Underseen Movies

Daniel Franzese Talks About ‘Bully’ at New Beverly Cinema

Posted on by The Ultimate Rabbit

On August 12, 2025, New Beverly Cinema presented a Larry Clark double feature of two of his films: “Bully” and “Another Day in Paradise.” Before “Bully” unfolded on the silver screen, actor and filmmaker Joel Michaely brought out a special guest: Daniel Franzese who played Derek Dzvirk. “Bully” was Daniel’s film debut, and it quickly earned him his SAG card. Daniel thanked Joel for being there and remarked how he killed Joel once in a horror movie entitled “Cruel World” where he shot him in the head.

Daniel said “Bully” was the first time he ever got to hold a screenplay in his hands, and he talked about meeting the casting director, Carmen Cuba, at his audition.

Daniel Fransese: She was like, “Do you wanna see who you are going to play?” I said okay, and she opened up the true crime novel (written by Jim Schutze), and I looked exactly like the guy. And I was just like, oh shit! I can actually get this! So, it was very scary and nerve wracking.”

Rumors are that the set of “Bully” was a crazy one, and being that this was Daniel’s first film as an actor, you can understand and appreciate his feelings at the time.

DF: I’m a pretty easy-going guy, and I am also a theatre guy and a standup comedian. I’m used to being around other people, and I am good at getting along with different personalities. But this movie was next level. we are getting ready to do fittings and start our first day of this movie, and Larry (Clark) is screaming because Brad (Renfro) was in jail for trying to steal a boat. He’s screaming, “This was three years of my life! This kid’s not going to ruin it!” He’s throwing papers and I was like, whoa! That was day one and you can just imagine how the stress level got worse from there.

From there, the discussion went to the late Brad Renfro who played Marty Puccio in “Bully.” Brad first gained worldwide attention at the age of 12 years old when he was cast as Marcus “Mark” Sway in Joel Schumacher’s cinematic adaptation of John Grisham’s “The Client.” Like many people on this planet, let alone actors, he died at far too young an age He was only 25 years old, when he passed away after a drug overdose. Daniel talked about working with Brad.

DF: Brad was great. I think he was like one of those golden retriever type people. Not evil, but dangerous. We were doing the table read for the first time, and Brad showed up wearing a white tank top completely soaked in lighter fluid. He came in saying, “I’M TRYING TO GET THE BARBECUE TO GO!” It was like, whoa! He was from Knoxville and had like that “Jackass” sensibility where you didn’t know what he could do, but I don’t think he ever had a mean bone. His intentions were always nice. If anything, he partied too much, and he once told me that at 12, he made hundreds of thousands of dollars to do “The Client,” and he was getting a lot of his drugs and stuff from family members as a kid. I don’t think he got a fair shot. If anything, the reason why I advocate for younger people in Hollywood or talked about my experiences on this movie which were crazy, I was never speaking from a victim place. I was speaking from a place of advocating for people like Brad who didn’t have anyone saying anything for them. I just think, we’re making art. It doesn’t have to be that crazy. We don’t have to be stealing boats or going nuts on sets to produce good material.

After “Bully,” Daniel went on to appear in many films, but he may still be best remembered for playing high school social outcast Damian in 2004’s “Mean Girls.” Like Joel and myself, I wondered what it was like going from an independent film to a studio movie where everybody is expected to be on their best behavior.

DF: I just don’t think the 2000s will be looked upon as a time where it was easy for people on movie sets. I really don’t. People always ask me all the time how to get their kid in Hollywood, and I say don’t. I waited until I was at least in my 20’s (before going to Hollywood), and that’s the only thing which might have saved me. A lot of our contemporaries are not around with us anymore or are in a crazy state. It was a rough time. I can’t say it was easier or better, but I think it’s better now.

Regardless of the crazy set, Daniel made it clear to the New Beverly audience what the experience of making “Bully” was like, and of how the filmmakers strived to capture the spirit of the true story it is based on.

Bully (2001) Directed by Larry Clark Shown in foreground: Bijou Phillips

DF: On a positive note, though, this movie was awesome. It was so fun to make. Larry was cool, the people I was working with were all like people from Thrasher Magazine, it was just like bad ass people. They did shoot in the real locations; it was the real apartment complexes, and it was the real Pizza Hut (we shot in).

Daniel also made it clear how he was the only local hero for hire in Larry Clark’s “Bully.”

DF: They were scouting locations for the gay clubs, and I was just a young kid just figuring that stuff out and performing at the clubs with people I was in musical theatre with and stuff like that. They were like hey we’re making a movie, and I’m like I’m an actor! I had no idea it was going to turn into this. Carmen Cuba, she discovered a lot of people, and I give her all the credit for plucking me out of obscurity and putting me with these people.

An audience member told Daniel that he was from South Florida, and this led Daniel to talk about when he worked at The Gateway Theater in Fort Lauderdale as a kid. a year later, “Bully” premiered there. Daniel found his road from being an usher to a working actor to be honestly insane.

DF: I was there at the theater going, would you like the popcorn combo? I am a movie lover. I worked at Blockbuster (Video), I worked at movie theaters, that’s all I did. Until I was able to support myself as an actor, I was either an usher in theatre or worked at movie theaters. It (“Bully”) was shot in Fort Lauderdale and the whole crew got their premiere at the movie theater where I worked at. So, whoever served me popcorn today, keep writing your scripts.

Like many, Daniel Franzese considers New Beverly Cinema to be one of his favorite places in Los Angeles, and that it was extra special for him to see “Bully” being screened there on 35-millimeter film. To see films presented there in their original format, something often not available to movie buffs in most places, means a lot to him.

‘Juror No. 2’ Movie and Blu-ray Review

Posted on by The Ultimate Rabbit

The following review was written by Ultimate Rabbit correspondent, Tony Farinella.

“Juror No. 2” is the latest film from legendary director Clint Eastwood, and at age 94, it is beyond impressive he is still directing films.  With this one, the biggest controversy surrounding it is the fact that it was released in a limited number of theaters. With a pedigree like Eastwood’s, you would expect his films to get a wide release. However, with the current state of cinema, an adult drama is hard to sell to audiences who are more interested in big action spectacles, sequels and comic book franchises. Nonetheless, whether or not this is Eastwood’s last film or not, one thing is certain: He hasn’t lost any speed on his fastball.

