BULLET TRAIN (2022)

August 3, 2022

Greetings again from the darkness. If you are one that still needs proof that movie stars matter, this latest from director David Leitch (a former stuntman who also directed ATOMIC BLONDE, 2017) and screenwriter Zak Olkewicz (adapted from Kotaro Isaka’s 2010 novel, “Maria Beetle”) may be submitted as evidence. Replace Brad Pitt with almost any other actor, and this one becomes borderline unwatchable. However, with the Oscar winner, there is sufficient charm, humor, and entertainment to keep us around for the more than two hour run time.

Mr. Pitt stars as Ladybug, a floppy bucket hat wearing last minute fill-in for an assassin who called in sick. His handler (voiced by Oscar winner Sandra Bullock) walks him through what is supposed to be a simple snatch and grab job involving a briefcase. Of course, it turns out to be anything but simple as the train is filled with what seems to be an endless stream of contract killers intent on securing the same briefcase. Among those are Tangerine (Aaron Taylor-Johnson) and Lemon (Brian Tyree Henry). Mr. Taylor-Johnson continues his tradition of over-acting and lacking the charm he believes he has, while Mr. Henry’s obsession with Thomas the Tank Engine at least gives his character a reason for us to be annoyed. The two are referred to as British brothers or even ‘twins’, which gives you some idea of what the film wants you to buy as humor.

A slew of other characters include Joey King as Prince, the “Shibumi” reading type who pushes a kid off a roof, and then uses her skill of crying-on-demand to escape most danger; Andrew Koji as Kimura, that kid’s distraught father; Hiroyuki Sanada as Kimura’s father; Zazie Beetz as The Hornet; rapper Bad Bunny as Wolf; Logan Lerman as the son of a Russian gangster, and Lerman spends much of the movie auditioning for the title character in “Weekend at Bernie’s”; and Michael Shannon as said Russian gangster, White Death. Beyond all of these highly recognizable folks, we also get two very high-profile cameos, both used for comic effect.

In between the one-minute stops on the trip from Tokyo to Kyoto, there is an abundance of fighting – comical, rapidly-paced, and violent – using such available props as the features on a smart toilet, knives, guns, swords, poison, bombs, and a venomous (incorrectly labeled as poisonous in the movie) Boomslang snake. Since most of the action takes place on the train, we get action in passenger cars, the galley, the lounge, the control booth, and even on top of the speeding train.

It’s Pitt’s character who keeps us interested, and the movie drags when he is off screen. Ladybug is a skilled improvisational fighter, although his recent personal growth through therapy has him eschewing guns, dwelling on his inherent bad luck, and reciting affirmations and wisdoms, when he can remember them. Mostly, by golly, he just wants to be a nicer person (quite a short trip for a contract killer). This chaos and spontaneous convention of bad players were all part of White Death’s plan, which is revealed late in the film.

It appears director Leitch (a former renowned stuntman) worked diligently to create a new form of zany by blending Guy Ritchie’s best work with Tarantino’s “Kill Bill” films, and then adding a dash of ‘who-done-what-to-whom?” Instead, with the near slapstick action and goofy dialogue, it plays more like a modern day CANNONBALL RUN, which was also directed by a former stuntman (the legendary Hal Needham). As a bonus, we also get the Japanese version of “Stayin’ Alive”, replete with Brad Pitt strutting through Tokyo in tennis shoes.

Opens in theaters on August 5, 2022

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Posted by David Ferguson

HEART OF CHAMPIONS (2021)

October 31, 2021

Greetings again from the darkness. We’ve seen most of this before in a long list of inspirational sports stories where the beleaguered, tough as nails coach comes in and unites a rag-tag team while teaching life lessons. However, with (2-time Oscar nominee) Michael Shannon cast as the coach, we know there will be at least one performance worth watching. The screenplay is from Vojin Gjaja and it’s directed by Michael Mailer (son of 2-time Pulitzer Prize winning author, Norman Mailer).

