THE UPRISING (2026)

September 10, 2026

Greetings again from the darkness. It can be challenging to relate to an historical drama set in the 14th century, yet the Peasants’ Revolt of 1381 in medieval England sometimes hits quite close to home. Writer-director Paul Greengrass directed three of the Jason Bourne movies, so we can expect the action sequences to be frenetic and thrilling … often relying too heavily on handheld cameras.

Andrew Garfield is ‘Ploughman’, a self-imposed moniker since “I am what I do”. We watch as he works his plot of land around the three graves near his cabin. He’s grieving and lonely, having paid a steep price from the bubonic plague known as “Black Death”. While he’s toiling away, the council for teenage King Richard II (Woody Norman, C’MON C’MON, 2021) is plotting behind closed doors whether to save the kingdom by taxing the rich or by taxing the poor. The rich would expect a seat at the proverbial table, so it all falls to the poor, of course. Ploughman doesn’t take kindly to the announcement and violently lashes out in anger … an action that John Ball (Jamie Bell) and Wat Tyler (Cosmo Jarvis) use as step one in the uprising of the frustrated masses.

The king’s council of corruption and manipulation is made up of elders: Archbishop Sudbury (Stephen Dillane), Chief Justice Belknap (Stanley Townsend), Treasurer Hales (Tom Hollander), and Mayor of London William Walworth (Jonny Lee Miller). While this group protects their own cone of power, the young king cowers in dark corners, escaping nightmares and uncertainty. Even his mum (Katherine Waterston) struggles to get him to govern.

Those in the rebellion are joined by Alyce (Thomasin McKenzie), a character clearly designed to represent the strong and determined women of the era. Injustice is readily accepted in no particular era, so an upswell of anger towards an oligarch by the oppressed is not surprising … although Ploughman’s elite fighting skills certainly are. The progression of the story and the battle scenes deliver significant intensity, and we can’t help but wince as those involved prove the adage, ‘power corrupts’.

If you know any of this history, you know the timid King makes a shocking turn, and one can only assume filmmaker Greengrass had no qualms about any modern-day symmetry shown in this saga from almost 650 years ago. The performances are quite good, and the Bavarian shooting locales perfectly capture the time period. Cinematographer Pal Ulvik Rokseth (ARMAND, 2024) embraces the feel of this setting, despite the trademark Greengrass overuse of handhelds. History can provide lessons of inspiration or lessons of caution, sometimes within the same story.

Opens nationwide in theaters on September 11, 2026

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Posted by David Ferguson

THE TESTAMENT OF ANN LEE (2026)

January 23, 2026

Greetings again from the darkness. One might believe that celibate communal living and worship would have been an easier sell in the 1780’s than today, yet this film from writer-director Mona Fastvold (THE WORLD TO COME, 2020) and co-writer Brady Corbet (THE BRUTALIST, 2024) proves otherwise. It turns out the second coming and extreme shaking while worshipping requires a bit more faith than many possess. The film is based on the true story of Ann Lee, the founder of the Shakers who, along with a small contingency, emigrated to the U.S. from England to spread their beliefs.

That small group of believers who followed Ann Lee (Amanda Seyfried) included her brother William (Lewis Pullman), her husband Abraham (Christopher Abbott), and young Mary (Thomasin McKenzie), among others. Their life is not easy and recruiting a congregation proves challenging. Ann never loses faith and consistently stays true to her beliefs, allowing all to follow … well, except for her husband Abraham who doesn’t much buy into the pure life with no sexual relations requirement. Ann believes that this was Adam and Eve’s sin and is convinced a pure existence is the way to righteous living.

Probably the most unique thing about the film (other than the actual subjects of Ann and the Shakers) is the manner in which the hymns/songs are choreographed and performed. This makes for such an odd visual and there are quite a few of these moments. Tim Blake Nelson plays a pastor who crosses paths with Ann, providing an interesting sequence (as he typically does). The choreography is the work of Celia Rowlson-Hall and the music comes from Oscar winner Daniel Blumberg. Ms. Seyfried delivers yet another standout performance, although this movie certainly won’t be to everyone’s taste. It’s a long film that’s not easy to relate to. Ann Lee saw herself as the female incarnation of God, and the film attempts to show how some believed her.

