I LIVE HERE NOW (2026)

March 28, 2026

Greetings again from the darkness. The first feature film from writer-director Julie Pacino (daughter of screen legend Al Pacino) is a whirlwind of creativity that is not likely one for the masses. The film has a surreal, dreamlike style that disorients us through the use of color and imagery. In fact, the hazy symbolism is well done and speaks to the ongoing effects of childhood trauma.

 Rose (played by Lucy Fry, who was Marina Oswald in the 2016 limited series “11.22.83”) is on the verge of an acting career breakthrough when she finds out she’s pregnant. Her charming boyfriend Travis (comedian Matt Rife) ghosts her and runs to mommy (Sheryl Lee, Laura Palmer from the Twin Peaks franchise). Overprotective Mommy is also ultra-rich and insists on control of all decisions regarding Travis, Rose, and the unborn child. A woman’s agency over her body is a key element in this story, and it’s multi-layered throughout Rose’s life – as evidenced by the flashbacks to her youth, and the ongoing self-inflicted cuts and burns.

A good-for-one-thing manchild boyfriend is bad enough, but having decisions dictated by his mother is a bit too much for Rose. Intent on making the next audition set up by her agent (Cara Seymour, “The Knick”), Rose checks in to the Crown Inn, one of the most bizarre hotels you’ll likely ever see. Assigned to “The Lovin’ Oven” room, Rose is instructed when to take the magic pill. Memories and emotional distortion abound here, thanks in no small part to the flashbacks and the odd actions of fellow guest Lillian (Madeline Brewer, “The Handmaid’s Tale”).

As we’ve learned through many films and stories, the past must be confronted if one is to move forward. Filmmaker Julie Pacino presents past trauma, pain, mommy issues, and psychological warfare through surreal images highlighted by mesmerizing and disorienting colors … at times it plays like a horror film. While It’s certainly no bed of roses, the film is a creative look at how one woman deals with life is a welcome and necessary approach.

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Posted by David Ferguson

THE PRIVATE EYE (2024)

February 9, 2024

Greetings again from the darkness. Robin Williams. Richard Pryor. Jim Carrey. Michael Keaton. Whoopi Goldberg. That’s just a few of the stand-up comedians who successfully transitioned to acting in movies. While it seems like a natural next step, there have been even more for whom the transition simply didn’t work, although a TV series seems to be a worthwhile fallback for most. Matt Rife becomes the latest to take the leap from late night comedy club gigs to the silver screen. As an internet sensation, Mr. Rife has a built-in following, despite the recent backlash over his poor choice of jokes.

What he doesn’t have, or at least doesn’t show here, is the acting talent to carry a movie. He certainly looks the part, and the role seems to offer the opportunity to flash his chops, however his scenes mostly fall flat. Writer-director Jack Cook and co-writers Hope Ayiyi and Rosalinda Books have latched onto a favorite Hollywood genre, which the title too obviously identifies. Rife, as Mort Madison, dons the fedora hat, a trench coat, and lights a cigarette to ensure we viewers are in full gumshoe mode.

Mort is struggling. His client list consists only of a young neighborhood boy whose pet has run away. Desperately in need of money, he tells the boy to bring his piggy bank, and then turns back into his pig sty of a filthy apartment. Filmmaker Cook keeps us in black and white until “the dame” shows up. Transitioning to color, we note his new client, Michelle (Clare Grant), not only is dressed in red, but she also offers Mort a retainer for her case. Of course, there is an attraction between the two, yet Mort always seems a step behind, especially for a detective. It’s clear, something isn’t right with him.

His flashbacks take him to his solving a string of video store robberies, and even this is followed later by a scene that telegraphs what’s happening. There is even a scene where Matt slips and falls in the shower. When he regains consciousness, the water is no longer running. We correctly assume this isn’t a clue, but rather a flaw. The next key player here is David (played by Elliott), Michelle’s psycho-therapist friend who also seems out of step with the story and movie.

I don’t enjoy negative criticism towards the work of others, so I’ll add a bit of the bright side. We get Eric Roberts as the film’s narrator, and he later shows up as a character who crosses paths with Mort. It seems this was meant to trick us, but any twists that might have looked good on paper, never really click on the screen, and certainly don’t surprise. There is (finally) a humorous scene featuring Erik Griffin as taxi driver, Crazy Carl. Griffin gets the film’s best line as he brandishes a pistol, telling Mort, “I already cocked it. I gotta shoot somebody.” A few other attempts at humor just don’t work, and it proves that one “touché” per film is sufficient. The film is easily 30 minutes longer than necessary, and we can only hope this has been a learning experience for all involved, and improvement will be seen in their next projects.

In theaters beginning February 9, 2024

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Posted by David Ferguson