GHOSTLIGHT-Emotional Family Journey-Haunting and Unforgettable

The film "Ghostlight" is about a family navigating grief and the transformative healing power of art. Available now on Apple and Prime Video, it is not to be missed. The movie plays out as if it were real life and its emotional wallops creep up quietly but its toll lingers long after viewing. This is due to the brilliant script and exceptional acting by the ensemble cast. The script is by Kelly O'Sullivan ("Saint Francis"). O'Sullivan co-directed with Alex Thompson. The two had previously collaborated on the critically acclaimed "Saint Francis" film. The patriarch of the family is a burly construction worker, Dan  played to perfection by Keith Kupferer ("The Dark Knight"). Dan and his wife Sharon (Tara Mallen) are at their wits end dealing with their obstreperous teenage daughter, Daisy (a star-making performance by Katherine Kupferer).  Daisy is belligerent, irreverent and hostile towards everyone. She's being threatened with expulsion for having shoved a teacher. Daisy's outbursts towards everyone and everything is tearing her family apart. The credible familial dynamics may be due in part to the fact they comprise a family in real life. The three all seem to be holding on to each other and their sanities by gossamer strings. It's revealed later on that the family is dealing with the recent death of Daisy's brother. The principal offers Daisy's parents a reprieve from her expulsion of Daisy if they get her into counseling and strongly urges them to  seek family therapy. Dan is not the kind of man prone to talking about his problems. But then, he's not the type of guy you'd expect to join a ragtag theater company in the midst of putting on Shakespeare's "Romeo & Juliet," a play he knows nothing about. Daisy is the thespian in the family. When she announces she's not going out for the school's play this year; something she's always relished, her folks are further perplexed. Daisy follows her father to his secretive rehearsals where she's surprised by her dad and delighted to join the troupe. Sharon's the last to know Dan and Daisy are covertly rehearsing a play. She thought Dan guilty of having an affair and no clue what Daisy had been up to. The play within the movie consists of a cast of amateur, volunteer actors. Each with their own eccentricities and charm.  A few of the cast demonstrate noteworthy talents including Rita (Dolly de Leon) and Greg (Dexter Zollicoffer). Greg gives a stirring rendition of "Stand by Me" during the group's karaoke night. Daisy does a number from Oklahoma that could earn her a Tony on Broadway. Meanwhile, Dan has been spending money the family doesn't have for an attorney to litigate a wrongful death suit against the parent of their deceased son's girlfriend. Shakespear's tragic play eerily mirrors the family's drama but unlike the woeful ending of  "Romeo & Juliet" the family shows signs of healing that steer towards "All's Well That Ends Well". The one night run of the play receives a rousing standing ovation which is what I give this heartfelt film. "Rita promises Dan after their curtain call, "Next play will be a comedy." 

Graham Haynes/Vijay Iyer World Premier "Misterioso" An indebtedness to Thelonious Monk at 222

