DIARRA from DETROIT Dark Dramedy/Mystery Diarrhea Kilpatrick Shines

DIARRA from DETROIT airing on Prime Video is a dark comedy curtailed around a mystery that stars Diarra Kilpatrick who is also the show's co-creator.  The title gives you the two main characters: Diarra and the city of Detroit both depicted with steely and frigid veneer.  The dialects and in your face conversations may take some getting used to for more genteel midwesterners or the Grosse Pointe elite neighbors. Hold onto your wooly caps. This is not a show for the faint of heart. The show's hard hitting edge and brusque manner is intriguing. Its angry style is punctuated with humor and tenderness. Diarra has just returned to her childhood home while she's reeling from an undesired but imminent divorce from her husband of five years. The first night of her return home, she's held up at gunpoint. Until she identifies the mugger and the  two sit down to some hot wings and hot topics including her husband asking for an open marriage. The show's kinetic energy shifts faster than the Detroit Red Wings line changes. The viewer is just outside the tumultuous action pounding their fists against the glass. Determined to get back in the dating world, Diarra finds a sexy match on a dating site. She's more than excited to see her date actually mirror his photo. Their sexy flirtation and banter lead to the bedroom. The next morning she shares her steamy night with her girlfriend who claims he must be some kind of murderer. But, Diarra is smitten only to be ghosted which she won't take lying down. She's determined to get an answer or apology from Ambian. She and a friend break into his apartment and discover a naked man tied up in the closet. Diarra is now about to become entangled with an underground crime element, likely tied up with a missing boy she knew as young a girl. Her day job, teaching at a public school, is reminiscent but more intense and relevant than "Abbott Elementary."  Kilpatrick calls to mind Issa Rae, only she's tougher and more unflappable. The entire supporting cast is excellent. You will not know where the show is headed which adds an element of suspense.  The show's stark appeal may not grab everyone. But, it is wickedly entertaining.  Take off your safety belt and go along for a wild ride. 

FALLOUT- I'm All in on this Apocalyptic Sci-Fi Thriller

FALLOUT is by far and away a thrilling, entertaining and visually stunning series that explores a future world two centuries following a nuclear destruction in the 1960s. Based on the popular video game of which I know nothing about nor do feel I'm missing out. Airing on Prime Video, the pilot captures a Kodachrome LA at a child's cowboy themed party. Rumblings of nuclear attacks are brushed aside but   the nuclear blast casts a harrowing pall on festivities. Families race for their bomb shelter. The birthday boy dad father fights off another dad whom he was just shared a beer. Those few families who  built bomb shelters and could reach them are the surviving progeny free of radiation contamination on the earth's surface. These generations went into a two century hibernation. An elaborate underground eco system was developed with tight knit communities. Small populations inside sealed eco chambers necessitates connections with other sealed sectors to sustain the populations. Lucy (a wide-eyed earnest Ella Purnell) pitches herself to a panel which includes the legendary Leslie Uggums. Lucy got the gig which is for an arranged marriage with a young man from the next sector. Lucy's loving father Hank (the great Kyle MacLachlan) is happy for his daughter. The vault doors opens as an excited Lucy looks to meet her betrothed. The wedding goes off without a and the insistent groom can wait to get to his bride to the bedroom. Wedded bliss is short lived as groom's sector is intent on taking over. Lucy (think Emma Stone) is no pushover. The girl knows how to fight. Fight scenes are graphic and gory but there's so much more to the story. Lucy leaves the safety of the only home she's ever known to venture out onto the surface in search of her father. A second story on the surface begins in a brutal army barracks with gargantuan Transformer like Robots.  Maximus (Aaron Moten) becomes selected for a mission by the revered leader of this makeshift army of survivors. (How they survived is anyone's guess). The look on the surface is a hybrid of Mad Max meets Dune with a bizarre assortment of mutants. people and LA landmarks.  The most ominous monstrosity, Cooper (Walton Goggins) is an immortal, noiseless cowboy reminiscent of cowboy performer at the birthday party prior to the nuclear fallout. (Let's hope this doesn't go Western World weird.) He's menacing, edgy and enticing. All three main characters are well cast. Their ventures in this brave new world are harrowing, violent, gleeful and believable. Believe me. FALLOUT is safe bet for a complex, cunning and unique sci-fi series worth falling into.  

I revisited The MOUNTAINTOP and Found it an Arduous Journey, Again

I first saw the play "The Mountaintop on Broadway with Academy Award nominees, Angela Bassett and Samuel Jackson.  Even with their talents, watching this one act, two characters play felt like being in purgatory. Written by Pulitzer Prize winner Katori Hall this is a fictitious account of Rev. Martin Luther King (MLK) on the eve before his assassination on the balcony of the Lorraine Motel in Memphis in April of 1968.  MLK had just delivered a speech to local sanitation workers to inspire and enlist them in his peaceful crusade for change.  Seeing it for a second time at the 222 in Healdsburg a decade later didn't change my dismal regard  for this garrulous play.  It is overly long and underwhelming. In fact, despite the fine acting by the two actors at the 222 without household names, it did not elevate the interest or import of this production.  Both Sam Jackson as Camae, the maid bearing room service to MLK (Ron Chapman) as he labors to write a speech, delivered solid performances. The problem rests heavily with the burdensome dialogues that digresses from and distills its historic significance. A full hour into the play and we're mired in the motel room watching a mutual flirtation between MLK and Camae.  MLK cajoles her into lingering longer, wearing out her welcome by the audience. MLK is unsurprisngly depicted as having  flaws, a man who is fallible who gives into temptations. In other words, just a man. The poignant slogan of the Civil Rights Movement, "I am a Man," began with the 1968 Memphis sanitation strike.  "I am a Man" signs were used to demand respect and adequate pay. I admire the ambitious intent of the play to educate and entertain the import of MLK's role in moving the dialogue for needed social reforms. Camae reveals her true identity as an angel sent by God. God speaks to Camae on the landline. Surprisingly God is female and black and assigned Camae to escort MLK to heaven after he's killed.  This clever ruse takes a downward trajectory as MLK begs and pleas for more time. Too much time is spent in banter between MLK and Camae that just doesn't matter. MLK is given a reprieve but granted a futuristic peek at the purview of his influence and progress achieved, This latest staging has update the screening of events that speak to social reform, progress and set backs.   I sit in judgement and find the play an assiduous exercise that doesn't materialize as pertinent or possessing prodigious insight.     

Michael Douglas Stars as Benjamin Franklin Now Rolling in His Grave

The new Apple TV series Franklin, is frankly fraught with more problems making this version of our founding father Benjamin Franklin, averse to viewing.  This is a frothy fashion biopic that follows Franklin (Michael Douglas) and his 17 year old grandson William (Noah June) during his years in France frolicking with the filthy rich aristocrats. Meanwhile, Washington was contending with a flailing army in need of aid and financing at the start of the of the Revolution. The greatest casualty is the casting of Douglas in the key role. Douglas has been electrifying on the big screen. But, in this made for the Apple TV miniseries, he gives a phoned-in, putrid performance that is anachronistic in style. Douglas and the winsome June seem to be acting as if they traveled back in time from the 21st C.  The outcome is more fictitious than factual, more satirical than serious, more frilly and just silly. This would be acceptable if not for the cursory content to Franklin's task and the lack egregious lack of entertainment compensation. The fallout of watching is contemptibly tiresome. Some credibility, concern and curiosity for what is at stake for the nascent United States was sorely in abstentia.  Abstain from this droll drama that failed to deliver the goods. Douglas in WALL STREET may have ferociously said, "Greed is good."  Douglas in "Franklin" is definitely dormant as a block of wood.   

Comedian Daniel Tosh Pulls No Punches

 Last night before a sold out house at Santa Rosa's Luther Burbank Theater, Daniel Tosh was in top form as he wielded the crowd with his wit to laugh at the absurdity from both sides of an issue. Known for his sardonic take on current political and social issues, Tosh took aim at hot topics including abortion, vaccines, political parties, black athletes, police brutality with a no holds barred, brash approach. Tosh's topical material was well crafted and cutting-edge. It felt totally organic and original. Tosh started out gently and built-up to a comical crescendo. He said he planned to switch his career from comedy to magic. He gave a sealed envelope to one person and asked another to name a number from 1-100.  The number chosen, 99, was not the 54 in the sealed envelope. Tosh poked fun at the ridiculous choice of 99, then came down on "54" for not choosing 99 to save the joke. Often, he made himself the butt of the joke, "This all proves that magic is stupid." His modus operandi through his non-stop, spell-binding routine pushed back at the absurdity of opposing views. His routine flowed effortlessly for well over an hour with precise timing and circuitous material which was sardonic, sensible, irreverent and redemptive.  His overriding attitude of disdain was never off-putting. He steered the audience to ironic and hilarious observations that still allowed the audience to feel safe and sane regardless how inane or contentious the joke. Tosh told the audience it was his job to go there...and go there he did. He claimed, "I'm willing to lose half my audience."  I for one, took him at his word.  His wife's pregnancy with 3 fetuses was cause for high-fiving after learning 2 of the 3 fetuses had become non-viable. A seriously funny discourse ensued that crossed pedophilia with life beginning at fertilization. His poignant goodnight kiss on his daughter's birthmark led to a cringeworthy punchline that struck you in the gut and the funny bone. Tosh was for abortion just not pro, pro-choice for women. He appreciated how cop's get trigger happy, "I was a lifeguard and I admit to blowing the whistle when not necessary." The litany of people he's okay with getting shot include fans who try to enlist their sections in cheers and people who drive around speed bumps.  His candid take mocked his own wealth and the virtues of having money as far outweighing being poor. Tosh's contemptuous outlooks delivered without rancor were altogether clever, thought provoking and hilarious. Tosh contemporary outtakes showcase him at the top of his game and destined for fame.  Daniel Tosh tells it like he sees it and pulls no punches. My hunch is he's a formidable funny man for the ages. Catch him whenever, wherever you can. 

