david lowery – We Are Movie Geeks

MOTHER MARY – Review

– By Cate Marquis –

Anne Hathaway plays a Madonna-like mega-pop star called Mother Mary, who is at a turning point with her career, and turns to her long-estranged friend, Sam Anselm (Michaela Coel), the costume designer who gave the star the signature look that helped launch her career. Sam, now a top fashion designer, has not heard from Mother Mary for ten years, not since the star ended their professsional and personal partnership during Mother Mary’s rise to the top. Now Mother Mary is seeking a comeback, after a disastrous accident, and she returns to Sam, begging her to design a new dress for her. On the surface, at least, that is what is going on in writer/director David Lowery’s visually lush but mysterious drama.

Writer/director David Lowery, whose previous films include the mysterious GREEN KNIGHT, weaves similar dreamlike material here for MOTHER MARY. Beneath the surface of two people, who started their careers together but parted on bad terms, are many questions – about their personal relationship, forgiveness and betrayal, limits of friendship, maybe even about life and death. And, perhaps, about whether what we are seeing is real or imagined.

MOTHER MARY is filled with gorgeous imagery, a joy to look at and a dream-like drama, but it is also a film that asks a lot of its audience, while tantalizing rewards for those who stick with it. What it does deliver upfront are spectacular acting performances, from Anne Hathaway certainly but particularly from Michaela Coel, who is a complete “wow” and a revelation as Sam Anselm.

It actually helps to know that MOTHER MARY is based on a stage play, because it makes it a bit easier to find a way into its mysterious, talkative film. It is pretty safe to assume that the play likely begins with a scene grounded in the real, with the pop star walking into the fashion designer’s office, a start that gives the story concrete foundation before it veers off into its more surreal territory.

However, the movie starts not with that but with scenes of Anne Hathaway’s Mother Mary (she is always called by both names in the film), as the pop star endures fittings for costumes that are lavish but unwieldy and different but somehow all the same, plus the grind of touring with elaborately staged performances that also are somehow all the samen. Some event is hinted at, with vague images, something on stage that went very wrong, which sends Mother Mary running back to her friend Sam Anselm.

Well, “former friend” would be more apt. Sam Anselm, now a very successful as a fashion designer and head of a design empire of her own, greets Mother Mary politely, but the currents of coldness and irony underneath are palpable. Sam has not heard from the singer in ten years, yet here she is, unannounced, with no prior appointment, something Mother Mary did deliberately so Sam couldn’t dodge seeing her. Unexpectedly, after a tense few moments, Sam suddenly agrees to design a dress for Mother Mary, a decision delivered in a matter-of-fact tone, but we have the sense that there will be a price to pay, and that an apology will be the bare minimum.

Sam whisks the star off to a large, old barn-like structure, where they can work alone, away from the bustle of her busy fashion studio, which is preparing for a big show. In the half-lit old barn, Sam is business-like, and while her assistant Hilda (Hunter Schafer) takes measurements, Sam asks the pop star questions about the dress: Do you need to move in it? What color do you want? Mother Mary replies: anything but red.

The answer is significant, as we eventually learn. After Sam sends away her assistant Hilda, the two really get down to work, professional and personal. Of course, old feelings come out, but strange things happen too.

As good as Anne Hathaway is, and she is very good in this, it is Michaela Coel who it the bolt of lightning in this film. Michaela Coel has a striking, expressive face and makes full use of it, along with her voice, bringing acres of nuance and subtext to every line, often dripping in sarcasm or resentment, as she wrings out every ounce of meaning in the well-written lines. Coel’s face transforms minute by minute, her eyes piercing, as she delivers her lines with surgical precision, while she radiates a powerful presence and palpable charisma from the screen. She is simply hypnotic to watch.

The art direction is lush and expansive, and the film is packed with symbolic scenes, which are lovely, sometimes with dresses or fabric floating through the air, and sometimes with flashbacks exploring the singer’s grueling life on tour, as the pop star wears down from constant work and repetition. The performances are extravaganzas and the costumes are too, but there is a repetition that we see is grinding her down. The film itself is loosely-structured, mysteriously vague, and even nearly amorphous, making it hard to get a handle on, as theses two talk and only drop hints for us about what is really going on, in what was clearly both a professional and personal relationship, although details are elusive.

Clearly, both Mother Mary and Sam know Sam is owed an apology, although that may not be enough. Even though Sam was Mother Mary’s friend and professional partner, she replaced her without notice or seeming feeling. Sam not only survived but the abrupt break allowed her to launch her own very successful fashion design career, perhaps even eclipsing her pop-star former friend at this point. Still, the pain remains.

Sam agrees to design the dress but repairing the relationship is another matter. As she and Mother Mary set about that work, Hathaway’s character clearly longs to re-establish their long-severed connection, even seeming to want to pretend there was no break.

The dialog is sparkling, and the air crackles with anger and other long-buried emotion. As they talk, we get glimpses of Mother Mary’s world of relentless tours and physical stress, all presented in beautifully symbolic images. As the film progresses, we learn more about their shared past but little is clear about what is really going on in the present.