“Juror No. 2” stars Nicholas Hoult as a soon-to-be-father named Justin Kemp who is looking to get out of jury duty. He wants to be there for his wife, Allison (Zoey Deutch), who is in the third trimester of a high-risk pregnancy. However, he is called into a case which involves the death of a young woman named Kendall Carter, who is played by Francesca Eastwood. She was in a relationship with a hot-tempered and aggressive man named James Michael Sythe (Gabriel Basso), who is being accused of her murder after her body is found dead shortly after they were seen arguing together at a bar.

As they say in most murder cases, the husband did it. For most of the twelve jurors, it seems like an open and shut case. However, Justin, a recovering alcoholic, is starting to piece together information about that infamous night. He remembers certain details about that night, and it’s up to him to decide what to do with that information.  As soon as he starts to raise doubt in the mind of one juror, a former homicide detective played by J.K. Simmons, the rest of the jurors soon follow. Now, all twelve jurors need to come together and figure out what to do with this trial, which seemed so simple in the beginning. Now, it’s anything but simple and cut and dry.

The first hour of “Juror No. 2” does a fantastic job of crafting an interesting, complex and fascinating story to grab the audience into this case.  I’m a big fan of courtroom dramas when they are done well and, in the beginning, this looked to be a good story, and I felt as though I was in good hands because Eastwood was directing. In today’s world of true crime obsession, it’s easy to see why this film would be a hit with viewers. As a matter of fact, one of the jurors is even a big fan of true crime podcasts, and she is the one who says the husband is usually the one who is behind the murder.  She also acknowledges how sometimes the police overlook important evidence in an attempt to close the case and move on.

The unfortunate part with this film is it really loses its way in the second half. It starts to get implausible and, at times, rather silly.  It requires the characters to act in a way that serves the story instead of the truth of their individual characters. When the film was over, I felt unsatisfied by the conclusion.  I understand they were going for an ambiguous ending, and I didn’t need everything to be tied together in a neat little bow. That being said, when the film ended, instead of it being a conclusion that felt like, “Oh wow, that was a bold choice,” it felt like, “Eh, at this point, it doesn’t matter.”

“Juror No. 2” features solid performances from Toni Collette, Chris Messina, Kiefer Sutherland and Cedric Yarbrough, but even they can’t save the messy screenplay. Another issue with the film is the lead performance from Hoult. For the film buffs out there, they are likely to remember “About a Boy” and how Hoult is reunited with his movie mom, Toni Collette. Time sure flies by! However, I felt as though he was doing a poor Tom Cruise impression with his performance. His acting really left a lot to be desired, and the performance felt forced and strained. The direction by Eastwood is top-notch as usual, and he is more than capable of directing at a high level for as long as he chooses to, but he needed a better leading man and a better script for his film.

* * out of * * * *

Blu-ray: “Juror No. 2” is released on a single disc Blu-ray from Warner Brothers Home Entertainment. It also comes with a digital copy of the film. The film is rated PG-13 for some violent images and strong language and has a running time of 113 minutes.

Audio and Video Information: There is a solid Dolby Atmos track included here, which was a pleasant surprise. It packs a good punch during the more dramatic scenes. The video quality is also solid.

Special Features: None

Should You Buy It?

“Juror No. 2” is a fine film to watch on a rainy afternoon weekend with your significant other.  It is entertaining, well-made, and it also features top-notch performances from its talented cast.  However, it’s not a movie that requires repeat viewings or the kind you need to go out and buy.  It’s on Max, and that is a perfect place to watch it. There is some good in the film, but it really falls apart in the second half.  It suffers from a pretty run-of-the-mill screenplay. It has drawn comparisons to “12 Angry Men,” but it’s only similar in concept and not in execution. I’m always happy to see a new film from Clint Eastwood, and I hope he has another movie or two left in him. 

**Disclaimer** I received a copy of this film from Warner Brothers to review for free.  The opinions and statements in the review are mine and mine alone.

Spike Jonze’s ‘Where the Wild Things Are’ Deserves Another Look

Posted on by The Ultimate Rabbit

Back when I saw it in 2009, Spike Jonze’s take on Maurice Sendak’s “Where the Wild Things Are” proved to be one of the few movies which I felt really dealt with real kids instead of the cliched ones which inhabit far too many motion pictures. Here, we get a young boy who has quite a vivid imagination which he retreats to when the real world becomes too scary to deal with, and who comes from a broken family where the father is not present. It was nice to see kids, one in particular, treated as intelligent and capable of learning more than they knew, and it combines them with things which are real, imaginary and, of course, wild.

The kid here is Max, and he is played by Max Records in one of the best performances I have seen from a child actor. Seeing him build an igloo out of a snow pile or making a spaceship in his bedroom with his stuffed animals as willing passengers brought back great memories from when I was a kid. But reality rears its ugly head when other kids thoughtlessly destroy his igloo, not thinking of what it meant to him. Then we see him in elementary school as his teacher explains how the sun will die one day. This is one of the funnier moments as the teacher just can’t stop talking about all the different ways our planet will die. Granted, this won’t happen for another billion years, but when you’re a kid, this can feel like it is just around the corner.

Everything comes to a head as Max becomes very resentful of his mother (the always terrific Catherine Keener) when she brings home a new boyfriend (played by Mark Ruffalo). The bond Max shares with his mother is very strong, but when he is no longer the center of her attention, he rebels and ends up biting her on the shoulder. Horrified at what he did, Max runs away from home and sails to a distant island where he does indeed come across the Wild Things of the title, and this is where the rumpus truly begins…

The Wild Things are a combination of puppetry and CGI effects, and it makes them all the more real as a result. The visual effects are used to give them facial expressions which vividly captures their happiness and sadness. As a result, it never ever felt like I was just watching a whole bunch of special effects. It really felt like I was watching creatures I could actually interact with.

Of all the monsters, the one with the most recognizable voice is the late great James Gandolfini who plays the most prominent Wild Thing, Carol. We first see Carol destroying some dwellings he had just built. For Max, breaking things has a wonderment to it, and Carol links on to this with the upmost enthusiasm. Gandolfini is wonderful, and at times truly heartbreaking as he takes Carol from utterly enthusiastic highs to downright angry lows. This is not him doing Tony Soprano as if he was all covered with fur. Also, Carol’s last scene is one which really choked me up, and Gandolfini sells it for all it is worth.

Among the other voices are Catherine O’Hara’s, and she plays Judith, the one monster who is very mistrusting of Max. Paul Dano plays the ever so sensitive Alexander, and he captures the painfully shy nature of this monster in a very truthful way. Forest Whitaker portrays Ira, and I barely recognized his voice here which is pretty impressive. Lauren Ambrose voices KW, and the moments she shares with Max form some of the movie’s best moments.

