Doc "Chris & Martina: The Final Set-A LOVE MATCH to LAST-It's a Winner

The sports doc. Chris & Martina is one for the record books and one to be watched. The most captivating  sports rivalry of the 20th C  was not Ali v Frazer, not Magic v Bird. It was Chris Everett and Martina Navratilova on the tennis court. Their records on the courts and their talents on are full display in this easily watchable and very likable documentary. What makes this such a compelling film is their story of lasting LOVE and friendship off the court. And, tennis tore apart their friendship. The film's strength comes from the their deep friendship that has flourished despite having been pitted against each other for their consummate goal to be #1 in the world. The two contrasting athletes in their style of play and demeanor couldn't have been more diverse. They share their drive and what they gave up to achieve their goals. Martina's defection in the 70s from the Czech Republic meant she was separated from her family which was devastating for her. There's a joyful reunion in which Martina brings Chris back home to meet her family years later. Chris also felt tennis demanded all her focus. It took her away from her first husband "I had nothing left to give off the court." Her victory at Wimbledon, while joyful when having received her trophy "left me lying on the floor of my hotel room. It was depression. I realized I had no friends." However, this is not a depressing film. It's actually very uplifting and life affirming film about competition and dealing with diversity. Looking back at the early years of both women as young girls on the courts and their love for the game is delightful.  We see how arch rivals tend to bring out the best in one another. The film is framed by the present cancer battles both women are facing. The comeback and evolution of their love for one another is a tribute to the characters of both women which I came to admire.  It's reassuring to see the support each has within their own family; Martina her wife and Chris her 2nd husband and sons.  Chris says "We were married 20 years and had 3 children together. The caring doesn't go away."  This film wins in a tie breaker with other engaging sports documentaries as on center court are two great foes who fought each other and who found each other as cherished friends. A double bonus is watching the two champions watching their matches together. 

"Sr." Robert Downey Jr Tribute to Sr Should've Stayed in the Family

The family documentary "Sr." is Robert Downey Jr.'s (RDJ) tribute to his beloved father, Robert Downey "Sr."  Celebrity insight, but, if you're not part of the family, don't bother. Most people are familiar with Robert  Downey Jr. (RDJ)the highest paid "actor in the world".  Yet, most people are unfamiliar with the films the senior Downey (RDS) wrote and directed. The reasons being the son is an extremely talented and prolific actor while the father's films are in a word, unwatchable. "Sr." is a mess of a film that despite a lot of footage spent on the editing process, more editing was badly needed.  There is obvious warmth in the relationship between father and son which is endearing though not compelling enough to sustain interest in either the familial connections or the connections to filmmaking as the family's pursuits. Clips from RDS' movies (the only footage in this film in vivd color) attest to the zaniness and off-the beaten tracks of his life's work. However, bizarre moments and characters does not make for an engrossing film. The impact of his counter culture filmmaking lived in the past. Today these films feel gross in an annoying way that neither call for revised interest or a retrospective. The documentary was shot in black and white to lend an artistic aesthetic to elevate the film's appeal. While New York City's beauty lends itself to the starkness of white and black, the film lacks "le coeur a ses raisons" other than to pull at the heart strings watching a son process the flailing health of his father. It felt gratuitous and voyeuristic watching RDJ wipe away tears and confer with his psychiatrist at the prospect of his father's passing. Furthermore, the man being eulogized is engaged in the eulogizing process was baffling and off-putting. Granted, it's refreshing to watch a family biopic where there's true affection demonstrated rather than animosity. Still, it comes off like chopped up home movies spliced together that play only to family members.  I did find watching RDJ as a young boy and young actor quite charming. The destructive years of drugs and alcohol for both are quickly raked over the coals.  Regret is bemoaned by RDS for introducing his son to these destructive vices. Thankfully, healthy outcomes are shared by both. RDS' second wife was lovingly cared for by him throughout her battle with ALS until her death. Rosemarie, RDS' 3rd and final wife up until his death was asked how long she and her husband have been married.  Her repeated answer was 1,500 years. That's about how long it felt watching this mishmash documentary that despite having been made with a tender heart, is not set far apart from other family's personal tribulations and reflections . 

CARRIE PILBY with Nathan Lane, Gabriel Byrne Worth a Watch

CARRIE PILBY (2016) film now on Amazon is not an amazing movie but it is not without its charms. Carrie (a wide eyed Bel Powley) is a 19 year old Harvard grad thanks to an IQ of 186. Of course, this high IQ is both a blessing and a curse. What's a widowed father (Gabriel Byrne) to do but matriculate his daughter into the IVY league since she's way ahead of all the adolescents her age. Well intentioned but not necessarily advantageous to a precocious girl who is really still a young girl pitted into an adult world which doesn't prepare her for a lecherous professor or peers who prefer someone their own age. Having graduated, Carrie finds herself alone in her NYC apartment without a job, friends or family. Her dad is in London where she was raised and she's left to navigate on her own. Well not entirely. Dad has hired his friend, a psychiatrist, Dr. Petrov (played by a steadfast Nathan Lane) to help guide her. Left on her own, Carrie would choose to stay at home and read. This is not a recipe for happiness. But with the kindly encouragement of Dr. Petrov and the job being as a proof reader she finds kindred spirits.  Carrie commences to navigate herself towards a fulfilling life. The movie is actually a lot better than it sounds. The quirky friends she meets at work are likable. So too is the handsome next door neighbor who plays a long winded instrument out on their fire escape. Bryce and Lane add their talents and finesse. This is an easily digestible, diverting film with a heroine whose tough facade belies a heart searching for connections.  Powley's performance is pitch perfect. She's engaging as a bumptious intellect. yet manages to carry off an underlying vulnerability without garnering pity. We see her as the 16 year old college girl who understandably fell prey to an ill-advised affair with her Lit professor and gain insight to her romantic reserves. Pilby's blazing blue eyes emote non-stop.  I was taken in by this film about an intellectual young lady whose emotional maturity is still mostly on par with her chronological age. This movie may not receive high honors but it does earn high above a passing grade. It's a sweet movie to pass the time. 

MINIONS and MONSTERS-Most Entertaining Minutes at the Start, Sadly Falls Apart

I took my 4 year old nephew, Ames, to see MINIONS and MONSTERS. He would tell you, "It was funny and I liked it." I agree that it was delightfully funny and I did like it - but only up to a point. The clever opening with a tour through a movie studio with loving tributes to favorite family films was a lot of fun. A scene where George Lucas was encased in glass was delightful. So too were the homages that would charm cinephiles. Hats off to Buster Keaton, Charlie Chaplain, Orson Wells and other visual treats. I was captivated by the tributes more so than my nephew.  It was a lot of fun watching the minions searching for a vicious villain to serve and conjuring up monsters from the wizard's magical book. Here Ames and I were aligned. And, the beginning friendship of James and Henry (note not Henry James) this isn't classic literature after all, was warm and touching. Sharing a sense of humor does a friendship make. Perhaps, James and Henry will be counted among Abbott and Costello or Laurel and Hardy if they can sustain their routines. Maybe they're likened to the silent screen stars because their language is non-decipherable except for a few words and expletives now and then. However, in the framing of the film, our tour guide (voiced wonderfully by Allison Janey) is befuddled that her group were not familiar with James and Henry whom she credits with saving the movie industry. The film goes to flashback to explain how the minions' mayhem brings them into Hollywood where they are befriended by a movie director and their careers are quickly launched and just as quickly quenched by their antics. So far so good for both Ames and me. But the ending subplot of an alien robot who falls for a lovely suffragette becomes supercilious.  It becomes way too juvenile when the adorable ET like creature conjured by James and Henry, resurrects his  monster buds, including an orange blob with millions of eyes that begins taking over all of Hollywood. I would have shut this Saturday morning cartoon plot line and sophomoric monsters which dragged down an up to then enjoyable movie. The tour guide needs to be corrected of her understatement regarding James and Henry saving the movie industry was actually an unbeknownst saving the world from monsters and aliens. Ames said "I liked the parts with the orange blob kept getting bigger and all the space ships." (A heavy handed salute to the star war movies). I did enjoy the more sophisticated satirical humor and Easter eggs that flooded the first half of the movie. MINIONS and MONSTERS attempted to be all things to all ages. By doing so, it did not achieve a thumbs up from me. However, Ames gave it 2 thumbs up. Yes, Ames and I are the best of friends.

E Stout's The THINGS WE NEVER SAY-Has Lots to Say on Lack of Communication

In "The Things We Never Say" Elizabeth Strout expands the theme of human isolation and the improbability of honest, open communication. Artie is a high school history teacher who cares about his family, his students and the state of the world. The story takes place under Trump's first administration. Yes, Artie's a kind, thoughtful man who is loved by those who know him. But the question remains, how well can we really now someone. "His {Artie} study of history, he learned about the leaders, and the various groups involved, but he had somehow missed this fact about every single person that they held within themselves a vast, unknowable universe." The political tension that has polarized our country is a backdrop that magnifies secrets being kept to sustain a status quo and prevent turbulent relationships. Artie's greatest pleasure comes from his weekend sail where he steers himself through turbulent waters. If only he could maneuver himself freely and share with his wife of 30 years, Evie, what is weighing on his mind. Evie became a therapist after a girl was killed in car accident in which their son was driving. Her career highlights the hypocrisy of keeping major secrets from both spouses."Artie was aware for the first time how much people lied to one another." Strout is very direct in her condemnation of Trump. Artie and his new"best friend" Kevin who rescued him from drowning formed a friendship in which he felt at peace. With Kevin he was able to share his feelings and felt heard (as long as they didn't discuss politics.) The story becomes somewhat muddled among the layers of clandestine behaviors (shoplifting), various affairs and careers (espionage). Strout makes the point that when communication is open and trust is built, people can positively impact other's lives. Artie influence on two of his students' lives is heralded ad nauseam. However, the futility and rarity of open dialogue is rare. "Why don't people ever say anything real? Ands now he knew why. Because to say anything real was to say things that nobody wanted to know." The overall melancholia and suicidal ideations makes this a bleak novel. One can argue that Strout made her hero likable enough to engage the reader. One can argue, as Artie pondered, there is no free. So why should we care? The delicate balance between personal agency and outside forces is examined. So too is the inability to truly communicate which is truly depressing. "So blind we humans are-so blind. To each other and to ourselves moving through life as through shadows, putting out a hand in the dark and thinking we have touched someone...grasping only the smallest details of one another's selves, including our own. Thinking all the while that we can see." 

