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Deadpool & Wolverine (2024)
LFG!
Greetings again from the darkness. The secret sauce for movies based on comic books and superheroes has always seemed pretty obvious ... give the hardcore fans what they want. Somewhere along the way, the industry shifted its focus from entertainment to pushing the boundaries of technology. The result was a (many) years long stream of visual extravagance with little heart and soul. Writer-director Shawn Levy and co-writers Rhett Reese, Ryan Reynolds, Zeb Wells, and Paul Wernick have managed to right the wrong and put things back on track. Of course, Disney's purchase of 20th Century Fox and the Marvel Universe slowed down development, but they have finally capitalized on two fan-favorite characters developed by Rob Liefeld and Fabian Nicieza ... Deadpool and Wolverine.
Billed as a 'threequel', this follows the 2016 and 2018 Deadpool movies that vaulted Ryan Reynolds to superstardom. His quick and colorful banter and wit were perfect complements to his physical gifts. When Reynolds' Deadpool and Hugh Jackman's Wolverine first shared the screen in X-MEN ORIGINS: WOLVERINE in 2009, the spark between the two was clear. Here we are 15 years later, and the two characters share an entire film - and the real life friendship between Ryan Reynolds and Hugh Jackman is well-documented.
This is not the place to come for spoilers or a recap of the story. No, that place would be the theater. What I will say is that it's very impressive how the filmmakers get both Deadpool and Wolverine/Logan back in the saddle, while at the same time paying homage to the past. The tributes begin even as the movie starts with a new montage reminding us of those who have built the MCU. Additionally, the re-introduction of Wade Wilson's circle (Morena Baccarin, Karan Soni, etc), is remarkably simple, yet effective ... and of course, Blind Al (the great Leslie Uggams) is especially fun. However, what's most impressive and ingenious is the manner in which Deadpool tracks down Wolverine/Logan, one who was unmistakably dead at the end of LOGAN (2017).
Together they are to save Wilson's world ... and perhaps other worlds as well. This danger occurs due to Mr Paradox (an over-the-top Matthew MacFadyen) working at the direction of Time Variance Authority. It's really not too complicated, which is why this works. Even those of us who don't spend hours pouring over comic books will follow the story and understand how Cassandra Nova (an excellent Emma Corrin) is the key onscreen antagonist, although it must be noted that this genre demands surprises and director Levy does not disappoint. Whether it's Rob Delaney, twists on the Deadpool character, the Wolverine cowl, or enough F-bombs to challenge a Tarantino movie, this first R-rated Marvel film is packed with aha moments. And yes, Jackman flashes his stunning physique and the slew of cameos are sure to satisfy.
World class zingers are delivered with charm (or Logan's trademark grumpiness), and the laughs are many, though they work well with the heart and soul of what is not just a 'save the world' flick, but also a terrific buddy film. The two cautions I'll offer here: it's definitely a hard "R" and make sure you stay for the closing credits for a bit of nostalgia.
Opens in theaters on July 26, 2024.
Getting It Back: The Story of Cymande (2022)
back again for the first time
Greetings again from the darkness. Discovering a new band that plays the kind of music you love is exhilarating. But what if that band has been around for years? And what if the bands you listen to were heavily influenced by this mystery band ... and may have even sampled their work in songs? Tim MacKenzie-Smith profiles "the greatest band you've never heard of" with this documentary on the 1970's British funk band, Cymande.
Where are they from? Where did they go? Why weren't they more successful? All good questions that MacKenzie-Smith tackles with help from Cymande superfans like producer Mark Ronson and My Morning Jacket's Jim Jones, the latter who describes his love of the Fugees "The Score" in which they sample Cymande's "Dove". It's this and other examples that allow us to discover the band's influence on the beginning stages of hip-hop. It also helps makes sense of an included quote, "some music is bigger than music."
With most early band members hailing from the West Indies, they were never accepted in the U. K., and discrimination and racism clearly played a part in blocking their success. The band did find more popularity in the U. S. thanks to their fresh and original music, but one of the band members admit they were beaten down by the system. MacKenzie-Smith includes many interviews with band members, most of whom are now in their 70's. They come across as likable guys carrying almost no bitterness.
Of course, Cymande should be well-known for their contributions and influence over the years, and the film features much of their music, as well as clips from live performances. It's a smooth groove with a fantastic bass line, and it's the music itself that helps us understand how it contributed to club and dance music of the 1980's and 90's. The film made the festival rounds in 2022 and is now getting a limited theatrical release in conjunction with the band re-forming and touring. Perhaps that lucky break is finally happening all these years later, but regardless, these guys will be playing music ... as it should be.
Oddity (2024)
a gift for us
Greetings again from the darkness. For me, the best horror movies aren't a factor of jump-scare after jump-scare, but rather of the level of lingering unease and ominous atmospheric dread they generate. Writer-director Damian McCarthy has accomplished just such a movie with his second feature film. Oddly enough, ODDITY could be described as a murder mystery cloaked in supernatural horror, yet I believe most horror fans will welcome this one from the edge of their seat.
Dr. Ted Timmis (Gwilym Lee, BOHEMIAN RHAPSODY, 2018) works at a psychiatric asylum, and a late-night call with his wife Dani, finds her informing him that she'll stay the night alone at the house they are renovating. A knock on the door, followed by the stranger's warning, sets things up for us. Debating whether to open the door, Dani is told that she's not alone in the house and the stranger identifies himself as Olin Boole (Tading Murphy, THE NORTHMAN, 2022), a former patient of her husband's. He says he just wants to help. For reasons never explained, Dani sleeps in a tent in the unfurnished great room - although a tent is typically used as protection from the elements, and she's inside the house. She's not affected by weather, yet other elements are afoot, and the vinyl tent offers no defense.
The story then skips ahead over a period of time, and finds widower Ted in a new relationship with Yana (Caroline Menton), who prefers not to sleep alone in the now renovated house where the wife of her boyfriend was previously murdered. Meanwhile, Ted wanders into the creepy mystical trinket store where Darcy (Carolyn Bracken, THE QUIET GIRL, 2022) works, and makes an innocent remark about having her visit sometime. Darcy is the blind twin of Dani, and her short blonde hair stands in stark contrast to sister Dani's previous long, auburn tresses. Darcy claims to have certain powers as a medium, and we can't help but wonder if she has thoughts of avenging her sister's death.
The elements of Irish folk horror work well here. These include a rundown asylum with a creepy orderly, a frantic one-eyed stranger pounding on the door, a remote house with a woman staying alone, and a trap door in an expansive house replete with staircases and corridors. The only thing missing is a skittish dog. However, the piece de resistance is the "gift" Darcy brings Ted and Yana ... a trunk containing a large wooden mannequin. This terrifying work is not a gift anyone would welcome from the psychic twin sister of one's murdered wife.
Some of the best scenes are exchanges between Yana and Darcy (Ms. Bracken is exceptional here). Their verbal jousting is filled with intrigue, all while we are left to ponder the history and meaning of the bizarre mannequin, a family heirloom. That terrific opening sequence sets the stage, and the film gets even better from there. Director McCarthy, editor Brian Philip Davis, cinematographer Colm Hogan, and Production Designer Lauren Kelly work together to create an eerie tone filled with tension ... and yes, there is even a well-placed jump-scare for those in need. This is one of those low-key horror films that we can hope finds an appreciative audience.
In theaters beginning July 19, 2024.
