MISSION: IMPOSSIBLE – THE FINAL RECKONING (2025)

May 26, 2025

Greetings again from the darkness. The eighth and (supposedly) final entry in a fantastic action film franchise that began in 1996 may not be the best of the bunch, yet it’s a mostly satisfying farewell to Ethan Hunt and his team of world-savers. Making his fourth stint as a writer-director for the latest “MI”, Oscar winner Christopher McQuarrie blends new danger and stunning action sequences with admirable (if not a few too many) tributes and nods to the past films and characters (including villains).

Of course, none of this would be possible without the freak-of-nature we know as Tom Cruise. Something I’ve said and written many times before – Mr. Cruise was not only born to play the role of Ethan Hunt, through the years he has definitively made it his own. What has allowed most of these films to work is a combination of thrilling escapades required to prevent a catastrophe, and the tongue-in-cheek tone designed to let the audience off the hook in recognizing the audacity of the whole thing. Unfortunately, this one omits the clever banter and instead goes with a couple of wise cracks that lack the effect.

For anyone who is a bit concerned about the future impact of Artificial Intelligence, “The Entity” is the real villain in this one, and it’s likely to spook you a bit more about the unknown and untapped power. Although Esai Morales returns as bad guy Gabriel, the true danger of global destruction comes courtesy of AI and its ability to take over control of all nuclear weapons on the planet. Only Ethan Hunt (should he choose to accept) and his team can stop this from happening, and if they do, it’s very likely those heroics will be last-second and towards the end of the 169-minute runtime … and after numerous action sequences that leave us breathless.

There are two truly stunning action/stunt sequences that feature Cruise at his most daring and a filmmaking team at its most technically advanced. The second of the two sequences, and the one getting the most attention is the aerial battle between two vibrantly-colored vintage biplanes. Now that description would be cool enough for most movies, but not for this franchise and certainly not for Cruise. Here, he climbs around the wing as one plane is airborne so he can take over the pilot’s seat. Again, that would be an incredible feat for anyone, but it barely scratches an itch for this guy. Instead, he then makes his way from one airborne plane to other airborne plane so that he can then fight THAT pilot (Gabriel) … and he must do so while executing another task that is required to save the world.

Yes, that aerial sequence is breathtaking and deserves accolades, yet it’s the ‘other’ huge action sequence that left me wide-eyed and clutching the armrests. Watching Ethan Hunt deep dive into frigid ocean waters to a long-ago sunken submarine, and then navigating his way through the giant metal tube as it tumbles on the sea floor is nothing short of astonishing and jaw-dropping. It’s fantastic to watch and unlike anything previously seen on screen – including other submarine movies or underwater scenes.

In addition to Cruise and Morales, other returning players include Haylee Atwell as Grace, Simon Pegg as Benji, Pom Klementieff as Paris (an amazing character), and Henry Czerny as Kittiridge. Also returning is Ving Rhames as Luther … he and Cruise are the only two to appear in all eight MI films. Additions to the superb cast are Angela Bassett as the President, as well as Holt McCallamy, Janet McTeer, Nick Offerman, Shea Whigham, Greg Tarzan Davis, Tramell Tillman, and Hannah Waddingham. There is also a significant surprise appearance by another returner – one that I won’t spoil here. The final scene in Trafalgar Square comes across a bit corny, but let’s say they’ve earned the right.

Cruise’s courage and brilliance as Ethan Hunt are noted, while McQuarrie clearly has a love for the mission; and yet, we need to acknowledge the technical expertise brought by many, especially cinematographer Fraser Taggart and editor Eddie Hamilton. While this final entry might not be tops for the franchise, it’s yet another expertly crafted big budget film that delivers the thrills its audience expects. And for the price of a ticket, those two colossal action sequences combine with Lalo Schifrin’s timeless (and blood-pumping) theme song are tough to beat … make that impossible.

Playing nationwide in theaters

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Posted by David Ferguson

FANCY DANCE (2024)

June 29, 2024

Greetings again from the darkness. A missing person story takes on additional weight when it involves a Native American, and this story from writer-director Erica Tremblay (“Dark Winds”) and co-writer Miciana Alise show us how culture and traditions remain vital to the family ties indigenous people struggle to maintain in the face of institutional hurdles.