ALICE and STEVE-Not Your Typical Family Comedy on Disney+ Cringeworthy Fun

The comedy series ALICE and STEVE airing on Disney+ is not your typical PG 13 fare. And, it's fair to say this is not intended for the family to watch together. It's a cringeworthy comedy where a loving mother and daughter relationship is threatened when mom learns her longtime best friend and former college beau, Steve is sleeping with her 26 year old daughter, Izzy. The friendship between Alice and Steve is evident. There's plenty of humor amidst the mourning of a mutual friend while drinking and doing coke at nightclub following the funeral. Alice is played by the incomparable British stage and screen actress, Nicola Walker ("The Split" and "Last Tango in Halifax"). Alice is thrilled when her daughter returns home following her recent break-up. Steve is played by the New Zealand comedy actor Jermaine Clement ("Flight of the Conchords" and "What We do in the Shadows"). Steve has known Alice's daughter Izzy since birth. She's played by Israeli film and series actress Yali Tool Margalith ("A Good Girl's Guide to Murder" and "House of David"). While mom is upstairs searching for her old coke stash, Izzy and Steve casually chat. Both inform the other of their single status since Izzy's recent break-up and Steve's divorce. A sexual tension is obvious as Izzy questions Steve why his wife left him. Steve's sense of humor and self-mocking are charming. Izzy's flirtation with Steve does not go unnoticed. Coming downstairs ready to go back out with Steve, Alice is oblivious to an attraction between her daughter and Steve. A hilarious hi-jinx night ensues. Alice inadvertently allows Steve's ubiquitous dog to ingest her coke. After the harried night they return to Alice's home where she insists Steve and his dog spend the night. While Alice is upstairs asleep with her husband Daniel (British actor/musician Joel Fry) Izzy comes back down to get some more wine sans pants and joins Steve on the couch. Despite being her mom's friend and twice his age, Steve succumbs to Izzy's sexiness and the two spend the night getting fully acquainted. Izzy pursues Steve at his place and easily gets him to continue their dalliance.  Izzy brazenly informs her mom she's now with Steve. As you can imagine, Alice is furious with both of them. The comic premise is promising. The strong performances from this international group of talented actors gives credibility to the silliness and cringe worthy scenario. Izzy meets mom head on as an adult of 26 able to determine whom she dates. Alice is irate. Steve is remorseful but not enough to give up the good thing he's got going. Alice has to finagle to sabotage the awkward love match. But she comes off as a shrew and what's a mom to do? The situational comedy is salacious fun with a cast that carries it off despite its off-putting odd-couple pairing.

New York City Ballet Returns to LA after a Long Absence-Times are always Changing

If it seems that NYC Ballet hasn't been in Los Angeles in forever, it's because it has been two decades. Hooray, herald the return of one of the world's top echelon ballet companies. There's an audience here that revels in ballet and dance. Dance is a consummate performance art. It encompasses all musical styles and  endless visual designs expressed through movement of the human form. Hallelujah, there was live music albeit, limited musicians who accompanied the dancers. There are two different programs featured for the six performances over four days; June 24-28 at the Dorothy Chandler Pavilion. Last night's opening performance was a pastiche of modern, classical and most dance forms in between. In particular, the final piece on last night's program, "The Times are Racing" choreography by Justin Peck. The work premiered in 2017.  Its medley of hip hop, contemporary, tap and "ballet" was energetic and ambitious. There was plenty of fleet footwork and exciting moves to admire. "Ballet" is in quotes because female ballet dancers are to be "en pointe" creating an elongated, ephemeral visual effect. The women dancers did not don pointe shoes. Constrictions placed on ballet are continuously being stretched and challenged which is essential for art forms to thrive. Still, the mixed styles in "Times" is not ground breaking but appropriated as dance is want to do.  Justin Peck, a former dancer with the company was named Artistic Director and Resident Choreographer in 2014. With this post comes the crucial responsibility for keeping ballet alive and expanding its audience. The costuming was street wear with jeans, cut-offs and t-shirts. is beginning The non-stop intensity was intoxicating. In contrast, "Signs" (2022) choreographed by. Gianna Reisen with music by Philip Glass was softer and more sedate. The dancers all wore pale blue leotards.  Glass' repetitive scoring was less abrasive than his typical pulsating style. My favorite piece for the evening was "Red Angels," (1994) with blood red bodystockings and fiery portals in the staging. This gave the affect of dancers slithering out of Hell; ready to cause havoc. The ambience and choreography were startling and gloriously menacing. Despite being an "older" piece, it felt alive and timeless.  There was no Balanchine ballets in this program.  Two of his ballets are featured on the other program. There was a Jerome Robbins piece which featured his humorous wit and broadway showmanship. Created with Baryshnikov mind, the solo dancer, Daniel Ulbricht and cellist on stage played off each other. Ulbricht's musicality was superb as he emphasized Bach's Six Suite compositions. Comparing him with Baryshnikov's gravity defying leaps came up a little short. The evening offered something for everyone to favor. It's vital for major companies like NYC Ballet to continue to embrace new techniques and ideas while maintaining its classical lineage. Most importantly, let's keep attending ballet and dance in LA to ensure it remains here. 

DRAMA- Strained Drama but Terrific Acting Zendaya and Robert Pattison

The 2006 film DRAMA now screening is testament to what good acting can do to a script that leaves legitimacy at the door. The always captivating Zendaya stars as Emma and the bankable Robert Pattison as Charlie. This rom/com has a charming start where Charlie hits on Emma in a coffee shop by claiming he was taken by the book she's reading. His clumsy overtures are ignored until Emma turns to face him and is startled to see he's been speaking to her. She tells him she's deaf in her right ear. He's so flummoxed Emma offers him a chance to try the encounter again. Next the two are on a dinner date where Emma tries to discuss the novel and Charlie owns up to never having read it and just wanted to meet her. Emma accepts his good natured apology and the relationship flourishes from them into an enviable full blown romance (as is their apartment replete with circular staircase and floor to ceiling windows).  The perfect couple becomes engaged. Charlie's best friend Mike (an endearing Mamodou Athie) and his wife, Rachel (a tour-de-force Alana Haim) gather to taste test wines for the wedding. As they imbibe overtime, the married couple engage in everyone sharing "the worst thing you've ever done." While the sharing is embarrassing,  Emma is the last to share. Her's is a whopper. In high school she had seriously contemplated shooting up her school. This obviously shocking reveal is new to her new fiancee. Rachel has plenty deplorable expletives to say! Emma's responds by regurgitating everything on the table ending the evening leaving a lot of unfinished business between the two love birds. Emma does explain what her torment was like back then to Charlie. "I only thought about it and didn't go through with it." Charlie revisits some of Emma's explosive behaviors and is unsure whether they are as made for each other as before. The wedding photo shoot is a hoot with feigned smiles and stiffness and the wedding toasts are uproarious. The acting is so captivating all round it makes this dilemma more of an entertaining drama than it's cut out to be. If only the two would sit down and rehash their concerns instead of Charlie harboring doubts and acting out, things would work no doubt . Still, the film is a captivating, guilty pleasure but not one anyone would want to try over again. 

S Korean TV Series "Teach You a Lesson" Corporal Punishment Deemed Crucial in Classrooms

The Korean Netflix series "Teach You a Lesson" is not your typical high school classroom drama. Based on the webtoon "Get Schooled" set in modern day Korea, the show is anything but slow. We follow a student on his way to high school student who wishes he could wake up sick and miss school or go to sleep for the next two years and wake up when high school is over.  As he walks onto campus, his gaze follows his classmates upwards to a student standing over the edge of the roof of the school. The student silently leans forward and falls to his death. This shocking heart wrenching episode flashes back to all the brutalities and humiliations this student suffered prior to taking his own life. The nightmare for the student who wishes to be in a coma is only starting. He is now the new victim and is physically beaten and tormented by his callous classmates. A group of boys lead by one bully (whose father has a high level in government) rules the school. No one pushes back; neither teachers or students. Until an unknown adult appears dressed all in black. He resembles a sexy amalgamation of Keanu Reeve and Joseph Gordon-Levitt punches the bully. Meet the new teacher played with pizazz, wit and warmth by Kim Moo-Yul as Na Haw-Jin. Cell phones filming, the shocked, socked in the jaw tormentor demands to know who him. Na welcomes the chance to introduce himself as their teacher and his plans for reforming the school. You think - teachers can't do that.  Think again. While corporal punishment in school is deemed antiquated, barbaric and illegal, Na informs everyone he can, he will and he does. There's new legislation granting Na the authority to take matters into his own karate, tai-chi, super hero hands.  Take note, this episode was more than a well choreographed fight flick or simple revenge story. There's real empathy and intelligence in the show. Na connects to the boy being picked-on. "There are good adults out there. No one's saying fight back. Find an adult and talk to them. And, also run!" I did enjoy the comeuppance the vicious, sociopathic student received and of his parent from whom the apple didn't fall far from the tree. This is a smartly written, well acted show. But,  please cast high school students who look like teens not 20 something. The 2nd episode degenerated into a melee of students intent on gaining notoriety by causing fights.  The violence was over the top, out weighing any redemptive lesson.  Watch the first episode (maybe skip the 2nd) and try the third. I was won over by the charisma of Moo-Yul and the originality of  the pendulum swinging so far out that corporal punishment was not only condoned, but owned!  Each episode is set in a different school.  The pushback in the public forum is another aspect that elevates the grade of "Teach You a Lesson."

Open Poetry Readings at Malibu Library Courtyard

All were invited to a free poetry reading in the courtyard of the Malibu Public Library on Saturday.  Being outdoors and being free was good enough for me and my dog Bowie to attend. The librarian/host for the event opened by addressing, "Why poetry?."  She followed her rhetorical question with other why questions. These were cheesy in their assessment of value fond in - say, life. She then read from Walt Whitman's famously life-affirming poems. While her comments were overall, trite - they laid a foundation for appreciating the following poets and Shakespearian thespian. There was a set theme assigned the three poets invited. One got the memo whose poems "had never before addressed the meme of joy." Her poem was in keeping with the day's sugary theme. She ladled it on heavy with the cream. The male poet started off by taking the liberty of speaking on his favored topic of philosophy. Before he went on to his more macabre v. joy poems, he said, "I hope I wasn't being too esoteric."  He was, and it was arid. His poetry along the lines of romantic mysticism; a werewolf attacking his victim was anything but staid. It was cleverly chilling. I got a flavor for what the werewolf was going for. The last invited poet didn't do her homework. She said "I'm going to ad lib". She brought a book of Khalil Gibran's poetry and read random poems as she riffled through the book until the audience called out stop. This didn't win her any accolades from me but surprisingly, her great aunt had a friendship with the famous Lebanese-American poet and she happened to have a correspondence her aunt had written to him. (How she had the poem when it was written to Gibran I'd have liked to know.) However, her aunt "Joy" (how's that for irony) was an amazing writer whose epistolatory correspondence waved poetically of her bucolic surroundings and her yearnings. Aunt Joy's letter was the highlight for Bowie and me as Bowie sat up and paid attention. The last arranged speaker shared her passion for language as conveyed through Shakespeare's mastery of words. She performed "Hamlet's" famous soliloquy and emoted his turmoils exquisitely. The courtroom oration from "Merchant of Venice" was lacking having not failed to adequately set up Shylock's brutal treatment prior in the play. Afterwards, the floor was opened to anyone wishing to share their own poetry. Hats off to the young lady who bravely shared her heartfelt writing. And, regardless of any criticisms I had, Bowie and I very much enjoyed gathering with others outside to listen to the intrinsic beauty of prose and poetry.  This I knows.  

