Thursday, February 6, 2025

Top 10 Biopics (Season 21-30)

 

Sherman J. Pearson here for another Top 10. This round, I will finish up my Top 10 lists of the biopics of the first 30 seasons in LRF history, covering Seasons 21-30 this time around.

Top 10 Biopics (Season 21-30)
10. Knievel
9. The House of Romanov
8. Believe It or Not!
7. Starkweather
6. Harvard Psychology
5. AKA Billy the Kid
4. The Producer
3. Caesar Part II
2. Caesar Part III
1. Judas Iscariot

Release: A Tale of Love and Darkness

 

A Tale of Love and Darkness
Genre: Drama
Director: Alex Conn
Writer: Alex Conn
Based on the book by Amos Oz
Cast: Carey Mulligan, Michael Stuhlbarg, Jude Hill, F. Murray Abraham, Fred Melamed, Louis Chaplin Moss





Budget: $21,000,000
Domestic Box Office: $5,011,667
Foreign Box Office: $4,490,333
Total Profit: -$25,590,094

Reaction: There's not much to say about this one. It failed to find a sizable audience anywhere across the globe, becoming a rare film to lose more money than its initial production budget.




"Alex Conn’s adaptation of a culturally significant memoir, previously done well recently in 2015, takes the perspective of a child witnessing chaos they can't fully grasp. Unfortunately, the story lacks intrigue, the characters feel underdeveloped, and the film’s message remains muddled (if not lazily preachy to some). Carey Mulligan stands out as a bright spot, but her early exit leaves the film adrift." - Jason Helm, New York Observer


"I did not like the approach taken in this film, especially with it being so relevant today. To start off with the casting for me is off. The jumping back and forth in years also took me out of the film even further. This was definitely not for me." - J. Darrell Ellington, Behind the Camera




"Despite a brisk run time, A Tale of Love and Darkness feels bloated and unfocused. Writer/Director Alex Conn seems lost in Amos Oz's memoir, struggling to craft a compelling narrative from its deeply personal reflections, instead relying on clunky exposition, heavy-handed political messaging, and long-winded monologues. Carey Mulligan is left adrift in a poorly developed role, while the child actors as Oz himself at different ages never register. Instead of an actual story, we are given a series of disconnected vignettes that lack cohesion or genuine emotional impact, generating more eye rolls than tear drops." - Dave Manning, Ridgefield Press









Rated R for thematic material, depictions of suicide, and brief scenes of war violence






Wednesday, February 5, 2025

Fact to Film: A Tale of Love and Darkness

 

For the latest edition of Fact to Film, the second just this round, we will take a look at some of the cast of A Tale of Love and Darkness, an adaptation of Israeli intellectual Amos Oz's memoir about his childhood from writer/director Alex Conn (The Actors, Free the Chicago Seven!).








Now Showing: A Tale of Love and Darkness

 

A Tale of Love and Darkness
Genre: Drama
Director: Alex Conn
Writer: Alex Conn
Based on the book by Amos Oz
Cast: Carey Mulligan, Michael Stuhlbarg, Jude Hill, F. Murray Abraham, Fred Melamed, Louis Chaplin Moss

Plot: The film opens with some text about Mandatory Palestine: In 1923 Mandatory Palestine was established. Through that time there were clashes between the Arabs and the Jews. There was a Zionist fervor especially during and after World War 2 to start an independent Israel.

The film starts then with Fania Klausner (Carey Mulligan) birthing their first child in Mandatory Palestine in 1939. She screams in pain as he delivers. Blood is all over the place. Yehuda (Michael Stuhlbarg) is there to comfort her. The umbilical cord is cut. They decide to name their child Amos.

The film cuts to 7 years later.

Fania and Yehuda are studying history together as they are raising Amos (Louis Chaplin Moss). When they get home they see young Amos grabbing a book and they are impressed.

After dinner Fania and Yehuda are teaching their son how to read Hebrew. Amos is struggling but getting it slowly.