There is a tagline for the film, that says it is not a romance and it is not a ghost story, which means you can’t help but wonder about both those things. Sam talks about how she once loved Mother Mary and now Mother Mary seems desperate to regain the connection, which appears must be through Sam’s work, her creations. But the two seem divided by a wall. Is it only the pain of the past, or is it something larger, more profound?

MOTHER MARY, for all its visually beauty and powerful performances, gives away little, only a few brief hints, meaning it asks a lot of the audience. Not all will be willing to give what it asks, and for some, the opaqueness may just be tiresome, especially with a long running time. If you saw the play, you may have an edge here, but a film is supposed to be able to stand on its own. Still, I’m curious enough to want a second look at the film, and I wonder what my reaction will be to that second viewing. Audiences will have to judge for themselves, but MOTHER MARY does deliver striking, sterling performances from both Anne Hathaway and Michaela Cole which delight as they mystify, and Coel is a lightning-strike of a revelation, and a performer I hope we will see again soon.

MOTHER MARY opens in theaters on Friday, Apr. 24, 2026.

RATING: 3 out of 4 stars

PETER PAN & WENDY – Review

It looks like kids’ movies are dominating the box office right now. Mind you, what looks to be the first billion-dollar blockbuster is based on a decades-old video game. But what about the classic fairy tales, you may ask? Not to worry, although it’s fairly young at a spry 121 years, as opposed to the centuries-old Grimm Brothers stories and assorted myths and legends. And it’s also the 70th anniversary of the definitive animated adaptation from the master artists at the “mouse house”. Ugh, you may be thinking, not another live-action retread of a superb cartoon ala the recent PINOCCHIO (not the Oscar-winner) or the dreary DUMBO. Well, you’re not really correct as this tale began (after its literary roots) on the stage and has been played by flesh-and-blood actors in versions going back to the silent movie days. And so, here’s another version, this time sharing the title with the other main character as we take flight with PETER PAN & WENDY.

It all begins like most versions in Edwardian London, around bedtime in the Darling House. Pre-teen Wendy (Ever Anderson) is a bit anxious as she packs for her trip to boarding school in a few hours. As usual per younger brothers, John (Joshua Pickering) and Michael (Jacobi Jupe) are literally bouncing off their beds as they play “pirate”, Father (Alan Tudyk) rushes in to calm them down and to put their canine nanny out for the night. Ah, but Wendy regales them with one last story of their hero Peter Pan before Mother (Molly Parker) tucks them in with a lullaby. It’s an interrupted sleep as they discover the fairy Tinkerbell (Yari Shahdid) has led Peter himself (Alexander Molony) to the bedroom in search of his missing shadow. After a sprinkling of pixie dust, they’re soaring over the city and en route to that enchanted isle of Neverland. Oh oh, the troupe is spotted by Captain Hook (Jude Law) at his pirate ship offshore. With the help of his first mate, Mr. Smee (Jim Gaffigan), the crew fires cannonballs into the sky. John and Michael are captured leading to a rescue by Peter, Tink, and Wendy, who are soon helped by the Lost Boys (and girls) led by Princess Tiger Lily (Alyssa Wapanatahk). As the frustrated Hook plots his revenge, the Darlings settle in with Peter and the Lost Boys. But will they be content to stay there or will Wendy and her brothers find a way to return to their home so far away?

Despite the second billing, it’s Wendy who is really at the front and center of this retelling. Relative screen newcomer Anderson brings a modern sensibility to the role along with (oh, I’ll just blurt it) spunk as she has little time for macho foolishness. She’s not merely the “teller of tales” substitute Mum for her sibs and all the Lost Kids, but a formidable force against the villains. Molony seems to have the right mixture of ego and vulnerability as the often aggressive green-clad swordsboy. He’s not adept at dealing with Wendy’s challenges, though he learns to welcome them and to actually reflect on his own past behavior. Law has the grimacing threats of Hook honed to sneering perfection, but he offers a glimpse into Hook’s haunted inner life. This time the hungry croc isn’t the main star of his nightmares. Shahidi as Tink shows a real talent for pantomime as the expressive but very soft-spoken (Peter insists that you’ve got to learn to listen) fairy/sidekick. Gaffigan hits all the comedy beats as Smee, though he’s less of a comic foil and more of a parental figure and calming influence on his former charge, Hook. Wapanatahk turns Tiger Lily into an impressive warrior queen, And in their brief “bookend” roles, Tudyk is a charming and blustery papa and Parker is a sweet, gentle melodic matriarch.