THE WITNESS Netflix Series-True Crime Takes Too Much Time in Telling

The brutal rape/murder of Rachel Nickell in 1992 in southwest London was witnessed by her two year old son, Alex. This heinous crime was compounded by the fact her son was beaten in the attack and despite having occurred in a congested public park, there were no eye witnesses other than Rachel's young son.  The father and Rachel's partner, Andre Hanscombe (Jordan Bolger) is portrayed convincingly as the concerned father but not seen as a grief stricken partner.  Perhaps, he's in control of his emotions for the benefit of his son played by the incredibly handsome young actor, Jahsaiah Williams. Williams may have gotten the role in part for his good looks which are also convincingly familial to the actors cast as his parents. Could Jahsaiah Williams be related to the film's screenwriter, Rob Williams which may have helped the actor to be miscast? Alas, a major crack in the credibility of this criminal case is Williams looks closer in age to 8 than 2.  In fact, his understanding of language and his verbal skills seem quite advanced for his age yet the crux of the case is based on Alex's inability to provide information to the authorities on his mother's attacker. The use of professional child psychologists were employed to help Alex share what he experienced was twofold; help Alex process what happened to help him mitigate the trauma and secondly, to provide the investigators with much needed information describing the attacker. The failure to uncover evidence or witnesses besides Alex of the crime left the investigation to go unresolved for two decades.  The insight into how a professional therapist would work with a young child in such circumstances would be fascinating to observe.  However, Alex merely responded as a petulant child who appeared not to cooperate despite gentle coaxing. Again, this was partly problematic due to the miscasting of Williams as he appears too old to behave so uncooperatively.  Neither did Alex appear too distraught or withdrawn for professionals to garner much useful information. Andres wants to protect his son and decides to raise him away from the notoriety of his mother's killing. The film jumps from the time of the murder to Alex now a young teen living in Spain with his father.  The father/son dynamic in a new country  is now presented as a pugnacious son and overbearing parent. The lack of clues and pressure to follow leads, leads to a suspect being falsely charged with the murder. The real crime is the lack of interest in the drawn out investigation and missed opportunities to examine the emotional toils the crime had on its young victim.  The burden of being convincing or enticing was not met in this Netflix 3 part series that is 2 1/2 parts too long and tedious.     

Amanda Peet in "Fantasy Life" - Shelf this Self-Absorbed Abomination

"Fantasy Life' written by and starring Matthew Shear, is a self-indulgent exercise in mental illness and self-medication.  Shear is an American actor of TV and film ("Mistress America").  Shear wrote the screenplay for "Fantasy Life" in which he stars as Sam, an anxiety riddled, law school drop-out who takes a Manny job for his psychiatrist's three granddaughters. The girls mother, Diane (Amanda Peet) has her own low key depression which keeps her at a functional distance from her husband, daughters and apparent pleasures.  Diane's husband, David (Alessandro Novola) is an aging rock star with a drinking problem. The only people who are happy in this weary, and off-putting film are the psychiatrists played by the consulate actors Judd Hirsch and  Holland Taylor. It's no wonder, they're in constant demand for their services. While not providing cures, the psychiatrists provide Sam and Diana a tolerable haze of emotional resignation.  Diane is an actress whose career is waining, her beauty fading and her sensibilities so muffled as to render her detached and lacking in any fervor.  With Diane's affluent lifestyle, lovely homes in Manhattan and the Vineyard provide and animated girls, it becomes impossible to feel empathy for her first class woes.  Sam is so feckless as to render him an annoying, sniveling sad sack. These neurotic characters, self-absorbed characters provide very little to ingratiate themselves into anything worth spending time with. Diane tells her current psychiatrist she left her previous one after 15 years because "It wasn't helping and I felt I was boring him."  When her Dr. asks how she knew she was boring him she replied, "Some things you just know."  I know that despite earnest performances from Peet and Shear, there's nothing there there but tepid neurosis.  And, who cares cares? 

German Film "Miroirs No.3" Reflects Loss and Love's Replacement

The German Film, "Miroirs No. 3" is the French piano composition by Ravel which evokes the solitude of a boat adrift. German filmmaker Christian Petzold quiet, beautifully shot movie takes place in the rural countryside just outside Berlin. An attractive young couple head out of the city on a country road.  In passing,  Laura (an enigmatic Paula Beer) makes eye contact with a middle aged woman who is whitewashing the French of her quaint home.  Both women seem to make some connection in their passing glances.  Laura decides she wants to return home and her boyfriend begrudgingly drives her back. He's irritation causes him to drive recklessly and they pass the same woman whom he nearly struck.  Just up a ways the car is heard crashing and the woman runs to be of help. She finds the male deceased and Laura dazed but alive nearby.  Laura is tended to by the woman, Betty, (Barbara Auer) who instructs the medics to bring her back to her nearby home to recover.  Laura warms to the attentive nursing in the sedate home. After a few days, Laura asks Betty if she can remain with her for awhile longer.  Betty generously acquiesces and agrees readily for her to remain as long as she wishes. Laura helps Betty with various household tasks, raises a vegetable garden, prepares meals and the two develop a quiet attachment. Questions arise as to who is benefitting most from their relationship.  Betty for housing Laura, or Laura for providing companionship and comfort from grief.  Laura learns Betty's husband and son work and live nearby. It's ambiguous at first why the family lives apart. This sedate film appeals to the simpler pleasures in life; riding bicycles, eating outdoors or mulling over a glass of wine in the cooling evening. The climatic break feels somewhat rushed and false. The tender bonds that were earned become tarnished.  Still, I'm recommending the film for its earnest performances and its appealing tranquil tone. While I found delight in the gentle pacing and small joys inherent in the film, it may well feel too tepid and inconsequential to others for the same reasons.   

THE STRANGER-Film based on Camus's Existentialist Novel is a Snooze

For those erudite snobs who want to cross Proust or Camus off their intended reading list, here's a hall pass to cross Camus' existentialist novel off your eventual to do list. Life is too short to spend it on pretentious pretense of expected elevated literature or films. However, if you're still a masochist, this 2025 black/white Neo-noir drama is probably more palpable than most pompous productions now streaming on Fandango. The cinematography captures the 1930s French-colonized Algeria in stark splendor and cold dissonance.  The French language film features Benjamin Voisin as Meursault, as the handsome loner whose persistent dissociation is puzzling more than it's troubling.  Meursault gets a short leave of absence from his clerical position to attend the funeral of his mother. A stoic Meursault shows little emotion except for an appreciation for coffee and a smoke. While on leave he is reunited with a past girlfriend, Marie (a luminescent Rebecca Marder).  The two make a handsome couple and the scene where the two rest on a raft in their set bathing suits shows promise of burgeoning passion. However, the sheer absurdity of Meursault's inane affability without conviction to marrying Maria is exasperating.  So too are his dissociations when regarding his mother's passing and his vacuous responses towards defending himself on trial for the unwarranted cold blooded murder of a male beach comber caused head scratching stupor.  Fueling frustration towards Meursault bewildering detachment is his failure to register rancor or empathy for his neighbor who cruelly beats his dog or when he bemoans the dog's absence.  Perhaps, my dismal response to the so called lofty existentialism themes reflects more on my more pedestrian tastes than those possessing arcane philosophical leanings.  But, at best, I know what I like, what I don't and I'm not afraid to who it.  THE STRANGER is a zzzzzzzzz snooze fest whose irrational idea is irrational at best. 

John Lithgow in GIANT as Raold Dahl Who Won't Back Down From Antisemitic Rhetoric

The Broadway play GIANT stands a lofty head above the typical feel good fare on the Great White Way.   Railed Dahl's unabashed antisemitism, and unapologetic, hateful sentiments are given fair play in this cerebral drama that makes one mull over matters long past the curtain calls.  For example, when is it acceptable to maintain your discordant opinions? Where do you draw the line at hateful speech? Can and should we separate the artist from the art?  These pertinent and pressing questions are meaningful concerns for debate. The material cleverly delivered in undisguised dialogues that lingered in one's conscious long after having this engrossing production ends.  The play treads into unsavory views held by the Railed Dahl, that beloved children's author. Dahl freely made public and adamantly refused to mitigate his forthright antisemitic sentiments despite pressure from his American Publisher and coaxing from his betrothed, actress Patricia O'Neal. Dahl's short stories and many of his children stories are notoriously dark yet compelling for their imaginative storytelling.  Reading some of Dahl's memorable stories to children doesn't necessitate consideration of his philosophies or bigotries.  But once acknowledged, does or should this render the stories any less poignant or possessing of merit to its audience? As much as I found Dahl's didactic attack aimed at the American publisher who wagered a verbal battle with Dahl to remit an apology for his distasteful comments, I couldn't help but admire his fortitude for maintaining his opinions.  This one act, one set production is within the chaotic folds of interior renovations in Dahl's estate. The hanging tarps and saw-horse tables sustained an edgy and unkempt sensibility. Dahl's longtime friend and British editor happened to be Jewish. His editor was dismissive if not somewhat tolerant of his lucrative author.  Or so it seemed until push came to shove and certain things said couldn't be unsaid.  Asking what circumstances call for drawing a line in the sand?  What is permissible and what is repugnant behavior; not to be tolerated. The garrulous play is energetic and engaging within its sparse framework echoed within the confines of its raw set design. As the discussion becomes more heated, Dahl digs his heels in deeper raising more quandaries. Does vehemence and anger serve to convince someone of their misguided convictions or does this only serve to build more roadblocks for acquiescence?  Again, the biggest enigma to take away from this intelligent and thought provoking play is which parties were out of bounds?  Those who maintained their unpopular and distasteful views or the those whose tolerance for opinions outside one's own are more subject to disdain for being intolerant?  There's no question that the writing, acting and animated debates made for a drama that is not to be missed with its abundant fodder for future discourse.  