The film opens in May 1999 as a crew team finishes last in the Collegiate Rowing Championships. Inner-team bickering and animosity exists thanks to domineering Team Captain Alex (Alexander Ludwig, “Vikings”). The following year, the team is introduced to their new coach, Coach Murphy (Shannon). He has a different approach and he’s focused on creating a team, rather than a few guys with oars. All we really learn about Murphy is that he’s an alum and former rower for this same college, and an Army and Vietnam veteran who lost friends in the war, and carries that burden with him every day.

Alex (Ludwig) is back for his senior year and his goal is to be chosen for the Olympics team … a goal his over-bearing father (David James Elliott, “JAG”) reminds him of every few minutes. The other two crew members who get significant screen time are John (Alex MacNicoll, ALL ROADS TO PEARLA, 2019) and newcomer Chris (Charles Melton, THE SUN IS ALSO A STAR, 2019). John is dating Alex’s ex-girlfriend Sara (Ash Santos), while transfer student Chris is dealing with a recent tragedy, and also attracted to Sara’s friend Nisha (Lilly Krug, EVERY BREATH YOU TAKE, 2021). And yes, at times the melodrama of these folks is just a bit too heavy-handed and soap opera-ish. Coach Murphy is clearly the most interesting character, yet the film spends the bulk of its time on the youngsters and their daily journey.

One of the plusses here is that the sport at the center is rowing, which at least veers from the typical sports fare. But then we learn very little about the sport, other than it blisters your hands and causes your lungs to burn … and there is “swing” which occurs when the team is in full sync. Mr. Shannon does as much with his underwritten role as possible; however, overall the movie is just a bit too generic with its final lesson of, “a loss is not the end.” Should you have an interest in a true life rowing story, allow me to recommend the 2013 book (my son recommended to me), “The Boys in the Boat: Nine Americans and Their Epic Quest for Gold at the 1936 Olympics” by Daniel James Brown

Opened October 29, 2021

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Posted by David Ferguson

KNIVES OUT (2019)

November 27, 2019

 Greetings again from the darkness. “I suspect ‘fow-uhl’ play.” So states the renowned and poetically named private detective, Benoit Blanc. Of course when mega-wealthy, best-selling author Harlan Thrombey supposedly commits suicide after his 85th birthday party by slashing his own throat with a knife, something more sinister (you know, like … murder) must be considered. The violin playing over the opening shots of the palatial Thrombey manor teases us with thoughts of most any year from the past 75. These nostalgic thoughts fade quickly as we begin to meet the players.

Detective Elliott (LaKeith Stanfield) and Trooper Wagner (a quite funny Noah Segan) seem merely to be crossing their T’s in the suicide investigation as they dutifully meet with each family member for a statement. It’s this progression of questioning that introduces us to the year’s most colorful ensemble cast. Patriarch Thrombey’s (Christopher Plummer) scheming heirs-in-waiting include: his daughter Linda Drysdale (Jamie Lee Curtis), happy to remind you of her success as a self-made businessperson; Linda’s smarmy husband Richard (Don Johnson); their renegade son Ransom (Chris Evans) who arrives a bit later; Harlan’s son Walt Thrombey (Michael Shannon) who ‘runs’ the family publishing business; Harlan’s ex-daughter-in-law Joni (Toni Collette), a self-help guru who has a secret side gig; grandkids Meg (Katherine Langford), preppy social media troll Jacob (Jaeden Martell), and Donna (Riki Lindhome of “Garfunkel and Oates”); and Harlan’s mother Greatnana (Dallas’ own K Callan). Two key non-family members are the housekeeper Fran (Edi Patterson) who finds Harlan’s body, and nurse Marta (Ana de Armas), Harlan’s friend and only real confidante.