The missing person is stripper Tawi, who is Jax’s sister and Roki’s mother. The feds, who have jurisdiction, have shown little interest in locating Tawi, and local law enforcement, including Jax’s half-brother JJ (Ryan Begay, “Dark Winds) seems to have contributed little to the search. Jax (Lily Gladstone, Oscar nominated for KILLERS OF THE FLOWER MOON) remains committed to finding her sister and to raising 13-year-old Roki (Isabel Deroy-Olson, “Three Pines”) according to Cayuga traditions … including the annual Powwow in Oklahoma City, which features the mother-daughter dance that Roki so looks forward to.

CPS gets involved, and since Jax’s past record is anything but pristine, Roki gets placed with her grandfather Frank (Shea Whigham, “Boardwalk Empire”) and his new wife Nancy (Audrey Wasilewski, “Big Love”). Frank’s relationship with his daughter Jax has been strained ever since he left the reservation after Jax’s mom died (a key element to the story). Most of the story is quite believable; however, one big exception is that we are to accept Frank and Nancy refuse to allow Roki to attend Powwow. This unlikely occurrence leads Jax to help Roki escape, and the two head out to search for Tawi … turning this into an ‘on the road’ story.

The cinematography from Carolina Costa is beautiful, and complements the emotions of these characters. The performances and connection of Ms. Gladstone and young Deroy-Olson make us buy into the story and their struggles. Perhaps the film’s most insightful scene involves Roki, Nancy, and a pair of ballet shoes – highlighting the disconnect. We relate to Roki’s wish to have just one more dance with her mother, and Jax helps us understand the challenges faced by women in indigenous communities. If there’s a negative here, it’s that the entire movie moves at a slow burn pace without ever achieving the tension it teases us with. Despite that minor issue, it’s stunning that missing and murdered women are so commonplace in this community that each year there is a dance dedicated to them.

Streaming on Apple TV+ beginning June 28, 2024

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Posted by David Ferguson

MISSION: IMPOSSIBLE – DEAD RECKONING PART ONE (2023)

July 9, 2023

Greetings again from the darkness. The challenge in continuing the “Mission: Impossible” franchise is that fans expect each entry to be “bigger” and more awe-inspiring than the last. With the seventh film in the series, and the third straight he has directed, writer-director Christopher McQuarrie and superstar actor and daredevil Tom Cruise have managed to accomplish what seemed unlikely … they have delivered Ethan Hunt’s biggest and grandest mission yet. Prepare to be awed by the action.

You should know that this is “Part One” and it runs 163 minutes, a full hour longer than most movies, and exponentially more expensive to produce. All this during an age when ultra-high-budget blockbusters are being rumored to be fading from public interest. Of course, we are only one year removed from Tom Cruise’s TOP GUN: MAVERICK being credited with ‘saving cinema’, so stay on alert for a ‘sky is falling’ panic. McQuarrie co-wrote the script with Erik Jendresen (“Band of Brothers”), and they remain faithful to the characters and storylines established by the TV series creator, Bruce Geller.

There may never have been an actor more suited to a recurring role than Tom Cruise as Ethan Hunt (Harrison Ford as Indiana Jones might be the closest). The story itself is fairly straightforward, even if the item being chased often feels like a MacGuffin. Your questioning of how a ‘simple’ spy-thriller can be effective is understandable, yet it’s fascinating to watch as Ethan Hunt’s mission in life as an agent is evaluated, as is the cost he’s paid as a man. Providing a contemporary theme, the obscure object of desire is an all-powerful key (actually two parts of a key) based on controlling an all-encompassing Artificial Intelligence (AI).

In a twist on a familiar theme (and a classic comedy film), we have Airports, Trains, and EVs, the latter being a tiny Fiat with handcuffs. Still, the car chase is everything we might hope, while the high-tech facial search in the airport sequence delivers the thrills for techie viewers, and the train sparring occurs inside as well as on top. And lest you be worried, there are enough Cruise sprint scenes here to put CHARIOTS OF FIRE to shame.

