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The environment has been a topic of interest (and concern) since I was a child back in the 1960’s.  From Woodsy the Owl’s campaign, “Give a Hoot, Don’t Pollute” to Smokey the Bear’s “Only You Can Prevent Forest Fires” there was some spark within me that pushed me to appreciate, learn, and care about nature.  But now, in today’s global meltdown, literally, the environmental issues are staring us in the face.  No crystal ball is needed to see our future as we are seeing the effects of climate change all over the world.  From devastating and unprecedented storms ravaging many parts of the world including the U.S. recently to drought and famine creating a refugee crisis in Somalia, Syria, and Sudan, the future is a scary place.  Is it too late?  What difference will it make if I walk to the grocery store instead of driving?  What can I do?  I’m just one person.

As a film critic, I am drawn to documentaries and even a few narrative feature films that address the topic of climate change and the environment, but in so doing, it can leave me feeling overwhelmed and helpless.  Recently, Josh Fox’s documentary, the title almost as long as the film, “How To Let Go of the World and Love All the Things Climate Can’t Change,” at the 2016 Sundance Film Festival created such anxiety in me that I wanted to curl up into a fetal position or go have a couple martinis.  I chose the latter.  This was followed by Jared P. Scott’s film “The Age of Consequences” and Al Gore’s sequel in 2017, “An Inconvenient Sequel: Truth to Power,” a little shorter title, but just as impactful.  The difference in the message of Gore’s film is hope.  There is hope.  And Jamie Redford’s newest documentary, “Happening: A Clean Energy Revolution” is more than hopeful, it is inspiring and brings the topic back to  the people accentuating that it is in our control.

Redford makes this film a personal journey, one in which we are invited along.  His lack of pretense and knowledge of renewable energy connects us to him, allowing us to identify with him and his motivation to learn more and bring that information to the forefront.   His daughter, just like my 20-something daughter would do, humorously refused to embark upon the adventure across the country to learn about the great strides and action our own states are taking in creating green, clean energy.  Redford does find company along the way as he meets and interviews high level military officers, government officials, energy experts, corporate leaders and regular citizens.

Redford’s own family history includes, surprisingly,  connections to oil companies.  His very famous father and mother, however,  set about a very different path.   But Jamie Redford’s  knowledge about energy  wasn’t something that was inherently known to him.  He does drive everywhere and as he admits, he’s not ever been into efficiency, comparing his preference of working out more instead of having less ice cream.  Sounds reasonable to me.  His knowledge base and lifestyle isn’t that much different from you and me and we learn with him on his adventure across America.

Have you ever really thought about where our electricity comes from?  Redford hadn’t either and talking with energy expert Matthew Nordan, Redford learns how to trace the lines of his own electricity to its source.  As with any puzzle in life, the more your discover, the more you realize you need to learn.  His journey to find the answers to more and more questions takes him to Texas where he meets a very conservative Republican mayor of Georgetown, TX   who sees the big picture of the benefits for his community in investing in and supporting renewable energy.  We then travel to Oregon, meet with Apple to learn about their 100% renewable energy commitment to every store, office, and storage facility, and then, very unexpectedly, we end up in Buffalo, NY—the new center for the solar industry.   Growing up just south of Buffalo, where I don’t recall many sunny days, this was simply shocking.  If Buffalo can do this, why isn’t every city!

Each and every  stop and encounter Redford has, including talking with activist and actor Mark Ruffalo and the Navy who makes their own energy, is simply uplifting.  From Nevada where the politics of big monopolies and government attempted to thwart the people’s efforts to go green to the fight they fought to protect not only their rights but the future of our world indicate that the people are speaking.  Redford finds that we are on our way to using clean energy.  He even went to the effort to evaluate his home, install solar panels (https://www.vivintsolar.com), and (are you ready for this one?) turn down his water heater two degrees.  Sometimes it’s the little things that matter.

Never before have I finished watching a film about our environment and its future and felt energized and positive.  There’s a first for everything!  “Happening: A Clean Energy Revolution” gives us an easy to follow lesson in electricity production, delivery, and how renewables are being seamlessly  integrated.  While our current political leaders may be denying  climate change, the people of this country recognize its validity and  that we can do something now.  As one woman said, “If Washington will not, we will.”  This documentary is as educational as it is inspiring.  Maybe that crystal ball isn’t as clear as I thought because  I now have hope.

The film will premiere on December 11 at 8 pm on HBO.

For more information about the film, go to www.redfordcenter.org/happening

I will admit it and I know it’s no secret that I am not a fan of super hero movies. They tend to be repetitive and redundant (see what I did there?) with nothing new or even creative. HOWEVER, to every seemingly hard and fast rule, there are occasionally exceptions…this time, with “The Marvels,” we do not find an exception. In fact, this one has absolutely nothing exceptional about it except the scene after the credits roll, or so it has been explained to me. (Some surprise character appears…couldn’t tell you who he/she/they were until a fan of the Super Hero Universes, both DC and Marvel ‘splained it to me.)

“The Marvels” is a female-centric story (making me want to like it) featuring Brie Larson as Captain Marvel aka Carol Danvers. Returning to the Captain Marvel universe is Monica (Tehona Parris) who is the grown up version of Carol’s former colleague and best friend who passed away. We see that the two of them have a few issues to resolve, and thanks to the third and newest character of Kamala Khan (Iman Vellani), they get a chance to sort through it all. Of course, that’s not until after the two women and one teen find that their powers are all intertwined like your Christmas lights after being stored for a year. Nick Fury played comically by Samuel L. Jackson wrangles the three of them and they try to figure out what in the world is happening and why.

The Marvels (as Kamala is hoping to be called) soon realize that Kamala’s spangle-bangle bracelet from her dear old granny is what gives her powers and the leader of a planet destroyed by Captain Marvel aka The Anihilator has the matching wristlet. She’ll stop at nothing to complete her jeweled ensemble, giving her the ultimate power.

Does this sound familiar because it should. It’s the same premise we’ve seen literally dozens and dozens of times before. And then there are the numerous fight scenes that, you guessed it, you’ve seen too many times to count. To the film’s credit, these repetitive fight scenes do give you time to scoot to the bathroom or the concession stand or even to check your texts…outside of the theater, obviously. (Theater rules are a must to be followed.)

And now I need to mention a little musical number — remember this is made by Disney and this felt like the Disney Signature Stamp — but not even a planet filled with songbirds and crooners as this is their primary language, can breathe life into this, nor can a bunch of adorably menacing kittens.

Sadly, there are so many comedic opportunities completely lost, many of which Larson just couldn’t play, that “The Marvels” couldn’t find its way. While Jackson has a few moments and Parris with Vellani can be light-hearted, those moments are far and few between rendering the script DOA.

Skip this one as there isn’t a sage message at its heart or a lesson to be learned from any of the characters. But fans are fans and you will go, so if you do, stay for that final scene.

1 1/2 stars

“Jesus Revolution” isn’t what I expected and you might also be quite surprised. Based on the true story of the Christian movement in the late 1960’s and early 1970’s, Jon Gunn and Jon Erwin adapt Greg Laurie’s book to create an inspirational story that allows viewers to step back in time to discover a ripple of a story that became a tidal wave sweeping across America.

The era, as described by one character in the film, is a “dark and divided place.” While many of us may use that same phrase today, it was certainly fitting in that time period as well. As the Vietnam War raged on, protests dominated the daily news, and a new generation had blossomed in the form of “hippies.” “Peace not war,” and “Make love, not war,” were commonplace slogans seen everywhere and women were asserting their independence and equality. Meanwhile, in San Francisco, Lonnie Frisbee (Jonathan Roumie), a young man with long dark hair and brown eyes embodying the look and demeanor of what many imagine to be Jesus Christ, began to garner attention with his followers. Happening upon the sparsely attended church near Los Angeles lead by Chuck Smith (Kelsey Grammar), the two find a common goal and build a new denomination of followers. This all-inclusive perspective is a new-fangled one and one that will change the destination of not only Smith and Frisbee, but all those close to these leaders.

Just below the surface of the primary story are several ancillary ones that allow us to better know Smith as well as Frisbee. Smith’s daughter (Julia Campbell), a rebel whose views differ from her father’s, is looking for answers that fit her life’s theories. There’s a sweet love story intermingled between Greg (Joel Courtney) and the girl of his dreams (Anna Grace Barlow), but her father does not approve.

As we watch the story unfold in precisely the way we knew it would, the characters actually evolve and devolve in unexpected ways. With fame, fortune, and most importantly, power, Smith and Frisbee find themselves battling their own demons of ego. The sugar-coated realities quickly dissolve to reveal humans exhibiting their weaknesss and recognition thereof.

Keeping in mind that this is based on a true story and the credits deliver the final tale, Grammer’s and Roumie’s performances create authenticity without disdain as we’ve seen in many other biopic about church leaders. Grammer’s character is looking at retirement just around the corner, but we see a sparkle in his eye as he sees a way to still make a positive difference in the world even if it bucks the norms. And Roumie’s smile and gaze makes you question his actual identity. To do this, even for a moment, and you know you have a meaningful performance.

Directors Erwin and Brent McCorkle are careful to never push the envelope with their actors. To do so would have created an artifice that would have turned off viewers, but under their care, we have an inspirational feel-good movie whose story was as meaningful 50 years ago as it is in today’s world.

3 Stars

FINALLY! The second installment of the “Knives Out Mystery” series can be seen on Netflix! “Glass Onion” is a stand alone film that nearly equals — and some say surpasses — its predecessor, “Knives Out” from 2019. As the mystery of how did Harlan Thrombey die and why did everything get left to his nurse is solved in “Knives Out,” the “predefinite” detective Benoit Blanc is bored. Sitting in his tub (again), playing an on-line version of the game of clue with none other than Angela Lansbury and Stephen Sondheim to name a couple, he needs a real mystery to solve, although Clue seems to elude his deductive reasoning skills. As luck would have it, there’s a knock on the door; a woman with a box and an invitation to the tech guru Miles Bron’s (Edward Norton) annual weekend get away on a secluded island in Greece.

Bron’s life-long friends and self-proclaimed “disruptors” are invited to an annual extravaganza at the millionaire’s home. Fashionista Birdie (Kate Hudson), Twitch social media star Duke (Dave Bautista), ex-business partner Andi (Janelle Monáe), Governor Claire Debella (Kathryn Hahn), scientist Lionel (Leslie Odom), and Whiskey (Madelyn Cline) all arrive at the island ready to have a weekend of merriment as they solve Bron’s “murder,” cleverly designed by the tech magnate himself (and oh, isn’t he proud). The game quickly devolves into something much more sinister as the real murder of one of the guests must now be solved. Who other than the southern—speaking sleuth to solve the murderous events!

Rian Johnson, writer and director of the fast-growing franchise of films, has created his own murder mystery kingdom. His panache for developing smart twists and turns, and unexpected ones at that, and placing uniquely vibrant characters together is unparalleled. We see the quirky, flakey Birdie misunderstanding so much of what is happening around her as the clear-minded and focused Claire worries about nothing but herself. Duke, the social media master and Whiskey, the gorgeous young woman who knows how to get things done, Lionel who systematically attempts to make sense of the situation along with Miles, the kind of guy we all love to hate, stir the proverbial pot until it is ready to boil over. But this is Andi’s story and as the secrets are revealed, the stakes quickly rise and we see each of these characters for who they really are. Of course, Blanc, sitting back and keenly observing everything and intermittently narrating what is quite obvious to him, is like having a physics professor lay out a new theory with the ease of a kindergarten teacher. His eloquence is engaging and humorous as he peels back each and every layer of that onion…the glass onion.

