CAROLINA CAROLINE (2026)

June 4, 2026

Greetings again from the darkness. Director Adam Carter Rehmeier (DINNER IN AMERICA, 2020) and screenwriter Tom Dean prove that a film need not cover new ground to be entertaining. Of course, it does help to have a strong cast. We’ve seen other movies, some considered classics, with star-crossed lovers wreaking havoc on the road. A few other romantic crime thrillers that come to mind are BONNIE AND CLYDE (1967), BADLANDS (1973), SUGARLAND EXPRESS (1974), and NATURAL BORN KILLERS (1994).

This ‘strong cast’ does not include any of the mega-stars from those films listed above. Perhaps it’s safer to say that Samara Weaving and Kyle Gallner are not yet at that level. You may know Ms. Weaving from the READY OR NOT movies or OVER YOUR DEAD BODY, and Mr. Gallner has been featured in the SMILE movies and STRANGE DARLING, among others. In this one, Caroline (Weaving) spots a con Oliver (Gallner) pulls on the convenience store owner. Caroline wants to escape her drab life in the only town she’s ever known, while Oliver is a slick charmer with a cool car who is willing to give her a ride.

Caroline says goodbye to her beloved dad Hank (Jon Gries, “The White Lotus”, NAPOLEON DYNAMITE) and hops in the car with Oliver. He falls hard for her and acts as a trainer for cons … in between sessions of intense passion. Soon, Caroline pushes Oliver for bank jobs, and next thing we know, she’s in a black wig with oversized sunglasses – flashing a gun at small town bank tellers across the southeastern U.S. See, they are on the road to South Carolina so that Caroline can track down the mother who abandoned her long ago.

As stated previously, none of this is new ground. We know exactly where the honky-tonk reunion with Deborah (Kyra Sedgwick) is going to lead, and it’s not long before there’s a manhunt (or whatever it’s called these days) for these Bonnie and Clyde types and, again, we know where this road leads. It’s kind of funny listening as Oliver explains that he’s not a bad guy since he’s stealing from shareholders, not working folks. It’s common knowledge that their time riding high can only last so long, and we expect the fall will be harsh and painful.

The soundtrack for the film is country and excellent. The film shares a title with a Jonathan Edwards song (he’s best known for “Sunshine (Go Away Today)”) and includes a Townes Van Zandt song (which readers know always earns bonus points from yours truly). It seems the only real misstep here stems from the film’s opening scene followed by a “3 months ago” flashback. This gives away the ending to a movie where we already know the all-too-familiar path.

Magnolia Pictures will release CAROLINA CAROLINE In Theaters on June 5, 2026

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Posted by David Ferguson

INFINITE STORM (2022)

March 24, 2022

Greetings again from the darkness. Naomi Watts is a gifted actress and always elevates her films, but can someone please cast her in a comedy? The lady deserves a chance to lighten up a bit. Known for her dramatic turns, this may be her most physically demanding role yet. The film is based on a true story and the life of Pam Bales. Director Malgorzata Szumowska and co-writer Joshua Rollins, with input from Ms. Bales, recreate the remarkable events of 2010 on Mount Washington in The White Mountains of New Hampshire.

We first see Pam Bales (Watts) as her alarm goes off early, and she goes about preparing for a six-hour trek up the mountain. This includes layering her backpack and her clothes for the below freezing temperatures. She stops by the café where her friend (Denis O’Hare) pours her some hot cocoa and tries to talk her out of the climb due to the possibility of lousy weather (which is saying something for this area). However it’s clear this date is important to her when she says the climb is “cheaper than therapy”, because “mountains always listen and don’t talk back.” Pam has a special connection to the mountain and to nature.

As she begins her journey, Pam sees a couple of campers finishing up their stay. One of them is Eliot Sumner (offspring of musician Sting), who also wrote and performed a song for the film. The other is played by the film’s writer, Joshua Rollins. Pam also notices another car in the parking lot, which, although she doesn’t know it at the time, does set the stage for her day. Often covered in goggles and snow gear, the hike offers Pam the serenity for reflection, as well as some mind-clearing physical exertion. One misstep sends us the flashback of why this day and climb is so important to Pam; but it’s a trail of sneaker tracks in the snow that change the day every bit as much as the approaching storm that caused her to cut the hike short.