You know the saying of how we have met the monster, and the monster is us? Well, that is very much the case here. The Wild Things clearly represent the different parts of Max’s personality, and he soon comes to see himself in all of them. As a result, Max manages to see things a little more clearly in relation to his own family, and especially his mother. By becoming the monsters’ king, he realizes he has become much like his mother.

I really mean it when I say Records gives one of the best child actor performances I have ever seen. The whole movie really rests on his shoulders, and that is a lot to put an 11-year-old through. Jonze really lucked out getting him to play this part as the young actor makes his character’s transition from being just a kid to someone who is more mature and understanding very believable, and this really shows in the movie’s last half.

Jonze shot a good portion of the action with handheld cameras to give the proceedings more of an immediacy, and he thankfully does not overdo it. Some filmmakers fail to reign this camerawork in a lot of times to where it is hard not to feel sea sick. This was only his third movie as a director, following the creative triumphs of “Being John Malkovich” and “Adaptation,” and his directorial vision remains a very original one.

“Where The Wild Things Are” was originally supposed to be released in 2008, but Warner Brothers had considered reshooting the whole thing. It turned out Jonze’s vision was a lot darker than they expected it to be for something they thought would be an average family movie. The fact that Jonze’s take on this classic children’s book did make it to the silver screen and was not buried in a deep dark dungeon like “Batgirl” feels like a miracle. While it was not the box office hit the studio hoped it would be, it continues to have a long shelf life.

It also has a wonderful soundtrack done by Karen O and the Kids. It’s one of those soundtracks which has really great songs which are never easily forgotten, and it adds vividly to the strong emotions generated throughout.

Is this movie appropriate for kids? Well, it depends. If they are 6 years or younger, you may want to see it before they do. I was sitting near a boy and his mother, and the boy did get a little freaked out at times. Still, it is nowhere as traumatic as “Watership Down” or “The Neverending Story” was. If your kid can handle “Bambi,” they can handle this one as well.

One of my favorite scenes comes when Max and the monsters are jumping all over the forest, and Carol was creating big dust clouds when he landed. This all leads to a wonderfully heartwarming moment where the wild things pile on top of each other and fall asleep. Seeing Max befriend the somewhat alienated KW is especially great because their individual differences just evaporate at that point. These are two who can relate and sympathize with one another as they both come from worlds where they feel like outcasts.

If there is one weakness to be found here, it is that the plot does not always hold together. There are some moments which drag, and it takes a bit for the pace to recover. Then again, this movie is based upon a book that is only ten sentences long. The fact Jonze and co-writer Dave Eggers were able to craft a story for a feature length movie out of it is pretty amazing. But when you read or re-read the book, I think you will find that there is more to it than its simplicity of story might imply.

There was a bookstore next to the theater I saw the film at, and I dashed in there to read the book. I can’t even remember the last time I read this Caldecott award winner, and there is a lot of different ways you can look at it. You can see it as a story of how kids do not easily separate from their parents, and of how the further away from home they get, the more they realize the importance of a home. Or maybe you will see it as a story of the one person who becomes king and gets what he wants, but then finds it deeply unfulfilling and bereft of love and family which we largely thrive upon.

I think Jonze saw “Where the Wild Things Are” as a story which clearly take in a child’s point of view. Just about everything in this movie made me feel like I a child again, and of how we become shaped by the things which make us happy and sad. It is not meant to break down the imaginary worlds we create for ourselves, but of how they can make us understand the world around us and the people who figure most prominently in our lives better. Max comes to see why his mother treated him the way he did, and he grows up a lot quicker than most others his age do in the process.

For me, this film was something of a godsend when I first watched it. We see kids treated like real kids, and there is a wealth of genuine imagination and emotions throughout. While it doesn’t always hold together, it is a much more accomplished film than many others which get passed off as “family entertainment.” Too many movies then and now are dumbed down for audiences, and they often don’t treat children like the intelligent creatures they can be,

Indeed, no one could have brought this classic book to the silver screen the way Jonze did. And after all these years, it is definitely worth another look.

* * * ½ out of * * * *

‘Megalopolis’ – A Beautiful Mess, and I Liked It

Posted on by The Ultimate Rabbit

So, help me, I liked “Megalopolis.” Francis Ford Coppola’s passion project which has been decades in the making. It was finally unleashed unto the world at large, and the reviews have been incredibly polarizing as audiences were either enthralled or baffled by what they witnessed. it was pretty much considered a box office bomb in advance as studios had no idea of how to promote it, and it debuted with a terrible $4 million gross which looks horrid for a film with a $120 million budget. But while it has been met with the same critical and commercial derision as another Coppola film, “One From The Heart,” was greeted with back in 1982, it shows he has no fear or shame in taking grandiose risks with the material given to him.

Going into “Megalopolis,” I was determined to watch it with as open a mind as possible. Judging from the many Hollywood studios’ collective refusal to promote or market it, I assumed this would be a genre defying motion picture since no executive had a clear idea of how to sell it. I also did not go in expecting something along the lines of “The Godfather” or “Apocalypse Now.” Those classic films were their own things, and this one is quite another.

What I discovered was a cinematic mess, but it’s an enthralling mess with many ideas on its mind and beautiful visuals few other filmmakers could pull off. Seeing it with an audience, some of which did walk out on it, made it all the more entertaining as everyone really got into it, for better or worse. Like Richard Kelly’s “Southland Tales,” I really dug the heedless ambition Coppola brought to this long gestating project, but “Megalopolis” is a bit better as the story is a little more understandable and easier to get the gist of.

The film, which is described as a fable, is set in an alternate version of America where New York City has been rechristened as New Rome. Crime is terrible and poverty is rampant while the rich revel in their decadent desires. Then along comes Cesar Catalina (Adam Driver), a futuristic architect whose invention of the Megalon, a new bio-adaptive building material, offers a great change to the world. His plan is to use it to build a futuristic utopian city of his design. He also has the ability to stop time in its track, which gives no meaning to the term, “time stops for no one.”

But, as Nick Nolte once said at a press conference I attended, “there will always be change and there will always be resistance to change.” The resistance comes from corrupt New Rome Mayor Franklyn Cicero (Giancarlo Esposito) who prefers to keep the status quo the same as it ever was where the rich get richer, and the poor get poorer and like the average New York mayor, Cicero is constantly booed by the citizens he zealously yields power over. Even as the crowds jeer him, he still smiles that big smile of his which makes me wonder if he is ignorant, hopelessly naïve, or just a narcissist.

