AYA Piano Trio Play Beethoven, Brahms and Beach(?) at The 222

The AYA Piano Trio is composed of three young, international virtuoso artists who performed a classical chamber music program of Beethoven, Brahmas and Beach. Ying Li led the trio on piano. She's 27 and has garnered numerous international prizes including the List Piano Competition in Moscow. On Violin was Angel Chan. Chan received first prize in the 2024 Hannover Joachim Violin Competition. The cellist, Andres Sanchez-Linares hails from PA. At 13 he made his debut at Carnegie Hall. The trio regaled us with Beethoven's Piano Trio #6 in E flat. The piece is distinctive in the first two movements as they began very intimately and contained elements from Beethoven's repertoire but it fills out into a lush, complex conclusion. This piece was followed on the program by the Piano Trio in A Minor by French composer, Amy Beach (1867-1897). Unbeknownst to me, Li described her as a child prodigy who is only recently receiving her due recognition. The piece was a combination of a French aesthetic with an ephemeral, romantic overtone. I rather liked the work for its nuance but felt it was not on par with the other two great masters. The Lento espressivo was said to have been influenced by American Folk Music. This alluded me but for the Lento/Presto calling to mind somewhat Copland's "Rodeo".  The Introduction Allegro was very melodramatic sounding and reminded of a score to an old fashioned black/white romance movie. The final piece, or as Li said, "The main entree for the evening" was Brahms' Piano Trio in B Major. The piece sounded more like an emphatic composition by Beethoven. Ironically, Beethoven's piece began more like a subdued Brahm's composition. Li also described Brahm's piece as "a journey into space and outward into the galaxy." The piece was celestial and invoked spaciousness and exploration. The exceptional fine performance made for a remarkable and delightful evening. Should the AYA Piano Trio return - don't miss the opportunity to enjoy. 

Grammy Winning Trombonist Ryan Keberle and Catharsis Play Jazz at The 222

Grammy winning trombonist Ryan Keberle brought his jazz band Catharsis on a chilly October night in Healdsburg to The 222 where they received a warm welcome. Catharsis is credited with performing a mixed bag of musical genres that include Brazilian, Folk, Chamber and Indie Rock while fitting into a jazz framework. Keberle, who dazzled on trombone, also played on keyboard, synthesizer and provided backup vocals. Playing along with him were Camilla Meza on guitar/vocals, Ike Sturm on bass, Jimmy Macbride on drums and my personal favorite in the band, Mike Rodriguez on Trumpet. Rodriguez it turns out is a Grammy winning artist who has played with Wynton Marsalis and Quincy Jones and is currently on faculty at Juilliard and NYU.  Keberle shared with the crowd that he and the band were marking their 10th consecutive night with 10 straight stops along the western seaboard. He informed us he and  band, "we're more like family and just released their first new album in 5 years. Catharsis was set to perform for us from the album. "For the last 5 years," Keberle said, "I was ensconced in S. America soaking up Brazilian music and learning for the best." The first two numbers compositions were original Keberle pieces that had a  high octane caliber that sliced into a cacophony of blurred instruments with too little "space between the notes."* However, when Rodriguez and Keberle came to the forefront with their horn and trombone, the winds complemented each other in a rich oscillating vibrato that was exceptionally pleasing. Meza, originally from Chile, played lead guitar and sang mournful vocals in Spanish for a Chilean Folk Song, "Veracuse". Another outlier for being subdued in the program, was a composition by a French, female composer titled "Shine." This was the highlight of the concert with an alluring trumpet and trombone duet. I sensed a mostly Latin aesthetic with a new age jazz quality in the music. The Spartan chamber music element only arose in one lovely riff on trombone reminiscent of Debussy's water music works. The "jazzy fusion" sounds were not imbued with syncopation that elicited toe tapping, head bobbing or shoulder shimmering. Instead, the energy felt more like a blaring indie rock concert (except for "Veracuse" and "Shine") pushing the boundaries of contemporary jazz.  The power of music to engage and arouse "active listening" and  a visceral response was most apparent in the program's final number entitled "Sonic Living." 

*"Music is the space between the notes." (C. Debussy)

Katori Hall's Play THE BLOOD QUILT on Broadway-Quilting Bickering Sisters

THE BLOOD QUILT is an African American family drama that reunites two sisters with their two younger "half-sisters" at the home where they grew-up shortly after the passing of their mother. Their home is a ramshackle cabin, strewn with numerous quilts which lend a cozy, beckoning ambience. Situated on the small Kwemera Island off the coast of Georgia, a ferry is the only means of connecting the Isle to the mainland. We meet the two older sisters when the play opens. Gio tells her sister, Clementine, to vouch for her that she's ill and not able to come into work. Gio is too preoccupied with getting stoned and when pressed over the phone to explain what's wrong, she says she's fighting glaucoma. The tone is set for a family comedy/drama with four dynamic siblings and a precocious niece. in tow because she's been suspended from school for smoking pot. Cassan arrives soon after bringing her 14 year old daughter who is suspended from school for smoking pot.  Zambia is thrilled to be among her aunties, especially Aunt Gio who is happy to share her stash. Last to arrive is the golden child, Amber. Amber is a glamorous, successful "Harvard" attorney whom the sisters both adore and resent for various reasons. Katori Hall is a Pulitzer Prize winning dramatist and twice Tony nominated playwright. Hall brings brusque banter to the women whose love for one another is about to become frayed when tying up the family's tangled financial situations and the reading of what their mother bequeathed to her daughters individually. What weaves the family together is their shared upbringing on the isolated island and their tradition of quilting. Over the next few days the women will cut, stitch and sew fabric into a quilt to honor their mom and their own legacies. The sisters will stew, argue and mend unraveling relationships. Dark secrets and buried resentments will be uncovered. Hall's crafty writing unspools skeins of colorful conversations twanging in unfettered dialect. Hall also brings lyricism to the forefront spinning a historical yarn of their ancestors. The present and past, rough and soft are woven together harmoniously to paint a portrait of a strong but tattered family of women that endure by underpinning heartache and loving each other.  

LEFT onTENTH with Julianna Marguilies and Peter Gallagher on Broadway

LEFT ON TENTH is the Broadway play based on Delia Ephron's 2022 memoir that picks up on her life after the passing of her beloved husband  of 30+ years, Jerry, while she's been on hold purgatory by AT&T. Disconnecting the landline to Jerry's phone resulted in the debilitating disconnect of her internet. As a writer, the internet is an essential lifeline. Who would've thought that the frustration of waiting on hold for the phone company would lead to a whirlwind romance and second chance at love? Ephron put her talents to writing an editorial of her aggravation from her apartment on 10th in Manhattan was read by Peter living in San Francisco who responded to her in an email and so the paper trail led to phone calls and a NYC rendezvous that brought two septuagenarians together in what would read as a "Sleepless in Seattle" romantic  comedy of far-flung lovers brought together by "bashert;" Yiddish for fate. The Ephron sisters, Delia and her late sister Nora, share a talent for writing. Unfortunately, the two also shared a genetic propensity for blood cancer that killed Nora in 2012. Having read Delia's memoir, I was aware of the miraculous love story and the harrowing story of Delia being stricken with blood cancer that nearly took her life at the time when her life was overflowing with joy at being in love. The story does have a happy ending with a risky blood saving bone marrow transfer that worked and left her with a new blood type. This type of story actually reads very well in the deft hands of the gifted writer. Sadly, despite Delia as the playwright and two very engaging actors, the play is a mildly charming love story. Furthermore, it flatlines with hospital scenes of the many arduous months of treatment. Julianna Marguilies as Delia is delightful and Peter Gallager is wonderful as her new devoted husband. Problems lie elsewhere. as when  Marguilies lies being bedridden and comatose for long stretches. During the passage of time which gets marked by orderlies moving hospital screens to give the actress an opportunity to shift positions. The lighter sexual bedroom scenes feel foolish as the two actors cavort under flouncing sheets.  And, when Peter beseeches his wife to fight and stay alive cannot help being too melodramatic. Still, this true to life love story and story of survival vibrates off the page but merely flutters tepidly like a soft-shoe step on stage where it should have received a DNR order.   

Robert Downey, Jr. in MCNEAL Marks His Broadway Debut in a Muddled Play

The new one-act play MCNEAL by Pulitzer Prize winning playwright, Ayad Akhtar ("Disgraced")is playing at the Lincoln Center Theater and marks Robert Downey, Jr.'s Broadway debut. Downey plays the lead role as Jacob McNeal, an acclaimed novelist who is on the cusp of receiving the coveted Nobel Prize for Literature. Though the play is fictitious, Akhtar has alluded to the play as being semi-autobiographical. This might infer Akhtar's own personal dilemma posed by the temptations to access A/I in his writings. The reckoning between A/I and the arts lends itself to a heady topic worth investigating. We're first directed to believe this is the play's intent. However, the play shifts focus to become a character study of an irritating and exhaustive writer. McNeal is an amalgamation of stereotypical attributes associated with brilliant but troubled writers. He's an alcoholic, intellectual snob, narcissist and shameless flirt. He's a failed husband and father, and a bombastic blowhard who can't get out of his own way.  McNeal ignores his Dr.'s dire warning to stop drinking or be dead within the year. He receives the Nobel Prize only to give a bombastic acceptance speech that attacks the institution. He sabotages his interview with the NYTimes by insulting the reporter and claiming to admire Harvey Weintraub but somehow charms her into writing a flattering piece. There's scenes that feel shocking but extemporaneous. One scene involves his estranged son and the reveal of an incestuous relationship. There's a melodramatic account of speaking to the skull of his wife who committed suicide after the bones were washed up in a tempest. McNeal also meets with the woman he had an affair with during his marriage whose relationship he wrote about without her consent. And, there's the effervescent, unflappable agent (Andrea Martin) who remains steadfast by him with a ready pot of coffee. All told, the play is confusing, disjointed and dreary. It's a tedious mess that can't find its way. Perhaps, Akhtar wrote this play utilizing A/I to amass storylines from classics, (i.e. Hamlet, Oedipus) and character traits of a self-absorbed, self-destructive writers (Hemingway, Chandler).  Maybe what Akhtar hints at all along is that A/I can amass and emulate other writers but in doing so, the result fails to have cohesive meaning, Artistic Integrity or Any Interest. And, In Addition, I'm sure Akhtar aspires to win a Nobel Prize. 