Twisters (2024)
chickens, not cows
Greetings again from the darkness. Those that have lived through one often describe it as sounding like the roar of a freight train. Of course, they are referring to a devastating tornado ... or "twister". Oscar nominated director Lee Isaac Chung (MINARI, 2020) and writers Mark L Smith and Joseph Kosinski take on the follow up to Jan de Bont's fan favorite TWISTER (1996). The earlier film featured a screenplay from renowned writer (the late) Michael Crichton and his then-wife Anne-Marie Martin, and the cast included the late Bill Paxton, the late Phillip Seymour Hoffman, Helen Hunt, Cary Elwes, and Lois Smith. In that one, we learned Aunt Meg's gravy is a food group, and are left with the memorable line, "We got cows".
Chung's opening sequence is frenetic and powerful ... just as we'd hope and expect. Oklahoman Kate Carter (Daisy Edgar-Jones, WHERE THE CRAWDADS SING, 2022) is leading her team dangerously close to a tornado so that she might obtain enough data to earn the grant needed to keep her dream alive. Hers is a dream of affecting tornadoes in such a way to minimize their power, and thereby minimize the death and destruction. The team is young and smart and passionate; however, they pay the price for the unpredictability of the same storms they are chasing and studying.
Five years later, we find Kate stuck in a NYC cubicle as a bullpen meteorologist. She's given up on her dream of minimizing the effects of tornadoes. Well, at least until her old storm chasing teammate Javi (Anthony Ramos) shows up with a funded and credentialed team. All they need is Kate's extraordinary ability to read storms so they can realize the dreams they had years ago.
Once in Oklahoma, Kate realizes that storm chasing is now entertainment for locals, and a social media ego trip for root'n toot'n cowboy Tyler Owens (Glen Powell, who has seemingly appeared in every single movie over the past two years, including TOP GUN: MAVERICK, 2022). Owens is a cult figure with one million followers as he broadcasts live while creating a spectacle in the storm. Soon enough we and Kate (although she's a bit slow on the uptake) figure out that Javi's well-funded team, including snooty MIT grad Scott (future SUPERMAN David Corenswet) is not what it seems (rich guys are evil), and of course, neither is Tyler Owens (there's a tender heart buried in that ego).
The storm effects here are quite stunning. We feel the power and danger. It's a remarkable technical achievement. Admittedly, this is a wild and fun ride ... one filled with tense action and breathtaking visuals. On the other hand, most of the non-storm parts didn't work for me, often dipping into a cheesy level. Daisy Edgar-Jones comes across as an Anne Hathaway knock-off, while Glen Powell re-deploys his 1970's Burt Reynolds imitation filled with grins and smirks and self-satisfying charm. Both actors are lovely to look at, however, the connection comes across as fabricated. The character interactions and story depth stand in contrast to the original, and it's impossible to avoid comparison.
Director Lee Isaac Chung last delivered a beautiful film with MINARI. In my review of that film, I called it "gentle story grounded in realism". Obviously, his latest film was never meant to be that, but it's a shame some of that couldn't have been captured here. Perhaps the easiest way for me to explain this is by noting the similar feelings I had for the recent ROAD HOUSE remake of the 1989 original. Both of these new versions have exaggerated characters and hyper-action scenes. On the bright side, this difference is likely one that will only bother me and a few others, as I expect TWISTERS will be a massive late summer hit and one most will find thoroughly entertaining ... despite replacing cows with chickens.
Opening in theaters on July 19, 2024.
The Convert (2023)
surprising convert
Greetings again from the darkness. Ten years ago, no one would have thought twice about a preacher traveling to a remote island with the given mission of converting souls - both indigenous and British - to Christianity. But much has changed in those 10 years, and writer-director Lee Tamahori (hit and miss with NEXT, 2007; DIE ANOTHER DAY, 2002; ALONG CAME A SPIDER, 2001; THE EDGE, 1997) and co-writers Michael Bennett and Shane Danielson take head-on on the "white savior" backlash that's surely coming their way (not from me).
It's 1830 and Thomas Munro (Guy Pearce) is catching a ride across the rough waves of the Tasman Sea. His beautiful white steed doesn't much care for the boat's ups and downs, and both man and beast are happy to go for a run on the sandy shore once they reach their destination. And that's pretty much the end of the good times. Munro has been hired by the colonists to be their preacher and bring Christianity to the locals ... tribes of Maori. Munro stumbles into the brutal inter-tribe battles and he quickly negotiates to save the life of Rangimai (a stunning Tioreore Ngatai-Melbourne), the daughter of the other tribe's chief.
Early on, we also learn that Munro is no ordinary preacher. He has a past that haunts him - and skills that come in handy in this new environment. Mostly though, he does a great deal of talking - regularly negotiating one thing or another with one side or another. His sketch book offers proof that he's a good man with good intentions, and one who seeks the good in others. What he also learns is that muskets are often more powerful than Christian words.
Munro's mission is aided by Charlotte (a terrific Jacqueline McKenzie) who acts as a translator, while carrying her own personal history of tragedy. Racism is of course on full display, despite Munro's efforts to negotiate peace between the tribes and the always-hovering British colonists. Throughout the film, there are some sloppily staged fight scenes, yet the cinematography from Gin Loane is exceptional. We do get the crescendo of a final showdown, as well as a somewhat surprising ending on display in a "Four years later" epilogue. Director Tamahori hits us very early with a smaller bird being attacked midair by a larger bird, with the survival of the fittest on display - whether here in New Zealand, or most any other place throughout history.
Opening July 12, 2024.
Dandelion (2024)
song sung blue
Greetings again from the darkness. Creativity is such an intangible topic ... so esoteric in nature that those most driven by it are likely misunderstood by everyone else. The second feature film from writer-director Nicole Riegel (HOLLER, 2020) focuses on a talented, yet frustrated troubadour living in Cincinnati.
Dandelion (played beautifully by KiKi Layne, IF BEALE STREET COULD TALK, 2018) has a three-nights per week gig at a local hotel bar. Whether she plays familiar covers or her own original songs, the bar audience pays her little attention, opting instead for personal chatter and cell phone time. The gigs provide a paycheck, but it's not enough to cover her expenses, and those of her sick mother (Melanie Nicholls-King). Mom doesn't exactly help her own situation, and neither does she offer much encouragement to her daughter, generating more friction between the two.
It's the age old "paying your dues" syndrome that so many musicians experience. When the bartender shoves a flyer at her, Dandelion scoffs at the notion of playing a music festival at a South Dakota motorcycle rally ... so we know immediately she'll be headed there, selling off her beloved Gibson guitar and leaving mom at home. Once in South Dakota (Sturgis is never mentioned), her time on stage doesn't go well for Dandelion, and neither does much else. Well, that is, until sparks fly with fellow musician Casey (Thomas Doherty, "The Lodge"), one who surrendered his own dream years before. The sparks are both romantic and musical, though everyone but Dandelion knows Casey from Edinburgh is not all he seems.
The two bond through songwriting and other intimate activities ... right up until the not shocking twist occurs. I couldn't help but think of the similarities (and differences) between this and two other films, ONCE (2007) and FLORA AND SON (2023). Chasing dreams and creating music never stops for Dandelion, despite the constant influences and hurdles. The music is definitely a standout here, as it's written by twin brothers Aaron and Bryce Dessner of The National.
Director Riegel and cinematographer Lauren Guiteras use a heavy dose of close-ups and tight shots to convey the strains of emotions, especially for Dandelion, while also serving up some beautiful shots and unusual camera angles. The camera work here is as artsy as the music. The ending finds Dandelion working through her pain to discover her true self. While not a masterpiece, there is enough depth here to set it apart from many indies.
Opening in theaters July 12, 2024.
Sorry/Not Sorry (2023)
a sorry guy is not sorry
Greetings again from the darkness. In the twisted nature of many humans, there is a need for heroes and a corresponding sense of satisfaction as those heroes are knocked from their pedestal of idolization. Louis C. K. may not have been a hero, but as a comedy genius, he had reached the pinnacle of his profession while building a massive fan base. It may seem that five brave women knocked him from the proverbial pedestal, but the truth is ... his own arrogance and behavior did so.
