BANG BANG (2025)

September 11, 2025

Greetings again from the darkness. There is no obvious explanation for my connection to and appreciation of Tim Blake Nelson on the big screen … well … other than his talent. He certainly doesn’t possess the traditional attributes of a movie star, yet that’s exactly what he is. Not only is he one of the most dependable character actors around (see O BROTHER WHERE ART THOU and MINORITY REPORT), but he’s also terrific in lead roles (see OLD HENRY and ASLEEP IN MY PALM). With this latest film, director Vincent Grashaw and screenwriter Will Janowitz (who also has a role in the film) benefit from the actor’s audacious and fearless performance.

Bernard “Bang Bang” Rozyski (Tim Blake Nelson) is a bitter man. He’s also an alcoholic. As a former boxer, he appears to be in a race to the bottom with the area of Detroit in which he lives. Both man and city are crumbling and to add insult, the former boxing rival that Bernard views as the reason for his decline is running for Mayor. Darnell Washington (Glenn Plummer) became rich peddling juicers (not countertop grills) and now holds himself up as a guiding light for a city that needs a reason to exist … not unlike Bernard.

Bernard’s estranged daughter (Nina Arianda) surprises him with a knock on the door and a request to watch her son Justin (Andrew Liner) while she gets settled with a new job in a new city. Justin’s ankle monitor prevents him from going with mom until he fulfills his community service. He also shows little interest in Grandpa’s philosophical meanderings … until he learns boxing can lead to money and girls. Bernard begins training him with the help of an old friend (Kevin Corrigan), and it’s at this point when we wonder if Bernard’s new path is one of redemption or revenge.

While the reasoning may be initially unclear, we have no doubt that Bernard is haunted by the past – and he understands this very well. Fighting, family, and his former house all play a role in his bitterness and frustration. We also understand that things don’t tend to get better for a guy like ‘Bang Bang’. Although the film covers familiar ground with some recognizable tropes, Tim Blake Nelson’s performance and the raw aesthetic of the film keep us fully engaged. His final confrontation with Washington may go a bit over the top, but it reminds us that while a hammer sees everything as a nail, a fighter may very well view everything as a fight … or at least as the only way to resolve conflict.

The film opens in select theaters on September 12, 2025 (NYC, LA, Detroit, with additional markets TBA), following its premiere at the Tribeca Festival.

WATCH THE TRAILER

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Posted by David Ferguson

BEING THE RICARDOS (2021)

December 9, 2021

Greetings again from the darkness. You don’t have to be one of the 60 million who, between 1951 and 1957, tuned in each week to watch the latest episode of “I Love Lucy” to feel like you know Lucy, Desi, Ethel, and Fred. Most of us have watched the syndicate re-runs over the past 70 years, and that fact added challenges to this project for writer-director Aaron Sorkin – not the least of which was casting the role of Lucille Ball. Everyone had an opinion, and when you go to cast a true icon, it’s a slippery slope.

I’m happy to report (even though it’s not surprising) that Oscar winner Nicole Kidman is truly exceptional as Lucy. Perhaps a better choice could be made if this were a remake of the “I Love Lucy” sitcom, but although the film dips in and out of that show’s production, this is an Aaron Sorkin movie; so the focus is less on comedy and more on the intricacies of social and political issues. Now you might ask, what issues could a beloved star like Lucy have?  How about these: the media is reporting her husband is cheating on her, the sponsors don’t want her appearing on air while pregnant, internal battles over a particular scene with the director and writers, and she’s just been publicly called out for being a communist.

You’ve surely detected by now that this is no comedy about Lucy. Instead, it’s a pretty heavy drama about pressures at the top of a profession, and the eternal difficulties in cultivating a successful marriage. Adding heft is the era in which this occurs. It was rare for a woman to wield Lucy’s power, and the social mores of the time forced big time debate over showing a woman during pregnancy – even if that woman was married! Filmmaker Sorkin utilizes an odd structure for the film. It appears to be happening during the show’s second season, but we are actually looking back years later through the eyes of the show’s writers and producer. And then beyond that, we get flashbacks from the flashbacks to Lucy’s time at RKO, and the early flirtations that led to Lucy and Desi.

