ALL WE IMAGINE AS LIGHT (2024, India)

December 29, 2024

Greetings again from the darkness. With a population of more than 20 million people, Mumbai is one of the most densely populated places on the planet. It would seem impossible to feel alone or isolated in such a place. In this follow-up to her feature film debut, A NIGHT OF KNOWING NOTHING (2021), Indian filmmaker Payal Kapadia begins with a documentary style overview of the city with multi-dialect voiceovers recapping personal experiences with life in the city. “In Mumbai, there is work and money.”

Writer-director Kapadia then proceeds to highlight the very different challenges of three women who work at a busy local hospital. Pradha (a superb Kani Kasrudi) is a senior nurse. Her younger roommate Anu (Divya Pradha) has an administrative position, while Pradha’s best friend Parvaty (Chhya Kadam) is a cook in the cafeteria. Each has their own story. Pradha’s husband took off for Germany not long after their arranged marriage, and they have had little contact in over a year. Anu has a bit of a rebellious streak and has fallen for a Muslim boy named Shiaz (Hridhu Haroon), a cross-religion taboo. In the path of development, the widow Parvaty is being threatened with eviction from her apartment of 22 years, as her husband failed to leave the necessary ownership papers.

Pradha is not a cold woman, yet she’s certainly not prone to expressing emotions in front of others. So, when she cuddles on the floor with the fancy rice maker she assumes was sent by her husband, we understand this is a dramatic moment for her. Pradha tries to counsel Anu on the danger of spoiling her reputation, but Anu is strong enough to pursue her own desires – despite “helpful” date recommendations from her own mother. The generational differences are stark. Dr. Manoj (Azees Nedumangad) has a quiet crush on Pradha and offers his personally crafted poem to her as proof. When Parvaty decides to return to the seaside village of her childhood, Anu and Pradha assist with the move.

The intricacies of the delicate relationships among the three women is most evident and impactful during this final segment. The sadness and resignation inferred by “You can’t escape your fate” is contested in this third act. Pradha’s reserved nature and gentleness mask her inner-strength, and a terrific sequence occurs where she performs CPR on a man on the beach, and what follows is a touching, surreal vision.

The contrast between the hustle and constant movement of big city Mumbai (even in the time before sunrise) and the beach village is noteworthy as the three women are actually able to enjoy a moment. In fact, finding joy in a life lacking in joy is a key lesson here … in other words, making the best of one’s situation. A sometimes playful piano score from Dhritiman Das Topshe helps with the tone set by cinematographer Ranabir Das and the heavy dose of blue tint. The film financing was dependent on multi-country (mostly European) participation, and having the film overlooked as India’s submission for this year’s Oscar consideration was a clear slight to the talented Payal Kapadia. It’s such a shame, as this is without a doubt one of the best films of the year.

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Posted by David Ferguson

BABYGIRL (2024)

December 24, 2024

Greetings again from the darkness. Oscar winner Nicole Kidman long ago entrenched herself as one of the best and most daring actors working today. Not one to shy away from risky material, she’s appeared in such films as EYES WIDE SHUT (1999), DOGVILLE (2003), BIRTH (2004), and THE NORTHMAN (2022) to name just a few. It’s her talent and willingness to put herself out there that has earned such respect among peers and fans. However, despite that admiration, this latest is one of my least favorite films of the year, and one that I found almost no positives to discuss. I will readily admit this opinion puts me in the extreme minority.

The first feature film from writer-director (and actor) Helena Reijn was BODIES BODIES BODIES (2022), a festival and indie favorite. That success led to this cast which finds Harris Dickinson (THE IRON CLAW, 2023, and WHERE THE CRAWDADS SING, 2022) and long-time favorite Antonio Banderas joining Kidman. Now, despite my negative reaction to this viewing experience, I do recognize that some credit is due for tackling an uncomfortable topic – an unethical dominant/submission relationship between a powerful CEO and her intern. We are supposed to believe Romy (Kidman) is incredibly important and busy because her cell phone is constantly in use (but then that’s the case for most teenagers, too). Once again, Hollywood proves that it’s clueless on how to authentically present a business environment.

Further stretching the scenario beyond any realm of believability, cocky intern Sam assertively pursues a taboo relationship with the big boss rather than work towards a job offer that most interns focus on. While there is a bit of fun in the early “will they or won’t they” cat-and-mouse scenes, once things move forward, the film takes on the tone of a power play parody. “Good girl” draws laughter from the audience … as does her suggestion of “Jacob” (her husband’s name) as a safe word.