Those sneaker tracks are a recognizable sign of trouble to an experienced climber, nurse, and Search and Rescue Team member. Pam follows them to a near-death man suffering from hypothermia. Since he is initially non-responsive, she calls him “John” (Billy Howle, ON CHESIL BEACH, 2017) and proceeds to coax, drag, and all but carry him as they begin the slow battle down against the mountain and the weather elements. As he regains some semblance of awareness, John makes it clear he doesn’t want to be rescued and was trying to end his life on the mountain. Pam ignores this and sternly informs him that she will not leave him behind.

Cinematographer Michal Englert does a terrific job of capturing both the beauty and danger, although there is one close-up of Pam’s whistle that seems a bit out of place (minor quibble). Filmed in Slovenia (as a stand-in for New Hampshire), the weather and the view are co-stars with Ms. Watts, and the blizzard is blinding and treacherous, making Pam’s actions even more incredible. The film can be taken as the story of one woman’s determination, but it can also show how grief is powerful … and so is a helping hand. One person can certainly have a dramatic impact on the life of another and the way this real-life ordeal played out is quite interesting. Ty Gagne’s was the first to publish Pam’s story in his article, “Footprints in the Snow lead to an Emotional Rescue” in New Hampshire Union Leader. As always, the film earns bonus points for including “Katie Belle Blue” by Townes Van Zandt … and we can relate to Pam’s difficulty in singing along. The likelihood of Naomi Watts taking on a comedy seems remote, as she’s already slated for a remake of the 2014 Australian horror movie, GOODNIGHT MOMMY.

Opens in theaters Friday, March 25, 2022

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Posted by David Ferguson

ENCOUNTER (2021)

December 2, 2021

Greetings again from the darkness. It’s all in the terminology you opt to use. Secret rescue mission or kidnapping. Protective or paranoid. Alien invasion or mental illness. By opening on a meteor flashing across the night, and following that with National Geographic-style shots of bugs in nature, parasites attacking hosts, and news clips of violent rioters, we can’t help but assume that writer-director Michael Pearce (BEAST, 2017) and co-writer Joe Barton want us to believe the end is near.

Riz Ahmed (SOUND OF METAL, 2019) stars as Malik Khan, a former Marine and paroled ex-convict who is on a mission to rescue his boys from the “non-terrestrial micro-organisms” infecting the human race and taking over the planet. His oldest, Jay (Lucian-River Chauhan) is observant and smart, while the younger Bobby (Aditya Geddada) is a bit quick with his outbursts. Since the boys live with Malik’s ex-wife, his midnight visit awakens them for a “surprise” vacation trip.

The bulk of the movie is the father-sons road trip. Most of the best scenes – those that generate the most tension – are between these three. One exception is a terrific sequence featuring a confrontation between Malik and a cop during a 3:00am traffic stop. It’s well-staged and plays right into our initial thoughts on the alien invasion, while simultaneously being our biggest clue. Soon, Malik is in touch with Hattie (Oscar winner Octavia Spencer, THE HELP, 2011), his sympathetic Parole Officer, who then involves the FBI – including kidnapping expert “Shep” (Rory Cochrane), who heads the manhunt and categorizes Malik as a “family annihilator” (exactly what it sounds like).

Cinematographer Benjamin Kracum makes the film looks top end, and Riz Ahmed shows again what a powerful actor he is. The frustrating thing here is that the first half of the film is a terrific set-up for a story that doesn’t happen. Instead this train changes tracks and devolves into something we’ve seen too many times before. If not for the included Townes Van Zandt song, this would have really “bugged” me.

In theaters Friday December 3, 2021

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Posted by David Ferguson

BLAZE (2018)

August 23, 2018

 Greetings again from the darkness. “When the legend becomes fact, print the legend.” “I don’t want to be a star, I wants to be a legend.” The first quote comes from THE MAN WHO SHOT LIBERTY VALANCE and the second is drawled by Blaze Foley as he snuggles with his muse and lover in the back of a pickup truck. We can imagine the first quote inspired many stories over the years by those who knew Blaze, and it might also have served as a driving force for writer/director Ethan Hawke as he crafted this graceful tribute to an underappreciated songwriter and his too short life.

Mr. Hawke is a 2-time Oscar nominee as an actor, and his best known previous turn as director was for CHELSEA WALLS (2001). He (a distant relative of Tennessee Williams) has also been twice Oscar nominated as a writer (BEFORE SUNSET, BEFORE MIDNIGHT), and his movies are often music related or influenced. His latest is a biopic of a mostly unrecognized country-folk artist, and Hawke collaborated with Sybil Rosen to adapt her memoir “Living in the Woods in a Tree: Remembering Blaze Foley”. It’s Ms. Rosen who shared the bed of that pickup referenced in the first paragraph above.

