Reviews

Greetings again from the darkness. Mother-Daughter relationships have been the theme for many fine movies throughout various genres over the years. Some of the best that come to mind include: LADY BIRD (2017), THE FLORIDA PROJECT (2017), MAMMA MIA! (2008), LITTLE MISS SUNSHINE (2006), THE JOY LUCK CLUB (1993), TERMS OF ENDEARMENT (1983), MOMMIE DEAREST (1981), CARRIE (1976), and going back many years, the classic MILDRED PIERCE (1945). The common thread here is the complicated, yet unbreakable bond between mother and daughter. Writer-director Annie Baker, who won a 2014 Pulitzer Prize for her play "The Flick", has managed to create a film with a mother-daughter relationship that fits right into the above list, while also bringing a unique perspective.

Eleven-year-old Lacy sneaks out of her summer camp cabin, and through the darkness makes her way to the office payphone. The first line of dialogue we hear is Lacy (Zoe Ziegler) saying, "I'm going to kill myself if you don't come get me." The next morning, mother Janet (Julianne Nicholson) arrives and a packed up Lacy discovers she actually had made a friend, but since it's too late to remain at camp, she questions why mom had to bring boyfriend Wayne (Will Patton) along. "Wayne" is the first chapter of the story, but as we learn, single mom Janet has had a revolving door of lovers and friends. It's 1991, the summer between fifth and sixth grade for Lacy, and as an outcast in her age group, she desperately wants to be close to her mom.

Their rural home is surrounded by nature, and Janet runs her acupuncture business while Lacy hikes to piano lessons ... when she's not asking if she can sleep in mom's bed. Wayne doesn't last long, and Chapter 2 "Regina" bounds in next, thanks to a local art colony performance that allows old friends to reconnect. Regina (Sophie Okonedo) appreciates the free room and has some nice moments with Lacy - except for the shampoo and long stints in the shared bathroom. When Regina moves on, Chapter 3's "Avi" (Elias Koteas) begins getting close to Janet. By now we understand that everyone loves Janet, and that's an emotional hurdle for young Lacy.

The adults are a bit tiresome, and Janet even confesses that she worries about her parenting approach. Yet, those concerns don't impact her free-wheeling ways, and we see she's as lonely and broken as her daughter. Lacy says, "I don't have any friends", and we don't doubt it. As an outsider she's very observant, if not a bit depressed. Julianne Nicholson is exceptional as always, and first-timer Zoe Ziegler is a rare find. We can only hope she finds her way into a Wes Anderson movie before she grows out of this stage. Cinematographer Maria von Hausswolff has a style that perfectly complements director Baker's slow pacing and the unusual setting. As the summer turns to "The Fall", a local square dance provides the perfect ending ... and reinforces all that we've learned about mother and daughter. Another little gem from A24.

In select theaters on June 21, 2024 and nationwide on June 28, 2024.

Greetings again from the darkness. The tagline is "Artist. Activist. Renegade.", yet somehow after spending 2.5 hours watching this documentary from Bill Teck, we realize there is even more to Steve Van Zandt. Or maybe you know him as "Miami Steve" ... or even "Little Steven". Having accomplished so much through various avenues, we are left with nothing but respect for the man.

Bruce Springsteen fans know him as Miami Steve of the East Street Band (and Bruce's longtime buddy). Other music lovers know him as the leader of Little Steven and the Disciples of Soul. Some remember him as the driving force behind the "Sun City" song and collaboration. Still others know him as an actor playing Tony's consigliere Silvio in "The Sopranos", or as a mobster in "Lilyhammer". What we learn is that he's also an incredibly talented songwriter, a highly sought-after producer and arranger, and he was the saving grace behind Springsteen's "Tenth Avenue Freezeout" on the breakout album. By any name, Van Zandt is not one to stand on his (many) past accomplishments.

Documentarian Teck loosely breaks down the timeline of Van Zandt's life and, in keeping with the Disciple title, presents it in three 'Books': Salvation, Revolution, Revelations. Much of the run time is spent in Book I, where we recap the early days of Asbury Park, New Jersey, and local venue, The Stone Pony. Some incredible clips are included showing live performances of Southside Johnny, Van Zandt, and of course, Springsteen. It's also here where we learn the origin of the nickname "Miami Steve". It didn't take long for Van Zandt's extraordinary talent as an arranger to shine through, and his ambition and creative forces drove him to leave the E Street Band in 1983 to form his own identity. It's also in this stage where he married Maureen in a ceremony officiated by none other than music icon Little Richard (video), and including singer Percy Sledge.

Book II recounts Steven's foray into activism and political activities, namely Apartheid in South Africa. He wrote the song "Sun City" and organized the iconic participants of the movement that ultimately contributed to the release of Nelson Mandela. As impressive as his efforts were, and as respected as he was, Van Zandt readily admitted, "I don't want to be a politician." Aptly named Book III: Evolution took Van Zandt to 1999, where not only did he reconnect with Springsteen and rejoin the E Street Band, he also accepted creator David Chase's offer to take a role in "The Sopranos". That's a pretty good year. It's in Book IV: Revelations where Van Zandt originated his popular radio show, "Little Steven's Underground Garage", where he keeps rock history alive, and he also brought 1960's band The Rascals to Broadway. In 2021, Van Zandt's memoir, "Unrequited Infatuations" was published. Did I mention this isn't a man to sit back and chill?

Bill Teck solidifies the admiration Van Zandt has by including interviews with the likes of Bruce Springsteen, Paul McCartney, Southside Johnny, Dion, Gary US Bonds, Mike Stoller, Darlene Love, wife Maureen, Peter Gabriel, Eddie Vedder, Bono, Joan Jett, Jackson Browne, Reuben Blades, Jon Landau, and David Chase. The interviews and clips and photographs are well done, plus he allows Van Zandt to contribute his own thoughts. This is terrific insight, and the film ends perfectly showing Bruce and Steve teaming up for "No Surrender".

Airing on HBO and streaming on MAX beginning June 22, 2024.

Greetings again from the darkness. With so many senior citizens (Boomers) around these days, we should expect more movies featuring older characters, and movies that this demographic might enjoy watching. Instead, most movies treat seniors as either mostly silent set pieces in family scenes or as awkward buffoons (see the recent SUMMER CAMP, or better yet, don't see it). Writer-director Josh Margolin apparently understands this, and his first feature film is not just funny, it also allows a few elderly actors to lead the way.

June Squibb is not just any 94-year-old leading lady. Of course, that's a bit facetious, since such a list would be very short. For someone whose film and TV career didn't get started until she was in her 60's (she was on stage prior), Ms. Squibb has put together a remarkable career. She's been memorable in such films as NEBRASKA (where she received an Oscar nomination), BLOW THE MAN DOWN (2019), and ABOUT SCHMIDT (2002), as well as numerous TV shows along the way. Here she stars in the titular role as Thelma, and wins us over with her charm and determination.

Based on a true story (there really was a Thelma that went through this), we find Thelma still living in her own house gladly accepting periodic assistance from her beloved and kind grandson Daniel (Fred Hechinger, "The White Lotus"). The two have a close relationship, and that's precisely what makes Thelma such an easy target for the clever phone scammer. She panics in her desire to quickly rescue Daniel from the legal scrape the caller informs her of, and she mails off a chunk of cash believing she's doing what's best for him. Embarrassed once she discovers the ruse, Thelma listens as her daughter Gail (Parker Posey, BEAU IS AFRAID, 2023) and son-in-law Alan (Clark Gregg, Agent Coulson in the Marvel Universe) discuss moving her into an assisted living facility. However, since she and Daniel have recently watched Tom Cruise and his daring stunts in MISSION: IMPOSSIBLE, Thelma has other ideas ... she (secretly) sets out to find the bad guys and retrieve her money.

