THE FALL GUY (2024, extended version)

May 23, 2024

Greetings again from the darkness. Today’s CGI and special effects can be stunning and awe-inspiring, and clearly movie audiences have come to embrace this approach as evidenced by the success of Star Wars and superhero franchises, as well as plenty of other blockbusters over the past couple of decades. In contrast, stuntman-turned-director David Leitch (BULLET TRAIN, 2022, ATOMIC BLONDE, 2017, JOHN WICK, 2015) and screenwriter Drew Pearce (MISSION: IMPOSSIBLE – ROGUE NATION, 2015) have delivered a throwback by adapting the TV series from creator Glen A Larson, which ran for 112 episodes in the 1980’s.

Two key players from last year’s “Barbenheimer” box office rivalry, Ryan Gosling and Emily Blunt, are the featured players here as Colt Seavers and Jody Moreno. Colt is a renowned stuntman and Jody is a camera operator and aspiring film director. When we first see them on set, Colt is preparing for a dangerous stunt as a double for mega-action film star Tom Ryder (Aaron Taylor-Johnson, BULLET TRAIN). Between shots, Colt and Jody are expounding on their previous flirtations and making plans for the future. The stunt goes wrong. Colt is rushed to the hospital and the film flashes forward 18 months to find Colt working a menial non-stuntman job, and Jody directing her first film, METALSTORM, a sci-fi action thriller.

Jody’s directorial debut also stars Tom Ryder and is produced by fast-talking producer Gail Meyer (Hannah Waddingham, “Ted Lasso”). Gail draws Colt out of retirement and back to the set under false pretenses. Of course, sparks fly again between Colt and Jody, but Gail’s ulterior motive is for Colt to track down the missing Tom Ryder. So, let’s stop here and chat about this movie for a moment. First of all, it’s rare action-comedy-romance-mystery film. It also offers a peek at the structured chaos of a movie set, as well as the diverse personalities of actors, crew, and producers. Possibly what it does best is shine a spotlight on the stunt crew, noted here as the unsung heroes. There is even a crack about there not being an Oscar for stunt work (a topic that’s been debated and discussed at the Academy).

The film certainly benefits from the charisma and talent of Gosling and Blunt, both of whom were nominated for Oscars last year. And Leitch’s film also deserves credit for being an ode to action movies and a love letter to stunt performers. But let’s face it … the story here is pretty thin and seems to exist only to provide a reason for the stream of ideas designed to take advantage of Gosling and Blunt and a few other gags. Drugs that cause unicorn sightings, a running joke about a cup of coffee, a “Miami Vice” jacket, a dog that responds only to French commands, and some ‘on the nose’ music – and familiar sound effects from “The Six Million Dollar Man” all add to the nostalgic feel (along with a Wilhelm scream). And while I join many movie-goers in sharing Colt’s desire to “beat the ____ out of Aaron Taylor-Johnson’s character”, I’ll admit to finding some joy in Tom Ryder riffing on Matthew McConaughey.

The extended version I saw featured an additional 20 minutes to the theatrical version, and it appears most of it was for one particular fight scene being filmed in Jody’s movie. Supporting work seemed a bit sparse for the talented Stephanie Hsu (EVERYTHING EVERYWHERE ALL AT ONCE, 2022), Winston Duke (BLACK PANTHER, 2018), and Teresa Palmer (BERLIN SYNDROME, 2017). What wasn’t sparse was the number of adrenaline-pumping stunts and explosions. Those segments were big fun and a welcome answer to the recent barrage of CGI/Special Effects blockbusters. This one has a throwback feel that bathes us in nostalgia at times, recalling the wild films of Burt Reynolds and Indiana Jones. There is even a late scene featuring the two lead actors (Lee Majors, Heather Thomas) of the old TV series. Whatever you do, stick around for the closing credits to get a look at the actual process behind the stunts included in the film … educational and full of wow factor.

Now showing in theaters and available on Digital.

WATCH THE TRAILER

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Posted by David Ferguson

OSCARS 2024 recap

March 13, 2024

OSCARS 2024 recap

The year of “Barbenheimer” concluded with one of the best and best-paced Oscars ceremonies in recent history. Of course, there were ups and downs … even an awkward Best Picture finale (which isn’t far off from becoming a tradition). Despite the bumps, the show served up plenty of entertainment for movie lovers and very few surprises for followers of the awards circuit.

Talk show host (and overall nasty comedian) Jimmy Kimmel returned as emcee, and his opening monologue set the tone with very little political commentary (other than his support of industry unions) – an approach that most presenters and winners maintained throughout, with only a couple of exceptions. The ceremony was what it should be: a celebration of the year in movies. And as my “Best of 2023” showed, it was an excellent year for a wide variety of film genres.

My favorite movie of the year, OPPENHEIMER, was the night’s big winner with 7 Oscars, including Best Picture. Christopher Nolan’s film is quite an achievement, juggling history, a deep roster of actors, and an era that now seems foreign to most people under 40. However, this film is only half of the “Barbenheimer” label, and the BARBIE faction delivered the showstopper thanks to sparkly pink suit attired Ryan Gosling and his rousing “I’m Just Ken”. It was the kind of spectacle and audience participation moment that will go down in Oscars lore.