Ben Dickey plays Blaze and Alia Shawkat plays Sybil. Not only does Dickey capture the spirit and sound of Foley’s music, but the scenes with Blaze and Sybil as a couple are some of the most touching and realistic relationship sequences we’ve seen on screen. We understand their connection … and their disconnection. It’s proof that two people can be both ‘made for each other’ and ‘wrong for each other’. Director Hawke utilizes different time periods, as well as a framing device in the form of a radio interview. None of this works in traditional biopic manner as the interview features the great troubadour and musical poet Townes Van Zandt (played exceptionally well by Charlie Sexton) recollecting the times (both good and bad) he spent with his friend Blaze. He’s joined by another Foley friend and collaborator, Zee (Josh Hamilton) as the two color in the blanks to ensure the legendary status desired by Blaze. The DJ is voiced by Ethan Hawke, who is only seen from behind.

In addition to the radio interview and the relationship with Sybil, we also have multiple scenes of Blaze’s final live show being recorded at the old Austin Outhouse. The nearly two hours of music and philosophizing were turned into a record release that remains (nearly 30 years later) a mesmerizing listen. These 3 very distinct pieces fit together to bring Blaze into focus as both a songwriter and troubled man – one who found himself in too many fights and, ultimately, on the wrong end of a gunshot in 1989.

Philosophy and homespun wisdom and catchphrases flow from Blaze during his songs and even when he’s just hanging with his buddies or Sybil. The real Sybil Rosen plays her own mother in a scene where Blaze meets the parents, and there is a touching moment in the film where Blaze plays for his estranged dad (a wonderful, albeit brief performance from Kris Kristofferson), the founder of The Singing Fuller Family where Blaze got his musical start. It’s these kind of touches that elevate the film into a must see whether you are familiar with Blaze Foley or not.

BLAZE FOLEY: DUCT TAPE MESSIAH is a 2011 documentary that would nicely compliment Mr. Hawke’s film, although this version contains much more humor – including cameos by Steve Zahn, Richard Linklater and Sam Rockwell as Zephyr Records executives. With Louis Black (founder of SXSW and a former film class TA of yours truly) as an Executive Producer, and songs by Blaze Foley and Townes Van Zandt, this little gem is likely to awaken viewers to a bygone era of music that tends to be remembered only for Willie, Waylon, Jerry Jeff and Merle.

watch the trailer:

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Posted by David Ferguson

THREE BILLBOARDS OUTSIDE EBBING, MISSOURI (2017)

November 15, 2017

 Greetings again from the darkness. Once out of our teen years (though some take a bit longer), the vast majority of us accept the obvious truth to the adage “life is not fair”. Despite this, we never outgrow our desire for justice when we feel wronged. Uber-talented playwright/screenwriter/director Martin McDonagh delivers a superb drama blended with a type of dark comedy that allows us to deal with some pretty heavy, and often unpleasant small town happenings.

Oscar winner Frances McDormand plays Mildred, a grieving mother whose daughter was abducted and violently murdered. With the case having gone cold, Mildred is beyond frustrated and now desperate to prevent her daughter from being forgotten. To light the proverbial fire and motivate the local police department to show some urgency in solving her daughter’s case, Mildred uses the titular billboards to make her point and target the Police Chief Willoughby (Woody Harrelson).

The billboards cause quite the ruckus as the media brings extra attention, which in turn creates conflict between Mildred and the police department, the town citizens, and even her own son (Lucas Hedges). The film could have been titled ‘The Wrath of Mildred’ if not for so many other facets to the story and characters with their own layers. Her anger is certainly understandable, though some of her actions are impossible to defend. Things can never again be square in the life of a parent who has lost a child, yet vengeance is itself a lost cause.

Mr. McDonagh’s exceptional script utilizes twisted comedy to deal with the full spectrum of dark human emotions: managing the deepest grief, anger, guilt, and need for revenge. As in his Oscar winning script for the contemporary classic IN BRUGES (2008), his dialogue plays as a strange type of poetry, delivering some of the most harsh and profane lines in melodic fashion. In addition to his nonpareil wordsmithing, Mr. McDonagh and casting director Sarah Finn have done a remarkable job at matching many talented performers with the characters – both large roles and small.