The rest of the story revolves around Thelma's mission and Daniel's attempt to bring her home safely (and prove his own worthiness). Thelma hooks up with old (no pun intended) friend, Ben (Richard Roundtree, SHAFT, 1971) and the two set off on an exciting (mis)adventure that must be seen to appreciate. The two make a great team - sometimes bonding over humor, sometimes disagreeing about the plan ... just like real people would do. The trail finds Thelma crossing paths with another elderly gent played by Malcolm McDowell (A CLOCKWORK ORANGE, 1971), and it's a scene that I look forward to watching again.

The film is quite entertaining and, quite fittingly, appropriate for most ages (except for a smattering of kinda blue language). It's such a pleasure to see elderly characters that matter and think and react and participate in life. When Thelma says, "I didn't expect to get so old", we understand exactly what she means. The various times she proclaims, "I think I know her", we can relate. With a rare score that features a flute, this is not just one of the more realistic depictions of seniors we've seen, filmmaker Margolin has actually delivered a case study on how to create a movie starring senior citizens that is both funny and respectful. This is one I hope many will see.

Magnolia Pictures will release THELMA in select theaters on June 21, 2024.

Greetings again from the darkness. It's been 23 years since Russell Crowe won his Oscar for GLADIATOR. Some of his personal struggles have been well-documented, and although he may no longer be an A-list actor, he remains a talented and prolific one ... especially these past couple of years. I'll admit to still finding him fascinating on screen, as he's usually fully committed to the character he's playing.

There's more to this one than another mesmerizing Crowe performance. If you don't already know, be advised that it's a film-within-a-film derived from real life. Only not the usual "inspired by a true story" like we are accustomed to. Nope. The writer-director is Joshua John Miller, who is the son of the late Jason Miller, who played Father Karras in the classic horror film THE EXORCIST (1973). Co-written with M. A. Fortim ("Queen of the South"), once we know Miller's roots, the film takes on a whole new relevance. So ... "This time, it's personal" ... actually fits!

Crowe plays Anthony Miller (there's that last name again), an actor looking to re-establish his career after grieving for his wife's death left him an alcoholic and addict. Out of rehab, he's also trying to reconnect with his estranged and rebellious daughter Lee (Ryan Simpkins, Ty's big sister, BRIGSBY BEAR, 2017), who has recently been kicked out of school. After the mysterious death of his lead actor (which we witness), director Peter (Adam Goldberg, appeared in A BEAUTIFUL MIND with Russell Crowe) casts Anthony as the Priest, despite, or possibly because of, his troubled past. See, Peter's movie, "The Georgetown Project", appears to be pretty much identical to THE EXORCIST, right down to the two-story house set and the bits of story we pick up.

The film co-stars Blake (Chloe Bailey, R&B artist and big sister of Halle) as the possessed one, and Joe (Sam Worthington, The "Avatar" franchise - more to come) as a fellow Priest. Hanging around the set as the Catholic church consultant is a Priest played by David Hyde Pierce ("Frasier"), whose presence is necessary as we see Anthony's crisis-of-faith and possible demonic possession mirroring that of the character he's playing - likely due to the unpleasant childhood memories of his time as an altar boy. For those who know, Adam Goldberg's performance as Peter will recall the stories of William Friedkin's demanding and demeaning directorial style on the set of the 1973 horror classic.

The acting, especially Crowe and Simpkins, is stellar, although we can't help but wonder why Sam Worthington's role wasn't beefed up a bit. As with most horror films the sound effects are exaggerated, though this one seems overboard at times. Still, with the added weight of the "behind-the-scenes" backstory, there is plenty here to keep us engaged ... though one would be hard-pressed to label it a son's tribute to daddy.

In theaters June 21, 2024.

Greetings again from the darkness. Over the years, I've managed to maintain zero artistic ability, and yet my admiration and respect for artists has continued to grow. It's quite likely you've never heard of Geoff McFetridge, and equally likely that no one you know has either. Leave it to commercial director and artist Dan Covert to recognize that a fellow artist's story is worth telling.

With interviews from film directors Spike Jonze (also an Executive Producer) and Sofia Coppola, and photographer Andrew Paynter, we get a real sense for the admiration McFetridge draws from other artists. His wife Sarah also gives us her perspective on her husband as an artist, father, and partner, and yet we find Geoff's own introspection to be the most descriptive and informative. This is a man who doesn't shy away from self-analysis ... which makes sense given his personal mission.

For an artist as prolific as McFetridge, it's not surprising to learn that his childhood habit of "drawing all the time" has followed him into adulthood. It's really more of an obsession than a habit, and he's managed to turn it into a profession. Born in Canada, he made the decision to enroll at the California Institute of Arts, and now can be described as melding art with commerce. His work has adorned ads and products for such companies as Nike, Apple, and Pepsi (among many others).

Surprisingly, it's not his brilliant design work that is most interesting. Rather it's Geoff's constant pursuit of meaning in everything he does - in art, while running ultra-marathons, and in being a husband and father to two daughters. This is a man who pushes himself constantly. Down time is not part of his plan. He used art as a way out and way to have control as he searched for his place. He always had the colors and form (geometry on acid), and his wife Sarah is the one who instilled emotion into his work.

McFetridge is highly respected by other graphic artists, while remaining virtually unknown to the general public. His greatest gift is not a steady hand, but rather an innovate mind tied to a tireless work ethic. It seems strange to say, but he's inspirational in the way he seeks meaning - giving us the desire as well. On the surface, one would expect a biopic on an under-the-radar graphic artist to be a short film, but director Covert understood that a full 80 minutes would better serve the audience. He was right.

In NYC theaters on June 21, 2024 and VOD via Gravitas beginning July 2, 2024.

Greetings again from the darkness. The directorial debut (and loosely based on the life) of Brian Logvinsky is an usual short film probably best described as avant-garde. Harrison Ball, who recently retired as principal dancer of the New York City Ballet, stars as a dancer with anger issues so extreme, things sometimes turn violent. Logvinsky and Ball also co-wrote the script.

With a short 17-minute runtime, visuals are effectively utilized to convey the turmoil of Alex's (Ball) life. However, many of these aren't typical visuals. Instead, we see the frenzied actions and mind of Alex, and understand why he must visit bizarre psychotherapist, Dr. Leechny (Marc Geller, "Severance"). We learn Alex is grieving the death of his mother, and his current mental state has a dramatic effect on his living arrangements with his aunt Anya (Deborah Harry). Complicating the already explosive situation is Russian-born Anya's belief that the family curse is driving Alex's mental issues.

Many will know Deborah Harry as the lead singer of the band Blondie, where she goes by Debbie. Ballet fans will not be surprised that Harrison Ball has a strong screen presence, weakened only during his minimal dialogue. His extraordinary physicality is on display, especially during the final sequence from which the film's title is derived. Additional supporting roles are portrayed by Jemima Kirke (Simon's daughter in a dual role) and Sasha Pivovarova (artist, Russian model, and face of Prada).

The film will be featured on June 17 at Tribeca Festival and will most assuredly generate some interesting post-viewing discussions.

Greetings again from the darkness. Historically, we've been treated to Western movies that were heavy on tense gunfights and macho morality ... white hats vs black hats. However, if you've been paying attention these past few years, you've likely noticed a shift in tone. Westerns have become more attuned to the sensibilities of real people, and less enamored with quick-draws. This may be the directorial debut of writer-director Jake Allyn, but it's not his first rodeo (couldn't resist). Allyn wrote the screenplay and starred in NO MAN'S LAND (2020), which was directed by his brother Conor. For this film, he co-wrote the screenplay with Josh Plasse, his co-star in "The Baxters". Both men also play brothers here.

