Netflix Series NO GOOD DEED-Not Great but Good Enough

The new Netflix Series, NO GOOD DEED, is a dark comedy loaded with stars and interwoven storylines. Ray Roman and Lisa Kudrow star as Paul and Lydia Morgan, a married couple at the apex of this knots laden drama that draws us into the mystery of how their son was killed and their role in its coverup. The loaded opening show introduces us to a mixed bag of noisy neighbors and lookie-loos coming through the Morgan's handsome home just put on the market. Across the street are neighbors Margo (Linda Cardellini) a conniving, sex-pot and her husband JD (Luke Wilson) an out of work soap opera star. The next door neighbor, Phyllis (the incomparable Linda Lavin) the bossy know-it-all (who may just know it all). The Morgan's gay, "non-stereotyped" realtor is a riot as the ingratiating, irritating wheeler dealer. Two other couples vying for the Morgan's dream home are a lesbian power couple, a district attorney and a physician both driven with their own clandestine mission and a newly married couple who are still new to each other and expecting a baby with a meddling, overbearing mother-in-law in tow. Denis Leary plays Paul's brother just released from prison who's somehow complicit in the implicit cover-up of his son's slaying who holds some blackmailing cards. I'm not saying this entire house of cards makes for must-see TV, but it does have its share of salacious sexual dalliances, relationship tribulations, nefarious dealings and clever cliffhangers which are sufficient to keep you tuned in for the next thirty minute episode. Who will own the Morgan's beloved family home? Who's zoomin who? And, who knows what about the fatal shot that took out Paul and Lydia's troubled son. (By the way, what has kept the Morgan's older daughter away for three years?) I'm hooked enough to come back for another showing.  

WICKED Part I-Smoke and Mirrors Lacking Heart

The highly anticipated (and overly hyped) film adaption of the Broadway smash hit, WICKED is a long and winding let down. Having seen and loved the original cast starring Idina Menzel and Kristin Kenoweth my expectations may have been over the rainbow but even so, the movie was all razzle dazzle and sorely missing a heart. What the film does have is a shining talent in the lead role of the wicked witch, Elphaba, Cynthia Erivo, the Tony, Grammy, Golden Globe Award winner and two time Oscar nominee. Erivc's heavenly singing voice kept the overburdened and underwhelming film aloft. Arianna Grande wasn't bad as the good witch Glinda. She did an admirable job with her sweet soprano singing voice and comely appeal. However, Grande's stature in the film was made diminutive by Erivo's gargantuan talents despite both women sharing the same petite 5'1" stature. I'm surprised Grande didn't turn green with envy. The intense kaleidoscope cinematography became blindingly distracting and the perpetual large choreographed numbers morphed into one another feels sluggish and redundant. Jeff Goldblum as the Wizard of OZ and Michelle Yeah as Madame Morrible were electrifying except when called on to sing or dance as needed. But, my main quibble with this ambitious and amiable film is the same lament as the Tin Man's, it lacked a heart to the story. The budding empathy of Glinda and the anguish of Elphaba felt hollow. The persecution of the talking animals did not resonate in the film as it did on stage. Peter Dinkledge as the anthropomorphic professor was resplendent and hopefully Part II will reignite his role. Casting Menzel and Chenowith in the film was fun but contributed to the film being seen as a pale comparison. Still, the astronomical cost difference between its Broadway show and movie ticket makes WICKED: Part I much more accessible. Before you're off to see the witches on the big screen, and for those who have a brain, remember the strength of a well-told story must always be at its core. Anyhow, that's how I like them apples. But, if you care to see Erivo defying the weight of this overly stuffed film adaptation, you won't be disappointed. I feel the movie lacks any real emotional power. I advise you not to pay attention to all the fanfare behind the curtain. Soon, WICKED Part I will be released to home viewing and there's no place like home for the place to be to see it. 

