BYE BYE BARRY-Why Did Sanders Flee from the Game and Fame

BYE BYE BARRY is the compelling sports documentary screening on Prime about Barry Sanders, a Heisman Trophy winner and NFL Hall-of-Fame honoree.  This football centric film covers the career of Sanders as a star running back for OK State and then for the Detroit Lions (1989-1999) is captivating regardless of one's interest in football.  The biopic features clips of an incredibly gifted athlete with remarkable accomplishments on the field and who proves endlessly fascinating off the field. Sports writers, famous Detroit celebs, NFL players and coaches marvel at his abilities and achievements.  Watching footage of Sanders maneuver past the defensemen you can't help but agree. Football sportscaster and former NFL player Dan Dierdorf said while watching Sanders elude tacklers, "There aren't enough adjectives to describe what Sanders does on the field.  Even God didn't know what he created when he made Barry Sanders."  Sanders smarts and agility on the football lead him within breaking all-time rushing records in h.s., college and the NFL.  The drive to play the game and win as a team was his motivation. Individual stats or honors were not his end-game.  When his h.s./college coaches gave him the opportunity for playtime to enhance his stats, he declined asking his teammates be allotted game-time.  This seemed to Detroit celebrities like Jeff Daniels and Time Allen.  Eminem said "He had to know how great he was but he never showed it."  Being labeled diffident was something Sanders disagreed with. In the few reluctant interviews Sanders gave, he objected to being labeled shy, "I'm not shy.  I prefer not to be put in the spotlight and want to be respected as the individual I am."  Lauded by his teammates for refusing special attention and credited for coalescing them, Sanders helped bring the Lions within a game of a Super Bowl spot.  He was unique and humble as a  player who always handed the football off to the refs and never engaged in showy moves in the end zone.  His character was made even more notable for having a father always clamoring for the limelight.  The contrasting of two such diametrically opposed  parent and child made Sanders' stoicism all the more beguiling.  The enigma of why Sanders would walk away still in the prime of his career seemed clear to me.  His passion for playing was waning and the team he helped gel was quelled by management's disruptive decision makings.  The paradox for me is why so many are puzzled by Barry's choice to leave an arena they perceive as the ultimate pinnacle of success.  I came away not merely astonished at how he performed in the NFL, but also enthralled by the paragon of authenticity and level headedness he portrayed. Sanders left incredible NFL stats and an indelible imprint on Detroit fans.  BYE BYE BARRY provides plenty to ponder whether or not football is your end all of pastimes.  Say, aye aye to watching BYE BYE BARRY. 

The Magic of FLAMENCO-Maria Bermudez's "Sonidos Gitanos" LA's Disney Music Hall

My first time at the Disney Music Hall was this past Saturday for the one night performance of "The Magic of Flamenco".  I know, it's hard to believe it took me that long to get there and equally strange that it would be to see a program of flamenco rather than "Classico" conducted by Gustav Dudamel.  Oh well, it was both a fabulous and regrettable evening's entertainment.  I expected an entire program of flamenco dancing.  Regrettably, this was not to be.  Yes, there was torrid, passionate and intoxicating dancing by international star Jose Maya.  Maya has performed with such illustrious performers as March Anthony, Beyonce and fellow flamenco stars Antonio Canales and Juan Ramirez.  Maya partnered for one interlude with Ana de Los Reyes.  She's performed with Sara Baras and was a soloist at the Palacio Villavicencio.  The two renown flamenco dancers demonstrated with pizazz all the fervor, energy and artistry required to instill the intensity and excitement of this romantic art-form.  Flamenco culture originated in southern Spain and shaped by dancers and musicians from the Caribbean, Latin America and Europe.  Today, it's considered a consummate icon of artistry in Spanish culture.  The shawl dance performed by de Los Reyes was sensual and hypnotic.  The solos danced by Maya were tantalizing, and left me wanting more dancing from him.  The program was too heavy handed with singing performances which sounded more like caterwauling; the sounds you'd throw a shoe to force the yowling stop.  This criticism is harsh (it wasn't all screeching) but more than I had the patience or preference for, furthermore, my fury was stirred by the pounding of fleet footwork and exotic bravado from the steamy choreography.  The pianist, guitar players and percussionist enhanced the experience of flamenco culture was by the musicians' virtuoso playing.  The percussionist sat upon his "boxed" instrument playing it like a bongo and used drum sticks on a conventional drum and cymbal alongside him.  The musical number played by the two acoustic guitarists was a welcomed, harmonious respite for the evening.  Pianist and composer, Diego Amador, has collaborated with jazz artists Charlie Haden and Chick Corea.  Although referred to as "El Ray Charle Gitano" (the gypsy Ray Charles) I find that a stretch but his compositions and style should be credited with contemporizing flamenco aesthetic with a jazzy Latin sound.  Next time round (which won't be another 20 years) I'll pass on a "Magical Flamenco Program" and opt for a dance program or the LA Symphony instead.  

