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Beatles '64 (2024)
a really big show
Greetings again from the darkness. It's been 60 years since 'Beatlemania' hit the United States. As impressive as Taylor Swift's ascendance has been, it pales in comparison to the cultural impact of the Fab Four those many years ago. Documentarian David Tedeschi, working with raw footage shot by brothers and renowned documentary collaborators, Albert Maysles and David Maysles, takes us back to those frenzied 14 days of The Beatles' first U. S. trip, including the infamous appearance on "The Ed Sullivan Show".
The footage is fascinating not just because it includes the band performing live on Sullivan, at the Washington Coliseum, and at Carnegie Hall, but rather because it puts us in the Plaza Hotel room where they stayed, and in the backseat of the cars as they are transported. We hear interviews and conversations, and gain some perspective on what these young men went through physically and emotionally and musically on their first trip across the pond. Girls were hyped for this group of four lads who certainly didn't fit the mold of traditional masculinity, while parents were caught off-guard.
What I found most thought-provoking of all was Tedeschi's presentation as history intertwined with one of the most impactful moments in U. S. history. President John F Kennedy was assassinated on November 22, 1963. The plane carrying The Beatles touched down on February 7, 1964. In plain language, Beatlemania struck as a nation mourned. You may view these as unrelated, but music is known to heal. Perhaps the frenzied young fan reactions to "I Want to Hold Your Hand" that caused the rift with parents and older Americans was just the diversion needed to help a country move forward. That first appearance on the Sullivan show took place on February 9.
Tedeschi supplements the video with a multitude of interviews. We hear from fans, other musicians, and the band members themselves ... even Marshal McLuhan. Surviving members Paul and Ringo were involved in the film's production, as were the estates of John and George. Archival interviews are included here - George from his own lawn, and John on a couple of TV talk shows. Paul is shown at the museum that featured Beatles photography. Yet, the interview that packs the biggest punch is likely that of Ronald Isley of The Isley Brothers. He acknowledges the impact of sales when The Beatles recorded "Twist and Shout", and he punctuates this with the fact that it did not lead to an invitation for The Isley Brothers to perform on the Sullivan show.
It's clear how much respect these four young lads had for black musicians and how much their music influenced The Beatles. They were excited to meet with and learn more about the key black musicians such as Little Richard or the Ronettes. Ronnie Spector is interviewed here and offers her recollection of the band, the music, and the times. Tedeschi's (and the Maysles') work offers an inside glance at what was happening at the time, and when we hear the wisecracking and see the raw energy of the boys, it helps to know that George (the youngest) would not turn 21 until the band returned to England. We get the feeling they believed this happened to them, not that they caused it. Perhaps they were at least partially right ... as the times, they were achangin'.
Streaming exclusively on Disney+ beginning November 29, 2024.
The Piano Lesson (2024)
talking and spirits
Greetings again from the darkness. Playwright August Wilson has a nice string of his stage work being adapted for the big screen. First, there was FENCES (2018), then MA RANEY'S BLACK BOTTOM (2022), and now this latest is the first feature film from writer-director Malcolm Washington (son of Denzel), with a screenplay co-written with Virgil Williams (MUDBOUND, 2017). This thoughtful allegory asks the question, when is a piano more than just a piano?
The film opens on Independence Day in 1911, and as fireworks fill the sky, a group of men steal a piano from their slave owner. We quickly jump ahead 25 years to 1936 and find Boy Willie (John David Washington, also son of Denzel) and his friend Lymon (Ray Fisher, "True Detective") taking a wagon full of watermelons to Boy Willie's sister house. The plan is to sell the watermelons and his sister's piano so that Boy Willie can purchase a plot of land where his ancestors worked as slaves. It's a simple plan that makes sense ... except his sister, Berniece (Danielle Deadwyler, so good in TILL, 2022) has no intention of selling the piano, a family heirloom.
Berniece and her daughter Maretha (Skylar Aleece Smith) live in Uncle Doaker's (Samuel L Jackson) home and the piano sits, unplayed, in the living room. Ironically, it's Boy Willie who talks us - and Maretha - through the piano's history, including how his grandfather had hand-carved family faces into the front. Maretha was previously clueless as her mother Berniece had chosen to carry the weight of history to herself. The more brother and sister argue, the more activity from the spirits occur - known as 'Ghost of the Yellow Dog."
Doaker attempts to keep the peace, while wannabe preacher Avery (Corey Hawkins, THE COLOR PURPLE, 2023) relentlessly woos Berniece. Danielle Deadwyler delivers a remarkable performance as she remains steadfast. With a polar opposite personality to brother Boy Willie, she is a picture of pride and strength, and delivers the film's best line directed to her brother, "All you ever had going for you in life is talk." For those who don't appreciate the stage-to-screen adaptations, the recommendation is to focus on the storytelling, rather than the sometimes distracting staginess. It's a terrific script and, led by Ms. Deadwyler, the acting is mostly top notch.
Available on Netflix.
Rita (2024)
can I leave now?
Greetings again from the darkness. This would be a tough film to watch even if it wasn't inspired by true events. Guatemala-born writer-director Jayro Bustamante w-d, Guatemala-born (LA LLORNA, 2019) serves up a fictionalized version of the 2017 tragedy at the Virgen de la Asuncion Safe House where 41 girls burned to death while protesting the abusive environment of the home and actions of the staff. The reality of the story elevates it from "tough to watch" to heartbreaking and anger-inducing.
Thirteen-year-old Rita (newcomer Guiliana Santa Cruz) escaped from a home situation where she and her younger sister were being abused. An incident puts her in the hospital, and from there the authorities escort her to a government-run safe house. It's basically a quasi-prison facility for troubled kids. The adult caregivers look and act more like guards than guardians. As she re-tells her story, Rita admits upfront that this is her version of how she remembers it. We understand the memories and perception of a young girl may be slightly skewed, and it gives the filmmaker a bit of leeway, while making it more palatable for the viewers.
Fairy tales, fantasy, magic, and mystical beings come into play as Rita is dumped into the facility. Factions exist and are divided into groups called Angels, Stars, Wolves, Rainbows, etc. Rita, though initially hesitant to don the wings, becomes an Angel. The girl leaders in the home include Sulmy (Angela Quevedo) and Bebe (Alejandro Vasquez). It's unsettling to see what the girls do to make do in the surroundings, and Rita holds firm to her belief that she doesn't belong there and should be released. Margarita Kenefic plays Social Worker Ernestina with a look that could be a villain straight from a Guillermo Del Toro movie. She is downright creepy.
The girls plan a form of revolution, but sometimes revolutionists are forced into a group pee, followed by group cleanup. The climax involves a planned escape that goes sideways, followed by a harrowing situation that turns tragic thanks to poor decision making by all. Special recognition goes to cinematographer Inti Briones for camera work that adds realism to the odd elements presented here. The film is well made and anything but light-hearted entertainment, although the actual tragedy did (thankfully) lead to reform.
Will stream on Shudder beginning November 22, 2024.
Porcelain War (2024)
art and war
Greetings again from the darkness. While we have grown accustomed to movies about war, this documentary is a true and stunning war movie. There are no special effects or stunt doubles or guns with blanks. The bombs are as real as the three people bringing us an all too intimate look at the war.
Slava Leontyev creates porcelain figurines, and his wife Anya Stasenko paints them - often with color and inspiration from nature. Slava and Anya are dedicated artists and it's art that connects them to their friend Andrey Stefanov. Slava and Anya bring the personal aspect to this film, while Andrey's work with the camera speaks the horrific truth. The war in Ukraine began in 2022, and when we meet Slava and Anya, they are in Kharkiv, a mere 25 miles from Russia.
"We are ordinary people in an extraordinary situation." What initially hits as such an understatement, soon make sense as we watch Slava and Anya go about living within their new reality ... a reality that involves warning sirens, underground shelters, and the whistle of incoming bombs that lead to explosions causing and property damage and human deaths. The tenacious and disrespected Ukrainian army is made up mostly of civilians willing to fight for their country after the invasion. Slava spends a good amount of time training civilians on basic firearm usage. It's quite a contrast to his art, yet both are crucial.
We are told, "If one doesn't stop evil, it keeps going" ... a lesson we hope world leaders understand. The homes and lives of these folks will never be the same, but as they explain, stories told through art prevent erasure. Andrey states, "Bad people are not as creative at being bad, as good people are at being good." We hope he's right and we hope that matters. These stories are told amidst craters and rubble and incoming missiles. The danger and urgency of each minute ensures the horror is always as present as their pet pooch, Frodo. It is explained to us that porcelain and Ukraine are similar in that they both break but are nearly impossible to destroy. Co-directed by Brandon Bellomo and Slava Leontyev, this was the Grand Jury Prize winning documentary at Sundance.
