BEAST (2022)

August 18, 2022

Greetings again from the darkness. Movies featuring man versus beast date back to at least 1933 with KING KONG, and have proven to be fan favorites many times since, likely peaking with JAWS in 1975. Of course, this sub-genre has also produced too many flops to count as low-budget filmmakers have attempted to capitalize with the cheap-thrills approach to entertainment. Director Baltasar Kormakur has previously flashed his skill with nature thrillers ADRIFT (2018) and EVEREST (2015), and here he’s working from a script and story by Ryan Engle (NON-STOP, 2014) and Jaime Premak Sullivan (BREAKING IN, 2018). It’s tempting to call this one ‘Cujo as a lion’, as a tip of the cap to the 1983 adaptation of Stephen King’s horror-novel, but there are many reasons not to do so.

Idris Elba plays Dr Nate Samuels, a man taking his daughters to the African savannah area where he met their mother many years prior. The mom recently passed away from the effects of cancer, and since mom and dad had separated the year before, there is tension between dad and daughters, especially the eldest, Meredith (“call me Mere”), who holds him responsible for not being there for mom. Mere is played by Iyana Halley, and younger sister Norah is played by Leah Jeffries. We quickly learn these are smart girls, spoiled by privilege and dumbfounded at the lack of Wi-Fi and cell phone coverage miles from nowhere.

Nate’s old buddy Martin (Sharlto Copley) manages the protection of local wildlife and will act as their guide. One of the first sequences we see is poachers wiping out a pride of lions. However, they missed the alpha male and he is now out for revenge against all poachers … only he, like so many these days, can’t tell the difference between the good guys and the bad guys. This puts Nate and the girls in danger, especially after Martin is seriously injured. Director Kormakur pulls the old “Jaws” trick by keeping the lion out of sight for a while, building suspense. Once he begins attacking, the lion is in full view for much of the film. Of course, lions are wild animals and cannot be trained to act, so what we really see are computer-generated lions with terrific growling sound effects.

The lion attacks are ferocious and do provide a certain level of fun tension with numerous jump-scares, and many will find this sufficient for movie entertainment. However, for those who want a bit more, the plot, dialogue and character decisions are often absurd and ludicrous – generating laughter where they shouldn’t. Despite much of this being computer-generated, the work of Oscar winning cinematographer Phillippe Rousselot (A RIVER RUNS THROUGH IT, 1992) should be noted … it looks and feels like we are in the wild bush. The four main actors are fine, although Mr. Elba’s contemplative physician transforming into quasi-superhero is a bit difficult to take. Mere’s donning a JURASSIC PARK t-shirt is a nice try, but this one has more in common with Liam Neeson fighting off wolves in THE GREY (2017).

Opens in theaters on August 19, 2022

WATCH THE TRAILER

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Posted by David Ferguson

TED K (2022)

February 17, 2022

Greetings again from the darkness. It’s been more than 25 years since The Unabomber was arrested. The composite sketch of Theodore John Kaczynski wearing sunglasses and a hoodie became an iconic image on its own, and he was the target of the longest and most expensive manhunt in the history of the FBI. There have already been two crime series focused on Kaczynski. Netflix aired “Unabomber: In His Own Words” (2020) and Discovery had “Manhunt: Unabomber” (2017). Do we need to know more about this monster whose bombs killed 3 people and injured 22 others over a 17-year period? Well, writer-director Tony Stone and co-writers Gaddy Davis and John Rosenthal believe so.

A prologue with text details most of what we already know – Kaczynski was a Harvard educated math genius who dropped out of society and moved to the Rocky Mountains in Montana. Following that, the opening sequence sets the stage as we see Kaczynski hiding in the forest eyeing a family zipping around on snow mobiles. This is all accompanied by Blanck Mass music that falls into the category I call ‘doom-droning’. It’s ominous music so blatant that no one could possibly think anything good is about to happen. And of course, nothing good does happen.