There were plenty of other moments worth mentioning. How about Robert DeNiro and Jodie Foster both being nominated again – just like in 1976 (48 years ago for TAXI DRIVER)? Best actress nominee Sandra Huller starred in two foreign language films that were both nominated for Best Features this year. The Academy made the absolutely brilliant decision to replace clips of each acting nominee with a short tribute given live by a previous winner in the category. Let’s hope this tradition is back to stay as it lends an air of intimacy and professionalism. The evening’s first announced winner, Da’Vine Joy Randolph (THE HOLDOVERS), had one of the most heartfelt and emotional responses one will ever witness at an awards show. Hands down, my two favorite scripts of the year won both writing categories, Original (ANATOMY OF A FALL) and Adapted (AMERICAN FICTION). Billie Eilish and her brother and co-writer Finneas O’Connell gave a nice performance (with Barbie pink backlighting) of their nominated and ultimately winning song, “What was I Made For?”.

Comedy kicked in when nominees Emily Blunt and Ryan Gosling offered a tribute to Stunt performers in the form of a competitive rivalry between OPPENHEIMER and BARBIE (their two movies). Two other comedy bits also stood out, one for falling so flat. Presenters Melissa McCarthy and Octavia Spencer pushed an unfunny gag based on Chippendale/Chip ‘n Dale, while John Cena nailed it in his faux-streaker bit. In a touching moment with a comedy background, Robert Downey Jr became the first former “Saturday Night Live” cast member to win an acting Oscar, and his long-overdue recognition reinforced his real-life comeback (thus overshadowing Jimmy Kimmel’s went-too-far monologue attack). The show ended with three of the final four “big” awards going to OPPENHEIMER (Actor, the humble Cillian Murphy; Director, the brilliant Christopher Nolan; and Best Picture). The extraordinary performance Emma Stone gave in POOR THINGS was justly rewarded with the Best Actress award.

As for surprises, I missed out on two winners in my predictions. In the Special Effects category, GODZILLA MINUS ONE bested my pick MISSION: IMPOSSIBLE – DEAD RECKONING PART ONE, and for Cinematography, Hoyte Van Hoytema (OPPENHEIMER) edged out my choice, Rodrigo Prieto (KILLERS OF THE FLOWER MOON).  The latter film, directed by Martin Scorsese, was shut out despite ten nominations, (remarkably) making it the esteemed filmmaker’s third film to go O-for-10 at Oscar. Many expected Lily Gladstone to take home the award for Best Actress in a Leading Role, and as important has her performance was to the film, I remain solid in my belief that Emma Stone’s Oscar-winning performance was transformative and will stand the test of time. 

Overall, I would rate the presentation as pretty darn good, and fitting for a year that featured so many fine films (and, perhaps not coincidentally, so few superhero movies). TV ratings were up, and we hope the Academy can actually stimulate some box office action, rather than exist for the sole purpose of critical bashing. And yes, acting legend Al Pacino gave us a near-MOONLIGHTING disaster as he skipped the listing of nominees and just blurted out “Oppenheimer” to end things. This is one trending tradition that could be skipped and no one outside of the media would mind.

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Posted by David Ferguson

BARBIE (2023)

July 30, 2023

Greetings again from the darkness. A reasonable assumption could be made that a movie based on a doll so popular with pre-adolescent girls would be geared towards that audience. However, this is the era of comic book movies targeting “grown-ups”, and since we know, based on her previous work (the exceptional LADY BIRD, 2017), Greta Gerwig is an intelligent filmmaker, a more reasonable assumption is that she purposefully aimed the movie at women who once played with Barbie dolls and now fill their days with work, family, and adulting. This strategy has proven to be box office gold, and the heavy dose of cosplay at screenings proves the lasting impact this plastic doll has had on many women who lined up for tickets.

Ms. Gerwig co-wrote the screenplay with her real-life spouse and fellow filmmaker, Noah Baumbach (MARRIAGE STORY, 2019), and it’s fascinating to see what they have produced. Whether you find the film entertaining is another matter altogether, yet we tip our cap to the strange, visually-stimulating, and thought-provoking end result. Many will go in-depth on analyzing the gender politics and feminist approach to the story; however, I’m just here to discuss this as a movie, not a movement.

Two-time Oscar nominee Margot Robbie stuns in the opening sequence (a tribute to 2001: A SPACE ODYSSEY) as the original 1959 Barbie. In fact, Ms. Robbie is terrific throughout in this more-challenging-than-expected role. She’s so much more than a pretty face in high heels, as she’s previously proven in a risk-taking career featuring memorable turns in such films as THE WOLF OF WALL STREET (2013), SUICIDE SQUAD (2016), I, TONYA (2017), as Sharon Tate in ONCE UPON A TIME IN HOLLYWOOD (2019), and last year’s underappreciated BABYLON (2022). This time she portrays ‘Stereotypical’ Barbie, whose everyday is perfect in Barbieland. It’s here where we meet a diverse group of Barbies featuring Issa Rae, Alexandra Shipp, Emma Mackey, Sharon Rooney, Dua Lipa, and others. We are also introduced to Ken (two-time Oscar nominee Ryan Gosling, terrific here), whose mood for the day is totally dependent on whether Barbie acknowledges him. An equally diverse group of Kens features Simu Liu, Kingsley Ben-Adir, John Cena, Ncuti Gatwa, and others.

