LITTLE MISS SOCIOPATH (2025)

April 8, 2025

Greetings again from the darkness. Some folks just kind of float through life feeling ‘not seen’ … even though their inner voice speaks to them incessantly. This describes Clementine/Clem, a Pharmacy Technician who specializes in holding her tongue in most social and family situations. When her beloved dad dies, Clem is forced to cohabitate with her less than warm-hearted stepmom. This is the set-up for the first feature film from writer-director Miv Evans.

To clarify, death is not typically a hot topic for comedy, but this time it’s front and center of some dark comedy that pushes the boundaries of the ethics most members of society subscribe to. (A relatable) Jenny Tran plays Clem. She’s a repressed individual who rarely gets noticed, though her rapid-fire inner dialogue provided through narration informs us of her many insecurities, her love for her dad, and her challenging stepmom. When Dad unexpectedly passes, Jenny is bullied into caregiving for Bella (Victoria Goodhart), her uptight former hippie artist stepmom.

At work, Clem forms a rare connection with the oddball new hire. Adam (Brendan Michael Coughlin) is her ‘fantasy guy’, mostly because he’s charming and notices her and engages with her. It matters little that he is mostly full of BS, while spinning tall tales about his background, situation, and knowledge. Add morphine to this arrangement and soon enough Jenny has a new business venture that finds her selling her soul to cash in on the elderly as a client of Swan Song Agency – featuring the world’s most constantly put-off receptionist.

Add in Mrs Carter (Lisa Scott), an extraordinarily nosy neighbor, and Erica (Pamela Shaw), a flamboyant and slightly mysterious client of Clem’s new caretaking service, and you have the makings of an entertaining venture that will test your own moral code – do you support Clem or are you shocked? Filmmaker Evans kicks off the film with the line, “Everyone seems normal till you get to know them.” That sentiment certainly holds true in this little movie that would be quite popular at most film festivals.

The film releases on April 7, 2025

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Posted by David Ferguson

FREAKY TALES (2025)

April 4, 2025

Greetings again from the darkness. While I’m unsure whether this qualifies as a tetraology, this oddball and zany film consists of four separate yet interrelated stories with crossover characters.  Previous collaborations from the film’s co-writers and co-directors, Anna Boden and Ryan Fleck, include CAPTAIN MARVEL (2019), the underrated IT’S KIND OF A FUNNY STORY (2010), and SUGAR (2008).

It’s 1987 and the audience for a just-ended movie is making its way outside the Grand Lake Theater in “hella wild” Oakland, California. A truck full of neo-Nazis spew vile at the patrons as they cruise by. Best friends Lucid (Jack Champion, RETRIBUTION) and Tina (Ji-young Yoo, “ExPats”) make their way to The Gilman for some live music. There is an unrequited love connection between the two friends as the jam, but things turn violent when the neo-Nazis show up. Punks vs Nazi bullies goes full bore.

In Chapter Two, Dominique Thorne and Nomani make up the group Danger Zone, and as they leave the previously mentioned movie, they are verbally abused by the Nazis and recognized by someone who invites them to Rap Battle the great Too $hort. It’s in this segment where Ben Mendelsohn identifies himself as a cop … and the Rap Battle features some blistering lyrics.

The next chapter finds Pedro Pascal’s Clint as the collections muscle behind a crime lord, and as his pregnant wife waits in the car, Clint has a hilarious interaction with Hank, a video store manager played by Oscar winner Tom Hanks. Hank peppers Clint with movie trivia questions, despite Pascal being there for a completely different reason.

Throughout the story, there are references to the local NBA team, the Warriors, and their playoff series against the hated Lakers. Local legend “Sleepy” Floyd is mentioned, and the final chapter pretty much belongs to Sleepy (played by Jay Ellis) and Ben Mendelsohn. Angus Cloud (“Euphoria”) passed away in 2023 and he excels in his scenes with Mendelsohn. Sleepy Floyd goes off on a mystical rampage of revenge and it’s a visually volent treat.

If you are the type of movie goer seeking nuance … this ain’t the place. The filmmakers play homage to 1980’s genre films like REPO MAN (replete with neon green eye glow), while PULP FICTION is another obvious influence (Chapter 4 resembles KILL BILL a few times). Raphael Saddiq’s score is a nice complement, and you’ll note cameos from Keir Gilchrist, Marshawn Lynch (driving a bus), Too $hort, and the real Sleepy Floyd. Unfortunately we are never given instructions on how to register for “Sleepy’s Mind Wide Awake” seminar. A grain of salt is included.

