ferguson-6
Joined Jul 2000
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Greetings again from the darkness. Show or tell ... films tend to lean one direction or the other. Visuals are obviously the key to the popularity of superhero movies and comic book adaptations, while on the other end of the spectrum we have 'Mamet-speak.' David Mamet is a Pulitzer Prize winning writer who has been nominated for Oscars, Tonys, and Emmys. Best known for his rapidly-paced labyrinthian dialogue, Mamet is known for both his stage and screen projects.
His 1976 play "Sexual Perversion in Chicago" was adapted into the film, ABOUT LAST NIGHT (1996), while possibly his best known stage-to-screen adaptation was GLENGARRY GLEN ROSS (1992), which was directed by the recently deceased James Foley). Other well-known Mamet screenplays include THE POSTMAN ALWAYS RINGS TWICE (1981), THE VERDICT (1982), THE UNTOUCHABLES (1987), WAG THE DOG (1997) and HANNIBAL (2001). Mamet has also directed some of his own screenplays: HOMICIDE (1991), THE SPANISH PRISONER (1997), and STATE AND MAIN (2000). I also must mention one of my favorites, his underappreciated 1987 film, HOUSE OF GAMES.
Since it's been about 17 years since he last directed a feature film, it seemed fitting to post a bit of a David Mamet history lesson. For this one (he again adapted from one of his plays), he directs a small cast working with an enormous script of dialogue. There are basically four sequences, the middle two combine for Act II. A mesmerizing 23-minute opening sequence finds Mr Barnes (Chris Bauer, "True Blood") in a rapid-fire debate with his employee, the titular Henry (Evan Jonigkeit, wearing what I believe to be Mamet's eyeglasses). The conversation is two-sided as the men discuss the finer points of the law, among other things - including a decision Henry made regarding an old friend. As the scene ends, we viewers and Henry get a big surprise from Barnes.
The next two sequences find Henry taking in the philosophy and life lessons from his cell mate Gene (Shia LaBeouf). This follows Barnes' comment from earlier when he reminded that one of the signs of a psychopath is immense charm. Henry is clearly taken in by all Gene has to offer - both in their cell and in the prison library, as they analyze the role of fear and other crucial lessons that master manipulator Gene is inclined to share. The final sequence is a tense standoff with an armed Henry holding prison guard Jerry (Dominic Hoffman, Mamet's REDBELT, 2008). Again, we find someone offering advice and counseling to Henry, who seems mostly capable of being taken advantage of and making poor decisions. Henry tells him, "Do what you want - people generally do." And I do hope Mamet lovers will check this one out and bask in the Mamet-speak that we are too rarely treated.
Available VOD beginning May 9, 2025.
His 1976 play "Sexual Perversion in Chicago" was adapted into the film, ABOUT LAST NIGHT (1996), while possibly his best known stage-to-screen adaptation was GLENGARRY GLEN ROSS (1992), which was directed by the recently deceased James Foley). Other well-known Mamet screenplays include THE POSTMAN ALWAYS RINGS TWICE (1981), THE VERDICT (1982), THE UNTOUCHABLES (1987), WAG THE DOG (1997) and HANNIBAL (2001). Mamet has also directed some of his own screenplays: HOMICIDE (1991), THE SPANISH PRISONER (1997), and STATE AND MAIN (2000). I also must mention one of my favorites, his underappreciated 1987 film, HOUSE OF GAMES.
Since it's been about 17 years since he last directed a feature film, it seemed fitting to post a bit of a David Mamet history lesson. For this one (he again adapted from one of his plays), he directs a small cast working with an enormous script of dialogue. There are basically four sequences, the middle two combine for Act II. A mesmerizing 23-minute opening sequence finds Mr Barnes (Chris Bauer, "True Blood") in a rapid-fire debate with his employee, the titular Henry (Evan Jonigkeit, wearing what I believe to be Mamet's eyeglasses). The conversation is two-sided as the men discuss the finer points of the law, among other things - including a decision Henry made regarding an old friend. As the scene ends, we viewers and Henry get a big surprise from Barnes.