Barbie’s paradise is rocked one day when she begins wondering about death. A trip to “Weird Barbie” (a kooky Kate McKinnon) lets her know that the only cure for this existential crisis is a visit to the human world, where a sad girl is playing with her doll. It’s really an imaginative hook to allow the two worlds to collide. Unfortunately, only bits and pieces of the human world clicked for me (loved the rollerblading at Venice Beach). It makes sense that Barbie is shocked to discover the misogyny and patriarchy ruling the human world, but there are three other elements at play here: Ken discovering that men don’t take a backseat to women in this world, and in fact, they dominate; the corporate office of Mattel plays like a slapstick cartoon with Will Ferrell as a nonsensical CEO; and the mother-daughter duo of America Ferrera as Gloria and Ariana Greenblat as Sasha. The big twist occurs in that latter sequence, and it’s Ms. Ferrera who dishes out the gut punch soliloquy about what’s expected of women and how they are viewed. This monologue is the lesson director Gerwig wants viewers to leave with.

Barbie’s return to a much-changed Barbieland finds Ken and other Kens treating the Dreamhouse like a Frat house. See, the boys have learned how to run things their way … and at its core, that’s my main issue with the movie’s theme. Empowering women is a good thing, but why did Ms. Gerwig feel the need to make everything either a win for the women or a win for the men? I have always thought equality was the goal, not dominance. It’s this approach that gives the film a serious and dark undertone in a quite heavy-handed manner. Sure women enjoy having power. So do men. That’s no great mystery solved, and in fact makes these obvious points somehow more obvious.

Let’s talk about a few other less ominous topics. Helen Mirren delivers an admirable voiceover as the narrator, and a depressed Barbie and Ken’s affinity for horses are nice touches. Two of my favorite segments are Barbie’s first interaction in the human world … a “beautiful” woman on a park bench played by Oscar winner Ann Roth (a renowned Costume Designer who did not handle the costumes for this film), and a conversation with Barbie inventor Ruth Handler (played by Rhea Perlman), who named the doll after her daughter. While I hold firm on my belief that the film is not especially entertaining/fun, I’ll also admit the song and dance around the “I’m Just Ken” number was a hoot. Other than performances from Margot Robbie and Ryan Gosling, the star here is the Production Design from six-time Oscar nominee Sarah Greenwood. The film looks amazing, even if you might get your fill of pink by the end. Barbieland is quite a sight – it’s a shame the rest of the movie didn’t deliver this much fun, and instead pitted men against women.

WATCH THE TRAILER

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Posted by David Ferguson

THE GRAY MAN (2022)

July 15, 2022

Greetings again from the darkness. You’ve likely heard, and maybe used, the old adage, “everything but the kitchen sink.” It’s typically meant to emphasize the inclusion of many unrelated and often unnecessary elements into a conversation or event. It also provides a description of the strategy filmmaking brothers Anthony Russo and Joe Russo have taken with the action sequences in the highest budget Netflix original movie to date. Of course the Russo brothers have directed numerous Marvel movies, including AVENGERS: ENDGAME (2019), so subtlety is never anticipated in their films. If you are curious to know what kind of kitchen sink you get for $200 million, Anthony and Joe show us: lots of guns, a global trek to various countries, more big guns, plenty of characters – some relevant, some not, even larger guns and weapons, lots of rayon, and the destruction of a town square in Prague.

Fans of turbo-charged action films such as the John Wick and Jason Bourne films will likely be quite satisfied with the set pieces, stunts, and manic gun fights and fist fights that are packed into a two-hour run time. There is so much bouncing around the globe that it’s kind of difficult to keep up – especially since there doesn’t seem to be any particular reason for all of the globetrotting (well, other than it’s pretty unusual). I couldn’t keep track of every locale, but we definitely visited Bangkok, Austria, Croatia, and Czechoslovakia. And that’s beyond Washington, D.C., and Langley, where we spend time in dark offices.

Co-director Joe Russo co-wrote the screenplay with frequent Russo Brothers collaborators Christopher Markus and Stephen McFeely, and it was adapted from Mark Greany’s novel (the first in a series). Ryan Gosling stars as Court Gentry, codename Sierra Six, a CIA black ops hit man recruited directly from prison by veteran CIA agent Donald Fitzroy (Oscar winner Billy Bob Thornton). This is Gosling’s first movie in 4 years (FIRST MAN, 2018) and it’s nice to have him back in a role that will recertify his ‘man card’ before next year’s BARBIE movie. As you might expect, Gosling’s Six is cool as a cucumber, popping off quips, and stoic in the face of adversity. In fact, much is made of his character’s ‘street cred’, despite most every scene involving colossal mistakes, should-be death encounters, and enough mayhem to make Allstate jealous. Six is so cool that he has less reaction to being shot or stabbed than I have when I stub my toe on the leg of the bed.