This “re-imagining” is guided by director David Lowery who co-wrote the adaptation of J.M. Barrie’s novel (and the ’53 Disney feature) with Toby Halbrooks, and it’s not his first crack at a Disney “reboot” as he took on PETE’S DRAGON seven years ago. And much like that effort, this is a much darker, moodier “spin” (lots of shadows even as the sunlight shimmers on the sea). But that also reflects the script’s tone as it must give us details about the heritage of the characters that never seemed needed. I was reminded of the flashback to the demise of Belle’s mother when the action stops dead to have Pan or Hook explain their haunted history. This all works toward a real lull in the movie’s midpoint which almost sinks it. As for its ties to the 70-year-old cartoon, the old songs are out, though we hear a bit of “You Can Fly” as the pixie dust works its magic, in favor of the new lullaby from Mama Darling. And they’ve completely reworked the Tiger Lily character so that she is the rescuer who now sometimes speaks in the Cree language (and none of the “heap big” cliches in her family’s village). Another nod to the new century is the casting “inclusion” in the major roles and supporting cast. We see pirates of every color, and even a lady or two. And the Lost Boys include some girls, along with a special needs swashbuckler. These are nice new touches, but it doesn’t make up for the downbeat mood or the dimly lit backdrops. And yes, the croc is there, though only for one scene where he appears to have wandered in from a LAKE PLACID sequel (no comedy in this CGO critter). This is far from the nadir of these live-action retellings, but there’s nothing here that elevates the classic tale in the languid new visit with PETER PAN & WENDY. Maybe it’ll all go down a bit better at home while dipping into a jar of his peanut butter…

1.5 Out of 4

PETER PAN & WENDY is now streaming exclusively on Disney+

THE GREEN KNIGHT – Review

*Ralph Ineson as the Green Knight. Photo credit: Eric Zachanowich. Courtesy of A24*

THE GREEN KNIGHT is writer/director David Lowery’s (A GHOST STORY) imaginative re-telling of the Arthurian tale “Sir Gawain and the Green Knight,” but those expecting a straight-forward adventure story will be surprised, as the mystical and symbolic abound here, as does a sly, dark humor, all framed in a visually lush world of green mossy forests and windswept winter peaks and told through a young man’s voyage of self-discovery.

Although the Green Knight is featured in the title, it is Gawain who is the focus, a young man who is untested and unformed. Gawain (Dev Patel) is King Arthur’s nephew and a member of the Round Table but not yet a knight. Gawain (whose name is pronounced in a less-common alternative way, similar to “Gauwin”) has not yet had any knightly adventures but plenty of nightly adventures, specializing in carousing with paramour Essel (Alicia Vikander), much to the chagrin of his mother (Sarita Choudhury), the king’s sister. Gawain is adrift in his privileged, pampered life but part of him is also longing to find his place in the world.

On Christmas day, Gawain and the knights of the Round Table have gathered with the king (Sean Harris) and queen (Kate Dickie) for a holiday feast. Suddenly the celebrations are interrupted by the arrival of a giant green knight mounted on an enormous horse, also green, and holding a huge axe and a branch of holly. The Green Knight (Ralph Ineson) challenges any of King Arthur’s knights to a contest, a game he says, in which the king’s champion may strike a blow to the Green Knight however he wishes. But in return, the champion must then meet him one year hence at the Green Chapel, where the Green Knight will have the right to return the same blow.

Unexpectedly, the unproven Gawain takes up the challenge. Gawain has no sword of his own so the king lends him Excaliber. When the Green Knight bends his head down and exposes his neck, Gawain impulsively chops off his head. Shockingly, the Green Knight then picks up his severed head, which speaks and reminds Gawain of the conditions of the game, before riding off laughing. Gawain has a year to prepare. Before he embarks on his quest, his sorceress mother gives him a green sash, which has a magical power to keep him from harm.

Not everything Gawain encounters on his journey is supernatural but the fact that his opponent is a huge green man who survived beheading should be a major clue to the type of story it delivers. The film is often dark, eerie, unsettling, mysterious but suffused with dark humor. There are a few fights, but action film fans will see no battles or warfare, although there is a grim scene on a battlefield long after a war. Director Lowery does not spell everything out but he does drop hints, such as that the Green Knight is someone Gawain knows and that the contest is a game, as well as a test of courage and character. The Green Knight’s challenge may be called a game but it is a deadly one.

Those expecting THE GREEN KNIGHT to be a straight-forward, rousing adventure story will be surprised, as David Lowery’s imaginative retelling of the Arthurian tale is one where symbolism and the mystical abound, as does a sly, dark humor. THE GREEN KNIGHT is entertaining and immersive but it is the kind of experience that also sparks the imagination and raises questions. Likely THE GREEN KNIGHT is a film you’ll either love or hate, depending on your taste for mystery, myth and the surreal, or either your tolerance for ambiguity or expectations for conventional sword play. It is a tale of a quest, but with a mystical, magical bent, somewhere between EXCALIBUR and Bergman.

Gawain is not on a quest for the Holy Grail but for self-discovery, going to meet his fate in a test of courage and honor. Lowery’s adaptation makes changes to the story but he retains its essence. The original focuses on Christianity and morality, and the story can still be interpreted that way, but it can also be seen as a conflict between Christian and pagan worlds, or between the civilized world and the natural one. Lowery does not dilute the poem’s essential existential questions but re-frames them to resonate in the contemporary world, while retaining allusions to Celtic stories and myths. THE GREEN KNIGHT is a film with layers to peel back, the kind that invites multiple viewings.