Steve! (Martin) Doc in 2 Pieces-Too Much to Matter

If I were to name two comedians who comprised the laugh track for my college years it would be Steve Martin and John Belushi. Interestingly, Martin thought (and was correct) what he was doing was groundbreaking and unique until he noted Belushi and the cast of SNL.  Martin realized they were also committed to the insane zaniness that inspired millions to wear balloon hats on their heads and arrows through them.  The biopic documentary now screening on Apple TV is a detailed anthology of Martin's life, from childhood, through a rambunctious route to connecting with an audience, and his miraculous meteoric rise to the pinnacle of comedic success. The devil is in the details and the unraveling of Martin's sophomoric sojourn is sorely overrun causing the laughs to fall flat and his zeitgeist humor to feel humdrum. In large part, Martin's puerile silliness was a backlash to the anguish of the late 60s/early 70s with a need and willingness to feel more at ease. I was one of the adoring fans at my college coliseum who saw him. I laughed until my sides hurt.  I'm sure the brownies that were passed enhanced my feeling of  euphoria.  Saturday nights the largest lecture hall on campus screened SNL. We'd gather to decompress from the stress of studies and let off steam amid a fugue of funky haze. Those were wild and crazy days; thanks for the memories.  This biopic is very stylized, and finely produced with personal letters, interviews and archival footage. The minutiae of memorabilia contains moments of laughter, but this film doesn't succeed as an entertaining roller-coaster of laughs.  Yet, it does maintain  a serious dissection of a driven entertainer in search of himself, his audience and what his aims are for achieving success.  However, it does provide an appreciation for Martin's acquired trials and tribulations. And, there's much material to be gleaned for aspiring comics or performers venturing on their course to stardom.  Nonetheless, there's also the devil's curse, boredom.

North of Normal-Totals Nothing Noteworthy

I'm usually bowled over by a coming of age story combined with an upbringing outside the range of normalcy. Nonetheless, "North of Normal" the true story of Cea Sunrise (an ebullient Amanda Fix), raised in a flagrantly neglectful and toxic manner by her pot smoking teen mother and grandparents in the wilderness wields nominal, noteworthy interest. At first, I wanted to root for Cea with her beseeching bovine eyes as she yearns for any semblance of security. The actress portraying young Cea (River Price-Maenpaa) is the only miraculous aspect of the film now screening on Apple TV other than her brown years turning cerulean blue as a teenager. Cea's is forever being dragged by her mom (Sarah Gadon) as she moves from one shiftless boyfriend to the next. The first few years where Cea is living in the woods with her mom and grandparents in teepees, she is recklessly left to fend for herself. The allure of growing up feral in a natural habitat is romanticized.  Evenings dancing around the campfire with her family and various vagrants glosses over the hardships and depravities of living outside civilization and the law. There would seem plenty of fodder to take from Cea's life for creating a character arc despite development despite bad parenting, abandonment and abuse.  But, we're left with detritus and montages that fail to stir the viewer. The poignancy of a young girl pining for her mother's love and seeking a safe harbor is sorely missing. Six years passed in which Cea was left in the unreliable care of her grandparents in the Yukon. There's no glimpse into this time. You can only wonder what transpired. Cea is reunited with her mom who's late to meet her at the bus station. For the first time she's enrolled in a classroom. The disastrous fallout of living outside society and the ostracism she feels fail to elicit  sympathy for our heroine. This was never a Gilmore girl's relationship between mother/daughter. Nor is it a striking allegory for perseverance. "North of Normal" is neither a captivating or cautionary tale.  It's a washed over account that pales despite an unconventional lifestyle as it feels inconsequential.  In the most dramatic scene, Cea pleads with her mom who is about to send her away, "Why can't you chose me for once. I'm your daughter." This was too little too late to stir the heartstrings. "North of Normal" registers south on this critic's scale.  It meandered meaninglessly and was a massive disappointment. 

The LAST QUIZ NIGHT on EARTH a Trivia Game within a Play that's Not Trivial

Left Edge Theater's production "The Last Quiz Night on Earth" is an interactive, apocalyptic, comedic drama which packs staying power. Unfortunately, an asteroid shower is going to rain down within a few hours. So, why not pop into your local pub where everyone knows your name and play in the regular trivia game night?  That's the beguiling premise that catches the audience, milled around the bar where the transactions of drinks and food is a flush business. The South Side Chicago bar is being manned by a bodacious broad who comes around the bar after manning the bar and welcomes the crowd of regulars and newcomers who've chosen to enjoy their last few hours before impending doom in a semblance of normalcy and camaraderie rather than utter gloom.  By the time the pretext of an actual annihilation of our planet sinks in to be taken seriously, the theatrics and trivia contest have unearthed such good will and intrigue to entice you to stick around (even if you would've chosen to spend your last hours...how? The absurdity of this catastrophic conundrum is not lost in this dystopian drama that treads lightly over predominantly droll regrets. The emotional impact strikes between Kathy, the bar's owner (Serena Flores) and her long estranged brother Bobby (Mike Schaeffer) and Rav (Phi Tran) Kathy's co-worker and Fran (Nora Summers) who reintroduces herself to Rav as his high school sweetheart and the love of her life. The insular world of a bar is arguably the place where everyone goes to celebrate, commiserate and connect with others. The real world is kept at bay inside the bar.  Barring any unforeseen catastrophe, time spent playing trivia, watching the pandemonium play out and perhaps imbibing, a good time is guaranteed by this engaging, clever and entertaining cocktail of genres guaranteed to provide a winning time while it lasts. 

SHOGUN Mini Series is a Breathtaking Epic Set in Japan in the Early 17th C

SHOGUN mini series is a visually stunning saga that sweeps Japan during the tumultuous years of warring factions following the death of the Shogun. Based on the best-selling novel by James Clavell, this historical drama blends the enchanting and benign lifestyles of the common Japanese with the fervent hawkish mentality of its sparing and duplicitous leaders aligning against one of its Regents, Lord Yoshi Toranaga (Hiroyuki Sanada) and a sensual, star-crossed lover's story.  What sets this SHOGUN so supremely compelling are the panoramic landscapes of and stunning Japanese villages and cities with their ancient pagodas and lantern lit streets. A European ship with a scraggly group of pirates arrives as the seeds of discontent are brewing. Aboard the vessel, the captain has committed suicide (prematurely) as the dying crew was about to strike land. Catholic Jesuits have preceded the pirates and have profited from Japans riches and religious conversions of many Japanese. John Blackhorne (Cosmo Jarvis) takes over as commander. When they come up on land, they become captives to a hostile and powerful army.  John speaks for the rest of his men not to be seen from again except for one poor bloke who gets boiled to death. There's plenty of men whose heads will roll with a swift swipe of the swords worn as garb. Mariko (Anna Sawai) is the beautiful interpreter and confidante to Lord Toranaga who bridges communication between Toranaga and Blackthorn. Language is knowledge, knowledge power and power the endgame. The connection between Blackthorn and Mariko becomes one of biblical understanding. SHOGUN is fierce in its battles and executions which will eradicate a man's lineage including infants. There is a sharp contrast  between brutalities and sensualities, barbarities and civilities. The dimly lit, sparse interiors feel authentic, the costuming is exquisite and the foods enticing.  A camaraderie and respect develop between Blackhorne and Toranaga. We get the perspectives from both. The plotting is convoluted and confusing at times, despite closed captioning of predominantly Japanese dialogue. The comparisons of varying customs and religious convictions between East and West brush up against one another.  Who is the barbarian and who is civilized? Watch this SHOGUN mini series. There's massive historic splendor and booty rendered.  

RIPLEY-Netflix Remix/Andrew Scott, Dakota Fanning-Stylish Intrigue

For fans of the previous "Talented Mr. Ripley" (1999) with its glamorous, star studded cast, save any snobbish dispersions towards the nouveau Netflix series "Ripley" which is a throw-back to old Hollywood film noir. The two versions are deliciously intriguing in their own distinct fashion. "Ripley" stars Andrew Scott as Tom Ripley, the key role in this sinister character study of a grifter who ingratiates himself into the lives of Richard "Dickie" Greenleaf (Johnny Flynn) and his girlfriend, Marge (Dakota Fanning).  The series is shot to great effect in black and white, showcasing the ancient beauty of Italy and the squalor of New York City in 1961. Episode one, filmed in a languid pace, shadows Ripley as he runs an illicit check forging operation out of a rank boarding house. Here he shares a communal bathroom where more sewage flows from the drain than water from its shower head. The stark contrast from the earlier radiant chromosome cinematography to the black and white aesthetic of the current "Ripley" is not the only clever contrast. "Ripley" uses the luxury of its leisurely pacing to allow the viewer to indulge in their opinions of the characters' motives and personas. As in the "White Lotus" series, we're given a dead body at the onset and the mystery to unravel of a corpse shrouding the show in flashback.  "Ripley" offers glimpses of an ambiguous figure clumping a dead body down a stairwell witnessed only by at the curious gaze of the resident cat. The cat's watchful eyes become a fixture not unlike those of the spectacles in Gatsby. Events unfold beginning six month prior. There are mystifying enigmas and cryptic clues proffered.  How was Tom known to Dickie's wealthy father who sends him on this fortuitous trip in order to lure his son into returning from his extended sojourn abroad? Have Tom and Dickie's aristocratic friend, Freddie, met before? Why is Dickie indulgent of Tom after his flagrant faux pas? Who will Dickie heed? Are we being misled with red herrings within this shadowy world of intrigue? RIPLEY is the thinking person's mystery which leaves the viewer more conundrums to chew on from one episode to the next. Much is conveyed through the eyes of the actors. But how these inner thoughts get played out or the significance of shifting characters provides the audience much to ponder.  This Ripley is far more rewarding for letting the onlookers determine who's the villain and who is a chump.  How and when will duplicities be revealed and when will any comeuppances take place?  I'm all in on this stylish RIPLEY that works as an unhurried, old fashioned thriller  banking on the intelligence and imagination of the voyeur to be the mastermind. 