JUST inTIME-A Jubilant Juke Box Musical of Bobby Darin Without a Doubt -

The high octane, juke box musical about the life of Bobby Darin is a crowd pleaser featuring Jeremy Jordan as a Bobby Darin interpreter along with a live band, bodacious backup dancers and clever staging within an intimate setting at the Circle in the Square Theater. The main floor serves as a night club with small round tables and low lamps.  The setting serves as a constant reminder that Darin's fan base and talents were based in lounges where his charisma and crooner pipes were best appreciated.  Jeremy Jordan (Tony and Drama Desk nominee for "Floyd Rollins" and "Newsies") as Darin, informs us early on he will play himself interpreting Darin rather than impersonating him. He tells us the two had numerous things in common including a desire to to perform before live audiences.  We're also at the start of Darin premature death at 37; until then he had a lot of living to do. This musical biopic is anything but depressive. It's non-stop high-octane singing and dancing. Darin takes a backseat to other talented cast members including actors portraying his mother, Connie Francis and Sandra Dee.  Despite being a sickly child who spent most of his early years hospitalized leaving him with a frail heart condition, Darin was determined to make the most of every opportunity.  He's raised by a loving, single mother and doting older sister who worry incessantly over his health. The energy is consistently upbeat.  So too are the musical numbers especially the classic favorites Darin wrote and made into hits:  "Splish Splash," "Beyond the Sea," "Mack the Knife" and "Dream Lover."  His early romance with a very young Connie Francis is aborted by her pistol toting father. (Why? We can only guess.). But Francis tells us that Darrin was the great love of her life after having had 4 failed marriages.  Backing up Jordan on minimal stage space are 3 sirens with their deceptively demanding choreography and numerous costume changes.  The exceptional band is on stage throughout the show keeping maintaining a jubilant energy and smooth transitions.  Darin met the established movie star Sandra Dee while making his first film with her and set about getting her to marry him.  Their paparazzi pleasing marriage thrilled fans but their marriage with a newborn son didn't last long.  We watched their love get set aside as we watched Darin perform through Dee's inebriated eyes watching his sets. A few shocking family secrets are revealed though the irrepressible Darin is never downtrodden too long to get back out there. In addition to Jordan's winning performance, the entire cast keeps things sailing along beyond the stars.  Beyond a doubt, this is a highly entertaining first rate musical that delivers on golden sands.   

FALLEN ANGELS ON B'wy Stars Rose Byrne/Kelly O'Hara Fluffy Feline Fun

Noel Coward has been a staple on the Great White Way ever since his heyday in the 1920s and 30s.  One of his lesser known plays, "Fallen Angels" premiered in 1925 to shocked audiences who were aghast at women taking lovers and one too many drinks; especially while their spouses are away. The play is getting a jubilant revival on Broadway with two lovely leading ladies; Acad. Award nominee Rose Byrne and multiple Tony nominee Kelli O'Hara.  Both ladies will be competing for a Tony Award this weekend for their ebullient performances in "Fallen Angels."  Coward's plays, including "Fallen Angels" tend to feel dated but that doesn't make them less notable or worth seeing. This delightful production is performed without an intermission as opposed to the original 3-Act production.  The play relies heavily on the performances by its leads: Byrne as Jame Banbury and O'Hara as Julia Steroll; two upper-class, married women and long time friends. The ladies are getting together for dinner in the upscale, art deco apartment of the Stroll's while their frumpy husbands take a golf weekend away.  The stylish gamines know how to dress glamorously for dinner.  They don hats, gloves and smoke cigarettes with long holders.  The women are all up in a frenzy over a letter received by Jane from a former Italian lover of both of them from their single and sordid days. Their stodgy husbands hold no flame and garner little passion from their wives.  Meanwhile, the ladies lasciviously recall their liaison of their youthful days with their former lover as the champagne and canapés are copiously consumed. The drinks and lavish dinner are all served by one maid who is quite the fountain of knowledge and talents played with comedic charm by Tracy Chimo for respites from the ladies' loquacious longings.  As the evening wears on and the gloves come off, the physical comedy becomes abundant.  The rivalry soon sparks rancor and Jane takes off late in the evening while in a huff.  When the couples are reunited the following day at the Stroll's apartment there's recriminations amongst the couples, the ladies and the men (who had a row over golf).  Blistering snipes delivered with British etiquette and droll humor offer a fresh reprieve on Broadway from current dramas or musicals.  When their old paramour finally arrives, played with unctuous charm by Mark Consuelos, it's no wonder the women were all a quiver and willing to send their unattractive spouses up the river. For lovers of physical comedy, Coward's clever way with words and a rollicking good time with exceptionally talented actresses, you can't go wrong with "Fallen Angels." Either damsel is deserving of the Tony as is  the show for being nominated for Best Revival of a play. 

Adrien Brody on B'wy in THE FEAR of 13 Lacks Feeling

Two-time Acad. Award winning actor Adrien Brody stars on Broadway in a true story of a Nick Yarris who was wrongly sentenced to death for a murder he didn't commit and served 13 years before being exonerated.  The poignant story and talented actor would seem to ensure a captivating and emotional play.  Unfortunately, the play as mainly told by Brody feels didactic and dry.  Even Tessa Thompson as Jacki Miles, Yarris', a prison volunteer who falls in love and marries him, fails to elicit passion or credibility for their relationship.  The most emotional scene comes at the start of the play where Yarris' talks about the love between two inmates who were separated for reasons of sheer cruelty by the warden and their forbidden serenade to each other in separated cells.  From there the play is laid out in a chronological order, with events depicted in a distilled, factual manner.  The one hour and 50 minute play is performed without an intermission so as not to break any emotional resonance but the play only felt belabored and overly long.  The crime of a missed opportunity to tell the tale of a terrible travesty with one of the most talented actors around is unforgivable.  At least my time served was less than two hours and not years of unjustified confinement.  

2NDSTAGE's BECKY SHAW-Alden Ehrenreich Elevates B'wy Play from Original Off B'wy Stay

Gina Gionfriddo's play BECKY SHAW had its premiere Off-Broadway in 2008 when it was named a finalist for the 2009 Pulitzer Prize in Drama.  The play was nominated for a Drama Desk Award for Outstanding Play of that year and received an Outer Critics Circle Award for Outstanding New Off-Broadway Play. This year, the play has earned a Tony nomination for best revival and a Tony nomination for Alden Ehrenreich in his Broadway debut. Ehrenreich's debut is both notable for his ease and smooth charm in which he portrays Max, a successful business exec and eligible bachelor. Max's unorthodox upbringing was in the household of his parents' friends after his mother passed. He was raised alongside Suzanna (Lauren Patten) whose the same age as Max and has more than a sibling attachment to Max. The two are in a hotel room following the death of Suzanna's dad and Max's benefactor, prior to disseminating the estate.  Suzanna bemoans the passing of her beloved father and spouts suicidal tendencies. Max, the pragmatic voice of reason coaxes her to pursue an interest or take a ski vacation.  He's more concerned with the distressed financial situation left Suzanna and her domineering mother, Susan (Linda Emond).  Susan enters their room giving orders and dinner plans. Max and Suzanna yield to all her orchestrations.  Left alone in the room, they grow close and agree to watch porn together. Their flirtation intensifies  despite Suzanna protestations of being like brother and sister to which Max insists not quite. The play jumps 8 months to find Suzanna married to Andrew (Patrick Ball) her former ski-instructor.  The couple have arranged a blind date for Max with Becky (Madeline Brewer) from Andrew's work.  The mis-matched blind date is a debacle. The armed hold-up was the least of the nights' ordeal.  Max wants nothing more to do with the Becky, a manipulative basket case. All the characters are miserable and detestable in their own way.  There are you givers and takers.  Becky is overly needy which feeds Andrew's desire to feel good about himself.  Suzanna wants attention and to be at the center of everything.  Susan wants to call all the shots. She assigns Max to free her lover from jail on fraud charges. Becky wants Max which is the very last thing he wants. All these distasteful, self-serving characters revolve around level headed Max who is at the apex for all their shenanigans. Thankfully, Ehrenreich as Max brings a sensibility, charisma and sanity to all the stupefying antics to ground the play with humor and indignation to make BECKY SHAW an enjoyable and entertaining show. Even so, without Ehrenreich's effervescent portrayal, the five character play should stay Off-Broadway. But, with only two weeks left - go see Ehrenreich shine in BECKY SHAW.  Hopefully, we'll be seeing more of him on the Great White Way.  

COME and KNOCK DOWN MY DOOR-Taps Timidly at Zietgeist Tumultuous Times 2021

Alex Emanuel's new play "Come and Knock Down my Door" tackles the infamous insurrection on our Capitol; Jan. 6th, 2021 resulting in 5 fatalities, 174 injured which was based on Trump's false claims the presidential election was stolen.  The play starts with a gobsmacked reminder of the unimaginable events witnessed lived on television.  We witness James (Kris Coleman) reaction to the news with his mouth agape, his eyes wide open as he stares stupefied at the havoc ensued by Trump's plan to overturn the election.  Jan. 6th, 2021 is a date that will live in infamy.  It was at the time when our nation was still in throes of the COVID pandemic.  The concept and clarion call for these topical matters to be presented are in demand.  There's a slight comedic touch that keeps the play from feeling pedantic or tedious.   Unfortunately, the immediacy of delivering a knockout punch of these momentous events are blurred in its disheveled delivery.  James is joined soon after in his squalid Brooklyn apartment by his roommate Pablo (Jared Ritter).  Pablo is famished and agitated.  When asked where he's been, Pablo says he was in D.C. for the rally.  Stunned, James wants to know why he could take part in the rioting. Pablo informs him he only went to see what it was all about and that he didn't partake in any of the violence.  A third roommate and James' Russian girlfriend, Mina (Lana Ayrapetyants) returns to the apartment she begrudgingly shares with Pablo.  She's had a problem with James from the get go with his illegal drug stash in their place.  The masks and Covid protocols are a sobering reminder of this isolating period and of the mounting distrust it instilled.  Missing however, is a needed backstory as to how the 3 came to share the apartment.  Also flagrantly missing is an understanding of the disparaging political leanings held by the trio.  James glimpses a shot of Pablo at the rally on TV asking the public to notify officials if they recognize anyone.  James confers briefly with Mina whether they should report Pablo.  There doesn't seem to be much conviction that would make them want to turn their roommate over to the FBI.  Yet, James is quick to call the toll free number to report Pablo.  It was an oversight not to illicit a discussion amongst the roommates about their thoughts regarding Trump or the election.  Mina's immigrant status opened up another avenue that was a missed opportunity to explore.  The rioters on Capitol Hill at Trump's urging, called for Pence's hanging in what was a harrowing, shameful day in  history.  Unfortunately, we're left hanging in a crucial time frame without strong views on any side.  Furthermore, it's unclear what Emmanuel wanted us to take away which would  have made for a more meaningful play about an unforgettable day in history. 