Opens in theaters on January 23, 2026

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Posted by David Ferguson

THE JUSTICE OF BUNNY KING (2022)

September 25, 2022

Greetings again from the darkness. Most of us are quick to judge others. Often too quick. This superb (and bleak) feature film debut from writer-director Gaysorn Thavat reminds us that our initial judgments might just be an easy “out” for us so that we may go on about our way, oblivious to the struggles of others. There is observational commentary here on what it means for a parent to love their kids so deeply, for someone to believe in themselves whole-heartedly, and for the pain an institution can cause under the guise of doing the right thing.

Essie Davis (THE BABADOOK, 2014) delivers a ferocious and authentic performance as Bunny, who is much stronger than we might originally think. Is she more determined or desperate? We aren’t sure. She’s also very clever at times, though sometimes unable to control her emotions. Bunny’s focus is on securing housing so that Social Services will permit her kids to live with her. Currently, she’s only allowed supervised visits, and we see loves them intensely. Shannon (Amelia Baynes) is a disabled 5-year-old who loves her back, while Reuben (Angus Stevens) is an angry and frustrated 14-year old who just wants a ‘normal’ life that doesn’t involve foster homes.

Bunny is perpetual motion. She describes herself as self-employed, spending days as a “Squeegee Bandit” cleaning windshields at stoplights for loose change. She’s saving that change in a soda bottle that she keeps in the linen closet of her sister’s house. It’s here where she cleans house, cooks dinner, does laundry, and watches kids all for the benefit of getting to sleep on the couch. Her sister Grace (Toni Potter) is a late shift nurse whose husband Bevan (Errol Shand) is a d-bag in so many ways. In fact, Bevan is at the center of an incident with Bunny’s niece Tonyah (Thomasin McKenzie, JOJO RABBIT, 2019; LAST NIGHT IN SOHO, 2021) that cuts right to the heart of Bunny’s character. We see how she reacts and begin to understand how she arrived at this particular lot in life.

Thavat’s co-writers Sophie Henderson (BABY DONE, 2020) and Gregory King center much of Bunny’s actions around the birthday party she has promised daughter Shannon for her upcoming birthday party. Is Bunny fit to be a mother?  Most of the time we think she is devoting every waking moment to reuniting with her kids. However, in her worst moments, she lashes out and displays poor judgment, leaving us and Social Services with serious doubt. The past is brilliantly unfolded and never dwelled on because Bunny wakes up every morning optimistic about what lays ahead. There is a terrific sequence involving her attire, and Ms. Davis just nails the shift in tone. Hers is an award-worthy performance, if only enough people will see the film (which is doubtful). This New Zealand production expertly sets the stage with 4 Non Blondes “What’s Up” and then bookends with a different version by Willa Amai.

Opens in theaters on September 23, 2022

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Posted by David Ferguson

THE POWER OF THE DOG (2021)

December 4, 2021

Greetings again from the darkness. Don’t mess with the smart ones, as brains often outlast brawn. I’m conflicted on how best to describe this film. Perhaps … It’s nuanced storytelling at its finest. Jane Campion won an original screenplay Oscar for THE PIANO (1993), while also becoming only the second woman to receive a nomination as Best Director. This is her 8th feature film to direct, and the first since the underrated BRIGHT STAR (2009). Ms. Campion is such a smooth filmmaker, and her latest is so expertly crafted and so beautifully filmed, that some may find themselves not recognizing the underlying tension between characters. I urge you to remain diligent and take note of the subtle gestures and facial expressions, as the emotions run deep.

Benedict Cumberbatch stars as Phil Burbank. He runs a successful cattle ranch with his brother George, played by Jesse Plemons. Though they sleep in the same room and have been driving cattle together for 25 years, the brothers couldn’t be less alike. George is a soft-spoken man with few needs or aspirations other than wishing to not grow old alone. He lives in the shadow of his formidable brother, an educated man with a domineering personality. Phil is constantly proving how tough and macho he is by bullying others, even calling his more sensitive brother “Fatso”. That thundering you hear is Phil purposefully slamming his heels into the wood floors so that his spurs never stop jangling.