Bill Nighy in THE BEAUTIFUL GAME-Too Trite Too Predictable Too Bad

Bill Nighy is a bankable star that brings his A game to every film. I was surprised to come across "The Beautiful Game" (2024) recently released on Netflix without any fanfare or tipoff. Nighy plays Mal, a worldly wise coach to a motley crew of soccer players competing in an international tournament in Rome. This team is composed of homeless men, each with their own story of woe, that come together under Mal's benevolent mentoring. To kick this movie to the ground would seem harsh.  Based on a true underdog story, this well intentioned movie delivers on warmth and fellowship. Unfortunately, the cliches and predictable storylines maneuver in a relentless, rapid fire rate. What should have been admired  becomes mired in a malaise of treacly cliches.  Instead of being an uplifting or entertaining movie about sportsmanship it runs incredulous and shallow.  The smattering of delightful characters and scenarios might have resounded harmoniously had they been given space to breathe. Susan Wokoma is delightful as the nun who manages the S. African team and works miracles with her unflappable charm. The Japanese team of down on your luck misfits with an overzealous young coach are ingratiating as they explore and savor the many splendors of Rome's. The Japanese players teach the coach a lesson in humility and gratitude.  Bill Nighy is wonderful as always but given too much heavy lifting and simply too good to be true with his limitless fountain of wisdom and patience. THE BEAUTIFUL GAME goes into overtime with an overload of forged fellowships that cloud the film forfeiting a winning outcome. A flagrant foul is the homeless situation of the players that is shamefully glossed over. My pithy coaching to have assisted the movie to score is LESS IS MORE  I'm red flagging this film for reducing a redemption story to a checklist of platitudes.   

The TRUTH vs. ALEX JONES-Shameful Contemptible Self-Promoting Jones Held Accountable? Doubtful

I was living in NYC on a Friday in December in 2012, a day which lives on in agony and ignominy. The snow was falling on a serene, winter landscape in Central Park, blissfully unaware of the bloody mayhem that would end with the heinous murders of school children, educators; destroying innocent lives and those of their families, forever. The heinous mass murders at Sandy Hook Elementary erupted leaving many families bereft. Since that day over a decade ago, the anguish for families who lost their young children or family members has been continuously exacerbated by malicious lies manipulated into a grotesque conspiracy theory fueled by the self-serving sociopath, Alex Jones.  Jones claims Sandy Hook was a hoax, staged to take away gun rights as he had predicted. Within hours of the killings, Jones spewed his vile tropes saying, "there were no deaths:, "the parents were actors" and he has continued to repeat this lies for more than a decade garnering millions of Americans to buy into his theories and also his vitamin wares he hawked on his podcast. The Sandy Hook parents who suffered the inconsolable loss of their children were harangued and threatened by a public who believed Jones' torturous torments. A number of parents whose children were fatally shot were interviewed for this doc. They spoke of their grief and the disgrace bestowed on their children's deaths as flagrant lies were brandished and they became subjected to outlandish claims and demands. Some were taunted into exhuming their children's graves and threats against them were made.  One mother who lost her 6 year old son said, "There was never going to be anything that satisfied these people." This doc. follows the court proceedings of Jones' trials for his slander brought by parents of slain children. Watching this film is agonizing to hear from the grieving families. Their suffering is compounded by the mendacious rantings of a monster who profited off people's pain. This doc. is deeply disturbing hearing from the minions who buy into this barbed conspiracy realizing they comprise 25% of the American public.  It's clear Jones is the lynchpin of this lunacy. It's devastating knowing how pervasive it has become finding followers who align themselves with falsehoods, undeterred in their misguided notions that are beyond the realm of reason and cause ongoing pain and suffering. It's harrowing to consider how facts have become fallible and how ruthless and cruel people can treat others. 

AMERICAN FICTION-Writer's Fictitious Depiction Evokes Woke Constrictions

Elon Musk stated, "At its heart, wokeness is divisive, exclusionary, and hateful. It basically gives mean people a shield to be mean and cruel, armored in false virtue." AMERICAN FICTION maintains the conviction that being woke is counterproductive with the feigned intent of being open minded.  This entertaining film takes a fresh satirical look at the arrogance of honorable wokeness. It's a topsy-turvy spoof cashing in on derogatory stereotyping. To call AMERICAN FICTION tongue-in-cheek is an understatement. It shortchanges the film's clever writing, brilliant acting and effectiveness at portraying a loving, albeit dysfunctional family. The family at the heart of the film has three highly successful siblings: Monk, an erudite author and Ivy League, Lit. professor, (Jeffrey Wright) his brother, Cliff (Sterling K Brown) and sister, Lisa (Tracee Ellis Ross) both medical doctors. The squabbling siblings live spread apart but share a deep connection and a penchant for self-destruction. Monk's ire is meted out at his writing students and co-workers with acrid wit. His most acerbic rhetoric is directed at authors who write "trashy novels" stereotyping blacks as illiterate thugs who routinely murder each other or police. Meeting with his book agent, Arthur (John Ortiz) Monk rants against best-selling author, Sintara Golden (the always magnificent Issa Rae) as a sell-out for writing a novel that plays to racial stereotypes. Arthur agrees with Monk but reminds him he needs to write something that will sell. Monk get's called back home by his sister, Lisa, to help out with their mother (beautifully portrayed by Leslie Uggams) who is suffering from dementia. Unexpectedly, Lisa suffers a fatal heart attack which leads to Cliff returning to Boston for their sister's funeral. Monk channels his grief and frustration into dashing out a quick novel that appropriates the material he vehemently abhorred in Sintara's novel and sends it to his agent. No surprise the manuscript titled "Fuck" sells quickly along with a bidding war for its movie rights. Monk gets selected as a judge on a small literary panel to merit the year's best novel. Sintara was also selected as a judge. Monk's novel "Fuck" written under a nom de plum is one of the submissions. The only two dissenting votes against the "pandering" novel Fuck are from Monk and Sintara. The three white panelists all praise the novel's rawness. The exceptional ensemble cast radiates intelligence within absurdist situations. In addition to a best picture nomination, Jeffrey Wright and Sterling K Brown received nods for acting.  The movie deservedly came away with its win for best original screenplay in part for making a mockery of grandstanding liberals. The film delights in skewering societal hypocrisy. And, there are tender moments of familial affection and attempts at human connection. "This idea of purity, and you're never compromised, and you're always politically 'woke' and all that stuff, you should get over that quickly. The world is messy; there are ambiguities."(B. Obama)

The LAST REPAIR SHOP-Takes Home Oscar Gold

For those who watched this year's Oscars, the Oscar for best short documentary went to The LAST REPAIR SHOP. Walking up to accept the award with the movie's producers was a beaming young girl who appears in the opening and closing of this delightful film about a handful of people whose vocations are maintaining musical instruments made available without charge, to students in the LA Unified School District. Seeing her on stage gave me the impression the focus of the film would be on the young people who benefited from the musical programs. However, in keeping with the movie's title, most of the time was spent on the employees of the shop. Even though I anticipated a feel good film attributing to the positive impact playing instruments has on students this film steered me into another, altogether pleasing direction. Porsche, the young girl on stage donning a layered, blue taffeta dress and an updo, is seen in braids and barrettes brandishing her violin while attesting to how much she loves playing. We also met several other student musicians including a pianist and a euphonium player. They eloquently share their passion for playing and performing for an audience. These delightful but sparingly interspersed interviews are interwoven with longer vignettes of shop employees tending to battered instruments, tuning pianos and soldering of wind instruments. As the film narrows in on the employees of working in the shop, we are swept up into incredibly fascinating individuals from various backgrounds. The shop's manager, Steve Bahmanyan survived ethnic persecution in Azerbaijan as young boy. He escaped to the U.S. with his mother and brother following the murder of his father. Bahmanyan, gives us a run down on the haphazard records for the instruments needing repair with an irrepressible smile. His effervescent demeanor is all the  more surprising as the details of his harrowing childhood are revealed. The family who sponsored Bahmanyan's family owned a piano repair/tuning business where Bahmanyan was first mentored. He spoke on behalf of the shop, "The work that we do is important and needs to be passed down, but people who do what we do are a dying breed. Children are our future, and yet we're cutting arts and music programs around the country."  Paty Moreno repairs woodwinds at the shop. She crossed into the U.S. illegally in her 20s and raised two small children as a single parent.  Moreno shares how life changing  her job has been for her and children.  The film plucks at the heartstrings for an inspiring documentary without sounding cloying. The technician varnishing a cracked cello reminds us, "Music is the best thing that mankind does." 

ASLEEP in MY PALM-Tim Blake Nelson's Film that Gets under Your Skin

Tim Blake Nelson is not your typically handsome Hollywood hunk. But, his nondescript looks have served him well as an actor. In numerous films Nelson has assumed a role in which he delivers a compelling and credulous character.  Oftentimes, the character portrayed by Nelson is quirky or on the outside fringes of society. ASLEEP in MY PALM was made with TIM Blake Nelson's son, Henry Nelson who wrote and directed the film. Henry wisely showcases Nelson in a role that plays to his father's strengths. Here Nelson stars as a single father of a 16 year old girl (Chloe Kerwin in a virtuoso performance.) The two live inside a storage unit in a small, rural college town in OH. It's winter break, there's snow on the ground and Christmas lights strewn  about in a desolate looking town. We meet Nelson while he's telling his daughter a story about Chicken Little with a philosophically bent. Little is construed as a distrusted profit who perceived a cataclysmic disaster when no one else did. There's an apparent warmth and tenderness that exists between the father and daughter. As he's about to leave after bundling up in multiple coats and hats, he instructs his daughter to lock the door behind him. He leaves while it's late at night with no about in order to steal bicycles on the campus which he sells to his accomplice, a deranged young man (a convincing Jared Abrahamson). Abrahamson tries to engage Nelson in conversation and companionship despite being coolly rebuffed. Nelson's backstory is not revealed til the end of the film but he's perceived as intelligent, resourceful loner except for his daughter. Nelson is only focused on getting paid by Abrahamson and a ride back to his daughter.  This film parallels "Leave No Trace" starring Ben Foster. Foster lives in the forests of WA with his teenage daughter as he too wants as little to do with society as possible. In both movies, the daughters have been sheltered from living amongst other people or in a conventional home. The awakening of the girls to their isolation and budding desires cause the films to ache with loneliness and unrequited longings. ASLEEP in MY PALM hints at a sinister look at those living outside the fray and poses a repugnance for the frivolousness of the fortunate with their advantages. The cinematography is haunting and the acting by its three leads give the film its power and grace. Still, it is confusing along the way and the startling, twist ending felt contrived.  However, along the way it's captivating as an inside look at the overlooked in society and a poignant plea for being seen.  I recommend seeing ASLEEP in MY PALM screening on APPLE TV. It's a dazzling debut film by a promising filmmaker and Henry Nelson in another outstanding performance from Tim Blake Nelson. 