The purpose of this documentary from co-directors Cara Mones and Caroline Shu is not to re-hash the sordid details of Louis's actions, but rather to ask ... what now? Fellow comedian Michael Ian Black eloquently presents his considered thoughts on this, as do others who were more directly involved. The film draws heavily from the November 2017 New York Times article written by Melena Ryzik, Cara Buckley, and Jodi Kantor, each of whom share their view here. There are also interviews with others, including Jen Kirkman and Megan Koester. I believe Abby Schachner is the only one of the original four who were named to appear in the film, however it seems quite clear that Louis C. K.'s tendencies were as well-known throughout the industry as those of Harvey Weinstein and Bill Cosby. And yes, his defenders make the argument that his actions were nowhere near the level of those two figures of the #MeToo movement.
As has been pointed out many times in these cases, the sexual predator aspect is not the only issue. The abuse of power is every bit as crucial. The film is divided into seven "parts": Louis, Jen, Open Secret, These Stories are True, Abby, Comeback, and Cancelled. In contrast to Weinstein and Cosby and so many others, when publicly confronted with the accusations, Louis C. K. stated, "These stories are true." Much of the fallout was from his fans who went after the accusers on social media. Louis C. K. disappeared from public life for about 9 months before beginning his comeback ... using his history as fodder for joke-telling.
Louis C. K. being 'cancelled' ended when he won a Grammy for his comedy album. He hasn't yet been welcomed back to mainstream Television or Film, but his stand-up tours remain popular. The film serves to ignite dialogue and debate on a tough topic, and we find ourselves admiring those who stepped up to shine the light. Although it cost her a career, respect goes to Megan Koester who states, "I don't want to work with those who blindly ignore morality." It's a statement on which too few of us seem to stand with her. We must each answer for ourselves ... What now?
In theaters beginning July 12, 2024.
Space Cadet (2024)
flighty and absurd with a few chuckles
Greetings again from the darkness. We have accepted that a bartender can get elected as a United States Senator, and writer-director Liz W Garcia would have us believe a bartender may also become an astronaut ... but only after submitting a fraudulent application with details, accomplishments, and references that NASA wouldn't bother verifying until after admission into the program.
Of course, we know going in that Garcia's film is a comedy, and in no way should be compared to the fine film, A MILLION MILES AWAY (2023), a biopic on Jose Hernandez, a farm worker who actually accomplished the things required to become an astronaut. "Rex" (played by Emma Roberts, daughter of Eric and niece to Julia) is a party girl bartender attending her 10-year high school reunion with her BFF Nadine (Poppy Liu, "Hacks"). We learn Rex had a childhood dream of going to space - a dream fully supported by her mother, who has since passed. Rex's strong academic record gained her admission to college, but mom's death seemed to knock her off the space track and into a life of parties and pouring drinks and dressing like a 13-year-old girl.
With a newfound inspiration, Rex fires off a heartfelt letter to NASA asking for admission into the program. The letter is intercepted and, well, enhanced, by a well-meaning Nadine. Soon, Rex is packing up her bedazzled clothes and heading to NASA. Program directors Logan O'Leary (a heavily lipsticked Tom Hopper, I FEEL PRETTY, 2018) and Pam Proctor (Gabrielle Union, BRING IT ON, 2000) aren't sure what to make of Rex, though remain impressed with her application, even as she excels in leadership and flounders in technical aspects.
The ASCANS (Astronaut Candidate) program is not realistically depicted here, and it's not surprising that Rex survives each round of cuts. And yes, we all know where this is headed, as surprise is not a factor in any aspect of this film. The film's title is obviously a play on words, and if you somehow believe more cringe is needed, a budding romance (also obvious) is tossed in to make sure no one takes this NASA seriously. The ending takes us right where we know we're headed, and we find ourselves wondering why any filmmaker, much less a female filmmaker, would purposefully portray an intelligent woman in this flighty manner. Comedies are no doubt tough to execute, but the best are grounded in some form of reality. Perhaps there's a bartender out there somewhere that will cure cancer or solve world hunger. Let's just hope fraudulent applications aren't the new norm.
Releases on Prime Video on July 4, 2024.
Fancy Dance (2023)
Auntie striving to keep things on track
Greetings again from the darkness. A missing person story takes on additional weight when it involves a Native American, and this story from writer-director Erica Tremblay ("Dark Winds") and co-writer Miciana Alise show us how culture and traditions remain vital to the family ties indigenous people struggle to maintain in the face of institutional hurdles.
The missing person is stripper Tawi, who is Jax's sister and Roki's mother. The feds, who have jurisdiction, have shown little interest in locating Tawi, and local law enforcement, including Jax's half-brother JJ (Ryan Begay, "Dark Winds) seems to have contributed little to the search. Jax (Lily Gladstone, Oscar nominated for KILLERS OF THE FLOWER MOON) remains committed to finding her sister and to raising 13-year-old Roki (Isabel Deroy-Olson, "Three Pines") according to Cayuga traditions ... including the annual Powwow in Oklahoma City, which features the mother-daughter dance that Roki so looks forward to.
CPS gets involved, and since Jax's past record is anything but pristine, Roki gets placed with her grandfather Frank (Shea Whigham, "Boardwalk Empire") and his new wife Nancy (Audrey Wasilewski, "Big Love"). Frank's relationship with his daughter Jax has been strained ever since he left the reservation after Jax's mom died (a key element to the story). Most of the story is quite believable; however, one big exception is that we are to accept Frank and Nancy refuse to allow Roki to attend Powwow. This unlikely occurrence leads Jax to help Roki escape, and the two head out to search for Tawi ... turning this into an 'on the road' story.
The cinematography from Carolina Costa is beautiful, and complements the emotions of these characters. The performances and connection of Ms. Gladstone and young Deroy-Olson make us buy into the story and their struggles. Perhaps the film's most insightful scene involves Roki, Nancy, and a pair of ballet shoes - highlighting the disconnect. We relate to Roki's wish to have just one more dance with her mother, and Jax helps us understand the challenges faced by women in indigenous communities. If there's a negative here, it's that the entire movie moves at a slow burn pace without ever achieving the tension it teases us with. Despite that minor issue, it's stunning that missing and murdered women are so commonplace in this community that each year there is a dance dedicated to them.
Streaming on Apple TV+ beginning June 28, 2024.
Daddio (2023)
one more fare to make my night
Greetings again from the darkness. "MY DINNER WITH ANDRE in a NYC taxi cab." That's my description of writer-director Christy Hall's first feature film. Of course, that's an over-simplification, as her film deals with gender roles, socio-economic topics, and a big ol' dose of emotional baggage. It's what's known in the business as a two-hander. We have two characters and one setting and a whole bunch of talking. Casting being crucial here, filmmaker Hall did choose wisely with Dakota Johnson and two-time Oscar winner Sean Penn.
Johnson's character (billed only as "Girlie") arrives at JFK airport and catches a cab to midtown. She and the driver, Clark (Penn) exchange generic banter, but soon enough Clark breaks the barrier by stunning her with his analysis of her situation, based on observation skills honed through 20 years of driving a NYC cab. He's been around the proverbial block a few times and Penn is permitted to work in a monologue about his disappointment with humanity, commerce, and technology. We learn he views himself as a common man 'Vinny', and we learn she's a coder by profession - as well as a nail biter who's texting a mysterious man - a man not shy in pleading with her for a sext.
