E Stout's The THINGS WE NEVER SAY-Has Lots to Say on Lack of Communication

In "The Things We Never Say" Elizabeth Strout expands the theme of human isolation and the improbability of honest, open communication. Artie is a high school history teacher who cares about his family, his students and the state of the world. The story takes place under Trump's first administration. Yes, Artie's a kind, thoughtful man who is loved by those who know him. But the question remains, how well can we really now someone. "His {Artie} study of history, he learned about the leaders, and the various groups involved, but he had somehow missed this fact about every single person that they held within themselves a vast, unknowable universe." The political tension that has polarized our country is a backdrop that magnifies secrets being kept to sustain a status quo and prevent turbulent relationships. Artie's greatest pleasure comes from his weekend sail where he steers himself through turbulent waters. If only he could maneuver himself freely and share with his wife of 30 years, Evie, what is weighing on his mind. Evie became a therapist after a girl was killed in car accident in which their son was driving. Her career highlights the hypocrisy of keeping major secrets from both spouses."Artie was aware for the first time how much people lied to one another." Strout is very direct in her condemnation of Trump. Artie and his new"best friend" Kevin who rescued him from drowning formed a friendship in which he felt at peace. With Kevin he was able to share his feelings and felt heard (as long as they didn't discuss politics.) The story becomes somewhat muddled among the layers of clandestine behaviors (shoplifting), various affairs and careers (espionage). Strout makes the point that when communication is open and trust is built, people can positively impact other's lives. Artie influence on two of his students' lives is heralded ad nauseam. However, the futility and rarity of open dialogue is rare. "Why don't people ever say anything real? Ands now he knew why. Because to say anything real was to say things that nobody wanted to know." The overall melancholia and suicidal ideations makes this a bleak novel. One can argue that Strout made her hero likable enough to engage the reader. One can argue, as Artie pondered, there is no free. So why should we care? The delicate balance between personal agency and outside forces is examined. So too is the inability to truly communicate which is truly depressing. "So blind we humans are-so blind. To each other and to ourselves moving through life as through shadows, putting out a hand in the dark and thinking we have touched someone...grasping only the smallest details of one another's selves, including our own. Thinking all the while that we can see." 

ALICE and STEVE-Not Your Typical Family Comedy on Disney+ Cringeworthy Fun

The comedy series ALICE and STEVE airing on Disney+ is not your typical PG 13 fare. And, it's fair to say this is not intended for the family to watch together. It's a cringeworthy comedy where a loving mother and daughter relationship is threatened when mom learns her longtime best friend and former college beau, Steve is sleeping with her 26 year old daughter, Izzy. The friendship between Alice and Steve is evident. There's plenty of humor amidst the mourning of a mutual friend while drinking and doing coke at nightclub following the funeral. Alice is played by the incomparable British stage and screen actress, Nicola Walker ("The Split" and "Last Tango in Halifax"). Alice is thrilled when her daughter returns home following her recent break-up. Steve is played by the New Zealand comedy actor Jermaine Clement ("Flight of the Conchords" and "What We do in the Shadows"). Steve has known Alice's daughter Izzy since birth. She's played by Israeli film and series actress Yali Tool Margalith ("A Good Girl's Guide to Murder" and "House of David"). While mom is upstairs searching for her old coke stash, Izzy and Steve casually chat. Both inform the other of their single status since Izzy's recent break-up and Steve's divorce. A sexual tension is obvious as Izzy questions Steve why his wife left him. Steve's sense of humor and self-mocking are charming. Izzy's flirtation with Steve does not go unnoticed. Coming downstairs ready to go back out with Steve, Alice is oblivious to an attraction between her daughter and Steve. A hilarious hi-jinx night ensues. Alice inadvertently allows Steve's ubiquitous dog to ingest her coke. After the harried night they return to Alice's home where she insists Steve and his dog spend the night. While Alice is upstairs asleep with her husband Daniel (British actor/musician Joel Fry) Izzy comes back down to get some more wine sans pants and joins Steve on the couch. Despite being her mom's friend and twice his age, Steve succumbs to Izzy's sexiness and the two spend the night getting fully acquainted. Izzy pursues Steve at his place and easily gets him to continue their dalliance.  Izzy brazenly informs her mom she's now with Steve. As you can imagine, Alice is furious with both of them. The comic premise is promising. The strong performances from this international group of talented actors gives credibility to the silliness and cringe worthy scenario. Izzy meets mom head on as an adult of 26 able to determine whom she dates. Alice is irate. Steve is remorseful but not enough to give up the good thing he's got going. Alice has to finagle to sabotage the awkward love match. But she comes off as a shrew and what's a mom to do? The situational comedy is salacious fun with a cast that carries it off despite its off-putting odd-couple pairing.

