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< Back Stutz tackles a heavy topic and concludes with a positive outlook Netflix, 2022 96 min Director/Writer: Jonah Hill Reading Time: 4 minutes Stutz Therapy (Y3TJGI41LL4LT4CK) 00:00 / 04:32 📷 : Used with permission, Netflix Dandelion: Movies and TV shows with heavy subjects Ginger: Thought-provoking movies and TV shows Chris Chaisson 2022-12-28 Documentaries can be groundbreaking, informative, and impactful. They sometimes even serve as the catalyst for change or long overdue accountability. Still, for all the wisdom documentaries impart, they often leave the audience feeling depressed and even a little hopeless. As they frequently revolve around sociopolitical issues, there rarely seems to be a happy ending or, frankly, any ending to the problem. Jonah Hill’s new project, Stutz , bucks this trend in a way. Sitting down with his long-time therapist, Phil Stutz, MD, Hill discusses the mental health techniques that Stutz has taught him over the years for managing grief and confronting his biggest mental hurdles. Hill’s goal in broadcasting these therapy sessions is to help those who may not have the same access to mental health resources that he does. While the subject is equally heavy to many other documentaries, its introspective nature and the coping mechanisms shared leave the audience feeling more optimistic. Similar to the way cinephiles look at a cast to decide whether or not to see a movie, Stutz , as an experimental project, undoubtedly benefits from having Hill at the helm. As a reputable actor appearing in his fair share of blockbusters and cult classics, Hill’s name recognition aids in the film’s mission of reaching as many people as possible. Those who have followed Hill’s career have seen him play both the supporting actor and the front-and-center roles, evolving from mostly comedic relief to a jack of all trades. Nonetheless, Hill lacks the All-American, magazine cover page look that many view as the “ideal” body image. While anyone can suffer from body dysmorphia, Jonah Hill may elicit more sympathy from an audience than say, Jason Momoa. On the other side of the room is Stutz, a 74-year-old native New Yorker with Parkinson’s disease. Despite Jonah Hill’s reputation as a comedic personality, Stutz cracks many of the jokes. His sense of humor and obvious rapport with Hill provides an immediate hook for the audience. Rather than sitting in reserved silence to listen to Hill’s problems, Stutz shares many of his own. Among them are dealing with the unexpected death of a loved one early in his adolescence, the discovery and diagnosis of his Parkinson’s disease, and his mother’s pessimism surrounding men based on her own life experience. Stutz’s contributions add balance, as most people’s perception of therapy is the patient doing all the sharing and the doctor merely being a soundboard. The real draw of Stutz is his ability to provide advice and exercises rather than follow-up questions and theories. As Jonah Hill points out early on, patients find themselves getting more advice from their naïve friends who just want to lend an ear, than their knowledgeable therapists. The methodology behind therapy is listening and not imposing ideas or assuming anything, which helps the patient open up. Stutz admits from the jump that he does not agree with the philosophy: “Do what the [heck] I tell you; do exactly what I tell you and I guarantee you will feel better.” Over the next hour and a half, Stutz runs through his terminology, (i.e. Loss Processing, Radical Acceptance, Graceful Flow) accompanied by drawings to visualize the concepts. Hill then shares his own experiences trying to implement said language and exercises into his own routine. His honesty allows the audience to realize that these exercises show incremental progress rather than immediate cures, an important lesson for those who view the effectiveness of therapy in absolutes. Admitting your fears, flaws and hang-ups from adolescence does not come easy to most people, which is often the biggest hurdle to even seeking help in the first place. Stutz just may provide a nudge to thousands if not millions of people who need it. Seeing a successful celebrity, alongside his anonymous mentor, show a willingness to open up and share helpful tips may spur on others to do the same. Previous Next Sign-up for new reviews, exclusives, deep dives, and more First name Last name Enter your email here I agree to the terms & conditions Sign-up Thanks for joining us!

< Back How Do You Like Your Cinema? What You Said about What You Watch Reba Chaisson 11/16/23 Reading Time: 15 minutes 📸: Licensed from Shutterstock When I conducted interviews with studio executives from HBO and October Films 25 years ago, one of the things they shared with me was that they received tons of scripts and videotapes from aspiring filmmakers, so much that it was impossible to review all the submissions. They suggested then that there is more cinema content available than places to display them. Less than ten years later, television and video technology exploded with the advent of DVDs, streaming channels, and movie websites. Today, we also have smart TVs, smartphones with advanced video functionality, and television on demand. The days of true appointment TV watching (having to be available when our favorite show airs) have long gone by the wayside. Undoubtedly, this new technology has spoiled us. We can pretty much see any show we want, any day or time that is convenient for us, and even any time zone we are in. No longer do we have to suffer through periods where there seems to be nothing on television we like. There’s plenty in terms of quantity and variety – and we can watch it any time we want! Well, maybe. While some of our favorite streaming series drop all the season’s episodes at once (potentially enabling what researchers call “ binge watching ”), others are released to us on a weekly basis throughout the season. We conducted a survey to learn how people like their streaming shows served to them. What we found was consistent with Statista’s finding that the younger we are, the stronger our sentiments on the subject. We asked more than 400 adults to tell us how they like to watch their favorite television series. A quarter of them told us first that they like “Traditional” appointment TV shows. Such shows are typically episodic, consisting of 12–16-week seasons with one new episode per week. Think shows like Chicago P.D. , F.B.I. , Found , etcetera. Prior to Smart TVs and satellite technology like DirecTV and Dish, you had to record the show on your VCR/DVD or be in front of your television when the show aired. Chart 1 - Respondents' Television Preferences Sixteen percent of survey respondents indicated they prefer “Limited series” - short focused serials consisting of 3-10 episodes. Think Game of Thrones , Breaking Bad , and Special Ops: Lioness . Although Limited series (or miniseries) sometimes evolve into multiple seasons, they are initially intended as a single story extended across several episodes. Not surprisingly, more than half (57%), though, told us that they like a mix of both Traditional and Limited series. This is not surprising given the new technologies ushered in over the last 20 years that allow for easy recording of our favorite Traditional shows on the major networks (free TV) and streaming platforms that make them available to us the way a library does books. Pick what you want to see and pull it off the shelf (hit play) when you’re ready. While it sounds blissfully convenient, it still falls short of the utopia many of us want to achieve. Limited Series TV Utopia For those who indulge in Limited series, we asked how they like to receive their content. More than 70% of these respondents indicated they wanted all the episodes available to them at once. This result is not surprising given the technology available that allows for controlling not only what and how much we watch, but when. The respondents seem to suggest that since the controls are already in our hands, why unnecessarily suppress our appetites for a series we are enjoying. Releasing all the shows at once allows for the cinematic experience we prefer. Chart 2 – Limited Series Appetite Much of the remainder of the group (27%) indicated that one episode per week worked for them. This is especially interesting because it suggests that a fair number of people who like focused series are patient enough to let the story play out over time. This could also be tied to occupation or personal responsibilities that make them unavailable for series viewing more than a few hours a week. While they are living their cinematic utopia, the majority, however, are not. We wondered if there were some concerns about serving up all of a season’s episodes at once. The Virtues and Risks of Limited Series TV Utopia Television researchers correlate the availability of all a season’s episodes to us as lending itself to binge-watching, which they define as “viewing suspenseful dramatic, narrative content for a considerable amount of time: often more than three or four hours.” While binging has a negative connotation, it isn’t presented in the research as a one-dimensional concept. In fact, researchers distinguish between “ problematic ” and “ non-harmful ” binge-watching. Problematic binge-watching is the use of television content to distract from everyday worries and feelings of loneliness. These, according to researchers, can lead to complacency and a reticence to persevere at important tasks – something my mother often referred to as malaise. In short, it has the potential to make us lazy and apathetic. Non-harmful binge-watching, on the other hand, is the gratification we receive from becoming immersed in the story and characters on-screen, as well as “critical thinking and social conversations” we develop as a result of the television-viewing experience. Psychology Today also reports on a study that found that not all TV-watching is bad. They write, “Some TV shows are complex and will keep you mentally stimulated. If you have fun or revealing conversations with your friends and family about TV shows, that’s a big plus: Social connection is as good for you as exercise.” Even this, though, should not be in lieu of activities like reading, exercising, and stretching the brain with crossword or jigsaw puzzles. So, while reasonably, non-harmful binge-watching is preferred over problematic, the former can gradually morph into the latter if it becomes our only source of leisure, escape, or activity. Why Limited over Traditional series? For survey respondents who indicated they preferred Limited over Traditional series, we asked them why. What they told us can be grouped into five categories: succinctness of story, quality of show, enjoyment, completeness of story, and self-control issues. Several examples of each are listed in the chart below. Chart 3 – Appeal of Limited Series Respondents who prefer Limited series cite substantive elements of the presentation to support their preference for such shows. The series are shorter, which makes the stories tighter and leads to both presenting conflicts and resolving problems quickly. Importantly, they cite Limited series as having a resolution, which indicates the significance of this to their television viewing experience. Fewer than a handful indicate that they struggle with control issues, noting tendencies toward problematic binging and making conscious efforts to avoid doing so. Think of the recent Paramount+ series, Special Ops: Lioness , with Zoe Saldana, Nicole Kidman, and Michael Kelly. The eight-episode serial was quite complex, layering in several storylines of military action, politics, undercover complications, and the leader’s (Saldana’s character) family life challenges. The complete, suspenseful story with an all-star cast packed a powerful punch, and still left you wanting to see it again – and again and again. It takes a conscious effort to avoid this. Engaging in other social and physical outlets helps us manage this. Why