THE GORGE (2025)

February 14, 2025

Greetings again from the darkness. Most every Valentine’s Day, we get at least one romantic-comedy designed for a sweet and harmless date night. Well, this one ain’t it. Instead, if you thrive on romance loaded with danger and action sequences and mysterious monsters and decades old experimental weapons … we have just the movie for you. Director Scott Derrickson (THE BLACK PHONE, 2021; THE EXORCISM OF EMILY ROSE, 2005) and screenwriter Zach Dean (THE TOMORROW WAR, 2021) deliver the rare sci-fi/action/monster/romance thriller, and were wise enough to cast two charming, well-liked young actors for the leads.

The film opens with Drasa (Anya Taylor-Joy) executing a long-distance kill shot assassination, while Levi (Miles Teller) springs out of bed in a cold sweat due to PTSD. He’s soon beckoned to Camp Pendleton by a power broker played by Sigourney Weaver. As an elite sniper who has done work for the military, Levi has been ‘retired’ for four years, and with no relationship strings attached, he’s perfect for the year-long secret mission – he must jump from an airplane in an unknown location and hike 30 km to report. He’s met there by his predecessor (Sope Dirisu) who fills him in on the basics of the mission: guard the ‘door to hell’ … the giant gorge below filled with unknown danger … while hanging out all alone in the west tower.

Guess who is in the east tower. Right! It’s Drasa, straight from visiting her cancer-stricken dad in their homeland of Lithuania. These two sharp-shooting mercenaries are perched in their opposing towers assigned with defending the gorge from unknown threats. It’s a mission I would have turned down, but it makes for a terrific movie set-up, especially since they have been instructed to avoid contact with the person in the opposite tower. But what kind of movie would that be?

A reference is made to T.S. Eliot’s poem, “The Hollow Men”, and Levi spends a good deal of each day reading and writing poetry. In the other tower, Drasa is a bit more antsy. She dances to music and doesn’t hesitate long in making contact with Levi. The two exchange cross-gorge notes, in a similar manner to LOVE ACTUALLY (2003), only with long-distance binoculars and more humor. Of course, the solitude gets to both and not surprisingly, they figure out a way to connect – as most young, beautiful, world-class snipers would. They even play chess and drums, in obvious callbacks to each actor’s most successful roles.

Their connection is fun to watch, and of course, as seasoned movie watchers, we know the unknown threat from within the gorge will soon enough interrupt the love story. Things get pretty nuts when the grisly creatures from below mix with our two lovebirds and heroes. The explanation is a bit much, but the action sequences are fine – quite the contrast to the first half of the story. We noted some similar touches to films like John Carpenter’s THE THING (1982), Ridley Scott’s ALIEN (1979), and Alex Garland’s ANNIHILATION (2018), although I don’t recall those films including a dose of romance for Valentine’s Day … and certainly this is the first featuring “O Come All Ye Faithful” performed by Twisted Sister, along with a creepy score from Trent Reznor and Atticus Ross, and cinematography from Dan Laustsen (THE SHAPE OF WATER, 2017). It’s an unusual film, and just know that Drasa and Levi will always have Eze (France).

Opens in theaters on Valentine’s Day, February 14, 2025

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Posted by David Ferguson

QUEER (2024)

December 6, 2024

Greetings again from the darkness. Some filmmakers have earned the benefit of the doubt to the point where each film they release is worthy of consideration. Luca Guadagnino is one such filmmaker. He first captured my attention with I AM LOVE (2009) and has since followed that with such interesting films as A BIGGER SPLASH (2015), CALL ME BY YOUR NAME (2017), SUSPIRIA (2018), BONES AND ALL (2022), and CHALLENGERS, his first film released in 2024. This time he and his CHALLENGERS screenwriter, Justin Kuritzkes, take on the 1985 William S Burroughs novella, “Queer”, which was linked to his 1953 novel, “Junkie”.  Taking on the writing of William S Burroughs is challenging enough as a reader, much less as a filmmaker.

Daniel Craig stars as William Lee. If you are familiar with Burroughs’ writing, then you are aware the character of William Lee shares many of the same personal attributes as Burroughs himself. He’s a gay man who drinks too much, does hard drugs, and is quite sexually promiscuous. The film opens with Chapter 1: How do you like Mexico?  Lee spends his time drinking non-stop and carousing for his next roll in the proverbial hay. He has a few fellow ex-pat friends, including Joe Guidry (Jason Schwartzman), but it’s a certain cool cat that catches his eye. Eugene Allerton (Drew Starkey) is a young ex-soldier and Lee is quickly enamored.

