Hilary Swan/Helena Bonham Carter in 55 STEPS-Don't Tred in this Dreadful Bio/Legal Drama

The film 55 STEPS (2017) streaming on Netflix is based on the true story of Eleanore Riese, a psychiatric patient whose legal case against hospital administration's right to administer medication or treatments to patients without their knowledge or consent. This "cause celebre'"case was filed in SF in 1985, settled in 1987. It ruled in favor of patients involuntarily detained in mental hospitals in CA to not be administered antipsychotic drugs without the patient's consent unless they've been determined incompetent by a judge  This was never a major news story or issue impacting a broad population. Riese (played erratically by Bonham Carter) was told by her free legal representative, Colette Hughes, that her case spoke for 150,000 other patients in the state. (How did Riese have the wherewithal to call for legal aid while institutionalized, I wondered.) Perhaps, the lackluster legal matter was not a justifiable reason to warrant a major film project. The film was DOA as it proved a financial flop at the box office; grossing virtually nothing. Perhaps, movie executives surmised they'd appeal to the masses with casting. Swank, (Acad. Award winner "Million Dollar Baby") as the empathetic, saintly workaholic paired with Bonham Carter (Acad. Award nom. "King's Speech") to give gravitas, provide pathos and garner audience appeal. The exes threw in  comedic actor Jeffrey Tambor, (Emmy winner "Transparent") for adde appeal as co-counsel for Riese. Alas, the star casting was a waste.  The scenes were awash in a maudlin mess. Tambor was lost in this strait-laced, underdeveloped role.  Swank who played an altruistic attorney seemed too good to be  believed. However, she provided an earnest, likable persona. The major flaw was Bonham Carter's portrayal of Riese. Her character went in and out of seeming "sane" to  being annoyingly ingratiating to a pathetic, lonely woman vying for perpetual attention. Thefriendship which developed between the two offered little payoff. Neither did the legal victory (when it finally came) weigh in with impact. The film was erratic from inception to end. The scenes felt stagey and disjointed. The title 55 STEPS came from the counted steps Riese climbed to reach the courtroom. Counting steps was meant as one of Riese's endearing, eceentric antics as was her penchant for drinking and offering 7Up. (Was there product placement payoff here, I wonder). Still, I'm glad Riese and her admirable attorney prevailed. You'll appreciate my pro bona review as I tell you NOT to start, this well intentioned but out-of order film. It fails to touch the heart. 

Disney+ Series ADULTS-Sophmoric Comedy Sitcom is Stupefyingly Dumb

The incentive to develop another hit series that resonates with viewers as in FRIENDS, WILL and GRACE or TED LASSO's first season has been a catalysis for a flurry of ensemble casts attempting to assemble a group of likable companions who are fun to hang with and will have your back. ADULTS which is airing on Hulu and Disney+, attempts to appropriates FRIENDS' winning formula with a gaggle of recent college grads living together outside NYC unbeknownst to the parents who own the home.  The multi-ethnic, gay/straight mix of 20 somethings all look like "30 SOMETHING" attempt to convince us that they're open-minded, kind hearted and a barrel of laughs. They appear unadulteratedly good-natured, die hard BFFs  to the end. However, I'm not buying their earnest endearment to each other.(Maybe they're in it for the free rent while it lasts.)  This aside, it's a nascent, non-starter series with nothing to write home about. The situational comedy is lacking in laughs or sophisticated scripts. Given the lasting legacy and success of FRIENDS or the well acted, cleverly scripted series SHRINKING that portrays a group of friends and friendly neighbors we wish we were privy to. Trying to replicate a clan of friends one would envy is understandable. But before going forward with a silly, sophomoric sitcom series, writers need to create characters and storylines that viewers would want to get caught up in; hook, line and sinker. ADULTS is an atrocious STINKER!

