PRACTICAL MAGIC 2-Pragmatic Source of Sisterly Sorcery

The Sandra Bullock, Nicole Kidman film PRACTICAL MAGIC ("PM") came out in 1998 and was practically panned by critics. Nevertheless, PM has become a cult hit thanks to its bedazzled fan base.  The new PRACTICAL MAGIC 2 ("PM2") has received overwhelmingly underwhelming reviews too.  PM2 is not trying to do too much heavy lifting in the drama department. The heavy lifting comes in the face-lifts of its starlets. Reprising their bewitching roles are Nicole Kidman and Sandra Bullocks, a.k.a. Jillian (Jilli) and Sally Owens, the witch sisters. Jilli has remained happily single, ready to mingle but not fall in love. Sally loves her two now grown daughters. Sally raised her girls to be unaware of their wizardly gifts. Jill was sworn to be complicit in this duplicitous ruse. How Sally's girls were kept in the dark regarding their magical attributes is a mystery. Just go with it! The incoherent plot is marred in nebulous logic. How could it not? The major premise from PM was coping with the curse put on the Owen women by a great-great-yaddah-yaddah ancestor with the misguided reasoning she would be protecting her progeny from future heartbreak by killing and any man whom her future female family-line fell in love with. The same hauntingly beautiful home and homey looking-coastal town are used for PM2, too. Best of all, Stockard Channing and Diane Wiest re-appear as Jilli and Sally's dear, dodering aunts who raised them after they were orphaned. Sally's 2 girls now grown (although if you do the math; they magically shed some years.) But, aging-well is all smoke and mirrors and sutures so stay with me, here. Maisie Williams ("Game of Thrones") plays Antonia, Sally's older daughter and a medical resident. Joey King ("The Kissing Booth") is the younger daughter, Kylie who falls in love with the unlucky bloke who promptly falls into a coma after falling from his bike. To simplify an already simplistic, unrealistic plot, Owen girl gets boy, girl loses boy to curse, girl tires to cure the curse to get boy back to the world of the living. For good measure, mother of said daughter gets her own hunky warlock. There's some macabre transitions in this doe-eyed melodrama. After all the elderly aunts aren't getting younger. It's time to take some perilous leaps to make room for the next generation. It was a crying shame to loose Wiest, the wacky witch early in the film. But, the pairing and caring between sisters and the multi-generational love fest within the female family bloodline was the hokey-hocus focus, magical glue, with lime and coconut in this enchanting concoction that keeps us coming back for more. There's no magic stronger than sisterhood or sisterly love for spiritual support. Of course, margaritas don't hurt, either. 

Play "macbitches" College Thespians Complaining and Bitching

Sophie McIntosh's play "macbitches" is a 90 minute play about 5 actresses sitting around bitching. It was so irritating hearing their continual harping that I cut out at 60 minutes. The play is set in a college student's apartment where 5 aspiring coed actresses gather to imbibe in booze and banter bemoaning their roles as cast members in their school's productions. Here lied an intriguing premise: eavesdrop on female friends and foes getting-to know each other through gossiping. This would've be engaging had the dialogue delivered delectable morsels or moral dilemmas. Perhaps I protest too much, but after an arduous hour of hearing nothing but harping without a conflict to drive a dagger through the plot - there was not a lot to get out from this damn plot. That's not to say there weren't a few interesting topics that were mentioned in passing. One topic briefly touched on male actors known to force themselves on their female co-leads. Too bad the consensus to the new ingenue, Hailey (Sierra Reid) was to NOT do anything about it. "It's not worth it. It only makes things uncomfortable for everyone." Still, my biggest complaint outside of an insight into any conflict was Reid's over-the-top portrayal of an overeager, over zealous freshman who was cast in the lead. Reid was too over eager to please the other 4 upperclass cast-mates.  Something else that was rotten in the coven den of co-eds is the type-casting they brought to the witches, I mean bitches. There's the blonde-sex pot, Lexi (Clarice Perez), the funny but gruff lesbian, Cam (Bernadette Gibson), the sagacious leader of the pack, Rachel (Rebekah Sharp) and the lovable, over-weight peace-keeper, Piper (Shanay Howell). However, Howell was convincing in her role and the best part of the show being the some-what reluctant voice of reason. Still, there were too many missed opportunities to present the turmoil and troubles females experience when comparing themselves to one other or when seeking approval from others. The more grown-up drinking version of "truth or dare" was silly when it could have dealt with the problems of power or rejection.  How did the play "macbitches" finally end? I stood up and said "McBeth" aloud in the theater. 

The Play RED at 222 Doesn't Compare 2 Alfred Molina/Eddie Redmayne's RED on B'wy

John Logan's play is about the painter Mark Rothko. More specifically, it pertains to a specific period in Rothko's life right after Phillip Johnson commissioned him to create 4 mural paintings for the 4 Seasons restaurant in the soon to open Seagram's building in mid-town Manhattan. While it's unfair to compare a local theatrical production to the Broadway show which earned Best Actor Awards for both its stars, Alfred Molina and Eddie Redmayne as well as the Tony for Best Play for Logan (a 3 time Acad. Award wining screenwriter) it behooves me not to point out the 222's too short comings.  RED, a 1 ACT, 2 ACTOR play is thought provoking, arousing with more than a bit of blow-hard bantering on the meaning of art. Having seen Molina and Redmayne on Broadway more than a decade ago I was eager to see another staging at our local theater in Healdsburg, CA. The casting of Robert Parsons as Mark Rothko and Tasi Alabaster as Ken, Rothko's assistant is like pitting David v. Goliath, but it seems its shortcomings resulted from the directorial choices made director Amy Kossow. She presented different dilemmas which painted this production into a corner; lacking poignancy, power and ABSTRACT ideas. Molino's portrayal showed an artist with angst as he battled with the quandary of insuring his legacy as a great artist. The fictitious pairing of characters was fodder for inventing an inner dialogue of Rothko as he excoriates the commercialization of art alongside his own hypocritical fears of being a sell-out. Ken CAN stand for Rothko's inner turmoil and psyche. Molina gave Rothko's persona multiple shades of a grandiose master and intellect alongside Rembrandt and Vasquez to an insufferable, self-loathing seeker of fame and fortune. Redmayne's Ken started out wanting to please Rothko without appearing as an abject, whipping-boy. In addition to getting inside Rothko's mind, Molina and Redmayne performed a skillful top-dog/bottom-dog metamorphisis wherein Ken became more self-assured as Rothko yielded in submission. Furthermore, director Kossow chose to paint Rothko as a flat character being mainly cruel and condescending, rendering him unsympathetic. Kossow's depiction of Ken was painted as a simplistic underling hoping to please and who failed challenge Rothko's laments "to be audacious, alive and in constant flux." RED at the 222 is an entertaining play thanks to Logan's crafty writing but it didn't absorb  the many different layers afforded it to make the play POP as art.  RED lost its vibrancy in this translation.