The two hang out together, although Lee is never really certain if Eugene is gay or not since he spends much of his time playing chess with fellow bar patron, Mary (Andra Ursula). One night of passion between Lee and Eugene leads to Chapter 2: Travel Companions. The two men make their way to South America as their awkward relationship (and agreement) leads to more booze. Chapter 3: The Botanist in the Jungle is certainly one of the most bizarre segments of any movie this year, as the men hike deep in the jungle to connect with a doctor who has researched some ‘vegetation’ that may solve Lee’s fascination/obsession with telepathy. There is no viable description for this segment, but kudos to anyone who recognizes Leslie Manville – the one who has a pet sloth and keeps a viper for home security.

The Epilogue picks up two years later, and it’s here where Lee’s long struggle with loneliness becomes most apparent. His time with Eugene provides home of a true, lasting relationship with something other than a tequila bottle or a heroin needle. Daniel Craig and Drew Starkey are both excellent here, and may each receive awards consideration. If your previous exposure to Mr. Craig is through the James Bond movies, you might find this role a bit surprising, but those who have followed his career are in the know. One final note (no pun intended), the score from Trent Reznor and Atticus Ross perfectly captures the longing for connection (aka loneliness).

Opening in theaters on December 6, 2024

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Posted by David Ferguson

CHALLENGERS (2024)

April 25, 2024

Greetings again from the darkness. Director Luca Guadagnino continues to prove that he excels at making gorgeous-looking movies featuring gorgeous-looking actors. Previous proof includes SUSPIRIA (2018), CALL ME BY YOUR NAME (2017), A BIGGER SPLASH (2015), and now this latest, with a screenplay by Justin Kuritzkes. If you are looking for a film that oozes flashy style and sex appeal, you’ve chosen the right movie. You can even pretend it’s a tennis movie, though you’re not likely to fool anyone.

Zendaya (DUNE: PART 2, 2024, DUNE, 2021, “Euphoria”) stars as Tashi, a rising young tennis protégé when we meet her in flashback. Doubles partners and best friends, Art Donaldson (Mike Faist, WEST SIDE STORY, 2021) and Patrick Zweig (Josh O’Connor, EMMA., 2020) are immediately smitten by Tashi’s stunning looks and equally stunning tennis talent. She toys with the boys as they strive for her attention … leading to a hilarious and surprisingly escalated encounter in a hotel room. It’s the first, but not the last time a sexual encounter plays a part with these three. It’s likely the Intimacy Coordinator was on set most every day of shooting.

As best I can tell, the story covers about a 13-year period from juniors to the professional level, although the tennis balls bounce on the court less frequently than the time period bounces around as the stories unfold. And actually, the tennis serves as a means to an end. The real drama and competition comes from the relationships: Art and Patrick, Patrick and Tashi, Tashi and Art, and Tashi and Art and Patrick. Yes, tennis is an integral part of this since it forged the bonds – heck, it’s sometimes difficult to discern tennis talk from pillow talk – yet it’s the personal dramas that make the film what it is.

All three leads are excellent, yet somehow Zendaya’s performance stands out … even beyond Josh O’Connor who delivers his best performance to date. Her lithe physique passes for a tennis player despite the lack of muscle tone that would accompany an athlete, yet her movements work. The players move on the court and make the strokes, while CGI handles the ball movements at an accelerated pace (reminding us this isn’t really a movie about tennis). Initially, the club dance beat of the score from Oscar winners Trent Reznor and Atticus Ross seems an odd choice, yet it becomes the perfect fit as things progress. Guadagnino re-teams with cinematographer Sayombhu Mukdeeprom to create some fantastic and creative shots, even making the tennis exciting. Editor Marco Costa deserves a shoutout as well.

With Hollywood’s overdose of caution these days when it comes to sexuality, the energy here feels a bit naughty at times. The shifting power dynamics of this trio reminds of the “Seinfeld” episode where characters discuss having “hand” in a relationship. Of course, Guadagnino takes this one much farther, although it’s every bit as entertaining. And that’s the best way to think of this – a big ol’ movie that lets us enjoy and even laugh a bit. It’s a wild ride and it’s gorgeous.