Oscar winner Javier Bardem plays Desi Arnaz. Although he bears little physical resemblance to the Cuban bandleader, Bardem expertly captures the essence of Desi as a businessman, actor, musician, lover of Lucy, and lover of life. For me, it was as thrilling to watch Desi’s shrewd negotiations with the network and Philip Morris executives as his energized bongos while performing “Babalu” at Ciro’s. Sorkin makes it clear that both Lucy and Desi were brilliant at what they did. Together they formed Desilu Productions, and he handled much of the business side, while her perfectionism and comedy instincts pushed the show to limits never before reached.

But what would the Ricardos be without their neighbors, landlords, and friends, Fred and Ethel Mertz? Nina Arianda (a Tony winner) plays Ethel/Vivian Vance, while Oscar winner JK Simmons plays Fred/William Frawley. The set is not the warm and fuzzy cocoon one might imagine. Vivian’s well known frustration was with Lucy mandating Ethel’s frumpy and dowdy look, while it’s clear Vivian and Frawley’s bickering carried on after the lights dimmed … due in no small part to Frawley’s alcoholic ways. That said, Ms. Arianda is terrific in the role, and Mr. Simmons epitomizes the grumpy old man we know as Fred.

Due to the flash-forward recollections, we get Tony Hale and John Rubinstein as the younger and older producer Jess Oppenheimer, Jake Lacy and Ronny Cox as the younger and older writer Bob Carroll, while Alia Shawkat and Linda Lavin play the two versions of writer Madelyn Pugh. It’s Ms. Lavin who describes Lucy and Desi’s relationship as, they were either “tearing each other’s heads off, or tearing each other’s clothes off.” It’s debatable whether Sorkin’s choice to structure the multiple time lines adds to the film’s depth, but it does allow for more talking … something Sorkin never shies away from. This is his third directorial effort after MOLLY’S GAME (2017) and THE TRIAL OF THE CHICAGO 7 (2020), and he won his Oscar for the adapted screenplay of THE SOCIAL NETWORK (2010).

Despite all the other aspects, this is the story of Lucy in crisis mode. She is pregnant with the child of a husband who is likely cheating on her. Her show and company are in jeopardy, and because of something she did many years ago, her status as a beloved American icon could be lost. Her show transcended all other forms of entertainment at the time and was must-watch TV when not every home had a TV (much less 3 or 4). The film mostly covers one week in time, though Sorkin does give us a look back at a time when the industry simply didn’t know what to do with her talent. For the fans, we do get a mention of Vitameatavegin, and a wonderful recreation of the infamous stomping of grapes. It’s a delight to see such fine actors fully engaged in roles they know will be picked apart by many. This is not the Lucy movie we would typically expect, but it’s one that pays tribute to the real person and real people and what they accomplished.

In theaters on December 10, 2021 and streaming on Amazon Prime beginning December 21, 2021

WATCH THE TRAILER

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Posted by David Ferguson

RICHARD JEWELL (2019)

December 13, 2019

 Greetings again from the darkness. Imagine you are being falsely accused of a terrorist act that killed and injured people. You are the FBI’s primary suspect. Your name and face are spread across every possible media outlet. Your belongings have been searched and seized as evidence – right down to your mom’s Tupperware. Cameras follow your every step of every day. Now imagine all of this occurs mere days after your actions actually saved lives and you were hailed as a hero across all of those same media outlets. Richard Jewell didn’t have to imagine this, as he lived this nightmare in 1996.