BLINK-Family's Year of World Travel Prior to Childrens' Looming Blindness

The family/travel doc. focuses on a Canadian family who learn three of their four adolescent children have inherited a genetic disorder that affects their corneas leading to blindness. This devastating news is met with pragmatism by the parents. "What's hardest for parents is letting go. That is what parents do throughout their children's lives. There's nothing that can be done. There's no treatment, no cure." The best advice the mom, the key spokesperson received, "was to give them as much visual references to store in their memories." Taking this to heart, the couple decided to travel the globe for a year with their children and "fill their visual memory with as much beautiful things as we can." Mia is the oldest at 11 with 3 younger brothers, Laurent, 4, being the youngest. Only the eldest son will maintain his vision. Before departing, the family compiled a "bucket list" of what they wanted to experience. The couple explained how they could afford such a journey on their budgeted $200/day. However, the film was produced by National Geographic which mitigated the integrity of its imposed frugality and explains its breathtaking cinematography. My only other nitpick would be the intermittent scoring that detoured from a natural family travel log. Nevertheless, the essence is the family unit which remained a tight knit group who cared for one another. The boys continuously tussled with each other. "They're a pack of wild wolves," the mother lovingly described them. The animated maps and drawings crisscrossing the globe added the right, light touch. The selected list designations were delightful, each member was granted a few choices. Laurent received his chance to "drink juice while riding a camel." "See a sunrise on a mountain. Make friends in other countries." Dad got the family on an extended hike in the Himalayas with its wonders and hardships. One harrowing night, the family spent in a swaying gondola during a storm. "We're all together, we'll be fine," the mom reassured them. The family bonds grew stronger and individual growths are noted. One son when asked how he changed said, "I know I've changed but it's hard to explain what's changed. Knowing their sights were shrinking,  the film was tinged in melancholy, "The first to go was the stars. Darkness renders them totally blind." Mia said, "I feel as though I'm in a void. I need to be touching something to reduce my fears." In the Amazon forest the parents join the pre-dawn ritual of sharing dreams which are given credence. With an interpreter, the mom shares her dream of her son being burned. A tribe woman empathized saying, "I know, my father is ill. What can you do but accept it." Overall, this is a wondrous, travel log of a close clan providing one another memories of the world to cherish while proffering love and security within the home. The film inspired me to compile a bucket list while feeling grateful for the beauty found in every sunrise and sunset.  

SUPER/MAN: The Christopher Reeve Story

Sometimes it seems as if some people are bestowed with more gifts than one person should be allowed. It appeared that Christopher Reeve, the handsome movie star who rose to stardom as Superman on the big screen would fall into that category. Tragically, Reeve took a near fatal fall from his horse that left him a quadriplegic; dependent on machines, medical staff and loved ones to care for him to stay alive. Reeve's charmed life became one that nobody would envy. Nonetheless, watching the doc. SUPER/MAN is a sobering and uplifting experience that stirs us to appreciate what we have and empathize more with others. This is not a preachy or overly sentimental film. Rather, it's a thoughtful and honest look at Reeve's life from childhood, through stardom, his marriages/families, his accident in 1995 until his death in 2005. It doesn't sugarcoat his accident and its aftermath. Though not told in a linear fashion, we get a sense of knowing Reeves personally. We gain an admiration for his gusto for life, decency and dedication for family and friends. Reeves ended his relationship with the mother of his two older children shortly after his rise to celebrity. He takes ownership of their breakup. One of the takeaways is the strong bond Reeves maintains with all three of his children and the close relationship the siblings have with one another. Will Reeves, Christopher's son from his marriage to Dana, says, "There's no half siblings. We are siblings." The older brother moved in to help care for both Will and his father. The interviews from Reeve's celebrity friends, Glenn Close, Jeff Daniels, Whoopi, Susan Sarandon and others are noteworthy. Snippets from his career on film and stage are spread thinly throughout. It might've been interesting to delve more into his acting career that was eclipsed by his role as Superman. His love for the craft of acting was noted. When asked about working with Brando, Reeve said, "It's a shame when an actor just phones his part in." The close friendship between Reeve's and Robin William, best friends since their Juilliard days are heartwarming. Williams referred to Reeves as "my brother." Close said, "If Reeve's were still alive, no doubt Robin would still be here." This doc. is also a tribute to the love story between Reeve and his wife Dana who sadly passed less than a year after from lung cancer despite never having smoked. When Reeves was contemplating being left to die Dana told him, "If that's what you want, but you're still you and I love you." Most importantly, Reeve's courage is acknowledged along with the impact he made as a formidable advocate for the disabled. His first major public appearance in 1996 at the Oscars was groundbreaking. Reeve's superpower to improve lives by advancing research funding for spinal injuries and improving the quality of lives for others with disabilities will remain his legacy.  