PORCELAIN WAR will open in theaters, beginning on November 22, 2024 in NYC, on November 29 in Los Angeles, followed by a roll out across North America.
Bread & Roses (2023)
Work, bread, education
Greetings again from the darkness. After so many decades of groups fighting to gain acceptance and rights and freedom, it seems recently there has been entirely too much focus on removing rights from some. Likely the most harrowing example of this is what's described as lightning striking in August 2021 when the Taliban entered Afghanistan. Documentarian Sahra Mani goes deep inside the country to show and tell the personal stories of three Afghan women.
Life is described as "normal" prior to the Taliban takeover. Zahra was a working dentist and recently engaged to Omid. There is happiness in the families and community. Soon, Zahra's dental office becomes a clandestine meeting place for activists seeking a way to rebel without getting detained or tortured. Taranom struggles with the isolation that goes with living in a safe house away from her community, while Sharifa serves as the most common example of women stuck at home with few liberties. If you need a definition of systemic oppression, this film provides it.
No education past sixth grade. No speaking in public. Very limited job opportunities. This new world finds women are first oppressed at home via fathers, brothers, and husbands, and then from a larger perspective by the Taliban. Activism and resistance require great courage, and those involved in the Civil Rebellion prefer peaceful protests, not violence. Their chants of "Education is our right" and "Work, bread, education" are simple and direct.
Prevented from leaving the country - there's always a documentation issue with visas - the women who are able form backroom schools and work strategically against Taliban mandates. Zahar is even arrested and later goes missing for months. This is the life of women whose personal rights have been stripped. Director Sahra Mani ends with updates on Zahar, Taranom, and Sharifa, and the film serves as a gut-wrenching viewing experience for those who have gotten 'comfortable' with the phrase 'Taliban mandates'. This is a plea for attention and assistance. Producers on the film include Jennifer Lawrence and Malala Yousafzai.
On Apple TV+ beginning November 22, 2024.
Gladiator II (2024)
Strength and Honor in a sequel
Greetings again from the darkness. Like many of you, I'm not usually a fan of sequels. Too often they feel like a money grab or an unapologetically opportunistic way to capitalize on previous success without much creativity or artistry required. Of course, there are exceptions. Sometimes sequels advance the story or offer additional development on an interesting character. So where does this one fit? It's been almost a quarter-century since GLADIATOR (2000) received 12 Oscar nominations, winning 5, including Best Picture. The original is a film I revere. Director Ridley Scott is back at the helm, and at age 86, he proves he's still a master of scope and scale and visceral action sequences.
Russell Crowe is not back for this one, and if you saw the first film, you understand why. Crowe is shown in a couple of flashbacks and is mentioned periodically. But this film belongs to Paul Mescal as Lucius, a natural leader and preternatural fighting soldier. That last sentence probably seems like a mistake to anyone who has seen Mescal in ALL OF US STRANGERS (2023), AFTERSUN (2022), or THE LOST DAUGHTER (2021). In each of those films, his talent and presence were obvious, yet he gave no indication of being able to play a tough warrior. After bulking up for the role, Mescal proceeds to step into movie stardom, as he truly commands the screen.
Much like Maximus (Crowe) in the first film, Lucius (Mescal) is forced into slavery, which translates into Gladiator training and fighting for Macrinus (two-time Oscar winner Denzel Washington). However, this comes after one of the most intense and ferocious opening battle scenes we've ever witnessed on screen. During this battle, Lucius' wife Arishat (Yuval Gonin), a fierce warrior herself, is killed by the Roman General Acacius (Pedro Pascal, "The Mandolorian"), setting off grief and a thirst for revenge in Lucius. Once he's witnessed Lucius fighting, the overly ambitious and conniving Macrinus pegs Lucius as driven by "the rage", and sees him as a secret weapon in his quest for power.
Acacius turns out to be husband of Lucilla (Connie Nielsen reprising her role) and is hailed a Roman hero by the goofball twin emperors Geta (Joseph Quinn, A QUIET PLACE: DAY ONE, 2024) and Caracalla (Fred Hechinger, THELMA, 2024). Lucilla has maintained her clandestine connection to the council, led by Gracchus (a returning Derek Jacobi, now 84 years old). Political maneuvering and desire for power are at the forefront for most of these characters, yet it's Lucius and his determination that harken back to the themes of the original ... oh, and a very personal connection that most will have figured out from the trailer.
The Colosseum battles (and effects) are spectacular, and include a tribe of saber-toothed baboons, a giant and ferocious prehistoric rhinoceros, and a shiver (that's what it's called) of hungry sharks that appear once the Colosseum floor is flooded. There's a certain satirical symmetry to using sharks to 'jump the shark'. Although the sharks are a bit questionable (and likely not historically accurate), the best and most brutal fighting occurs mano y mano. Of course, we know that Lucius will get his shot at revenge, and maybe even redemption ... the only questions are how and when.
Paul Mescal handles the role of Lucius with aplomb, and Denzel Washington appears to be having an extraordinarily good time as power-hungry Macrinus - a significant (and welcome) departure from his usual roles. Additionally, the technical aspects of the film are stellar. Ridley Scott brings back many of his previous collaborators from the 2000 film. John Mathieson is back as Cinematographer, while Arthur Max and Janty Yates return as Production Designer and Costume Designer, respectively. This sequel is co-written by David Scarpa and Peter Craig, and David Franzoni gets credit for his original characters. Arguments can be made both 'for' and 'against' the need for this sequel, especially since the look and tone are so similar to the original. However, very few can claim that this is anything but an entertaining spectacle loaded with stunning visuals - and a straightforward link to the original. The two films can rightfully claim strength and honor. It should be noted that Ridley Scott has already announced plans for a third film in the series, and by nature, I fall right back into my skeptical self, questioning the need.
Opening wide in theaters on November 22, 2024.
Wicked: Part I (2024)
beautiful wickedness
Greetings again from the darkness. Who is the good witch and who is the bad one? For those of us whose obsession with the classic 1939 film version of L Frank Baum's 1900 novel has lasted from childhood through adulthood, it has always been crystal clear that the Wicked Witch of the West was bad and Glinda the Good Witch was so-named for obvious reasons. Then along came Gregory Maguire's 1995 novel "Wicked: The Life and Times of the Wicked Witch of the West", and the subsequent 20+ year Broadway run of the stage musical, which generated many new fans. And now we have a film adaptation of the stage production is directed by the talented Jon M Chu (CRAZY RICH ASIANS, 2018) with a screenplay co-written by Dana Fox (CRUELLA, 2021) and Winnie Holzman (who wrote the musical book for the stage musical). Could it be that the line between good and evil is not so clear? Or even that others have manipulated the situation to ensure a villain exists? I'm so excited for Oz fans to watch this.
Cynthia Erivo stars as Elphaba Thropp, the misunderstood, green-skinned outcast, and Ariana Grande Butera co-stars as Galinda/Glinda Upland, the rich, spoiled, popular kid. These two Grammy winners both deliver incredible performances with singing voices that leave us in awe. Ariana hits notes that seem otherworldly and Erivo is truly dynamic. It's staggering to think much of their singing was performed "live" while acting. There is no way I'm going to spoil any of this, especially for those who have not seen the stage musical. Director Chu opted to keep the characters and songs from the musical, while adding even more detail to this film version.
Whether you prefer to label this a prequel or origin story, you should know going in that the complete story has been divided into two movies. The second part will be released in November 2025. This part one opens with Glinda gliding into Munchkinland to confirm the latest big news. She's then persuaded to tell the backstory, which we watch in flashback form. We see the cutest ever newborn baby with green skin, and witness how Elphaba is mistreated in her own home in favor of her wheelchair bound sister Nessarose (Marissa Bode), to whom their father demands she offer protection as they head off to Shiz University in the Land of Oz.
Judging her strictly by her 'different' appearance, everyone's favorite classmate, Galinda, immediately treats Elphaba as a misfit, leading others to do the same. When Madam Morrible (Oscar winner Michelle Yeoh) spots some hidden powers in Elphaba, she arranges for the two rivals to share a dorm suite. This initially causes the rift to grow, right up until things thaw and a friendship forms. During some of these scenes, Ms. Grande flashes true comedic timing with giggles, patented hair flips, and some real zingers embedded in her self-serving compliments. Along the way, Fiyero Tigelaar (Jonathan Bailey, "Bridgerton"), a charming and carefree Prince, crosses paths with the girls, creating conflicting emotions.
Of course, this is a musical, and the familiar songs are not only sung beautifully, but most feature some intricate choreography and acting as well. Erivo and Grande each get their standout numbers with "Defying Gravity" and "Popular", respectively. We see Elphaba turn to activism and a quest for kindness and justice in a sequence involving Dr. Dillabond (voiced by Peter Dinklage), one of the last remaining teaching animals at Shiz. The tone shifts quickly once Elphaba and (now) Glinda head to Emerald City to meet the Wizard, played by a surprisingly reserved Jeff Goldblum. We are also struck by Elphaba's quiet dignity on her path to transforming into her more famous role.