When Six’s mission goes awry due to his human compassion, three things happen. First, Agent Dani Miranda (Ana de Armas) bails him out (the first of a few). Second, his target gives him advice and the always mysterious thumb drive with incriminating evidence; and third, his corrupt station chief, Denny Carmichael (Rege-Jean Page, “Bridgerton”) throws a tantrum and hires a psychopath to track down Six and eliminate him. The psychopath is Lloyd Hansen played by Chris Evans, sporting an evil mustache and resort casual attire. It seems Mr. Evans is having fun with the villainous role that he hopes will put distance between his career and the Captain America role he has embodied for more than a decade. The argument could be made that he overplays his hand here, but he does get to spout the already infamous line, “If you want to make an omelet, you gotta kill some people”.

Other players here include the always terrific Alfre Woodard as a former station chief, Jessica Henwick (Bugs from THE MATRIX RESURRECTIONS), Dhanush as yet another hired assassin, Shea Whigham in flashbacks, and Julia Butters as the ‘damsel in distress’. You might recall Ms. Butters’ scene-stealing turn as the precocious child actor in Tarantino’s ONCE UPON A TIME … IN HOLLYWOOD. This film’s title is derived from the term for a CIA operative who effectively moves around without being noticed or remembered (the opposite of a Kardashian). The ironic thing is that Gosling’s Six is almost never undetected. He is frequently in fights, shootouts, car chases, and either causing or escaping explosions. Even the Russo’s “gray” lacks subtlety! It makes perfect sense that the film’s cinematographer, Stephen F Windon, is best known for his work on multiple entries in “The Fast and the Furious” franchise. Here he employs some supersonic drone shots in order to add further hyper-activity to the proceedings. Again, this one is for extreme action fans, not those looking for a brainy spy-thriller.

Opens in theaters on July 15, 2022 and on Netflix beginning July 22, 2022

WATCH THE TRAILER

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Posted by David Ferguson

FIRST MAN (2018)

October 11, 2018

 Greetings again from the darkness. “That’s one small step for [a] man, one giant leap for mankind.” Every junior high student learns that Neil Armstrong spoke those words when he became the first person to walk on the moon’s surface in 1969. So while his words are etched into our minds and the televised visuals of the historic event are seared into our corneas, most of us know little of the man who is renowned as an American hero. Director Damien Chazelle (LA LA LAND, WHIPLASH) finds a way to personalize a man’s story without sacrificing the corresponding grandiose theatre and immense danger.

Kicking off with one of the most intense cinematic sequences ever, the film puts us inside the cockpit of a test flight with Armstrong in 1961 as he bounces off the atmosphere and rockets towards near certain death. This opening makes the statement that this is no ordinary man, and this is no ordinary movie … and we are now prepared to hold on tight! Based on James R Hansen’s book, the only biography Armstrong authorized, the script from Oscar winner Josh Singer (SPOTLIGHT) expertly balances the test pilot/astronaut portion with the character study/personality of the man. Intensity is on display throughout – whether in a capsule or during family time.

Ryan Gosling stars as Neil Armstrong, and the story tracks him from 1961 through that famous moment in 1969. What we see is a man who was first an engineer, and then a pilot. A man whose intellect and nerve allowed him to be part of the second group of pilots selected for NASA’s astronaut program in 1962. The first group was the Mercury Seven. He was also a man emotionally devastated by the death of his young daughter Karen (from a brain tumor) and the numerous deaths of friends and associates in the space program. The film clearly shows how he was impacted.

Proving true JFK’s proclamation that the driving force wasn’t that it was easy, but rather that it was quite hard (and dangerous), we glimpse some of the inner workings of NASA, and what becomes clear that the space program was high stakes gambling filled with huge risks – all for a space race against the Russians that was motivated by ego and national pride. Daily danger was part of the job, as was the claustrophobia that comes with sitting in tin can space capsules being monitored by computers far less powerful than the cell phone you are likely using to read this.  Armstrong’s claustrophobia somehow seemed less apparent during his flights than during press conferences or sitting at the kitchen table with his family – providing even more insight into the man.

Claire Foy (“The Crown”) plays Janet Armstrong, the strong-for-the-kids while suffering-in- (mostly) silence homemaker wife. Ms. Foy does a nice job of conveying the emotional turmoil that goes with being an astronaut’s wife, and having no one to share the uncertainty and worry with. Jason Clarke plays Ed White, the first American to walk in space (Gemini 4) and Armstrong’s neighbor and close friend. Olivia Hamilton plays his wife Pat, while Kyle Chandler plays Deke Slayton, and Corey Stoll offers up a not so complimentary portrayal of Buzz Aldrin. Other familiar faces in the cast include Shea Whigham as Gus Grissom, Christopher Abbott as Dave Scott, Pablo Schreiber as Jim Lovell (played by Tom Hanks in APOLLO 13), Ethan Embry, Ciaran Hinds, Patrick Fugit, Lukas Haas, Cory Michael Smith, Brian D’Arcy James, and Leon Bridges.

Meticulous attention to details of the era include kids that actually ask to go play outdoors (and aren’t overly impressed with astronaut dads). The sound design and set designs are phenomenal and complement the outstanding cinematography of Linus Sandgren (Oscar winner for LA LA LAND). The abundance of close-ups allow for an intimacy that makes the awe-inspiring space sequences even more breath-taking. Actual historic space audio is used whenever possible, and director Chazelle doesn’t shy away from showing us the “other side” of the space program: Gil Scott-Heron’s “Whitey’s on the Moon”, writer Kurt Vonnegut publically questioning the program, and many citizens wondering why so much money is being spent on rockets while there were so many other areas (including Vietnam) in need of attention.