Opens in theaters on April 26, 2024

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Posted by David Ferguson

THE KILLER (2023)

October 27, 2023

Greetings again from the darkness. There is a reason I choose not to interview directors, writers, actors, or anyone else involved with the movies I watch and review. It’s because I prefer to evaluate based on what we see on screen rather than whether it’s the product of someone likable or not, quick witted or not, or passionate about their work or not. Anytime I start to waver on this approach, I’m quickly reminded why the decision was made. David Fincher is unquestionably one of the finest filmmakers working today. His work includes such films as SEVEN (1995), THE GAME (1997), FIGHT CLUB (1999), PANIC ROOM (2002), ZODIAC (2007), THE SOCIAL NETWORK (2010), THE GIRL WITH THE DRAGON TATTOO (2011), GONE GIRL (2014), and MANK (2020). Despite this remarkable resume of successful films, each new one deserves to be judged on its own … there is no extra credit for past brilliance.

The all-too-brief and remarkably cool opening credit sequence sets the stage for a film that looks absolutely marvelous. This leads us to an extended opening sequence where we learn about our titular cold-blooded assassin played by Michael Fassbender. It’s through his redundant narration that we learn about his meticulous and detail-oriented approach to a job that has made him a very wealthy man. He listens to various songs by The Smiths, does yoga in the dark, and repeats his mantras to keep himself centered and focused on the job at hand. After all, he cautions us that this job is only for those who can handle boredom – as if committing cold-blooded murder is somehow a more natural trait than handling down time on the job.

Getting to know the quirks and nature of this hitman is actually the highlight of the movie, because he botches this job in the worst possible manner, and then must step outside his norm to handle this ‘new’ development. When he discovers that his partner has been seriously wounded as fallout for his blown job, the Killer conveniently drops his ‘nothing personal’ mantra and proceeds to pursue very personal revenge.

SEVEN screenwriter Andrew Kevin Walker has adapted the graphic novel written by Alexis Nolent and illustrated by Luc Jacamon, and Fincher is clearly having fun with the material. It’s not accurate to call this a dark comedy, but there are some comedic elements included to lighten things up a bit. Most of these struck me as a bit lame: shots at our societal dependence on name brands (Amazon, WeWork, Starbucks, etc), the Killer’s disguise as a ‘German tourist’, and the endless string of 1970’s sitcom names used in his travels (think “The Odd Couple”, “Happy Days”, and even “The Partridge Family”).

To ensure no viewer is left behind, the film is divided into six chapters highlighted by the geographic location and the reason for being there: Paris – the Target, Dominican Republic – the hangout, New Orleans – the lawyer, Florida – the brute, New York – the expert, and Chicago – the client. Each of these chapters involves a piece of the revenge puzzle, and include fine actors Charles Parnell, Tilda Swinton, and Arliss Howard. Ms. Swinton’s segment offers the most, but her presence is over much too soon. It’s the mano-y-mano fight with the brute that is the weakest, since the fight is so over-the-top that neither would walk away … yet Killer departs with only a scratch over his eye.

While most of the story seems too familiar and kind of ludicrous, the film itself is a work of art. Fassbender perfectly captures the icy killer, and Oscar winning cinematographer Erik Messerschmidt (MANK, 2020) delivers in the multitude of locales, as well as the action shots. Two-time Oscar winners Trent Reznor and Atticus Ross handle the score of this film that will undoubtedly be regarded more highly by most other critics than by me, since a line like WWJWBD simply falls flat in my mind.

Opens in theaters on October 27, 2023 and on Netflix beginning November 10

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Posted by David Ferguson

TEENAGE MUTANT NINJA TURTLES: MUTANT MAYHEM (2023)

August 1, 2023

Greetings again from the darkness. You may or may not be surprised that Teenage Mutant Ninja Turtles date back almost 40 years to the mid-1980’s when co-creators Peter Laird and Kevin Eastman published the comic and then signed on for the original TV cartoon series. This was followed by the first live-action film in 1990 (with Elias Koteas, Judith Hoag, Corey Feldman, Sam Rockwell, Josh Pais). Since then, there have been various TV series, as well as animated and live-action movies … the most recent being the poorly received films in 2014 and 2016. Along comes co-writers and co-producers Seth Rogen and Evan Goldberg, together with other credited writers Jeff Rowe, Dan Hernandez, Benji Samit, and Brendan O’Brien to deliver a contemporary and re-imagined look at the born-from-ooze Turtles. It’s co-directed by Jeff Rowe and Kyler Spears, previous collaborators on THE MITCHELLS VS THE MACHINES (2021).

