KING RICHARD (2021)

November 18, 2021

Greetings again from the darkness. Sports parents. Band parents. Dance parents. Cheerleader parents. Drama parents. We all know THOSE parents … and many of us, whether we admit it or not, ARE those parents. Director Reinaldo Marcus Green (JOE BELL, 2020) and first time screenwriter Zach Baylin bring us the story of the unconventional, hard-driving, flawed, well-intentioned father of tennis superstars Venus and Serena Williams.

Will Smith portrays Richard Williams in a showcase role that he capitalizes on. Richard Williams is not a particularly likable man – his hustler mentality is eclipsed only by his stubbornness. But more than anything, Richard Williams was committed to giving Venus and Serena every opportunity to succeed in a tennis world that seemed like a different universe to the Compton neighborhood in which they were raised. Richard and his wife Oracene (an outstanding Aunjanue Ellis, THE HELP) coached the young girls themselves in public parks via instructional articles in Tennis magazines. Both parents balanced their jobs with this coaching, and Richard spent a significant amount of time “marketing” the girls to professional coaches, most who had no interest in taking on pupils who couldn’t pay.

Venus (Saniyya Sidney) and younger sister Serena (Demi Singleton) trust whole-heartedly in “The Plan” their father has in place. It’s a plan designed to place million dollar checks in their hands, and lead them to the top of the tennis world. Their first break comes in the form of John McEnroe coach Paul Cohen (Tony Goldwyn), who agrees to coach Venus. The real fun begins when Richard cuts a deal with super coach/trainer Rick Macci (a terrific Jon Bernthal) to take on both girls and cover the families living arrangements in Florida.

What makes this film work is that so many of us can relate to just how difficult it is to be a parent, and never settle for less when it comes to the kids. Now, Richard Williams is an extreme example – and his enormously successful daughters have dealt his approach a hand of credibility. Richard and Oracene are presented as very protective of their daughters, but also obsessed with helping them excel at school, tennis, and life. Given that there are three other daughters living in the house, it’s surprising that we don’t get more details on the reactions from those girls to the favorable treatment of Venus and Serena. The family is presented as being very tight-knit and loving, but it’s difficult to swallow that jealousy didn’t rise up periodically.

This truly is the story of how Richard Williams remained focused on getting his daughters to the top, so don’t expect the tennis history of Venus and Serena. The young actors playing them are excellent, but this takes us through the foundation of their careers while overcoming adversity, not the professional highlights. Oscar winning cinematographer Robert Elswit (THERE WILL BE BLOOD) makes the tennis look legitimate, while also bringing us the family intimacy. In fact, the scene in the kitchen is one of the more intense and well-acted scenes we will see this year, and the camera work amplifies the tension. On the lighter side, we get Will Smith singing Kenny Rogers’ “The Gambler”, and the closing credits show actual clips of Richard, Venus and Serena, as well as a rundown of their impressive achievements. Director Green has delivered a crowd-pleaser with some poignancy and a few well-placed messages. It wouldn’t surprise to see a few award nominations attached to this one.

Opens in theaters and streams on HBO Max beginning November 19, 2021

WATCH THE TRAILER

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Posted by David Ferguson

VELVET BUZZSAW (2019)

February 9, 2019

 Greetings again from the darkness. Filmmaker Dan Gilroy has distinct ideas on how to make his movie stand out from the cluttered maze of Netflix: give elitists a violent comeuppance, and allow Jake Gyllenhaal the freedom to take his character over the top. Not only has Mr. Gilroy reunited with Mr. Gyllenhaal and Rene Russo, his leads from the excellent NIGHTCRAWLER (2014), but he has also assembled a deep and terrific ensemble of actors who understand exactly how to present the material … even if some viewers will be confused, startled, or unimpressed.

What begins as a parody of the highfalutin contemporary art world, slowly transforms into a satirical-supernatural-horror film that judges severely those who drive the profit train by peddling art. Morf Vandewalt (Gyllenhaal) is the flamboyant art critic who possesses God-like abilities to make or break an artist with the words he chooses for his reviews. His work often intersects with Rhodora Haze (Ms. Russo), who runs the largest gallery in the city. She was once part of a punk rock band (from which the film takes its title), and now she lives to cash in on the work of others. As she so eloquently describes, she has moved “from anarchist to purveyor of good taste”. Other players include Jon Dondon (Tom Sturridge) as Rhodora’s competitor, Gretchen (Toni Collette) as an agent, Bryson (Billy Magnussen) as a whip smart handyman, Coco (Natalia Dyer) as a Midwestern girl trying to make it in the big city, Piers (John Malkovich) as a blocked artist who regrets quitting drinking, Damrish (Daveed Diggs) as an up and coming artist, and Josephina (Zawe Ashton) as Rhodora’s ambitious assistant.

The story shifts tone when Josephina discovers the artwork left behind when her reclusive elderly neighbor Mr. Dease dies suddenly. Dease is unknown as an artist and was in the process of destroying his life’s work when he died … he wanted no part of the art world, other than creating his own work. Josephina seizes on this opportunity and works with Rhodora in representing the work of this “hot” artist. As the work is monetized, the supernatural forces take over – often in quite violent ways. The players are so focused on how to capitalize on the work, it takes them an inordinate amount of time to realize evil forces are afoot. No one escapes scrutiny: artists, critics, agents, or collectors.