If you’re going to compare the two films, and you know you will, this new rendition has a different tone to it. While the laughs aren’t as continuous, it’s still quite comedic and you really can’t catch everything upon the first viewing. And that’s because the dialogue is smart, quick-witted, with edited with razor sharp precision. The solution to the mystery is evident earlier on in the film which does not take away the enjoyment of it, but adds to the fun. After several viewings of this movie, it just doesn’t get old. Johnson’s deft direction is key as is the talent of his cast all of whom are perfectly cast in their roles. As everyone in this small ensemble cast lifts their weight to tell this comedic tale, it is Monáe and Craig who are the stars of the story. Monáe steals every scene as does Craig and together they create a magical dynamic that you just don’t tire of.

Johnson (and Netflix) have a hit on their hands and lucky for us, there are two more in the pike. On a cold winter’s night, there’s nothing better to warm your heart than a good old-fashioned murder mystery filled with intrigue and laughter.

3 1/2 stars

Summertime usually means big blockbuster popcorn or super hero movies. Rarely do you get a meaningfully deep film that visually and emotionally pulls you into it. But this summer we are in luck as The Paramount is showing“Montana Story” starring Owen Teague as Cal and Haley Lu Richardson as Erin, half-siblings, who must confront their past actions, guilt, and relationship with their dying father. Set in the remote, desolate, yet breathtakingly beautiful mountains of the Big Sky state, Richardson and Teague create an authentic story of life’s difficulties and its consequences.

The writing team of Scott McGehee, David Siegel, and Mike Spreter drop the viewer into the story as Cal (Teague) arrives to say his farewells to his father, now on a ventilator attended by a hospice worker, Ace (Gilber Owuor). The tension Cal feels toward his father is palpable as well as his obligatory presence. We aren’t privy to what happened to this father or his backstory until much later in the film as the writers reveal only bits and pieces, hooking you to understand why Cal is estranged from his own father. The pace of the film picks up as soon as Erin (Richardson) storms into the picture. Her anger and discomfort of being in this situation, conflicted about even showing up, sets you on edge and we have to find out more. Who is Erin? What happened? What did Cal do? What happened to the father?

Without giving too much away, as this is an integrated approach to watching a film as we are a fly on the wall figuring out how all the dialogue and actions fit together to complete the puzzle, Erin and Cal battle over what is happening to their family home and its contents, now in bankruptcy; more specifically, the beloved old horse named Mr. T. Cal, set to euthanize him, finds that Erin will do anything to save this horse including buying a truck and trailer and hauling him to her new home across the country. Saving this horse is the vehicle by which the two confront their past, their demons, and ultimately pave a new path for their futures.

Gorgeously shot, “Montana Story” transports you into this story as we get to know Erin and Cal. The road map by which the writers tell this story delicately twists and turns, but always stays on the right path to propel it forward. We hear the wind whipping through the mountains and across the desolate fields speckled with boulders and we can almost feel the chill in the air it creates. Equally visceral are Richardson and Teague’s performances. Once we understand their characters’ relationship and discover a pivotal event, it connects us to each of them more deeply. All of this together allows an honest and raw portrayal of trauma, healing, and resiliency.

The small ensemble cast is stellar in supporting these characters, gently touching upon the way of life in the West. Kimberly Guerrero as Valentina, the family’s caretaker, subtly represents the difficult financial aspects while her son Joey (Asivak Koostachin) reminds us of what it means to feel a part of a place. It is Owuor’s performance, however, that stands out as he is the touchstone for Cal and Erin to see their past and confront it.

“Montana Story” is a gem of an independent film that will envelop you, pulling you into the story and making you a part of it. Seeing it on the big screen will make it an experience you won’t soon forget.

4 Stars

Writer and Director JJ Winlove takes us on a journey we all fear and many of us have experienced from the periphery: watching a loved one decline from dementia. But what if one day your loved one “woke up” from that debilitating disease and had a fleeting chance to be whole again? This is the premise of “June Again” starring Noni Hazlehurst.

We meet June in a nursing facility, privy to her memories of a cherished time many decades ago. Unable to process what’s happening around her, we watch as a speech therapist assesses her basic linguistic skills of identifying a common object. The frustration and embarrassment is obvious, but one day, June’s condition is in complete remission and she is lucid once again. Taking advantage of her situation, she escapes from her confines and steps back into her life that stopped 5 years ago.

She quickly learns that while her life was on hold, her adult children’s lives were not. The business she started and left in the capable hands of her daughter Ginny (Claudia Karvan) is failing. And her son’s life has seemingly spiraled out of control. The world she left behind is a different one and June dives in to right the sinking ship.

Winlove allows us to view June’s world through her eyes. We understand her confusion and her longing to take advantage of this indeterminate time she has been given. What we don’t predict is that the story morphs into a love story — a beautiful, heartbreaking love story.

For those of you who are questioning the premise of the story, I can personally attest to its validity. Winlove did his homework about types of dementia and cerebral vascular events. And as a former speech-language pathologist and daughter of a woman who experienced “terminal lucidity,” this fleeting time of seeing your mother become mom again can be deemed a curse or a gift which is exactly what is accentuated in the film.

Winlove’s keen understanding of relationships and life’s unfair hands that are dealt to each of us eloquently and even comedically unfolds in “June Again.” Hazlehurst is perfectly cast as she becomes June, an intelligent, insightful yet controlling woman with regrets in life who rides an internal emotional rollercoaster. Karvan and Hazlehurst deliver a mother-daughter performance that rings true, connecting us more deeply to the situation and the characters.

“June Again” finds all the right notes to tell a story of love in unexpected ways. It’s a surprising story that tugs on all your heartstrings, making us laugh and cry, and reminds us of the precious gifts that we have in our lives.

3 1/2 Stars

You can stream “June Again” on major digital platforms.

Michigan State University PhD candidate Kate Dibiasky (Jennifer Lawrence) and supervising professor Dr. Randall Mindy (Leonardo DiCaprio) have unexpectedly discovered a comet the size of Mt. Kilamanjaro hurtling toward Earth with an expected global destruction impact date in 6 months. They must alert the US Government and ultimately the general public in an effort to save our planet, but the hurdles they encounter just may make it impossible to do so. Thankfully, we are laughing out loud almost the entire time, a surprising effect, as the masterful writer and director Adam McKay finds a way to make annihilation hilarious while not so subtly burying the issue of climate change just below the surface to open our eyes.

From the opening scene portraying Kate’s revelation, and confirmation by Mindy, of a comet that will destroy Earth is accurate, the reactions of these ordinary — yet brilliantly intelligent — people is what sets the comedic tone to the film. The pair set out to alert NASA who then alerts the president of the United States, President Janie Orlean (Meryl Streep), with whom the pair will meet and explain and hopefully prevent the end of mankind. After waiting hours in uncomfortable rooms and purchasing cheez-its (this becomes a running joke), Mindy and Kate finally get a chance to explain their findings. While not falling upon deaf ears, although it is the Midterms and Congress may never pass the budget she and her Chief of Staff (and son) Jason (Jonah Hill) who has a few mommy issues, the most powerful woman in the world attempts to find a way to spin this whole thing into a profitable position with the help a major contributor who is also a leading scientist and business man Peter Isherwell (Mark Rylance).

Mindy and Kate have hit a dead end and with the help of Dr. Teddy Oglethorpe (Rob Morgan), head of NASA, they hit the streets to let the public know about the comet. Getting some air-time on a popular morning show hosted by the effervescent Jack (Tyler Perry) and the superficial alcoholic Brie (Cate Blanchett), Kate finds her performance to be as catastrophic as the comet named after her. And this is just the beginning of their 6 month-long adventure into chaos, turmoil, and life in the fast lane which neither Kate nor Mindy navigate well.

McKay’s attention to detail in comedy is extraordinarily precise while always feeling free-flowing and fun. Never missing an opportunity to weave social narratives into the picture, the film, surprisingly written before Covid hit, finds ridiculousness in our truth while exaggerating it slightly to entertain us. McKay’s loose yet focused direction gives each of his actors an opportunity to explore, develop and ultimately run with their characters bringing aspects to life that no one could have written. We experience Hill’s oedipus complex with Streep’s expressive comedy as pure gold. Their performances lend a hand to the frustrated character of Dr. Mindy as DiCaprio hones in on his passion of saving the Earth as the fictional character of Mindy. McKay also takes full advantage of our instantaneous and reactionary population as Lawrence’s demonstrative effects find their way into memes, gifs, and notoriety.

“Don’t Look Up” is a complicated and tangled story weaving together so many characters (even Ariana Grande’s performance and improvised lyrics make you laugh), but never losing focus and strategically circling back to the path we’ve already traveled. This makes for not only great storytelling, but great comedy.

With a cast like this, there’s not a weak link in it, all having performances of a lifetime, and even more evident, having fun! However, Mark Rylance as the Elon Musk-type of character is one of the most surprisingly hilarious performances. His teeth alone will make you laugh, but his mannerisms are what makes our jaws drop as he expresses his thoughts and decisions about how to avert imminent doom and make a few bucks. On that same note, Blanchett finds a way to make Brie a caricature of a television host who lives for the day into a mesmerizing yet deplorable woman. And then there’s Timothee Chalamet in a role that he was meant to play, a skateboarder named Yule, who brings the entire story together.

McKay ushers us into our comfortable seats to see his film, but we quickly find that we are in the launch position of a rocket. We are strapped in for an incredible ride filled with laughter and revelations, the comet as a metaphor for so much of what’s happening in our world today. Hang on tightly! This is a ride you don’t want to miss.

4 Stars

There’s a chill in the air with a hushed silence; tragedy seemingly about to occur as David (Clayne Crawford) hovers over a peaceful couple in bed sleeping.  Distraught isn’t a strong enough word to describe this disheveled young man on the verge of murder.  A noise in the background helps him switch gears and he leaves, gun in hand, walking along the cold, desolate street in a very small town in Utah to his father’s home where he attempts to interact as usual.  

We learn that David and his wife Nikki (Sepideh Moafi) are separated with an agreement to see others if they wish.  Much more difficult for David than Nikki, he knows he’s not only losing his wife, but his home and most importantly his four children, three of whom aren’t quite old enough to grasp the gravity of their parents’ situation.  Jess (Avery Pizzuto), a teenager, however, is keenly aware of everything happening as she places blame on each parent differently.  While acting as a typical teen, there’s an element of wisdom as she commands her father to fight for his family.  It is at this moment that we understand David more completely.

The series of events takes place over a very short period of time, in true cinéma vérité style, we are but a mere observer, following David in his every interaction.  Seeing this unfold from his perspective creates sympathy for David as he flounders in life.   And living in a small town where everyone knows everything about everyone, we feel the pressures of his world.  

From a cinematic perspective, writer and director Robert Machoian plunges us into the story, this family, and David’s emotional turmoil.  Machoian also creates a small cast of characters who explode with authenticity.  Crawford’s complex portrayal of David is gut wrenching as we watch him try to win back his family.  He gives David just the right touch of confusion, hurt, anger, and tenderness to develop a man we all know.  As it is seen through David’s eyes, the remainder of the cast is supportive, but these actors all give such realistic performances that it elevates the story at every level.  

Machoian’s eye for capturing this tragic love story is brilliant as it’s never invasive nor too dramatic–it’s realistic.  One scene in particular will remain with me as David packs four kids into the cab of his pick up truck on a cold winter day and discusses the kids’ day at school.  A very routine and mundane topic we’ve all had, but I was overwhelmed by emotion as this family, on the verge of being ripped apart, interacts lovingly yet realistically.  Crawford’s twinkle in his eyes, the loving smiles and laughter from them all, as they talked to and over one another, warmed my heart.  It was an actual conversation from this family that made me, as a viewer, want Nikki and David to repair their relationship and keep this family together.  I was completely invested in these characters and this story.