BETWEEN the TEMPLES with Jason Scwhartzman and Carol Kane

BETWEEN the SHEETS (BTS) is a Jewish comedy/drama by independent filmmaker Nathan Silver. It slides in somewhere between the movies "Harold and Maude" and the Cohn brother's "A Serious Man".  It centers around the burgeoning relationship between a temple's cantor, Ben Gottlieb (Jason Schwartzman) and a much older woman, Carla Kessler (Carol Kane) who wants to become a Bat Mitzvah. As in "Harold and Maude" there is a connection forged between two eccentric loners with the woman significantly older than the man. Ben has been battling depression for a year since the death of his wife and lost his ability to sing. Carla is a widow and retired music teacher seeking to grasp her misaligned Jewish identity. As in "Serious Man", the film takes a darkly comic look at Jewish lives centered around the Rabbi and congregants of the same Synagogue. Schwartzman has perfected the slow, melancholy that makes him annoying and affecting. Ben's a cantor who's lost his singing voice while trying to find his footing under the benevolent guidance of the Rabbi. He's currently living in the basement of his domineering mother's home where she lives with her lesbian partner. Of course, it doesn't hurt that his mother is a major donor to the synagogue. The Rabbi is also flexible when dealing with possible donors likely to contribute generously which pile on to the satirical dry humor of the film  The Rabbi contends "We're all free to love whom we love." He also practices putting in his office into the shofar and dispenses wisdom to Ben as he caddies for him. The scenes of Jewish teens in the synagogue and flashbacks to the young Ben Gottlieb were delightful and  earnest. There's an ambling feeling to the film.  You're not sure where the film is headed which serves to launch the movie in a haphazard manner keeping you intrigued to learn what will happen to Ben and Carla and perhaps, between them. There's also the feeling of having unscripted dialogue similar to "Curb Your Enthusiasm." Some scenarios are especially memorable as in the Shabbat dinner with Ben, Carla, the Rabbi and his family and Ben's family. Also, unforgettable was the dinner with Ben and Carla with her family. Shots of the congregation during Friday night service showed a dwindling, older population with a spattering of required younger members that rang true as did many other seemingly innocuous scenes that cleverly portrayed or parodied Jewish assimilation. There was a poignant scene in which Ben sought enlightenment from a Priest regarding beliefs in the afterlife. BTS has the fabric to become a cult film like "Harold and Maude" thanks to a lot of the genius and droll humor the Cohns brought to "A Serious Man." This film is fitted into the Jewish comedy/drama genre where Jewish stereotypes are aired with some parts faring better than others. You don't have to be Jewish to enjoy BTS. You do need an open mind for this independent film. You'll be blessed with a quirky comedy stuffed with an exceptional cast.