Sharlto Copley (DISTRICT 9, 2009) stars as Kaczynski, and if there is a complaint to be made against this movie, it’s that Copley’s performance is so strong that we begin to see this monster as a human being. Living 25 years in a ten by twelve-foot backwoods cabin he built with his brother, Kaczynski doesn’t make the case for nature vs nurture, but rather nature vs tech intrusions. He seems mostly fine in his isolation until disturbed by the seasonal snow mobiles, four-wheelers, jet noise, or ongoing lumber harvesting. Of course, he was never really fine. He was a sexually frustrated misogynist who became a dysfunctional and delusional and dangerous man. In a voiceover, he states, “I act merely for my desire for revenge.”

Much of the film is pulled directly from the 25,000 pages of coded journals found in the cabin. The deluded thoughts of a man who considered modern technology to be evil and used a hit list to identify the targets for his homemade bombs … bombs that often injured unintended victims. Copley plays him as a wide-eyed guy with the expected undercurrent of intelligence masked by one so unhinged he personally delivers his complaint letter to the customer service desk of the phone company – over a few dimes and quarters lost over time.

The film was shot on location on the Montana land owned by Kaczynski. The cabin has been expertly recreated and cinematographer Nathan Corbin does a terrific job in catching the beauty of nature, as well as the elements that so bothered Kaczynski. Frequently wearing sunglasses and riding his bicycle into town to visit the library, we also see him listening to classical music on the radio – and begging his mother and brother (the one who tipped off the FBI) for money (to finance his bombing trips). The film is well written, professionally directed, expertly photographed, and well performed. However, I can’t shake the uneasiness over whether we really want to see one of our most unconscionable monsters humanized to this degree.

In theaters and On Demand beginning February 18, 2022

WATCH THE TRAILER (Caution: RED BAND)

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Posted by David Ferguson

GRINGO (2018)

March 8, 2018

 Greetings again from the darkness. In a perfect cinematic world, great acting elevates a terrific script. However, the best case scenario for a weak script, or in this case a messy one, is that it can be offset by acting. Fortunately for director Nash Edgerton (it’s been 10 years since his underappreciated THE SQUARE), he has assembled such a quality cast that what amounts to little more than organized chaos is mostly watchable – even if it’s not consistently entertaining.

The cast is loaded with international talent from Australia, England, South Africa and Latin America. David Oyelowo, far removed from his Martin Luther King role in SELMA, stars as Harold/Harry, a Nigerian immigrant just trying to do his job and live his life according the morals and work ethic instilled by his father. Harold is the trusting type who believes that his free-spending wife is faithful and that his boss is his friend. That boss is Richard Rusk (we should call him Dick) played by Joel Edgerton (the director’s brother), and together with Charlize Theron as his Executive VP Elaine, combine to exemplify modern day douche-baggery.

The story revolves around the formula for a medicinal marijuana pill that their company is making, and the secretive proposed merger being ironed out. To clean up the books for the audit, Richard and Elaine travel to Mexico to convince their supplier to stop the illicit sales to a local drug lord. They bring the unaware Harold along for his contacts. The turmoil that follows includes a faked kidnapping and staged ransom phone call, two local hotelier brothers scheming for a big take, an American tourist couple with conflicting reasons for their trip, DEA involvement, a grown-up tantrum, an un-retired mercenary on a mission, and an ongoing argument over the best Beatles’ album. And you wonder why I described it as messy?

Of course, rarely if ever does staging one’s own kidnapping go well, so we know Oyelowo’s Harold is in for a rough and tumble ride. Multiple car chases turn into multiple car crashes, guns are fired, tequila is consumed, and backs are stabbed – in the proverbial sense. Oyelowo seems to be enjoying his trip outside of movie drama, and Edgerton and Theron do their best to create savage jerks. Sadly, Ms. Theron’s character sets the women’s movement back a few years with her sexual boardroom viper approach. On top of that are the stream of fat and ethnic jokes that would make Archie Bunker cringe.

