SALVABLE (2025)

July 15, 2025

Greetings again from the darkness. After reading the synopsis, I was tempted to pass on this one and move on to the next film on the list. What could possibly be appealing about another fading boxer whose life is in shambles? Co-directors Bjorn Franklin (also the screenwriter) and Johnny Marchetta are frequent collaborators on music videos, and this, their first feature film, is a solid action-melodrama with some moving parts that all (OK, mostly) come together. It also has a surprisingly effective lead performance.

Living in Wales, Sal (Toby Kebbell, “Servant”) is a past-his-prime boxer taking falls in the ring at night, while showing touching care in his day job at the local Nursing Home. Sal is getting by, but it’s clear he needs no sunglasses for his future. His teenage daughter, Molly (Kila Lord Cassidy) is holding on to anger towards him, while his ex-wife (Elaine Cassidy) mostly wishes he would just leave them alone. Matching the mostly joyless life Sal leads is the lighting and atmosphere created by the filmmakers … hometown looks like a place where smiles are rare.

Just as we are adjusting to Sal’s bleak existence and his misguided attempts to improve his lot through his job and slowly improving relationship with Molly, a bad influence pops up in the form of Vince (Shia LaBeouf). Sal and Vince were friends and boxing buddies in their younger days, and now, just out of prison, Vince wants to get the band back together for nefarious activities that can bring them some cash. And just like that, the melodrama of Sal’s struggling becomes a bit of a crime drama, where Vince infuses chaos and Sal makes more poor decisions.

Sal’s long-time trainer and mentor, old-timer Welly (James Cosmo) tries desperately to keep Sal on track and even scores him a real opportunity for redemption. Of course, we have come to know Sal as a man with the best intentions, but an inability to overcome the constant hurdles life puts in his way. Toby Kebbell delivers a truly touching performance as Sal, and his personal struggles are certainly the best part of the film. Shia LaBeouf adds heft as a guy we may initially misjudge, yet in this world happy endings are tougher to come by than victories in the ring.

Now available OnDemand and on Digital platforms

WATCH THE TRAILER

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Posted by David Ferguson

DESTROYER (2019)

January 11, 2019

 Greetings again from the darkness. The rogue/burned-out cop obsessed with an old case or particular criminal nemesis is something we have seen many times before. Ordinarily there would be no reason to seek out yet another movie on the subject; however, this time the reason is obvious … Nicole Kidman.

Ms. Kidman, an Oscar winner for THE HOURS (2002), is an excellent actress and has had a wonderful career, but this is something altogether different for her. She plays LAPD Detective Erin Bell, a worn-down, emotionally shattered shell of the idealistic cop who, 17 years earlier, was part of an undercover operation that went tragically and violently wrong. Director Karyn Kusama (JENNIFER’S BODY, 2009) bounces back and forth on the timelines – sometimes we are viewing Erin’s undercover work with her partner Chris (Sebastian Stan), and others we get the haggard Erin of present day. The contrast is stark.

The ghost of case past has returned, and we witness what has haunted her these many years. Past decisions and actions have rotted her spirit, while alcohol has since destroyed her body. She is a wreck – physically and emotionally, and her reputation within the force is shot. It wouldn’t be totally accurate to describe her as self-destructive since she has already destructed. The only thing keeping her going is booze and a desire for revenge.

Flashbacks take us through her early work with the crime gang led by Silas (Toby Kebbell), a master of psychological manipulation (think Charles Manson). We also see Erin’s too-close connection to partner Chris, and a terrific bank heist scene explains how things went down. Now it’s 17 years later, and Silas has resurfaced. Erin wonders why. We also see Erin’s feeble attempts to be a mother to her 16 year old daughter (do the math) Shelby, played by Jade Pettyjohn. The two have only a sliver of a relationship as Shelby lives with Erin’s ex Ethan (the eternally underutilized Scoot McNairy).

Other support work is provided by Tatiana Maslany as one of Silas’ gang, and Bradley Whitford as a scummy defense attorney. Erin has a sequence with the latter that emphasizes just how alone she is. When asked where her partner is, we realize she has no partner with her and no back-up on the way … she is a lonely, desperate, rogue cop with a murky plan and a head clouded by booze.