ALBERT BROOKS: DEFENDING MY LIFE-Hilarious Doc on an Endlessly Talented Entertainer

Albert Brooks is an actual genius.  Actually, he's Albert Einstein.  Albert Brook was born Albert Einstein in 1947 to show business parents in Beverly Hills.  Brooks changed his last surname from Einstein to Brooks after graduating from high school.  Former classmates include Richard Dreyfuss and Rob Reiner.  Since then, Rob and Albert have remained "best friends".  Their friendship and mutual admiration is apparent without being indulgent in this ongoing interviews with interludes of past comic skits, movie roles and adulations from A list show biz people who have their own sharp take on what it takes to make it in this business.  Among those paying tribute are Chris Rock, Ben Stiller, Judd Appatow, Jon Stewart, James Brooks, Steven Spielberg and Larry David to name a few who put Brooks at the very precipice of comedy, acting, directing and movie making.  The one celeb who stood out as out of his league  amongst this prestigious group was TV reporter Brian Williams (and whose credibility has already been tarnished).  I advise editing him out of the picture.  Otherwise, this comprehensive retrospective which bestows respect from elite entertainers is endless fun for die hard fans and for those soon to become fans for his pioneering career which further entails writing, editing, voice overs, stand-up and dramatic and comedic acting. The deep bond between Albert and Rob exudes a palpable warmth that makes this biopic a delightful sojourn through memory lane and iconic movie moments.  There are older comic bits that are so absurdist or outrageous they have to be seen to be believed for his courageous humor.  His bit as a nitwit ventriloquist is hilarious not to mention courageous.  All the major stars heaping praise on Brooks in the film already consider him at the forefront in a field laden with major talents.  David Letterman said "I'd trade my career for Alberts".  ALBERT BROOKS: DEFENDING MY LIFE further assures his legacy as a leading pioneer in movies, comedy and TV.  

ANATOMY of a FALL-Breaks Apart a Marriage and Tears at the Heart

The French film ANATOMY of a FALL is a haunting thriller and courtroom drama that lands the widow on trial for her spouse's murder. The pieces don't all add up leaving questions to her guilt, beseeching answers as to how and why. What's clear is a troubled marriage whose problems get shredded before a packed courtroom that includes their eleven-year-old son Daniel (Milo Machado in a heartbreaking performance).  The married couple is composed of acclaimed German novelist Sandra (a stellar Sandra Huller) and Samuel (Samuel Theis) whom we glimpse only in flashbacks. The movie's nebulous, troubled beginning is of young woman attempting to interview Sandra in their rustic home amidst the sparsely inhabited French Alps.  It's early afternoon and Sandra is imbibing in a glass of wine. Sandra's bumptious banter is interrupted by ruckus music rendering conversation futile.  Sandra asks to reschedule without having asked her husband to lower the volume.  Not long after the woman's departure which plays into the trial, we witness a man falling from the third floor balcony to his death. Their son and his seeing-eye dog are the first to discover the body.  Daniel yells for his mother's help. These scenes are scrutinized by the police and an investigation leads to Sandra being charged with murder.  The film melts into a fascinating analysis of grief, resentment and guilt. Daniel mourns the loss of his father.  The loss of his vision caused by an accident years before doesn't blur his keen insight into his parents' tumultuous relationship. The playing of a concealed audio tape taken by Samuel of a verbal/physical altercation with Sandra is played in court to frame her motive and character.  The depiction of French court proceedings varies strikingly from our legal systems. The cross-questioning of a witness may be simultaneous and the combative nature of questioning is given huge leeways.  It's surprising what's considered hearsay when testifying.  And, it's contentious what constitutes subjective v. objective interpretations.  Expert witnesses present opposing conclusions casting doubt on the validity of expert witnesses.  Sandra has steadfastly retained her innocence. We're driven with faulty cracks from our observations and courtroom testimony.  In fact, why would an embittered woman push her husband to his death rather than push for a divorce.  Without being struck over the head, we experience bruising in logic arrived from various angles. The most potent pangs come from the final testimony proffered from Daniel.  While his shattering testimony is not exculpatory proof of his mother's innocence, it is culpable of creating anguish. ANATOMY of a FALL is flawlessly acted and proves a faultless film.        

