BONES AND ALL (2022)

December 15, 2022

Greetings again from the darkness. Given the onslaught of Zombie movies over this past decade, the release of a film about first love between two fine young cannibals barely raises an eyebrow in regards to subject matter. However, when the film is directed by Luca Guadagnino, the man behind such films as CALL ME BY YOUR NAME (2017) and I AM LOVE (2007), well the interest level is quickly piqued, as we know the approach will be one that’s unique. David Kajganich, who collaborated with Guadagnino on SUSPIRIA (2018) and A BiGGER SPLASH (2015), adapted this screenplay from the 2016 novel by Camille DeAngelis.

Maren (a terrific Taylor Russell, WAVES, 2019) lives in a Virginia trailer park with her father (Andre Holland). He’s extremely protective of her and even locks her in the bedroom at night. The one time she sneaks out to meet some friends at a sleepover, her gruesome actions clue us in to the reason dad worries so much. Soon after, dad deserts Maren, leaving only some cash, her birth certificate, and a cassette tape he recorded detailing all he knows about her past and her rare disorder (a need to feed on human flesh). We get to listen to the cassette right along with Maren, which gives us the background we need to follow along.

This quickly turns into an ‘on the road’ movie as she begins the search for her birth mother. Traveling by bus, and shooting through her funds pretty quickly, Maren heads through Maryland and on to Ohio. Along the way, she crosses paths with two who prove crucial to the story. Sully (played by Oscar winner Mark Rylance, BRIDGE OF SPIES, 2015) is an eccentric oddity of a man with a soft-spoken manner who excels at twisting a phrase. Sully explains what it means to be an “eater” … how their heightened sense of smell allows them to identify others, and his own rule of “never eat an eater”, a rule Maren later discovers isn’t a true industry standard. The first Sully sequence is difficult to watch, yet Guadagnino finds a way to film this that minimizes the visible gore without losing any impact on viewers … or Maren. Sully also shares that he carries trophies of his victims, yet another creepy aspect of this full-scale creepy dude.

Maren’s next key ‘meet’ is Lee (Timothee Chalamet, a Guadagnino returnee from CALL ME BY YOUR NAME). Chalamet plays right into his strength as a low-key performer. This character just happens to kill people and eat them. It should be noted that this is a biological need for these characters … in fact, they have a conversation about being “nice.” Lee and Maren fall for each other much the same as any other young lovers fall for each other. It’s just that their dates often involve ingesting human flesh and blood. Lee’s only real personality seems to be his obsession with 1980’s rock, and he gets to cut loose on KISS’s “Lick it Up”.

The impressive supporting cast includes Chloe Sevigny, Michael Stuhlbarg, David Gordon Green, Sean Bridgers, and Jessica Harper. The road trip continues through Kentucky (where we see a Chia Pet at Lee’s sister’s house), Iowa, Minnesota (Maren’s roots), and Nebraska. A trip to the sanitarium brings unfortunate closer for one of the characters, and it should be stressed that these are teen cannibals, not zombies. These two lovebirds do not possess the giant egos of Mickey and Mallory in NATURAL BORN KILLERS (1994). Director Guadagnino has remarkably produced a love story that springs from these most disgusting traits and urges, and he has done so with the unorthodox screen presence of his three lead actors.

WATCH THE TRAILER

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Posted by David Ferguson

THE FRENCH DISPATCH (2021)

October 28, 2021

Greetings again from the darkness. Few things in the cinematic world are more instantly recognizable than a Wes Anderson movie. In fact, historically speaking, perhaps only Jacques Tati comes as close to having a signature style easily spotted by viewers (unless you want to count Tom Cruise sprinting or Julia Roberts cackling). This is Mr. Anderson’s 10th feature film in 25 years, and I now rate 5 of these very highly, though all 10 have a certain appeal. This latest, co-written by Anderson with frequent collaborators Roman Coppola, Hugo Guinness, and Jason Schwartzman, could be considered his most ambitious to date … and likely the most ‘Wes Anderson’ of all.

