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