Traditional series over Limited? We also asked those who preferred Traditional over Limited series about the appeal of such shows, which, to be fair, do not all fit the definition of focused content. Mixed with suspenseful narratives like Chicago P.D. , NCIS , and Fire Country are the ultra-popular reality and talent shows like The Bachelor , Survivor , The Voice , and America’s Got Talent . What respondents had to say about watching Traditional series can be categorized into six groups: breadth and length of series, enjoyment, time for investment in the show, anticipation/suspense, lifestyle, and familiarity. Several examples of each are noted in the chart below. Chart 4 – Appeal of Traditional Series Most interesting about the responses is the emphasis placed on the investment of time to immerse themselves in the story and characters of Traditional series. Limited series are too “short term” to develop these elements of a show, so getting one episode at a time is the perfect cadence for them, and in some cases, it suits their lifestyles quite well. Consider the series, Chicago P.D ., soon to be entering its 13 th season. Could Sergeant Voight’s tough but loyal persona be appreciated in an eight-episode Limited series? Probably not. Generally, fans of the show (of which I am one) come to love him because the series, over time, allows for getting to know his depth and breadth of character. Also, unlike a Limited series, the Traditional series are reliable. Viewers are confident they will “stick around for more seasons.” Interestingly, though, a fair number of respondents indicate that they watch Traditional series simply because they grew up on this type of television viewing. Some habits are hard to break – or we simply have no need or interest in tampering with something that works for us. Are Demographics a Factor in Television Preferences? Our data shows that a wide range of people (ages 30-60) enjoy viewing Traditional series, while those younger and 45-60 prefer Limited series. That is, while 64% of Traditional series viewers consist of people ages 30-60, just under a third of Limited series viewers are 18-29 years of age and more than 1/3 rd are 45-60. By far, Traditional series is least preferred by 18-29 year-olds, where they comprise only 20% of Traditional series viewers. Chart 5 – Preference for Limited and Traditional Series by Age Group Data from Pew Research shows that few 18-29 year-olds are married with children. They are also either in college or in the nascent stages of their careers/occupations. It is not surprising, then, that 80% of our respondents reported earning less than $100,000 a year. At this age, some are in college, many are still supported by their parents, and most have few obligations, all situations that allow them to have some disposable income. This life stage, then, affords young people relative luxuries like streaming channels such as Netflix, Hulu, MAX, Showtime, Paramount+, and others, where Limited series are found in abundance. On these channels, the volume and breadth of content are wide and stream around the clock. So, for young people with energy, streaming channels are Limited series utopia on Earth. Other than those over 60, Limited series are least preferred by 30-44 year-olds, where they make up only a quarter of respondents who indicated they indulge in them. Many people in this age group are starting families and simultaneously gaining some traction in their careers/occupations. Although 40% of this group reported making $100,000 or more per year, research indicates they are careful about their spending and focused on shoring up the family’s savings for emergencies and college funds as opposed to paying for premium channels, where Limited series are typically available. Statista recently conducted a survey and found that the most popular streaming channels were, in order, Netflix, Prime Video, Disney+, and Hulu. Disney+ is likely one of the few premium channels 30-44 year-olds subscribe to because of its abundance of children’s programs. Amazon Prime is likely another because of its shopping benefits like free delivery. Few Limited series are available on Amazon Prime, however ( Jack Ryan is one of few exceptions), as the channel primarily streams movies and reruns of Traditional series. Forty-five to 60-year-olds make up the largest segment of Limited series viewers at 35%. They are also the highest earners, where 2/3 rd of this group reported having annual incomes of $100,000 or more. They are also homeowners with families that include children who are in college or nearing high school graduation. Now settled into their careers and making a comfortable living, people in this age group can better afford multiple streaming channels. This includes periodically adjusting the household’s streaming channel configuration with the ages of their children – and to their own cinematic tastes. Finally, more than half the people who reported making less than $50,000 per year are over 60 years of age. This is a sad commentary that speaks to the struggles of our older adults, many of whom have spent four or more decades working to be comfortable in their retirement. Unfortunately, it also suggests that this group has little money to commit to streaming channels for indulging in Limited series that they just might enjoy. In our data, this group makes up just 8% of those who watch Limited series. To sum, yes, demographics do indeed play a role in our television viewing preferences. Access to advanced television technologies influences the type of content we watch. Our cinematic tastes vary by age. But the extent to which we can indulge these tastes is constrained by our ability to pay for it combined with our own financial priorities. Understanding this, we have to wonder if the content we watch is a matter of preference or a reflection of what we have learned to enjoy because it is all that has been available to us. How do we explain what we watch? When we consider demographics, it raises the question: How much of what we watch can be attributed to cinematic taste versus conditioning and family budget considerations? Money is typically a consideration in most decisions as the overwhelming majority of us don’t have it like that. But I can’t help but feel for the large segment of society that is unable to engage in the content choices across the many streaming platforms to even see if there’s something there that resonates with them. Perhaps streaming companies can consider demographic factors like age, income, and even disability in developing a sliding fee scale to enhance content accessibility. In any event, while we have come to accept constraints around content access as the norm, we also have to acknowledge that these constraints shape our choices around the content we watch. Responding to questions around attribution are rarely, if ever, simple. Appreciating the complexity of the one posed here, though, allows us to at least ponder the degree to which our content choices are due to cinematic taste or conditioning. It is beyond the scope of this paper to delve further into this. Suffice it to say that undoubtedly, a bit of both plays into our preferences. Summary Comedian, Chris Rock, performed a bit in his Bigger and Blacker show, about arriving home from work and hearing a litany of complaints from his wife about people she had encountered throughout her day – family, friends, co-workers, etc. Tired and wanting his dinner to re-energize, he shouted, “Can’t I just get my big piece of CHICKEN?!” Similarly, and according to the data, most people who prefer Limited series want all their episodes at once. For them, these shows are succinct and of high quality. They are also rich, with well-developed characters, and stories that are complete. Watching them exemplifies the non-harmful binge-watching described by researchers that relates the gratification we receive from becoming immersed in the story and characters, and critically thinking through and talking about the content afterwards. None of our respondents mentioned engaging in conversation with family, friends, or colleagues about the shows. But we can reasonably assume that they do, given that we all generally talk to others about things we enjoy. Why then delay their gratification by releasing one show per week to those who are ready for more? Not doing so reminds me a bit of the famed Pavlov dog experiment - there is a fear that these viewers will engage in problematic binge-watching. This is not an issue for those who prefer Traditional series. They enjoy the breadth and length of the shows, and the fact that they are available only once per week suits them fine. They like how the plots develop over time, and they get to know the characters over time. Seeing the shows once per week gives them something to look forward to. It even feels familiar to them as many of them grew up watching television this way. By contrast, you can even say that people who prefer Traditional series are relatively patient. Regarding Limited series specifically, perhaps wanting all episodes at once primes these viewers to be impatient. To want everything everywhere and all at once (yes, this was intended). But the existing research doesn’t point to this as problematic. Indeed, our data suggests that those who prefer Limited series show no signs of having an unhealthy appetite for such content. So, come on streaming channels! Can you just give these viewers their big piece of CHICKEN?! Survey Demographics References Ehrenfeld, Temma. (2021). Watching (Too Much) TV Is Bad for Adults, Too. Psychology Today , (2021, June 8) https://www.psychologytoday.com/us/blog/open-gently/202106/watching-too-much-tv-is-bad-adults-too Flayelle, Maeva, Elhai, Jon D., Maurage, Pierre, Vogele, Claus, & Brevers, Damien. Identifying the psychological processes delineating non-harmful from problematic binge-watching: A machine learning analytical approach. Telematics and Informatics , 74, Article 101880. https://www.sciencedirect.com/science/article/pii/S0736585322001137#:~:text=Non%2Dharmful%20binge%2Dwatching%20is,by%20negative%20reinforcement%20motives%2Fimpulsivity . Fry, Richard and Cohn, D’vera. (2011). The Households and demographics of 30- to 44-Year-olds. Pew Research Center , (2011, June 27). https://www.pewresearch.org/social-trends/2011/06/27/iv-the-households-and-demographics-of-30-to-44-year-olds/ Pew Research Center. (2019). Millennial life: How young adulthood today compares with prior generation. Pew Research Center , (2019, February 14). https://www.pewresearch.org/social-trends/2019/02/14/millennial-life-how-young-adulthood-today-compares-with-prior-generations-2/ Rubenking, Brigett and Bracken, Cheryl Campanella. (2021). Binge watching and serial viewing: Comparing new media viewing habits in 2015 and 2020. Addictive Behaviors Report , 14, Article 100356. https://www.sciencedirect.com/science/article/pii/S2352853221000195?via%3Dihub Rubenking, Brigett, Bracken, Cheryl Campanella, Sandoval, Jennifer, Rister, Alex. (2018). Defining new viewing behaviours: What makes and motivates TV binge-watching?, International Journal of Digital Television , 9(1), 69-85. https://doi.org/10.1386/jdtv.9.1.69_1 Stoll, Julia. (2021). Share of adults who prefer whole seasons of TV shows on streaming services to be released at the same time in the United States as of October 2019, by age group, Statista (2019, October). https://www.statista.com/statistics/687388/binge-watching-preference-usa/ Woo, Angela. (2018). The Forgotten Generation: Let's Talk About Generation X. Forbes , (2018, November 14). https://www.forbes.com/sites/forbesagencycouncil/2018/11/14/the-forgotten-generation-lets-talk-about-generation-x/?sh=74d1762676d5 Zandt, Florian. (2023). The Most Popular Streaming Services in the U.S. Statista , (2023, July 20). https://www.statista.com/chart/25382/most-used-video-streaming-platforms/ Previous Next Sign-up for new reviews, exclusives, deep dives, and more First name Last name Enter your email here I agree to the terms & conditions Sign-up Thanks for joining us!

