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Queen of the South follows Teresa Mendoza from her beginnings as a money changer on the streets of Sinaloa to her rise as head of an international drug empire. < Back Queen of the South follows Teresa Mendoza from her beginnings as a money changer on the streets of Sinaloa to her rise as head of an international drug empire. USA Network, 2016-21 45 minutes Creator: M.A. Fortin and Joshua John Miller Reading Time: 6 minutes 📷 : Licensed from Shutterstock Queen of the South Latin Sunset (PCTCZB52I0DZLNEA) 00:00 / 07:05 Coca Movies and TV shows about drugs or with disorienting presentations Ginger Thought-provoking movies and TV shows Reba Chaisson 2022-05-02 The 1981 film, Mommie Dearest , contains an iconic scene showing a woman’s courage and strength in a time when social norms dictated that women be obedient, docile, and dependent on their partners. Starring Faye Dunaway ( Bonnie and Clyde , Chinatown ), the film is based on the life of the late actress, Joan Crawford. The scene depicts Crawford facing destitution after the death of her husband in 1959, who was an executive at Pepsi-Cola Corporation. At a meeting intended to nudge her from his board seat, she stands up at the head of the long conference room table fully surrounded with men in suits, leans forward, and loudly and sternly asserts, “Don’t f*** with me fellas!” It got their attention. Sometimes, business dealings come to this. But there are other ways to get what you want too. Queen of the South follows Teresa Mendoza from her beginnings as a money changer on the streets of Sinaloa to her rise as head of an international drug empire. She is left vulnerable after her lover, Guero, played by Jon-Michael Ecker ( Narcos , Firefly Lane ), is killed under suspicious circumstances while working as a drug runner for a cartel. Realizing her life is at risk and now without the protection that comes with being a member of “the family,” she is forced to figure things out on her own. Her only hope for survival is the cliché “notebook” given to her by Guero, which he then urges her to trade with his boss for her life should anything happen to him. Guero’s boss, Don Epifano (Joaquim de Almeida, Fast Five ), will literally kill to get the book back into his hands. The drugs, crime, and brutal violence in Queen of the South provide the landscape for this story about a woman, and more generally, about how women can get it done, whatever “it” is, in a way different than “business as usual.” The series reminds me of Miss Sloane , the 2016 release where Jessica Chastain ( Zero Dark Thirty , Molly’s Game ) plays Madeline Sloane, a smart political operative in D.C. who leads a campaign to pass anti-gun legislation into law. More than a notion, this makes her the enemy of the powerful gun lobby. Similar to Teresa, Madeline navigates her terrain like chess, with deliberate, well-thought-out decisions at every move designed to get her what she wants, without costly missteps. Played by Alice Braga ( I am Legend , Elysium ), Teresa scratches, claws, and fights her way to relative safety in the U.S. She exhales for only a moment before being captured by Don Epifano’s estranged wife and rival, Doña Camila Vargas, played by Veronica Falcón ( Ozark , Perry Mason ). Running her cartel on the U.S. side of the border, she coerces Teresa into drug mule duties. Unbeknownst to Camila, her new “employee” is in possession of a book her husband so desperately wants, a tool that can be used as leverage against him. Meanwhile, Teresa says and does what is necessary to survive, all while learning about “the business.” In Queen of the South , Teresa and Camila differ in their approach to business growth and management. Their starkly contrasting styles are presented in part to let the audience think about whether women’s instincts are innate or if they vary by personality and socialization. To what degree are their decisions and actions shaped by distinguishing qualities they are born with versus forces like: their exposure to ways of handling people and problems; a focus on individual needs; the constrained set of opportunities available to them. Strong, confident, and commanding of attention, Camila can be brutal in her tactics. She punishes rivals and demands nothing short of obedience from her employees. Teresa learns this when she discovers one of her boss’ business partners is cheating her. Although empowered to teach him a lesson, Teresa chooses to “do nothing.” Later, Camila admonishes her for this. “You were in a position to do something about it and you chose mercy. Women in this business cannot afford to look weak. Don’t ever make that mistake again.” This outlook and management style make Camila more like the traditional merciless cartel leader who allows no room for mistakes. Typically, violence characterizes cartels, but Teresa goes against type and stereotype. Rather than brutal killings and wreaked havoc, she is focused and skilled at negotiating deals with suppliers and competitors, qualities which mark her as a leader to be taken seriously. Even her trusted right-hand expresses concern about her approach to conducting business. Pote, played by Hemky Madera ( Spider-Man: Homecoming , Perry Mason ), fears she is too forgiving, that her kindness and mild-mannered approach will be misconstrued