On Broadway OH, MARY! This Bawdy Play was a Drag

"Oh, Mary!" is a bawdy, comedic take on Mary and Abe Lincoln set during the last days of the Civil War. Mary is performed in drag by the show's playwright, Cole Escola, donned in a flouncy hoop skirt and knickers. Mary is portrayed as a conniving alcoholic and petulant pest to her besieged husband consumed with fighting the war to save the union. It's a credit to Escola's commitment to portraying Mary's peevishness that 'they' bring a frothy hilarity to her self-absorption. Good old Abe (Conrad Ricamora) has a lot on his plate to contemplate while keeping his wife's wile's within reason, satisfied. The President has his own needs for an outlet to release pressure. Honest Abe, lover of men, bargains with the Almighty to win the war and finds his assistant (Tony Macht) ready and willing to serve him above and beyond the call of duty; beneath his desk while on his knees. Abraham Lincoln gets his portrait repainted as a repressed, gay man. To distract Mary from becoming inebriated, Abe hires an actor to give Mary lessons for acting in the theater. Mary's female chaperone has a salacious secret taste of her own and is forever being thrown down the stairs by her. Abe is determined to assuage her from aspiring to her real aspirations for performing cabaret as it's unsuitable for a First Lady. The actor Abe hires is none other than John Wilkes Booth (yes, that Booth) to work with his wife. It appears the two quickly become smitten with each other and plot to abscond together to Canada. Alas, tis a ruse with Mary being used as Abe and John are actually secret lovers. There's a lot to swallow in this slapstick, frenetic farce. Some will be in stitches following the zany antics. Others may find it somewhat droll. Anyone who would perceive this as a disrespectful, irreverent play, please, just stay away. Personally, I found it somewhat amusing but more confusing as to why most in the audience were bellowing with laughter.  Exploring Mary's neurosis and Abe's sexual proclivities in an impudent comedy did strike some high, hilarious notes. There's a clever historical twist at the end and an added bonus of several cabaret numbers performed with gusto by Escola accompanied on piano. But, just so you know, I was far from slayed by the show.

Dan Hoyle's Theatrical Performance IT TAKES ALL KINDS at 222

Journalism takes flight in Dan Hoyle's solo theatrical performance, "It Takes All Kinds". Culled from hundreds of conversations Hoyle conducted over a large cross section of America, Hoyle set about to  register the present political climate. Hoyle uses selected conversations to re-enact "verbatim" in the persona of the individuals he interviewed. These portrayals pulsate with intelligence and a measured intensity. His ability to morph in the varied characters is uncanny. He's able to bring these people to life and imbues their stories with gravitas and humanity. Called a present day prophet by The San Francisco Chronicle, Hoyle describes himself as a dramatic journalist. By spreading the word of others Hoyle serves as a modern day messenger. His own overriding message is for people to maintain, "open hearts and open minds." Audience members are placed in the role of as an active listener in a one-on-one conversation, This approach enhances empathy by delving into one's personal history in a confiding, genial manner. Hoyle is able to convey not only differing political or ideological views, he gives a fully realized personal along with their views and rationales. As a broad and diverse nation, we tend to be logistically, economically or socially segregated. All too often, dialogues from differing  viewpoints are difficult to encounter. And, oftentimes opposing outlooks can become contentious conversations when presented with opposing convictions. These dramatized dialogues provide an earnest opportunity to fathom and empathize with a different way to consider how other people arrived at their way of thinking. These one-sided, re-enacted conversations eliminate divisive diatribes and replaces them with uninterrupted dialogues.  Several of the characters Hoyle searingly brought to life included a survivor of a racist mass shooting, a former violent felon turned social worker, high school students, barbers, a bartender and small business owners and others from different walks of life. Changing one's personal position was not Hoyle's intent. Nor was it likely to have been achieved from this engrossing theatrical experience. However, one should come away considering issues from a different perspective. And, perhaps realizing, we are all more alike than unalike.

An Evening with VAN MORRISON at Lutther Burbank in Santa Rosa-Still Got It!

Van Morrison is a true legend with a music career having spanned seven decades. Now pushing 80, you wouldn't know it from his, rich vibrato singing voice that still richly reverberates one's senses. Needing no formal introduction. Morrison come on stage at 8PM sharp to his 8 person band and a warm welcome from a packed house. Not only has he retained his strong, unique fog horn sounding voice, he blends genres of blues, jazz, country and soul into a hybrid art form. His talents on the sax, harmonica and guitar remain omnipotent. Dressed in a boxy-grey suit, grey fedora and shades, he walked out on stage and began playing. His sunglasses intermittently flashed a green neon light giving him an alien aesthetic. Of course his playing and arranging makes you wonder if he isn't some tripe of extra terrestrial with supernatural abilities causing incessant swaying and shaking from spectators. There was only one brief moment of banter after his first number on stage performing "Days Likes This." He said he had performed this song for the president...of the United Sheet Metal Workers. The unexpected final number was a long rendition of "Gloria." He left the stage after two singing two choruses leaving his band and vocalist to shine in their solos. The musicians in the band were all exceptional and proficient on multiple instruments. The horn players brought in trombone, clarinet and flute. The gifted pianist also played the electric organ and the bass guitar doubled on bass. It was unforeseen and deeply disappointing that he did not return to the stage for an encore or an acknowledgement to Santa Rosa fans for turning out despite a standing ovation that only ended when house lights were turned on. Regardless, the nearly two hours of his non-stop singing and playing went without a pause. The audience was provided with an exceptional concert that was above and beyond a mystic experience. It was a performance where the music and the talent were pure, powerful and rewarding. He's never been an artist who repeats himself or relies on set arrangements or mostly fan favorites (albeit "Moon Dance"). Morrison dazzled with his brilliant rendition of other artist's  compositions including "You are My Sunshine." and "Cold, Cold Heart." His mastery for arranging has cultivated unique renditions that reveal a surprising and soothing sound solely his own. The program was a musical, mixed bag that also included spiritual songs which referred to "higher grounds," "going down to the river" and "being lifted up." Morrison's own religious journey explored various theologies and religious practices. His exploration lead him to align himself as being more spiritual than affiliated with any formal religion. He shared his philosophy in his poetic lyrics, "There are only two things from the start. What you believe. What's from the heart." The evening with Van Morrison was a celestial event with his impenetrable vocals and preternatural musical gifts. Ting-a-ling-a-ling  

Raven Theater's DEATH TRAP a Play that Has Seen Better Days

As you walked into the Raven Theater, music from the 70s was being played. The Bee Gee's "Stayin Alive" preceded the start of the play "Death Trap". The show originally ran on Broadway in the 70s and received four Tony nominations, including for "Best Play." Written by Ira Levin, it's a comic thriller with chills and laughs that should remain in the past. The show no longer feels fresh, clever or relevant. And its entertainment value has greatly diminished. The two act play revolves around a long in the tooth playwright, Sidney (a charismatic Craig Peoples). Sidney's talents have waned and his glory days have passed. He tells his wife Myra (a prim Elizabeth Henry) he's received an excellent play written by a student whom he can't remember from his writing seminar. His envy turns to plodding how he could rub out the author, put his own name on the play and become the toast of Broadway, again. The 70s era period piece play is anchored by telephones and technologies that were non-existent at the time. Rotary. landline phones, electric typewriters and carbon copy machines vital at the time, are embedded into the plot are now obsolete. Sidney and Myra conspire to lure the budding playwright, Clifford (an earnest Christopher Johnston) to their country estate under false pretenses of Sidney's help for improving the play. A fawning Clifford is dazzled by Sidney's interest and by the arsenal of weaponry mounted on the walls used in Sidney's previous murder mysteries. Act one's murder twist doesn't pack the intended shock it once wielded which proves enough to send Sidney's complicit wife to her grave. Nor is it scandalous to discover Clifford and Sidney are lovers who consorted to rid Sidney of his wealthy wife and take over her estate. The celebrity psychic neighbor Helga (Diane Bailey) who warns the married couple of pain and doom she feels within their room is played for comedic relief but it comes off as cheesy. Sidney and Clifford come to crossroads over writing about their murderous scheme. Clifford believes that nothing  can implicate them. Sidney doesn't want to risk anything, including being outed from the closet. The grade school students accompanied by parents to the matinee were not engaged in the play. They continuously, albeit quietly, kept leaving their seats.  "Death Trap" has lost its jolt and neither did it fly with the older folks. Alas, "Death Trap" is not the only thing that has fallen out of style from the 70s. Along with disco, this play should stay in the past. 

Ronny Chieng "The Love to Hate It Tour" Takes Santa Rosa to Heart

Ronny Chieng gained a large following for his exasperated reactions to his public interviews as a correspondent for the "Daily Show" hosted by Trevor Noah. Chieng's stand-up at the LBT Theater in Santa Rosa left him on stage to engage an enthusiastic, packed house with his own frustrations and astute observations. Beginning  by thanking the Asian community for turning out and then calling out and thanking "The white people, Latinos, Native Americans and Blacks." He then asked, "How did you find me?" I found him to be more engaging and introspective than his clever but caustic style which comes across in his Netflix comedy specials and "Daily" interviews. Turning the tables on himself. Chieng shared his IVF trials and tribulations having to stab his wife in the "Chicago Bulls Area" and his failure to fulfill his part of the bill in the sterilized hospital room set aside for ejaculation with a "queue of men waiting outside." Although Chieng was wary of the wear and tear from parenthood that has aged his peers and fearful parenthood would interfere with his "...career and what I love to do more than anything. Stand-up comedy!" Asian competitive parenting was parodied depicting anything less than elite professions as unacceptable. Chieng had a dialogue with his future son aspiring to be a comedian like him. To which he told his son, "You're never going to be funnier than me." Chieng's irritation with trying to teach his mother how to use the internet was hysterical and directed further zings at "Baby Boomers who weren't raised with the internet and never developed the scrolling muscle." His ire with Baby Boomers was tinged by his love for his mom who he nevertheless lambasted along with Chinese people for being cheap and fearful of being scammed. He turned the table on the audience by saying he helped his mom by giving her mom money which didn't receive "applause as it's not common in American culture." Then he poked fun at male MEGA supporters who fell through the cracks inadvertently on the internet by theories which took over their thinking. He softened this jest by suggesting communicating with each other starting with common ground which spotlighted the ridiculousness of extreme views. The entire 90+ minutes flew by seamlessly with body racking guffaws and heartfelt sentiment. He ended with the unexpected passing of his dad whose estate he had to settle. He was right in knowing his dad's password would be the birthdate of his favorite child; his sister the Dr. But, his screensaver was a photo of "Me with my wife. Take that sis. I won!" Anyone at the Ronny Chieng's show last night won big time with big laughs and lots of heart. Don't let anything deter you from continuing your comedy/showbiz career or becoming a parent. You've got what it takes. 