< Back Decision to Leave turns romance tropes on their heads Moho Film, 2022 139 minutes Director/Writer: Park Chan-wook / Park Chan-wook and Chung Seo-kyung Reading Time: 4 minutes Decision to Leave Haunted Romance (9OGOZYCCB7PWGYD3) 00:00 / 05:02 📷 : Used with permission, CMB Graphic Design https://www.instagram.com/cmbgraphicdesign/ https://www.facebook.com/cmbgraphicdesign/ https://www.cmbgraphicdesign.com/ Matcha Mysteries or whodunnits Saffron Movies and TV shows with great visual effects Chris Chaisson 2022-12-13 Stories of romance, regardless of book, movie or series, often tug at the heart strings with melodramatic actions that are not actually relatable (and in some cases, ill-advised). While audience members may have experienced passionate flings, they likely have never hung from a Ferris wheel or laid down in the middle of the road to win someone’s heart (see The Notebook ). Grand romantic gestures like these appear and reappear in movies for a reason; they work when it comes to engaging the audience. Watching lovers be rational is considerably more boring than seeing them run back on to a sinking ship, draw each other naked or hold up a blaring boombox outside their bedroom windows. Nonetheless, it can be refreshing to experience a romantic narrative that steers clear of such over-the-top, unhinged expression. Despite incorporating surreal elements and a shocking conclusion, Park Chan-wook ( Oldboy ) pulls off such a feat in his newest work, Decision to Leave . Set in metropolitan South Korea, Decision to Leave tells a story of forbidden love surrounding Jang Hae-joon (Park Hae-il), an accomplished investigator assigned to solve the murder of a rock climber. The chief suspect is the victim’s widow, Song Seo-rae (Tang Wei), a caretaker who emigrated from China. Despite his marriage and Song’s seemingly obvious guilt in the murder, Jang becomes deeply infatuated with her. His conflict of interest heightens as the evidence against her continues to mount, negatively affecting his decision-making. Jang’s brilliance and professionalism as a detective is laid bare in the early stages of the film, highlighting how much his desire for Song compromises his integrity. He picks up numerous clues from the crime scene at the beginning and excels at handling adjacent cases. Not only does he chase down and apprehend a suspect from another case, he effectively cross-examines the man at the police station. However, as the plot progresses with his main case, he overlooks damning evidence, both concrete and circumstantial, pointing at Song’s culpability. His dishonesty to his wife surrounding the chief suspect adds to his list of bad decisions, as he eventually struggles to keep up with his own lies. Park Chan-wook, who won Best Director at Cannes Film Festival for this romantic thriller, makes many interesting stylistic choices throughout the movie. For instance, he depicts Jang as being in close proximity with Song several times when he is either on the phone with her or staking her out from a distance. Chan-wook also incorporates a language barrier between the two leads into the story, which they must overcome in order to have a stronger connection. When he first interrogates her, Jang and Song must use a translator app, as Song’s Korean is not the strongest. This barrier evolves into Jang trying desperately to learn her native tongue. Whereas most romantic stories involve a night of passion or montage of tactile experiences, our two leads in Decision to Leave have no physical relationship for much of the movie, placing all the emphasis on their emotions. Chan-wook does a superb job of using the supporting characters to intensify the romance between Jang and Song. Jang’s partner, Soo-wan (Go Kyung-Pyo) serves as the comedic relief by cracking jokes and struggling with the physical duties of law enforcement. During several scenes, Jang either carries Soo-wan along or leaves him behind when pursuing suspects and evidence. Jang’s wife, Jeong-ahn (Lee Jung-hyun) has a demanding career of her own and thus rarely spends time with Jang. She speaks very practically to him about their relationship, quoting statistics about behaviors they should adapt in order to live longer and healthier. The absence of romance between them, coupled with the comedic presence of Soo-wan, contrast sharply with the deep longing between Jang and Song. Billed as a romantic thriller, Decision to Leave delivers much more on the side of romance than thriller. Even in doing so, creative story and shot choices convey intimacy without absurdity. Rather than engaging in exaggerated gags that convey obsession instead of love, Jang’s desire comes through in very relatable ways, mainly poor decision-making. While this is not to talk down the more theatrical approach to romantic storytelling, Decision to Leave may provide you a breath of fresh air from the many Romeo and Juliet -styled yarns that line our DVD library shelves. Previous Next Sign-up for new reviews, exclusives, deep dives, and more First name Last name Enter your email here I agree to the terms & conditions Sign-up Thanks for joining us!

< Back Monkey Man puts a new face on martial arts thrillers Universal Pictures, 2024 121 minutes Director/Writer: Dev Patel Reading Time: 5 minutes Monkey Man Wicked Cinema (QWRUZNJLFRWMLNIO) 00:00 / 05:07 📷 : Used with permission, Ryan Keeble https://www.instagram.com/keebleryan_/ https://posterspy.com/profile/ryankeeble/ Rosemary: Movies and TV shows with intense action Dandelion: Movies and TV shows with heavy subjects Chris Chaisson 2024-04-05 “It’s time to remember who you are.” At one point in time in the late ‘80s, Arnold Schwarzenegger got tired of being a successful bodybuilder and successful action star (tough life). He wanted to prove that he could be funny as well, a sentiment he voiced to the director of Twins , Ivan Reitman. Arnold was so confident in his yuck-yuck ability that he declined to be paid for his role in the 1987 hit, instead taking ownership of the movie. If it flopped, he would go home penniless. If it succeeded, he’d get a cut. This anecdote illustrates not only the importance of believing in yourself, but to show your versatility, you may have to take a DIY approach. In order to star in his first true martial arts action role, Dev Patel took a page out of Schwarzenegger’s book by writing and directing the new revenge flick, Monkey Man . Monkey Man revolves around its anonymous title character (Patel), a young man who participates in an underground fight club while donning a monkey mask. He loses intentionally and violently in order to get his cut from the promoter while seeking income elsewhere during the day. After catching on at a high-end restaurant, he comes face-to-face with a man from his past: the ruthless tyrant who murdered his family and tore apart his village. Once his first attempt on the man’s life fails, the protagonist recovers and trains in order to enact vengeance on all of the political leaders involved in his childhood trauma. On the surface, Patel’s directorial debut does not create any never-before-seen angle on the action genre or revenge tales specifically. In fact, it wears its influences on its sleeve, from the color schemes to the costumes to the point-of-view style action scenes. You do not have to be the biggest fan of martial arts films to recognize where the mix of styles comes from, including the John Wick and Bourne franchises with a little Tarantino sprinkled in. In the week leading up to Monkey Man ’s release, Patel stated on The Tonight Show with Jimmy Fallon that Bruce Lee films introduced him to the world of cinema, and Patel’s mannerisms in the final showdown are a subtle yet clear nod to the martial arts legend. Despite all of its influences, the most important addition Patel provides is casting himself as the leading man. While we’ve seen our fair share of action stars from east Asia, martial arts protagonists of Indian descent have been rare or non-existent outside of Bollywood. To see Patel going toe-to-toe with menacing bad guys was a refreshing twist, especially after a filmography consisting of more cerebral characters ( The Newsroom ) or being occasionally shrouded in chain mail . Patel not only shows personal range here but expands the scope of who can be an action star. His mere presence in the lead role highlights that “action hero” is not limited to any gender, ethnicity, or group of ethnicities. Furthermore, Monkey Man is set in a fictional city in India and includes a predominantly Indian cast. Though very little Hindi is spoken, the film does include other cultural elements, such as currency, attire and class differences, without making a spectacle out of them. Hollywood action films set outside the U.S. can often take place in a vacuum of sorts, where everything unique about the location is pushed far into the background or depicted in mocking fashion. With Patel directing and starring, along with Jordan Peele producing, Monkey Man maintains a certain authenticity that many other films do not prioritize. To be clear, Patel’s debut goes about as dark as it can. It is not nearly as light-hearted or quirky as Kill Bill or other more humorous revenge tales. Nonetheless, he gives a little wink to the audience with the occasional misstep of his character, feeling for just a moment like past characters that he has taken on. In one scene, he tries to escape by jumping through a window and fails rather decisively. While there are at best a handful of moments like this, they, along with a carefully placed Rick Ross jingle, offer the audience just enough chuckles to make the overall darkness work. As said before, Monkey Man does not go to great lengths to hide its influences. The most direct comparison, however, would seem to be the 2003 Park Chan-wook masterpiece Oldboy . The lead in Oldboy is held captive in a cell for 15 years without knowing his kidnapper and seeks vengeance upon escaping. While Patel’s character is physically free, he remains imprisoned mentally by the events of his past and the violent losses of his loved ones. Neither film is for the squeamish, but if you are a fan of great fight choreography, it is tough to pass on either one of these revenge thrillers. Previous Next Sign-up for new reviews, exclusives, deep dives, and more First name Last name Enter your email here I agree to the terms & conditions Sign-up Thanks for joining us!