There are countless life lessons to be taken from this fantastical world filled with colorful characters, and it's interesting to see political strategy play out in a way to create the villain we are told is necessary to unite Oz's citizenry behind the cause. We are also reminded that there are two sides to every story, and even Glinda realizes this as she and her new friend come to a fork in the road - or a broom on the balcony - that will determine their future. It's quite a journey for these two, and along the way we see the fabulous Oz train, the Wizard's for-show mechanics, the Grimmerie (Elphaba's magic book), and of course, the fabulous flying monkeys (responsible for so many nightmares since 1939). We even get appearances from Kristen Chenowith and Idina Menzel from the original stage production.
The film looks absolutely marvelous, and much of that is thanks to the incredible sets created for the film ... so much better than the heavy dose of green screen effects we've become accustomed to. Production Designer Nathan Crowley deserves mention, as does Paul Tazewell for the brilliant costume designs. The music is courtesy of John Powell and Stephen Schwartz (songs from the musical), and the choreography is from Christopher Scott. Oscar winner Frances Hannon delivers superb Hair and Makeup, while Director of Photography Alice Brooks and Visual Effects Director Pablo Helma give the film its remarkable look. We may have to wait a year for Part 2, where hopefully we discover how Glinda becomes sincerely good, but there's little doubt this first part is memorable and worthy of multiple viewings.
Opens wide on November 22, 2024.
Bogart: Life Comes in Flashes (2024)
things are never so bad
Greetings again from the darkness. In 2022, Kathryn Ferguson released a documentary on singer and activist Sinead O'Connor. It was Ms. Ferguson's first feature-length documentary, after a few shorts and videos. This time out, her focus is on renowned actor Humphrey Bogart. Now, opening on your subject's funeral might be an unusual way to begin a profile, but the star-studded service drives home the point that Bogart's life touched many. He was true Hollywood royalty.
One would expect the profile of one of the biggest movie stars of all time to provide a chronological rundown of his films. Although his film resume is certainly not short-changed, the director takes a more personal approach by structuring Bogie's life according to how the five most influential women impacted him. Those five are: his mother, Maud Humphrey, and his four wives (in order), Helen Menken, Mary Philips, Mayo Methot, and of course, Lauren Bacall. We are guided through each of these relationships, with neither good nor bad being withheld.
Much of the time is spent with narrator Kerry Shale reciting Bogart's own words from writings, journals, letters, etc. Shale offers neither a mimic of Bogie's distinctive voice nor a smooth sound for our ears. Still, there is heft and meaning to Bogart's words, especially when they are synchronized with an incredible bounty of archival footage, film clips, and photographs. Numerous interviews are included from son Stephen Bogart, directors Howard Hawks and John Huston, and actress Kathryn Hepburn, as well as others. There is also plenty from Lauren Bacall, who famously met Bogart when she was a 19-year-old actress on the set of TO HAVE AND HAVE NOT (1944). The two were married from 1945 through 1957 (his death). It was a true love story, and not nearly as tumultuous as his time with third wife Mayo Methot, who shot at him and stabbed him!
There is a segment on Bogie's first career - a baby model - and his own words describe this relationship with his mother as he looks back at his childhood. We hear about his time in the Navy, as well as his love of chess and the water ... especially time spent sailing on his boat, Santana. We also hear about his quick temper and his alcoholism, and it's fascinating to learn that it was actress Greer Garson who heard his cough and insisted that he see a doctor - a visit that resulted in a cancer diagnosis.
After years as a contract player in the studio system, it was HIGH SIERRA (1940) that set him on the road to superstardom. Bogart's career included such iconic roles as Sam Spade (THE MALTESE FALCON, 1941), Rick Blaine (CASABLANCA, 1943), Philip Marlowe (THE BIG SLEEP, 1946), and Lt Commander Queeg (THE CAINE MUTINY, 1954). One of my personal favorites was his role as Dixon Steele in Nicholas Ray's IN A LONELY PLACE (1950) with Gloria Grahame. When they hear the name Humphrey Bogart, many movie fans picture the trench coat, hat, and cigarette ... or the broken love story that begins a friendship. But there was much more behind the scenes. After directing Bogie to his only Oscar in THE AFRICAN QUEEN (1951), director John Huston delivered the eulogy at the funeral for his friend, also putting the final touches on this in-depth profile.
Opens in select theaters on November 15, 2024.
Saturday Night (2024)
Live from New York (barely)
Greetings again from the darkness. For those of a certain age, October 11, 1975, changed television forever. Now celebrating it's 50th anniversary season, "Saturday Night Live" (SNL was originally just 'Saturday Night') has been maligned and criticized so many times over the years, yet it persists in providing commentary and comedy when so many other shows have failed. No better choice exists to present the show's origin story than writer-director Jason Reitman w-d (JUNO, UP IN THE AIR, THANK YOU FOR SMOKING, TULLY), who along with co-writer Gil Kenan, go extreme with the 'origin' by tracking the 90 minutes prior to the first show's airing.
Thanks to a clock counting down to the 11:30pm showtime and a few periodic reminders, we are always aware of just how few minutes remain for showrunner Lorne Michaels (a terrific Gabriel LaBelle) to pull off this minor miracle. Backstage chaos barely scratches the surface of what Michaels is dealing with (in addition to his own anxiety). Network executives, an out-of-control cast of truly 'Not Ready for Prime Time Players', a writer's room in disarray, incomplete set assemblage, and more than double the material necessary to fill the allotted time are just some of the hurdles facing Michaels.
What we immediately notice is the fine job done in casting the cast: Cory Michael Smith captures Chevy Chase's looks, ambition, ego, and talent; Dylan O'Brien nails Dan Aykroyd's physicality and rapid-fire speech; Ella Hunt is underutilized as ultra-talented Gilda Radner; Emily Fairn is insecure Laraine Newman; Kim Matula shows Jane Curtin's coolness; and Lamorne Morris plays up Garrett Morris' realization of stereotyped characters. Perhaps the key to the show and this movie is Matt Wood's portrayal of John Belushi, who initially rebels against the bee costume, refuses to sign his contract, and clearly is the most explosive and vital member of the cast.
"What is the show?" Lorne Michaels fields that question a few times and fails to give a satisfactory answer ... until just before showtime when he eloquently explains it and wins over NBC's Dave Tebet (Willem Dafoe), the key network executive who was fully prepared to show a Johnny Carson rerun rather than risk embarrassment with the newbies. The frantic pace is unrelenting as a nervous Director of Programming Dick Ebersol (Cooper Hoffman, son of Phillip Seymour Hoffman) tags along wondering if his own career is going to crash and burn right along with Michael's. Acting as a calming influence is Lorne's (first) wife Rosie Shuster (Rachel Sennott), who brings serenity to those on the edge.
Revolution is difficult - especially with a bunch of twenty-something no-name actors. Bringing in 'Mr. Television' Milton Berle (Oscar winner JK Simmons) allows for further contrast with old comedy versus new, not to mention Berle's most infamous appendage, which he doesn't hesitate to flaunt. Others of note include Finn Wolfhard as an NBC page charged with filling the studio audience, a too-tall Nicholas Braun who plays both an out-of-place Jim Hensen and Andy Kaufman (complete with "Mighty Mouse" segment). Matthew Rhys plays coked-out host, George Carlin, and Nicholas Podany is a desperate for stage time upstart named Billy Crystal. Tommy Dewey plays head writer Michael O'Donaghue, and Jon Batiste performs as Billy Preston (while also writing the film's score).
A couple of highlights include a sound check with Garrett Morris singing about what he's going to do with his shotgun, Aykroyd as Fred Garver, and of course, Belushi whenever he's on screen. Director Reitman includes numerous callbacks to sketches and characters ... some of which require a sharp eye by viewers. Kudos to Jess Goncher for Production Design that recalls this hectic time, and to cinematographer and frequent Reitman collaborator, Eric Steelberg, for using the camera in sync with a time that was totally out of sync. Capturing an event of anti-establishment or counterculture rebellion is almost as impressive as what Lorne Michaels and the cast and crew pulled off that night (drugs and all).
Christmas Eve in Miller's Point (2024)
family feast
Greetings again from the darkness. It's that time of year when we get bombarded with Christmas movies. Some are light-hearted comedies, while others play off the elevated emotions of the holiday season. Most of these seem to be harmless, although some are so lame that we can barely watch. Yet it seems most every year one or two surprise us by packing a punch. Writer-director Tyler Taormina and co-writer re-team after their underappreciated HAM ON RYE (2019) for the most unique Christmas movie we will likely watch this year.