New York City Ballet Returns to LA after a Long Absence-Times are always Changing

If it seems that NYC Ballet hasn't been in Los Angeles in forever, it's because it has been two decades. Hooray, herald the return of one of the world's top echelon ballet companies. There's an audience here that revels in ballet and dance. Dance is a consummate performance art. It encompasses all musical styles and  endless visual designs expressed through movement of the human form. Hallelujah, there was live music albeit, limited musicians who accompanied the dancers. There are two different programs featured for the six performances over four days; June 24-28 at the Dorothy Chandler Pavilion. Last night's opening performance was a pastiche of modern, classical and most dance forms in between. In particular, the final piece on last night's program, "The Times are Racing" choreography by Justin Peck. The work premiered in 2017.  Its medley of hip hop, contemporary, tap and "ballet" was energetic and ambitious. There was plenty of fleet footwork and exciting moves to admire. "Ballet" is in quotes because female ballet dancers are to be "en pointe" creating an elongated, ephemeral visual effect. The women dancers did not don pointe shoes. Constrictions placed on ballet are continuously being stretched and challenged which is essential for art forms to thrive. Still, the mixed styles in "Times" is not ground breaking but appropriated as dance is want to do.  Justin Peck, a former dancer with the company was named Artistic Director and Resident Choreographer in 2014. With this post comes the crucial responsibility for keeping ballet alive and expanding its audience. The costuming was street wear with jeans, cut-offs and t-shirts. is beginning The non-stop intensity was intoxicating. In contrast, "Signs" (2022) choreographed by. Gianna Reisen with music by Philip Glass was softer and more sedate. The dancers all wore pale blue leotards.  Glass' repetitive scoring was less abrasive than his typical pulsating style. My favorite piece for the evening was "Red Angels," (1994) with blood red bodystockings and fiery portals in the staging. This gave the affect of dancers slithering out of Hell; ready to cause havoc. The ambience and choreography were startling and gloriously menacing. Despite being an "older" piece, it felt alive and timeless.  There was no Balanchine ballets in this program.  Two of his ballets are featured on the other program. There was a Jerome Robbins piece which featured his humorous wit and broadway showmanship. Created with Baryshnikov mind, the solo dancer, Daniel Ulbricht and cellist on stage played off each other. Ulbricht's musicality was superb as he emphasized Bach's Six Suite compositions. Comparing him with Baryshnikov's gravity defying leaps came up a little short. The evening offered something for everyone to favor. It's vital for major companies like NYC Ballet to continue to embrace new techniques and ideas while maintaining its classical lineage. Most importantly, let's keep attending ballet and dance in LA to ensure it remains here. 

DRAMA- Strained Drama but Terrific Acting Zendaya and Robert Pattison

The 2006 film DRAMA now screening is testament to what good acting can do to a script that leaves legitimacy at the door. The always captivating Zendaya stars as Emma and the bankable Robert Pattison as Charlie. This rom/com has a charming start where Charlie hits on Emma in a coffee shop by claiming he was taken by the book she's reading. His clumsy overtures are ignored until Emma turns to face him and is startled to see he's been speaking to her. She tells him she's deaf in her right ear. He's so flummoxed Emma offers him a chance to try the encounter again. Next the two are on a dinner date where Emma tries to discuss the novel and Charlie owns up to never having read it and just wanted to meet her. Emma accepts his good natured apology and the relationship flourishes from them into an enviable full blown romance (as is their apartment replete with circular staircase and floor to ceiling windows).  The perfect couple becomes engaged. Charlie's best friend Mike (an endearing Mamodou Athie) and his wife, Rachel (a tour-de-force Alana Haim) gather to taste test wines for the wedding. As they imbibe overtime, the married couple engage in everyone sharing "the worst thing you've ever done." While the sharing is embarrassing,  Emma is the last to share. Her's is a whopper. In high school she had seriously contemplated shooting up her school. This obviously shocking reveal is new to her new fiancee. Rachel has plenty deplorable expletives to say! Emma's responds by regurgitating everything on the table ending the evening leaving a lot of unfinished business between the two love birds. Emma does explain what her torment was like back then to Charlie. "I only thought about it and didn't go through with it." Charlie revisits some of Emma's explosive behaviors and is unsure whether they are as made for each other as before. The wedding photo shoot is a hoot with feigned smiles and stiffness and the wedding toasts are uproarious. The acting is so captivating all round it makes this dilemma more of an entertaining drama than it's cut out to be. If only the two would sit down and rehash their concerns instead of Charlie harboring doubts and acting out, things would work no doubt . Still, the film is a captivating, guilty pleasure but not one anyone would want to try over again. 