Green Day's AMERICAN IDIOTPerfromed by Deaf West Theater

AMERICAN IDIOT, the Broadway musical first opened in 2010. It's a contemporary rock-opera compiled of the music by Green Day which evoke the listless lives of 20 somethings. The characters spend their days getting stoned while shifting from friends' sofas to 7-ll's parking lots with not a lot to show for their lives. Their malcontent and lack of motivation is artistically portrayed through song and dance while painting a drab existence. These dreary, unkempt young Americans are hellbent on revolting against a future from which they feel alienated.  The simple staging with live musicians atop the stage provides an overwhelming sense of futility or false pretense for engaging in society. I enjoyed the original version on Broadway and had the great pleasure of seeing it again, presented at the Mark Taper Forum by the Deaf West Theater. The Deaf West Theater is a non-profit arts organization established in LA, 1991. The company has earned Tony nominations for their productions of "Spring Awakening" and "Big River." The recent and enhanced production of "American Idiot" engages deaf artists and audiences with singing, choreography and signing for a seamless, energetic balletic performance.  ASL (American Sign Language) was interwoven to create a hybrid art form where hearing impairment becomes a non-issue for needing translation. This imbues the choreography and the vocals an added layer of communication that is able to  encompass larger audiences and enhanced the visualizations with hand movements. Furthermore, the incredible undertaking to present an audio medium by a theater comprised of deaf individuals is an astounding achievement. An achievement that is rewarding for audiences and communities alike.  The Center Theater Group's mission is to provide diverse audiences elite theatrical experiences by attracting new artists and developing outreach arts education programs.  The theatrical works are aimed at bold, entertaining dramas and musicals to inspire and delight a broad spectrum of guests.  In so doing, The Center Theater Group collaborates with diverse and innovative artists and performers. "American Idiot" was presented in a non-interrupted 1 1/2 hour performance with  powerhouse storytelling and sublime staging. The show will be running through Nov. 16th . Tickets are available. Don't be a moron. Make a point of catching this magical musical before it closes and learn a few signs while enjoying the performance. 

The Doc. WILL and HARPER-Buddy Road Trip to Navigate Friendship's Alterations

The seriously funny and revelatory raw feelings expressed between two friends on a cross country buddy trip revealed altered curves and adaptations wrought with new bends in their relationship. Will refers to SNL legend and movie star, Will Ferrell. Harper is Harper Steele, an SNL Emmy winning head-writer. The two met at SNL and became decades long friends and writing partners. Since their SNL days they maintained a friendship now undergoing growing pains after Harper informs Will in a letter of a major life-change. Harper, formerly Andrew Harper, recently transitioned to living as a woman and changed her name to Harper. Will reads the letter verbatim from Harper, registering a stunned and perplexed reaction despite having read it previously. The jest of the letter, and the purported goal for the film is to monitor how the two can or WILL maintain the friendship they heretofore entrusted. As in all documentaries the slant is skewed and should be viewed as seen through a certain lens. All in all, WILL and HARPER is a heartwarming film about friendship and a unique first hand account by Harper of her inner turmoil, what led her to transition and her fulfillment with her decision. The affection and awkwardness between the two as they head from NY to CA with numerous stops at roadside flops along the way, a visit with her sis in IA and some staged stops for entertaining scenarios, shows an abating timidity along with a flourishing bond that is stretched and strengthened, Both Will and Harper are professional comics so their lively banter is clever, credible and enlightening, Harper encourages Will to ask anything of her and she will happily answer him truthfully. She hopes the film will serve helpful to people who are trans, considering becoming trans and for everyone else who know or will meet trans individuals. The doc. aims to spotlight how trans people are perceived in different walks of life, in different locals across the country. However, Will Farrell is a recognizable celebrity (although he's not known at one hilarious pitstop) so he is a buffer to hostile reactions to Harper. There are burning questions that were left unasked that many would want answered. What surgeries have you undergone or plan to have? How did you feel married to a woman and having a family together? What occurred when confronting your wife with your decision? We did see Harper and Will enjoying a meal together with Harper's kids early in their road trip. Overall, I was enchanted while riding along on their journey. In a recent interview Will was asked what his main take away was from their time together. Will said, "I didn't appreciate how much pain and turmoil a person endures who feels they've been misaligned with their sexual identity at birth." This is a thoughtful and uplifting film attesting to empathy and kinship. 

The WILD ROBOT-an Animated Film that will Win your Heart

THE WILD ROBOT is an animated sci-fi, survival film rich in story-telling and beautiful to watch. The hybrid plot mixes A/I with an island inhabited only by animals. A crate transporting a robot washes ashore after its cargo ship was destroyed. Thanks to an inadvertent push to the on-switch by a curious rodent, the high-tech robot becomes activated. Designed to service its owner in whatever capacity required, the robot goes in search of its directives. The robot's valiant attempts to seek its officious duties is met by the only sentient beings; numerous wild animals. An underlying message here is the need for being of service or having a purpose in life. This message is not likely to compute into the minds of young children. Needless,  it offers an added pearl of wisdom to the panoramic splendor of unspoiled wilderness. THE WILD ROBOT is based on the children's series by Peter Brown who appropriated a few gimmicks from the beloved movie ET. The Robot uses its omnipotent intelligence to comprehend the languages of the animals and is soon fluent in their gibberish which translates into comprehensible English. The other nod to ET is the startled screams he receives by the gosling who hatches in Roz's palm and then imprints her as his mother. The robot's presence is deemed passive by the animals and is befriended by a wily fox, Fink, Pedro Pascal) and a mother possum who provide support. Much of the film's charm stems from the endearing bond that develops between the gosling, Brightbill and Roz.  Roz is voiced by a robotic sounding Lupita Nyong'o. The mother possum assures Roz there is no manual for being a mother. "You'll never be the perfect mother, so just do the best you can All Brightbill really needs is to know you're doing your best," The fox assigns tasks that Roz needs to fulfill in order for Brightbill to migrate with the other geese. The unusual relationship the two share keeps Brightbill ostracized from the pack of geese. But, Longneck (Bill Nighy) the leader takes him under his wing. The pangs of separation are felt as Brightbill is successfully launched and migrates with the others. The winter proves extremely harsh and threatens the animals on the island, Roz rescues them by bringing them into her sturdy safe haven. Fink lays the ground rules - no animal is to prey on any other during their hibernation. The utopian truce melted away with springtime. Roz is located by the nefarious futuristic robots who come to reclaim their property.  This time all the animals come to Roz's rescue but not before the evil robots cause massive destruction to their island.This delightful and touching film teaches without being treacly or preachy the meanings of sacrifice, friendship, family and power of love. THE WILD ROBOT should become an instant classic. Will children recognize the intimated angst between an aging Brightbill and his immortal mother? No, but then how many adults took note near the ending.  

SWAN LAKE-World Ballet Co. at Luther Burbank Theater (LBT)

Peter Tchaikovsky's "Swan Lake" is a classic, full length ballet. Tchaikovsky's brilliant music, the beauty of dance and pageantry all blending into a breathtaking ballet that has become a beloved staple in the repertory of major ballet companies for well over a century. It's surprising that its Moscow premier in Moscow back in 1877 was poorly received by critic and fans. It ran for only 41 performances at the historic Bolshoi Theater. Last evening at the Luther Burbank Theater in Santa Rosa, "Swan Lake" was performed by the World Ballet Company to a poorly turned out crowd appearing less than half-full for the full two acts. The current choreography was by three Russian choreographers: Petipa, Ivanov and Kalinina.  The original choreographer  was Julius Reisigner (b. Czechia 1828-1893) who was a former dancer. World Ballet Company was founded in 2015 and based in Los Angeles under the direction of co-founders Sasha Gorskaya (b. Belarus) and Gulya Hartwick (b. Latvia). Their mission is to present ballets in cities with little access to ballet and expose a broader audience to the art form. The World Ballet Company performs modern ballets in addition to classic ballets. Although last night's audience wasn't large there were a number of young fans dressed to impress in sparkle and glitter. In the lobby photo ops were available with one of the ballerinas in her swan costume in front of a magical backdrop with a professional photographer to capture the moment. A popup shop was in the lobby with ballet paraphernalia for sale. The ballet promptly got underway using a recording of Tchaikovsky's music. - Act I began with a lot of smoke to represent the mist off the lake where the bewitched swans transform back into their true female forms at midnight until dawn. The smoke was overbearing and the scenery sorely lackluster.  The backdrop for Act II had more interest set within the royal palace. The costumes were exquisite, the dancing by three leads enchanting in the roles of the jester, Odile and the prince. The corps had a few missteps somewhat forgivable with a less than ample stage space not intended to host a full-scale ballet. The fans on hand were enthusiastic if not passe' (like the man whistling as if at a baseball game). It's a shame this production was not well attended as it was a wonderful opportunity for appreciating the artistry inherent in ballet. Having the world class San Francisco Ballet Co. an hour away is not the ease of having it in our own backyard. The tickets were modestly priced for the World Ballet Co. I encourage locals to attend any ballet programs at LBT or in Sonoma. I'm hoping this won't be our swan song for future ballets in our area. 

NOBODY WANTS THIS-But I Do Like this Smart Rom/Com-Christin Bell/Adam Brody Star

The title for Netflix's new rom/com series, "Nobody Wants This" is apropos. It goes without saying, I thought this when I first saw the trailers and learned the archaic conflict concerns a Rabbi and a blonde bombshell "shicksa" falling into a forbidden love.  For those old enough to remember the comedy series, "Bridget Loves Bernie", (1972) you'll recall the culture clash between a Jewish family and wealthy Wasp family resonated with wry humor. Bridget and Bernie made the leap into marriage while "Nobody Wants This" is a modern day flirtation and dating parody that is smart, silly, sensual with two consensual adults of different faiths and convictions. Whether this matters today is another matter. Varying values and character traits are a different matter which the two are trying to discover about each other. At least they banter back and forth on serious subjects whenever not engaged in foreplay and whatever else ensues. Noah (Adam Brody) plays the cool Rabbi who just ended a three year relationship after realizing his ex maintained a controlling ownership of him. Joanne (Kristen Bell) is the perky, motormouth who can't help falling for this cute guy who goes eye to eye with her witty repartee. (And, by the way, may be the world's best kisser.) One of Joanne's girlfriends advises her to hang on to him. "A straight, nice guy with a steady job in LA is a unicorn").  If I haven't won you over to this inane non-issue premise of goy meets boy but their love runs astray, perhaps the added interference from a meddling mother, Vina (Tovah Feldshuh) and bubble-head siblings will convince you with their comic flair. Sasha (Timothy Simons) is Noah's brother, he's married with a kid but still a puerile putz. Morgan (Justine Lupe) is Joanne's squabbling sister. Sasha tells her, "You're the loser sibling like me." The sisters are partners in a budding pod-cast about dating they're trying to monetize. Still, both sets of siblings are each other's best friends and biggest nudge. Each slick episode is swiftly paced with banter that makes the "Gilmore Girls" look like geriatrics. Adding quips to the incessant chatter is Ashley (Sherry Cola) friend and business partner to the sisters.  So what's to kvell about? Well, it's LOL and endearing. I'm more sure of what I don't like than what I find appealing. For example, Jewish women are not portrayed in a favorable light. They're portrayed as manipulative and hostile. Joanne's ignorance of basic Judaism feels false. The girl's new-age mother is still in love with their father despite having divorced him because he's gay goes astray. And, Noah acts pitifully about keeping his job as the rabbi very apologetic and wishy-washy with Joanne who seems to have the upper hand. What I can testify to is once you've delved into NOBODY WANTS THIS, this tempting guilty pleasure does deliver the goods for what makes a good rom/com fun. I've done a mitzvah by letting you know this is a show you'll want, even if you didn't think you did. Nu...go figure. 