Past Midnight and Tennis Matches Waged on till Dawn

This year's US Open Tennis Tournament has had some of the best tennis matches, ever. However, no one is up to see them happening. Why? The scheduling has left fans in the dark because the players have been scheduled to play into the early hours of the morning. Alcaraz and Shelton played a 4 1/2 hour quarter-final match that went to a tie breaker in the 5th set and ended at 3:30 AM. In fact, the two top competitors didn't step out onto the court until after 11 PM.  This is not a new issue but it is something that should be addressed anew to making changes to benefit both fans and players. One of the appealing aspects of a tennis match is that it is NOT a timed event. The players must battle through long volleys, long sets and finally to mail-biting tie breakers. There have been concessions to speed play that do work:  serve clock, automated line-calling and in some tournaments like the French Open; scheduling only one night match. (Although the French Open is the last holdout on automated line calling.) Players need recovery time after a long, hard fought match and it seems unfair to pit them in a match the following morning because of the draw. Fans (myself included) lost out on watching the match between two top players, Alcaraz and Shelton which was one well worth watching, live. There have to be reasonable concessions made with  scheduling to ensure more fans can watch their favorite players and players can provide their best game.  There were 6 Americans to reach the 2026 US open quarterfinal since 2002.  Yahoo! And, we have two American women and two American men remaining in the singles competition. Go Jessica Pegual, coco Gauff, Ben Shelton and Frances Tailor. 

Naomi Osaka's Fashion Is it a Love Match Meant for Tennis?

Naomi Osaka, four time Grand Slam Champion in tennis, won her first round match last night at the US Open. She eked out a narrow victory in tie-breakers for both sets (7-6, 7-6). Nevertheless, her grand entrance through the halls onto the court was anything but meek. Head bowed, Osaka walked out under a hooded top with a billowing cascade of white tulle. The look resembled an eerie ensemble befitting an oppressed character from "The Handmaid's Tale." Osaka's court couture was assembled by her favored stylist, Law Roach. Roach is an American fashion stylist/TV personality.  Other celebrity clients of his include Zendaya and Ariana Grande. Yet, the question remains - are tennis tournaments the proper platform for athletes to command like models on fashion runways. I say, yes! Bring it on! This is not the first (nor will it be the last) time Osaka brings a show stopping style to her tennis matches.  Earlier this year Osaka was adorned in a "jelly-fish inspired" outfit at the Australian. At the French Open Osaka dazzled in a black pleated corset and full-length skirt over a glittery gold tennis dress for playing in. There is a showmanship to her stepping out of an outer fashion shroud to her slimmed down playing outfit. I'll reiterate my position, I endorse Osaka's whimsical wardrobe. Why not bring your fashion game along. We see how fashion has become front and center at televised drafts for both men and winner into the pro-leagues. Watching pro-basketball and pro-football players promenade into locker rooms prior to playoffs  has morphed into men's catwalks. Red carpet events have gained popularity more for showing off of fashion than for bestowing awards. Being named best dressed at awards show has become as coveted as receiving a golden statue. Of course, there are those who say tennis tournaments are not meant to be fashion shows. To those I say - so what? And, why not. There remain plenty of critics claiming "Osaka's outfits are obnoxious," "she looks dumb," or "ugly and disrespectful." Opinions are of course just that as is mine. Here's one fan's comment that has some merit. "Oh no. Here we go again. Luckily she will of course be out by the semi-finals." Making it to the semi-finals and finals is the ultimate goal of being there, not to be debonaire.  My final words of wisdom not meant as criticism for Osaka:  "Hey girl, focus more on how to score in your game. Fashion, fame and tennis do make for an enticing love match.  Perhaps, if you were to add to your 4 Grand Slam Titles you'll be entitled to endorse more designers on and off the courts. 

NOVAK DJOKOVIC - Is 39 the End of the Line for Legendary Tennis Stars?

The first round of the 2026 US Open at Arthur Ash became a major defeat for the 39 year old tennis star, Novak Djokovic seeded #4. Last night' Djokovic lost in the first round of the tournament in a 5 set match to his unseeded opponent Mariano Navone. The final set ended in a 6-1 win for 25 year old Argentinian, Navone. Currently, Djokovic ties the record for most major Grand Slam tournament singles along with Margaret Court. Court's held the record since 1973. This record is followed by 23 titles for Serena Williams and 22 for Nadal. Before leaving center court last night, Djokovic blew kisses to the crowd and formed a heart shape with his hands. Could this farewell be his exit from the game which he dominated having been #1 in the world for 428 weeks, more than any other male player in history?  Djokovic's loss in the first round was the first in 20 years at age 18. Tennis legends, Rafael Nadal, Andy Murray and Roger Federer all retired from competition at 39. Still, Djokovic displayed skill, strength and class last night completing the 5 set match that lasted over 4 1/2 hours. Djokovic trudged on despite vomiting twice and looking shaky on his feet. "I didn't enjoy myself," Djokovic told the media afterwards. "I think it was obvious that it was an awful feeling on the court for me." He went on to say "I despised every moment." The drive to capture the sole record of being the all-time winningest tennis player with just one more title holds an allure, I'm sure. Tiger Woods with 15 major championships is 2nd only to Jack Nicklaus' record of 18 which he wanted to break before the game broke his back and he crumpled to his knees.  Maybe now at 39 Djokovic has reached the end of the line for competitive tennis career. Fans love to see top athletes compete.  But, no one wants to see them beat themselves up for glory. I'd be sorry if Djokovic played his last match last night. However there comes a time when the body can no longer sustain physical pain and breakdown.  Djokovic has often said he doesn't play solely for records or achievements. In fact, he's often commented that enjoying the competition and loving the sport are his primary reasons for continuing. It would seem the fun is done. The late, great Laker, Kobe Bryant said, "My heart can take the pounding, my mind can handle the grind, but my body knows it's time to say goodbye."  Perhaps Djokovic's farewell heart sign at Arthur Ash signaled his time has come, too. Adieu!  

Hilary Swank/Helena Bonham Carter in 55 STEPS-Don't Tred in this Dreadful Bio/Legal Drama

The film 55 STEPS (2017) streaming on Netflix is based on the true story of Eleanore Riese, a psychiatric patient whose legal case against hospital administration's right to administer medication or treatments to patients without their knowledge or consent. This "cause celebre'"case was filed in SF in 1985, settled in 1987. It ruled in favor of patients involuntarily detained in mental hospitals in CA to not be administered antipsychotic drugs without the patient's consent unless they've been determined incompetent by a judge  This was never a major news story or issue impacting a broad population. Riese (played erratically by Bonham Carter) was told by her free legal representative, Colette Hughes, that her case spoke for 150,000 other patients in the state. (How did Riese have the wherewithal to call for legal aid while institutionalized, I wondered.) Perhaps, the lackluster legal matter was not a justifiable reason to warrant a major film project. The film was DOA as it proved a financial flop at the box office; grossing virtually nothing. Perhaps, movie executives surmised they'd appeal to the masses with casting. Swank, (Acad. Award winner "Million Dollar Baby") as the empathetic, saintly workaholic paired with Bonham Carter (Acad. Award nom. "King's Speech") to give gravitas, provide pathos and garner audience appeal. The exes threw in  comedic actor Jeffrey Tambor, (Emmy winner "Transparent") for adde appeal as co-counsel for Riese. Alas, the star casting was a waste.  The scenes were awash in a maudlin mess. Tambor was lost in this strait-laced, underdeveloped role.  Swank who played an altruistic attorney seemed too good to be  believed. However, she provided an earnest, likable persona. The major flaw was Bonham Carter's portrayal of Riese. Her character went in and out of seeming "sane" to  being annoyingly ingratiating to a pathetic, lonely woman vying for perpetual attention. Thefriendship which developed between the two offered little payoff. Neither did the legal victory (when it finally came) weigh in with impact. The film was erratic from inception to end. The scenes felt stagey and disjointed. The title 55 STEPS came from the counted steps Riese climbed to reach the courtroom. Counting steps was meant as one of Riese's endearing, eceentric antics as was her penchant for drinking and offering 7Up. (Was there product placement payoff here, I wonder). Still, I'm glad Riese and her admirable attorney prevailed. You'll appreciate my pro bona review as I tell you NOT to start, this well intentioned but out-of order film. It fails to touch the heart. 