PILOBOLUS RE:CREATION-Miscreant Dance Performance at LBT

The word Pilobolus is a phototropic fungus stemming from the Greek word meaning "hat thrower." The spores of the fungus are cast out up to 45 mph and adhere to wherever they land. The word dance refers to rhythmic movement to music typically following a set sequence of steps.  The Pilobolus Dance Company plays very unconventionally with the term "dance".  The program tells us. Pilobolus is a rebellious dance company and informs us that the Artistic Dir. Matt Kent joined Pilobolus in 1996 without any formal dance training. Art begs to be radical, provocative, inspiring and oftentimes, aesthetically pleasing. Dance is an art form that combines movement and musicality within a choreographed framework. Modern dance brings new paradigms to choreographic works. The Pilobolus program at Luther Burbank last evening "recreated" dance to become more of a theatrical performance not unlike buskers panhandling on public corners. Calling the performers dancers is more of an appendage as I would describe the troupe as theatrical performers aligned with mime than dance. The discordant synthesized music for the works set a mood that was eerie and pulsating without supporting the movements. The absurdist piece "Walklyndon" was sophomoric and slapstick. "Rushes" included a shadow silhouette on screen that was geared towards pre-teens. I have seen Pilobolus Dance Theater for the second time and the last time. 

Colman Domingo Stars in Netflix's Crime Thriller THE MADNESS

Netflix's new crime thriller stars Colman Domingo in THE MADNESS, a tense thriller that is exasperating with twists and plot holes that make the parts better than the whole. Domingo Colman is gripping as Munci Daniels, a CNN host and media pundit. The first explosive episode will put Daniels into a harrowing chase for his life after coming upon the grisly murder of his unknown neighbor in the Pochonos. Daniels is adept behind a news desk as well as in hand-to-hand combat with unknown assailants. He proves to be a resourceful sleuth investigating the murder he reported to police. When Daniels and the officers return to the scene of the crime, there's nothing amiss except Daniels' story. Daniels didn't fill the officers in on his fatal stabbing of one of the masked assailants with his pocket pen. And somehow Daniels is able to pick up solid clues that lead him to the identity of the man he saw in hacked in pieces when the police came up empty. When he returns to his snazzy Philadelphia apartment, he notices the lock on his patio door is broken and a family photo turned awry. The officers who take this report from Daniels with his slick attorney present, are skeptical of any crime as nothing is reported stolen. Daniels is contacted by an FBI agent Franco (John Ortiz) who informs him that the man Daniels found dead is a key figure in a far-right group and has been on his radar. Daniels fears life and that of his estranged wife and pot-smoking son are in grave danger and convinces them to abscond with him. The set up for the series is tense and full of suspense but it's also full of holes and red herrings. If you suspend cynicism with some cracks in the veneer of credibility and push aside the dry family drama, you'll be in for a chilling exploit that will keep your blood boiling. Domingo and Ortiz are first rate and strike the right balance of stealth, cunning and skepticism. Set aside any quibbles with questionable tactics and you'll be taken for a fierce and compelling mystery that uncovers the inside agendas of Antifa activists and their equally troubling counterparts. Furthermore, we see the troubling racism that Daniels must contend with in gaining credibility from law enforcement. It's not clear who Daniels to trust, who's out to harm who and as the plot thickens you'll be swamped in intrigue. 

Jim Gaffigan: The SKINNY Comedy Special on Hulu

That's right Jim Gaffigan is looking good. Don't believe me, he'll tell you or you can check him out on his new HULU comedy special "Jim Gaffigan The SKINNY". No, he doesn't have cancer and no, he isn't on Ozempic. It's another drug and it's worked wonders for his physique but Jim will tell you, "It's not sustainable."  Jim's new dapper look covers the same old Gaffigan where he covers similar, non-incendiary topics like raising his five kids with his unflappable wife of 20 years and their dog. He's a clean comic with an affable appeal.  Jim delivers with zeal material that is aimed at being relatable. While he won't offend, in the end there's not a whole lot to chew on and spit out. If the family is looking for something diverting that's not divisive or infuriating, this is a safe bet. If you're expecting laugh out loud guffaws generated by Gaffigan, you'll come up lean. There's nothing wrong with a comic who doesn't rely on mean. But, then there's nothing to really get excited about. Perhaps, you may want to tune into his next special to see if Gaffigan gets fat again. 

