BANG BANG (2025)

September 11, 2025

Greetings again from the darkness. There is no obvious explanation for my connection to and appreciation of Tim Blake Nelson on the big screen … well … other than his talent. He certainly doesn’t possess the traditional attributes of a movie star, yet that’s exactly what he is. Not only is he one of the most dependable character actors around (see O BROTHER WHERE ART THOU and MINORITY REPORT), but he’s also terrific in lead roles (see OLD HENRY and ASLEEP IN MY PALM). With this latest film, director Vincent Grashaw and screenwriter Will Janowitz (who also has a role in the film) benefit from the actor’s audacious and fearless performance.

Bernard “Bang Bang” Rozyski (Tim Blake Nelson) is a bitter man. He’s also an alcoholic. As a former boxer, he appears to be in a race to the bottom with the area of Detroit in which he lives. Both man and city are crumbling and to add insult, the former boxing rival that Bernard views as the reason for his decline is running for Mayor. Darnell Washington (Glenn Plummer) became rich peddling juicers (not countertop grills) and now holds himself up as a guiding light for a city that needs a reason to exist … not unlike Bernard.

Bernard’s estranged daughter (Nina Arianda) surprises him with a knock on the door and a request to watch her son Justin (Andrew Liner) while she gets settled with a new job in a new city. Justin’s ankle monitor prevents him from going with mom until he fulfills his community service. He also shows little interest in Grandpa’s philosophical meanderings … until he learns boxing can lead to money and girls. Bernard begins training him with the help of an old friend (Kevin Corrigan), and it’s at this point when we wonder if Bernard’s new path is one of redemption or revenge.

While the reasoning may be initially unclear, we have no doubt that Bernard is haunted by the past – and he understands this very well. Fighting, family, and his former house all play a role in his bitterness and frustration. We also understand that things don’t tend to get better for a guy like ‘Bang Bang’. Although the film covers familiar ground with some recognizable tropes, Tim Blake Nelson’s performance and the raw aesthetic of the film keep us fully engaged. His final confrontation with Washington may go a bit over the top, but it reminds us that while a hammer sees everything as a nail, a fighter may very well view everything as a fight … or at least as the only way to resolve conflict.

The film opens in select theaters on September 12, 2025 (NYC, LA, Detroit, with additional markets TBA), following its premiere at the Tribeca Festival.

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Posted by David Ferguson

ASLEEP IN MY PALM (2024)

February 29, 2024

Greetings again from the darkness. The extreme political divisions that exist in the United States today are well-documented and often discussed. The first feature from writer-director Henry Nelson eschews politics and instead looks at class differences – and even deeper into the role of human connections and family bonds. As a new filmmaker, it certainly doesn’t hurt to have an incredible actor as your dad, especially one willing to dive headfirst into the lead role of your gritty and intimate drama.

Tim Blake Nelson has evolved into a must-see actor. He manages to make each role his own, whether in support (O BROTHER, WHERE ART THOU?, 2000) or as the lead (OLD HENRY, 2021). Here he stars as the bearded father to 16-year-old Beth Ann (an outstanding Chloe Kerwin, “The Marvelous Mrs Maisel”). When we first see them, dad is telling a creative bedtime version of Chicken Little to his daughter, complete with frequent blue language. A short while later we see the two are living in a storage unit, about as far off the grid as a father-daughter can get.

During the initial Chicken Little story, dad says, “everybody has a breaking point”. We know immediately that this is foreshadowing as well as an explanation for what has already happened. We quickly bond with father and daughter, although dad is often a bit prickly, an attribute we chalk up to PTSD. What we don’t doubt is his commitment to Beth Ann and his need to protect her from outside forces, aka society. Dad doesn’t talk much about himself or his past, but he frequently serves up lessons, often based on religion, that are meant to convince their way is the only way.