This is certainly no vehicle for movie stars to make an easy buck. In fact, most of the faces won't be familiar, and that works to the film's advantage ... a shrewd casting move. Based in the 1970's, a large family Christmas gathering is happening on Long Island, and the little bits of story are captured through the blips of snippets of conversations we catch. This includes discussions about the family matriarch needing to be moved to an assisted living facility and whether or not the family home should be sold. There are secrets and grudges and familiar jokes, along with teenagers trying to look cool ... in other words, the same things that happen at most family gatherings plus the added stress of Christmas.
Some of the jigsaw pieces are in the form of a player piano, a pet iguana, an electric train, video games, and a dozing grandma. A few of the men escape to the garage for a cold beer, while one uncle plays the piano and sings a Christmas carol. Another uncle is obsessed with cooking his portion of the family feast and explaining each step to anyone who will listen. Of course, the feast is enough to feed three times the number of people in attendance, and yes, one adult gets stuck at the kids' table. There are presents opened and home movies that bring back memories - some good, some tear-inducing. Yet another uncle has his book draft read aloud, providing quite the surprise. Those "cool" teenagers do manage to sneak out, and this along with the goofy cops (Michael Cera, Greg Turkington), seem like bits that don't really fit. The exception is one red-wrapped gift that must be fished out of a dumpster, ultimately providing a touching moment.
Again, most of the cast will not be recognizable, but they handle their characters beautifully. The cast includes Maria Dizzia, Matilda Fleming, Steve Alleva, JoJo Cincinnati, Ben Shenkman, Chris Lazzaro, Tony Savino, Elsie Fisher, as well as a couple of well-known offspring in Sawyer Spielberg and Francesca Scorsese. Cinematographer Carson Lund provides the retro look and feel, with a dose of nostalgia that avoids the customary overdose of sentimentality. The film is more complex than it appears on the surface, and the offbeat flow allows for emotions, love, and chaos - even as Santa rides by on the firetruck. An unconventional soundtrack is filled with 1960's music rather than Christmas tunes, and that works just fine. The best compliment I can offer is that this feels as much like we are at the party as it does we are watching the party. And that's impressive.
Showing in select theaters.
Des Teufels Bad (2024)
a celebration of misery
Greetings again from the darkness. If you simply have too much happiness and joy in your life right now, filmmakers Severin Fiala and Veronika Franz (GOODNIGHT MOMMY 2014, THE LODGE 2019) have an elixir for you. Their film, based on historical records from 1750 in Upper Austria, is just about as bleak as any movie I can recall. It has the look and feel of a folk horror, but it's more about a slow trek to madness by way of depression.
If you haven't stopped reading yet, you should know that the film looks gorgeous thanks to cinematographer Martin Gschlatt (GOODNIGHT MOMMY 2014, REVANCHE 2008). The color palette and camera work bring a texture to the film that is rarely seen on screen. But enough optimistic chatter. The opening sequence finds stressed out new mother Ewa (Natalia Baranova) carrying her screaming baby through the woods to the top of a stunning waterfall near the Austrian Alps. We next see Ewa at the church confessing, "I've committed a crime." It's what's known as 'suicide by proxy' so that one's sins may be forgiven prior to execution. The ultimate loophole.
We next see Agnes (musician Anja Plashg) as she prepares for her wedding. In fact, this may be the only glimpse of happiness in the entire film ... at least as I recall. Of course, my initial description of the film would not be accurate if Agnes' joy lingered. Her mood turns quickly at the reception as she spots her new husband Wolf (David Scheid) leering longingly at another man, and then making things worse with his actions in their wedding night bed. This is after he blows all of their money on a house Agnes doesn't much like. Wolf chose it since it's close to his mother's house. Maria Hofstatter plays one of the most intrusive mothers-in-law one could be stuck with.
The rest of the film is us following the slow descent of Agnes, as each day's misery builds upon the previous. Trips to "the Barber" are horrific, and Agnes desperately searches for a way out of the situation. The practical effects here are excellent, combining with the cinematography, acting, and direction for a technically stellar film. However, it does feel like a celebration of suffering, and it's likely more for cinephiles than it is for the average movie goer. It opens with a tragically violent act, soon followed by another. Then we are subjected to Agnes' helplessness in a hopeless situation, until we finally end with more violence. Enjoy Austria's Oscar submission for Best International Film!
Re-releasing in select theaters on November 13, 2024 and streaming on Shudder.
Black Cab (2024)
Safety first
Greetings again from the darkness. Movie goers are accustomed to seeing the comedic side of Nick Frost in The Cornetto Trilogy from director Edgar Wright. These are the three films where Frost shares the screen with Simon Pegg: SHAUN OF THE DEAD (2004), HOT FUZZ (2007), and THE WORLD'S END (2013). Fans of that series are in for quite a shock thanks to this Shudder film from director Bruce Goodison and screenwriter Virginia Gilbert.
It's late evening after a dinner with friends. An upset Anne (Synnove Karlsen, "Medici", LAST NIGHT IN SOHO) hops in a cab hoping to head home alone. However, Patrick (Luke Norris, "Poldark"), the boyfriend she's been bickering with, joins her in the cab so they can continue their relationship tussle. Their driver is a gregarious bloke played by the aforementioned Nick Frost. He takes an immediate dislike to Patrick (who is a bit of a jerk), and has a creepy bond with Anne. Clearly this will be no ordinary cab ride.
For a while, neither Anne nor us viewers can tell what's happening. Soon enough, it becomes obvious this driver has nefarious intentions, though the specifics remain a bit muddled. The classic car that looks like a mini-hearse is a character on its own. We spend a great deal of time inside the vehicle ... with Frost's eyes in the rearview mirror. Once he mentions 'the Ghost of Maybell Hill' (or Mabel Hill, not really sure which), and the visions appear, we understand this is a supernatural thriller and Anne and Patrick are going to need some good fortune to escape.
The extent to which the film works and we are engaged comes down to Ms. Karlsen's wide-eyed performance, the uniqueness of the vehicle setting, and our intrigue at seeing Nick Frost embody such a character. Additionally, the use of lighting is superb here ... crucial since this all occurs at night and mostly inside a vehicle. By the time we learn the driver believes Anne has something he needs, this becomes a race to 'the end of the road'.
Streaming on Shudder beginning November 8, 2024.
Memoir of a Snail (2024)
come out of that shell
Greetings again from the darkness. If you believe that animated films should be whimsical fairy tales developed for children, Adam Elliot would like a word. Actually, he would like about 90 minutes of your time to introduce you to an entirely different approach with stop-motion animation. Elliot won an Oscar for his animated short HARVIE KRUMPET (2003) and also developed the excellent animated feature MARY AND MAX (2009). Not one to shy away from grown-up topics, Elliot's latest is a gem filled with most every emotion.
Relying heavily on narration, the story is told by Grace Pudel (voiced by Sarah Snook, "Succession"). It's her own life story, but contrary to what the film's title would have you believe, Grace is a person, not a snail (at least not a shelled gastropod). However, she is telling her story to her favorite pet snail, Sylvia. It's OK if that sounds a bit strange, because Grace and her story will draw you in and have you caring very much. The story starts at the beginning ... with Grace's premature birth ahead of her twin brother Gilbert (Kodi Smit-McPhee).
Grace chaperones us through her early years. These were not easy years as mom died early on, and dad was an alcoholic paraplegic with sleep apnea. Mostly we learn about Grace and her collection (hoarding) of snails she kept in a glass jar with Vegemite for their nutrition. She tells us about her beloved brother Gilbert's love of animals, reading, magic, and fire. When their dad dies, Child Services sends Grace and Gilbert to separate foster homes in different parts of Australia. It's not just geography that makes a difference. Grace is fostered by a couple of self-help gurus who are also swingers (it's not a movie for kids). Gilbert is sent to live with a harsh religious cult family demanding work while offering no love.
The twins maintain contact through letter-writing, and Grace fills in some of the details for us. Her story includes a romance with Ken, a neighbor who loves his leaf blower and has a certain fetish that takes Grace a while to uncover. She also forms a special bond with Pinky, and older lady (voiced brilliantly by Jacki Weaver) who teaches Grace to relish life. While Grace often lives inside a shell, much like her pet snails, she does treasure her time with Pinky, whose final letter is touching.
This is an all-too-ordinary life told exquisitely (that's me trying to avoid saying ordinary and extraordinary in the same sentence). The emotions are overflowing and range from grief to sadness to frustration to anger to hope. Elliott includes nods to literature, roller coasters, Parisian street performers, guinea pigs, and nudist camps (possibly a first in the animated world). We also see the dark side of religion and the importance of friends and family. Grace truly lives the circle of life, as she learns that snails have no choice but to live in the shell under which they are born, but she does have a choice. The score from Elena Kats-Chernin is beautiful and fitting, and Elliot leaves us with this thought: "Life can only be understood backwards, but we have to live it forwards." So get busy living!