The ramifications for CEO (or wife and mother) Romy never carry the pain we would expect, and the threats always seem a bit hollow. None of this is meant to purport that dominant/submissive desires and relationships don’t exist, only that this extreme is difficult to buy into. On the bright side, Banderas shines in the moment he flashes his anger, and it’s a real treat to hear “Never Tear Us Apart” by INXS blasting on a theater sound system. Nicole Kidman is gaining momentum for yet another Oscar nomination for her performance, so again, I’ll admit to being in the minority with my opinion on this one. Still, I can’t bring myself to recommend, even if I hope you find it more entertaining than I did.

Opens in theaters on December 25, 2024

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Posted by David Ferguson

THE ROOM NEXT DOOR (2024)

December 21, 2024

Greetings again from the darkness. I’ve said it many times, and it still holds true, Oscar winner Pedro Almodovar is the most accomplished male filmmaker when it comes to creating interesting female characters and spinning female-centric stories. Almodovar’s first English-language feature-length film is one he’s adapted from the 2020 novel, “What Are You Going Through”, by Sigrid Nunez. It features two Oscar winners, Julianne Moore and Tilda Swinton, both extraordinarily talented.

Noted author Ingrid (Julianne Moore) is at a book signing for her latest work on the fear of death. Jumping the line and surprising her is her long ago friend Martha (Tilda Swinton). The two previously worked together, are genuinely happy to embrace, and meet up after the signing. Martha informs Ingrid that she has stage 3 cervical cancer and is beginning an experimental treatment. While visiting Martha at the hospital, Ingrid not only learns the treatment has failed, but soon after is hit with what can be termed, “a huge ask”. Having no interest in continuing treatment, Martha informs Ingrid that she wants a friendly face ‘in the room next door’ when she takes the magic “goodbye” pill.

What follows is not a moral debate about fighting to live or taking one’s own life. Ingrid has made her decision. The lingering question is, how much can be expected in a friendship? Ingrid admits Martha was not her first choice – the others turned her down. Once Martha reluctantly agrees, Ingrid rents a stunning home in the woods … very private and very serene. As you might expect, Almodovar highlights many shots throughout with his trademark use of color, geometric lines, and architectural design. The women, the house, the setting, the art, the clothes, and the sets are all gorgeous. Special recognition goes to Cinematographer Eduard Grau (the equally gorgeous A SINGLE MAN, 2009), Production Desiger Inbal Weinberg (THE LOST DAUGHTER, 2021), and Costume Designer Bina Daigeler (VOLVER, 2006).

With the two women sharing the house, Ingrid anxiously keeps an eye on whether the bedroom door is closed or open (the ‘sign’), while Martha has flashbacks to her time as a war journalist on the front lines. Ingrid meets up with Damian (John Turturro), her former lover and something else the two women shared. Damian is a doom and gloom type focused on climate change and global crisis. This stands in stark contrast to Ingrid’s optimism. Of course, Martha has planned everything so that Ingrid is not in danger of being charged with assisting euthanasia, although a religious fanatic police officer (Alessandro Nivola) questions her aggressively.

There are some lovely moments shared between friends, and yet there are also scenes that could have used a sharper edge to the dialogue – especially the exhaustive exposition early on as Martha runs down the timeline of her entire life (much that Ingrid would have already known). There are references to Buster Keaton and John Huston’s movie, “The Dead”, and Almodovar throws in a nice touch when Martha’s daughter makes an appearance towards the end. Martha’s need/desire for connection, familiarity, and companionship are all believable, yet that “favor” remains a whopper.

Opens in NYC AND LA theaters on December 20, 2024, expanding in January

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Posted by David Ferguson

THE BRUTALIST (2024)

December 20, 2024

Greetings again from the darkness. Too many view WWII as just another page in history books, when in fact, so much changed around the globe because of that war. Almost 80 years later, the war continues to provide stories for filmmakers, and when it comes to storytelling, few do it better than this latest from writer-director (actor-turned-filmmaker) Brady Corbet and his co-writer (and romantic partner) Mona Fastvold. The two had previously collaborated on THE CHILDHOOD OF A LEADER (2015) and VOX LUX (2018).