The first thing we notice is the animation. It’s a different look than what we are accustomed to, and Mikros Animation has blended traditional Anime with a harsher, more vibrant look to complement the heavy dose of action this film delivers. The style takes a bit to get comfortable with, but once you do, the effects are easy to appreciate. Since this is a next-generation TMNT, we also get a new origin story in the opening sequence. The same green ooze flows into the sewer, and there is an emphasis on the work of scientist Baxter Stockman (voiced by Giancarlo Esposito, of “Breaking Bad” fame).

Soon enough, we flash forward 15 years to the teenage years. Leonardo (Nicholas Cantu), Rafael (Brady Noon), Donatello (Micah Abbey), and Michealangelo (Shannon Brown Jr) have been raised and trained by Master Splinter/Dad (Jackie Chan). Their big outings are to the grocery store with strict instructions to not be seen. The individual personalities begin to surface, and it’s made clear these boys dream of being accepted in the outside world and attending high school. And we all know what happens when an overprotective parent clashes with teenagers seeking independence … a tale as old as time.

When the turtles cross paths with April O’Neill (Ayo Edibiri), aka April O’Puke due her extreme camera shyness, their hopes of becoming heroes mesh nicely with her desire to break a big story for the school newspaper. The timing couldn’t be better for all involved as an evil menace is preparing to take over the world. Nope, it’s not Shredder, but rather Superfly (an amazing Ice Cube) and his own band of mutants. Superfly’s plan involves turning all Earthly animals into mutants in order to rule the humans. The Turtles must decide if bonding with fellow mutants is more desirable than allowing Superfly to destroy the world of humans and their new friend April.

The rest of the voice cast is outstanding, and includes: Rose Byrne (Leatherhead), John Cena (Rocksteady), Seth Rogen (BeBop), Paul Rudd (Mondo Gecko), Maya Rudolph (Cynthia Utrom), Post Malone (Ray Fillet), Hannibal Burress (Genghis Frog), and Natasia Demetriou (Wingnut). Action fills the screen through much of the run time, and the action sequences are huge spectacles for animation. However, it’s the sheer volume of action that is my only real issue. It feels like the teamwork and camaraderie that played such a big part in Turtle lore gets shortchanged here. There simply isn’t enough time spent with four Turtles cracking wise – a surprise given the comedic roots of Rogen and Goldberg.

Plenty of pizza and ooze are present, and the heavy dose of hip-hop classics adds to the contemporary vision. The Turtle van is quickly shown, although it’s little more than a stolen pizza delivery truck, and the score by Trent Reznor and Atticus Ross plays well here. No “Cowabunga” exists in this re-boot, leaving some history behind, yet overall, we should be pleased that Turtle Power is back with our favorite heroes in a half-shell.

Opens in theaters on August 2, 2023

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Posted by David Ferguson

EMPIRE OF LIGHT (2022)

December 9, 2022

Greetings again from the darkness. Writer-director Sam Mendes won an Oscar for AMERICAN BEAUTY (1999), and has directed other popular movies, including ROAD TO PERDITION (2002) and a couple of James Bond films: SPECTRE (2015) and SKYFALL (2012). This is his first movie since the 3-Oscar winning war film 1917 (2019), and it’s a project that seems designed for Mendes to proclaim his love of movies and belief in movie magic. However, a funny thing happened on the way to movie magic … a movie about mental health, racism, and the Margaret Thatcher era broke out.

By now we’ve all realized that a movie starring Olivia Colman (Oscar winner for THE FAVOURITE, 2018) features at least one outstanding performance. Here, she delivers as Hilary, a theater manager who doesn’t watch movies, and is in therapy for some type of breakdown that occurred over the past year. Her smile for the customers isn’t always able to hide her depression and mood swings – and neither are the ‘quickie’ meetings the married theater owner, Mr. Ellis (Oscar winner Colin Firth, THE KING’S SPEECH, 2010), calls when the urge strikes. Her vulnerability and solitude are on full display.

The closeness of the theater staff is evident by the time new employee, Stephen (Michael Ward), shows up. He brings a spark, along with an ambition for advanced education, and he and Hilary hit it off immediately. Romance blossoms between the odd couple, and we soon learn Stephen has grown accustomed to facing racism, while Hilary seems oblivious to such things happening in the world. Empire Cinema is located on the seaside boardwalk, and the plush lobby is coated in heavy red velvet and adorned with sparkling brass fixtures. The timeframe is evident from the theater’s movie posters: BLUES BROTHERS, ALL THAT JAZZ, STIR CRAZY, etc.