Billed as a love letter to journalists, it becomes crystal clear, that by this, Anderson means the esteemed stable of writers from the early days of “The New Yorker”. In fact, Anderson structures the film as if it were following the path of a magazine being published. We are informed upfront that this edition features “an obituary, a travel guide, and 3 feature articles”. An episodic format is not unusual for films, yet Anderson never does anything by the book. Each piece takes place in its own time period, and there appears to be little connection or crossover among key characters. Still, somehow he makes this work by ensuring each piece stands on its own and is filled with unusual characters and those patented, fabulous Anderson visuals.

The obituary is that of Arthur Howitzer Jr (a deadpan Bill Murray), the founder and publisher of “The French Dispatch” magazine, a spin-off from The Liberty Kansas Evening Sun … a move from a small town in Midwestern United States to a charming small town in France (hilariously and fittingly) named Ennui-sur-Blasé. Howitzer adores his writers, and the only guidance he offers them is, “Just try to make it sound like you wrote it that way on purpose”. He also has a “No Crying” sign posted in his office, likely as much as a reminder to himself as a rule for the staff.

Our travel guide section is fortunately quite brief since it involves Owen Wilson as a bicycle tour guide showing us around the town – the “Local Color”- of Ennui-sur-Blasé. This takes us to the first feature story, and the best of the lot. Tilda Swinton excels (doesn’t she always?) as a writer and art expert giving a colorful lecture entitled “The Concrete Masterpiece”. She tells the story of Moses Rosenthaler (Benecio del Toro), a genius modern artist serving a life sentence for murder, and as she lectures, we see it play out. While incarcerated, Moses continues to work and his muse is a prison guard named Simone, played exceptionally well by Lea Seydoux. Her nude posing for him leads to his signature modern art piece, which attracts the attention of an ambitious art dealer played by Adrien Brody.

“Revisions to a Manifesto” is the next feature, and it involves a young activist named Zeffirelli (Timothee Chalamet). He’s a chess expert, quite moody and has a questionable quest. He’s being covered by writer Lucinda Krementz (Frances McDormand), who is unable to maintain objectivity, and inserts herself right into the story, amongst other things. The segment pays tribute to the activism of the 1960’s and is filmed mostly in black and white.

The third feature, “The Private Dining Room of the Police Commissioner” involves writer Roebuck Wright (Jeffrey Wright) telling his story while a guest on Liev Schreiber’s Talk Show in the 1970’s. Roebuck is obviously inspired by James Baldwin, and he famously recalls every line he’s ever written. The story he recites involves a legendary chef played by Steve Park.

Actors mentioned so far are just the headliners, and Anderson has packed the film with his usual troupe, as well as dozens of others – some you’ll recognize, and some you won’t. There are at least seven Oscar winners involved: Christoph Waltz, Fisher Stevens, and Angelica Huston (as narrator), in addition to the aforementioned Swinton, McDormand, del Toro, and Brody. Numerous Oscar nominations and awards are included in the group of other familiar faces like Willem Dafoe, Saoirse Ronan, Edward Norton, Lois Smith, Henry Winkler Bob Balaban, Elisabeth Moss, and Mathieu Amalric.

Other frequent Anderson collaborators who deliver standout work include Production Designer Adam Stockhausen, Cinematographer Robert Yeoman, Editor Andrew Weisblum, and composer Alexandre Desplat. The film looks and sounds remarkable, and somehow it doesn’t feel like it’s moving fast – although we can barely keep pace. The film can be compared to ordering a flight at your local distillery. Each flavor is tasty, but they may not add up to a full drink.

Wes Anderson has delivered another stylish, fun film to watch, and one that is endlessly entertaining. It may not have as many moments of laughter as some of his previous films, yet there are still plenty of sight gags, insider references, and light-heartedness bathed in nostalgia – even if it’s not quite as whimsical. Shot in the French town of Angouleme, the visuals are as impressive as any you’ll find, serving up a collage of time, caricatures, color, and topics.