The next two sequences find Henry taking in the philosophy and life lessons from his cell mate Gene (Shia LaBeouf). This follows Barnes' comment from earlier when he reminded that one of the signs of a psychopath is immense charm. Henry is clearly taken in by all Gene has to offer - both in their cell and in the prison library, as they analyze the role of fear and other crucial lessons that master manipulator Gene is inclined to share. The final sequence is a tense standoff with an armed Henry holding prison guard Jerry (Dominic Hoffman, Mamet's REDBELT, 2008). Again, we find someone offering advice and counseling to Henry, who seems mostly capable of being taken advantage of and making poor decisions. Henry tells him, "Do what you want - people generally do." And I do hope Mamet lovers will check this one out and bask in the Mamet-speak that we are too rarely treated.
Available VOD beginning May 9, 2025.
Greetings again from the darkness. Purchasing a home is often called 'The American Dream.' For Josh and Rachel, it's even more special when their son, 6-year-old Max, refers to their new place as "a mansion". Sometimes (especially in movies) dreams turn into nightmares, and that's exactly what happens in this film from writer-director Jason Buxton (his first feature since his debut BLACKBIRD, 2012). Adapted from the short story by Russell Wangersky, this film is billed as a psychological thriller - which it is, yet it's also an enigmatic character study.
Ben Foster (HELL OR HIGH WATER, 2018) plays Josh. Only this isn't the Ben Foster we've come to expect. His usual high-intensity and simmering danger-on-edge is replaced by a mild-mannered man who is even a bit meek whether dealing with his wife or the new manager he once trained at work. Cobie Smulders (Maria Hill in the Marvel Universe) plays his wife Rachel, and their first night in the new house leads to one of the worst cases of coitus-interruptus in history. A car tire comes flying through the living room window just after the loud crash of a car hitting the tree in their front yard. The horrific wreck leaves a young man dead, and the family stunned.
As you might have guessed from the film's title, their new home is located on a dangerous curve. The only warning sign for drivers is mostly blocked by overgrown vegetation. Josh's reaction to the wreck amplifies his struggles at work, while also creating tension with Rachel. He wants to talk about it, and she wants to ignore it. A second wreck has Josh trying to comfort the driver. The wreck convinces Rachel it's time to move, while it simultaneously convinces Josh he could have saved the man's life. Clandestine CPR lessons follow, while family therapy exposes all we need to know.
Rather than a curve, Josh and Rachel come to a fork in the road ... and take different paths. While Josh becomes obsessed with waiting for the next wreck so he can save a life. Rachel simply wants to protect herself and her son, and avoid the obsessed Josh. He's a man who desperately wants to be a savior to strangers, when the best thing he could be is a father/husband. Foster's performance is unlike anything we have seen from him, and it can't help but make us feel uneasy. Director Buxton gives us an early sneak peek at the curve, but mostly we are confused as to why a speed bump or protective/reflective barrier hasn't been installed. Sometimes a movie leaves us feeling like it should have been more interesting, more entertaining, ... more something ... than it was. Foster keeps us watching, yet the whole thing feels a bit hollow.
Opens in select theaters and VOD on May 9, 2025.
Ben Foster (HELL OR HIGH WATER, 2018) plays Josh. Only this isn't the Ben Foster we've come to expect. His usual high-intensity and simmering danger-on-edge is replaced by a mild-mannered man who is even a bit meek whether dealing with his wife or the new manager he once trained at work. Cobie Smulders (Maria Hill in the Marvel Universe) plays his wife Rachel, and their first night in the new house leads to one of the worst cases of coitus-interruptus in history. A car tire comes flying through the living room window just after the loud crash of a car hitting the tree in their front yard. The horrific wreck leaves a young man dead, and the family stunned.
As you might have guessed from the film's title, their new home is located on a dangerous curve. The only warning sign for drivers is mostly blocked by overgrown vegetation. Josh's reaction to the wreck amplifies his struggles at work, while also creating tension with Rachel. He wants to talk about it, and she wants to ignore it. A second wreck has Josh trying to comfort the driver. The wreck convinces Rachel it's time to move, while it simultaneously convinces Josh he could have saved the man's life. Clandestine CPR lessons follow, while family therapy exposes all we need to know.