Now I am sure you guessed it already, but the Roman names are intentional as Coppola is comparing the fall of Rome to what America is going through, and he was influenced by the Catilinarian conspiracy when he wrote the screenplay. That conspiracy involved a coup back in 65 BC when Lucius Sergius Catilina attempted to overthrow the Roman consuls of Marcus Tullius Cicero and Gaius Antonius Hybrida, and forcibly assume control of the state. it is clear both Catalina and Cicero want a measure of power over the citizens of New Rome, and neither will let anything stand in their way in obtaining it.

Another character making a play for political power is Clodio Pulcher (Shia LaBeouf who is especially lively here), Catilina’s resentful cousin who looks to embarrass him in the most unforgettable ways possible. He looks to win the New Rome citizens over by starting a campaign which invites comparisons to the term “Make America Great Again.”

There is a lot more I can tell you about “Megalopolis’” story, but there is honestly enough for several movies here. As a result, watching it once is not nearly enough for me. There are a lot of plot threads which go in various directions, and while some may say this film does not have enough of a center, I think it does. Perhaps it will take some time to put all the pieces together when it comes to this passion project. Or, if Coppola lives long enough, we will get another cut of the film as he likes to fiddle around with his previous works.

Some have expressed fierce criticism over how the actors seem to be acting in different movies here as the performances range from natural to utterly theatrical. Indeed, there are a various number of acting styles clashing with one another here, but I was not really bothered by this. Considering how divided America has become in the past decade or so. We have citizens accepting one reality while others are accepting its polar opposite. As a result, the conflicting styles this motion picture has to offer us made a lot of sense to me.

Adam Driver makes Catilina into an especially compelling character like he always does, Jon Voight does some of his best work in a while as Catalina’s wealthy uncle, Crassus, who has more tricks up his sleeves than the actor would ever be quick to let on. Nathalie Emmanuel, who plays Julia Cicero, Catalina’s love interest and Cicero’s daughter, and does a great job of further emphasizing the intense conflict between the two men.

But if there is a most valuable player to be found in “Megalopolis.” It is Aubrey Plaza who portrays Wow Platinum, a television personality who goes from being Catalina’s mistress to Crassus’ lover and wife as she desires nothing more than money and power, and it becomes crystal clear what she will do to get them. Plaza is given free rein to chew the scenery every which way she likes. there is no forgetting her presence once you walk out of the theater as she revels in portraying such a despicable Lady Macbeth-like character.

What else can I say about “Megalopolis” that I haven’t already? Yes, it is a mess full of ideas which Coppola has spread all over the place, and there are flaws which are quite glaring. Still, it is an infinitely creative piece of work. The visual effects serve the material without overwhelming it, and there is an unforgettable beauty in the color scheme Coppola employs here.

I have no shame in giving “Megalopolis” a positive review. No, it is not Francis Ford Coppola’s masterpiece (for me, that would be “The Conversation”), but it was great fun seeing the famed filmmaker and winemaker swinging for the stars. He walks a tightrope throughout, taking risks and challenges along which most directors would never do today.

“Megalopolis” is very, very earnest in its designs as Coppola leaves us with a plea for peace and a world which everyone regardless of class and creed can fully benefit from. This may seem like a pipe dream considering how the world is currently tearing itself apart due to religious or ideological differences, but it is a memorable epitaph, should this film be his final work.

And at the very least, we will always have Adam Driver’s unforgettable delivery of “da club.”

* * * ½ out of * * * *

‘Succubus’ – An Indie Horror Film Deserving of Your Attention

Posted on by The Ultimate Rabbit

I came into the horror thriller “Succubus,” written and directed by R.J. Daniel Hanna, completely blind. From its poster, this film looked to be one of those low rent horror flicks that may be enjoyable but will be quickly forgotten like the last value meal you consumed at your local McDonald’s. What resulted, however, truly surprised me, especially after learning what the filmmakers had to work with. “Succubus” held me firmly within its tight grasp from start to finish as it takes the audience on an especially insane ride to hell. While this is a motion picture which will find its biggest audience on VOD, seeing it on the silver screen proved to be quite the treat.

We meet Chris (Brendan Bradley), a tech financier who is currently going through some tough times. His latest business venture fizzled to where his finances are very tight, he is separated from his wife Sharon (Olivia Grace Applegate), and he is home alone with his infant son and figuring out where to go at this tenuous stage in his life. Plus, he keeps getting pestered by his overly sensitive mother, Denise (Rosanna Arquette of all people), about his bad business decisions and her grandson whom she hopelessly adores.

In the midst of all this, Chris’ alpha male of a best friend, Eddie (Derek Smith), has encouraged him to go on a dating app and meet attractive females who are just waiting to party with the right man. Chris is initially reluctant to engage in the possibilities of online dating as he still has deep feelings for Sharon, but then he comes across a beautiful woman by the name of Adra who has a truly smoking hot body, but whose face is obscured by a cellphone she holds up in front of her face. Why would she do that when everyone else is quick to get you to look at their revealing features? Chris is quickly drawn in by her, and this leads him down a path which will reveal, among other things, some inescapable facts about nanny cams.

Adra is played here by Rachel Cook, and she is clearly having a blast playing a seemingly innocent human being who almost effortlessly lures Chris into her clutches. I was back and forth on whether to write the definition of the word succubus, but her performance here makes me want to as she seduces not just Chris, but the audience as well. So here it is:

A succubus is a female demon or supernatural entity in folklores who appears in dreams to seduce men, usually through sexual activity. According to some folklore, a succubus needs semen to survive; repeated sexual activity with a succubus will result in a bond being formed between the succubus and the person; and a succubus will drain or harm the man with whom she is having intercourse.

After watching this film, I think you will agree that Rachel portrays the personification of a succubus.

What also intrigued about this film was how well made it is for a genre picture. The cinematography by Jimmy Jung Lu is quite striking, the music score by Andrew Brick Johnson keeps the tension simmering just beneath the surface, and the production design by Eric J. Peterson helps ground the characters and their situations into a reality we can understand to where the action is more horrifying and unnerving than it already is. Seeing it on the silver screen made it quite the treat as a result.

When I first saw Brendan Bradley’s character of Chris appear onscreen, I figured he was a tech guy who spent more time on his computer and social media than anything else, and that he made more money than I will ever see in my lifetime (okay, that’s resentment talking). But from beginning to end, Bradley makes Chris into a complex and sympathetic human being to where I couldn’t help but be in his corner even as he learns in the worst ways possible how the road to hell is paved with good intentions.

Eddie is a character who could have easily been the average douchebag who is infinitely threatened by the attacks on his masculinity, but Derek Smith takes Eddie from those testosterone heights to his vulnerable lows as we watch this character travel down a path which may very well have the most painful ending. As a result, this will leave all the men crossing their legs in understandable defense.