Opens April 4, 2025

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Posted by David Ferguson

THE PENGUIN LESSONS (2025)

March 28, 2025

Greetings again from the darkness. Penguins are darn cute. A penguin that follows you around and chooses to live with you is almost too cute for words. But in this story inspired by true events, that’s exactly what happens. Directed by Peter Cattaneo (THE FULL MONTY, 1998), the film was adapted by screenwriter Jeff Pope (PHILOMENA, 2014) from Tom Michell’s 2015 book.

It’s 1976 in Buenos Aires, Argentina. A Military coup is in the works to take down the government of President Isabel Peron, who had served since the death of her husband Juan Peron in 1974. As you might imagine, the citizenry was on edge. Even St George’s School for the sons of privileged families was not immune. It’s also the school where Tom Michell (Steve Coogan, PHILOMENA) was hired to teach English. Michell shows up a bit haggard and unmotivated. He goes from one frustration to another: armed guards in the street, paint on his shoe, the strict rules of the Headmaster (Jonathan Pryce, THE TWO POPES), a bonk on the forehead from his housekeeper (Vivian El Jaber), and an intrusive fellow teacher in the Finnish Tapio (Bjorn Gustafsson).

Initially, it seems the perfect role for Mr. Coogan who excels at playing a curmudgeon oozing deadpan cynicism. For Coogan’s Michell, everything changes on a joy ride to Uruguay where he hopes to dance and mingle with the ladies. The dancing (with Micaela Breque) leads him to a near-death penguin washed ashore in an oil slick. In keeping with his luck, Michell doesn’t get the girl, but does get the penguin … a penguin that now refuses to leave his side.

You can likely guess where this is headed. Juan Salvador (Michell’s name for the penguin) changes lives. There is a sub-plot involving the housekeeper’s granddaughter Sofia (Alfonsia Carrocio), but the key here is that everything works to move Michell to rejoin life and shed the grief he’s carried from a personal tragedy. In fact, loss plays a substantial role throughout, having left Michell only able to react by doing nothing.

Steve Coogan is not the actor one imagines when thinking of sentimental movies, but it’s precisely his style that prevents this story from becoming overly mushy. Yes, it’s a bit comical to watch a penguin provide therapy sessions (and the titular lessons) for so many, but the redemption of Tom Michell is the key. Director Cattaneo includes the real clip of the penguin in the school’s pool that Michell shot on a handheld so many years ago. There are also a few inclusions of political commentaries that seem out of place – although not so considering the timeframe.

Opens in theaters on March 28, 2025

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Posted by David Ferguson

ANY DAY NOW (2025)

March 16, 2025

Greetings again from the darkness. St. Patrick’s Day 2025 marks the 35th anniversary of the single largest unsolved property theft in the world. On that day, thieves made off with hundreds of millions of dollars of artwork from Boston’s Isabella Stewart Gardner Museum (including works by Vermeer, Rembrandt, Degas, and Manet). The reward offer of $10 million still stands. Writer-director Eric Aronson presents his feature film debut, inspired by the crime … though he admits, “this is not what happened.”

Steve Baker (Taylor Gray, SATURDAY NIGHT, 2024) works as an overnight security guard at the museum. He’s what we used to call a ‘doormat’ – meaning he’s a nice guy, but his friends (and pretty much everyone) takes advantage of him. Danny (Armando Rivera) is his roommate and bandmate, and hasn’t paid rent in six months, and basically sabotages their band. Sara (Alexandra Templer) is Danny’s girlfriend, and more importantly, Steve’s unrequited and silent dream girl – though she also takes advantage of him. On top of everything, Steve owes $5000 to his drug dealer.

Nice guy Steve has mostly lost control of his life and sees no real path towards improvement. That’s when Marty Lyons (Paul Guilfoyle) shows up. You’ll surely recognize Mr. Guilfoyle from his many appearances in movies and TV shows, although it’s terrific to see him in a rare lead role. Marty, a lover of poetry and art, maneuvers Steve into his criminal operation – including as a surprise character witness at Marty’s parole hearing. Soon enough, Steve’s life gets more complicated, not less. He finds himself juggling his role in Marty’s art heist plan, the personal threats of a rival gangster (Thomas Kee), questioning from the FBI, and worries about his relationships with Danny and Sara.