This is an old-fashioned epic on a grand scale with a few specific features that deserve to be highlighted. At 3 hours and 35 minutes in run time, Corbet included a throwback intermission (with a 15 minute countdown on screen). The opening credits run right-to-left horizontally, while the closing credits run diagonally. For true film geeks, the film is shot in VistaVision to capture the period feel. Part 1 covers 1947 through 1952, while Part 2 covers 1952 through 1960, and the Epilogue takes us to Venice in 1980.

Oscar winner Adrien Brody stars as Laszlo Toth, a Hungarian architect who arrives in post-WWII America after using heroin “for the pain” on the boat ride over. Due to administrative and governmental red tape, Laszlo had to go ahead of his wife and niece, to whom he writes regularly. A familiar face from home greets him upon his arrival. Attila (Alessandro Nivola, FACE/OFF, 1997) has already been Americanized to the point where he’s married and running a custom furniture business. He offers Laszlo a room to sleep and a chance to help design furniture. When Harry Lee Van Buren (Joe Alwyn, THE FAVOURITE, 2018), the son of a wealthy Pennsylvanian tycoon, contracts for a re-design of dad’s library, Laszlo gets a chance to show his brilliance. It turns out, Harrison Lee Van Buren Sr (Guy Pearce) does not like surprises and tosses the workers out.

Soon, a cooler head prevails for the tycoon, and he tracks down Laszlo for a project of much larger scale – a massive memorial on a hill overlooking the city. The project builds an odd connection between rich Harrison and brilliant Laszlo – although the rich guy remains anything but stable, and his son flaunts his own arrogant annoying tendencies (an Alwyn specialty). Laszlo maintains one true friendship. He bonds with Gordon (Isaach de Bankole) after meeting him in the food shelter line. Despite the new World, Laszlo continues to struggle with poverty; however, one of Van Buren’s lawyers is amenable to assisting with the paperwork for bringing Laszlo’s family to the states.

Part two brings wife Erzsebet (Felicity Jones, THE THEORY OF EVERYTHING, 2014) and mute niece Zsofia (Raffey Cassidy, THE KILLING OF A SACRED DEER, 2018) to America. Erzsebet is wheelchair bound after nearly starving to death due to the war. She’s a smart woman married to a creative genius, and yet the land of opportunity continues to toss hurdles in their path (not the least being Laszlo’s continued use of drugs). The moments of hope include a trip to the stunning Carrara quarry to locate the perfect piece for Van Buren’s project.

It should be noted that, despite the lead character’s name, this is a fictional account of the period, and the journey is both physically and emotionally draining. That’s also true for viewers, as I was exhausted by the end. Corbet uses the Epilogue to take us to Venice in 1980 for the first Architectural Biennal. It’s a fitting end after watching the battles of Jews versus Christians, and Immigrants versus American born, all while the United States is booming. I wasn’t ever able to understand the message Corbet was sending by exaggerating footsteps throughout, but I do recognize that Cinematographer Lol Crawley and Production Designer Judy Becker worked some magic along with Corbet and Fastvold … and yes, Adrien Brody, who along with Guy Pearce, deliver some of the finest acting we’ve seen all year. This is not a film so much about the brutalist style of architecture, but rather a film about character and personality during brutal times – and finding a way to utilize one’s true talent, while also remaining true to one’s roots. This is a complex story and one that fully captured me right from the unconventional opening credits.

Opens in limited theaters on December 20, 2024 and wide in January 2025

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Posted by David Ferguson

QUEER (2024)

December 6, 2024

Greetings again from the darkness. Some filmmakers have earned the benefit of the doubt to the point where each film they release is worthy of consideration. Luca Guadagnino is one such filmmaker. He first captured my attention with I AM LOVE (2009) and has since followed that with such interesting films as A BIGGER SPLASH (2015), CALL ME BY YOUR NAME (2017), SUSPIRIA (2018), BONES AND ALL (2022), and CHALLENGERS, his first film released in 2024. This time he and his CHALLENGERS screenwriter, Justin Kuritzkes, take on the 1985 William S Burroughs novella, “Queer”, which was linked to his 1953 novel, “Junkie”.  Taking on the writing of William S Burroughs is challenging enough as a reader, much less as a filmmaker.