A traffic jam on the highway stalls the trip, but accelerates the conversation. Clark gets more inside info from the woman he's determined "can handle yourself", and their quasi - quid pro quo spills more beans than either would typically open up about in normal circumstances. Her recent two-week trip to Oklahoma was to visit her estranged half-sister ... a trip that holds yet another twisty secret that she's surprised at herself for disclosing. Clark is not shy about dishing out armchair psychology advice, much of it based on his own past mistakes. Cheaters, specifically the difference between adulterous men and women, is a topic close to both of these folks, and Clark rambles on.
Dakota Johnson (thriving in indies) is truly at her best when she has minimal dialogue, and much is demanded of her facial expressions and body language (this is a compliment). Sean Penn thrives in a role where he is doling out free advice, and keeping score based on personal details provided. These two actors are the reason this film works, however, it seems clear this movie fits neatly into a festival circuit, while likely having little mainstream appeal.
Opens in theaters on June 28, 2024.
Janet Planet (2023)
mother-daughter gem from A24
Greetings again from the darkness. Mother-Daughter relationships have been the theme for many fine movies throughout various genres over the years. Some of the best that come to mind include: LADY BIRD (2017), THE FLORIDA PROJECT (2017), MAMMA MIA! (2008), LITTLE MISS SUNSHINE (2006), THE JOY LUCK CLUB (1993), TERMS OF ENDEARMENT (1983), MOMMIE DEAREST (1981), CARRIE (1976), and going back many years, the classic MILDRED PIERCE (1945). The common thread here is the complicated, yet unbreakable bond between mother and daughter. Writer-director Annie Baker, who won a 2014 Pulitzer Prize for her play "The Flick", has managed to create a film with a mother-daughter relationship that fits right into the above list, while also bringing a unique perspective.
Eleven-year-old Lacy sneaks out of her summer camp cabin, and through the darkness makes her way to the office payphone. The first line of dialogue we hear is Lacy (Zoe Ziegler) saying, "I'm going to kill myself if you don't come get me." The next morning, mother Janet (Julianne Nicholson) arrives and a packed up Lacy discovers she actually had made a friend, but since it's too late to remain at camp, she questions why mom had to bring boyfriend Wayne (Will Patton) along. "Wayne" is the first chapter of the story, but as we learn, single mom Janet has had a revolving door of lovers and friends. It's 1991, the summer between fifth and sixth grade for Lacy, and as an outcast in her age group, she desperately wants to be close to her mom.
Their rural home is surrounded by nature, and Janet runs her acupuncture business while Lacy hikes to piano lessons ... when she's not asking if she can sleep in mom's bed. Wayne doesn't last long, and Chapter 2 "Regina" bounds in next, thanks to a local art colony performance that allows old friends to reconnect. Regina (Sophie Okonedo) appreciates the free room and has some nice moments with Lacy - except for the shampoo and long stints in the shared bathroom. When Regina moves on, Chapter 3's "Avi" (Elias Koteas) begins getting close to Janet. By now we understand that everyone loves Janet, and that's an emotional hurdle for young Lacy.
The adults are a bit tiresome, and Janet even confesses that she worries about her parenting approach. Yet, those concerns don't impact her free-wheeling ways, and we see she's as lonely and broken as her daughter. Lacy says, "I don't have any friends", and we don't doubt it. As an outsider she's very observant, if not a bit depressed. Julianne Nicholson is exceptional as always, and first-timer Zoe Ziegler is a rare find. We can only hope she finds her way into a Wes Anderson movie before she grows out of this stage. Cinematographer Maria von Hausswolff has a style that perfectly complements director Baker's slow pacing and the unusual setting. As the summer turns to "The Fall", a local square dance provides the perfect ending ... and reinforces all that we've learned about mother and daughter. Another little gem from A24.
In select theaters on June 21, 2024 and nationwide on June 28, 2024.
Stevie Van Zandt: Disciple (2024)
By any name ...
Greetings again from the darkness. The tagline is "Artist. Activist. Renegade.", yet somehow after spending 2.5 hours watching this documentary from Bill Teck, we realize there is even more to Steve Van Zandt. Or maybe you know him as "Miami Steve" ... or even "Little Steven". Having accomplished so much through various avenues, we are left with nothing but respect for the man.
Bruce Springsteen fans know him as Miami Steve of the East Street Band (and Bruce's longtime buddy). Other music lovers know him as the leader of Little Steven and the Disciples of Soul. Some remember him as the driving force behind the "Sun City" song and collaboration. Still others know him as an actor playing Tony's consigliere Silvio in "The Sopranos", or as a mobster in "Lilyhammer". What we learn is that he's also an incredibly talented songwriter, a highly sought-after producer and arranger, and he was the saving grace behind Springsteen's "Tenth Avenue Freezeout" on the breakout album. By any name, Van Zandt is not one to stand on his (many) past accomplishments.
Documentarian Teck loosely breaks down the timeline of Van Zandt's life and, in keeping with the Disciple title, presents it in three 'Books': Salvation, Revolution, Revelations. Much of the run time is spent in Book I, where we recap the early days of Asbury Park, New Jersey, and local venue, The Stone Pony. Some incredible clips are included showing live performances of Southside Johnny, Van Zandt, and of course, Springsteen. It's also here where we learn the origin of the nickname "Miami Steve". It didn't take long for Van Zandt's extraordinary talent as an arranger to shine through, and his ambition and creative forces drove him to leave the E Street Band in 1983 to form his own identity. It's also in this stage where he married Maureen in a ceremony officiated by none other than music icon Little Richard (video), and including singer Percy Sledge.
Book II recounts Steven's foray into activism and political activities, namely Apartheid in South Africa. He wrote the song "Sun City" and organized the iconic participants of the movement that ultimately contributed to the release of Nelson Mandela. As impressive as his efforts were, and as respected as he was, Van Zandt readily admitted, "I don't want to be a politician."
Aptly named Book III: Evolution took Van Zandt to 1999, where not only did he reconnect with Springsteen and rejoin the E Street Band, he also accepted creator David Chase's offer to take a role in "The Sopranos". That's a pretty good year. It's in Book IV: Revelations where Van Zandt originated his popular radio show, "Little Steven's Underground Garage", where he keeps rock history alive, and he also brought 1960's band The Rascals to Broadway. In 2021, Van Zandt's memoir, "Unrequited Infatuations" was published. Did I mention this isn't a man to sit back and chill?
Bill Teck solidifies the admiration Van Zandt has by including interviews with the likes of Bruce Springsteen, Paul McCartney, Southside Johnny, Dion, Gary US Bonds, Mike Stoller, Darlene Love, wife Maureen, Peter Gabriel, Eddie Vedder, Bono, Joan Jett, Jackson Browne, Reuben Blades, Jon Landau, and David Chase. The interviews and clips and photographs are well done, plus he allows Van Zandt to contribute his own thoughts. This is terrific insight, and the film ends perfectly showing Bruce and Steve teaming up for "No Surrender".
Airing on HBO and streaming on MAX beginning June 22, 2024.
The Exorcism (2024)
the story behind the story
Greetings again from the darkness. It's been 23 years since Russell Crowe won his Oscar for GLADIATOR. Some of his personal struggles have been well-documented, and although he may no longer be an A-list actor, he remains a talented and prolific one ... especially these past couple of years. I'll admit to still finding him fascinating on screen, as he's usually fully committed to the character he's playing.
There's more to this one than another mesmerizing Crowe performance. If you don't already know, be advised that it's a film-within-a-film derived from real life. Only not the usual "inspired by a true story" like we are accustomed to. Nope. The writer-director is Joshua John Miller, who is the son of the late Jason Miller, who played Father Karras in the classic horror film THE EXORCIST (1973). Co-written with M. A. Fortim ("Queen of the South"), once we know Miller's roots, the film takes on a whole new relevance. So ... "This time, it's personal" ... actually fits!
