UNABOMBER (2026)

September 24, 2026

Greetings again from the darkness. One of the most frightening things in existence is when mental illness blends with brilliance. Ted Kaczynski was a 16-year-old math prodigy at Harvard in 1958, and then arrested in 1996 after being identified as the Unabomber. His reign of terror covered 1978 through 1995, and his bombings were responsible for three murders and twenty-three injuries. The manhunt was the longest and most expensive in FBI history.

Director Janus Metz (ALL THE OLD KNIVES, 2022) works from a screenplay by Sam Chalsen and Nelson Greaves, delivering a look at young Kaczynski and the FBI efforts to track him down with so few clues. In an interesting approach, Metz flip-flops the story between 1958 Harvard and the manhunt in the 90’s … opening with a New Jersey bombing in 1994 and moving to the release of the Manifesto a year later. It’s the Manifesto that breaks the case for the FBI, although it almost didn’t. The key agent involved here is Joanne Miller (Shailene Woodley, THE DESCENDANTS, 2011) as a behavioralist. When Kaczynski’s brother David (Matthew Kevin Anderson) relays to the feds that the writing style and terminology remind him of his brother, Joanne Miller shifts her focus.

The Harvard segments focus on Professor Henry Murray (Oscar winner Russell Crowe) and the mental stress project he runs with Christiana Morgan (Annabelle Wallis, THE MUMMY, 2017). At this age, Kaczynski is played exceptionally well by Jacob Tremblay (ROOM, 2015), who captures a young man who doesn’t really fit in socially, and believes he has a mentor and supporter in the Professor and his assistant. This segment shows what a quick mind Kaczynski possessed, while also letting us see just what led to extreme behavior later.

The FBI pieces fit together like a procedural, and in addition to Woodley, agents are portrayed by Alexander Ludwig (“Vikings”), Stephen Ogg (“The Walking Dead”), and Marc Menchaca (“Ozark”). We also see how luck and perseverance and instinct can play a role in such a broad investigation. The capture of Kaczynski at his remote and rustic cabin in Montana is reenacted here, as is at least one “wrong guy” moment from earlier. We see actual news clips from reports during this era, and at the film’s conclusion, audio recordings and photos of imprisoned Kaczynski are replayed. In 2020, a docuseries, “Unabomber: In His Own Words”, was released, and both projects capture the mental state of one who was a true danger to society. This film from Mr. Metz states that it’s based on a true story, however, I couldn’t find a reference to a female agent who was key to the case, and none are noted in the update prior to the closing credits. At this point, I’m not sure if this is creative license or protecting agent identities.

Premieres on Netflix on September 25, 2026

WATCH THE TRAILER

1 Comment | Drama | Tagged: , , , , , , , , , , , | Permalink
Posted by David Ferguson

THE WEIGHT (2026)

September 17, 2026

Greetings again from the darkness. Padraic McKinley, a film editor by trade, makes his feature film directorial debut with one that feels like a throwback. And that’s not just because it’s based in 1933 Eugene, Oregon during the depression.  This is a period thriller that maintains our interest through characters and setting and story. What’s unusual is that there are four writing credits: Matthew Booi, Shelby Gaines, Leo Scherman, and Matthew Chapman … usually not a good sign, but most of it works pretty well here.

Ethan Hawke stars as Samuel Murphy, a single dad devoted to his precocious young daughter Penny (Avy Berry, A QUIET PLACE: DAY ONE, 2024). Times are tough, and father and daughter return from church service to find they’ve been evicted. This leads to an alleyway skirmish resulting in Samuel being wrongfully arrested and separated from his daughter. Sentenced to a work camp run by Warden Clancy (Oscar winner Russell Crowe), Samuel’s resourcefulness in engineering the removal of a boulder and fixing up a broken down 1918 bootlegger’s car, impresses Clancy.

