Electric Squeezebox-17 Piece Jazz Orch. Electrifies at 222's Snug Venue

The Electric Squeezebox Orchestra squeezed all 17 bandmates onto its compact stage with their varied instruments including a concert sized piano and played for a packed house at the 222 Venue in Healdsburg over the weekend.  The Orchestra did not have to wander far from its home in the San Francisco Bay Area where its members play regularly.  Under artistic director and trumpeter extraordinaire, Erik Jekabson, the orchestra played works either composed by its members or classical jazz numbers arranged by its members.  The musicians whose original work were performed served as conductors.  Music that was written by legendary jazz artists such as Miles Davis, Sonny Rollins, and Freddie Hubbard.  These pieces proved crowd pleasures.  Arrangements for these artists musical works were made to accommodate the instrumentation of Electric Squeezebox which included four saxophones, four trombones, five trumpets, drums, bass, electric guitar and piano.  One saxophonist also performed on flute and the guitarist played both electric and acoustic guitar.  My favorite pieces were two original works.  Coincidentally,  both were about animals.  The band members who'd written the composition explained their inception for their pieces.  The score inspired by avian invoked the sounds of a cluster of birds relying on the wind section and the inclusion of a flute solo.  The other piece was created by one of the trombonists.  He said when he was on an Africa safari, a cape buffalo got behind their jeep and lowered his horns in menacingly manner.  The trombones were the perfect winds to conjure up the ominous gargling sounds of the mammoth mammal.  Jekabson as the garrulous host and trumpeter welcomed the "newest member" of the orchestra.  We were told he was just joining them for the first time on bass.  Jekabson also paid tribute to former bandmates by playing some their jazz compositions written while with them.  The trumpeters played a number using plugs providing that unique, warbling timbre.  Electric Squeezebox gave an exuberant  performance in the 222's intimate setting for a full 90+ minutes that felt to me like ten.  I hope to hear them again.  BRAVO!  

The CHRISTOPHERS-Ian McKellan as an Addling Artist Stars in Soderbergh's Film on Art's Alchemy

In the art documentary film "The Price of Everything" Gerhard Richter was asked if it made sense that a postage size painting of his just sold for $2 million?  "Not when you think you could buy a home for that," Richter candidly replied.  I agree that does seem ridiculous in comparison.  But you know what? Whatever price a painting can fetch is what it's worth.  "The Christophers," the latest film by Acad. Award winning director, Stephen Soderbergh ("Traffic") takes a clever aim at the chicanery innate in the art world.  Julian Sklar (a joust at Julian Schnabel?) is the doddering artist whose early portraits were the marvel of art critics and collectors alike.  In fact, two recent portraits from his "Christopher" series were sold at over $3 million each. A fact his beleaguered prodigies did not fail to note.  Son, Barnaby (an abject James Corden) and daughter, Sallie (Jessica Gunning, Emmy and Golden Globe winner for "Baby Reindeer") connive a scheme to convince Lori (a doe eyed, stoic Mihaela Cole, (Emmy winner for "I May Destroy You") to ingratiate herself into their father's life as his hired assistant, find the unfinished portraits and then finish them so after his imminent death, they can be recovered and sold for a fortune.  "Forgery you mean," Lori tells the sinister siblings."  "No, don't think of it as that. Think of it as finishing off great works of art," cajoles Barnaby.  Lori secures both the job with Julian and the unfinished, coveted paintings.  Screenwriter, Ed Solomon's (TV series "Full Circle") writes clever dialogue with the bantering between Lori and Julian.  The rye exchanges between Julian and his off-putting offspring is comical.  Lori and Sallie were classmates at a prestigious art school. Lori gained admission based on her portfolio and Sallie for being a nepo baby.  Lori is financially strapped and agrees to the nefarious scheme.  There's an undercurrent of tension and mutual admiration between the artist and his assistant.  The cinematography provides a sense of nervousness and an oppressive chill.  The side by side townhouse which divide Julian's studio and residence is precisely what one would picture as the abode for an eccentric, egotistical artist of some means.  The premise provided a promising canvas to add layers of intrigue, the cast was were all vividly in their elements (particularly McKellan) and the settings hued for angst and rancor.  For 2/3 of the movie, I was captivated but then became allied and tired.  Still,  I was won over by this stylish film about the subversive side of notoriety and artistry for the most part.  