You also have Olivia Grace Applegate as Chris’ estranged wife, Sharon, who starts off as an anxious bundle of nerves but ends up rising to the challenge when her husband ends up in harm’s way. Kudos also goes out to Emily Kincaid who plays Sharon’s best friend, Charlisse, who has invited her to a bachelor party and constantly encourages her to be a free spirit because of her current single status.

But the big secret weapon “Succubus” has to offer us is “Hellboy” actor Ron Perlman who portrays Dr. Orion Zephyr, a man who appears to have all the answers to what Chris is going through. The genius of Perlman’s performance is how enigmatic he makes Dr. Zephyr as certain allegations are made about this character to where we cannot be certain if he is a trustworthy human being. As a result, Perlman only adds to the unbearable suspense this movie has to offer as shocking events occur which could not have been easily predicted.

With “Succubus,” writer and director R.J. Daniel Hanna has given us the kind of horror film which is not about giving audiences a jump scare every five minutes, but instead to deliver a WTF cinematic experience which, whether or not you think it rivals the average Ari Aster flick, will leave you deeply unnerved. This was especially the case when I saw the horrified expression on a certain character’s face at the end. Just when you think the terror is over, it isn’t. Kind of like real life, huh?

* * * ½ out of * * * *

‘Furiosa: A Mad Max Saga’ – Oh What a Glorious Epic!

Posted on by The Ultimate Rabbit

There is a quote near the beginning of “Furiosa: A Mad Max Saga” which still haunts me long after I first witnessed George Miller’s thrilling and gloriously epic prequel.

“As the world falls around us, how must we brave its cruelties?”

This particular quote struck me hard as I do not need to live in a post-apocalyptic to understand it. The world is a deeply unfair place, but this fact hits Furiosa more than most as we watch her as a child who is forced to grow up a lot sooner than any youth should, even if it is in a radioactive hellhole.

“Furiosa” is a prequel to “Mad Max: Fury Road,” and we come to meet young Furiosa (played at the film’s start by Alyla Browne) at a time where her life is disrupted in a devastating fashion. While living in the Green Place of Many Mothers, she is kidnapped by members of the Biker Horde, and they present her to their leader, the warlord Demetrius (Chris Hemsworth). From there, she is forced to witness horrible atrocities and survive the awful violence which threatens to be perpetrated on her and others in what comes to be known as the Wasteland.

Now whereas “Fury Road” was an all-out chase movie, this one has a bigger story to tell as it looks at the origins of Furiosa and of the events which turned her into a real bad ass. She is given a full character arc as she is forced to improvise ways to escape a painful and helpless servitude and prevent anyone from discovering the “land of abundance” where she came from. When she comes to the moment where she proves to be a bad ass warrior, it feels truly earned.

To my surprise, we don’t see Anya-Taylor Joy until an hour into this film. Instead, we get Alyla Browne who plays her as a girl, and she previously worked with Miller in the criminally underseen “Three Thousand Years of Longing.” This young Australian-Estonian actress does fantastic work in making you believe a child of so young an age can be quick to defy her captors, escape those about to do serious physical harm to her, and to slip away ever so cleverly to where she is not just another piece of property.

When Anya-Taylor Joy arrives, Furiosa has been toughened up to a large extent and has disguised herself as a mute boy who is good with fixing cars and operations around the War Rig. While it is a bummer that Charlize Theron could not return as Furiosa, Joy makes this role her own and commands the screen to where her male counterparts can only play catch up. Seriously, she has a glare which shoots lasers right through your eyes and punches a hole out the back of your head. Not once is she ever less than riveting in this role.

Then we have Chris Hemsworth as the warlord Dementus, a man who only thinks he’s as badass as Thor. He’s a hoot to watch here as he simply lets loose and chews up the scenery with sheer abandon. He is an actor possessed with a fury as Dementus has the appearance of someone successful, but who has no idea how to wield power in a successful or profitable way (sound familiar?). But moreover, Hemsworth gives Dementus an inescapable vulnerability as he reveals himself to Furiosa as someone who has been equally wounded as she has. Both have suffered tragedies and want to get back to the lives they once had, but this apocalyptic world has robbed them of their hopes and dreams and leaves them with only one mission, to survive. This all leads one of the big questions this film has for us and its characters; how do you go through life when everyone and everything around you has been laid waste?

Seriously, however, the real star of “Furiosa” is George Miller. After all these years, he still knows how to create a post-apocalyptic future like no one else. I would love to get inside his head to see how he comes up with all these visuals and cars. And while some might be saying this prequel is “Fury Road” all over again, they are wrong. He does revisit familiar territory and characters here, but he still has new tricks up his sleeves as he expands the world he brought us into years ago and gives it even more visual and thematic depth. Can another filmmaker give you such Wasteland splendors like the Citadel, the Bullet Farm and Gastown? I think not.

And yes, there are glorious action set pieces to be found throughout. Among my favorites are when Furiosa stows away in the War Rig undercarriage while Immortan Joe (Lachy Hulme) drives through the war-torn field while being attacked by rogue raiders. It is one of the most thrilling sequences I have seen in a film so far in 2024, and Miller is aided by the propulsive music of Tom Holkenborg (a.k.a. Junkie XL), the amazing cinematography of Simon Duggan, and the brilliant editing job done by Margaret Sixel and Eliot Knapman. This sequence plays even better in 4DX as you feel like you are at a rodeo that never lets up.

Now as I write all this up, “Furiosa: A Mad Max Saga” is failing at the box office which depresses me. This is a film meant to be seen on the biggest silver screen in your neighborhood and not one to await on streaming. I’m sure there are understandable reasons as to why this prequel is underperforming around the world, but you are really missing out if you don’t see it at a theater near you. This is one of the most visually spectacular films you can hope to see this year this side of “Dune Part II.” I find it hard to believe I will have a more exhilarating cinematic experience in 2024 than I had here.

I do have to say, however, that the big chase sequence featuring the War Rig gave me some PTSD memories of when I worked at Disneyland. I had a commute of 35 miles one way, and it did bring out the Immortan Joe in me. Traffic in California was hell back then, and it is still quite hellish today.

* * * * out of * * * *

Underseen Movie: ‘Thanks for Sharing’

Posted on by The Ultimate Rabbit

WRITER’S NOTE: This review was written back in 2012, and I was reminded of this film when I recently interviewed the writer/director and stars of the 2024 film “Sweet Dreams.”