Phil is playing a game that only he knows the rules to. George bows his head in shame as he hears Phil belittle the frail and effeminate teenage Peter (Kodi Smit-McPhee), who is waiting on their table at the Red Mill. Peter’s widowed mother Rose (Kirsten Dunst) owns the place, and after George provides some comfort to her, George and Rose secretly marry. Viewing this as a personal affront, Phil is merciless in his cruelty towards Rose and Peter. It turns out that Phil is masquerading as one thing in order to hide another truth. An intriguing sequence (that is so well acted I could watch it 10 times) leads to a warming of the relationship between Phil and Peter. The two bond over horseback riding, rope-braiding, and stories of Phil’s now-deceased ‘mentor’, Bronco Henry.

This setting is 1925 Montana, though it’s filmed in New Zealand. The majestic mountain range constantly looms on the horizon. Yet despite the beauty, it’s a tough life made tougher by Phil’s menacing behavior – psychological torturing of Rose that leads her to the bottle – something that clearly holds unfavorable memories. The four leads are truly outstanding, and supporting work is provided by Thomasin McKenzie as the young housekeeper, and Keith Carradine, Frances Conroy, Allison Bruce, and Peter Carroll as uncomfortable guests at a dinner party.

Jonny Greenwood provides the music. It’s not so much a score as it is mood-enhancing messaging through guitars, violins, and pianos – each piece delivering just the right note. Cinematographer Ari Wegner (THE TRUE HISTORY OF THE KELLY GANG, 2019) works seamlessly with director Campion to capture the shifts in tone and the minutiae of the performances. An early shot through the kitchen windows captures Phil strutting through the ranch. The shot is repeated later with a contrasting look. The film is based on the 1967 novel by Thomas Savage, and it includes some of his personal experiences. Nothing haunts us more than the lingering effect of words Peter provides as narration near the film’s opening, when he informs us that a real man must save his mother. Oh yes, this is nuanced storytelling at its finest. By the way, you know how to whistle, don’t you?

Streaming on Netflix

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Posted by David Ferguson

LAST NIGHT IN SOHO (2021)

October 28, 2021

Greetings again from the darkness. Every once in a while a movie captures that magic feeling of being swept away, and this wild film from writer-director Edgar Wright and co-writer Kristy Wilson-Cairns (1917) did just that for me. This is my kind of psychological-horror-thriller and with the exception of one sequence that went a bit too “slasher” for my tastes, I had a blast watching it. I’ll admit that, while also acknowledging more people will probably not enjoy this, than will. But for those who do, I feel confident they will share my enthusiasm.

Eloise (Thomasin McKenzie, JOJO RABBIT, 2019) opens the film by expressively dancing to Peter & Gordon’s “A World Without Love” while sporting a self-designed dress made of perfectly creased newspaper. Her room is filled with 1960’s colors and memorabilia and we soon learn she’s an orphan raised by her grandmother (Rita Tushingham, A TASTE OF HONEY, 1961). Eloise, or Ellie as she’s called, dreams of following her mother’s path to London, and is thrilled beyond measure when her acceptance letter arrives from the London School of Fashion. Ellie does carry the burden (and visions) of her mother’s mental illness, and her grandmother warns, “London can be a lot.”

Small town (Cornwall) Ellie with her timidity and wide-eyed innocence arrives in London and is immediately the target of ‘mean girl’ and fellow student Jocasta (Synnove Karlsen). Rather than subject herself to the abuse, Ellie sublets an attic room from an old lady landlord named Mrs. Collins (the last screen appearance for the great Diana Rigg). Ellie loves the room and her independence, but her dreams act as a portal back to those swinging 60’s of which she’s so fond. But that’s only the beginning. It’s here where she follows/becomes Sandie (Anya Taylor-Joy), and the mirror effects are truly other-worldly. Sandie is everything that Ellie wishes she was herself – confident, radiant, ambitious, and beautiful. This dream state allows Ellie to live vicariously through Sandie. At least initially.

