TATAMI (2025)

June 13, 2025

Greetings again from the darkness. Given the turmoil around the globe, being the first film co-directed by an Iranian filmmaker and an Israeli filmmaker makes this one even more impressive … both on screen and behind it. The co-directors are Zar Amir Ebrahimi (who also stars) and Guy Nattiv (who also co-wrote the screenplay with Elham Erfani). Nattiv previously won an Oscar for his superb short film SKIN (2018).

Arienne Mandi (“The Night Agent”) delivers a powerhouse performance as Leila Hosseini. Leila is a competing for Iran in the WJA World Judo Championships. Her husband Nader (Ash Goldei) and their young son are cheering her on back home, along with a house full of friends and family. We first see Leila as she hops on the bike to drop .3 kg in 20 minutes in order to make her fighting class weight of 60 kg. After cruising through the first couple of rounds, Leila discloses to her coach Maryam (co-director Zar Amir Ebrahimi) that she has “a great feeling today.”

It doesn’t take long for her great feeling to turn sour. The Islamic Republic calls Maryam and orders Leila to fake an injury and withdraw to avoid the possibility of losing to an Israeli competitor in the finals. When Leila refuses, the threats to her family become real and danger awaits for anyone associated with Leila or Maryam. As any dedicated athlete can attest, the pursuit of excellence has nothing to do with politics … until it does. The story is inspired by a true story, and we see the extreme actions from all parties. It’s filled with tension and anyone who values freedom will be aghast.

Filmed in Georgia (the country, not the U.S. state), the writing and acting are top notch, even for those of us (yours truly) who know little of judo competitions. Tatami is the mat used for the competitions, and Leila certainly had multiple battles going on simultaneously. We feel her pain, both physical and emotional. Flashbacks are used sparingly to provide background, and it’s obvious why this film has been so frequently recognized and awarded on the festival circuit. The lesson, which never seems to be learned, is that political conflicts, even long-standing ones, can benefit so much from the humanity shown by individuals.

TATAMI opens nationwide on June 13, 2025

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Posted by David Ferguson

THE PHOENICIAN SCHEME (2025)

June 11, 2025

Greetings again from the darkness. At this point it seems clear that Wes Anderson makes movies for himself and his devoted followers … and his loyal troupe of actors. I can’t think of another filmmaker whose movies are so instantly recognizable and consistently similar in look and feel. The pacing, verbal style, color palette, and overall rhythm of his latest compares favorably to some of his previous, including: ASTEROID CITY (2023), THE FRENCH DISPATCH (2021), THE GRAND BUDAPEST HOTEL (2014), and MOONRISE KINGDOM (2012). Rather than a criticism, that’s intended instead as a notice to viewers. If, like me, you’ve enjoyed his past films, you’ll likely take pleasure in this one.

Benecio Del Toro (one of the great faces in cinema) takes the lead here as wealthy businessman Zsa-zsa Korda, who inexplicably defies death about as often as most people brush their teeth. Due to his frequent near-death experiences and the risk involved in pursuit of his latest project, Korda names his daughter, Liesl (Mia Threapleton, daughter of Kate Winslet), a nun-in-training, as his sole heir and invites her to be part of the latest venture. The enterprise is exceedingly well-planned as evidenced by the labeled wardrobe boxes. Of course, the project is too convoluted for us to understand, but that matters little. It’s the globe-trotting and interactions with famous faces that raise the entertainment value.

‘Deadpan’ is today’s magic word – as it is in most Wes Anderson films. And if there is a secondary word of the day it would be ‘goofy’, because this undoubtedly falls on the light-hearted end on the Anderson scale. It’s filled with jokes, site gags, and purposefully oddball moments designed to elicit laughter (or at least enjoyment). The third of the lead triumvirate here is Michael Cera, who seems completely at ease – actually excelling in the Anderson world. He plays Bjorn, a character more complex than we are initially led to believe … although we don’t believe it, even initially.