There are many who see support groups (or 12-step groups if you want to call them that). The truth, however, is that those who attend them are not any different from the rest of us, and they can at times be very funny. At the very least, these people deserve credit and applause for taking the time to get the help they need because asking for help is usually one of the hardest things to do.

“Thanks for Sharing” is one of the few movies I have seen which deals with these groups and the people who attend them. While it does take the subject of addiction seriously, it also finds a good balance between drama and comedy to where we find ourselves laughing with these characters and never at them.

This movie focuses on three men who attend the same Sex Addicts Anonymous meeting: Adam (Mark Ruffalo), Mike (Tim Robbins) and Neil (Josh Gad). Adam is an over-achieving environmental consultant who is celebrating his fifth year of sobriety. Mike is a happily married man who is kind of the elder statesman of the support group these men attend. And then there’s Neil, an emergency room doctor who is in serious denial over his addictions to where he gets in serious trouble with the law. I like how we are given characters who are at different stages of dealing with this addiction to where it gives you a good idea of why people come to these groups in the first place.

Adam is at a good place as he has really cleaned up his act and is coping with life really well. He takes great pains to keep himself on the right track by taking such measures as removing television sets from his hotel rooms so he won’t find himself watching anything pornographic. But then he meets the irresistibly beautiful Phoebe (Gwyneth Paltrow) while at a party where people are eating bugs (don’t ask), and the two are instantly attracted to one another. While Adam is eager to be in a relationship with her, he is not altogether sure he is ready to fall in love again after all he has accomplished. He is trying to keep his demons at bay, but it becomes much harder for him to do so.

Mike has been in recovery the longest, and he appears to have a great relationship with his wife, Katie (Joely Richardson). Things between them, however, change very quickly when his son Danny (Patrick Fugit) turns out to have some serious addiction problems of his own. Katie is thrilled to see Danny, but Mike is not sure he can trust him after all they have been through. In the process, we come to see that Mike, despite his well-earned sobriety, still has some major control issues he has yet to make peace with.

As for Neil, he has gotten himself into a painful situation when he stands uncomfortably close to a very attractive woman while riding on the subway. From there, things come to a head for him when he loses his job under embarrassing circumstances, and this finally makes him realize he needs help. Neil eventually finds solace through another recovering addict, Dede (Alecia Moore, better known as Pink), who is just starting to deal with her personal demons as well.

I am always yearning for movies which have down to earth characters, and “Thanks for Sharing” is definitely one of them. All of what everyone goes through feels very real, and nothing ever felt contrived to me. Granted, the storyline involving Robbins’ character is one we have seen many times before, but the acting between him, Fugit and Richardson are so good to where we can forgive the filmmakers for venturing into familiar territory. It really is a shame how most Hollywood movies do not dare give us more characters we can relate to on a human level. If they did, it would make most movies far more enjoyable and invigorating as a result.

“Thanks for Sharing” was directed and co-written by Stuart Blumberg, one of the writers of “The Kids Are All Right.” Finding a balance between comedy and drama can be very hard to pull off, but Blumberg is successful in doing so for the most part. He also shows a lot of love for each character here, and not just the ones who in recovery.

Mark Ruffalo remains one of the best and most naturalistic actors working today. As Adam, I never caught him acting once, and his chemistry with Paltrow is very strong. Ruffalo makes Adam a very likable guy as he struggles to not fall back into his old habits, and he makes you see how much of a challenge this is for him.

As for Paltrow, this is the most relaxed she has been onscreen in some time. While she was a blast to watch in “Iron Man 3,” she seems more in her element here as she portrays a character who is not an addict, but one who needs to face up to the issues slowly eating away at her. Watching her in “Thanks for Sharing” reminded me of just how wonderful she can be when she is given the right role.

Robbins remains as terrific an actor as ever, and I am always enthralled when I watch him in anything he does. His character of Mike seems like the typical father who has lost trust with those he should be the closest to, but he imbues this character with a lot of humanity to where he never seems like a simple caricature. His scenes with Fugit, who we have not seen enough of since “Almost Famous,” feel emotionally true, and their relationship feels authentic when it could have come across as ridiculously manipulative.

At this point, I am not familiar with Gad’s work other than him appearing in the acclaimed musical “The Book of Mormon.” Gad has the trickiest role here as he is this movie’s comic relief, but he never plays Neil for simple laughs. We are watching Neil as he is at the start of his recovery, and it isa rough start to say the least. Gad makes you root for Neil even as he does some of the dumbest and most reckless things anyone would ever have the nerve to do.

But there is no forgetting Alecia Moore, a.k.a. Pink, who gives an impressive performance as an addict who was pushed into this particular support group by a friend. Her character of Dede ends up forming a strong rapport with Neil, and they find in each other the strength they need to move past what is destroying their lives to where they can see the light at the end of the tunnel. From start to finish, she really understands this character very well, and I could see it in her eyes. Like Ruffalo, you never catch her acting here as she grounds her character in a reality which is not all removed from our own.

I liked how “Thanks for Sharing” showed how these support groups can become another addiction as its members begin to spend more time with others instead of their own families. While these characters have made great strides in conquering their demons, they still struggle with their urges every single day. Truth be told, it takes a lot of courage to face up to the things which are tearing your life apart, and long before this movie is over, you realize these addicts are not weak but strong.

The one thing I would have liked to see more of is how the family members deal with their loved ones’ addictions. My understanding is that they can only be so involved in what an addict goes through as they can never fully comprehend how dangerous their addictions can be unless they have experienced the same thing themselves. There is a scene between Paltrow and Richardson which addresses this divide, but I would have liked to see this movie go a little bit deeper in this area.

But when all is said and done, “Thanks for Sharing” fulfilled my need to see a motion picture with characters which we can recognize in our own lives. With all these superhero movies coming at us endlessly, it is important to remember we will never be perfect and cannot be everybody’s everything. It would be nice to be a superhero though, wouldn’t it? Lord knows we could use a couple of them right now. Anyway, I think this movie is definitely worth checking out.

* * * ½ out of * * * *

Terrence Malick’s ‘To the Wonder’ – Meandering but Still Unforgettably Beautiful

Posted on by The Ultimate Rabbit

Terrence Malick’s “To the Wonder” is, in many ways, a mixed bag of a film. Not all of its parts go together in a way which feels entirely cohesive. It focuses on a couple played by Ben Affleck and Olga Kurylenko who fall in love and come to America to start a new life, but they eventually find themselves falling out of love, and they constantly struggle to understand how something so wonderful can go so awry. And then we have Father Quintana (Javier Bardem), a Catholic priest who is struggling to keep his faith even as he feels the presence of God eluding him at a time when he is desperate to believe in an afterlife. The balancing act between these characters is wobbly at best, but Malick still gives us many beautiful and wondrous images which are very powerful, and these images quickly remind me of how brilliant he is at capturing nature on film.