Co-writers Matthew Stone (muck like BIG TROUBLE, MAN OF THE HOUSE) and Anthony Tambakis (the compelling WARRIOR) are responsible for delivering a script that tries so hard to be too many things: action, comedy, satire, white collar crime, and an expose of greed and lack of integrity. The deep cast also includes Thandie Newton (as Harold’s wife), Melonie Diaz (as Rusk’s receptionist), Amanda Seyfried as the aptly named Sunny and Harry Treadaway as her misguided boyfriend, Diego Catano and Rodrigo Corea as the brothers running the motel, Yul Vasquez as Angel, Alan Ruck as the schmuck who falls for Elaine’s wiles, Carlos Corona as the drug lord Black Panther (talk about bad timing!), Michael’s daughter Paris Jackson in her film debut, and a standout as always, Sharlto Copley as the brother-mercenary-humanitarian. As is often said, it’s better to be good at one thing, and though this one brings a few laughs and some creative moments, it’s mostly an overblown mess that aims to high – or at too many targets.

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Posted by David Ferguson

FREE FIRE (2017)

April 19, 2017

 Greetings again from the darkness. Searching back through more than a decade of film reviews, I can confirm that the phrase “slapstick shootout” has not previously been part of my movie lexicon … which is a relief since it could never be more accurately placed than in description of this latest from the husband and wife filmmaking team of director Ben Wheatley and writer Amy Jump (prior works include High-Rise, Kill List and a few others). The zingers are plentiful – both in bullets and dialogue. It’s unlikely you’ve ever laughed as much during such a violent/gory/graphic assault on the senses (especially auditory).

Set in 1978 Boston, which allows for added humor via music, attire, hairstyles and vehicles, the basic premise is a meet-up for the deal between an IRA faction and a gun-dealer, with the brokers and “muscle” of each side along for the ride. When cases of AR70’s are presented instead of the ordered M16’s, the deal gets a bit shaky until cooler heads prevail. That is until one of the gun-runners recognizes an IRA guy as the one who disrespected his 17 year old cousin the night before. It’s at this point that the film cranks to a frenzy that would make the Mayhem commercial guy proud. It’s the visual definition of a cluster.

A stand-off and shootout occurs (with side deals and betrayals) over the next hour and yet the early comical dialogue somehow becomes next level great despite bullets whizzing through a terrific setting in an abandoned umbrella warehouse. Unlike in some movies, these bullets inflict pain (and the subsequent cries and wails). The characters continue to banter and threaten one another, all while dragging their lead-induced injuries across the dusty floor between various forms of protective shields strewn about the warehouse.

Normally I would concentrate on the major characters, but most everyone involved in the deal-gone-bad has at least a couple of memorable lines and moments. The gun-runners are led by Sharlto Copley as Vernon, a cocky, mouthy South African whose dialect sounds an awful like New Zealander Murray in the classic TV gem “Flight of the Conchords”. In a movie that seems impossible to steal, Copley comes the closest and his Vernon would make a perfect Halloween costume and annoying party guest. His cohorts are Marion (Babou Cesay), Gordan (Noah Taylor, Max 2002) and Harry (Jack Reynor, Sing Street, 2016). The IRA group is led by uptight Chris (Cillian Murphy), Stevo (a hilarious Sam Riley, Mr Darcy in Pride and Prejudice and Zombies), Frank (Michael Smiley) and Bernie (Enzo Cilenti). The two deal brokers are the ultra-debonair Ord (Armie Hammer) and the lone female Justine (Brie Larson). It’s a terrific cast having a ridiculously good time with a creative and rollicking script.