R Kennedy's Doc.The QUEEN of CHESS-Hungarian Female Knocks OFF Kosparov's King

The 2006 QUEEN of CHESS ("QOC") doc. now screening on Netflix is about the life and career of chess grandmaster Judit Polgar (b. Hungary 1976).  Directed by acad. award nom. documentarian, Rory Kennedy, known for her films' focus on social/political issues. Born posthumously to father, Sen. Robert Kennedy, Rory grew up in the Kennedy-political dynasty. Though not as vested in social issues, QOC did present restrictive limitations imposed under communists regimes and misogynistic attitudes towards women within ever the all men's club fortress of chess. Judi Polgar entered and dismantled barriers becoming the #1 female player at 12 and youngest ever, grandmaster at 15. The movie breaks down into 3 main topics: Polgar's life from childhood to her record breaking rise in chess rankings, her father's "family experiment" for raising geniuses and thirdly, the intense rivalry between Judit and Russia's reigning world champion Gary Kosparov (b. 1963). Making a chess doc. exciting for the masses other than chess enthusiasts has its obstacles.Watching chess matches is not very thrilling. But, following Judit's unorthodox upbringing orchestrated by her dad and the "David v. Goliath" battle to beat her idol Kasparov, at their game was gripping. Kennedy wisely used current interviews with Judit, her dad, sisters, Kasparov and other  grandmaster players. The father committed himself to raising his 3 girls with the intention of developing greatness. What Kennedy needed to make this more enticing, was delve into how Judit and her sisters felt about being homeschooled with a myopic focus on chess. Judit is the featured interviewee narrating events, her feelings and insights. She's very poised, articulate and enlightening without sounding erudite or pompous. Kasparov gave fascinating interviews showing a forecful personality which seemed charismatic and egotistical. The film covers their highly controversial 1997 game in which Kasparov took his hand off a knight and changed his move; breaking a sacrosanct rule in chess and going on to win the game. Both Judit, 17 at the time and Kasparov gave their perspectives. A joint interview would have been more compelling. Both should've been asked the same questions regarding this notorious match and Kasparov pressed about "not remembering."  I wanted these two elite competitors to be asked to describe how they saw their relationship evolve and what it's like at present.  Overall, I found this to be an absorbing doc.film about a very appealing chess player who achieved an extremely high echelon of skill in a game of strategy described as a blend of war, art, science and inner strength. But, the missed moves and opportunities resulted in a draw. And, maybe Queen in the title retains a subservient connotation.

Judd Apatow's Series LOVE Lukewarm Lunacy Better Left aLOne

LOVE, an original Netflix series (2016-18) co-created by the likable and bankable Judd Appatow, tanks with this annoying romantic comedy about awkward 40 something adults who are self-destructing and self-absorbed. Why would this appeal to anyone? It would if the show could make you laugh, relate or even form a love/hate relationship with the main characters. However, the two leads, Gus (Paul Rusk, "Super Fun Night" series) and Micky (Gillian Jacobs, "Community" series) are either overly abject or altogether objectionable. They are portrayed as malleable losers who lose their shit from time to time in an off-putting manner that is puerile and cringeworthy. The mismatched pair, Gus (s super-geek) and Micky (a sexy single) are both screw-ups whom one ultimately expects to see screw one another. The sex scenes seen are all eww. Still, we're supposed to be rooting for these two knuckleheads to get together in bed. I dread the audience that this would draw appeal. Perhaps, its holds allure for those dealing with their own demons, addictions and self-doubting convictions. I wouldn't know and the show doesn't know which way to go about making the situations laughable or credible. The strength of the show (which is limited) comes from some of the supporting cast who are more diverting and deserving of more to do. This includes the jaded, child actress Gus attempts to tutor on set played by Apatow's real life daughter, Iris Apatow and Micky's kooky boss played by Brett Gelman ("Fleabag" series). The side characters aside, there's little else to like unless you like to endure dimwits their utmost to make a mess out of their lives, loves and little else. I would love to see Judd Apatow create another comic show like his brilliant, early success with FREAKS and GEEKS that deserved more time on air. Apatow's recent series LOVE is lunacy that best left alone but for the forlorn. 