Opening nationwide in theaters on October 29, 2021

WATCH THE TRAILER

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Posted by David Ferguson

LITTLE WOMEN (2019)

December 23, 2019

 Greetings again from the darkness. More than 150 years have passed since Louisa May Alcott’s novel was published (volume 1 was published in 1868, volume 2 in 1869). By my count, there have been seven previous movie adaptations, dating back to the silent film era and through the more familiar George Cukor-Katharine Hepburn (1933), Mervyn Leroy-June Allyson (1949), and Gillian Armstrong-Wynona Ryder (1994) versions. One might think that sufficient, yet, after viewing this latest, you’ll likely join me in believing that director Greta Gerwig and Louisa May Alcott (and by natural extension Jo March) are kindred spirits … timeless storytellers of the moment.

Oscar nominated (writing and directing) for her standout LADY BIRD (2017), Ms. Gerwig remains true to the beloved source material while adding her own contemporary touch. She begins with the adult March sisters and then flashing back 7 years to the stage of living together and battling through the difficult and awkward transitional phase. The four sisters Jo (Saoirse Ronan), Meg (Emma Watson), Amy (Florence Pugh), and Beth (Eliza Scanlen) are exceptionally well cast, and we immediately recognize the familiar personality traits of each. Jo is the serious, determined writer who has an understanding of financial necessities. Meg is the warm facilitator beloved by all. Amy has ambitions (or is it dreams?) of being a great artist and living an exceptional life. Beth, the youngest, radiates a sweet nature and love for the piano.

Much of the story is told through the eyes of Jo. Her independent spirit and frustration with how the world is, boils over at times. She states her disappointment at being born a girl, and is described as having “a nature too noble to curb.” While viewing, one must keep in mind that this was the Civil War era (the girls’ father is a military Chaplain), and women had achieved very few rights in society. The contrast is never more evident than when comparing Marmee (Laura Dern), presented here as a near flesh-and-blood saint, with Aunt March (Meryl Streep), one quite at ease in thumbing her nose at societal norms for one reason … she is rich.

Fans of the novel will be pleased that Timothee Chalamet plays “Laurie Laurence”, who struggles every bit as much as the sisters in finding his way towards adulthood. His scenes with Jo are exceptional. Chris Cooper, not seen nearly enough in movies these days, perfectly captures the broken spirit of Mr. Laurence, a man never quite able to escape his own personal loss. Other key cast members include James Norton as tutor/teacher John Brooke, Louis Garrel as Friedrich (here a Frenchman), and Tracy Letts dropping some deadpan comedy as Jo’s publisher Mr Dashwood.

Ms. Gerwig (perhaps with a future as one of the greatest filmmakers) displays storytelling and cinematic craftsmanship at the highest level. She bounces between timelines (over at least 7 years) and different sisters’ stories, showing how each is so different … yet all interconnected. These spirited sisters, raised in the same modest home, have their own independent thoughts and ideas of how they want to live their lives. This delivers multiple comings-of-age and examines ‘a woman’s place’, whatever that means. In fact, the message is that a woman’s place is whatever she decides, and while her options are many (despite obstacles), her decisions are personal. None of the four sisters are played by American actors, and all four perform admirably. Pay particular attention to Florence Pugh (MIDSOMMAR) and her work as Amy. Also impressive is the Production Design by Jess Gonchor and the score by 2-time Oscar winner Alexandre Desplat. This one is all about the storytelling and characters, so take in the bunch known as the March sisters. As a side note, Greta Gerwig’s next movie is a live-action BARBIE movie, with Margot Robbie in the lead.

watch the trailer:

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Posted by David Ferguson

BEAUTIFUL BOY (2018)

October 25, 2018

 Greetings again from the darkness. There is absolutely nothing that compares to being a parent. Sorry, pet lovers, it’s not even close. And I’m not referring to the romantic notion of having one’s DNA live on as legacy. Rather, nothing compares to the weight of never-a-break responsibility felt in keeping a helpless newborn alive and properly nourished. And later, teaching the right life lessons so that it’s not your kid who bullies others in school, or steals, or damages the property of others. Someone’s kid is going to do those things, and most of us try our darndest to prevent it from being our kid. The reality is, that even the most attentive and best-intentioned parents can sometimes fall victim to a force beyond their control. Such is the situation in writer-director Felix Van Groeningen’s film (co-written with Luke Davis) based on the two memoirs penned by father and son David and Nic Sheff.