as weakness. But thinking on her feet, quickly devising creative solutions to problems, and holding herself, her suppliers, and even her employees accountable in interesting ways, effectively become her trademarks. Like everyone, Teresa and Camila’s lives have been shaped by societal forces, but their responses to those experiences differ greatly. Camila focuses on outward signs of power which becomes apparent in subtle ways. When she and Teresa attend an upscale event, she sarcastically but sternly asks her, “Now, are you going to wear that dress or are you going to let it wear you?” Teresa changes her walk and demeanor to project power—and following Camila’s advice, wears that dress! Projecting power is key for Camila. Her experiences as the wife of a cartel leader taught her the importance of this in helping to prevent troubles brought about by employee betrayal and business partners who cheat. Teresa garners strength and loyalty by recognizing the depths of humanity and coming up with ways to make it work. The cinematography is bright, with scenes often shot in ideal weather conditions—warm temperatures underneath clear skies. Over the course of five seasons, the series peers into cities in Mexico, the United States, Spain, and Malta. The venues become progressively palatial and the scenery increasingly posh, signifying Teresa’s ascendancy in the business. A far cry from the need to yell at a room full of men, Teresa and Camila make clear in this piece, 40 years after Mommie Dearest , that times have changed and there is more than one way to get the job done. 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 You Hurt My Feelings examines self-awareness and tough love FilmNation Entertainment, 2023 93 minutes Director/Writer: Nicole Holofcener Reading Time: 6 minutes You Hurt My Feelings Imaginative Play (MKVM0XFUDZYWYUI0) 00:00 / 05:23 📷 : Licensed from Shutterstock Barley: Movies and TV shows with a lot of dialog Chamomile: Family dramas Chris Chaisson 2023-05-30 Whether comedies choose to be dark, light-hearted or somewhere in between, they often still have a menacing antagonist that the main character has to overcome. It may be the principal who heavily values perfect attendance ( Ferris Bueller’s Day Off ) or the new camp counselor enforcing strict rules and fitness ( Heavyweights ). Nevertheless, penning a slice-of-life comedy allows the opportunity for more of a disembodied villain. This sort of bad guy can simply be a character trait, like the negative self-talk that many of us consistently experience, echoed in the comments of someone we hold dear. Such is the case in the 2023 comedy You Hurt My Feelings . Julia-Louis Dreyfuss ( Seinfeld, Veep ) stars as Beth, a writer and teacher who leans on her husband Don (Tobias Menzies, Casino Royale ) and sister Sarah (Michaela Watkins, Paint ) for emotional support. Similar to many creatives, Beth suffers from insecurities about the quality of her work, in large part due to how long she has been in the business. One day, she overhears Don talking to Sarah’s husband Mark (Arian Moayed, Succession ), admitting what he would never say to her directly: that despite reading many drafts, he dislikes her most recent novel. This admission devastates Beth, shaking her confidence not only in her work but in the strength of their relationship. She is left to figure out how, if at all, to confront Don about the issue. Before doing so, Beth must mull over whether she is angry about his dishonesty or the criticism itself. As a slice-of-life comedy, You Hurt My Feelings addresses a constant dilemma of relationships, romantic or otherwise, which is how to tactfully critique your loved ones. Having unconditional love for someone does not necessarily equate to having unconditional love for everything they do. Writer/director Nicole Holofcener hits on this theme effectively through her characterization of Don. He is not a cold-hearted, abusive spouse in the mold of a Tyler Perry antagonist. In fact, he is not an antagonist at all. He adores Beth and is unrelenting in his support of her, so much so that she would have been none the wiser had she not eavesdropped on his conversation. The reason Don’s criticism stings Beth as much as it does is because her profession already requires so much vulnerability. Working in a creative field exposes you to effusive scorn from complete strangers who do not care about your feelings at all and even measured criticism from those attempting to market you. Many professionals take solace in the approval of their loved ones as the only constant that they have. With this context, it is easy to see how Beth’s feelings can be so hurt but also why Don would hesitate to be truthful. Though Don’s confession is the inciting incident for the movie, the theme of how to critique those close to you resurfaces among several characters throughout the film. Don and Beth have a son Elliott in his early 20’s, who works in a marijuana dispensary and lives with his girlfriend. As the story progresses, Elliott questions whether or not he was raised with an appropriate level of self-awareness or coddled into thinking too highly of himself. Similarly, Don’s work as a therapist comes under the microscope. With markers of progress being so undefined in his field, it is tough at times to figure out whether or not he is really helping