Samuel is laser-focused on getting released and reuniting with his daughter, so he accepts a deal with Clancy. The job is moving a supply of gold bars through the rough forest terrain before the government confiscates it. He has five days and must depend on a couple other convicts. We get a countdown through the trek, where they meet up with native American Anna (Julia Jones, WIND RIVER, 2017) and a creepy stranger (Cameron Brady). The journey is anything but simple as challenges include more than a creepy stranger … also, a dangerous rope bridge, campfires, weather, and mostly distrust, backstabbing, and greed.

The film’s only weakness is in the non-descript secondary characters, although the cast (Austin Amelio, Avi Nash, Lucas Lynngaard Tonnesen, Sam Hazeldine, George Burgess, Alec Newman) does the best with what they are given. In fact, only Mr. Hawke, Mr. Crowe, and Ms. Jones are memorable in their roles, and what’s interesting is that both Hawke and Crowe quietly underplay their characters using eyes and body language, making them stand out even more. Hawke has really put together a varied career, and he’s coming off a terrific season one of “The Lowdown” (plus he’s had five Oscar nominations over the years). Oscar winner Crowe remains one of the most powerful screen presences when he’s in the mood.

As previously stated, McKinley’s first feature is a bit of throwback, but one with heart and depth … and plenty to keep us engaged (although I’ll admit Clancy’s infatuation with baseball felt like a piece was missing). Whether a happy ending is in the wings is in doubt until the very end.

Opening in theaters on September 18, 2026

WATCH THE TRAILER

1 Comment | Action, Thriller | Tagged: , , , , , , , , , , , , , , , , | Permalink
Posted by David Ferguson

THE GET OUT (2026)

June 26, 2026

Greetings again from the darkness. So what is it that differentiates this one from the many other crime-comedies that have come before? The truth is … not much, but maybe just enough to keep fans of the genre tuned in. It certainly has an intriguing cast, and writer-director Derrick Borte (back with his UNHINGED star) and co-writer Daniel Forte have adapted the 2010 Thomas Perry novel, “Strip”.

Oscar winner Russell Crowe stars as Manco Kapek, an Albanian immigrant who has been in the United States for twenty-plus years. He runs a successful Los Angeles nightclub that he converted from a strip joint, explaining that one must be willing to change with the times. The club’s bookkeeper is Sunny (an enchanting Teresa Palmer, THE FALL GUY, 2024), who is also Manco’s much younger, but very devoted, girlfriend. Also in the mix is Spence (Benedict Hardie, HACKSAW RIDGE, 2017), Manco’s (mostly) trusty assistant. A cardiac incident jolts Manco into thoughts of retirement, and he contacts Joe (Luke Evans, BEAUTY AND THE BEAST, 2017), a New Jersey transplant who has previously expressed an interest in buying the club.

Next up, we have college professor Jeff (Aaron Paul, “Breaking Bad”), one the most high-strung and polite robbers we’ve seen … well, until bank teller Carrie (Nina Dobrev) forces him into a partnership. She’s giddy for crime and is obsessed with the movie, POINT BREAK. Two other key characters are Detective Slosser (Josh McConville, ELVIS, 2022) and Rodriguez (Daniel Zovatto, “Penny Dreadful: City of Angels”). It’s Rodriguez’s money that makes Manco well-to-do and puts him in danger.

So, here’s the lineup of what Borte’s film delivers: armed robbery, murder, a shootout, drugs, drug cartel money, money laundering, arson, a car explosion, off-key karaoke, a Viagra overdoes, extortion, a double-cross, and somehow … a large bear (possibly a grizzly, but I’m no expert). I lost count on the number of twists and turns, but these are certainly the film’s focus rather than character development or character connection. Crowe’s screen presence is always off-the-chart, and he’s coming off an underappreciated performance in NUREMBERG. He plays Manco with his tongue planted firmly in cheek. The film is entertaining enough for those who just want simple entertainment for an evening, and it even ends with the Gipsy Kings’ version of “Hotel California” (Spanish).

Opens in select theaters on June 26, 2026 and On Digital and On Demand June 30.