Familiar faces include Ethan Hunt’s team of Luther (Ving Rhames, who along with Cruise, has appeared in all 7 MI films), Benji (Simon Pegg), and Ilsa Faust (Rebecca Ferguson). It’s nice to again see (and hear) Henry Czerny as Kittridge, Vanessa Kirby as arms dealer The White Widow, and Esai Morales – as Gabriel, the required villain in search of the same key as our good guys. New faces include Haylee Atwell as master pickpocket Grace, whose soul may or may not be beyond salvation; Cary Elwes as agency director Denlinger; Shea Whigham and Greg Tarzan Davis as officers after rogue Hunt; and Pom Klementieff as a hired assassin.

The stunt work here is outstanding, and of course, Tom Cruise is renowned for personally handling many of the most breathtaking acts – the most memorable one here being his riding of a motorcycle off a cliff. This stunt has a ‘making of’ video that’s been available for a while. As movie goers, we’ve never seen anything like it. This part one was originally scheduled for release in 2021 (thanks a lot, COVID), and now Part Two is set for 2024. It’s been 27 years since the MISSION: IMPOSSIBLE (1996) with Jon Voight … Cruise was 34 in that one. This particular mission is the biggest yet, and it would certainly be impossible for the rest of us. It’s a mission that will be closed out in Part Two, and simultaneously bring an end to Cruise’s remarkable run as Ethan Hunt.

**NOTE: Lalo Schifrin‘s theme song remains one of the best ever in cinema

Opening July 12, 2023

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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

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Posted by David Ferguson

JOKER (2019)

October 3, 2019

 Greetings again from the darkness. The first thing to know is that this is not a Superhero movie. In fact, there are no heroes in the movie – unless you would like to apply the label to a single mom who lives down the hall from Arthur Fleck. Mr. Fleck lives at home with his invalid mother in a grungy, run-down apartment. He works as a clown-for-hire, dreams of becoming a stand-up comedian, and depends on social services to supply the 7 medications he takes since being released from Arkham State Hospital. It’s a bleak existence at a bleak time in a bleak city. Gotham is in the midst of a garbage workers’ strike (only the ‘super rats’ are happy), political upheaval, and a growing chasm between the classes. And then it gets worse for Arthur.

The second thing to know is that this is a standalone Joker film, and one mostly unrelated or not connected to previous projects featuring the colorful Clown Prince character played (and voiced) by such memorable actors as Cesar Romero, Jack Nicholson, Heath Ledger, Mark Hamill, Jared Leto and even Zach Galifianakis. Director Todd Phillips (who co-wrote the script with Scott Silver) is best known for such extreme comedies as “The Hangover” franchise and OLD SCHOOL, so he’s a bit outside of his usual wheelhouse. Phillips and Silver seem to embrace not just the history of the character, but also the look, texture and tone of filmmaking from an earlier era. The gritty and outcast feel of Scorcese’s TAXI DRIVER and THE KING OF COMEDY is present, and so are numerous tributes to familiar Joker moments of days gone by.

Three time Oscar nominee Joaquin Phoenix plays Arthur Fleck, and he delivers Arthur’s slow descent into madness, or shall we say further descent. It’s clear from the beginning that Arthur views himself as ignored by society, while all he wants to do is bring joy and laughter to others … and be noticed. His daydreams or visions of himself in a better world send a strong message. Phoenix shows us what full commitment to a role looks like. He lost 50 pounds, leaving a frame that contorts, moves and dances in a manner unlike what we’ve seen before. In fact, it’s a toss-up on which shows up more frequently, his dances moves or his maniacal, pained laughter. We are informed Arthur suffers from Pseudobulbar Affect, also known as emotional incontinence, which causes that creepy laughter to pop up at some inappropriate times. Of course, the comparisons to Heath Ledger’s Oscar winning turn in THE DARK KNIGHT are inevitable. The roles and films are written quite differently, and it’s safe to say both actors were all-in.

Action sequences and special visual effects are both noticeably absent, but the violence is sure to shock. This is not one for the younger kids, no matter how much they enjoy THE AVENGERS or WONDER WOMAN (or any other DC or Marvel film). This gritty, visceral approach is often a tough watch, and is much more a character study of mental illness than a costume drama … although Arthur’s clothes and make-up are front and center. When Arthur states, “I have nothing but bad thoughts”, we believe him. And the sympathetic back story explains a great deal, and will likely prove quite controversial.