Thelonious Monk (b Amer. 1917-1982) is a legendary jazz composer and pianist whose improvisational style brought innovation and artistry to the world of jazz. Other than Duke Ellington, Monk is the most recorded jazz composer and one of only five jazz musicians featured on TIME's cover. The other four include Louis Armstrong, Dave Brubeck, Duke Ellington and Wynton Marsalis. "Misterioso" a 75 minute multi-media composition is written by Vijay Iyer who was named four times by "DownBeat" Mag., Jazz Artist of the year and Graham Haynes, the recipient of two nominations for the prestigious Alpert Award for the Arts and the son of drummer Roy Haynes. Haynes grew up around legendary jazz musicians including Monk. "Misterioso" is dedicated to Monk's body of work. Haynes' virtuosity on trumpet was astounding. He never spoke during the evening. He let his trumpet and Iyer do the talking. Monk was known for speaking little if at all when performing.  Iyer played piano, electric keyboard and synthesizer while overseeing the large scale visual projection on the wall. The amoeba-like images undulated floated over shifting background colors of neon blue, pink and black spatters. Several black and white photos of Monk appeared showing him at the piano or posing stoically. Iyer explained "'Misteriosos" was representative of what we {Iyear & Haynes} thought Monk's brain would feel like." The overly long  composition was visually abstract and musically discordant. Previous sound recordings were mixed in along with long extended notes and rifts on trumpet and strides on the piano. The piece was often discordant and rarely, if ever, soothing. Haynes and Iyer created what can be regarded as a modern,  innovative musical composition and a visual imagery representative of the inner workings into the mind of  one of the greatest jazz pianists and composers of the 20th C. Monk was the master of improvising. There's only one recording made in which Monk adhered strictly to his (or anyone's) written composition was "Crepuscule with Nellie" (1957). "Misterioso" may have successfully captured the inner workings of Monk's musical genius, but, to say I found it aesthetically or musically pleasing is not the case. Two shorter original compositions followed the marathon "Misterioso". However, the evening ended on a high note as they played one of Monk's most famous pieces. "Around Midnight". Monk never achieved great fame, fortune or critical acclaim during his lifetime owing in part to being far outside mainstream jazz of its time. Perhaps, I'll have bragging rights in the future for being at the world Premier of "Misterioso" but if you missed it, it was only so - so. 

LIFT-Dance Doc Following 10 Years in Young Dancer Living In Public Shelters Finding Joy through Dance

LIFT is touted as young dancers' journeys from homelessness to the ballet stage. This is only a fraction of what makes this ambitious documentary so astonishing and profound. The film is viewed through the lens of Steven Melendez and follows his mentorship of several young people living in homeless shelters. Melendez was himself raised in homeless shelters in NYC.  Melendez's miraculous life goes from being homeless, raised by a single mother to becoming a principal dancer with NY Theater Ballet.  Today, Melendez is at the helm of NY Theater Ballet as its artistic director. Melendez's rise to a professional dancer and artistic director is remarkable. But, what he achieves through mentoring children in NYC's homeless shelters is nothing short of miraculous. While being given sporadic glimpses of Melendez's lovely dancing, we're swept up in what he's given back to his community by his commitment to young people, by his ongoing positiver presence in their lives and the opportunities he present for them to pursue their passions through dance. He was living in a homeless shelter at age 7 when he was given an opportunity to enroll in the NY Theater Ballet Project, LIFT. Video of Melendez's performances are scattered throughout this absorbing film that takes us inside the shelters and into the homes of families struggling with poverty and the difficulties holding down jobs while caring for their families. The film is captivating as we watch the exuberant faces of seven, eight and nine year old girls and boys mature into adolescents with lives which become more complex and problematic as they get older. Melendez meets with parents of young dancers struggling with work schedules while trying to get their children to and from school and dance classes. We watch Victor Abreu develop into an exceptional dancer as he seeks to maintain a balance in life with the inherent demands of being a professional dancer. Yolanssie Cardona changes from a precocious pre-teen who "wants to be a dancer" into a beautiful high school student who has gotten into disciplinary problems at  school which derail her high school graduation. The stark, natural aesthetic of the cinematography highlight NYC life commuting on its gritty subways and bustling streets. The smart editing makes the 10+ years flow fluidly while coming into sharp focus. Passing moments are accentuated by the buzzing and clanking of locked doors and shots of the city's ubiquitous fencing. The harshness of life in homeless shelters and city dwelling contrasts with the magical and. beautiful world of ballet. Moreover, we're shown a wonderful world in which the challenges of homelessness and poverty are mitigated with the assistance of others.  LIFT is an uplifting documentary that soars with the healing powers inherent with dance. 