An occurrence with his partner in crime (Jared Abrahamson) becomes a way forward, but at the same time, Beth Ann is exposed to some of the students at a nearby college and becomes intrigued by Millah (a memorable Gus Birney, daughter of actor Reed Birney). As viewers we are forced to consider the effects of isolation, loneliness, parental judgement, and teenage curiosity … both before and after the film’s excellent twist that few will see coming. Not only is this a nice showcase for Tim Blake Nelson, Chloe Kerwin, and Gus Birney, it’s also a solid debut from writer-director Henry Nelson.

In theaters on March 1, 2024, on VOD March 19, and streaming April 19.

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Posted by David Ferguson

GHOSTED (2023)

April 21, 2023

Greetings again from the darkness. I am often accused of taking movies too seriously rather than just sitting back and enjoying the entertainment value. Well, this latest from director Dexter Fletcher (ROCKETMAN 2019, EDDIE THE EAGLE 2015) is textbook ‘popcorn entertainment’ made for those who prefer to sit back and enjoy. There is plenty to like here and it did generate a few laughs, yet it’s still a movie that doesn’t hold up to much thought or post-viewing discussion. SPIDER-MAN collaborators Chris McKenna and Erik Sommers, and DEADPOOL collaborators Rhett Reese and Paul Wernick have joined forces on a script that somehow doesn’t have the dialogue zings that can keep pace with the action sequences.

An early meet-cute occurs as organic family farmer Cole Turner (Chris Evans bucking his Captain America persona) unknowingly flirts with market shopper Sadie Rhodes (Ana de Armas, fresh off her Oscar nomination for BLONDE, 2022), recommending she purchase a cactus rather than a Begonia once she discloses her work travel schedule. An all-day and all-night date ends with Cole telling his family that “she may be the one.” His caustic sister (Lizzie Broadway) skewers him with the funniest one-liners in the film while informing that his smothering texts and emojis have likely caused Sadie to ghost him.

It’s at this point where the clumsy organic farmer turns into an extreme stalker and heads to London … don’t ask what trick allowed him to track her. A photo op at Tower Bridge ends with Cole being abducted and presumed to be “The Taxman” (cue Beatles song), the only person with the code to unlocking a chemical weapon in the possession of arms dealer and dastardly bad buy Leveque (Oscar winner Adrien Brody). Of course, Sadie rescues Cole at the last minute, and her cover as an international art curator is blown … surprise! She’s actually a highly-skilled CIA spy.

Three major action sequences are featured: an exciting bus-in-reverse along a mountain side road in Pakistan, a fight scene aboard a private jet, and a guns-blazing shootout in a rotating high-rise restaurant. Ana de Armas is terrific in the action sequence and her rapport with Chris Evans (first noted in KNIVES OUT, 2019) elevates the toothless banter between the two. It’s a bit shocking that this group of writers couldn’t land on wittier and sharper comments for these two characters as they bounce around the globe … even racing up THE EXORCIST stairway. At times it feels like an episode of “Get Smart”, although the action sequences are first rate.

Supporting roles are held by Mike Moh, Amy Sedaris, Tate Donovan, and the always fun Tim Blake Nelson. Many will enjoy the hand full of cameos that pop up, at least one “Wilhelm scream”, and the sometimes obvious and/or cheesy song selection … a rare soundtrack to include both The Knack and Dua Lipa. The film leans more into cute than witty and danger, but with two of the most attractive stars working today, that’s forgivable. Just get your popcorn ready and sit back and enjoy this rom-com/action-thriller, and don’t think too much.

The film will be on Apple TV+ on April 21.

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Posted by David Ferguson

GUILLERMO DEL TORO’S PINOCCHIO (2022)

December 9, 2022

Greetings again from the darkness. Looking for someone to create the opposite of a whimsical childhood fairy tale? The obvious answer is filmmaker Guillermo del Toro (an Oscar winner). He has built his career on delivering dark thrillers that dig into the recesses of our nightmares (PAN’S LABRYNTH, THE SHAPE OF WATER). In fact, he’s a master of this, which makes his vision of Carlo Callodi’s 1883 book a must see. GDT shares a director credit with animation expert Mark Gustafson (FANTASTIC MR FOX, 2009) and screenwriting credit with Patrick McHale. Matthew Robbins has a ‘screen story’ credit, and of course it all links back to Callodi’s source material.

