NUTCRACKERS (2024)

November 28, 2024

Greetings again from the darkness. I’ll give you the set-up and you tell me how it ends. A workaholic real estate developer drives his yellow Porsche from Chicago to a middle-of-nowhere Ohio farm after his sister and brother-in-law die in a car crash. He’s there to sign paperwork for a foster family to take the four brothers left behind. However, there’s a glitch, and the stressed-out uncle is forced to extend his time with the four boys. Since, we can all guess how this story ends, the determining factor on whether it’s worth watching is what happens in-between.

Director David Gordon Green has had quite a strange and diverse string of projects, going back to PINEAPPLE EXPRESS (2008), his recent horror reboots with HALLOWEEN (2018) and THE EXORCIST: BELIEVER (2023), and numerous TV series, including “Eastbound & Down”. The screenplay comes from Leland Douglas, and the film draws Ben Stiller out of leading man semi-retirement (he’s been directing episodes of “Succession”).

Michael (Stiller) is shown zipping through the countryside conducting important business on his cell phone as he drives. When he arrives on the farm, he immediately steps his expensive loafers into animal excrement. The social worker (a criminally underutilized Linda Cardellini, “Mad Men”) informs him that the foster family backed out and he’s now responsible for his four nephews, until a new foster family can be found. The boys have been home-schooled and living off the grid (pigs in the house, etc). They obviously have trust issues with an uncle who obviously doesn’t want to be there.

For this story to work, we have to believe two things: that the boys connect with Mike and that Mike learns what really matters in life and is willing to drastically change. The four Kicklighter boys are played by real life Hanson brothers Atlas, Ulysses, Arlo, and Homer. They are truly the highlight of the movie, and it’s a shame the story doesn’t better utilize the dynamic of their transformation. Instead, there are a couple of side stories involving the town’s rich man (played by Toby Huss, The Wiz from that “Seinfeld” episode), and a greedy professional foster home mother (Edi Patterson, KNIVES OUT, 2019). These stories should have been better explored or ignored completely to concentrate on Michael and the boys,

Some comedy elements are introduced – Michael paddleboarding in the pond and Captain Bebop’s Ice Cream truck, but the attempt at a sentimental ending is never earned and feels out of place, based on what we’ve watched. This has the look and feel of a Hallmark Christmas movie, yet it’s missing charm and seasonal spirit. Perhaps UNCLE BUCK (1989) is the closest comparison, but this one never really comes close to matching that one.

Releases on Hulu on November 29, 2024

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Posted by David Ferguson

BLONDE (2022)

September 28, 2022

Greetings again from the darkness. For those who have studied Marilyn Monroe’s personal and professional life, writer-director Andrew Dominik’s (first feature film since KILLING THEM SOFTLY, 2012) interpretative adaptation of the 2000 novel by Joyce Carol Oates may send them into the early stages of shock. In fact, regardless of one’s level of knowledge of the details of Marilyn’s background, shock and bewilderment are likely reactions. It should be made clear for all viewers that it’s a fictionalized account of her life, not a true biography. One should also know that this is cinematic artistic mastery to complement an incredibly in-depth and revolutionary performance from Ana de Armas (KNIVES OUT, 2019, NO TIME TO DIE, 2021).

At times, the film is surreal, while at others, downright hallucinatory. It’s certainly never boring. However, it’s a disturbing beatdown and a grueling watch for a single sitting at close to three hours long. The film begins in 1933 with a young Norma Jeane (Lily Fisher) living in poverty and misery with her single mom Gladys (a terrific Julianne Nicholson). Mom has obvious mental issues and would much prefer Norma Jeane not be around. It’s here where the ‘Daddy issues’ take hold – issues that stick with the girl for the remainder of her life. After being rejected by her father, her mother, and the friendly neighbors, Norma Jeane ends up in an orphanage. A montage takes us through her teenage modeling years, where we see the beginnings of her being taken advantage of and treated as a commodity.

There is an extended sequence involving the threesome of Marilyn and the sons of Hollywood legends Charlie Chaplin and Edward G Robinson (Xavier Samuel, Evan Williams, respectively), and a vicious rape scene with a studio head “Mr. Z” (hmmm). Marilyn’s first pregnancy leads to an abortion, which is the first of a few tragedies she will experience – and director Dominik finds an entirely new (and bizarre) method of filming these occurrences. The Joe DiMaggio (Bobby Cannavale) and Arthur Miller (Oscar winner Adrien Brody) marriages are noted, yet the men go unnamed, instead referred to as “former athlete” and “playwright” … as if somehow that will trick us.