WATCH THE TRAILER

2 Comments | Comedy, Thriller | Tagged: , , , , , , , , , , | Permalink
Posted by David Ferguson

NUREMBERG (2025)

November 6, 2025

Greetings again from the darkness. Skipping the many films based on and around WWII and the Holocaust is understandable. Even the uplifting stories of heroism and survival are unsettling and tough to watch. However, so many lives lost in the name of a power-hungry madman means these stories must continue to be told – as a reminder to folks how dangerous and tragic it can be to blindly follow an authoritarian. Writer-director James Vanderbilt’s (TRUTH, 2015) second time directing is based on the writing of Jack El-Hai in “The Nazi and the Psychiatrist”.

Vanderbilt opens the film by stating it’s “based on the accounts of those who lived through it and those who didn’t”. It’s May 7, 1945. Hitler and many other Nazi officers are dead from suicide. The last day of the war finds Reichsmarschall Hermann Goring (Oscar winner Russell Crowe) surrendering to Allied troops. We are immediately struck by Crowe’s ability to create an air of superiority around Goring, even as he surrenders. Goring is imprisoned at Nuremberg, and what happens next is a reminder of how crucial humanity and justice are, even in times of war and in the face of atrocious activities by others.

While many want Goring and any remaining Nazi officials immediately executed, Supreme Court Justice Robert H Jackson (Michael Shannon) believes a tribunal and public trial are crucial for the allied nations to send the message that justice matters, no matter how heinous the crimes (or the criminals). A U.S. Army psychiatrist, Dr. Douglas Kelley (Oscar winner Rami Malek) is charged with interviewing Goring to ensure he is capable of being tried in court. It turns out that Goring is more than capable and we are drawn in watching the verbal and psychological duel play out between Goring and Kelley. These scenes (Crowe and Malek) are mesmerizing, and Crowe delivers a towering performance – his best in years, and certainly worthy of Oscar consideration.  Sgt Howie Triest (Leo Woodall) is present as a translator, though his place carries more weight later in the story.

Prior to the trial, another excellent scene plays out at the Vatican as (now) lead prosecutor Jackson strong arms the Catholic church into supporting the trial. Unlike Stanley Kramer’s fantastic 1961 film, JUDGMENT AT NUREMBERG, most of this one takes place outside of the courtroom. However, once it moves to trial, Jackson and co-counsel Sir David Maxwell-Ffyfe (Richard E Grant) find going toe-to-toe with Goring is every bit as challenging as Kelley had reported. Devastating concentration camp footage is shown to display the shock of those seeing it for the first time. The last bit of the story is about Kelley and his book centered on his sessions with Goring. Overall, the historical accounts have been scaled back for accessibility and brevity (despite the film’s 148-minute run), yet we never lose sight of the importance of the trials.

Opens in theaters on November 7, 2025

WATCH THE TRAILER

Leave a Comment » | Drama, War | Tagged: , , , , , , , , , , , , | Permalink
Posted by David Ferguson

THE EXORCISM (2024)

June 20, 2024

Greetings again from the darkness. It’s been 23 years since Russell Crowe won his Oscar for GLADIATOR. Some of his personal struggles have been well-documented, and although he may no longer be an A-list actor, he remains a talented and prolific one … especially these past couple of years. I’ll admit to still finding him fascinating on screen, as he’s usually fully committed to the character he’s playing.

There’s more to this one than another mesmerizing Crowe performance. If you don’t already know, be advised that it’s a film-within-a-film derived from real life. Only not the usual “inspired by a true story” like we are accustomed to. Nope. The writer-director is Joshua John Miller, who is the son of the late Jason Miller, who played Father Karras in the classic horror film THE EXORCIST (1973). Co-written with M.A. Fortim (“Queen of the South”), once we know Miller’s roots, the film takes on a whole new relevance. So … “This time, it’s personal” … actually fits!