This type of story could easily forget the need for a narrative arc, but Machoian is a master at surprising us with the pivotal interactions that lead David down one decisive path.  “The Killing of Two Lovers” is sheer artistry in storytelling, acting, and directing although a somewhat ambiguous ending may leave some viewers needing more.  

Find out where to see “The Killing of Two Lovers” here: HERE

3 1/2 Stars

You’ve been wary and warned of the evils of the internet since its inception, but never has the reality of it been so vividly illustrated than with “Profile.” Inspired by the true story of Anna Érelle, a pseudonym for a former French journalist who wrote “In the Skin of a Jahadist,” “Profile” depicts Amy Whittaker (Valene Kane), a struggling British journalist who pitches a story idea to her editor Vick (Christine Adams) to go undercover and be recruited by a leader of Isis who reportedly dupes young female Muslim converts to join their cause, come to Syria, and become a “war bride.”

This concept in and of itself is a harrowingly intriguing one, but director Timur Bekmambetov brings it one step closer to reality—it all takes place on a computer screen. While it’s been done before (“Searching” 2016 and “Unfriended” 2018), never have we felt as if it was happening in real time on our own computer. We meet Amy, scattered and frantic, as she FaceTimes Vick, opens emails letting us know that she’s struggling to make her rent, chats with friends, posts on Facebook, and “tours” a new place to live with her fiancé Matt (Morgan Watkins). In our virtual world, particularly since Covid, living on the computer and juggling twenty things at once, is our new reality. Amy’s reality is a frenetic world which spirals out of control after receiving the green light on the story. And here we meet her in her alternate universe as Melody Nelson.

Within mere moments, Melody’s Facebook sharing of a violent act from Isis leader and head recruiter Abu Bilel Al-Britani aka Bilel (Shazad Latif) leads to a message from him. Elated and nervous about her quick results, she video chats with her editor, updating her on the success. Understanding the possible gravity of her situation, she is coached by the outlet’s Muslim IT coordinator as the face-to-face courtship between Bilel and Melody begins.

The dangers of Amy’s assignment are at the forefront of the story, but it is her carelessness or even recklessness that creates high anxiety throughout the film. Deeper and deeper Amy slides into Bilel’s recruitment process. Amy continues the ruse of being Melody, but with her chaotic life, represented by the constant messages, alerts, and pop up windows, the inevitable mistake will occur. While we know it will happen, we don’t know how and we also never predict the emotional effects the cat-loving, murderous marauder will have on Melody/Amy.

Watching the film on the big screen gives you a better understanding of every moment as you multitask reading messages, watching screens pop up and disappear, and being taken in by the smooth-talking Bilel. However, as I watched this on my big-screen computer monitor, it felt even more real, tempted in the beginning to restart my computer as I thought somehow my link messed up and Facebook appeared. This real feel continued throughout the film, expertly pulling me into Amy’s world as my heart raced and my blood pressure skyrocketed.

Bekmambetov expertly develops this alternate world as he carefully takes us on Amy’s journey, in hindsight, as days are just files being opened to view. Screen-recorded interactions are her diary which lead up to the climactic finale. It’s a recorded recreation of events to which we have seemingly been experiencing in real time.

The ensemble cast of characters give us this authentic portrayal of the events and while this is not a documentary—it’s only inspired by a true story—the possibility of it occurring much in the way it is presented is not beyond the realm of possibility. Kane portrays Amy as a typical young woman; overwhelmed by the cost of living, life itself, and attempting to make a living as a journalist. She deftly develops a complex character whose cognitive and emotional intellect slowly meld together, inversely, to place her in harm’s way. We watch helplessly as Kane’s Amy is wooed by a soulless killer.

Latif is extraordinary as this young follower of Isis and leader of his soldiers. His casual bragging about killing is at once repulsive, but Latif gives us a reason to understand Amy’s attraction to him. The brainwashing and targeting of young women becomes much clearer thanks to his performance as Bilel.

Bekmambetov’s keen eye and creative lens in developing the film is impressive. Directing his cast, the lead who must complete her entire role in front of a computer screen, is a logistical nightmare, but he effortlessly pulls it off. We are sucked into this world for 115 harrowing minutes, not daring to look away as we might miss a key and fleeting piece of information. Acknowledging the fact that this is fiction, but understanding that it is based upon a woman’s experiences, one who is currently protected by “round-the-clock police protection and has changed her name,” punctuates the importance and dangers of true journalism.

3 1/2 Stars

Writer/director Casimir Nozkowski makes his feature film debut with the charming independent film “The Outside Story,” streaming on major digital platforms from Samuel Goldwyn Films Friday, April 30. Nozkowski taps into the isolated life of Charles (Brian Tyree Henry) who, through a series of unfortunate (or perhaps fortunate) events, finds himself discovering a whole new world. On the surface, it’s an engagingly humorous story, but beneath lies a transformative one that feels humbly profound.

Charles has just broken up with his long-time live-in girlfriend, Isha (Sonequa Martin-Green) due to her admitted one-time infidelity. Angry, heartbroken, and struggling to meet a deadline of creating a not-quite-yet post-mortem video montage of a famous actor, (I have always pondered how television outlets had these so quickly!) Charles’ day of disasters begins with a simple food delivery. Giving no tip to the delivery person, he is reminded of his ex-girlfriend’s generosity. Not to be shamed, Charles finds a few bucks and chases after the delivery man only to find himself locked out. And now his journey in bright colored polka dotted socks has begun.

Over the course of this day as Charles attempts to regain entry into his apartment, he begrudgingly meets his neighbors and explores his neighborhood. The emotional treasures he finds are more valuable than he realizes, particularly as he is constantly hounded by his editor to meet his deadline. Charles, an apparent loner and hermit, finds the sun’s rays and the people inhabiting his world, all who were previously invisible to him. Reluctantly, he dips his toes into this new pool and before he knows it, he’s swimming happily. Of course, there are plenty of tidal waves that Charles experiences such as the lurking parking meter maid (Sunita Mani) or being confronted with what is happening behind closed doors of one precocious young neighbor, but that is what helps Charles grow. And with this growth, we are invested in this character. Nozkowski’s writing brings us into the story and connects us with Charles as we walk in his shoes—or should I say his vibrant socks.

Henry is perfectly cast as the pitiful jilted boyfriend, portraying Charles with grace and ease. His laid back manner creates wonderfully comedic situations that never feel contrived or forced, his reactions making us chuckle in empathy and even laugh aloud. And while Charles is the focal point of the story and he changes dramatically throughout the course of the story, Henry lets his character develop naturally, finding just the right notes to hit to bring us a realistic man who could easily be our next door neighbor.

Nozkowski uses the rest of his cast to provide the comedic elements as he focuses on the main character’s reactions and situations. From the upstairs neighbor’s unexpected recreational activities and the dreaded meter maid who just might be more than appearances would suggest, to the little rascals throwing water balloons, Charles finds that it’s a crazy world outside of his four walls. Nozkowski then delicately brings us back in time, using flashbacks, to allow the viewer to better understand what happened between Isha and Charles. This approach to story telling gives us the full picture which inherently brings us closer to Charles and to the need to know how this story is going to end.

“The Outside Story” comes to our home screens at just the right time. We’ve been cooped up for more than a year and with the promise of Covid coming to a close in the near future, it’s time to unlock our doors and venture outside to reconnect with neighbors and perhaps discover new ones. This film reminds us of the importance of community and conversation to hear ideas that are in opposition to our own and grow from it all. Charles may have been locked out, but perhaps previously he was actually locked in. Finding his proverbial key to unlock his world and better understand himself is what makes this a memorable and relatable comedic gem.

The much-anticipated “Godzilla vs. Kong” hits theaters and HBO Max this week. Like so many sequels to this genre of movie, it’s not necessary to see any of its predecessors. Of course, viewing this larger-than-life film in a theater complete with surround sound is the way to go as it touts itself as more than a movie; it’s intended to be an experience. This cinematic awe and wonder is the key ingredient, but unfortunately there are more elements necessary and “Godzilla vs. Kong seems to have forgotten that.

That initial awe takes place as we meet an angry and depressed Kong, a captive animal living on a remote and secret island —think “The Truman Show” here—his every wisp of hair lit differently and reacting to the wind as he rips a tree from its roots, strips its branches with a single swipe and catapults this handmade spear into the sky. Hitting the “clouds,” we realize that Kong’s world is nothing more than a giant cage with an observation deck above. We learn that his handlers need his help in finding Hollow Earth located in the center of the planet, and in an instant, Kong is duped into believing he is being transported back home to the other Titans of the Monsterverse. Of course, there are ulterior motives not shared with the beast and all of these actions trigger an attack by the dreaded Godzilla.

The action is hot and heavy almost from start to finish as the two beasts meet and like a boxing match, duke it out for several rounds. The first interaction feels more like the finale, but this is just the beginning of the onslaught of non-stop fighting. Thankfully, and this is what makes the film work on at least one level, there’s a sweet connection between hearing impaired Jia (Kaylee Hottle), the daughter of Ilene Andrews (Rebecca Hall), the Kong Whisperer, and Kong himself. The emotion imparted on the story and the audience is incredible thanks to the CGI artistry and Hottle’s performance. We feel the connection between this little girl and Kong who has developed a deep and meaningful relationship thanks to the communication tool of sign language.

However, the story itself is a convoluted one as past characters from the Godzilla story emerge and like the two monsters, these two stories eventually clash as well. From the Godzilla side, high ranking Mark Russell (Kyle Chandler) and his daughter Madison (Millie Bobby Brown) attempt to understand why Godzilla has returned to attack. Madison’s sidekick Josh (Julian Dennison) rides along on this transcontinental adventure and Bernie (Brian Tyree Henry) a scientific conspiracy theorist attempt to provide the comic relief in what is otherwise a dark and dreary story. Bernie’s fast talking distractions and Josh’s comical commentary, unfortunately just falls flat.

Those missing ingredients in this film are many, but let’s address the elephant in the room; the acting. The stilted performances from every single character except Jia and I can’t believe I’m saying this, Kong make it a cringe-worthy experience. Kong, a CGI character has more personality and displays more emotion than all the rest of the cast put together. Did the actors forget to rehearse? Did they just read their lines from cue cards being held off in the distance? Did no one give the script a rewrite? And did the direct fall asleep on the job? The answer to all of these questions is a resounding yes! Hearing dialogue spoken was painful particularly from the talent represented in this film. Hall, Alexander Skarsgard, Chandler, Brown, and Henry have had extraordinary careers but to see them in this, you’d never know it. When a film focuses 90% of its energy on battle scenes, I crave a little human interaction, but in this case, it didn’t help.

The highlight of “Godzilla vs. Kong” is Jia and Kong’s story. Sadly, this interaction wasn’t seen nearly enough to save the monster movie. The rest of the film is one big predictable fight scene until the final bell rings and my eyes roll back in my head. Yes, the CGI is incredible and the artistry of Hollow Earth elicits that awe, but that can’t carry the entire more, but director Adam Wingard was banking on that happening.

“Godzilla vs. Kong” does tick all the right boxes of animation, artistry, and larger than life characters which will please all of the fans of this universe, but the writing, directing, and acting boxes are empty with the exception of Hottle. If you’re looking for a fun story to escape and engage your senses, you’re not going to find it here.

2 Stars

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The mere word ‘happily’ conjures so many images, but of course, it elicits the phrase “happily ever after” and writer/director BenDavid Grabinski puts a new twist on that old phrase. Starring Joel McHale as Tom and Kerry Bishé as Janet, the couple is living out that phrase even after 14 years of marriage, much to much to their friends’ chagrin. You see, Tom and Janet are still as lustful and smitten by one another as the day they met. Their rosy relationship is the envy of all, but a visit from a stranger hoping to set their genetics code straight–what else could possibly explain their oddness– plunges the loving couple into a weekend of puzzling behavior with a Twilight Zone edge.

