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

BILLY LYNN’S LONG HALFTIME WALK (2016)

November 17, 2016

billy-lynn Greetings again from the darkness. “Thank you for your service.” For those of us who have never served in the military, we say the words because we don’t know how else to show our appreciation. Do the words ring hollow to those in uniform? Maybe. Probably. But how else can we honor these brave souls? What if we have them share a stage with a pop singing group during halftime of a football game? It’s this line between honor and propaganda that takes up much of the new movie from two-time Oscar winning director Ang Lee (Life of Pi, Brokeback Mountain).

The story is based on Ben Fountain’s 2012 novel, and revolves around soldier Billy Lynn’s and his fellow “Bravo” squad members as they make the rounds back home (in 2004) for publicity after their intense battle sequence is caught on camera. There is much at play here: how the soldiers interact with each other, how they are treated by the general public, how they are used by the team’s owner and the Army for self-serving reasons, and how Billy juggles the stress of war, the spotlight of heroism, and the demands from his family.

Director Lee opted to experiment with the ultra-realism of the new 120 frames per second in 4k 3D, rather than the standard 24 fps. Though this may seem like a minor detail that shouldn’t be addressed in a review of the movie, it’s impossible to ignore this impact. Technical advancements in film and digital have resulted in some exciting new effects for movies, but this high speed approach creates a soap opera look and feel that will likely be disorienting to many viewers. Although the full effect will only be available in New York and Los Angeles (due to shortage of projectors), the clarity on the close-ups is distracting, while leaving the background quite fuzzy and out of focus. Many will find this new look to be “not right” for a movie, and prefer the traditional look. Others may embrace the heightened sense of reality … of being right there with the characters. Of course, this is Ang Lee’s film, so there is no shortage of stunning visuals and expert shots.

Beyond the technical aspects, this movie is simply a bit clunky to watch, not very well written (screenplay by Jean-Christophe Castelli), not very well acted, and has an overall awkward and unfinished feel to it. Kristen Stewart plays Billy’s sister, and her limited screen time is the best part of the movie. Newcomer Joe Alwyn makes a decent reluctant (and lucky) hero in playing Billy, but he doesn’t have the chops to overcome the script weakness and the burden of carrying so many scenes. This is especially obvious in his unrealistic bonding scenes with cheerleader Faison (played by Makenzie Leigh). Their scenes together are nearly unwatchable.

Supporting work comes from Vin Diesel as Billy’s philosophical officer in recurring flashbacks to the war, Garrett Hedlund as the current squad leader, a miscast Steve Martin as team owner Norm Oglesby (a Jerry Jones type), and Chris Tucker as the incessantly yammering agent/producer trying to put a movie deal together for the soldiers. Other minor contributors include Tim Blake Nelson, Bruce McKinnon (in horrible make-up), Ismael Cruz Cordova, Deidre Lovejoy, and a couple of All-Pro players in Richard Sherman and JJ Watt.

Since there are some interesting and important elements to the story, the assumption here is that most effort went towards the experimental technical aspects. More attention to scene detail could have more effectively contrasted the soldier’s take on war versus the never-ending inclination of Americans to turn most anything into more and bigger entertainment … even Destiny’s Child isn’t enough. The questionable filmmaking decisions leave us with the shell of a good story, and too many sappy close-ups of actors emoting directly to the camera lens. The soldier vs hero debate deserves better, and the propaganda aspect deserves a more critical eye.

watch the trailer:

 

 

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Posted by David Ferguson

ANESTHESIA (2016)

January 7, 2016

anesthesia Greetings again from the darkness. The comparisons to Crash, the 2006 Oscar winner for Best Picture, will be numerous and understandable. However, rather than an expose’ on racial tension, writer/director/actor Tim Blake Nelson turns his pen and lens towards the somewhat less profound, though still fruitful subject matter of suburban angst amidst the educated elite.

An opening featuring a violent mugging on the stoop of a NYC brownstone grabs our attention quickly, and rather than follow the immediate aftermath, we are instead taken back in time to study the characters and events leading to that tragic moment. The tangled web of intertwined stories is made up of no fewer than fifteen different characters, each of whom is impacted by what happens in that opening sequence.

Sam Waterston plays a beloved Columbia University Philosophy Professor who is exceedingly happily married to Glenn Close. Director Tim Blake Nelson plays their son, who is married to Jessica Hecht, and together they have a teenage son and daughter (Ben Konigsberg, Hannah Marks). Michael K Williams plays a big shot attorney who forces his best friend (K Todd Freeman) into drug rehab with a renowned doctor (Yul Vazquez), while Gretchen Mol plays the mother of two daughters and wife of Corey Stoll.