From scene one we immediately sense the different approach than both the light-hearted Disney animated classic from 1940 and Robert Zemeckis’ sentimental live-action version starring Tom Hanks released just a few months ago. It’s darker and gloomier with a unique stop-action look saturated in browns. We also recognize that GDT has chosen a different timeline, as the effects of one of the last WWI bombs takes the life of Geppetto’s beloved young son, Carlo, and Mussolini and fascism are referenced throughout the story.

Everyone knows the story, and the core remains intact – though GDT adds his special touches and twists. One night, a drunken grieving woodcrafter carves a wooden puppet. As Geppetto sleeps it off, the Wood Sprite brings the puppet to life, and just like that, Pinocchio is born and Geppetto has his new son. Another unexpected twist is how much of the film is musical with song lyrics and music by del Toro and the film’s composer, two-time Oscar winner Alexandre Desplat. But don’t mistake songs for an upbeat movie. It’s still dark and bleak, and of course, GDT nails the sea beast whose belly houses Geppetto and Mr. Cricket in the most thrilling segment.

Young Gregory Mann voices Pinocchio and Carlo, Ewan McGregor voices Sebastian J Cricket, and David Bradley is Geppetto. Beyond that, the all-star voice cast features Ron Perlman, John Turturro, Finn Wolfhard, Cate Blanchett, Tim Blake Nelson, Christoph Waltz, Tilda Swinton, and Burn Gorman. No one does fantasy-horror better than Guillermo del Toro, and even with his first foray into animation, delivers a unique look and spin on a familiar story. He even makes it easy to pick up on the Frankenstein (the Mary Shelley novel) influence, so I’ll say it again … don’t mistake this for the family-friendly Disney fare you grew up on.

Opens in theaters and Netflix on December 9, 2022

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Posted by David Ferguson

NIGHTMARE ALLEY (2021)

December 17, 2021

Greetings again from the darkness. Fans of filmmaker Guillermo del Toro anxiously await his new projects knowing full well that each will have a stylish atmosphere, a certain fantastical creepiness, and characters a bit outside the norm (whatever normal is these days). Beyond that, the mystique derives from whatever new approach the extraordinarily talented filmmaker will surprise us with this time. For his first follow-up to his Oscar winning THE SHAPE OF WATER (2017), del Toro and co-writer Kim Morgan have adapted the 1947 cult noir classic by director Edmund Goulding (starring Tyrone Power), which itself was adapted from William Lindsay Gresham’s 1946 novel.

Bradley Cooper (an 8 time Oscar nominee) stars as Stan Carlisle in what is a terrific opening sequence. We witness Stan leaving his past in ashes, then catching the bus out of town, until he steps off and follows a dwarf into the heart of a carnival where sideshows and freaks are the attraction. Through this progression, Stan utters nary a word for quite an extended period. Soon enough, Stan has become part of the fabric of the carnival, thanks to Clem Hoatley (Willem Dafoe) giving him a job, and mentalist Zeena (Toni Collette) giving him more than that. Stan is a quick study and takes in Clem’s history of “the geek”, and more importantly, he absorbs all secrets and the code from the telepathy show Zeena and her alcoholic husband Pete (David Strathairn) constructed. They not only pass along their trade secrets, but also a warning to avoid “spook shows”, which involves bringing up the dead for audience members.

Stan takes to the con quite naturally, and soon he is teaming with ‘electric girl’ Molly Cahill (Rooney Mara) to fine-tune their own psychic shows. Their relationship grows and within a few years, the two are performing at swanky hotels for high-society audience. It’s at this point where the movie transitions abruptly from the raunchy carnival setting with tattered tent flaps, floors of hay, and freaks and gadgets, to stunningly sleek Art Deco, fancy dress, and fancier words. One evening, Stan battles wits with an audience member, and his life path is altered again. Dr. Lilith Ritter (Oscar winner Cate Blanchett) is a psychologist who stays a step ahead of Stan, though he never realizes she has drawn him into her scheme, leading him to believe they are working together.