< Back What's that Sound? The Profound Seamlessness of Film Scores Reba Chaisson 4/4/25 Reading Time: 16 minutes 📸: Cup of Tea Critiques I’ll share a secret with you. Since I was 16, I have aspired to be a musician, specifically an acoustic guitarist and a pianist. Indeed, I fell in love with the acoustic guitar the moment I saw a shiny picture of it in a Sears Roebuck catalog when I was 9-years-old. But something about the way my structured brain works doesn’t lend itself to being the gifted, creative musician I aspired to be. So, in addition to admiring my sons who have serious musical chops, I greatly admire the people I learned about as I burrowed down a rabbit hole into the world of film composing. Since film composers are not front and center like actors and movie directors, we have to be intentional about learning anything at all about them. So, I rummaged through historical information on the Web, scrolled through IMDB listings, read the blogs of music historians, and watched music documentaries. No worries, it’s all digital so I didn’t sneeze once. I actually found it to be an enjoyable and immersive learning experience, and I could continue down that rabbit hole but I have a deadline! Suffice it to say that the way composers’ minds work and the sounds they create just moved something in me. In film, their music manifests as an ever-present, invisible character seamlessly weaved into the production. But consider for a moment that this wasn’t always the case. The Past I have no intention of approaching the history of film composition chronologically, but it is worth mentioning that this art form was not always an integral element of films. As a matter of fact, the first motion-pictures didn’t even have sound. First, you should know that there’s some debate around who invented the first motion-picture camera, and even who recorded the first movie. Nonetheless, the date on the patent and the evidence of a moving image indisputably prove that Frenchman, Louis LePrince was the first to do both in the late 19th century. In subsequent decades, Wurlitzer organs were placed in theaters (yes, this predates TV folks!), and a musician would play something consistent with the goings-on in the film. A train moving fast, the organist played fast. A couple walking slow, the organist played slow. Something scary, the organist’s fingers alternated quickly across a few keys. Needless to say, this approach augmented the entertainment value of going to the movies or at least kept the audience from getting bored. If they didn’t come to the theater for the film, at least they would come for the music. Indeed, the addition of the music opened up huge possibilities for what could be done with film, if music were truly integrated into the events in the movie — following its ebbs and flows, emotional ups and downs, moments of intensity, fear, sadness, adrenaline rushes, etcetera. Max Steiner’s symphonic composition for the 1933 release of King Kong , you know, the one with Fay Wray sitting in Kong’s hand, is considered groundbreaking in this regard. Steiner’s music was not only a part of the production, but it filled in the film’s spaces that were once left vacuous, spaces that voided the film of the crucial element of emotion. Less than a generation later, composer Alex North introduced orchestral jazz into the 1951 release, Streetcar Named Desire . The movie’s composition signaled a departure from traditional European symphonic music to the diverse styles and genres that characterized the United States. As if on cue, later in the decade, Miles Davis was tapped by French filmmaker, Louis Malle, to compose the jazz score for his film noir, Elevator to the Gallows , which Olajide Paris of Film Independent says “[made] him one of the earliest African-American film composers, paving the way for later artists like Quincy Jones, Herbie Hancock and Terence Blanchard to follow in his footsteps.” Since the 1960s and the advent of synthesizers, electric piano, and the growing popularity of folk and pop music, film scoring has been derived from a number of sources. In addition to symphonic and jazz, shrieking synthesizers, acoustic guitars, and original and licensed music made their entrée into the cinematic space. Think of Simon & Garfunkel’s folk song “Mrs. Robinson,” the only original tune from the 1969 movie The Graduate . Think of the full soundtracks for the hit films, Saturday Night Fever (1977) and Beverly Hills Cop (1984) . And let’s not forget the acoustic guitar. Ennio Morricone wasn’t shy about inserting this incredible sound (yes, I’m biased!) into the 1984 film, Once Upon a Time in America . The list goes on. Don’t worry, there were (and still are) plenty of films with traditional symphonic compositions, such as Mad Max , E.T. the Extra-Terrestrial , and Raiders of the Lost Ark . And yes, the list continues even today. It is worth noting that the use of film soundtracks similar to the aforementioned Saturday Night Fever and Beverly Hills Cop eventually faded due to licensing costs. What is it, though, about music that makes such a big difference in the cinematic experience? I mean, is there science behind the way it makes us feel? The science behind the music In the documentary Score , Kalamazoo College professor, Dr Siu Lan Tan, sheds light on our sensory connection to music by linking elements of it to processes in our brain. She explains that there are visible signs of the body’s “physiological response” when music is heard. There’s a system in the brain, ventral striatum; it’s our reward center. Things like chocolate or sex, these are reactions that we can see involve these structures. So, it’s interesting because the same kinds of pleasurable feeling we get from chocolate, dopamine release, we could see some of the same kinds of activations in the brain to music. ( Score , 2016) When Dr. Tan suggests researchers can “see” our reactions when we like something or experience pleasure, she really means they can observe this occurring in our brain with the use of medical imaging devices. So, our reactions to hearing music are more than just emotive or psychological, but initially they are physical. The act of hearing the music emanating from a poignant scene, for example, triggers the physiological response and subsequently shifts our emotional state to sadness, joy, anger, etcetera. I like to think of its effect as a chain reaction or a set of carefully constructed dominoes, where the catalyst is – you got it – the music itself. It is so amazing that this intangible thing, music, has the power to affect us so profoundly. So, how do they do it as a group? How do filmmakers and composers collaborate on a film project? How do filmmakers and composers collaborate on a film project? When famed Guns & Roses guitarist, Slash, received word from his agent that Michael Jackson requested him to play on some of his songs, Slash agreed. This sounds reasonable, right? Even if one could argue that Michael Jackson’s and Slash’s music specialties are slightly different, they’re pretty close and the project is still a music-to-music collaboration, making it seamless for both parties. But what if Steven Spielberg approached Slash about a composition for say, E.T. the Extra-Terrestrial , or if Michael Jackson had approached John Williams about doing the guitar solo for “Give in to Me?” Now, things get interesting. James Cameron remarked that film directors know little about how to use music to invoke emotion, leading them to rely on the composers to do this. So, while the aforementioned scenarios are far-fetched, it is reasonable to want to understand how movie directors and music composers work together. Mychael Danna, who composed Moneyball , Life of Pi , Storks , and Where the Crawdad Sings , notes that film composers view themselves as part of the storytelling team, even though they are not brought into the project until the movie itself is completed. Generally, film directors choose the composers they want to score their films. Once the film is shot, edited, and finished, the director meets with the composer in what is formally referred to as a spotting session. During this meeting, the director verbally steps through the film, explaining his audio-vision, if you will, for various scenes. The composer mainly listens but occasionally chimes in and provides a sample of sound from an instrument to confirm his understanding of the director’s vision. It is clear that in addition to being musically talented, film composers must have patience and good interpersonal skills as they work with filmmakers in their struggle to communicate what they want using a language they don’t necessarily speak — music. It is reasonable to surmise that composers must also be quite disciplined in finishing the score by the deadline, as missing it can cost the studio tens of millions of dollars in wasted marketing, lost opportunities for award nominations, and ultimately raise the ire of the filmmaker and the studio’s executives alike. So, film composing, while fun, glamorous, and perhaps a life-long dream of some, is at its most basic level rooted in the business of film production and distribution. As such, money, careers, and reputations are at stake. Despite having deep experience and being trusted with scoring multimillion-dollar movie projects, some composers experience imposter syndrome. Hans Zimmer, who has scored such films as Gladiator , Inception , and The Crown , expounds on this notion, saying that while you’re excited and flattered that they want you to do this, you suddenly feel you have no idea how to do this. Hans’s reaction to a new project, though, is not unlike that of many people who, despite their proven talent and past accomplishments, have sudden moments of panic and strong sense of dubiousness about their abilities. Researchers estimate that 70% of us will experience this at some point in our lives. I would argue that we will experience it at multiple points, especially those of us who are perfectionists or see ourselves as experts. Psychologists have suggestions for getting past imposter syndrome. Me? I just drink a glass or two of Cabernet, get a good night’s sleep, and I’m good - usually! To be fair, though, we’re not all the same. But now that you know film composers are human like everyone else and that film is at its core a business, how can you, a gifted musician and composer who is patient and possesses strong interpersonal skills and good self-discipline, make your foray into film composing? How to navigate your path to professional film composing? There is plenty of information available on how to do film composition and on refining your skills in this area, but little by way of marketing your talent or where best to find opportunities. In such cases, firsthand knowledge is best, so I present two recommendations, one from a film composer getting started in his career and another who is quite experienced. I present them to you in order. First, read COTC’s interview with film composer, Greg Sgammato. Greg has composed more than 10 short films and a TV episode in his short career. In this wide-ranging conversation, he talks about the importance of finding your niche with respect to film genre as well as developing strategies for finding work and collaborative opportunities. In explaining how he got his start in scoring films, Greg recalls that he was playing piano and drum accompaniment for dancers when a friend approached him and asked him to score a short film for him. Surprised, he said, “Yeah, of course. I'll do that.” From that experience, he got referrals and from there scored more short films. Greg’s first scoring opportunity occurred