I SWEAR-True Story Humanizing and Understanding Tourettes SEE THIS Tenderhearted Film

Tourette Syndrome is a neurological motor disorder characterized by involuntary motor tics, verbal outbursts and premonitory urges causing physical and social discomfort and oftentimes leading ostracism. or isolation. The individual flailing limbs may cause self-duress or harm to those nearby. I confess, I only first heard of Tourettes in my late 20s by a medical/ advertisement describing the symptoms with facial distortions or bodily tics accompanied by outburst of profanities.  Regrettably, I found this amusing. My friend and I watching the medical notification made weird facial and body spasm movements while swearing at each other thinking ourselves very funny and clever.  It wasn't until years later when I met someone for the first time with Tourettes.  He was a classmate of my son's.  I'm not laughing now. Nor would I act cruelly towards someone whose behaviors seem odd.  As with those with autism, who have  physical and social behaviors that appears strange, what's needed is acceptance, empathy, understanding and kindness.  Unlike autism which is considered mainstream, Tourette does not het have the same recognition and it was not recognized in the UK when John Davidson began displaying its symptoms in the 1980s.  I SWEAR is the warm-hearted and inspiring true-story of John Davidson (b. Scotland 1971) with Tourette's Syndrome.  British born dir/screenwriter Kirk Jones (winner of a BAFTA and Guild Film Award) directs with a skillful hand.  The film never feels maudlin overly dramatic, yet it captures the struggles, insecurities and brutalities Davidson (TV series "Game of Thrones") in a tour-de-force performance, experiences on screen.  Davidson becomes "adopted" into a family friend's home as a teen, after his bizarre antics cast him as an outcast at home with his family.  The matriarch of Davidson's newfound family, Dottie (Maxine Peake) is the benevolent adult figure who nurtures and advocates for him and the catalyst for Davidson's self-sufficiency and self-esteem.  Dottie encourages him to apply for a job at an adult center where he's hired by Tommy (Peter Mullen, TV series "Ozark").  Tommy's character is so compassionate, friendly, thoughtful, funny and likable you want him in your life.  Tommy's character also gives the film its gravitas and all important messaging for educating the public,  and empathy without proselytizing.  In fact, the entire UK cast and crew on this endearing and enlightening film, can give King Charles bragging rights.  If only this film could inspire our self-appointed king to do the right things and stop being so self-serving and destructive.  Now King Charles Go Home!  President Trump I SWEAR you need to see this film and the rest of us, I strongly urge you to embrace this film. 

SF Ballet MERE MORTALS A Mere Pax de Deux and a Merde Ballet

I didn't fancy SF Ballet's "Mere Mortals" (2024) choreographed by Aszure Barton with music by Floating Points.  Here's several reasons why.  First and foremost, there was too little dancing, too much monotonous prancing, posing and video showings.  For those who love the ballet (as do I ) a modicum of ballet is a prerequisite.  This ballet contained only a slight amount of ballet dancing. Ballet in "Mere Mortals" was missing in action. The concept of AI as a genesis for a creative work could work nicely.  With the omnipresent invasion of AI, incorporating it into the ballet repertoire was Absolutely Intriguing; especially around the Bay Area.  Carmen Kovacs, the dramaturgist* for the piece said blending the Greek Myth Pandora and AI, "The audience doesn't have to know the myth at all to take meaning from the ballet because you will naturally feel what it's about..."  I came to the ballet not knowing the Pandora Myth was part of the pastiche.  I was aware of the AI Aspect Intended.  And, I expected some relevant storytelling or arguments for or against its usage.  The ballet failed to deliver much to ponder but much to wonder.  How the finished product got approved for presentation due to its lackluster choreography and waste of energy.  The use of video can add to production value. The ballet began with a video of what looked like the inside of a volcano which spewed its lava flow. A tall dancer in cossack style dress entered.  He was foreboding and overbearing of the dancers. The corps ballet attired in form-fitting black leotards appeared as a populous that functioned as a whole without variation (as in the TV series "Pluribus"**).  Choreographer Barton borrowed from his earlier, far superior work, "Busk" (2019).  "Busk" was more creative, cunning and exciting.  The facial expressions (or lack thereof) in "Busk" served to portray street entertainers; hence its title.  Azsure also used frenetic running on stage which was a poor imitation of Balanchine's "Glass Pieces".  Perhaps, "Mere Mortals" work would work better as a short piece rather than a full ballet. The couple in their body-fitting latex with metallic coloration stood out nicely from the ensemble in their pas des deus.  The  uniformity of the masses contrasted with the separate, free-thinking, duo dancers. This gave pause to consider dangers of too much reliance on AI.  I do have high praise for the soloists whose movements mirrored balloons rippling out front of used car lots. A flagrant waste of time was spent with a dancer, back turned to the audience, standing stock-still on-stage merely watching a video for five monotonous minutes.  I commend the originality of the score by Floating Points, a.k.a. Sam Shepherd. The soloists captured the musicality of the electronic sounding score that was neither discordant, nor melodic, but definitely hypnotic.  (It put the two seniors next to me to sleep for the entire performance.)  Merde! I paid $245 for my seat.  I saw "Mere Mortals" on Sunday for the first and only time. I will not be back for an encore.