For those who have not seen the 1947 film, you won’t know that the central idea that folks need to believe in something is minimized, while Cooper’s differing approach to the role will not matter. However, for fans of the earlier film, it seems clear his intentions are less sinister, and he merely views his new skill as a path to wealth. Additionally, his aversion to alcohol too obviously foretells a role in his ultimate downfall. Ms. Blanchett relishes her role as a most intelligent noir femme fatale, and at times, simply overpowers Cooper in their scenes … although these scenes are gorgeous. This cast is absurdly talented and deep, and also includes Richard Jenkins, (Oscar winner) Mary Steenburgen, Holt McCallany, Clifton Collins Jr, Tim Blake Nelson, Jim Beaver, Mark Povinelli, Ron Perlman, and Peter MacNeil. Mr. Cooper and Ms. Blanchett are the featured performers, although my preference would have been more Dafoe and Collette.

Perhaps the real stars of the film are the technical team members: Production Designer Tamara Deverell, Art Director Brandt Gordon, Set Director Shane Vileau, and Costume Designer Luis Sequeira. In fact, one of Ms. Blanchett’s dresses is designed cleverly for one scene which reveals something from Lilith’s past. It’s rare for a film to offer two such contrasting and brilliant looks as what we see here with the carnival in the first half, and the Art Deco of the second. Nathan Johnson’s music is a good fit, especially for the first half.

Surprisingly, it seems as filmmaker del Toro has softened the edges of the characters and story for a more accessible film, though it still features less-than-admirable human beings. It lacks the final packaging regarding the reason the pieces are all related, and we never experience the nerve-jarring intensity of a true noir, though that final scene with Cooper and Tim Blake Nelson is stellar. The director seems to love the shadowy look and feel of the carnival and characters, and not so much the glossy bits of the second half. Still, how good is a filmmaker when one that is not his best work, is still at a level many filmmakers can only dream of? The letdown is like the “geek” job … it’s only temporary.

Opening in theaters on December 17, 2021

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Posted by David Ferguson

GHOSTS OF THE OZARKS

October 27, 2021

Austin Film Festival 2021

Greetings again from the darkness. Most mothers tell their kids, “If it’s too good to be true, it probably is.”  Young Doctor James McCune (Thomas Hobson) has decided to take up the offer from his Uncle Matthew (Phil Morris, who “Seinfeld” fans will recognize as outrageous attorney Jackie Chiles), and become the town doc in North Fork. The year is 1866, and after an eventful trip that sets us up for a horror film, James arrives to find one of the earliest ‘gated communities’.

Upon arriving, two things stand out to James. First, it seems all of the North Fork citizens know his name and have been waiting on him to show up. Second, he’s fascinated by the sight of a mixed-race community living in harmony. His bright-eyed awe shows his wondering whether this this some type of Utopian society? Not long after he realizes his Uncle Matthew holds the power position in town, James begins to notice the cracks in the façade of his new found paradise.

The town’s characters are quite a bunch to behold. Torb, the multi-talented blind barkeep is played by the always-fun Tim Blake Nelson (recently seen in OLD HENRY). Tara Perry (the film’s co-writer and wife of co-director Jordan Wayne Long) plays sharp-shooting Annie, not one for putting up with much drama. Her rather large, protective brother William is played by Joseph Rudd, while Angela Bettis as Lucille and David Arquette as Douglas play normal and annoying – I’ll leave it to you to discern which is which.

“From one seed an entire forest can grow” is the film’s opening quote, and it takes on an entirely different meaning as the story progresses. A gathering red fog indicates the menacing ghosts are present, but are the forest ghosts the real threat? Co-directors Jordan Wayne Long and Matt Glass, along with co-writers Long, Sean Anthony Davis and Tara Perry have adapted their 2016 short film into a ghastly fun feature, with Mr. Hobson and Ms. Perry reprising their roles. As we’ve learned power plays come in many forms, and sometimes legends are used to distract from the truth. Thanks to this film, I have a new guideline: any movie that features Tim Blake Nelson singing with an Irish accent is automatically worth watching.