We first see Richard (played by Paul Walter Hauser in one of the year’s best performances) as a supply clerk at a law firm in 1986. His awkward ways and surprising efficiency catches the eye of attorney Watson Bryant (Oscar winner Sam Rockwell), a quasi-connection that comes into play a decade later. We then jump ahead those 10 years to find Richard being fired from his campus security job at a college due to his over-zealous focus on protocol. Fortunately for Richard, the Olympics are coming to Atlanta, so finding work as a security guard is pretty easy.

Atlanta’s Centennial Olympic Park is shown with crowds of people cheering at a Kenny Rogers and later dancing the Macarena. As one of the on-site security guards, Richard spots a suspicious backpack that turns out to be holding the bomb that detonates, creating tragedy for many. As the viewing audience, we know that Richard’s actions saved lives and he most definitely was not responsible for planting the bomb. And it’s that knowing that places us as close as possible to the Richard Jewell experience.

Four-time Oscar winner Clint Eastwood directs yet another story of a working-class hero. Only this time, he blatantly calls out what he sees as two evil forces: the U.S. Government (the FBI) and the media. Billy Ray (CAPTAIN PHILLIPS, SHATTERED GLASS) based his script on the 1997 Vanity Fair article “American Nightmare: The Ballad of Richard Jewell” by Marie Brenner (who also wrote the article that was the source for THE INSIDER, 1999). It can be argued that Eastwood comes down hard on the FBI and the media, but you might consider putting yourself in Richard Jewell’s shoes before crying foul.

Jon Hamm has perfected the role of cocksure FBI agent and here he plays Tom Shaw as the man totally focused on proving Richard Jewell was the perpetrator. Much has been made of Eastwood’s depiction of Atlanta Journal-Constitution reporter Kathy Scruggs (played by Olivia Wilde, who directed this year’s surprise hit BOOKSMART). It’s a bit curious that the uproar is over what some interpret as a reporter trading intimate relations for a scoop, yet Eastwood’s contempt seems focused more on the idea of trying a citizen’s case in public … while lacking any real evidence outside of a profile. The reporter (Ms. Scruggs passed away in 2001) is certainly portrayed as an ultra-aggressive reporter desperate for a headline story, but the implied consensual affair occurred after the inside information was provided – and the FBI agent was actually surprised… “Is this really going to happen?” Perhaps the viewer reaction to this is a sign of the times, but I’m guessing if any one of Eastwood’s critics were similarly falsely accused (as Jewell), the fictionalized version of the reporter would be less important than having the truth discovered. Of course, this could have been easily avoided had the name of the reporter been changed for the film.

Two key supporting roles come courtesy of Oscar winner Kathy Bates as Richard’s mother Bobi, and Nina Arianda as Watson Bryant’s paralegal. Ms. Bates starts out as a loving and simple mother to Richard, but her press conference captures the character in a new light. It’s a strong and heartfelt performance. Ms. Arianda brings some warmth sprinkled with welcome sarcasm to her role. Mr. Hauser is spot-on in every scene, and when these four are all together, it’s a pleasure to watch. Hauser and Rockwell are especially good in their scenes together as the ‘wronged man’ contrasted with the take-no-guff attorney.

Every time Richard says “I’m law enforcement too”, it’s heart-breaking to us and an opening for the FBI to manipulate him. The profile of a single white male living at home with his mom, carrying gung-ho dreams of a career in law enforcement, while collecting guns and knowledge on bombs and police procedure, made Richard Jewell seem like the kind of guy who would do something for attention. However, the film and the true story both emphasize the danger of prematurely persecuting individuals – especially in public. These days the race is always about who is first with a story, rather than who is right. A rush to judgment can be seen as an abuse of power, whether it’s by the media, a law enforcement agency, or folks on social media. At this stage of his career, director Eastwood seems more interested in telling stories than showing one. He offers up little visual artistry outside of the terrific performances, but this story … it’s a doozy.

watch the trailer:

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Posted by David Ferguson

STAN & OLLIE (2019)

January 5, 2019

 Greetings again from the darkness. Any list of the all-time great comedic teams would surely include Laurel and Hardy at or near the top. Influenced by pioneers such as Charlie Chaplin, Buster Keaton and The Marx Brothers, Stan Laurel and Oliver Hardy (the rotund one) rose to the top of the comedy world through their films and shorts produced by Hal Roach Studios during 1926-1941. In later years, we recognize the Laurel and Hardy influence in hugely popular acts such as Abbott & Costello and The Three Stooges. Director Jon S Baird (FILTH, 2013) and writer Joe Pope (PHILOMENA, 2013) deliver a warm tribute to the comedy giants by giving us a peek on stage and off.