Phoenix dominates the film (as he should), and supporting work is provided by Robert De Niro as Murray Franklin, a TV talk show host in the Johnny Carson mode; Zazie Beetz (DEADPOOL 2) as the single mom neighbor Sophie Dumond; Frances Conroy as Penny Fleck, Arthur’s mother; Brett Cullen as a not so empathetic Thomas Wayne; and Shea Whigham and Bill Camp as police detectives. I’ll hesitantly mention that Dante Pereira-Olson makes a couple of brief appearances as an adolescent Bruce Wayne, and just for fun, we get a shot of the young man honing the batpole skills he will use later in life. Just don’t expect any “real” Batman references.

Director Phillips delivers a film that looks and feels and sounds much different than other comic book movies. Cinematographer Lawrence Sher is a frequent Phillips collaborator (all 3 Hangover movies) and the dark look and gritty feel are present in most every shot. Hildur Guonadottir (this year’s Emmy winner for “Chernobyl”) serves up a foreboding score – one that never overwhelms, and one that contrasts perfectly with the more traditional songs utilized throughout: Stephen Sondheim’s “Send in the Clowns”, Jimmy Durante singing “Smile”, Cream’s “White Room”, “That’s Life” by Frank Sinatra, and Gary Glitter’s familiar “Rock and Roll Part 1 and 2”. The “Smile” song is especially relevant as its origins can be traced by to Charlie Chaplin’s MODERN TIMES, a silent movie classic featured in this film. Phillips even uses the Saul Bass designed Warner Bros logo to open the credits, making sure we understand the time period (no cell phones, etc).

The film traces Arthur’s slide into crime … a transition that he wasn’t seeking, and one that he believes was forced upon him. His rise as a savior to the working class is secondary to his own journey, and the chaos is handled on the perimeters of the film, preventing this from becoming a Super Villain movie. Keep in mind JOKER played at Venice, Telluride and Toronto – three prestigious festivals. This is just another thing that sets it apart from others in the genre. Despite the 1981 time stamp, the consistent anti-rich message and class disparity is prevalent throughout. This appears to be Phillips’ way of including a contemporary theme in a decades-old setting. And it’s a cautionary tale that there should be no clown left behind.

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

THE CATCHER WAS A SPY (2018)

June 22, 2018

 Greetings again from the darkness. World War II. Baseball. Spies. A true story. Assemble all those pieces and you have Morris “Moe” Berg. Director Ben Lewin (THE SESSIONS, 2012) brings the fascinating story to the big screen with Robert Rodat’s (Oscar nominated for SAVING PRIVATE RYAN) screenplay adapted from the 1994 biography “The Catcher was a Spy: The Mysterious Life of Moe Berg” written by Nicholas Dawidoff. This is neither your typical spy movie nor your typical baseball movie.

Background information is provided by pre-movie title cards: in 1938 German scientists split the atom for the first time, ushering in the nuclear age; renowned German physicist Werner Heisenberg (1932 Nobel Prize winner) was charged with building an atom bomb; the United States responded by sending a baseball player to assassinate him. It’s 1944 Zurich and two men exchange uncomfortable glances across a dimly lit room.

We then flashback 8 years to see Moe Berg utilizing his gut instincts to survive as a veteran journeyman catcher for the Boston Red Sox at Fenway Park. We later learn his sixth sense is not limited to the baseball diamond, and is used in situations much more important than whether a baserunner is stealing a base. Growing up Jewish, Berg had always been somewhat of an outsider, admitting, “I don’t fit in.” In baseball, they called him a walking enigma. Educated at Princeton, Columbia and Sorbonne in Paris, Berg spoke several languages, had a ‘fake’ wife, was a regular on quiz shows, and was constantly followed by insinuations of homosexuality … though he only admitted to being good at keeping secrets.