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Posted by David Ferguson

OLD HENRY (2021)

September 30, 2021

Greetings again from the darkness. When asked to explain the appeal, many fans of Western movies note how the clear division of good and bad, and right and wrong, allows for easy identification of those to root for, or even admire. Writer-director Potsy Ponciroli muddies the water with this one, blurring the lines between good guys and bad guys, and keeping us guessing until the end.

The film opens in the Oklahoma territory in 1906, a mere seventeen years after the Land Rush of 1889. The farmer we meet, Henry McCarty (a perfectly chosen name) may or may not have been a ‘sooner’, but he admits to his son that the idea of free land is what drove him to settle here, on the plot next to his deceased wife’s brother Al (Trace Adkins). Tim Blake Nelson is superb in the role, and plays Henry as a man with deep, and likely dark secrets. The land is challenging to work and he expends energy farming as well as protecting his son Wyatt (Gavin Lewis), a typical whiny teenager with little regard for adult struggles. Wyatt is anxious to escape the structure and limitations of life with dad.

Breaking a long string of days where nothing much happens for Henry and Wyatt, an injured man with a satchel full of cash is discovered on their land. Henry patches up the gunshot wound, and puts the unconscious man in bed, albeit with ropes binding him to the frame – one of the glimpses of Henry cluing us to waters that run much deeper than we’d typically expect for a farmer in the middle of nowhere. When the man awakens, he claims to be Sheriff Curry (Scott Haze) and that the three men chasing him are the bad guys. The dilemma for Henry is heightened in that he’s not an inherently trusting fellow, and the Sheriff badge is actually on one the vest of those three men, Ketchum (a fun turn from Stephen Dorff).

The verbal exchanges between Henry and Ketchum are oratory poetry, and it makes for a juicy and tension-packed chain of events. We are left to deduce which of the men – Henry, Curry, and Ketchum – are who they say they are. It’s a game of Clue featuring rifles, holsters, and horses. Cinematographer John Matysiak does a nice job with a wide-range of shots: outdoors, in the cabin, the big shootout, and even a doorway shot as a tribute to John Ford.

The two twists are what really made this click for me. And one of them is quite a whopper. The suspense generated by the situation is certainly enhanced by the fancy verbal sparring, including a terrific line from Henry when asked about his background: “Many vocations, some more marginal than others.” But it really comes down to us as viewers, along with Henry, attempting to discern the good guys from the bad, and constantly asking ourselves … who do we trust? Mysteries are fun, especially when a good old-fashioned shootout is included, and the film’s big reveal turns out to be etched in western lore.

Coming to theaters on October 1, 2021

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Posted by David Ferguson

NAKED SINGULARITY (2021)

August 5, 2021

Greetings again from the darkness. After co-writing the screenplay (adapted from the Stephen King book) for the box office horror hit IT (2017), Chase Palmer gets his first opportunity to direct a feature film. He also co-wrote this screenplay with David Matthews, as the two have adapted the 2008 novel “A Naked Singularity” by Sergio De La Pava. Think of it as a meaning-of-life science fiction comedy drama heist film that critiques the justice system. You know what they say about trying to be all things to all people. But it does get bonus points for trying hard!

John Boyega (Finn in the STAR WARS movies) stars as Casi, a Public Defender who is exasperated with the NYC criminal court system. Casi is overworked and underpaid, and his heart of gold and frumpy suit matter little in his courtroom clashes with Judge Cymbeline (Linda Lavin, “Alice”), who thrives on antagonizing and baiting the young attorney. Casi’s early idealism has faded and now he’s just fed up, looking for a way out. The talented Olivia Cooke (SOUND OF METAL, 2020) co-stars as Lea, a bored clerk at a city impound lot. Lea is a previous client of Casi’s and they cross paths again when his lawyer friend Dane (Bill Skarsgard, Pennywise in IT) passes along a file for her latest case.