Writing partners Phil Hay and Matt Manfredi (known for CLASH OF THE TITANS and RIDE ALONG) deliver very few surprises with the script, leaving the burden on Ms. Kidman to keep us interested. And despite her character’s train wreck of a life, the performance is quite something to behold … her look, her gait, and even her whispered voice – all point to a woman hanging on by a thread and lacking basic daily energy to show any signs of hope. Director Kusama adds texture by showing many non-touristy areas of Los Angeles, and filming the two timelines in such a way that the structure works – although the Erin in shambles is far more intriguing than the younger one. On a separate note, there should be a special Oscar for the make-up team that managed to make the usually glamorous Ms. Kidman look realistically shattered.

watch the trailer:

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Posted by David Ferguson

KONG: SKULL ISLAND (2017)

March 25, 2017

 Greetings again from the darkness. I enjoy creature movies. Even as a kid I enjoyed creature movies (as distinguished from monster movies, which I’m also fond of). From the classics to the (very) low budget ones on late night TV to the fear-mongering from Japan … I enjoy them all. Of course the most fascinating of the bunch is King Kong, and this version arrives 84 years after the still magnificent 1933 version from Merian C Cooper and featuring Fay Wray.

This time there is no shootout on The Empire State Building, and the connection between Kong and the girl is limited to a few knowing glances. Most of the film takes place on Kong’s island … one he shares with some other creatures (not rodents) of unusual size. Unlike Spielberg in Jaws, who teased us for half the movie before finally revealing the shark, we get a glimpse of the imposing Kong very early on.

The cast is the best yet for a creature feature. John Goodman and Corey Hawkins play scientists/conspiracy theorists; Tom Hiddleston plays the world’s only mercenary with perfect hair and skin; Brie Larson is a self-described anti-war photographer; while Samuel L Jackson, Shea Whigham, Thomas Mann and Toby Kebbell play military men on their last mission at the end of the Vietnam War. The most colorful character is played by John C Riley – an eccentric WWII survivor who has been living on the island since 1944.

Jordan Vogt-Roberts directs this version, and his resume of The Kings of Summer and mostly TV work begs the question of how the heck did he get this gig? Fortunately he has cinematographer Larry Fong alongside, and his significant big action picture experience is obvious in the breath-taking helicopter scene (as well as many others). It’s impossible not to notice the extreme love shown to Apocalypse Now and even Jurassic Park. Some of the shots and tone seem as if pulled directly from those films … even moreso than the original King Kong. We even get Samuel L Jackson recycling his “hold onto your butts” line.

There is plenty here to satisfy us lovers of creature features, though this version certainly lacks the emotional impact of Fay Wray and Naomi Watts connecting with Kong … not much Beauty, but plenty of Beast. It’s certainly recommended that you stay for the post-credits scene that sets the stage for 2020.

watch the trailer:

 

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Posted by David Ferguson

GOLD (2017)

January 26, 2017

gold Greetings again from the darkness. What is your dream worth? Would you sell it? How much would it take? Kenny Wells is a dreamer. Sure, he is a third generation mining prospector, but he’d rather tell you the story of his grandfather and those mules than actually dig in the dirt himself. In fact, talking is what he does best (and most often). It’s the first film from director Stephen Gaghan since his 2005 Syriana, for which he received an Oscar nomination for his screenplay. This time he collaborates with writers Patrick Massett and John Zinman to deliver a blend of The Wolf of Wall Street and The Treasure of the Sierra Madre, with a dash of The Big Short and American Hustle.

Matthew McConaughey is nearly over-the-top in his portrayal of Kenny Wells, a prospector with the spirit of a wildcatter. This isn’t ‘sexiest man alive’ McConaughey, but rather ghastly Matthew. Balding dome, protruding gut, and hillbilly teeth … it’s all there wrapped in a sweaty cheap suit and accessorized with booze and cigarettes. The actor seems to relish the role.

The story kicks off in 1981 Reno, showing Kenny as an eager to please son to his distinguished father played by Craig T Nelson. Flash forward to 1988 and Kenny’s struggling through the recession in an effort to keep his dad’s company alive. His loyal employees work the phones from the musty cocktail lounge where Kenny’s girlfriend Kay (Bryce Dallas Howard) waits tables.

Billed as “inspired by true events”, Kenny goes to great extremes to meet up with legendary geologist and miner Mike Acosta (played by Edgar Ramirez). These two need each other and team up to sniff out a gold mine down the river in Indonesia. What follows is despair, desperation, malaria, elation, big investment bankers, a hostile takeover attempt, political maneuverings, heartbreak, pride, and a surprising twist. It’s a wild ride and doesn’t always take you where you assume it’s headed.