Disney+ Series ADULTS-Sophmoric Comedy Sitcom is Stupefyingly Dumb

The incentive to develop another hit series that resonates with viewers as in FRIENDS, WILL and GRACE or TED LASSO's first season has been a catalysis for a flurry of ensemble casts attempting to assemble a group of likable companions who are fun to hang with and will have your back. ADULTS which is airing on Hulu and Disney+, attempts to appropriates FRIENDS' winning formula with a gaggle of recent college grads living together outside NYC unbeknownst to the parents who own the home.  The multi-ethnic, gay/straight mix of 20 somethings all look like "30 SOMETHING" attempt to convince us that they're open-minded, kind hearted and a barrel of laughs. They appear unadulteratedly good-natured, die hard BFFs  to the end. However, I'm not buying their earnest endearment to each other.(Maybe they're in it for the free rent while it lasts.)  This aside, it's a nascent, non-starter series with nothing to write home about. The situational comedy is lacking in laughs or sophisticated scripts. Given the lasting legacy and success of FRIENDS or the well acted, cleverly scripted series SHRINKING that portrays a group of friends and friendly neighbors we wish we were privy to. Trying to replicate a clan of friends one would envy is understandable. But before going forward with a silly, sophomoric sitcom series, writers need to create characters and storylines that viewers would want to get caught up in; hook, line and sinker. ADULTS is an atrocious STINKER!

R Kennedy's Doc.The QUEEN of CHESS-Hungarian Female Knocks OFF Kosparov's King

The 2006 QUEEN of CHESS ("QOC") doc. now screening on Netflix is about the life and career of chess grandmaster Judit Polgar (b. Hungary 1976).  Directed by acad. award nom. documentarian, Rory Kennedy, known for her films' focus on social/political issues. Born posthumously to father, Sen. Robert Kennedy, Rory grew up in the Kennedy-political dynasty. Though not as vested in social issues, QOC did present restrictive limitations imposed under communists regimes and misogynistic attitudes towards women within ever the all men's club fortress of chess. Judi Polgar entered and dismantled barriers becoming the #1 female player at 12 and youngest ever, grandmaster at 15. The movie breaks down into 3 main topics: Polgar's life from childhood to her record breaking rise in chess rankings, her father's "family experiment" for raising geniuses and thirdly, the intense rivalry between Judit and Russia's reigning world champion Gary Kosparov (b. 1963). Making a chess doc. exciting for the masses other than chess enthusiasts has its obstacles.Watching chess matches is not very thrilling. But, following Judit's unorthodox upbringing orchestrated by her dad and the "David v. Goliath" battle to beat her idol Kasparov, at their game was gripping. Kennedy wisely used current interviews with Judit, her dad, sisters, Kasparov and other  grandmaster players. The father committed himself to raising his 3 girls with the intention of developing greatness. What Kennedy needed to make this more enticing, was delve into how Judit and her sisters felt about being homeschooled with a myopic focus on chess. Judit is the featured interviewee narrating events, her feelings and insights. She's very poised, articulate and enlightening without sounding erudite or pompous. Kasparov gave fascinating interviews showing a forecful personality which seemed charismatic and egotistical. The film covers their highly controversial 1997 game in which Kasparov took his hand off a knight and changed his move; breaking a sacrosanct rule in chess and going on to win the game. Both Judit, 17 at the time and Kasparov gave their perspectives. A joint interview would have been more compelling. Both should've been asked the same questions regarding this notorious match and Kasparov pressed about "not remembering."  I wanted these two elite competitors to be asked to describe how they saw their relationship evolve and what it's like at present.  Overall, I found this to be an absorbing doc.film about a very appealing chess player who achieved an extremely high echelon of skill in a game of strategy described as a blend of war, art, science and inner strength. But, the missed moves and opportunities resulted in a draw. And, maybe Queen in the title retains a subservient connotation.

Judd Apatow's Series LOVE Lukewarm Lunacy Better Left aLOne

LOVE, an original Netflix series (2016-18) co-created by the likable and bankable Judd Appatow, tanks with this annoying romantic comedy about awkward 40 something adults who are self-destructing and self-absorbed. Why would this appeal to anyone? It would if the show could make you laugh, relate or even form a love/hate relationship with the main characters. However, the two leads, Gus (Paul Rusk, "Super Fun Night" series) and Micky (Gillian Jacobs, "Community" series) are either overly abject or altogether objectionable. They are portrayed as malleable losers who lose their shit from time to time in an off-putting manner that is puerile and cringeworthy. The mismatched pair, Gus (s super-geek) and Micky (a sexy single) are both screw-ups whom one ultimately expects to see screw one another. The sex scenes seen are all eww. Still, we're supposed to be rooting for these two knuckleheads to get together in bed. I dread the audience that this would draw appeal. Perhaps, its holds allure for those dealing with their own demons, addictions and self-doubting convictions. I wouldn't know and the show doesn't know which way to go about making the situations laughable or credible. The strength of the show (which is limited) comes from some of the supporting cast who are more diverting and deserving of more to do. This includes the jaded, child actress Gus attempts to tutor on set played by Apatow's real life daughter, Iris Apatow and Micky's kooky boss played by Brett Gelman ("Fleabag" series). The side characters aside, there's little else to like unless you like to endure dimwits their utmost to make a mess out of their lives, loves and little else. I would love to see Judd Apatow create another comic show like his brilliant, early success with FREAKS and GEEKS that deserved more time on air. Apatow's recent series LOVE is lunacy that best left alone but for the forlorn. 

Ralph Fiennes in The CHORAL WWI England Finding Solace in Singing

The CHORAL, the 2025 arthouse movie now streaming on Netflix stars Ralph Fiennes. This is a well-intentioned, beautifully shot film about a motley group not engaged in the fighting. Set in Yorkshire, 1916, at a time where innocence still prevailed in bucolic scenes with young men biking and swimming nude in local waterholes. Their innocence abuts impending war which will leave countless countrymen dead or wounded. This is not your American version of Rooney/Garland's "let's put on a show." Still, it begs to be compared while the ravages of war are waging the locals have dedicated themselves to creating a performance of Edward Elgars' "The Dream of Gerontius" for the community. My favorite scene shows the pompous Elgar stopping by to see a rehearsal. Elgar is insulting and dismissive of the shabby production but for one singer. Fiennes is pitch perfect as the talented, combative choral master, Dr Guthrie who scraped together local holdovers who've yet to be called-up, those released from service and even a local prostitute. There's a bunch of old crones whose sniggering expressed their prejudices and those held by many others. Dr Guthrie response to resentments was, "A choral society shouldn't mirror the social order. It should transcend it." There's strong objections to performing music by German composers. Separating the art from the artist becomes extremely contentious and complicated. Guthrie only recently returned from Germany after working there for several years as he confirmed, "Among civilized people who value music and arts above all else." Guthrie's recent time in Germans and alliance with their music causes a lot of dissension. There's even rejection of British composer Elgar's music because he's Catholic. The themes of bigotry resonate fortissmo but seemed somewhat disingenuous regarding color blindness bestowed the female, black soloist. Racial prejudice was prevalent during this era. This aside, the vocalist Mary (Amara Okereke) did "sing like an angel" The cast also included other "British acting royalty": Mark Addy, Roger Allam and Robert Emms. The rehearsing and bonding among the choral was inspiring. The staging of "Gerontius" depictiing war's casualties set against heavenly music was poignant. Dr Guthrie told his peers when confronted about his myopic focus on music at a time of war, "A man should hear a little music, read a little poetry, and see a fine picture every day of his life, in order that worldly cares may not obliterate the sense of the beautiful that God has implanted in the human soul". When asked who said it? Dr Guthrie repliesd, "Von Goethe." "For god's sake, man lower your voice!" he was admonished as Von Goethe was German. I also drew a comparison between The CHORAL and GOOD MORNING VIET NAM. Both have heart wrenching scenes of young men smiling and waving going off to battle; perhaps to their deaths. The CHORAL is a charming, thought provoking film which presents mankind's major conundrum - how can man be so barbaric and still able to create and appreciate divine music.