This is the type of independent film that’s a pleasure to embrace. We are even treated to Guilfoyle singing The Standells song, “Dirty Water” live at a bar. Every character here has ‘a story’ to tell. Some get to tell theirs, while we are left to fill in the gaps on others. This is not so much a heist film as one with a clear message … breaking out of a rut for a new life can be difficult and challenging, but also worthwhile.

Opens on March 17, 2025

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Posted by David Ferguson

LIZA: A TRULY TERRIFIC ABSOLUTELY TRUE STORY (2025, doc)

March 15, 2025

Greetings again from the darkness. The list of icons known by a single name is relatively short and includes such luminaries as Elvis, Prince, Cher, Bono, Beyonce, and Sting. Immediately recognizable with only her first name, Liza Minnelli also fits right in. Documentarian Bruce David Klein has delivered a tribute to her early years as the daughter of worshipped idol Judy Garland and famed film director Vicente Minnelli, and outlines her own path to stardom after tragedy to being recognized as one of the greatest performers of all time.

Liza is now 79 years old and wheelchair bound, and yet when the lights are on and the camera is rolling, her entertainer side takes over and she’s charming, and a bit naughty. The death of her mother in 1969 (at age 47) was a distinct turning point in Liza’s life. She says she was born and they took a picture – meaning she has spent her entire life in the spotlight … although she makes it clear she was not born in a red sequin dress.

We learn about those who have influenced her career, her life, and her style. Singled out are Kay Thompson as a mentor, Charles Aznavour who taught her performance, Fred Ebb and musical partner John Kander, Broadway legend Michael Feinstein, and famed choreographer Bob Fosse. We also learn of Liza’s four marriages and divorces to Peter Allen, Jack Haley Jr, Mark Gero, and David Gest. Though Liza offers no real comment on the marriages, those interviewed are particularly harsh when discussing the late Mr. Gest.

Liza’s brilliance has resulted in the rare EGOT, with her Emmy and Oscar being won in the same year (“Liza with a Z”, CABARET). Not surprisingly, her outstanding performance as Sally Bowles in CABARET (1972) draws a significant portion of the commentary here, and it’s stunning to hear Liza remark, “I don’t think I’m a real good singer, but I can act a song.” Her loyalty to friends is emphasized on multiple occasions – never more dramatically than when she saved the Broadway production of “Chicago” by substituting for Gwen Verdon.

Not much time is devoted to the dark period, although her friendship with Halston (clothes and parties at Studio 54) is mentioned. Liza’s half-sister Lorna Luft appears briefly, but not much personal insight is provided. Rehab for Liza is acknowledged, but let’s be clear, Bruce David Klein set out to make a loving tribute to a fascinating performer, and that’s exactly what this is.

Opens in theaters on March 14, 2025

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Posted by David Ferguson

OPUS (2025)

March 15, 2025

Greetings again from the darkness. Movies have focused on the burden of celebrity (A STAR IS BORN, BETTER MAN), the challenges facing journalists (SPOTLIGHT, SHATTERED GLASS), the lure of power and control (WALL STREET, THERE WILL BE BLOOD), and the impact of cults (MIDSOMMER, MARTHA MARCY MAY MARLENE), yet it’s the feature film directorial debut of Mark Anthony Green (who also wrote the screenplay) that attempts to tackle all of these topics. It’s an ambitious undertaking that has some moments, but mostly leaves us wishing it had chosen a path and delivered a strong message about something.

Ayo Edebiri (“The Bear”) stars as Ariel Ecton, a frustrated wannabe writer who can’t get a break at the magazine where she’s employed. Despite her creative story ideas, her boss, Stan Sullivan (Murray Bartlett, “The White Lotus”) sees her as an untrained rookie best suited to ‘taking notes’. Even her friend Kent (Young Mazino) confesses that she’s not rich enough or poor enough to have an interesting perspective, and that she needs some real-life experiences to find her voice. And just like that, her opportunity arises! Ariel and Stan, are invited to the new album release for a reclusive music legend who has been out of the scene for nearly thirty years. These two, along with a few other journalists/influencers (Juliette Lewis, Mark Sivertsen, Stephanie Suganami) are invited to the compound of Alfred Moretti (John Malkovich), located in the middle of Nowhere Nebraska.