The supporting cast includes Corey Stoll and Bill Camp as part of the Wall Street investment group, Stacy Keach as a supporter and investor of Wells, Toby Kebbell as an FBI agent, and Rachael Taylor as a contrast to Bryce Dallas Howard’s working class character. Also appearing is Bruce Greenwood as the king of the prospector hill and featuring an awful accent that adds to the borderline cartoon feel of some scenes.

Hope and greed could be viewed as a disease, but for Kenny Wells, we are urged to believe it’s all about the dream. What’s left if you sell off that dream? Instead, if you aren’t part of the fraud, maybe you live for that moment on stage when they present you the Golden Pick Axe award, and you finally believe your father would respect you. Iggy Pop and Danger Mouse collaborate on an included song, which somehow fit in with the string of 1980’s music that plays throughout. The rapid and numerous changes of direction will keep you entertained, though we do wonder how much truth from the Bre-X scandal was actually used, and how much was just a chance for McConaughey to go all out.

watch the trailer:

 

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Posted by David Ferguson

A MONSTER CALLS (2016)

January 5, 2017

a-monster-calls Greetings again from the darkness. “From ghoulies and ghosties/ And long-legged beasties/ And things that go bump in the night,/ Good Lord, deliver us”. It’s an old Scottish poem that doesn’t take into account what movies like Pete’s Dragon, The Jungle Book, The BFG, and now this latest from director JA Bayona have intimated this year … not all those ‘bumps’ are necessarily evil.

Lewis MacDougal delivers an incredibly nuanced performance displaying a wide array of emotions as “a boy too young to be a man, and too old to be a child”. His beloved mother (the always terrific Felicity Jones) is bedridden with a terminal illness, and Conor faces relentless pressure for a kid: bullies at school, a dying mom, a strict grandmother, and some rough and vivid dreams/nightmares. As his clock flips to 12:07 am, he watches as a Groot-like giant sprouts from a nearby Yew tree. It’s an intimidating and magnificent beast who, through the dulcet tones of Liam Neeson, informs Conor that he will tell the boy three stories … after which Conor must tell his own.

The meaning behind the three stories (Prince/Queen, Apothecary/Parson, Invisible Man) is not immediately obvious to Conor, but the stories are animated through beautiful watercolors providing depth to the dreams and the lessons. This fascinating film is based on the novel by Patrick Ness who completed the idea of Siobhan Dowd after she passed away from the terminal illness that inspired the story.

I made the mistake of assuming this was going to be a kid’s movie in the style of another featuring the voice work of Mr. Neeson (as Aslan) – The Chronicles of Narnia: The Lion, The Witch, and the Wardrobe (2005). Instead, it’s a heavy drama, filled with emotions beyond what most kids experience. Conor is trying to come to grips with living with his stuffy grandmother (a solid Sigourney Weaver) while his mother slowly fades (but not without first introducing her son to the original misunderstood beast in King Kong), and already having a mostly absentee Dad (Toby Kebbell).

As with most tearjerkers (and this certainly is that!), there will be those who describe it as manipulative and obvious, but it’s likely most will find it to be a touching, well-written, superbly acted film with standout special effects utilized for the advancement of the story. Young Mr. MacDougal carries most of the movie and seamlessly bounds from anger to sadness to hopeful. Director Bayona proved in The Impossible and The Orphanage that he has an eye for kid actors, and when combined with the voice of Liam and the other fine actors it makes for a powerful experience … and a reminder that dealing with death is difficult for both kids and parents, and we all need a little help letting go (displayed literally here).

**NOTE: sharp-eyed viewers will spot a photograph of Liam Neeson as Conor’s grandfather on a shelf in the house.

watch the trailer:

 

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Posted by David Ferguson

DAWN OF THE PLANET OF THE APES (2014)

July 14, 2014

planet Greetings again from the darkness. Admitting a weakness is the first step. Yes, I am a proud, long-time fan of this series. My soft spot for these films began when I was a kid – mesmerized by the 1968 original, while watching from the back seat of the car, as the clunky metal speaker hung on the window and my parents sat in the front. Oh, and yes, I was wearing my pajamas!

It’s pretty much impossible to describe the technological advances in movies since Charleston Heston stumbled into one of the biggest shocker endings the movies have ever provided (and that was 46 years ago!). Heck, the advances since the 2011 movie with James Franco are staggering to see. The combination of real actors, CGI and fantastic motion capture technology make for a realistic look that is unsettling at times.

