PRACTICAL MAGIC 2-Pragmatic Source of Sisterly Sorcery

The Sandra Bullock, Nicole Kidman film PRACTICAL MAGIC ("PM") came out in 1998 and was practically panned by critics. Nevertheless, PM has become a cult hit thanks to its bedazzled fan base.  The new PRACTICAL MAGIC 2 ("PM2") has received overwhelmingly underwhelming reviews too.  PM2 is not trying to do too much heavy lifting in the drama department. The heavy lifting comes in the face-lifts of its starlets. Reprising their bewitching roles are Nicole Kidman and Sandra Bullocks, a.k.a. Jillian (Jilli) and Sally Owens, the witch sisters. Jilli has remained happily single, ready to mingle but not fall in love. Sally loves her two now grown daughters. Sally raised her girls to be unaware of their wizardly gifts. Jill was sworn to be complicit in this duplicitous ruse. How Sally's girls were kept in the dark regarding their magical attributes is a mystery. Just go with it! The incoherent plot is marred in nebulous logic. How could it not? The major premise from PM was coping with the curse put on the Owen women by a great-great-yaddah-yaddah ancestor with the misguided reasoning she would be protecting her progeny from future heartbreak by killing and any man whom her future female family-line fell in love with. The same hauntingly beautiful home and homey looking-coastal town are used for PM2, too. Best of all, Stockard Channing and Diane Wiest re-appear as Jilli and Sally's dear, dodering aunts who raised them after they were orphaned. Sally's 2 girls now grown (although if you do the math; they magically shed some years.) But, aging-well is all smoke and mirrors and sutures so stay with me, here. Maisie Williams ("Game of Thrones") plays Antonia, Sally's older daughter and a medical resident. Joey King ("The Kissing Booth") is the younger daughter, Kylie who falls in love with the unlucky bloke who promptly falls into a coma after falling from his bike. To simplify an already simplistic, unrealistic plot, Owen girl gets boy, girl loses boy to curse, girl tires to cure the curse to get boy back to the world of the living. For good measure, mother of said daughter gets her own hunky warlock. There's some macabre transitions in this doe-eyed melodrama. After all the elderly aunts aren't getting younger. It's time to take some perilous leaps to make room for the next generation. It was a crying shame to loose Wiest, the wacky witch early in the film. But, the pairing and caring between sisters and the multi-generational love fest within the female family bloodline was the hokey-hocus focus, magical glue, with lime and coconut in this enchanting concoction that keeps us coming back for more. There's no magic stronger than sisterhood or sisterly love for spiritual support. Of course, margaritas don't hurt, either. 

Play "macbitches" College Thespians Complaining and Bitching

Sophie McIntosh's play "macbitches" is a 90 minute play about 5 actresses sitting around bitching. It was so irritating hearing their continual harping that I cut out at 60 minutes. The play is set in a college student's apartment where 5 aspiring coed actresses gather to imbibe in booze and banter bemoaning their roles as cast members in their school's productions. Here lied an intriguing premise: eavesdrop on female friends and foes getting-to know each other through gossiping. This would've be engaging had the dialogue delivered delectable morsels or moral dilemmas. Perhaps I protest too much, but after an arduous hour of hearing nothing but harping without a conflict to drive a dagger through the plot - there was not a lot to get out from this damn plot. That's not to say there weren't a few interesting topics that were mentioned in passing. One topic briefly touched on male actors known to force themselves on their female co-leads. Too bad the consensus to the new ingenue, Hailey (Sierra Reid) was to NOT do anything about it. "It's not worth it. It only makes things uncomfortable for everyone." Still, my biggest complaint outside of an insight into any conflict was Reid's over-the-top portrayal of an overeager, over zealous freshman who was cast in the lead. Reid was too over eager to please the other 4 upperclass cast-mates.  Something else that was rotten in the coven den of co-eds is the type-casting they brought to the witches, I mean bitches. There's the blonde-sex pot, Lexi (Clarice Perez), the funny but gruff lesbian, Cam (Bernadette Gibson), the sagacious leader of the pack, Rachel (Rebekah Sharp) and the lovable, over-weight peace-keeper, Piper (Shanay Howell). However, Howell was convincing in her role and the best part of the show being the some-what reluctant voice of reason. Still, there were too many missed opportunities to present the turmoil and troubles females experience when comparing themselves to one other or when seeking approval from others. The more grown-up drinking version of "truth or dare" was silly when it could have dealt with the problems of power or rejection.  How did the play "macbitches" finally end? I stood up and said "McBeth" aloud in the theater. 