Most of the invited group play up to Moretti’s whims, but it’s Ariel who is most intrigued by the cult-like atmosphere of blue-robed folks identifying as part of Level, a community of like-minded soles who serve no apparent purpose other than partaking in funky hobbies and fulfilling Moretti’s wishes. The word ‘sycophants’ is emphasized for those not catching on. Moretti’s new album is entitled “Caesar’s Request”, and we hear a couple of songs (music by Nile Rogers and The-Dream). But the story isn’t really about the music, and we aren’t really sure what it’s about until an awkward encounter towards the end of the movie that attempts to spell things out.

Tony Hale (“Veep”) is Moretti’s agent, Soledad Yusef, appearing via a publicity video, and like much of what we see here, provides a glimmer of hope for direction. Beyond the topics listed above (celebrity, power, journalism, cult), this one seems to be most connected to the danger of control. A similar comparison would be THE MENU, another film with a strong cast. The difference is that film was direct in its approach, while Mark Anthony Green’s film forces viewers to work too hard for too little reward. The film would have benefitted from a more risky and dramatic approach. Still, what a treat to see Malkovich strutting his ego around the compound.

Opens in theaters on March 14, 2025

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Posted by David Ferguson

BLACK BAG (2025)

March 13, 2025

Greetings again from the darkness. Are you ready for 90 minutes of cool people wearing cool clothes and doing cool things while acting cool in the face of danger? If so, this one is for you. Oscar winner Steven Soderbergh (TRAFFIC, 2000; OCEAN’S ELEVEN, 2001; OCEAN’S TWELVE, 2004) dons multiple hats here as director-producer-editor-cinematographer (some under familiar pseudonyms). The screenplay comes from well-known writer David Koepp (JURASSIC PARK, 1993; MISSION: IMPOSSIBLE, 1996). The pedigree of these two is exemplified by the cast assembled.

George (Michael Fassbender) and Kathryn (Oscar winner Cate Blanchett) star as husband and wife secret agents that have pledged to kill for each other if ever necessary. Really, that should be part of every wedding vow. Fastidious George has built his reputation on his mystical ability to spot a lie, and has no room for anyone who is less than honest. Glamorous Kathryn excels at her missions and when secrecy is required, one spouse will utter the magic titular phrase, “black bag”. This signals, ‘I love you, but can’t tell you more’. They live in a stunning London apartment, which serves as the setting for two particularly crucial dinner parties.

Every spy story worth its mettle has at least one MacGuffin, and ours is Severus, a sophisticated code worm designed to take control of nuclear weaponry. While it gets mentioned numerous times, the real story here is in discovering who the mole is inside the Secret Intelligence Service managed by Stieglitz (Pierce Brosnan). The five suspects George must investigate include computer analyst Clarissa (Marisa Abela, BACK TO BLACK, 2019), easily tempted agency veteran Freddie (Tom Burke, so excellent in THE SOUVENIR, 2019), suave and self-confident Stokes (Rege-Jean Page, “Bridgerton”), and staff psychologist Dr. Zoe Vaughn (Naomie Harris, MOONLIGHT, 2016). You’ll notice that’s just four suspects, as the fifth (unknown to her) is George’s wife Kathryn. Adding to the intricacies of the jobs, the dinner parties, and this mole mission is the fact that George and Kathryn aren’t the only couple in attendance. Clarissa is dating the older Freddie, while Stokes and Zoe are also seeing each other … and there are likely other surprise complications with this group.

True fans of spy thrillers should know that this is not a new TINKER TAILOR SOLDIER SPY (2011), but rather a user-friendly story in the mold of the “Mission: Impossible” movies – only with less action and no high-wire stunt sequences. Instead, these agents withhold a lot while still talking a lot (some of the dialogue is quite funny). It’s more of a personality chess match than an assault on our senses. Complementing the verbose proceedings is a perfect twisty jazz score from David Holmes. We must also take note of the numerous ties to the James Bond franchise (Brosnan, Harris, and rumors), and it’s best to just sit back and enjoy Soderbergh in his element (this is his second film released in 2025) … entertainment with a cool vibe.