Joining in the fun is an all-star line-up of actors other filmmakers only dream of casting. These include: Willem Dafoe, Scarlett Johansson, Rupert Friend, Richard Ayoade, Jeffrey Wright, Hope Davis, Benedict Cumberbatch, and Mathieu Amalric, each memorable in their segments. You won’t want to miss Tom Hanks and Bryan Cranston as brothers taking on the infinitely unskilled duo of Del Toro and Riz Ahmed (as a crowned Prince) in a game of basketball … and even that pales to the scene with Bill Murray as God.

Anderson co-wrote the script with frequent collaborator Roman Coppola and the score comes from 2-time Oscar winner Alexandre Desplat. Cinematographer Bruno Delbonnel perfectly captures the Anderson flavor in what I believe is their first time working together. What I find fascinating is that while watching the film, the characters and story struck me as a bit of a lark, yet some moments have come back around in my mind, and it seems quite clear that Anderson purposefully and slyly buried some life messages in this little comedy. What I’m saying is that the film works as a comedy, but also may carry a bit more heft that what I thought while watching. That falls under the definition of refined filmmaking.

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Posted by David Ferguson

DANGEROUS ANIMALS (2025)

June 6, 2025

Greetings again from the darkness. I’ll admit to being braced for a low-budget horror movie that would have more in common with SHARKNADO than JAWS. This genre film from director Sean Byrne and screenwriter Nick Lepard is neither of those films, but certainly holds its own as terror on the open sea.

The extended pre-credit opening sequence tells us all we need to know about Bruce Tucker (Jai Courtney, A GOOD DAY TO DIE HARD, 2013). He’s a survivor of a childhood shark attack and his scars led to his obsession with the creatures – running a tour boat for those who want to get up close and personal with sharks (while in a cage, of course). Athletic and adventurous Greg (Liam Greinke) coaxes his meek and timid girlfriend Heather (Ella Newton, “Harrow”) onto the boat and into the cage. It turns out her hesitancy would have been better served as Tucker’s rugged charm quickly turns quite sinister.

Independent surfer, Zephyr (Dallas’ own Hassie Harrison, “Yellowstone”) crosses paths with Real Estate dude Moses (Josh Heuston, “Heartbreak High”) and the two exchange banter that certainly qualifies as high-level flirtation … leading to the back of Zephyr’s van, and her eventual unannounced departure. It doesn’t take long before her evening of bliss turns into her being next in Tucker’s long line. It’s a line so long, he has a VHS tape library of all his conquests/victims. See, Tucker does more than just sing the “Baby Shark” song. He feeds his sadistic nature in a manner that I won’t detail here.

IFC and Shudder films have teamed up to deliver a surprisingly taut thriller from an absurd premise thanks to Jai Courtney not overplaying a villainous role that could easily be over-the-top, and Hassie Harrison playing a believably tough woman fighting for survival. When Tucker first says, “No one even knows you’re here”, we recognize that we are in for a ride. This is director Sean Byrne’s first movie in ten years (THE DEVIL’S CANDY, 2015), and the first to include two versions of the “Ooby Dooby” song by Teen Jesus and CCR. For lovers of this genre, just know that the money shot is worth the wait.

Opening in theaters on June 6, 2025

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Posted by David Ferguson

SUNLIGHT (2025)

June 6, 2025

Greetings again from the darkness. After you loop the belt around the ceiling fan in the cheap roadside motel, you then tighten it around your neck. You are prepared to follow through, yet when you regain consciousness, you are shocked to realize your Sunshine Radio motorhome is being driven by a human-sized monkey. Writer-director and lead actress Nina Conti and co-writer and lead actor Shenoah Allen quickly jumpstart the oddities and make it clear this one is going where no man or monkey has gone before.

Ms. Conti (Tom Conti’s daughter) supersizes her stage act to play Jane in the monkey suit, while Mr. Allen takes on the suicidal Roy. The two become more than traveling partners. They slowly establish a connection that only two broken people can share – through humor, pain, and emotions. Jane has her sights set on Colorado and a business plan involving a pontoon boat with a banana floatie attached. Roy’s mission is to dig up his father’s grave and remove a valuable item that will make things better for both him and Jane.