The humor is often quite sly, including a scene where his competitive applicants shrug off Armstrong as only a “Civilian”, unaware of his remarkable service and record in the Korean War as a Navy Fighter Pilot. Gosling’s quietly intense portrayal of Armstrong could be termed constrained, but it’s quite fitting given his subject. Composer Justin Hurwitz (Oscar winner for LA LA LAND) delivers and unusual but fitting score, and we can’t help but realize this would make a terrific trilogy bookended by THE RIGHT STUFF (1983) and APOLLO 13 (1995). Chazelle presents a fitting bio of a true American hero (and yes, we can see the flag on the moon), while also giving us a look at the harrowing process of putting folks into space. It’s on us to decide if it’s worth it, but leaves no doubt that President Kennedy was right … it is hard.

***On a personal note, I attended the first year of Edward H White Middle School in San Antonio, and his widow Pat White came to the Grand Opening. I vividly remember what a classy lady she was and how proud she was of her husband.

watch the trailer:

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Posted by David Ferguson

BLADE RUNNER 2049 (2017)

October 4, 2017

 Greetings again from the darkness. Ridley Scott’s original film was released in 1982 and based in 2019. The highly anticipated sequel from Denis Villenueve is being released in 2017 and based in 2049. So we have 35 years between films, and 30 years between story settings. Expect that to be the most complicated part of this review since we were mandated by the studio to follow many rules – write this, don’t write that. Such rules would normally be frowned upon (and even ignored by many), but in fact, this film does such a masterful job of paying homage to the first, while enhancing the characters and story, that we are eager for every viewer to experience it with fresh eyes and clear mind … no matter how tempting it is to talk about!

Obviously, the massive fan base that has grown over the years (the original was not an initial box office hit) will be filling the theatres the first weekend – even those who are ambivalent towards, or adamantly against, the idea of a sequel. The big question was whether screenwriters Hampton Fancher (maybe every writer should begin as a flamenco dancer) and Michael Green would be able to create a script that would attract new viewers while honoring the original film and source Philip K Dick novel, “Do Androids Dream of Electric Sheep?” The answer is not only a resounding yes, but it’s likely even those who usually shy away from science-fiction may find themselves thoroughly enjoying the nearly 2 hours and 43 minute run time (it doesn’t seem too long).

The cast is deep and perfectly matched, and there are even a few surprises (no spoilers here). Ryan Gosling is fun to watch as the reserved K, an expert Blade Runner who tracks and “retires” old model replicants – the Nexus 8’s have been replaced by the more-controllable Nexus 9’s. An early sequence has K in combat mode against a protein farmer named Morton (played by the massive Dave Bautista). With all that is going on in these few scenes, director Villenueve is training us to lock in and pay attention, lest we miss the key to the rest of the movie and K’s motivation for most everything he does from this point on. Robin Wright plays K’s icy Lieutenant Joshi, who administers “baseline” tests to him after every successful mission – just to make certain he is still under her control.

Jared Leto delivers an understated and mesmerizing performance as the God-like Wallace who not only managed to solve global hunger, but also is a genetic engineer creating new beings. Somehow, this is one of Leto’s most normal roles (which makes quite a statement about his career) and yet his character is so intriguing, it could warrant a spin-off standalone film. Wallace’s trusted assistant is the ruthless bulldog mis-named Luv, played by Sylvia Hoeks. Her scene with Robin Wright is one of the best onscreen female duels we’ve seen in awhile. One of the more unusual characters (and that’s saying a lot) is Joi (Ana de Armas), the Artificial Intelligence/hologram companion to K, whose presence is cued by Prokofiev’s Peter and the Wolf notes. Other support work to notice comes in brief but crucial roles by Hiam Abbas, Mackenzie Davis, Carla Juri, Barkhad Abdi and Lennie James.

Who is not listed above? Of course it’s Harrison Ford (as seen in the trailer), who reprises his Deckard role from the original. All these years later, he’s a grizzled recluse who doesn’t take kindly to home visitations. Mr. Ford offers up proof that he still possesses the acting ability that made him a movie star (even if his best piloting days have passed him by). It’s such a thrill to see him flash the screen presence that’s been missing for many years. And yes, fans of the first film will mourn the absence of the great Rutger Hauer, yet there is no need to dwell on one of the few negatives.

The story leans heavily on philosophical and metaphysical questions … just like every great sci-fi film. What makes us human, or better yet, is there a difference between humans and machines that can think and feel? Can memories be trusted, or can they be implanted or influenced over time? These are some of the post-movie discussion points, which are surely to also include the cutting edge cinematography and use of lighting from the always-great Roger Deakins, and the production design from Dennis Gassner that somehow fits the tone, mood and texture of both the first film and this sequel. The set pieces are stunning and sometimes indistinguishable from the visual effects – a rarity these days. My theatre did feature the “shaky seats” that work in conjunction with the sound design … a gimmick I found distracting and more in line with what kids might find appealing.