Crowe plays Anthony Miller (there's that last name again), an actor looking to re-establish his career after grieving for his wife's death left him an alcoholic and addict. Out of rehab, he's also trying to reconnect with his estranged and rebellious daughter Lee (Ryan Simpkins, Ty's big sister, BRIGSBY BEAR, 2017), who has recently been kicked out of school. After the mysterious death of his lead actor (which we witness), director Peter (Adam Goldberg, appeared in A BEAUTIFUL MIND with Russell Crowe) casts Anthony as the Priest, despite, or possibly because of, his troubled past. See, Peter's movie, "The Georgetown Project", appears to be pretty much identical to THE EXORCIST, right down to the two-story house set and the bits of story we pick up.
The film co-stars Blake (Chloe Bailey, R&B artist and big sister of Halle) as the possessed one, and Joe (Sam Worthington, The "Avatar" franchise - more to come) as a fellow Priest. Hanging around the set as the Catholic church consultant is a Priest played by David Hyde Pierce ("Frasier"), whose presence is necessary as we see Anthony's crisis-of-faith and possible demonic possession mirroring that of the character he's playing - likely due to the unpleasant childhood memories of his time as an altar boy. For those who know, Adam Goldberg's performance as Peter will recall the stories of William Friedkin's demanding and demeaning directorial style on the set of the 1973 horror classic.
The acting, especially Crowe and Simpkins, is stellar, although we can't help but wonder why Sam Worthington's role wasn't beefed up a bit. As with most horror films the sound effects are exaggerated, though this one seems overboard at times. Still, with the added weight of the "behind-the-scenes" backstory, there is plenty here to keep us engaged ... though one would be hard-pressed to label it a son's tribute to daddy.
In theaters June 21, 2024.
Geoff McFetridge: Drawing a Life (2023)
art with purpose
Greetings again from the darkness. Over the years, I've managed to maintain zero artistic ability, and yet my admiration and respect for artists has continued to grow. It's quite likely you've never heard of Geoff McFetridge, and equally likely that no one you know has either. Leave it to commercial director and artist Dan Covert to recognize that a fellow artist's story is worth telling.
With interviews from film directors Spike Jonze (also an Executive Producer) and Sofia Coppola, and photographer Andrew Paynter, we get a real sense for the admiration McFetridge draws from other artists. His wife Sarah also gives us her perspective on her husband as an artist, father, and partner, and yet we find Geoff's own introspection to be the most descriptive and informative. This is a man who doesn't shy away from self-analysis ... which makes sense given his personal mission.
For an artist as prolific as McFetridge, it's not surprising to learn that his childhood habit of "drawing all the time" has followed him into adulthood. It's really more of an obsession than a habit, and he's managed to turn it into a profession. Born in Canada, he made the decision to enroll at the California Institute of Arts, and now can be described as melding art with commerce. His work has adorned ads and products for such companies as Nike, Apple, and Pepsi (among many others).
Surprisingly, it's not his brilliant design work that is most interesting. Rather it's Geoff's constant pursuit of meaning in everything he does - in art, while running ultra-marathons, and in being a husband and father to two daughters. This is a man who pushes himself constantly. Down time is not part of his plan. He used art as a way out and way to have control as he searched for his place. He always had the colors and form (geometry on acid), and his wife Sarah is the one who instilled emotion into his work.
McFetridge is highly respected by other graphic artists, while remaining virtually unknown to the general public. His greatest gift is not a steady hand, but rather an innovate mind tied to a tireless work ethic. It seems strange to say, but he's inspirational in the way he seeks meaning - giving us the desire as well. On the surface, one would expect a biopic on an under-the-radar graphic artist to be a short film, but director Covert understood that a full 80 minutes would better serve the audience. He was right.
In NYC theaters on June 21, 2024 and VOD via Gravitas beginning July 2, 2024.
Catharsis (2024)
Ball and Blondie
Greetings again from the darkness. The directorial debut (and loosely based on the life) of Brian Logvinsky is an usual short film probably best described as avant-garde. Harrison Ball, who recently retired as principal dancer of the New York City Ballet, stars as a dancer with anger issues so extreme, things sometimes turn violent. Logvinsky and Ball also co-wrote the script.
With a short 17-minute runtime, visuals are effectively utilized to convey the turmoil of Alex's (Ball) life. However, many of these aren't typical visuals. Instead, we see the frenzied actions and mind of Alex, and understand why he must visit bizarre psychotherapist, Dr. Leechny (Marc Geller, "Severance"). We learn Alex is grieving the death of his mother, and his current mental state has a dramatic effect on his living arrangements with his aunt Anya (Deborah Harry). Complicating the already explosive situation is Russian-born Anya's belief that the family curse is driving Alex's mental issues.
Many will know Deborah Harry as the lead singer of the band Blondie, where she goes by Debbie. Ballet fans will not be surprised that Harrison Ball has a strong screen presence, weakened only during his minimal dialogue. His extraordinary physicality is on display, especially during the final sequence from which the film's title is derived. Additional supporting roles are portrayed by Jemima Kirke (Simon's daughter in a dual role) and Sasha Pivovarova (artist, Russian model, and face of Prada).
The film will be featured on June 17 at Tribeca Festival and will most assuredly generate some interesting post-viewing discussions.
Ride (2024)
modern day western with feelings
Greetings again from the darkness. Historically, we've been treated to Western movies that were heavy on tense gunfights and macho morality ... white hats vs black hats. However, if you've been paying attention these past few years, you've likely noticed a shift in tone. Westerns have become more attuned to the sensibilities of real people, and less enamored with quick-draws. This may be the directorial debut of writer-director Jake Allyn, but it's not his first rodeo (couldn't resist). Allyn wrote the screenplay and starred in NO MAN'S LAND (2020), which was directed by his brother Conor. For this film, he co-wrote the screenplay with Josh Plasse, his co-star in "The Baxters". Both men also play brothers here.
A grizzled C Thomas Howell (contrasted with his fresh-faced Ponyboy in THE OUTSIDERS, 1983) stars as John Hawkins, a former rodeo star, who walked away from his career when his wife Monica (Annabeth Gish, MYSTIC PIZZA, 1988), now the local Sheriff, birthed the first of their three kids. Son Noah (co-writer Plasse) is a clean-cut, straight arrow young man who has steered away from the bull riding tradition set by his father, his grandfather Al (Forrie J Smith, "Yellowstone"), and his brother Peter (director Allyn). Early on, we see Peter, now the black sheep of the family, being released after a four-year prison sentence. Most of the urgent attention is paid to eleven-year-old Virginia (Zia Carlock), whose cancer can only be treated at a specialty oncology center. This life-saving treatment comes with a $160,000 price tag and a financial and emotional burden on her father John that may be more than he can handle.
One of the first things to notice about this is how beautifully it's filmed by cinematographer Keith J Leman. The rodeo scenes are particularly striking as nothing is overdone or over-dramatized. John and Peter struggle to re-connect, but it's Virginia's treatment that helps the two stubborn men find common ground. Either would do whatever necessary to save her. For John, this means begging the bank for another loan, selling off his beloved horses, and finally coming to grips with the need to break the moral code by which he has always lived his life. Peter's drug habit provides an opportunity, and of course, things don't go according to plan. Soon, Sheriff Monica is working a case that may force her into her own moral choice between family and the law. Simultaneously, Deputy Dickons (Scott Reeves), who is clearly a bit too close to his boss, is eager to bring down John and Peter.