You’ve never seen a road trip movie like this one. You’ve never seen a buddy film like this one. You’ve never seen a rom-com like this one. Despite the title, some of it is a bit dark, but the expertly written comedy never lets the shadow last too long. Instead, the focus is on these two people discovering themselves and each other. Jane says, “You can’t like her and me”, when referring to the person inside the monkey suit. Roy wants to cuss out his father when he exhumes the body. He’s already mad at his grumpy police mother (a colorful Melissa Chambers), but she’ll have more to say later.

Fake watches, a wolf costume, and an old motel key have their moments, but the best stuff is the banter between Jane and Roy. Sometimes, with a twist to the story, it’s even more than banter. Although these two people have been beaten down by life, they manage to find hope in each other. A tender and emotional story of connection builds, despite (or maybe because of) the monkey suit. The New Mexico scenery (cinematographer James Kwan) complements the pair’s banter as it ranges from argumentative to playful to flirtatious to psychological. Surprisingly, the film is a true pleasure to watch, although the ending might seem a bit off to some.

Begins its theatrical rollout in NYC on June 6, 2025

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Posted by David Ferguson

MISSION: IMPOSSIBLE – THE FINAL RECKONING (2025)

May 26, 2025

Greetings again from the darkness. The eighth and (supposedly) final entry in a fantastic action film franchise that began in 1996 may not be the best of the bunch, yet it’s a mostly satisfying farewell to Ethan Hunt and his team of world-savers. Making his fourth stint as a writer-director for the latest “MI”, Oscar winner Christopher McQuarrie blends new danger and stunning action sequences with admirable (if not a few too many) tributes and nods to the past films and characters (including villains).

Of course, none of this would be possible without the freak-of-nature we know as Tom Cruise. Something I’ve said and written many times before – Mr. Cruise was not only born to play the role of Ethan Hunt, through the years he has definitively made it his own. What has allowed most of these films to work is a combination of thrilling escapades required to prevent a catastrophe, and the tongue-in-cheek tone designed to let the audience off the hook in recognizing the audacity of the whole thing. Unfortunately, this one omits the clever banter and instead goes with a couple of wise cracks that lack the effect.

For anyone who is a bit concerned about the future impact of Artificial Intelligence, “The Entity” is the real villain in this one, and it’s likely to spook you a bit more about the unknown and untapped power. Although Esai Morales returns as bad guy Gabriel, the true danger of global destruction comes courtesy of AI and its ability to take over control of all nuclear weapons on the planet. Only Ethan Hunt (should he choose to accept) and his team can stop this from happening, and if they do, it’s very likely those heroics will be last-second and towards the end of the 169-minute runtime … and after numerous action sequences that leave us breathless.

There are two truly stunning action/stunt sequences that feature Cruise at his most daring and a filmmaking team at its most technically advanced. The second of the two sequences, and the one getting the most attention is the aerial battle between two vibrantly-colored vintage biplanes. Now that description would be cool enough for most movies, but not for this franchise and certainly not for Cruise. Here, he climbs around the wing as one plane is airborne so he can take over the pilot’s seat. Again, that would be an incredible feat for anyone, but it barely scratches an itch for this guy. Instead, he then makes his way from one airborne plane to other airborne plane so that he can then fight THAT pilot (Gabriel) … and he must do so while executing another task that is required to save the world.

Yes, that aerial sequence is breathtaking and deserves accolades, yet it’s the ‘other’ huge action sequence that left me wide-eyed and clutching the armrests. Watching Ethan Hunt deep dive into frigid ocean waters to a long-ago sunken submarine, and then navigating his way through the giant metal tube as it tumbles on the sea floor is nothing short of astonishing and jaw-dropping. It’s fantastic to watch and unlike anything previously seen on screen – including other submarine movies or underwater scenes.

