Tag Archives: America Ferrera

Everyday People

The Lost Bus

by George Wolf

Paul Greengrass loves him a true survival story. And with Captain Phillips, United 93, Bloody Sunday and more, he’s shown great instincts for bringing those stories to the screen. That craftsmanship is on display again in The Lost Bus, a harrowing retelling of a heroic rescue from Northern California’s catastrophic Camp Fire that killed 85 people and destroyed ninety percent of a city’s homes in 2018.

Adapting Lizzie Johnson’s book, Greengrass and co – writer Brad Ingelsby get us up to speed early and effectively. The town of Paradise has not had rain for over 200 days, and the threat of wind gusts up to 90 mph bring multiple wildfire warnings.

Kevin McKay (Matthew McConaughey) is begging for extra shifts as a school bus driver, trying to keep his life together amid an aging mother (McConaughey’s mother Kay), a rebellious son (McConaughey’s son Levi), a disappointed ex-wife (Kimberli Flores), an impatient boss (Ashlie Atkinson) and a dying dog.

He’s also struggling with guilt after his father’s death, and it’s only McConaughey’s skill with grounding the character that keeps Kevin from collapsing under the strain of an overly tortured and reluctant hero.

A faulty power line ignites a small fire that quickly grows to overwhelm firefighters, and as evacuation panic sets in, a call goes out to any bus drivers able to rescue a group of stranded schoolchildren. McKay answers, picking up teacher Mary Ludwig (America Ferrera) and her class of 22 kids. The radios are out and the bus is unreachable, adding even more anxiety to the frightened parents waiting at a shelter.

Ferrera also does wonders with a broadly drawn character. She and McConaughey create effective snapshots of everyday heroes pushed to the brink, the perfect anchor for Greengrass’s frenzied shaky-cam plunge into the fire. What the effects team accomplishes with the mix of embers, wind and flame is just spectacular, and though none of the bus’s perilous moments surpass the white knuckle nerve-shredding of Sorcerer, just the fact that Greengrass can bring Friedkin’s classic to mind is a high-five in itself.

McKay and Ludwig certainly deserve plenty of those. And the bluntly titled The Lost Bus gives them their due in grand, appropriately no-nonsense fashion. Unimaginable circumstances bring on an unparalleled fight for survival, and heroes emerge. Hold on tight for a gripping ride, especially if you can catch this Apple TV release on the big screen.

Chump Change

Dumb Money

by Hope Madden

Do you remember when GameStop stock became newsworthy? I, Tonya director Craig Gillespie does, and he thinks you will enjoy learning a bit more about that slice of American economic history.

Channeling Adam McKay’s rage with none of his snark, Gillespie spins Dumb Money into a laid-back tale of sticking it to the rich guy.

Which are always the best stories.

Paul Dano plays Keith Gill, an underemployed new dad who took a shine to GameStop and shared his lowkey enthusiasm via videos on Reddit. His earnest goofiness, absolute transparency and love of cats drew an audience. That audience grew into a revolution.

Gillespie cuts nimbly from storyline to storyline, introducing us to many of the Average Joes who took Gill’s advice. Anthony Ramos is the most fun, playing Marcus Barcia, a GameStop employee who liked Megan Thee Stallion and did not like Brad (Dane DeHaan), his manager. America Ferrera gets another righteously indignant character to bring to vivid life, while Seth Rogen, Nick Offerman, Vincent D’Onofrio and Gillespie favorite Sebastian Stan relish the rich dick roles.

The film never talks down to its audience, doesn’t over-explain or under-explain its financial underpinnings. We understand about as much as our main characters. Writers Lauren Schunker Blum, Rebecca Angelo and Ben Mezrich may be a bit precious about the long-term impact of the revolution, but they stay focused on character without losing the financial specifics that make the justice that much sweeter.

Dumb Money is a crowd pleaser, partly because the writing team keeps the script simple, and partly because Gillespie keeps the energy high. But mostly because it’s never not fun to see somebody stick it to the man.