A grizzled C Thomas Howell (contrasted with his fresh-faced Ponyboy in THE OUTSIDERS, 1983) stars as John Hawkins, a former rodeo star, who walked away from his career when his wife Monica (Annabeth Gish, MYSTIC PIZZA, 1988), now the local Sheriff, birthed the first of their three kids. Son Noah (co-writer Plasse) is a clean-cut, straight arrow young man who has steered away from the bull riding tradition set by his father, his grandfather Al (Forrie J Smith, "Yellowstone"), and his brother Peter (director Allyn). Early on, we see Peter, now the black sheep of the family, being released after a four-year prison sentence. Most of the urgent attention is paid to eleven-year-old Virginia (Zia Carlock), whose cancer can only be treated at a specialty oncology center. This life-saving treatment comes with a $160,000 price tag and a financial and emotional burden on her father John that may be more than he can handle.

One of the first things to notice about this is how beautifully it's filmed by cinematographer Keith J Leman. The rodeo scenes are particularly striking as nothing is overdone or over-dramatized. John and Peter struggle to re-connect, but it's Virginia's treatment that helps the two stubborn men find common ground. Either would do whatever necessary to save her. For John, this means begging the bank for another loan, selling off his beloved horses, and finally coming to grips with the need to break the moral code by which he has always lived his life. Peter's drug habit provides an opportunity, and of course, things don't go according to plan. Soon, Sheriff Monica is working a case that may force her into her own moral choice between family and the law. Simultaneously, Deputy Dickons (Scott Reeves), who is clearly a bit too close to his boss, is eager to bring down John and Peter.

All of this takes place in Stephenville, Texas, known as the Cowboy Capitol of the world (although it's filmed in Tennessee). The '8 seconds' on a bull ride are stressed a few times, yet mostly what we have is a serious family drama filled with guilt and desperation. On the downside, the script doesn't quite meet the standard of the tone or acting. Some polishing could have elevated the entire film, and a bit less eyeliner on Allyn and reduced lipstick on young Carlock would have helped. Still, C Thomas Howell and Forrie J Smith are particularly excellent in their roles. The film makes an obvious statement on the health care and insurance industries, and the oft-repeated line, "I'm praying for you" is meant to sound as hollow as the sentiment can sometimes come across. This is a world filmmaker and actor Allyn feels comfortable with, and he does a pretty nice job with it.

In select theaters and ON DEMAND beginning June 14, 2024.

Greetings again from the darkness. I thought the same thing. How can a movie featuring a giant talking macaw make any dramatic sense, or deliver a message that's worth hearing? Well, the first feature film from writer-director Daina Oniunas-Pusic does just that. We know the best fantasy stories and fables are based on harsh realities, and there is no reality more harsh than the fact that death comes for all of us. Now, whether death comes by the Grim Reaper, an Angel of Death, or a talking, size-shifting red macaw may be up for debate, but filmmaker Pusic and the cast deliver an immensely creative and thought-provoking look at death and all stages of grief.

The film opens by taking us on the daily routine of the Death Macaw as it visits those who have reached the end ... whether they are ready or not. Some go peacefully, others not so much. Soon it visits Tuesday (played by Lola Petticrew, SHE SAID, 2022). Tuesday has a terminal illness and is wheelchair-bound and tethered to an oxygen tank. She knows it's her time, but negotiates with the bird so she has a chance to tell her mother goodbye. A brilliant combination of humor-kindness-sarcasm-pot-music (Ice Cube)-and bathtime cause the death bird to give in and grant Tuesday's wish. Of course, such a decision means death is taking a break, thereby wreaking havoc around the globe.

Mother Zora (Julia Louis-Dreyfus, "Seinfeld", "Veep", 11 Emmys and counting) returns home and reacts quite aggressively ... actually violently ... to the bird that's there to take her daughter. Zora may be keeping secrets from her daughter, but it's with the best intentions to protect her. And protecting her is exactly what she thinks she's doing when she goes to war with the macaw (brilliantly voiced by Arinze Kene). This mother is just not willing to let her beloved daughter go without a fight ... a fight that shifts the tone of the movie, as well as mom's place in it.

It seems negotiations are ongoing between the parties, even though we all know there is no cheating death - at least not in the long run (some runs are longer than others). Yet, most of us spend each day warding off the idea or simply assuming it's not our time. We also know most parents will go to any length to protect their kids and ease any pain they might have. A significant portion of this story is about dealing with grief. Julia Louis-Dreyfus mostly replaces her usual goofy grin with a look of stress and anguish. Facing reality, she's despondent right up until she is enlightened. The filmmaker inserts an insightful blip near the end about God/the afterlife, and the best message is that grief must be dealt with. At some point, we must 'get on with it' and understand that the legacy of loved ones is carried on in our memories. Daina Oniunas-Pusic shows us some real creativity on a familiar topic, and it's pretty impressive.

Opens in theaters on June 14, 2024.

Greetings again from the darkness. There is always space (and a need) for silly or mindless entertainment. But even that genre requires some skill and refinement, so as not to stoop to imbecilic. The Farelly brothers, the Monty Python troupe, Abrams & Zucker, and Mel Brooks all understood this when crafting a movie. Writer-director Castille Landon has been making movies for a while now, and it appears this concept has eluded her despite assembling her most well-known cast.

Camp Pinnacle was established in 1928 (according to the sign) and there is a group of young girls we see maneuvering through a traumatic first-time event for one of them who is not quite 11 years old. An older girl offers some very personal assistance, and a lifelong friendship begins among the three outcasts in Sassafras Cabin. Year after year, the girls return for a few weeks of camp shenanigans and bonding. We then jump ahead for the Camp's 50-year reunion (we assume this is 50-year reunion of the year these girls started attending and not 50 years for the camp itself, which would have put this at 1978).

Self-help guru (we don't use that word) Ginny Moon (Kathy Bates, Oscar winner MISERY, 1990) is the driving force behind organizing the reunion, and especially in getting her grown-up friends to attend. Mary (multi-Emmy winning Alfre Woodard) is a nurse, while Nora (Diane Keaton, Oscar winner ANNIE HALL, 1977) is a workaholic business owner. Personalities are quickly established. Ginny Moon has never married and rides around in a pink tour bus with her catchphrase, "Get Your S*** Together" plastered on the side. Mary is a talented nurse who is questioning her long marriage to her self-centered husband (Tom Wright). Nora is the type who uses her work as an excuse to avoid living a life.

Supporting roles are covered by Beverly D'Angelo, Betsy Sodaro, Josh Peck, Eugene Levy (as a love interest!), Dennis Haysbert, and Nicole Richie. There is really no reason to go in depth into what happens in this film. It seems obvious the filmmaker is hoping to capitalize on the success of recent films like BOOK CLUB and 80 FOR BRADY. The potential was certainly here, but the final product is simply insulting, belittling, and demeaning to women. Food fights and pillow fights may be camp staples, but inane dialogue and unbelievable situations and reactions make for painful viewing. Ms. Keaton, in particular, seems to mail in her performance with an overdose of her patented head shakes and sighs (and wardrobe). Ms. Bates and Ms. Woodard outclass her in every scene, with Ms. Woodard delivering the film's single best scene in her confrontation with her husband.

For years we have heard that the acting opportunities for older women are limited, and clearly there is an audience for stories about mature women. What's equally obvious is that these women deserve significantly better stories and better roles. Exploring the concept of finding one's self in life's later stages is a topic worth pursuing ... it's simply a concept that deserves better than this.

Opening May 31, 2024.

Greetings again from the darkness. It's fairly common for a film to open with a dramatic scene and then take us back for a period of time to show how the story arrived at this point. Of course, the other logical option would be to have that scene serve as the beginning of the story. What happens with this film is rare: The storytelling goes backwards AND forwards. We learn how the characters got to this point and we learn what happens after this moment. The person to thank for this is writer-director Viggo Mortensen. Highly regarded as an actor for years, Mortensen had one previous filmmaking project, FALLING (2020), which made the festival rounds.