Know going in that the film is a very hard R-rating for violence, drug use (in the middle of the shootout), and a bounty of flowing F-words. It’s neither for the faint of heart nor those who take their standoffs too seriously. Director Wheatley employs a vast array of unusual camera angles to ensure the action never looks boring, and his use of secondary and tertiary sound (especially with dialogue) is expert and dizzying at times. Don’t expect too many layers or sub-plots. It’s simply a shoot ‘em up romp capitalizing on black comedy to the nth degree. John Denver might not have approved of the use of his song, and just remember, “We can’t all be nice girls”.

CAUTION: this is the RED BAND trailer and is NSFW or Kids:

 

 

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Posted by David Ferguson

THE HOLLARS (2016)

September 8, 2016

the-hollars Greetings again from the darkness. John Krasinski’s second film as a director mines the all too familiar territory of dysfunctional family life … only the script from Jim Strouse takes it a step further by burdening each character with their own special form of advanced personal dysfunction. The saving grace here is the always dependable Margo Martindale who anchors the gaggle of struggling men in her life.

Richard Jenkins plays Margo’s husband – a husband quick to cry and slow to recognize most any situation. Sharlto Copley plays their oldest son who is living in their basement and going through life rudderless ever since his divorce. Lastly there is John Krasinski who relocated from their Midwest hometown to NYC pursuing his dream of making it as a graphic novelist.

One morning Margo collapses and is diagnosed with an advanced brain tumor. Krasinski rushes to her bedside to discover that Dad has recently fired the oldest son from the family business that is rapidly approaching bankruptcy. Additionally, big brother is super jealous of his ex-wife’s (Ashley Dyke) new relationship (Josh Groban) and takes to stalking and bad-mouthing. Of course, Krasinski is toting his own baggage. He is whiny and depressed about his job, and has cold feet towards marrying his 8 months pregnant girlfriend (Anna Kendrick).

The film is loaded with familiar faces and talented actors. Charlie Day shows up as Margo’s nurse and Krasinski’s insecure former high school nemesis who is now married to Mary Elizabeth Winstead … oh yes, she still has the hots for her high school sweetheart (Krasinski). Randall Park is Margot’s doctor, and Mary Kay Place has a (very) brief role as Jenkins’ sister and employee.

Unfortunately the familiarity extends beyond the faces and into the clichéd characters and story lines. Most of the conversations are predictable, though there are plenty of laughs throughout. It may be the only film to feature punchlines utilizing Jenny Craig, Rod Steiger and Indigo Girls. It’s also interesting to see how all three of the lead male characters are wandering aimlessly when the women aren’t guiding them. This is a theme that could have been better explored and helped set the film apart from so many similar type films.

Despite the negatives, any movie that offers up a few laughs to go along with Margo Martindale at its core, does have some value.

watch the trailer:

 

 

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Posted by David Ferguson

ELYSIUM (2013)

August 11, 2013

elysium1 Greetings again from the darkness. Social commentary does not automatically make a movie “smart”. In fact, commentary done poorly could be labeled the exact opposite. Writer/Director Neil Blomkamp‘s critically acclaimed sci-fi feature District 9 was creative in its approach to social issues. Unfortunately, his follow-up is a sloppy, big budget mess with too many writing shortcuts and what may be the worst performances of Jodie Foster‘s career.

Earth in the year 2154 is an over-populated, polluted, ecological disaster that looks like what we saw in Wall-E, only with people. Earth is so bad, it has been evacuated by the ultra-rich … an obvious statement on the “one percenters”. The poor and downtrodden earthlings spend their lives dreaming of getting to Elysium, the space station paradise that houses the elite and is only a 19 minute shuttle ride away. On Elysium, the houses are stunning and the elysium2lawns perfectly manicured. Oh, and technology has re-imagined tanning booths into a medical marvel that can cure anything from zits to cancer. This advancement is the main reason earthlings risk everything to reach Elysium. See those poor folks have only shoddy hospitals … an obvious statement on universal healthcare.