In addition to Cruise and Morales, other returning players include Haylee Atwell as Grace, Simon Pegg as Benji, Pom Klementieff as Paris (an amazing character), and Henry Czerny as Kittiridge. Also returning is Ving Rhames as Luther … he and Cruise are the only two to appear in all eight MI films. Additions to the superb cast are Angela Bassett as the President, as well as Holt McCallamy, Janet McTeer, Nick Offerman, Shea Whigham, Greg Tarzan Davis, Tramell Tillman, and Hannah Waddingham. There is also a significant surprise appearance by another returner – one that I won’t spoil here. The final scene in Trafalgar Square comes across a bit corny, but let’s say they’ve earned the right.

Cruise’s courage and brilliance as Ethan Hunt are noted, while McQuarrie clearly has a love for the mission; and yet, we need to acknowledge the technical expertise brought by many, especially cinematographer Fraser Taggart and editor Eddie Hamilton. While this final entry might not be tops for the franchise, it’s yet another expertly crafted big budget film that delivers the thrills its audience expects. And for the price of a ticket, those two colossal action sequences combine with Lalo Schifrin’s timeless (and blood-pumping) theme song are tough to beat … make that impossible.

Playing nationwide in theaters

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Posted by David Ferguson

FOUNTAIN OF YOUTH (2025)

May 22, 2025

Greetings again from the darkness. A filmmaker takes a risk by opening a movie with a frenetic and extended chase scene. This approach tends to announce that the action is more important than the story or characters … a message most filmmakers prefer not to convey. With his track record including SNATCH (2000) and LOCK, STOCK, AND TWO SMOKING BARRELS (1998), I tend to give the benefit of doubt to every new Guy Ritchie-directed project. Most offer some heft and creativity, yet the disappointments are often amplified due to expectations. Working from a screenplay by James Vanderbilt, this one strives to be a blend of NATIONAL TREASURE and Indiana Jones, with Thor and Loki banter.

The opening chase scene here sets the stage for what this movie is … one long chase. It seems everyone is always chasing what Luke Purdue (John Krasinski, A QUIET PLACE, 2018) is after – whether that’s a particular Rembrandt painting or the mythical Fountain of Youth associated with explorer Ponce de Leon (though the legend dates back centuries more). For most of the movie, Luke and his team are being chased by an Asian gangster, a committed mercenary, and an agent from Interpol. Rather than the traditional meet-cute, we get a reconciliation of estranged siblings. Luke’s sister Charlotte (Oscar winner Natalie Portman, BLACK SWAN, 2010) is a museum curator and both were trained by their since-deceased archaeologist father.

Luke is the adventurous one in the mold of Indiana Jones, whereas Charlotte tries her best to live a safe life with her musical prodigy son – despite the in-process split with her husband. Many of the scenes are based on the contrast (and corresponding similarities) of this brother-sister duo. Esme (Eiza Gonzalez, BABY DRIVER, 2017) is the mysterious woman hot on Luke’s trail, while Inspector Abbas (Arian Moayed, “Succession”) is the Interpol agent who’s been tracking the art thefts for a long time. Luke’s crew includes Deb (Carmen Ejogo, SELMA, 2014) and Murphy (Laz Alonso, “The Boys”), and the quest is funded by billionaire Owen Carver (Domhnall Gleeson, General Hux in the Star Wars universe), who claims to be seeking the healing powers of the Fountain of Youth due to his terminal cancer.

There is an interesting early sequence that finds Luke and Charlotte scrounging for a lost painting aboard the sunken Lusitania. What makes this interesting is that Alfred G Vanderbilt did actually die in 1915 when the ship went down, and the screenplay for this film is written by his great grandson, James Vanderbilt. Unfortunately, it’s that screenplay that is a constant drag on the film. The dialogue is too often cringy while trying desperately to be clever and funny. Krasinski and Portman seem to realize this and overact while attempting to salvage some scenes. For mindless entertainment, there is certainly a place for adventure films with settings as breathtaking as the Austrian National Library and the Pyramids of Giza, yet it’s a shame that a more thoughtful and intelligent story wasn’t delivered.