The film kicks off in 1937 when the duo are the height of their popularity, and a wonderful extended opening take allows us to follow them as they make their way across the studio lot and onto the set of their latest film, WAY OUT WEST. Before filming the scene, they have a little dust up with studio owner Hal Roach (Danny Huston) over the money they are being paid per their contract. Stan thinks they deserve more, while Oliver, racked with debt from a stream of broken marriages, prefers to not rock the boat.

It’s this early scene that acts as a precursor to the challenges we witness in the business partnership side of the duo. Imagine if the work of you and your business partner were on display for the world to judge. And how does friendship fit in? The film flashes forward to 1953 when the popularity of the comedic duo has faded. They find themselves on a United Kingdom tour arranged by smarmy booking agent Bernard Delfont (played well by Rufus Jones). The purpose of the tour is to convince a film producer to back their Robin Hood parody idea. The early gigs are very small music venues and the crowds are even smaller. But these are true pros, and soon Stan and Ollie hustle up their own growing audiences, and by the time their wives join them on the tour, they are filling the best venues.

As Lucille Hardy (Shirley Henderson) and Ida Laurel (Nina Arianda) make their appearance, we soon find ourselves with two comedy teams to watch. The chemistry between the ladies is so terrific, they could be the featured players in their own movie. Lucille is a strong and quiet former script girl who is quite protective of her Ollie, while the outspoken Ida is a former Russian dancer who, in her own way, is also protective of the gentlemen performers.

The suppressed resentment over the (much) earlier Roach negotiations finally boils over in a heart-wrenching scene. The grudges and feelings of betrayal are voiced – alongside Ollie’s physical ailments. As they air their grievances, it cuts to the quick. Not long after, Ollie’s heart condition finds the two mimicking their “hospital” skit in real life … it’s a show of ultimate friendship that can only be built through decades of working closely together.

John C Reilly plays Oliver Hardy (the American) and Steve Coogan is Stan Laurel (the Brit). Both are extraordinary in capturing the look and movements of the comic geniuses. Mr. Reilly and Mr. Coogan are such strong actors, that it’s difficult to decide which segments are best. Is it the reenactments of some of Laurel and Hardy’s iconic skits, or is the off-stage moments when they are dealing with the human side of these entertainment giants? Reilly benefits from excellent make-up and prosthetics (that chin!) and Coogan has the hair and determination needed for his role.

Director Baird’s film is sweet and sad and funny. Stan and Ollie deserve this warm tribute, and it’s a reminder of all the stress and hard work that performers put in so that the show looks “easy”. This is what’s meant by honing the craft … even if it’s “another fine mess” accompanied by the trademark “Dance of the Cuckoos” music. Let’s hope the film attracts some youngsters who might gain an appreciation for the good ol’ days of Classical Hollywood.

watch the trailer:

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Posted by David Ferguson

FLORENCE FOSTER JENKINS (2016)

August 12, 2016

Florence FJ Greetings again from the darkness. Stranger than fiction. No more fitting description can be provided for the true-to-life story of 1940’s New York socialite Florence Foster Jenkins. How else to describe this “opera singer” who performed at Carnegie Hall? Not so unusual you say? Well how about if I add the not-so-minor detail(s) that the lady, simply put, was an atrocious singer … couldn’t carry a note … was apparently tone deaf?