Writer-director Rian Johnson has put together a diverse career with such films as indie breakout BRICK (2005), science fiction hit LOOPER (2012) and of course, STAR WARS: EPISODE VIII – THE LAST JEDI (2018). With this latest, he shows a real flair with a rare comedic whodunit, and manages to perfectly execute his twisted script of twisted personalities. Think of this as Agatha Christie meets CLUE via THE ROYAL TENENBAUMS. The overall mangled morality of this entitled family becomes crystal clear as we get to know each. Johnson presents many familiar elements for fans of the mystery genre (the dark mansion, the creepy line-up of hangers-on, the red-herring clues and missteps), and most impressively, he blends those with many creative and surprising moments … some that will have you believing you have it figured out. But even if you do, the long and winding road is an utter blast.

Even with that deep and talented cast, it’s Daniel Craig as Benoit Blanc and Ana de Armas as Marta who stand out. They have the most screen time and neither waste a moment. Mr. Craig’s purposefully comedic southern drawl completes the film’s most memorable character, in fact, one of the year’s most memorable characters. Ms. de Armas finally finds a role to take advantage of her skill. Nurse Marta has a lie-detecting reflux gag that is not just valuable to the case, but also vital to the loudest audience reaction during the film. Mr. Craig and Ms. de Armas will also appear together in the upcoming Bond film NO TIME TO DIE.

During the reading of the will, director Johnson brings in STAR WARS stalwart Frank Oz (best known as Yoda) to play the family attorney, while another scene features one of the all-time great character actors (and Roger Ebert favorite) M. Emmet Walsh (BLOOD SIMPLE). Mr. Johnson also offers a unique spin on classism and the 1%, including a running gag about Marta’s nation of origin.

Johnson’s regular team is in top form here: Cinematographer Steve Yedlin, Film Editor Bob Ducsay, and composer Nathan Johnson (Rian’s cousin). Another deserving of mention is Costume Designer Jenny Eagan, who matches threads with personality about as effectively as we’ve seen, and Production Designer David Crank who creates the ideal mansion of secrets. This film is wickedly clever and barrels of fun. There may not have been a more purely entertaining movie this year … and it’s been a terrific year for movies. Just remember: ‘My house. My rules. My coffee.”

watch the trailer:

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Posted by David Ferguson

THE CURRENT WAR: DIRECTOR’S CUT (2019)

October 24, 2019

 Greetings again from the darkness. Electricity. Bringing light and power to the world. Other than dependable food sources and clean water and air, nothing is more vital to our way of life today. However, going back in time only 125 years finds the sun and candlelight as the only forms of illumination. Oh, but behind the doors of laboratories for Thomas Edison and George Westinghouse, skilled engineers were working diligently to discover the breakthrough that would deliver light to the dark world.

Normally the making of a movie is not a story worth telling. The final work should speak for itself. But the story of this film’s road to the screen is not normal. This was the film Harvey Weinstein was working on when his sex abuse scandal broke. Weinstein went ahead with the screening of the film at the 2017 Toronto Film Festival despite pleas from the director that the film was not ready to be shown. Once the scandal hit, director Alfonso Gomez-Rejon (the excellent ME AND EARL AND THE DYING GIRL, 2015) was helpless – he couldn’t access the film for reshoots and final edit. Now, after two years of legal wranglings, he is finally able to present his finished project.

On one hand, it’s a feel good story for the director. On the other hand, the film falls short of being a top notch historical drama … despite it being a real life drama that changed the world. Most would agree there isn’t much entertainment value in watching the daily trial and error of engineers in a lab, so it makes perfect sense that director Gomez-Rejon and writer Michael Mitnick would turn their focus on the personal and professional rivalry between Thomas Edison and George Westinghouse, as well as a portion of the story involving Serbian immigrant Nikola Tesla – perhaps the most brilliant of them all.

Benedict Cumberbatch plays Edison, a true celebrity and renowned inventor. We see how Edison’s family life with wife Mary (Tuppence Middleton) takes a back seat to his work at his Menlo Park lab; a trait that becomes more extreme after a personal tragedy. Michael Shannon plays George Westinghouse, developer of railway air brakes, in a stoic and focused manner, and with a close relationship with his wife Marguerite (Katherine Waterston). Nicholas Hoult portrays Nikola Tesla, he of brilliant mind contrasted with quirky and fastidious ways. The other two key players here are Matthew Macfadyen as JP Morgan, the banker who finances much of the work, and Tom Holland as Samuel Insull, Edison’s loyal assistant.