The closed off screens 3 and 4 and the upper-level abandoned ballroom act as the rendezvous spot for Hilary and Stephen, while fireworks and a New Year’s rooftop kiss bring joy and excitement into Hilary’s life. The always interesting Toby Jones plays old school projectionist Norman, and he helps explain the second meaning of the film’s title when he describes the beam of light that flashes through the 24 frames/second of film. He terms that beam of light an “escape”, which is how so many view the movies.

Hilary’s history of schizophrenia and depression and lithium treatment mean that smooth sailing will not last for her. A street riot spills over into the theater and the scene shifts to the local hospital, where another character is introduced – one that might have added quite a bit to the story if expanded. Mendes chooses an odd approach to paying tribute to cinema, even when Hilary does finally realize the magic in a scene that recalls CINEMA PARADISO (although Hal Ashby’s gem BEING THERE is what she watches). Cinematographer extraordinaire and two-time Oscar winner Roger Deakins proves yet again how his work can elevate a film, as does the score from Trent Reznor and Atticus Ross (the Oscar winning composers).

Mendes chooses a restrained presentation, and though many of us believe in that feeling of elation associated with movies, no one believes movie magic is a cure for anything as serious as mental illness or racism. There are some terrific individual scenes that work better than the movie as a whole, but it’s unclear whether the film needed to be shorter, longer, or just better constructed.

Opens in theaters on December 9, 2022

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Posted by David Ferguson

SOUL (2020)

December 30, 2020

Greetings again from the darkness. With their first 22 feature films, Pixar excelled at balancing the eye candy and action kids favor with the second level intellect needed to simultaneously keep adults entertained. As proof, one need only think of such classics as TOY STORY, CARS, and THE INCREDIBLES. Surprisingly, film number 23 is the first Pixar film aimed directly at adults. It’s a marvelous companion piece to the brilliant INSIDE OUT (2015), but be forewarned, there is simply nothing, or at least very little, for kids to latch onto.

The film is co-directed by 2 time Oscar winner Pete Docter (INSIDE OUT 2015, UP 2009) and Kemp Powers (the screenplay and stage production of ONE NIGHT IN MIAMI, 2020), and they were joined on the screenplay by Mike Jones. And yes, it’s a brilliant script to go along with the always stunning Pixar visuals and effects. Brace yourself for a metaphysical exploration of the meaning of life and finding one’s purpose. As we’ve come to expect on Pixar projects, the voice cast is deep and filled with well-known folks such as Graham Norton, Rachel House, Alice Braga, Richard Ayoade, Phylicia Rashad, Angela Bassett, Questlove, Daveed Diggs, Wes Studi, and June Squibb. Leading the way is the dynamic duo of Jamie Foxx and Tina Fey.

Mr. Foxx plays Joe, a junior high band teacher still chasing his dream of performing jazz and experiencing the feeling that only music can provide … “the zone”. Instead, the school offers him a full-time teaching job, and his mother demands he seize the stability (and insurance) and give up his silly dream of jazz. As seen in the preview, shortly after an audition lands him his dream jazz gig, a freak accident occurs and Joe finds himself in “The Great Beyond”, where a conveyor belt takes those souls whose time has come to that giant bug zapper in the sky. Joe’s not willing to accept his plight and finagles his way into being a mentor for Soul 22 (Tina Fey) in “The Great Before” where unborn souls search for their “spark”. It’s all very existential.

After a look back at his life, Joe takes 22 to “The Hall of Everything”, which is the one segment in the film which felt underplayed … much could have been done with 22 looking for a reason to live. Instead, it’s a few great punchlines, including a Knicks gag that will surely play well among basketball fans. We learn of the fine line separating “lost souls” from those “in the zone”, and mostly we take in the banter between Joe and 22, as purpose and passion become the subjects of chatter.

As with most Pixar movies, multiple viewings are required to catch all the sight-gags, one-liners, and Easter eggs, however, the first viewing is like unwrapping a giant Christmas present. The opening Disney theme is hilariously played by a junior high school band, and the score is courtesy of Oscar winners Trent Reznor and Atticus Ross (THE SOCIAL NETWORK, 2010). Director Docter claims Pixar good-luck charm John Ratzenberger makes a vocal appearance, but I didn’t catch it. The film leaves us with the message that the meaning of life is simply living life … and keep on jazzing.