Starring as Holger Olsen, Mortensen is a man trying to live a quiet life on the frontier in the 1860's. He spots lovely Vivienne (Vicky Krieps, excellent in PHANTOM THREAD, 2017) having a spat with her well off boyfriend, and very quickly she's drawn to Holger's flirtations. Her making the choice to leave a comfortable upper-crust life for a more challenging one with Holger, gives us a glimpse into the inner-strength and determination of this woman. Soon she is turning his dusty cabin into a home by cleaning, planting a garden, and adding touches of convenience ... such as they were 160+ years ago. And speaking of decisions, Holger makes a life-changing one when he decides to enlist to go fight in the Civil War. It's a decision she tries hard to talk him out of.

While he is soldiering, we learn much about the little town where Vivienne is stuck. A corrupt Mayor Schiller (the always smarmy Danny Huston) is in cahoots with his equally sleazy business partner Alfred Jeffries (Garret Dillahunt, NO COUNTRY FOR OLD MEN, 2007), as they work their master plan of getting rich at the expense of others. Alfred tries his best to control his combustible son, Weston (Solly McLeod), who takes his entitlement to sometimes violent extremes against those weaker than him. Weston takes a real interest in Vivienne, and despite her best efforts, things go wrong between them.

A few years pass and Holger returns. In a brilliant bit of acting and surgical dialogue, Vivienne asks him, "How was your war?" The two work to re-establish their relationship in the wake of the changes that have occurred. When that opening scene comes back around, Holger sets off on a journey for personal revenge. In addition to the two timelines mentioned above, we also get flashbacks (sometimes via dreams) of Vivienne's childhood. By this time, we understand Vivienne and Holger very well. 'Still waters run deep' is a passage that came to mind while watching, and it should also be noted that filmmaker Mortensen and cinematographer Marcel Zyskind (DALILAND, 2022 and a frequent collaborator with Michael Winterbottom) include some wonderful shots of waterfalls, rivers, mountains, and vistas ... the breathtaking shots we appreciate from the western genre. The film deliberately moves slowly (as the times dictate) and captures the hardships of living off the land, and the struggles of separation, yet it also addresses one man's vengeance as necessary before he can move on. We find ourselves not surprised that Viggo Mortensen the talented and intelligent actor is also Viggo Mortensen the talented and intelligent filmmaker.

In theaters May 31, 2024.

Greetings again from the darkness. Casual fans of The Beach Boys music are attracted to the light-hearted and fun songs that are always good for a burst of feel-good energy. More attuned fans remain in awe of the intricate vocal harmonies ... rarely matched by other bands. Co-directors Frank Marshall and Thom Zimney have successfully presented the story of The Beach Boys without either over-the-top gushing or digging too deeply into the dirt.

By going all the way back to the childhood of the Wilson brothers, the film details how singing in the backseat of the family car began the transformation into a supergroup that changed pop music forever. Oldest brother Brian has always been accepted as the musical 'genius', while Carl was inspired to pick up a guitar after hearing Chuck Berry, and rebel Dennis played the drums almost out of necessity. Cousin Mike Love wrote many of the lyrics for Brian's music and became the band's lead singer, while good friend (and Brian's football teammate) Al Jardine's exceptional voice was a natural fit. We learn it was Al's mother who fronted the boys $300 to rent instruments after hearing them sing together (smart lady). We also learn that Murry Wilson (the boys' father) sold his business to manage the group towards gigs and their first record deal.

It's really that history - the foundation of the band - that is the most interesting aspect of the film. For the most part, it tracks chronologically through the album releases and tours, while emphasizing the importance of the band bringing beach culture to the masses. Hearing about their musical influences: The Four Freshman, Dick Dale, The Ventures, and Phil Spector, allows us to understand exactly how things progressed so quickly.

The filmmakers (with impressive music doc and music video backgrounds) mention but opt not to dwell on the darker aspects of the band's history. The commercial failure of "Pet Sounds" (now considered a masterpiece) played a significant role in Brian's emotional fade. Father Murry's inexplicable decision to sell off the band's publishing rights prevented any of them from reaching the financial status they deserved. As was commonplace for the time, drugs were detrimental to individual band members as well as the band's productivity. Deciding to pull out of the Monterrey Pop Festival (no real explanation given) resulted in the band becoming irrelevant for a few years. Mike Love sued the band for songwriting credits, creating a huge rift. These points, along with Dennis' happenstance involvement with Charles Manson, are all mentioned yet given no real depth ... which is fine for a documentary working so hard to stay positive.

As a conclusion, Capital Records' release of the double-album "Endless Summer" injected new life and popularity into the band (getting them past that earlier 'rivalry' with The Beatles), and the finale is a shot of a recent reunion with surviving band members Brian Wilson, Mike Love, Al Jardine, and Bruce Johnston at Paradise Cove ... with no insight into what was discussed.

The film begins streaming on DISNEY+ on May 24, 2024.

Greetings again from the darkness. My goal is to give every movie a fair shake, and to seek out the best elements even when a film disappoints. I don't recall a time when this goal has been more difficult to achieve than after watching this latest from director Brad Peyton (San Andreas, 2015) and co-writers Leo Sardarian ("StartUp"), Aron Eli Coleite ("Locke & Key").

Jennifer Lopez stars as Atlas Shepherd, a brilliant government analyst and expert on AI, especially on Harlan (Simu Liu, BARBIE), ominously deemed the world's first AI terrorist. We know Atlas is smart because she has a chess winning streak against the computer and she wears black frame eyeglasses. After an opening which features Earth in peril, we flash forward 28 years, where it's evolved into "good AI" versus "evil AI". Don't worry, Atlas is on the side of good, despite her constantly frazzled state (with perfect hair) and the personal (emotional) baggage she carries with her.

After years of searching, Atlas discovers the location for Harlan, and General Boothe (Mark Strong, character actor extraordinaire) forms a team led by Colonel Elias Banks (Sterling K Brown, AMERICAN FICTION, 2023) to capture Harlan so his CPU can be studied. Of course, the mission doesn't go as planned and by the end, I was wondering which racked up the most points: explosions or Ms. Lopez's cringy acting moments. Terrible punchlines regarding a running coffee gag placed third in the competition. Since I admittedly search for positives in every movie, let's go with Simu Liu's unusual blue-eyed effect, the tight pants on Agent Atlas, and giant robotics that look like the one that went rogue in ROBOCOP (37 years ago). Apologies, but that's the best I can do for this one, other than to say we have an early Razzie frontrunner.

On Netflix beginning May 24, 2024.

Greetings again from the darkness. Today's CGI and special effects can be stunning and awe-inspiring, and clearly movie audiences have come to embrace this approach as evidenced by the success of Star Wars and superhero franchises, as well as plenty of other blockbusters over the past couple of decades. In contrast, stuntman-turned-director David Leitch (BULLET TRAIN, 2022, ATOMIC BLONDE, 2017, JOHN WICK, 2015) and screenwriter Drew Pearce (MISSION: IMPOSSIBLE - ROGUE NATION, 2015) have delivered a throwback by adapting the TV series from creator Glen A Larson, which ran for 112 episodes in the 1980's.

Two key players from last year's "Barbenheimer" box office rivalry, Ryan Gosling and Emily Blunt, are the featured players here as Colt Seavers and Jody Moreno. Colt is a renowned stuntman and Jody is a camera operator and aspiring film director. When we first see them on set, Colt is preparing for a dangerous stunt as a double for mega-action film star Tom Ryder (Aaron Taylor-Johnson, BULLET TRAIN). Between shots, Colt and Jody are expounding on their previous flirtations and making plans for the future. The stunt goes wrong. Colt is rushed to the hospital and the film flashes forward 18 months to find Colt working a menial non-stuntman job, and Jody directing her first film, METALSTORM, a sci-fi action thriller.