In cinema, if you choose to go bat**** crazy, it’s best to not hold back. Gyllenhaal plays Mort full tilt and he’s immensely fun to watch. The extraordinary ensemble cast benefits from some unusual and vivid imagery supported by expert cinematography from Oscar winner Robert Elswit (THERE WILL BE BLOOD). It’s rare for so much social commentary to be included in a project that could easily be compared to a teen slasher. There is some excellent dark humor, though maybe not quite enough, and two art exhibits in particular are memorable: Hoboman, and the Sphere. There are some clear cut groups of people in the film: the hot youngsters (Josephina, Dondon, Damrish) vs. the establishment (Mort, Rhodora, Piers) vs. misguided wannabes (Gretchen, Coco, Bryson). No matter their approach, one of the messages shines through – artists invest their soul into their work and that often stands in direct conflict with the other side of money and commerce. We can be a bit forgiving the film’s faults given the ambitious nature of the project; just be cautious of the monkeys in the mirror.

available on Netflix

watch the trailer:

 

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Posted by David Ferguson

ROMAN J. ISRAEL, ESQ. (2017)

November 21, 2017

 Greetings again from the darkness. Denzel Washington is one of our most iconic actors and he’s put together a remarkable career, including 8 Oscar nominations and two wins. He’s had his Al Pacino SCARFACE comparable with TRAINING DAY, his Robert DeNiro GOODFELLAS comparable with AMERICAN GANGSTER, and here he gets his Dustin Hoffman RAIN MAN as he plays the titular Roman J. Israel, Esquire. It’s a role that lacks Denzel’s usual cool factor, but it’s one in which he dives head first.

‘Esquire’ rates “above gentleman, but below Knight” as described by Roman. He has spent more than 30 years as the wizard behind the curtain of a two man law firm run by his mentor and partner William “Bulldog” Jackson. We never really meet Mr. Jackson, as circumstances force the closing of the firm and shove an uncomfortable-with-change Roman into the high profile and high dollar firm run by George Pierce. Mr. Pierce is played by a strutting Colin Farrell – and no actor peacocks better than he.

It’s here we must note that Roman appears to have a touch of Asperger’s and/or be some type of legal Savant. He’s kind of a Dr. Gregory House for the legal profession – remarkable on the details, while lacking in the delivery. His long held idealism and belief system were in fine form while he was the back office guy, but Pierce forces him into the front lines and it’s a bumpy transition with sometimes comic and sometimes tragic results.

The film bookends with Roman crafting a legal brief, that while somewhat convoluted, is actually more of a confession, with himself as both plaintiff and defendant. Much of the film focuses on Roman’s idealism and revolutionary beliefs, and what happens when that crumbles. There is an odd quasi-love interest with Maya, played by Carmen Ejogo (SELMA). We never really grasp why she is so taken by him, other than his seemingly solid belief system reminds her that a mission of goodness and justice is always worth fighting for.

Writer/director Dan Gilroy is one of the quiet secret weapons in Hollywood these days. His last project was the terrific NIGHTCRAWLER, and he’s also written the screenplays for this year’s KONG: SKULL ISLAND, and one of my favorites from 2006, THE FALL. Here he teams with Oscar winning cinematographer Robert Elswit (THERE WILL BE BLOOD) to deliver a stylish look that feels unique to the story and characters … the frumpy look of Roman, the ultra-slick look of Pierce, and the various textures of the city. It’s really something to behold – especially when accompanied by Roman’s ringtone of Eddie Kendrick’s “Keep on Truckin’”. A couple of cast members worth mentioning: for you NBA fans, Sedale Threat Jr (son of the long time player), and simply for catching my eye in the closing credits, an actor named Just N. Time. There is plenty to discuss after this one, but mostly it’s a chance to watch Denzel chew scenery.

watch the trailer:

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Posted by David Ferguson

INHERENT VICE (2014)

January 12, 2015

inherent vice Greetings again from the darkness. What is an absolutely critical element to a good whodunit? The answer is “it”. By definition there must be an “it” that someone has performed or carried out.  Director Paul Thomas Anderson’s adaptation of Thomas Pynchon’s novel kicks off with a terrific scene that appears to set the stage for a big mystery that must be solved. But don’t fall for it … it’s really a parody of film noir that depicts the end of the care-free hippie era in southern California. Or maybe it’s the beginning of the paranoid era in southern California. Or maybe it’s something else all together. Whatever it’s meant to be, it is certainly a wild ride with a never-ending stream of colorful characters in strange situations.

Many of us consider Paul Thomas Anderson to be one of the true creative geniuses of the film world. His 2007 There Will Be Blood was a towering achievement and complements his other films such as The Master, Magnolia, Boogie Nights, Punch-Drunk Love, and the underrated Hard Eight. His latest veers into new territory and features one of his more outlandish characters in “Doc” (Joaquin Phoenix), a mutton-chopped hippie Private Investigator who never misses a chance to indulge in his marijuana habit. Welcome to 1970 SoCal.