*A dramaturgist aids the development of a work by providing literary or historical context and supports the creative team in telling the intended story.

**"Pluribus 

BEEF Oscar Isaac, Carey Mulligan Dish Retribution Stew

Netflix's second season of BEEF has an all new cast, story and location. What the two seasons have in common, is a harsh look at marriage and social stratification.  This season BEEF smacks of WHITE LOTUS only a much cheaper cut.  Married couple, Josh (Emmy and Golden Globe winner, Oscar Isaac) and Lindsay (Carey Mulligan (three time Acad. Award nominated actor).  Josh is the general manager of an exclusive country club overlooking the Pacific.  Lindsay is an interior decorator who put her design talents on display in the clubhouse.  Their prestigious preening is a carapace that is soon shattered when their physical altercation is captured on a cell phone by a young engaged couple, Austin (Charles Melton) and Ashley (Cailee Spaeny). Austin and Ashley work part-time in service at the club with ambitions for getting a prime seat at the table, i.e. health insurance, better jobs, and paid vacations.  Josh revels in his seemingly self-important position which has him hob-nobbing with the rich and famous.  Lindsay reminds him he is merely staff paid to befriend the members who don't think of him as their friend.  When the young couple innocently oversee Josh and Lindsay fighting, replete with thrown glass and a raised 7 iron, they do what all Gen Z's would do.  They film this ugly scene on their cell but flee when spotted by the sparing couple.  Josh, rightly fearful of what this could do to his job and reputation, intercepts Ashley on the golf course.   Josh tries to ingratiate himself and proffers a bribe for her aligned acquiescence. This in turn inspires Austin and Ashley to conspire and blackmail the Josh and Lindsay using the incriminating footage.  The young couple parlay the footage into an exec. position for Lindsay at the club with a higher salary and health insurance.  The show's setup is enticing and the acting is exceptional; not as brilliantly written as "Whose Afraid of Virginia Wolf" or "White Lotus" from which the show takes slices.  Still, there's plenty to relish in terms of marital bliss gone amiss, social climbing, abject behavior and criminal conniving.  As in season one of BEEF, has an appealing premise and perfect cast to enhance a bitter grievance and retribution series.  Alas, stick a fork in season 2.  If you're like me and don't savor acrimony well-done to burnt; you'll be done watching season two, too.    

CRIME 101 is a Waste of Time and Talent with Halle Berry, Chris Hemsworth, Barry Keoghan and Mark Ruffalo

Basic rules for riveting crime/ drama -  have an intriguing script,  make it suspenseful, and develop compelling characters. Writer director Bart Layton whose award winning crime drama "American Animals" was a critical and commercial success.  Layton's latest crime film, "Crime 101" now airing on Prime is more of a miss. The twist in "Crime 101" is the merging storylines between a an elusive and soft-hearted thief, Davis (Chris Hemsworth) and an aging, but still striking insurance agent to the elite, Sharon (Halle Berry) who combine their skills to swindle a huge pay day to lay aside for all future financial wants. Hemsworth as Davis is quietly discerning and ingratiating as the cunning thief who refuses to harm  anyone, although remaining fully armed. Sharon is a self-assured agent to the rich and haughty. At her job, she is continously subjugated by her boss.  Her boss was promoted over her and toys with her ascent to  make partner. There's mystery in trying to connect where and how the two will connect.  The talented and engaging Mark Ruffalo plays Lou, the honest, hard working detective working to connect the dots on  the west coast band.  As in Sharon's case, he too has failed to make a promotion despite playing by the rules (or perhaps for not playing by them).  The parallels between corrupt cops and top executives is heavy handed.  But, you gotta hand it to Ruffalo whose contained performance is the best part of this sophomoric crime movie.  Hemsworth's fumbling courtship of the woman who rear ended his car also has appeal.  But, Berry overacts in her vitriolic speech when quitting to her smarmy boss.  The writing is culpable of the incredulous shown down with her boss which leaves Sharon stranded with financial loss.  Barry Keoghan ("Saltburn") plays the stand-in thief with violent, vicious glee.  The talented casted are robbed of a worthwhile script.  Basically, there's little tension or intrigue to give "Crime 101" anything above a C.  Pass.  