SF Ballet MIDSUMMER NIGHT'S DREAM Turns into a Nightmare

The premiere production of San Francisco Ballet's MIDSUMMER NIGHT'S DREAM in March of 2022 had an inauspicious opening. As noted in today's program, "A MIDSUMMER NIGHT'S DREAM now holds a prominent, if notorious, place in San Francisco Ballet's history. On March 6,2020, the opening night of MIDSUMMER also became its closing night. Midway through the performance, the mayor's office announced that the War Memorial Opera House complex would be closed to public performances because of a troubling new coronavirus.... Although no one knew it at the time, the rest of the 2020 season as well as the 2021 season would be cancelled, and MIDSUMMER wouldn't return live until 2024. Now, March 16th, 2024 portended one of San Francisco cherished spring days with sailboats in the bay on a clear, sunny day. The well attended performance included families with children dressed in their best and ushers coiffed with wreaths of flowers in keeping with the magical allure of George Balanchine's ballet adapted from Shakespeare romantic comedy of unrequited love. The long overture of Felix Mendehlssohn's composition set an exhilarating tone. The Opera House curtains rose revealing a faintly lit scene in a lush forest, Huge trees cascading slowly downward creating a densely layered set. The stunning costumes were created by powerhouse fashion designer Christian Lacroix. The royal lovers were draped in rich velvets in ruby red and emerald green. The happily paired couple wore matching green costumes while unrequited lovers were donned in red. Costuming for young dancers portraying sprites were in earth shades of amber and moss with tattered hems and headgear sprouting antennas. Puck's costume lent an ethereal shimmer adding to the whimsy and nimbleness of the character. Balanchine, arguably the most important ballet choreographer of the 20th C, created versatile movements lending angst to despondent lovers with nubile movements. Puck's dancing was agile and lofty. His dancing dazzled with musicality and comedic aplomb.  I along with the audience was swept up in the grandeur of the dancing, music and staging when theater house lights started flashing which was disruptive and confusing. As some patrons started to exit an announcement was made to remain seated and wait for further instructions. Not heeding to stay seated, I rose without further adieu. I flew the coupe, making it out just before the alarms sounded again and the entire house poured out the doors. The ushers in their floral headdress shut and barred the entrance doors.  Fire Trucks soon pulled up in front and alongside the building. While some guests waited patiently and optimistically to be allowed to reenter, many departed.  The pranks inherent in MIDSUMMER are welcomed, bomb threats are not only frowned upon, they're illegal. Puck is a prankster but a real prick is the gangster who spoiled a promising foray, making it another fiasco. 

LOVE on the SPECTRUM is a Serious and Triumphant Reality Series Where Love Lies Waiting

It's frightening to consider that one in 36 children born in the US are diagnosed with autism. For today's parents planning a family this poses a daunting statistic fraught with worry for achieving a successful pregnancy and giving birth to a healthy child.  Watching the Netflix reality series, season 3 of LOVE on the SPECTRUM, I was humbled by the ease of experiences I've taken for granted that are fraught with strain and yearning for those diagnosed with autism. Furthermore, I was awed by the loving support  provided by family members, the value of kindness and the human emotions that unite all of us.  Companionship and romance are things we cherish, nurture and hope to find for ourselves as well as wish for others to have. Remembering the trials and tribulations of dating can recall feelings of awkwardness or  the pains of heartbreak. Hopefully, there are also memories of exhilarating times and profound happiness. This thoroughly delightful series follows adults in their 20s with autism who are dating or looking to find  someone to form a romantic relationship with. There's an overriding sense of goodwill attributed to those featured as they strive for connections despite compounding stress and difficulties. Watching the series had me rooting for everyone. There's much to learn from observing how people in the show treated each other with patience and kindness. I took away lessons in how to be a more effective listener and how to better communicate. There's a social worker who's an expert in counseling people with autism. The coaching she provides deals with dating questions and possible scenarios or responses to try to exude empathy and offer support.  For skeptics who think the show will invoke discomfort or deeply sympathetic feelings for the participants, I assure you the emotional impact is pure happiness as you observe as love lives waiting to be nurtured. LOVE on the SPECTRUM broadens an awareness for the vast array of personalities. More importantly noted are the scope of commonalities that bind us.  I found David and Abbey's relationship especially touching to watch as they travel on safari in Africa to see their favorite animals. Dani is the individual in the series I was most smitten with as she possesses a rye wit and an unflappable determination to find romance. I'm rooting for her and the entire cast to connect with someone special and form a lasting companionship.  The show's irresistible charm and consideration for its participants with disabilities puts this reality show in a range that is far and away superior on any spectrum.     

Poet Jesse Nathan Recites Poetry at 222 for a Fortunate Few

Jesse Nathan's poems have appeared in The Paris Review, the Yale Review and The Nation. He was named winner of the 2024 New Writers Award in Poetry. Nathan's a prof. of literature at UC Berkeley. Luckily for me, I heard him recite from his debut poetry collection, "Eggtooth" with an intimate few at The 222 last evening. Saturday night in the town of Healdsburg had a lot going on, including a free concert by the Healdsburg Symphony in a tribute to the music of John Williams. I sneaked in late to hear the last few selections from the all brass and percussion orchestra conducted by Ken Collins. I was already jubilant from Nathan's poetry reading. Nathan shared his split childhood, having been born and raised in Berkeley and then moving at 11 with his parents and brother to rural Kansas.  His mother's Mennonite family has lived on farmlands in Kansas for several generations. The culture shock made Jesse a bit of an oddball outsider with his long hair and city garb. Thankfully, life was filled with unsupervised exploration with his brother and cousins as they roamed freely along the creeks and rural fields. The wide open spaces were a welcome if not daunting adjustment to his new life in farm country. Nathan's mother and her family are all Mennonite and his father, Jewish. "This gave me another duality in addition to splitting my time between Berkeley and my family in Kansas which made art out of not, not being able to create art." Nathan read with his rich, soothing voice, from his poems elaborating upon his immersion in nature and an affinity for the sparse array of trees. I found his lyrical poetry resplendent with wonder.  I've captured several phrases from the various poems that resonated with me which I have spliced together to create a whole from fractured fragments. 

As if a shadow had a shadow - Her breasts went flying and froth became her hair - To eat one's fortunes raw - Words pay not all, speak so I can see your arguing voices - light appears cuspid - His noiseless blooming mouth open to the murk - Where sleep doesn't house sleep beyond the trees - The grass is hissing to breath that sigh - Dinosaur bones got planted by God just to amuse us - Always bit parts he asks, Always - there's an accuracy but no precision - Use me like an eggtooth, use me sustained to sing and fly - each message returned to the ether, our alcove of meanwhile. 

Japanese Film PERFECT DAYS-A Slow Burn with Much to Yearn

The Japanese language film PERFECT DAYS won a halcyon of awards and nominations including an Oscar nomination for this year's best foreign film. Interestingly, this is a joint Japanese/German film and the only Japanese film not to have had a Japanese director at its helm. The protagonist, Hirayama (Koji Yakusho), is a middle-aged Japanese man who lives alone in a minuscule and sparsely furnished space.  He toils as a public toilet cleaner but toil doesn't quite describe what many would find menial if not demeaning. Hirayama rises before dawn, folds and puts away his sleeping mat and purchases a beverage from the vending machine outside his flat before getting in his van and driving to his first latrine with the a waking city scape. Before setting out, Hirayama selects from his eclectic cassette collection which illicit life to the film and animation to Hirayama's stoic expressions.  At work, Hirayama is meticulous leaving  behind an immaculate place for others to place their behinds. Subtitles are almost obsolete as Hirayama engages in little if any, daily dialogue. On some job sites he is joined by a much younger, and much more garrulous man, Takashi. Takashi tries to impress his attractive, wanna-be girlfriend, Aya (Air Yamada) and begs Hirayama to lend him his van. Hirayama lends Takashi the van with himself in tow. Takashi tells Aya that he rarely hears Hirayama speak. Aya is intrigued by the cassette collection. She surreptitiously pilfers one of Hirayama's prized cassettes. When she returns the "borrowed" tape, Hirayama is surprised and seemingly hurt by her deceit but agrees to let her listen once more to the tape inside his van. Upon departing, Aya places a kiss on his cheek which elicits an expression that can be interpreted in a myriad of ways: shock, tenderness, longing and an overall sense of feeling bereft. The camera captures Hirayama bathing in the communal baths at the end of the day and savoring a meal at one of a few places he frequents. He's observant of others and his surroundings.  We follow him navigate his days and nights of solitude with an eye that finds harmony where most tend to overlook. He fills his time with literary pursuits, listening to music, photography and tending to his numerous plants. The enigma of his prior life are somewhat answered when he's visited by his vivacious niece (Nari Salto) who ran away from home. His niece badgers her beloved uncle about his life but aimiably accepts his ambiguous responses.  This languorous film's powers are buried treasures that abound in mundane things that drizzle through one's daily life and shimmering magical moments are ephemeral gifts in resplendent shades of perfect days. There are  several takeaways for me this film. I pondered the alluring grace and simplicity of living a very spartan lifestyle. Nevertheless, I submit to the overshadowing yearning for tangible experiences which only comes when engaging directly with others.  PERFECT DAYS is a nearly perfect film. 