We open on David (Steve Carell) disclosing to a physician (Timothy Hutton) that his son Nic (Timothee Chalamet) is addicted to crystal meth, and asking two questions: 1. What is it doing to him? 2. What can I do to help him? The quiet desperation and pain is plainly evident on David’s face. We know immediately that this Steve Carell movie won’t be packed with laughs.

What follows is the harsh reality of drug addiction. Rehab – Relapse – Repeat. Much of the story is dedicated to David’s struggle and devotion to helping his son Nic in any way possible. He’s a helpless father who refuses to give up on his son, despite the constant desperation and frustration. Every glimmer of hope is soon crushed by yet another lie and more drugs. The film is such a downer that it makes LEAVING LAS VEGAS look like an old Disney classic.

Bouncing between timelines is a device that works for many stories, but here it seems to take away some of the poignancy and depth of some scenes. Just as we are being absorbed into a crucial moment, the film often breaks away to an earlier or later time. This is effective in getting the point across about the never-ending struggles, but we lose momentum on particular segments.

Supporting work comes courtesy of 4 talented actresses: Amy Ryan (as Nic’s mother and David’s ex-wife), Maury Tierney (as David’s current wife), Kaitlyn Dever (Nic’s girlfriend), and LisaGay Hamilton (involved in rehab). It’s a bit odd to see the mini-reunion of Ms. Ryan and Mr. Carell from their time on “The Office”, but mostly the on screen time is pretty limited for all four women. The reason this film works is the devastating work of two fine actors – Steve Carell and Timothee Chalamet. We never doubt dad’s commitment, just as we never doubt son’s helplessness in getting clean.

The soundtrack acts as a boost to the dialogue with such songs (perhaps a bit too convenient and obvious) as John Lennon’s “Beautiful Boy”, Neil Young’s “Heart of Gold”, and Perry Como’s “Sunrise, Sunset”. It’s debatable whether it’s possible for a movie to look “too good”, but it’s a bit off-putting to admire the camera work while someone is struggling on screen with drug addiction. The downward spiral of drug addiction feeds on the misery, and while we all enjoy beautiful cinematography, this is the rare time that it’s distracting – possibly preventing viewers from going all in. The inherent lesson here is that we can’t always save people from themselves. Knowing what to do isn’t always possible, and sometimes there is simply no right answer … even with “Everything”.

watch the trailer:

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Posted by David Ferguson

HOT SUMMER NIGHTS (2018)

August 5, 2018

 Greetings again from the darkness. Crime, Romance and Bromance battle it out in the summer of 1991, accompanied by music from the 1970’s, influenced by classic films of the 1980’s and 90’s, and starring 4 rising young stars of today. The debut feature film from writer/director Elijah Bynum comes across as the work of a film and music fanboy concerned with not leaving out any ideas in his only opportunity to make a movie. He shows enough here to likely justify another chance, but we can’t help but wonder if assistance from a mentor might have fine-tuned this into a nice little gem, rather than a blip on the resume of the shooting stars he’s working with.

Fresh off his Oscar nominated performance in CALL ME BY YOUR NAME, Timothee Chalamet stars as Daniel, a socially awkward 18 year old. After the death of his beloved father, Daniel’s mom ships him off for the summer to live with family in Cape Cod – yet another place where he will be an outsider as neither a ‘Townie’ nor ‘Summer Bird’ (the wealthy preppies in summer homes). An odd meet-cute kicks off the bromance between Daniel and local heartthrob/legend and dime-bag pot dealer Hunter Strawberry (Alex Roe, FOREVER MY GIRL). It’s also the beginning of a business relationship that both showers them with cash and puts them on the road to ruin. Hunter’s estranged sister McKayla is the local object of desire for the male population. Played by Maika Monroe (IT FOLLOWS), McKayla is the town vixen who ultimately and predictably falls for Daniel, unaware of his business dealings with her bad boy brother.