All of this takes place in Stephenville, Texas, known as the Cowboy Capitol of the world (although it's filmed in Tennessee). The '8 seconds' on a bull ride are stressed a few times, yet mostly what we have is a serious family drama filled with guilt and desperation. On the downside, the script doesn't quite meet the standard of the tone or acting. Some polishing could have elevated the entire film, and a bit less eyeliner on Allyn and reduced lipstick on young Carlock would have helped. Still, C Thomas Howell and Forrie J Smith are particularly excellent in their roles. The film makes an obvious statement on the health care and insurance industries, and the oft-repeated line, "I'm praying for you" is meant to sound as hollow as the sentiment can sometimes come across. This is a world filmmaker and actor Allyn feels comfortable with, and he does a pretty nice job with it.
In select theaters and ON DEMAND beginning June 14, 2024.
Tuesday (2023)
a bird of death
Greetings again from the darkness. I thought the same thing. How can a movie featuring a giant talking macaw make any dramatic sense, or deliver a message that's worth hearing? Well, the first feature film from writer-director Daina Oniunas-Pusic does just that. We know the best fantasy stories and fables are based on harsh realities, and there is no reality more harsh than the fact that death comes for all of us. Now, whether death comes by the Grim Reaper, an Angel of Death, or a talking, size-shifting red macaw may be up for debate, but filmmaker Pusic and the cast deliver an immensely creative and thought-provoking look at death and all stages of grief.
The film opens by taking us on the daily routine of the Death Macaw as it visits those who have reached the end ... whether they are ready or not. Some go peacefully, others not so much. Soon it visits Tuesday (played by Lola Petticrew, SHE SAID, 2022). Tuesday has a terminal illness and is wheelchair-bound and tethered to an oxygen tank. She knows it's her time, but negotiates with the bird so she has a chance to tell her mother goodbye. A brilliant combination of humor-kindness-sarcasm-pot-music (Ice Cube)-and bathtime cause the death bird to give in and grant Tuesday's wish. Of course, such a decision means death is taking a break, thereby wreaking havoc around the globe.
Mother Zora (Julia Louis-Dreyfus, "Seinfeld", "Veep", 11 Emmys and counting) returns home and reacts quite aggressively ... actually violently ... to the bird that's there to take her daughter. Zora may be keeping secrets from her daughter, but it's with the best intentions to protect her. And protecting her is exactly what she thinks she's doing when she goes to war with the macaw (brilliantly voiced by Arinze Kene). This mother is just not willing to let her beloved daughter go without a fight ... a fight that shifts the tone of the movie, as well as mom's place in it.
It seems negotiations are ongoing between the parties, even though we all know there is no cheating death - at least not in the long run (some runs are longer than others). Yet, most of us spend each day warding off the idea or simply assuming it's not our time. We also know most parents will go to any length to protect their kids and ease any pain they might have. A significant portion of this story is about dealing with grief. Julia Louis-Dreyfus mostly replaces her usual goofy grin with a look of stress and anguish. Facing reality, she's despondent right up until she is enlightened. The filmmaker inserts an insightful blip near the end about God/the afterlife, and the best message is that grief must be dealt with. At some point, we must 'get on with it' and understand that the legacy of loved ones is carried on in our memories. Daina Oniunas-Pusic shows us some real creativity on a familiar topic, and it's pretty impressive.
Opens in theaters on June 14, 2024.
Summer Camp (2024)
insulting and unfunny
Greetings again from the darkness. There is always space (and a need) for silly or mindless entertainment. But even that genre requires some skill and refinement, so as not to stoop to imbecilic. The Farelly brothers, the Monty Python troupe, Abrams & Zucker, and Mel Brooks all understood this when crafting a movie. Writer-director Castille Landon has been making movies for a while now, and it appears this concept has eluded her despite assembling her most well-known cast.
Camp Pinnacle was established in 1928 (according to the sign) and there is a group of young girls we see maneuvering through a traumatic first-time event for one of them who is not quite 11 years old. An older girl offers some very personal assistance, and a lifelong friendship begins among the three outcasts in Sassafras Cabin. Year after year, the girls return for a few weeks of camp shenanigans and bonding. We then jump ahead for the Camp's 50-year reunion (we assume this is 50-year reunion of the year these girls started attending and not 50 years for the camp itself, which would have put this at 1978).
Self-help guru (we don't use that word) Ginny Moon (Kathy Bates, Oscar winner MISERY, 1990) is the driving force behind organizing the reunion, and especially in getting her grown-up friends to attend. Mary (multi-Emmy winning Alfre Woodard) is a nurse, while Nora (Diane Keaton, Oscar winner ANNIE HALL, 1977) is a workaholic business owner. Personalities are quickly established. Ginny Moon has never married and rides around in a pink tour bus with her catchphrase, "Get Your S*** Together" plastered on the side. Mary is a talented nurse who is questioning her long marriage to her self-centered husband (Tom Wright). Nora is the type who uses her work as an excuse to avoid living a life.
Supporting roles are covered by Beverly D'Angelo, Betsy Sodaro, Josh Peck, Eugene Levy (as a love interest!), Dennis Haysbert, and Nicole Richie. There is really no reason to go in depth into what happens in this film. It seems obvious the filmmaker is hoping to capitalize on the success of recent films like BOOK CLUB and 80 FOR BRADY. The potential was certainly here, but the final product is simply insulting, belittling, and demeaning to women. Food fights and pillow fights may be camp staples, but inane dialogue and unbelievable situations and reactions make for painful viewing. Ms. Keaton, in particular, seems to mail in her performance with an overdose of her patented head shakes and sighs (and wardrobe). Ms. Bates and Ms. Woodard outclass her in every scene, with Ms. Woodard delivering the film's single best scene in her confrontation with her husband.
For years we have heard that the acting opportunities for older women are limited, and clearly there is an audience for stories about mature women. What's equally obvious is that these women deserve significantly better stories and better roles. Exploring the concept of finding one's self in life's later stages is a topic worth pursuing ... it's simply a concept that deserves better than this.
Opening May 31, 2024.
The Dead Don't Hurt (2023)
How was your war?
Greetings again from the darkness. It's fairly common for a film to open with a dramatic scene and then take us back for a period of time to show how the story arrived at this point. Of course, the other logical option would be to have that scene serve as the beginning of the story. What happens with this film is rare: The storytelling goes backwards AND forwards. We learn how the characters got to this point and we learn what happens after this moment. The person to thank for this is writer-director Viggo Mortensen. Highly regarded as an actor for years, Mortensen had one previous filmmaking project, FALLING (2020), which made the festival rounds.
Starring as Holger Olsen, Mortensen is a man trying to live a quiet life on the frontier in the 1860's. He spots lovely Vivienne (Vicky Krieps, excellent in PHANTOM THREAD, 2017) having a spat with her well off boyfriend, and very quickly she's drawn to Holger's flirtations. Her making the choice to leave a comfortable upper-crust life for a more challenging one with Holger, gives us a glimpse into the inner-strength and determination of this woman. Soon she is turning his dusty cabin into a home by cleaning, planting a garden, and adding touches of convenience ... such as they were 160+ years ago. And speaking of decisions, Holger makes a life-changing one when he decides to enlist to go fight in the Civil War. It's a decision she tries hard to talk him out of.
While he is soldiering, we learn much about the little town where Vivienne is stuck. A corrupt Mayor Schiller (the always smarmy Danny Huston) is in cahoots with his equally sleazy business partner Alfred Jeffries (Garret Dillahunt, NO COUNTRY FOR OLD MEN, 2007), as they work their master plan of getting rich at the expense of others. Alfred tries his best to control his combustible son, Weston (Solly McLeod), who takes his entitlement to sometimes violent extremes against those weaker than him. Weston takes a real interest in Vivienne, and despite her best efforts, things go wrong between them.