Opens in theaters on March 14, 2025

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Posted by David Ferguson

NOVOCAINE (2025)

March 13, 2025

Greetings again from the darkness. In decades past, we wouldn’t have been surprised in the least to see a movie starring Jack Nicholson and Dennis Quaid. In fact, in 1973 Jack co-starred with Dennis’ brother Randy in one of my favorite films, THE LAST DETAIL. Well, here we are more than fifty years later, and Dennis’ (and Meg Ryan’s) son Jack Quaid is co-starring with Jack’s son Ray Nicholson in what is sure to be one of this year’s most outlandish action-comedies.  The screenplay is by Lars Jacobson and the film is co-directed by Dan Berk and Robert Olsen, who also collaborated on BODY (2015).

REM’s “Everybody Hurts” plays over the opening credits and sequence which provide hints to the measures Nathan Caine (Jack Quaid, COMPANION, 2025) has taken around his house. With tennis balls shielding sharp corners and a stop to prevent scalding water in the shower, Nathan appears to be quite accident-prone. We learn he’s a good-guy Assistant Manager at a local San Diego bank, and profiles as nebbish in his looks and skittish mannerisms … especially around new bank teller Sherry (Amber Midthunder, THE ICE ROAD, 2021). Sensing his awkwardness and attraction, Sherry takes charge and asks Nathan to lunch. A bite of cherry pie leads Nathan to disclose his rare genetic disorder – he simply cannot feel pain (thus explaining the earlier tennis balls).

One personal disclosure leads to another, which leads to an art gallery, which leads to romantic intimacy and what easily could spin off into a familiar quirky rom-com with these two. Instead, while Nathan is riding an emotional high, three men dressed as Santa Claus violently rob the bank on Christmas Eve and take Nathan’s new squeeze Sherry as hostage. This sends our wimpy superhero Nathan (nicknamed Novocaine by junior high bullies) on a rescue mission. His previous fighting experience has been limited to online video game sessions with Roscoe (Jacob Batalon, Ned from Marvel movies), although the two have never actually met.

The fight sequences are quite violent and absurdly comical in how they take advantage of Nathan’s blend of physical disorder, nice guy tendencies, and commitment to rescuing his first love. Creativity is at maximum volume as Nathan takes on a red-hot frying pan and boiling oil in a restaurant kitchen skirmish, replete with bodily poundings that would leave anyone else shattered. Things really pick up in a wickedly booby-trapped house that sets up a HOME ALONE joke. Mostly, however, the body horror serves as punchline after punchline … some surely to tweak even the most squeamish movie goers.

Ray Nicholson (I LOVE YOU FOREVER, 2024) provides a jolt of adrenaline and psychotic violent behavior to ensure no one watching still believes this is a rom-com in the making. His Simon thrives not so much on the money from the robberies as the power and control he displays and the torture he doles out. The finale battles between Simon and Nathan are extreme and creatively unique. While the entertainment value is present, there are still some minor issues with the story and proceedings. The detectives on the case are played by Betty Gabriel (GET OUT, 2017) and Matt Walsh (“Veep”). These two talented actors are given very little to do and it’s a shame their roles weren’t beefed up a bit. Additionally, there is a key twist that will surprise almost no one. Is it even a twist if they tell you it’s coming?

The action scenes are purposefully absurd, and although some bits are over-the-top, others are pure comedy-action brilliance. Jack Quaid is fitting right in to his lead character roles, and Ray Nicholson is mastering the wild-eyed psycho dude. Amber Midthunder shows yet again how immensely talented she is, and it’s likely her future roles will take advantage of what she brings on screen. My personal biggest hope is that the filmmakers avoid a sequel … one which would likely leave us viewers disappointingly numb (had to work in one pun).

Opens in theaters on March 14, 2025

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Posted by David Ferguson

THE RULE OF JENNY PEN (2025)

March 7, 2025

Greetings again from the darkness. John Lithgow frequently plays likable characters that take advantage of his innate ability to connect with viewers as an ‘every-man’ type – often reminding us of people we know. However, over his career that spans approximately fifty years, I’ve always been more interested and more intrigued when nice guy Lithgow plays the villain (see “Dexter”). It takes a talented actor to be believable as characters we love and characters we loathe. Writer-director James Ashcroft and co-writer Eli Kent have adapted Owen Marshall’s oddball short story into an equally oddball feature film.