Amos goes to his room while his parents are discussing the potential beginning of Israel. Yehuda is excited about the prospect as Amos will be able to finally fully express his Jewish identity but Fania who isn’t necessarily opposed to the Jewish state says what about our Arab friends. Yehuda says he’s sure there’s going to be a deal to help the Arabs.

Fania goes to Amos’ room to check on him as he is about to sleep. Amos asks what Israel is. Fania says that’s an adult conversation that they will have when he’s older. Amos asks again and Fania references the Torah and the references to Jerusalem and how Jerusalem in an independent Israel is supposed to be a paradise for Jews everywhere. Where Jews after centuries of oppression and the Holocaust can live happily and the Arabs will have a state of their own.

We see shots of an imaginary Jerusalem in Independent Israel and Fania is narrating talking about how wonderful it will be for Amos’ future and for the future of the Jewish people.

In this utopia Amos will be free and will embrace being Jewish proudly.

There is a dinner party with many of Yehuda and Fania inviting many of their dinner guests. They are all pleased with the progress to an independent Israel. A man named Schlomo (Fred Melamed) discusses the ruthless antisemitism that he faced in Eastern Europe and how he, like many Jews came to Mandatory Palestine for hope to come to the promised land that was promised to the Jews and now there’s a chance that independent Israel will be a thing. Fania asks Amos to come and say hi to their guests. A shy Amos says hi. Fania discusses how Schlomo was telling her earlier about his time working on a kibbutz. Schlomo says it was the best time of my life. It really helped me define who I wanted to be and from a boy to a man. Fania says cheers to that and Amos goes back to bed.

On November 20th 1947 Amos and his family as well as other people from the neighborhood gather around the radio to hear about the beginnings of Israel. We see a parade of Israeli flags and people celebrating.

Those visions of a beautiful utopian Israel with everyone living in harmony reappear in the film. Amos goes to sleep with a smile on his face.
Amos is getting up the next day and Fania is having a panic attack. Amos’ dad is trying to comfort her. She is having a panic attack and she is saying incomprehensible things.

The next day she is picking up a prescription for anti anxiety medication and sleeping pills. Fania says that she needs them as she’s been having panic attacks and is unable to sleep. She is given Phenobarbital and Chloral Hydrate.

Amos asks Fania why she had the panic attack last night and Fania just says mommy was very sick and now these pills are going to make mommy better. Amos accepts the explanation and goes back to reading.

Civil war breaks out between the Arabs and the Jews and Yehuda enlists in the army to fight in the war. Both Amos and Fania beg Yehuda to stay and not fight but Yehuda says that he is fighting the same antisemitism that killed our family members.

Fania explains to him since she says he’s old enough now. The Arabs and the Jews are at war. Amos asks why they hate each other as we have Arab friends. Fania explains the Jews and the Arabs are really victims of the same abusive father which is Europe who has harmed both the Muslims and the Jews. Instead of uniting the Arabs and the Jews see their father in the other.

The next day Fania is crying her eyes out. She yells and screams that Schlomo is dead she is screaming and crying in grief and pain
Fania attends a Zionist meeting and at the Zionist meeting they have the speaker Omri Levi (F. Murray Abraham). Omri Levi loudly talks about how they have been nice to the Arabs for far too long. This is the promised land to the Jews and we’ve been tolerant of them.

Fania comes home angry. Fania says we’re in grave danger and it’s the Arabs they are going to kill your father. Amos starts getting scared but also tries to calm his mother down.

The film cuts to four years later in 1951. Fania is screaming and crying. Yehuda who is home from war now and there is an Israeli flag flying outside their house.
Fania is in front of a mirror taking a bunch of antidepressants. We then cut to Amos (Jude Hill) who is 14 years old now and asking Yehuda why Fania is acting weird for the past few years. He explains that his mother has always had depression but due to things like the death of Schlomo.