S Korean TV Series "Teach You a Lesson" Corporal Punishment Deemed Crucial in Classrooms

The Korean Netflix series "Teach You a Lesson" is not your typical high school classroom drama. Based on the webtoon "Get Schooled" set in modern day Korea, the show is anything but slow. We follow a student on his way to high school student who wishes he could wake up sick and miss school or go to sleep for the next two years and wake up when high school is over.  As he walks onto campus, his gaze follows his classmates upwards to a student standing over the edge of the roof of the school. The student silently leans forward and falls to his death. This shocking heart wrenching episode flashes back to all the brutalities and humiliations this student suffered prior to taking his own life. The nightmare for the student who wishes to be in a coma is only starting. He is now the new victim and is physically beaten and tormented by his callous classmates. A group of boys lead by one bully (whose father has a high level in government) rules the school. No one pushes back; neither teachers or students. Until an unknown adult appears dressed all in black. He resembles a sexy amalgamation of Keanu Reeve and Joseph Gordon-Levitt punches the bully. Meet the new teacher played with pizazz, wit and warmth by Kim Moo-Yul as Na Haw-Jin. Cell phones filming, the shocked, socked in the jaw tormentor demands to know who him. Na welcomes the chance to introduce himself as their teacher and his plans for reforming the school. You think - teachers can't do that.  Think again. While corporal punishment in school is deemed antiquated, barbaric and illegal, Na informs everyone he can, he will and he does. There's new legislation granting Na the authority to take matters into his own karate, tai-chi, super hero hands.  Take note, this episode was more than a well choreographed fight flick or simple revenge story. There's real empathy and intelligence in the show. Na connects to the boy being picked-on. "There are good adults out there. No one's saying fight back. Find an adult and talk to them. And, also run!" I did enjoy the comeuppance the vicious, sociopathic student received and of his parent from whom the apple didn't fall far from the tree. This is a smartly written, well acted show. But,  please cast high school students who look like teens not 20 something. The 2nd episode degenerated into a melee of students intent on gaining notoriety by causing fights.  The violence was over the top, out weighing any redemptive lesson.  Watch the first episode (maybe skip the 2nd) and try the third. I was won over by the charisma of Moo-Yul and the originality of  the pendulum swinging so far out that corporal punishment was not only condoned, but owned!  Each episode is set in a different school.  The pushback in the public forum is another aspect that elevates the grade of "Teach You a Lesson."

