The Lost Bus: A harrowing journey

The Lost Bus (2025) • View trailer

Four stars (out of five). Rated R, for profanity and dramatic intensity

Available via: Movie theaters

By Derrick Bang • Published in The Davis Enterprise, 10.19.25

Back in 2006, director Paul Greengrass unveiled the docudrama United 93, about the harrowing events of 9/11, and many of us wondered ... too soon?

 

With traffic backed up for 15 miles (!) on the primary escape road to Chico, school bus
driver Kevin McKay (Matthew McConaughey) and grade school teacher Mary Ludwig
(American Ferrera) seek an alternate route to get themselves and 22 children to safety.

Apparently not. Viewers flocked to theaters, absorbed and horrified by the as-accurate-as-possible depiction of that heinous terrorist attack, and the selfless sacrifice of the passengers aboard United Flight 93.

Now, not quite seven years after the calamitous firestorm that leveled Paradise, Ca., Greengrass has responded with this docudrama ... and, again, is it too soon?

 

Absolutely not, thanks in part to a timely “message line” delivered by Fire Chief Martinez (Yul Vazquez), toward the end of the film: “Every year, the fires gets bigger. And there’s more of them. We’re being damn fools. That’s the truth.”

 

(Probably more of a 2025 sentiment than one from 2018, but still persuasive.)

 

That’s merely an incidental moment in a mesmerizing drama that begins at 4 p.m. on November 7, 2018, as recently hired Pine Ridge School Unified Transportation District bus driver Kevin McKay (Matthew McConaughey) drops his busload of children at their various stops, following a day at school.

 

Kevin’s life has gone completely to hell. He has returned to Paradise, following his father’s death from cancer, and taken the bus-driving job in order to deal with the lingering medical debt. He has moved his mother, suffering from stage 4 melanoma, into his home; his teenage son Shaun (Levi McConaughey, the star’s actual son) also lives with them. And — icing on the cake — Kevin’s beloved dog just had to be put down, also due to cancer.

 

(That may seem like Greengrass and co-scripter Brad Ingelsby are exaggerating this poor guy’s misery, but in fact those details are accurate.)

 

McConaughey, always at his best playing the sort of blue-collar, working-class bloke who makes this country run, delivers a shattering performance in these early scenes. His features are grim, resigned, frustrated and even frightened, his eyes haunted. Trying to juggle all these responsibilities has made him unreliable at work, to the dismay of his boss, Ruby (Ashlie Atkinson, in an excellent supporting role). 

 

These scenes are intercut with frequent news announcements — 210 days with no rain, rapidly accelerating wind gusts — and unsettling images of PG&E cell towers and cables swaying back and forth.

Gringo: South of the border fiasco

Gringo (2018) • View trailer 
Three stars. Rated R, for profanity, violence and sexual content
By Derrick Bang

If the rest of this film were as accomplished as David Oyelowo’s starring performance, it would be far more entertaining.

Who knew Oyelowo could be so adorable and laugh-out-loud hilarious? It’s quite a surprise from the actor who brought such dignity to memorable roles in A United Kingdom, Queen of Katwe and Selma (the latter playing no less than Dr. Martin Luther King Jr.).

Harold (David Oyelowo, left) grows increasingly suspicious when his bosses —
Richard (Joel Edgerton) and Elaine (Charlize Theron) — insist on joining him for what
should be a routine visit to their pharmaceutical company's Mexican manufacturing plant.

Clearly, true acting talent knows no genre boundaries.

Alas, Oyelowo is by far the best part of Gringo, which otherwise is a mess. Scripters Matthew Stone and Anthony Tambakis appear to be going for the uneasy blend of crime thriller and dark-dark-dark comedy that was pulled off so brilliantly by 1993’s True Romance, but that’s a hard act to duplicate. That film was scripted by Quentin Tarantino, and — frankly — Stone and Tambakis aren’t fit to clean the keys of his laptop.

The elements are in place here; Stone and Tambakis simply don’t know how to blend the ingredients into a suitably tasty final product. They badly misjudge some character development, overlook some obvious plot twists, and build to a resolution with at least one (perhaps two) deeply unsatisfying outcomes.

Nash Edgerton’s direction doesn’t help; his handling of the film’s tone is all over the map, and he lets co-star Charlize Theron get away with a truly dreadful performance (something I wasn’t aware she was capable of). Edgerton is a former stunt man and director of video shorts with only one prior big-screen feature to his credit — 2008’s so-so The Square — and I can’t help wondering if his presence here has less to do with having paid sufficient dues, and more to do with his relationship to better-known younger brother Joel Edgerton, who also co-stars in this uneven thriller.