Jody's directorial debut also stars Tom Ryder and is produced by fast-talking producer Gail Meyer (Hannah Waddingham, "Ted Lasso"). Gail draws Colt out of retirement and back to the set under false pretenses. Of course, sparks fly again between Colt and Jody, but Gail's ulterior motive is for Colt to track down the missing Tom Ryder. So, let's stop here and chat about this movie for a moment. First of all, it's rare action-comedy-romance-mystery film. It also offers a peek at the structured chaos of a movie set, as well as the diverse personalities of actors, crew, and producers. Possibly what it does best is shine a spotlight on the stunt crew, noted here as the unsung heroes. There is even a crack about there not being an Oscar for stunt work (a topic that's been debated and discussed at the Academy).

The film certainly benefits from the charisma and talent of Gosling and Blunt, both of whom were nominated for Oscars last year. And Leitch's film also deserves credit for being an ode to action movies and a love letter to stunt performers. But let's face it ... the story here is pretty thin and seems to exist only to provide a reason for the stream of ideas designed to take advantage of Gosling and Blunt and a few other gags. Drugs that cause unicorn sightings, a running joke about a cup of coffee, a "Miami Vice" jacket, a dog that responds only to French commands, and some 'on the nose' music - and familiar sound effects from "The Six Million Dollar Man" all add to the nostalgic feel (along with a Wilhelm scream). And while I join many movie-goers in sharing Colt's desire to "beat the ____ out of Aaron Taylor-Johnson's character", I'll admit to finding some joy in Tom Ryder riffing on Matthew McConaughey.

The extended version I saw featured an additional 20 minutes to the theatrical version, and it appears most of it was for one particular fight scene being filmed in Jody's movie. Supporting work seemed a bit sparse for the talented Stephanis Hsu (EVERYTHING EVERYWHERE ALL AT ONCE, 2022), Winston Duke (BLACK PANTHER, 2018), and Teresa Palmer (BERLIN SYNDROME, 2017). What wasn't sparse was the number of adrenaline-pumping stunts and explosions. Those segments were big fun and a welcome answer to the recent barrage of CGI/Special Effects blockbusters. This one has a throwback feel that bathes us in nostalgia at times, recalling the wild films of Burt Reynolds and Indiana Jones. There is even a late scene featuring the two lead actors (Lee Majors, Heather Thomas) of the old TV series. Whatever you do, stick around for the closing credits to get a look at the actual process behind the stunts included in the film ... educational and full of wow factor.

Now showing in theaters and available on Digital.

Greetings again from the darkness. No dialogue is spoken for the first two minutes, which is significant when you note this is a 16-minute Short Film. That first couple of minutes features Mrs. Kelly (Brid Ni Neachtain, THE BANSHEES OF INISHERIN, 2022) diligently going about her business as housekeeper and assistant for a rural Irish priest. As she polishes shoes, vacuums the church, and scrubs the tub, it's clear Mrs. Kelly is a woman of faith and structure.

Though we are a bit surprised to learn Mrs. Kelly also runs a dance school, it's no shock when she initially blocks a new student from entering the class since the proper paperwork hasn't been completed. "We'll have no Dallas, Texas here", Mrs. Kelly sternly informs the young girl as she wipes away the glitter make-up. This new student is Clodagh (Katelyn Rose Downey, THE NUN II, 2023), and she unwittingly awakens something in both Mrs. Kelly and her fiddle player, Mr. Hickey (Jim Kitson).

This is the fourth short film from writer-director Portia A Buckley, and the script is co-written by Michael Lindley (TWIST, 2021). The film expertly sets up the internal conflict that plays out as commitment and dedication versus inspiration and passion. This little gem is making the festival rounds, including Tribeca in June 2004.

Greetings again from the darkness. My preferred method of movie watching means no trailer to set the stage prior to the lights dimming. Sometimes this leaves my assumptions a bit off-track, which can result in either a pleasant surprise or a bit of disappointment. Acknowledging that The Blue Angels seem tailor-made for an IMAX presentation, I was prepared for a combination of cool photography and a history lesson. The surprise here was that filmmaker Paul Crowder (probably best known as the Editor for Ron Howard's 2017 Beatles documentary) chose to only dabble in the history and instead focus on a single performance season of one team.

Without a doubt, the camera work is spectacular and takes full advantage of the IMAX screen. Some of the shots are breathtaking, and yet the awe generated by the actual technical maneuvers performed (regularly) by the team somehow eclipses what would otherwise be more than enough to keep us engaged. Crowder takes us into the prep room as the new team members study techniques that if performed incorrectly, could result in death. Six Navy and one Marine pilot make up each team, and these pilots enter as well-trained and then take it up a notch.

We do learn The Blue Angels were established in 1946 by Chief of Naval Operations, Admiral Chester Nimitz, a Commander of Allied forces during WWII. His original mission for the team remains in place today. The Blue Angels are really a marketing device with a dual purpose: to convince taxpayers that their money is well spent and to motivate youngsters to pursue a career as a Navy pilot. Yes, it's every bit the recruiting tool of the TOP GUN movies, as The Blue Angels perform 60 aerial shows for hundreds of thousands of spectators around the country each year. If you are curious, this year's budget for The Blue Angels is $36 million straight from the Department of Defense by way of tax dollars. You might ask if that's a legitimate use of defense funds, but this movie is not going to answer that or even address it.

The behind-the-scenes and up-close analysis of the pilots and the program is quite impressive, and a hierarchy exists, as one would expect in the military. They are now flying Boeing F/A 18E/F Super Hornets, and the precision involved with their aerial maneuvers is mind-boggling. I won't give it away other than to say inches are involved at 400 mph, making these visuals look like something out of a video game, rather than the actual sky with actual jets and actual pilots. While we aren't allowed much insight into the maintenance of the jets, Crowder does emphasize how many are included on the total team. We learn about the 28 deaths that have occurred in the program over the years, and the final act revolves around the selection of the new team (including the first woman, Lt. Amanda Lee) and the transition of leadership. Like the flying, it's all very precise. One thing becomes quite clear, they are all ... "happy to be here."

THE BLUE ANGELS is playing for one week at IMAX theaters through May 23, 2024, and streaming on Prime Video beginning May 23.

Greetings again from the darkness. You'd be forgiven, and I ask for that same forgiveness, if a cringey look of pain comes across the face every time a new Rom-Com is announced. Most in this genre are filled with lame dialogue and absurd love connections. Cautious hope springs when writer-director Michael Showalter (THE BIG SICK, 2017) and co-writer Jennifer Westfeldt (FRIENDS WITH KIDS, 2017) adapt the 2017 novel by Robinne Lee. Mr. Showalter, especially, has proven his approach leans into sensitivity, rather than over-cooked romanticism.

Oscar winner Anne Hathaway stars as Solene, a recently divorced mother celebrating her 40th birthday. She owns an art gallery in ultra-hip Silver Lake, and has a close relationship with her teenage daughter Izzy (Ella Rubin). When her ex (Reid Scott) breaks yet another commitment, Solene agrees to take Solene and her friends to the Coachella Music Festival. The meet-cute occurs as Solene searches for a bathroom and ends up meeting Hayes Campbell (Nicholas Galitzine), a 24-year-old pop star who performs with a popular boy band called August Moon.

The two make goo-goo eyes at each other, and after Hayes sings a song just for Solene, a whirlwind romance begins ... against all the good judgment she can muster. Great sandwiches, art purchases, and a pricey watch left behind all play a role in the development of this relationship. Soon, Solene is dropping Izzy at Summer Camp and hopping a private jet to join Hayes (a Harry Styles stand-in) for the European leg of August Moon's tour. It's all a bit predictable and expected, however Hathaway and Galitzine are strong enough to prevent the film from sinking into muck.