There are basically three stories going on here: First, Casi is (unsuccessfully) fighting the bias in the halls of justice. Second, there is a weird glitch in the matrix, referred to as a “ripple” by Casi’s stoner friend Angus (Tim Blake Nelson), who works out physics problems on the wall of his apartment. And third, there is a botched drug deal featuring creepy hoodlum Craig (Ed Skrein, DEADPOOL, 2016), who has dragged Lea right into his web of crime. Of course, Lea already had a criminal record, and she’s frustrated that the system penalizes her for the past … leaving her with lousy options for employment. She’s too is looking for a way out.

As the film begins, director Palmer includes a quote from Candide: “If this is the best possible world, what then are the others?” This goes directly to the dreamers – those who imagine escaping their situation, and those who imagine making it better. Act 3 becomes a heist film, but we miss out on the fun part, as the planning just seems to happen. When the big day arrives, some things go right, and some things go wrong. Mostly, it’s an unrealistic chain of events that involves every character listed above, plus The Golem (Kyle Mooney) as the leader of the drug-dealing Hasidic Jews, a couple of NYC Detectives, and a Mexican cartel boss, who raises eyebrows outbidding Craig for the Navigator where the drugs are stashed. It seems fairly likely that Lincoln contributed to the film’s production since “Navigator” is mentioned numerous times.

Director Palmer utilizes a countdown to the big event … assuming the “ripple” wouldn’t be considered a bigger event … and that provides the odd pacing for the film. Also odd is the inclusion of a Popeye Doyle reference, when it’s quite unlikely that these characters would be familiar with THE FRENCH CONNECTION. Additionally, it’s the unnatural dialogue and the wedged-in social commentary that come across as misplaced. Comparing being poor to slavery in a five second scene makes it appear the goal was to fit in as many social issues as possible within a 90 minute run time. Sometimes weird is interesting. Sometimes it’s just weird. Sometimes it’s just kind of meh.

Screen Media will release NAKED SINGULARITY in select theaters on August 6th as well as opening wide and on demand August 13th, 2021

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Posted by David Ferguson

JUST MERCY (2020)

January 9, 2020

 Greetings again from the darkness. 2019 movie year brought us BRIAN BANKS, CLEMENCY, and now JUST MERCY. Three movies centered on death row and racism in the justice system. Being imprisoned for a crime one didn’t commit is simply something most of us can’t fathom. Add in the death penalty, and it truly becomes a horrifying tragedy. Bryan Stevenson is a Harvard Law graduate who founded Equal Justice Initiative, a non-profit organization whose mission is to get innocent/wrongly convicted people off of death row.

Filmmaker Destin Daniel Cretton (SHORT TERM 12, THE GLASS CASTLE) brings Mr. Stevenson to the screen through the story of Walter “Johnny D” McMillian. Mr. McMillian was so obviously not guilty, that the road block set up to stop him on his way home from work speaks to the deep-rooted racism embedded in an Alabama police force so desperate to solve the murder of a white woman. Oh, and the town is Monroeville. The same town where Harper Lee wrote “To Kill a Mockingbird.” Cretton’s script, co-written with Andrew Lanham (THE GLASS CASTLE) follows attorney Stevenson’s efforts to unravel the racism and miscarriage of justice.

Michael B Jordan plays Bryan Stevenson, and Oscar winner Jamie Foxx plays Walter McMillian. Their shared scenes are extraordinary, and bring out the best in Mr. Foxx. Oscar winner Brie Larson (Mr. Cretton’s good luck charm) plays Stevenson’s assistant Eva Ansley, a hard-working idealist, who unfortunately is given little to do here. Tim Blake Nelson makes quite an impact as Ralph Myers, a convicted murderer with a twitchy delivery – and the state’s only witness against Walter. Rafe Spall is the corrupt DA with a southern accent that is painful to our ears, and Karan Kendrick plays Walter’s wife Minnie. In an all-too-brief turn, O’Shea Jackson plays death row inmate Anthony Ray Hinton, whose story could just as easily be at the center of movie like this one.