BOOKISH Apple TV Series is Pretentious, Precious and Soporific zzzzzzzzz

Being both a bibliophile and anglophile, I anticipated a cunning and inviting series blending a few of my favorite things. But, in the end, the show was pretentious, convoluted and worst off all, boring. The look of the show and the cast was promising beginning within a bookstore with floor to ceiling books and the omnipresent ladder, overstuffed leather chair and customary elbow-patched blazer.  The comely all-British cast has some faces people across the pond; Polly Walker ("Patriot Games") as Trottie Book, wife of Gabriel Book (Mark Gatiss "Mission Impossible). Gabriel Book is the proprietor of the titular bookstore with a proclivity for investigating local crimes.  Connor Finch (TV series "Everything I Know About Love") plays Jack just back from prison and seeking employment.  His impromptu interview was quaint as Gabriel offered tea and homemade ginger snap biscuits.  Jack was hired at hello by Gabriel even though he doesn't know why Gabriel and Trottie are being so incredibly kind to him. Jack begins his new job in in the bookshop by following along with Gabriel to a murder site just down the street where Gabriel is beknownst to Inspector Bliss. Unfortunately, the show is a big miss with a pastiche of construed British charm, and genteel nurturing to affable but troubled individuals. The murder cases prove inane and the antiquarian bookshop as a backdrop for a cozy mystery series proves arcane.  While the series doesn't take itself too seriously it never elevates above a second rate show.  

Jonah Hill's Disastrous Film OUTCOME-How Come this was Made?

Jonah Hill knows a thing or two about working in Hollywood with temperamental talent and tempering press with a crises to do damage control.  Hill writes, directs, produces and acts in this hackneyed film that's meant to be a clever parody on the movie industry. The film fails miserably.  Wearing too many hats, the film is absolute. There's even a literal, putrid crap scene in which Hill who plays Ira, a fast-talking, self-absorbed agent to movie star, Reef (a befuddled Keanu Reeves) insists Reef accompanies while he's on the crapper because he's so busy he doesn't have time to waste. He also makes his forlorn assistant bring him better quality toilet paper.  The movie tries to satirize the kiss ass mentality everyone has for celebrity, faux reality and our litigious and outright extortionist mentalities.  Reef is a beloved movie icon who's been out of the spotlight in rehab for several years after a reputation ruining fiasco and is anxious to make his comeback.  Ira insists he can keep matters under wraps if only he tells him everything and obeys everything he's instructed by him. Reef has maintained two best friends since high; Kyle (Cameron Diaz) and Xander (Matt Bomer).  The are the only two who love him for himself and the only ones honest with him and whom he doesn't  to impress. Still, Reef rankles them with his brittleness and then seeks their forgiveness. No forgiveness is due Hill who roped in a great cast, especially Reeves who despite their acting chomps can't get this off-putting, waste of film and your time should be fool enough to watch it. The only redeeming scene is between Reef's mom, Dinah Hawk (the incomparable soap star, Susan Lucci).  Hawk asks her son to be on camera for a reality scene on her real housewives show.  The dialogue between them seemed to be the first legitimate poignant interaction until Hawk wants to do a retraction. The outstanding question remains, how come this horrendous film was made and put out on Apple TV? 