As you would guess, fame and celebrity are not an easy adjustment for a grounded single mom, no matter how much she enjoys the May-December benefits. Contrary to what we hear these days, going viral is not for everyone, and the complications are almost too much for Solene. To his credit, Hayes is not a typical twenty-something icon, and he works to figure out a relationship infinitely more complex than the nightly groupies that surround him and his bandmates.

Many will dwell on the age discrepancy between Solene and Hayes, but what elevates this one is the reality of the choices faced by parents - their own fun versus what's best for their children. Being called Yoko 2.0 is a brilliant take by the writer, but it's a painful moment for an good-hearted mom. Of course, some of the dialogue here does qualify as rom-com drivel, and the him vs her lipstick battles are distracting, but for the most part, the actors and Showalter keep us interested in the human aspects of a tangled web.

Begins streaming on Prime Video on May 2, 2024.

Greetings again from the darkness. Director Luca Guadagnino continues to prove that he excels at making gorgeous-looking movies featuring gorgeous-looking actors. Previous proof includes SUSPIRIA (2018), CALL ME BY YOUR NAME (2017), A BIGGER SPLASH (2015), and now this latest, with a screenplay by Justin Kuritzkes. If you are looking for a film that oozes flashy style and sex appeal, you've chosen the right movie. You can even pretend it's a tennis movie, though you're not likely to fool anyone.

Zendaya (DUNE: PART 2, 2024, DUNE, 2021, "Euphoria") stars as Tashi, a rising young tennis protégé when we meet her in flashback. Doubles partners and best friends, Art Donaldson (Mike Faist, WEST SIDE STORY, 2021) and Patrick Zweig (Josh O'Connor, EMMA., 2020) are immediately smitten by Tashi's stunning looks and equally stunning tennis talent. She toys with the boys as they strive for her attention ... leading to a hilarious and surprisingly escalated encounter in a hotel room. It's the first, but not the last time a sexual encounter plays a part with these three. It's likely the Intimacy Coordinator was on set most every day of shooting.

As best I can tell, the story covers about a 13-year period from juniors to the professional level, although the tennis balls bounce on the court less frequently than the time period bounces around as the stories unfold. And actually, the tennis serves as a means to an end. The real drama and competition comes from the relationships: Art and Patrick, Patrick and Tashi, Tashi and Art, and Tashi and Art and Patrick. Yes, tennis is an integral part of this since it forged the bonds - heck, it's sometimes difficult to discern tennis talk from pillow talk - yet it's the personal dramas that make the film what it is.

All three leads are excellent, yet somehow Zendaya's performance stands out ... even beyond Josh O'Connor who delivers his best performance to date. Her lithe physique passes for a tennis player despite the lack of muscle tone that would accompany an athlete, yet her movements work. The players move on the court and make the strokes, while CGI handles the ball movements at an accelerated pace (reminding us this isn't really a movie about tennis). Initially, the club dance beat of the score from Oscar winners Trent Reznor and Atticus Ross seems an odd choice, yet it becomes the perfect fit as things progress. Guadagnino re-teams with cinematographer Sayombhu Mukdeeprom to create some fantastic and creative shots, even making the tennis exciting. Editor Marco Costa deserves a shoutout as well.

With Hollywood's overdose of caution these days when it comes to sexuality, the energy here feels a bit naughty at times. The shifting power dynamics of this trio reminds of the "Seinfeld" episode where characters discuss having "hand" in a relationship. Of course, Guadagnino takes this one much farther, although it's every bit as entertaining. And that's the best way to think of this - a big ol' movie that lets us enjoy and even laugh a bit. It's a wild ride and it's gorgeous.

Opens in theaters on April 26, 2024.

Greetings again from the darkness. It's billed as a comedy, though for many, the funniest part may be in trying to remember the film's title. Deadpan reaches a new level in this debut feature film from actor-writer-director-producer-editor Joanna Arnow. It's tough to recall any film that more belongs to one person. Indie filmmaker Miranda July's work is the closest I can think of, yet in comparison, her work comes closer to mainstream Spielberg than it does to this one from Ms. Arnow. None of that is meant to be harsh, it's simply a challenge to describe this film to anyone who hasn't seen it ... or even to someone who has.

The film is divided into five chapters, each named for the key "other" characters (not named Ann). Arnow stars as Ann, and the opening scene finds her in bed next to the much older Allen (Scott Cohen). It's here we discover she's age 33 and has been Allen's submissive since age 24. In fact, two of the chapters are named "Allen", and Ann even suggests they were "destined to be together". She makes this proclamation after a couple of attempts to try a modern approach to dating, each creating complications for her. These ventures are presented as vignettes and include a musician, a sleepover with her sister, a role-play costumer, dating app (mis) matches, and a film buff with a love of pickled herring. To cap it off, these interactions provide a certain symmetry with Ann's soulless work at a generic corporation. Imagine being rewarded with a one-year acknowledgement after you've worked there more than three years. You are getting a sense of Ann's personality ... somewhat less than memorable.

Ann is slumpy and frumpy, and her deadpan delivery masks a sharp wit and a spark that rarely comes through to others. As she begins the foundation of a more traditional relationship with Chris (Babak Tafti, "Billions"), her path to self-discovery seems to open up ... although that path may or may not surprise you by this point. Some of the vignettes are shockingly brief, and many feature Ann in an exposed (literally) state of vulnerability. As the vignettes zip by, watching this isn't dissimilar to scrolling through a feed. Joanna Arnow's real life parents (David Arnow, Barbara Weiserbs) play her parents here, and serve up the only raised voices in the film as they sing an animated version of "Solidarity". And no, Ann's relationship with her parents is not much different than the rest of her life. At times, this 'comedy' feels like a beatdown, but leaves us with one key life lesson: pay attention the first time you ask, "What college did you go to?".

Opens April 26, 2024.

Greetings again from the darkness. Documentaries on bands, singers, and musicians have become very popular over the last few years, and although filmmaker Gotham Chopra has focused mostly on sports in his previous work, he dives right in with a four-part HULU series covering the forty years of stadium rockers Bon Jovi and their electric lead singer Jon Bon Jovi (nee John Bongiovi). This is not the first documentary on the band, so Chopra takes an unconventional approach. The series jumps around (and weaves back and forth) through the years, with the band's 40-year anniversary tour acting somewhat as a structuring device, along with Jon Bon Jovi's struggle with his voice.

Contrasting with a traditional chronological trip through the band's history, this approach requires a bit more concentration from the viewer. It also makes all four episodes 'must watch' TV in order to get the full backstory along with Jon Bon Jovi's (JBJ) personal journey. It is recommended that those interested commit to all four episodes, as the clips, photos, and interviews are mostly previously unseen. To assist with the overview, this review will break down each of the episodes separately.

Episode 1: New Jersey vs Everybody The only way this could begin is by reintroducing the 1980's hair band with clips of their live shows and videos. We then jump to 2022 as JBJ explains the band has rented the now unused Meadowlands Arena for their rehearsals for a mini-tour (15 shows) to prepare for their 40th anniversary celebration. He also discusses his voice struggles and the surgery for his vocal cords. Chopra takes us back to JBJ's childhood and high school, and we learn about his first couple of bands, along with the crucial role played by (1978) The Stone Pony and Southside Johnny and, of course, Bruce Springsteen in Asbury Park. Four additional key elements discussed here are JBJ commenting on his commitment to the craft of songwriting, the start of a beautiful affiliation with sound engineer Obie O'Brien, the partnership with Richie Sambora - a perfect blend of voice and guitar expertise, and the opportune gap created by the breakup of mega-band Van Halen. We hear very little actual music.