“To the Wonder” starts off in Europe where Marina (Kurylenko) finds herself completely enamored by her American boyfriend, Neil (Affleck), as they take a tour around town. Along with them is Marina’s daughter, Tatiana (Tatiana Chiline), who is thrilled when Neil asks her if she and her mom would like to move with him to the United States to live. After briefly viewing the European sights, the film then heads over to Neil’s home state of Oklahoma where the flatlands appear to stretch out as far as the eye can see. Heck, it almost looks like hardly anybody lives there, so it is a huge relief when we see t Neil and Marina actually have neighbors.

As with “The Tree of Life,” “To the Wonder” functions mostly as a silent film as the majority of the dialogue we hear is as a voiceover. Malick is far more interested in the inner thoughts of his characters than anything else as they struggle with the things they want and which are constantly outside of their grasp. We feel their passion for one another, and we also feel their pain and disappointment when their love eventually fades away.

Having read up on Malick as a filmmaker and as a person, it is clear to me how this film and “The Tree of Life” are his most autobiographical works overall. What the characters go through is not much different from what he has experienced in his own life, and with these films, it looks as though he is still trying to pick up the pieces of what went wrong.

Kurylenko first came to my attention in “Quantum of Solace,” and she has made the most of being a Bond woman as her performance here shows. It is thrilling to watch her dancing around the streets of Europe as well as in a corporate drug store which typically sucks the life out of everyone who shops at one. In many ways, Kurylenko is the best thing about this film as she takes us through Marina’s transcendent highs and her emotionally draining lows with complete conviction throughout.

Back in 20123, people had serious issues with Affleck as an actor, and this is even after his film “Argo” won the Academy Award for Best Picture. I myself have never had any issues with his acting abilities, and he gives a strong, understated performance as Neil, and it is never his fault we come to know less about this character than the others we are introduced to here. I really wish Malick had given Neil as much attention as he did to Marina as this would have made Neil’s journey in this story all the more illuminating. Nonetheless, Affleck is still very good in here.

Rachel McAdams is inescapably luminous as Jane; a childhood sweetheart of Neil’s who shows up after Marina has gone away. Malick makes Jane look beyond beautiful as he frames her against fields of wheat, and it is emotionally draining to watch Jane bear her soul to Neil and try to melt his heart in the process. McAdams ends up disappearing from “To the Wonder” a little bit too soon, but she is a vision to watch throughout.

Bardem’s character of Father Quintana at first feels a little out of place as much of the focus seems to be on the relationship between Marina and Neil, but his presence makes more sense as this film goes on. With this character, Malick seems to be saying how our loss of love for one another may have to do with our relationship to God, or lack thereof. Bardem does some of his subtlest work as he portrays a man struggling to hold onto whatever faith he has left, and it results in some of this film’s most emotionally draining scenes.

When we watch Quintana visit the sick, the elderly and the dying, I found myself being reduced to tears as these moments ring so emotionally true in a way I would rather not realize as death is becoming all too common for me to deal with. Plus, Malick just had to use Henryk Górecki’s third symphony entitled the “Symphony of Sorrowful Songs” which Peter Weir used to such great effect in “Fearless.” It remains a piece of music which is as beautiful as it is infinitely sad, and it always reduces me to a weeping wreck whenever I listen to it. I also have to admit I was very angry at Malick for using this piece of music here as it felt so unfair that he reduced me to a complete wreck in an inescapably manipulative way. Then again, I was in the midst of a very deep depression at the time, so that did not help matters.

But as mournful as “To the Wonder” is, there are still many beautiful moments to watch for as Malick remains a master of capturing the unpredictability of nature and animals on film. This includes moments like when Affleck and McAdams are suddenly surrounded by more buffalo than Kevin Costner dealt with in “Dances with Wolves,” the sunlight piercing through the colored glass in a church, or watching Kurylenko walking across the beach as the water covers the sand. These are moments which still will not fade away from my memory anytime soon. Working again with his “Tree of Life” cinematographer, Emmanuel Lubezki, Malick still captures moments of visual poetry in ways few other filmmakers can ever hope to equal.

It is those incredible visual moments which make me want to forgive how meandering “To the Wonder” is as it unfolds before us. I have learned Malick actually shot this movie without a screenplay, and this made me wonder how the actors dealt with this style of filmmaking. Considering that Jessica Chastain, Rachel Weisz, Amanda Peet, Barry Pepper and Michael Sheen all had roles in this film which were eventually removed from the final cut has me believing there was a whole lot more to this film than what ended up onscreen. While “The Tree of Life” had several different story lines going on, Malick was able to rein them all in to where everything seemed to fit perfectly. With “To the Wonder,” he has a little too much going on, and the film ends up losing focus more often than it does not.

Still, if you are willing to tolerate those flaws, “To the Wonder” is still a profound experience filled with great performances and beautiful images which will stay with you long after this film has concluded. I really wish the audience I saw it with all those years ago felt the same way I did. I bring this up as one audience member remarked at how the lives of these characters proved to be far more boring than anyone else’s. Well hell, some people enjoy the simple pleasures in life more than others, but many are still insistent about how theirs are better than the average human being, and that is even though there is plenty of evidence to prove otherwise.

Seriously, it seems very fitting that “To the Wonder” was the last film Roger Ebert reviewed and gave to the Chicago Sun Times before he passed away in April of 2013. Rest in peace, Roger.

* * * out of * * * *

Underseen Movie: ‘Things I Don’t Understand’

Posted on by The Ultimate Rabbit

“You’ve got to get yourself together,

You’ve got stuck in a moment

And now you can’t get out of it.

Don’t say that later will be better…”

-U2

“Nothing fades as fast as the future,

Nothing clings like the past.”

-Peter Gabriel

 “More Than This”

What really happens to us when we die? It almost seems like a foolish question to ask because we will only get to find out when we depart this mortal coil, and we won’t be able to tell anyone what it’s like. The only thing people can seem to agree on is that they move towards a “bright light,” but this only tells us so much. Nevertheless, we still look for an answer to this question mainly because we hope it will confirm the things we are led to believe. At the same time, thinking about the future this deeply is not much different from being stuck in the past.