The Play RED at 222 Doesn't Compare 2 Alfred Molina/Eddie Redmayne's RED on B'wy

John Logan's play is about the painter Mark Rothko. More specifically, it pertains to a specific period in Rothko's life right after Phillip Johnson commissioned him to create 4 mural paintings for the 4 Seasons restaurant in the soon to open Seagram's building in mid-town Manhattan. While it's unfair to compare a local theatrical production to the Broadway show which earned Best Actor Awards for both its stars, Alfred Molina and Eddie Redmayne as well as the Tony for Best Play for Logan (a 3 time Acad. Award wining screenwriter) it behooves me not to point out the 222's too short comings.  RED, a 1 ACT, 2 ACTOR play is thought provoking, arousing with more than a bit of blow-hard bantering on the meaning of art. Having seen Molina and Redmayne on Broadway more than a decade ago I was eager to see another staging at our local theater in Healdsburg, CA. The casting of Robert Parsons as Mark Rothko and Tasi Alabaster as Ken, Rothko's assistant is like pitting David v. Goliath, but it seems its shortcomings resulted from the directorial choices made director Amy Kossow. She presented different dilemmas which painted this production into a corner; lacking poignancy, power and ABSTRACT ideas. Molino's portrayal showed an artist with angst as he battled with the quandary of insuring his legacy as a great artist. The fictitious pairing of characters was fodder for inventing an inner dialogue of Rothko as he excoriates the commercialization of art alongside his own hypocritical fears of being a sell-out. Ken CAN stand for Rothko's inner turmoil and psyche. Molina gave Rothko's persona multiple shades of a grandiose master and intellect alongside Rembrandt and Vasquez to an insufferable, self-loathing seeker of fame and fortune. Redmayne's Ken started out wanting to please Rothko without appearing as an abject, whipping-boy. In addition to getting inside Rothko's mind, Molina and Redmayne performed a skillful top-dog/bottom-dog metamorphisis wherein Ken became more self-assured as Rothko yielded in submission. Furthermore, director Kossow chose to paint Rothko as a flat character being mainly cruel and condescending, rendering him unsympathetic. Kossow's depiction of Ken was painted as a simplistic underling hoping to please and who failed challenge Rothko's laments "to be audacious, alive and in constant flux." RED at the 222 is an entertaining play thanks to Logan's crafty writing but it didn't absorb  the many different layers afforded it to make the play POP as art.  RED lost its vibrancy in this translation.

Past Midnight and Tennis Matches Waged on till Dawn

This year's US Open Tennis Tournament has had some of the best tennis matches, ever. However, no one is up to see them happening. Why? The scheduling has left fans in the dark because the players have been scheduled to play into the early hours of the morning. Alcaraz and Shelton played a 4 1/2 hour quarter-final match that went to a tie breaker in the 5th set and ended at 3:30 AM. In fact, the two top competitors didn't step out onto the court until after 11 PM.  This is not a new issue but it is something that should be addressed anew to making changes to benefit both fans and players. One of the appealing aspects of a tennis match is that it is NOT a timed event. The players must battle through long volleys, long sets and finally to mail-biting tie breakers. There have been concessions to speed play that do work:  serve clock, automated line-calling and in some tournaments like the French Open; scheduling only one night match. (Although the French Open is the last holdout on automated line calling.) Players need recovery time after a long, hard fought match and it seems unfair to pit them in a match the following morning because of the draw. Fans (myself included) lost out on watching the match between two top players, Alcaraz and Shelton which was one well worth watching, live. There have to be reasonable concessions made with  scheduling to ensure more fans can watch their favorite players and players can provide their best game.  There were 6 Americans to reach the 2026 US open quarterfinal since 2002.  Yahoo! And, we have two American women and two American men remaining in the singles competition. Go Jessica Pegual, coco Gauff, Ben Shelton and Frances Tailor. 

Naomi Osaka's Fashion Is it a Love Match Meant for Tennis?