SHORT FILM FESTIVAL in HEALDSBURG-Doc. Shorts Sept. 27-29th

The Healdsburg Int'l Short Film Festival kicked off last Friday, Sept. 27th at the Raven Performance Theater with a champagne party and a screening of mixed genre films including comedies, music videos, animation and dramas. The countries represented were the USA, Italy, Ghana, Germany and Sweden. One of the programs was a "Youth Perspectives" which were student films. Only two of the ten films from outside the USA; from Korea and Nepal. I attended one of the last three programs on the final day of the festival which consisted of documentaries. Of the eight short films, two were from students; one student was from the USA and one from Finland. These two films were sophomoric, "When the Devil Smoked in Paradise" (USA) and the other, "Shape of Ritual" (Finland) was an investigative reporting on the release of benzene from a plant aimed at crying foul but fell far short of laying blame or finding resolution and was dull.  Four of the other films failed to elicit much interest. Although, "Pinatas of Earthly Delights" presented the artistic" piñatas" created by Roberto Benavides were magnificent to behold, his biracial ethnicity (Mexican and Caucasian) and homosexual orientation did create the conflict the filmmaker wanted to achieve. There were two films that were noteworthy for their subject matter, prison reform "From Pen to Paper" (USA) and "Four Chambers to the Heart" (Belgium), a stunning film that melded animation with a magical flair that left me breathless and craving a longer film. "From Pen to Paper" documents inmates in a writing program taught by a Univ. Prof. and several of his students. Both the prof. and students volunteer their time. There's no cost to taxpayers. This powerful film illuminates positive changes and outcomes to both the inmates and instructors from their participation and putting thoughts to paper. The humanization of these prisoners has shown a 0% recidivism. The film "Four Chambers to the Heart"features paintings by the revered Flemish painter, Sir Anthony Van Dyke (1599 -1641). The filmmaker used artistic license with the documentary genre and created a hybrid documentary artistic work that enlightened the viewer many of Van Dyke's paintings and transcending us into the paintings. "Four Chambers to the Heart" received my vote for best film in the documentary series. It achieved what successful documentaries do. It was educational and entertaining. It left me wanting to know more about the subject and wanting to see more films by this ingenious movie maker. Patrons were asked to vote for their favorite films. Cash prizes were awarded last night which marked the finish of the festival. 

Ellen DeGeneres' Netflix Farewell Comedy is Well...a Final F.U. Adieu

"For Your Approval" airing on Netflix is Ellen DeGeneres' stand up comedy special where she shares what's been happening in your life, since she's been out of the limelight. "...Oh yeah, I was fired from entertainment," she says with an impish grin after reading from her pocket . For three decades since the 1990s, Ellen's presence in the media was ubiquitous. She starred in TV sitcoms and her own talk show, "The Ellen DeGeneres Show" for which she earned 33 Daytime Emmys. Ellen landed on the cover of TIME mag., received the Presidential Medal of Freedom, hosted the Emmys and Grammy Awards and made TV history by coming out as a lesbian on TV. The opening reel of "Ellen Degeneres: For Your Approval," is a montage of memorable moments and honors she's received in what attests to a remarkable career. Ellen swaggered through the back halls of the Orpheum Theater in SF as her past flashes alongside. She's wearing dark blue slacks and sweater accentuating her cerulean blue-eyes looking much the same with her pixie haircut and ubiquitous sneakers. "If I look older, it's because I am," she quipped. Much of her jocular banter was met with canned laughter which was off-putting. Heartfelt, belly grabbing guffaws came later. Perhaps the blue garb was a deliberate choice to symbolize sincerity, loyalty and trust. Ellen tackled the topic of her ignoble exit from show business amidst allegations of a toxic work environment. Comics build a rhythm, circle back and drive their point home with humor. Ellen's humor is observational and family friendly. Ellen claimed this to be her coup de grace to any future interest in show business. "Let's see what have I been up to? I bought a lot of chickens. I love chickens, I'm not going to run on like people tend to do about their chickens, but let me tell you more about mine." Ellen's persona was likable and dead-pan. This served well for her self-reflections on her managerial style. Ellen's candid assessment revealed her to be a reluctant boss with a lot of responsibilities and people reporting to her. "We had fun around the office. I would drop fake snakes from the ceiling and chase staff through the halls and around the desks. Hmm...I can hear now where that sounds like I tortured the people who worked for me." Ellen's forlorn impressions revealed her vulnerability. "All I ever wanted to do was make people laugh and feel good. And if I made them laugh then maybe they would like me. All I can say is, thank god for the money." Ellen's "last" foray into entertainment may or may not prove factual. However, Ellen may have had the last laugh by taunting us with her talents we'll be missing.  She ended by saying "I've stopped caring what others think of me." Ellen brought her actress wife, Portia, on stage to an uproarious   ovation showing us she's happy and fulfilled outside the limelight. "Goodnight to all of you and goodnight Mrs. Calabash...wherever you are." (J Durante)

MATLOCK TV Series on CBS Stars Kathy Bates It's First Rate

For those who remember the original TV MATLOCK series starring Andy Griffith you probably remember Opie as Ron Howard. Congratulations, you qualify as old. The two MATLOCK series are not related but they do share the same namesake, legal profession, and are legal drama genres. A charming running gag in the series which premiered last night on CBS dishes up the generational divide.The star of is the incomparable Kathy Bates as an older attorney, Madeline "Matty" Matlock, returning to work after a long hiatus. Anything Bates is in is worth checking into. But, would the weekly TV drama be worthy of returning to on Sundays (following CBS' "60 Minutes")? I was engrossed by this glossy, high powered legal drama set in NYC. The series is "lawyered- up" with a smart cast including Beau Bridges as the plaid shirt-wearing head of the firm. His son Julian (Jason Ritter) is a partner who sports tailored suits and Julian's soon to be ex-wife, Olympia (Sky Marshall) with whom he shares twins is also counsel for the firm. Matty eluded security and slipped into the firm's board meeting without being discovered because, as she puts it, "older women are invisible, and I like it that way." In addition to being cunning, clever, resourceful and unflappable, we discover she's a smooth liar and serious sleuth with a mission. But, I object to my own preemptive spoiler. Matty won over Bridges and he assigns her to assist Olympia and her team. Olympia's two young associates are Billy (David Del Rio) and Sarah (Leah Lewis). They're smart, ambitious and obsequious to Olympia. Matty meanwhile, shows gumption, street smarts and quickly earns the support of the young duo. The three band together and banter. Sometimes, they baffle one another with references to technology or past and present pop culture. The current case involves a settlement for a man who served three decades behind bars for a murder he didn't commit. Despite Billy and Sarah's best advice not to proffer an opinion to a client in front of Olympia, she does just that. Matty advises the client "to take their case to court; the settlement offered was an insult." The detective work and courtroom scenes are entertaining despite being duplicitous, incredulous and sensationalized. As in the first episode of any new series, allowances must be made for being overladen with backstory and character development.  After having considered all the evidence presented, I found the show a bit slow and predictable. At least I did until the surprise ending. Matty's real life story is revealed and not what she testified to at the office. Without providing spoilers that would be objected to, the 11th hour testimonial renders evidence to indicate positive potential for a TV series to lock into on Sunday nights. Nonetheless, I objected to Bates admonishing the audience to be gagged on the ending.  Still, I find football foul (thus "60 Minutes") and henceforth, MATLOCK on Sunday evenings. 

I'M YOUR MAN-Artificial Intelligence Makes the Perfect Match, Perhaps?

Artificial intelligence, A/I, is a hot topic for our era. There's been a bevy of books and movies that have already brokered the subject. Oftentimes A/I storytelling is from a dystopian vantage, far less often from a utopian perspective and even more rare are stories that present both the pros and cons that may be experienced from A/I. The German language film, I'M YOUR MAN (2021) provides fodder for consideration and intelligent deliberation on how A/I may benefit mankind. The pristine looking film is set in the not too distant future in a major metropolis. It delivers a delightful sci-fi, what if scenario; should technology taking your unique algorithms be used to align one's personality and preferences be utilized to  devise one's perfect partner? Furthermore, would this construct be bliss? The film starts with a prim anthropology prof. getting assigned to cohabitate for three weeks with a male robot and report back her findings. Alma (Maren Eggert) is a driven researcher leading a team trying to decipher an ancient cryptic code. Alma reluctantly agrees to the assignment with an understanding this will lead to her needed funding for her project. Inside a throwback nightclub to the big band era, Alma is taken aback observing numerous couples on the dance floor or sipping martinis while making starry eyes at each other. She's met by an efficient liaison (Sandra Huller "Anatomy of a Fall") who introduces her to Tom (Dan Stevens, "Downton Abby") after receiving a brief explanation and Q&A on how he FULLY functions. Alma makes it known she is against having an A/I as an acceptable companion or sexual partner. I'M YOUR MAN stands far and above your typical robot anthropomorphism film. It handles this concept with intelligence, credibility and charm without being preachy, treacly or judgmental. Its emotional hard drive is centered in human anguish and desire for companionship. There's humor in an odd couple relationship with a roommate that proves too perfect, too helpful or too unflappable.  Joaquin Phoenix fell in love with his computer in the movie HER and spurns his opportunity for a relationship with a live person. Joaquin's connection to HER is felt to be hollow and unfulfilling. Alma runs into her colleague, Dr. Stuber with his assigned A/I. Dr. Stuber tells Alma that he's never been happier and has asked to make this arrangement permanent, "For whatever reason, my pheromones or my appearance, I've never been able to attract a partner despite my perpetual efforts." His beautiful A/I kisses his check and tells him, "You are so worthy of kindness." My Advice Is to spend time watching this thought provoking film. My Additional Idea - try adopting a dog.  