We meet this couple at a party, role playing, as their friends explain the love birds’ behavior to others. Arthur (Al Madrigal) finds it to be incredulous while others shrug it off as “it’s just Tom and Janet.” However, the next morning there’s a glimmer of reality as Janet, rushing to get ready for work, finds herself cleaning up in front of the toilet (obviously not her doing), clearing the kitchen while her hubby slugs on the couch playing a video game. He then has the audacity to request that she make him an omelette. A quick deep sigh and Janet does so. We, the viewer, feel justified in believing their relationship is too good to be true only to find Tom, upon Janet’s arrival after a long day, is folding laundry in a pristinely clean house as he apologizes for his recent behavior. So much for too good to be true…or is it?

Tom and Janet’s chemistry is palpable and neither try to hide their love which according to Val (Paul Scheer) and Karen (Natalie Zea) is just not normal. It is also the reason Tom and Janet are despised by the tight-knit group, resulting in being unanimously uninvited to a fun couples’ getaway. After a sudden change of heart, Tom and Janet are re-invited but only after a knock on their door. Quickly crossing the threshold–literally and figuratively– Goodman (Stephen Root) reveals his true intentions and they are to set their calibrated love meter to “normal.” One quick injection by a large needle containing a phosphorescent green viscous material and POOF! they’ll be just like everyone else. Janet responds in a shocking manner and all of a sudden there’s a murder cover-up and a mystery to solve. Together, Tom and Janet match minds with the group in what becomes a fateful weekend getaway hoping to find out what really is happening and who is the ring leader.

A dark comedy is tough to pull off but McHale’s straight-laced, kind and considerate stand-by-your-gal attitude makes all the jokes work like a well-oiled machine. Typically the funny guy, McHale’s timing to set up and react to off-kilter and sometimes shocking situations is played perfectly. Countering him is Bishé’s ability to portray an equally kind persona with a sprinkling of confusion bubbling just beneath the surface. The two are natural on-screen and with a few steamy sex scenes, you readily believe they are a happily married couple. When you add into the mix Natalie Morales, Stephen Root, Charlyne Yi, Scheer, Daly and more, who all relish in their characters and a story cloaked by the spirit of Rod Serling, it’s a recipe for the darkest of dark comedies that is simply sublime.

Grabinski takes full advantage of his seasoned and talented comedic cast, but it is his dry wit and timing which throws us that curveball when we least expect it that makes it so much fun. Unfortunately, the culmination of all of this is slightly disappointing as we are shown the man behind the curtain. Trying to make up for the lackluster result, Grabinski throws us one more sucker punch that almost makes up for it.

“Happily” is the delightfully dark comedy capturing a topic we all can relate to–relationships with significant others and the realities of life.

“Happily” releases in theaters and digitally on March 19, 2021.

3/4 Stars

If you think you’re having a bad hair day, wait till you see Justin Simien’s newest film “Bad Hair,” starring Elle Lorraine and Vanessa Williams. This film gives the term a whole new meaning! As Anna (Elle Lorraine), a young Black woman in the late 1980’s struggles for recognition as a television host for cutting edge music, she finds that looks matter more than talent in this industry. With a corporate shake up lead by Zora (Williams), Anna (Lorraine) is encouraged to do something with her hair if she wants to succeed. Succumbing to the pressure, Anna pleads with a hip salon to put in a weave to make her hair luxuriously beautiful. The results are unexpectedly horrific and oftentimes jaw-droopingly comedic as she climbs that corporate ladder.

We meet Anna (Zaria Kelley) as a youngster, adopted into a loving yet high-pressured family. Her sister Linda (Corinne Massiah) is busy helping to relax Anna’s hair using the chemical process of the day. This becomes a traumatic event which will impact her and the story well into her adult life. Dad (Blair Underwood), an accomplished historian shares with his girls a story of their African ancestors. Anna, ever the rebellious one, questions these folklores which sets her adoptive parents into a tizzy. Fast forward about twenty years later and Anna’s working in one of the most prestigious L.A. music television stations, surrounded (and taken advantage of) by high profile talent and industry leaders. But Anna isn’t getting anywhere in this company no matter how many great ideas she has–she’s always overlooked. Lacking confidence, she’s like a quiet mouse but when Zora shows up, there’s a connection and admiration which inspires her to change.

The groundwork is slowly, perhaps a bit too slowly, and methodically set up for the first half of the film, but as soon as Anna sits in that salon chair to have that hair weave brutally installed (yes, installed), the tone shifts dramatically and we have a horror story unraveling before our eyes. Anna’s hair is straight, long, and luxurious. She’s turning heads everywhere she goes. Her confidence rises but still plagued by financial issues and imminent eviction from her dilapidated apartment by her slimy landlord, the hair begins to have a mind of its own and the blood begins to spill.

To give you any more information would ruin the fun of this film, but suffice it to say, the landlord isn’t the only victim of Anna’s bad hair. This film artfully combines gruesome over-the-top horror with an underlying story of how Black women were/are perceived. And the lengths they go to in order to change their appearance and be accepted in a white world is astounding. Acknowledging the inequities and pressure to assimilate, the film blends lore and superstition into a world of reality to give us a unique horror story that sticks with you.

Simien brings us back to L.A. in the ’80’s complete with shoulder pads, crazy colors, and the music of the day. The cast of characters embrace their roles and this era to bring it to life, never missing an opportunity to make us laugh as we witness some of the horrors. Lorraine’s reactions are priceless as her character discovers a new part of herself. She invites us into her mind as she struggles with what’s happening and the conundrum of succeeding because of it. Balancing Lorraine’s depiction of the innocent Anna is Williams’ evil persona of Zora, but there’s more to her than meets the eye. Williams holds nothing back which is perfect and she’s having fun in this role. In fact, no one holds anything back which speaks to the fine direction of Simien resulting in a thrill ride of a film.

“Bad Hair” is a unique horror film which makes you laugh, gasp, cringe, and understand more about perception and struggle for equality in the work place not just as a woman but a Black woman. While it’s quite gruesome, it may not be for everyone, but there are plenty of comedic and dramatic elements to counterbalance that horror.

**Streaming now on Hulu**

3 1/2 Stars

The writing and directing team of Alex Huston Fischer and Eleanor Wilson create one of the funniest apocalyptic films imaginable in “Save Yourselves!” starring the comedic duo Sunita Mani and John Reynolds. Portraying a young couple obsessed with technology, Jack (Reynolds) and Sue (Mani) decide to unplug for a week and head Upstate for a reprieve and to rejuvenate their relationship. Turning off their phones, their optimism for a spectacular week of reconnection can be seen in their eyes…if only they would have looked up.

Watch the trailer here

“Save Yourselves!” sets up everything you need to know in the first scenes, before they head to their serene, forested lodging devoid of Siri and Alexa. So pay close attention to all the dialogue and all the details as they come into play every bit of the way, especially the non-conformist/anti-Hollywood ending.

Sue is an organized control freak who has just lost her job. Struggling to make sense of things, she’s got the entire week planned. This is in juxtaposition to her laid back significant other, Jack. And together they are comic gold as they play off of each other’s characters and personalities. With Sue’s seriousness and measured panic as they discover the world as they know it is ending thanks to an invasion by “pouffes,” Jack’s inadvertent physical humor as he plunges into the unknown is simply hysterical. And this type of comedy ramps itself up, never letting you down for the entire film.

While the initial scenes feature more than just Reynolds and Mani, it becomes a two-person film taking place primarily in one location. Mani’s ability to counterbalance Reynold’s physical humor as well as his incredibly varied facial and vocal reactions to augment his lines is spot-on perfect with timing and reaction. Their natural interactions and conversations feel ad libbed but with complete structure creating the illusion of a real couple. They are the perfect yin-yang and with that, they gently pull you into their world. With that invitation, we find ourselves immersed in Jack and Sue’s world, but the camera allows us to see what they cannot…something big is happening all around them. Their eventual discovery is slowly revealed as they relish in being a couple—drinking wine, gazing at the stars many of which are shooting (hint, hint) and basking in a boat on a pond. This relaxed demeanor puts the audience on edge, knowing of an invasion, but all in good time they begin to put the pieces of the puzzle together. And every step they take could be their last, but even if it is, you know that Fischer and Wilson will make us laugh about it.

Fischer and Wilson seem to have the Midas touch when it comes to finding humor in any and every situation, but the panache for making us gasp and scream out loud while laughing just as hard is brilliant. As you can tell, this is no ordinary apocalypse film or story. It’s really more about a relationship and how one couple deals with the extraordinary circumstance with which they face—living or dying thanks to a foreign critter with a nasty needle-sharp bite. Sue and Jack respond so very differently to the situation which in itself lends itself to funny scenarios, but it is the accumulation of issues that snowballs and becomes an avalanche of irony and even comic horror. From Jack’s inept ability to chop wood and be a “real man” and his alcohol induced night terrors to Sue’s controlled panics and detailed discussions of processing what she’s seeing, Reynolds and Mani take what’s written on the page and deliver a story worth seeing several times. With their natural chemistry and familiarity paired with great writing and directing, it’s total entertainment even if there are a couple of flaws within the plot. (I’ll watch it a few more times to double check this!). The final third of the film becomes a race to, away, or from (no spoilers here) with an ending that is the perfect icing on the cake and just as satisfying. But be warned, while there is some gore in this film, it’s never the focal point and you’ll find yourself laughing even during the bit of blood you see.

“Save Yourselves!” now showing streaming everywhere. Movies Anywhere

3 Stars

*Capsule Review*

Behind every great man is a great woman…or does that actually meant that the woman is being taken for granted? That’s the question in this film as we see Claire’s (Lena Olin) response to her commitment and love of her husband after his diagnosis of Alzheimer’s disease.

Richard (Dern), a brilliant abstract artist, is struggling to create his final exhibition. Keenly aware of his initial cognitive decline, he lashes out at anyone who reminds him of his difficulties resulting in dire consequences. His relationships in work and home suffer, but ever the care-taker, Claire steps in to smooth over the bumps in the road.
Attempting to help mend Richard’s relationship with his daughter, Claire struggles but never succumbs, however within her, she yearns to find her own voice. She once had dreams, long forgotten, but within her the spark of her former self surfaces. It’s a battle between her loyalty and independence and the intrinsic need to be the caretaker.

Bruce Dern convincingly plays Richard, a crotchety old man who’s in the beginning stages of dementia. He delivers his cutting dialogue with a razor sharp edge. It’s a figurative bloodletting in one memorable and incredibly hurtful scene between Richard and his daughter, Angela (Juliet Rylance) that makes an indelible impression. But this is Claire’s story. We see what’s happening to Richard through her eyes. And the sacrifices she willingly made through the years to help her husband succeed are now more evident than ever. Olin’s evocative and layered performance is captivatingly painful and beautiful at the same time as she brings to the surface the conflict married women have dealt with for decades. Hopefully, in today’s generation, this concept will be a thing of the past.

“The Artist’s Wife” is a complicated story that weaves together issues of father-daughter relationships, the role of a step-mother, and the need to be wanted as Claire’s artistic talents are reawakened. While it’s premise is similar to “the Wife” starring Glenn Close, the emotional depth and character development which pulls you into the story makes each scene more urgent and engaging than its predecessor. And the ending is superb!

Now streaming from The Siskel Film Center: HERE

4 Stars

Rarely do you come across a narrative film or documentary that screams from the mountain tops of how important and timely it is to see. “The Social Dilemma” is this film and it is one that cannot and should not be missed by anyone. Strongly stated, I admit, but it’s necessary.