Jodie Foster in French Cinema A PRIVATE LIFE as a Shrink Who Shirks Her Sessions with Patients

The French-language film A PRIVATE LIFE which stars Jodie Foster as psychiatrist Lillian Steiner of Jewish heritage. It's intended as chic, cinematic character study in an artsy, psychological thriller. The movie requires a patient audience and a good analysis for a cogent understanding of its convoluted and dreamscape plot. The native French language and stylish urban setting lend the film a suave air for this muddled and mysterious storyline. Many of the scenes are shot with glorious fall colors, fashionable clothes and cozy cafes where cigarettes and carafes of cabernet abound. There's also a gratuitous sex scenes and confounding dream sequences. There's a lush atmosphere that creates an enticing flavor. Perhaps, this is to make the viewer less aware of a story going nowhere. What I'm inferring from the nebulous clues I observed is Steiner trying to understand what she missed in her sessions her female patient that blindsided her when she committed suicide. Steiner uses obsolete recording tapes to record her patients with the intent to review. Or at least this was what she meant to do. When Steiner goes to the apartment of her deceased patient to pay her respects, the widower lambasts her and she leaves disgraced but not before she may have released a dybbuk (evil spirit). The following day, the daughter of the deceased visits Steiner to try to understand why her mother killed herself. Unable to provide patient/confidential information, the daughter leaves in frustration. The hostilities of her patient's family led Steiner to surmise they're responsible for the break-in and vandalism to her place.  She involves the police and her ex to solve the case. There's a myriad of subplots that include Steiner's disgruntled patient, her estranged son, her ex with whom she has sex and a hypnotist with tricks up her wrist. For Francophiles, and movie goers with self-described discerning palettes, this mirepoix of surreal, enigmatic,  and cinematic treats, you may wish to partake; a bon appetite. Other's will see NOTHING aside wine, smoke and mirrors which is how Steiner's ex describes the psychiatric profession. "Knowing people's lives, secrets, without being able to act. Not being able to do anything. NOTHING AT ALL." 

Bob Oldenkirk in NORMAL an Unusually Awful Film

The bankable actor Bob Oldenkirk whose career went into high gear as the cunning attorney on BREAKING BAD leading to his starring vehicle in BETTER CALL SAUL has gone onto starring in action movies that have been more or less diverting. However, his film NORMAL (2025) now airing on Netflix is an abysmal flop. Oldenkirk stars as Ulysses, a temporary top cop in the small midwestern town, Normal, MN. Described as a crime/thriller/drama/comedy, it's a tragedy this vehicle crashes and burns in all these genres. Unlike Oldenkirk's previous films "Nobody", "Nobody 2" and the terrific drama "Nebraska" there is Nothing redeeming in this over-the-top violent film that relies on Oldenkirk to make  it work. Even Oldenkirk can't carry the burden of such a ridiculously construed crime plot with the motley lot of quirky, local yokels who turn on Ulysses when he inadvertently stumbles on the town's clandestine, criminal conspiracy with the Yakuza (Japanese crime syndication). The Yakuza intended to blend in with this unassuming town to stow and launder their gold bars and ill begotten money in its lonely bank. A couple of fumbling (but good hearted) bank-robbers attempted to rob the bank but are dismayed by the measly haul of cash. "Hardly anybody deals in cash anymore," the bank teller tells the woe begotten pair.  Ulysses gets the distress single on the obsolete station alarm and heads to the bank with his deputies. "I'm going in. Hold your fire." Ulysses tells his crew. This they don't do. As he's about to go in he gets shot at from behind by his backup. The police force and townies intend to kill Ulysses to keep the town's consensual cover-up, secret. They're all expecting a big pay day from the Yakuza. The only one's not firing at Ulysses are the two bumbling bank robbers. They were busy trying to be good samaritans to a bank hostage who was suffering a heart attack. Ulysses tells the two that now the three of them are a team against the townspeople. The three form a formidable, likable trio who prove heroic fighting off the duplicitous throng. Blood bath, mayhem and everything else goes wrong. Even Oldenkirk, who also wrote and produced, can't make this movie worth watching. NORMAL is so abnormally horrible, should you start watching you won't be able to look away from this unbelievable train wreck. My sane advice is to think twice before starting NORMAL and avoid this stinker at all costs.     

OFFICIAL SECRETS Keira Knightly as Whistle-Blower of Info to Halt 2003 Iraqi War

OFFICIAL SECRETS I(2019) now screening on Netflix, is a biographical drama based on the true story of Katherine Gun, a British intelligence specialist who leaked a top-secret memo in 2003 exposing corruption intended to justify the US and Britain. The memo identified coercion to obtain concessions from various countries as required to initiate the invasion into the Iraq War. Ironically, it seems trifling in comparison to Trump's illegal, self-declared war in Iran that has now lasted six months. Still, it's illuminating to see how many undercover organizations are routinely spying on one other's top-secret communications. Keira Knightly (PIRATES) as Gun, the seemingly altruistic whistle-blower is motivated by her goal of "stopping an illegal war that leads to countless casualties and injuries." Knightly is affecting as the heroine willing to risk prison time. Though, little thought is given to cynicism towards Gun's courageous and selfless actions which is fair game to question this claim to fame and notoriety. Her legal counselor played by the indomitable Ralph Fiennes (quickly dismisses the idea that her motives are not as she claims. Fiennes brings legal and moral finesse to this film that otherwise gets dragged down in its mundane handling of Gun's gathering and dispensing classified information and the cliched, behind the scenes news reporting story. However, adding their acting talents as journalists, thus providing some intrigue and gravitas to journalistic integrity when verifying leads and facts are Matthew Good (The CROWN) and Matt Smith (also of The CROWN). Perhaps, looking back at the clandestine and covert  events of Pres. George W. Bush and Sec. Powell and viewing Bush's personal vendetta for getting back "...at the the guy who tried to kill his dad" and his aim to demonstrate  "his decisive leadership" makes this historic event seem tame and dated. Not withstanding the predictable plot, there's credible acting by its excellent cast.  Moreover, it serves as a significant reminder of the times and events that get repeated with future leaders and politicians that are thoroughly corrupt, self-serving and dangerous. Not only are whistle-blowers essential to a free society, so too are untampered court systems, free speech and the dismantling of apathy. Should these not be safe guarded, there would be plenty to fear at what would be lost.   