A few years pass and Holger returns. In a brilliant bit of acting and surgical dialogue, Vivienne asks him, "How was your war?" The two work to re-establish their relationship in the wake of the changes that have occurred. When that opening scene comes back around, Holger sets off on a journey for personal revenge. In addition to the two timelines mentioned above, we also get flashbacks (sometimes via dreams) of Vivienne's childhood. By this time, we understand Vivienne and Holger very well. 'Still waters run deep' is a passage that came to mind while watching, and it should also be noted that filmmaker Mortensen and cinematographer Marcel Zyskind (DALILAND, 2022 and a frequent collaborator with Michael Winterbottom) include some wonderful shots of waterfalls, rivers, mountains, and vistas ... the breathtaking shots we appreciate from the western genre. The film deliberately moves slowly (as the times dictate) and captures the hardships of living off the land, and the struggles of separation, yet it also addresses one man's vengeance as necessary before he can move on. We find ourselves not surprised that Viggo Mortensen the talented and intelligent actor is also Viggo Mortensen the talented and intelligent filmmaker.
In theaters May 31, 2024.
The Beach Boys (2024)
fun fun fun
Greetings again from the darkness. Casual fans of The Beach Boys music are attracted to the light-hearted and fun songs that are always good for a burst of feel-good energy. More attuned fans remain in awe of the intricate vocal harmonies ... rarely matched by other bands. Co-directors Frank Marshall and Thom Zimney have successfully presented the story of The Beach Boys without either over-the-top gushing or digging too deeply into the dirt.
By going all the way back to the childhood of the Wilson brothers, the film details how singing in the backseat of the family car began the transformation into a supergroup that changed pop music forever. Oldest brother Brian has always been accepted as the musical 'genius', while Carl was inspired to pick up a guitar after hearing Chuck Berry, and rebel Dennis played the drums almost out of necessity. Cousin Mike Love wrote many of the lyrics for Brian's music and became the band's lead singer, while good friend (and Brian's football teammate) Al Jardine's exceptional voice was a natural fit. We learn it was Al's mother who fronted the boys $300 to rent instruments after hearing them sing together (smart lady). We also learn that Murry Wilson (the boys' father) sold his business to manage the group towards gigs and their first record deal.
It's really that history - the foundation of the band - that is the most interesting aspect of the film. For the most part, it tracks chronologically through the album releases and tours, while emphasizing the importance of the band bringing beach culture to the masses. Hearing about their musical influences: The Four Freshman, Dick Dale, The Ventures, and Phil Spector, allows us to understand exactly how things progressed so quickly.
The filmmakers (with impressive music doc and music video backgrounds) mention but opt not to dwell on the darker aspects of the band's history. The commercial failure of "Pet Sounds" (now considered a masterpiece) played a significant role in Brian's emotional fade. Father Murry's inexplicable decision to sell off the band's publishing rights prevented any of them from reaching the financial status they deserved. As was commonplace for the time, drugs were detrimental to individual band members as well as the band's productivity. Deciding to pull out of the Monterrey Pop Festival (no real explanation given) resulted in the band becoming irrelevant for a few years. Mike Love sued the band for songwriting credits, creating a huge rift. These points, along with Dennis' happenstance involvement with Charles Manson, are all mentioned yet given no real depth ... which is fine for a documentary working so hard to stay positive.
As a conclusion, Capital Records' release of the double-album "Endless Summer" injected new life and popularity into the band (getting them past that earlier 'rivalry' with The Beatles), and the finale is a shot of a recent reunion with surviving band members Brian Wilson, Mike Love, Al Jardine, and Bruce Johnston at Paradise Cove ... with no insight into what was discussed.
The film begins streaming on DISNEY+ on May 24, 2024.
Atlas (2024)
barely watchable
Greetings again from the darkness. My goal is to give every movie a fair shake, and to seek out the best elements even when a film disappoints. I don't recall a time when this goal has been more difficult to achieve than after watching this latest from director Brad Peyton (San Andreas, 2015) and co-writers Leo Sardarian ("StartUp"), Aron Eli Coleite ("Locke & Key").
Jennifer Lopez stars as Atlas Shepherd, a brilliant government analyst and expert on AI, especially on Harlan (Simu Liu, BARBIE), ominously deemed the world's first AI terrorist. We know Atlas is smart because she has a chess winning streak against the computer and she wears black frame eyeglasses. After an opening which features Earth in peril, we flash forward 28 years, where it's evolved into "good AI" versus "evil AI". Don't worry, Atlas is on the side of good, despite her constantly frazzled state (with perfect hair) and the personal (emotional) baggage she carries with her.
After years of searching, Atlas discovers the location for Harlan, and General Boothe (Mark Strong, character actor extraordinaire) forms a team led by Colonel Elias Banks (Sterling K Brown, AMERICAN FICTION, 2023) to capture Harlan so his CPU can be studied. Of course, the mission doesn't go as planned and by the end, I was wondering which racked up the most points: explosions or Ms. Lopez's cringy acting moments. Terrible punchlines regarding a running coffee gag placed third in the competition. Since I admittedly search for positives in every movie, let's go with Simu Liu's unusual blue-eyed effect, the tight pants on Agent Atlas, and giant robotics that look like the one that went rogue in ROBOCOP (37 years ago). Apologies, but that's the best I can do for this one, other than to say we have an early Razzie frontrunner.
On Netflix beginning May 24, 2024.
The Fall Guy (2024)
gosling and blunt charm
Greetings again from the darkness. Today's CGI and special effects can be stunning and awe-inspiring, and clearly movie audiences have come to embrace this approach as evidenced by the success of Star Wars and superhero franchises, as well as plenty of other blockbusters over the past couple of decades. In contrast, stuntman-turned-director David Leitch (BULLET TRAIN, 2022, ATOMIC BLONDE, 2017, JOHN WICK, 2015) and screenwriter Drew Pearce (MISSION: IMPOSSIBLE - ROGUE NATION, 2015) have delivered a throwback by adapting the TV series from creator Glen A Larson, which ran for 112 episodes in the 1980's.
Two key players from last year's "Barbenheimer" box office rivalry, Ryan Gosling and Emily Blunt, are the featured players here as Colt Seavers and Jody Moreno. Colt is a renowned stuntman and Jody is a camera operator and aspiring film director. When we first see them on set, Colt is preparing for a dangerous stunt as a double for mega-action film star Tom Ryder (Aaron Taylor-Johnson, BULLET TRAIN). Between shots, Colt and Jody are expounding on their previous flirtations and making plans for the future. The stunt goes wrong. Colt is rushed to the hospital and the film flashes forward 18 months to find Colt working a menial non-stuntman job, and Jody directing her first film, METALSTORM, a sci-fi action thriller.
Jody's directorial debut also stars Tom Ryder and is produced by fast-talking producer Gail Meyer (Hannah Waddingham, "Ted Lasso"). Gail draws Colt out of retirement and back to the set under false pretenses. Of course, sparks fly again between Colt and Jody, but Gail's ulterior motive is for Colt to track down the missing Tom Ryder. So, let's stop here and chat about this movie for a moment. First of all, it's rare action-comedy-romance-mystery film. It also offers a peek at the structured chaos of a movie set, as well as the diverse personalities of actors, crew, and producers. Possibly what it does best is shine a spotlight on the stunt crew, noted here as the unsung heroes. There is even a crack about there not being an Oscar for stunt work (a topic that's been debated and discussed at the Academy).