The SHEEP DETECTIVES-Sheep Sleuths Solve their Shepherd's Demise Stars Hugh Jackman

The big mystery of "The Sheep Detectives" is from whom the demographic of this anthropomorphic flick intended?  From the promos I thought the show for tots.  I thought it would be perfect fun for my precocious granddaughter.  She will be turning three, soon.  Don't believe me - she'll tell you while holding up three fingers to drive home her point.  Just don't believe the hype for the film as fun for everyone.  "The Sheep Detectives" put my preternaturally advanced granddaughter to sleep.  Nevertheless, I was more than entertained and charmed for both of us.  Hugh Jackman was pitch perfect as George, the benevolent shepherd.  George took great care of his sheep and everynight reads to his brood mysteries to which he believed they were all attune.  George was correct and he clearly connects with his sheep which he kept at bay from butchering ways that befell the neighboring herds.  Unfortunately for George he was dead wrong thinking was safe amongst his flock within the small, farming town.  I shuddered at his murder.  But as a vegetarian I greatly admire the not too subtle messaging not to eat meat as animals are highly intelligent and caring beings.  There is much more to adore in this quaint and quirky who done mystery. George's beloved sheep, particularly a duo led by Lily and Sebastian, are determined to learn who did this dastardly deed and contrive to assist the town's bumbling officer, Tim (Nicholas Braun).  Tim isn't the sharpest tool in the shed.  However, with the animals' assistance with the Tim's persistence, the clues point them in the right direction.  Along the way, there are life lessons to be gleaned about cooperating, compunction, compassion and even mortality that I would agree are beyond most five years olds wherewithal, let alone three.  But, do see this movie with or without young children in tow.  No, you don't have to be a Sherlock to to deduce "The Sheep Detective" is simply delightful.  And, as delightful as some may know their grandchildren to be - children under six are not the intended demographic .  

PROJECT HAIL MARY-Pulls off Miracle-Made Me Cry Over a Rock Pile

Ryan Gosling's stellar performance in this sci-fi, apocalyptic space adventure is what made this film get off the ground.  If it weren't for Gosling's unassuming charm and acting chops this would have been a flop.  Andy Weir's novel "Project Hail Mary" was made into this blockbuster hit. Weir's previous novel, THE MARTIAN, was also made into a box office hit with Matt Damon.   In similar plots, Damon and Gosling are both alone for the majority of the movie.  Each must rely on their own intellect and wherewithal to survive stranded in outer space.  Gosling portrays Ryland Grace, a reluctant recruit marooned and the sole survivor on the spacecraft sent into the galaxy to safe all humanity from doom.  Both plots sound simple, and not unlike "Robinson Crusoe" who must survive on an isolated island.  Of course, there's a difference between surviving and thriving.  Whereas Crusoe was grateful when another man, Friday, finally arrived.  Ryland's extraterrestrial companion can be described as a resembling a pile of rocks.  This rock pile  possesses an incredible intelligence and benevolence which is astounding and ingratiating.  We first meet Ryland as an engaging science teacher to middle school students.  Ryland is waylaid outside class to be recruited into the space program.  A report he published years earlier while working as a molecular engineer predicted the doomsday scenario for which the world's greatest scientific minds now concur.  Ryland was unceremoniously fired at the time for his radical paper which is now drawing together the best international scientific minds.  It's drawing Ryland into an uncoveted spot on a one way spacecraft ride he refuses.  Drastic times call for drastic measures.  Ryland is dragged, drugged and put into a coma along with three other crew members for the selfless quest to solved the sun from dying out in less than two years.  Ryland awakens in his space capsule from an induced coma to discover he is the sole survivor on board.  The funeral Ryland gives his mates is fervent and and thoughtful.  The first half of the film feels tedious and drawn.  But, all is forgiven when Ryland connects with an alien spacecraft and its highly advanced inhabitant.  Was it the writing, the acting of Gosling or of "Rocky" that provides this hard to swallow plot with deserved pathos? I don't know.  I do know that I fell hard for the deep friendship that formed between the two.  With ET, you had an adorable extraterrestrial and cute kids.  In PROJECT HAIL MARY the long shot of landing a heartwarming, symbiotic relationship was between a rock and a hard place, yet it scored!

MARTY, LIFE IS SHORT-Long on Love, Laughs Martin Short's Doc. Is Just What the Dr. Ordered

I've been a huge fan of the immensely talented Martin Short since I first saw glimpsed Ed Grimley on SNL with chest-high pants and hair-slick. His irrepressible smile and glimmer in his eyes give him an elfin, impish quality that is impossible to resist.  Are some people just born with talent and the gift of lighting up a room?  Yes, of course, but you don't need to look any further than Marty's own backyard.  He grew up in a family love fest, the youngest of five; with "an angel of a mother" who was a concert violinist.  There's no dysfunction or resentment.  You'll only find a household built on love and enjoyment with one another.  His was and is a family that played together and has stayed together.  As Martin put it, "We lived to make each other laugh."  There is loss as his oldest, beloved brother died when Marty was 14 and his mother when he was 19.  Tragically, Marty's daughter died by suicide this past February at age 42.  While this doesn't factor into the doc. the loss of his wife, Nancy with whom he had been married for 30 years and shared three adopted children.  The film is as much, if not more, of a tribute to their endearing love story which only made me fall in love with the two of them.  They met and become a couple at the onset of both their careers in entertainment in the early 70s.  In 1977, Martin joined Second City in Canada which led to being asked to join SNL.  More notably, this led to life long friendships with a host of friends whose comedic careers were also starting out such as Eugene Levy, Catherine O'Hara and Andrea Martin. This hilarious and touching documentary reveals his early childhood through his rise to fame and fortune and the many steadfast friends along with his expanding, tightly-knit family plenty of with warmth and humor.  Interspersed with interviews from his A list celebrity friends such as Spielberg, Hanks, Martin and the recently deceased O'Hara that are testaments to Short's humor and humanity.  The clips from past movies, shows and interviews are laugh out loud funny.  In short, Short's philosophy of life resounds with joy, resilience and gratitude.  Comedian John Mulaney who co-starred with Short on a the Fox sitcom flop, "Mulaney" shared what he garnered from Short, "98% of it is failure.  This is what the job is," teaching Mulaney the wisdom to learn from "what doesn't work, until something works."  The home videos of holiday parties are filled with families of major stars mingling and entertaining each other were enviable.  In fact, I have only one gripe to pick with Ed Grimley and this bio-doc that mocks the silly pretense he and his dear friend Larry Kasdan making the doc. don't know each other.  It's I want to be friends with Martin Short, too.  It's hard being green.  

WIDOW'S BAY Quaint New England Town It Ain't-It's Spooky My Kind of Way w. Matthew Rhys

Looking for something set in a cozy, communal island town where everybody knows one another's name,  along with something wicked this way coming through the dense fog.  Local Mayor Tom (Emmy winner Matthew Rhys) is set on bringing fame to their small island to stir up tourism and keep the flailing island fiscally afloat.  Tom's a widower raising a high school student on his own who stays out late getting high  "cause there's nothing to do on the island."  He's begrudgingly assisted in this venture by his motley staff of eccentric locals including his doddering, octogenarian secretary.  As Tom tells the travel writer he's hoping to impress, the townsfolk "have a lot of color."  Filmed on the bay and on the isolated town of Widow's Bay, you can almost smell the fishy dampness and feel the chill in the air.  Soon you'll be feeling a chill down your spine in this smartly written, well cast series that blends the Mayor's blustering frustrations with his pothead son, Evan (Kingston Southwick, "Presumed Innocent") and the sordid locals who maintain the evil curse on the island has arisen, again.  The various A-List of veteran character actors who sprinkle in comic relief and fortitude to their jobs include Dale Dickey, Kate O'Flynn and Kevin Carrol.  Tom's biggest foe is the elder local Wyck (Stephen Root, TV Series "Barry").  Wyck is granted 5 minutes to explain to Tom why he maintains evil is imminent on island.  Tom is scornful until his  own harrowing encounters with a local fisherman found in coma as forewarned by Wyck.  Tom becomes faced with the dilemma whether he must warn the community to barricade themselves as precaution, or continue the now forgone charade of WIDOW'S BAY as an innocuous, welcoming tourist town.  The scene in the town's best restaurant where Tom had hope to impress turns eerie and intense as Tom struggles to maintain his composure in front of the reporter.  The writer just confided he "Loves WIDOW'S BAY.  It could be bigger than Martha's Vineyard."  WIDOW'S BAY is much more than a suspense, horror, idiosyncratic psychological thriller.  It is all that and more.  I can't wait to watch what's in store.  Don't miss it!   

Electric Squeezebox-17 Piece Jazz Orch. Electrifies at 222's Snug Venue

The Electric Squeezebox Orchestra squeezed all 17 bandmates onto its compact stage with their varied instruments including a concert sized piano and played for a packed house at the 222 Venue in Healdsburg over the weekend.  The Orchestra did not have to wander far from its home in the San Francisco Bay Area where its members play regularly.  Under artistic director and trumpeter extraordinaire, Erik Jekabson, the orchestra played works either composed by its members or classical jazz numbers arranged by its members.  The musicians whose original work were performed served as conductors.  Music that was written by legendary jazz artists such as Miles Davis, Sonny Rollins, and Freddie Hubbard.  These pieces proved crowd pleasures.  Arrangements for these artists musical works were made to accommodate the instrumentation of Electric Squeezebox which included four saxophones, four trombones, five trumpets, drums, bass, electric guitar and piano.  One saxophonist also performed on flute and the guitarist played both electric and acoustic guitar.  My favorite pieces were two original works.  Coincidentally,  both were about animals.  The band members who'd written the composition explained their inception for their pieces.  The score inspired by avian invoked the sounds of a cluster of birds relying on the wind section and the inclusion of a flute solo.  The other piece was created by one of the trombonists.  He said when he was on an Africa safari, a cape buffalo got behind their jeep and lowered his horns in menacingly manner.  The trombones were the perfect winds to conjure up the ominous gargling sounds of the mammoth mammal.  Jekabson as the garrulous host and trumpeter welcomed the "newest member" of the orchestra.  We were told he was just joining them for the first time on bass.  Jekabson also paid tribute to former bandmates by playing some their jazz compositions written while with them.  The trumpeters played a number using plugs providing that unique, warbling timbre.  Electric Squeezebox gave an exuberant  performance in the 222's intimate setting for a full 90+ minutes that felt to me like ten.  I hope to hear them again.  BRAVO!  