POWER BALLAD with Paul Rudd/Nick Jonas Is a One Note Drama

THE POWER BALLAD now screening on Fandango stars Paul Rudd as Rick, a wedding singer in a middle-aged Irish rock band. Nick Jonas plays Danny, a convincing former boy band wonder searching for his next big break on his own. Rick and Danny cross paths while Rick's band is performing at a wedding for the newly weds who are friends with Danny. The couple ask that Danny join the band for a number. Rick and Danny hit it off singing in harmony. After the wedding, Danny invites Rick up to his palatial suite. Over beer and booze, they play each other some of what they've been working on. Danny likes what Rick was tinkering with on the piano. Rick returns to his wife and daughter in Dublin. Meanwhile, Danny goes back to LA where he plays a little of Rick's song to his girlfriend who encouragers him to record it. The song ironically named "How to Write a Song (Without You) becomes a major hit and puts Danny back in the superstar stratosphere. When Rick hears his song played on the air (and everywhere) he tells his wife/daughter and band mates he wrote the song and Danny stole it. No one seems to believe him except his best friend who would say or do anything for him. Getting legal representation didn't help as Rick had nothing recorded (so he thinks) to prove his claim. The themes for the film of plagiarism, ethics of creative ownership and justification and cost of achieving one's ambitions are enticing. Nick Jonas' performance is both ingratiating and sinister giving the film its affecting tone. Jonas as Danny gave a potent portrayal of an artist whose life centers on success/fame with no room for meaningful, personal relationships. Rudd as Rick, a past his prime, small time singer is likable at first until he becomes distressed and obsessed with getting through to Danny to get credit and his share of the earnings. Rick starts out as fun and lighthearted but becomes more of a droning Greek chorus of woe, poor me. The numerous wedding scenes with Rick's band playing wore out their welcome and struck a morose, refrain. In desperation, Rick convinces his best friend to come with him to LA to confront Rick since he's blocked and threatened by Danny's management. The movie picks up with their enterprising scheme to make direct contact with Rick. The confrontation in the hot tub between Rick and Danny does provide a heated, climatic scene (played especially cunningly by Jonas). However, the final payoff doesn't provide a satisfying crescendo to its prelude. POWER BALLAD is mildly entertaining with a strong performance by Jonas. But, the monotonous playing of the pop song lyrics becomes grating and the discordant whining by Rudd wear out its celebration of its good times. 

Doc THE QUEEN and the COWBOY Communicating with Compassion with Horses

As a horse lover, along with Queen Elizabeth and "horse whisperer" Monty Roberts, I was excited to watch the documentary featuring Roberts. But, I was very distraught by coverage depicting the extreme cruelty and disregard meted on horses. For sensitive viewers, be warned, there are parts of this enlightening and uplifting film that may be too distressing. However, the evolution of caring and training horses from barbaric methods of "stringing" or "breaking in" to a non-violent methodology is central to this film. Monty Roberts' created a methodology he named "Join-UP" where in the trainer communicates through body language to the horse and no forms of physical force are used. Born in 1939 on a horse ranch in Salinas, CA, Roberts passed away this August at age 91on a horse ranch. Horses were his first and life-long passion. Roberts narrates this film which depicts him at age 3 winning national rodeo championships. Roberts tells us about his father whose methods for taming horses were the cruel, common practices of the times. He also shares the abuse his father bestowed on him. "Breaking in" means beating a horse until it surrendered itself without resistance. "Stringing" involves roping a horse's legs to prevent him from running free. These methods shown in the doc. often result in injury or death to the horse. It renders a spirited horse into a servile creature. Roberts shows us the physical signs horses use (postures/body language) that people can imitate to communicate with horses. He explains how he discovered this language while watching wild horses interact with each other. It's fascinating to observe him demonstrating his techniques. Queen Elizabeth contacted Roberts after she read about him, asking that he come to England to show her and the elite Equis society how he works. Queen Elizabeth lifestyle is the antithesis of urban cowboy Roberts but their mutual love for horses bonded them in a friendship. Roberts credits her having saved his livelihood after he was publicly declared a charlatan in the states. I felt the doc. was most rewarding with Roberts tending to horses. The relationship of the Queen to her stable of thoroughbreds felt off-putting; equating horse riding with a snobbish, elite society. Should you put aside the heinous treatment of horses in the doc. (I will never again watch old westerns) and the frippery of Royalty (which Brits adore) and I abhor, you will be rewarded with a fascinating film with substantial, core concepts. Roberts proved forming trust and communication between animals and humans can and should only come through kindness, positive re-enforcement and open mindedness. 

Film THAT'S WHAT I AM-Ed Harris is Wonderful in a WONDER YEARS Similar Script

The 2011 coming-of-age movie set in 1965, THAT'S WHAT I AM is culled from the childhood of its  writer/director/producer Michael Pavone's childhood. It's also a facsimile of the highly successful TV series THE WONDER YEARS which follows a 13 year old boy navigate his high school years during the turbulent 1960s and early '70s. This show began in 1988 and ran for 7 years. The film "THAT'S WHAT..." focuses on male high school senior, Andy (TV sitcom/movie veteran, Chase Ellison). Both are set in white/middle class suburbia). Andy like his doppelgänger, Kevin is neither part of the coveted cool crowd or the ostracized "cootie" i.e. geek group. The Viet Nam War is background fodder, the fashions of the era are spot on and both make use of an ongoing narration by the protagonist looking back at events. Greg Kinnear does an excellent voice over job much like Daniel Stern did in THE WONDER YEARS.  We watch Andy and Kevin experience their first, serious kiss.  But, I would be remiss to limit the scope of the show of film to only this. The prominent, shared motifs deal not only with burgeoning hormones but dawning self-awareness, empathy and inner-strength. Ed Harris plays Andy's beloved English teacher Mr. Simon.  It's Mr. Simon who first sees something special in Andy. The student's final paper is a team project and Mr. Simon assigned partners. Andy's partner is Stanley, a.k.a. "Big G" for his ginger hair, gargantuan statue and oversized ears. "Big G" is a bona fide member of the geek squad. Associating with him equates to social suicide. The well intentioned plot is predictable.  It's predicated upon Andy learning to stand up for the "Stanleys" who are bullied or overlooked as well as for himself. Andy's pushing back on his overly,  domineering father is no wonder at the end. Still, this gentle movie dealing with themes of tolerance and prejudice is not without its splendors. Harris' performance as an exceptional teacher who instills dignity in his students raises the grade of this simplistic and unoriginal C+ script to a B. There's a rampant rumor that Mr. Simon is a homo. This causes an uproar with some of the parents who demand the school's principal (played fervently by Amy Madigan) fire him or extract a denial from Mr. Simon. This storyline and how it's handled earns an A+.  Other highlights included the high school's talent show, Andy's infatuation (much like Kevin's Winnie) was winning.  She knew a thing or two about getting to first base. Kinnear delivers a grand slam joke when Andy traded his Mickey Mantle baseball cards for an ID bracelet for his heartthrob. The epilogue of where the players are today was amusing. You don't need to seek out THAT'S WHAT I AM but should you tune in, you'll likely to be entertained and will probably wonder where is the cast of THE WONDER YEARS today.  