by happenstance, but it took only one for him to show his chops and get his foot in the door. Since that time a few years ago, he has scored ten short films, a TV episode, and has other projects in the works. Another point to note here is that Greg started with an accessible film segment. So, the lessons learned from Greg are to start small by composing for low budget features, TV shows, or short films, while keeping two things in mind. Stay loyal to your passions. Build your reputation by scoring films in a movie genre that fits the music you want to write. If you relish comedies, compose scores for comedy shorts. Prefer animated films? Look to write music for animated shorts. Collaborate by reaching out to composers who have scored films featured on short film sites like Film Shortage or Make-Believe Machines’s Shrieking Tree . Getting to know others in the film composing community can be a huge source of support whether things are going well or not. Being on that bumpy journey with others not only makes for a less lonely road but it increases the likelihood of stumbling onto ideas that move you closer to your goals. Those in the music composition community for short films are much more accessible than those in communities where members typically score major theatrical releases with big-name directors attached to them. A second useful source for navigating a career in film composing is the very experienced British film composer, Pete Thomas. Pete has scored the music for TV and film productions in the UK like Best (the Movie) , Another Side of London , and Barred Love , along with commercial compositions for Playstation, Dewars Whiskey, and Vidal Sassoon, and even the Cannes Film Festival broadcast for the BBC. Expressing deep empathy with aspiring film composers, Pete talks about the vicious and frustrating catch-22 of needing experience to get work scoring films. To address this, he emphasizes the importance of showcasing work on your website by taking, for example, a silent image and putting music to it. He encourages exploring options for access to the industry by getting bartending jobs or barista gigs near a film or TV studio to increase the chances of those serendipitous moments of meeting directors or big-time film composers. To enhance exposure, Pete suggests performing with a band because you never know who is in the audience. In his forum, he tells of a band performer who is approached by someone who turns out to be the client of an advertising agency. She wants to recommend the performer to do her company’s spot for their commercial, and the performer’s career takes off from there. The point is you never know where your next break will come from, nor where that break can take you next. Summary A blank page is a scary thing for a writer. As we saw with Hans Zimmer, it’s a scary thing for a composer as well when they have been charged, or should I say, gifted, with the opportunity to score a film for say, Steven Spielberg, Garry Marshall, George Lucas, or some other highly accomplished director with huge expectations. And they approached you because you are known to be one of the best, if not THE best, composer in the film industry. Sorry, I didn’t mean to add any pressure here — because there’s already plenty of that! Despite the expectations being so high on film composers and their influence on our emotions so great, we rarely hear anything about them or even know their names, save for a handful. We are profoundly influenced by film composers’ melodies and motifs that ultimately become our friends as we hum them for months if not years on end. They physiologically trigger memories of movies, characters, and story progressions, and we suddenly decide we want to watch that film tonight. Yet we don’t have a clue about the composer who planted that tune in our head, and we wouldn’t know them if we stair-stepped next to them at the health club every Tuesday and Thursday. Lucky them?! Perhaps they prefer it that way. When my son was about 9 years old, it was clear that he felt drawn to writing. When he told me and my husband that he wanted to be a screenwriter, he added that he could still maintain his privacy while doing the work he loves. People readily recognize actors and most filmmakers, but they don’t generally recognize screenwriters. My son said that he could do his work and still go into a restaurant and enjoy a meal without being gawked at or being asked to take a picture. I was taken aback that a kid that young would visualize his adult life with such forethought. The point I am making is that this relatively private life is indeed the life of film composers. Yet they find incredible ways to make music that seamlessly moves around inside of us for years on end, sometimes changing our lives in profound ways. Thank you, whoever and wherever you are. References Casey, Kieron. (2013). The mystery of Louis Le Prince, the father of cinematography. Science+Media Museum. (2013 August 29). https://blog.scienceandmediamuseum.org.uk/louis-le-prince-created-the-first-ever-moving-pictures/#:~:text=While%20Thomas%20Edison%20and%20the,his%20home%20in%20Roundhay%2C%20Leeds . Chaisson, Chris. (2023). A Conversation with Film Composer Greg Sgammato. Cup of Tea Critiques . (2025 June 2). https://www.cupofteacritiques.com/team/greg-sgammato. Davis , Miles. Elevator to the Gallows . https://www.milesdavis.com/film/elevator-to-the-gallows/ . Fracacio, Rafael. 1888- Roundhay Garden Scene [Film] https://youtu.be/F1i40rnpOsA . Murray, Conor. (2023). What To Know About Imposter Syndrome (2023 May 8). https://www.forbes.com/sites/conormurray/2023/05/08/what-to-know-about-imposter-syndrome-the-psychological-phenomenon-making-people-doubt-their-success/ . Paris, Olajide. (2024). The FI Hall of Fame: A Brief History of Film Music. Film Independent . (2024 July 5). https://www.filmindependent.org/blog/know-score-brief-history-film-music/ . Sakulku, Jaruwan & Alexander, James. (2011). The Impostor Phenomenon. International Journal of Behavioral Science 6(1), 75-97. https://so06.tci-thaijo.org/index.php/IJBS/article/view/521/pdf . Schrader, Matt (Director). (2016). Score [Film]. Prime Video. https://www.score-movie.com/ . Thomas, Pete. (2024). How to become a media/film/TV composer. Café Saxophone . (2024 November 28). https://cafesaxophone.com/threads/how-to-become-a-media-film-tv-composer.36275/ . Thomas, Pete. Taming the Saxophone . https://tamingthesaxophone.com/about/credits . Winter, David. (2024). The Symphony Behind the Screen: Understanding the Impact of Soundtracks in Film. Lightworks . (2024 February 7). https://lwks.com/blog/the-symphony-behind-the-screen-understanding-the-impact-of-soundtracks-in-film . Previous Next Sign-up for new reviews, exclusives, deep dives, and more First name Last name Enter your email here I agree to the terms & conditions Sign-up Thanks for joining us!

< Back Full Time provides a story in which the antagonist is sheer misfortune Novoprod, 2021 88 min Director/Writer: Eric Gravel Reading Time: 4 minutes Full Time Sliced Bread (G98L3VFPEABSOVPK) 00:00 / 04:36 📷 : Pixabay Ginseng: Suspenseful and intense thrillers White: Movies and TV shows that make you laugh, or involve urgency, like chase scenes or other physical activity Chris Chaisson 2023-03-20 Films in the suspense genre mainly stick to escapist plots. Sometimes, they consist of characters with abnormal professions, such as an assassin or secret agent. Other times, they revolve around a very normal protagonist uprooted from his or her routine and into a stressful situation, like a family man who witnesses a mob hit. The obstacle to peace and happiness is generally a villain with malicious intent. Whether down-to-earth or fantastical, the suspense comes from the otherness of the situation itself. Eric Gravel’s French drama Full Time brings the same hair-raising intensity as other suspense films by simply displaying a single working mother attempting to maneuver around the landmines caused by a public transit strike. Julie (Laure Calamy, Only the Animals ) lives in the suburbs of Paris with her two children and works in the city as a room service attendant at an upscale hotel. Her daily routine is a pressure cooker, where she has little margin for error in terms of getting from point A to point B. Julie’s regular day-to-day stress levels increase tenfold when a union strike throws the public transit schedule out of orbit, forcing her to hitchhike and bargain her way to various locations every day before finally arriving back home. In addition to her logistical challenges, Julie’s tardiness causes her to fall out of favor with her employer and the nanny of her kids. Despite numerous attempts, she cannot get ahold of her children’s father for help, and she anxiously awaits the results of her interview for a marketing job that would pay far more than her current gig. Hearing a stranger recite all of these burdensome, stressful circumstances might make your eyes glaze over. After all, we each have our own hardships to focus on. We see this sentiment in how other busy characters react to Julie’s grievances. Even if they feel momentary sympathy, they either turn her away or briefly offer whatever help they can. Nonetheless, Full Time illustrates Julie’s struggles in a way that would induce anxiety in any empathetic audience member. Julie is always on the go and always being inconvenienced by cancellations, traffic jams, car troubles, and other external circumstances that every adult experiences. She rarely has a moment to herself, and they are usually spent thinking about the next task she needs to fulfill. Enhancing the intensity of the story and onscreen action is the brilliant film score from composer Irène Drésel. The quick tempo and ominous feel of the music from scene to scene creates a sense of dread, even though no one is chasing or threatening Julie’s safety. The stakes may not be life and death, but they are her livelihood. Losing her job, babysitter or means of transportation all feel like the end of the world, specifically since she has very few friends or family for support or comfort. Where Full Time differs from many other movies is in its lack of an active, concrete antagonist. For the most part, as audience members rooting for the main character, we are used to having a character or group to direct our ire towards, some menacing villain trying their hardest to stand in the way. Julie merely has circumstance as her antagonist, which could be all the more frustrating because she has nothing and no one to conquer. To make matters worse, no one is very understanding of her constraints and challenges. After all, we are with Julie every step of the way, whereas the other characters have their own lives to worry about. The easiest and most common comparison to the tone of Full Time is the popular, fast-paced 2019 thriller Uncut Gems , starring Adam Sandler. Howard, Sandler’s character, is an indebted jeweler who goes to great lengths to evade his collectors and survive another day. The two films have their differences, as Sandler’s antagonists are rather menacing humans as opposed to mere unfortunate circumstances. Additionally, Julie is, shall we say, a tad bit more virtuous than Sandler’s character. In any case, the pacing and music, as well as the stellar lead performances, create very similar moods between the two. If you want to empathize with the daily struggles of a working single parent, Full Time will provide the perfect emotional rollercoaster. Previous Next Sign-up for new reviews, exclusives, deep dives, and more First name Last name Enter your email here I agree to the terms & conditions Sign-up Thanks for joining us!