The film will premiere globally on Apple TV+ on Friday, May 23, 2025

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Posted by David Ferguson

THE LAST RODEO (2025)

May 22, 2025

Greetings again from the darkness. Jon Avnet long ago established himself as a Director of such films as FRIED GREEN TOMATOES (1991) and RIGHTEOUS KILL (2008), and also as a Producer of films including RISKY BUSINESS (1983) and BLACK SWAN (2010). Beyond that, a significant portion of his career has been spent on television series, including two excellent ones in “Boomtown” and “Justified.” In his latest film, the writer-director reunites two of the fine actors he worked with in those series, Neal McDonough and Mykelti Williamson. Avnet co-wrote the script with McDonough and Derek Presley.

Joe Wainwright (a ripped McDonough) is a legendary bull rider whose career ended when an injury required surgery on his neck and spine. Now, the three-time champion is many years past his rodeo days and lives a quiet existence on the ranch that he slowly sells off piece by piece to make ends meet. His wife Rose passed away and is buried on the ranch, and Joe longs for a closer relationship with his daughter Sally (Sarah Jones, CHEMICAL HEARTS, 2020) and her son Cody (Graham Harvey, “The Night Agent”). Sally is a protective mom who doesn’t appreciate Grandpa encouraging him to rodeo. Instead, she prefers her boy play baseball, where during a game, Cody gets plunked in the head.

Cody’s trip to the doctor reveals a brain tumor similar to the one that took Rose’s life. Sally and Joe are stunned when they learn the cost of the surgery that could save Cody. Of course, we know where this is headed. Far-too-old and broken-down Grandpa wants to head back to the rodeo to earn the necessary funds and save his grandson’s life. To do this, he calls a long-estranged friend, Charlie Williams (Mykelti Williamson), to help him. In addition to being Army buddies, Joe and Charlie were both bull riders … well until Charlie’s injury forced him to transition to bull fighter (in the dirt) in support of Joe.

The first half of the story serves as background for all the characters so that we understand why Joe is doing this, why Charlie is helping, and why we should be rooting for their success. We do get a brief training montage, and Charlie recites bible verses to Joe, who has lost his faith. He wonders why God would first take his wife, and now put his innocent grandson in peril. It should also be noted that Charlie thinks the idea of Joe riding again is a bit crazy, and poetically accuses him of having his “mind riding south”.

The road trip to Tulsa for the PRB Legends Championship finds Joe being disrespected by the younger riders, including current champion, Billy Hamilton (real life bull rider Daylon Ray Swearingen). The rodeo is run by Joe’s old buddy Jimmy Mack (Christopher McDonald, HAPPY GILMORE, 1996), and it seems odd that we meet no other ‘legends’. Despite a few hiccups (some quite painful), Joe gets his ride.

This film uses the rodeo, but the core theme here isn’t so much redemption (as it is with most sports movies), but rather love of family and reconnecting with one’s faith. Values-based distribution company Angel Studios produced the film, and the message (with a light touch) rings clear … be a good person. It’s rated PG and there’s a cameo from Lee Ann Womack and song by Lynyrd Skynyrd.

Opens nationwide in theaters on May 23, 2025

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Posted by David Ferguson

PEE-WEE AS HIMSELF (2025, doc)

May 22, 2025

Greetings again from the darkness. Even the title is a form a trickery. First of all, there was no Pee-wee Herman other than the character portrayed by Paul Reubens. Secondly, much of what this documentary presents is not from Pee-wee, but rather from Paul Reubens ‘himself’. And it goes directly to the point – the public adored Pee-wee Herman, while Paul Reubens was a bit more complicated. Documentarian Matt Wolf (SPACESHIP EARTH, 2020; the excellent RECORDER: THE MARION STOKES PROJECT, 2019) presents a two-part documentary for HBO that strives to clarify the line between man and character.

Paul Reubens died of cancer in 2023. Prior to that, he sat for 40 hours of recorded interviews with Matt Wolf, offering perspective on his career, his background, his motivation, and his self. While we see Reubens speaking directly to the camera quite a bit, Wolf utilizes a treasure trove of clips and photographs, as well as other interviews to paint the full picture of how the man and character came to be so closely associated.