The Green Knight and Gawain separately have appeared in a number of films and novels inspired by the Arthurian tales, including a parody of the Green Knight in MONTY PYTHON AND THE HOLY GRAIL, but there have been fewer adaptations of the 14th century English Medieval epic poem “Sir Gawain and the Green Knight.” None other than J.R.R. Tolkien translated the Medieval tale into modern English, and was fan of the story. The original tale, by an unknown English author, draws on Welsh and Irish myths, and French tales of chivalry.

It is not essential but it helps a bit if you know something of the original story (and the filmmakers even provide a little trailer of information to help you out, if you want to look for that), as knowing that will answer some questions, particularly about the ending. Don’t do this before seeing the movie, as that would be a spoiler but if you are unsure about the ending, look up the Medieval beheading game and you will have an answer. Just not before seeing the movie.

Although the title of the story is “Sir Gawain and the Green Knight,” Gawain is not yet a knight, and repeatedly corrects those who call him one. On his quest, Gawain encounters many challenges, supernatural and natural, including a scavenger (Barry Keoghan) and a mysterious young Saint Winifred (Erin Kellyman, who appears again later in a double role), but also the challenge of just sheer survival out in the elements of the natural world. At one point, a fox becomes his companion, as a quest nearly always needs a companion, and he is a winning addition. As Gawain struggles through a dark forest on a foggy night, the mist suddenly clears and he sees a castle, where he gratefully heads to ask shelter for the night. The castle’s Lord (Joel Edgerton, who played Gawain in Antoine Fuqua’s 2004 KING ARTHUR) greets him warmly, and welcomes him in. He introduces Gawain to his beautiful wife (Alicia Vikander, in a dual role) but not the blindfolded old woman (Helena Browne) who also sits silently at their table. In the comfort and warmth of the castle, other challenges and temptations await, and Gawain still has to find the Green Chapel and meet his fate at the hands of his green opponent.

Dev Patel is superb as Gawain, finding the right combination of privileged, directionless youth and a young man yearning to both prove himself and become his best self. It is a timeless theme, and Patel explores all the aspects, exuding child-like innocence, boyish charm, youthful arrogance, noble spirit or crippling uncertainty by turns. The rest of the cast is also excellent, with Swedish actress Alicia Vikander particularly outstanding in her dual role as the bold Essel and the seductive Lady. There is much about the power of women in Gawain’s story, whether his magical mother, the assertive Essel, the forward Lady, or the mysterious blindfolded old woman in the castle. Under green makeup and tree-like mask, Ralph Ineson is wonderful as the Green Knight, using his voice to project either a fearsome power and an underlying winking humor.

One of the things you’ll notice is that few names are given, apart from Gawain’s, and there is a reason for that, as Lowery wants to keep us guessing, and questioning, as the tale unfolds. Much is open to interpretation but there is a lot of subtext in the unnamed characters. In the Arthurian tales, who a character is, and whether they are good or evil, sometimes shifts. Lowery doesn’t even name the king and queen, although we naturally assume they are Arthur and Guinevere. But which of King Arthur’s half-sisters is Gawain’s mother, Morgause or Morgan Le Fay? She isn’t named in the film but in the credits, it says Morgan Le Fay, who is a character in the poem although not Gawain’s mother. Here, the story better fits Morgause but is she also the mother of Mordred as well as Gawain? Is she an ally of the king or something else? The original tale, by an unknown English author, drew on Welsh and Irish myths and symbolism, and French tales of chivalry, and the Green Knight’s color suggests the natural world but also the Celts’ Green Man, an ancient symbol of rebirth and a guardian of the forest. The holly he carries suggests another Celtic mythic figure, the Holly King, who rules the natural world in winter. The more you know about the Arthurian or Celtic myths, the more fun you will have with this.

Green is everywhere in THE GREEN KNIGHT, from the mossy forests to the protective sash, It is a color that can symbolize growth, nature and life, but it also can mean death and ghostly presences. Although the epic poem is set in Wales, THE GREEN KNIGHT was shot in the same area of Ireland as John Boorman’s EXCALIBER, another Arthurian tale. Lowery makes good use of the landscape, and draws brilliantly and freely on mythic elements and supernatural ones, while grounding the quest in the physical world as well. While the landscape is real, with lush photography by Andrew Droz Palermo (who also shot Lowery’s ethereal A GHOST STORY), the fantasy story also features special effects, including that marvelous fox, seamlessly blended in to the real visuals, mirroring the way the film blends the supernatural and the natural in this tale.

THE GREEN KNIGHT transforms a 14th Medieval poem into a gorgeous piece of cinema art. But it may not be for everyone. If you are seeking sword-play, straight-forward good and evil, and a story where all is made crystal clear, this film may not be for you. But if you are able to immerse yourself in its mystical elements, be charmed by Arthurian tales and Celtic myths, and be comfortable with some lingering mystery, THE GREEN KNIGHT will cast its spell on you.

THE GREEN KNIGHT opens Friday, July 30, at multiple theaters.

RATING: 4 out of 4 stars

Go On A Journey In New Featurette For A24’s THE GREEN KNIGHT

The much anticipated film THE GREEN KNIGHT is debuting in theaters on July 30.