The Ellie-Sandie sequences mess with your head in a wonderful way. Sandie seems to float across the club’s dance floor, and Ellie is mesmerized at first, before turning protective. The tone shifts when Sandie meets sleazy Jack (Matt Smith), a would-be agent who promises to get Sandie the shot at stardom she desires. This leads to ATJ’s amazing and breathy version of Petula Clark’s “Downtown”. It’s a standalone highlight of the film, and a moment that shifts the story yet again. If you are struggling to keep pace, you’re not alone.

Soho’s glamour is matched only by its grunge. The recurring dreams turn to nightmares, so that even Ellie’s waking hours are surreal. A mysterious elderly gent played by Terence Stamp may be the key to the mystery Ellie’s so busy trying to solve that she is oblivious to the romantic overtures by nice guy John (Michael Ajao). The nostalgia of the 60’s provides a visual treat with the Café de Paris, a massive theater marquee advertising James Bond’s THUNDERBALL, and Cilla Black’s “You’re My World”.

Filmmaker Wright gives us so much to discuss, but it’s crucial that the best parts not be spoiled. Just know that Oscar winner Steven Price (GRAVITY, 2013) provides an incredible mix of music, while Chung-Hoon Chung’s cinematography, Marcus Rowland’s Production Design, and Odile Dicks-Mireaux’s costumes all nearly steal the show. But of course, that can’t possibly happen thanks to the stupendous performances from Anya Taylor-Joy and (especially) Thomasin McKenzie. These are two of the finest young actors working today, and we will be fortunate to watch their careers develop.

Edgar Wright is having quite a year. He’s already delivered the terrific documentary, THE SPARKS BROTHERS, and now comes what is his best work yet. You may know his work on BABY DRIVER (2017) or the Three Flavours Cornetto trilogy that kicked off with SHAUN OF THE DEAD (2004). Here, he playfully bounces between genres serving up time travel, a murder mystery, the Soho history, a memorable soundtrack, surreal dream and ghost sequences, a touch of romance, and that previously mentioned ‘slasher’ scene. A final tip of the cap to Diana Rigg, whose career spanned her role as Emma Peel in “The Avengers” (from the 60’s), her time as a Bond girl in ON HER MAJESTY’S SECRET SERVICE (1969), and ultimately as Olenna Tyrell in “Game of Thrones”.

Opens in theaters on October 29, 2021

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Posted by David Ferguson

OLD (2021)

July 23, 2021

Greetings again from the darkness. THE SIXTH SENSE (1999) and UNBREAKABLE (2000) created a movie bond with filmmaker M Night Shyamalan that will always exist. In other words, I continue to go into each of his projects with hopeful expectations of another classic. Of course, some have been pretty good (SPLIT, 2016), while others are barely watchable (THE LAST AIRBENDER, 2010). His latest lands somewhere in the middle, but does feature a stunning beach setting (Dominican Republic) – one whose tropical beauty hides a sinister reality.

The film’s synopsis is captured in the trailer: tourists experience a mystifying and terrifying phenomenon while on a day trip to a gorgeous secluded beach. The director adapted the film from the 2010 graphic novel “Sandcastle”, written by Pierre-Oscar Levy and Frederick Peeters. Shyamalan specializes in one thing: big and creative ideas. He is a risk-taking filmmaker, but one not always focused on execution, coherence, or details. Especially awkward here is the dialogue. None of these characters talk like real people. Lending to the awkwardness is the attention given to each character’s name and occupation … except for the kids, where age is the significant data.

Due to the nature of the story (and the effects of the beach), the cast is significantly larger than the number of characters. We ride along with one family as they first approach the luxury resort. Insurance actuary Guy (Gael Garcia Bernal) and his wife, museum curator Prisca (Vicky Krieps) are vacationing with their 11 year old daughter Maddox (Alexa Swinton) and 6 year old son Trent (Nolan River). The couple clearly have a strained relationship and appear headed for a break-up. Encouraged by the resort manager to spend the day at a secret remote beach, they are joined by Charles (Rufus Sewell), a surgeon, his calcium-deficient trophy wife Chrystal (Abbey Lee), their young daughter Kara, and the doctor’s elderly mother Agnes (Kathleen Chalfant). Another couple is there as well, nurse Jarin (Ken Leung) and his wife Patricia (Nikki Amuka-Bird), a psychologist. Already at the beach when they arrive is rap star Mid-sized Sedan (Aaron Pierre), replete with bloody nose and the corpse of the woman who accompanied him.