HIS THREE DAUGHTERS-Sisters/Step-Sister Sitting Around Waiting for Dad to Die

HIS THREE DAUGHTERS (HTD) is a movie that rings true for those of you who have been bedside beside a loved one's during their dying days. If this doesn't discourage you from watching this TIGHTLY  wound film which would be better served as a play, you'll be bestowed a master class in acting and a heartfelt lesson in empathy. HTD is written by Azalea Jacobs, an American dir./screenwriter known for THE LOVERS and FRENCH EXIT. Now available on Netflix, HTD is shot within the confines of a NYC apartment or briefly outside the complex for a much needed breath of air. The three daughters Katie (Carrier Coons), Christina (Elizabeth Olsen) and Rachel (Natasha Lyonne) convene to care and commiserate over their father's impending death vigil. Tensions are running high which fuels the hostility seething between siblings. The venom is mostly between Katie, the eldest and Rachel, the youngest and step-daughter. Rachel was raised by Katie and Cristina's father since she was five. Christina is the typical, middle child who runs interference between the other two until the vitriol gets out of control. Rachel is a  pot-head with a penchant for sports betting, Cristina is married with a young daughter whose seemingly perfect life is not as perfect as it seems on the surface. Katie is the over-controlling wife, mother and sister residing in Brooklyn. The powerful and contained performances by all three women makes this movie well worth watching. Especially noteworthy is seeing how each sister deals with grief and interacts with their mostly comatose dad. The two hospice caregivers are essential to instructing the girls of legal issues pertaining to end of life care. Katie's icy, voluble banter marks her as a mean girl. She is quick to back down when confronted with her bullying. Cristina's carapace of benevolence is constantly on the verge of cracking. And, Rachel does the heavy lifting with her pothead, Peter-pan persona who only wants to feel loved. The intimate quarters add to the uncomfortable purgatory of waiting for the grim reaper. HTD works as an intimate study of the stress on family dynamics exacerbated by an impending death. It's also  a clever examination of ways of comparing, despite sharing the same nest with siblings, how everyone has their own interpretation of a shared history. Most importantly is the idea of what constitutes a family. Jay O Saunders as the dying father of the three girls only makes a short appearance on camera reflecting back on his role to all three of his girls and nails it. HTD may not be the film you've been waiting around to see but it is a profound look at what family members need with a lot smoking weed on the side.  BTW, smoking weed is legal in 24 states; assisted suicide is only legal in nine. 

ROBOT DREAMS-Melancholy Animated Gem Dog Builds Robot Friend

I was completely charmed and somewhat disarmed by the grace and simplicity of this animated full-length film available on Apple. A fully vibrant NYC setting settles in on a humanlike Dog who walks on two legs, microwaves his macaroni dinner and plays video games alone on his couch when not looking out his window into other windows at happy couples cozying up on their couches while munching popcorn. There is a feeling of forlornness with Dog which has us wishing him luck in finding companionship. He watches a promo for those alone but don't want to be - no longer have to be by buying a robot (with some assembly required). This appeals to Dog. His order is placed and the next day delivery is made by a bull with a nose ring who lugs in the heavy box containing the robot. The aesthetic for this imaginary NYC where animals reside is simply drawn but elaborately detailed. The montage of changing seasons causes one to have a visceral response to the crisp fall weather and lightly falling snow.  I won't go into further detail but the two become fast friends. They share walks in the park holding hands, eating hot dogs, lick melting ice cream cones and play in the ocean. Aptly called "Robot Dreams" we are inside the dream scape mind of Robot who gets left behind inadvertently on the beach. Despite his imprisoned solitude, his mood remains unflappable except for a dream where he becomes agitated believing he's replaced in Dog's affections. So too, Dog has his own dreams. The blurred line between dreaming, being awake and being inside an imaginary world has its own soporific lull. This is not a non-stop cheery film, but it's always beguiling and thoroughly appealing. Doggedly determined to meet new acquaintances, Dog tries several group activities with aplomb even if they are a bust. On a lark, he takes a kite into Central Park and attracts an attractive Duck who takes him under her wing. Meanwhile, Robot remains marooned and dismembered on the beach still hoping to reach Dog. Animated love does not run smoothly but truly, this is an original work of art that ingratiates itself with its magical style that leaves the viewer with plenty to smile about. The film feels longer than it needs to be but it lends itself to stopping, restarting and returning to over and over, again. I highly recommend ROBOT DREAMS.

INSIDE OUT 2-Puberty's Problems Animated Aims for What Demographic?

Disney's Pixar animated film INSIDE OUT 2 (IO2) is the sequel to INSIDE OUT (IO). The heroine in IO, Riley, was 11 years old.  She's back with her folks in IO2 at 13. The clever and entertaining construct of the original takes us inside Riley's brain where there's a cast of characters that represent various emotions who navigate a control panel to help Ridley deal with her feelings. Riley was a likable preadolescent whose concerns and glee were plausible and pleasurable to observe from both the inner workings of the frontal lobe and her outward actions. Riley dealt with moving to a new city where she needed to adapt and make new friends. Disney's got a friend in the Y/A genre of maturing, changing and making new friends. Now 13 in IO2, Pixar has Riley picture perfect with zits, stinky pits, angry fits, the all important need to fit in with peers and avoid causing embarrassing faux pas or being embarrassed caused by one's parents. Riley's passion to play ice hockey has continued. She proves she's got game out on the ice. Riley has two nice, steadfast girlfriends at her school and on her hockey team. All three girls were selected to attend a hockey camp over the summer. The excitement in route to camp is dampened by the news her two friends will not be going on to the same high school as Riley. Nevertheless, the three plan on having the best time ever together for the summer. Back inside the brain's control center, the crew from IO is back intact: joy, sadness, anger, fear and disgust with joy at the head. An alarm goes off at the helm waking the insiders to the alarming breach of puberty. This clever trigger brings with it new nascent emotional beings: embarrassment, envy, boredom and anxiety at the forefront. Unfortunately, the movie loses its core once these emotions enter the picture. The newly added emotions are drawn too childishly, particularly anxiety and a ridiculous waste of space character, "pouch". The journey that the original crew must do once they're relinquished to the back burner turns into a silly kaleidoscope of balls and blue triangles which are far less appealing than the minions they're poorly imitating. At hockey camp, Riley is besotted by an older, star hockey player. She wants to appear cool and in doing so she's cruel to her two friends. There are well-intended messages but they get repressed in a senseless saga. This is not Pixar or Disney at their best. My conundrum is who's the intended target audience. Pre-teens will find the animation geared for toddlers. Toddlers will find the movie too long and too abstract. And, adults will feel ennui watching the film. Instead, see Disney's INSIDE OUT, TURNING RED and the superior non-animated Y/A film baseARE YOU THERE GOD? IT'S ME MARGARET. 

The PERFECT COUPLE-is Typical Trash Mystery Fare Set in the Hamptons

Elin Hilderbrand is a best selling author of romance novels. THE PERFECT COUPLE is Hilderbrand's first mystery novel. It shares the same posh Nantucket setting as all her novels. Nantucket is the enclave playground for the rich and ultra rich. Everything takes place on the estate of the wealthy Winbury's originally from London. It's a red flag warning though that the only member of these self-absorbed people and trust fund sons comes in a clipped accent from Greer (Nicole Kidman). Her husband, Tag (Live Schreiber) tried at first to sound like he had a posh British accent. He soon threw in the towel trying to sound or act convincing. Perhaps Schreiber uncovered he was cast in an insipid role. Schreiber dials in a droll performance and adds his ridiculous singing to the mess as he tries to woo Greer. Greer wants to keep up a stiff upper crust lip despite being savvy to his sexual dalliance with their son's fiancé's maid of honor, Merritt ("like the Parkway") played by Meghann Fahy. Fahy had a role in the far superior WHITE LOTUS. Any similarities between the two series is obviously misguided aside from Fahy being cast and a dead body floating in the ocean on day one. WHITE LOTUS was a sharp class satire. THE PERFECT COUPLE isn't a smart mystery or scintillating romantic drama. It's a beach book turned screenplay that got Kidman to sign on and then made into a Netflix series. Returning to the scene of the crime and the Winbury family, Greer is the matriarch and a successful mystery writer, Tag is a womanizing, boozer/loser and pothead. BTW, PETA should go after him or the film for his hitting golf balls at the seagulls. The three sons are pampered wimps. The oldest bro, Tommy is married and expecting a baby with wife Abby (Dakota Manning) the youngest Will still in high school is puerile and Benji, the middle son is the groom whose wedding plans are met with doom. Benji is engaged to Amelia (Eve Hewson). Eve's from modest means and is a fish out of water in her fiancé's elitist world. Amelia's best friend (spoiler alert) is the one who ends up dead and found floating face down the morning of  the wedding. This puts a pall on the party plans but lays the groundwork for a who done that makes  everyone suspect. The best part of this beachy read series is the female detective, Nikki (Donna Lynne Champlin). Nikki's wide eyed look at the suspects as they're being questioned expresses the demure disdain and incredulity she retains for this silver spoon squad of suspects whose lives are so removed from  the masses of moderate means. As the party planner said "They are the kind of rich that can get away with murder."  This is the kind of rental that is a guilty pleasure that turns forgettable. The show's opening with everyone doing a choreographed group dance on the beach in party dress is a big clue of what to expect.  

The GERMANS UPSTAIRS-Romance Between a Nazi and a Jewess Is Foolish

The GERMANS UPSTAIRS, an original play by Francine Swartz premiered Thursday at the Ravine Theater in Healdsburg and runs through Sept. 15th. Don't rush out to see this play inspired by true events during WWII in France as told to Swartz by her mother and maternal grandmother. Swartz's family were living in Paris prior to and during WWII when Hitler invaded foreign nations and carried out the massive annihilation of the Jewish people. The facts of this dark period in history will forever be a bloody stain on humanity. The gravitas of WWII and the genocide committed to the Jewish people in Germany and Europe bears being remembered, retelling and respecting.  I'm not saying Swartz's two act play set in Paris in the 40s is disrespectful with regard to the atrocities that took place, I am inferring that this fantasy/romance construed between a German Captain in the Regime and a Jewish matron does do a disservice to the gravitas of actual events. Furthermore, such a romantic dalliance wouldn't stand a chance. It's portrayed as idyllic, bordering on the ridiculous. The play is centered on Josette (Grace Warden) a Jewish art dealer and mother of 14 year old Anna (Rickie Farah) and her dawning romantic interest, her tenant Victor (Bob Connor). Josette received notice that she would be assigned to house German soldiers temporarily shortly after Germany invaded France in 1940. Josette is multitalented, fluent in German, a gifted pianist, and a lover of the arts. Is it surprising that Victor loves German composers, classic painters and is appreciative of beautiful women? No, but this is a play that doesn't align as a war play. It fares more as a star crossed lovers' romantic melodrama. I found the acting by the cast convincing, especially by Bob Connor and Dan Stryker, the slovenly German soldier also residing under Josette's roof. Josette comes off as a demure coquette despite the encroaching hellish circumstance. She banters over music with Victor and tells him, "There are no borders in music." And, she muses "lovers don't ask permission. The heart wants what the mind knows we shouldn't." Sensible minds know this magical thinking of a romantic relationship between a Nazi soldier and a Jewish woman wouldn't play in Peoria. Skip it!