Many know the work of Andy Serkis (Gollam, King Kong) who is considered the master of motion capture acting, and here he returns as Caeser, the leader of the apes. Only this time, he has real competition, especially from Toby Kebbell as Koba, his friend who was previously mistreated in the lab by humans … thereby explaining their opposite view of the few remaining humans.

This entry from director Matt Reeves (Cloverfield, Let Me In) picks up 10 years after the 2011 movie. The apes have established a very cool community in the forest, while only a few immune humans survived the lab-born simian virus that was leaked. The apes have continued to get smarter and even have their own culture and code (apes don’t kill apes). The surviving humans have fought amongst themselves and only recently organized a faction with Gary Oldman’s Dreyfus as their leader. Malcolm (Jason Clarke) takes a small group over the Golden Gate Bridge to see if they can reignite a dam which could produce the energy so desperately needed in human town.

Almost immediately, humans and apes meet. The big philosophical chess match begins with Malcolm and Caeser negotiating for cooperation and peace, while Koda and Drefus see war as the only solution. Alliances are drawn, fragile accords made, loyalties are questioned, and hierarchies crumble. See, it turns out the apes are like us, and we are like the apes.

There is a terrific battle scene, but the real joy here is the personalities and look of the apes. It is fascinating to watch the interactions … and that final shot is startling! The only downside is the caricature of Carver played by Kirk Acevedo. He is the token human d-bag but his character is so over the top it ruins most of his scenes. Luckily, he has very few … and they are offset by the really cool horse dismount displayed by Caesar. If you buy into this, it’s a tension-filled jolly good time.

SEE THIS MOVIE IF: you are fan of the series and want to be awed by the evolution of the apes – both in the story and on the screen

SKIP THIS MOVIE IF: you just can’t buy into the apes thing OR you miss Roddy McDowell and his rubber mask too much to ever give the nod to CGI.

watch the trailer:

 

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Posted by David Ferguson

THE COUNSELOR (2013)

October 27, 2013

counselor Greetings again from the darkness. The best dramatic writers thrive on creating a story filled with intricacies, multi-faceted characters, mis-direction, and a complex interweaving of sub-plots. Cormac McCarthy has proved he is one of the best such writers through his highly successful novels … some of which have made the transition to the screen: All the Pretty Horses, The Road, and of course, No Country for Old Men. This, however, is his first attempt at an original screenplay. Describing it as a disappointment is a severe understatement.

The cool parts of this movie: Bruno Ganz as a diamond dealer in Amsterdam and the two live cheetahs.

counselor2 The parts of the film that could have been interesting: the wardrobes of all main characters, Javier Bardem’s Brian Grazer-inspired hairdo, the line-up of luxury vehicles (Bentley, Ferrari, etc), and the “bolito”.

The parts of this movie that were never going to work: the opening scene with Michael Fassbender and Penelope Cruz frolicking under the sheets, dialogue that is too poetic for the characters, Brad Pitt as his grown up scammer from Thelma and Louise, Fassbender’s Texas accent, and Cameron Diaz (gold tooth, silver fingernails, cheetah tats).

counselor4 The part of this movie that is an outright disgrace: Cameron Diaz doing the splits while having intimate relations with the windshield of Bardem’s Ferrari … maybe this idea came from Joe Eszterhas after being rejected as too outlandish for Showgirls.

Chances are viewers will fall into two camps: thinking this is a wild and crazy ride inside the Mexican drug cartel, OR believing this is one of 2013’s sloppiest, messiest, most pointless and confusing wastes of time in a movie theater. I am solidly in group two and can’t even recommend you see this to determine where you fall.

The cast is filled with A-listers: Javier Bardem, Brad Pitt, Michael Fassbender, Penelope Cruz, and Cameron Diaz. The writer is a renowned novelist. The director is three time Oscar nominee Ridley Scott. How could it miss? Even the best actors can counselor3sometimes be miscast. Even the best writers have work best left unpublished. Even the best directors lose control of a project. It’s a movie tragedy when all those things happen in a single film.

I guess the best running joke throughout the movie is that Fassbender’s titular character is constantly receiving counseling, rather than offering it. At its core, the story is just another drug deal gone bad (do any movie drug deals ever go “right”?). With it’s unusual visuals, unrealistic conversations, and convoluted sub-plots, this one would have played better as a slideshow. Instead, I am left with this: I’ll never look at a smudge on my windshield the same again.