Daniel Craig stars as William Lee. If you are familiar with Burroughs’ writing, then you are aware the character of William Lee shares many of the same personal attributes as Burroughs himself. He’s a gay man who drinks too much, does hard drugs, and is quite sexually promiscuous. The film opens with Chapter 1: How do you like Mexico?  Lee spends his time drinking non-stop and carousing for his next roll in the proverbial hay. He has a few fellow ex-pat friends, including Joe Guidry (Jason Schwartzman), but it’s a certain cool cat that catches his eye. Eugene Allerton (Drew Starkey) is a young ex-soldier and Lee is quickly enamored.

The two hang out together, although Lee is never really certain if Eugene is gay or not since he spends much of his time playing chess with fellow bar patron, Mary (Andra Ursula). One night of passion between Lee and Eugene leads to Chapter 2: Travel Companions. The two men make their way to South America as their awkward relationship (and agreement) leads to more booze. Chapter 3: The Botanist in the Jungle is certainly one of the most bizarre segments of any movie this year, as the men hike deep in the jungle to connect with a doctor who has researched some ‘vegetation’ that may solve Lee’s fascination/obsession with telepathy. There is no viable description for this segment, but kudos to anyone who recognizes Leslie Manville – the one who has a pet sloth and keeps a viper for home security.

The Epilogue picks up two years later, and it’s here where Lee’s long struggle with loneliness becomes most apparent. His time with Eugene provides home of a true, lasting relationship with something other than a tequila bottle or a heroin needle. Daniel Craig and Drew Starkey are both excellent here, and may each receive awards consideration. If your previous exposure to Mr. Craig is through the James Bond movies, you might find this role a bit surprising, but those who have followed his career are in the know. One final note (no pun intended), the score from Trent Reznor and Atticus Ross perfectly captures the longing for connection (aka loneliness).

Opening in theaters on December 6, 2024

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Posted by David Ferguson

GET AWAY (2024)

December 5, 2024

Greetings again from the darkness. Every movie review provides the opportunity to walk the line between telling enough, but not too much. Some movies pose more of a challenge than others, and this is one. Director Steffan Haars (the ‘New Kids’ movies) and writer-actor Nick Frost team up to deliver a devilish and campy folk horror-slasher-comedy that brings a bit of innovation to genre that could use a boost.

Nick Frost stars as Richard Smith, a Dad-Joke-loving goof desperate for a relaxing holiday with his family. He’s joined by his wife Susan (the multi-talented Aisling Bea), and their teenagers Sam (Sebastian Croft, “Heartstopper”) and Jessie (Maisie Ayers in her first feature film). Their odd choice for the ‘get away’ is Svalta, a remote Swedish island that sports a dark history with its tragic 19th century plague that nearly wiped out the population. The family has scheduled the trip around the Festival of Karantan (Quarantine) marking the unfortunate events of yesteryear.

Upon their arrival, the locals give them an icy and somewhat threatening reception. Referring to the festival as a “play” doesn’t help their cause, and it’s only when their creepy Airbnb landlord (Eero Milanoff) shows up to claim them does the tension soften a bit. The house they’ve rented seems perfect, but soon things feel a bit off. Sam’s vegetarian diet and Jessie’s spirited approach add an extra dimension, while Richard and Susan play off each other expertly (as we’d expect from Frost and Bea).

This was my second Nick Frost horror movie in less than a month, as this is on the heels of his much less funny turn in BLACK CAB. Of course, he’s known for his comedic turn in the Cornetto trilogy, and his screenplay here is quite impressive. The film really plays up the whole “outsiders” feeling unwanted … just before the magnificent twist that turns the film into an off-the-rails blood bath. Barry Blue singing “I Eat Cannibals” provides a fitting musical ending to this wild ride from Shudder Films.

Opening in theaters on December 6, 2024

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Posted by David Ferguson

THE PIANO LESSON (2024)

November 26, 2024

Greetings again from the darkness. Playwright August Wilson has a nice string of his stage work being adapted for the big screen. First, there was FENCES (2018), then MA RANEY’S BLACK BOTTOM (2022), and now this latest is the first feature film from writer-director Malcolm Washington (son of Denzel), with a screenplay co-written with Virgil Williams (MUDBOUND, 2017). This thoughtful allegory asks the question, when is a piano more than just a piano?