Episode 2: Nowhere to Everywhere The first (of 15) shows occurs in Omaha, and we also get the first bit of the modern-day Richie Sambora interview. The band reminisces about the early days on the road, and the make-or-break nature of their third album. Of course, they need not have worried as "Slippery When Wet" sold millions and established the band as king of the rock anthem with huge singalong hits, "You Give Love a Bad Name" and "Livin' on a Prayer". The band also hit at the peak of MTV, and the combination of hair, catchy tunes, and JBJ's blinding smile drove their album and ticket sales higher and higher. In this episode, we learn about the hiring of agent Doc McGhee, the formation of the Make a Difference Foundation, and playing Russia on the global tour. There are flash cuts between different versions of "Livin' on a Prayer", and it's the first we hear of issues with band cohesion.

Episode 3: Brothers in Arms This episode kicks off with the 15th and final stop of the tour in Nashville. As he comes off stage, his wife tells him, "It wasn't great". Being a perfectionist, JBJ takes it to heart and at that point decides he must move forward with the vocal cord surgery. It's a huge risk that could end his career ... or possibly allow it to move forward. We get the flashback to JBJ and Dorothea eloping to Vegas, as well as various versions of the band breaking up. The family nature of the band is mentioned frequently, and it conflicts with the "I'll show you" battle of 1990 solo albums by JBJ and Richie Sambora. There is some mention of JBJ's acting career and desire to write soundtracks, but he never loses sight of what is clear to us: he was born to be a band leader. Much more than a pretty face and booming voice, JBJ had visions for the band and was always strategizing about the next few steps. We can't help but chuckle as he recalls the hoopla over his haircut, and his reflections on what Elvis went through. A standout point in this segment is the huge international following the band developed as 'grunge' took over the rock scene in the U. S. Sadly, the effects of drugs on the band are detailed here as well ... including Richie heading to rehab.

Episode 4: Legendary A fitting final episode takes the split with Richie Sambora head on. His replacement, Phil X, receives plenty of kudos for his stepping in on short notice as the band went on tour. The stress on JBJ, and his desire to carry even more of the burden, is evident. To his credit (albeit only partial credit), Richie's interview includes an apology to the fans and "the guys". A reunion occurs at the 2018 Rock and Roll Hall of Fame induction, but it ends there. It's also in this episode where JBJ discusses his fundraising for Al Gore's Presidential campaign, which served as his initial foray into politics - leading to more political activism and a heightened social consciousness.

The band's albums and hits and tours are mentioned throughout the four episodes, but fans should know that this is an informative documentary, not a musical one. Most of the insight here comes from Jon Bon Jovi himself, as well as bits and pieces from the Richie Sambora interview. Band members David Bryan (keyboard), Tico Turner (drums), Hugh McDonald (bass), John Shanks and Phil X (guitarists), and Everett Bradley (percussion and vocals) are given time to comment, as is Bruce Springsteen. Mostly what we are left with is the high regard they each had for JBJ as a leader. The bouncing around of years and eras may be a bit challenging for some viewers, yet Bon Jovi's music is universal and it becomes quite clear that Jon Bon Jovi cares very much for his legacy ... a legacy entrenched through his 40 years of art.

The 4-episode docuseries premieres all episodes April 26, 2024 on Hulu.

Greetings again from the darkness. Cinema trends often mirror societal trends (Superheroes being the exception), so it's not surprising that so many movies over the past few years have dealt with dementia and Alzheimer's in some manner. In fact, it was just 3 months ago that I watched Maite Alberdi's Oscar nominated documentary, THE ETERNAL MEMORY, and it was only three years ago that Florian Zeller's THE FATHER won two Oscars. As the population ages, physical and mental limitations become more prevalent, and it's the cognitive difficulties that are causing the most challenges for caregivers and medical professionals.

Max Lugavere and Chris Newhard co-direct this documentary that focuses on Max's mother, Kathy, who is displaying all the symptoms of dementia. The film opens by showing home movies of Max as a kid, and Kathy as an energetic, fun-loving mom. When it cuts to today, we find Kathy's once lively, twinkling blue eyes are now hollow and lifeless at age 63. She's chronically tired and her phone conversation with son Max shows her memory is slipping. Max co-authored the book, "Genius Food" with Paul Grewel, and he meets with his Los Angeles publicist to inform her that he's moving back to New York City to spend time with his mother.

What sets this film's approach apart from some others that broach the topic is that Max takes us on the journey with his mom as they explore possible options to improve her situation. It's explained that she's on a blend of Parkinson's drugs and Alzheimer's drugs, as that has been determined to be the best treatment for her Lewy Body Dementia - a cross between the two diseases. We are there as she fights with the doctor over the brain scan, and we sit in on some of the discussions with specialists in the field. Max tries to answer the question, "Where did this come from?", as there is apparently no genetic trail or were no early signs (other than a propensity to collect trinkets).

It's at this point where knowing Max's background may affect one's perspective on the documentary. Knowing his public support for some trendy diets and the controversy such diets have caused, moves us away from the caring son and towards self-promotion. While it's difficult to disagree with the idea that diet and fitness are likely associated with cognitive health, he seems to quickly believe any study that agrees with his personal beliefs. It is interesting to hear the link between post-operative patients and Alzheimer's, but the 'adopt a dog' segment seemed a bit of a stretch.

Many of us have experienced the impact when a loved one begins the slow decline from this silent disease. The idea of fixing the body first so the brain can recover is somewhat logical, but whether it's red meat, vegan, kimchi, or something else ... nothing has yet provided us with the glimmer of hope needed to reduce or slow the effects. Surely, some will benefit from Max taking the camera on the doctor visits and discussions with mom, but the self-promotion is a bit tougher to accept. Re-tracing the NYC locations shown in those home movies makes for a nice final touch.

Opening in NYC theaters on April 19, 2024 and expanding at later dates.

Greetings again from the darkness. As an avid documentary fan, I typically don't have much patience for docs that fawn over their subject. The exception to that is this one from filmmaker Taylor Taglianetti, which plays like a family home video, yet the man in focus is so engaging that we hang on his every word. Why is that? Well, at age 100, Dr. Howard Tucker was certified by the Guiness Book of World Records as "the oldest practicing doctor".

We first see the southpaw doctor throw out the ceremonial first pitch at a game for his hometown Cleveland Guardians (MLB), and though his throws might have been truer when he was younger, his inner-strength is on full display as he walks off the field and declines the use of a wheelchair. This is a man who has made his own way for a century, and isn't about to take a free ride now.

Dr. Tucker has been a neurologist for 75 years, and if you are curious as to the kind of man he is, you should know that he became a lawyer at age 67 just to say he accomplished it. He's also the guy who broke his neck snow skiing - at age 87. His grandson, Austin Tucker, is a producer on the film and acts as our guide in getting to know this medical marvel. We also meet the charming "Grandma Sue", Dr. Tucker's wife of 65 years ... herself almost 90 years old, and still active as a Psychoanalyst.

St Vincent Charity Hospital is where Dr. Tucker teaches residents and conducts research. Well, he did right up until the day the hospital shut down. So, what was Dr. Tucker's response? Of course, he tells everyone he's looking for a job! What else would a centenarian do in this situation? When Dr. Tucker flunks his driving test, he's mighty disappointed that he can no longer zip around in his classic cherry red MG, and must now be dependent upon Uber.

Dr. Tucker briefly discusses the Jewish bias and antisemitism he has faced over the years, though he refused to be held back. He visits his 96-year-old high school friend who is a car collector, and Dr. Tucker even shows off his own collection ... hundreds of the trademark bow ties that he's worn over the years. We see some of the video congratulations he received from celebrities on his 100th birthday, a mark he doesn't seem overly interested in. We understand why Dr. Tucker names Satchel Paige as one of his role models, as they are both men who persevered and accomplished beyond what others said was possible. Two distinct pieces of wisdom are passed along through Taglianetti's film. "Grandma Sue" tells us "denial" is a useful part of our thinking, while Dr. Tucker reminds us that retirement is the enemy of longevity. Perhaps now you understand why I was so taken with this "home movie".