Open Poetry Readings at Malibu Library Courtyard

All were invited to a free poetry reading in the courtyard of the Malibu Public Library on Saturday.  Being outdoors and being free was good enough for me and my dog Bowie to attend. The librarian/host for the event opened by addressing, "Why poetry?."  She followed her rhetorical question with other why questions. These were cheesy in their assessment of value fond in - say, life. She then read from Walt Whitman's famously life-affirming poems. While her comments were overall, trite - they laid a foundation for appreciating the following poets and Shakespearian thespian. There was a set theme assigned the three poets invited. One got the memo whose poems "had never before addressed the meme of joy." Her poem was in keeping with the day's sugary theme. She ladled it on heavy with the cream. The male poet started off by taking the liberty of speaking on his favored topic of philosophy. Before he went on to his more macabre v. joy poems, he said, "I hope I wasn't being too esoteric."  He was, and it was arid. His poetry along the lines of romantic mysticism; a werewolf attacking his victim was anything but staid. It was cleverly chilling. I got a flavor for what the werewolf was going for. The last invited poet didn't do her homework. She said "I'm going to ad lib". She brought a book of Khalil Gibran's poetry and read random poems as she riffled through the book until the audience called out stop. This didn't win her any accolades from me but surprisingly, her great aunt had a friendship with the famous Lebanese-American poet and she happened to have a correspondence her aunt had written to him. (How she had the poem when it was written to Gibran I'd have liked to know.) However, her aunt "Joy" (how's that for irony) was an amazing writer whose epistolatory correspondence waved poetically of her bucolic surroundings and her yearnings. Aunt Joy's letter was the highlight for Bowie and me as Bowie sat up and paid attention. The last arranged speaker shared her passion for language as conveyed through Shakespeare's mastery of words. She performed "Hamlet's" famous soliloquy and emoted his turmoils exquisitely. The courtroom oration from "Merchant of Venice" was lacking having not failed to adequately set up Shylock's brutal treatment prior in the play. Afterwards, the floor was opened to anyone wishing to share their own poetry. Hats off to the young lady who bravely shared her heartfelt writing. And, regardless of any criticisms I had, Bowie and I very much enjoyed gathering with others outside to listen to the intrinsic beauty of prose and poetry.  This I knows.  

THE WITNESS Netflix Series-True Crime Takes Too Much Time in Telling

The brutal rape/murder of Rachel Nickell in 1992 in southwest London was witnessed by her two year old son, Alex. This heinous crime was compounded by the fact her son was beaten in the attack and despite having occurred in a congested public park, there were no eye witnesses other than Rachel's young son.  The father and Rachel's partner, Andre Hanscombe (Jordan Bolger) is portrayed convincingly as the concerned father but not seen as a grief stricken partner.  Perhaps, he's in control of his emotions for the benefit of his son played by the incredibly handsome young actor, Jahsaiah Williams. Williams may have gotten the role in part for his good looks which are also convincingly familial to the actors cast as his parents. Could Jahsaiah Williams be related to the film's screenwriter, Rob Williams which may have helped the actor to be miscast? Alas, a major crack in the credibility of this criminal case is Williams looks closer in age to 8 than 2.  In fact, his understanding of language and his verbal skills seem quite advanced for his age yet the crux of the case is based on Alex's inability to provide information to the authorities on his mother's attacker. The use of professional child psychologists were employed to help Alex share what he experienced was twofold; help Alex process what happened to help him mitigate the trauma and secondly, to provide the investigators with much needed information describing the attacker. The failure to uncover evidence or witnesses besides Alex of the crime left the investigation to go unresolved for two decades.  The insight into how a professional therapist would work with a young child in such circumstances would be fascinating to observe.  However, Alex merely responded as a petulant child who appeared not to cooperate despite gentle coaxing. Again, this was partly problematic due to the miscasting of Williams as he appears too old to behave so uncooperatively.  Neither did Alex appear too distraught or withdrawn for professionals to garner much useful information. Andres wants to protect his son and decides to raise him away from the notoriety of his mother's killing. The film jumps from the time of the murder to Alex now a young teen living in Spain with his father.  The father/son dynamic in a new country  is now presented as a pugnacious son and overbearing parent. The lack of clues and pressure to follow leads, leads to a suspect being falsely charged with the murder. The real crime is the lack of interest in the drawn out investigation and missed opportunities to examine the emotional toils the crime had on its young victim.  The burden of being convincing or enticing was not met in this Netflix 3 part series that is 2 1/2 parts too long and tedious.     

Amanda Peet in "Fantasy Life" - Shelf this Self-Absorbed Abomination

"Fantasy Life' written by and starring Matthew Shear, is a self-indulgent exercise in mental illness and self-medication.  Shear is an American actor of TV and film ("Mistress America").  Shear wrote the screenplay for "Fantasy Life" in which he stars as Sam, an anxiety riddled, law school drop-out who takes a Manny job for his psychiatrist's three granddaughters. The girls mother, Diane (Amanda Peet) has her own low key depression which keeps her at a functional distance from her husband, daughters and apparent pleasures.  Diane's husband, David (Alessandro Novola) is an aging rock star with a drinking problem. The only people who are happy in this weary, and off-putting film are the psychiatrists played by the consulate actors Judd Hirsch and  Holland Taylor. It's no wonder, they're in constant demand for their services. While not providing cures, the psychiatrists provide Sam and Diana a tolerable haze of emotional resignation.  Diane is an actress whose career is waining, her beauty fading and her sensibilities so muffled as to render her detached and lacking in any fervor.  With Diane's affluent lifestyle, lovely homes in Manhattan and the Vineyard provide and animated girls, it becomes impossible to feel empathy for her first class woes.  Sam is so feckless as to render him an annoying, sniveling sad sack. These neurotic characters, self-absorbed characters provide very little to ingratiate themselves into anything worth spending time with. Diane tells her current psychiatrist she left her previous one after 15 years because "It wasn't helping and I felt I was boring him."  When her Dr. asks how she knew she was boring him she replied, "Some things you just know."  I know that despite earnest performances from Peet and Shear, there's nothing there there but tepid neurosis.  And, who cares cares? 