An epic fantasy adventure based on the timeless Arthurian legend, The Green Knight tells the story of Sir Gawain (Dev Patel), King Arthur’s reckless and headstrong nephew, who embarks on a daring quest to confront the eponymous Green Knight, a gigantic emerald-skinned stranger and tester of men. Gawain contends with ghosts, giants, thieves, and schemers in what becomes a deeper journey to define his character and prove his worth in the eyes of his family and kingdom by facing the ultimate challenger.

From visionary filmmaker David Lowery comes a fresh and bold spin on a classic tale from the knights of the round table.

Starring Dev Patel, Alicia Vikander, Joel Edgerton, Sarita Choudhury, Sean Harris, Kate Dickie, Barry Keoghan and Ralph Ineson, watch the new featurette and listen as Ineson, who plays the titular and imposing Green Knight, gives a guided visual tour of The Green Knight’s story.

Filmmaker David Lowery read the poem his freshman year in college in an English class devoted to epic poems in the Western canon; Sir Gawain and the Green Knight was the last text on the syllabus, after months of The Iliad and The Odyssey. “The story had an impact on me,” says Lowery. “I loved the idea of a young man engaging in such a ridiculous wager—the notion that someone would commit to a game in which the price of winning was losing one’s life.”

The idea floated through the filmmaker’s head over the course of two decades as his career in movies took shape, beginning with his debut feature Ain’t Them Bodies Saints in 2013, followed by his Pete’s Dragon remake for Disney (2016), and the beguiling and hypnotic A Ghost Story (2016).

In March 2018, during a break in writing another Disney film, Lowery started thinking anew about medieval adventures. Having recently unearthed some Willow action figures from his youth—mementos from the 1988 Ron Howard classic— the writer-director began envisioning his own epic fantasy adventure story. “I thought of Sir Gawain and the Green Knight again, and almost arbitrarily decided to adapt it,” says Lowery. “I started re-reading the poem and adapting it simultaneously, and three weeks later the script was done.”

Did you know that the original, 2,500-word alliterative poem, composed in the British Isles in the 14th century by an unknown author, has enchanted readers, scholars, and artists for decades with its strange and surreal tale of chivalry, magic, temptation, transformation, and self-discovery. Written in verse packed with symbolism, allegory, and mystery, Sir Gawain and the Green Knight is a fascinating and layered work that can be viewed through a range of lenses and perspectives. Part of a cycle of stories centering on King Arthur and his knights of the Round Table, the poem stands out in the Arthurian legends as a deeply ambiguous and morally rich coming-of-age tale, filled with enchanting and intricate detail.

The score is from composer Daniel Hart. Hart has scored all of David Lowery’s films to date, including Ain’t Them Bodies Saints (2012), A Ghost Story (2017), Old Man & the Gun (2018), and the upcoming The Green Knight. The two feel that they share a similar aesthetic vision for storytelling. All his scores are filled with so much emotion and I am looking forward to his score and the long awaited film.

Listen to Hart’s music on Spotify, especially the amazing score to A Ghost Story HERE.

Watch The New Trailer For Filmmaker David Lowery’s THE GREEN KNIGHT Starring Dev Patel, Alicia Vikander And Joel Edgerton

Watch the new trailer for A24’s THE GREEN KNIGHT, an epic Arthurian tale from acclaimed filmmaker David Lowery. Starring Dev Patel, Alicia Vikander, and Joel Edgerton.

The film hits theaters on July 30.

An epic fantasy adventure based on the timeless Arthurian legend, THE GREEN KNIGHT tells the story of Sir Gawain (Dev Patel), King Arthur’s reckless and headstrong nephew, who embarks on a daring quest to confront the eponymous Green Knight, a gigantic emerald-skinned stranger and tester of men. Gawain contends with ghosts, giants, thieves, and schemers in what becomes a deeper journey to define his character and prove his worth in the eyes of his family and kingdom by facing the ultimate challenger. From visionary filmmaker David Lowery comes a fresh and bold spin on a classic tale from the knights of the round table.

Lowery previously helmed Ain’t Them Bodies Saints, Pete’s Dragon and 2017’s amazing A Ghost Story.

“Peter Pan & Wendy” Premieres On Disney Plus In 2022 – Production Begins On New Film

Principal photography on the live-action adventure/fantasy “Peter Pan & Wendy” has commenced in Vancouver. The film is directed by David Lowery (“Pete’s Dragon”) and produced by Jim Whitaker (“Pete’s Dragon”). “Peter Pan & Wendy” will premiere on Disney+ in 2022.

Based on J. M. Barrie’s novel “Peter and Wendy” and inspired by the 1953 animated classic, “Peter Pan & Wendy” is the timeless tale of a young girl who, defying her parents’ wishes to attend boarding school, travels with her two younger brothers to the magical Neverland. There, she meets a boy who refuses to grow up, a tiny fairy and an evil pirate captain, and they soon find themselves on a thrilling and dangerous adventure far, far away from their family and the comforts of home.