The film's theatrical rollout begins April 7, 2024.

Greetings again from the darkness. When Greg Townsend states, 'hard work overcomes hard luck', it's as much a reminder to himself as it is a motivation for the boys he's dealing with. The film from writer-director RJ Daniel Hanna (MISS VIRGINIA, 2019) and co-writer Christian Sander is inspired by a true story, and comfortably fits into the 'inspirational sports story' category, perhaps most similar to MCFARLAND USA (2015) starring Kevin Costner.

Matthew Modine plays Greg Townsend, a social worker at Ridge View Academy. It's a correctional facility for troubled youths, and Greg is a teacher and mentor. When the state threatens to revoke Ridge View's charter, Greg decides to take the four boys from his welding class on a 762-mile bike ride to the Grand Canyon. Previously termed Tour de Greg by his co-workers (or Tour de Canyon by Greg), his belief is that the trip will teach life lessons and cooperation to the boys. Without his realizing, it's also a trip to help Greg himself deal with an ailing (and estranged) father in hospice, an imprisoned brother, and some health issues of his own. Just like in real life, everyone has stuff going on.

Greg encourages (begs) the local bike shop owner, Speedy (Sean Astin), to sponsor his rag-tag team of misfits. Child psychologist and Ridge View co-worker Haddie (Cynthia McWilliams) agrees to drive the SAG wagon (supplies and gear). And after welding the frames of their own bikes ... and fighting with each other ... the boys reluctantly agree to go on the trip. The boys are Smink (Jackson Kelly), Rice (Zack T Robbins), Atencia (Damien Diaz), and Woolbright (Jahking Guillory), the latter being the most troubled of the group.

The trip goes about as you'd expect - with literal and emotional ups and downs. In fact, the movie itself is easily predictable and formulaic for the genre. However, it's an inspirational and uplifting story and we find ourselves rooting for the boys to pull together as a team, and for Greg to deal with his own demons while teaching the boys the ultimate life lesson: keep going. The best movie focused on bike riding is probably the classic BREAKING AWAY (1979), and this one from filmmaker Hanna could be called, coming of age on wheels.

Opens in theaters on April 19, 2024.

Greetings again from the darkness. This is based on the true story of Irena Gut Opdyke who, during WWII, vowed "If I could save a life, I would." Directed by Louise Archambault, it has been adapted for the screen by Dan Gordon, who was the playwright for the hit Broadway play. Cinema has been utilized many times over the years to shine a light on so many who acted altruistically in protecting Jews from the Nazis. Some of these heroes saved one life, while others saved hundreds. The courage of these folks deserves to be remembered.

The film begins in 1939 as Germany invades Warsaw. A bomb drops on the hospital where Irena (Sophie Nelisse) is working. She is Polish, not Jewish, so she is sent to work in a munitions factory. Her features get her recognized by senior German officer Rugmer (Dougray Scott, MY WEEK WITH MARILYN, 2011) who reassigns her to a supervisory role over Jews working in a hotel laundry. When Rugmer reassigns her again, this time to his personal villa as housekeeper, she learns the Jews in the laundry will be sent to a concentration camp.

We are fascinated by Irena's work to rescue and then hide these twelve people ... and she does so literally under the feet of Rugmer. Obviously, this puts herself and the hidden Jews in danger, but also Rugmer, who would surely be shot were they discovered in his home. Humor is scarce here. In fact, one of the most horrific scenes you'll ever view in a movie occurs. It's a devastating moment and one that won't soon be exorcised from my mind. In a rare display of levity, Irena befriends an elderly servant named Schultz (Andrzej Seweryn, SCHINDLER'S LIST, 1993) whose advice to her is to keep a low profile and 'know nothing'. Fans of the old "Hogan's Heroes" series will appreciate the connection.

The current issue of antisemitism gives this one a bit of contemporary feel, as does the abortion discussion amongst those hiding. At first, we can't help but wonder if this was for dramatic effect, although the answer becomes quite clear over the end credits. Sophie Nelisse was exceptional in THE BOOK THIEF, and she is terrific here as well, playing Irena Gut Opdyke who much later in life was honored with Righteous Among the Nations ... after being imprisoned for supporting Nazis. The epilogue spells out much of what happened, and all of it leaves us with the utmost respect for this quietly courageous woman.

A Fathom Events presentation on April 15 and April 16, 2024.

Greetings again from the darkness. The trailer for this one makes it clear that it's a monster movie in the vein of those Friday late night creature-features I stayed up watching as a kid ... whenever I wasn't grounded from watching TV. Australian filmmaker Kiah Roche-Turner has set this one in Brooklyn and it takes place almost entirely inside an old apartment building (the only exceptions are shots of the ice storm occurring outside).

Roche-Turner may have delivered the latest creature-feature, however, it's not one of those that inspires empathy towards the creature. Twelve-year-old Charlotte (get it??) is on one of her adventures through the air vents of the old building when she captures a little black spider. A pet spider may be uncommon, but keeping secrets from your mother, Heather, (Penelope Mitchell, HELLBOY, 2009) and stepdad, Ethan, (Ryan Corr, THE WATER DIVINER, 2014) is right in line with the actions of an adolescent frustrated by the responsibilities of having to watch her newborn brother while the frazzled adults go about earning a living.

The film's opening shows Charlotte's sweater-knitting grandmother, Helga (Noni Hazelhurst, TRUTH, 2015), battling dementia and calling the exterminator after hearing loud noises in the wall. The story then flashes back four days to when Charlotte first finds the spider. Frank (Jermaine Fowler, RICKY STANICKY, 2024) sprays the building, but even as a pest expert, he doesn't suspect what's about to happen. Relative newcomer Alyla Brown (TRUE SPIRIT, 2023) performs superbly as Charlotte, and is stunned when the pet spider she names Sting mimics her whistle when it's due for another meal of crunchy bugs, which leads to exponential growth.

Although it's not necessary, there are additional elements to the story that occur around the whole rapidly-growing spider. Charlotte's stepdad is the building super and an aspiring comic book artist. In an effort to bond with her, Ethan illustrated the story she created about her biological father, whose deadbeat nature mother Heather has withheld from her. Their neighbors consist of lonely widow Maria (Siliva Colloca, VAN HELSING, 2004) and oddball science geek Erik (Danny Kim, "Born to Spy"), the latter of whom exposes Charlotte's clandestine arachnid pet to the parents. The final player here is frugal and grumpy Gunther (Robyn Nevin, RELIC, 2020), who apparently owns the building and lives with her sister Helga. Ms. Nevin has a face made for horror films (and I mean that as a compliment) and gets to go full out in her one big scene with Ethan.

As you'd expect, some of these folks meet a grisly end, while others are more fortunate. There are enough kills for those that lust for such moments, and enough creepiness and chuckles for everyone else. It does take a while for the arachnid rampage to begin, but there's enough suspense to keep us around. Most will appreciate Brad Shield's cinematography as the camera worms it's way through the claustrophobic hallways and air ducts of the building. The origins of the spider might be missed by those who aren't paying close attention, but it's a brilliant touch. And even though it's a bit of campy horror, the dayglo red used in the fake blood is among the worst you'll likely ever see. The film is quite a bit different from the 1990 cult classic ARACHNOPHOBIA, but the lesson in keeping moth balls on hand could someday come in handy. Over the opening credits, "What a Way to Die" by The Pleasure Seekers acts as a foreshadowing of events, and in keeping with the film's title, there are a couple of "stingers" for those who stick around.

Opening in theaters on April 12, 2024.