The film opens in 1987 and continues through McMillian’s re-trial in 1992. Along the way Mr. Jordan effectively portrays a man that realizes things are much worse than he anticipated. The film is based on Stevenson’s 2014 memoir “Just Mercy: A Story of Justice and Redemption”, but it’s Mr. Foxx who excels here. He conveys the feelings of resignation that the man has for his situation … a situation so beyond his control, and one that he understands is biased against him. Watching McMillian come to trust Stevenson through actions rather than words, is exceptional acting by Foxx. We’ve seen how hope can be a dangerous thing on death row, and it’s certainly an emotion that Foxx’s McMillian is slow to embrace.

Bryan Stevenson is now a world renowned Civil Rights attorney and his foundation has made a difference for many convicts. He continues to fight against a racially-biased system, and it does seem that the attention is causing a change in attitudes. The movie comes across a bit slick and formulaic for the message it carries, but perhaps that’s by design so that more people will give it a watch. The intent is certainly admirable.

watch the trailer:

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Posted by David Ferguson

THE REPORT (2019)

November 18, 2019

 Greetings again from the darkness. Does the end justify the means? Do two wrongs make a right? These are questions of ethics and morality, and when it comes to the government, they can also be questions of legal and illegal, or even life and death. Scott Z Burns offers up his feature film directorial debut, and he has been best known as a screenwriter for Steven Soderbergh films such as THE LAUNDROMAT, SIDE EFFECTS, and THE INFORMANT! Mr. Burns certainly didn’t choose an easy route for his first time in the director chair, as this is a heavy, thought-provoking, stomach-churner.

Adam Driver plays Daniel Jones, a Senate staffer under Senator Dianne Feinstein. She charges him with leading the Senate investigation into the CIA’s Enhanced Interrogation Technique (EIT) program after the 9/11 attack. It’s easy to see why so many viewed this as a bad gig, but Jones became obsessed with uncovering the truth about what happened, who did what, and who knew what and when they knew it. This government procedural offers us an education on red tape, political boundaries, and the expertise in protecting fiefdoms in D.C. In other words, everything that we fear and despise about our own government officials is on display here.

That said, it is refreshing to see someone so focused on getting to the truth as Jones is/was … despite the systematic obstacles (destruction of tapes, party divisions). Annette Bening shines as Senator Feinstein and is quite effective in portraying just how difficult it can be for politicians to juggle all sides and pressures when a topic is so “hot”. The film covers a period between 2003 and 2012, and most of the run time is spent on Jones’ research for the report.

The supporting cast is deep and talented, and includes Jon Hamm as Obama Chief of Staff Denis McDonough, Michael C Hall, Maura Tierney, Victor Slezak, Tim Blake Nelson, Ben McKenzie, Matthew Rhys, Corey Stoll, and Ted Levine (as CIA Director John Brennan). One of the more interesting aspects of the film involves the contractors behind the EIT program. Basically, they are academics with no real world case studies or experience – just two guys looking to cash in on a lucrative government deal at a time when a country was desperate for answers.

Watching the battle over the final release (or not) of “The Torture Report” (the word torture was redacted here for the title) injects quite a bit of tension, and the inclusion of archival footage from the period is very effective. What’s less effective is the overuse of shaky-cam in the first portion of the film, and the score is downright annoying at times as it attempts to ensure we are frustrated with the political wranglings. On the other hand, the dialogue is crisp and there are some well-written and well-acted quietly-tense exchanges between folks. Adam Driver carries the bulk of the film and he is perfectly cast.

The obvious comparisons are to ALL THE PRESIDENT’S MEN and SPOTLIGHT, though this one never quite reaches that level. Still, it’s thought-provoking to watch as Jones considers a New York Times reporter to be the most ethical character he can turn to in his efforts to get the truth out. The film doesn’t really choose sides … everyone who participated in a cover-up or illegal activities takes a shot, as does Kathryn Bigelow’s ZERO DARK THIRTY. This was a dark time in U.S. history, and it reminds us how difficult it seems to be to do the right thing while in government. Perhaps that’s the biggest takeaway.

watch the trailer:

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Posted by David Ferguson

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