< Back Longlegs conveys the burden of tracking down a gruesome villain Neon, 2024 101 minutes Director/Writer: Oz Perkins Reading Time: 6 minutes Longlegs Demogorgon (UTQ3ENKFYFFDOUHW) 00:00 / 06:42 📷 : Jaime Ventura https://www.jximedesigns.com/ https://x.com/jximedesigns Ginseng: Suspenseful and intense thrillers Matcha Mysteries or whodunnits Chris Chaisson 2024-07-12 Generally, I am not a fan of true crime. I will listen to the occasional podcast about a famous bank robbery, but some of my friends watch mini-series about serial killers, or bizarre murders involving families and love triangles. Often, the most chilling aspects of such cases are the lack of criminal history by the assailant. It leaves viewers with the feeling that no one is safe and no one is trustworthy. In the case of a string of connected crimes, an even more spooky element is the notion that the alleged killers may have not been in complete control of their actions. Some find this content fascinating but I prefer to get adequate sleep every night. Nonetheless, Neon’s newest horror thriller Longlegs dives into all of these elements of true crime through the eyes of a young law enforcement agent carrying a huge burden. Maika Monroe ( It Follows ) stars as rookie FBI Special Agent Lee Harker, who has an uncanny intuition even for her profession. Her first day in the field, she locates and brings in a violent suspect, putting her on the radar of Agent Carter (Blair Underwood). He assigns Lee to work a case involving a string of ritualistic killings, seemingly murder-suicides committed by the husband/father of each family and influenced by Satanic teachings. Despite no sign of forced entry, every crime scene consists of a letter in coded language signed by someone named Longlegs (Nicholas Cage). Lee must track down Longlegs and find the common thread in the continued murders before they persist. Director Oz Perkins (formerly Osgood) reincorporates the dark, grisly atmospheres created in his past movies, such as his A24 debut The Blackcoat’s Daughter . This one, however, plays much like a crime procedural. Lee exhibits a largely stoic and uptight demeanor, most clearly demonstrated in an early scene where she meets Agent Carter’s family. She initially resists and, once coaxed by Carter, enters his house but does not engage in any pleasantries. As she talks alone with his daughter, the audience receives a moment of vulnerability when the daughter asks, “Is it scary, being a lady FBI agent?” Lee responds yes without elaborating, but it is enough to explain her disposition; she is new, intimidated, and likely holding on to trauma that may have propelled her to this field in the first place. Perkins films Lee close up and in the dead center of the camera several times when she is at or approaching a crime scene. Few times in the film does Lee share the frame with anyone, even when she is not alone. This stylistic choice heightens the sense of fear and uncertainty that she feels, as she frequently has no backup when she is in danger. In addition to fear, the centered close-ups serve as a reflection of the pressure that she is under. Having been switched onto the case due to her clairvoyance, she has an immediate realization that lives are solely in her hands. Not only does Lee feel a sense of dread and being trapped, but she also has no one else to rely on. As with many thrillers that have occult influence, Longlegs has a couple of bloody and disturbing moments. The film, however, does well to pick its spots to scare or gross out the audience. A mistake some films make is to overdo the gore to the point that it becomes absurd and laughable, but Longlegs spaces out its gruesome scenes in order to stay in the pocket. The best compliment to pay to a thriller such as this is to laud its ability to go against the rhythm of scares that the average horror movie falls into. If you watch enough movies in the genre, you can predict when the jump scares, screams or spikes in music will happen. Instead, Longlegs manages to catch its audience off guard several times. It waits for the moment that the viewer relaxes to bring a random loud noise or sudden act of violence, compounded with Lee’s close-ups to make her feel trapped. If she has nowhere to run, then neither do we. As is always the case, the effectiveness of any crime thriller hinges on how scary the bad guy is. Cage as the devil-worshiping antagonist is more than convincing. Satanic characters in media tend to go one of two ways, either well put together and dressed to the nines or complete messes. Sometimes you can look at them and go, “I bet that guy worships the devil.” One such example is the minor character Declan from the series Banshee , who has literal horns inserted into his head. While Longlegs is not quite that on the nose (no pun intended if you’ve seen the film already), he appears very uncouth and deranged, randomly shouts and pants loudly as he talks. Despite his disposition, he has the skill to hand-craft dolls that play a part in his brain-washing schemes. The fact that he can build such influential toys as well as write coded messages that only Lee can crack makes him all the more chilling of a villain. Some may compare Longlegs to the 1995 David Fincher favorite Se7en , due to the religious influence in the antagonist’s crimes. Longlegs feels far less composed than John Doe, played by Kevin Spacey, yet they may be two sides of the same coin. The killers in other similar films like Zodiac or The Girl with the Dragon Tattoo may be diabolical and unsettling, but none of them feel as though they are serving some higher power. The conviction with which Doe and Longlegs carry out their acts adds the effect of feeling like they cannot be talked down or stopped, and if their own lives are taken, their influence can still lead to future violence. If you like true crime, Longlegs may serve you well; if not, you can still appreciate a well-executed thriller (and maybe turn your head before a certain character bangs his own off a table). Previous Next Sign-up for new reviews, exclusives, deep dives, and more First name Last name Enter your email here I agree to the terms & conditions Sign-up Thanks for joining us!

Small Axe depicts the multifaceted experiences of people from Carribbean islands living in Britain during a tumultuous period. < Back Small Axe depicts the multifaceted experiences of people from Carribbean islands living in Britain during a tumultuous period. Turbine Studios, 2020 60 minutes Creator: Steve McQueen Reading Time: 6 minutes 📷 : Licensed from Shutterstock Small Axe Port Town (NGKEV1LNFLSDFQ2A) 00:00 / 07:24 Honeybush Nonfamily dramas with strong socioeconomic themes Masala Chai Movies and TV shows about toughness and athletic competition Reba Chaisson 2021-07-25 Small Axe is a series of five film shorts ranging from just over one hour to a little over two. The distinct docudramas focus on the experiences of people from the Caribbeans living in Britain between the late 1960s and early 1980s. The filmmakers exquisitely capture the aesthetics and cinematography of the era through dim lighting, signage, and tight spaces. Afros, big glasses, bell bottom pants, and soulful sounds of Marvin Gaye’s “Got to Give It Up,” Al Green’s “Still in Love,” and Bob Marley’s reggae take us back to the house– and on‑campus parties of the period, further driving home the old-school feel. As depicted in “Mangrove,” the first episode of the series, any place Blacks gather is viewed by British law enforcement as a place where crime and conspiracies are plotted, even Mangrove Restaurant where West Indian cuisine is served. Despite immigrating to Britain to pursue “educational and economic opportunity,” people from the Virgin Islands and countries like Jamaica and Antigua endure suspicion by police who patrol their communities on foot and by car. Men are continuously and casually harassed, beaten, and arrested by police who simply resent them for standing alone on a corner, walking down the street, or even looking them in the eye. The brutality reminded me of documentaries like Eyes on the Prize that chronicled the Jim Crow South, where Blacks were relegated to segregated communities and forced to adjust their upbeat and confident demeanors when White police officers came around. They did this out of fear of being beaten and/or arrested—for being Black. And interactions with police traumatize and change people when there is no justice and accountability. In 1970, the late Roscoe Lee Brown starred in a film set in the segregated South called The Liberation of L.B. Jones. I remember my older sister watching it on television when I happened to see a scene where two White officers on patrol in a Black community at night, stopped a woman walking home with a bag of groceries. One coerced her into the back seat of their vehicle and let her out sometime later. Clearly ruffled and shaken, she was without one of her shoes, turning her ankle as she got out of the car. Her blouse was buttoned incorrectly, and her skirt was twisted. I was young—very young—but even I knew what happened in that back seat. The sweaty officer slicked his hair back, got in the front passenger seat, (His partner remained in the driver’s seat during the assault.) bid the woman ‘Good evening,’ and calmly drove off. Watching the police encounters across several of the Small Axe episodes brought back this memory of the police operating in Black neighborhoods in the South with impunity. While similar scenes are not depicted in Small Axe, the series shows women like Altheia Jones and Barbara Beese being dismissed, arrested, and frequently called derogatory names by law enforcement. Played by Letitia Wright (Marvel Cinematic Universe, Black Panther) and Rochenda Sandall (Line of Duty, Criminal: UK), both women vehemently protest, resist police action, and lead calls for justice and accountability. In the “Red, White and Blue” segment, Leroy Logan, played by John Boyega, joins the London police force with the aspiration of changing the way policing is conducted in West Indian communities. He quickly learns how challenging this is when his fellow mates are unwelcoming in the station house and unsupportive on the streets. During walking patrols in the community, he is also treated as a traitor by residents, soon realizing that it is lonely being a bridge between his community and the police. Frustrated, he breaks down and declares “Sometimes I think this earth needs to be scorched, replanted, so that something good will come of it.” Not all West Indian experiences in Britain are portrayed as negative though. “Lover’s Rock” depicts a house party where young men and women dance, drink, smoke ganja, and even fall in love. A slice of heaven, the party makes it clear that the group strives to carve out a space where its members can freely express themselves and tune into their culture through music and dance. Many of the songs played by the DJ are quite familiar to the group as evidenced by several sing-alongs. Even a spiritual bonding occurs during the playing of a highly popular instrumental reggae tune called “Kunta Kinte.” The music, dancing, and even cat-mouse love games at the party are entertaining, though the sing-along and single-song dance scenes go on for much, much too long. Long, drawn-out, over-narrated, and monotonous or silent scenes are the downsides of Small Axe, particularly when contrasted with the substantially shorter emotional scenes. In “Alex Wheatle,” Alex, played by Sheyi Cole (Boxing Day, Made in Hollywood), is shown laying isolated on a floor in a straitjacket and revealing his deadpan eyes for 1 minute and 45 seconds. No music, no movement, no dialog, only this long period of silence. On the other hand, an emotional scene over a family dinner in “Education,” the final episode, is short-lived, only 60 seconds. I cannot help but feel that the audience needed to share in the family’s emotion and feel its pain in order to connect with the cost and significance of racist educational practices. In crucial moments like this, the films missed opportunities to immerse the audience in the stories and give viewers the space to absorb the messages being posited. The big takeaway from Small Axe though, is for Blacks in the U.S., specifically Baby Boomers and older, to appreciate the similarity in struggles with Blacks in Britain. In doing so, it broadens viewers’ perspectives about the treatment of Blacks in the West and informs thinking about strategies for progress. If you like good music and can tolerate the dim aesthetics of the ‘60s, ‘70s and ‘80s, this could be a worthwhile view. Listen carefully to the dialog though. Occasionally, the West Indian dialect and British accent can be tough to discern. Previous Next Sign-up for new reviews, exclusives, deep dives, and more First name Last name Enter your email here I agree to the terms & conditions Sign-up Thanks for joining us!