As the film opens, (Oscar winner) Geoffrey Rush is Judge Mortensen, presiding over a contentious court case. As he is providing his findings, the honorable judge begins sweating and having difficulty conveying his thoughts … even clumsily handling a glass of water. It’s obvious he’s showing signs of a stroke, and ultimately collapses on the bench. As painful as this sequence is, it pales in comparison to what awaits Mortensen.

The judge is checked in to a rehab facility and rest home for the elderly. What he discovers is that one of the patients, Dave Crealy (Lithgow), thrives on physical and psychological abuse of the other patients. His reign of terror involves a plastic doll named Jenny Pen, and the two of them make nightly rounds torturing that evening’s unlucky victim(s). The bit of fun here exists in the head-to-head battles between the psychotic Crealy and the physically limited Judge. There is also a nice touch with a local cat that compares to the appearance of oranges in THE GODFATHER. If you know, you know.

Lithgow sports an Aussie accent and hillbilly teeth, while Rush spouts crisp and intelligent dialogue with a dose of arrogance that turns into bewilderment. Of course, most of this makes little sense as the facility would likely have security cameras capturing Lithgow’s late night wanderings, or at the least enough of an overnight staff that might glimpse his movements. And at some point, enough patients would team up to narc on the resident psycho bully. It’s these details that prevent this from being a top notch psychological thriller, although watching two masters like Lithgow and Rush go at each other provides plenty of entertainment.

Opens in theaters on March 7, 2025

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Posted by David Ferguson

QUEEN OF THE RING (2025)

March 7, 2025

Greetings again from the darkness. Even among sports fans and women’s activists, Mildred Burke is not a household name. Writer-director Ash Avildsen and co-writer Alston Ramsay set out to correct this by adapting Ms. Burke’s own writing and the 2010 book “The Queen of the Ring: Sex, Muscles, Diamonds and the Making of an American Legend” by Jeff Leen. Avildsen is the son of Oscar winning director John Avildsen (ROCKY, 1976; THE KARATE KID, 1982)

Mildred Burke was a three-time World Champion in Women’s Wrestling, and the first million dollar female athlete. Her career spanned the 1930’s into the 1950’s, and the film opens in the ring during the brutal 1954 Women’s World Championship match. Rather than finish that match, filmmaker Avildsen holds that until the finale and instead flashes back to Burke’s early obsession with her desire to wrestle. Emily Bett Rickards (“Arrow”) stars as Mildred, and she possesses the physicality and charm to pull off what we’d expect from a pioneer in women’s sports. She displays toughness, determination, and talent in the ring – plus the savvy needed for marketing herself and the sport.

There are some issues with the movie. At times it’s difficult to follow the timeline and it is uncomfortably choppy in its storytelling approach. However, the dynamics of this woman and her true story are such that we focus on the good stuff and appreciate her accomplishments. Additionally, there are some strong supporting performances. Josh Lucas plays wrestler Billy Wolfe, who recognizes Mildred’s potential and becomes her promoter, her loving husband, her cheating husband, and her business partner. Walton Goggins plays legendary promoter Jack Pfefer, Tyler Posey plays Wolfe’s son and Mildred love interest G Bill, Francesca Eastwood (yes, Clint’s daughter) plays wrestler Mae Young, Adam Demos plays Mildred’s friend and popular wrestler Gorgeous George, and Gavin Casalengo portrays Mildred’s son.

We learn her story dates back to a time when many laws prohibited women from wrestling, and Mildred’s early opportunities took place at traveling carnivals. Her motivation led to her pledge to her toddler son that they would not live an ordinary life … and wrestling got her out of the apron at her mom’s café. There is an obligatory training montage, and there is even a moment when Mildred’s impact is compared to Jackie Robinson breaking the race barrier in baseball. The terrific soundtrack (not quite to the level of AMERICAN GRAFFITTI) helps offset some of the cheesy posing and strutting, even though these were keys in Mildred gaining popularity. Filmmaker Avildsen ends the film with photos and bio profiles on each of the characters as the closing credits begin. It’s a fitting end and tribute for those who drove the early days of Women’s wrestling.

The film opens in theaters on March 7, 2025

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Posted by David Ferguson

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