PART ONE details Reubens’ influence from children’s television shows like “Captain Kangaroo”, “Howdy Doody”, “Kukla, Fran and Ollie”, and “The Little Rascals”. It’s because of these programs that from an early age, he wanted to be an actor … and was convinced Lucy and Desi were his real parents. Art School (with classmates David Hasselhoff and Katie Segal) drew him to performance art, and also led to his first serious romantic relationship with Guy. Reubens eventually decided to focus on his career, and described himself as out and then back in (the closet), since he was able to “pass” (as heterosexual). We see clips of him performing on “The Gong Show” and with The Groundlings, including Phil Hartman and Laraine Newman … which is where he laid the foundation for the Pee-wee character. Clips from “The Dating Game” proved Pee-wee had appeal.

The commitment to the Pee-wee Herman character was a career choice, and it’s fascinating to learn that actress Shelley Duvall recommended Tim Burton to direct PEE-WEE’S BIG ADVENTURE (1985). The story behind the bicycle is a gem, and the film jump-started the career of both Burton and Pee-wee … errr … Reubens. Reubens admits to his ambition and willingly hiding behind the Pee-wee alter ego.

PART TWO focuses on the iconic stardom of Pee-wee Herman in the 1980’s. Building on the popularity of the first film, “Pee-wee’s Playhouse” was developed as a 1986 children’s TV show, in the vein of those that so influenced a young Reubens. There was even a Pee-wee doll that became a best-selling gift. Reubens explained that beyond entertainment, his goal with the show was to make inclusion the “norm”. He wanted a place where all kids felt they belonged. Laurence Fishburne admits he didn’t “get” Pee-wee, but needed the work and gladly took the job as Cowboy Curtis. BIG TOP PEE-WEE (1988) followed, and may have been the last enjoyable moment for Pee-wee/Reubens to bask in the spotlight.

After years of living an extremely private life, his 1991 arrest for indecent exposure at an adult theatre instantly changed his life. ‘Playhouse’ re-runs stopped immediately, as did sales of the doll. Paul Reubens’ mug shot became a meme … early 90’s style. Unfortunately, this wasn’t his last public scandal, yet remarkably, Reubens was able to create a second half of his career as a character actor and voice actor – with only a few additional roles in the Pee-wee Herman suit.

The documentary includes clips of his parents and an interview with his sister, as well as input from directors Tim Burton and Judd Apatow. Reubens explains the inner turmoil of having his creation, Pee-wee Herman, be awarded a star on the Hollywood Walk of Fame, while Reubens himself has not. Towards the end of the film, Wolf plays the self-recorded audio that Reubens recorded the day before he died. Although he discusses his desire to bring joy to the masses, we can’t help but question the failed friendships along the way. And though Paul Reubens may very well have been a creative genius, we must finally ask, “I know you are but what am I?”

Premiering on HBO on Friday May 23, 2025

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Posted by David Ferguson

DEAF PRESIDENT NOW! (2025, doc)

May 15, 2025

Greetings again from the darkness. It was 1988, and when this group of students proclaimed, “We will be heard!”, it took on additional importance. The anger of these students represented 124 years of repression. Student protestors were from Gallaudet University in Washington, D.C. It’s the only university for deaf students, and its history dates back to the time of Abraham Lincoln.

Oscar winner Davis Guggenheim (AN INCONVENIENT TRUTH, 2006) collaborates with deaf actor-turned-filmmaker Nyle DiMarco to bring us the story of how the commitment to cause led the students, the University, and the nation towards real change. Although the film covers just one week, it effectively uses input and recollections from five key players. In other words, we get the ‘then’ (via archival footage) and the ‘now’ (modern day interviews).

Jerry was clearly the emotional leader … the guy who fired up the crowd through his passion. His passion shows even today as his memories come flooding back. Greg was the Student Body President, and his more reserved personality likely made him a more acceptable spokesperson. Bridgetta, a former high school cheerleader, used her energy to generate the rhythm of the crowd, while Tim did not hold back in addressing Ms. Spillman, the Chairman of the Board of Trustees … she doesn’t even bother to learn American Sign Language (ASL). Her clueless and obstinate approach to defending the board’s decision to bypass two qualified deaf candidates in order to name yet another hearing person as University President comes across as absurd and even a bit cruel.