Geffen Playhouse BLACK CYPRESS BAYOU-A Bloody Mess

BLACK CYPRESS BAYOU is set in Deep East Texas in August of 2020, during the COVID pandemic on the heels of the murder of George Floyd and the social unrest it unleashed. COVID neurosis plays a heavily sanitized hand in the play's plodding plot but prescient, social unrest not a lot. The underlying messages keep being buried under sisterly squabbles, a murder mystery and spiritual apparitions which doesn't pan out in a satisfying Jambalaya dish. There's too many piquant tastes in the mix to savor any one flavor for long. And, there's enough stentorian shouting on stage to make one's head roll. A white man's head minus the rest of the body is battered about between the mom, Vernita (a lively Kimberly Scott) and her two daughters, LadyBird (Brandee Evans, Starz's "P-Valley") and RaeMeka (Angela Lewis, F").  LadyBird is under the impression she and her mom were going to do some night fishing together. Vernita has other plans. Vernita insists Ladybird call her sister to come join them before she lets on what's hidden under the linen in the laundry basket. The gruesome reveal is the bloody head of a corpse. How it came to be beheaded is a mystery that turns into a stream of explanations and accusations. It appears everyone knows more than they're letting on.  No one's holding their cards closer to their chest than mom. What little comic relief there is in this historic depiction of whites persecuting blacks comes from the physical comedy of Vernita's salty, know it all attitude. We learn the dead head belongs to the wealthy, modern day overseer who keeps the local black community living in poverty. Turning to the police is not a consideration as the police only brutalize and terrorize their community. Racial injustice and suffering are central memes that resonate with mistrust and oppression. The play might have reached its head built on a body of racial hatred but it's circumvented with the arrival of a fourth black woman, Tasha (Amber Charade Robinson) makes claims that are shocking to the sisters but don't seem to be as incredulous to their mother. The new reveals projected a phantom trajectory that washed away any trenchant socio/political messaging. BLACK CYPRESS BAYOU has a lot of good ideas but they are bogged down by too much mumbo jumbo. Less would've been more and we're left instead with a bloody mess.    

POOR THINGS-Poor Excuse for the Accolades and Awards Bestowed

The Emperor has no clothes. Neither does Emma Stone as she saunters around from a newborn babe to a hot babe exploring her sexual awakenings as a nubile maiden without any hangups. Bella (Emma Stone) is brought to life in a Frankenstein appropriated plot.  Godwin (Willem Dafoe) is the skilled but deranged surgeon/mad scientist who retrieves a woman's body from the canal immediately after she leapt to her death. Back in his laboratory, Godwin removes the fetus from the pregnant corpse and the brain from the fetus which he implants into the woman's body and then brings the body to life. Godwin names the woman Bella (Emma Stone) and raises her from a nascent incarnation through her excelled maturation from infancy, through childhood,  into young adulthood. While Frankenstein was naive to the ways of mankind, Shelly spares us the tedium of watching the man made monster struggle as if an infant or developing through puberty and growing sexual awakenings. POOR THINGS is purely off-putting in its focus on Emma's self-discovery of the pleasures of masturbation and fornication. This is not clever or daring movie making. It's cringeworthy, droll and a poor excuse for witty social commentary.  Bella willingly runs off with the near-do-well gigolo played by Mark Ruffalo.  The art direction is a fantastical kaleidoscope somewhere between Alice Through the Looking Glass, a morass Salvador Dali painting and 19th C Europe. The bewitching cinematography attempts to divert one's attention from the patchwork of assembled scenes that are as disjointed as Godwin's hackneyed face.  Director Yorgos Lanthimos ("The Lobster") is known for bizarre plots with biting social commentary. However, an uninhibited woman discovering what gives her pleasure sexually and otherwise is neither a revelatory, shocking or clever mocking of social norms.  POOR THINGS is schlocky even with its trifecta of talented actors: Stone, Ruffalo and Dafoe. None of whom deserve all the accolades they've earned.  Could the public be swept up by propaganda and led to believe the film is incredible because the movie borders on being terrible.  Who's afraid to say the Emperor and Emma are butt naked but this alone does not make for great movie making except me?  

ONE DAY TV Series-Grows on You as the Leads Grow-up

The 14 part mini-series airing on Netflix toys with your heartstrings as we get to know a young couple as they come together, drift apart and continually reunite.  July 15th, 1988, is the first day Emma (  ) and Dexter meet on the last day of their university terms at a campus wide graduation party. Filled with the exuberance of youth, the allure of uncharted waters and overflowing kegs of beer. Dexter is the consummate party boy; wealthy, popular and handsome played by (Leo Woodall, "White Lotus").  Emma (Ambika Mod, "This Is Going to HURT") is studious, artsy and has a few close friends. Though Emma had long admired Dexter from afar, he never noticed her until the night of graduation when his inebriated friend literally fell into Emma's lap. As Dexter pulls his pal from Emma's lap, their eyes lock and their mutual attraction is electrifying. Dexter asks her to join him for a celebratory drink. Dexter walks her home after a night of dancing and they fall into each other's arms and Emma's bed. Emma's inhibitions arise once undressed and diverts Dexter into somber pillow talk about his life ambitions. Dexter is indulgent and somewhat charmed, albeit sexually frustrated and the two companionably slumber.  At dawn, Dexter tries to leave without notice but awakens Emma. The two are waylaid into breakfast with Emma's roommate Tilly (an infectious Amber Grappy) and they all engage in good humor banter over bagels.  Emma and Dexter spend an idyllic day together on campus becoming better acquainted and part promising to stay in touch. The ensuing episodes speed by on the same day, July 15th, in the coming years. This simple premise of revisiting the couple as the years go by evolves into an affecting drama of young adulthood with its hard knocks and resiliency thanks in part to the people that factor into one's life. Dexter's parent's provide tough love along with plenty of money. Emma scrapes to pay the rent with odd jobs while trying to write her novel. Dexter finds success and celebrity as a TV gameshow host. He invites Emma to go  on a Greek vacation. The flames of romance flicker on the island but don't ignite as their sparks turn fractious and they part on cooler terms.  Stay tuned into this will they won't they flirtation that offers much in the way of worldly awareness and sophistication. The fantastic acting by both leads carries this rom/com into a long term relationship that espouses the mystifying and meaningful things that make certain people more important in one's life and what gives life its meaning. The clever writing and excellent ensemble including Elinor Tomlinson "Poldark" and Jonny Weldon who starred in "Peter Pan", elevate this series into a companionable and stirring series that is deeply satisfying with a radiance that lingers.  

EVERYBODY-A Left Edge Theater Production Recommend for NoBody

EVERYBODY was introduced by the stentorian voiced house usher who reveled in his thespian casting as, no other than, God. Before the play started (15 minutes late) despite the stark set, and the program stating it was a one act, 90 minute production, God (Khalid Shayota) informed us the play would run about two hours with a 15 minute intermission. Shayota also was cast as Understanding and went to great lengths to admonish an audience of 50, to turn off our phones and why vibrate mode doesn't suffice. He also instructed us to unwrap any sweets and pointed out the exits. I should've taken his cue and exited. The production was intended as a philosophical, absurdist contemplation of the simple topics such as the meaning of life and what life is there after life, i.e. when we die. Try as they might, and I applaud the courageous commitment of the cast who for the most part, were cast as Somebody, except for Death (Bonnie Jean Shelton) dressed all in black with a chic veil, and Love (Lulu Thompson) dressed all in red. Playwright Brandon Jacobs-Jenkins' EVERYBODY was a finalist for a Pulitzer Prize in Drama and his other plays have earned him an Obie and the Steinberg Playwright Award.  EVERYBODY is appropriated from the 15th C morality play EVERYMAN which is believed to be the first English language play to have been recorded. There were some clever ideas bantered about pertaining to the inevitability of our eventual demise and the solitariness or our passing. Specifically, our obsession and futility with obtaining material items. SOMEBODY confronted an anthropomorphism of "stuff" and engaged in a frustrating but very facetious dialogue. However the play was burdened in its very amateur production. LOVE told SOMEBODY "they" would not abandon SOMEBODY if SOMEBODY did exactly what LOVE instructed, which was to "get undressed and humiliate yourself." The actress portraying SOMEBODY didn't get naked, but did strip down to her sports bra and panties and ran several times through the audience. It was humiliating to behold. The pas de deux LOVE and SOMEBODY danced after the brief marathon was absurd, though I don't think that was the intent which only made it incredibly cringeworthy. GOD informed us before the play started it was going to be extended for another week. For those who haven't seen the show, count yourselves fortunate. For those who may consider seeing Left Edge Theater's EVERYBODY, don't be absurd. 

Author Jason Mott Discusses His Novel HELL of a BOOK

Actor Morgan Fairchild and world renown choreographer, Bill T. Jones share the view that Black History Month is divisive, dismissive and should be discarded. I share this view, also.  I argue Black History is American history and that dedicating a month is a divisive and insulting placation.  But, now I have a reason to be grateful as Jason Mott gave a virtual talk for northern CA libraries yesterday i/h/o Black History Month. Mott discussed his award winning novel HELL of a BOOK.  I've read this 2001, Nat'l Book Award Winning Novel and concur with its inference as being a unique and amazing read. The novel  depicts the complex African-American experiences, its fraught racial relationships and multi-faceted contributions to society and the arts. Mott was a disarming and delightful raconteur and shared surprising  stories as to the book's unforgettable title, its genesis stemming from the George Floyd murder and its beguiling segue into an encounter with Nicholas Cage. The title resulted from a dare by his editor with whom he has a close working relationship. Mott admitted his inability to title his own books. This was Mott's fourth novel. His previous novel, THE WONDER of ALL THINGS is magically realistic as it examines responses for protecting a child's power to provide healing or for destroying this gift for the greater good. HELL of a BOOK is a pastiche of absurdist and biting, social commentary. Mott tells his reader at the start this is above all, "a love story." There's much to love in Mott's writing and storytelling which is comedic, mystifying, heartwarming, gut wrenching and a harsh depiction of the reality that men of color are killed frequently at the hand's of law enforcement.  One of the questions asked of Mott pertained to his paradoxical 'love story' epitaph. His candor and cogent answers were satisfying and the difference between "open ended" and "unanswered questions" was clarified.  I urge readers to read not only Mott's novels which have garnered literary honors, but his award winning poetry collections as well. Mott described himself as a shy introvert and a loner; someone who requires plenty of downtime to recharge after being on his book tours. He was gracious and comfortable wearing a baseball cap, hooded sweatshirt and dazzling smile. The hour went by quickly with clever, pre-selected questions pertaining to his book and writing styles culled beforehand from the various library branches. I would have enjoyed spending more time with this engaging author's broadcast on a big screen in our welcoming local, Healdsburg library. Admission, of course, was free along with complimentary popcorn and flavored water drinks.  (Attached: my review of HELL of a BOOK on my blog:  Mindel's Kindle for the Rogue Reader)