It’s best not to go into specifics about the progression of things for these folks on the beach, but it can be noted that they frantically try to find a way back to the resort. When all attempts prove unsuccessful, that ridiculous dialogue fills in many of the gaps for us, though you should know the science doesn’t hold up … think of it as fantasy instead. As their day at the beach moves forward, other actors take over: Alex Wolff and Thomasin McKenzie are teenage Trent and Maddox, Eliza Scanlen is Kara, and later, Emun Elliott and Embeth Davidtz become Trent and Maddox. It becomes frustrating for viewers as the professions are emphasized: Guy spouts statistics at every turn, Prisca discloses she’s not a pathologist, and Patricia attempts to get everyone to bring their feelings to group. Ugh.

Despite the many missteps and the overall mess of characterizations, Shyamalan (who also appears as the driver who drops them at the beach) does serve up a creative idea – one that will likely get viewers questioning their own mortality and how best to spend time. Mental illness is addressed in a crude manner with Rufus Sewell (a fine actor) bearing the brunt of a poor script, while physical afflictions and the effects of age come off a bit better. The strange looking woman serving up custom cocktails at the resort is Francesca Eastwood (Clint’s daughter), and Shyamalan’s patented plot twist ending does make sense and even has a contemporary feel to it.

Opening in theaters on July 23, 2021

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Posted by David Ferguson

TRUE HISTORY OF THE KELLY GANG (2020)

April 23, 2020

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

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

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

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

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

watch the trailer:

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Posted by David Ferguson

LOST GIRLS (2020)

March 25, 2020

 Greetings again from the darkness. The Long Island serial killer is a famous unsolved case, yet very few filmmakers would take on a true murder mystery that has no ending (The Boston Strangler and Zodiac excepted). Liz Garbus long ago established herself as an expert documentarian, and has earned Oscar nominations (WHAT HAPPENED, MISS SIMONE? 2015; THE FARM: ANGOLA, USA 1998). My guess is she was initially attracted to this story as a documentary, but transitioned to her first narrative feature out of necessity. Working from the book by Robert Kolker and a screenplay from Michael Werwie (EXTREMELY WICKED, SHOCKINGLY EVIL AND VILE, 2019), Ms. Garbus and her talented cast offer up a different viewpoint of the crimes … the viewpoint of a mother who refuses to give up her daughter a second time.

Amy Ryan (Oscar nominated for GONE BABY GONE, 2007) gives a fierce and compelling performance as Mari Gilbert. Mari is a struggling single mom holding down two jobs – one as a construction worker, and one in a local diner. She is raising two daughters: Sherri (rising star Thomasin McKenzie, JOJO RABBIT, 2019) and Sarra (Oona Laurence, THE BEGUILED, 2017). Mari takes a phone call from her eldest daughter Shannan, expressing delight that the girl will visit for dinner, and with little hesitation, asks her daughter for some money to fill the gap left by reduced work hours.

Shannan never shows up, and a mysterious phone call the next morning sends Mari and her daughters into investigative mode. Daughter Sherri uncovers the secrets her mom has been keeping from her, while at the same time watching her mom tear into the cops for their apparent lack of interest in finding Shannan. Dean Winters (“Mayhem” from the insurance commercials) plays Detective Bostick, who barely hides his contempt for Mari and her missing ‘prostitute’ daughter. Police Commissioner Dormer (Gabriel Byrne) deals directly with Mari, and bears the brunt of her aggressive fight to keep her daughter’s case from fading.