While difficult to imagine now, the big debate boiled down to what form of electricity was most practical for the masses. Edison believed it was direct current (DC), while Westinghouse and Tesla were all in for alternating current (AC), which they believed to be cheaper and more powerful. Edison, ever the media manipulator, created questions of public safety in regards to AC by pulling dramatic public stunts. An interesting note here is that despite Edison’s pledge to never invent military weapons or anything designed to take a life, it was his work that led to the use of the electric chair as a replacement for hangings in death penalty cases.

This rivalry between two titans of industry never seems to click, and sadly, Tesla’s story comes across as an add-on to the movie – though his work is worthy of its own movie. Westinghouse deals with his Civil War flashbacks, and Edison’s coarse nature is dulled somewhat here in an effort to make him a bit more appealing as a character. The 1893 Chicago World’s Fair provides the “finish line” for this competition, with the winner lighting up the Fair and setting the stage for the rest of the country. There are flickers of a great movie here, and the performances reach the expected levels for such a strong cast, but overall the movie comes across a bit disjointed and trying much too hard to be regarded as a prestigious film.

watch the trailer:

 

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Posted by David Ferguson

WHAT THEY HAD (2018)

October 25, 2018

 Greetings again from the darkness. “Til death do us part.” Only far too often, long term marriages are not broken by death, but instead by memories being cruelly erased through disease. Alzheimer’s and Dementia are dreadful diseases, even in the early stages. Writer-Director Elizabeth Chomko uses her feature film debut not to analyze the specifics of these diseases, but instead to focus on the incredibly personal and emotional fallout they produce.

At first glance, Bridget (Hilary Swank) seems to have figured things out in life. She’s a California career woman married to a successful man (Josh Lucas), and their daughter Emma (Taissa Farmiga) is a college student. Slowly, the truth is unfurled – much of it after she receives a frantic call from her brother Nick (Michael Shannon) back home in Chicago. Their mother (Blythe Danner) is missing, having wandered out into a snow storm wearing her pajamas. Bridget and her daughter Emma hop on a plane and land in the middle of a huge family ordeal. See, Nick is exhausted from being the caregiver, and believes the best thing for their mother (and for him) is to move her into an extended care facility. Dad (Robert Forster) is adamant that she remain home with him, where she (and he) are most comfortable.

Of course, the turmoil doesn’t end there. Bridget is in a loveless marriage. Emma has been evicted from her dorm for drinking. Nick’s long-time girlfriend has booted him to the backroom of the bar he owns. Bert, the father, is unwilling to accept or even discuss surrendering the life he’s known for decades. Ruth, the mom, is as apt to make a move on her son as to remember her daughter’s name. Contrasting personalities abound in this house. Despite having power of attorney, Bridget is still intimidated by her bullying father, and seems to have no empathy for the burden carried by Nick. It’s all very messy – just like a real family, and filmmaker Chomko revels in it.

It’s so wonderful to see Robert Forster in such a hefty role. These days, he’s typically relegated to a tertiary character where he mostly frowns and grunts. Not this time. He is at once a bullying force within the family, and an elderly man treading on fragile ground. He belittles his grown kids by calling his bar owner son a “bartender”, and having coerced his daughter into marrying a man for security. Mr. Forster nails the role, as does Michael Shannon as his irksome son. Shannon is one of the best actors working today and he is mesmerizing with his snap backs – sometimes funny, sometimes mean, sometimes both.