< Back A Girl Upstairs centers the dangers of agoraphobia Goreella Media, 2024 90 minutes Director/Writer: Kevin Van Stevenson / John Gee Reading Time: 4 minutes A Girl Upstairs Feast (ZG3K1GRB0QYOOPPU) 00:00 / 04:59 📷 : Used with permission, Goreella Media Yarrow: Movies and TV shows about illness or set in hospitals or similar medical institutions Chris Chaisson 2024-04-25 Over the past decade, many adolescents in the Gen Z age group have tuned into a minimalist music genre called lo-fi hip hop , for which there are many YouTube live streams to help tune out your surroundings and focus on studies. One such beat from this genre is titled “Solitude” by the artist Nymano. It borrows a sound byte from a popular anime called Cowboy Bebop in which a character says, “Instead of being in a group, it’s better to have real solitude all by yourself.” The man she is talking to responds, “You were just afraid they’d abandon you, so you abandoned them. You distanced yourself from the whole thing.” The exchange is meant to shed light on how humans can use isolation to shield themselves from pain, even if the loneliness is painful itself. This sound byte, as well as the song, echoed through my head as I watched Kevin Van Stevenson’s psychological thriller A Girl Upstairs . Written by John Gee, A Girl Upstairs revolves around a talented canvas artist named Dulce who, due to a traumatic childhood event, has developed agoraphobia. She remains barricaded in her loft above a movie theater, only occasionally peeking out of the window or a hole in the wall facing the screening room. Her only consistent interaction is over the phone with an art gallery owner who sells her work. Their conversations only contribute to Dulce’s mounting anxiety. Throughout her day, Dulce sporadically interacts with her paintings, much in the way Robert Neville in I Am Legend converses with the store mannequins. The single character, single-location story approach poses its fair share of challenges, but it is also oddly relatable for viewers. Though we interact with peers, neighbors and family on a regular basis, the most neurotic of us identify with Dulce’s feelings. With an excess of thoughts pinging around in your head, you can feel alone a lot more than you are by never expressing them to those you confide in. Watching Dulce, played by Holly Blair, meander around her apartment, two main questions enter the audience’s mind: what happened to trigger this agoraphobic state and will she eventually face her fear? After discovering that a movie theater employee that she has admired from afar has a girlfriend, Dulce tries to destroy a painting she made in his likeness. To her surprise, her efforts have an unexpected consequence, as her art comes to life. She enjoys the new company and takes on the role of caregiver. Assuming this responsibility not only boosts Dulce’s spirits but allows her to take better care of herself in turn. One looming reality is that her painting-come-to-life is not encumbered by her own past trauma and will likely seek to explore the world, forcing Dulce to face her agoraphobia simply to hold onto her newfound happiness. The set design and music in A Girl Upstairs paints the bleakness of Dulce’s mental state. While she has space to move around in her loft, the clutter, peeling wallpaper and dim lights accentuate the pressing need for her to overcome her fear. This seems a clever depiction, as a more luxurious environment would undermine her main inner conflict. Similarly, the soundtrack creates an ominous mood throughout, foreshadowing the eventual climax and heightening several nightmarish moments during the course of the story. Dulce’s haunting flashbacks are revealed in very short, sporadic clips that accurately represent the imperfect memories we all possess. It also gives the added bonus of hinting at a traumatic event without fully displaying it in a triggering manner. An old quote from Seneca goes, “We suffer more in imagination than in reality.” With this in mind, leaving Dulce’s childhood trauma as a fragmented memory for much of the film allows the viewer’s imagination to run wild. A Girl Upstairs presents as a single-location psych thriller and delivers its fair share of tense moments. Nonetheless, my closest comparison comes from a more light-hearted crime drama from the early 2000’s, Matchstick Men . Nicolas Cage plays Roy, a con-artist with his own affliction, similar to Dulce. When his estranged teenage daughter unexpectedly arrives, similar to Dulce’s humanoid paintings, he must assume new responsibilities and face fears that he’s been avoiding for years. Though Dulce does not mirror any of Nicolas Cage’s patented rants , A Girl Upstairs entertains, shocks and makes you reconsider the thought of embracing loneliness. Previous Next Sign-up for new reviews, exclusives, deep dives, and more First name Last name Enter your email here I agree to the terms & conditions Sign-up Thanks for joining us!

Nimic serves as a sneak peek for the rest of its creator’s filmography < Back Nimic serves as a sneak peek for the rest of its creator’s filmography Superprime Films, 2019 12 minutes Director/Writer: Yorgos Lanthimos / Efthimus Filippou, Yorgos Lanthimos, and David Kolbusz Reading Time: 3 minutes 📷 : Licensed from Shutterstock Nimic Sliced Bread (X82MDOT4PFWFSZ2O) 00:00 / 03:26 Coca Movies and TV shows about drugs or with disorienting presentations Oolong Movies/shows that make you laugh or involve physical activity like exercise/dance Chris Chaisson 2023-08-02 Most film students are no stranger to the term “auteur,” often used to describe a well-known filmmaker with a signature style. Indeed, some writer/directors become well-known for the universes that they consistently represent. Maybe their characters speak in monotone voices and are void of facial expressions. Maybe their movies always have a clever plot twist at the end. Maybe every feature of theirs has at least 78 and a half explosions in it. Regardless, their personal taste is reflected in every project they undertake, including short films. While they are often meant to give investors a sense of story or universe, short films can also provide interested parties with a sense of the director’s personal style. Director Yorgos Lanthimos effectively pulls this off in his 2019 short Nimic . Nimic stars Matthew Dillon as the nameless protagonist, a routine-oriented family man and professional cellist. He has a wife and three children and plays for a classical string ensemble. One day while riding the train, he asks a stranger for the time in what turns into a regretful encounter. She recites his question, then follows him home in an effort to take his place as the husband and father figure. Though it at first seems ludicrous, his wife and children seem nonplussed by the presence of the stranger and willingly accept her as his replacement. As a feature, Nimic would likely include a second and third act of the protagonist attempting to regain control of his life. However, being the short film that it is, Yorgos Lanthimos’s project simply serves as a snippet reflecting his storytelling. Known as an existentialist, Lanthimos often depicts a bleak existence where characters feel very forgettable or replaceable, hence Matt Dillon’s character. The stranger he encounters demonstrates her ability to fill his role in the family and string ensemble so aptly that he may as well be invisible. In order to reflect this replicability, Lanthimos often presents humorless characters with no inflection in their voice (i.e. Dr. Steven Murphy in The Killing of a Sacred Deer ), as these features would make someone seem unique and endearing. Adding to the existentialist vibe is the fact that none of the characters in the film have a specified name. Dillon’s character, once followed home by the stranger, addresses his kids simply with a collective “children.” Most reflective of Lanthimos’s philosophy is the short film’s title itself, which is Romanian for “nothing.” The ominous tone of Nimic is reinforced with a soundtrack filled with strings being played violently, inducing anxiety in multiple scenes. The music is reminiscent of Alfred Hitchcock’s Psycho soundtrack and is consistent with Lanthimos’s longer projects. From both a technical standpoint and a philosophical perspective, Nimic , in just 12 minutes, precisely conveys to a viewer unfamiliar with Yorgos Lanthimos what to expect in his other works. Available on Vimeo Previous Next Sign-up for new reviews, exclusives, deep dives, and more First name Last name Enter your email here I agree to the terms & conditions Sign-up Thanks for joining us!