The structure of the film is exceptional, blending the past with the present. Surprisingly, enough archival footage exists (even 37 years later) that we get a real feel for the commitment of the students and the manner in which the protests were carried out. It’s especially telling to hear the four demands made by the students: name a deaf President, resignation from the Board by Spillman, transitioning half the Board to half deaf members, and no reprisals for the students. All quite reasonable. With Spillman having stated something along the lines of ‘Deaf people are not ready to function in a hearing world”, we are provided a blunt testimony to her beliefs and possibly, the general sense of society at that time.

I King Jordan, a school professor, is interviewed and explains his unusual trek during the week … one that ended with his becoming President of the University (a position he held for many years). The film provides us with clips of Greg’s key appearance on “Nightline” with Ted Koppel, and a heartbreaking story about “broken ears”. Two years after this event, Congress passed the Americans with Disability Act – a stunningly short number of years ago. An odd segment is included with a quick overview of Alexander Graham Bell’s desire to “fix the deaf”, but we realize it’s not the deaf that need fixing. The film leaves us feeling a great deal of respect for these leaders, and might leave you chanting, “Deaf Power!”

The film will premiere globally on Apple TV+ on Friday, May 16, 2025

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Posted by David Ferguson

HENRY JOHNSON (2025)

May 9, 2025

Greetings again from the darkness. Show or tell … films tend to lean one direction or the other. Visuals are obviously the key to the popularity of superhero movies and comic book adaptations, while on the other end of the spectrum we have ‘Mamet-speak.’ David Mamet is a Pulitzer Prize winning writer who has been nominated for Oscars, Tonys, and Emmys. Best known for his rapidly-paced labyrinthian dialogue, Mamet is known for both his stage and screen projects.

His 1976 play “Sexual Perversion in Chicago” was adapted into the film, ABOUT LAST NIGHT (1996), while possibly his best known stage-to-screen adaptation was GLENGARRY GLEN ROSS (1992), which was directed by the recently deceased James Foley). Other well-known Mamet screenplays include THE POSTMAN ALWAYS RINGS TWICE (1981), THE VERDICT (1982), THE UNTOUCHABLES (1987), WAG THE DOG (1997) and HANNIBAL (2001). Mamet has also directed some of his own screenplays: HOMICIDE (1991), THE SPANISH PRISONER (1997), and STATE AND MAIN (2000). I also must mention one of my favorites, his underappreciated 1987 film, HOUSE OF GAMES.

Since it’s been about 17 years since he last directed a feature film, it seemed fitting to post a bit of a David Mamet history lesson. For this one (he again adapted from one of his plays), he directs a small cast working with an enormous script of dialogue. There are basically four sequences, the middle two combine for Act II. A mesmerizing 23-minute opening sequence finds Mr Barnes (Chris Bauer, “True Blood”) in a rapid-fire debate with his employee, the titular Henry (Evan Jonigkeit, wearing what I believe to be Mamet’s eyeglasses). The conversation is two-sided as the men discuss the finer points of the law, among other things – including a decision Henry made regarding an old friend. As the scene ends, we viewers and Henry get a big surprise from Barnes.

The next two sequences find Henry taking in the philosophy and life lessons from his cell mate Gene (Shia LaBeouf). This follows Barnes’ comment from earlier when he reminded that one of the signs of a psychopath is immense charm. Henry is clearly taken in by all Gene has to offer – both in their cell and in the prison library, as they analyze the role of fear and other crucial lessons that master manipulator Gene is inclined to share. The final sequence is a tense standoff with an armed Henry holding prison guard Jerry (Dominic Hoffman, Mamet’s REDBELT, 2008). Again, we find someone offering advice and counseling to Henry, who seems mostly capable of being taken advantage of and making poor decisions. Henry tells him, “Do what you want – people generally do.” And I do hope Mamet lovers will check this one out and bask in the Mamet-speak that we are too rarely treated.

Available VOD beginning May 9, 2025

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Posted by David Ferguson

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