Crowe plays Anthony Miller (there’s that last name again), an actor looking to re-establish his career after grieving for his wife’s death left him an alcoholic and addict. Out of rehab, he’s also trying to reconnect with his estranged and rebellious daughter Lee (Ryan Simpkins, Ty’s big sister, BRIGSBY BEAR, 2017), who has recently been kicked out of school. After the mysterious death of his lead actor (which we witness), director Peter (Adam Goldberg, appeared in A BEAUTIFUL MIND with Russell Crowe) casts Anthony as the Priest, despite, or possibly because of, his troubled past. See, Peter’s movie, “The Georgetown Project”, appears to be pretty much identical to THE EXORCIST, right down to the two-story house set and the bits of story we pick up.

The film co-stars Blake (Chloe Bailey, R&B artist and big sister of Halle) as the possessed one, and Joe (Sam Worthington, The “Avatar” franchise – more to come) as a fellow Priest. Hanging around the set as the Catholic church consultant is a Priest played by David Hyde Pierce (“Frasier”), whose presence is necessary as we see Anthony’s crisis-of-faith and possible demonic possession mirroring that of the character he’s playing – likely due to the unpleasant childhood memories of his time as an altar boy. For those who know, Adam Goldberg’s performance as Peter will recall the stories of William Friedkin’s demanding and demeaning directorial style on the set of the 1973 horror classic.

The acting, especially Crowe and Simpkins, is stellar, although we can’t help but wonder why Sam Worthington’s role wasn’t beefed up a bit. As with most horror films the sound effects are exaggerated, though this one seems overboard at times. Still, with the added weight of the “behind-the-scenes” backstory, there is plenty here to keep us engaged … though one would be hard-pressed to label it a son’s tribute to daddy.

In theaters June 21, 2024

WATCH THE TRAILER

2 Comments | Horror | Tagged: , , , , , , , | Permalink
Posted by David Ferguson

SLEEPING DOGS (2024)

March 21, 2024

Greetings again from the darkness. It’s easy to forget that Russell Crowe was once Oscar nominated three years in a row, winning Best Actor for Ridley Scott’s epic, GLADIATOR (2000), and has probably deserved two or three additional nominations. His reputation has not won him many industry friends over the years, but to his credit, he keeps plugging away – some minor roles in big films, and some lead roles in smaller films. Crowe can still command the screen with his presence, even when the material is slight (see THE POPE’S EXORCIST, 2023).

This project from writer-director Adam Cooper (writer, EXODUS: GODS AND KINGS, 2014) and his frequent writing partner Bill Collage has been adapted from Eugen O. Chirovici’s 2017 novel, “The Book of Mirrors”. It’s Cooper’s directorial debut, and it’s entertaining enough, especially if one can avoid comparisons to other similar crime drama films, especially the classic MEMENTO (2000). In this one, Crowe stars as Roy Freeman, a former homicide detective who lost his badge after a drunk driving accident. He has recently undergone an experimental brain procedure designed to help him regain some of the memories Alzheimer’s has robbed him of. Roy’s apartment has notes posted everywhere. These notes remind him of his name, remind him of his shoe size, and remind him that his Hungry Man dinners are hot when they come out of the microwave. Turns out, it’s too late for a note to remind him not to put the TV remote in that same mircrowave.

A ten year old case he worked is brought up by a group looking to prevent an innocent man from being executed. Roy has no memory of the case, so he re-visits the files and tracks down his old partner, Jimmy Remis (played by Tommy Flanagan, in a reunion of GLADIATOR actors). What follows is a sufficiently intricate web of characters to keep us interested and guessing. The murder victim was Professor Wieder (Marton Csokas), and the usual suspects include his PTSD-suffering handyman Wayne Devereaux (Thomas M Wright), Wieder’s research assistant and lover Laura Baines (Karen Gillan, Nebula in the Marvel Universe), Laura’s other lover Richard Finn (Harry Greenwood) who is writing a book on the murder, and a couple other characters tossed in to knock Roy and us off track.