Also in the mix here are Emory Cohen (so good in BROOKLYN) as Dex, the no-nonsense “supplier” who pushes the Hunter and Daniel dealings to greater heights, Thomas Jane as the local law enforcement presence, William Fichtner as the coke dealer Daniel tangles with, and Maia Mitchell as Hunter’s love interest. There is also the fallout from recently deceased parents for Daniel, Hunter and McKayla, as well as the impending storm (now known as Hurricane Bob).

An air of familiarity is not uncommon in movies, but this one is downright creepy in how many films it seems to mimic in either tone, style or content. The romance between Daniel and McKayla is the least effective story line. We want to know more about the brother-sister relationship, and are disappointed that the uber-talented Maika Monroe is given little to do other than bat her wicked eyes. It plays like a Greek tragedy where the only question is whether the tropical storm will beat the group’s self-destruction.

This summer story is billed as ‘coming of age’, but that description doesn’t seem to fit unless it refers to the ever-present young narrator whose place in line only becomes clear near the end. There is a nostalgic look and feel to Mr. Bynum’s film, and it’s always nice to have a drive-in theatre play a role; however, his music choices – though terrific to listen to – seem to fit better two decades prior to the setting: Mott the Hoople’s “All the Young Dudes”, David Bowie’s “Space Oddity”, Uriah Heep, Linda Ronstadt and The Modern Lovers. Beyond all of that, we do learn that Hunter Strawberry does not like sprinkles.

watch the trailer:

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Posted by David Ferguson

CALL ME BY YOUR NAME (2017)

December 21, 2017

 Greetings again from the darkness. Although confusing the two is understandable, there is a difference between a story of romance and a story of love. That’s not to say that the two can’t overlap; in fact, they often do. In movies, romance is the dish most often served because it’s usually more interesting. Watching the flirtatious dance and often awkward exploratory stage of what was once called the rituals of courting offers a writer, actor and director infinitely more possibilities than what we associate with the years of deep connection labeled as love. Andre Aciman’s novel is adapted by James Ivory (of Merchant-Ivory fame, and 3 times Oscar nominated for Best Director) and the script leans heavily on romance … lustful romance, to be specific.

Director Luca Guadagnino (A BIGGER SPLASH, I AM LOVE) is an expert at making movies that engage our senses. His movies delicately tease us – they slowly absorb us into the emotions and feelings of the characters. Very few filmmakers have the skill to subtly seduce the viewer, and draw us into the story so that we are no longer merely observing. It’s nuanced story-telling at the highest level.

Elio’s (Timothee Chalamet) family spends the summer at their estate in northern Italy. You’ve likely never met a more cultured family. His father (Michael Stuhlbarg) is a renowned professor, his mother (Amira Casar) a recognized translator, and Elio himself is a musical prodigy who whiles away the days by transcribing classical music and reading every book he can get his hands on. Oh, he also flirts with the local girls because he is, after all, a 17 year old boy. His intelligence and corresponding wit is of a much older person, standing in stark contrast to his innocence and childlike maturity level with all other pieces of life’s puzzle.

Elio’s world is rocked when his father’s newest research assistant, Oliver (Armie Hammer), shows up. An “Americano” who offsets his extreme politeness with an unrefined “Later” when departing any encounter, Oliver explodes on the scene like a Greek God. He and Elio have an initial passive-aggressiveness towards each other as they test the boundaries for weakness, and more importantly, interest. Things move very slowly as the passion and curiosity brews during their bike rides, walks through the apricot orchards (forbidden fruit), swimming in every watering hole, and competitive banters on intellectual topics. There is a sensuality to most every scene, though those same scenes are filled with unspoken tension.

The sunlit beauty as each summer day passes initially masks the emotions, and the stunning setting, people, colors, and music is accentuated by the camera work of cinematographer Sayombhu Mukdeeprom. Nature is on display in its full glory; not just through trees, sunlight, and water, but in that elusive and unexplained connection between two people so strongly drawn to one another.