There is some horrible relationship advice served up. The family philosophy is “pick somebody you can stand, and make a commitment”, as there’s no such thing as “bells and whistles”. It’s not the romantic chatter most movies provide, but it plays to the complicated bond between parents and kids (of all ages). Director Chomko brilliantly and accurately handles the gut-wrenching effects of Alzheimer’s. She embraces laughter as a coping mechanism, and reminds us to enjoy the rare moments of clarity – those times a parent can remember who you are. There are a few cringe-inducing moments of mushy melodrama, but for the most part, Ms. Chomko delivers.

watch the trailer:

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Posted by David Ferguson

12 STRONG (2018)

January 18, 2018

 Greetings again from the darkness. During the movie, Afghanistan is referred to as “the graveyard of many empires”. Traditionally, January is the graveyard of most new movie releases, so it’s a pleasant surprise when we see an entertaining, well-made and historically interesting film, and it’s still mid-January!  Doug Stanton’s book “Horse Soldiers” is the source material for director Nicolai Fuglsig’s first feature film, and it’s anything but a disappointment.

The film opens on September 11, 2001 and subjects us, yet again, to those horrific images seared into the minds of anyone alive on that day. What most of us didn’t know, was that about a month later, a team of U.S. Army Special Forces (the Green Berets) were being dropped into the rough and mostly unfriendly terrain of Afghanistan. This ridiculously courageous team of 12 men had one mission: secure Mazar-i-Sharif to prevent a takeover by the Taliban.

An early scene tells us this won’t be the usual blind patriotism we often see on screen. One of the soldiers, Hal Spencer (Michael Shannon), is told (with a bit of anger) by his wife, “I’ll love you when you get back.” This contrasts to the usual loyal and stiff-upper-lip military wife we see in most war movies. Another wife scrubs the oven rather than snuggle with her man, while yet another coerces a taboo pledge to come home to her.

Chris Hemsworth (THOR) plays Captain Mitch Nelson, the intelligent but not-yet-battle-tested leader of a special ops team. The plan is for Nelson and his team to connect with General Dostum, an Afghan War Lord in charge of the Northern Alliance, and fight together to gain control of Mazar. After arriving at a local outpost nicknamed “The Alamo” (34 miles from town), the team gets their first surprise … they must split up and cover the ground on horseback. Filmed in New Mexico, the journey is miserable and filled with danger – an ambush could occur at any moment, or perhaps they are being set-up by those they have been ordered to trust.

Horseback riding, caves, the weather, and the elements of the terrain are all challenges, but none of it compares to facing the Taliban forces which number in the thousands, and feature tanks, rocket launchers and an endless supply of weaponry. Director Fuglsig utilizes a “Days in Country” counter so that we can get some semblance of time and ongoing misery being fought through by the Americans. But no day is normal when the soldiers are on horseback while being attacked by tanks. The odds seem unsurmountable.

One of the more fascinating aspects of the story and welcome approaches of the film is back-and-forth between Captain Nelson and General Dostum. Initially, Dostum shows little respect by telling the young officer that he lacks “the eyes of a killer” and isn’t yet a warrior, and he spends a great deal of time lecturing and philosophizing on Nelson’s behalf. Of course, the lessons may be frustrating in the moment, but aren’t lost on Nelson as there is a huge payoff at the peak of the key battle.

The battle scenes come in all sizes – small skirmishes and massive, large scale assaults. Each is intense and dramatic and well-staged, though there are some moments where we shake our head in disbelief. At least we do until we remember that this is a true story, and despite that, it is truly unbelievable.

The supporting cast includes Michael Pena and his snappy punchlines, Trevante Rhodes (MOONLIGHT), William Fichtner with a shaved head, Elsa Pataky – Hemsworth’s real life wife as his screen wife, Taylor Sheridan, Geoff Stults and Jack Kesy. Rob Riggle plays Colonel Max Bowers, who was Riggle’s commanding officer when he served in the Marines. The previously mentioned Michael Shannon is a bit underutilized, but the film’s best moments are those with Hemsworth and Navid Negahban (as General Dostum). You likely recognize Negahban as Abu Nazir from “Homeland”. It’s their exchanges that show how the line between allies and enemies is not always crystal clear – even if they are fighting for the same thing.