Available on Disney+

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Posted by David Ferguson

MANK (2020)

December 3, 2020

 Greetings again from the darkness. “Just a writer.” The line made me laugh. How many times have writers not received the recognition they deserved, or were underestimated, only to have their words create a lasting impact? Hollywood often likes to portray writers as socially-awkward, loner types who rarely contribute much during conversations. Not this time. The subject is Oscar winning screenwriter Herman J Mankiewicz, who was as quick with a dinner table zinger as he was writing the script to CITIZEN KANE (1941) while bedridden.

More than 20 years in the works, this is director David Fincher’s first film since GONE GIRL (2014), and it’s based on a screenplay written by his late father, Jack Fincher. Dad receives sole writing credit here, though David and producer Eric Roth (Oscar winner for FORREST GUMP, 1994) admit to some polishing. It’s a film seemingly designed for us film nerds, but likely entertaining and interesting enough for expanded appeal. CITIZEN KANE is often regarded as the “best” movie of all-time, though the origin of the film is much debated. We do know that struggling RKO Pictures gave 24 year old wunderkind Orson Welles free reign over his first film, and the result was something quite special. Director Fincher’s film offers up three distinct aspects here: a look at Mankiewicz’s writing process for ‘Kane’, some background on Mankiewicz’s career, and a somewhat fictionalized dissection of 1930s Hollywood politics.

Oscar winner Gary Oldman (DARKEST HOUR, 2017) stars as Herman J “Mank” Mankiewicz, an international correspondent-turned NYC cultural critic-turned playwright-turned screenwriter. Herman was the older brother of Joseph L Mankiewicz, a four time Oscar winning writer-director (ALL ABOUT EVE, 1950), and grandfather to Ben Mankiewicz, a well-known host of Turner Classic Movies. Herman was also renowned as a boozer and gambler, and in 1940 (where this movie begins), he was a bedridden mess recovering from a car accident. Herman was part of the sphere of the infamous Algonquin Round Table, and in most of this film, he talks like he’s still at one of those gatherings.

Mank is taken to a desolate ranch house in Victorville, California, along with his assistant Rita Alexander (Lily Collins), his nurse (Monika Gossman) and his handler John Houseman (Sam Troughton). Orson Welles (Tom Burke) has given Mank 60 days to finish the script, and his only guidance seems to be “write what you know”, and don’t drink. The result was a controversial, yet brilliant script that Welles and his crew (Oscar winning Cinematographer Gregg Toland, Editor Robert Wise, a 4-time Oscar winner) turned into a classic film that still holds up 80 years later.

We immediately start seeing flashbacks, as noted by old style on-screen typing. Ten years prior, Mank was the Head Writer at Paramount, where his staff included Ben Hecht, George S Kaufman, and Charles Lederer … writers whose work would later include NOTORIOUS (1946), multiple Marx Brothers movies, and GENTLEMEN PREFER BLONDES (1953), respectively. Lederer was also the nephew of starlet Marion Davies (played here by Amanda Seyfried), who was the long time mistress of media mogul William Randolph Hearst (Charles Dance). Are you starting to see how this wicked web all fits together? Of course, Hearst was the model for Charles Foster Kane in Welles’ classic movie, while Ms. Davies was supposedly the inspiration for Kane’s wife, Susan. Other key players in these flashbacks are Producer David O Selznick (Toby Moore), Irving Thalberg (Ferdinand Kingsley, son of Oscar winner Ben), MGM founder Louis B Mayer (Arliss Howard), Mank’s brother Joseph (Tom Pelphrey), and Mank’s wife “Poor” Sarah (Tuppence Middleton).

Director Fincher’s masterful film features a couple of standout sequences. The first involves the initial meeting between Mank and Hearst, while Marion Davies is filming a scene on the grounds of San Simeon (Xanadu in CITIZEN KANE). Rapid fire dialogue, multiple characters, and terrific editing with Mank keeping pace as Hearst overlooks the filming. Much later there is a scene following Mank and Marion as they stroll through the manicured gardens with the nearby exotic animals on display. The scene is fascinating to watch, while also reinforcing the kindred spirits of Mank and Marion – both talented, yet not quite allowed in the “club”. Beyond those two sequences, we also get a quite funny segment where Mank and his Paramount writers are improvising a pitch to Selznick and director Josef von Sternberg, plus a telegram sent by Mank to Lederer that states, “Millions to be made here and your only competition is idiots” (a sentiment some believe still holds true today).