Yehuda and Amos go upstairs to find the overdosed and dead body of Fania. Yehuda who knows CPR tries to revive her but fails and they no both cry.

When Yehuda and Amos are having dinner mainly silently except for Yehuda trying to make conversation with Amos.

Amos on the walk to school sees an Arab child screaming for help but the IDF soldier drags him away and apologizes for the Arab bothering you.

There is a funeral for Fania and Yehuda discusses in his speech Fania’s vision for an independent Israel and her vision of her beloved son Amos growing up there in a society where his Jewishness was something he could embrace unlike how she grew up. Yehuda discusses this as something Fania viewed as her dream and her dream is finally being realized.

Yehuda goes home and says it was wonderful to see so many people at this service including Omri. Amos is quiet and he tells the story of the young Arab boy who was begging for help and the IDF soldier arrested him. Yehuda says that that’s the security protocol we have to do. If the Arabs don’t like it then why did they slaughter Jews when all the Jews wanted was their own country. The country that is going to be your homeland.

We then cut to Amos having a flashback to when Fania suggested that he join a kibbutz when he’s older. Amos brings this up to Yehuda and Yehuda patently rejects the idea but says maybe when you’re older.

Amos goes to visit Kibbutz Hulda which is the nearby kibbutz and he says that he is interested in joining. The representative says they are always interested in new workers. Amos says he’s interested and he will be back.

Amos writes a letter and tells Yehuda in the letter he’s in a better place but does not reveal fully where he will go to. Amos leaves for the kibbutz as we cut back and forth to Omri Levi having an ultranationalist Zionist speech about how Israel is the land of the Jews not the Arabs before a flag of Israel takes over the screen. 


Tuesday, February 4, 2025

In Development

 
Gargoyles: A Tale Old as Time: More familiar faces are set to return to the world of Gargoyles with Melissa George (Captain America, Carpenter) back as Demona and Josh Pence (Lost Planet, Gargoyles) back as Owen Burke. One new face to the action-fantasy world will be Iain Glen (Norse: Valhalla, Green Arrow 2: Hunters) who has been cast as MacBeth in the film. Gore Verbisnki directs from a script by Wesley Campbell. HG Hansen produces.

Love, Death, Revolution: Madelaine Petsch (Batgirl, Bunker 17), Cameron Monaghan (Gamera, Flames) and Rosamund Pike (X-Men: Hellfire, Zero Hour) have all signed on to the French Revolution romance starring Kiernan Shipka and Joseph Quinn. Monaghan will play a young revolutionary, Petsch will play his sister, while Pike will play the mother of Shipka's character. Garth Davis is in the director's seat, working from a script by Ben Collins.

Phantasm: Awakening: After an extensive worldwide search, Canadian character actor Christopher Heyerdahl ("Van Helsing", Togo) have been cast as the famed Tall Man in this new reboot of the Phantasm film franchise. As the villain of the film, the Tall Man controls an army of otherworldly slaves derived from the corpses of humans. Also joining the film will be Lulu Wilson (The Wrath of Becky, Planet LV 426) as female lead, a teenager with a psychic connection to the events of the story. David Robert Mitchell is directing the film alongside JJ Abrams as producer. John Malone and Roy Horne teamed up for the first time on the script.

Captain America: Winter's End: Glen Powell (Wolfenstein, Gears of War 2), Willa Fitzgerald (Captain America, Resident Evil 3) and Paul Mescal (Solace, The Beauty) are all set to be back as Steve Rogers / Captain America, Sharon Carter, and James Buchanan Barnes in an upcoming sequel to Captain America. This film, subtitled Winter's End, will feature Barnes being used as a brainwashed assassin by a rogue Hydra agent who has taken over a small South America island to use as the base of operations for an attack against SHIELD. Tom Burke (Crowley, Furiosa) has already been announced as the primary villain, Baron Zemo. Peter Berg (Captain America, Rainbow Six) is back as director for this Marvel Universe production, once again working from a script by D.R. Cobb (Captain America, Wonder Woman: Labyrinth).