KINDS of KINDNESS-A Triptych that is Sick, Depraved and Gratuitous with Emma Stone/Jesse Plemmons

Let me count the ways the triptych film, "Kinds of Kindness" is sick. Firstly, the gratuitous sex and nudity was off-putting. Furthermore, the salacious elements are even less offensive than the overriding theme of man's delusional search and belief in a messiah figure. Despite the possibility this could lend itself to an intelligent debate, all three stories revel in the glory of abject worship to a false god and dismiss any notion of free will. The film's director/screenwriter Yorgos Lanthimos was the writer/director for the film, "Poor Things" which won several Acad. Awards including best Actress for Emma Stone and a Best Picture nomination (2024). In "Kindness" Lanthimos goes back to the well recasting stars Stone along with Willem DaFoe, Margaret Qualley and rehashing his Frankenstein motif; the ability of man to create life and cast it aside. In "Poor Things," Stone's character was brought back to life by DaFoe. Stone referred to DaFoe as God in the film. Stone began life anew as a nascent being inside a woman's body. Perhaps, her innocence and dependence on DaFoe can be compared to that of a child's attachment to a benevolent parent. In "Kindness" all 3 stories deal with adults who lack free will and self-reasoning. The characters all entrust a Svengali figure. They gladly do his bidding regardless of how repulsive the task required. In one vignette, Robert (Jesse Plemons) is compliant with what George (Willem DaFoe) dictates as his quotidian steps until he balks at one baffling task. George wants him to smash his car into another car at a speed that could easily kill the other driver. Robert's reluctance results in him becoming totally ostracized and dismissed. This rejection proves too much for Robert whose hesitance to commit murder is deemed trivial in comparison to being cast out from the paradise created for him by George. In the last vignette, Emily (Stone) is a devotee to Raymond (DaFoe) and member of his eerie cult of white robed followers. All members have consensual sex with Raymond when not pursuing the quest of retrieving a messiah capable of raising the dead. Emily is drugged into having sex with her estranged husband. Sex with any one other than Raymond constitutes banishment from inside the gated enclave estate. Stone is deemed impure despite submitting to a dangerous, detoxification ritual. Emily cannot bear being dismissed. She's determined to find someone who possesses the omnipotent power to instill life into a corpse. I don't fault the actors who worship Mr. Lanthimos. They are all earnest in their abhorrent roles.  But, "Kinds of Kindness" is analogous to a blindness not unlike realizing the emperor Lanthious is wearing  no clothes. The film is flagrantly gross and perverse. Watching necrophilia couldn't be worse.  

The Doc. REMEMBERING GENE WILDER Reminds Us of a Comic Genius and Genial Gent

The delightful and warm hearted documentary, "Remembering Gene Wilder" pays tribute to Wilder as an actor, writer, director, groundbreaker and all around memorable mensch.  Any list of the top 10 funniest movies of the 20th C would have to include several which credit Wilder as an actor, writer or director. Gene and me, we share a lot in common you see.  We're both funny, articulate and we were both born and raised in Milwaukee. Ghee, Gene...I'm sorry never to have met you but my tells me you went to high school with her. She said you were always kind and well liked. This doc. has numerous clips from the many movie roles that are blazoned in our hearts. Who doesn't laugh at the farts around the campfire in "Blazing Saddles". Young or old, who doesn't love "Young Frankenstein" or is that Franken STEEN? And, who doesn't cherish your cherubic performance in "Charlie and the Chocolate Factory?" Personally, my favorite was your role as the fox in "The Little Prince." A funny thing happened on the way to starring in "The Producers" with Zero Mostel. "The Producers" was Wilder's first movie for both Wilder and Brooks and the start of a beautiful friendship and productive collaboration. Wilder had a minor role in the Broadway play "Mother Lode" as a virtual unknown. The cast included the acclaimed Broadway actress, Anne Bancroft.  Bancroft's then boyfriend and future husband, Mel Brooks was a Borscht Belt comic and aspiring writer. Bancroft knew the script Brooks was working on and told him Wilder would be perfect for the Leo Bloom character which became a fait accompli. The doc. has  interviews from famous celebrity friends, Mel Brooks, Carol Kane and Alan Alda. These interviews sound more like testimonials in their praise and love for him. Richard Pyro's daughter, Rain, describes the deep friendship that formed between them. The hit comedy films they did together broke racial barriers with humor as in "Stir Crazy" directed by Sidney Poitier. Interspersed are candid, de facto interviews by Wilder offering keen insight into his life. Wilder speaks about his love for his wife, SNL original cast member, Gilda Radner. Radner passed not long after they were married. Gene's widow Karen Boyle talks about their happy marriage and the pain of losing him to Alzheimers. REMEMBER GENE WILDER is an entertaining homage of a multi-faceted talent who will be remembered in his work in film and with enduring love by those who were fortunate to know him for the remarkable human being he was. "I never used to believe in fate. I used to think you make your own life, and then you call it fate." (G Wilder) 

Anne Hathaway/Julie Chastain in MOTHER'S INSTINCT-It Stinks!

Your natural instinct for a film starring Academy Award winning actresses Anne Hathaway and Julie Chastain would be it's going to be good. In the MOTHER's INSTINCT your inclination and expectation for a movie worth watching will disprove trusting your instinct as the way to go.  Permit me to inform you why this psychological thriller such a fiasco? It uses the repulsive conceit of the death of a young boy. The dead child's mother is convinced it's the fault of her friend/next door neighbor.  Alice (Jessica Chastain) and Celine (Anne Hathaway) were close friends before the horrific tragedy. The women lived with their husbands and sons in an upper middle class, New Jersey suburb during the 60's.  The costuming and retro- lifestyle are enticing. Unfortunately, despite the terrific scenic design and decent acting by both leads and their respective spouses Josh Charles and Anders Denielsen Lie do not override a sickening script.  The movie emulates the look and styles seen in the series AD MEN. The movie starts with a birthday celebration in which young couples dance to records while smoking and drinking martinis into the wee morning hours. The movie quickly takes a dark twist. Celine's son dies after falling from an upstairs balcony. Alice spotted the boy from her yard standing on the balcony ledge trying to hand his homemade bird house. Alice runs next door and rushes into the home to avert the boy's fall. Following the funeral, Celine clearly tries to cut Alice from her life. Alice is hurt by her friend's coldness and only wishes to offer solace. Comfort comes too Celine when spending time with Alice's son. This makes Alice uncomfortable and leery of Celine's motives. Celine's obsession with Alice's son turns nefarious. Celine's behaviors and her husband's drunkard, lecherous behaviors become extremely off-putting.  Both Alice and Celine have histories of hospitalization for depression. Alice's past comes back to her haunt her.  Her instincts don't warrant credibility with her husband. Both women's neuroses are nauseating and neither elicits sympathy. Alice's pithy attempts to explain to her son what it means his friend has died is pathetic and proves problematic. The best scene in the movie comes when Alice's mother-in-law tells Celine she's overstaying her welcome spending time with her grandson. The ghastly ending is dissatisfying but I'm not lying I was glad it was over. I advise not trusting MOTHER'S INSTINCT. Simply put, it stinks!

SUNNY Series Stars Rashida Jones in a Sci-Fi Crime Mystery which is Mystifying

Rashida Jones ("The Office") is cast as Susie playing a fish-out-of-water wife and mother grieving the deaths of her husband and young son who died in an airplane crash. Susie appears to be the only non-Asian in this sci-fi series on Apple+ set in Kyoto in the not too distant future. The first episode shows Susie desolately munching on a Christmas cookie besides her mother-in-law where she's being asked to elaborate on what her husband and son were wearing on that fateful flight. Unsure and irritated by the senseless barrage of questions. Noriko (Judy Ongg) her stately mother-in-law answers for her which further baffle and frustrate her. The others gathered in the same room are ushered into a support session where they're told  "one tear will provide years of comfort". This farcical scenario harbingers a bizarre and unsettling drama which isn't all what it seems. Susie believed her husband worked as an engineer perfecting kitchen appliances. A company rep arrives to Susie's apartment offering condolences and proffering a domestic robot to help and provide comfort. Susie refuses the A/I saying she loathes robots. The rep convinces her to give the robot named Sunny a trial period. The makeup of the show is a pastiche of dark humor, espionage and futuristic sci-fi A/I in daily life. Sunny's attempts at befriending Susie are funny, touching and perhaps not as Altruistic or Innocent as she seems. Jones is affecting in her non-glamorized appearance and beseeching with her vulnerabilities and cunning. Susie becomes unsure whether her husband and son were aboard the plane that crashed and becomes driven to get to know what happened to her husband and to find out what things she didn't know about her husband. The clothing and sets are convincing for this futuristic thriller. The acting by the actors and A/Is is Immaculate.  As Susie tries to untangle a web of lies she becomes ensnared in murder and a sinister corporate conspiracy. Unfortunately, the plot becomes buried under duplicitous characters including SUNNY the Adorable, Indefatigable robot resembles a trimmer Rosie from the Jetsons. SUNNY's appeal lies with Susie and the synergy between the two. However, the story's arc goes far astray deprogramming, my Avid Interest along the way. 

TIME BANDITS-Time Stolen if You're not in the Pre-teen Niche with Lisa Kudrow/Jemaine Clement

If you're not between the ages of 9-15, time spent watching any of the TIME BANDITS series on Apple+ will rob you of priceless time you can't get back. Good intentions only get you so far as with this well intentioned adventure series hoping to strike gold with young families watching in tandem.  And, while there are harrowing moments and artistic creativity, the appeal of this comical adventure series poses only a limited proclivity steered towards juveniles. Some of the humor is sophomoric and glimpses of demonic beings may be too menacing for youngsters. The main character, Kevin (Kai-El Tuck) is an eleven year old doppelgänger for the kid in the perennial "Christmas Story". He's adorable and at a loss for getting his oblivious parents and dismissive older sis to acknowledge the strange intruders who invaded his bedroom. Egad! What's the lad to do but join the bungling bandits as they flee their arch enemy, a gargantuan talking head who slides out of the closet with blinding light behind him. This talking head is feared by the bungling bandits for his enormous powers whom they've robbed. The set up isn't original but it has the makeup for what could constitute exciting escapades into the past or unknown future. The international cast packs some power of its own. The ensemble includes Jemaine Clement, Taika Waititi and Lisa Kudrow. Clement and Waititi are also co-writers and directors for the show. Kudrow reprises her deadpan humor of her beloved Phoebe character on "Friends". But, this feels anachronistic and simplistic.  The talented collaboration of multi-Emmy nominated actor Clement and Acad. Award winning screenwriter Waikiki results in convoluted and confusing episodes. True, time travel doesn't have to prove logical but it should be somewhat comprehensible. TIME BANDITS delivers a mishmash of marauders trying to pass themselves off as credible beings from outside the quotidian realm or reality. In reality, you get a middling romp through time which gets lost in space. 