GOODRICH-with Michael Keaton/Mila Kunis-Good Acting Poor Script

GOODRICH now screening on AppleTV is a film about a self-absorbed wealthy, white guy, Andy Goodrich (Michael Keaton) who owns an art gallery which bears his name and sells contemporary art is not a movie to get invested in except for the excellent performances of Keaton and Mila Kunis. Kunis plays his pregnant daughter Grace from his first marriage. The script is a collage of an LA story of a divorced dad whose not all bad but doesn't really have a clue of what he needs to do to connect with his wife, daughter and nine year old twins with his second wife. There's a dash of Kramer v. Kramer as the dad who doesn't realize what it means to be present for his kids or his wife until he's forced to deal, after his wife leaves, leaving him in charge. The movie opens with Andy getting awoken by a call from his wife while in bed. He thought she was asleep next to him. She tells him she's left and signed into a rehab facility to deal with her prescription addiction. He's totally taken aback although Grace and the nanny are not surprised.  Being left with his two young kids at home whom he's ill equipped to manage, Andy turns to Grace to help cover for him. Grace not only has her hands full being married, eight months pregnant and her own work, she's built up a lot of resentment for having gotten shafted from him as an absent father in her life. Kunis and Keaton are great at playing off of each other as the daughter relegated to the back burner and benevolent dad trying to be successful but too often MIA. But hey, Andy has a big heart and the best intentions even though he keeps breaking his word. Still, you can't really hate the guy nor can you recommend him for father of the year.  Neither can you detest this film or highly recommend it.  What makes it worth watching is the entire cast and seeing how ingratiating Andy can be. Somehow he's still loved by those who know him, including his ex-wife (Andi McDowell) and his business partner (Kevin Pollack) whose small roles add just the right tones. His young twins and the nanny are also colorful. There's just the right strokes of humor and angst.  You end up rooting for this blustering bloke despite his poor decision making and unreliability. Keaton as Andy can still pull out the charm and light up a room. All told, the script is awash in Hollywood undertones of a loving apology from a wealthy, self-consumed husband and dad who regrets the neglect to his family but knows he's still welcome back in the fold. 

A MAN on the INSIDE-Ted Danson as a Senior Sleuth is Divine

A MAN on the INSIDE is a delightful Netflix series that the whole family will gobble up easily and still want more servings. There are so many reasons to relish this touching comedy served up in a light mystery. Firstly, Ted Danson continues to prove himself as a bankable leading man that continues to get better with age.  Danson stars as Charles, a widowed septuagenarian living in San Francisco with too much time on his hands. His loving daughter, Emily (Mary Ellis) challenges her father to engage in something outside the house. He accepts her challenge and lands a job he applied for from a personal ad  as a spy in a senior residential center. Only an insider living in the senior center would be able to track down an expensive necklace reported stolen inside the senior center. Charles nabbed the job because the other senior applicants had no knowledge whatsoever of cell phones or technology. As a former professor of engineering and feeling cocky, his new boss tries to take him down a few pegs. His boss Julie (Lilah Estrada ) informs him he was hired because he was the "best candidate from a poor group of applicants." There's little that shakes Charles' confidence or affability.  Therein lies the lion share of humor and goodwill generated by this clever and disarming series. The relationship between Julie and her elder protege Charles, willing to learn new tricks, is hilarious as she reigns in her frustrations and metes out earnest praise as he ingratiates himself into the senior community making helpful breaks in the case. The mystery of the missing jewelry aside (it gets tied up in the final episode) it's easy to fall hard for enjoyable series which is about friendships, family and forging new relationships. This is a gentle comedy with a happy hour everyday starting at 3PM.  The residents in the house include a marvelous Sally Struthers whose on again/off again paramour refers to Charles as his "sexual rival." Charles becomes close with Calbert and the two spend an idyllic day in San Francisco. Charles acts as guide and the two serve up a love letter to SF and friendships at any age. Of course, Charles moved in under false pretenses. The director sensed something awry with Charles and Julie posing as his daughter which makes for a fun double conundrum. Despite trying to uncover a culprit, and getting punched in the nose by his "sexual rival," there's no villain or anything to suspect that would raise an alarm other than the passage of time. Is this a show for everyone where everything seems fine and hunky dory? Some may find this light fare or geared to the early bird special diner. Personally, I think it's much finer.  I look forward to an indicated season two for Charles'' and Julie's next caper.