The opening scene is a quote by Sophocles. “Nothing vast enters the life of mortals without a curse” and this describes the beginnings of technology what it has become. This film, while admitting to the greater good these advances in technology has brought us, it focuses upon how we, as a community, a country, and a world have been unwittingly duped into becoming fodder for sale. Our time, our eyes, our future desires and thoughts are all for sale. But the fallout is far greater as the curtain has been pulled back to reveal what’s really happening. And the social ramifications of programmers and their algorithms have reached catastrophic proportions. “The Social Dilemma” not only connects all the dots, it explains them.

The film is filled with interviews with the founders, innovators, and developers of the biggest social media platforms and companies in the world, such as Tim Kendall, Former Director of Monetization of Facebook, Justin Resenstein, Former Google Engineer, and others who created Facebook Pages and the “like” button, Twitter’s Head of Consumer Product, and others. We meet the lead in the film, Tristan Harris, Co-Founder and President of the Center for Humane Technology and former Design Ethicist at Google. He takes us back to that point of no return; when algorithms began to not only monetize attention to ads and particular information, but predicted it and changed who saw what. He cautioned, “If you’re not paying for the product, then you are the product.” With billions of users, this meant that each one of us, our anticipated wants and needs, were for sale and that we could be cultivated to desire things and have our own sense of individualized reality. One expert likened it to “The Truman Show” as we accept the reality that we are presented with. We cannot be objective if we are all getting different news.

The rapid fire growth in tech, sales of intangible items (aka our attention), is just the beginning of how our world has changed in “gradual and imperceptible ways” resulting in changing how we think and what we think. On the surface, it’s obvious that this is not for the better; just read the headlines every day for proof. Additionally, our emotional health and well-being has been jeopardized by the silly little thumbs up sign that was, according to its developer, intended to make people feel good, not compete and influence a youngster’s self-worth and identity.

This isn’t the first film to pinpoint how social media has had a negative impact on our lives, but it is the first to explain the issue from the developers point of view. As they divulge that they could no longer ignore their own moral compass for the sake of the almighty dollar, these tech geniuses resigned.

The entire film is mind-blowing as we see the correlating statistics about young girls’ suicides and social media’s presence. We see how false news become someone’s reality, and we watch from the catbird seat how the divisiveness created by these technologies are eroding our society. As each of the experts explained their former positions and how they helped develop a “digital pacifier” and “sell certainty” to advertisers as Shoshana Zuboff, PhD and Professor Emeritus at Harvard Business School stated, the writing team of the film interjects dramatic short episodes of a story to represent the complexities of what they have developed and how it impacts you and your family.

The fictional story line stars Skyler Gisondo as Ben, the teen who is attached and addicted to his phone. The algorithm “team” or A.I. played by Vincent Kartheiser in three roles, manipulates Ben as he begins to question his addiction and need for connection via the phone. This narrative exemplifies what the Silicon Valley tech and business gurus have explained making it all disturbingly crystal clear.

“The Social Dilemma” accentuates that we, as individuals, are not equipped to battle the algorithms within our phones and social media. In fact, they point out that these algorithms continually morph to become more expeditious and efficient, and programmers are now behind the eight ball as they watch their creations become more independent. Is it Frankenstein gone wrong? The film does, although not to a deep enough level, touch upon possible solutions to give us hope. Perhaps the sequel to this film will be “The Social Solution.”

“The Social Dilemma” expertly tells a complicated story while using an entertaining fictional narrative to exemplify their findings. To watch a documentary about technology could easily be profoundly dull, but thanks to the writing team of Jeff Orlowski, Davis Coombe, and Vickie Curtis, it’s incredibly engaging and quite riveting as we see ourselves in this film. Integrating graphic art and the short fictional episodes is a brilliant way to augment the interviews with the experts. And it is with this innovative style that elevates not only the story, but the film overall.

We are all a part of the tech system, both for the good and the bad, and while this seems horrifying, it gives us knowledge and with that comes power. Perhaps we can also gain compassion and empathy as we look in the mirror before we accuse or judge others for their “wrong point of view.”

Available on Netflix beginning Sept. 9, 2020

4 Stars

Writer and co-director Greg Jacobs shines a bright light on what everyone can agree upon—we all want the best for our children. But what happens when parents can’t afford “the best” and can’t provide opportunities for their babies and children? The answer is astounding as it lays the foundation for incredible disparity between success and failure.

WATCH THE TRAILER HERE
As a former speech-language pathologist who focused upon the 0-3 year old population or as it’s also referred to as “early intervention,” it comes as no surprise that babies who have a stimulating environment from the beginning typically thrive later in life. Playing catch up is not an easy task, but what prevents some children from attaining their potential? “No Small Matter” dissects that question with the utmost care as Alfre Woodard’s voice guides along, providing numerous examples and scientific research in neurological development to give us the answers.

Times have changed and Jacobs demonstrates this as he takes us back in time to when educators, parents, and doctors didn’t realize what babies comprehended. Today, thanks to interventions and techniques readily available, we now know so much more about how babies and children learn and what’s happening with their neurological systems. It’s simply fascinating as doctors, researchers, and developmental specialists share information that any parent, teacher, or grandparent needs to know. But what happens when the parent needs help and education. This is also explored in Jacobs’ documentary as parents learn to rise to their potential as well.

The filmmakers take us into the early education system and introduce us to Deborah Giannini and her class. It’s one of the most thriving and lovingly stimulating preschools that any parent would want for his or her child. We delve into an intimate look at just what goes on with our little ones as the teachers “sit and play.” And play is so much more than meets the eye. It’s an integral part in helping children develop key skills for later social, academic, and life success. With honest and forthright interviews with these teachers, it’s no wonder the U.S. educational system isn’t as competitive as it once was as we see these teachers needing to get a second job just to pay the bills.

Providing and finding day care and educational options for typical two-income families is a struggle, to say the least. We meet parents who are in the midst of this dilemma and feel the anxiety it produces. Day care is inordinately expensive and the demand is even higher than it was several decades ago. We see the detrimental and domino effects upon our society and why there’s a vast disparity among children whose parents have the resources to provide and those who do not.

What stands out most in this documentary besides a myriad number of adorable smiling babies’ faces, is the fact that the failure of equitable beginnings actually is a failure that impacts all of us, whether or not our own children or we have succeeded. Children who are in substandard day care centers and preschools are at higher risk for poor academics and have a greater chance of being a part of the criminal justice system later in life. Additionally, children in stressful and non-nurturing environments have a greater risk of developing medical and mental illnesses. The list of negatives is astounding and with that comes a high financial cost, but the cost of leveling the playing field and allowing every child to flourish is ridiculously cost-effective.

Jacobs methodically explains and explores the importance of great beginnings for every baby and child. While early education isn’t going to solve all of society’s woes, Jacobs makes a valid case for a potentially positive impact. Aren’t our children and future worth taking a chance on a better start in life?

Check out this film on VOD, Google Play, and Amazon now.

4 Stars—it’s a must see for any parent, physician, and educator!

Academy Award nominated writer Andrew McCarten (“The Theory of Everything,” “The Darkest Hour,” “Bohemian Rhapsody”) undertakes one of the most elaborately creative stories imaginable…the changing of the Catholic Guards. As the conservative Pope Benedict (Anthony Hopkins) begins to consider stepping down, a feat not undertaken for centuries, he discusses his hopes for a future of Catholicism with future Pope Frances (Jonathan Pryce), the antithesis of Benedict. “The Two Popes,” streaming on Netflix beginning December 20th and in theaters, is a surprisingly touching and eloquently imaginative film that restores your faith not only in religion, but in finding peace between one another.

Creating this script that is unexpectedly funny takes the genius of someone like McCarten whose credits exhalt him to the highest level. In a recent opportunity, I, along with several other film critics, attended the LA premiere and chatted with this gifted and down-to-earth writer about the inspiration and background of the film. Here’s what he had to say:

Pamela Powell (PP): How do you consistently create such multidimensional portraits of characters?

Andrew McCarten (AM): It’s something that’s evolved since doing Stephen Hawking and then Churchill. It’s a bit like you put a canvas there and your subject’s there. (Motions with his hands.) The first thing you have to do is study the subject and you can’t stop digging at a superficial level, you have to go into their deepest stores and imagine what their fears are, what they had for breakfast, what are their mannerisms, what are their foibles, and eccentricities. You get to a certain point you think can I start work and you go, yeah I think we’re good to go. Then you start playing with it a little bit. I need to know what Frances thinks about homosexuality, but I also need to know what he likes for breakfast. Does he eat with a knife and a fork? We’re all very rich and multidimensional.

Paul Salfen (PS): The other films were biopics and [this film] doesn’t fit that genre.

AM: I’m not sure everyone would agree with you, but I would. This is bigger role in terms of the style of or the extent to which I’m using artifice because we don’t know that these two had these debates in these rooms. They probably didn’t, but what I did is take what one said in one room and what another said in another room and I open two doors and bring them in and put those stated positions into play with each other. So that’s the artifice of the [film] and it seems to work.

Question: We’re curious about the whole pizza, the Fanta, or even the beer and watching the World Cup.

AM: Here’s the origins of those things. My wife is German and so I can make jokes about Germans. Laughs. She had a personal friend who once had dinner with Pope Benedict when he was archbishop of Munich and everyone was drinking wine and he called for a Fanta. When asked why he said that’s all I drink with evening meals because during WWII Coca Cola was banned and for some reason they allowed Fanta. So kids who grew up there in that period of Nazi Germany were all addicted to this fizzy orange drink and he’s still addicted to it.

The football thing was, Pope Francis was a world famous futbol fan…there was one picture of the two of them from behind watching TV. You couldn’t see what was on the TV and I remembered thinking, I hope that World Cup Game between Germany and Argentina happened just after Frances became pope because that would be a wonderful way to end. I remember googling it and going PLEASE! And it was played two months after he became pope. And I think it’s justified by that photo of them watching TV

Question: Your background is Catholic. Tell us about its influence on the film.

AM: I lived it. I grew up in this. It’s a culture you grow up in and it was all-ecompassing. Church was the center of the community. We went to church every day or two it seemed. I was an alter boy to the preposterous age of 15! The little surplus thing came down to here. I used to look at my mother like Come on! And she’d go no, it’s great, it’s great. I used to do it for her because it made her happy.

I’m very sentimental about the institution and I know it from the inside. I was raised by nuns and catholic brothers and I saw these honest, well-intentioned, good workers, humble workers in the vineyard of the Lord, and they were selfless. They gave their lives to other people. And when I open every newspaper, it’s a horror show and no one’s ever told the story for a long time about what’s really going on in that institution that’s 2000 years old. It does a ton of good work, but no one’s hearing about it.

I’m showing two insiders and they obviously are not going to say, “Let’s burn the place down. He’s a revolutionary. The center of the whole thing is between a liberal and a conservative. I think the reason it’s having the impact it is is because it’s speaking to the fiery debate that’s happening in the world. We can’t seem to find the middle ground. The middle seems to have collapsed to me. We have to regain the high ground in the middle.

Question: How did Jonathan Pryce and Anthony Hopkins prepare for these roles?

AM: I can only tell you about their preparation because I’ve sat on panels and listened to them. I think the way they express it is that Anthony Hopkins is a classical pianist and Jonathan Pryce is a jazz pianist. 5 months before they started filming Anthony Hopkins said at my age I’m going to learn these lines once, ok? Don’t change anything. And Jonathan is more improvisational so I’ll learn the lines, but I’m going to play and be open and be loose. So these two styles meet and it’s actually so fitting for this movie where you’ve got a traditionalist and a progressive and you see that, actually, in the score of the piece where you’ve got classical music and then [jazz]. The idea is to bring jazz into the classical arena. That’s what he represents is someone who is a populist.

Question: What’s the Catholic Church’s reaction to the film?

AM: Various members of the clergy whenever we were screening, they come up with a mixture of gratitude and relief. I mean, they must be expecting the worst and if you see any Hollywood movie about the Catholic Church so I think they stagger out of there quite relieved.