Your Friends & Neighbors gives a birds-eye view into a type of social mobility < Back Your Friends & Neighbors gives a birds-eye view into a type of social mobility Apple Studios, 2025 50 minutes Creator: Jonathan Trooper Reading Time: 6 minutes 📷 : Apple Studios Your Friends & Neighbors Match Point (7BFGRIMDEVIEX77A) 00:00 / 07:58 Ginger Thought-provoking movies and TV shows Honeybush Nonfamily dramas with strong adult and/or socioeconomic themes Reba Chaisson 2025-06-17 You may be familiar with the term “downward social mobility.” It refers to the loss of income and/or wealth that can lead to a dramatic drop in a person or family’s social position, lifestyle, and most immediately, living situation. According to psychologists , it is not unusual for such an occurrence to induce physical, mental, and emotional imbalance in the person or family that experiences it. Your Friends & Neighbors is an Apple TV+ series about a man who is blindsided by the sudden loss of his job. Divorcé Andrew “Coop” Cooper ( Jon Hamm) has all the trappings of wealth: mansions, swimming pools, high-end cars, and upscale parties. In Coop’s case, all of this comes with the bonus of paying alimony, private school tuition for his two teens, and a mortgage on the mansion now occupied by his ex-wife Mel (Amanda Peete) and her live-in boyfriend Nick (Mark Tallman) — you know, the one Coop caught in bed with his then-wife. Coop is well-liked by his friends and neighbors, and he is particularly close to his business manager Barney Choi (Hoon Lee), who never hesitates to speak truth to his client and close friend. Exemplary of their relationship is a scene where the two meet for lunch (at an upscale bar of course), and Coop tells Barney he was just fired. Barney’s expression quickly changes from joy to serious as he sternly asks Coop, “Who did you f***?” You might remember Hoon Lee as Jobe from the long-running Banshee series on Cinemax. His character in Your Friends & Neighbors is equally steadfast and entertaining. While Coop earned millions as a hedge fund manager, he is mildly concerned about how long he can sustain himself without income, though fairly confident that he has plenty in cash and investments. When Barney tells him that he will run out of money in six months, Coop is shocked. As with those who make substantially less than Coop, the prospect of downward social mobility is frightening, especially when family not only depends on the support but expects that the money and other resources will always be there. We see this expectation play out when Mel casually tells Coop that she has hired a private tennis coach for their daughter. When he bristles at it, she asks in frustration, “What’s the problem? It’s just ten thousand dollars a month!” Other effects of job loss are loneliness and shame, and this is particularly the case for men. Psychologists note that when men subscribe to the notion of being the family’s breadwinner, their identity is strongly tied to work, hence the shame in losing their jobs. Loneliness seeps in when they don’t share their job loss with close friends and those who rely on them. To Coop’s credit, he shared this with Barney. But family and other friends were left to wonder about his sudden aloofness, complaints about money, and altercations with long-time pals. During one of many pool parties at a neighbor’s mansion, Coop excuses himself to use the restroom and begins casually wandering throughout the house. Admiring trinkets, lifting his eyebrows at furniture, and pulling open the drawers of nightstands and chests, he nonchalantly takes an expensive watch and puts it in his pocket. Wait, what? Yes, that’s what I said. Indeed, this is so easy for Coop that he later absconds with another valuable item from a different neighbor’s house. And he does it again and again. It has been said that once someone crosses the line into deviant behavior without getting caught, the act becomes easier and easier for them to continue doing it. Coop’s stealing is an example of this. I like this series not because it centers on a man once grounded and secure and now seemingly lost, but because it depicts the process of that destabilization. While we frequently throw around labels like “criminal” and “thief,” we rarely consider the individual’s circumstance nor psychological state that led to the behavior. Understanding these aspects of the person’s life experiences can potentially engender empathy for them rather than judgment and condemnation. This is not to confuse understanding with holding the person accountable for the actions. It is to suggest that forever relegating them to purgatory for uncharacteristic behavior is problematic. What is being depicted in this series is the direct link between the triggering event (job loss), the scary prospects of downward social mobility (along with its psychological effects), and their sometimes deviant manifestations. Interestingly, for people of lower socioeconomic status (SES) than Coop, the labels “criminal” and “thief” stick, and the individuals are then forever viewed with suspicion. This is the case even if the event occurred only once. It makes you wonder if (or when) Coop’s thievery is uncovered, will he be labeled in the same way and will these labels stick. We get a sense of the likelihood of this in the series when Coop is accused of a serious crime that is unrelated to his new extracurricular activity. How he recovers from this tells us a lot about differences in the perceptions of wealthy people versus those who are not. In any event, the truth is, we all lose our footing at times, and rarely does the decline from there happen overnight. In Coop’s case, he gradually becomes emboldened and moves on to brazen and arrogant. In addition to depicting the process of downward social mobility and the wrong paths some take at the prospects of it, Your Friends & Neighbors confronts us with biases we might have about wealthy people, mainly that they are trouble-free and filled with choices. The characters in this series, though, are all carrying some kind of weight. Despite Coop’s fairly good relationship with his ex-wife Mel, he has yet to put to rest the matter of her cheating on him. Barney, who is quite wealthy as well, worries about keeping money. He struggles to talk to his wife about her excessive spending on property enhancements that cost hundreds of thousands of dollars. Samantha Levitt (Olivia Munn) says she is happy to be divorced from her ex-husband but repeatedly gossips with her friends around the pool about his new, young girlfriend. And then there’s Nick, the retired NBA player who enjoys spending time with his friends and neighbors but behaves as if oblivious to the fact that he and Coop’s ex are a pair. So, while some wealthy people really do have a lot of money, others not so much. Many in the latter group maintain a façade to keep up with the Joneses. And while most in the zip code are quirky and at times entitled and clueless, they carry a lot of baggage — kind of like the rest of us up and down the social hierarchy. Previous Next Sign-up for new reviews, exclusives, deep dives, and more First name Last name Enter your email here I agree to the terms & conditions Sign-up Thanks for joining us!

The Bear presents layered characters struggling in a pressure-packed profession. < Back The Bear presents layered characters struggling in a pressure-packed profession. FX Productions, 2022 30 minutes Creator: Christopher Storer Reading Time: 5 minutes 📷 : Licensed from Shutterstock The Bear Need for Speed (ALTE9ZSD0ZNQDXAR) 00:00 / 05:57 Chamomile Family dramas Saffron Movies and TV shows with great visual effects Chris Chaisson 2022-09-07 On the big screen, the director calls all the shots and gains notoriety when a movie is well-received. However, in television, directors do not get nearly the same level of publicity or recognition. Often considered interchangeable, any given show can have several directors, even in just one season. Given this stark difference between television and film, the shooting style for shows can often be generic. For this reason, the new and critically acclaimed series The Bear stands out. Its stylized direction offers a contrast from many of its contemporaries and, paired with exceptional writing, has created a memorable first season. Starring Jeremy Allen White ( Shameless ), The Bear follows Carmen “Carmy” Berzatto, a world class chef, and the back of the house crew at his family-owned sandwich shop on the south side of Chicago. The show is chock full of references to The Second City, be it the transportation, major streets, architecture, or consistently disappointing sports teams (I’m not bitter at all). On the surface, the show is about the turbulence and pressure that comes with working in food service. However, as the show’s title is a reference to the protagonist’s nickname, the deeper meaning of the half-hour drama is Carmy’s relationship with his family, specifically his deceased brother Michael (played in flashbacks by The Walking Dead ’s Jon Bernthal). The Bear utilizes every element at its disposal to convey the stress of running a kitchen. Creator Christopher Storer ( Ramy ) selects shots that make the viewer feel as though they are in training and shadowing the chefs. To heighten the senses, the show incorporates fast-paced music in the background as they toil, sometimes increasing in speed when they butt heads with one another. The camera often follows the characters around every corner as they slide past each other, shout instructions and multitask. It frequently swish pans between speaking characters and swerves as it circles the kitchen island. The audience experiences an abundance of close-ups, specifically when a character is stagnant as they taste-test or check order receipts. Although there is plenty happening in regards to the restaurant in each episode, the FX series does not deny its audience three-dimensionality with its main characters. Carmy is an award-winning chef who has worked at the best restaurants in the world, so resurrecting the modest sandwich shop proves to be a humbling experience for him. In the later episodes, we learn what drove him to be so accomplished. His cousin Richie (Ebon Moss-Bachrach, Girls ) wants to preserve the old feel of the shop and clashes with Carmy, who tries to run a tighter ship. While he is protective and loyal, Richie exhibits obnoxious, unfocused, and misogynistic behavior. Though he plays an antagonistic role at times, making Carmy’s job harder for seemingly no reason, a lot of his demeanor is explained by him masking the pain he feels at the sudden death of his best friend Michael. Two characters that try to help Carmy, but actually frustrate him, are Sydney (Ayo Edebiri, Big Mouth ), the second-in-command chef, and his sister, Natalie “Sugar” Berzatto (Abby Elliott, How I Met Your Mother ). Sydney is ambitious and innovative but often tries to force change too quickly. A young woman and relatively new to the team, she struggles to gain the respect of the rest of the kitchen. Her efforts to connect with Tina (Liza Colón-Zayas, In Treatment ) are initially rejected, and she continuously deals with Richie talking down to her. Through some successes along with Carmy’s support, she gains confidence but still carries doubt from her past shortcomings as a culinary entrepreneur. Natalie, on the other hand, expresses concern for Carmy’s well-being. While not a fan of the restaurant, her love for her brother is obvious in how frequently she reaches out to him and attempts to get the restaurant on solid financial ground. The Bear’s best aspect is that it allows you to empathize with every character. From a professional standpoint, anyone who has worked in food service can relate to how the main characters cope with rough shifts and unwind afterward. For instance, Carmy goes home and, despite all his cooking expertise, makes a peanut butter and jelly sandwich. The show also allows you to relate on a personal level. Anyone watching has grieved the death of a loved one and maybe even tried to continue working a job while doing so, like Carmy and Richie. Any viewer can relate to feeling like an outsider in a new job or school, especially when coming off a failed venture as Sydney does. Many audience members have had an aloof sibling that they wanted to open up to, similar to Natalie’s experiences. While very different people, the one thing the main cast of characters has in common is their struggle to overcome self-doubt. All of their emotions are easy to understand and add depth to their interactions. The Bear will get your blood pumping during the lunch rush but may make you misty-eyed when the shift finally ends. Previous Next Sign-up for new reviews, exclusives, deep dives, and more First name Last name Enter your email here I agree to the terms & conditions Sign-up Thanks for joining us!