The CHRISTOPHERS-Ian McKellan an Addling Artist in Soderbergh's Film; Art's Alchemy

In the art documentary film "The Price of Everything" Gerhard Richter was asked if it made sense that a postage size painting of his just sold for $2 million?  "Not when you think you could buy a home for that," Richter candidly replied.  I agree that does seem ridiculous in comparison.  But you know what? Whatever price a painting can fetch is what it's worth.  "The Christophers," the latest film by Acad. Award winning director, Stephen Soderbergh ("Traffic") takes a clever aim at the chicanery innate in the art world.  Julian Sklar (a joust at Julian Schnabel?) is the doddering artist whose early portraits were the marvel of art critics and collectors alike.  In fact, two recent portraits from his "Christopher" series were sold at over $3 million each. A fact his beleaguered prodigies did not fail to note.  Son, Barnaby (an abject James Corden) and daughter, Sallie (Jessica Gunning, Emmy and Golden Globe winner for "Baby Reindeer") connive a scheme to convince Lori (a doe eyed, stoic Mihaela Cole, (Emmy winner for "I May Destroy You") to ingratiate herself into their father's life as his hired assistant, find the unfinished portraits and then finish them so after his imminent death, they can be recovered and sold for a fortune.  "Forgery you mean," Lori tells the sinister siblings."  "No, don't think of it as that. Think of it as finishing off great works of art," cajoles Barnaby.  Lori secures both the job with Julian and the unfinished, coveted paintings.  Screenwriter, Ed Solomon's (TV series "Full Circle") writes clever dialogue with the bantering between Lori and Julian.  The rye exchanges between Julian and his off-putting offspring is comical.  Lori and Sallie were classmates at a prestigious art school. Lori gained admission based on her portfolio and Sallie for being a nepo baby.  Lori is financially strapped and agrees to the nefarious scheme.  There's an undercurrent of tension and mutual admiration between the artist and his assistant.  The cinematography provides a sense of nervousness and an oppressive chill.  The side by side townhouse which divide Julian's studio and residence is precisely what one would picture as the abode for an eccentric, egotistical artist of some means.  The premise provided a promising canvas to add layers of intrigue, the cast was were all vividly in their elements (particularly McKellan) and the settings hued for angst and rancor.  For 2/3 of the movie, I was captivated but then became allied and tired.  Still,  I was won over by this stylish film about the subversive side of notoriety and artistry for the most part.  

I SWEAR-True Story Humanizing Tourettes SEE THIS Tenderhearted Film

Tourette Syndrome is a neurological motor disorder characterized by involuntary motor tics, verbal outbursts and premonitory urges causing physical and social discomfort and oftentimes leading ostracism. or isolation. The individual flailing limbs may cause self-duress or harm to those nearby. I confess, I only first heard of Tourettes in my late 20s by a medical/ advertisement describing the symptoms with facial distortions or bodily tics accompanied by outburst of profanities.  Regrettably, I found this amusing. My friend and I watching the medical notification made weird facial and body spasm movements while swearing at each other thinking ourselves very funny and clever.  It wasn't until years later when I met someone for the first time with Tourettes.  He was a classmate of my son's.  I'm not laughing now. Nor would I act cruelly towards someone whose behaviors seem odd.  As with those with autism, who have  physical and social behaviors that appears strange, what's needed is acceptance, empathy, understanding and kindness.  Unlike autism which is considered mainstream, Tourette does not het have the same recognition and it was not recognized in the UK when John Davidson began displaying its symptoms in the 1980s.  I SWEAR is the warm-hearted and inspiring true-story of John Davidson (b. Scotland 1971) with Tourette's Syndrome.  British born dir/screenwriter Kirk Jones (winner of a BAFTA and Guild Film Award) directs with a skillful hand.  The film never feels maudlin overly dramatic, yet it captures the struggles, insecurities and brutalities Davidson (TV series "Game of Thrones") in a tour-de-force performance, experiences on screen.  Davidson becomes "adopted" into a family friend's home as a teen, after his bizarre antics cast him as an outcast at home with his family.  The matriarch of Davidson's newfound family, Dottie (Maxine Peake) is the benevolent adult figure who nurtures and advocates for him and the catalyst for Davidson's self-sufficiency and self-esteem.  Dottie encourages him to apply for a job at an adult center where he's hired by Tommy (Peter Mullen, TV series "Ozark").  Tommy's character is so compassionate, friendly, thoughtful, funny and likable you want him in your life.  Tommy's character also gives the film its gravitas and all important messaging for educating the public,  and empathy without proselytizing.  In fact, the entire UK cast and crew on this endearing and enlightening film, can give King Charles bragging rights.  If only this film could inspire our self-appointed king to do the right things and stop being so self-serving and destructive.  Now King Charles Go Home!  President Trump I SWEAR you need to see this film and the rest of us, I strongly urge you to embrace this film. 

SF Ballet MERE MORTALS A Mere Pax de Deux and a Merde Ballet

I didn't fancy SF Ballet's "Mere Mortals" (2024) choreographed by Aszure Barton with music by Floating Points.  Here's several reasons why.  First and foremost, there was too little dancing, too much monotonous prancing, posing and video showings.  For those who love the ballet (as do I ) a modicum of ballet is a prerequisite.  This ballet contained only a slight amount of ballet dancing. Ballet in "Mere Mortals" was missing in action. The concept of AI as a genesis for a creative work could work nicely.  With the omnipresent invasion of AI, incorporating it into the ballet repertoire was Absolutely Intriguing; especially around the Bay Area.  Carmen Kovacs, the dramaturgist* for the piece said blending the Greek Myth Pandora and AI, "The audience doesn't have to know the myth at all to take meaning from the ballet because you will naturally feel what it's about..."  I came to the ballet not knowing the Pandora Myth was part of the pastiche.  I was aware of the AI Aspect Intended.  And, I expected some relevant storytelling or arguments for or against its usage.  The ballet failed to deliver much to ponder but much to wonder.  How the finished product got approved for presentation due to its lackluster choreography and waste of energy.  The use of video can add to production value. The ballet began with a video of what looked like the inside of a volcano which spewed its lava flow. A tall dancer in cossack style dress entered.  He was foreboding and overbearing of the dancers. The corps ballet attired in form-fitting black leotards appeared as a populous that functioned as a whole without variation (as in the TV series "Pluribus"**).  Choreographer Barton borrowed from his earlier, far superior work, "Busk" (2019).  "Busk" was more creative, cunning and exciting.  The facial expressions (or lack thereof) in "Busk" served to portray street entertainers; hence its title.  Azsure also used frenetic running on stage which was a poor imitation of Balanchine's "Glass Pieces".  Perhaps, "Mere Mortals" work would work better as a short piece rather than a full ballet. The couple in their body-fitting latex with metallic coloration stood out nicely from the ensemble in their pas des deus.  The  uniformity of the masses contrasted with the separate, free-thinking, duo dancers. This gave pause to consider dangers of too much reliance on AI.  I do have high praise for the soloists whose movements mirrored balloons rippling out front of used car lots. A flagrant waste of time was spent with a dancer, back turned to the audience, standing stock-still on-stage merely watching a video for five monotonous minutes.  I commend the originality of the score by Floating Points, a.k.a. Sam Shepherd. The soloists captured the musicality of the electronic sounding score that was neither discordant, nor melodic, but definitely hypnotic.  (It put the two seniors next to me to sleep for the entire performance.)  Merde! I paid $245 for my seat.  I saw "Mere Mortals" on Sunday for the first and only time. I will not be back for an encore.

*A dramaturgist aids the development of a work by providing literary or historical context and supports the creative team in telling the intended story.

**"Pluribus 

BEEF Oscar Isaac, Carey Mulligan Dishes Retribution Stew

Netflix's second season of BEEF has an all new cast, story and location. What the two seasons have in common, is a harsh look at marriage and social stratification.  This season BEEF smacks of WHITE LOTUS only a much cheaper cut.  Married couple, Josh (Emmy and Golden Globe winner, Oscar Isaac) and Lindsay (Carey Mulligan (three time Acad. Award nominated actor).  Josh is the general manager of an exclusive country club overlooking the Pacific.  Lindsay is an interior decorator who put her design talents on display in the clubhouse.  Their prestigious preening is a carapace that is soon shattered when their physical altercation is captured on a cell phone by a young engaged couple, Austin (Charles Melton) and Ashley (Cailee Spaeny). Austin and Ashley work part-time in service at the club with ambitions for getting a prime seat at the table, i.e. health insurance, better jobs, and paid vacations.  Josh revels in his seemingly self-important position which has him hob-nobbing with the rich and famous.  Lindsay reminds him he is merely staff paid to befriend the members who don't think of him as their friend.  When the young couple innocently oversee Josh and Lindsay fighting, replete with thrown glass and a raised 7 iron, they do what all Gen Z's would do.  They film this ugly scene on their cell but flee when spotted by the sparing couple.  Josh, rightly fearful of what this could do to his job and reputation, intercepts Ashley on the golf course.   Josh tries to ingratiate himself and proffers a bribe for her aligned acquiescence. This in turn inspires Austin and Ashley to conspire and blackmail the Josh and Lindsay using the incriminating footage.  The young couple parlay the footage into an exec. position for Lindsay at the club with a higher salary and health insurance.  The show's setup is enticing and the acting is exceptional; not as brilliantly written as "Whose Afraid of Virginia Wolf" or "White Lotus" from which the show takes slices.  Still, there's plenty to relish in terms of marital bliss gone amiss, social climbing, abject behavior and criminal conniving.  As in season one of BEEF, has an appealing premise and perfect cast to enhance a bitter grievance and retribution series.  Alas, stick a fork in season 2.  If you're like me and don't savor acrimony well-done to burnt; you'll be done watching season two, too.    

CRIME 101 Waste of Time/Talent; Halle Berry, Chris Hemsworth, Barry Keoghan, Mark Ruffalo

Basic rules for riveting crime/ drama -  have an intriguing script,  make it suspenseful, and develop compelling characters. Writer director Bart Layton whose award winning crime drama "American Animals" was a critical and commercial success.  Layton's latest crime film, "Crime 101" now airing on Prime is more of a miss. The twist in "Crime 101" is the merging storylines between a an elusive and soft-hearted thief, Davis (Chris Hemsworth) and an aging, but still striking insurance agent to the elite, Sharon (Halle Berry) who combine their skills to swindle a huge pay day to lay aside for all future financial wants. Hemsworth as Davis is quietly discerning and ingratiating as the cunning thief who refuses to harm  anyone, although remaining fully armed. Sharon is a self-assured agent to the rich and haughty. At her job, she is continously subjugated by her boss.  Her boss was promoted over her and toys with her ascent to  make partner. There's mystery in trying to connect where and how the two will connect.  The talented and engaging Mark Ruffalo plays Lou, the honest, hard working detective working to connect the dots on  the west coast band.  As in Sharon's case, he too has failed to make a promotion despite playing by the rules (or perhaps for not playing by them).  The parallels between corrupt cops and top executives is heavy handed.  But, you gotta hand it to Ruffalo whose contained performance is the best part of this sophomoric crime movie.  Hemsworth's fumbling courtship of the woman who rear ended his car also has appeal.  But, Berry overacts in her vitriolic speech when quitting to her smarmy boss.  The writing is culpable of the incredulous shown down with her boss which leaves Sharon stranded with financial loss.  Barry Keoghan ("Saltburn") plays the stand-in thief with violent, vicious glee.  The talented casted are robbed of a worthwhile script.  Basically, there's little tension or intrigue to give "Crime 101" anything above a C.  Pass.  