FOREVER YOUNG-Asked if Given the Chance to be Young Again Is a No Brainer Like the Film

FOREVER YOUNG now screening on Prime Video begs the question, given the ultimate gift of eternal youth and eternity would you take it.  My take is what imbecile would opt out?  In this staid and steely paced film, set in the present, the far-fetched potion for removing wrinkles along with all signs of aging and disease has miraculously been concocted. This cockamamy and retreaded plot had its aesthetic and acting appeal from its lead actresses portraying Robin Smith, who is incredulously transformed from frumpy and arthritic (Diana Quick) back to her original ravishing beauty and health (Amy Tyger).  The elderly Robin is an established writer.  She's approached at a poorly attended book signing by an old acquaintance Jim ( Mark Jackson ).  Jim implores her, as he's apparently done before, to write his biography.  This is met with a resolute rejection.  Robin returns home to her sprawling country manor and her loving husband, Oscar (Bernard Hill).  Robin and Oscar have been in a devoted, passionate marriage for over 50 years.  (Note: Science has solved for ED with viagra but has yet to alleviate crippling arthritis).  Oscar tells Robin he doesn't regret one moment of their lives together.  What he doesn't tell her is that he has pancreatic cancer and little time left.  Robin doesn't tell Oscar she aborted his child early in their marriage. She does tell her longtime friend Jane, (a bewitching Stephane Beacham) she regrets not having a child.  Shortly after the dismal book signing, an unfamiliar young man arrives at Robin and Oscar's estate. Robin's befuddled by the dashing caller who claims to be her old friend James. This is incredulous since this man is in his 20s, not his 70s.  Nevertheless, it takes little for James to convince Robin it's him and that he's solved for the "disease of aging".  James brandishes a vile containing an iridescent liquid and asks Robin to reconsider writing his life-story.  Robin assuredly agrees but not before Oscar intervenes not believing the intruder is who he claims.  James takes a sadistic pleasure in revealing salacious tidbits that attest to his identity for his longtime rival.  James easily persuades Robin to try his formula.  She's then swiftly transformed back into the stunning woman of her youth.  While the patented formula for finding a fountain of youth possesses an enticing premise, this film  doesn't prove convincing or captivating.  The jejune plot dissolved into distasteful storylines that include James' daughter a homeless heroin addict, Oscar's refusal to partake in this age defying experiment, James' claims of risk and subterfuge from the drug company and his hapless ploy to win Robin's affections.  The central conflict is the most aberrant. Given the incredible chance to relive her life as a glamorous ingenue Robin's sole desires are to be with the octogenarian Oscar and bear his child.  The only side character that added some spark to the droll  drama was Jane whose vanity was etched in reality.  She was haunted by the loss of her looks; obsessed by  plastic surgery. Jane uncovers Robin's transformation and is driven by jealousy and rage that cuts ones' nerves. Otherwise this fantasy feels faux and fails to muster the sense of wonder you'd expect given the elixir for staying youthful.  FOREVER YOUNG was A frivolous waste of time.  I should've taken a beauty nap instead.    

Natalie Portman Julianne Moore Star in MAY DECEMBER May Get Oscars Come March

MAY DECEMBER is a drama derived from the notorious sex scandal surrounding schoolteacher, Mary Kay Letourneau, 34 at the time and her student Vili Fualaauwho was 12.  This tawdry case landed Mary Kay in prison for raping a minor while maintaining it was consensual between them.  Complicating this contemptible, illicit liaison were the children born to the couple while she was serving prison time and Vili just a teen.  On the big screen, Nathalie Portman plays Elizabeth, a movie star who will be portraying Grace (Julianne Moore) whose life mirrors Mary Kay's.  Grace was 36 at the time she engaged in a sexual affair with 16 year old Joe (Charles Melton).  Grace also served time in prison for having sex with a minor and gave birth to Joe's children before he's 18.  Grace and Joe marry after her release and raise a family together in an inexplicably, affluent manner.  Regardless, the matter of their financial lifestyle is irrelevant. What's pertinent is how the couple sustained their marriage and raised children into young adulthood amidst continuous outrage and public condemnation.  Elizabeth inhabits a method used in a character study with plenty of material to uncover. Elizabeth injects herself into Grace's psyche and mannerism.  Grace and Elizabeth present a steely facade.  Joe appears rather hapless. He's malleable; uncertain of what he wants for himself.  A friend of Grace's is leery of Elizabeth and warns her of "...those movie star types." The friend describes Grace to Elizabeth as "unapologetic, she knows what she wants."  Grace's sexual relationship with Joe cost her years behind bars.  Joe doubts how steadfast their love is and contemplates the price he's paid.  Cool, cunning and seductive Elizabeth initiates sex with a very willing Joe.  After she tells him not to make it a big deal, "It's just what adults do."  At the high school Grace's daughter attends, Elizabeth goes to speak with her drama class. She's questioned by a student about doing sex scenes.  She explains the line of pretending and expressing pleasure can get blurred to the chagrin of both the teacher and Grace's daughter.  MAY DECEMBER appropriates torrid tabloid stories from a real rape case which morphed into a family while sharply scrutinizing traits in people that cause them to cross a line of propriety and broaches grey areas of morality.  Added to this is a fascinating look at an actor taking on the persona of someone else.  This peek behind the curtain in the lives of Joe, Grace and Elizabeth is provocative and disturbing.  MAY DECEMBER is not for the naive or faint of heart.  It's a complex film to break apart, digest and regurgitate.  