The film opens on Independence Day in 1911, and as fireworks fill the sky, a group of men steal a piano from their slave owner. We quickly jump ahead 25 years to 1936 and find Boy Willie (John David Washington, also son of Denzel) and his friend Lymon (Ray Fisher, “True Detective”) taking a wagon full of watermelons to Boy Willie’s sister house. The plan is to sell the watermelons and his sister’s piano so that Boy Willie can purchase a plot of land where his ancestors worked as slaves. It’s a simple plan that makes sense … except his sister, Berniece (Danielle Deadwyler, so good in TILL, 2022) has no intention of selling the piano, a family heirloom.

Berniece and her daughter Maretha (Skylar Aleece Smith) live in Uncle Doaker’s (a reserved Samuel L Jackson) home and the piano sits, unplayed, in the living room. Ironically, it’s Boy Willie who talks us – and Maretha – through the piano’s history, including how his grandfather had hand-carved family faces into the front. Maretha was previously clueless as her mother Berniece had chosen to carry the weight of history to herself. The more brother and sister argue, the more activity from the spirits occur – known as ‘Ghost of the Yellow Dog.”

Doaker attempts to keep the peace, while wannabe preacher Avery (Corey Hawkins, THE COLOR PURPLE, 2023) relentlessly woos Berniece. Danielle Deadwyler delivers a remarkable performance as she remains steadfast. With a polar opposite personality to brother Boy Willie, she is a picture of pride and strength, and delivers the film’s best line directed to her brother, “All you ever had going for you in life is talk.” For those who don’t appreciate the stage-to-screen adaptations, the recommendation is to focus on the storytelling, rather than the sometimes distracting staginess. It’s a terrific script and, led by Ms. Deadwyler, the acting is mostly top notch.

Available on Netflix

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Posted by David Ferguson

GLADIATOR II (2024)

November 22, 2024

Greetings again from the darkness. Like many of you, I’m not usually a fan of sequels. Too often they feel like a money grab or an unapologetically opportunistic way to capitalize on previous success without much creativity or artistry required. Of course, there are exceptions. Sometimes sequels advance the story or offer additional development on an interesting character. So where does this one fit? It’s been almost a quarter-century since GLADIATOR (2000) received 12 Oscar nominations, winning 5, including Best Picture. The original is a film I revere. Director Ridley Scott is back at the helm, and at age 86, he proves he’s still a master of scope and scale and visceral action sequences.

Russell Crowe is not back for this one, and if you saw the first film, you understand why. Crowe is shown in a couple of flashbacks and is mentioned periodically. But this film belongs to Paul Mescal as Lucius, a natural leader and preternatural fighting soldier. That last sentence probably seems like a mistake to anyone who has seen Mescal in ALL OF US STRANGERS (2023), AFTERSUN (2022), or THE LOST DAUGHTER (2021). In each of those films, his talent and presence were obvious, yet he gave no indication of being able to play a tough warrior. After bulking up for the role, Mescal proceeds to step into movie stardom, as he truly commands the screen.

Much like Maximus (Crowe) in the first film, Lucius (Mescal) is forced into slavery, which translates into Gladiator training and fighting for Macrinus (two-time Oscar winner Denzel Washington). However, this comes after one of the most intense and ferocious opening battle scenes we’ve ever witnessed on screen. During this battle, Lucius’ wife Arishat (Yuval Gonin), a fierce warrior herself, is killed by the Roman General Acacius (Pedro Pascal, “The Mandolorian”), setting off grief and a thirst for revenge in Lucius. Once he’s witnessed Lucius fighting, the overly ambitious and conniving Macrinus pegs Lucius as driven by “the rage”, and sees him as a secret weapon in his quest for power.

Acacius turns out to be husband of Lucilla (Connie Nielsen reprising her role) and is hailed a Roman hero by the goofball twin emperors Geta (Joseph Quinn, A QUIET PLACE: DAY ONE, 2024) and Caracalla (Fred Hechinger, THELMA, 2024). Lucilla has maintained her clandestine connection to the council, led by Gracchus (a returning Derek Jacobi, now 84 years old). Political maneuvering and desire for power are at the forefront for most of these characters, yet it’s Lucius and his determination that harken back to the themes of the original … oh, and a very personal connection that most will have figured out from the trailer.

The Colosseum battles (and effects) are spectacular, and include a tribe of saber-toothed baboons, a giant and ferocious prehistoric rhinoceros, and a shiver (that’s what it’s called) of hungry sharks that appear once the Colosseum floor is flooded. There’s a certain satirical symmetry to using sharks to ‘jump the shark’. Although the sharks are a bit questionable (and likely not historically accurate), the best and most brutal fighting occurs mano y mano. Of course, we know that Lucius will get his shot at revenge, and maybe even redemption … the only questions are how and when.