Quite a bit of the film is focused on Hollywood politics of the 1930s, both in the studios and nationally. In particular, the 1934 Governor’s race focuses on the campaign of writer and socialist Upton Sinclair (played by Bill Nye, the Science Guy), and the concerted efforts by Hearst and studio capitalists to prevent Sinclair from being elected. The symmetry and contrasts of modern day Hollywood and politics cannot be overlooked. Also made abundantly clear is the disconnect between studio heads, directors, and writers – quite the mishmash of disrespect.

The brilliance of Fincher’s movie is that it can be relished from multiple perspectives. Is Mank attempting to salvage a near-dead career or is he settling a grudge against Hearst? Did Welles intend to hold firm to Mank’s contract and prevent him from receiving a screenwriting credit? And then there is the filmmaking side. Superb performances from Oldman and Seyfried highlight the terrific cast. It’s filmed in black and white by cinematographer Erik Messerschmidt (“Mindhunter”), but not the razor-sharp images we are accustomed to these days, rather soft and hazy in keeping with the look of the times. The production design from Donald Graham Burt takes a couple of viewings to fully appreciate, and the music from Trent Reznor and Atticus Ross is spot on, as usual. Even the opening credits provide nostalgia, as does the 1942 Academy Awards ceremony, which neither Mank nor Welles attended. Netflix delivers another winner, and one likely to receive awards consideration.

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Posted by David Ferguson

WAVES (2019)

November 29, 2019

 Greetings again from the darkness. Whether in sports or music or movies, watching talent blossom and grow is wondrous. For movie lovers, this describes young filmmaker Trey Edward Shults, whose first feature film KRISHA really grabbed me at a film festival in 2016. His follow-up was the critically acclaimed IT COMES AT NIGHT (2017), and now with only his third film, Mr. Shults has delivered an even more ambitious story with wide-reaching impact, yet he remains true to his intimate and personal approach. In fact, with WAVES, he basically delivers two brilliant films in one.

A terrific opening credits sequence takes us inside the life of a teenager. There is constant motion, laughter, the longing for independence, and signs of responsibility and structure. Tyler (Kelvin Harrison Jr, LUCE, 2019) is a high school student, talented athlete, pianist, son, brother, and boyfriend. He’s living an upper-middle class life in a beautiful home with his dad (a powerhouse Sterling K Brown), stepmom (Renee Elise Goldsberry), and younger sister Emily (breakout star Taylor Russell). His dad owns a construction company, and is tough and demanding as a parent, incessantly pushing his son to do and be more. His fatherly advice comes in the form of telling Tyler that black men have to work harder than white ones … never stopping to give praise or affection. He’s the type of father who challenges his son to arm wrestle while in a restaurant and critiques his wrestling match victory by telling him the lesser opponent should have been dispatched much quicker. The pressure is relentless, though offered with the best intentions … a college scholarship and a successful life.

Tyler’s stepmom is loving and supportive, and his sister Emily is very sweet and quiet, living in the shadows of big brother. Tyler and his girlfriend Alexis (Alexa Demie) seem to have a good relationship and Tyler appears to be dealing with the pressures. But then, as is common with life at this age, things go sideways quickly. A shoulder injury, self-medication, and Alexis’ late period bring this ideal world crashing down on Tyler. Just when it seems things can’t get worse, they do.

Shults’ film is really two love stories separated by a tragic line. Whereas the first half belongs to Tyler, the second half is owned by his sister Emily. Dealing with a situation and emotions that should be beyond her maturity level, Emily proves how strong she is, and how the heart can always respond to compassion and caring. She meets one of Tyler’s ex-teammates Luke (yet another brilliant Lucas Hedges performance). Luke is socially clumsy and 180 degrees from being a smooth-talker, but he’s smitten with Emily and offers her a lovely, if unlikely, companionship. First love is almost always awkward and watching these two navigate is quite charming and heart-warming. A road trip leads to bonding and a better understanding of each other.

As the film shifts in focus and tone, characters are pushed to emotional limits. The film offers snapshots of moments without disturbing the flow or Shults’ commitment to rich texture. The photography from cinematographer Drew Daniels is creative and varied, and adds much to the presentation. Music is also vital here. The score from Trent Reznor and Atticus Ross adds the perfect touch, and the soundtrack contrasts the tastes of today’s generation with what the parents relate to (Dinah Washington’s “What a Difference a Day Makes”), even forming a surprising connection at one point. For other fans of Shults’ film KRISHA, you will enjoy a quick scene with Krisha Fairchild as a high school teacher.