All of the above might seem simple enough, but Mr. Nelson’s script jumbles things up for each character … just like what happens in real life. Waterston discovers that his prized pupil (Kristen Stewart) has psychological issues and needs professional help – just as he decides it’s time to retire from teaching. While their kids are smoking pot and exploring sexual frontiers, Hecht and Nelson are dealing with a medical dilemma. During his rehab, Freeman is quietly confronted by a nurse while being let down by his only friend; and as Ms. Mol turns to the bottle to numb her daily pain, her hubby is making plans with someone else (Mickey Sumner) … and China may or may not play a role. Whew!!

Daily life creates many opportunities. Some of these turn out good, while others seem destined to create pain. It’s that pain … sometimes quite arbitrary … and how we deal with it, which is at the core of these characters and their stories. There is also the always-present quest for truth and search for the meaning of life. We know we are in for a ride when Waterston’s character says “I used to believe in nothing. Now I believe in everything.” Worlds colliding at every turn keep the pace of the film brisk, and the familiar cast of actors allows us to easily accept each of the characters. A bit more polish on the script could have elevated this, but even as is, the film delivers a worthy punch, and has us questioning if we should be “planting cabbages” (Montaigne).

watch the trailer:

 

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Posted by David Ferguson

THE HOMESMAN (2014)

December 1, 2014

homesman Greetings again from the darkness. We have come to expect our Westerns to be filled with stoic heroes and nasty villains, but this film delivers a pious, yappy leading lady paired with a selfish, no frills drifter. Based on the 1988 novel from Glendon Swarthout, it’s also the second directorial outing from Tommy Lee Jones (The Three Burials of Melquiades Estrada, 2005).

Hilary Swank plays Mary Bee Cuddy, a name repeated so many times that it will surely stick with you … even if the movie doesn’t. Thirty-one years old and unmarried, Ms. Cuddy is not without talent. She works the plough horses, cooks up fried chicken, and plays a mean fake piano. As is pointed out to her a couple of times, she is also “bossy” and “plain” looking … neither trait especially appealing to men in the wild west.

Ms. Cuddy volunteers to take three local women to Iowa. The three women (Grace Gummer, Miranda Otto, Sonja Richter) have each gone insane, and somehow Iowa is the most civilized place within a wagon ride’s distance. Cuddy teams up with a low-life drifter played by Tommy Lee Jones, after they strike a deal that allows him to escape certain death. The verbal clash of cultures and personality between the two main characters provides most of the action on screen, as the three women being escorted are mostly muted and either locked in the back of the wagon or tied to a wagon wheel during riding breaks.

The film is at its best when focusing on the harsh realities of frontier life. Cinematographer Rodrigo Prieto (Brokeback Mountain) does a nice job of capturing the wide expanse and stark vastness of the landscape, while also tossing in some artsy silhouettes and proof of abruptness of this life. Director Jones utilizes some haphazardly timed flashbacks to help us better understand the plight of the three women, but this could have been done much more effectively. Courage, inner-strength, and morality all play a role here, and the contrast between frontier and civilization was most distinct.

Much of the film plays like an oddball buddy picture – think Nolte and Murphy in 48 Hours, or Bogart and Hepburn in The African Queen. If you find the interaction between Swank and Jones to be realistic, then you will probably buy into the whole film. If not, the lack of flow and choppiness of scenes will jump out. There seems to be a never ending stream of little more than cameos from a tremendous line-up of actors: Barry Corbin, William Fichtner, Jesse Plemons, David Dencik, Evan Jones, John Lithgow, Tim Blake Nelson, James Spader, and Hailee Steinfeld. There are even a couple of scenes near the end featuring Meryl Streep (her daughter Grace Gummer plays one of the 3 insane women). The slew of familiar faces actually detracted from the story for me, because the Swank and Jones characters just couldn’t hold my attention.

The ending seems quite odd and a bit out of place for what we have just watched, and I’m still confused by the line of dialogue addressing the difficult “winter” they must have had on the wagon trip … it’s clearly stated that the trip began in May and would take a few weeks. Even in Nebraska, May and June can’t be considered winter. If you enjoy Hilary Swank on a soapbox or Tommy Lee Jones dancing a jig, then perhaps the pieces will fit better for you than they did for me.

SEE THIS MOVIE IF: you are intrigued by a long, mostly uneventful wagon trip where 3 of the 5 people don’t speak and one rarely shuts up.

SKIP THIS MOVIE IF: Tommy Lee Jones dancing a jig (twice) or Hilary Swank playing air piano just aren’t enough to pull you away from holiday shopping.

watch the trailer:

 

 

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Posted by David Ferguson

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