Mari is wrestling with her own emotions regarding Shannan, and it’s really daughter Sherri (Ms. McKenzie) who becomes the most interesting character in the saga. Other key players are Kevin Corrigan as conspiracy theorist Joe Salise, Reed Birney as creepy Dr. Peter Hackett, and Lola Kirke (daughter of Bad Company drummer Simon Kirke, and GONE GIRL) as Kim, the sister of one of the missing sex workers. With Mari pushing the cops, four bodies are discovered near a wealthy gated community called Oak Beach. There is a tremendous sequence involving 911 calls, and it plays right into the debate of whether this was incompetent police work or a cover-up. The lack of interest regarding missing girls seems to make it clear that the cops were hardly motivated to find the sex workers, and when Mari reminds them that these are daughters and sisters, it’s a powerful moment.

Director Garbus includes some actual news clips, and at the film’s conclusion we see a 2016 press conference with the real Mari Gilbert. Shannan disappeared in 2010, and 10-16 bodies have since been attributed to the Long Island serial killer – though the cases have never been solved. As a police procedural, the film has far too many gaps and skims over details and evidence. However, as a personal drama and commentary on police attitudes, it succeeds.

The film is now available on Netflix.

watch the trailer:

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Posted by David Ferguson

JOJO RABBIT (2019)

October 31, 2019

 Greetings again from the darkness. Welcome to the most divisive movie of the year. Some will scoff at the idea and deride the filmmaker without ever even seeing the movie. Some will relay disgust after seeing the movie. A few won’t appreciate the style or structure, and will fail to find the humor. Ah yes, but some of us will embrace Taika Waititi’s wacky adaptation of Christine Leunens’ 2018 novel “Caging Skies” as one of the funniest and most heart-warming films of the year … fully acknowledging that many won’t see it our way.

One wouldn’t be off base in asking why a successful filmmaker would tackle such a risky project: a coming-of-age comedy-drama-fantasy about a 10 year old Nazi fanatic who has as his imaginary friend, not a 6 foot rabbit, but the Fuhrer himself, Adolph Hitler. After all, writer-director Waititi is coming off a couple of brilliant indies (2014’s WHAT WE DO IN THE SHADOWS, and 2016’s HUNT FOR THE WILDERPEOPLE) and a major score with Marvel money on THOR: RAGNAROK (2017), arguably the most entertaining superhero movie of the past few years. He certainly could have continued to cash in with ‘safer’ choices; however, Mr. Waititi sees the world differently than most of us. He finds humor in the drudgery, and humanity in malevolence. He’s also a bit goofy.

Playing over the opening credits is the German version of “I Want to Hold Your Hand”, as we see old clips of German citizens cheering for Adolph Hitler in a similar manner to how fans used to scream for The Beatles. World War II is nearing the end as we meet 10 year old Jojo Betzler (newcomer Roman Griffin Davis). Jojo is fervent in his fanaticism towards the Nazi way, and buys into the belief that Jews are monsters with horns on their head. He’s such a believer that his imaginary friend is actually Hitler, well at least a bumbling boisterous version played by the filmmaker himself – enacted to extreme comedy effect (recalling a bit of Chaplin in THE GREAT DICTATOR). Mel Brooks managed to play Hitler to a laughable extreme in “Springtime for Hitler” in THE PRODUCERS, but the only thing missing her from Waititi’s costume is an old timey dunce cap.

Jojo lives at home with his mother Rosie (Scarlett Johansson), while dad is off fighting on the front line. Ms. Johansson’s performance is terrific (despite limited screen time) as she creates a believably warm bond with her son during horrific times. Soon, Jojo is off to a Nazi camp designed to teach the boys how to fight (and burn books), as the girls learn the virtues of having babies. The camp leaders are Captain Klenzendorf (Sam Rockwell), who is a bit of a joke on the surface, but more interesting the deeper we dig; Fraulein Rahm (Rebel Wilson) who boasts of having 18 Aryan babies; and Finkel (Alfie Allen) a violent psychopath. At camp with Jojo is his best friend Yorki (newcomer and scene-stealer Archie Yates), and the two show what a genuine friendship can be as the movie progresses.