After an industrial accident, Max (Matt Damon) is desperate to reach Elysium so he can save his own life. As expected, his selfishness evolves into focused heroism after he runs into his childhood crush Frey (Alice Braga) and her leukemia-stricken daughter. Getting yourself to Elysium is not so easy thanks to the protective nature of Defense Secretary Delacourt (Jodie Foster). She is working with greedy businessman William Fichtner and earth-based mercenary Sharlto Copley to plot her political coup on Elysium … just in case you forgot that the rich are really bad people.  Copley is by far the most entertaining aspect of this movie.  Even though we can’t understand half his dialogue, it’s much easier to take elysium3than whatever the heck that accent is that Ms. Foster is throwing at us.

There is a data theft plot that, in the right hands, could open up the Elysium advantages to the entire population … an obvious statement on open immigration. In between all of the political statements Blomkamp does throw in plenty of explosions, gun fights, aggressive robots and enough CGI effects to keep any sci-fi fan entertained. There is even a battle of exoskeleton suits between Copley and Damon. Where Arnold once said “Get your a** to Mars“, I can’t in good faith say the same thing about Elysium.

SEE THIS MOVIE IF: you are addicted to Sci-Fi and don’t even mind if it’s poorly imagined … fisticuffs in an era of immediate medical healings??

SKIP THIS MOVIE IF: you prefer your Sci-Fi on the cerebral side rather than political

watch the trailer:

http://www.youtube.com/watch?v=ha6zWw5saGY

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Posted by David Ferguson

THE A-TEAM (2010)

June 13, 2010

 Greetings again from the darkness. Plenty of hating going on by the real film critics for this update of the 80’s TV series. What I saw was a fun, over-the-top action film designed to explode with entertainment value. There are plenty of things that prevent this from being a great movie, but nothing that prevents it from being a good ol’ time at the local cinema.

Writer/Director Joe Carnahan makes some of the same mistakes he made in Smokin’ Aces, but overall, he lets the bigger than life characters control the film … well, except when the sometimes-ridiculous action sequences take over. His casting choices are interesting: Liam Neeson as Hannibal (originally played by George Peppard), Bradley Cooper as pretty boy charmer “Face” (Dirk Benedict on the series), District 9 actor Sharlto Copley as scene-stealing daredevil Murdock (was Dwight Schultz) and UFC bad boy Quinton “Rampage” Jackson replacing the iconic Mr. T as B.A. Baracus.

Neeson handles the Hannibal role with an all-knowing smirk, a Cuban cigar and the knowledge that he is mostly the straight man here. Cooper relishes the chance to remove his shirt and flash his dimples and blue eyes. Copley provides much hope for his acting future since he pretty much takes over the screen in all of his scenes. Jackson, on the other hand, really should consider going back to the UFC world – his acting skills are responsible for some of the weakest moments in the film.

I purposefully chose “some of the weakest moments” so as to make a real point in regards to the deflater of the film. The deflater is the one who causes the film to go flat (the air from the balloon) every time he/she is on screen. Without question, the A-Team deflater is Jessica Biel. Apparently straight from the Elizabeth Berkley school of acting, Biel continues to land gigs because producers find her attractive. The attribute of “attractiveness” is only effective for photographs if not teamed with some type of acting ability. When Ms. Biel holds a gun, emotes or reads a line, the viewer feels nothing but letdown. Despite the carnage reaped by the boys, she out-kills them with her screen time.

The good news is that there are some really funny lines and moments despite the fantastical nature of the action sequences. Also Carnahan and co-writer Brian Bloom (who also plays bad guy Pike) have done an admirable job of paying tribute to the original series. Dirk Benedict and Dwight Schultz have cameos and a brief scene post-credits. Mr. T reportedly rejected a chance to appear and, of course, George Peppard passed many years ago. We even get a tribute (albeit a quick one) to the A-Team van … and it’s nice to hear the familiar sounds of the theme song and series opening.

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Posted by David Ferguson