Movie DON'T SAY GOOD LUCK-Adam Sandler's Daughter Shows Promise in a Sappy Movie

A repo baby is a person who gets success or high-status jobs through family connections. The film "Don't Say Good Luck" is a film produced by Adam Sandler which happens to star his daughter, Sunny Sadler. It just so happens that Sunny has some acting and singing chops to maybe whittle away some of the cynicism of nepotism having gotten her the lead in this teen high school coming-of-age drama which centers around Sophie (Sunny Sadler). Good news - Sophie gets casts as the lead in her school's musical "Waitress".  Bad news - her mom's cancer has returned and she won't be around to she her daughter on stage. The other bad news is the shamelessly melodramatic script. Mom doesn't want to tell her daughter she's dying which isn't lying just denying what's obvious so that her daughter can enjoy herself preparing for her starring role in the school's annual musical. Sophie is surrounded by her loving parents and younger twin brothers. She's a got a lesbian bestie which is cool a long as the two still have each other's backs. Dad runs a deli which allows for a side of levity coming from John Lovitz (SNL) as one of his staff. Dad is played by Max Greenfield ("New Girl") and mom Melanie Lunskey ("Yellowjackets").  Playing Sophie's grandparents are Bebe Neuwirth ("Cheers") and Steve Buscemi ("Sopranos'). The drama coach for the school is Stephanie Beatriz ("Brooklyn-NineNine"). It would seem Adam Sandler was able to round up some of these talented actors. This helps make the more watchable than its soapy script warrants. Still, it's a watchable and diverting film. Credit Sunny with holding her own as the convincing high school drama geek she portrays. Her co-star on stage is Jack (Jack Champion)  ("Avatar") with whom she locks lips. Some of the more delightful scenes involve Sophie and Jack rehearsing their kissing scenes on and off stage. Credit the casting of high school students who can actually pass as teens. The emotional climax comes just prior to Sophie taking the stage and rushing home to confront her mom for not having been honest with her about how gravely ill she is. Of course, Sophie makes it back just in the nick of time to take center stage as the show must go on. Don't say I didn't warn you how sappy this film is. Still, it's not the type of film you want to kick when it's being maudlin. It's not without its charm and well intentioned appeal. Even if this isn't the vehicle to make Sunny Sadler a star, it does give credence to the adage - sometimes the apple doesn't fall too far from the tree. 

Besotted by BEAUTY & the BEAST at Pantages

I was besotted by Disney's "Beauty and the Beast" at the Pantages Theater.  Having seen the original Broadway cast I was ready to forgive any truncated staging or substellar cast. However, I was deceived by my lower expectations. It was SUPERB! The script was smarter and succinct with its few cuts. Several delightful new numbers were a welcomed addition. The cast was pitch perfect; on par with the best of Broadway's talented elite. "Beauty and the Beast" was Disney's first animated feature nominated for Best Picture. The story brought the Disney oeuvre out of the dated"One day my prince will come" motif. Belle fell for the Beast for the person he was hidden by his hideous facade. "Beauty is found within" is the valuable messaging sent. This production did away with the 3 insipid village girls who swoon at the sight of Gaston. Belle, already a strong, independent character appeared smarter and more compassionate than previous incarnations. The spectacles she donned were a prop to make her appear serious minded. Never mind the reading glasses, Belle was not only fierce but kind and considerate. She didn't want to make the Beast feel belittled by his being illiterate. Two new songs, though not intended to be show stoppers helped moved the storyline along. The memorable big numbers, "Be Out Guest" and "Something There" were especially entertaining! The ballroom scene was magical. More time was given to Belle and the Beast having a heart to heart talk under a starry sky rather than just merely gazing into one each other's eyes.  The pathos felt by both the Beast and Belle when parting was deeply moving. The costuming was dazzling. The choreography was first rate. The use of video to change scenes quickly was clever. Videos of the wolves in the forest mitigated their scariness. Disney used tricks for added sparkle. The cart Chip was situated may have been lost on the younger audience but delighted adults. There was a small but live orchestra that provided first-class quality. Last, but not least, the three leads, Belle (Kyra Johnson), Beast (Fergie Philippe) and Gaston (Stephen Lukas) were all stellar. Don't believe me? Ask the audience, especially the beautiful Belles and dashing Gastons in costumes. (One, Belle came in her blue/white provincial dress which was the best!) The entire packed house was completely enchanted by this great adventure, more than I can tell; from the opening notes with Angela Lansbury's prologue through the entire, spellbinding staging. All eyes were captivated with what was happening on stage. It was so quiet you could hear a petal drop. 

TEO LASSO is Back with a Lackluster Start

Perhaps, one of the most likable things to come out of COVID was the surprise hit "Ted Lasso," starring  Jason Zedekis as the irrepressible optimist whose effervescence rubbed off on everyone.  Lasso, his team and cohorts formed a winning friendship that was enviable. However, the golden luster faded after season 1 despite maintaining its cast of charming characters.  Episode 1 of season 4 of "Ted Lasso" just aired. Sadly, there was little there there which took place in Kansas City; Ted's hometown. At the end of season 3 Ted returned home to reunite with his wife and teenage son after a job well done coaching his team and getting everyone to coalesce.  We first see Ted scanning groceries as a clerk/asst. manager looking forlorn.  Surely, there should be better opportunities for someone with Ted's talents and people skills. Surprising Ted at his house are three of his best buddies from Richmond; Rebecca (Hannah Waddington) Keeley (Juno Temple) and Leslie (Jeremy Swift). Ted is delighted to see them and takes them to Kansas' finest BBQ which they all enjoy despite an ongoing joke of Rebecca glopping sauce on all her tops. The real reason for the surprise visit is revealed over ribs. Rebecca wants to hire him as head coach for a new women's team and they're all hoping he'll take the job. "I hired you for the wrong reasons the first time. Now, I want to hire you for the right reason. You're the best person for this job," Rebecca tells him as Keeley and Leslie nod their hods with encouraging huge grins on their faces. Ted politely declines even though this would seem his dream job and the chance to get out of Kansas. This show was a slog. There's his mother's garage sale where she adds luster to her cluster of junk. Leslie hoping for a tour of the American Jazz Museum gets a detour through the Black Baseball History Hall of Fame. Keeley and Rebecca go on a shopping spree. And, Ted has to bite his tongue from haranguing his son's soccer coach for not playing him. As Ted glances at his Bingham photos and paraphernalia in his office, his longing to go return is palpable. With his wife and son's blessing and willingness to go with him, Ted calls Rebecca and accepts the job. NO SURPRISE there just puzzlement as to why the dull, drawn out episode to get to the foregone conclusion Ted will head back. I got a kick out of hearing the theme song from the "Welcome Back Kotter" show from the 70s. I'm hoping the stellar cast whom I've grown fond of will continue to please and the the dynamics of a women's team will add some clever conflicts and intriguing players. But, we'll see if "Ted Lasso" can go home again as it attempts to win fans this season. 