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THE IRON CLAW-Doesn't Grab Me with Zac Efron and Jeremy Allan White

THE IRON CLAW is a movie about a real family whose family business was tied to the ropes of professional wrestling. The Von Erich brothers garnered fame in the wrestling world in the 1980s under the Svengali leadership of their father, Fritz, played by square jawed, steely blue eyed Holt McCallamy. McCallamy never falters in his quest to raise the best wrestlers in the world regardless of the toll it exacts. Nor does Holt show signs of aging or emotion in his myopic mission to push his sons to be world class wrestlers. He started off with six sons until tragedies whittle his brood down to a last man standing. The sole surviving son is Kevin, (an almost unrecognizable Zac Efron on steroids). Efron is so pumped up for this role he appears freakish looking.  His outward appearance clashes with his inner tender and loving persona. Efron gives a poignant performance in this macabre, all too true story as the oldest brother who idolizes his dad and loves his brothers deeply. All the brothers have a profound connection with one another. Their relationships pack a K.O. that almost lands a winning decision for watching the movie now streaming on AppleTV.  The ensemble actors cast as brothers are all stirring in their roles.  Jeremy Allen White plays the brother Kerry. Kerry earned a place on the Olympic team as a discus thrower while a college student in 1980; the year Carter boycotted US athletes from competition. White is terrific as the son who might have broken out of his father's fatal grip if it weren't for Carter's lame decision that served no one and only punished US athletes who had dedicated years training.  Dad gets Kerry to join his brothers on the mat. It's not long after that brother David dies suddenly from injuries sustained from gut punches in the ring. Dad easily sways sons, Michael (an excellent Stanley Simons) and Chris to pick up the ropes and step into the ring. Between 1987 and 1993, Mike, Chris and Kerry all died by suicide. The film's relentless tragedies, compounded by suicide slams the viewer and holds them down for the count. Kevin seems the only immediate family member who fully mourns the loss of his brothers.  He is the only one who stands up to the father and blames him for not intervening.  Kevin was the only sibling who married and had kids.  The lovely and talented Lily James plays Kevin's brings much needed sensitivity and support for her husband and troubled family.  Within the brutal wrestling matches, the film provides heartwarming scenes of fraternal love. These moments are ingrained within a family odyssey of pain. Perhaps this film  can be viewed as a salute to the world of professional wrestling and a tribute to the Von Eric family who gained posthumous Wrestling Hall of Fame recognition.  For wrestling fans, this movie delivers plenty of wallops. Otherwise, the payoff feels as much a sham as the gilded, paper mache, heavyweight belt. 

LOVE and DEATH-A True Crime and Trial Stars Elizabeth Olsen

There's plenty to love about the mini series on HBO MAX, "LOVE and DEATH." The seven part series is based on a true case of a clandestine affair within a close church community that resulted in a killing and a thrilling courtroom drama. Candace Montgomery (portrayed by a feral Elizabeth Olsen) was charged with the murder of Betty Gore (Lily Rabe) which occurred on June 13, 1980. Gore's husband, Allan (played by a pitch perfect Jesse Plemmons) and Candace were having an extramarital affair. The Montgomery family and the Gore family had daughters the same age who were best friends and both families were closely tied to their local Methodist Church. This case received a great deal of media attention at the time, both for its salacious underpinnings and the ensuing trial's verdict which was vilified  in the community where the gruesome killing took place.  This easily watchable series is deftly written for television by Television Hall of Fame inductee, David E. Kelly (BOSTON LEGAL, LA LAW).  Olsen as Candace is mesmerizing in her portrayal of a fearless narcissist who expects adoration from everyone and is restless in her role as a suburban housewife. Candace can manage her husband, household and church commitments but is left craving more stimulation. She thinks Allan may be the answer to her daily doldrums.  It doesn't require much convincing on Candace's part to persuade Allan they should be lovers. Plemmons has starred in "Killers of the Flower Moon" and "The Power of the Dog". He is ingratiating as the pushover husband and willing participant in afternoon motel delights. Betty Gore is played by Lily Rabe ("Shrinking", "The Undoing"). Rabe is wonderful as the gullible friend and wife always bordering on hysteria. The seven episodes all work as a mystery, chilling character study and a riveting courtroom thriller. The supporting cast including Candace's husband, her defense lawyer and best girlfriend are excellent in their roles and all manage to bring out Candace's cunning and charm. The facts presented closely compare to the real people and circumstances. The fascination with Candace Montgomery case spawned a book titled "Evidence of Love," a TV film and a Hulu series starring Jessica Biel. The LOVE AND DEATH series screening on HBO Max is not so much a "who did it crime." It's a can you believe this is all true and believe you me, you do want in on it.  

CHIMICHANGAS and ZOLOFT-LGBTQIA/Comedy/Drama by Fernanda Coppel at RAVEN Playhouse

Fernanda Coppel is an American/Mexican playwright and screenwriter. Her plays have been staged in New York City at The Second Stage and the Geffen Playhouse in Los Angeles. Coppel was a co-writer of "No One Gets Out Alive" which can be screened on Netflix. The one-act, five character play "Chimichangas and Zoloft" has a number of good ideas floating around but most get lost amidst the dizzying love twists, somewhat flat comedic spins and plot holes that go unanswered. Set in present day Los Angeles the show opens with a bang with the unmistakable sounds of flatulence. Sonia Martinez (an admirable Norma Stevens) explains in her soliloquy a sly disclaimer owing to one too many chimichangas consumed alongside margaritas last night for her 40th birthday celebration.  Sonia's stalwart attitude loses some bravado as she admits feeling less than felicitous and frankly, depressed. Thus the play's namesake is introduced at the start.  Scene 2 is far more jovial.  Two teenage girls are slathering themselves in suntan lotion while slithering into salacious innuendos regarding their purported sex lives. Penelope Lopez (a likable Andrea Lizbeth Chavez) insists she and her boyfriend had sex although she's not quite sure how it was. Her best friend, Jackie Martinez (a captivating Alexx Killian Valdez) presses her for details.  Penelope wants to know from Alexx if she hooked up with the girl she's infatuated with.  Penelope bemoans Jackie's mother, Sonia, being away as she felt comfortable confiding in her. Penelope's mother is MIA without any explanation of why and or for how long. We learn Jackie's mom has been away for two weeks and Jackie is uncertain when she's returning. Penelope's father shares carpool duties with Sonia and he's put out he's been left to the job alone.  Jackie's dad, Ricardo, is too busy working to drive for the girl's carpool. There's some rancor apparent between the girl's dads when Ricardo comes to bring Jackie home. What's revealed behind locked doors is the dads are in a tryst unbeknownst to the girls but Jackie's dad's homosexuality was all too familiar to Sonia.  Secrets begin to fray between parents and their progenies. No apologies are offered nor reasonings for what is and isn't acceptable. The play is not laugh-out-loud funny but then it's never dull. The girls' friendship is engaging and filled with youthful exuberance.  I couldn't decipher any meaningful message but I appreciated the absence of any proselytizing.  CHIMICHANGAS and ZOLOFT is best digested as a lightweight diversion with a side of fart-joke humor. 

Italian Saxophone Quartet Perform Eclectic Program at 222

Who knew that a sax quartet was a set chamber musical group? Not me. But, not only is the Italian Saxophone Quartet (ISQ) the longest contemporary performing group of more than four decades, ISQ is highly honored in the world of chamber music having won numerous awards including first place at the prestigious Premio Ancona Competition. My expectations for unique sounding classical compositions and I was not disappointed. In fact, my favorite pieces for the evening of this sold out performance were Bach's "G String from Orchestral Suite 3" and Rossini's "Allegro from Sonata 4 #3". The harmonies were lush offering a rich orchestral sound that also contained a percussive ornamentation coming from the alto and tenor saxophones. The soprano and baritone sax were clearly distinguished layered above and within the deeper stentorian levels. I had anticipated some jazz compositions having an all sax quartet would lend itself to jazz. The only somewhat jazzy composition led off the night with a fun number by Scott Joplin played by the four musicians strolling through the nightclub seating arrangements. This lent a festive Mardi Gras feel.  The program continued with more surprises including a medley of cinematic  scores that were arranged by Michele Paolino on baritone sax. While most of the scores were unfamiliar, the theme from "The Good, the Bad and the Ugly" struck a very haunting chord. Federico Mondelci on soprano sax was the senior member of the group and the jovial spokesperson for the group albeit his thick Italian accent made him difficult to understand at times. Julian Brodski on alto sax was the youngest member and described by Mondelci as "being loved by all the women."  Brodski had wavy auburn hair jauntily covering one eye and donned hot pink socks that stood out amongst the otherwise similarly clad members. Silvio Rossomando on tenor sax was the only one not to perform a solo but he was the only member to perform on every composition on the program. The second half of the evening contained works by classical, 20th C composers: Giovani, Piazolla and Rota.  Mondelci announced that the group was going to perform two works that they'd never perform.  This required music to be read on stands set up with iPads and foot controlled mouses.  First were selections from Gershwin's "Porgy and Bess" and the other selection was an unnamed surprise Mondelci was sure we'd recognize.  Indeed, Queen's "Bohemian Rhapsody" was a delightful number.  The four musician's left the stage the way they entered by playing their way through the crowd who sent them off to a rousing standing ovation.