his patients get better and if they have any faith in his abilities. Sarah is a high-end interior decorator who questions her own life’s work several times, as she struggles to please a difficult client. These portrayals all feel very relatable, causing the audience to assess every situation and question how they would handle it. Jonathan (David Cross, Arrested Development ) and Carolyn (Amber Tamblyn, The Sisterhood of the Traveling Pants ), a married couple who are two of Don’s clients, serve as the control group in this story of rocky relationships. They bicker constantly in their sessions with Don and lack any intimacy or even basic respect for one another. In a strange way, it stands out as the most candid relationship of the film, even if completely unhealthy. Jonathan and Carolyn’s fights and teeth-gritting insults at one another give credence to Don’s decision to swallow his tongue about Beth’s work. Seeing a brutally honest married couple argue and hurt each other week-after-week could make anyone second-guess the value of being completely forthcoming about a loved one’s flaws. While far less dramatic, You Hurt My Feelings bears some resemblance to the late 90s rom-com The Story of Us . Bruce Willis and Michelle Pfeiffer play a couple who are on the verge of divorce and fight constantly. Despite couples therapy and having two children, they struggle to settle their differences or move on from past betrayals. Don and Beth never have such high stakes for their quandary, but the core issue of their marriage, how to be tactfully critical, translates to any and every relationship. 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 Rebel Ridge highlights a little-known legal snag Bonneville Pictures, 2024 131 minutes Director/Writer: Jeremy Saulnier Reading Time: 5 minutes Rebel Ridge With You Always (AKYRKGOZU0MVD3VI) 00:00 / 06:21 📷 : Used with permission, Netflix Rosemary: Movies and TV shows with intense action Ginseng: Suspenseful and intense thrillers Chris Chaisson 2024-09-17 We see the reliable story trope time and again: the fish out of water. A tourist or someone “just passing through” who ends up on the radar of the local powers that be, and chaos ensues. It frequently becomes the “one-man army” story, such as Sylvester Stallone’s character in the Rambo trilogy, where the authority figures pick the wrong person to mess with. Sometimes, the fish out of water finds help from unexpected sources, like Axel Foley in Beverly Hills Cop . Regardless, we typically see our aforementioned trope framed and detained for familiar, even if completely bogus, charges (“Disturbing the peace? I got thrown out of a window!” ). Occasionally we get a story that enlightens us to all of the trappings that lie within the justice system. Enter Jeremy Saulnier’s Netflix hit, Rebel Ridge , about just such a legal loophole. Ex-Marine Terry Richmond (Aaron Pierre, Old ) bikes his way through a small southern town en route to bail his cousin out of jail with a large sum of cash. When a patrol car coasts up behind him and causes an accident, the officers cuff Terry and search his belongings. Despite Terry showing deference, the officers suspect the money as being ill-gotten and seize the cash, forcing Terry to jump through several time-consuming hoops to get it back. This troublesome wormhole coincides with Terry’s cousin being shipped to a penitentiary elsewhere, as the town can no longer hold its inmates. As Terry heads to the police station to repossess his money, he clashes with the local police chief (Don Johnson) who refuses to cooperate. Terry finds himself in the crosshairs of the police when he pushes back on their corrupt ways, only getting counsel from a paralegal who knows of the local law enforcement’s malfeasance and how to fight it. Rebel Ridge highlights a little-known but common practice in law enforcement called civil asset forfeiture . When police detain a citizen, they can claim suspicion as cause to seize their belongings, such as money, and use them to fund the department. Retrieving the money can take months, if not years, and may result in spending more than what was originally taken. While government officials call it a way to cut off criminals’ resources, specifically in the drug trade, critics have deemed it legalized theft. In the midst of getting tangled up in the department’s scheme, Terry finds that this practice is a go-to strategy for the local police. Once they go the route of physical intimidation, Terry’s military training kicks in, and the conflict between himself and the corrupt officers escalates. Rebel Ridge does a good job of raising the stakes for its main characters. While Terry appears to be a loner and nomad who can survive off of very little, he has little to no time to hash out his conflict given his cousin’s incarceration. Just the same, his legal counsel, Summer (AnnaSophia Robb, Bridge to Terabithia ), is trying to regain custody of her daughter, forcing her to help Terry from the shadows lest her own family’s safety be threatened. Once Terry winds up in a violent showdown with the police, the stakes reach full-blown life and death status. The Netflix original consists of several strong performances, particularly from Aaron Pierre and Don Johnson. Though Johnson has played many villains in his acting career, his role in Rebel Ridge may remind