Fleishman Is in Trouble-Is White Rich People Whining

The TV miniseries "Fleishman is In Trouble" is migraine inducing white, wealthy, Jewish people living in New York City whining about their lives.  Starring Jesse Eisenberg as Dr. Toby Fleishman and Claire Danes as his theatrical agent wife.  The series is based on the novel of the same name by Taffy Brodesser-Akner.  This 8 episode series follows neurotic, New Yorker Toby, navigate from college through marriage, family, divorce and back to the online dating scene in his early 40s.  Both the book and series pictures its two central characters as self-indulgent, anxiety riddled and coddled with taken for granted privileges.  Unlikeable characters whom we scorn and relish for mocking their self-made problems and snobbish behaviors.  We meet Toby as a pre-med student with his close college chums, Lizzy (Libby Epstein) and Seth (Adam Brody).  Lizzy acts as a somewhat wiser, sympathetic narrator.  Toby believes his aspirations for becoming a physician are of noble calling.  Toby meets Rachel as a dazzling co-ed  The two have a whirlwind courtship with New York City for a romantic back-drop.  It's not long into marriage before the ball drops.  As Rachel focuses on building her business and Toby maneuvers his way in the medical profession, a fissure arises in their marriage.  Eisenberg is cast as the whiney, incessant talker and Danes as the emotionally wrought woman on the verge of tears.  Not to say this satirical, voyeuristic look into what's troubling the advantageous isn't without entertainment  value.  The cast is outrageously fun to cringe at in their rage, frustration and naivety.  If these pampered people can't be happy they deserve to be miserable.  Lizzy and Seth don't fare much better at becoming happily adjusted adults.   Toby contends with an angry, adolescent daughter and confused son while reckoning with his newfound sexual prowess on the dating scene.   This is a smorgasbord of social parodies of disgruntled, status conscience, wealthy whites which is best be enjoyed with a snide smirk and a side of irritation.      

Ain't Too Proud-Temptations Musicial Biopic is Irresistible Pick

 "Ain't Too Proud" is the juke0box musical that strings together the numerous Temptations hit songs among the storytelling of the original five group members. Now running at the Golden Gate Theater, the timeless Temptation many top hits make great show-stoppers along with exceptional choreography.  What helps make "Ain't Too Proud" so supreme is the script adapted by award winning playwright, Dominique Morrisseau ("Skeleton Crew" and "Pipeline') based on Otis Williams' autobiographical book "The Temptations." Morriseau shares her Detroit background with the Temptations and helps lift the genre high enough to appeal to those beyond the baby-boomer generation.  Williams is the sole survivor of the original five members whose genesis began in Detroit amongst local friends under the tutelage of Barry Gordy and Smokey Robinson.  Otis Williams (Marcus Paul James) is the narrator at the heart of the play.   Williams speaks directly to the audience as he takes us from his early yeas as a troubled youth to forming the group while finding their sound and name through the what becomes of those of fame and the brokenhearted. The artistic direction which favors a mainly black/white aesthetic serves a somber script told in retrospect by Williams who mourns his brothers and soulmates.  It also emphasizes the racial divide our nation went through during segregation, the strive for "crossover" popularity and irresolute prejudice that persists.  The musical masterfully delivers potent historic and relationship struggles.   Joy and sorrow are meted in measure.  Still, "Ain't Too Proud" is allowed to rest on its many great song and dance numbers that are too hard to resist.  Get ready to come see this super performance with its many talented stars who put on a memorable show.  You don't need to wait. The cast of "Ain't too Proud" does all the things needed to do to make you love them, yes they will, oh yes they will!  