There was some unwelcome drama a couple of months ago as noted composer Johann Johannsson dropped out and was replaced with Hans Zimmer and Benjamin Wallfisch. The resulting score complements the film without mimicking the original. Ridley Scott, who directed the original BLADE RUNNER (and its numerous versions over the years), was involved as Executive Producer, and to put things in perspective, the first film was released the same year as TOOTSIE and TRON. Denis Villenueve was Oscar nominated for directing ARRIVAL, and he has proven himself to be a superb and dependable filmmaker with SICARIO, PRISONERS, and INCENDIES. He deserves recognition and respect for his nods to the original (Pan Am, Atari) and ability to mold a sequel that stands on its own … and in my opinion, is better than the first. Hopefully stating that is not against the Warner Bros rules.

watch the trailer:

 

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Posted by David Ferguson

LA LA LAND (2016)

December 10, 2016

la-la-land Greetings again from the darkness. Is this a nostalgic throwback to the movie musicals of Stanley Donen and Fred Astaire, or is it a contemporary film designed to revitalize the movie musical genre in an era dominated by superheroes and sci-fi? However you might choose to label writer/director Damien Chazelle’s follow-up to Whiplash (2014), it’s clearly one of the best and most entertaining movies of the year.

While the opening credits are still rolling (“Presented in CinemaScope” being the first gag), the film kicks off with its only large scale (think Busby Berkeley on a L.A. freeway rather than in a swimming pool) musical production, “Another Day of Sun”. It’s also the first of 3 less-than-warm-and-fuzzy “meetings” between the two lead characters before they finally click.

Emma Stone and Ryan Gosling light up the screen with the same incredible chemistry they displayed in Crazy, Stupid, Love (2011). Mia (Ms. Stone) is a struggling actress-wannabe working behind the counter at the Warner Brothers studio coffee shop. Sebastian (Mr. Gosling) is a pianist committed to the traditions of jazz music … even as he toils in a club playing mainstream tunes for folks who aren’t even listening.

As their relationship develops, we are treated to a tap dance number in the Mulholland Drive moonlight. Soon, Sebastian (either a brooding Gene Kelly or a dancing James Dean) is forced to make a choice between finding a way to open his own jazz club or compromising his integrity by making lots of money joining a “hot” band (led by John Legend), while Mia is focusing on auditions and her writing (which leads to a disastrous one-woman show).

Director Chazelle and cinematographer Linus Sandgren create a look in line with Singin’ in the Rain, but a tone more suited to A Star is Born. There is no shortage of romance and music, but it’s equally balanced with melancholy, foolish dreams, and shattered hopes. While it’s an homage to old Hollywood, Los Angeles and movie musicals, it seems to gracefully swing between past and present – and reality and fantasy.

Mia has a bedroom wall mural of Ingrid Bergman, while Sebastian treasures his piano stool that once belonged to Hoagy Carmichael … two more examples of past and present intertwined. Ms. Stone and Mr. Gosling possess solid (not exceptional) singing voices, which aids in having the songs tell their story. Ms. Stone is quite a talent, and especially stands out in her audition scenes … we feel her pouring her heart out to casting agents who may or may not even be paying attention. It’s remarkable work from her.

Supporting work is provided by Rosemarie DeWitt (as Sebastian’s sister), JK Simmons (as a club owner and Sebastian’s boss), Finn Wittrock (as Mia’s boyfriend) and Damon Gupton. Also in supporting roles would be the Griffith Observatory (after a Rebel Without a Cause viewing), the Los Angeles scene, and the Warner Brothers lot.

The “What Could Have Been” ending sequence is top notch filmmaking in all aspects, and perfectly caps a movie that drips with nostalgia … while also being touching, funny, and downright fun. Watching this film is much like going through the ups and downs of a relationship, and rather than a fairy tale, it’s a painful jab at “the one who got away”. It deserves to be seen on the big screen – enjoy the full palette of colors and the full spectrum of emotions (love and heartbreak, frustration, anger, and utter joy). This is one to tell your friends about … don’t wait for them to tell you.

watch the trailer:

 

 

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Posted by David Ferguson

THE NICE GUYS (2016)

May 29, 2016

nice guys Greetings again from the darkness. Shane Black sold his first screenplay at a very early age which led him to become something of a phenom with the success of that film, Lethal Weapon (1987). Later, he disappeared from Hollywood for about 10 years before resurfacing in 2005 by directing his own terrific script with the immensely entertaining Kiss Kiss Bang Bang (my favorite movie of that year), and then hitting big-budget time with his script for Iron Man 3. This time, Mr. Black (directing and co-writing with Anthony Bagarozzi) returns to the detective-farcical-comedy-mystery-action genre and even adds an element of being a 1970’s period piece.

Black’s rapid-fire wise-cracks were perfect fits for Mel Gibson and Robert Downey Jr, and for this project he’s working with Ryan Gosling and Russell Crowe … both fine actors, though neither known for their comedic work. What’s clear from the beginning of the film is that both Gosling and Crowe are fully committed to the material and their respective characters. Gosling plays a boozy Private Detective and single dad who just can’t quite get things right, while Crowe plays a hired-hand bruise type – think of his Bud White in L.A. Confidential (1997), only with an extra 50 pounds (or did he borrow Eddie Murphy’s Norbit fat suit?) and a lot of miles. These two damaged boys play off each other very well, and with Black’s dialogue and visual gags, the film provides a good number of laugh out loud moments … more silly than the sophomoric humor that’s so pervasive at multiplexes these days.