Question: Did you film in the Sistine Chapel?

AM: No, we built it. It’s actually 5 inches bigger than the real Sistine Chapel. I think there was a joke on the part of the designers, they wanted the world record for the biggest Sistine Chapel. (Laughs)

Trust. It’s a word that seems to represent a sparse commodity these days and director Todd Haynes takes New York Times’ journalist Nathaniel Rich’s article “The Lawyer Who Became DuPont’s Worst Nightmare” and shows us just how very true this is.

Mark Ruffalo stars as Rob Bilott, a Cincinnati lawyer whose firm represents large chemical companies, but a visit a farmer, Wilbur Tennant (Bill Camp) from Bilott’s hometown in West Virginia turns Bilott’s world upside down as he finds himself on the other side of the legal bench, fighting against one of the most powerful chemical companies: DuPont. The story becomes a legal thriller as Bilott uncovers and discovers the coverups from this massive industry who appears to value the bottom line over human welfare.

Bilott is an unassuming and seemingly typical lawyer in the corporate world, but immediately upon his exchange with Tennant, we see he is a man with integrity. It helps that Tennant knows Bilott’s grandmother, affectionately referred to as “Gramers,” and Bilott strives to appease her. Bilott ventures from Cincinnati to Parkersburg, WV to visit Gramers and then Tennant’s farm filled with haunting scenes of catastrophic proportions as Tennant shares his theory of DuPont poising the creek water that runs through his farmland. This is when the mystery begins and Bilott plunges in head first. This will become a decision that will affect him, his firm, family, and ultimately an entire community and their futures in ways he could have never predicted.

Taking place over decades, Bilot carefully gets his feet wet, slowly wading into the tidal wave of information as we witness the youthful Bilott initially trusting all with whom he contacts in DuPont. This youthful naïveté is soon shaken as Bilott is then swamped by an endless number of boxes containing the requested “disclosures” from the chemical giant. Meant to deter him from proceeding, Bilott just dives right in, his tenacity keeping him afloat as he strives for justice. From our vantage point, these discoveries are encouraging but at the same time simply horrifying.

Director Haynes dissects this story with the precision of a surgeon, slicing ever so delicately to expose the truth creating one of the most compelling storytelling styles imaginable. The film is an intellectually stimulating one as we, along with Bilott, learn the necessary components of chemical bonding and product development as well as the regulations of the EPA. It’s engrossing and captivating, and sadly, as this film is based in truth, we see the dire consequences of big money steam rolling over the everyday Joe. On the other hand, the film gives us knowledge and with that comes power; the power to make changes and raise awareness to protect ourselves.

Ruffalo is the star and champion, bringing Rob Bilott’s personality to life. This humble and driven man isn’t your typical hero, but his integrity, loyalty, and willingness to go against the grain in order to protect those who cannot protect themselves makes him one. His body language, never confident and certainly not stereotypical of a high-powered corporate lawyer, endears us even more to him. Anne Hathaway portrays Sarah, Rob’s wife, and while her role is small, it’s vital in giving Rob a fully developed character. Their home life is affected by this case and we see the sacrifices she has made for him, the children, and herself in order to support her husband. Without her realistic performance, Bilott’s character would have felt more two-dimensional.

Adding to the authenticity of the film and the dire feeling of what is revealed is the cinematography. Creating and capturing those hauntingly disturbing images of affected livestock, children, and even pets, is punctuated by the endlessly grey skies. The sun seems to never shine, creating an atmosphere that is as haunting as the images we see.

This isn’t the first film about how large chemical companies disregard regulations or put their bottom line before the health and safety of its workers and communities and it won’t be the last. However, not since “Erin Brockovich” (2000) have we had an important narrative feature film about the subject. There are innumerable documentaries which address similar subjects all around our country, but perhaps we needed the star power of the man who is more widely known as The Incredible Hulk to shed a light on what’s happening in our own back yards and help prove that “better living through chemistry” isn’t true.

“Dark Waters” is a powerful, compelling, and necessary story to tell as it has you on the edge of your seat, mesmerized by each and every scene. With incredible performances that are never showy and a story that is gripping, it’ll change how you view your own world and your own definition of “trust.”

4/4 Stars

Who could possibly create a documentary about Russia, hockey, the Pittsburgh Penguins, and the Mafia that is funny, educational, and insightful? None other than Gabe Polsky who gave us “Red Army” in 2016. While you might be thinking that this is just an extension of his first film, think again. This is one of the most bizarre, underreported, and unfathomable sports stories in history. Polsky’s subject, Steven Warshaw, a marketing genius, took it upon himself to attempt to save the Russian hockey program and create interest and financial stability for this Red team. What he found was corruption, embezzlement, and mind-boggling sordid situations proving the adage that truth truly is stranger than fiction.

The film premiered at the Toronto International Film Festival and I had the pleasure of sitting down with Chicago native Polsky and his subject, Steven Warshaw, for an entertaining and insightful conversation about the making of this film.

Pamela Powell (PP): How did you two become acquainted?

Gabe Polsky (GP): I was promoting “Red Army,” …at one of the festivals in NY and Steve came up to me afterwards and told me that he has a great story [and] that it’s also about this Red Army team, but it’s about the ’90’s and what happened afterwards. … But I told him, “Look, I’m not interested in even going near Russia or hockey again.” I just did this big film and I was kind of mad, actually, about the idea of doing something like that. Anyway, Steve asked for my address and I did give it to him. (Chuckling) He didn’t look like a creepy guy. He was a little strange (more laughter) … I got this huge box of materials, videos, documentation, photos, all this stuff about this story and I opened it up and looked through it and was kind of amazed and shocked … but then I pushed it away again.

PP: What made you open it back up and delve into the making of this film?

GP: It was the kind of thing that even to this day I was reluctant to go for because

Steven Warshaw (SW): This is the antithesis of what he had seen. [He] documented maybe the greatest hockey team in history and now he’s going to look at the train wreck that ensued after the Soviet Union. And we were that train wreck.

PP: And you were the engineer? (Laughing)

SW: No, I was the conductor, the engineer, and the toilet cleaner! (Laughing)

PP: Why did you hold on to all of this stuff?

SW: I am a pack rat. I save everything that’s flat. … I don’t save plush animals or hockey pucks. If it’s flat, I save it. Photos, tickets, contracts, archival material, artwork, anything that I can stack. And this was a really important part of my life. I fell in love over there, not just with the team, but I fell in love with a fantastic Russian woman. I was 34 at the time. I fell in love with the culture. … When we were just blown out of there, it hurt. It was like getting your doors blown off in a romance. … I always saved my love letters from my girlfriends, maybe I’ll be able to resurrect this too. So that’s why I did it.

PP: They say that with age comes wisdom. This is a two part question. What would you tell your younger self and would you do anything differently?

SW: Second question first. I would much rather have gone to Italy or Spain or done this in a better country. You look back and I had attributed it to just youthful insanity. In retrospect, obviously, it was crazy. I should have taken the other job offer I had … I had two offers at the same time. Either go to Russia or to come to Canada. So in retrospect I should have definitely gone to Vancouver and had a beautiful life in Canada instead of this crazy mad [one], but then Gabe wouldn’t have had a film. (Laughing) There you go. It was intriguing for us because we were young and stupid so the danger element was almost an adrenaline rush for us. Yes, you look back, I didn’t have kids so I could take chances back then. Now I wouldn’t, of course.

PP: What did your mother think?

SW: She thinks I [was] a greeting card salesman! (Laughs). Actually, they came to see us in (Russia). They came on Revolution Day. Nov. 7, 1993 … They had a great time over there. They didn’t see all of the criminal elements. They didn’t know about it. I didn’t tell them.

GP: Now they’ll know.

SW: Now they’ll know they raised a stupid kid. (Laughs!)

PP: Steven, how did all of this influence your future career and choices?

SW: I made a lot safer decisions. Blue chip type of deals instead of wild fantasy deals, but I still think I’ve got one more in me before I check out of here so maybe I’m looking at some other crazy, third world country and bringing badminton or I don’t know. There’s one more chapter in me … for you (looking to Gabe)!

PP: Gabe, there was one particularly chilling scene in the film where you discovered someone lurking behind you; you were being watched and followed when you were in Russia. Did this give you pause about completing film and presenting it publicly?

GP: It did! The answer is yes, I did feel kind of weird being in Russia at that time. Sanctions were going strong and the sentiment toward Americans wasn’t great. I wouldn’t say just regular people. The government position was pretty clear, but people were generally warm. I don’t know why, but when I was there, I felt a little bit paranoid and I’m not a super paranoid guy, but I felt weird. And when that happened, it was a WTF moment. Yes, I’ve been thinking a little bit about … the danger.

PP: Given today’s political environment, what do you think viewers will take away from this very timely piece even though this took place back in the 1990’s?


GP: I would hope that first of all, understanding the history and what happened in the ’90’s has relation to what’s happening now and their views toward Americans. Our working relationship, I think this is a good example of what [was] happening to all companies that were coming to Russia at the time. … and as soon as they saw success, they saw almost insurmountable challenges from encroaching interests. But more than even that, it’s this idea to understand the Russian psychology and behaviors in a deeper way. We read a lot of facts and allegations about that, but no one really gets to see how people behave and talk and deal with people. I think this story, by experiencing the story, we get to know the culture a lot better. Not just their culture, but ours too.

PP: Steven, when you watched the film, the interviews with those who spoke about you, what did you think or feel when you heard what they had to say?

SW: I’m still shocked that Goshen’s still breathing oxygen. That guy, he’s a walking heart attack. And everyone else died, except him.

PP: What does that tell you? (Laughing)

SW: That he’s Rasputin. He’s the devil! (More laughter) To me, it was frightening because I didn’t know how crazy I was back then. I wasn’t a kid, I was 34. We just threw caution to the wind and we were just worried about accomplishing our mission, to fill the arena and sell sponsorships, create tours, merchandising, a great story.

GP: But when you saw those other characters, the KGB guy and even Gusev, how did you feel? How did you feel?

SW: I wasn’t really shocked because I had lived it. But the one shocking element to me that I learned from the film was just how close the Mafia got to Gusev, my Russian partner. They really read him the riot act that he’s gotta leave Pittsburgh. I didn’t know that until I saw the film. I didn’t realize the Mafia was so deep into Viktor Gusev’s life that they had threatened him.

PP: But there’s that haunting laugh from Goshen.

GP: Yeah, how do you feel about that scene?

SW: It’s vintage Goshen. He’s brain damaged from alcohol. He’s had heart attacks, he’s been in car accidents, he’s been in prison. I mean the guy’s had an incredible life. So to me, he’s the perfect foil.

GP: Why is that vintage Gushen? What is that laugh?

SW: It’s demonic. He’s the evil empire that Reagan referred to. He’s a cartoon character that came to life and I’m just flattered that he said he’d still be my friend! (Laughs!)

PP: Flattered or scared?

SW: Scared! The same thing is that he would rather fail on his own that succeed with the [Americans]. I think that’s the critical point. They had such pride and that’s why they couldn’t take it. … It was embarrassing for them because it took foreigners to come in and do their job for them. They resented us for that and they actually rooted against us.

4 out of 4 Stars

Be sure to check back to find out how and when you can see this timely and entertaining film.

“Joker,” winner of the prestigious Golden Lion Award at the Venice Film Festival has created more than an Oscar stir. The controversial film is also igniting anti-gun organizations’ political battles as Warner Bros. stands behind this origin story of The Joker. Starring Joaquin Phoenix as the deranged, unstable and anti-social sociopath, director Todd Phillips (“The Hangover”) creates one of the franchise’s darkest and most disturbingly sinister back stories that actually rings true to the graphic novel. While this certainly isn’t a film for every viewer, Phillips gives this genre’s fans a story that may change the DC Universe forever.