BOOKISH Apple TV Series is Pretentious, Precious and Soporific zzzzzzzzz

Being both a bibliophile and anglophile, I anticipated a cunning and inviting series blending a few of my favorite things. But, in the end, the show was pretentious, convoluted and worst off all, boring. The look of the show and the cast was promising beginning within a bookstore with floor to ceiling books and the omnipresent ladder, overstuffed leather chair and customary elbow-patched blazer.  The comely all-British cast has some faces people across the pond; Polly Walker ("Patriot Games") as Trottie Book, wife of Gabriel Book (Mark Gatiss "Mission Impossible). Gabriel Book is the proprietor of the titular bookstore with a proclivity for investigating local crimes.  Connor Finch (TV series "Everything I Know About Love") plays Jack just back from prison and seeking employment.  His impromptu interview was quaint as Gabriel offered tea and homemade ginger snap biscuits.  Jack was hired at hello by Gabriel even though he doesn't know why Gabriel and Trottie are being so incredibly kind to him. Jack begins his new job in in the bookshop by following along with Gabriel to a murder site just down the street where Gabriel is beknownst to Inspector Bliss. Unfortunately, the show is a big miss with a pastiche of construed British charm, and genteel nurturing to affable but troubled individuals. The murder cases prove inane and the antiquarian bookshop as a backdrop for a cozy mystery series proves arcane.  While the series doesn't take itself too seriously it never elevates above a second rate show.  

Jonah Hill's Disastrous Film OUTCOME-How Come this was Made?

Jonah Hill knows a thing or two about working in Hollywood with temperamental talent and tempering press with a crises to do damage control.  Hill writes, directs, produces and acts in this hackneyed film that's meant to be a clever parody on the movie industry. The film fails miserably.  Wearing too many hats, the film is absolute. There's even a literal, putrid crap scene in which Hill who plays Ira, a fast-talking, self-absorbed agent to movie star, Reef (a befuddled Keanu Reeves) insists Reef accompanies while he's on the crapper because he's so busy he doesn't have time to waste. He also makes his forlorn assistant bring him better quality toilet paper.  The movie tries to satirize the kiss ass mentality everyone has for celebrity, faux reality and our litigious and outright extortionist mentalities.  Reef is a beloved movie icon who's been out of the spotlight in rehab for several years after a reputation ruining fiasco and is anxious to make his comeback.  Ira insists he can keep matters under wraps if only he tells him everything and obeys everything he's instructed by him. Reef has maintained two best friends since high; Kyle (Cameron Diaz) and Xander (Matt Bomer).  The are the only two who love him for himself and the only ones honest with him and whom he doesn't  to impress. Still, Reef rankles them with his brittleness and then seeks their forgiveness. No forgiveness is due Hill who roped in a great cast, especially Reeves who despite their acting chomps can't get this off-putting, waste of film and your time should be fool enough to watch it. The only redeeming scene is between Reef's mom, Dinah Hawk (the incomparable soap star, Susan Lucci).  Hawk asks her son to be on camera for a reality scene on her real housewives show.  The dialogue between them seemed to be the first legitimate poignant interaction until Hawk wants to do a retraction. The outstanding question remains, how come this horrendous film was made and put out on Apple TV? 

Apple TV Series "Margo's got Money Troubles" Delightfully Quirky/Worth Watching

Having just read Rufi Thorpe's delightfully engrossing novel, "Margo's got Money Troubles," I wanted to see how well the iconic TV writer/produce David E. Kelley ("Big Little Lies" and "Boston Legal") would handle this quirky, dark comedy.  Kelley gets some star power help from his wife, the luminescent Michelle Pfieffer as Shyanne, mother to our heroine Margo. Margo is played by the indefatigable Elle Fanning (movie "Sentimental Value"and TV "The Great").  Nick Offerman (TV's "Parks and Recreations") plays Margo's absentee father, Jinx, a celebrity, pro-wrestler who never married Margo's mom. There's more power in Kelley's corner with Greg Kinnear as the unctuous pastor who Shyanne marries.  Nicole Kidman plays a retired wrestler turned attorney.  The book and the series rely on the fortitude of its central character, Margo.  Fanning as Margo gives a million dollar performance as a college coed who gets pregnant with her married, lit professor. The prof takes off and who distances himself from Margo and the baby. Marcia Gay Harden plays the ruthless mom to the spineless prof. out to protect her son at all costs. Thaddeus Graham ("Sex Education" and "Bad Sisters") plays Susie, Margo's helpful roommate.  Money makes the world go round and is the center of Margo's focus. She keeps her pregnancy despite the adamant advice against by her mother, best friend via cell from NYU and despite her own qualms.  Once reality has set in after the birth, all the plans that were ever planned are never going to play-out. The most pressing issue is providing sufficient funds to pay rent and for all the mounting essentials. Jinx appears at Margo's door seeking and providing solace just at a time when Margo and Susie need someone to help cover the rent after their two college roommates bailed on the chaos with baby Bodhi. The plot is immersed in credible crises that make you want to cry for Margo. But, before you start to feel overwhelmed with Margo's money plights, you find yourself cheering for the fight she puts up rather than go down for the count. What's a single mom to do to earn money with no money for a sitter?  Working from home is an option and the work she discovers brings in a payload. Margo creates an online sight for mature (if not infantile) adults which involves nudity. What turns Margo's fans on is her talent for writing which spices up the storytelling and gives the content zest. It's the best case scenario for Margo who finds the loving support she needs in mom, dad, Susie and in her inner strength with her love for Bodhi. Troubles surround her drug addicted dad, self-involved mom and for Margo to maintain customers for the content on the sexual site she created with two other vixens.  These troubles aside, "Margo's got Money Troubles" is worth paying for it's so delightfully cunning, clever and charming. 

ANNIVERSARY Starring Diane Lane and Kyle Chandler Nothing to Celebrate

The A list stars in the film "Anniversary" (2025) screening on Netflix include Diane Lane (Ellen) and Kyle Chandler (Ben) as a married couple celebrating their 25th wedding anniversary with family and friends doesn't end well.  Nor does it fend well thought despite having a promising premise and a cast of compelling actors.  The story was sorely lacking a fully-developed script required to provide the film credibility and gravitas.  The movie pitch was probably enticing as being a prescient political thriller surrounding a handsome and loving family at a time when our nation is torn asunder by an insidious interloper into the family.  The antagonist is the gorgeous girlfriend of the son who has devised a toxic political manifesto intended to subvert our nation's democracy; morphing it into a dystopian "Brave New World."  The family lives in an enviable home (albeit with inferior decor) on the waterfront just outside Washington, D.C.  The film's inception is the eve of Ellen and Ben's 25th wedding anniversary party.  The couple's prodigies include three daughters, Anna (a celebrity comedienne),  Cynthia (Zoey Deutch) an environmental attorney, unhappily married to a partner at her firm, the sole son, Josh (Dylan O'Brien) and the baby of the family, Birdie (a terrific McKenna Grace). The three sisters are glad to be united at their parents' home, and with mom and dad.  The girls are given to sharing their feelings with each other, especially regarding their only bro and his new girl in tow.  Liz (a duplicitous Phoebe Dynevor) is Josh's new love interest and he's not particularly interested in the critiques from his sisters or mother.  It's not surprising that Liz and Ellen had known each other previously.  Eight years prior, Liz was a doctoral candidate at Georgetown University and Ellen was her supervisor.  As her mentor, Ellen was appalled by Liz's right wing leanings calling for a major revolution including a one party system "to unite everyone." A mega idea except in the film it was too ambiguous as to how the publication of Liz's political manifesto lead to major upheaval in the near short-term into a massively oppressive police state; independent views and non-conformity is met with severe punitive measures and imprisonment.  Again, the flagrant failure to transition to tyranny convincingly causes the crises that unfolded, unbelievable.  Still, there are real shocking moments of terror and intense misery that get uncomfortably under one's skin.  Applaud the acting by Lane, Chandler, Deutch and Dynevor but don't mark time to take-in ANNIVERSARY. 

Pepperdine Guitar Department Concert April 7th, 2026

The undergrad students in Pepperdine's Guitar Department performed for the last time this semester. The  program featured six students performing classical compositions from Baroque to Contemporary.  The Baroque piece was composed by Bach (b. 1685-1750).  And,  the very modern piece composed by Liam Kuhn (b. Canada 1998).  Accordingly, the first guitarist on the program, Thomas Wiedensohler (Freshman class) played Johann S. Bach's "Prelude No. 1 from Well Tempered Clavier.  As a pianist who favors Bach's concertos, I found it enticing hearing  this work performed on solo guitar for a variant aesthetic.  Surprisingly, the musical resounding from the guitar were only tangentially different from the piano Wiedensohler playing provided a rich interpretation of Bach's melodious work.   My favorite pieces on the program were performed by Matthew Kunkel (upper claws).  These included Manuel Ponce (b. 1882-1948) "Prelude (in the Baroque Style) and Agustin Barrios (b. 1885-1944) "Sueno en la Florets; a very renowned performance piece of classical guitarist Andre Segovia(b. Spain (1893-1987).  This program along with other student performances are held throughout the school term on campus.  These performances are free and open to the public.  The public is encouraged to attend as integral learning experience for the students who are tutored in addition to artistry and technique,  and also mentored in public performing skills.  The students briefly shared their knowledge of the composers, the piece itself and something noteworthy that made the piece memorable.  There is another classical guitar concert at Pepperdine University in Malibu this Monday, April 13th at 7:00PM.  I'll be attending and encourage everyone to attend. We brought our three old granddaughter,  Bennet, who wants to attend, again. Unfortunately, this concert will go past her bedtime.  