Proms, pregnancy, parties, pills, and parents are all common topics for films dealing with teens, but this one digs deeper than most. It’s based in south Florida and is quite the stylish and heartfelt drama, slicing open the traits that make us human. A lifetime of good decisions builds a foundation, and one or two bad choices can topple all the good ones. When Tyler and his teammates are pumping up before a match with chants of “I cannot be taken down!”, we all know that life can absolutely take you down. Tyler learns this lesson in the harshest of ways, while his sister Emily deals with the aftermath. Themes of acceptance and forgiveness give this the feeling of the work of a much more experienced filmmaker, but evidently Trey Edward Shults is just this talented.

watch the trailer:

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Posted by David Ferguson

Mid90s (2018)

October 25, 2018

 Greetings again from the darkness. It’s a shame that many will immediately write off this as just another ‘skateboard movie’.  While it’s true that the characters spend a good deal of each day skating, talking about skating, or hanging out in a local skate shop, a more accurate description would be: life lessons presented from a street level view. Remarkably, this is Jonah Hill’s directorial debut. We all know Mr. Hill and his raunchy sense of humor from his acting in such movies as KNOCKED UP, SUPERBAD, and THE WOLF OF WALL STREET, and here he flashes an intimate knowledge of what it’s like to be an outsider … those on the fringes of mainstream society.

Stevie (Sunny Suljic from THE KILLING OF A SACRED DEER) is a junior high kid (slightly built for his age) who gets regularly pounded by his older brother (yet another excellent turn from Lucas Hedges). Their single mother (Katherine Waterston) is more concerned with her own life and mostly clueless as to what goes on with her boys, both inside the house and out.

As one who doesn’t really fit in at school, Stevie happens to notice a group of skaters trash-talking and seemingly having a good old time. He quietly starts hanging around the group, absorbing the nuances of their (mostly) good natured put-downs, and gazing in awe at their skating abilities. Stevie begins the painful and slow process of teaching himself how to skate – one fall at a time. A montage of nasty spills in the driveway make the point that bruises, blood and frustrations are just part of the process.

This group of older boys consists of the leader Ray (Na-Kel Smith, a professional skateboarder and musician), party animal and aptly nicknamed F**KS**T (Olan Prenatt), filmmaker wannabe and also aptly nicknamed Fourth Grader (Ryder McLaughlin), and Ruben (Gio Galicia), the youngest who is only a year or two older than Stevie. We quickly learn the personality type of each. Ray is working towards skating professionally and escaping the hood. F**KS**T simply loves having fun chasing girls, partying, and hanging with friends. Fourth Grader always has his camera and has enough vision to know he wants to make a movie, while young Ruben is insecure and confused about what makes a man – probably the most tragic of all.

As Stevie learns the ropes, we see he is constantly smiling – just happy to finally be a part of something. His fearlessness and ability to absorb pain (thanks to his brother) allow him to be quickly accepted and guided by the guys … some of it good, some of it a bit questionable. The language throughout is more realistic than what we’ve become accustomed to. There are plenty of slurs and profanity-laced trash-talking that wouldn’t pass today’s PC auditors, but director Hill pulls no punches.

One of the downsides is that Lucas Hedges isn’t given much to do here – though he is spot on with the type of bully we all recognize. Instead, the story is a skate movie only to the extent that the sub-culture can be a haven where outsiders come together. Although the film is set 20 years ago, it’s quite interesting to see how these outsiders are so similar regardless of the era. Everyone needs to connect with others, whether they be band members, athletes, or skaters.

Hill has created a spontaneous, quasi-documentary feel thanks to his filming techniques and by using only 3 real actors (young Suljic is outstanding). Trent Reznor and Atticus Ross deliver a terrific score, and there are a couple of beautiful shots of the boys freewheeling down the middle of a busy road with a colorful sky as backdrop. We can’t help but notice some similarities to SKATE KITCHEN, KIDS, LORDS OF DOGTOWN, and even CLERKS, and Hill’s debut is less a story, than a snapshot for those who tend to look past the fringes.

watch the trailer (CAUTION: NSFW):

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Posted by David Ferguson

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