Apple TV Series "Margo's got Money Troubles" is Delightfully Quirky and Worth Watching

Having just read Rufi Thorpe's delightfully engrossing novel, "Margo's got Money Troubles," I wanted to see how well the iconic TV writer/produce David E. Kelley ("Big Little Lies" and "Boston Legal") would handle this quirky, dark comedy.  Kelley gets some star power help from his wife, the luminescent Michelle Pfieffer as Shyanne, mother to our heroine Margo. Margo is played by the indefatigable Elle Fanning (movie "Sentimental Value"and TV "The Great").  Nick Offerman (TV's "Parks and Recreations") plays Margo's absentee father, Jinx, a celebrity, pro-wrestler who never married Margo's mom. There's more power in Kelley's corner with Greg Kinnear as the unctuous pastor who Shyanne marries.  Nicole Kidman plays a retired wrestler turned attorney.  The book and the series rely on the fortitude of its central character, Margo.  Fanning as Margo gives a million dollar performance as a college coed who gets pregnant with her married, lit professor. The prof takes off and who distances himself from Margo and the baby. Marcia Gay Harden plays the ruthless mom to the spineless prof. out to protect her son at all costs. Thaddeus Graham ("Sex Education" and "Bad Sisters") plays Susie, Margo's helpful roommate.  Money makes the world go round and is the center of Margo's focus. She keeps her pregnancy despite the adamant advice against by her mother, best friend via cell from NYU and despite her own qualms.  Once reality has set in after the birth, all the plans that were ever planned are never going to play-out. The most pressing issue is providing sufficient funds to pay rent and for all the mounting essentials. Jinx appears at Margo's door seeking and providing solace just at a time when Margo and Susie need someone to help cover the rent after their two college roommates bailed on the chaos with baby Bodhi. The plot is immersed in credible crises that make you want to cry for Margo. But, before you start to feel overwhelmed with Margo's money plights, you find yourself cheering for the fight she puts up rather than go down for the count. What's a single mom to do to earn money with no money for a sitter?  Working from home is an option and the work she discovers brings in a payload. Margo creates an online sight for mature (if not infantile) adults which involves nudity. What turns Margo's fans on is her talent for writing which spices up the storytelling and gives the content zest. It's the best case scenario for Margo who finds the loving support she needs in mom, dad, Susie and in her inner strength with her love for Bodhi. Troubles surround her drug addicted dad, self-involved mom and for Margo to maintain customers for the content on the sexual site she created with two other vixens.  These troubles aside, "Margo's got Money Troubles" is worth paying for it's so delightfully cunning, clever and charming. 

ANNIVERSARY Starring Diane Lane and Kyle Chandler Nothing to Celebrate

The A list stars in the film "Anniversary" (2025) screening on Netflix include Diane Lane (Ellen) and Kyle Chandler (Ben) as a married couple celebrating their 25th wedding anniversary with family and friends doesn't end well.  Nor does it fend well thought despite having a promising premise and a cast of compelling actors.  The story was sorely lacking a fully-developed script required to provide the film credibility and gravitas.  The movie pitch was probably enticing as being a prescient political thriller surrounding a handsome and loving family at a time when our nation is torn asunder by an insidious interloper into the family.  The antagonist is the gorgeous girlfriend of the son who has devised a toxic political manifesto intended to subvert our nation's democracy; morphing it into a dystopian "Brave New World."  The family lives in an enviable home (albeit with inferior decor) on the waterfront just outside Washington, D.C.  The film's inception is the eve of Ellen and Ben's 25th wedding anniversary party.  The couple's prodigies include three daughters, Anna (a celebrity comedienne),  Cynthia (Zoey Deutch) an environmental attorney, unhappily married to a partner at her firm, the sole son, Josh (Dylan O'Brien) and the baby of the family, Birdie (a terrific McKenna Grace). The three sisters are glad to be united at their parents' home, and with mom and dad.  The girls are given to sharing their feelings with each other, especially regarding their only bro and his new girl in tow.  Liz (a duplicitous Phoebe Dynevor) is Josh's new love interest and he's not particularly interested in the critiques from his sisters or mother.  It's not surprising that Liz and Ellen had known each other previously.  Eight years prior, Liz was a doctoral candidate at Georgetown University and Ellen was her supervisor.  As her mentor, Ellen was appalled by Liz's right wing leanings calling for a major revolution including a one party system "to unite everyone." A mega idea except in the film it was too ambiguous as to how the publication of Liz's political manifesto lead to major upheaval in the near short-term into a massively oppressive police state; independent views and non-conformity is met with severe punitive measures and imprisonment.  Again, the flagrant failure to transition to tyranny convincingly causes the crises that unfolded, unbelievable.  Still, there are real shocking moments of terror and intense misery that get uncomfortably under one's skin.  Applaud the acting by Lane, Chandler, Deutch and Dynevor but don't mark time to take-in ANNIVERSARY.