Flanagan and Csokas are two of my favorite character actors – both always bring something interesting to their roles, and here it’s Gillan’s Laura that seems to offer the most intrigue – changing names, locales, and personalities, all while publishing a book on a theory of how ‘bad’ memories can be replaced with good ones, or erased altogether (think of another classic film, ETERNAL SUNSHINE OF THE SPOTLESS MIND, 2004). Roy’s flashbacks are handled by quick spurts of moments that he struggles to assemble, which allows us to struggle right alongside him. Roy’s plight leaves us with the thought that it’s possible to find yourself, and not like what you see. Memory is obviously crucial to the story, and for a second-level crime thriller, there is enough here to keep us going until the conclusion.

In theaters beginning March 22, 2024

WATCH THE TRAILER

4 Comments | Drama, Thriller | Tagged: , , , , , , , , | Permalink
Posted by David Ferguson

THE GREATEST BEER RUN EVER (2022)

September 25, 2022

Greetings again from the darkness. “Can I buy you a drink?” A simple phrase that can have a variety of meanings. In 1967, John “Chickie” Donohue did more than buy his buddies a drink. He hand-delivered beer after tracking them down at their military posts during the Vietnam War. Writer-director Peter Farrelly (an Oscar winner for GREEN BOOK, 2018) and co-writers Brian Hayes Currie (also an Oscar winner GREEN BOOK) and Pete Jones (HALL PASS, 2011) tell the story of Chickie’s dubious trip to the front lines. His mission was to show the neighborhood boys that folks back home care, and the results proved eye-opening.

Zac Efron plays Chickie Donohue, a Merchant Marine from the Inwood neighborhood of New York City. Chickie is a hard-drinking slacker and kind of a joke to his family and friends. He doesn’t really take life seriously and has no perceivable ambition. He is, however, a staunch defender of his country and the military personnel fighting a war that no one seems to be able to define. Especially ‘the boys’ from the neighborhood … too many who have died for the cause. One typically “full of hot air” evening at the local tavern where “The Colonel” (Bill Murray) tends bars, hones patriotism, and honors those who (like him) have served in war, Chickie blurts out his intention to head to Vietnam and hand-deliver a beer to each of his buddies stationed there. His drinking cohorts support his idea, yet fully believe this is simply the next thing that Chickie will never follow through on.

To everyone’s surprise, and despite pleas from his anti-war sister (played by Andy Serkis’ daughter Ruby Ashbourne Serkis), Chickie loads up a duffel bag with dozens of cans of Pabst Blue Ribbon and heads out. That seems to be the extent of his plan because he basically has to charm and ‘luck’ his way through each progressive stop once he has secured a spot on a container ship headed that way. In the film, he secures a 72-hour leave, but in real life, as documented in the memoir written by John “Chick” Donohue and JT Molloy, his journey took almost 8 weeks.

The film plays a bit like a road trip, where Chickie interacts with multiple characters along the way. Some in the military mistake him for undercover CIA, which he uses to his advantage. At a Saigon bar, Chickie debates with war correspondents, including a photojournalist played by Oscar winner Russell Crowe. Chickie questions why they report “only the bad stuff”, which is tough on morale back home, while the reporters counter with the defense of only telling the truth. A later part of Chickie’s journey finds him in the middle of the Tet Offensive, running for his life with Crowe’s character.

Director Farrelly, long celebrated as an iconic comedic filmmaker with his brother Peter, doesn’t break any new ground here, but the remarkable true story keeps us watching. In fact, it feels a bit like a war movie from the 1950s … mostly light, with a well-meaning, charming lead actor with limited range. Songs from the era are included, and the message seems to be that politicians don’t always tell the truth (an obvious fact that we live with every day). Chickie’s personal post-trip pledge of ‘less drinking, more thinking’ would be a good direction for many, and Farrelly includes a modern-day photo of Chickie and the boys from the neighborhood over the closing credits. A nice touch.