Young Sherlock is Superior Sleuth Solving with an A List of Actors from the Family Tree

If you thought nepo babies were found only in Hollywood, you're wrong. The handsome cast (along with exquisite costuming and cinematography) is comprised of stellar A listers, and their progenies. The sexy hero of the Amazon series, Sherlock, is Hero Fiennes Tiffin. Sherlock's father Silas Holmes is played by Joseph Fiennes; Hero's real life uncle.  Mycroft Holmes, Sherlock's elder brother is played by Max Irons; son of actor Jeremy Irons. Non-related actors included:  Colin Firth as a buffoonish professor, Natasha McElhone as Sherlock's mother, Cordelia Holmes and James Moriarty is portrayed by a dashing Donal Finn.  This recent incarnation of Sherlock Holmes, the iconic investigator created by Sir Arthur Doyle, is depicted as a 19 year old college student in an Oxford University facsimile. It's here that Sherlock meets his partner in crime solving (whom you'll recall becomes his nemesis) James Moriarty. Sherlock and James find themselves thrust into a murderous crime scenario leading to their expulsions. They align themselves to finding the true culprits.  Meanwhile, on an Asian tundra, Princes Xiao Wie (an alluring and formidable Zine Tseng) returns astride her majestic horse to the grizzly discovery of her entire clan dead.  There are no discernible wounds or weapons found.  However, a Prof. from the same elite Univ. in Cambridge where Sherlock & James have matriculated, had been living.  He surreptitiously returns to the Univ. leaving a rank odor behind him.  It's apparent a nefarious plan is underfoot that gives way to clues  Sherlock, James and Princess Wie to decipher.  The plot lines are somewhat convoluted and confusing but the lush settings and whip smart dialogues are so beguiling rest assured, everything else will resolve itself in the end.  Furthermore, there is Sherlock's beautiful mother whose ben sent by Silas to langour in an insane asylum since grief stricken by the drowning of Sherlock's and Mycroft's younger sister, Beatrice as a young girl. Is Silas Holmes sinister or to be believed? Is Princess Wie going to solve the mystery before her compatriots in crime, Sherlock and James?  Why are all the prominent professors being permanently silenced? Is the body in the grave actually Beatrice? And, has there ever been a sexier sleuth than Hero Tiffin as Sherlock?  The answer to this one is obvious.  NO!  But oh, there is so plenty to recommend in this first rate production directed in part by Guy. Ritchie and created by Peter Harness (creator of Doctor Who and Wallander on the BBC). It doesn't take a crystal ball to call this mystery series top-notch. It's elementary. "Mediocrity knows nothing higher than itself; but talent instantly recognizes genius." (Sir ACD)

Netflix's TAKE a BANANA for the RIDE Jeff Ross' One Man Broadway Show

Jeff Ross is a heralded comedienne known for his fearless roasts of famous celebrities. Unfortunately, I didn't see Jeff perform his solo show at the Nederlander Theater on Broadway during its limited run this past fall.  However, fortunately for everyone, the show is now streaming on Netflix. Ross wrote, produced and starred in this autobiographical show which delves on his family, career and philosophy.  It was seamlessly hilarious, tearful, joyful, poignant and clever resonating with humor throughout. For those who don't know Jeff personally (fortunately for me I do) Jeff opens up about his his life and family history from his grandparents' origins and occupations, to his parents' love story, his birth and that of his younger much loved sister, Robyn while growing up in NJ. We follow his circuitous climb to comedic success along with the tragedies and blessings in his life viewed through photos, videos, letters and audience interactions. For those who think of letter writing as a lost art, consider the epistolatory potency of Jeff's parents love letters and the heartfelt letter Jeff's father wrote him on the eve of his high school graduation. Jeff's mother passed while he was in high school and his father shortly thereafter.  Jeff lived in his childhood home with his maternal grandpa who bestowed him with love and a banana for the rode. Perhaps the letters were so profound in part for enabling the writer to express their feelings without inhibition or interruption.  Jeff shared his years working in his father's catering business honing his slicing skills while most his friends were out having fun.  Still, there was a brood of buddies that bonded over poker and pot around his kitchen table.  His pal Mark (called out in the audience) first suggested they try standup while attending college together in Boston. For Jeff, there was no looking back.  He found his calling.  Jeff said "I hadn't been this excited or committed to anything since karate as a kid when I become the second youngest black-belt at age 10."  The simple staging provided an intimate experience.  Various sized frames on the set featured personal photos and videos.  A violinist and pianist unobtrusively onstage maintained a cohesive warmth for the show.  There wasn't a dry eye when Jeff talked about his beloved German Shepherd rescue, Nana, whom he had to put down. The melancholy mood got usurped with punchlines that were  "perhaps too soon" but appreciated comic relief that emanated from the comic genius Jeff Ross shares with the world. Thank you Jeff for your joie de vie, and your love for humanity.  Jeff paid tribute to his friends; fellow comics Bob Saget, Gilbert Gottfried and Norm MacDonald who passed within months of each other. Thank you for showing us the gift of gratitude for friends and family whom you thanked for supporting you, particularly during your chemo and colon surgery.  Laughter is the best medicine. I might try flinging spaghetti at my sisters next time we're together. Thanks for your candid chatter and providing us with laughter. 

Alvin Ailey Amer Dance Theater is Alive and Awe Inspiring as Always

The inimitable, incredible and always inspiring "Alvin Ailey American. Dance Theater" performed in LA at the Music Center this past Thursday through Sunday performing their swan song this afternoon. Founded by Alvin Ailey (1931-1989) and now under the artistic direction of Alicia Graf Mack, a former Ailey Dancer present at the center for all the performances. Ailey's iconic piece, "Revelations" was performed Saturday afternoon by a revitalized company Ms. Mack's direction, brought the an explosive and emotive rendition of the Company's signature work painting it with fresh, poignant and as majestic strokes.  While "Revelations" was the finale on Saturday's program, the earlier works were a welcome mix of new productions: "A Case of You" (orig. 2004) ,  the Company's pemiere of  "Blink of an Eye"  and the  LA Premier of "Difference Between."  Keeping with Ailey's excellent programming of contemporary works and iconic works from their repertoire, today's program was highly entertaining and engrossing.  I particularly enjoyed "Difference Between" ('24 choreography by Matthew Neenan".   The androgynous costuming were capri pants and vests in a metallic blue and neon yellow that looked celestial and futuristic. The dancing was vibrant and ephemeral proffering a ghostly yet powerful aesthetic.  While the staging is barren, the lighting cast an iridescent pall making the piece shimmer and vibrate.  "Blink of an Eye," choreographed by Medhi Walerski also made clever use of lighting to enhance the ubiquitous shifting of forms with a suppleness that was haunting. The dancers both in solos and groups were simultaneously down stage and upstage providing a sense of connection and dissociation that was alluring and magnetic. The audience celebrated "Revelations" at the end.  I've seen enough times I'm an unofficial understudy (hoping one day I'll be called from up my seat onto the stage).  "Revelations" resonated as the most joyous performance I've been privy to attend.  I left the theater floating on air. (And afterall, a girl can dream ,)  

Pepperdine's WIND and JAZZ ENSEMBLE at Smothers Theater in Malibu

 "If I ever go looking for my heart's desire, I won't go further than my own back yard." Famous last words spoken by Dorothy in the "Wizard of Oz," along with "There's no place like home." In other words, my Malibu neighbors, and perhaps New York City (NYC) transplants looking for some NYC razzlel dazzle, look no further than our backyard - right here in Malibu at Pepperdine University's Smother Theater for dance, music, theater and more. Tuesday night's musical program was a clever melding of both wind and jazz ensembles comprised of Pepperdine students under the directions of Theo Schmitt and Vince Trombetta.  Schmitt is a Swiss composer and conductor. He's a winner of the Fritz Bach Prize for excellence and winner of the Swiss Nat'l Conduction Competition ('19). Schmitt conducted Pepperdine's Wind Ensemble for the first half of the program which featured two world premieres. Both composers were in-house and brought on stage to speak about their compositions. I was amazed to see that both Kelly Moss and Carlos Duran were in their early 30s.  I was particularly taken with Moss' "Pursuit" which incorporated strings, percussion, wind instruments in a pleasing and complex aesthetic which also featured a harp solo. Both composers came on stage to talk about their works  Unfortunately, they were not miked and I was not able to decipher what they wanted to share with the audience. Schmitt also included two of his own compositions , "La Kialo de Estero" and Born to be Groovy." "Born to be Groovy" was the final piece played by the wind ensemble. It was a lively piece which had Schmitt aloft rollicking to his own melodies. Conductor and alto saxophonist Vince Trombetta led the jazz ensemble.  Trombetta has toured with Tony winner Ben Vereen and Grammy winners Steve Lawrence and Eddie Gore.  He's also worked on live TV shows; "Dancing with the Stars" and "American Idol."  The jazz program ranged from big band numbers, "Blue Skies by Berlin" and "Minor Swing" to bluesy "Georgia on My Mind" and Sonny Rollins' classic jazz piece, "St. Thomas."  The jazz band brought on stage Cecilia McCormick on piano and guitarists Zachary Gamble and Micah Kim. A special treat were provided by vocalists Cokie Daniel who sang "Blue Skies" in a retro-style to early radio days and Jamison Rosales' interpretation of "Old Devil Moon." So, no need to look over the rainbow or past our own backyards for entertainment and excitement. Come out and enjoy camaraderie right here in Malibu.  Get out and support young talent ed artists studying at Pepperdine University.  This program was free to the public. There's no charge for parking and need to make reservations in advanced for most performances. 

Armenian Sisters Perform Classics and Contemporary Compositions on Cello and Piano

Saturday night, The 222 Art Gallery in Healdsburg transformed into an intimate night club hosting a piano/cello duet of featuring the Aznavoorian Sisters.  The two ladies representing the US and their Armenian heritage have been performing together since their childhood.  They were selected to perform when they were quite young with the Chicago Symphony and have gone on to tour internationally for decades. Pianist Marta Aznavoorian won the Cleveland Int'l Piano Competition and has earned multiple grammy nominations. In addition to her performance career, Marta serves on the faculty of the Music Institute of Chicago.  Cellist Ani Aznavoorian is a top prize winner at the Int'l Paulo Cello Competition and has performed as a soloist with the Chicago Symphony Orchestra, Tokyo Philharmonic and Helsinki Philharmonic. Both sisters have garnered recognition for their virtuosity with classical masterworks and contemporary compositions. The evening's program featured a blend of composition from various nationalities of both classical works; Brahms' Sonata for Cello and Piano in E minor and Debussy's Sonata for Cello and Piano in D minor. Marta noted the different styles between Debussy's composition as being more tonal and moody in comparison with Manuel De Falla 's (b. Spain 1876-1946) Suite Popular Espagnol. The other two more contemporary works were by Komitas Vartabed (b. Turkey 1869-1935) and  Gregor Piatigorsky's (b. Russia 1903 -1976) Variations on a Paganini Theme which was a lively interpretation of a more classical composition. Both sisters played with artistry and great technical skill. The sisterly bond and enjoyment of playing together was apparent and added to the celebratory evening of expansive music.