In theaters on November 8, 2024.
Cabrini (2024)
a nun for the ages
Greetings again from the darkness. 'Where there's a will, there's a way.' That famous saying should be known as a "Cabrini". For anyone whose impression of nuns is that of irascible old women swatting misbehaving students with rulers during school hours, filmmaker Alejandro Monteverde (SOUND OF FREEDOM, 2023) and co-writer Rod Barr have just the biopic for you.
Cristiana Dell'Anna stars as Mother Francesca Cabrini, the most stubborn and persistent nun you'll ever see, and one's whose accomplishments deserve to be known by all. The film opens by informing us that between 1889 and 1910 more than two million Italian immigrants came to the United States. Lest you believe the image of immigrants has never been worse than it is today, the film portrays the extreme racism and bigotry of the times. On top of that, Cabrini faced vile misogyny and the hatred that accompanied it. So what was her sin? Well, her vision was to create orphanages and hospitals so that immigrants, especially kids, would have a decent place to live and a community that could care for them. Imagine the nerve.
Not just nerve, but backbone, guile, and the strength to not accept "no" for an answer from the men in power. This is the true story of the early days of Cabrini's mission. After being told in Italy to "stay where you belong", Pope Leo XIII (Giancarlo Giannini) refuses to allow her to go to China; however, she accepts his compromise of New York City. Arriving in the Five Points area, she witnesses poverty and squalor for Italians, yet is initially rebuked by Archbishop Corrigan (David Morse), a man who doesn't want to ruffle the feathers of Mayor Gould (John Lithgow).
The story is remarkable and the acting solid. Also deserving of mention is the look of the film. Production Design is superb and the cinematography of Gorka Gomez Andreu gives the film the beautiful throwback look of yesterday's masterworks. If there's a flaw here, it's that we are never really certain how much time has passed as Cabrini goes toe-to-toe with various power brokers and moves from one project to the next. Still, we understand that the film covers just the early stages of her work, not the complete story. More than two dozen books have been written on Cabrini's achievements before her death at age 67. She was remarkable and accomplished so much for one who was told to remain bedridden as a youngster. All of this was on borrowed time.
Her story is inspirational, as she built a charitable empire worldwide run by women. The film features a song by Virginia Bocelli and her father Andrea Bocelli over the end credits. It should also be noted that the religion aspect here is not overplayed. Instead, it's the story of a woman (later canonized as a Saint) who believed, "Begin the mission and the means will come."
Available on streaming services.
Daytime Revolution (2024)
TV Magic
Greetings again from the darkness. Is it nostalgia? Is it history? Is it activism? Is it entertainment? This documentary from Erik Nelson is all of the above and more. It's an incredible treat for viewers as well as providing a snapshot in time of a week that influenced changes in daytime television talk shows. In 1972, the host of the most popular daytime TV show invited John Lennon and Yoko Ono to co-host "The Michael Douglas Show". Was it a clash of cultures? Yes it was. Was it TV magic? Absolutely.
Let's be real ... this was quite a risk for the time. Mike Douglas was a popular host because his daytime show was relatively benign and moderately entertaining for those watching television during the day. To invite John and Yoko, the 'radicals' accused not only of breaking up The Beatles, but also for being quite extreme in their counterculture thoughts and actions, was a courageous act and one that risked turning off a substantial portion of the audience. And this wasn't just one show on one day. Douglas went all in - John and Yoko were to co-host a full week ... five shows where they selected the guests.
Director Nelson wisely divided the documentary into segments of the five shows in order so that we can follow along. Show number one aired February 14, 1972 - a fitting date since John and Yoko stated they were looking to spread love and peace with their message. The first show featured some honest admissions from Lennon, as well as an in-depth interview with Ralph Nader. Just 38 at the time, the uber-intelligent Nader was viewed as an alarmist and extremist, though much of what he preached has since come true. Ninety-year-old Nader appears in the documentary recollecting his appearance and proving that he remains engaged and sharp even today.
The second show included folk singer Nobuko Miyomoto and activist and anti-war demonstrator Jerry Rubin. It's fascinating to see Mike Douglas have a discussion with Rubin, and obviously Lennon and Yoko shared many of the same beliefs as Rubin, who comes across as a passionate, level-headed spokesperson. The third show is a musical highlight as John Lennon meets (for the first time) one of the rock pioneers he idolized, Chuck Berry. The two legends shared the stage to perform "Memphis, Tennessee". We hear them harmonize, watch Chuck Berry do his duck walk, and are subjected to Yoko screeching into the microphone. Two other guests on the show were Macrobiotic diet chef Hilary Nedleaf and David Rosenbloom, the latter whom demonstrated his biofeedback music utilizing brainwaves. Both are also interviewed today about their appearance on the show. Singer and Broadway performer Vivian Reed performs on the fourth show while modern day Vivian Reed giddily watches the clip of herself. Black Panthers leader Bobby Seale discusses the charity programs he's involved with and still manages to get his beliefs on the record. It's on this show where John Lennon performs his classic, "Imagine".
The fifth and final show has George Carlin as a guest, as well as a doctor lamenting the importance of reducing one's blood pressure. It's probably the most disappointing segment since we get very little of young Carlin and his quick wit. TV Producer E. V. Di Massi provides periodic commentary, and Yoko instills a bit of her performance art in the use of a broken cup that slowly gets reassembled as the week progresses. It's a bit surprising to learn that Roger Ailes, who later became CEO of Fox News had been a producer on "The Mike Douglas Show", but mostly we are amazed that given the times (Nixon, etc) that a popular network show allowed Lennon (only age 31 at the time) so much freedom to spread the message of the 'movement'. And if you are wondering, the week provided terrific ratings. For those paying attention, the similarities between then and now are quite clear.
Opening in select theaters on October 9 (John Lennon's birthday)
Reagan (2024)
The Gipper wins one
Greetings again from the darkness. The opening credits provide a brief visual reminder of the Cold War, a period mostly forgotten (or never really learned) by those under age 60. Unfortunately, the intro is about as complete as a tweet would be today, so it doesn't work as a history lesson for those who don't already know. The same could be said for this biopic from director Sean McNamara (VINDICTA, 2023). For those wondering why so many idolize former President Ronald Reagan and cherish those years under his leadership, McNamara's film serves up a tribute to the man who was elected as the 40th President of the United States. Think of this as an airbrushed look back, as most of the blemishes have been erased.
Screenwriter Howard Klausner (SPACE COWBOYS, 2000) adapted Paul Kengor's 2006 book, "The Crusader: Ronald Reagan and the Fall of Communism". Dennis Quaid stars as Reagan and expertly captures some of the familiar mannerisms of the man who had numerous nicknames throughout his life: "Dutch" (from his mom), "The Gipper" (from his movie, KNUTE ROCKNE, ALL AMERICAN), "Rawhide" (his Secret Service handle), and "The Great Communicator" (for his ability to connect with folks during speeches).
The film opens on Reagan's 1981 speech to the AFL-CIO as he's telling one of his patented jokes. He then proceeds out of the building where the sequence mixes in actual footage of him taking a bullet from close range ... a shot that nearly took his life. The shooter (Hinkley) is not mentioned by name here. Not told in complete chronological order, McNamara does outline Reagan's Midwest upbringing, including his stint as a lifeguard. Handsome and charming, we see how Reagan capitalized on both to become an actor, spokesperson, SAG President, and Governor of California before taking that biggest step to the White House.
Oscar winner Jon Voight plays Viktor Petrovich, a Russian KGB Agent, who provides the structure of the film by progressively debriefing rising Russian politician Andrei Novikov (Alex Sparrow) on the decades of observation and research conducted on Reagan. This runs us through Reagan's first marriage to actress Jane Wyman (Mena Suvari) and subsequent marriage to his true love, Nancy Davis (Penelope Ann Miller). Ronnie and Nancy were devoted to each other and the movie emphasizes this, while not delving too deeply into Ms. Reagan's propensity to get involved in many White House meetings.
The arms control negotiations between Reagan and the Russians are fairly interesting. First, it's Leonid Brezhnev (Robert Davi) followed by a few Russian Premier deaths, until Mikhail Gorbachev (Oleg Krupa) arrives, leading to some colorful discussions culminating with Reagan's "tear down this wall" speech. It's through Voight's character that we learn the Russians had their own nickname for Reagan: "The Crusader". Many recognizable names of the era are present and played by familiar actors. These include Dan Lauria as Tip O'Neill, an unrecognizable and rarely seen these days Leslie-Anne Down as Margaret Thatcher, an unrecognizable and rarely seen these days Jennifer O'Neill as Nelle Reagan, Xander Berkeley as George Schulz, C Thomas Howell as Caspar Weinberger, and Pat Boone as Rev. George Otis (in a scene with an actor portraying singer Pat Boone).