Opening in limited theaters on September 23, 2022 and on AppleTV+ beginning September 30, 2022

WATCH THE TRAILER

3 Comments | Comedy, Drama, War | Tagged: , , , , , , | Permalink
Posted by David Ferguson

THOR: LOVE AND THUNDER (2022)

July 5, 2022

Greetings again from the darkness. With a steady stream of Marvel movies and TV serials, maintaining coherent and connected storylines has become challenging. In fact, it’s probably best if fans take these at face value, rather struggling to connect the dots, only to end up frustrated. Perhaps no one understands this better than Taika Waititi, the director behind what many (including me) consider the best MCU film, THOR: RAGNAROK (2017). Waititi and co-writer Jennifer Kaytin Robinson once again embrace the blend of quick quip comedy and expected action sequences, supplemented this time a love story.

The pre-opening credits sequence provides the backstory for the film’s villain, Gorr the God Butcher, played by Oscar winner Christian Bale. Gorr has spent a lifetime worshipping the Sun God, only to realize his worshipping has occurred in an actual God-forsaken world that costs him dearly. Gorr ends up learning the lesson of ‘never meet your heroes’, and this confrontation gives him the power and curse of the Necrosword, and sets him on a revenge mission to kill all Gods. We have to respect a villain who has a legitimate claim to his mission – it’s not just a thirst for world domination. Gorr wants the Gods to pay for their ambivalence.

We then pick up Thor Odinson (Chris Hemsworth) as he has been fighting with the Guardians of the Galaxy since the end of AVENGERS: ENDGAME (2019). With no shortage of characters who excel in comedy, this sequence shifts us into laughter and light-hearted mode after the bleak Gorr opening. It’s this pacing that holds for most of the movie … Waititi never lets things stay too serious for very long. Soon, Thor splits off from the Guardians, as he returns to New Asgard, being run by King Valkyrie (Tessa Thompson). Now based on Earth, New Asgard is a theme park and tourist attraction. One of the features is the theater acting group we’ve seen previously, and this time Matt Damon, Luke Hemsworth, and Sam Neill are joined by Melissa McCarthy as Hela. While this is going on, we learn Thor’s old flame, astrophysicist Jane Foster (Oscar winner Natalie Portman) is now an author being treated for Stage 4 cancer. A trip to New Asgard provides her strength as the shattered Mjolnir hammer magically re-forms in her presence. Jane’s story boils down to whether she wants to try to extend her life through science or live every remaining day to it’s fullest.

Gorr kidnaps the Asgardian kids, forcing Thor, Valkyrie, Korg (voiced again by Waititi), and Mighty Thor/Jane Foster to track him to the Realm of Shadows. Their plan is to stop by Omnipotence City to request assistance from the almighty Zeus (Russell Crowe). They are shocked to discover that Zeus is little more than a colorful televangelist with a Borat accent performing a whiz-bang show so that he can get on to the next orgy. Zeus refuses to assist with an army, but he does manage to chain Thor and strip him nekkid centerstage. The good guys nab Zeus’ golden lightning bolt and head off to rescue the kids and confront Gorr.

In a reverse Wizard of Oz twist, the films turns to Black & White when they reach the Realm of Shadows. It’s an eerie environment befitting Gorr. Bale is certainly at his best when he is terrifying and menacing, although the writing is a bit inconsistent for the character, and sometimes it drifts into Pennywise mode, a definite drop in suspense. The action sequences are fine, but really nothing we haven’t seen before. And that’s probably the biggest issue with all superhero/comic book stories these days. Anything new must come from the story or the characters, and we know the characters far too well at this point.

Waititi’s version delivers many laughs throughout. Among the best is the odd relationship between Thor and his hammer Mjolnir and his axe Stormbreaker. Thor’s jealousy of his ex-hammer hooking up with his ex-girlfriend is almost as funny as Stormbreaker’s jealousy of Thor trying to steal back the hammer. Also cool is Thor’s homage to Jean-Claude Van Damme, and the look of the Altar of Eternity, where one last wish is granted. Maybe not as effective is the apparent Guns ‘n Roses fetish or Jane’s struggle to come up with a catchphrase. Sure to be a divisive element is the recurring gag of bleating goats … I found them hilarious, but many won’t. Another piece that simply didn’t work for me is Ms. Portman’s performance, especially in the scenes with Hemsworth. Her comic timing can’t match his, and it’s a match that just never clicks.