Writers Peter Craig (THE TOWN) and Ted Tally (Oscar winner for THE SILENCE OF THE LAMBS) do a nice job of character development, and the camaraderie of the 12 men of ODA 595 seems authentic – despite some schmaltzy moments over their 23 days of Task Force Dagger. Early on, we are informed that the most important thing to take to war is “a reason why”, and then towards the end, Dostum explains that the United States is in a no-win situation: we are cowards if we go, and enemies if we stay. It’s chilling commentary on a war that has dragged on much too long … despite the heroic efforts of the 12 horse soldiers.

watch the trailer:

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Posted by David Ferguson

THE SHAPE OF WATER (2017)

December 8, 2017

 Greetings again from the darkness. Recent release JUSTICE LEAGUE is filled with superheroes, but filmmaker-extraordinaire Guillermo del Toro finds his league of misfits and outcasts to be much more interesting – as do I. The numerous possible descriptions of this movie are all accurate, yet alone, each falls short: a fairy tale, fable, monster movie, unconventional romance, sci-fi, cold war saga, and commentary on societal misfits. What is also true is that it’s a gorgeous film with terrific performances, and it pays lovely tribute to the classics.

A government research facility in 1962 Baltimore is the setting, and “The Asset” being secured and studied is an amphibian man that was captured in South America by a sadistic Richard Strickland (Michael Shannon) and his electric cattle prod. Now the military, and a 5-star General played by Nick Searcy, is in charge. The lead scientist played by Michael Stuhlbarg certainly has a different agenda than the military, whose focus seems to be more on preventing the Russians (closer than you think) from stealing the asset than in actually seizing the rare scientific opportunity for advancement.

While all the ominous and clandestine government operations are being conducted, a member of the nighttime cleaning crew – a mute woman named Elisa (Sally Hawkins) – makes a very personal connection with the fish man through nutritious snacks, Big Band music and sign language. This is the enchanting portion of the story and is admittedly (by del Toro) inspired by the 1954 classic CREATURE FROM THE BLACK LAGOON (a personal favorite of mine). Elisa and the amphibian man experience a romantic courtship not unlike what we have seen in many other love stories … that is, if you overlook the amphibious being that makes up half of this couple. In fact, “going with” the story is crucial to one’s enjoyment. Sit back and let the magic and wonder and fantastical nature of del Toro’s imagination sweep you away – just as it has done for Elisa.

There are many elements of the film worth exploring, and it’s likely to take another viewing to capture many of them. The band of misfits is comprised of the fish man (Doug Jones), Elisa (Ms. Hawkins), Elisa’s wise and wise-cracking co-worker Zelda (Octavia Spencer), and Elisa’s neighbor Giles (Richard Jenkins), a closeted gay graphics design artist. These are the nice folks/beings who make up the world that seems to be run by bullies and predators (sound familiar?). There is even a religious debate here as it’s mentioned that the creature was treated by a God in his natural environment, and a brief discussion is had over what might a God look like. All of the actors are superb, and Miss Hawkins delivers her second knockout performance of the year (the other being MAUDIE).

“The future” is a central theme of the story, though Elisa is most focused on now – how to find some happiness in a world that has been so challenging. Elisa realizes she and the creature are more similar than not, and she feels his pain each time the power-hungry Strickland (Shannon) pops him with the electric cattle prod. There is an ethereal beauty (and yes, sensuality) to the scenes with Elisa and the amphibian man, and it even leads to a terrific song (“You’ll Never Know” by Renee Fleming) and dance dream sequence. In addition, you’ll notice many nods and tributes to classics such as Mr. Ed, Dobie Gillis, Betty Grable, Bill “Bojangles” Robinson and Shirley Temple, and Carmen Miranda singing “Chica Chica Boom Chic”. It’s also no accident that the apartments of Elisa and Giles are located directly above a palatial old movie theatre that is struggling to make ends meet. All of these pieces are tied together as Mr. del Toro honors the art forms he so adores.

For those who enjoy such detail, it should be noted that the color green plays a huge role throughout the film … the water, the creature, the uniforms, the furniture, the walls – even the Jello, the pie and Strickland’s (teal) Cadillac. The use of color ties in the ever-present mythology, and the theme of meanness and power versus kindness and love.