Ralph Fiennes in The CHORAL WWI England Finding Solace in Singing

The CHORAL, the 2025 arthouse movie now streaming on Netflix stars Ralph Fiennes. This is a well-intentioned, beautifully shot film about a motley group not engaged in the fighting. Set in Yorkshire, 1916, at a time where innocence still prevailed in bucolic scenes with young men biking and swimming nude in local waterholes. Their innocence abuts impending war which will leave countless countrymen dead or wounded. This is not your American version of Rooney/Garland's "let's put on a show." Still, it begs to be compared while the ravages of war are waging the locals have dedicated themselves to creating a performance of Edward Elgars' "The Dream of Gerontius" for the community. My favorite scene shows the pompous Elgar stopping by to see a rehearsal. Elgar is insulting and dismissive of the shabby production but for one singer. Fiennes is pitch perfect as the talented, combative choral master, Dr Guthrie who scraped together local holdovers who've yet to be called-up, those released from service and even a local prostitute. There's a bunch of old crones whose sniggering expressed their prejudices and those held by many others. Dr Guthrie response to resentments was, "A choral society shouldn't mirror the social order. It should transcend it." There's strong objections to performing music by German composers. Separating the art from the artist becomes extremely contentious and complicated. Guthrie only recently returned from Germany after working there for several years as he confirmed, "Among civilized people who value music and arts above all else." Guthrie's recent time in Germans and alliance with their music causes a lot of dissension. There's even rejection of British composer Elgar's music because he's Catholic. The themes of bigotry resonate fortissmo but seemed somewhat disingenuous regarding color blindness bestowed the female, black soloist. Racial prejudice was prevalent during this era. This aside, the vocalist Mary (Amara Okereke) did "sing like an angel" The cast also included other "British acting royalty": Mark Addy, Roger Allam and Robert Emms. The rehearsing and bonding among the choral was inspiring. The staging of "Gerontius" depictiing war's casualties set against heavenly music was poignant. Dr Guthrie told his peers when confronted about his myopic focus on music at a time of war, "A man should hear a little music, read a little poetry, and see a fine picture every day of his life, in order that worldly cares may not obliterate the sense of the beautiful that God has implanted in the human soul". When asked who said it? Dr Guthrie repliesd, "Von Goethe." "For god's sake, man lower your voice!" he was admonished as Von Goethe was German. I also drew a comparison between The CHORAL and GOOD MORNING VIET NAM. Both have heart wrenching scenes of young men smiling and waving going off to battle; perhaps to their deaths. The CHORAL is a charming, thought provoking film which presents mankind's major conundrum - how can man be so barbaric and still able to create and appreciate divine music.

Jodie Foster in French Cinema A PRIVATE LIFE as a Shrink Who Shirks Her Sessions with Patients

The French-language film A PRIVATE LIFE which stars Jodie Foster as psychiatrist Lillian Steiner of Jewish heritage. It's intended as chic, cinematic character study in an artsy, psychological thriller. The movie requires a patient audience and a good analysis for a cogent understanding of its convoluted and dreamscape plot. The native French language and stylish urban setting lend the film a suave air for this muddled and mysterious storyline. Many of the scenes are shot with glorious fall colors, fashionable clothes and cozy cafes where cigarettes and carafes of cabernet abound. There's also a gratuitous sex scenes and confounding dream sequences. There's a lush atmosphere that creates an enticing flavor. Perhaps, this is to make the viewer less aware of a story going nowhere. What I'm inferring from the nebulous clues I observed is Steiner trying to understand what she missed in her sessions her female patient that blindsided her when she committed suicide. Steiner uses obsolete recording tapes to record her patients with the intent to review. Or at least this was what she meant to do. When Steiner goes to the apartment of her deceased patient to pay her respects, the widower lambasts her and she leaves disgraced but not before she may have released a dybbuk (evil spirit). The following day, the daughter of the deceased visits Steiner to try to understand why her mother killed herself. Unable to provide patient/confidential information, the daughter leaves in frustration. The hostilities of her patient's family led Steiner to surmise they're responsible for the break-in and vandalism to her place.  She involves the police and her ex to solve the case. There's a myriad of subplots that include Steiner's disgruntled patient, her estranged son, her ex with whom she has sex and a hypnotist with tricks up her wrist. For Francophiles, and movie goers with self-described discerning palettes, this mirepoix of surreal, enigmatic,  and cinematic treats, you may wish to partake; a bon appetite. Other's will see NOTHING aside wine, smoke and mirrors which is how Steiner's ex describes the psychiatric profession. "Knowing people's lives, secrets, without being able to act. Not being able to do anything. NOTHING AT ALL." 