Satirist David Sedaris Calls It as He Sees It

David Sedaris is a best selling author, playwright, essayist and humorist whose numerous memoirs and short stories are told with a dry wit and discerning eye that have endeared him to millions world-wide.  His humor is self-deprecating focusing oftentimes on his family, heritage and homosexuality, all with a conspiratorial wink.  Sedaris is a prolific writing.  Among his works are  "Me Talk Pretty One Day," "Calypso" and his most recent essay collection "Happy-Go-Lucky."   Last evening at the Luther Burbank Theater in Santa Rosa, Sedaris was in the lobby signing books prior to his show while engaging in friendly banter.  Sedaris came on stage without introduction calling attention to his ad-hoc attire; a long nightshirt over billowy pants and Dutch clogs wrapped in what looked like "paper mache." His first quips were about Christmas which he plans to review on Yelp.  The holiday have gone south since his childhood. His longtime partner, Hugh, whom he mentions often and fondly, takes charge for the holidays.  His reading began with essays from "Happy-Go-Lucky"on traveling and his "beefs" with fellow travelers and his newly claimed countrymen in England.  The British have warranted better marks for having few guns, no Fox News or national disasters but the adolescent youth there are "horrible."  As he read in his animated, high pitched voice, the terrors of British tots garnered laughs.  His tales of woe being mugged living in New York were amusing while noting white privilege.  Sedaris readings delightfully meandered from dissociated subjects and seamlessly circling back to his original whims.  There was an intimate connection with his audience.  A sly, salaciousness emerged in off-color jokes about a huge dildo and foul-mouthed toddler.  Aside from reading, Sedaris offered free copies of his books published in foreign languages to audience members but he wasn't falling for simple salutations for being fluent.  He also pedaled the graphic novel "Penny Cat," because he found its artwork and insights into the psyches of cats ingenious.  While at a book signing in Ireland, he met Rob.  Rob presented him with a book of his poems.  Sedaris was so taken he invited him to open a reading with his poetry.  The remaining Q&A elicited clever comments.  "I know from doing this not to ask the people waving their arms." The best advice he received came from an early writing professor.  "Do the work and be ready for somebody to pull you up which is what happened with Rob." As for rating Christmas, "First, I want to eliminate all the shitty Christmas music piped in.  Red, green and gold never make a good fashion statement.  And, on the 26th I want all the Christmas decorations gone."  I give Sedaris 5 stars along with the rousing standing he received.   

STUTZ-Jonah Hill's Doc. How His Shrink Thinks

Most people wonder what goes on behind closed doors between a psychiatrist and his patient.  Acad. Award nominated actor Jonah Hill ('Moneybag' and 'The Wolf of Wall Street') tries his hand at documenting the machinations of psychiatry with an in depth biopic of his therapist, Dr. Phil Stutz.   Hill proffers the tools he learned for assuaging his anguish.  Hill's motivation is to share these self-empowering methods gleaned from his doctor and mentor, Dr. Stutz, one of the world's leading psychiatrists.  The mostly black/white doc. is filmed to feel as though it were shot in one marathon session in the Dr.'s book  laden office.  The candid and likable film portrays a mutual friendship and respect between the actor and his physiatrist.  Any preconceived notion on the nuts and bolts working of psychiatry as painful and grueling would seem debunked.  Rather, Dr. Stutz presents a safe haven from which he is committed to listening and offering immediate, pragmatic steps to easing one's despondency.  Perhaps, the film oversimplifies the process of psychiatry but it may serve to empower viewers how to focus their minds and bodies to access a sense of well-being.  The simple animation of diagrams and step takings demystifies a convoluted, ongoing dependency on guidance outside one's self.  However, the dynamic of a typical Dr./patient relationship is debunked by their comfort and fondness with each other.  Hill sought help for his low self-esteem being overweight despite having achieved success in his career.  He brings in a blown-up cut-out of himself to illustrate.  Hill's attractive onscreen appearance contrasts sharply with his cardboard replica. Reasons to seek psychiatry feel flimsy and a perk for the rich and famous whose egos require constant certification.  An ironic comment on therapy is made by Hill, "My friends offer me ridiculous advice when I just want them to listen and my psychiatrist just listens when I want him to tell me what to do."  The power of Hill's doc. come from his subject, Dr. Stutz, whose intellect, insights and life story are compelling.  Dr. Stutz is reminded by Hill to take his medication for his Parkinson's disease noticeable in his hand tremors.  Nonetheless, Dr. Stutz is a formidable and humorous human being whose compassion and strength are forthright.  Hill may have achieved his mission for sharing self-help steps for improving mental health for the masses.  Where he succeeds as a filmmaker comes from the biopic portion of his engaging pick.   