SEE THIS MOVIE IF: your cable system doesn’t offer the National Geographic channel and you want to see two cool cheetahs

SKIP THIS MOVIE IF: just the thought of Cameron Diaz humping a windshield stimulates only nightmares for you

watch the trailer:

http://www.youtube.com/watch?v=zrAXTxNrsi8

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Posted by David Ferguson

THE EAST (2013)

July 1, 2013

east1 Greetings again from the darkness. Co-writer and director Zal Batmanglij re-teams with his Sound of My Voice co-writer and actress Brit Marling (Another Earth) to deliver another cult-based story. This time they focus on big, bad corporations and the eco-terrorists who target them.

Ms. Marling’s character is hired by Patricia Clarkson’s Security Company that specializes in protecting big corporations from the terrorist attacks and acts of revenge that these cults of anarchists perpetuate. Marling goes undercover to learn the secrets of The East, one of the particularly aggressive cult-like groups. The leader of The East is played by Alexander Skarsgard, who works with an overly-zealous and bitter Ellen Page and former med student Toby Kebbell.

east3 Are these idealists, anarchists, eco-activists or eco-terrorists? Is their “eye for an eye” philosophy a form of retribution or is it meant to draw attention so that a wrong can be righted? Are there extremes to which they won’t go? This group doesn’t seem united in their answers to these questions, though their deep woods hangout draws comparisons to Charles Manson’s compound.

As Marling becomes part of the group, she participates in the “jams”, which are the actual strikes against the companies and the decision makers in charge. Specifically, they give a pharmaceutical giant a taste of their own medicine … getting the desired results, which they watch online. Of course, there is always the risk of prison and/or injury and things don’t always go according to plan.

east4 The cast is pretty talented and also includes Jason Ritter, Shiloh Fernandez and Julia Ormond. The story will remind a bit of Sound of My Voice, and also Martha Marcy May Marlene. In other words, the attraction of the cult and commitment to cause. The set-up to the story is very well done, and it’s no real surprise as opposing ideals and conflicts creep into a group of idealists. Is violence necessary or are there more effective methods to make one’s protest heard and spur change? While the movie lacks the edge of the best indies, it still makes for good movie discussion … and crosses into real life beliefs and, personal and political stances.

**NOTE: Brit Marling is one of those rare combinations of Writer/Actress, and she is talented at both. She would be a wise choice as a prediction of future Oscar winner at some point … the only question is whether that will come as a writer or actress.

SEE THIS MOVIE IF: you are a fan of Sound of My Voice and/or Martha Marcy May Marlene OR you’re in the mood for a intriguing story during this time of blockbuster summer releases OR you just want to see Alexander Skarsgard in full scraggily mode

SKIP THIS MOVIE IF: you refuse to believe big corporations would never put profit above public well-being OR you’re looking for a few good laughs (not sure this one has even one)

watch the trailer:

http://www.youtube.com/watch?v=2oPoTrnHQ3I

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Posted by David Ferguson

WAR HORSE

December 28, 2011

 Greetings again from the darkness. In the opening sequence of Saving Private Ryan, director Steven Spielberg provided us with one of the most horrific and terrifyingly realistic and violent examples of war ever shown on screen. Here, he takes a much different approach. Though the bulk of the movie takes place during World War I, Spielberg manages to withhold the brutal atrocities, while never once losing the impact and fear experienced by the soldiers. And while it’s uncertain whether this approach makes for a better film, it is obviously a more accessible and uplifting story because of it.

 Based on the children’s book by Michael Morpurgo, and of course on the hugely successful stage runs in both London and New York, this movie is really the story of an unbreakable bond between a sincere farm boy named Albert (newcomer Jeremy Irvine) and a majestic horse named Joey. We witness the early bonding and training sessions between the two, which allows us to swallow some of the more improbable coincidences that occur later in the story. When the war breaks out, Albert’s dad (Peter Mullan) sells the horse to the cavalry so that he can save the farm by paying the landlord (David Thewlis). Fortunately, Captain Nicholls (Tom Hiddleston) agrees to keep Joey as his personal horse and return him to Albert after the war.

 War is unpredictable, and Joey gets passed from the British to the Germans to a French farmer’s daughter, back to the Germans and back to the British. Along the way, we witness what a remarkable creature the horse is. Were he a man, he would be a most decorated officer. Instead, we witness how little value the military places on animals … even the beautiful ones. There are numerous scenes that make will make you uncomfortable with the cruelty shown, but just as many that will make you smile with joy. The already famous scene that features Joey’s unfortunate conflict with barbed wire and fence posts will have you squirming in your seat, while also scratching your head in wonderment.