Berg’s is a truly fascinating story, but unfortunately Paul Rudd is a bit overmatched in the lead role. He just doesn’t quite have the dramatic acting chops to convey the intellectual depth of the man. However, the rest of the cast is stellar: Paul Giamatti (as Samuel Goudsmit), Connie Nielsen, Mark Strong (Heisenberg), Sienna Miller, Hiroyuki Sanada, Guy Pearce, Jeff Daniels (as William J Donovan), Tom Wilkinson (as Paul Scherrer), Giancarlo Giannini (a 50+ year career), and Shea Whigham (as Joe Cronin). Many of these are little more than cameos, and the choppy feel of the film’s flow prevents us from ever really connecting to characters.

An extended battle scene volleys from intense and well-filmed to slightly comical as Mr. Giamatti is forced to run and dodge bullets. The look, tone and color palette of the film is quite similar to Spielberg’s BRIDGE OF SPIES (another true story), though this current one pales in comparison, as director Lewin presents it as a “will he won’t he kill the guy?” scenario. Berg’s story is likely more suited to documentary treatment, as his time with the U.S. Office of Strategic Services (OSS, later the CIA), resulted in his being awarded the Medal of Freedom. Upon his death in 1972, Newsweek’s headline read “3rd String Catcher, 1st String Spy”.

watch the trailer:

 

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Posted by David Ferguson

KONG: SKULL ISLAND (2017)

March 25, 2017

 Greetings again from the darkness. I enjoy creature movies. Even as a kid I enjoyed creature movies (as distinguished from monster movies, which I’m also fond of). From the classics to the (very) low budget ones on late night TV to the fear-mongering from Japan … I enjoy them all. Of course the most fascinating of the bunch is King Kong, and this version arrives 84 years after the still magnificent 1933 version from Merian C Cooper and featuring Fay Wray.

This time there is no shootout on The Empire State Building, and the connection between Kong and the girl is limited to a few knowing glances. Most of the film takes place on Kong’s island … one he shares with some other creatures (not rodents) of unusual size. Unlike Spielberg in Jaws, who teased us for half the movie before finally revealing the shark, we get a glimpse of the imposing Kong very early on.

The cast is the best yet for a creature feature. John Goodman and Corey Hawkins play scientists/conspiracy theorists; Tom Hiddleston plays the world’s only mercenary with perfect hair and skin; Brie Larson is a self-described anti-war photographer; while Samuel L Jackson, Shea Whigham, Thomas Mann and Toby Kebbell play military men on their last mission at the end of the Vietnam War. The most colorful character is played by John C Riley – an eccentric WWII survivor who has been living on the island since 1944.

Jordan Vogt-Roberts directs this version, and his resume of The Kings of Summer and mostly TV work begs the question of how the heck did he get this gig? Fortunately he has cinematographer Larry Fong alongside, and his significant big action picture experience is obvious in the breath-taking helicopter scene (as well as many others). It’s impossible not to notice the extreme love shown to Apocalypse Now and even Jurassic Park. Some of the shots and tone seem as if pulled directly from those films … even moreso than the original King Kong. We even get Samuel L Jackson recycling his “hold onto your butts” line.

There is plenty here to satisfy us lovers of creature features, though this version certainly lacks the emotional impact of Fay Wray and Naomi Watts connecting with Kong … not much Beauty, but plenty of Beast. It’s certainly recommended that you stay for the post-credits scene that sets the stage for 2020.

watch the trailer:

 

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Posted by David Ferguson

KNIGHT OF CUPS (2016)

March 19, 2016

knight of cups Greetings again from the darkness. Some are calling this the third segment of a Terrence Malick trilogy – in conjunction with The Tree of Life (2011) and To The Wonder (2012). While the first of these three movies is considered an artful thought-inducing commentary on parenting and growing up, the third might just prove director Malick is the ultimate prankster … or maybe this is his grand social experiment to see just how far he can push his viewers.

Let’s start with the positive elements, as that won’t take long. Cinematographer Emmanuel Lubezki is an eight time Oscar nominee and three time winner (The Revenant, Birdman, Gravity), and has been the Director of Photography on these three Malick movies. He is a master with the camera, and truly creates art whether he is shooting nature, an isolated figure, or even the convoluted party scene in this latest. All three films are beautiful to look at … which doesn’t necessarily translate to being a pleasure to watch. OK, that’s the end of the good stuff.