Meryl Streep gamely takes on the titular role, and despite her own finely honed singing voice, manages to spot-on mimic the off-key, yet enthusiastic wailing of FFJ. Beyond that, Ms. Streep captures the spirit and passion and ego that inspired her real life counterpart to pursue her lofty dreams. At her core, FFJ was a tortured soul who overcame syphilis (from her first husband) and the central nervous system challenges brought on by the mercury and arsenic treatments of the era. On the outside, she was a bubbly, eccentric personality who supported the arts and lived life to the fullest.

With inheritances from both her mother and father, Florence received full professional support (and emotional protection) from her common-law husband St Clair Bayfield – played superbly by the seldom seen these days Hugh Grant. Accompanying Florence on stage, and even composing music with her, was her piano player Cosme McMoon, in a scene-stealing performance from Simon Helberg (“The Big Bang Theory”). Also in the mix is Rebecca Ferguson as Bayfield’s mistress … did I mention how strange this story is? Other support work is provided by David Haig as FFJ’s singing coach, and Nina Arianda as … well … an interesting character.

Other than the cast, those responsible for this delightful cinematic experience are director Stephen Frears (Oscar nominated for The Queen and The Grifters), writer Nicholas Martin, and cinematographer Danny Cohen (Room, The King’s Speech). It’s a confounding movie … on the surface quite jovial and light-hearted, while also reaching emotional depths that touch on loyalty, greed, and self-delusion.

The recordings made by Florence are rare collectibles today, and the film does touch on her time as child prodigy who played piano at The White House during the Rutherford B Hayes administration. There are many life lessons here, including pursuing your dreams with a passion, and having the tenacity to overcome obstacles. There is an undeniable underlying sadness to the story, but rather than feel sorry for her, Florence provided the guiding light quote, “People may say I can’t sing, but no one can say I didn’t sing.”

watch the trailer:

 

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Posted by David Ferguson

THE DISAPPEARANCE OF ELEANOR RIGBY (2014)

September 21, 2014

eleanor rigby Greetings again from the darkness. It’s tough and probably unfair to write about a film project when key pieces remain unseen. Writer/Director Ned Benson‘s brilliant first take on the story was released at Toronto Film Festival in two perspectives: “Him” and “Her“. A massive re-edit produced “Them“, this version for theatrical release. As you might expect, knowledge that more exists … and in probably a more effective story telling format … renders us a bit frustrated with the blended version. Still, there is plenty here to warrant a look.

This viewer’s frustration stems mostly from the long and winding road we travel understanding something tragic has caused the split between El (the titular Eleanor Rigby) and Conor, but only being teased with details. We are offered a brief glimpse of their happy times, but never get to know them as a happy couple. Instead, Conor is shown trying to re-assemble the pieces, while El tries to move on to a different puzzle altogether.

While the story unfolds in teeth-grinding fashion, it doesn’t offset the powerful emotion and personal intensity brought to the screen by both James McAvoy (Conor) and Jessica Chastain (El). Mr. McAvoy has quietly evolved into one of the more interesting actors working, while Ms. Chastain proves herself to be among the best each time she crawls inside a role and makes it her own. We feel for each of them, before we even really know them at all.

Other superb work comes from a sterling supporting cast that includes screen vets William Hurt, Isabelle Huppert, Viola Davis and Ciaran Hinds; as well as Bill Hader, Jess Weixler and Nina Arianda. That’s seven characters (plus the two leads) of which we yearn to learn more. Ms. Davis is especially effective in her all too brief appearance as a professor cutting El very little slack. And Mr. Hurt delivers a terrific monologue that strikes a chord.

So all of these wonderful pieces make for an spell-binding what-if that possibly gets answered in the dual-perspective version. The coldness and lack of understanding in the first 45 minutes can’t offset the emotion and sadness that each character feels. Rumor has it that “Him” and “Her” will get their release this year, and if so, I’ll be there in an attempt to complete both puzzles.

watch the trailer:

 

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Posted by David Ferguson