In Hollywood, it truly does pay to have friends in high places.

The story is complicated, so get out your notebooks:

Harold Soyinka, an intelligent but naïvely loyal manager at the pharmaceuticals firm Promethium, is blindly unaware that his boss and (supposed) best friend, Richard Rusk (Edgerton), is a rapacious corporate shark who is cheerfully willing to screw anybody in service of further fattening his bank account. Indeed, Richard is screwing company co-owner Elaine Markinson (Theron), a jaw-droppingly crass, vulgar and profane bitch who casually employs sex as a weapon.

Theron’s initial scenes are a perfect example of Nash Edgerton’s poor direction. Her crude, bad-mannered put-downs and liberal F-bombs look and sound contrived, as if Theron isn’t comfortable delivering them, or doesn’t believe in her character ... or something. Whatever the reason, her performance is off-kilter, and remains so; the film never recovers from Elaine’s behavior.

Richard also is sleeping with Harold’s wife, Bonnie (a miscast and badly used Thandie Newton), because ... well, just because. Neither Bonnie nor this sidebar affair is well developed.

Last Flag Flying: Long may it wave

Last Flag Flying (2017) • View trailer 
Four stars. Rated R, for relentless profanity and crude remarks
By Derrick Bang • Originally published in The Davis Enterprise, 11.17.17

This may be the most unusual road film I’ve ever seen.

The genre is characterized by a trip undertaken by two (sometimes more) individuals who initially don’t get along, and often bond — if only to a degree — by journey’s end. “Great truths” about the travelers are revealed along the way; the more thoughtful scripts also include perceptive social commentary, sometimes speaking to the human condition.

When another snag interrupts their melancholy journey, Sal (Bryan Cranston, right)
naturally drags his companions — Richard (Laurence Fishburne, left) and Doc (Steve
Carell) — to the nearest bar.

The approach can be straight drama, high comedy or a combination of the two. The best examples employ gentle laughter to illuminate human foibles.

Director Richard Linklater has co-scripted — with Darryl Ponicsan — a deeply moving road film that builds to an almost unbearably poignant conclusion. Last Flag Flying has much to recommend it, starting with a clever narrative that is punctuated by often hilarious dialogue. Linklater also draws deeply moving performances from his three stars, and equal mention must be made of the two key co-stars.

But the film is too long at 124 minutes, the pacing too deliberate, many of the slow takes too lingering. Whether in cars, bars, restaurants or trains, this is essentially a “talking heads” experience, and — no matter how well sculpted the drama — that’s hard to sustain for two full hours.

Which is a shame. Tightened by even 10 to 15 minutes, this film might have been a classic for the ages.

The story, set in 2003, begins when soft-spoken New Hampshire family man and former Navy Corps medic Larry “Doc” Shepherd (Steve Carell) unexpectedly shows up at the Norfolk, Va., bar owned by alcoholic former Marine Sal Nealon (Bryan Cranston). Three decades removed from their shared tour in Vietnam, Sal doesn’t immediately recognize his former buddy; once past that snag, smiles abound.

Doc asks a favor; Sal doesn’t hesitate a blink before accepting. Doc drives them a few hours away, where they’re just in time to catch a church service led by Pastor Richard Mueller (Laurence Fishburne), a mutual comrade-in-arms remembered as an unrestrained Marine tear-away. The unexpected dichotomy is almost more than the giggling Sal can stand.

Later, sharing a sumptuous meal prepared by Richard’s wife Ruth (Deanna Reed-Foster), Doc confesses the purpose for this reunion. He has just learned that his only son, a young Marine, has been killed in Iraq; Doc hopes that his two friends will accompany him on a road trip to attend the 21-year-old Larry Jr.’s burial at Arlington Cemetery. They agree.

This process begins with a brief “coffin ceremony” at Delaware’s Dover Air Force Base, where military coffins are de-planed clandestinely, to avoid the public glare (a shameful media blackout orchestrated at the time by the Bush administration, in an effort to recast the Iraqi conflict as a “good news” story).

The Infiltrator: One of the greatest roles ever played

The Infiltrator (2016) • View trailer 
4.5 stars. Rated R, for strong violence, profanity, sexual candor and drug content
By Derrick Bang • Originally published in The Davis Enterprise, 7.15.16

Truth isn’t merely stranger than fiction; it’s also a lot scarier.