Film JOY-The Birth of IVF Treatments with Bill Nighy

Newly released on Netflix, the film JOY is based on the true story behind the founding pioneers of in vitro fertilization IVF treatments. The name Lesley Brown may be remembered as the first woman to successfully deliver a child through the use of IVF, the three names that are responsible for the inception and development of this process are not household names. This admirable but laborious film pays tribute to the two Drs. and nurse who dedicated a decade of lives to providing infertile couples an opportunity to conceive a child. It also paints a picture of the backlash and resistance IVF was initially met with from the church, general public, and the scientific community reluctant to provide essential funding.  While noteworthy, it doesn't provide sufficient conflict or drama to generate enough excitement to hold one's interest. The genesis for what has become commonly accepted as a method for making childbirth a reality for millions dealing with infertility didn't germinate into great storytelling.  The movie elected to focus on Gene Purdy (Thomas McKenzie) a nurse and embryologist who is credited along with Dr. Robert Edward (James Norton) and Dry Patrick Steptoe (Bill Nighy) for developing IVF and making the first test-tube baby, Louise Joy Brown, a reality in the summer of 1978. Bill Nighy is always worth watching and is marvelous as the steadfast Dr. who grasps the significance of what they are doing. Norton needs to do more than rely on his good looks. His character, though intrinsic to their collaboration, was thinly drawn. McKenzie does a lot more with her role of being indomitable in her mission despite being ostracized by both her church and her mother for a time because her work was considered sinful. The movie succeeded in conveying the desperation of the women vying for a child. Though, knowing how imperative IVF has become mitigates the push portrayed against its usage. Too much time is spent in the lab watching them work or falling asleep. It was tiresome. The musical tract and fashions of the 60s & 70s did little to lift the film. Repetitious scenes in diners and cars also wore out their welcome. The extra melodrama of Purdy's infertility and her mother's death after their reconciliation felt maudlin and unnecessary. Dr. Norton did make a toast on the eve of Louise Joy Brown's birth to Purdy, Steptoe and those who helped bring about the fruition of IVF saying ..."do not forget how significant what they achieved today is."  Recognition for the mavericks who persevered to make maternity possibile where it wasn't 50 years prior is nice to know but not worth the gestation period of watching JOY. * (The middle name Dr Norton was honored to bestow).  