THELMA-June Squibb is a Marvel as a Senior Super Hero and Impossible to Resist

June Squibb is a 94 year old actor whose career began on Broadway in the original production of "Gypsy". She had a recurring role on the soap, "Young & the Restless" and a breakout role in the Film "Nebraska" opposite Bruce Dern which earned her an Acad. Award nomination. Her most recent role is the lead in the comedy/crime caper "Thelma" written and directed by Josh Margolin. Squibb plays Thelma, an elderly widow living alone. However, she's not totally alone. She has her doting grandson, Danny (Fred Hechinger, "White Locust"), a daughter, Gail (Emmy nominated actress Parker Posey), Gail's husband, Alan (Robert Gregg, Jr., Phil Coulson in "Marvel Cinematic Universe) and her reluctant but steadfast friend, Ben (the scene stealing Richard Roundtree who died in 2023). Thelma talks to the photo of her beloved husband daily but is otherwise happily engaged in her mundane life that is bolstered by Danny who enjoys spending time mentoring his grandma on the computer. Their devotion to each other is mutual. When Thelma receives a call and falls easily for a scam whereafter she sends bail money in the mail believing she's helping Danny get out of jail. It would seem a safe bet to assume she's an old fool. But, when push comes to shove, Thelma's nobody's fool. In fact, she's apt to give Tom Cruise a run for his money for the starring role in the next "Mission Impossible" movie. Thelma's family is relieved she's physically unharmed, but Thelma will not go gently into the good night. However, her inability to drive a car or walk very far are obstacles to contend with.  Needless, this does not thwart our unflappable heroine. Thelma reluctantly enlists her steadfast friend, Ben. Ben's not going to let her just take his 2-seater scooter without him in tow.  So, off they go into an improbable reconnaissance mission to get back the $10,000 she was hoodwinked. The daring and darling duo are devious, cunning and riotously funny. Gail, Alan and the staff at the senior living facility where Ben flew the coupe from are pitch perfect in their frenzied concern or lack thereof.  An ongoing gag in which Thelma has a friendly but circuitous conversation with women believing she recognizes them is ingratiating and integral to the scheme of things. Other minor characters leave a major impact. The 95 year old Bunny Levine plays an old friend Mona who is unforgettably poignant and 81 year old Malcom McDowell as Harvey, the villainous scanner who is eerily menacing. Nothing seems impossible in THELMA with its savvy script, exceptional ensemble cast and delightful antics. Not just for the antiquated, elderly crowd, this comedy/caper will capture all hearts having a pulse.  

CHALLENGERS-A+ Acting in a C- Film Makes a Movie to See with Zendaya

CHALLENGERS serves up some daunting challenges to entice you to watch a love triangle that centers around the game of love known as tennis. The hardest obstacle to handle is its lame script. However, this is netted within a faultless cast of handsome leads lead by the drop dead gorgeous Zendaya. Zendaya plays Tashi, the coquettish tennis competitor coveted by her two suitors, Art (Mike Faist) and Patrick (Josh O'Connor.  Art and Josh are young upstarts fighting their way up the professional tennis racket and have just won a major doubles tournament and sprawl over each other in their unfettered exuberance. Following their win, the two head to the women's singles finals where they're both totally smitten by Tashi's talents on the court as well as her comely looks. Zendaya has become the face for high end luxury companies including Valentino fashion, Lancome makeup and Bulgari jewelry. Nonetheless, she is much more than just a pretty face.  She's earned two Primetime Emmy Awards and a Golden Globe. Zendaya is winning playing Tashi, a flirtatious and fierce up and coming tennis ace. Tashi's top notch athletic skills are no match for her savvy and business acumen. Still the girl wants to have fun. She's intrigued by the adoration of the two charming chums who are willing to throw the other under the bus to get her number. The film flashes back and forth in time revealing the fraught history of the three's shifting relationships. Tashi's relationship with one ends at the time she blows out her knee and any future career on the professional tennis circuit. The plot is cliche, yet the chemistry between all three is combustible and comprises a fast paced, intriguing film worth renting on Apple or Prime Video. O'Connor is a British actor best known for portraying Prince Charles in "The Crown" and Romeo in the recent PBS "Romeo and Juliet" production. He's charming, wheedling and infuriating as an immature 30 something whose tennis career is waning. Faist is an American actor that has garnered a Grammy, Daytime Emmy and nominations for a Tony and a British Academy Film Award. Hi's angelic good looks and diffident demeanor make him the perfect foil to O'Connor's swarthy good looks and domineering personality. All three, Zendaya, O'Connor and Faist make what could've been a scratch-less plot into something special with a lot of sexy tension on and off the tennis courts. I dare you to resist CHALLENGERS as it serves up sheepish grins along and unexpected spins on competition and provocation.   