Of course for comedy to really click, there needs to be some type of story to follow. In the opening scene a young boy (Ty Simpkins) watches as a car slams through his house, culminating with a “model/actress” named Misty Mountains meeting a not-so-pleasant ending. We then learn that Gosling’s Holland has been hired to find Amelia (Margaret Qualley), who bears an uncanny resemblance to Ms. Mountains – with two significant exceptions. Simultaneously, Amelia has hired Crowe’s Jackson to convince Holland to stop searching for her. Soon enough, Holland and Jackson are working together on the “case” that mixes in the Auto industry (Big 3), Porn industry, Justice Department (government conspiracies), environmental protestors, Killer Bees, LA parties, LA smog, The Waltons (John Boy), The Rockford Files, Detroit, and Richard Nixon … all hot topics in this 1977 era.

As much as the story is needed, it really doesn’t much matter. This is a movie of moments … some of them featuring funny words, while others focus on pretty astute physical comedy. Gosling (and his stunt double) provides some pretty impressive gags as he is bounced and slammed around for most of the run time. The surprising heart of the film … and moral core … is Holland’s daughter Holly played by Angourie Rice. Despite the title, she is really the only “nice guy” in the whole film, and her good-hearted nature keeps us rooting for Gosling and Crowe, despite their flaws.

Other support work comes from Matt Bomer as a “John Boy” hit man, Keith David, Lois Smith, Yaya DaCosta (quick, name another Yaya), Beau Knapp (as the toothy Blueface), Jack Kilmer (Val’s son as a “projectionalist”), and Kim Basinger (re-teaming with her LA Confidential co-star, Crowe). Also playing a significant role are the mid-to-late 1970’s vehicles, the period music and houses and décor that puts us right in the moment, and the clothes and hairstyles that are sure to inspire a chuckle or two.

Fans of Lethal Weapon and Kiss Kiss Bang Bang will surely find plenty of laughter here … despite one of the worst trailers in recent memory and even if the film is lacking the one thing it advertises – nice guys.

watch the trailer:

 

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Posted by David Ferguson

THE BIG SHORT (2015)

December 24, 2015

big short Greetings again from the darkness. Since there are so few subjects more hilarious than the 2008 financial crisis, let’s get the writer/director of Anchorman and Step Brothers to adapt the Michael Lewis best-selling book. OK, so it’s improbable that was the thought process, but kudos to whomever was responsible for bringing Adam McKay to the project. Before you go assuming it’s a poor fit, it should be noted that McKay is also one of the creative minds behind “Funny or Die”, a site filled with political and social satire. It’s that satirical approach that makes this explanation of what went wrong so accessible to the masses. Make no mistake … this is entertaining and educational and thought-provoking and nauseating and infuriating and funny and disheartening.

If the film were described as a tutorial on MBS (Mortgage-backed Securities), CDO (Collateralized Debt Obligations), Credit Default Swaps, Tranches, Bond Ratings, and Sub-Prime ARMs, most people’s eyes would glaze over and they would keep skimming for showtimes of other new movie releases. In truth, it is those things – and so much more. This is the story of how the housing market collapsed leading the government to the massive bailout that saved some of our largest financial institutions … and how a small group of people recognized what was happening and literally bet against the U.S. economy. It follows the bread crumbs to re-assemble the slow process of spotting the fault in the analysis that lead to massive corruption that finally crossed over into systematic fraud … and does so by using creative presentation approaches like a Bond Rating game of Jenga, and celebrity snippets for definitions and examples.

Ryan Gosling stars as Jared Vennett (based on Greg Lippmann), a slick Deutsche Bank trader who acts as our guide through the muck of shorting securitized mortgages, while simultaneously working the system for his personal benefit. He works with Mark Baum (a character based on Steve Eisman, played by Steve Carell) who manages FrontPoint Partners, and Baum’s team played by Rafe Spall, Hamish Linklater and Jeremy Strong (whom you might remember as Lee Harvey Oswald in Parkland). While this is going on, there are two other similar story lines we are following. The first is Christian Bale playing hedge fund manager and savant analyst Dr. Michael Burry at Scion Hedge Fund. Burry is often cited as the first to recognize the impending collapse and invest against the market. Finally, we have the “garage band” investment company based on Cornwall Capital run by (names changed) Jamie Shipley (Finn Wittrock) and Charlie Gellar (John Magaro) with a big boost from former trader Ben Rickert (played by Brad Pitt in a role based on Ben Hockett). The stellar cast is rounded out by Marisa Tomei as Baum’s concerned wife, Tracy Letts as the head of Scion, Max Greenfield and Billy Magnussen who play cocky and clueless subprime mortgage brokers, and Melissa Leo who plays a Standard & Poor’s employee.

