to deal with the full spectrum of dark human emotions: managing the deepest grief, anger, guilt, and need for revenge. As in his Oscar winning script for the contemporary classic IN BRUGES (2008), his dialogue plays as a strange type of poetry, delivering some of the most harsh and profane lines in melodic fashion. In addition to his nonpareil wordsmithing, Mr. McDonagh and casting director Sarah Finn have done a remarkable job at matching many talented performers with the characters – both large roles and small.

Following up her Emmy winning performance in “Olive Kitteridge”, Ms. McDormand is yet again a force of nature on screen. She would likely have dominated the film if not for the effectively understated portrayal by Mr. Harrelson, and especially the best supporting performance of the year courtesy of Sam Rockwell. His Officer Dixon is a racist with out-of-control anger issues who still lives with his mom (a brilliant Sandy Martin, who was also the grandma in NAPOLEAN DYNAMITE). Caleb Landry Jones once again shows his uncanny ability to turn a minor role into a character we can’t take our eyes off (you’ll remember his screen debut as one of the bike riding boys near the end of NO COUNTRY FOR OLD MEN). Here he plays Red, the owner of the billboards with an inner desire to carry some clout. Rounding out the absurdly deep cast are Zeljko Ivanek, Kerry Condon, Lucas Hedges (MANCHESTER BY THE SEA), Peter Dinklage, John Hawkes, Abbie Cornish, and Clarke Peters (the epitome of a new Sheriff in town). Every actor has at least one moment (and monologue) to shine, and one of the best scenes (of the year) involves Nick Searcy as a Priest getting schooled on “culpability” by Mildred.

Cinematographer Ben Davis has a nice blend of “big” movies (AVENGERS: AGE OF ULTRON) and small (TAMARA DREWE) in his career, and here he really captures the feel of the small town and interactions of the characters. Also adding to the film’s excellence is the folksy, western score (with a touch of dueling gunfighters) by Carter Burwell. And keeping the streak alive … it’s yet another worth-watching film featuring a Townes Van Zandt song.

Not many films dare tackle the list of topics and issues that are touched on here: church arrogance, police violence, racism, cancer, domestic violence, questioning the existence of God, parental grief with a desire for revenge, the weight of a guilty conscience, and the influence of parents in a rural setting. The film is superbly directed by Mr. McDonagh, who now has delivered two true classics in less than a decade. It’s the uncomfortable laughs that make life in Ebbing tolerable, but it’s the pain and emotions that stick with us long after the credits roll. Sometimes we need a reminder that fairness in the world should not be expected, and likely does not exist. If that’s true, what do we do with our anger? McDonagh offers no easy answers, because there are none. But he does want us to carefully consider our responses.

watch the trailer:

 

 

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Posted by David Ferguson

DOM HEMINGWAY (2014)

April 17, 2014

DALLAS INTERNATIONAL FILM FESTIVAL (2014)

dom Greetings again from the darkness. Maybe I should apologize, but I won’t. This was hands-down my favorite from the Dallas International Film Festival. It was probably the least favorite of many others. With the most outlandish and uncomfortable opening scene in recent memory, the movie comes across a rough blend of early Guy Ritchie and The Wolf of Wall Street.

Given that description, no movie lover would expect Jude Law to be the star who dominates most every scene. Yes, pretty boy Jude Law has gone “ugly” the way fellow pretty boy Matthew McConaughey went “indie”. It’s a shock to see Mr. Law looking shaggy and paunchy … in his best moments! He holds nothing back in his portrayal of this vulgar, verbose ex-con so full of swagger.

Joining Dom is his old buddy Dickie, played by Richard E Grant – whose smooth comedic delivery is a terrific complement to the harshness of Dom. After serving 12 years in prison, Dom is on a mission to get the money he is due from a Russian mobster played by Demian Bichir (yes, Mr. Bichir is Mexican). Of course, nothing ever goes as planned in Dom’s life, so a coke-fueled night of celebration at a glamorous French château leads to one of the most startling cinematic car accidents, leaving Dom penniless.

The story now veers off the Dom’s attempt at redemption … reconciliation with his daughter played by “Game of Thrones” Emilia Clarke. The bi-polar aspects of Dom’s persona comes through when comparing his “criminal” scenes and his “daughter” scenes. The contrast does provide relief from the relentless raucous dialogue delivered with the most extreme cockney accent possible. Still, the redemption story line takes away from what makes Dom such a force of nature and so much fun to watch on screen. Writer/director Richard Shepard gave a very enthusiastic and passionate Q&A after the screening, and it was quite obvious he “liked” this character, despite the flaws.  Mr. Shepard was responsible for one of my favorite little known gems, The Matador (2005).

This is a violent, vulgar character delivered in blaringly over-the-top mode by an actor that has previously shown no such tendencies. As with all comedy, and especially such raucous, irreverent black comedy, the audience will be divided by those who find this extremely entertaining and those who think it’s a waste of time and talent. Expect no guarantees from me on which camp you might fall into.

**NOTE: the movie contains quite striking primate art, as evidenced by the movie poster shown above

watch the trailer:

 

 

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Posted by David Ferguson