Bob Oldenkirk in NORMAL an Unusually Awful Film

The bankable actor Bob Oldenkirk whose career went into high gear as the cunning attorney on BREAKING BAD leading to his starring vehicle in BETTER CALL SAUL has gone onto starring in action movies that have been more or less diverting. However, his film NORMAL (2025) now airing on Netflix is an abysmal flop. Oldenkirk stars as Ulysses, a temporary top cop in the small midwestern town, Normal, MN. Described as a crime/thriller/drama/comedy, it's a tragedy this vehicle crashes and burns in all these genres. Unlike Oldenkirk's previous films "Nobody", "Nobody 2" and the terrific drama "Nebraska" there is Nothing redeeming in this over-the-top violent film that relies on Oldenkirk to make  it work. Even Oldenkirk can't carry the burden of such a ridiculously construed crime plot with the motley lot of quirky, local yokels who turn on Ulysses when he inadvertently stumbles on the town's clandestine, criminal conspiracy with the Yakuza (Japanese crime syndication). The Yakuza intended to blend in with this unassuming town to stow and launder their gold bars and ill begotten money in its lonely bank. A couple of fumbling (but good hearted) bank-robbers attempted to rob the bank but are dismayed by the measly haul of cash. "Hardly anybody deals in cash anymore," the bank teller tells the woe begotten pair.  Ulysses gets the distress single on the obsolete station alarm and heads to the bank with his deputies. "I'm going in. Hold your fire." Ulysses tells his crew. This they don't do. As he's about to go in he gets shot at from behind by his backup. The police force and townies intend to kill Ulysses to keep the town's consensual cover-up, secret. They're all expecting a big pay day from the Yakuza. The only one's not firing at Ulysses are the two bumbling bank robbers. They were busy trying to be good samaritans to a bank hostage who was suffering a heart attack. Ulysses tells the two that now the three of them are a team against the townspeople. The three form a formidable, likable trio who prove heroic fighting off the duplicitous throng. Blood bath, mayhem and everything else goes wrong. Even Oldenkirk, who also wrote and produced, can't make this movie worth watching. NORMAL is so abnormally horrible, should you start watching you won't be able to look away from this unbelievable train wreck. My sane advice is to think twice before starting NORMAL and avoid this stinker at all costs.     

OFFICIAL SECRETS Keira Knightly as Whistle-Blower of Info to Halt 2003 Iraqi War

OFFICIAL SECRETS I(2019) now screening on Netflix, is a biographical drama based on the true story of Katherine Gun, a British intelligence specialist who leaked a top-secret memo in 2003 exposing corruption intended to justify the US and Britain. The memo identified coercion to obtain concessions from various countries as required to initiate the invasion into the Iraq War. Ironically, it seems trifling in comparison to Trump's illegal, self-declared war in Iran that has now lasted six months. Still, it's illuminating to see how many undercover organizations are routinely spying on one other's top-secret communications. Keira Knightly (PIRATES) as Gun, the seemingly altruistic whistle-blower is motivated by her goal of "stopping an illegal war that leads to countless casualties and injuries." Knightly is affecting as the heroine willing to risk prison time. Though, little thought is given to cynicism towards Gun's courageous and selfless actions which is fair game to question this claim to fame and notoriety. Her legal counselor played by the indomitable Ralph Fiennes (quickly dismisses the idea that her motives are not as she claims. Fiennes brings legal and moral finesse to this film that otherwise gets dragged down in its mundane handling of Gun's gathering and dispensing classified information and the cliched, behind the scenes news reporting story. However, adding their acting talents as journalists, thus providing some intrigue and gravitas to journalistic integrity when verifying leads and facts are Matthew Good (The CROWN) and Matt Smith (also of The CROWN). Perhaps, looking back at the clandestine and covert  events of Pres. George W. Bush and Sec. Powell and viewing Bush's personal vendetta for getting back "...at the the guy who tried to kill his dad" and his aim to demonstrate  "his decisive leadership" makes this historic event seem tame and dated. Not withstanding the predictable plot, there's credible acting by its excellent cast.  Moreover, it serves as a significant reminder of the times and events that get repeated with future leaders and politicians that are thoroughly corrupt, self-serving and dangerous. Not only are whistle-blowers essential to a free society, so too are untampered court systems, free speech and the dismantling of apathy. Should these not be safe guarded, there would be plenty to fear at what would be lost.   