Melinda's Top Ten Picks of the Year so Far

 Here are my top 10 picks in alphabetical order for the first half of 2026:

1.  Alvin Ailey American Dance at LA Music Center-Inspiring and amazing as always

2.   Doc. Film-"Chris & Martina"-Female tennis foes find victorious friendship

3.   Broadway Play GIANT-John Lithgow won a Tony for his portrayal of an antisemitic Roald Dahl

4.   Film: THE INVITE-sexy swingers starring Olivia Wilde, Ed North, Penelope Cruise and Seth Rogen

5.   SF Ballet "BrokenWings"-Frida Kahlo's colorful life in a hypnotic ballet

6.   Series/Apple "Margo's Got Money Troubles" Elle Fanning and Nick Offerman in a quirky drama 

7.   NYC Ballet Returned to LA-Please never go away again

8.   Film: OBESSION-Horror flick; careful what you wish for

9.   Series/Peacock-PONIES-American wives become CIA spies in 1970s 

10. Netflix "Take a Banana for the Road" Taping of Jeff Ross' one man bio on Broadway

Bonus Pick 

11. Series/Apple WIDOW'S BAY-Comedy/horror with Matthew Rhys (can't wait for next season)

THE INVITE-Seth Rogen Should've Been Uninvited to Make this Right

Olivia Wilde directs in stars in THE INVITE which also stars, Ed Norton, Penelope Cruise and the simpering Seth Rogen.  This cleverly written film by Rashida Jones and Will McCormack give a modern riff  to Edward Albee's classic play "Whose Afraid of Virginia Wolfe?".  This 4 character film pairs Rogen and Wilde as married couple; Joe and Angela. They live in apartment building below a sexy, cool couple Hawk and Pina played by Ed Norton and Penelope Cruise. Hawk and Pina's noisy, sexual escapades have been disturbing their neighbors' slumber.  In "Whose Afraid..." the elder couple air their dirty laundry in front of a younger couple creating a tense, uncomfortable get together. In THE INVITE, the couples are the same age except the dirty laundry revealed is from Hawk and Pina. Pina apologizes for the recent late rumblings are attributed to group sex. Joe and Angela are stunned. Angela wants details. Joe for the first time is speechless.  Unfortunately, Joe isn't quiet for long and his whiny, sophomoric shtick he is known for grows old and detracts from the adult discussion of swinging. Wilde as director made smart choices with a stylish filming of a biting, sophisticated sex farce. But, Wilde made a serious error having Rogen as her errant spouse. Otherwise, Cruise as sex therapist Pina, is a sultry swinger who gives the film its vibrant sensuality. Norton as Hawk, Pina's partner in an open relationship is pitch perfect as the cool, confident lothario who charms Angela while trying to placate Joe's mounting antagonism. Pina and Hawk admit they accepted Angela's invite to come by because they intended to invite Angela and Joe to join them for group sex. Now, however, Pina feels they're not ready and finds Joe's anger toxic. Being put off ignites Angela and Joe to want to give it a go. They earnestly plead their case that they're ready to swing the night away. Hawk and Angela retreat to the kitchen for foreplay. Joe and Pina head into Joe's office. Pina's shirtless dancing sends Joe reeling right into the bookcase which comes crashing down sending his back into painful spasms which interrupts Angela's highly coveted orgasm with Hawk.  All these consensual pairings would've been credible and titillating if not for Rogen off-setting the sophisticated, sexual scenarios with his puerile antics that work for his stupid stoner "Pineapple Express" persona. Cruise deserves an Oscar nomination for her role. Norton and Wilde are both superb as well.  And, while Wilde might have earned herself an Oscar nomination for directing, she blew it with her major blunder using Rogen as her bumbling husband. Still, with a 75% impeccable cast and sharp script, it makes this a movie to become entangled in its tense, erotic quadrangle. 

RIDE or DIE Give it a Try with Octavia Spencer/Hannah Waddingtham/Bill Nighy

The buddy/assassin thriller series on Netflix stars two dynamic dames, Octavia Spencer (Acad. Award "The Help) as Debbie and Hannah Waddingham (Emmy winner for "Ted Lasso") as Judith. The two are the latest in a growing genre of gal pals whose pairing combines and catapults their talents making them omnipotent and hilarious in the process. While the idea of female friendship is not new to the screen, the chemistry between Waddingham and Octavia and their prowess as actors gives RIDE of DIE its drive and keeps the interest alive.  The series uses a lot of flashbacks in its story telling. Judith and Debbie met in their early 20s and became fast and furious riends. Now, both broaching 50, they still love and enjoy being together.  Both are about to hit major stumbling blocks in their lives. Debbie's husband stuns her by asking for a divorce. Judith is on the verge of being unceremoniously retired from her profession which she loves.  Judith has always maintained her occupation as occupation as a forensic accountant. For this femme fatale, her cover is about to be blown. The ladies are both attending a swanky political gala; Debbie accompanying her estranged husband, Judith on a mission to kill. The hit job goes awry and Debbie becomes abducted by Judith who is fleeing from her missed mark who now has a target on her back. Waddingham makes a convincing action hero with her seductive and lethal skill sets. Debbie is horrified by both the facts that Judith kills people and that she never shared this with her. Debbie asks Judith, "You kill people for money?" To which Judith quips, "Yes, otherwise I'd be a serial killer." The mix of comedy and mayhem is marvelous. It seems Debbie is more put off by her friend's deceit than her deadly vocation. The two have a heart to heart about  their kinship and what Judith does professionally proves not a deal breaker in their relationship. Furthermore, Debbie is extremely cunning and resourceful and proves she has what it would take to outsmart the devious villains trying to get back the millions her husband stole. The first rate action scenes and car chases take a back seat to the comedy and camaraderie between Debbie and Judith. Their symbiotic, albeit unlikely relationship is pitch perfect making up for the chaotic flaws in the espionage/crime caper.  Bill Nighy adds his indomitable charisma to his role as Judith's mentor and top director who now wants to force Judith into permanent retirement. RIDE or DIE is a delightful joyride where bad people get killed and female friendship is formidable, surviving all else. 

The series up as decades old best friends in a comic espionage thriller. These two have shared everything except for one tiny detail up until now. Judith has kept her under cover, covert occupation as a hit woman for hire hidden from Debbie. Debbie who has been in a 25 year marriage to a British politician whom she's helped rise in the ranks thanks to her, intelligence and resourcefulness. The night Judith is outed as an assassin to Debbie comes on the night of a swanky, political dinner party in which both women are in attendance. Debbie was attending with her husband who stuns her by asking her for a divorce. Judith is at the gala on assignment to take out a mark. Debbie is devastated by her husband and she's about to get another shocker. While following her target Judith discovers Debbie's husband among several dead bodies in a hotel room. Judith and Debbie cross paths at the gala and leave together. Not only does Judith let Debbie know her husband is dead the two become caught up in a shooting car chase with Debbie at the wheel while Judith returns fire. After eluding their pursuers, Judith explains about her true profession. Debbie is far more upset that Judith kept this not so tiny secret from her all these years and feels their close relationship must be a sham. "You kill for money?" Debbie asks. "Of course. Otherwise, I'd be a serial killer" Judith retorts. Judith makes a sexy and convincing killer, martial arts expert. Her sleuth and fighting skills would give Bond a run his money. Debbie's  

PONIES "Persons of No Interest" Interesting Series-Amateur Amer Women Spies in 70's USSR