SKYWALKERS: A LOVE STORY-A Jawdropping Film of Rooftoppers Going Where No One Should Go

There are daredevils who dare to push the limits of human capabilities above and beyond. And, then there are those whose THRILL seeking seems more of a death wish. The handsome Russian couple at the apex of this visually stunning and viscerally alarming film are Angela and Vanya. The two share a passion for going where no person has ever perched before atop the tallest skyscrapers in the world and for one another. Both posted their consummate accomplishments abreast the peaks of buildings where most would never want to peek over for the sense fear of falling. Why do they do it? The same reason many young people do things - to post them and get likes. There's a financial windfall for the few who do this provided they don't die while pursuing the perfect SHOT. Angela and Vanya were aware of the other from their posts. Angela was an avid admirer of Vanya and envied his exceptional technical abilities and meticulous planning. Vanya was smitten by Angela's daring, artistry and beauty. It was Vanya who first reached out to Angela via the internet. When the two met it was instant kismet. If ever there was a couple made for each other, these two come as close as you can get. Working in tandem, the stakes rose as they both pushed for greater heights. The film's cinematography is breathtaking, stupefying and vertigo inducing. Many of the spectacular aerial photos are taken by drones. Others are captured through Vanya's lens. He also choreographs and directs Angela into elegant poses. The spectacular view of the two on rooftops are riveting, dazzlingly and deeply disturbing. The award winning film "Free-Solo" followed American climber, Alex Hunnold as he completed the most dangerous free-solo ascent to the top of Yosemite. These films share common ground while traversing thousands of feet above ground without a net. Alex prepares diligently for his ascension. The Russian couple also diligently execute plans for their climbs with stealth and cunning recognizance of the buildings' structures and security. What Vanya and Angela do is highly illegal. The cinematographer for "Free-Solo" said on camera he was never going to be part of filming Alex or anyone attempting such dangerous treks again. Jeff Zimbalist is the dir/screenwriter for SKYWALKERS. He wrote and directed the critically acclaimed Norman Mailer doc. Zimbalist's heavy handedness costs the  film its appeal and intensity when it shifts away from the HEIGHtS to the grounded love story. The couple's dialogue down below feels forced, false and trite and is totally convincing and compelling from above. The film sizzles as the two ascend upwards but crashes and burns down on earth. Do not attempt these stunts as they are insanely dangerous in addition to being certifiable. By watching, you become liable for encouraging and abetting those attempting these outlandish feats seeking extreme stimulation and recognition. Still, it's very hard to turn away. In some small way, one can safely say, they're going to do it anyway. Perhaps even justify the two as courageous and artistic rather than merely attention getting antics. And, while the film feels staged when the couple is quarreling, there's no doubt these stunts are the real deal. The jaw dropping film SKYWALKERS offers priceless views. It's a gobsmacking, gut wrenching rollercoaster ride. Hopefully, the appeal for imitation will simply die and no one else will think to try. 

Nicole Kidman/Zac Efron A FAMILY AFFAIR Their Dirty Laundry Should've Stayed Hidden