Obviously, the characters originated from the minds of Stan Lee and Jason Aaron in Marvel Comics, and it’s Taika Waititi who brings his unique touch to the project. Since he directed THOR: RAGNAROK, he won a screenplay Oscar for JOJO RABBIT (2019), and I’ve been a fan of his style dating back to EAGLE VS SHARK (2007), and on to the brilliant HUNT FOR THE WILDERPEOPLE (2016), and TV series “What We Do in the Shadows”. Waititi is scheduled to direct a Star Wars movie in the near future – one surely to be divisive among that fan base. As for this latest Thor movie, it may be tonally jagged and have a few too many zippy quips for some, but it manages to be silly and tender and emotional, while having the look and feel of a comic book come to life. Stay for the two end-credit scenes.

Opening in theaters on July 8, 2022 (Thorsday)

WATCH THE TRAILER

1 Comment | Action, Comedy, Fantasy, Thriller | Tagged: , , , , , , , , , , , , , | Permalink
Posted by David Ferguson

UNHINGED (2020)

August 25, 2020

 Greetings again from the darkness. A phone call from her divorce attorney awakens Rachel. She’s already running late for work and for dropping her son Kyle at school. Her estranged husband is being ruthless in the negotiations, while her mother’s health is deteriorating. Her hairdressing gig is falling apart, and the financial strain is becoming too much. Rachel is having what most of us would agree is a bad day. But when she lays on her horn at the truck in front of her at a signal light, the man confronts her. She refuses to apologize for not offering up “a courtesy tap”, and the man’s demeanor immediately shifts as he spouts, “I don’t even think you really know what a bad day is.”

Thanks to the prologue, we see the man in the truck (Russell Crowe) pop some pills, break into a house, severely beat a man, and proceed to set the house on fire. This human wrecking ball is the same man Rachel (Caren Pistorius) refuses to apologize to. Her morning has been hectic and stressful, but his has been disastrous. Her bad day is about to get much worse. Imagine if “Mayhem” from the Allstate commercials was in a bad mood and ready to seek vengeance. Crowe plays the menacing man in a menacing truck.

Director Derrick Borte (THE JONESES, 2009) and writer Carl Ellsworth (the underrated horror thriller RED EYE, 2005 and DISTURBIA, 2007) have created an extremely volatile dangerous cat and mouse between Rachel and The Man. As he proceeds to destroy those in her life, she fights to save her son by using her wits. During the film, we see some vicious acts of violence and some spectacular car crashes. There is also a lesson about cell phones – the remarkable handheld computers that we run our lives from – in a battle of convenience versus security risk.

Over the opening credits we see and hear a montage of road rage episodes of real people “losing it”, and the corresponding commentary. It sets the stage, but not for what our initial impressions tell us. While a statement is made about de-funding or under-funding the police, the filmmakers avoid turning this into a giant political agenda. Instead, it’s a good old fashioned manic-thriller in the vein of Spielberg’s underrated DUEL (1971), THE HITCHER (1986), and FALLING DOWN (1993). Extreme stress can generate anger which results in a loss of control, and that’s what we witness here in extreme form.

20 years ago Russell Crowe won the Oscar for GLADIATOR, and his current bloated face and body are picture perfect for a man who has slipped over the edge. Two scenes allow him to flash some of that extraordinary talent: the initial interaction with Rachel and son Kyle (Gabriel Bateman), and then again in the diner with Rachel’s attorney played by Jimmi Simpson (“Westworld”). Caren Pistorius holds her own as the frantic, perpetually late mother, but that’s not surprising given her excellent work in the underrated SLOW WEST (2015). Keep Shelly in Athens offers up a nice remake of “Don’t Fear the Reaper”, as we are reminded to always keep an eye on your candy cane scissors.