It seems new characters and scenarios are being thrown at us in every scene, as Doc readily accepts new cases and new leads … only there really is no case, even though he spends most of the movie looking into things. His efforts find him crossing paths with his ex-girlfriend, the wife of a missing real estate tycoon, the Aryian brotherhood, a sax player who is either a Federal informant or a student dissident, a coke-fueled dentist, an Asian massage parlor, the FBI, a maritime lawyer, his pizza-delivering sometimes girlfriend who is also a District Attorney, a mysteriously named entity Golden Fang, and the tightest-wound/probably corrupt/ TV-acting police detective named Bigfoot.

Should you require additional weirdness, check out how many character names come right out of cartoons (Doc, Mickey, Bambi to name a few). Need more?  How about a soundtrack that features Neil Young, Sam Cooke, Can’s “Vitamin C”, and a score from Radiohead’s Jonny Greenwood? Or film stock that has the look of 70’s vintage … shot beautifully by Oscar winning DP Robert Elswit. There is just no describing the shenanigan’s other than to say the characters, situations and dialogue are alternatingly confounding and humorous. Our movie-watching brains are trained to follow a plot, but Anderson and Pynchon seem to be laughing in the face of this tradition as we try to assemble the nominally related puzzle pieces.

The cast is varied and fun. Katherine Waterston (Sam’s daughter) plays Doc’s ex who kicks off that first scene, Eric Roberts is the kinda missing rich guy, Michael Kenneth Williams delivers a clue, Benecio Del Toro is the maritime lawyer, Owen Wilson is the sax player, Jena Malone is his clean and sober wife, Reese Witherspoon plays the DA, Martin Short is the horny dentist, Martin Donovan is another creepy rich guy, Joanna Newsome is the narrator and periodic assistant to Doc, Serena Scott Thomas (sister of Kristin Scott Thomas) plays the wife of the missing rich guy, and Maya Rudolph (the director’s real life partner) is Doc’s receptionist … and Maya’s late mother Minnie Ripperton sings “Les Fleurs” on the soundtrack. But it’s Joaquin Phoenix and Josh Brolin who really take this thing to the edge. It’s clear both are having fun, which is the best you can hope for while watching this one.

watch the trailer:

 

 

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Posted by David Ferguson

NIGHTCRAWLER (2014)

November 1, 2014

nightcrawler Greetings again from the darkness. Many of us still catch ourselves asking “Why is this news?” while watching the local newscasts. We ask this despite knowing sensationalist journalism is the way of the world, and writer/director Dan Gilroy reminds us (in a rare comedy-thriller) … if it bleeds, it leads.

Jake Gyllenhaal continues his progression as one of the most fascinating actors working today. Here he plays Lou Bloom, a fast-talking, self-help studying, ultra-charming sociopath, with creepy bug eyes (thanks to a 20-25 lb weight loss) and an even creepier grin. Mr Gyllenhaal nails the role in a way that reminds of Travis Bickle of Taxi Driver (Robert DeNiro was 33 at the time – the same age as Jake now).

Three other movies came to mind while watching this: Network (the lack of a conscience approach to ratings), Drive (the stylistic camera work and loner lead character), and Body Double (a fascinating Brian DePalma film from years ago). Rene Russo is the veteran news woman who encourages and enables the Bloom character to use his “good eye” to pursue the money shots … defined as anything that strikes fear into the suburban world.

Gyllenhaal is all in for his role as Bloom. Nightcrawling is the label given to stringers (private cameramen) who compete for the video that will lead the newscasts. Bloom’s google-based training has turned him into a Tony Robbins type who blows through dialogue at a speed every bit as fast as he drives his red Dodge Challenger to the next tragedy. Bloom is the epitome of charm in the wrong hands. Think Ted Bundy with a camera. While Bundy actually committed the murders, Bloom blurs the line between recorder of history and influencing the criminal action. He also delivers one of the first on screen ‘chasing a car chase’ scenes.

This is Dan Gilroy’s directorial debut, though he has written over films, including The Bourne Legacy, which was directed by his brother Tony. Dan also wrote my of my favorite rarely seen films entitled The Fall (2006). Dan Gilroy is married to Rene Russo, and her calm, yet equally sleazy, presence works well with the quirky, in-your-face Gyllenhaal character. Cinematographer Robert Elswit (known for his work with Paul Thomas Anderson) beautifully captures the nighttime energy of Los Angeles, as well as the brutal and savage crime scenes.

Gyllenhaal is the real deal here, and somehow makes this frightening monster believable as a guy who could walk amongst us every day (or night). Early on in the film, his character is asking for a job and spouts off a line that includes a bit about being “raised in the self-esteem movement so popular in schools“. It’s our first glimpse of his psychosis which is also grounded in reality.

SEE THIS MOVIE IF: you want to see the extremely rare comedy-thriller OR you want to see Jake Gyllenhaal’s wildest performance yet

SKIP THIS MOVIE IF: the actual nightly news is creepy enough for you … no need to see how it could be even worse

watch the trailer:

 

 

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Posted by David Ferguson