Alex Edelman's One Man Show JUST FOR US is for EVERYONE and a New Family Tradition

You don't have to be Jewish to love Alex Edelman's play JUST FOR US. But then, you don't have to be a white supremacist to attend and blend into their meetings. However, it can help with both.  Edelman wrote and stars in this hilarious and timely play which serves up empathy dosed with schmaltz (the good kind) and embedded with the true meanings of Christmas; a time of love, joy, healing and renewed strength.  Edelman engages the audience for the swiftly paced 90 minutes with a bravado, solo performance which is nothing short of miraculous and a cause for rejoicing.  Edelman turned his participation in a white supremacist meeting, where "I was finally told I don't belong and told to leave" into comedic genius.  Victor Borge wrote, "Laughter is the closest distance between two people." Alex put it another way, "It's harder to hate those up close." It's true, shared laughter often signals shared views, but it also enlightens and garners understanding.  In his UWS apartment, Alex read a notice for recruiting Neo-Nazi sympathizers to a meeting.  He thought it sounded like a good idea at the time for him attend "in order to learn something." Perhaps he considered the meeting as fodder for new material. As it turns out, it proves both prescient and relevant.  While laughter has the ability to ease tensions and breed tolerance, empathy has the power for healing.  Rapport is established with curiosity and validation for opposing views which may then foster understanding and mutual respect.  Alex infiltrated the gathering of 12 men and 5 women where these individuals spoke of their anger towards the interracial marriage of Harry and Meghan, the demise of Confederate statues, political correctness and the slow genocide of the white race which got blamed on the Jews. Oh boy! How is this funny? How did he get out without being hit? Alex did leave after being outed but he didn't leave empty handed. * Besides a free muffin, Alex left with sympathetic feelings towards those he met.  He did however question, "To what degree should empathies be extended?" Throughout, Alex craftily weaves levity from physical comedy, jokes, and stories of his family and his Yeshiva upbringing.  He muses about his Jewish identity without any sense of victimhood.  It's apparent empathy was instilled at an early age from loving parents. The first and only night his family celebrated Christmas and Santa was unforgettably funny.  Edelman termed his show "non-political and benign silliness."  He presented a cunning style for social scrutiny and clever storytelling that came full-circle. With an abundance of heart wrapped around every anecdote and adorned with a yarmulke wearing teddybear - what's not to love?  Can you believe one can find common ground with polar enemies?  Yes Virginia, there's always opportunities for dispensing with enmity and making miracles.  You never know, the world keeps changing.  JUST FOR US should be seen by everyone and become an annual, holiday tradition for families.   *Alex also left with a piece of the 1,200 word puzzle in hand, pinched from an elderly, anti-semite who just might smite him. Or, can you believe it... might just like him.  