Things change quickly for Jojo when, by happenstance, he discovers a Jewish girl living in the walls of his home. Elsa (Thomasin McKenzie, LEAVE NO TRACE) shows none of the characteristics that Jojo has been brainwashed into believing all Jews possess. She has no horns, flashes a good sense of humor, and is actually very nice and knowledgeable. In other words, she’s no monster. As they get to know each other, Jojo realizes this “nice” Jewish girl contrasts starkly with his lunatic hero Adolph.

Waititi’s film is ingenious satire, and it likely won’t sit well with those who think not enough time has passed to justify making fun of Nazi atrocities. It’s funny and heavy, and deals with some thought-provoking matter in an unusual way. The “Heil Hitler” count approaches the ‘F-word’ frequency of most Tarantino movies, and there is a German Shepherd gag that caught the audience off-guard. Stephen Merchant’s Gestapo search of Jojo’s house is comedy at its weirdest. The movie messes with your head as it’s some odd blend of SCHINDLER’S LIST, “The Diary of Anne Frank”, and an extended Monty Python skit.

It’s rare for a film that borders on slapstick at times to have so many touching and emotional moments. The actors are really strong here, especially Ms. Johansson and Ms. McKenzie, who as gutsy Elsa, proves again she is quickly becoming a powerhouse young actor. Roman Griffin Davis carries a significant weight in the story despite being a first time actor, and I can’t emphasize enough how young Archie Yates will steal your heart while he’s stealing his scenes. Michael Giacchino’s score and Mihai Malaimaire Jr’s terrific cinematography work well with Waititi’s vision … a satirical vision that would never work outside of his unique filmmaking talent. The story is basically proof of the adage, ‘Kill ‘em with kindness’, when what we are really killing is hatred. At its core, this is a story of humanity and human nature, and how we grab hold of the wrong thing until the truth becomes evident. Now, please pass the unicorn.

watch the trailer:

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Posted by David Ferguson

LEAVE NO TRACE (2018)

January 5, 2019

 Greetings again from the darkness. It seems like many more than 8 years have passed since filmmaker Debra Granik’s outstanding film WINTER’S BONE exploded onto the indie scene and introduced most of us to Jennifer Lawrence (although she had been acting for 5 years prior). The talented Ms. Granik has chosen to adapt another book as her feature film follow-up, and once again nature and an independent spirit play a key role. Based on the novel “My Abandonment” by Peter Rock, it’s the story of a father and daughter who live off the grid … until society catches up to them.

Ben Foster (always exceptional) plays Will, a war veteran and father to Tom, his teenage daughter played brilliantly by Thomasin McKenzie. The two live off the grid in the forests outside of Portland. An extended opening sequence with very little dialogue shows us their daily life: capturing rain water, cutting trees for firewood, hiding their camp site, and drilling on making themselves ‘disappear’ in the foliage. It’s in these scenes where cinematographer Michael McDonough shines. His camera work allows us to feel as if we are in the damp forest as the sun rays peek through the trees. It’s a beautiful sight despite our uneasiness towards the father-daughter situation.

When Park Rangers discover them, the two enter the Social Services system, but rather than treat us to yet another uncaring and incompetent bureaucracy, director Granik allows human kindness and reasonableness to play its part. Will and Tom are moved onto a farm where she will enroll in school and he will work on a Christmas tree farm. Of course, we know that Will is not cut out for this life, though we begin to see Tom show signs of true independence and her own dreams.

They make their way back into the woods and an injury – and more human kindness – has them end up in a camp with other outliers. The story really captures the conflict between a society that is obligated to educate and protect children, and the same society that has little clue how to assist veterans of war. We see folks who just want to be left alone, and others who maybe can’t fit in to society – or have no interest in trying.

Supporting work is provided by Dana Millican, the great Dale Dickey, and Isiah Stone (one of the kids from WINTER’S BONE). There is a believability here rarely seen on the big screen, and the love between father and daughter is something to behold. Ms. Granik says so much by saying very little, but what could be such a bleak story actually revels in the kindness to fellow man – the type of kindness which seems all too rare these days.

watch the trailer:

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Posted by David Ferguson