Mr. Happy: Jesse Plemons (The Life Survey, Gas Bar Blues) has been cast in the lead role in Mr. Happy where he will play a depressed man who hires a hitman to kill him just before he meets a young woman who reignites his will to live. Adele Exarchopoulos (Shatterhand, Batman: Knightfall) will play that woman. Huro Mirai ("Atlanta", Guava Island) will direct the film from a script by Wyatt Allen (The Life Survey, A German Tragedy).

Escape: Reese Witherspoon (Saving Yemen, Idlewild Ranch) is set to star in the lead role in a film based on the life of Carolyn Jessop, a woman who fled with her children from their lives in the cultish confines of the Fundamentalist Mormon Church. Harrison Ford (Willamette), Al Pacino (The Scam of Success, Broadway), and Jade Pettyjohn (Guy on the Fly, Written By Jason) have also all signed on to the film. Ford will play Carolyn's commanding husband, Merrill. Pacino will play the leader of the church, Rulon Jeffs. Pettyjohn, meanwhile, will play Carolyn's oldest daughter who has been promised as the newest wife of Jeffs, which prompts the escape of the title. David Fincher (The Dogs of Winter, Heights) has agreed to direct the film, which been penned by Lon Charles (The Diplomat, Starkweather).

Release: Songbird

 

Songbird
Genre: Biography/Drama/Music
Director: Cameron Crowe
Writer: Diane Esposito
Cast: Taylor Swift, Paul Dano, Josh O'Connor, Anna Camp, Jared Keeso, Tom Hughes, Frank Dillane, Finn Wittrock, Ebon Moss-Bachrach, Victoria Pedretti, Carina Battrick





Budget: $44,000,000
Domestic Box Office: $105,904,484
Foreign Box Office: $55,235,904
Total Profit: $58,489,296

Reaction: It seems like the Taylor Swift effect worked out for us like it does for the TV ratings of Kansas City Chiefs home games as the film proved to be a huge hit for the studio.




"Cameron Crowe's Songbird is more of a tribute to the life and music of Joni Mitchell than a real biopic. Taylor Swift delivers a surprisingly strong performance as Joni Mitchell, capturing her artistic spirit and singing prowess with equal aplomb. The filmmakers wisely surround her with an immensely talented ensemble of supporting actors. Songbird doesn't just tell Mitchell's story - it aims to make you feel it." - Dave Manning, Ridgefield Press



"Taylor Swift in a role she was born to play, effortlessly showing us Joni Mitchell's story in a mesmerizing and empowering performance. While fans will undoubtedly flock to the theater to see Taylor, they'll walk away with a greater understanding on one of the pioneers of women's music and why its influential today. That being said, the film squeezes in just a few too many relationships that could have been trimmed off to allow us more time to focus on Joni's inner-world." - Dexter Quinn - Cinematic Observer


"This is surely one of the biggest creative gambles LRF has made in casting someone with minimal acting experience to carry an entire film, albeit a mega-star who should give the film automatic box office appeal. So let's get this out of the way: she's fine! Crowe's experience plays a big role in this, knowing Swift's biggest impact will come in the musical sequences—which are excellent. She can undoubtedly feel wooden at times but it doesn't help that story just feels stale at times. It moves at 1.5x speed through familiar story beats and folk cameos, none of whom are given much time to shine (Dano's steady presence being the one exception)." - Reggie Coscarelli, San Fernando Valley Sun









Rated PG-13 for thematic elements, language, sexual content, and some drug use





Monday, February 3, 2025

Fact to Film: Songbird

 

For this latest edition of Fact to Film, we are taking a look at the cast of the Taylor Swift-led Joni Mitchell musician biopic, Songbird, which is brought to us by director Cameron Crowe (The Long Way Home, Aloha) and writer Diane Esposito (Ecstasy, The Shadow).