Rather than a curve, Josh and Rachel come to a fork in the road ... and take different paths. While Josh becomes obsessed with waiting for the next wreck so he can save a life. Rachel simply wants to protect herself and her son, and avoid the obsessed Josh. He's a man who desperately wants to be a savior to strangers, when the best thing he could be is a father/husband. Foster's performance is unlike anything we have seen from him, and it can't help but make us feel uneasy. Director Buxton gives us an early sneak peek at the curve, but mostly we are confused as to why a speed bump or protective/reflective barrier hasn't been installed. Sometimes a movie leaves us feeling like it should have been more interesting, more entertaining, ... more something ... than it was. Foster keeps us watching, yet the whole thing feels a bit hollow.
Opens in select theaters and VOD on May 9, 2025.
Greetings again from the darkness. Fourteen years spent teaching advanced degree architectural students at Columbia led to her being denied tenure, so Ada Karmi-Melamede did what any self-respecting and incredibly talented architect would do ... she quit the job and bet on herself. It's a bet that has resulted in numerous high-profile projects in her homeland, Israel.
Ada's story would likely remain an untold secret if not for her daughter, Yael Melamede. Yael directs the film, but more importantly, masterfully directs her mother Ada into opening up about her life and career. It's not an easy path for either woman, as Ada left her family to pursue her own career and passion for architecture, a step much more common for fathers than mothers.
To quell any doubts as to whether this is just a family member attempting to create publicity, or whether Ada's work is deserving of such a tribute, one need only view some of her most famous projects: the Supreme Court of Israel, the Ben Gurion Airport, and the Open University of Israel. And beyond that are her contributions to New York: a master plan for Con Edison and a housing competition on Roosevelt Island. Should you need more, we see accolades from famed architects Frank Gehry, Keith Frampton, and Mose Sofdie. Despite her lack of widespread acclaim, Ada Karmi-Melamede is truly one of the most accomplished architects in the world.
Adding intrigue, this documentary is not just about a talented architect. There is also the personal element which finds a grown woman striving to find connection with her mother ... a mother who admittedly didn't possess typical motherly attributes. One is a woman who longs to know more, while the other is a woman who tends to balk at saying much about herself, her life, or her reasons. Seeing the defensiveness fade away is quite something, and a tribute to daughter Yael for encouraging the connection. We learn much about her childhood, the family, the influences, and the life each had without the other.
Ada is most comfortable talking about her profession. Her pencil versus computer segment strikes a chord, and when she reacts to a tour guide's description of her work, the moment is priceless. We begin to understand her passion when she discusses the Parthenon, and the shots of her own projects leave no doubt as to her influence. Ada's feelings on current Israeli politics are crystal clear, and the segment on "Time" provides a life lesson for everyone.
Opens in NYC on May 9, 2025, and in LA on May 15, 2025.
Ada's story would likely remain an untold secret if not for her daughter, Yael Melamede. Yael directs the film, but more importantly, masterfully directs her mother Ada into opening up about her life and career. It's not an easy path for either woman, as Ada left her family to pursue her own career and passion for architecture, a step much more common for fathers than mothers.
To quell any doubts as to whether this is just a family member attempting to create publicity, or whether Ada's work is deserving of such a tribute, one need only view some of her most famous projects: the Supreme Court of Israel, the Ben Gurion Airport, and the Open University of Israel. And beyond that are her contributions to New York: a master plan for Con Edison and a housing competition on Roosevelt Island. Should you need more, we see accolades from famed architects Frank Gehry, Keith Frampton, and Mose Sofdie. Despite her lack of widespread acclaim, Ada Karmi-Melamede is truly one of the most accomplished architects in the world.
Adding intrigue, this documentary is not just about a talented architect. There is also the personal element which finds a grown woman striving to find connection with her mother ... a mother who admittedly didn't possess typical motherly attributes. One is a woman who longs to know more, while the other is a woman who tends to balk at saying much about herself, her life, or her reasons. Seeing the defensiveness fade away is quite something, and a tribute to daughter Yael for encouraging the connection. We learn much about her childhood, the family, the influences, and the life each had without the other.
Ada is most comfortable talking about her profession. Her pencil versus computer segment strikes a chord, and when she reacts to a tour guide's description of her work, the moment is priceless. We begin to understand her passion when she discusses the Parthenon, and the shots of her own projects leave no doubt as to her influence. Ada's feelings on current Israeli politics are crystal clear, and the segment on "Time" provides a life lesson for everyone.
Opens in NYC on May 9, 2025, and in LA on May 15, 2025.