Cinematographer Dan Laustsen adds to the magical feel with his camera work and lighting that perfectly complements the characters and tone. Oscar winning composer Alexandre Desplat delivers yet another spot on score that not only syncs with story, but also the numerous classic songs included. Guillermo del Toro is one of the most creative and inventive contemporary filmmakers, and though this one may fall a tick below his masterpiece PAN’S LABRYNTH, it is sure to dazzle and mesmerize those who give it a chance … and let’s hope there are many who do!

watch the trailer:

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Posted by David Ferguson

WOLVES (2017)

March 3, 2017

wolves Greetings again from the darkness. Anthony is a good kid with a bright future. He’s a star basketball player and a bright student, and has a loyal girlfriend and seemingly normal home life. It comes as no surprise that most of those elements either aren’t as smooth as they seem, or are more complex than on the surface.

Writer/director Bart Freundlich (known for his 1997 debut feature The Myth of Fingerprints, and for being married to Julianne Moore) slowly unveils the cracks in Anthony’s (Taylor John Smith) façade. His college professor dad (the always great Michael Shannon) is a drunk, abusive man with a short fuse and severe gambling addiction. He’s the kind of guy who is always working on his great American novel, while juggling gambling debts and throwing down quiet jealousy of his son. His mother (Carla Gugino) has good intentions and clearly wants the best for her son, but she’s just not capable of standing up to the menace. It plays like a Maslow’s hierarchy of crappy parenting.

There are plenty of clichés that we’ve seen in many movies, but it’s a pleasure to see so much real basketball being played. Anthony has a sweet jump shot and a sweet girlfriend named Victoria (Zazie Beetz), and the interpersonal relationships all have nuances that come across as real life. Even Uncle Charlie (Chris Bauer) seems torn about which family member most needs his protection. Emotional-physical-financial strains abound and it all seems to crash down on Anthony as he strives to earn a college scholarship by impressing the coaches from Cornell.

As Anthony navigates the choppy waters towards independence, the film teases us with some sub-plots that could have been further explored. Anthony hits it off with an older, wiser street baller (John Douglas Thompson) who starts mentoring him. We also are given hope that Anthony’s mom will actually do something for her son rather than regretting what she hasn’t done. Lastly there is a quick tease as to an alternative past that would make some sense – though whether that’s real or imagined is left up to the viewer’s perspective.

The film ultimately plays like a Disney film that utilizes an inordinate number of “F-words”, and it even reminds a bit of the Paul Giamatti movie Win Win. It’s the acting and the periodic sequences of real emotion that allow us to remain interested in the characters right up until the end … even if our hopes differ from one of Anthony’s own parents.

watch the trailer:

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Posted by David Ferguson

FRANK & LOLA (2016)

December 8, 2016

frank-lola Greetings again from the darkness. Michael Shannon continues to be one of the most interesting actors working today. In this first feature from writer/director Matthew Ross, Mr. Shannon is the titular Frank, and his pained facial expressions elevate this neo-noir into a dark and intriguing exposition on male obsession and sexual jealousy.

The abrupt opening scene finds Frank and Lola (Imogen Poots) frolicking in bed after obviously just meeting for the first time that evening. We (and Lola) know we are in for something a bit different when Frank slams on the breaks and states, “Maybe we should wait until next time.” Lola is taken aback, and we are soon watching this relationship develop … while simultaneously noting the subtle signs of troubled pasts for each of them.

Frank is a talented French chef and Lola is just starting her career as a fashion designer. His dark side flashes a bit more often, but before Lola ever comes clean, we realize there is unhappiness in her past. They seem to be two tortured souls in a jinxed relationship.

Filmmaker Ross keeps us (and Frank) on our toes as the script seems to continually offer yet another deeply held secret or mysterious character. Justin Long plays Lola’s new employer, while the rarely-seen-these-days Rosanna Arquette plays Lola’s name-dropping mother. However, it’s Michael Nyqvist (so great in The Girl with the Dragon Tattoo) as the suave Frenchman with ties to Lola’s past and present that really makes things interesting … and somehow even darker. His wife is played by the terrific French actress Emmanuelle Devos. Her screen time is limited, yet crucial.