The opening scene sets the shockingly dark tone of this film as we see Arthur Fleck (Phoenix), dressed as a jester who becomes the recipient of a random act of violence. Fleck is a broken man trying to support his ailing mother, Penny Fleck (Frances Conroy) in a dirty, dilapidated tenement building. He dotes on her, sacrificing for himself in an effort to make her as comfortable as possible, but he seems to have a target on his back as he is constantly pummeled with verbal and physical abuse by co-workers and strangers alike. Receiving social welfare benefits and medical aid for his condition, it’s pitiful to watch this poor man getting squished beneath the shoe of mankind as no one really seems to care about him. Actually, no one seems to care for anyone but themselves. When Arthur inadvertently receives a revolver, his brain snaps and so too does his trigger finger.

The world around Arthur in the dark world of Gotham is out of control. The political figures are vying for power, promising a brighter, safer world. And it is within this political world displayed through the medium of television that the tentacles of connection reach out and betray Arthur. Believing in a story told by his mother, Arthur begins to search for the truth about his own background, leading him down a path that will change him and Gotham. And as they say, with knowledge, comes power, but in this case, it’s an extraordinarily evil power.

The film stays true to the graphic novel, but adds so many deeply realistic elements to the story that it hits a little too close to home. “Joker” addresses our current political state with the hatred and division and more importantly, the power of the 1%. We also see how our system is failing so many who desperately need help, particularly the mentally ill. The social service programs are cut in the film’s story and this is a key aspect to Arthur’s deviation and of course, we see this happening in our world today. Gun violence, access, and regulations are also at the heart of the film as is the power of media and celebrity. It’s a complicated story that truly touches upon our current world, sitting upon a fragile precipice.

With all of these underlying components, the film also depicts the lack of humanity and compassion, an integral part of the survival of mankind and a way for Joker to rise. Without this compassion, chaos is unleashed, finding the perfect breeding ground for evil and rebellion, the two perhaps not so definitively separate. Creating a film that has all of these aspects, but also setting up one of the most well-known good vs. evil super heroes scenarios in this universe is a huge undertaking that Phillips capably creates, but it is Phoenix’s performances that will ultimately haunt you long after the credits roll.

Phoenix provides all the layers of his character as we watch him go through a metamorphosis. Our hearts break for this man, watching him suffer with no support and the subject of ridicule. He devolves into the Joker and while we do not agree with what he does, we have an understanding for him—now that’s a tough character to so artistically and evocatively create.

Media plays a hefty role in this film as well, particularly with the Johnny Carson type of talk show host Murray Franklin (Robert De Niro). Within this role, De Niro brings a cutting humor, reminding us of the power of words and that sarcasm creates ill will and not laughs. As the tension builds around Arthur and Franklin, the outside forces are also bubbling to the surface; a volcano about to erupt. While the story focuses primarily upon Arthur, there are several sub stories that occur, all intersecting at the most intense time, giving a sense of dread and discomfort throughout.

Conceptually, socially, and intellectually this film is disturbing, but the startling and realistic violence was more than unnerving. It was distressing. There were plenty of scenes that I wanted or perhaps even needed to cover my eyes, but those images will forever be ingrained in my mind. And perhaps if so many of these issues weren’t so relevant today, the violence wouldn’t have been as upsetting. But they are and it is.

As a piece of art, and film is an art form, “Joker” masterfully finds a voice for the brutal and believable backstory for The Joker. Phoenix gives this character incredible realistic depth which may help you see others who struggle in a more compassionate way. In the end, however, this is a film for super hero fans. It stays true to the graphic novel and creates an incredibly realistic persona and world that hits very close to home; perhaps too close. The shocking violence seems to be used for shock value alone rather than for the use of the plot. Oh, and the running time is, of course, too long. That seems to be a super hero film’s MO.

3 1/2 Stars (for fans of this genre)

“1982” transports us back to a time in Lebanon where political unrest and imminent war loomed overhead. Writer/director Oualid Mouaness creates a beautiful story of Wissam’s (Mohamed Dalli) school crush amidst the tension of the teachers and the news they are hearing.

Nadine Labaki (“Capernaum” director) stars as Yasmine whose relationship with fellow teacher Joseph (Rodrigue Sleiman) is strained all due to differing political views. This is a multi-tiered story as the teachers and administrators prepare for graduation of their students, attempting in every way to maintain a sense of normalcy. Final exams are underway and off in the distance, the beginnings of an attack are evident. Finding stability among the adults is tested which ultimately makes it difficult to create an emotionally safe environment for the children.

“1982” begins with wide landscape shots, capturing the peace and beauty of the land. Artistically, as the story comes into sharp focus, the shots become more constrained, giving a more visceral sense of the ever-increasing tensions of the people near Beirut on the cusp of an invasion. Religion and cultural differences as well as expectations and prejudices play an important role among both the adults and the children on this momentous day.

It is the dialogue between our main characters of Wissam (Mohamad Dalli) and his best friend Majid (Ghassan Maalouf ) that endear us to them, reminding us of how special and, in many ways, how universal that feeling of first love is. The two discuss the plan for Wissam to let Joana (Gia Madi) know his true feelings despite the geographic, religious, and cultural differences. And these issues are explored with utmost care and even humor as Abir (Lelia Harkous) attempts to intervene.

On the other end of the spectrum is the more complicated interaction of Joseph and Yasmine. Love is never easy, no matter your age, but we see how our beliefs supersede this emotion in our older years while love does seem to conquer all when you’re young.

As the fear of the inevitable comes to reality in this film, it’s interesting to note how much emphasis we place on the need for routine. It’s our safety blanket, shielding us from the impact of that next shoe dropping and in this case, it’s much more than a shoe. That tension is palpable as we see Yasmine clinging on to the completion of her students’ exams. She will not give in to what’s happening around her and her emotional overload is conveyed in her voice and body language with deft skill. Mohamad Dalli is exceptional in this layered and sometimes very nuanced role. He’s silly and optimistic during this time, perfectly portraying the innocence of youth.

“1982” uniquely examines the core of people, no matter their age, as the world unravels. With extraordinary performances, we are not only given the opportunity to walk back in time, but to also walk in another’s shoes in a world where the future of tomorrow is truly unknown.

3 ½ out of 4 stars

“Serenity” is written and directed by Steven Knight whose previous film, “Locke,” starring Tom Hardy is a favorite. Unfortunately, this second attempt wearing both the writer’s and director’s hats doesn’t quite work. Matthew McConaughey stars as Baker Dill, a charter fisherman on the pristine and remote island called Plymouth Island. Dill finds his sole focus is catching the Big One, the one that gets away, time after time. His focus quickly changes when his ex-wife, Karen (Anne Hathaway), shows up with a story of spousal abuse and an offer that he just can’t refuse…or can he?

WATCH THE TRAILER HERE

Karen shares her abusive stories and promises Dill $10M if he agrees to bring her husband Frank (Jason Clarke) on a fishing expedition where he will go overboard and become fish food. In need of money and his connection to the child back home, Dill considers the offer, but there’s something off. In fact, there’s something that feels a bit hinky during most of the film, or at least until the big reveal. You can’t quite put your finger on it, and it does keep you hooked, but there are too many expressions that make your eyes roll and these characters just seem too over-the-top. You hope that it’s an element of supernatural as Knight eludes to that, drawing you down a particular path, only to be capsized.

“Serenity” certainly had potential, but it seems that Knight lost touch with the arc of the story line and the importance of the topics at hand. Addressing complex issues such as abuse and coping mechanisms, particularly with children and women is a tough topic, and this bizarre approach would have worked at if the twist was revealed significantly earlier. We then could have been allowed to appreciate and understand the characters more fully as well as the situations at hand.

With knowing the twist, McConaughey’s portrayal of the man with a secret, escaping from something we are not yet privy to while creating a persona of individuality, and strength is spot on even if it is rather one dimensional. His first mate Duke (Djimon Hounsou) is equally strong, but stable; the voice of wisdom. Hounsou evokes trust immediately from you as you urge Dill to listen to him. Hathaway gives us a sense of a femme fatale character with her mysterious and sudden appearances, her beauty, and emitting a sense of distrustfulness. Hathaway is always a pleasure to see in any role and she finds a way to add interest to this otherwise seemingly bizarre film. Clarke portrays a character that is pure evil, perhaps too evil and that is in part thanks to Knights’ choice in dialogue as he refers to despicable acts upon young girls. He pushes the evil a bit too far given that this is a fictional tale—we just didn’t need that as Frank was awful enough without that. Jeremy Strong plays Reid Miller, the oddball, suit-wearing, spectacled man always trying to catch up with Dill. His character throws a wrench into anything you might have thought was happening, but he’s a welcomed character as he puts the narrative into a higher gear. Unfortunately, Diane Lane’s character of Constance, Dill’s friend (and bank account) with benefits is quite forgettable and unnecessary.

Again, much of what I have described doesn’t make sense until close to the end and by that time you already have a sour taste in your mouth. There wasn’t enough Orbit gum to cover that up and allow you to see the film for what it was trying to be. On the surface, the film is about abuse and questioning right versus wrong and all those shades in between. But as you delve more deeply, the women in how they are portrayed is disappointing as well as the overall message.

Again, after knowing the twist and understanding that the film is about abuse and how to cope, it misses the boat. With the sex, language, and references made, it’s also difficult to see who the target audience is. It’s too harsh for kids who might be experiencing abuse and its an exercise in frustration for the rest of us.

2 1/2 Stars

“Care to Laugh,” a documentary from AARP Studios, addresses the issues behind caregiving while making us laugh. The laughter (and tears) are thanks to the comic genius and candor of the film’s subject, Jesus Trejo. The film recently screened as part of both the Chicago Comedy Film Festival and DOC NYC and while in Chicago, I had the pleasure of sitting down with Trejo, director Julie Getz, and Vice President and Executive Producer of AARP Studios Jeffrey Eagle. Their excitement about the film and the future of sharing experiences relating to aging using film as the medium was infectious. Enjoy their insights and be sure to put this film on your list to see when it’s released in 2019.

Pamela Powell (PP): Jesus, what was your initial thought when you were approached about doing this documentary?

Jesus Trejo (JT): I was very flattered to know that they wanted to consider me to be the subject of a documentary film. I know they had done a project before with Don Rickles, but this was the first documentary feature length that AARP was doing. It came about because I met the awesome people at AARP, Jeffrey Eagle, Julie Getz and the crew … at an event that happened at the Hollywood Improv that AARP put on for caregivers and the headliner was Jim Breuer and I opened for that show. That’s when we got to know each other and they knew about my story. And then sometime later they wanted to have a similar event in NY and they reached out and I couldn’t do it. That was when I was at a fork in the road with comedy and caregiving and they found out more of the story and they thought this was a story worth telling.

PP: What was your parents’ reaction to doing this?

JT: It was definitely difficult for my parents. We definitely took some days before we got back to AARP because … explain to your immigrant parents that there are going to be cameras on us for a year. Wait. What? It’s hard to digest. Pretend like they’re not there. And my dad was like, ‘They are there. I can see them.’ … It was difficult for my parents. It was difficult for me. … It was difficult but fun.

PP: Jeffrey, I had no idea that AARP was making feature films.