There is no emphasis on either Bonzo the Chimp or the Iran-Contra affair, but it does touch on Reagan's primary loss to Gerald Ford, the debates with Carter and Mondale, and we see the ever-present jellybeans. De-aging technology is used, especially obvious on Jon Voight, and the "Evil Empire" and Star Wars defense system have their moments. It's a very favorable and complimentary look at a man who led a fascinating and interesting life before Alzheimer's forced him to take a final horseback ride across his beloved ranch, and issue a statement to the public. While it won't be mistaken as hard-hitting journalism, Ronald Reagan's life is worthy of celebration and the film does just that.
Beginning November 1, 2024, it's available Video on Demand, and on Blu-ray beginning November 19, 2024.
Emilia Pérez (2024)
Audiard excels again
Greetings again from the darkness. For those who have been anxiously awaiting the first Spanish language-crime thriller-gender affirming-musical filled with violence, humor, romance, and on-the-nose songs, the talented French filmmaker Jacques Audiard has delivered. It's also one of the year's best films and deserved its place as France's Oscar submission for Best International Film. Audiard based the film on the 2018 novel "Ecoute" by Boris Razon, and it's a wild trip for viewers.
Zoe Saldana (best known for her roles in franchises AVATAR, GUARDIANS OF THE GALAXY, STAR TREK) plays Rita, a criminal defense attorney whose boss takes credit for her brilliant law work in keeping their 'likely guilty' clients out of jail. After her most recent legal maneuvering, she receives a mysterious caller offering her the opportunity to make big bucks. With a bag on her head, Rita is escorted to her clandestine meeting with infamous cartel kingpin, Manitas. Known for his ruthless approach to business, Manitas is intimidating with hushed voice and a mouth filled with gold teeth.
Normally, I would not discuss the details of their meeting, but since it's spelled out in the official synopsis and the trailers, I won't shy away from disclosing that Rita's high-paying mission is to coordinate a new life and identity for Manitas ... a life as the woman he's always believed himself to be. Manitas is played by Karla Sofia Gascon, the first trans actor to win an acting award at Cannes. We only get a small dose of Manitas, and instead, after the surgery performed in secret by Dr. Wasserman (Mark Ivanir), we see much of her new life as Emilia Perez.
This new life means staging his death and living apart from his wife Jessi (Selena Gomez) and kids. Emilia and Rita create an organization that allows Emilia to make amends for that previous life. A clever strategy also reunites her with Jessi and the kids, though not with full disclosure. The aptly named Epifania (Adriana Paz) enters Emilia's life through this new work, offering hope of second love for both. Of course, some of life's actions put atonement out of reach, and the blissful new world is not without challenges. Jessi coming clean on her feelings for Gustavo (Edgar Ramirez) awakens an old feeling in Emilia, and the story's tone erupts.
It's pretty easy to imagine this resulting in a mess of a movie ... especially since I've avoided detailing the singing and musical moments. In fact, it's quite a gem. Some similarities to Pedro Almodovar's work are obvious (that's quite a compliment). The multiple shifts in tone may distract some viewers, but the cast does incredible work. Zoe Saldana handles the dramatic work quite well and her big choreographed number at a gala is a true showstopper. Karla Sofia Gascon is remarkable in the dual role, and Adriana Paz and Edgar Ramirez contribute, despite limited screen time. Director Audiard has built a strong resume with THE SISTERS BROTHERS (2018), DHEEPAN (2015), RUST AND BONE (2012), and A PROPHET (2009). He has topped them all with this female-centric story filled with violence, melodrama, and music. It's a bit bonkers, though thoroughly entertaining for those who accept it for the spectacle that it is.
In select theaters on November 1, 2024 and on Netflix beginning November 14, 2024.
Here (2024)
just painful to sit through
Greetings again from the darkness. It's possible I'm in the minority on this one, but it's inconceivable to think I'm all alone with my impression of a movie being hyped as a reunion of the FORREST GUMP director, writer, stars, and crew. I found this to be one of the most irritating and tiresome movies to watch that I've seen in a while. A long while. Of course, I'm sure it's possible to create a decent movie with no plot and little story, and no character of interest ... but this ain't it.
With no intention of poisoning the water for prospective viewers, this will simply recap the process. The premise is planting a camera in one spot and then progressing through history. Beginning with dinosaurs running amok, the devastating flood, Mother Nature reclaiming the land, Native Americans living their lives, Benjamin Franklin's illegitimate son building a huge home, and finally our specific home being constructed in a newly established neighborhood. We then see the families who occupy the house over the years. When I say the camera stays in one spot, that's exactly what I mean. It's as if it never moves as dinosaurs romp and Franklin's house is built and finally the bay window in this home provides a static view of the living room.
Very little excitement occurs in this living room. Mostly it's just the same family stuff you probably experience: love, marriage, birth, death, illness, arguments, heartbreak. Though there are other inhabitants, the house is lived in through most of the years by the Young family, beginning with just-back-from-war Army vet Al Young (Paul Bettany) and his wife Rose (Kelly Riley). One of their kids is aspiring artist Richard (played as a teen, an adult, and a senior by Oscar winner Tom Hanks). He marries his high school sweetheart Margaret (Robin Wright), who hopes to be an attorney. Anyway, life stuff happens ... and continues to happen, as superimposed frames are used as we bound from time period to other time period, both forwards and backwards.
2024 is the 40th anniversary of the Oscar winning film, FORREST GUMP. The 'Gump' reunion for this film includes writer-director Robert Zemekis, co-writer Eric Roth, lead actors Tom Hanks and Robin Wright, Cinematographer Don Burgess, Composer Alan Silvestri, Sound Designer Randy Thom, and Costume Designer Joanna Johnston. Adapted from Richard McGuire's 2014 graphic novel, the film shows little resemblance to the classic film this team all previously worked on (netting 6 Oscars and 13 nominations).
For all the grief Martin Scorsese took for utilizing the de-aging process in THE IRISHMAN (2019), this one takes it to a whole new level, with Hanks and Wright as both teenagers and elderly folks. Most of this reminds me of Mr. Potter's line in IT'S A WONDERFUL LIFE, "sentimental hogwash". Only we should add generic dialogue and bland characters. The exception to the latter is the intimate relationship between David Flynn and Ophelia Lovibond, as his character's inspired engineering leads to romantic moments for the couple. To put it bluntly, there is simply no story here. Are we to care about this plot of land? The house? The inhabitants? Or is this just a slow reminder that life moves on ... so get busy livin' or get busy dyin' (yes, a SHAWSHANK REDEMPTION quote helps me recover from a disappointing movie experience).
Opens in theaters on November 1, 2024.
Anora (2024)
a tarnished slipper
Greetings again from the darkness. Watching ANORA and EMILIA PEREZ in the same week mere days after complaining out loud that it hasn't been a great year for movies could inspire me to complain about everything in hopes that the rewards are similar. Since I've already reviewed the latter, let's get to Sean Baker's outlandish and innovative film. We can't use the word 'strange' or 'offbeat' to describe this one, since Baker excels at presenting those on the fringes of society. Proof is provided via his superb previous films RED ROCKET (2021), THE FLORIDA PROJECT (2017), TANGERINE (2015), and STARLET (2012).
Mikey Madison ("Better Things", ONCE UPON A TIME ... IN HOLLYWOOD) crushes the role of Ani (short for Anora), a sex worker and exotic dancer pushing hard to make ends meet. It appears her ship has come in when Ivan (Mark Eidelshtein) pops into the club, takes a liking to Ani, and throws money around like he's the spoiled son of a Russian Oligarch, which he is. Paying big bucks to have her be his American girlfriend for a week means Ani attends a raucous party and gets to frolic with Ivan in his ultra-modern seaside mansion. A spur-of-the-moment trip to Las Vegas means lots of partying and an equally spur-of-the-moment decision by Ani and Ivan to get married.
As you might imagine, this Cinderella story leaves Ani with a tarnished slipper. When Ivan's parents find out about his disgracing the family by marrying an American sex worker, they send their local Armenian fixer Toros (Karren Karagulien, TANGERINE) to get the marriage annulled and repair the damage. Toros works with his brother Garnick (Vache Tovmasyan) and local hired help Igor (Yura Borisov) to start the process. What ensues breaks many laws, but also shifts the film's tone as Ani fights (literally) the inevitable and puts up a valiant effort to save her marriage and new life of love and luxury. The brilliance here is with Igor and his perceptiveness to Ani's feelings. Not only does this add complexity and emotion to the ongoings, but it also has an impact on the gut-punch ending.