Following up her Emmy winning performance in “Olive Kitteridge”, Ms. McDormand is yet again a force of nature on screen. She would likely have dominated the film if not for the effectively understated portrayal by Mr. Harrelson, and especially the best supporting performance of the year courtesy of Sam Rockwell. His Officer Dixon is a racist with out-of-control anger issues who still lives with his mom (a brilliant Sandy Martin, who was also the grandma in NAPOLEAN DYNAMITE). Caleb Landry Jones once again shows his uncanny ability to turn a minor role into a character we can’t take our eyes off (you’ll remember his screen debut as one of the bike riding boys near the end of NO COUNTRY FOR OLD MEN). Here he plays Red, the owner of the billboards with an inner desire to carry some clout. Rounding out the absurdly deep cast are Zeljko Ivanek, Kerry Condon, Lucas Hedges (MANCHESTER BY THE SEA), Peter Dinklage, John Hawkes, Abbie Cornish, and Clarke Peters (the epitome of a new Sheriff in town). Every actor has at least one moment (and monologue) to shine, and one of the best scenes (of the year) involves Nick Searcy as a Priest getting schooled on “culpability” by Mildred.

Cinematographer Ben Davis has a nice blend of “big” movies (AVENGERS: AGE OF ULTRON) and small (TAMARA DREWE) in his career, and here he really captures the feel of the small town and interactions of the characters. Also adding to the film’s excellence is the folksy, western score (with a touch of dueling gunfighters) by Carter Burwell. And keeping the streak alive … it’s yet another worth-watching film featuring a Townes Van Zandt song.

Not many films dare tackle the list of topics and issues that are touched on here: church arrogance, police violence, racism, cancer, domestic violence, questioning the existence of God, parental grief with a desire for revenge, the weight of a guilty conscience, and the influence of parents in a rural setting. The film is superbly directed by Mr. McDonagh, who now has delivered two true classics in less than a decade. It’s the uncomfortable laughs that make life in Ebbing tolerable, but it’s the pain and emotions that stick with us long after the credits roll. Sometimes we need a reminder that fairness in the world should not be expected, and likely does not exist. If that’s true, what do we do with our anger? McDonagh offers no easy answers, because there are none. But he does want us to carefully consider our responses.

watch the trailer:

 

 

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Posted by David Ferguson

HELL OR HIGH WATER (2016)

August 16, 2016

hell or high water Greetings again from the darkness. A good guy doing bad things for a good reason. A bad guy doing bad things for a good reason. A good guy whose make-up doesn’t allow for bad things by anyone for any reason. Director David MacKenzie (Starred Up) and writer Taylor Sheridan (Sicario) serve up a quasi-western featuring a crusty old Texas Ranger doggedly pursuing two bank robbing brothers. If not for the numerous destroy-the-flow screaming political statements, this could have been a near instant classic – just a tick below No Country for Old Men.

Chris Pine and Ben Foster play brothers Toby and Tanner Howard. Details eek out slowly about each … most importantly that Toby is a divorced dad and Tanner is an ex-con. Toby has meticulously planned out their bank robbery spree. The goal is to save his family ranch so his boys can escape the “disease” of poverty. Tanner is along to support his brother … and probably because he enjoys the adrenaline rush.

Soon enough, Texas Ranger Marcus Hamilton (Jeff Bridges) is on the trail of the boys, and his highly developed instincts and gut feelings annoy his partner Alberto (Gil Birmingham) almost as much as Marcus’ incessant and insensitive racial teases – a reminder of the days when buddies would verbally jab each other without the risk of class action lawsuits.

The performances are all excellent. Pine is the quiet guy resigned to a life without happiness, but refusing to give up on his boys. Foster is the wide-eyed trouble-maker who long ago realized he would always be one careless moment from the end. Bridges literally becomes the Ranger being forced into retirement (age) but intent on remaining somewhat relevant. Additional support work is also quite colorful in a west Texas kind of way. The wonderful Dale Dickey gets an early sequence with the boys, the great Buck Taylor is always a pleasant presence, Margaret Bowman adds yet another memorable character to her resume as the T-Bone waitress, and Katy Mixon (“Eastbound and Down”) gets to stand up for the little people.

West Texas is a character unto itself with massive poverty, oil pumps on the horizon, dusty streets, rickety fences, and gun-toting citizens everywhere. Each of these elements is beautifully captured by cinematographer Giles Nuttgens (Dom Hemingway), as are the actual bank robberies and the quiet moments between brothers and Rangers partners. To cap it off, Nick Cave and Warren Ellis add a nice score and even better soundtrack … the best of which is an opening song from Townes Van Zandt .