Apple+ Series BAD MONKEY with Vince Vaughn, Michelle Monaghan, Rob Delaney

BAD MONKEY plays around with your small town crime drama series. It's about a fast talking detective and set in Southern FL. The stellar cast includes the king of jabber, Vince Vaughn. Based on the best selling crime fiction satire novel by Carl Hiaasen (2013). Vaughn plays the lead role of Andrew Yancy, a consummate bachelor whose latest escapade, sending the husband of the woman he's having an affair with, Bonnie (Michelle Monaghan) off the dock in his golf cart into the ocean. This results in his being fired from his job as the town's top cop. Yancy and his longtime partner against crime, Rogelio (John Oritz) have a constant bantering and bickering which attests to their indestructible bond. Episode one starts off big with your typical tourist on a chartered fishing boat. What's not typical is the guy's catch - a man's hairy arm with a middle finger salute. Yancy is trying to get back in good stead with his boss since his demotion to restaurant inspector and assigned to take the arm up to Miami headquarters. At the Miami morgue Yancy meets the sassy and drop dead gorgeous coroner, Rosa (Natalie Martinez). Rosa and Rogelio become embroiled in Yancy's unhatched plan to solve the mystery of the unattached arm while Yancy hits on the unattached Rosa. Everything goes anything but smoothly but it all goes at a fast clip. And there's the actual bad monkey also involved in the shenanigans. The chattering, diapered monkey is the constant companion of Neville. Neville is your benevolent beach bum who won him in a poker game. This wiry chimp does some of the best acting in this convoluted, twisted mystery overflowing with razor-sharp acting and eccentric antics. The rest of the body that gets washed ashore was the husband to the aggrieved  blonde trophy wife, Eve (Meredith Hagner). Snooping around the fringes of the burial for Eve's husband,  Yancy meets nefarious characters who warn him off and the daughter of the deceased. After interviewing both the daughter, Caitlin (Charlotte Lewis) and the seductive widow, Yancy thinks there's something fishy about the widow and learns Caitlin thinks her step-mom killed her dad. Southern FL is painted with vibrant strokes and becomes a central figure in the plot. There's an insidious scheme to take over beachfront property by any means for development. Adding more hot spice to the mix is a Carribian voodoo Dragon Queen (Jodie Turner-Smith) who may have some mystical powers you may not want to provoke. Each episode is narrated over by a wise cracking know-it-all who seems to understand what's going on behind the scenes. Even if you're not clear of what's going on, stick with this surprising and winning series that will have your head spinning,  

Powerful Doc. DAUGHTERS-Program for Imprisoned Fathers Have Date Night with Daughters Leads to Reduced Recidivism

Unbeknownst to most with no ties to correctional institutions, there's a new program called Date with Dad (DWD) which began in 2008. DWD reunites incarcerated men with their daughters in a social setting inside prisons giving fathers and daughters a chance to enjoy a festive day together. The power of this film available on Netflix, appears in small quiet moments: the men learning to put on ties or craning their heads to scan for their girls and clamorous moments as the girls run to wrap their arms around their dads. The men selected to participate in the program must complete a 10 week long counseling program. The regularly led group therapy sessions allow us to learn something about these men as individuals.  A growing candor and sense of camaraderie among the father's can be discerned. While the filming inside the prison is stark, outside the prison the kaleidoscope shots of the girls are done with an expansive, artistic lens. Some scenes of the girls are in slow motion or neon lighting of active social gatherings or tender mother daughter moments. The contrast between the static life within the prison and kinetic energy outside is obvious. The prison views from within small cell windows look out onto barbed wire fences versus those from within the cozy confines of a home looking through rain spattered windows or girls laughing while getting soaked outside were affecting albeit heavy handed. However, this is not a film to fault, rather it's to be heralded for its humanity, its enlightenment of our penal system and for showing the collateral damage incarceration has on children whose parents are in prison. Before reaching the epilogue updating us on the inmates and their daughters years later, we're witnesses to the excitement as well as trepidations of both the dads and daughters while preparing for their big Date with Dad. The dad's are as giddy and nervous as their daughters. It's fun to watch the girls get primped and pampered for their reunion. The inmates are provided shoes, suits and ties. The men's makeovers from the orange prison suits to business suits is remarkable.  Afterwards, watching the men shedding their impressive garbs as they march back single file to their cells; shoes and ties left behind on the floor is sobering.  Meanwhile, seeing the girls transformation into party dresses and coiffed hair is lovely to behold. The ultimate emotional toll is exacted by bawling and tear stained faces which tear at one's heartstrings during the parent/child reunifications and again at the enforced separations. I was not aware of the Dad with DATE program but it boasts of a 95% reduction in recidivism is unforgettable. Nor, was I aware contact visits are being continuously stripped away. This sensitive and intelligent documentary strikes the powerful emotions of love, remorse and hope. The father's gave their daughter's a promise gift with the promise they would always be there to count on and would be coming home to stay. The way to reduce recidivism is by humanizing rather than demonizing convicts. The most important take-away from DAUGHTERS is the prisoners are not the only ones who pay a penalty. The Date with Dad program must be expanded, family contact visits maintained and DAUGHTERS a film to be watched that shed's light on humanity and compassion.

GHOSTLIGHT-Emotional Family Journey-Haunting and Unforgettable

The film "Ghostlight" is about a family navigating grief and the transformative healing power of art. Available now on Apple and Prime Video, it is not to be missed. The movie plays out as if it were real life and its emotional wallops creep up quietly but its toll lingers long after viewing. This is due to the brilliant script and exceptional acting by the ensemble cast. The script is by Kelly O'Sullivan ("Saint Francis"). O'Sullivan co-directed with Alex Thompson. The two had previously collaborated on the critically acclaimed "Saint Francis" film. The patriarch of the family is a burly construction worker, Dan  played to perfection by Keith Kupferer ("The Dark Knight"). Dan and his wife Sharon (Tara Mallen) are at their wits end dealing with their obstreperous teenage daughter, Daisy (a star-making performance by Katherine Kupferer).  Daisy is belligerent, irreverent and hostile towards everyone. She's being threatened with expulsion for having shoved a teacher. Daisy's outbursts towards everyone and everything is tearing her family apart. The credible familial dynamics may be due in part to the fact they comprise a family in real life. The three all seem to be holding on to each other and their sanities by gossamer strings. It's revealed later on that the family is dealing with the recent death of Daisy's brother. The principal offers Daisy's parents a reprieve from her expulsion of Daisy if they get her into counseling and strongly urges them to  seek family therapy. Dan is not the kind of man prone to talking about his problems. But then, he's not the type of guy you'd expect to join a ragtag theater company in the midst of putting on Shakespeare's "Romeo & Juliet," a play he knows nothing about. Daisy is the thespian in the family. When she announces she's not going out for the school's play this year; something she's always relished, her folks are further perplexed. Daisy follows her father to his secretive rehearsals where she's surprised by her dad and delighted to join the troupe. Sharon's the last to know Dan and Daisy are covertly rehearsing a play. She thought Dan guilty of having an affair and no clue what Daisy had been up to. The play within the movie consists of a cast of amateur, volunteer actors. Each with their own eccentricities and charm.  A few of the cast demonstrate noteworthy talents including Rita (Dolly de Leon) and Greg (Dexter Zollicoffer). Greg gives a stirring rendition of "Stand by Me" during the group's karaoke night. Daisy does a number from Oklahoma that could earn her a Tony on Broadway. Meanwhile, Dan has been spending money the family doesn't have for an attorney to litigate a wrongful death suit against the parent of their deceased son's girlfriend. Shakespear's tragic play eerily mirrors the family's drama but unlike the woeful ending of  "Romeo & Juliet" the family shows signs of healing that steer towards "All's Well That Ends Well". The one night run of the play receives a rousing standing ovation which is what I give this heartfelt film. "Rita promises Dan after their curtain call, "Next play will be a comedy." 

Graham Haynes/Vijay Iyer World Premier "Misterioso" An indebtedness to Thelonious Monk at 222

Thelonious Monk (b Amer. 1917-1982) is a legendary jazz composer and pianist whose improvisational style brought innovation and artistry to the world of jazz. Other than Duke Ellington, Monk is the most recorded jazz composer and one of only five jazz musicians featured on TIME's cover. The other four include Louis Armstrong, Dave Brubeck, Duke Ellington and Wynton Marsalis. "Misterioso" a 75 minute multi-media composition is written by Vijay Iyer who was named four times by "DownBeat" Mag., Jazz Artist of the year and Graham Haynes, the recipient of two nominations for the prestigious Alpert Award for the Arts and the son of drummer Roy Haynes. Haynes grew up around legendary jazz musicians including Monk. "Misterioso" is dedicated to Monk's body of work. Haynes' virtuosity on trumpet was astounding. He never spoke during the evening. He let his trumpet and Iyer do the talking. Monk was known for speaking little if at all when performing.  Iyer played piano, electric keyboard and synthesizer while overseeing the large scale visual projection on the wall. The amoeba-like images undulated floated over shifting background colors of neon blue, pink and black spatters. Several black and white photos of Monk appeared showing him at the piano or posing stoically. Iyer explained "'Misteriosos" was representative of what we {Iyear & Haynes} thought Monk's brain would feel like." The overly long  composition was visually abstract and musically discordant. Previous sound recordings were mixed in along with long extended notes and rifts on trumpet and strides on the piano. The piece was often discordant and rarely, if ever, soothing. Haynes and Iyer created what can be regarded as a modern,  innovative musical composition and a visual imagery representative of the inner workings into the mind of  one of the greatest jazz pianists and composers of the 20th C. Monk was the master of improvising. There's only one recording made in which Monk adhered strictly to his (or anyone's) written composition was "Crepuscule with Nellie" (1957). "Misterioso" may have successfully captured the inner workings of Monk's musical genius, but, to say I found it aesthetically or musically pleasing is not the case. Two shorter original compositions followed the marathon "Misterioso". However, the evening ended on a high note as they played one of Monk's most famous pieces. "Around Midnight". Monk never achieved great fame, fortune or critical acclaim during his lifetime owing in part to being far outside mainstream jazz of its time. Perhaps, I'll have bragging rights in the future for being at the world Premier of "Misterioso" but if you missed it, it was only so - so. 

LIFT-Dance Doc Following 10 Years in Young Dancer Living In Public Shelters Finding Joy through Dance

LIFT is touted as young dancers' journeys from homelessness to the ballet stage. This is only a fraction of what makes this ambitious documentary so astonishing and profound. The film is viewed through the lens of Steven Melendez and follows his mentorship of several young people living in homeless shelters. Melendez was himself raised in homeless shelters in NYC.  Melendez's miraculous life goes from being homeless, raised by a single mother to becoming a principal dancer with NY Theater Ballet.  Today, Melendez is at the helm of NY Theater Ballet as its artistic director. Melendez's rise to a professional dancer and artistic director is remarkable. But, what he achieves through mentoring children in NYC's homeless shelters is nothing short of miraculous. While being given sporadic glimpses of Melendez's lovely dancing, we're swept up in what he's given back to his community by his commitment to young people, by his ongoing positiver presence in their lives and the opportunities he present for them to pursue their passions through dance. He was living in a homeless shelter at age 7 when he was given an opportunity to enroll in the NY Theater Ballet Project, LIFT. Video of Melendez's performances are scattered throughout this absorbing film that takes us inside the shelters and into the homes of families struggling with poverty and the difficulties holding down jobs while caring for their families. The film is captivating as we watch the exuberant faces of seven, eight and nine year old girls and boys mature into adolescents with lives which become more complex and problematic as they get older. Melendez meets with parents of young dancers struggling with work schedules while trying to get their children to and from school and dance classes. We watch Victor Abreu develop into an exceptional dancer as he seeks to maintain a balance in life with the inherent demands of being a professional dancer. Yolanssie Cardona changes from a precocious pre-teen who "wants to be a dancer" into a beautiful high school student who has gotten into disciplinary problems at  school which derail her high school graduation. The stark, natural aesthetic of the cinematography highlight NYC life commuting on its gritty subways and bustling streets. The smart editing makes the 10+ years flow fluidly while coming into sharp focus. Passing moments are accentuated by the buzzing and clanking of locked doors and shots of the city's ubiquitous fencing. The harshness of life in homeless shelters and city dwelling contrasts with the magical and. beautiful world of ballet. Moreover, we're shown a wonderful world in which the challenges of homelessness and poverty are mitigated with the assistance of others.  LIFT is an uplifting documentary that soars with the healing powers inherent with dance. 