The newly released Netflix rom/com, A FAMILY AFFAIR starring Nicole Kidman and Zac Efron is so bad it's actually watchable bad. I don't recommend watching this lackluster love story. I'm giving you warning, if you start watching this atrocious affair, you're likely to be absconded by how ridiculous it is and waste your time in disbelief. There's no chemistry there between Efron and Kidman. Efron plays Cole, a superhero movie star. Kidman plays Brooke, a Pulitzer Prize winning author and mother to Zara (Joey King) who has been Cole's assistant for two years. Cole is an SOB to work for and runs Zara ragged running his errands and bullies her with the disingenuous promise of mentoring her filmmaking career. Cole is also notorious for breaking hearts left and right but mitigating the blow with a parting gift to his former partners of Cartier diamonds earrings. Zara who banters like the Energizer Bunny on speed is exhausting to listen to and not the sympathetic, hardworking intern who gets burned. It's a wonder Zara managed to remain Cole's overworked and under appreciated gal Friday for two years. But, when enough was enough she quit in a huff. Cole realizes how much he relies on her and goes to where she lives to win her back. Just 24, Zara lives at home with her mom but isn't home when Cole comes calling. Cole just lets himself and then tells Brooke brandishing a large candlestick, "the door was open and I'm a movie star." Cole asks if he can wait for Zara. Brooke being a good hostess gets bombed on booze with Cole. Their lips lock and their bodies collide inside the boudoir where Zara walks in without knocking. Zara freaks out, her mom sneaks out to be with Cole again and the mother/daughter/movie star love triangle should get lost in the Bermuda Triangle forever. Kidman looks old enough to be Efron's mother and neither looks credible or comely on screen. Efron looks like an orange skinned Hulk. Kidman needs to quit putting filler in her frozen looking face filmed using a soft-filter. King as Zara was too annoying, the "romantic" montage cloying and cringe worthy moments ongoing. Bad acting, dreadful script, A FAMILY AFFAIR aired dirty linen which needed to stay hidden. The rare, redeemable moments came from the incomparable Kathy Bates who played grandma to Zara and mother-in-law to Brooke until her son died. Anyone calling this movie anything but awful has lied.  

BEVERLY HILLS COP: Axel F-Gets a Failing Grade with Eddie Murphy and Its Gray Haired Cast

When "Beverly Hills Cop" premiered in 1984, it was a sensational hit, driven by its talented star, Eddie Murphy. It yielded two more sequels in 1984 and 1987 that were also slick and shiny comedy/crime thrillers that left audiences wanting more. However, that was then and now it's too little too late. The franchise should've hung up its cap instead of leaving Murphy two decades later taking the wrap for this crap. By now, the predictable shenanigans and hohum car chases are just dumb. Perhaps the idea of hijacking a police helicopter might've seemed like a novel idea, but it didn't deliver an adrenaline rush or comic relief. The luster on the rehashed pastiche plot of Cartel crime capers with fearsome villains as buffoons and non-conventional good guys who persevere. Most of the cast should've retired from the force by now and have reassembled. Murphy reprises his star-making role as Alex Foley. Judge Reinhold as Det. William now seems swishy. John Ashton as the curmudgeon Det. Sgt. is as cringeworthy to watch as Biden past his early bird dinner hour. And, Paul Reiser as Det. Jeffrey who knew it was time to hang up his badge. Reiser was the only one who showed some sense and credibility. Last but not least, Murphy is too over- the-hill making Foley appear fool-hardy. Not that Murphy doesn't possess charm and acting chops. But this time the role was too much to chew and the franchise would benefit using a much younger crew. New additions to the cast were  Taylor Paige as Foley's estranged daughter, Joseph Gordon-Levitt, a B.H. cop and Paige's former flame. Paige and Gordon-Levitt were likable in their do-gooder personas but the heat was off in their chemistry together. Keven Bacon is a crooked cop. Bacon is so sinister he seems to be playing for camp. Murphy has parlayed his prior success in movie sequels as in "Coming to America".  As an informant, stick with the original Murphy movies from the previous century and leave his remakes in the vault. Watching BEVERLY HILLS COP: Axel F feels like doing time. 