Of course, all of these relationships are right in line with her “Daddy issues” … Marilyn even goes so far as to call these men “Daddy”, in hopes that one will finally give her the love and acceptance she so craves. One of the more uncomfortable scenes (and that’s saying something) involves her tryst with JFK (also unnamed), played by Caspar Phillipson, whose uncanny resemblance to the former President has resulted in his casting for the role in multiple projects. It’s likely this White House moment, replete with Marilyn’s inner voice, is responsible for the film’s NC-17 rating.

Dominik and cinematographer Chase Irvin recreate some of the most memorable film moments from Marilyn’s career … including the subway vent scene from THE SEVEN YEAR ITCH. After capturing that film magic, the sequence seems to drag on with leering onlookers and what proved to be the final straw with DiMaggio. A recurring feature involves Marilyn receiving and reading letters from the father she’s never met – including promises of meeting “soon.” The payoff for this is disappointing for us and for her.

Perhaps the main point of Dominik’s movie is the enormous gulf and psychological contrast between Norma Jeane, the eternally-scarred young girl, and Marilyn Monroe, the iconic bombshell she created for public consumption. There is a sadness about her most of the time, even when she flips that switch to become Marilyn – the familiar sultress adored by so many. Toby Huss plays Whitey, a version of real-life Allan Snyder, who was Marilyn’s long-time make-up artist and confidant. Her famous diary gets a mention, and we see the price she paid for taking drugs to calm anxiety while dealing with the crushing weight of fame.

Ana de Armas delivers a performance for the ages. Of course, the scrutiny she will face playing one of the most famous women of all-time will be senselessly nitpicky, yet from an artistic standpoint, her work is supreme. Costume Designer Jennifer Johnson somehow manages to nail the different stages, films, and moods (of both the film and its subject). Is this exploiting the woman who made a career out of being exploited? Or is it simply telling a story? Norma Jeane was a fragile creature constantly victimized as she desperately searched for love. Has the filmmaker continued that abuse with this vision? From a moviemaking aspect, it’s’ a thing of beauty. From a human perspective, it’s torturous to watch. If you are in need of a ‘feel-good’ movie, keep searching. On the other hand, if you are in the mood for the work of a cinematic visionary and one of the best acting performances of the year, settle in.

Opens on Netflix September 28, 2022

WATCH THE TRAILER

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Posted by David Ferguson

SWORD OF TRUST (2019)

July 11, 2019

 Greetings again from the darkness. Lynn Shelton has put together a very successful career that began with her contributions to the early days of mumblecore (Andrew Bujalski, the Duplass brothers, et al). Along with her filmmaking, she has mixed in some fine TV work, including multiple episodes of “GLOW”, “Fresh Off the Boat”, and “New Girl”. This time out, with a script she co-wrote with Mike O’Brien, she stays true to her offbeat roots and love of characters with character.

There is a story here, and in fact, it was the synopsis that contributed to me agreeing to review this one … well that, and the previous work of Ms. Shelton. Cynthia (Jillian Bell) and her partner Mary (Michaela Watkins) have returned to Alabama with the expectation of inheriting Cynthia’s grandfather’s house. Instead of the house, Cynthia instead walks away with an antique sword, whose accompanying drawing and handwritten letter supposedly prove that the South won the Civil War.

A visit to Mel’s Pawn Shop begins the process of finding a buyer for the sword. Cranky Mel is played by Marc Maron, best known for his stand-up comedy. As a shop owner, he seems constantly annoyed by his dim bulb employee Nathaniel (Jon Bass). The two couldn’t be more different, as Nathaniel spends his work days plugged into conspiracy podcasts (including one run by the film’s co-writer Mike O’Brien in a quick cameo). However, it’s Nathaniel that discovers the “truthers” who believe the ‘South won the war’, and are the best possible fit as buyers for Cynthia’s sword.

Director Shelton makes an appearance as Deirdre, Mel’s former lover. As a couple, their rocky history includes significant drug use and little contribution to society. Also appearing is Toby Huss as Hog Jaws, the oddball middleman involved with the sword transaction. “Seinfeld” fans will recall Mr. Huss as “The Wiz” from that popular show.

This is a deep cut indie, and the humor will either appeal to you or you’ll find it absolutely absurd (or maybe both). The entertainment is derived from the ‘little’ moments and the manner in which the characters interact.  It appears many scenes were improvised, a trait of early Shelton projects, and with such talented comedy actors, it’s no wonder. The offbeat story simply exists to give these actors a reason to be funny … something they do quite well.

watch the trailer:

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Posted by David Ferguson