POWER BALLAD with Paul Rudd/Nick Jonas Is a One Note Drama

THE POWER BALLAD now screening on Fandango stars Paul Rudd as Rick, a wedding singer in a middle-aged Irish rock band. Nick Jonas plays Danny, a convincing former boy band wonder searching for his next big break on his own. Rick and Danny cross paths while Rick's band is performing at a wedding for the newly weds who are friends with Danny. The couple ask that Danny join the band for a number. Rick and Danny hit it off singing in harmony. After the wedding, Danny invites Rick up to his palatial suite. Over beer and booze, they play each other some of what they've been working on. Danny likes what Rick was tinkering with on the piano. Rick returns to his wife and daughter in Dublin. Meanwhile, Danny goes back to LA where he plays a little of Rick's song to his girlfriend who encouragers him to record it. The song ironically named "How to Write a Song (Without You) becomes a major hit and puts Danny back in the superstar stratosphere. When Rick hears his song played on the air (and everywhere) he tells his wife/daughter and band mates he wrote the song and Danny stole it. No one seems to believe him except his best friend who would say or do anything for him. Getting legal representation didn't help as Rick had nothing recorded (so he thinks) to prove his claim. The themes for the film of plagiarism, ethics of creative ownership and justification and cost of achieving one's ambitions are enticing. Nick Jonas' performance is both ingratiating and sinister giving the film its affecting tone. Jonas as Danny gave a potent portrayal of an artist whose life centers on success/fame with no room for meaningful, personal relationships. Rudd as Rick, a past his prime, small time singer is likable at first until he becomes distressed and obsessed with getting through to Danny to get credit and his share of the earnings. Rick starts out as fun and lighthearted but becomes more of a droning Greek chorus of woe, poor me. The numerous wedding scenes with Rick's band playing wore out their welcome and struck a morose, refrain. In desperation, Rick convinces his best friend to come with him to LA to confront Rick since he's blocked and threatened by Danny's management. The movie picks up with their enterprising scheme to make direct contact with Rick. The confrontation in the hot tub between Rick and Danny does provide a heated, climatic scene (played especially cunningly by Jonas). However, the final payoff doesn't provide a satisfying crescendo to its prelude. POWER BALLAD is mildly entertaining with a strong performance by Jonas. But, the monotonous playing of the pop song lyrics becomes grating and the discordant whining by Rudd wear out its celebration of its good times. 

Doc THE QUEEN and the COWBOY Communicating with Compassion with Horses

As a horse lover, along with Queen Elizabeth and "horse whisperer" Monty Roberts, I was excited to watch the documentary featuring Roberts. But, I was very distraught by coverage depicting the extreme cruelty and disregard meted on horses. For sensitive viewers, be warned, there are parts of this enlightening and uplifting film that may be too distressing. However, the evolution of caring and training horses from barbaric methods of "stringing" or "breaking in" to a non-violent methodology is central to this film. Monty Roberts' created a methodology he named "Join-UP" where in the trainer communicates through body language to the horse and no forms of physical force are used. Born in 1939 on a horse ranch in Salinas, CA, Roberts passed away this August at age 91on a horse ranch. Horses were his first and life-long passion. Roberts narrates this film which depicts him at age 3 winning national rodeo championships. Roberts tells us about his father whose methods for taming horses were the cruel, common practices of the times. He also shares the abuse his father bestowed on him. "Breaking in" means beating a horse until it surrendered itself without resistance. "Stringing" involves roping a horse's legs to prevent him from running free. These methods shown in the doc. often result in injury or death to the horse. It renders a spirited horse into a servile creature. Roberts shows us the physical signs horses use (postures/body language) that people can imitate to communicate with horses. He explains how he discovered this language while watching wild horses interact with each other. It's fascinating to observe him demonstrating his techniques. Queen Elizabeth contacted Roberts after she read about him, asking that he come to England to show her and the elite Equis society how he works. Queen Elizabeth lifestyle is the antithesis of urban cowboy Roberts but their mutual love for horses bonded them in a friendship. Roberts credits her having saved his livelihood after he was publicly declared a charlatan in the states. I felt the doc. was most rewarding with Roberts tending to horses. The relationship of the Queen to her stable of thoroughbreds felt off-putting; equating horse riding with a snobbish, elite society. Should you put aside the heinous treatment of horses in the doc. (I will never again watch old westerns) and the frippery of Royalty (which Brits adore) and I abhor, you will be rewarded with a fascinating film with substantial, core concepts. Roberts proved forming trust and communication between animals and humans can and should only come through kindness, positive re-enforcement and open mindedness.