The film stars Jude Law (“Fantastic Beasts and Where to Find Them”) as Captain Hook; Yara Shahidi (“Grown-ish”) as Tinkerbell; Ever Anderson (“Black Widow”) as Wendy; Alexander Molony (“The Reluctant Landlord”) as Peter Pan; Molly Parker (“House of Cards”) as Mrs. Darling; Alan Tudyk (“Rogue One: A Star Wars Story”) as Mr. Darling; newcomers Joshua Pickering as John; Jacobi Jupe as Michael and Alyssa Wapanatâhk as Tiger Lily; and Jim Gaffigan (“The Jim Gaffigan Show”) as Smee.

“Peter Pan has long been one of my favorite stories, partially because I’ve always resisted growing up, but also because of the heart, adventure and imagination that makes J.M. Barrie’s original tale so evergreen,” says David Lowery. “I’m thrilled to have the opportunity to redefine his iconic characters for a new generation – and even more excited that I get to do so with such an exceptional cast and crew.”

THE OLD MAN & THE GUN – Review

As a seasoned moviegoer (as I trust you are also), when I saw these five words on this new movie’s poster (and later in the actual film’s first frames) alarms went off in my head (not unlike “Spidey-sense”): “This story is mostly true”. First off, many films “inspired by true events”, another warning label, aren’t that compelling and often seem better suited for the small screen. Then there’s that pesky “mostly”, which indicates a certain forced whimsey, maybe even preciousness. Ah, but not to worry. After a few seconds, we spot a most familiar face. Really familiar, due to his still commanding star power, barely dimmed after fifty plus years as a movie leading man (for a couple of decades he truly personified the glitz and glamor of Hollywood). Now many strands of his golden locks have gone grey, and his jaunty clip has slowed a bit. During his publicity stint for this flick, he’s announced that it will be his last film work in front of the cameras (he is an Oscar-winning director, too). Somewhat appropriately the title of his “swan song” is THE OLD MAN & THE GUN.

Indeed, seconds after the above-mentioned preface fades, the story takes us to a small bank at the center of a dusty, tiny Texas town circa 1981. A dapper gentleman (three-piece suit, tie, fedora) enters. Cut to a bank teller hurriedly filling a leather case with cash, then handing it to…let’s call him FT (Robert Redford), in order not to spoil a moniker that will tickle classic movie and TV fans. FT is wearing glasses, a fake bushy mustache, and has an ear piece (a hearing aid, perhaps) with a wire leading down into a coat pocket. As he gets in his car, we learn that the device is attached to a tiny police scanner. FT drives down a dingy alley, switches cars, and speeds to the highway. Ah, the getaway can wait a bit, as FT spots a “damsel in distress”. Actually, it’s a woman having truck trouble. Since he can’t fix the engine problem, FT gives the lady, a widow named Jewel (Sissy Spacek), a lift to a garage. Over pie and coffee at a diner, the two flirt and eventually exchange numbers. Meanwhile, in a nearby town, police detective John Hunt (Casey Affleck) is feeling “burnt out” from “cleaning up messes”. Hunt (clever, eh) has a gorgeous wife and two adorable kids, but he’s in a funk. One morning, on the way to drop the kids of at school, he drops in at his local bank, just minutes after FT has entered. After FT departs, the bank manager announces the robbery and detains the patrons. When his fellow officers arrive, Hunt joins the investigation with a suddenly renewed vigor. Hunt’s main mission is to arrest the “gentleman” robber. Well, it seems that FT has decided to go after bigger banks in cities, so he meets up with his partners, Teddy (Danny Glover) and Waller (Tom Waits). Together they’re plotting the big score. And during their free moments, FT is spending lots of time with Jewel at her tranquil farm and ranch. Could this blossoming romance lead to the other dreaded “r-word”, retirement for FT? Or will Detective Hunt truck him down before the big (perhaps final) bank job?

As you may have guessed, this film is a showcase for the still engaging Mr. Reford. He slips into the title role as if he were easing into a pair of slightly-worn cowboy boots. And even though eighty or so years are deeply etched in that face, RR truly make the being “craggy” attractive. It helps that he wratches up his charm meter well past “11”. He doesn’t resort to big theatrics (no sobbing or ranting), rather he lets his laid-back, easy-going attitude pull us in. Sure he brandishes a weapon on his “jibs”, but we, like the many bank employees, are pretty sure that he’s not going to use it. Still, Redford shows us FT’s conflict as he wonders if he can give up his old “life” to spend his last years, with his likely last love. Truly tough choice since that love is the wonderful Ms. Spacek, who has been busy on TV but much missed on the big screen (at least in a major role). She and Redford engage in a very mature, but still frothy romantic dance. You can feel the heat, from their first meal as they observe and question, prod and verbally poke, across that dingy diner table. They’re a terrific team, as is Redford and Affleck, minus the flirty chemistry and screen time. John Hunt seems barely alive, straining to keep his eyes open while strolling those the petty crime questioning. When FT comes into his orbit, the sleepy cop is jolted awake, dashing home with boxes of evidence and reports, eager to do something important once more. And like FT, he’s inspired rather than conflicted, by his own love mate, the radiant Tika Sumpter as encouraging, no-nonsense Maureen Hunt. Speaking of partners with chemistry, some of the film’s most entertaining scenes are those that with FT’s “guys” (and the ads make it look like he’s a “solo act”). Glover and Waits are “grumpy old men” who bicker and taunt like a long-time married couple but stick together particularly when the news media refers to them as the “over the hill gang”. These crooks have pride, ya’ know?