This was the first film to open wide in theatres since the pandemic began.

watch the trailer:

Leave a Comment » | Thriller | Tagged: , , , , , , | Permalink
Posted by David Ferguson

TRUE HISTORY OF THE KELLY GANG (2020)

April 23, 2020

 Greetings again from the darkness. The opening title card states “Nothing you are about to see is true” … and then it dissolves, leaving the word ‘true’ as the first word in the film’s title. Of course, some of the things we are about to see are true, though it is a dramatized version with a screenplay adapted by Shaun Grant (BERLIN SYNDROME, 2017) from Peter Carey’s 2000 novel. Director Justin Kurzel (MACBETH, 2015) takes a very artsy and stylistic approach in telling the story of the notorious Australian outlaw, Ned Kelly, while still including the expected violence and brutality.

Opening in 1867 Australia, we first see young Ned Kelly (Orlando Schwert) spying on his mother (Essie Davis, THE BABADOOK, 2014) as she provides service to Sgt. O’Neill (Charlie Hunnam). It’s the kind of service a young boy should never see his mother perform, especially as the father/husband (Ben Corbett) hovers outside the cabin with Ned’s siblings. Life is difficult for the Kelly family. Dad has some issues, so mom does what she has to in order to keep food on the table. Ned’s life and family dynamics change quickly when his dad takes the fall for a crime Ned committed.

Harry Power (played by hefty Russell Crowe) arrives on the scene, and becomes Ned’s mentor in song (a sing-a-long title that can’t be repeated here) and as a bushranger. It’s not long after this when the movie shifts from Ned as a boy, to Ned as a man (played by George Mackay, 1917), who spends a few years away from home. Ned crosses paths with Constable Fitzpatrick (Nicholas Hoult) numerous times, one which results in Ned meeting, and falling for, a young prostitute named Mary Hearn (Thomasin McKenzie, JOJO RABBIT). Ned and Mary return home to visit his mother, and they find she’s now engaged to a younger man, George King (Marlon Williams). George has been teaching his “trade” of horse-thieving to Ned’s brothers, including Dan (played by musician Nick Cave’s son, Earl Cave). It’s at this point we learn about how the Kelly Gang was formed, and why they took to wearing dresses … “Nothing scares a man like crazy.”

There is a lot going on in this story for the tale of a man who was executed at age 25. We see Ned evolve from a curious youngster to a bare-knuckle boxer to an outlaw who became an anti-hero cult icon. Witnessing the father figures he endured leaves little wonder why he turned out the way he did – an angry, cross-dressing outlaw leading the Irish rebellion in hopes of taking down the Crown. Ned is told that “a man can never outrun his fate”, and we know Ned’s fate upfront. We are there as Ned gives a motivational speech to the Kelly gang, and we watch in awe as they self-test their own body armor.

“My Dear Son …” are the first words we hear as Ned writes a letter promising to tell no lies about his history. The letter acts as somewhat of a framing device for the film, and covers the entirety of the Kelly Outbreak, as it’s now referred. There have been numerous projects (movies, mini-series, docu-dramas) over the years, including Mick Jagger (1970) and Heath Ledger (2003) as those who have portrayed Ned Kelly on screen. Director Kurzel and cinematographer Ari Wegner offer up quite a stylish look for this vast wasteland, and even utilizes some Terrence Malick-type editing for effect. Even the closing credit sequence is a work of art. It’s a family affair for director Justin Kurzel, as his brother Jed Kurzel delivers the music, and Justin’s wife Essie Davis plays Ned’s mother. It’s certainly not a typical western, and Ned is difficult to relate to as a character, but the look and style of the film keep us engaged. Perhaps the oddest decision was to have MacKay clean-shaven, as most of us have seen the photos of Ned Kelly and his beard … a beard that seemed to inspire modern day hipsters. Filming took place at Old Melbourne Gaol, which was the actual spot where Ned Kelly was hanged. His last words were: “Such is life.”

watch the trailer:

Leave a Comment » | Drama, Western | Tagged: , , , , , , , , , , , , , | Permalink
Posted by David Ferguson

« Previous Entries