Oakland Interfaith Gospel Choir-Something to Crow about at 222

Founded in 1986, the Oakland Interfaith Gospel Choir (OIGC) is a nonprofit arts organization comprised of multiracial, generational and religious backgrounds.  Their mission, under the guidance of its high-spirited Director, Terence Kelly, is to unify people through the sharing of Negro spiritual, black gospel music and hymns.   Kelly, an operatic bass singer, performs with the San Francisco Opera Chorus.  In addition to having received Gospel Music Awards, he is an Emmy Award winner for choral arranging.  Kelly's arrangements have been recorded by popular artists Linda Ronstadt and the classical strings Quartet Kronos.  The program from last night's sold-out performance at 222, was an evening filled with spirituals, R&B music, gospel music and unmitigated joy.  Kelly led the 16 members representing the choir while encouraging the audience to become active participants by clapping, singing and dancing along with the music.  The reluctance first shown by a mostly staid audience gave way to a more adventurous and uproarious celebration.   The ebullience onstage was infectious and uplifting.  Clad in matching robes of black with green and gold trim, the choir's singing and swaying billowed onstage and reverberated throughout.  The choir was accompanied by Tina Bryant on piano and Miles Lathan on drums.  With winning good humor, Kelly enlightened us as to the distinguishing trademarks of traditional gospel for the African Methodist Church, Baptist Church and the Church of the Agnostic; the timing of hymns increasing in their musical interpretations.  The arousing gospel songs performed early in the program with their exquisite harmonics and haunting solos ('Oh Lord, Please My Prayer', 'Down by the Riverside') gave way to slower ballads ('Amazing') sounding somewhat similar to  R&B arrangements as song by Marvin Gaye or Teddy Pendergast.  Dir. Kelly brought everyone around for the finale in a rousing 'Everybody Dancin' which did exactly that.  Communal mission accomplished! 

Mission accomplished

Doc. "Our American Family" Addiction Afflictions on Families

The searingly candid and painful documentary, 'Our American Family', follows 29-year-old Nicole and her immediate family in the weeks surrounding her most recent, near-fatal overdose.  The family unit includes Nicole's unremitting mother, Linda, her two squabbling 20-something brothers, Nicole's darling, two-year old daughter and Linda's husband, Bryan.  The family lives altogether under one roof in a Philadelphia suburb.  The family shares the responsibilities for raising Nicole's toddler, and providing her support for staying sober and drug free.  Directors Sean O'Grady and Hall Adelman wisely stay invisible and keep the focus mainly inside the family home.   This is an intimate, behind the doors look at the reverberating strains Nicole's addiction imparts on her and relationships within the family.  It's wrenching to watch.  Nicole's latest overdose brings her to a residential rehab clinic for help.  Here she takes us on a holiday decorated home tour with a jovial attitude and introduces us to other female residents.  The women's bonding feels more like a kumbaya  moment, masking the journey that led them here.  The reasons for their odyssey or what recovery entails is not made clear.   Linda, a yoga guru, admits having dealt with her own addiction and blames herself in part for her daughter following in her troubled footsteps.  Familial ties appear steadfast although not without bitter squabbles and recriminations.  Are Nicole's brothers living at home to help their sister or as a safety net for their own failings?  It's easy to understand why Nicole's step-dad is fed-up with her never-ending destructive behaviors.  Bryan's love for his wife may reach its breaking point.  Signing on for living with Linda's adult children, a step-grandchild and all their toxic demands is something most marriages wouldn't survive.  There's no preaching or declaring what steps are needed to combat addiction.  Nor are few reasons offered for Nicole's drug use aside from low self-esteem and her mom's history.  The film does provide a candid look at how families member's lives are impacted by their loved ones battling the disease of addiction.  For families or individuals burdened with drug maladies, this documentary will feel relatable.  Those expecting a deeper empathy for drug addicts, the stigma attached may only be re-enforced.  Bryan contends drug addiction is not analogous to terminal diseases.  Those with cancer, "don't go through your wallet while you're sleeping.  They don't get arrested because they're trying to get chemo."  

White Lotus Two-Yahoo! with Aubrey Plaza, F. Murray Abraham and Jennifer Coolidge