THELMA-June Squibb is a Marvel as a Senior Super Hero and Impossible to Resist

June Squibb is a 94 year old actor whose career began on Broadway in the original production of "Gypsy". She had a recurring role on the soap, "Young & the Restless" and a breakout role in the Film "Nebraska" opposite Bruce Dern which earned her an Acad. Award nomination. Her most recent role is the lead in the comedy/crime caper "Thelma" written and directed by Josh Margolin. Squibb plays Thelma, an elderly widow living alone. However, she's not totally alone. She has her doting grandson, Danny (Fred Hechinger, "White Locust"), a daughter, Gail (Emmy nominated actress Parker Posey), Gail's husband, Alan (Robert Gregg, Jr., Phil Coulson in "Marvel Cinematic Universe) and her reluctant but steadfast friend, Ben (the scene stealing Richard Roundtree who died in 2023). Thelma talks to the photo of her beloved husband daily but is otherwise happily engaged in her mundane life that is bolstered by Danny who enjoys spending time mentoring his grandma on the computer. Their devotion to each other is mutual. When Thelma receives a call and falls easily for a scam whereafter she sends bail money in the mail believing she's helping Danny get out of jail. It would seem a safe bet to assume she's an old fool. But, when push comes to shove, Thelma's nobody's fool. In fact, she's apt to give Tom Cruise a run for his money for the starring role in the next "Mission Impossible" movie. Thelma's family is relieved she's physically unharmed, but Thelma will not go gently into the good night. However, her inability to drive a car or walk very far are obstacles to contend with.  Needless, this does not thwart our unflappable heroine. Thelma reluctantly enlists her steadfast friend, Ben. Ben's not going to let her just take his 2-seater scooter without him in tow.  So, off they go into an improbable reconnaissance mission to get back the $10,000 she was hoodwinked. The daring and darling duo are devious, cunning and riotously funny. Gail, Alan and the staff at the senior living facility where Ben flew the coupe from are pitch perfect in their frenzied concern or lack thereof.  An ongoing gag in which Thelma has a friendly but circuitous conversation with women believing she recognizes them is ingratiating and integral to the scheme of things. Other minor characters leave a major impact. The 95 year old Bunny Levine plays an old friend Mona who is unforgettably poignant and 81 year old Malcom McDowell as Harvey, the villainous scanner who is eerily menacing. Nothing seems impossible in THELMA with its savvy script, exceptional ensemble cast and delightful antics. Not just for the antiquated, elderly crowd, this comedy/caper will capture all hearts having a pulse.  

CHALLENGERS-A+ Acting in a C- Film Makes a Movie to See with Zendaya

CHALLENGERS serves up some daunting challenges to entice you to watch a love triangle that centers around the game of love known as tennis. The hardest obstacle to handle is its lame script. However, this is netted within a faultless cast of handsome leads lead by the drop dead gorgeous Zendaya. Zendaya plays Tashi, the coquettish tennis competitor coveted by her two suitors, Art (Mike Faist) and Patrick (Josh O'Connor.  Art and Josh are young upstarts fighting their way up the professional tennis racket and have just won a major doubles tournament and sprawl over each other in their unfettered exuberance. Following their win, the two head to the women's singles finals where they're both totally smitten by Tashi's talents on the court as well as her comely looks. Zendaya has become the face for high end luxury companies including Valentino fashion, Lancome makeup and Bulgari jewelry. Nonetheless, she is much more than just a pretty face.  She's earned two Primetime Emmy Awards and a Golden Globe. Zendaya is winning playing Tashi, a flirtatious and fierce up and coming tennis ace. Tashi's top notch athletic skills are no match for her savvy and business acumen. Still the girl wants to have fun. She's intrigued by the adoration of the two charming chums who are willing to throw the other under the bus to get her number. The film flashes back and forth in time revealing the fraught history of the three's shifting relationships. Tashi's relationship with one ends at the time she blows out her knee and any future career on the professional tennis circuit. The plot is cliche, yet the chemistry between all three is combustible and comprises a fast paced, intriguing film worth renting on Apple or Prime Video. O'Connor is a British actor best known for portraying Prince Charles in "The Crown" and Romeo in the recent PBS "Romeo and Juliet" production. He's charming, wheedling and infuriating as an immature 30 something whose tennis career is waning. Faist is an American actor that has garnered a Grammy, Daytime Emmy and nominations for a Tony and a British Academy Film Award. Hi's angelic good looks and diffident demeanor make him the perfect foil to O'Connor's swarthy good looks and domineering personality. All three, Zendaya, O'Connor and Faist make what could've been a scratch-less plot into something special with a lot of sexy tension on and off the tennis courts. I dare you to resist CHALLENGERS as it serves up sheepish grins along and unexpected spins on competition and provocation.   

SKYWALKERS: A LOVE STORY-A Jawdropping Film of Rooftoppers Going Where No One Should Go

There are daredevils who dare to push the limits of human capabilities above and beyond. And, then there are those whose THRILL seeking seems more of a death wish. The handsome Russian couple at the apex of this visually stunning and viscerally alarming film are Angela and Vanya. The two share a passion for going where no person has ever perched before atop the tallest skyscrapers in the world and for one another. Both posted their consummate accomplishments abreast the peaks of buildings where most would never want to peek over for the sense fear of falling. Why do they do it? The same reason many young people do things - to post them and get likes. There's a financial windfall for the few who do this provided they don't die while pursuing the perfect SHOT. Angela and Vanya were aware of the other from their posts. Angela was an avid admirer of Vanya and envied his exceptional technical abilities and meticulous planning. Vanya was smitten by Angela's daring, artistry and beauty. It was Vanya who first reached out to Angela via the internet. When the two met it was instant kismet. If ever there was a couple made for each other, these two come as close as you can get. Working in tandem, the stakes rose as they both pushed for greater heights. The film's cinematography is breathtaking, stupefying and vertigo inducing. Many of the spectacular aerial photos are taken by drones. Others are captured through Vanya's lens. He also choreographs and directs Angela into elegant poses. The spectacular view of the two on rooftops are riveting, dazzlingly and deeply disturbing. The award winning film "Free-Solo" followed American climber, Alex Hunnold as he completed the most dangerous free-solo ascent to the top of Yosemite. These films share common ground while traversing thousands of feet above ground without a net. Alex prepares diligently for his ascension. The Russian couple also diligently execute plans for their climbs with stealth and cunning recognizance of the buildings' structures and security. What Vanya and Angela do is highly illegal. The cinematographer for "Free-Solo" said on camera he was never going to be part of filming Alex or anyone attempting such dangerous treks again. Jeff Zimbalist is the dir/screenwriter for SKYWALKERS. He wrote and directed the critically acclaimed Norman Mailer doc. Zimbalist's heavy handedness costs the  film its appeal and intensity when it shifts away from the HEIGHtS to the grounded love story. The couple's dialogue down below feels forced, false and trite and is totally convincing and compelling from above. The film sizzles as the two ascend upwards but crashes and burns down on earth. Do not attempt these stunts as they are insanely dangerous in addition to being certifiable. By watching, you become liable for encouraging and abetting those attempting these outlandish feats seeking extreme stimulation and recognition. Still, it's very hard to turn away. In some small way, one can safely say, they're going to do it anyway. Perhaps even justify the two as courageous and artistic rather than merely attention getting antics. And, while the film feels staged when the couple is quarreling, there's no doubt these stunts are the real deal. The jaw dropping film SKYWALKERS offers priceless views. It's a gobsmacking, gut wrenching rollercoaster ride. Hopefully, the appeal for imitation will simply die and no one else will think to try. 

Nicole Kidman/Zac Efron A FAMILY AFFAIR Their Dirty Laundry Should've Stayed Hidden

The newly released Netflix rom/com, A FAMILY AFFAIR starring Nicole Kidman and Zac Efron is so bad it's actually watchable bad. I don't recommend watching this lackluster love story. I'm giving you warning, if you start watching this atrocious affair, you're likely to be absconded by how ridiculous it is and waste your time in disbelief. There's no chemistry there between Efron and Kidman. Efron plays Cole, a superhero movie star. Kidman plays Brooke, a Pulitzer Prize winning author and mother to Zara (Joey King) who has been Cole's assistant for two years. Cole is an SOB to work for and runs Zara ragged running his errands and bullies her with the disingenuous promise of mentoring her filmmaking career. Cole is also notorious for breaking hearts left and right but mitigating the blow with a parting gift to his former partners of Cartier diamonds earrings. Zara who banters like the Energizer Bunny on speed is exhausting to listen to and not the sympathetic, hardworking intern who gets burned. It's a wonder Zara managed to remain Cole's overworked and under appreciated gal Friday for two years. But, when enough was enough she quit in a huff. Cole realizes how much he relies on her and goes to where she lives to win her back. Just 24, Zara lives at home with her mom but isn't home when Cole comes calling. Cole just lets himself and then tells Brooke brandishing a large candlestick, "the door was open and I'm a movie star." Cole asks if he can wait for Zara. Brooke being a good hostess gets bombed on booze with Cole. Their lips lock and their bodies collide inside the boudoir where Zara walks in without knocking. Zara freaks out, her mom sneaks out to be with Cole again and the mother/daughter/movie star love triangle should get lost in the Bermuda Triangle forever. Kidman looks old enough to be Efron's mother and neither looks credible or comely on screen. Efron looks like an orange skinned Hulk. Kidman needs to quit putting filler in her frozen looking face filmed using a soft-filter. King as Zara was too annoying, the "romantic" montage cloying and cringe worthy moments ongoing. Bad acting, dreadful script, A FAMILY AFFAIR aired dirty linen which needed to stay hidden. The rare, redeemable moments came from the incomparable Kathy Bates who played grandma to Zara and mother-in-law to Brooke until her son died. Anyone calling this movie anything but awful has lied.