This is innovative storytelling that refuses to shy away from the tough stuff or the easy stuff. We see Ani interacting with her co-workers and clientele at the club and it all seems as realistic as we'd expect. Ivan's shenanigans as the rich kid out for a good time are certainly believable, as is Ani's refusal to release her grip on her fantasy lottery win. Not enough can be said about Mikey Madison's performance. Her dancing, her profanity, her acceptance of love, and her battling til the end are the heart of the film and the heart of a survivor. Mark Eidelshtein captures extreme privilege, and it's a pleasure to see Mickey O'Hagan (TANGERINE, STARLET) back on screen - if only in a limited role as a Nevada clerk. We are so fortunate that filmmaker Sean Baker continues to enrich our moviegoing with his projects of hope, humor, and sadness.
The film opens in select theaters on November 1, 2024.
Candy Mountain (1987)
Silk and not so smooth
Greetings again from the darkness. The pedigree alone makes this cult favorite one to check out now that it's been digitally restored. Co-director Robert Frank was a renowned Swiss-American photographer and filmmaker, while co-director and screenwriter Ruby Wurlitzer was behind another popular cult flick from years earlier, TWO-LANE BLACKTOP (1971). The re-release is set to coincide with what would have been Mr. Frank's one hundredth birthday (he passed in 2019 at age 94).
The story begins in NYC when not-so-talented musician Julius (Kevin J O'Connor) overhears a successful recording artist (David Johansen of New York Dolls) talking about his desire to buy up guitars handmade by the reclusive and legendary Elmore Silk. Julius, being the hustler and scammer that he is, claims to know Elmore Silk and offers to track him down. It's all part of his latest scheme to become rich and famous without actually doing anything.
What follows is an oddball road trip of wrong turns, where Julius crosses paths with other ne'er do wells who each take advantage of him in some way. You might say Julius is not the sharpest knife in the drawer, yet he is persistent and continues his trek into Canada where, after being kidnapped, he locates Elmore Silk (Harris Yulin) and the guitars. Of course, the movie isn't really about the guitars. It's really about Julius's trek and his desire to break out of the lifelong doldrums. What he doesn't realize (though we do) is that even if he gets a big break, he'll likely find a way to mess it up.
The real fun with this movie comes in spotting the faces of known actors and musicians. In addition to O'Connor and Yulin, you'll see a young Laurie Metcalf (Oscar nominated for LADY BIRD, 2017), Tantoo Cardinal (KILLERS OF THE FLOWER MOON, 2023), French legend Bulle Ogier (THE DISCREET CHARM OF THE BOURGEOISE, 1972), Rockets Redglare (bodyguard for the Sex Pistols), and Robert Blossom (Kevin's scary neighbor in HOME ALONE). As for musicians, in addition to Johansen (also known as Buster Poindexter and for driving Bill Murray's cab in SCROOGED), you'll spot Joe Strummer of The Clash, the great Tom Waits, Arto Lindsay, Dr John, and Leon Redbone.
Kevin J O'Connor hasn't acted on screen in a few years, but his unconventional looks have graced multiple high-profile films: PEGGY SUE GOT MARRIED (1986), STEEL MAGNOLIAS (1989), AMISTAD (1997), GODS AND MONSTERS (1998), VAN HELSING (2004), THERE WILL BE BLOOD (2007), and THE MASTER (2012). It's an impressive career for a guy who rarely plays 'normal'. Nostalgia also plays a part here as we see a sign at a service station flaunting 79 cents per gallon gas. Julius spends some time hitchhiking, which was common for the time, and his foray into Canada goes against the reputation of a country filled with polite and friendly folks. It helps make sense of the film's best quote, "It always seems colder when you're leaving some place."
The remastered version open in select theaters on October 25, 2024.
Conclave (2024)
What's your secret?
Greetings again from the darkness. It feels like it's been a while since we had a good old fashioned serious-minded, tension-packed, "big" drama film featuring big movie stars. Well, that's exactly what director Edward Berger, fresh off his Oscar-winning ALL QUIET ON THE WESTERN FRONT (2022), serves up with his latest. Writer Peter Straughan (TINKER TAILOR SOLDIER SPY, 2011) has adapted the 2016 Robert Harris novel, and the result is a welcome crowd-pleaser that may garner some Oscar consideration.
Ralph Fiennes delivers what may be his best performance yet. And that's saying something for the much-respected actor who has previously excelled in such films as SCHINDLER'S LIST (1993), THE CONSTANT GARDNER (2005), IN BRUGES (2008), A BIGGER SPLASH (2018), and THE MENU (2022). His impressive career is only enhanced by this most recent role of Cardinal Lawrence, saddled with the heavy burden of facilitating the titular Conclave charged with electing the new Pope. As the film opens, the beloved Pope has just passed ... and as they say, "let the games begin". Of course, these games are all about political maneuverings and power struggles and backroom promises. Director Berger opts to show us very little of the actual negotiations, and instead puts the various iterations of loyalty on display during each successive secret (of course) vote.
Within the confined walls of Vatican City and the Sistine Chapel, Cardinal Lawrence's time is mostly spent investigating tips, scolding others for their behavior, and dealing with the immense egos of the few being considered (including himself). Stanley Tucci plays Cardinal Bellini, who pretends to not want the job while campaigning as the 'progressive' voice the church needs now. John Lithgow is Cardinal Tremblay, one of the most assertively ambitious who may or may not have purposefully undermined the work of another. Either way, Lucian Msmuati's Cardinal Adivemi is the victim of Tremblay's actions. Cardinal Tedesco, portrayed by Sergio Castellitto, is the most outspoken in his desire to return the church to the old ways (Latin masses forever!), what he sees as proper. Bryan F O'Byrne plays O'Malley, assistant to Lawrence, and yet, despite all of these men, it's Isabella Rossellini as Sister Agnes who manages to shoot (figurative) fire from her eyes, while maintaining her 'place' and significantly impacting the process. She is stunning and memorable in her limited role.
Early on, a big surprise arrives in the form of Cardinal Benitez (Carlos Diehz) of Kabul, who was the most recent appointee by the previous Pope, and unknown to the others. As a novel, this may be a real page-turner, and yet the movie never rushes from one moment to the next. Tension builds with each revelation and tarnished robe and secretive plot. Although the film barely skims the years-long sexual abuse scandal in the church, there is a stream of twists and turns that keep us on our toes as the Cardinals are sequestered. It's fascinating to see how cinematographer Stephane Fontaine keeps things visually interesting in an enclosed environment filled with characters who aren't allowed to go anywhere else. Another aspect I truly appreciated was the unusual musical score composed by Oscar winner Volker Bertelmann. This is the type of movie which often features overbearing music to 'enhance' tension, yet Bertelmann's notes are effective jabs at just the right times.
Power plays, corruption, and political stunts are all present as these Men of God bungle the process of picking their next leader. Importance of the mission and tradition pale in comparison to ego and self-interest. The symmetry to U. S. politics is unmistakable and surely a purposeful approach by Berger. The final twist may be a bit out of proverbial left field, but in a room filled with secrets, perhaps that's as it should be. To balance the tension and seriousness, anyone paying attention will appreciate the subtle humor, especially as it plays out as these relics muddle through modern day situations (technology, social progressiveness, terrorism). This is certainly not a film created for Catholics only, although for a brief moment, I worried we might have one that could be subtitled, "The Catholic Crying Game". Fortunately, it's one with a tension-filled story, terrific visual shots, a perfect score, and superb acting ... a fun movie to watch.
Opening in theaters on October 25, 2024.
My Name Is Alfred Hitchcock (2022)
Good evening ... and a fun trip
Greetings again from the darkness. It takes a cinephile and documentarian of Mark Cousins ability to pull off such a treat for other cinephiles, especially fans of "The Master of Suspense." This felt like a two-hour geek-out that I wished would never end. Of course, the early title card that read "Written and Voiced by Alfred Hitchcock" tipped us that this would be no ordinary biopic. It's been more than 40 years since Hitchcock died (1980 at age 80), and his career spanned 1925 through 1976. His oeuvre firmly established his place among the greatest filmmakers, featuring at least eight all-time classics.
Alistair McGowan provides the voice acting that so closely mimics that instantly recognizable Hitchcock oratory prowess, and Cousins infuses the necessary sly wit that we came to expect during Hitchcock's TV work (unmentioned here). Perhaps no other filmmaker has had their film work so thoroughly analyzed over the year, and yet Cousins brilliantly adapts a new approach. He structures the analysis via 6 categories, and then proceeds to provide archival footage and film clips as 'proof' as 'Hitch' guides us through.
These categories include:
1. Escape - the segment shows various characters in different stages of trying or needing to remove themselves from a particular situation, often danger. This is the longest segment and emphasizes Hitch's use of 'opening a door' to welcome viewers inside the movie.
2. Desire - pretty much the opposite of 'escape', this reinforces the power of lust, desire, and sex to motivate a character's actions.
3. Loneliness - this segment is a mashup of loneliness, solitude, and discomfort - kind of a catch-all category of those all alone in a moment.