Movies like “Flatliners,” “The Sixth Sense” and even “Heaven Can Wait” have explored this subject in various ways, but David Spaltro’s “Things I Don’t Understand” is one of the more thoughtful I have seen on it in recent years. It’s not interested in coming up with some supernatural answer to this question, but instead in how our curiosity can somehow rob us of what meaning our lives have. Here we meet a variety of characters whose mind and thoughts are broken as their present lives seem unfulfilling because of physical and emotional scars, and their futures all seem relentlessly bleak as a result.

Molly Ryman stars as Violet Kubelick, a graduate student working on a thesis of what becomes of us after death. Over time, Violet has emotionally detached from the world and those around her after surviving a failed suicide attempt, and she has since developed a pessimistic attitude about life and what it has to offer. She lives to avoid every customer who enters the bookstore she works at and freely embraces a life of drugs, alcohol and promiscuous sex as though she is daring death to take her away from this ever so cruel world.

Things come to a head for Violet as she and her obsessively artistic roommates, bi-sexual musician Remy (Hugo Dillon) and hypersensitive artist Gabby (Melissa Hampton), face eviction from their home in Brooklyn and have to quickly come up with the money to save it. As this is happening, Violent comes to interview Sara (Grace Folsom), a girl with end stage cancer who approaches the end with a sardonic sense of humor, and she forms a friendship with lonely bartender Parker McNeil (Aaron Mathias) who is trapped by a tragic past that won’t leave him be. All these relationships bring about a much needed catharsis for everyone as they need to break free of what holds them back.

What I really liked about “Things I Don’t Understand” is how it doesn’t come to us with easy answers about the afterlife as it is far more interested in raising questions about life after death. To define what happens when you die in a movie is tricky because you threaten to lose half your audience with your own interpretation. Spaltro avoids this trap and examines how our questions about life after death come to define how we live life day by day. For these characters, it has seemingly robbed them of a positive outlook on life and has frozen their emotions at a moment in time to where they may never fully thaw.

The acting all around is very good, and Spaltro has given each actor a challenging role regardless of how big or small it is. Ryman has the tough job of portraying a character who is not altogether likable, and she simultaneously (and without words mind you) has to indicate the psychological trauma which has come to define her life. As Spaltro has us guessing as to what that is, Ryman gives us a deeply felt complex portrait of an individual we might easily, and thoughtlessly, dismiss as damaged goods, but who is fighting a battle within herself to find a reason to keep on living.

The best performance in “Things I Don’t Understand,” however, belongs to Grace Folsom as Sara. The role of a terminally ill person can be a thankless one as we have seen it so many times to where it often feels like a shamelessly manipulative device filmmakers use to lay waste to our emotions for no really good reason. But Folsom fully inhabits this character with a hard-won dignity and a biting sense of humor that keeps what is left of her spirits up. Everything Folsom does here feels genuine and real, and her emotions never ever appear faked in the slightest.

Aaron Mathias also has a tough role of someone whose happiness came to an abrupt stop years ago, and the shadow of his past hovers over everything he does. As Parker, he comes across as genuinely nice but still struggling with guilt he cannot put to rest. Mathias succeeds in capturing the complexities of his role in giving us a good-natured guy whose eyes betray a deep sadness which still overwhelms him. I could have done without his line of how being a bartender is like being a psychiatrist spiel, but that is only because I have heard it so many times before.

As for the supporting performances, they at first seem too broad for a movie like this, but in retrospect, they feel just about right. Hugo Dillon and Melissa Hampton play artists so dedicated to their art that they have foolishly denied other outlets which could very well add to it. Their characters strive not just for artistic truth but for acceptance from others, something they feel completely lacking in. In a world which can be so cold and unfeeling to their desires, they have forgotten to respect themselves. As much as Dillon and Hampton go over the top, they both inhabit their characters fully and are more than willing to experience their longings and horrific embarrassments (just wait until you see Gaby’s play) in order to reach a new level of understanding about themselves.

Other performances worth noting include Eleanor Wilson’s as Darla, the new to town actress who looks and sounds dumb, but who turns out to have a positive view of life by choice to where she cannot be mistaken as a victim of blissful ignorance. Lisa Eichhorn takes what could have been a throwaway roll as Violet’s psychiatrist, Anne Blankenship, and gives it a nice edge you don’t always see in characters like this one. And let’s not forget Mike Britt who gives great comic support as Parker’s good friend, Big Felix.

“Things I Don’t Understand” is one of those movies wandering around in the overcrowded world of independent cinema which I hope finds the audience it deserves. While it looks like yet another movie wondering about what happens when we die, it takes this question and uses it to define how we can live for today. The more I think about this film, the more it reminds me of the lyrics of one of my favorite Pearl Jam songs:

“You can spend your time alone, redigesting past regrets, or you can come to terms and realize you’re the only one who can’t forgive yourself. Makes much more sense to live in the present tense.”

* * * ½ out of * * * *

‘Remote Area Medical’ Exclusive Interview with Jeff Reichert and Farihah Zaman

Posted on by The Ultimate Rabbit

“Remote Area Medical” focuses on the non-profit medical provider of the same name, better known as RAM, when they opened a three-day clinic held at the Bristol Motor Speedway in Tennessee, and we watch as hundreds wait by their cars in the hopes of getting the kind of health care they never have any easy access to. While there has been an endless debate in the United States about how to handle health care, this documentary chooses to focus on people instead of policy. We get a close up look at how this clinic starts off with a 3:30 a.m. ticket distribution which determines who will get seen for routine check-ups, and the patients tell us about themselves through stories which prove to be both vivid and heartbreaking. In addition, we also get to meet those who volunteer their time at the clinic like the organization’s founder, Stan Brock, a doctor who happens to drive a refurbished 18-wheeler truck, and a denture maker who also works as a jeweler. From start to finish, “Remote Area Medical” puts a human face on what it means to not have access to health care, and it makes for one of the most unforgettable documentaries of 2014.

I got the opportunity to speak with its directors, Jeff Reichert and Farihah Zaman, while they were in Los Angeles back in 2014. They are married to each other and actually volunteered at a RAM clinic back in Pikesville, Kentucky in 2011 where they were overwhelmed by stories they heard of patients in need and volunteer doctors working overtime to provide care. Reichert and Zaman also directed the documentaries “Gerrymandering” and “This Time Next Year.” They discussed what stunned them most as volunteers at RAM, what they learned about people who live in the Appalachian community, and they talked more about the conversations they had with Stan Brock.

Please check out the exclusive interview down below, and I have also included a trailer for “Remote Area Medical” as well for you to check out. This documentary is now available to own and rent on DVD, Blu-ray and Digital.

To learn more about Remote Area Medical (RAM), please feel free to visit their website at ramusa.org.