The Cold War spy caper series soars on the chemistry between two fish out of water women who are thrust together when their lives overlap in Russia in the 1970s. Emilia Clarke ("Game of Thrones") as Abigail "Bea" and Haley Lu Richardson ("White Lotus") as Twila. Both are wives who've tagged along with their spouses to Moscow while their husbands work for the (shh, don't say it aloud) CIA.  Bea is happily married, highly educated, fluent in Russian and game to support her husband doing secretarial work at the US Embassy while he pursues his espionage career. Twila is a brassy broad raised in a blue color, trailer park. She's lots of street smarts and in a contentious relationship with her husband. On Xmas Eve, the women are escorted from the Embassy's holiday party and told their husbands died in a plane crash. So begins the auspicious pairing of these two disparate dames who sense their being lied to and become  determined to find out the truth. From here suspend handling the truth and go with this skeptical scenario and you'll be in for a scintillating spy escapade with two ingenues new to the sinister, underworld in Russia.  They both decide to remain in USSR and somehow convince their husbands' beleaguered boss, Dane, they could be vital by going undercover to uncover KGB secrets. No one would ever suspect them as agents; they're persons of no interest. Given dangerous assignments they prove more resourceful as undercover agents as their natural talents and proclivities for problem solving take hold. As the stakes get higher, the women become more cunning and find they have each other's back. Back, at CIA headquarters, Dane discovers these two vixens have mettle while meddling into shady, covert operations. Good support comes from CIA agent Ray (Nicholas Podany) whose American wife Cheryl also works as a secretary. Cheryl and Twila have a very funny antagonistic work relationship. Manya, a Russian hawker, provides helpful information to Twila and wry humor.  Andrei is the sexy, ruthless KBG agent out to seduce Bea . Bea is putting herself in danger leading him on to lure information. The look of the series is often dark and moody. It captures the 70s in dress, tone and music. It is the dubious and dynamic pairing of Bea and Twila that brings wit, charisma and caring to a dark thriller that is surprising, chilling and endearing. This clever Peacock series is convincing that together, these women are more than either the CIA or the KGB bargained for. PONIES is an exciting and entertaining series. Don't miss it!

OBSESSION-A Horror Film Where the Guy Gets the Girl and all Hell Breaks Loose

OBSESSION starts out with our protagonist practicing his pitch for the girl of his dreams to go out with him. Bear (Michael Johnson) is a shy, likable guy that wants girl Nikki (Inde Navarrette). Taking a wink from "Big" Bear goes into a New Age store to buy Niki a gift but comes away with a prize for himself. A make a wish stick. The shtick is the wish stick works - too well. When Bear wishes Nikki "would love me more than anyone else in the world," Nikki finds herself drawn to Bear. A 180 turn around does seem odd but not so much that Bear would look a gift horse in the mouth and the two move in together for a limited time of bliss. Soon things go amiss. Friends Ian (Cooper Tomlinson) and Sarah (Megan Lawless) start noticing Nikki acting bizarre. Bear knows things are even worse than they seem. The relatable premise turns dark and eerie once Bear gets his heart desire and if he only knew how dim the fire and passion that have turned obsessively deranged and destructive. Bear calls a number on the wish stick box with his questions which doesn't give him what he was hoping. It's one of the funniest scenes in the film. Inde Navarrette's tour-de-force performance is electrifying. Nikki's behavior is terrifying, haunting, revolting, sad and hilarious. The pacing, look and mood of the film have a mystique and naturalness that give way to shocking scenes that jump out at you. Director/writer Curry Baker has made a horror film that is creepy, credible and engrossing (and gross at times). Baker also makes a few nods to "Exorcist" and "Fatal Attraction." However, Baker has created something quite original that explores the horrors of getting what you wish for. 

Crime Thriller/Romance TUNER-Turns Flat After a Bit-But Worth Tuning into

TUNER is an entertaining crime thriller driven whose premise and prelude are appealing. A promising piano prodigy turned piano tuner's precision ear proves advantageous to cracking into combination safes. Leo Woodall ("White Lotus") plays Niki, the sultry and skillful young piano tuner who partners with Harry, played by the legendary Dustin Hoffman.  Harry and his wife Maria (a terrific Tovah Feldshuh) are the bickering, bantering couple who love each other and Niki whom they regard as their son. The hilarious overture to the film begins with a montage of piano tuning jobs where Harry and Niki have to deal with obnoxious clients. The two are called to repair a piano for an elite musical university where Ruthie (an alluring Havana Rose) is now practicing.  Ruthie, an inspiring composer/pianist is put out by the interruption but there's an undercurrent of attraction between the two. When Ruthie's heirloom piano is drenched by rain she calls up Niki to try to help her save the piano. A love serenade between the two is composed and all is harmonious until Harry needs hospitalization and a miracle to pay his bills. While tuning a piano on an exclusive estate, Niki is unable to work because of noise in the house. Niki has a condition called hypercusis, a hearing condition that make everyday sounds unbearable which is why he dons earplugs at all times. When he scopes out the source of the noise it's coming from the security guards who are trying to drill open a safe. The security "thugs" tell him to get lost unless he can open the safe which he promptly does. Uri (Lior Raz) head boss of bumbling thieves knows a good thing when he see it and promises Niki big money if comes to work for him. Niki is driven to cracking safes to pay for Harry's hospital bills and to have some cash and gifts for Ruthie. The film turns somewhat flat and predictable once it shifts to heist jobs. When Niki wants to stop his life of crime Uri shows up at Maria's home during Harry's memorial and threatens to harm his girlfriend's hands if won't continue. The stellar acting keeps the plot on pitch. The musical scenes and the relationship between Niki, Ruthie Harry and Maria elevate the film. TUNER is an easily watchable film. But once the film shifts key after Harry's death from drama and romance to crime thriller, it becomes something we've seen before. And, what are the odds that the one piece of jewelry Niki swiped to give Ruthie comes back to haunt him? Nevertheless, 

5 STAR WEEKEND-Earns a Paltry 3 Despite Star Power Jennifer Garner/Timothy Olypant

"The Five-Star Weekend" based on the bestselling book by Elin Hilderbrand now airing on Netflix. It features an assembly star cast led by the beautiful and bankable Jennifer Garner. Garner plays Hollis Shaw who we meet making a boat load of impressive Xmas cookies with snow covered evergreens outside her cozy kitchen window. The serene scene is interrupted by knocking at her door. The police came to inform Hollis her husband was killed in a car accident. (Her shocked response makes her look like a fish gasping for air.) Next we jump ahead to 6 months later to sunny skies outside the windows of her stunning Cape Cod home on the Vineyard. Hollis is a celebrity chef and an influencer. After breaking down crying on a TV celebrity talk show mourning her husband, her publicist tells her to take time off . She suggests getting together with her closest friends from the varying decades in her life. The chums all come from different periods in her life and backgrounds. What's the worse that can happen? Sadly, nothing worth noting happens that is credible just easily digestible fare in a gorgeous setting with good actors. Regina Hall plays a PR agent for celebrity athletes and is put on sabbatical for a PR crisis of her own making. Chloe Sevigny, plays her best friend since childhood. Chloe's mom helped raised Hollis after her mother died when she was young. Chloe plays a no-nonsense broad with gusto but may soon be facing chemo. D'Arcy Carden plays the garrulous, funny friend who wants to fit in. She may have a few mysterious plot lines. We know of an arch enemy in Judy Greer who was not invited and an unknown legal battles looming. And, the sultry Gemma Chan who only recently joined the gang. She ingratiated herself into Hollis' good graces by following her and developing a connection since her husband's death. (Nothing to be concerned about here). Timothy Olyphant as her old beau from the hood in Nantucket. Will they or won't hook-up? Really? Throw in Hollis' coed daughter, She's keeping things from her mother and falling for the wrong boy back home during the female pow wow weekend designed to ease the widow's grief.  Hollis is super organized along with her culinary skills. She's charted plans for the entire 3 nights which includes a pajama dance party while drunk following a salacious round of truth or dare. If you dare to watch this 8 part series which seems promising given the talent and Hilderbrand's beach book plot.  Know this is light entertainment at best when not cringe worthy schmaltz. There's predictable broad strokes; secrets revealed and spirits healed. I wouldn't throw this show in the trash with the burnt tarte Tatin. It does it best with good ingredients and intentions, but fails to rise to any great expectations.

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.