Paul Mescal handles the role of Lucius with aplomb, and Denzel Washington appears to be having an extraordinarily good time as power-hungry Macrinus – a significant (and welcome) departure from his usual roles. Additionally, the technical aspects of the film are stellar. Ridley Scott brings back many of his previous collaborators from the 2000 film. John Mathieson is back as Cinematographer, while Arthur Max and Janty Yates return as Production Designer and Costume Designer, respectively. This sequel is co-written by David Scarpa and Peter Craig, and David Franzoni gets credit for his original characters. Arguments can be made both ‘for’ and ‘against’ the need for this sequel, especially since the look and tone are so similar to the original. However, very few can claim that this is anything but an entertaining spectacle loaded with stunning visuals – and a straightforward link to the original. The two films can rightfully claim strength and honor. It should be noted that Ridley Scott has already announced plans for a third film in the series, and by nature, I fall right back into my skeptical self, questioning the need.

Opening wide in theaters on November 22, 2024

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Posted by David Ferguson

WICKED (2024)

November 19, 2024

Greetings again from the darkness. Who is the good witch and who is the bad one? For those of us whose obsession with the classic 1939 film version of L Frank Baum’s 1900 novel has lasted from childhood through adulthood, it has always been crystal clear that the Wicked Witch of the West was bad and Glinda the Good Witch was so-named for obvious reasons. Then along came Gregory Maguire’s 1995 novel “Wicked: The Life and Times of the Wicked Witch of the West”, and the subsequent 20+ year Broadway run of the stage musical, which generated many new fans. And now we have a film adaptation of the stage production is directed by the talented Jon M Chu (CRAZY RICH ASIANS, 2018) with a screenplay co-written by Dana Fox (CRUELLA, 2021) and Winnie Holzman (who wrote the musical book for the stage musical). Could it be that the line between good and evil is not so clear? Or even that others have manipulated the situation to ensure a villain exists? I’m so excited for Oz fans to watch this.

Cynthia Erivo stars as Elphaba Thropp, the misunderstood, green-skinned outcast, and Ariana Grande Butera co-stars as Galinda/Glinda Upland, the rich, spoiled, popular kid. These two Grammy winners both deliver incredible performances with singing voices that leave us in awe. Ariana hits notes that seem otherworldly and Erivo is truly dynamic. It’s staggering to think much of their singing was performed “live” while acting. There is no way I’m going to spoil any of this, especially for those who have not seen the stage musical. Director Chu opted to keep the characters and songs from the musical, while adding even more detail to this film version.

Whether you prefer to label this a prequel or origin story, you should know going in that the complete story has been divided into two movies. The second part will be released in November 2025. This part one opens with Glinda gliding into Munchkinland to confirm the latest big news. She’s then persuaded to tell the backstory, which we watch in flashback form. We see the cutest ever newborn baby with green skin, and witness how Elphaba is mistreated in her own home in favor of her wheelchair bound sister Nessarose (Marissa Bode), to whom their father demands she offer protection as they head off to Shiz University in the Land of Oz.

Judging her strictly by her ‘different’ appearance, everyone’s favorite classmate, Galinda, immediately treats Elphaba as a misfit, leading others to do the same. When Madam Morrible (Oscar winner Michelle Yeoh) spots some hidden powers in Elphaba, she arranges for the two rivals to share a dorm suite. This initially causes the rift to grow, right up until things thaw and a friendship forms. During some of these scenes, Ms. Grande flashes true comedic timing with giggles, patented hair flips, and some real zingers embedded in her self-serving compliments. Along the way, Fiyero Tigelaar (Jonathan Bailey, “Bridgerton”), a charming and carefree Prince, crosses paths with the girls, creating conflicting emotions.

Of course, this is a musical, and the familiar songs are not only sung beautifully, but most feature some intricate choreography and acting as well. Erivo and Grande each get their standout numbers with “Defying Gravity” and “Popular”, respectively. We see Elphaba turn to activism and a quest for kindness and justice in a sequence involving Dr. Dillabond (voiced by Peter Dinklage), one of the last remaining teaching animals at Shiz. The tone shifts quickly once Elphaba and (now) Glinda head to Emerald City to meet the Wizard, played by a surprisingly reserved Jeff Goldblum. We are also struck by Elphaba’s quiet dignity on her path to transforming into her more famous role.