Jeffrey Eagle (JE): AARP has had studios in the Washington, D.C. for about 10 years … We did this event at the Hollywood Improv back in December of 2016 and AARP, as you know, is the largest non-profit organization in America- 38 million members- [and] caregiving is a focus. … It’s often seen as an end of life story as opposed to just a life story… when we started digging into the research … caregivers want two things. They want time and they want to laugh. Time and laughter. So we thought why don’t we have something that gives caregivers time. Well, that would be a night out. And what could we do that would make them laugh? How about a comedy show? And oh, by the way, who’s telling the jokes? Wouldn’t it be great if the comics were caregivers? Jim Breuer’s a caregiver. Jesus is a caregiver. Caregiving has ups and downs. There’s intense love of family and love of craft and hard knocks of rejection and hard knocks of health. The film is able to be in those places and dip in and dip up and take the valleys and the peaks with laughter and light. And that’s what I think we’ve done. AARP studios, we are about making these big issues, fraud, and caregiving and health and financial matters, personal and that’s what we’ve done with this film. … We want to do more stories like this.

PP: Julie, what was most surprising to you, as a director, in making this film?

Julie Getz (JG): Just how incredible of a human being Jesus Trejo is … Here he is juggling all these responsibilities and again, you see in the film, you can tell he’s got grit. He’s tenacious. He puts his foot on the accelerator and he doesn’t let up. He goes full throttle. … capturing those moments that can often be hard and sad and challenging and then capturing those funny, light moments as well. I think we had that balance when we were putting all the pieces together…

PP: Jesus, what do you hope people will take away from this film?

JT: After seeing it a couple times, I’m reminded of this quote that Galileo said, “The only constant thing in life is change.” And seeing that that was a picture of a moment in time, things change and we just have to accept change. Change doesn’t necessarily have to be a negative or a positive thing. It’s just change. … And looking back I almost think of what was happening in that moment and it’s like oh man, that was heavy, but then it wasn’t half as heavy as what I dealt with last month or the previous month or now. It just puts things into perspective …

PP: We Baby Boomers are aging and taking care of their parents and our children will be in the same boat in the next 20 years. I see other studios also addressing the issue of aging as Elizabeth Chomko’s film did in “What They Had.”

JE: … Blythe Danner and Hilary Swank are on the cover of our magazine right now. … November is National Caregiving Month. … The power of film is limitless, as you know, because this is your world as much as it is ours, but I think it’s just the way people are engaging with media with stories. We’re visual story tellers. We’re trying to bring these issues to life [and] finding characters that feel real. … As I said, this wonderful, magical documentary came out of a simple question “What do caregivers want? Time and Laughter.

PP: Julie, what do you hope viewers gain from watching “Care to Laugh?”

JG: With any project that I do, from a filmmaker’s perspective, is that I always want people to learn something, something they didn’t know before…to be almost shocked. And for this film, that they walk away … they know where to go, what to do. And that’s why AARP, they’ve got the resources, the caregiving guide, and again, the groups so people don’t feel like they’re alone.

PP: Jesus, any other thoughts you’d like to share?

JT: Family’s first. Everything else will always be there. Family, you get one shot at it. Make sure they’re taken care of. Like comedy, comedy will always be there. I did and I’m doing the right thing. I’m helping them age gracefully.

PP: How are your parents doing now?

JT: They’re hanging in there. Some days are bettter than others, but over all I’m just happy to have a second chance with both of them. Things are going well.

Eagle shared statistics with me that are remarkable, reminding me that while I have had aging parents and continue to help my father-in-law as he ages, we aren’t alone in this boat. According to Eagle, there are 40 million unpaid family caregivers which probably affects you or someone you know. AARP, through the medium of film, helps us all relate and understand, but even more importantly, it’s a resource of information and support.

To learn more about this film, go to “Care to Laugh.”

Michal Aviad’s newest film, “Working Woman,” has its international premiere at the Toronto International Film Festival (TIFF) on Tuesday, Sept. 11. The film depicts the story of Orna (Liron Ben Shlush), a happily married woman who is financially struggling to make ends meet as she attempts to balance motherhood and career. With an opportunity to support the family and her husband’s opening of a new restaurant, Orna becomes a sales sensation for the real estate mogul Benny (Menashe Noy). The price she pays is higher than anticipated, combatting the advances of her boss while attempting to keep her job. This riveting and realistic portrayal of women in the work place is as disturbing and eye-opening as it is empowering. With extraordinary performances and an intuitively thought-provoking script co-written by Aviad, Sharon Azulay Eyal, and Michal Vinik, Aviad directs her cast to bring to light a subject matter that is timely and relevant while allowing others to more accurately understand a woman’s perspective and challenges in life.

I had a chance to talk with Aviad about her inspiration in developing such an intricately real story as well as her own empowering actions in life. Her strength both behind the camera and in the film industry elicits a sense of camaraderie and motivation to make a difference in our own communities right now.

WARNING: SPOILER ALERT AHEAD!

Pamela Powell (PP): You’ve been in this industry long enough to see the tides begin to turn.  Looking back on your career, was any of this story inspired by your own life or observations?

Michal Aviad (MA):I worked ten years as a waitress, and since the late 1980’s as a filmmaker and film teacher. I’ve experienced many things at work and in life – from humiliating sexual comments to sexual abuse. Struggling to work as a woman filmmaker was and still often is accompanied by degrading behavior towards me as a woman. On the other hand, luckily, as an Independent Film Director, I don’t have bosses. In addition, I have been working with feminist colleagues for many years to bring issues of female equality into the national consciousness. For example, in our industry, two years ago, with The Israeli Forum of Women in Cinema & TV, I took part in writing a treaty which calls everyone to report sexual harassment at work and detail the actions that will be taken against harassers.

PP: Studying both literature and philosophy, how do these combine to help in creating such articulate and deep characters like Orna and her husband?

MA: The education I received in the Humanities helps me to understand the world. It also opened me to reading feminist philosophy and theory, as well as film theory. All those have shaped my values and outlook on society and cinema. In addition, for many years I’ve been making documentaries, which brought me to communities and women who belong to different classes and ethnicities than my own. Meeting people through work gave me the opportunity to deepen my thoughts and feelings about the ways gender issues manifest themselves.

In WORKING WOMAN, I wanted to understand how and why working relations between men and women, so often go wrong. I know women like Orna: talented and ambitious young mothers, who have to work full time to survive, but also strive for success at their jobs. I knew I wanted to tell a story about such a woman. Also, while writing I wanted to shape Orna and her husband as a loving couple, since I wanted my heroine to reject her boss’s advances because she is simply in love with another man, her husband. I wanted to make Ofer, Orna’s husband, lovable and sexy, and what is sexier for women (I wish men realized this) than a caring father? We were writing a story in which I wanted to find out how sexual harassment at work affects not only the victim’s soul, but also her relations with her entire environment. I wanted to find out why Orna and many women do not tell even loved ones about the struggle they go through.

PP: This film’s story will most certainly, and unfortunately, resonate with a majority of women in the workplace.  With such an empowering end, what do you hope others will take away from it?

MA: I am glad you see the end as empowering, since Orna, like most women and unlike the #MeToo heroines, does not go public. According to an Israeli law against sexual harassment created in 1998, Orna doesn’t stand a chance of proving her case at court. In reality, women who go through sexual harassment at work, more often than not, lose everything: their job, promised money, their hopes to advance and the ability to find a similar job. But Orna is not just a helpless victim, she goes out to fight for what she can get.

I wanted to put a magnifying glass on the much convoluted issue of sexual harassment at the work place. I wish viewers, women and men, will come out of the film with an understanding how and why it happens and how complicated it can be at times. I hope that audiences identify with Orna and what she is going through, and hope they see the blind spots the protagonists and we all have. By understanding how common and deeply engrained sexual abuse is in our culture, we can fundamentally change women-men relationships and build a society in which, rather than power, treating the other as equal humans, guides our lives together.

PP: Tell me how you worked with Liron (Orna) whose performance was subtle yet complex and exuded intelligence and strength. (Photo courtesy Matt Johnstone Publicity)

MA: First of all, Liron is an extremely intelligent and talented actress.
During auditions, most of the young actresses who auditioned for the part knew about sexual harassment from personal experience. But when Liron auditioned, I felt that she knew Orna. Liron was 20 weeks pregnant at the time, but I felt she was my heroine, so we waited for her to give birth and recover. While filming, Liron was breast-feeding, which was an additional feminist angle to the set. In the months prior to filming, Liron and I researched Orna together. We met with women who sell real estate, we toured the neighborhood where I wanted Orna and Ofer to live, and we talked for days. We slowly shaped every step of Orna’s journey. We knew her strengths and flaws. In each scene we knew how she acts and reacts. During production, Liron, who appears in each shot in the film, knew Orna as well as me, and sometimes better. She became my main partner on the set.

PP: The hotel scene literally stopped me from breathing as I hesitantly watched the details unfold. Can you tell me about the research about sexual harassment and assault that you did to portray such realistic responses? 

MA: My previous narrative feature film, INVISIBLE (2011), is about the trauma of two women who were raped many years earlier by the same serial rapist. My personal experience and years of reading testimonies on the subject, helped me grasp the complex reactions of victims of sexual abuse. Shaping the assault scene at the hotel, stems also from watching films, the majority of which were made by men. I was trying to veer away from creating a scene that can sexually stimulate viewers. Rape and harassment scenes in cinema are traditionally directed to combine the greatest ticket sales formula: sex and violence on the screen. I do not want to be part in that tradition. I wanted to show a horrific scene that didn’t involve nudity and blood.

PP: Benny’s character is slowly unveiled allowing the viewer to understand Orna’s response to stay in her job.  Tell me about collaborating with Menashe (Benny) to get such a strong and realistic portrayal of this character.

MA: … Menashe and I have worked for many years within the film and TV community in Israel and both of us personally know men who were accused and charged with sexual abuse. We agreed that Benny cannot be an evil caricature. We shaped a character that has lots of charm and generosity, a boss that appreciates Orna, his employee, and seeks to advance her, but is blind to his power and to the will of the woman he likes so much.

PP: To say that this is a timely tale is an understatement.  What are your thoughts about the timing and issues that apparently are not only happening in the U.S., but around the world?

MA: When #MeToo happened I was in the middle of shooting. The news was for me a breath of a new hope. Finally we are moving from the frustrated margins to the mainstream of the struggle against sexual abuse. But from the 200 hundred years history of the feminist movement, I know that achievements often meet powerful waves of oppression. In Israel, the variety of reactions to each new story about sexual abuse always include men who lament the death of flirting, warn against a plague of false accusations and protest against a return to puritan times. Fear and fantasy get mixed up. On the other hand, so far the women that came out in the #MeToo moment are famous, wealthy celebrities who make news. I would love nurses, chambermaids and secretaries to come out with their stories without paying a terrible price. I wish for WORKING WOMAN and for society that men as well as many women realize that we have to re-think the old values we grew up on and re-shape the society we live in. I feel optimistic, but the road is still long.

PP: You also capture the difficulties in balancing children, work, and home along with financial pressures associated with all of this.  

MA: Women struggle to prove that we can work as hard and as many hours as men do. In most Western societies, this is the only way women can obtain a career and sufficient income. But we, women, are also brought up to take primal responsibility for the home and children. Orna, in comparison with most women, is lucky to have a husband who takes some of the domestic workload off her shoulders. I hope that with the wake-up call to eradicate sexual abuse, we will change many other cultural “arrangements” between the sexes. I wish for a society where all adults work shorter days, and men join women in the joy and responsibility of caring for and raising children.

PP: In making this film, what was the most difficult aspect for you in bringing this to life?

MA: The very banal but still true answer is: funding. For four years we searched for funding. The competition for funding in Israel is fierce, but in addition, we received responses from funders in Israel and in Europe which ranged from: The script is not an interesting enough subject for a film, to not believing that Orna does not want sex with Benny, to suggesting to make the sexual abuse more brutal to create “real drama”.

It is with sincere gratitude that Aviad received the funding necessary to complete this timely story as its importance cannot be understated.

Be sure to see “Working Woman” at TIFF and walk in the shoes of a working woman, wife, and mother. For more information about this film, go to TIFF.net