The movie title, as well as the chapter titles flashed during the film, originates from Tarot cards. Unfortunately, the in-film titles seem to have little (or no) connection to the scenes that follow, nor those that precede. My guess is that Malick was playing truth or dare, and his opponent dared him to include Tarot cards in his next film … a worthy challenge for any director.

If you are looking for a story or anything approaching coherency or character development, Mr. Malick would have you believe that the trite tradition of beginning/middle/end is dead, and its replacement is a mosaic of barely related fragments with no need for such frivolity as conversation. Sure, the characters move their lips, but mostly what’s heard is whispered narration and mood music.

If somehow you aren’t yet excited to rush out to the theatre, perhaps you may be enticed by the random stream of empty or nearly empty buildings, odd angles of Los Angeles architecture, Christian Bale roaming the rocky desert, Las Vegas (just because), lots of fancy swimming pools, and family members apparently arguing (without us hearing most of their words, of course).

Here is what we know. Christian Bale plays a screenwriter apparently experiencing some type of writer’s block. While blocked, he reflects on his life and the six women with whom he had relationships (Cate Blanchett, Natalie Portman, Frieda Pinto, Teresa Palmer, Imogen Poots, Isabel Lucas). We know nothing of his character’s writing ability, but it’s obvious he has been successful in attracting beautiful women to his bed – and then, like most guys, screwing things up beyond repair. Bale’s character also has an angry (and perhaps ill) brother (Wes Bentley) and an angry (and perhaps ill) father (Brian Dennehy). At times, they are all angry together and angry at each other, and it’s apparently over the suicide of the youngest brother/son … though we are never clear on who blames who, or if they all blame each other and themselves.

To be sure, Terrence Malick is the only director making movies like this. His films attract the best actors working … even though no script exists. He may be the painter who paints like no other painter, and thereby appeals to the smallest possible audience. What I do know is that I counted 32 fellow movie goers walk out of the theatre during the movie, not to return. It’s possible the popcorn was somehow tainted, but more likely they value their time on Earth.

It’s certainly possible that my mental capacity falls substantially short of what’s required to comprehend the metaphysical Malick message. Or perhaps the project is as pretentious as it seems. Or perhaps I’m just not in on the joke. There is one line from the film that does make a point, “To suffer binds you to something higher than yourself”. Perhaps Malick is providing a service to those of us who suffer through this movie … if only we knew to what we were being bound.

Oh, and what’s with the helicopters?

watch the trailer … try muting the sound and closing your eyes for the full experience.

 

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Posted by David Ferguson

LILA & EVE (2015)

July 16, 2015

Lila & Eve Greetings again from the darkness. It’s the era of angry cinematic women, and this time we get Viola Davis and Jennifer Lopez as mothers who go on a rampage of violence to gain vengeance for the murders of their sons. In 1991 Thelma & Louise tried to teach abusive and pig-headed men a lesson, and now Lila & Eve face off against neighborhood gangbangers.

Director Charles Stone III is best known for Drumline (2002) and Mr 3000 (2004) and this high-stress thriller seems a departure for him, though he compensates with a talented cast. In addition to Ms. Davis and Ms. Lopez, we get detectives played by Shea Whigham and Andre Royo, and Michole Briana White as the leader of the support group.

Stories of vigilantism always skirt the line between gritty and far-fetched, and unfortunately this one leans a bit too far the wrong way. Watching these two women so easily track down their targets and then so effortlessly ‘take care of business’ is head-shaking when combined with the tricky plot twist. The side story focusing on the support group was actually the most interesting, as it provides a glimpse of the grieving process and psychological effects experienced by mothers of murdered sons. Even this part flies off the rails towards the end of the movie – though it was with the best intentions.

Jennifer Lopez at least seems to take some delight in her character … a role much less restrictive than that of Viola Davis, who is forced to play it straight and angry (and she is very adept at this). Mothers seeking vengeance is a cause I can support, but not more can be said about this film as the first rule of Fight Club …

watch the trailer:

 

 

 

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Posted by David Ferguson

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