 Though many of the events and sequences are a bit of a stretch to believe (the time-out in No Man’s Land), the one thing you will never doubt is the beauty of the film. It’s epic nature recalls Doctor Zhivago or Lawrence of Arabia (though not at the overall level of either of those films), and the photography reminds me of John Ford‘s best work. Off the top of my head, I would say it is the most beautifully photographed movie since Terrence Malick‘s Days of Heaven in 1978. Spielberg’s long time DP Janusz Kaminski is at his best here and will surely be recognized by the Academy for his cinematography.

 Many of the British actors are recognizable (Emily Watson, Benedict Cumberbatch, Toby Kebbell, Eddie Marsan, David Kross), but it’s key that Spielberg cast no “movie stars”, only quality actors. The stars of the film and the story are the horse and the visuals. It should also be noted that the great John Williams delivers another perfect score … one that would run away with the Oscar in many years.

No need to be frightened off because the story is based during World War I. It’s not for the youngest of kids, but this is an uplifting, sentimental and emotional movie for most everyone. It is peak Spielberg working with sentiments and subject matter with which he so excels.

SEE THIS MOVIE IF: you enjoy being swept away by the emotions and grand scale of an epic film OR you would like a primer to war films that goes a bit easy on the gore.

SKIP THIS MOVIE IF: you are expecting similar war reality to Saving Private Ryan OR you have a hard time suspending disbelief for some rather remarkable coincidences

watch the trailer:

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Posted by David Ferguson

THE CONSPIRATOR

April 21, 2011

 Greetings again from the darkness. While not a historical expert, I commend writer James Solomon for his years of research into a fascinating, yet quite dark moment in America. Many have attempted to couch the film as presenting Mary Surratt as an innocent bystander. I would argue that the film is much less about her innocence or guilt, and much more about the state of our country’s leaders and the judicial system at the time of Lincoln’s assassination.

I found the two strongest elements of the film causing quite an internal conflict as I watched. First, the film is simply gorgeous. Costumes, props, sets and lighting all lead to a texture that puts the viewer right into the mid 1860’s. Second, the courtroom (and backroom) procedures generate a feeling of disgust. Although, we have had very recent examples of less-than-stellar judicial process in the U.S., we Americans still hold on to the belief that ours is the best and fairest system in existence.

 It was very interesting to see Kevin Kline as War Secretary Edwin Stanton. Stanton was the guy calling the shots during this time and evidently had quite a power hold on the military, as well as the government. His viewpoint that the country needed a swift and decisive conclusion to this tragedy makes absolute sense … unless you happened to be one of the accused, or their legal counsel.

The lead actors in the film do a very nice job of capturing their characters and holding us in time. In addition to Mr. Kline, James McAvoy plays Frederick Aiken, the Union war hero and reluctant defense attorney for Mary Surratt. Tom Wilkinson plays Senator Reverdy Johnson who, as Aiken’s mentor, recognizes all elements of the procedures. Evan Rachel Wood portrays Anna Surratt, Mary’s daughter. She has few scenes, but each is quite powerful. Danny Huston is Joseph Holt, the prosecuting attorney, who clearly has free reign to do whatever is necessary to ensure a guilty verdict. Other supporting work is provided by Toby Kebbell (John Wilkes Booth), Norman Reedus (from Boondock Saints), Stephen Root, Johnny Simmons and Colm Meaney. The two miscast roles are courtesy of Alexis Bledel and Justin Long.

 I found Robin Wright‘s stoic portrayal of Mary Surratt to be quite mesmerizing. Her strength and motherly insistence on protecting her son was absolutely believable. In my opinion she should gather consideration for an Oscar nomination when the time comes. This is not a showy performance, but rather the foundation of the story.

Lighting of the time was thanks to candles and lanterns, and director Robert Redford masterfully captures that on film. We are always hoping for a bit more light on the characters or in the courtroom. Instead we get the feeling of being present. I did find some of the “buddy scenes” to be unnecessary, but the scenes with Wilkinson and Kline more than offset this weakness.

This is the first film from The American Film Company, whose mission is to present historically accurate films on American history. If their initial entry is an indication, we anxiously await their next projects.

SEE THIS MOVIE IF: you are in the mood to be transported back to 1865 and come as close as possible to experiencing the conflict and grief of the young country just out of civil war.

SKIP THIS MOVIE IF: you find it difficult to see the flaws within what is basically a very strong and judicious system

Leave a Comment » | Drama | Tagged: , , , , , , , , , , , , | Permalink
Posted by David Ferguson

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