The HOLDOVERS-Paul Giacometti Is No Pushover but I'm a Sucker for this Film

The film HOLDOVERS starring Paul Giacometti as the cantankerous teacher, Paul Dunham, at an elite, eastern boys school tolerates no tomfoolery from the hooligans in his charge. Over Christmas break, supervision at this pristine, scenic winter-land, Paul (Paul Giamatti) is assigned (for punitive purposes) to supervise the few students left behind.  The Dean, tells Paul, "It's not as if you had anywhere to go, anyways."   Before the majority of students depart with their families, the Priest wishes all "a Merry Christmas, or for those, for whom the case may be, a Happy Hanukkah" which is met with a spattering of laughter from the assembly.  Despite several Black and Asian students, the notion the academy embraces those of the Jewish faith remains far fetched. THE HOLDOVERS is an exceptionally entertaining drama that exams the entitlements endowed wealthy, white students situated atop our social hierarchy.  Set in the early 70s, director, Alexander Payne ("The Descendants") gets the fashion and hairstyles pitch perfect.  Nestled within the cozy comforts allotted students are ample opportunities for placements in Ivy League Universities and fortune to circumvent the draft.  The movie's opening frame is of a memoriam in the school's halls for its fallen alum who served in WWI and WII.  Notably, there's only one former student killed in Viet Nam, Pvt. Lamb.  Lamb had been admitted gratis to the school because his mother, Mary Lamb (Da'Vine Joy Randolph) managed the school's kitchen.  Mary couldn't afford college tuition for her son and he was drafted after his graduation.  Mary offers a perfect blend of sorrow, wisdom and heart.  She's the linchpin for bridging a connection between Paul and Angus (Dominic Sessa in a star making debut). Angus becomes the sole student left behind after one of the boy's dad swoops in on a chopper taking the others boys on a ski vacation. Angus received a last minute call from his mother saying she wouldn't be getting him as planned and couldn't be reached later for permission to leave campus. Paul's relentless penchant for reviling both students and faculty is daunting.  There's no love lost between the Paul and Angus forced to cohabitate over the two week hiatus. Angus' angst and antics are those of an awkward, unpopular teen from a dysfunctional family. Over the grueling drudgery of enforced homework with little holiday cheer, truths are slowly revealed, resentments thawed and trust earned. The three left behind, Paul, Mary and Angus learned they're not as alone as they feared. Veracity in general is called into question and receives a failing grade. "Entres nous" I assign this sensitive, stirring film to the honor roll along with its three leads. "When you arise in the morning think of what a privilege it is to be alive, to think, to enjoy, to love..."  (M Aurelius)    

The ENGAGEMENT PARTY at the Geffen Theater in LA

The clever one act, eight actor play THE ENGAGEMENT PARTY by Samuel Baum is in its final weekend at the Geffen Playhouse in LA.  It's a contemporary drama set in a NYC, Park Avenue penthouse apartment.  A beautiful, wealthy couple who can't keep their hands off each other are about to celebrate their betrothal with an intimate dinner party.  The select set include the bride's wealthy, Wasp parents, the couple's college chums and the groom's childhood bro from Carnasie.  The verisimilitude of drawing truth from fiction is established within minutes; the Harvard alums confirm their illustrious educational pedigree despite its pompous redundancy.  The cast of characters are painted with broad strokes; the beautiful blond "shiksa" Katherine engaged to the lucky "schmuck" Josh, her posh parents Conrad and Gail, Josh's Jewish classmate Alan, a Columbia professor who shuns wealth and Tony who tells it like it is having stayed true to his humble upbringing.  Cocktail banter crackles with cunning between Conrad and Alan on the pratfalls of prosperity.  This serves as an appetizer for the main event which begins brewing between Josh and Kai in the kitchen.  Kai reports to Josh at work.  His wife Hayley is Katherine's friend and college roommate.  Kai asks Josh to put in a good word with his well-connected, future father-in-law to help Hayley secure a coveted career position.  Understandably, Hayley had forbade him from doing so.  Kai shares Hayley's recent struggles with addiction and depression.  What's surprising is Josh's curt refusal to get involved.  Meanwhile, much ado is being made of the $300K bauble Josh put on Kat's finger as it's being passed around for inspection.  Red wine is flowing and gets spilt upon the table in a heavy handed metaphor. After the cleanup, the sparkly trinket is found to be missing.  Josh suspects Kai of having sticky fingers. Kat is taken aback that Josh could contemplate such contemptible behavior of his friend only to find herself culpable of thinking Hayley as complicit. To say the dinner party was not a festive jubilee is a major understatement.  The guilty party scenarios were enticing but the play's payoff falls short like a flattened soufflé with too many treacly ingredients in the mix.  The dialogue felt stilted and the acting felt somewhat stiff.  Although, Bella Heathcote as Kat and Mark Jacobson as Alan both provided smooth performances.  Too bad Wendie Malick in her role as Kat's mom was undercooked.  However, there were tasty tidbits to savor in this diverting drama.  I favor THE ENGAGEMENT PARTY as a pleasant palette cleanser.  But, overall it was underserved as a biting social satire having missed ample opportunities to stain with scathing, indelible commentaries.