Director Guadagnino’s film easily slides into the romantic sub-genre of such films as BLUE IS THE WARMEST COLOR, BROKEBACK MOUNTAIN, and CAROL, and the artistic approach provides a gentleness that even the peach scene can’t undo. Michael Stuhlbarg (who seems to be everywhere these days) has an extraordinary father/son scene near the end which reminds us that each one of us has a story on how life may or may not have turned out as planned. The gut-wrenching pain with sharing that story usually means it remains untold; however, the invaluable lesson is not lost on Elio. First love and first heartbreak bring both emotional ecstasy and emotional devastation, and whether you believe the film’s statement “We have less to give each new person”, you’ll likely agree that the use of Psychedelic Furs “Love My Way” is spot on.

watch the trailer:

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Posted by David Ferguson

LADY BIRD (2017)

November 15, 2017

 Greetings again from the darkness. Joining the likes of Woody Allen, Mel Brooks and Ben Affleck, Greta Gerwig proves her significance and brilliance is most apparent behind the camera, rather than in front. Her first feature film flying solo as writer and director is without a doubt, one of the year’s best. Surely she has benefitted from having a very talented live-in muse and mentor and partner in Noah Baumbach, but this extraordinary film is clearly Ms. Gerwig’s passion project … and it’s a thing of beauty (character warts and all).

Ultra talented Saoirse Ronan plays Christine, aka “Lady Bird”. She claims it’s her given name – a name she gave herself. Entering her senior year of Catholic High School in Sacramento, she’s the typical blend of teenage insecurity, bravado and restlessness. Her never quite satisfied mom is played by Laurie Metcalf, in what is probably her career best performance, and definitely worthy of Supporting Oscar consideration. A brilliant opening scene finds mother and daughter sharing a cry, which quickly devolves into one of the endless stream of arguments that make up half of their relationship. Their scenes together are sometimes caustic, always realistic, and likely to hit home to many mothers and daughters watching.

Lady Bird is convinced she must escape 2002 Sacramento and live on the east coast, where she assumes culture thrives. This is the age where every teenager is convinced an amazing destiny awaits them … not stopping to contemplate what talent they possess that might actually contribute to society. Lady Bird is an average student who seems to dream not of greatness, but rather of some vision of life where she will be appreciated for simply being herself. So much of what happens is grounded in the reality of high school life, friendships, and family. She jumps at the chance to be friends with the “it girl” who controls the “in crowd”. Leaving her lifelong best friend Julie (Beanie Feldstein, Jonah Hill’s real life sister) in the dust, Lady Bird finagles her way into Jenna’s (Odeya Rush) inner circle of rich kids, including the cooler-than-cool Kyle (Timothee Chalamet, CALL ME BY YOUR NAME). He’s the bohemian-wannabe type we’ve all come across. Her attraction to Kyle results in confusion over her relationship with nice guy Danny (Lucas Hedges, MANCHESTER BY THE SEA).

The film touches on many familiar topics, and the script elegantly handles each piece of the puzzle and gives each character their due. Lady Bird’s middle class family is going through some financial difficulties after her dad is laid off. Tracy Letts is superb as the dad who is beaten down by a life that’s nearly passed him by, but he staves off his own depression just enough to provide the basic strength needed by his wife and spirited teenage daughter. Mr. Letts and Ms. Metcalf aren’t TV sitcom parents carefully positioned as punchlines for clever kids, like what we typically see. The emotional bond between parents and offspring is perfectly awkward and deep. Mother and daughter have their shared escapes, while father and daughter share some secrets. There is also a complex sister-brother dynamic, as well as the common issues of school days – teenage girl self-respect, class warfare, teacher crushes, and the pressures of extracurricular activities. Lois Smith has a couple of outstanding scenes as a wise and observant nun who sees Lady Bird for who she is, and provides the necessary guidance. Welcome comedy relief is combined with an editorial statement on the ongoing reductions in funding for the arts, as the football coach (Bob Stephenson) is put in charge of the drama department.

Ms. Gerwig’s excellent (quasi-autobiographical) film defies traditional categorization. It’s part teenage comedy, coming of age, family drama, and character study – yet it’s also so much more. Have you seen much of this before? Absolutely, and it’s likely at least some of this has occurred in your own life, though you may not always enjoy being reminded. What is enjoyable is watching the work of a skilled filmmaker and exciting new cinematic story teller.

watch the trailer:

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Posted by David Ferguson