Mixed in with the impending gloom are some terrifically witty exchanges and some downright funny moments. Exceptional acting, a spot on setting, wonderful photography, and superb music are only slightly offset by the previously mentioned obnoxious and too obvious shots taken at big banks and oil companies. Sometimes a good story can be just that … and not a political statement.

watch the trailer

 

 

 

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Posted by David Ferguson

A SONG FOR YOU: THE AUSTIN CITY LIMITS STORY (doc, 2016)

May 1, 2016

Dallas International Film Festival 2016

a song for you Greetings again from the darkness. It’s difficult to believe now, but Austin City Limits was once “the little engine that could” … and now it’s the longest running music program on television. Willie Nelson played the 1974 pilot, and the rest – as they say – is history … and continues to be history in the making.

“This is a show about music.” That simple quote from the film says a great deal. There is no place to hide on the small stage in the small studio with the audience right on top of you. These aren’t music videos, but rather these are the artists performing their songs live in an intimate setting (with the ever-present TV cameras).

Director Keith Maitland, who also presented his powerful documentary Tower at the festival, spends a great deal of time allowing producer Terry Lickona to reminisce and tell stories about how the show has always walked a fine line between success and the threat of cancellation … what’s also known as life in public television.

Much of the structure of the film is around the show’s 40th anniversary and the formulating of the initial class of the ACL Hall of Fame. As interesting as it is to listen to Mr. Lickona and ACL founder Bill Arhos, it’s the music that shines here. There are too many clips to name here, and certainly some of the choices speak to the age of the director, but the highlights include a soulful Townes Van Zandt in 1976, a spirited Lightnin’ Hopkins in 1979, Ray Charles (and a shot of my head in the crowd) in 1980, the infamous Stevie Ray Vaughn show in 1983, and the always smooth and debonair Leonard Cohen from 1989. There are also clips of The Pixies, Radiohead, Dolly Parton, Buddy Guy and, well, just too many to name … yet somehow not enough.

We also see Lyle Lovett’s show which was the final filming in the original Studio 6A, before ACL got a building/studio designed just for them (one a bit more fire code friendly). It’s a wonderful trip down Memory Lane for someone like me who spent many a night in the old studio, and for those of us who have so appreciated the straightforward approach to music that the TV show has maintained through the years.

http://www.asongforyoufilm.com/

a song for you2

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Posted by David Ferguson

LOW & CLEAR (2012, doc)

August 2, 2013

low and clear2 Greetings again from the darkness. I missed this one during it’s festival run last year, but being a lifelong fan of the late great songwriter Townes Van Zandt, I was of course curious in a project that featured his first born son (John Townes Van Zandt II). While the facial resemblance is clear and a Townes song is included, this little documentary stands tall on its own thanks to stunning cinematography and a spiritual look into how a love of fishing bonds a couple of men over the years.

We are first introduced to J.T. on the Texas Gulf Coast, as he explains that it’s a mistake to assume the purpose of fishing is catching fish, and that instead, fishing is “a micro-examination of life itself”. Just as we are settling into J.T.’s zen-like approach to life and fishing, we are startled back into reality thanks to the shouted profanity and ear-piercing chainsaw wielded by Alex “Xenie” Hall, a fishing legend in Colorado.

These two first crossed paths many years ago as Xenie became J.T.’s fishing mentor. The river and the solemnity of fishing created a bond between two very different men. As the years passed, they saw less of each other, until a planned trip to British Columbia reunited them in the only way they can really communicate … rod in hand, waist deep in water. It’s this trip where we (and they) truly come to understand what polar opposites they are. J.T. soaks in the beauty and peace of nature in his quest for the perfect cast, while Xenie is on an adrenaline rush to catch and document as many fish as possible … gleefully shouting “I’m healed” after a particularly successful catch.

Very few movies or stories deal directly with the emotions involved in male bonding: rivalry, support, introspection. To see this between two such different personality types is quite interesting … especially since most every shot in the movie could be directly from a nature photography exhibit. When J.T. says he is at his best and worst while fishing, we immediately understand that it’s the only time he can truly be himself.

It’s difficult to tell if the lack of background or “non-fishing” life of these two is a strength or weakness of the film, but it matters little. As a character study or work of art, co-directors Khalil Hudson and Tyler Hughen provide us a look at real life that dwarfs the fictionalized fly-fishing tale of A River Runs Through It.

low and clear

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Posted by David Ferguson