When the undercover Bob Mazur (Bryan Cranston, right) finally gains an audience with
Colombian drug cartel overlords, he's surprised to discover that he first must pass some
sort of dangerous "initiation" overseen by Rudy Ambrecht (Carsten Hayes, left).

U.S. Customs operative Robert “Bob” Mazur spent years as a deep undercover agent in the 1980s, climactically building an identity as a high-level money launderer for senior members of several Colombian drug cartels. The operation ultimately led to one of the largest busts in U.S. history: 100 drug traffickers and money launderers arrested, along with the seizure of 3,200 pounds of cocaine and roughly $100 million in cash and assets.

Perhaps more dramatically, it brought about the collapse of the Bank of Credit and Commerce International, at the time the world’s seventh largest privately held financial institution, with assets of $20 billion. It also was one of the world’s largest money-laundering banks.

Remember BCCI? Anybody involved with the banking industry recalls full well how transaction reporting regulations changed, almost overnight, in the wake of this scandal.

Mazur detailed his experiences in a riveting 2009 memoir, The Infiltrator: My Secret Life Inside the Dirty Banks Behind Pablo Escobar’s Medellín Cartel. That book, in turn, has been transformed into an equally compelling film by director Brad Furman. Screenwriter Ellen Sue Brown’s adaptation is by turns fascinating, suspenseful, terrifying and even mordantly amusing.

The film gets additional dramatic heft from star Bryan Cranston’s impressively nuanced portrayal of Mazur: a performance of delicate subtlety that becomes more persuasive as the narrative moves from one jaw-dropping incident to the next.

And while it’s true that Cranston commands the screen, he has equally superb support from all of the impeccably selected co-stars. This is another film that lends weight to the call for giving casting directors their own Academy Award category, because Gail Stevens found just the right individual for every part.

Perhaps more than anything else, this is a very nervous film. Despite knowing full well that Mazur will survive these events, the suspense is no less intense; plenty of sidebar individuals are vulnerable at every turn, and we’ve ample evidence throughout, of the cold-blooded ferocity of cartel shot-callers.

Captain Phillips: Take-charge thriller

Captain Phillips (2013) • View trailer 
4.5 stars. Rating: PG-13, for dramatic intensity, violence and substance abuse
By Derrick Bang • Originally published in The Davis Enterprise, 10.11.13

Some stories are so astonishing, they could only be true; you’d never believe them as plots in a novel.

Utterly helpless at the hands of four heavily armed Somali pirates, Rich PHillips (Tom
Hanks, center) nonetheless weighs every option, primarily concerned about the safety
of his crew, but also — at all times — seeking a psychological edge that might allow
him to outwit his captors.

The credibility-stretching 2009 saga of Captain Richard Phillips and the U.S. container ship Maersk Alabama is just such a narrative, and it has become a taut, tension-laden drama in the capable hands of documentarian-turned-filmmaker Paul Greengrass.

Thriller fans know Greengrass for his superlative entries in the Jason Bourne series, most notably 2004’s The Bourne Supremacy, by far the best of the bunch. But Greengrass also is the writer/director who uncorked United 93 five short years after 9/11, constructing a tense, deeply unsettling real-time depiction of what likely happened that horrible day.

As with United 93, Greengrass’ new film is ripped from disturbing headlines, with screenwriter Billy Ray (Shattered Glass, Breach) adapting the 2010 memoir A Captain’s Duty:Somali Pirates, Navy SEALS and Dangerous Days at Sea.

That book is written by Phillips, with an assist from Stephan Talty ... which does, by definition, dilute some of this film’s suspense. But that hardly matters; to a great degree, Phillips’ ordeal is well known by Americans who sat glued to their TV sets during five days in April 2009. The key point here is that Greengrass depicts this saga with a degree of verisimilitude, and an attention to detail, that border on documentary realism.

Add superlative performances from Tom Hanks and the actors playing his Somali captors, and the result is can’t-miss cinema: You literally won’t take your eyes off the screen.

The film opens quietly, as veteran merchant mariner Rich Phillips (Hanks) packs in anticipation of another routine assignment; we get brief face-time with his wife, Andrea (Catherine Keener), but then she’s never seen again.

(Which, just in passing, might be a missed bet: Just as much drama unfolded in Vermont, as media crews bird-dogged an agonized Andrea Phillips, while she followed these events ... and I’d love to have seen the impressively talented Keener play that role. Then again, Greengrass may have felt that her end of the saga would have diluted the drama.)