It’s difficult to tell this story without casting blame, and few escape the wrath of Lewis, McKay and co-writer Charles Randolph. Those absorbing shots to the bow include: the Federal Reserve, the SEC, Rating Agencies, big Banks and Investment firms, Fund Managers, Traders, Realtors, and Mortgage Brokers. Companies specifically named include JP Morgan Chase, Bank of America, Deutsche Bank, Barclays, Merrill Lynch, Goldman Sachs, WAMU, Option One, Lehman Brothers, Bear Stearns, and The Wall Street Journal. The point made is that the problem goes/went beyond greed, and is/was truly system-wide, with each segment protecting themselves and their turf. Somehow the name Barney Frank is not mentioned, and FNMA and FHLMC escape mostly unscathed, while CRA lending requirements are not discussed.  It’s not politically correct (and not mentioned here) to question why so many borrowers who couldn’t pay their rent regularly accepted loans that they knowingly couldn’t afford to repay. But that’s a topic for another time.

With full disclosure, I will admit to having been in the mortgage business for 18 years. Though I was never involved with subprime loans, I will always disagree with the stance that the industry and institutions were not aware of the risk and impending collapse. It was common knowledge that “no doc” loans were absurd, and the adjustable rate schedules and prepayment penalties for subprime (and some conventional) loans were beyond impractical and more like homicidal (from a lending perspective). In the film, Baum interviews an exotic dancer who owns multiple homes … all loans made with minimal documentation due to the cash basis of her business. The terms of the loans set her, and other similar borrowers, up for financial ruin … right along with the housing sector and economy. The subprime mortgage brokers portrayed by Max Greenfield and Billy Magnussen may seem cartoonish, but Baum’s confusion with their “confession” versus “bragging” is spot on. There were many just like these two clowns who considered themselves “rock stars”, when in fact, there were really “bartenders who now own a boat”.  These weren’t the type to question whether the loans made sense … only how many could they close to pad their 5 and 6 figure per month income levels.  Of course, in defense of these morons, it was the banks and lenders who designed the loan programs to “feed the machine” with more and by necessity, higher risk loans … to the point where it was no longer possible to spread the risk wide enough for protection. Hence, the collapse.

By the end of the movie, you should expect to have a headache and feel quite cynical towards the system. Despite the humor interjected by quick-hit segments from Margot Robbie, Selena Gomez and Anthony Bourdoin, the seriousness of the topics is more than bubble baths, blackjack and fish stew. The film leaves us angry and nauseous from what happened in 2008, but more importantly questioning … Has anything changed? Have we learned anything? These answers are likely to cause a more sickening reaction than looking back seven years.

A recommended Economic Movie Marathon would include: Inside Job (2010 documentary from Charles Ferguson), Margin Call (2011, JC Chandor), The Big Short (2015, Adam McKay), and 99 Homes (2015, Ramin Bahrani)

watch the trailer:

 

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Posted by David Ferguson

MY LIFE DIRECTED BY NICOLAS WINDING REFN (2014, doc)

March 2, 2015

My Life Directed by Greetings again from the darkness. For those of us born without the “creative” gene, it can be quite intriguing to get even a quick peek behind the curtain of an at-work auteur or creative genius. Blend in the highly stressful family dynamics of having one’s spouse behind the camera for this peek, and it shoots right past intriguing and into the realm of captivatingly mandatory viewing … and provides double meaning to the title.

Nicolas Winding Refn is the creative force behind such films as Drive (2011) and Bronson (2008). Now elevated from his status as cult-favorite, this behind-the-scenes documentary explores his pressure and anxiety of the next project (Only God Forgives) – one the director proclaims “is not Drive 2”. While that is more than sufficient for a premise, this one adds the unique complexity of having NWR’s wife direct and shoot the documentary.  Because of this, we gain a highly unusual look at the added stress of personal and family life, as the whole family (including their two daughters) spends six months in Bangkok.

The film begins with an odd sequence showing legendary director Alejandro Jodorowsky (El Topo) reading tarot cards at the request of NWR. The resulting advice is that success can change an artist’s approach, and in a quite off-setting moment, Mr Jodorowsky directly addresses Liv Corfixen (as she films) and admonishes her to support her man. This certainly sets the stage for the relationship strains during production and up to the Cannes premiere of Only God Forgives.

“How to make a movie” is not the focus here, though we do see the storyboarding and some director-actor interactions (Ryan Gosling, Kristin Scott Thomas). Rather, the camera lens is aimed at what impact making a movie has on the director and his family.  He struggles with “what the audience wants” (more Drive) versus “what the artist wants”. A key line from NWR is “It would be boring if we all made the same films”.  And therein lies the motivation and challenge for a true auteur – how to remain true to one’s artistic vision, while still remaining commercially viable (a requirement if one wishes to continue creating).

Ms. Corfixen doesn’t shy away from filming the many moods and insecurities of her husband … sometimes filming him in bed, hinting that remaining there might be an option. We see the confidence of the director on set, but more interestingly, his ups and downs, and his various happy-depressed-angry moments while in the privacy of the family apartment (well as private as it can get with a camera in one’s face).

Being a film director is an odd combination of processes – both collaborative and solitary. Having one’s family along for the ride brings an added challenge that taxes one’s patience. Performing all of this with one’s spouse filming most of it exposes parts of one’s character and make-up that most of us would prefer stay hidden from public consumption. Upon reflection, maybe it is an effective starter kit for “how to make a movie”.

watch the trailer:

 

 

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Posted by David Ferguson

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