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

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

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

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

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

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

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

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

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

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

ROBOT DREAMS-Melancholy Animated Gem Dog Builds Robot Friend

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

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

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

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

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

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

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

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

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

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

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

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

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