4. Time or Timing - the proverbial race against the clock is sometimes quite real for characters in suspense or mystery films. Cutting it a bit too close qualifies as well.
5. Fulfillment - an unusual segment in that it mentions love and then focuses on the personal life of Alfred and his wife (and collaborator) Alma. Shown are their London townhouse, their country estate outside of London, and their U. S. home in Santa Cruz, California.
6. Height - back to film analysis, we see the frequent use of going high with the camera and shooting down at the scene. It's a useful lesson in how the camera is a tool for the director.
I have purposefully not included the film titles with clips utilized for each category so as not to spoil the surprises and dull the impact. You should know that the clips fit perfectly, making this a nice film technique education, as well as a different approach to viewing Hitchcock movies. I believe the only two other directors mentioned here are Bergman and Murnau, both of whom influenced Hitchcock - just as Hitchcock has influenced so many filmmakers since. Cousins does forego any mention of the questionable persona and actions that have been associated with Hitchcock over the years, and that's likely because this documentary wants us zeroed in on techniques that make up Hitchcock films. It's difficult to imagine any Hitchcock fan not finding this to be a hypnotic experience of learning and appreciation.
In select theaters in NYC and Los Angeles on October 25, 2024.
Road Diary: Bruce Springsteen and the E Street Band (2024)
Last Man Standing (with help from the band)
Greetings again from the darkness (on the edge of town). What keeps a band together for decades? It could be the shared love of music ... although many bands have split up with members continuing on in solo careers. It could be a love of performing ... but again, a band isn't needed for that. It could be friendship or family ... lifelong friends Paul and John couldn't save The Beatles, and a brotherly feud broke up Creedence Clearwater Revival. Certainly "luck" plays a role ... too many deaths to count have caused the demise of bands through the years. Although no clear answer exists, it's likely a blend of all the above combined with a certain spiritual bonding. Nowhere is that more evident than with the E Street Band. Of course, the band has a dynamic leader in (the once shy) Bruce Springsteen, but it's obvious these musicians like and respect each other, and very much value what they have built together.
Having been a Springsteen fan since the early 1970's, I can't possibly be overly objective towards Thom Zimny's documentary, so you've been warned. Zimny released THE BEACH BOYS documentary earlies this year, and he has a long-standing affiliation with Springsteen on music videos and other documentaries, including LETTER TO YOU (2020) and WESTERN STARS (2019). This latest is centered on the band's 2023 tour, their first in six years and first since the pandemic. However, rather than a traditional concert flick, Zimny takes us behind the scenes for the band's reunion, early rehearsals, and process while on the road. Most insightful are the musings from the individual band members, while Bruce's narration provides some structure to the film.
Bruce kicks us off by recalling that as a kid, he dreamed of playing music in front of screaming fans. It's hard to imagine his dreams were ever as big as the reality he's living. What inspired this documentary was his promise that when the pandemic ended, he'd throw "a big party". That's what led to the E Street Band's reunion for their first tour in six years. We learn bits and pieces of history as it pertains to how the band came together, and though the rehearsal time is short, Bruce explains his goals are to "shake the dust off the band" and establish the playlist for the tour. While it's only hinted at a few times, it seems clear that his run on Broadway influenced the vision he had for this tour.
Opening night in Tampa is as exciting for the band as it is for the fans. A recurring theme for this film is the crowd shots - often close-ups of fans and their emotional reaction (tears flow freely). We can't help but view this as spiritual for so many - the Church of E Street, if you will. Bruce is crystal clear in his desire to tell a story with the show; a story long-time manager Jon Landau describes as 'living life now'. The show pays tribute to bandmembers lost - Clarence Clemons and Danny Federici, and Bruce's wife and bandmate Patty Scialfa briefly discusses the health scare that has her cautiously participating in shows whenever possible.
One of the highlights is the anticipation of the tour arriving in Barcelona. Whatever you've heard about the crowds in Europe, what we witness goes even beyond. These fans remind me so much of those early days as they express their pure appreciation and raw emotion driven by the music. Another aspect that becomes obvious as the tour progresses is that, despite being a huge band on stage, the E Street Band is remarkably talented and incredibly tight musically. This entertainment spectacle is first and foremost a musical gem, and Steve Van Zandt (as Musical Director) probably doesn't receive the recognition he deserves from the fans for his attention to musical details.
The segment on the cover of "Nightshift" is particularly telling on how things come together for both the music and the stage presentation. It's noted that the song has turned into a 'showstopper' on tour and the film makes it obvious why. Insights from band members throughout the film infer a blended magic with influences of Jazz, R & B, Soul, and Jazz, and the music provides the proof. Piano work from Professor Roy Bittan and sax work from Clarence's nephew Jake cover multiple styles, and when the band cuts loose, rock music has rarely been better. The film leaves us with a bit of uncertainty. Alone on stage with his acoustic guitar, Bruce (now 75 years old) sings "Last Man Standing" (noting the recent passing of George Theiss leaves Bruce as the only survivor of his original band, The Castiles). As narrator he refers to "yesterdays and goodbyes", and then proclaims he'll continue "until the wheels come off." If it's his goodbye, the legacy spans over 50 years. If the wheels stay on, we'll chomp at the bit to see what the Boss brings us next.
Premieres on Hulu and Disney+ on October 25, 2024.
Ibelin (2024)
redemption for video games and parents
Greetings again from the darkness. As parents we fool ourselves into believing we know our children and what they are up to. After all, they live in the same house and eat the same meals. Norwegian documentarian Benjamin Ree shows us quite a contrast to this theory. What happens when a loving family discovers their son's secret life much too late?
Trude and her husband Robert were thrilled when their son Mats was born in 1989. Shock and disappointment hit hard when Mats was diagnosed with Duchenne Muscular Dystrophy, a rare degenerative muscle disease for which there is no cure. Trude describes the pain of watching her son grow weaker. He had little appetite, became wheelchair bound, and made no real friends. As he got older, the parents refused to limit his computer time, as it was the only thing Mats seemed to want to do.
At age 18, Mats started a blog. By age 25 he was dead. His final blog entry was "Musings of Life". Since the parents had Mats' password, Robert posted "The Journey has Come to an End." The family, including Mats' sister Mia, assumed that was the end of it. What followed was a true blessing (and shock) for the family. Tributes and remembrances of Mats streamed in from the online community. It turns out, Mats was a vital and active member of the Starlight group within the World of Warcraft gaming field. Mats had created a new persona known as Ibelin, and he lived an online life that was impossible for him in the real world.
Some of these Starlight folks held a memorial for Mats, which meant so much to the family. We hear directly from some of the folks Mats had helped along the way. He was described as intuitive at helping other lost souls. His dad calculated that Mats had spent approximately 20,000 hours online over the last ten years of his life, and the family was elated that Mats had not led the life of isolation they assumed, and instead thrived behind the Ibelin avatar. This revelation was a true blessing, and it's told beautifully in this documentary.
On Netflix beginning October 25, 2024.
Classified (2024)
bang, boom, dud
Greetings again from the darkness. Spy-thrillers typically fall into one of two categories: complex and smart (TINKER TAILOR SPY, 2011) or action-packed (KANDAHAR, 2023), although many combine the two elements quite successfully (MISSION: IMPOSSIBLE, 1996). This film from director Roel Reine and screenwriter Bob Derosa slams us with action sequences while only teasing us with bits of what could have been a clever story.
Aaron Eckhart stars as ultra-talented (dangerous) operative Evan Shaw. Yet despite his particular set of skills, it turns out Evan doesn't even know who he works for ... or at least who the guy he works for (limited screen time Tim Roth) works for. And he is somehow blissfully unaware that a young lady, Kacey Walker (Abigail Breslin) is following him. Evan always carries a sketchbook. He uses it to decode the messages he receives in the classified section of old school newspapers (the ones printed on paper), and to draw the areas and people he crosses paths with - think of it as pretty incriminating evidence of his past deeds.
At first neither Evan nor us viewers know the point Kacey is trying to make, but she certainly exposes the sham structure he's been working under and puts them both in mortal danger. The team sent to end Evan is led by a guy carrying a GPS device and barking orders while sporting a horrible haircut. This leads to too many shootouts to count, each with some of the worst aim that we've ever witnessed - either that or Evan is a superhero. His flesh and blood are revealed at one point disproving the superhero theory, but it should be noted that some of the worst electronic music you've ever hear plays over action sequences.
On the bright side, some of the cinematography belongs in a better movie, as does Mr. Eckhart. The final shootout goes so overboard, I actually felt a bit sorry for Aaron Eckhart, the professional actor. It's a high-octane spy thriller with lots of gunplay for those seeking more booms and bangs. For those looking for the cleverly woven multi-faceted spy plot, it's probably best to keep looking.
Releases on VOD and digital on October 22, 2024.