David Lowery directs his own screenplay (based on the New Yorker article by Davis Grann) with a sure steady hand, letting the dialogue and crime scenes move with a leisurely pace. It’s unhurried, but hardly dull, though an extra ten or fifteen minutes might have stretched the story too thin. It’s quite a change from the strange, dreamy previous two flicks with Affleck (AIN’T THEM BODIES SAINTS and A GHOST STORY) or his previous work with Redford on the dreary remake of PETE’S DRAGON. There are a couple of clever montages, one with robbery victims nearly telling the same story, and later when FT relates many previous clashes with “John Law” (keen-eyed viewers will spy a vintage bit of film). Late in the film, there’s an effective confrontation scene smartly staged in what seems to be the longest W.C. ever. And though it’s said to be a “swan song”, this is more of a celebration of the enduring Redford. He’s still got “it” (as in that screen something going way back to Clara Bow and others), but doesn’t want to be the last one to leave the “party”. As film finales go, THE OLD MAN & THE GUN is a smooth sweet ride into the sunset for the Sundance Kid.

4 Out of 5

THE OLD MAN & THE GUN opens everywhere and screens exclusively in the St. Louis area at Landmark’s Plaza Frontenac Cinemas

WAMG Giveaway – Win A GHOST STORY Starring Casey Affleck on Blu-ray

Written and directed by critically acclaimed filmmaker David Lowery (Ain’t Them Bodies Saints, Pete’s Dragon), and boasting a top-notch cast including Academy Award^® winner Casey Affleck (Best Actor, Manchester by the Sea, 2016) and two-time Academy Award^® nominee Rooney Mara (Best Supporting Actress, Carol, 2015 and Best Actress, The Girl with the Dragon Tattoo, 2011), A Ghost Story arrives on Blu-ray™ (plus Digital HD) and DVD October 3 from Lionsgate. A24 debuted A Ghost Story to critical acclaim at the 2017 Sundance Film Festival, with reviewers calling it “a poetic meditation on time, memory and spiritual connection” (David Rooney, The Hollywood Reporter).

Now you can own A GHOST STORY on Blu-ray. We Are Movie Geeks has four copies to give away. All you have to do is leave a comment answering this question: What is your favorite movie with the word ‘Ghost’ in the title? (mine is GHOST IN THE INVISIBLE BIKINI!). It’s so easy!

Good Luck!

OFFICIAL RULES:

1. YOU MUST BE A US RESIDENT. PRIZE WILL ONLY BE SHIPPED TO US ADDRESSES. NO P.O. BOXES. NO DUPLICATE ADDRESSES.

2. WINNERS WILL BE CHOSEN FROM ALL QUALIFYING ENTRIES.

Academy Award^® winner Casey Affleck and Rooney Mara star as a young couple who — after being separated by loss — discover an eternal connection and a love that is infinite.

Featuring an audio commentary, two never-before-seen featurettes and a deleted scene, the A Ghost Story Blu-ray and DVD will be available for the suggested retail price of $24.99 and $19.98, respectively.

BLU-RAY / DVD SPECIAL FEATURES

Audio Commentary with Director David Lowery, Cinematographer Andrew Droz Palermo, Production Designer Jade Healy, and Composer Daniel Hart
“A Ghost Story and the Inevitable Passing of Time” Featurette
“A Composer’s Story” Featurette
Deleted Scene

Trailer: https://youtu.be/5byKIzwXWRg

Facebook: @GhostStoryMovie

Instagram: @GhostStoryMovie

Twitter: @GhostStoryMovie

A GHOST STORY – Review

There is a long unedited sequence 30 minutes into A GHOST STORY where a ghost, wearing a white bedsheet with two eye-holes cut out like Charlie Brown with the Great Pumpkin, is observing his sobbing widow. She sits on the kitchen floor and eats a pie. That entire pie, bite by bite, is devoured in a scene that goes on a good five minutes. I think this is where uninformed moviegoers who may have wandered into A GHOST STORY expecting a conventional haunted house thriller will have their patience stretched to the breaking point. A GHOST STORY is an arty meditation on love and loss, glacial in pace, and on the surface not much happens in it. It’s not for all tastes, but for adventurous film fans it is rewarding, one of those strange movies that promises to stay with you long after the end credits have rolled.

Casey Affleck stars in A GHOST STORY as ‘C’, a mopey musician who resides in a dilapidated house on the suburban edge of an unspecified city with his wife, ‘M’ (Rooney Mara). Something’s not quite right with the house. There are sudden loud noises, and mysterious lights flicker on the walls. After C is killed in a car wreck in front of their home, he rises from the slab at the morgue and returns to silently observe M as she at first grieves, then eventually moves out of their house and on with her life. But C must stay behind, a quiet observer to the comings and goings of all the home’s subsequent tenants, his fate to endure the passage of time as the world moves on around him. A Spanish-speaking single mom comes and goes as well as a group of young hipsters. The ghost is able to tamper with electricity and move objects, but mostly he just stands around, occasionally communicating with (via subtitles) another ghost in the house next door.