The White Lotus written and directed by Mike White is back for another season and there are many reasons to get on board.  First, it's highly entertaining albeit, cringe worthy,  Second, this season has elevated its overall star roster with F Murray Abraham, Michael Imperalio (Sopranos), Aubrey Plaza (always illuminating) and Theo James (Sanditon).  Thirdly, the show wisely brought back the breakout performance of the indomitable, Jennifer Coolidge. And, it's a clever social parody that highlights the hypocrisy of privilege and prejudices with humor in a contemporary forum.  A parody of society's flaws in White Lotus hasn't been this groundbreaking since "All in the Family."  This season begins similarly to last.  There's an obsequious entourage of employees waving to greet the incoming guests under the auspices of an overbearing, unctuous manager.  The location has shifted from a Hawaiian to the Sicilian coast in an exclusive, seaside resort.  One of the outgoing guests bemoans her vacation ending to new arrivals.  She goes for her final dip until she starts screaming upon bumping up against a floating corpse.  Therein lies a mystery underlying the welcomed new season.  Who in the featured cast has come to past.  It's revealed in this episode there have been more skeletons uncovered in the chateau we don't know about.  Who died and who did it will all be revealed while having an uproarious time watching multiple storylines, snide glances and sexual dalliances.  Watch for Plaza's leers for her husband's handsome college roommate and his beautiful, insipid wife.  Plaza has the look of hate we love.   There's the voyeuristic view of waning affections in her marriage.  The manager (Sabrina Impacciatore) contrasts to last year's whose mantra to remain calm dealing with the demands of spoiled guests as the hotel is beset with hookers.   Abraham plays an octogenarian lech.  He simultaneously manages to be charming and pathetic vacationing with his son played by Imperioli and grandson.  The threesomes' cross generational dinner conversation is hilarious.  Last year's Emmy winner, Coolidge, is back with her scene stealing performances.  She invokes her zaniness, vulnerability and cunning ability to disregard those deemed subservient without remorse.  The only other reprise is Jon Gries as Coolidge's love interest thought to have met his demise.  Reviving his role to tango with Coolidge offers plenty of reason to watch this season on HBO.  In its first season the show scooped up five Prime-time Emmys including best TV movie and acting award for Coolidge amid 20 nominations.   My only complaint is I have to wait a week between episodes.  

The Murmuring Episode in Guillermo de Toro's Cabinet of Curiosities-Beat Still My Heart

Guillermo de Toro eight episode series "Cabinet of Curiosities" airing on Netflix, is in simpatico with Rod Serling's series, "Twilight Zone" (1959-64)  and Alfred Hitchcock Hour series (1955-65).  These episodic programs share a sense of the paranormal, sci-fi and high drama.  Guillermo introduces each episode as did his predecessors.  The final episode, "The Murmuring" is the only one written by Guillermo.  It is directed by Jennifer Kent ("The Babadook").   The mainstay of this "haunted house" story is a rundown, but inviting mansion.  The story is set in Oct,'1951, on a sylvan, secluded island.  A married couple played convincingly by Essie Davis (Nancy) and Andrew Lincoln (Edgar).  They're both ornithologists studying the sounds and patterns of dunlins in hopes of understanding the murmuration formations that are so beguiling and bewildering.  The goal as scientific researchers is to continually ask why and how.  The stunning cinematography captures mesmerizing dunlins' murmurations.  The color palette scans a broad spectrum of pale, cool blues outdoors to deeper tones indoors venturing toward midnight blues.  The antiquated charm of the large home becomes more foreboding as Nancy is awoken by slamming doors, slithering shadows and unintelligible voices.  The mainstays for constructing a haunted house are built in the film's structure.  There are arresting, family photos lining the walls of the winding stairs.  Suspense mounts steadily as apparitions manifest themselves to Nancy as they mirror a growing strain in the marriage.  It's no mystery the couple has endured a parents' worst nightmare.  Guillermo has captured a hauntingly, beautiful film of grief which weighs the toll grief extracts for its irreplaceable loss, and portends why this phenomenon is on individual path.   And, how the repression of sorrow festers while its release has the miraculous power to heal.  Still, grief must be processed, "all in good time, my little pretty, all in good time."  

RAYMAND and RAY-McGregor and Hawke Bereaved Brothers or Not, Not Worth the Bother

Ewan McGregor and Ethan Hawke are hapless, half-brothers drawn together by the death of their estranged father. The duo dig up differing views from the bad dad they knew growing up.  Raymond (McGregor) and (Ray) Hawke surprisingly resemble brothers but this overly long movie offers nothing new or compelling.  Seven years sober but without a steady job or love interest, Ray has no interest in paying any last respects to a father he resents.  Raymond mostly agrees with his brother's assessment but calls in a brotherly favor to accompany him to pay their final respects.  Who knew their dad became a converted Jew? Their father's attorney bequeath's his minimal estate and informs them of his last wishes which are to be buried nude in a grave to be dug solely by his sons using only shovels for implements.  The film despite the charms of its two stars stinks to high heaven.  A younger half-brother they didn't know about is introduced at graveside.  Female characters are brought in to soften the brother's rough edges.  Cliched melodrama keeps being piled on which does nothing to elevate the material.  This redemption story is a sorry misuse of its two leads and Maribel Verdu who plays their father's former lover.  The brother's can't keep their jaws from dropping at this and other revelations.  RAYMOND and RAY is not worth the bother of a viewing.