BABES-Gal Pal Humor Bursting with Birthing's Underbelly

The stretch marks of female friendships have their ups and downs. The true test of best friends is its elasticity, endurance over time, distance and life situation. BABES is a female buddy pic of two childhood friends, Eden (Ilana Glazer) and Dawn (Michelle Buteau) who grew up together in NYC. Both women are pushing 40. Dawn is about ready to deliver her second baby. She's a dentist, happily married, lives in a brown stone on the UWSand fully ensconced in family life. Eden is more of a free spirit, unattached and teaches yoga from her studio apartment in Astoria. Their logistics have broadened along with their differing stages in adulthood. Needless, the bond between these two bodacious babes seems unbreakable until Eden's unexpected pregnancy and her unlimited demands on Dawn's limited free time cause a rupture in the structure of their relationship. Will their friendship weather this labor? How will Eden manage pregnancy and parenthood? This is not your light and charming Nora Ephron comedy fare. It's a slick, dark comedy overflowing with bawdy female humor that is LOL.  The jokes keep coming in hard, fast waves along with sight gags on childbirth, breastfeeding and postpartum detritus. Stellar comic scenes include Dawn's labor pains in a NYC restaurant, a nanny freaking out and Eden's doula interviews. The non-stop garrulous banter is reminiscent of BOOK SMART and GILMORE GIRLS but with older, more mature women. Glazer and Butuea are pros in the entertainment world. Both are stand-up comedians and recipients of Tony and Critics' Choice Awards. They are pitch perfect in their comedic timing and affecting in their sensitive portrayals of devotion, hurt and acceptance. Oliver Platt has a small role as Eden's agoraphobic father that is touching beyond words. John Carrol Lynch is hysterical as Eden's gynecologist who is understanding and self-effacing. Hasan Minhaj is marvelous as Dawn's dazed husband. There are casting boons as with the comedy twins Keith and Kenny Lucas and Sandra Bernhard.  BABES is not for newbies. This is a racy, raunchy rom/com where the two leads are vivacious women trying to live their best lives. Their lives are enriched having chosen one other as sister I recommend renting this sisterhood flick. It's a raucous, clever comedy which is also poignant and tender. 

David Oyelowo in LAWMEN: BASS REEVES-A Must See Historic TV Series

The historic series LAWMEN: BASS REEVES stars David Oyelowo, as Bass Reeves, a former slave who becomes a US Marshall. Anything the actor Oyelowo is affiliated with is always worth watching. In addition to Oyelowo's portrayal, there's plenty to recommend this western drama based on the incredible life of Bass Reeves released on Prime. Reeves was born a slave in TX and forced to serve in the Civil War fighting alongside his master for the Confederacy. Reeves' skills as a marksman helped save his life and that of his owner while killing Union soldiers fighting for his freedom. Shortly before the end of the Civil War, Reeves' returned with his master's TX plantation. The dramatic depiction of events that make up this wild west/reconstruction era run as loose as a noose dragging in the dirt. These are the facts attributed to Reeves: he was a sharpshooter who made at least 3,000 arrests, killed 14 men in his job as a lawman, failed as a farmer, spoke several Native Indian languages and despite being illiterate he was able to  memorize the Bible from hearing it read. Reeves was a legend in the west whose story has been mostly dismissed from history. Reeves lived during a pivotal time in our nation's history. It was a time when the country was trying to heal from the devastation of the Civil War and expanding its frontiers into a lawless society. Native Indians were being slaughtered and their lands taken. The south was rebounding from emancipation towards the oppressive Jim Crow South. The most stirring scenes show blacks and whites being shackled by Reeves, only recently himself a slave in bondage. There are delightful scenes shown within his family' home. Ironic and disturbing was the mass Negro movement to usurp and settle Native American's lands and justified as their due and before the whites steal their land. It was gratifying but short-lived, noting the indignant rebellion of freed Negroes to white repression and violence. The acting from the cast is forthright, particularly by the judge played by Donald Sutherland in his final film role, Reeves' daughter Sally, played by a superb Demi Singleton, (the late John Singleton's daughter) and Lauren Banks as Reeves' wife. Dennis Quaid, a likable actor fares poorly in time pieces and is given a melodramatic role that feels forced. The scoring for the series was as a dissonant distraction. Still, LAWMAN does an outstanding job capturing the look and feel of Civil War battles, shootouts, the rugged frontier and harmonious domestic life. The cinematography is sumptuous making the epoch appear both breathtaking and extremely harsh. BASS REEVES is solid gold viewing not pyrite.  It bears historic relevance, epic storytelling, superior acting, excellent production and reprises a tale of a maverick; a slave who became a high ranking and highly respected lawman.