Naomi Osaka, four time Grand Slam Champion in tennis, won her first round match last night at the US Open. She eked out a narrow victory in tie-breakers for both sets (7-6, 7-6). Nevertheless, her grand entrance through the halls onto the court was anything but meek. Head bowed, Osaka walked out under a hooded top with a billowing cascade of white tulle. The look resembled an eerie ensemble befitting an oppressed character from "The Handmaid's Tale." Osaka's court couture was assembled by her favored stylist, Law Roach. Roach is an American fashion stylist/TV personality.  Other celebrity clients of his include Zendaya and Ariana Grande. Yet, the question remains - are tennis tournaments the proper platform for athletes to command like models on fashion runways. I say, yes! Bring it on! This is not the first (nor will it be the last) time Osaka brings a show stopping style to her tennis matches.  Earlier this year Osaka was adorned in a "jelly-fish inspired" outfit at the Australian. At the French Open Osaka dazzled in a black pleated corset and full-length skirt over a glittery gold tennis dress for playing in. There is a showmanship to her stepping out of an outer fashion shroud to her slimmed down playing outfit. I'll reiterate my position, I endorse Osaka's whimsical wardrobe. Why not bring your fashion game along. We see how fashion has become front and center at televised drafts for both men and winner into the pro-leagues. Watching pro-basketball and pro-football players promenade into locker rooms prior to playoffs  has morphed into men's catwalks. Red carpet events have gained popularity more for showing off of fashion than for bestowing awards. Being named best dressed at awards show has become as coveted as receiving a golden statue. Of course, there are those who say tennis tournaments are not meant to be fashion shows. To those I say - so what? And, why not. There remain plenty of critics claiming "Osaka's outfits are obnoxious," "she looks dumb," or "ugly and disrespectful." Opinions are of course just that as is mine. Here's one fan's comment that has some merit. "Oh no. Here we go again. Luckily she will of course be out by the semi-finals." Making it to the semi-finals and finals is the ultimate goal of being there, not to be debonaire.  My final words of wisdom not meant as criticism for Osaka:  "Hey girl, focus more on how to score in your game. Fashion, fame and tennis do make for an enticing love match.  Perhaps, if you were to add to your 4 Grand Slam Titles you'll be entitled to endorse more designers on and off the courts. 

NOVAK DJOKOVIC - Is 39 the End of the Line for Legendary Tennis Stars?

The first round of the 2026 US Open at Arthur Ash became a major defeat for the 39 year old tennis star, Novak Djokovic seeded #4. Last night' Djokovic lost in the first round of the tournament in a 5 set match to his unseeded opponent Mariano Navone. The final set ended in a 6-1 win for 25 year old Argentinian, Navone. Currently, Djokovic ties the record for most major Grand Slam tournament singles along with Margaret Court. Court's held the record since 1973. This record is followed by 23 titles for Serena Williams and 22 for Nadal. Before leaving center court last night, Djokovic blew kisses to the crowd and formed a heart shape with his hands. Could this farewell be his exit from the game which he dominated having been #1 in the world for 428 weeks, more than any other male player in history?  Djokovic's loss in the first round was the first in 20 years at age 18. Tennis legends, Rafael Nadal, Andy Murray and Roger Federer all retired from competition at 39. Still, Djokovic displayed skill, strength and class last night completing the 5 set match that lasted over 4 1/2 hours. Djokovic trudged on despite vomiting twice and looking shaky on his feet. "I didn't enjoy myself," Djokovic told the media afterwards. "I think it was obvious that it was an awful feeling on the court for me." He went on to say "I despised every moment." The drive to capture the sole record of being the all-time winningest tennis player with just one more title holds an allure, I'm sure. Tiger Woods with 15 major championships is 2nd only to Jack Nicklaus' record of 18 which he wanted to break before the game broke his back and he crumpled to his knees.  Maybe now at 39 Djokovic has reached the end of the line for competitive tennis career. Fans love to see top athletes compete.  But, no one wants to see them beat themselves up for glory. I'd be sorry if Djokovic played his last match last night. However there comes a time when the body can no longer sustain physical pain and breakdown.  Djokovic has often said he doesn't play solely for records or achievements. In fact, he's often commented that enjoying the competition and loving the sport are his primary reasons for continuing. It would seem the fun is done. The late, great Laker, Kobe Bryant said, "My heart can take the pounding, my mind can handle the grind, but my body knows it's time to say goodbye."  Perhaps Djokovic's farewell heart sign at Arthur Ash signaled his time has come, too. Adieu!  

Hilary Swank/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.