Many questions that arise from A GHOST STORY oblique approach, but that’s what makes it an intelligent alternative to the noisy cinematic marketplace. There are answers in Director David Lowery’s script, which does tell a story. A mystery is solved, and the plot moves satisfactorily from beginning to middle to an emotional ending. A GHOST STORY is nearly wordless with most of the film’s dialog comes from one drunk blowhard party guest (Will Oldham – billed as “The Prognosticator”) who goes on and on in a cynical lengthy monologue, though that was the one scene in the film I disliked. The guy was abrasive and unpleasant, his shirt sported gross armpit stains, and I didn’t connect how his speech fit in with the rest of the film. Lowery shot A GHOST STORY in a boxy 4:3 aspect ratio which cleverly highlight’s the claustrophobic nature of C’s predicament and it’s all driven by Andrew Droz Palermo’s moody photography and composer Daniel Hart’s haunting, affecting score. While it may divide audiences A GHOST STORY is a thought-provoking, challenging film that I recommend.

4 of 5 Stars

A GHOST STORY opens in St. Louis Friday, July 28th exclusively at Landmark’s The Tivoli Theater

Disney’s PETE’S DRAGON on Digital HD, Blu-ray, DVD and On-Demand November 29th

Pete’s Dragon, a reimagining of Disney’s cherished family film centered on an orphaned boy named Pete and his best friend Elliot, who just so happens to be a dragon. Families will be captivated by this magical movie followed by never-before-seen bonus features, including a revealing look at director David Lowery’s personal diary kept during the filming of “Pete’s Dragon,” the design process behind the lovable dragon Elliot, deleted scenes, a tour of the film’s breathtaking production location of New Zealand, audio commentary by filmmakers and actors and hilarious bloopers. Today’s announcement also ushers in tomorrow’s World Dragon Day and the heartwarming adventure arrives on Digital HD, Blu-ray™, Disney Movies Anywhere, DVD and On-Demand on Nov. 29; just in time to entertain the entire family this holiday season.

Families will be captivated by this magical movie followed by never-before-seen bonus features, including a revealing look at director David Lowery’s personal diary kept during the filming of “Pete’s Dragon,” the design process behind the lovable dragon Elliot, deleted scenes, a tour of the film’s breathtaking production location of New Zealand, audio commentary by filmmakers and actors and hilarious bloopers.

“Pete’s Dragon” stars Bryce Dallas Howard (“Jurassic World”) as Grace, a forest ranger in the Pacific Northwest who happens upon 10-year-old Pete, played by Oakes Fegley (“This is Where I Leave You”). Oona Laurence (“Southpaw”) is Natalie, the 11-year-old daughter of Jack, a lumber-mill owner played by Wes Bentley (“The Hunger Games”). Karl Urban (“Star Trek”) is Jack’s bumbling brother Gavin and Oscar®-winner Robert Redford (“Captain America: The Winter Soldier”) portrays Mr. Meacham, an old wood carver who delights the local children with tales of a fierce dragon.

The film is directed by David Lowery (“Ain’t Them Bodies Saints”) from a screenplay by Lowery & Toby Halbrooks based on a screenplay by Malcolm Marmorstein and produced by Jim Whitaker, p.g.a. (“The Finest Hours”), with Barrie M. Osborne (“The Lord of the Rings: The Fellowship of the Ring”) serving as executive producer.

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Writer/director Lowery reveals, “I look back on childhood as an adventure, and I wanted to capture that on screen in the smallest—but also the biggest—way.” The big—the creation of an irresistible 24-foot tall, green, furry dragon that can breathe fire and turn invisible—is brilliantly tackled by the team at the Academy Award®-winning visual effects company Weta Digital (“The Hobbit” films and “The Lord of the Rings” trilogy). But it’s the small moments between characters that so beautifully convey the film’s powerful message: the importance of friendship, family and finding one’s place in the world.

Bonus features include*:

BLU-RAY & DIGITAL HD:

Notes to Self: A Director’s Diary – Director David Lowery narrates the personal diary he kept through the filming of “Pete’s Dragon” in this intimate and fascinating look at the movie’s making.
Making Magic – Discover fun facts about what went into designing this spectacular, lovable dragon.
“Disappearing” Moments – The director shares a montage of the film’s “lost” scenes.
Welcome to New Zealand – Experience the wonders of New Zealand and learn why it’s a magical place to visit … and to make a movie.
Audio Commentary – Gain an insider perspective from director David Lowery, co-writer Toby Halbrooks and actors Oakes Fegley and Oona Laurence.
Music Videos
- “Nobody Knows” by The Lumineers
- “Something Wild” by Lindsey Stirling featuring Andrew McMahon in the Wilderness
Bloopers

DVD:

Making Magic

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