PIANOFORTE-Doc Chopin Piano Competition-Compelling with a Soft Touch

The Int'l Chopin Piano Competition which is held only once every five years. This is held in Poland, the birthplace of Chopin and it is the pinnacle conquest for young, aspiring pianists.  The PIANOFORTE doc. is a delightful and exciting peek behind the scenes which captures the pressures, practice routines and passions that consume a field of talented artists all vying for top honors in this competition for talented  piano virtuosos. There's a visceral sense of the intense stress these artists experience while preparing and waiting to perform. The camera follows six competitors from six different nationalities who've been selected for this prestigious competition.  This international competition has only been held 18 times over the last 100 years.  Overflowing with beautiful classical music which sounds imperious and flawless to the untrained ear, the refining instructions give us a clue to what's honed in an exclusive master class.  For the competitors and their mentors, there is always more to perfect. The film contains a treasure trove of great music but what makes this an exceptionally captivating film is the camera's focus on a handful of pianists for whom we develop an intimate attachment and empathize with.  We are as much in awe of their talent as we are of their sheer devotion to the seemingly all consuming focus that is required.  Although, to my pleasant surprise, several of the artists we follow seemed to maintain a healthy perspective in regards to wanting a well rounded life that encompasses pursuits outside the realm of becoming a concert pianist.  The Japanese piano teacher who accompanied her student to Plant explained in her youth she was not willing to give everything demanded of her to take performing to the highest echelon.  Her mentorship style with her student contained a gentle touch and a great deal of pride.  One of the contestants fell ill from the pressures and bowed out despite having passed the first few levels in the 21 day competition.   Another contestant's tears at not finishing in the top spots was heartbreaking to behold.  There's much to embrace as you watch students get a feel for the various pianos they have to select from, as you witness the audience's emotional responses despite hidden behind COVID required masks and above all the camaraderie  evident amongst the competitors.  PIANOFORTE is winning not just for the splendor of brilliant classical compositions but also for the soft human touches highlighted, the rare insight of the tolls exacted and the rousing passions stirred through the allure of music. 

FEUD: CAPOTE vs. the SWANS-Swanky Hanky Panky and Swishy Fishy Capote

Fact, Capote was a literary genius. Fact, Capote captivated the elite echelon of NYC's high and mighty social set in the 60s and 70s.  Also true are the thinly veiled characters in Capote's chapters installed in an ESQUIRE issue '1975 which led to his social demise. Upon publication he was swiftly jettisoned and ostracized from their bejeweled mitts. Capote, one of only a handful of openly gay celebrities, was a witty raconteur and salacious gossip.  His unctuous, unthreatening demeanor secured him a spot as confidante to the comely likes of women such as Babe Paley, Slim Keith, Lee Radziwill. This ended abruptly when he bit the hand that fed him. Big mistake by the pint-sized Capote with a gargantuan mouth and high-pitched voice.  Tom Hollander cast as Capote is pitch perfect as the smarmy snob who was befriended by a bevy of belles headed by Babe Paley as the leader of the pack. Paley is portrayed by a steely Naomi Campbell.  The other ladies who lunch at La Cote Basque where most of the scurrilous conversations convene. The click includes Diane Lane as Paley's steadfast friend, an indignant Calista Flockhart as Radziwill peace-maker Chloe Sevigny who knows best whose side her bread is buttered. Demi Moore has little more to do than look drop dead gorgeous as Ann Woodward, Molly Ringwold as Joanne Carson, Johnny's ex and Treat Williams in his final swan song role as Bill Paley. Jessica Lange has a lurid role as Capote's mother who tries to entice him into suicide during one of his drunken stupors. No one comes off swimmingly which is precisely the point. The lives of this coddled, coiffed and manicured brigade have little in touch with the working class except for their doting maids and abject chauffeurs. This zeitgeist voyeuristic look at the chic set is enticing for just this reason. It's fascinating to see how the filthy rich fill their days and spend their millions. There's plenty to savor here along with mouth watering meals, imbued with alcohol, cigarettes and fleeting regrets. The eight part series airing on Hulu plays fast and furious with time-lines jumping between Capote's glory days with the grand dames and his obsequios squirming to regain a seat at the table. I enjoyed this frivolous foray into the original bravo housewives of NYC who seem to have nothing better to do than behave like sullen, mean girls and get dressed to the nines. I'll stay tuned at least until the infamous black and white party hosted by Capote i/h/o Katherine Graham at the Waldorf. For devotees of Downton Abbey looking for a new diversion, look no further than your own backyard for the upscale drama FEUD: Capote vs. the SWANS based on facts masked as glamorous glee. 

NEXT GOAL WINS-Mighty Ducks Story Soccer Team Loaded Ted Lasso's Winning Charm

 NEXT GOAL WINS is a comedic, feel good story based on the real American Samoa soccer team with the worst record in the league and league record of a 31-0 loss. The team is a mixed bag of sad sack, lovable losers.  All the team really needs is a coach to make them better cuz they can't get worse. The coach they get is an irascible hot head whose temper tantrums have gotten him tossed from numerous jobs. He's given his last chance to coach for the losing American Samoan team. The board meeting where Thomas Rongen (Michael Fassbinder) is being reassigned comes with an overhead projector presentation that is on point in regards to Rongen's emotional responses that is the funniest firing scene ever seen on film. With no other options, Rongen begrudgingly takes the job he's deemed beneath his qualifications. Upon landing on the remote and sparsely populated island, he's hailed as a celebrity. The locals are all welcoming and hard working; everyone tackles multiple jobs. Rongen's lodging is abysmal except for its scenic location on the beach. The flailing team includes an overweight, sluggish goalie, a forward in the process of transitioning to a woman and an entire motley crew looking to Rongen to prepare them to qualify and seek redemption. The dir. and screenwriter is Acad. Award winner, Take Waititi ("Jojo Rabbit") whose quixotic humor is rampant between Rongen and team members and, especially between Rongen and the team's manager, Tavita (Oscar Kightley). "One goal, just one goal," is Tavita's mantra. He tells Rongen, ("It's more important to be happy. Do what makes you happy. I wouldn't wish unhappiness on anyone.")  Far from being sappy or a "Mighty Ducks"/"Bad News Bears" facsimile, there's an overriding elegance in the Samoan culture that exudes grace and empathy. Rongen whips the team in shape and builds kinship despite his frustrations. But, he resorts to his vitriolic outbursts and antics after their disappointing performance. It's Tavita with his compassion who elicits an epiphany from Rongen following Rongen's cruel outburst and quitting during half-time at the big game. The delightful acting by the entire cast solidify this as a winning picture. Waititi and Rhys Darby ("Flight of the Condor") sparkle in their cameos. Elisabeth Moss ("Handmaid's Tale") is terrific as Rongen's estranged wife. Kaimana in her role as the player transitioning is particularly affecting. And, Fassbinder is perfect as the crusty coach.  I had a lot of fun with this comedic romp based on real people and events. NEXT GOAL WINS hits the mark on what's expected in underdog teams and surly coach movies. It scores the winning goal for its heart, humor and humanity. RENT IT on Prime Video.

J Gilkeson's Memoir THREE LOST WORLDS-Loss of My Time

Last night was both rainy and dreary while my beloved Packers played the Chargers, hometown favorites,  in the waterlogged Bay. I ventured out to hear Jim Gilkeson talk about his memoir to a paltry crowd of fewer than two dozen people (not your football fan group) about his spiritual leanings that went through three incantations. I went with an open mind but it shut down early. Gilkeson, a self-proclaimed master in healing through energy, shared his background in his monastic and evolving energy-fusion ventures. Was I somewhat cynical? Yes, I was very skeptical. I don't equate energy healers with medical or technical expertise. Nor do I buy into the whole "LAH LAH" mentality. That's not to say I wouldn't mind learning something new from a different point of view. Gilkeson's first world was in the monastic order which stationed him in Oakland, CA. This austere, minimalist lifestyle required rising at 4AM for prayer and then work at a paying job where the pay stays in the monastery's kitty as men in "The Holy Order of MANS" take an oath of poverty. The Holy Order set up to preach and teach daily regardless of having anyone in attendance which was most days the norm.  The moderator touted the meditation she garnered through Gilkeson's teachings changed her life. (But, not whether for the better which I think she may have intended to infer). She attributed her personality traits to her astrological sign Taurus and Gilkeson's to his sign, Sagittarius. This only served to confuse us (or at least me) as I don't imbue the stars or espouse bodily energy emitted as being credible. At this point the whole evening was regrettable and I went home in the rain and caught the last few minutes of the big game.  The Packers loss was the real shame and blasphemous here in the Bay, "aynah hey!"  

ROLE PLAY-Mom's Work is Killing People-Movie Works with Kelly Cuoco/David Oyelowo

ROLE PLAY, just released straight to screening on Prime Video has the incredulous plot where mom, played by Kelly Cuoco is an assassin for hire which is unbeknownst to her loving husband, David Oyelowo and their son and precocious daughter.  We see Cuoco stealthily swapping her wig, contacts and clothes in a washroom after killing her mark. She then jettisons herself via plane and Uber to the family home in a NYC suburb. The family welcomes her home to a special dinner to celebrate the couple's wedding anniversary which she totally forgot. To make it up and to spice things up, Emma (Cuoco)  suggests they go into the city for a night in a posh hotel and role play hooking-up as strangers in the hotel bar. Dave (Ayelowo) is stuck in traffic while Emma waiting at the bar is waylaid by a dapper gent, Bob (the incomparable Bill Nighy). Bob sends over a drink and quickly follows its arrival. If only the entire movie lived up to the banter and polite irritation emitting from Emma. Emma provides a phony name along with subtle annoyance with Bob's unwanted overtures. Dave, also using a nom de plume as part of the role playing ruse, seems somewhat confused to Bob's overbearing presence but politely acquiesces to doing shots to celebrate Bob's sudden windfall at work.  Emma & Dave make their escape from Bob's clutches and retreat to their luxury suite. Already unsteady on his feet, Dave falls quickly asleep while prone and Emma is preparing to join him. Upon seeing him asleep, Emma hightails to Bob's room where he had invited them two to join him. Utilizing her cunning and skill, Emma manages to kill Bob whom she  discerned as a threat. Plausibility set aside, this retreaded storyline gets revamped with first rate acting by its likable leads and strong supporting cast. These seasoned actors are invested wholeheartedly into portraying a loving couple wherein one party maintained some serious secrets. Emma professes her undying love while spilling the beans about what really goes down when she's out of town. Dave needs a moment before assuring Emma that he loves her and their family, "But killing is like, really bad." Somehow that line rings with humor and hubris. Emma intends to hang up her arsenal and be a benign housewife but to no surprise, her mentor never intends to let her go.  I enjoyed this duplicitous rom/com that is a joy ride given a shot of credulity. I recommend this romantic thriller as a surprisingly delightful diversion.  ROLE PLAY hits its mark as a rollicking good time. 