MY OLD ASS with Aubrey Plaza is a Miraculous Muse on Life

 "I just really wish that time would just stop for a second so I could enjoy it for a little bit longer." says the just turned 18 year old Elliot in this enchanting and touching film. Elliot is played by a luminescent Maisy Stella. She's counting down with excitement her last days at home on the farm with her family before heading off to college in the city. She's spending one of her last nights with her two best friends  camping out and getting high on mushrooms. Her trip brings conjures up her 39 year old self played by the doe eyed Aubrey Plaza to perfection. In their hilarious encounter, older Elliot (Plaza) needs to do some convincing to persuade her younger self she is not just a figment of her stoned imagination. Once  convinced, young Elliot asks for advice and gets a meaningful mouthful from the wisecracking Plaza. "I wasted so much time caring about what others thought. Don't make that mistake." is one of her many words of wisdom, along with, "Stay away from someone named Chad." The next day Elliot shrugs off the encounter as a drug infused hallucination only to be taken aback when she meets a guy named Chad and finds Plaza in her cell under "My Old Ass" with whom she continues to communicate via calls/text. This is a surprising and delightful coming of age story, a stirring "wake up and smell the roses" and a warm reminder to savor being young and dumb. Elliot had always considered herself a lesbian but finds herself drawn to the funny and unassuming Chad. One of the many charms of the film was Elliot's self-discoveries. She confides in her friend that she's attracted to a boy, "I feel like I'm being pulled in different directions and I don't know who I am anymore." The movie sparkles visually and resonates with genuine emotions. Stella and Plaza playoff each other convincingly as two factions of the same person in a taut and unusual relationship. My favorite scene is where Elliot admits to Plaza she and Chad had sex and demands to know what Chad had done that was so horrible. Chad comes upon the two of them and Elliot is stunned, as are we, that Plaza and Chad appear real to each other. This encounter strikes at the essence of what the older Elliot wants to impart and also takes to heart, "Don't let fear hold you back. It's the biggest thief of joy." MY OLD ASS is a joyous film filled with splendor. It blends youthful exuberance for the future with a pensive perspective towards living in the present. My favorite quote in this film that ended too quickly for me is, "Time slips away faster than you think, so love hard and laugh harder." This is one of my favorite films of 2024.

DISCLAIMER Stars Cate Blanchett, Kevin Klein and Sacha Baron Cohen

DISCLAIMER by two-time Best Director Oscar winner, Alfonso Clarion now airing on Netflix is a sexy, seven part thriller that proves cunning and entertaining. Our main character is Catherine Ravenscroft (played by the incomparable Cate Blanchett). She's a highly regarded documentarian. The series begins with Cristiane Amanpour presenting Catherine a reward for her reporting. Amanpour warns the audience of the power narrative and form to enlighten and mislead. The film itself uses several voice-over  narratives clarifying what we're watching. This clever use of voice-overs which first seemed unwarranted, play a crucial role in unraveling facts from fiction in this duplicitous drama. There are two entwined families connected by a fatal drowning. The prominent, wealthy Ravenscrots, elegant Catherine, her husband Robert (Sacha Baron Cohen) and their 25 year old son Nicholas. The other family, Stephen (Kevin Klein) and Nancy Brigstocke (Leslie Manville), both teachers, live a modest lifestyle with their son, Jonathan. After the awards ceremony, the film travels 20 years in flashback to a young Catherine, with her then 5 year old son vacationing on the Italian shore. Here they encounter Jonathan at age 19, after his girlfriend just returned to London. Catherine lures the timid but eager Jonathan to her suite and the two have steamy sex per Catherine's instructions. Catherine in turn, willingly poses for Jonathan's camera per his direction. The next day, Nicholas became adrift alone in a raft while Catherine napped. Jonathan is the first to reach Nicholas bringing him to safety but then Jonathan drowns in the undertow.  Be wary of fractured story telling. The Bristockes are devastated by their grief. Nancy retreats into Jonathan's room and writes a novel signifying Catherine as the woman who had lurid sex with her son and idly watched him drown. Stephen publishes the novel posthumously and enacts a twisted plot of revenge to shame Catherine and make her suffer. Copies are sent to her co-workers and to her husband and son with photos Jonathan had taken. Catherine's life goes into a tailspin; she's spurned at work, her husband abandons her and their son overdoses. The enticing scenes over seven episodes allow the viewer to form their own perspectives to consider how things will pan out. Blanchett is pitch perfect as the polished wife with a well-kept secret. Klein is alarmingly crazed and Cohen is convincing as a whiny husband. This easily binge worthy series will enthrall the viewer in a world of fascinating facades that crumble. DISCLAIMER is gripping and captivating to calculate where the viewer was misdirected and manipulated.   

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)