The film was well received at Sundance, and it shares the creepiness of such films as Basic Instinct, Body Heat and Night Moves. Rarely do contemporary movies go as deep into the male psyche of obsession as this one, and the throw-back atmosphere is a perfect fit for the tone. Not many actors simmer like Michael Shannon, and the story offers him the perfect vehicle to remind us that everyone longs to be loved – even when we aren’t sure we deserve it.

watch the trailer:

 

 

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Posted by David Ferguson

NOCTURNAL ANIMALS (2016)

November 17, 2016

nocturnal-animals Greetings again from the darkness. First rule of Write Club … ABC. Always Bring Conflict. Alright, so I blended famous lines from a couple of movies there, but the point is a good script inevitably has conflict throughout. Director Tom Ford (A Single Man, 2009) adapted the screenplay from Austin Wright’s novel “Tony and Susan”, and while significant conflicts abound, it’s the multiple and vivid contrasts that take this one to the next level.

Director Ford jolts us with one of the most unique and unwelcome opening scenes ever as the credits flash by. A high gloss art gallery is the setting for a combination of video/performance art taking place that could only be appreciated by those with very specific tastes … those who favor obese naked dancing ladies. Extremely obese and absolutely naked. It’s not the last time we as viewers will be uncomfortable, but it is the last time we will chuckle (even if it is awkwardly).

The curator of the art gallery is Susan, played by the always excellent Amy Adams. She lives in a stunning, ultra-contemporary mansion with her picturesque husband played by Armie Hammer. Their relationship is apparently as cold as his business, resulting in an empty relationship and the need to maintain the façade with their friends while quietly selling off assets to buy time. On the day that he leaves on a “business trip”, she receives a package containing a galley of her ex-husband Edward’s (Jake Gyllenhaal) first novel … some interesting reading during her time alone.

A creative story structure has Susan reading the book (dedicated to her) in bed while we “see” what she’s reading/envisioning. The story starts out as just another road trip for a husband (Gyllenhaal in a dual role), wife (Isla Fisher) and their teenage daughter (Ellie Bamber). However, on the desolate back roads of west Texas things get intense – almost unbearably so. The young family is terrorized by a trio of rednecks led by sociopath Ray Marcus (played by Aaron Taylor-Johnson in what is head and shoulders above anything he’s done to date). What follows is the fear of every man … unable to protect his family, and every woman … being abducted.

Thanks to flashbacks and some simple inferences, we soon realize the novel is corresponding to Susan and Edward’s past relationship, as well as Susan’s current situation. The previously mentioned contrasts really kick into gear. It’s the past versus the present, west Texas tumbleweeds versus the sleek and glamorous art world, Susan’s first artsy husband versus her new ideal one, young Susan versus current Susan, the physical beauty of those in Susan’s world versus the grit and ugliness of the novel, and finally, reality vs what’s not real.

The revenge-thriller portion of the novel makes for fascinating story-telling, and we get drawn in fully once Michael Shannon (playing a west Texas detective) arrives on the screen. Always one to disappear into his role, this may be Mr. Shannon’s best yet. Though he doesn’t have significant screen time, we are mesmerized by him during his scenes. He and Gyllenhaal are terrific together. Also appearing in supporting roles are Michael Sheen, Andrea Riseborough, Jena Malone, and a chilling scene from Laura Linney as Susan’s high society mother.

The two parts of the film play off each other like Brian DePalma against Sergio Leone. Slick against dusty … but of course, there is misery and disappointment and deceit in each. The cinematography (2 time Oscar nominee Seamus McGarvey) and editing (Joan Sobel) are superb and complemented by a spot on score from composer Abel Korzeniowski (a mixture of Bernard Hermann and Basic Instinct). The ending may frustrate some (not me) and though it may not find a huge audience, a loyal fan base is quite likely.

watch the trailer:

 

 

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Posted by David Ferguson

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