John Mulaney Baby J-Gets an A for Addictive Humor

Is addiction funny? I can be, depending on how far one's succumbed and which one is delivering a diatribe of its highs and lows.  In JOHN MUILANEY: BABY J comedy special airing on NETFLIX, the pratfalls of being in the grips of addiction, his intervention and rehabilitation are sobering and downright funny.  This no-holds barred, baggage sharing tell-all, Mulaney's mostly drug infused dark-period doesn't overshadow his insouciant bad boy charm or brackish wit. Mulaney begins the evening by calling out an audience member who turns out to be an 11 year old 5th grader, Henry.  Henry assures Mulaney he's a fan and not the result of a last minute sitter cancellation. Mulaney assures the rest of us his routine won't in any way be waylaid knowing Henry's watching him. And, before delving into his drugged days material, Mulaney tells us he's the third of four children raised in Chicago.  In elementary school he was envious of his classmates whose grandparents died during school as they became the center of attention (something he's always craved). Having four grandparents, he prayed for at least one to die, maybe the mean, oldest one.  "Damn, she went and died over the summer. How unfair!"  From there he shared getting into trouble as a teen with the police alongside his two best friends, both named John. This disarming humor takes a sharp trajectory leading up to a dinner invitation at his friend's apartment in NYC. He was two hours late.  "My explanation for being two hours late made sense to me at the time because I reasoned I could be in two places simultaneously while strung out on coke." The joke ends up being on him as he was ambushed in the room by "an impressive comedy lineup" of hostile friends in the apartment and eight friends on zoom.  What works so well is the contrast between Mulaney's elfish grin and his self-deprecating manner.  Even he seems amazed at his days spent focused on suffusing his drug habit, his time spent in recovery and his discovery of how fortunate he is to have survived.  Mulaney's indebted with gratitude to his friends, "even those on zoom" who confronted him.  He can't forget they've saved his life, with a begrudging smirk he reaches and signs for the check, "No, I've got this. Thanks for saving my life. No, really." Name dropping aside, thanks are given in the credits to an A list of comedians.  This refreshing and LOL special is sharply honed on his harrowing haze of addiction,  Upon reflection, I commend  Mulaney on his sobriety.  I wish him continued success in his personal life and as a celebrated jokester. 

drug infused

STILL Michael J Fox Doc Will Instill Inspiration

STILL is the bio pick of Michael J Fox who first gained nat'l attention on the hit TV series FAMILY TIES  (1982-89) as Alex P. Keaton. While working on the series,  Fox was cast as the lead in BACK to the FUTURE which propelled him into superstardom.  Fox's gargantuan comedic timing and talent are condensed within his 5'4" frame which towered at the elite echelon of actors in Hollywood during the 80s.  The doc. STILL is also an exemplary bio-pic incorporating film clips, family footage, re-enactments, interviews and access to his present regiment which all make for an entertaining and thoughtful examination of a charmed life withstanding limitations caused by Parkinson Disease. The film opens with Fox's primping for the cameras. When asked about the film's title, "Still,"  "I was never still" replies a smiling, shaky Fox who regales us how he ran out of the house undetected at age 2 to the local candy store  with money in hand. Kinetic energy follows Fox throughout his childhood. His younger sis soon surpasses her older brother in height. As a teen, Fox crashed the family car repeatedly, maintained a C- average, played hockey and found his way into drama where he felt at home; especially with all the girls. Fox quickly landed a role on a TV sitcom in his native Canada. He pleaded with his parents to allow him to pursue acting in the states. With the support of his dad but little financial support, Fox dropped out of h.s. and moved into a studio apartment where he subsisted on McDonalds while auditioning.  Fox surprised me by saying, "People think actors do what they do because they're super confident. I do it to spend more time being someone other than myself." Regardless, Fox exudes confidence, tenacity and warmth. Fox addresses a period of being a workaholic and alcoholic putting huge strains on his marriage to actress Tracy Pollan whom he met when she guest starred on FAMILY TIES. Their marriage is still going strong as are his family ties. Home videos are a welcomed portion of STILL. So too are the reels from his hit shows, films and TV interviews. The repeated scenes of a shadowed figure running down long hallways towards a light are the only excess baggage to a well paced, entertaining journey through Fox's life. Fox chose to hide his diagnosis from everyone for 7 years out of fear of harming his career when the pressures of filming SPIN CITY in front of a live audience exacerbated his symptoms. Observing Fox's  P/T, Dr visits and dealings with the progression of Parkinson is poignant without arousing sympathy.  Perhaps, some envy for what's afforded him financially is justified. Overall, this is a radiant film that sheds light on a gifted actor with fascinating career and loving family buoyed upon pragmatic optimism and exuberance.

MR MONK'S LAST CASE-Alas Not a Classy Finale with Tony Shalhoub

MONK the TV series ran for 7 years and I was a steadfast fan to the very last. I was fully onboard for a movie reuniting its likeable cast. I anticipated having a blast with Monk (the incomparable Tony Shalhoub) as the neurotic detective whose behavioral tics and analytic shtick made him the most beloved  TV detective since Peter Falk as Colombo. Surely his annoying antics in the just released movie MR MONK'S LAST CASE would be reprised in a formidable format.  Monk, afflicted with obsessive compulsive disorder and being a germaphobe is at times off-putting to most people, but found to be endearing to those who know and appreciate his gentility and genius. The movie takes place in the post-COVID, present. COVID set Monk back into being the anti-social, homebody that is his nature.  Knowing this time of isolation would be difficult for Monk, his stepdaughter moved in with him over the pandemic. Now, post-pandemic, and post Monk's glory years in the Bay Area solving murder cases, his stepdaughter is about to be wed. Monk offers to pay for the wedding having been given a lucrative advance for writing about his numerous solved cases. The scenes with Monk meeting with his editor, played by Shalhoub's wife in real life, Brooke Adams, is a classic comedic scene playing up to Monk's eccentricities.  Unfortunately, the movie doesn't maintain this level of clever humor which made the TV series a fan favorite. The cast was reunited for some hits and misses. Hector Elizondo reprises his role as Monk's shrink, Dr Neven Bell. Their scenes together are the best part of the film. Bell's genuine concern for Monk and Monk's trust in Bell make for movie magic. Monk's conversations with his late wife (Melora Hardin) convey grief, despair and understanding in a heartfelt and intelligent manner.  Ted Levine reprising his role as Sgt Leland looks like a corpse being made-up. His makeup is far worse than Trump's faux orange tan. The case itself has a supercilious plot with a villain who mirrors Jeff Bezos as a corporate billionaire. It never made sense why the billionaire needed to kill Monk's stepdaughter's fiancé' the night before their wedding. The TV plots were subjugated to the fun inherent in solving the cases, the camaraderie of the crew and Monk's sleuthing reveal much like Colombo. The heavy handed hokey finale features a slew of corpses sheathed in white who appear to Monk to thank him for bringing closure and justice for their murders. Monk doesn't recognize one woman who tells him, "They haven't found me yet. I'm in a cooler." This was a stinky spoiler for a delightful detective series despite Shalhoub's superb acting in the reprisal of his  iconic role. 

NYAD-Neither Good Nor Bad Starring Jodie Foster/Annette Benning

NYAD, now screening one Netflix is a biopic about the Olympic swimmer Dianna Nyad who successfully swam from Cuba to FL in her 60s. The film focuses on four failed attempts by Nyad (Annette Bening) made while in her sixties while aided by her friend/coach Bonnie Stoll in tow. The movie treads slowly as Nyad hawks her tenacious determination to be the only one to make the crossing. Problems with the film arise with Nyad's persona as an over zealous self-promoter.  Her seemingly admirable goal lacks legs and her character flounders in her humanity. It also appears that her dream, drive and its accomplishment are sufficient to suffice for those she enlists which include her friend Still (Jodie Foster) and her navigator John Bartlett (Rhys Ifans).  Their sacrifices in her pursuit of glory, are deemed enough not to make them sorry. The epic swim eluded Nyad and thwarted her four more times in her 60s which makes one wonder about its appeal and whether this merits acclaim as a major ordeal.  The film makes no mention of this achievement being considered as controversial.  The swim has not been ratified by the World Open Water Swimming Assoc. or the Guinness World Book of Records.  Nyad insisted on swimming without the use of a shark cage to espouse risk but did enlist the additional help of 2 kayakers alongside her that utilized a pulse from their rods that sent the few sharks encountered swiftly packing. There's shade cast upon the swim's arduousness as being mitigated by the positioning of the ship and kayaker's to ease the currents.  There was a fear factor of jellyfish and Portuguese man-of-war stings which posed deadly stings that not only ended two attempts but also ended her life for ten seconds. "I saw you die for 10 seconds," Still tells Nyad while she's in a hospital bed chowing on red jello. "So what, I'm here aren't I," is her nonchalant reply along with her mantra cry to try, try again.  The film sinks under cliches of never giving up strewn with plenty of scenes of Nyad throwing up.  Flashbacks into Nyad as a teen swimming sensation who adores her coach until it's revealed he sexually abused her are meant to garner insight into her psyche only add to the depiction of a confused, conceited character with a myopic vision.  Foster is likable in her sensible best role who rolls over to Nyad's needs regardless of how unfeasible or unreasonable. Ifans is your salty seaman who knows the narrow window of feasibility.  Unfortunately, their rancorous banter feels false and why he agrees remains a mystery.  There's very little excitement churning up the waters as we watch Nyad swim laps or pump iron.  NYAD conveys a grueling, demanding swim and an enduring friendship.  Nonetheless, there's hardly enough enthusiastic inducement to float my boat.