There are countless life lessons to be taken from this fantastical world filled with colorful characters, and it’s interesting to see political strategy play out in a way to create the villain we are told is necessary to unite Oz’s citizenry behind the cause. We are also reminded that there are two sides to every story, and even Glinda realizes this as she and her new friend come to a fork in the road – or a broom on the balcony – that will determine their future. It’s quite a journey for these two, and along the way we see the fabulous Oz train, the Wizard’s for-show mechanics, the Grimmerie (Elphaba’s magic book), and of course, the fabulous flying monkeys (responsible for so many nightmares since 1939). We even get appearances from Kristen Chenowith and Idina Menzel from the original stage production.

The film looks absolutely marvelous, and much of that is thanks to the incredible sets created for the film … so much better than the heavy dose of green screen effects we’ve become accustomed to. Production Designer Nathan Crowley deserves mention, as does Paul Tazewell for the brilliant costume designs. The music is courtesy of John Powell and Stephen Schwartz (songs from the musical), and the choreography is from Christopher Scott. Oscar winner Frances Hannon delivers superb Hair and Makeup, while Director of Photography Alice Brooks and Visual Effects Director Pablo Helma give the film its remarkable look. We may have to wait a year for Part 2, where hopefully we discover how Glinda becomes sincerely good, but there’s little doubt this first part is memorable and worthy of multiple viewings.

Opens wide on November 22, 2024

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Posted by David Ferguson

CHRISTMAS EVE IN MILLER’S POINT (2024)

November 14, 2024

Greetings again from the darkness. It’s that time of year when we get bombarded with Christmas movies. Some are light-hearted comedies, while others play off the elevated emotions of the holiday season. Most of these seem to be harmless, although some are so lame that we can barely watch. Yet it seems most every year one or two surprise us by packing a punch. Writer-director Tyler Taormina and co-writer Eric Berger re-team after their underappreciated HAM ON RYE (2019) for the most unique Christmas movie we will likely watch this year.

This is certainly no vehicle for movie stars to make an easy buck. In fact, most of the faces won’t be familiar, and that works to the film’s advantage … a shrewd casting move. Based in the 1970’s, a large family Christmas gathering is happening on Long Island, and the little bits of story are captured through the blips of snippets of conversations we catch. This includes discussions about the family matriarch needing to be moved to an assisted living facility and whether or not the family home should be sold. There are secrets and grudges and familiar jokes, along with teenagers trying to look cool … in other words, the same things that happen at most family gatherings plus the added stress of Christmas.

Some of the jigsaw pieces are in the form of a player piano, a pet iguana, an electric train, video games, and a dozing grandma. A few of the men escape to the garage for a cold beer, while one uncle plays the piano and sings a Christmas carol. Another uncle is obsessed with cooking his portion of the family feast and explaining each step to anyone who will listen. Of course, the feast is enough to feed three times the number of people in attendance, and yes, one adult gets stuck at the kids’ table. There are presents opened and home movies that bring back memories – some good, some tear-inducing. Yet another uncle has his book draft read aloud, providing quite the surprise. Those “cool” teenagers do manage to sneak out, and this along with the goofy cops (Michael Cera, Greg Turkington), seem like bits that don’t really fit. The exception is one red-wrapped gift that must be fished out of a dumpster, ultimately providing a touching moment.

Again, most of the cast will not be recognizable, but they handle their characters beautifully. The cast includes Maria Dizzia, Matilda Fleming, Steve Alleva, JoJo Cincinnati, Ben Shenkman, Chris Lazzaro, Tony Savino, Elsie Fisher, as well as a couple of well-known offspring in Sawyer Spielberg and Francesca Scorsese. Cinematographer Carson Lund provides the retro look and feel, with a dose of nostalgia that avoids the customary overdose of sentimentality. The film is more complex than it appears on the surface, and the offbeat flow allows for emotions, love, and chaos – even as Santa rides by on the firetruck. An unconventional soundtrack is filled with 1960’s music rather than Christmas tunes, and that works just fine. The best compliment I can offer is that this feels as much like we are at the party as it does we are watching the party. And that’s impressive.

Showing in select theaters

WATCH THE TRAILER

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Posted by David Ferguson

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