The film certainly benefits from the charisma and talent of Gosling and Blunt, both of whom were nominated for Oscars last year. And Leitch's film also deserves credit for being an ode to action movies and a love letter to stunt performers. But let's face it ... the story here is pretty thin and seems to exist only to provide a reason for the stream of ideas designed to take advantage of Gosling and Blunt and a few other gags. Drugs that cause unicorn sightings, a running joke about a cup of coffee, a "Miami Vice" jacket, a dog that responds only to French commands, and some 'on the nose' music - and familiar sound effects from "The Six Million Dollar Man" all add to the nostalgic feel (along with a Wilhelm scream). And while I join many movie-goers in sharing Colt's desire to "beat the ____ out of Aaron Taylor-Johnson's character", I'll admit to finding some joy in Tom Ryder riffing on Matthew McConaughey.
The extended version I saw featured an additional 20 minutes to the theatrical version, and it appears most of it was for one particular fight scene being filmed in Jody's movie. Supporting work seemed a bit sparse for the talented Stephanis Hsu (EVERYTHING EVERYWHERE ALL AT ONCE, 2022), Winston Duke (BLACK PANTHER, 2018), and Teresa Palmer (BERLIN SYNDROME, 2017). What wasn't sparse was the number of adrenaline-pumping stunts and explosions. Those segments were big fun and a welcome answer to the recent barrage of CGI/Special Effects blockbusters. This one has a throwback feel that bathes us in nostalgia at times, recalling the wild films of Burt Reynolds and Indiana Jones. There is even a late scene featuring the two lead actors (Lee Majors, Heather Thomas) of the old TV series. Whatever you do, stick around for the closing credits to get a look at the actual process behind the stunts included in the film ... educational and full of wow factor.
Now showing in theaters and available on Digital.
Clodagh (2024)
internal conflict
Greetings again from the darkness. No dialogue is spoken for the first two minutes, which is significant when you note this is a 16-minute Short Film. That first couple of minutes features Mrs. Kelly (Brid Ni Neachtain, THE BANSHEES OF INISHERIN, 2022) diligently going about her business as housekeeper and assistant for a rural Irish priest. As she polishes shoes, vacuums the church, and scrubs the tub, it's clear Mrs. Kelly is a woman of faith and structure.
Though we are a bit surprised to learn Mrs. Kelly also runs a dance school, it's no shock when she initially blocks a new student from entering the class since the proper paperwork hasn't been completed. "We'll have no Dallas, Texas here", Mrs. Kelly sternly informs the young girl as she wipes away the glitter make-up. This new student is Clodagh (Katelyn Rose Downey, THE NUN II, 2023), and she unwittingly awakens something in both Mrs. Kelly and her fiddle player, Mr. Hickey (Jim Kitson).
This is the fourth short film from writer-director Portia A Buckley, and the script is co-written by Michael Lindley (TWIST, 2021). The film expertly sets up the internal conflict that plays out as commitment and dedication versus inspiration and passion. This little gem is making the festival rounds, including Tribeca in June 2004.
The Blue Angels (2024)
Happy to be Here
Greetings again from the darkness. My preferred method of movie watching means no trailer to set the stage prior to the lights dimming. Sometimes this leaves my assumptions a bit off-track, which can result in either a pleasant surprise or a bit of disappointment. Acknowledging that The Blue Angels seem tailor-made for an IMAX presentation, I was prepared for a combination of cool photography and a history lesson. The surprise here was that filmmaker Paul Crowder (probably best known as the Editor for Ron Howard's 2017 Beatles documentary) chose to only dabble in the history and instead focus on a single performance season of one team.
Without a doubt, the camera work is spectacular and takes full advantage of the IMAX screen. Some of the shots are breathtaking, and yet the awe generated by the actual technical maneuvers performed (regularly) by the team somehow eclipses what would otherwise be more than enough to keep us engaged. Crowder takes us into the prep room as the new team members study techniques that if performed incorrectly, could result in death. Six Navy and one Marine pilot make up each team, and these pilots enter as well-trained and then take it up a notch.
We do learn The Blue Angels were established in 1946 by Chief of Naval Operations, Admiral Chester Nimitz, a Commander of Allied forces during WWII. His original mission for the team remains in place today. The Blue Angels are really a marketing device with a dual purpose: to convince taxpayers that their money is well spent and to motivate youngsters to pursue a career as a Navy pilot. Yes, it's every bit the recruiting tool of the TOP GUN movies, as The Blue Angels perform 60 aerial shows for hundreds of thousands of spectators around the country each year. If you are curious, this year's budget for The Blue Angels is $36 million straight from the Department of Defense by way of tax dollars. You might ask if that's a legitimate use of defense funds, but this movie is not going to answer that or even address it.
The behind-the-scenes and up-close analysis of the pilots and the program is quite impressive, and a hierarchy exists, as one would expect in the military. They are now flying Boeing F/A 18E/F Super Hornets, and the precision involved with their aerial maneuvers is mind-boggling. I won't give it away other than to say inches are involved at 400 mph, making these visuals look like something out of a video game, rather than the actual sky with actual jets and actual pilots. While we aren't allowed much insight into the maintenance of the jets, Crowder does emphasize how many are included on the total team. We learn about the 28 deaths that have occurred in the program over the years, and the final act revolves around the selection of the new team (including the first woman, Lt. Amanda Lee) and the transition of leadership. Like the flying, it's all very precise. One thing becomes quite clear, they are all ... "happy to be here."
THE BLUE ANGELS is playing for one week at IMAX theaters through May 23, 2024, and streaming on Prime Video beginning May 23.
The Idea of You (2024)
May-December for Mommy
Greetings again from the darkness. You'd be forgiven, and I ask for that same forgiveness, if a cringey look of pain comes across the face every time a new Rom-Com is announced. Most in this genre are filled with lame dialogue and absurd love connections. Cautious hope springs when writer-director Michael Showalter (THE BIG SICK, 2017) and co-writer Jennifer Westfeldt (FRIENDS WITH KIDS, 2017) adapt the 2017 novel by Robinne Lee. Mr. Showalter, especially, has proven his approach leans into sensitivity, rather than over-cooked romanticism.
Oscar winner Anne Hathaway stars as Solene, a recently divorced mother celebrating her 40th birthday. She owns an art gallery in ultra-hip Silver Lake, and has a close relationship with her teenage daughter Izzy (Ella Rubin). When her ex (Reid Scott) breaks yet another commitment, Solene agrees to take Solene and her friends to the Coachella Music Festival. The meet-cute occurs as Solene searches for a bathroom and ends up meeting Hayes Campbell (Nicholas Galitzine), a 24-year-old pop star who performs with a popular boy band called August Moon.
The two make goo-goo eyes at each other, and after Hayes sings a song just for Solene, a whirlwind romance begins ... against all the good judgment she can muster. Great sandwiches, art purchases, and a pricey watch left behind all play a role in the development of this relationship. Soon, Solene is dropping Izzy at Summer Camp and hopping a private jet to join Hayes (a Harry Styles stand-in) for the European leg of August Moon's tour. It's all a bit predictable and expected, however Hathaway and Galitzine are strong enough to prevent the film from sinking into muck.
As you would guess, fame and celebrity are not an easy adjustment for a grounded single mom, no matter how much she enjoys the May-December benefits. Contrary to what we hear these days, going viral is not for everyone, and the complications are almost too much for Solene. To his credit, Hayes is not a typical twenty-something icon, and he works to figure out a relationship infinitely more complex than the nightly groupies that surround him and his bandmates.
Many will dwell on the age discrepancy between Solene and Hayes, but what elevates this one is the reality of the choices faced by parents - their own fun versus what's best for their children. Being called Yoko 2.0 is a brilliant take by the writer, but it's a painful moment for an good-hearted mom. Of course, some of the dialogue here does qualify as rom-com drivel, and the him vs her lipstick battles are distracting, but for the most part, the actors and Showalter keep us interested in the human aspects of a tangled web.
Begins streaming on Prime Video on May 2, 2024.