German Film "Miroirs No.3" Reflects Loss and Love's Replacement

The German Film, "Miroirs No. 3" is the French piano composition by Ravel which evokes the solitude of a boat adrift. German filmmaker Christian Petzold quiet, beautifully shot movie takes place in the rural countryside just outside Berlin. An attractive young couple head out of the city on a country road.  In passing,  Laura (an enigmatic Paula Beer) makes eye contact with a middle aged woman who is whitewashing the French of her quaint home.  Both women seem to make some connection in their passing glances.  Laura decides she wants to return home and her boyfriend begrudgingly drives her back. He's irritation causes him to drive recklessly and they pass the same woman whom he nearly struck.  Just up a ways the car is heard crashing and the woman runs to be of help. She finds the male deceased and Laura dazed but alive nearby.  Laura is tended to by the woman, Betty, (Barbara Auer) who instructs the medics to bring her back to her nearby home to recover.  Laura warms to the attentive nursing in the sedate home. After a few days, Laura asks Betty if she can remain with her for awhile longer.  Betty generously acquiesces and agrees readily for her to remain as long as she wishes. Laura helps Betty with various household tasks, raises a vegetable garden, prepares meals and the two develop a quiet attachment. Questions arise as to who is benefitting most from their relationship.  Betty for housing Laura, or Laura for providing companionship and comfort from grief.  Laura learns Betty's husband and son work and live nearby. It's ambiguous at first why the family lives apart. This sedate film appeals to the simpler pleasures in life; riding bicycles, eating outdoors or mulling over a glass of wine in the cooling evening. The climatic break feels somewhat rushed and false. The tender bonds that were earned become tarnished.  Still, I'm recommending the film for its earnest performances and its appealing tranquil tone. While I found delight in the gentle pacing and small joys inherent in the film, it may well feel too tepid and inconsequential to others for the same reasons.   

THE STRANGER-Film based on Camus's Existentialist Novel is a Snooze

For those erudite snobs who want to cross Proust or Camus off their intended reading list, here's a hall pass to cross Camus' existentialist novel off your eventual to do list. Life is too short to spend it on pretentious pretense of expected elevated literature or films. However, if you're still a masochist, this 2025 black/white Neo-noir drama is probably more palpable than most pompous productions now streaming on Fandango. The cinematography captures the 1930s French-colonized Algeria in stark splendor and cold dissonance.  The French language film features Benjamin Voisin as Meursault, as the handsome loner whose persistent dissociation is puzzling more than it's troubling.  Meursault gets a short leave of absence from his clerical position to attend the funeral of his mother. A stoic Meursault shows little emotion except for an appreciation for coffee and a smoke. While on leave he is reunited with a past girlfriend, Marie (a luminescent Rebecca Marder).  The two make a handsome couple and the scene where the two rest on a raft in their set bathing suits shows promise of burgeoning passion. However, the sheer absurdity of Meursault's inane affability without conviction to marrying Maria is exasperating.  So too are his dissociations when regarding his mother's passing and his vacuous responses towards defending himself on trial for the unwarranted cold blooded murder of a male beach comber caused head scratching stupor.  Fueling frustration towards Meursault bewildering detachment is his failure to register rancor or empathy for his neighbor who cruelly beats his dog or when he bemoans the dog's absence.  Perhaps, my dismal response to the so called lofty existentialism themes reflects more on my more pedestrian tastes than those possessing arcane philosophical leanings.  But, at best, I know what I like, what I don't and I'm not afraid to who it.  THE STRANGER is a zzzzzzzzz snooze fest whose irrational idea is irrational at best.