you of his long-running TV character Nash Bridges, a San Francisco cop who didn’t always go by the book. Pierre’s brooding, stoic nature highlights how the department is singling him out. He is simply passing through the town with the goal of helping out a family member, and he is willing to comply until he is stiff-armed at every turn. We see his veneer slowly shift from patient and calculated to angry and defiant. Such can be any person or an entire community’s experience with authority figures who go out of their way to make trouble for those trying to cooperate or come up with ideas to make things work for everyone. As with many fish-out-of-water characters, Terry has elite combat skills that he is resisting the urge to deploy. Often, characters who have seen and maybe even committed the most extreme acts of violence vow to never return to that lifestyle. Think of Viggo Mortensen’s character in A History of Violence or the aforementioned John Rambo from First Blood , characters who desperately wanted to maintain an anonymous, peaceful existence until it was no longer an option. These types of characters are often physically imposing in a way that tips the audience off to their capabilities, and we anticipate the inevitable breaking of the dam because their antagonists seem determined to push them too far. Due to its small-town setting and the protagonist’s Incredible Hulk-like appearance, the best comp for Rebel Ridge is the recent television series Reacher , starring Alan Ritchson. Both consist of fish-out-of-water tropes where the nomadic main character gets pushed to the edge by local authorities and forced to engage in the combat that they thought they had left behind. They each show how crooked politicians or law enforcement can bend rules and use either relationships or blackmail to get what they want. While the protagonists’ fighting expertise don’t exactly make them the biggest underdogs, the sense that they are fighting against a system that is unjust means they will forever be in an uphill battle to achieve that justice. 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!

Wannabe highlights the virtues of enduring tough times together rather than alone < Back Wannabe highlights the virtues of enduring tough times together rather than alone Breach, 2020 11 minutes Director/Writer: Dorothy Allen-Pickard / Dorothy Allen-Pickard, Billy Barrett, and Ellice Stevens Reading Time: 3 minutes 📷 : Licensed from Shutterstock Wannabe K-Whut? (RY5O5CKHQHXAS99J) 00:00 / 03:52 Jasmine Movies and TV shows with heart, positive vibes, and warm messages Oolong Movies and TV shows that make you laugh or involve physical activities like dance and exercise Reba Chaisson 2023-02-15 You may remember the 1997 film, The Full Monty , about six unemployed men in Britain who make the big decision to strip for money. Similarly, Wannabe is a story of five older female friends, also in Britain, who come together to help Anita, a member of their group who is struggling financially. Initially unbeknownst to her, Anita’s four friends decide the five of them will team-up and put on a show as an older version of The Spice Girls. Still working at age 75, Anita, played by Anita Donaghy, falls “in the red” when her hours are cut at work, making it difficult to keep up with her bills. When she visits Anita to ask why she has not been attending their regular line dancing outings, Joan, played by Joan Brigden, stumbles upon “a demand letter” and is sworn to secrecy. Anita’s desire to keep her financial struggles to herself exemplifies how shame and embarrassment are internalized when individuals are challenged to keep up with their bills. This is particularly the case for those who are older and expect to be past the stage in their lives where they are unable to meet their everyday obligations. The capitalist ideology of individualism - responsibility for self and pulling oneself up by the bootstraps - intensifies the sense of guilt a person feels when he or she falls short of this ideal. We blame ourselves when we can’t pay our light bill, are late on our car note, or cannot pay the full amount due on our credit card, even though we have little if any control over what got us to that point (i.e. hours being cut, being laid off, the rising cost of food and gas, falling ill, caring for family members). These events are disruptive to our lives and largely beyond our control; yet, we carry around a deep sense of shame about their consequences because of the overarching idea that each of us is responsible for ourselves. And thus, asking for help is a sign of weakness. Given this reality, it is no wonder Anita wants to keep her struggles private, even from her closest and most trusted friends. As Anita’s friends brainstormed ways to help her, I thought about how creative people in challenging circumstances have always had to find ways to make things work. Back in the day, people in some working-class neighborhoods held “rent parties,” where friends would get together and play cards for money and give the winnings to the host to help with their bills. Young kids would offer to wash cars and run errands for neighbors, or take glass bottles to the store to get 2-5 cents for each. (Today, bottles are deposited into recycling bins, so now, companies get the money!) Anita’s friends putting on a Spice Girls show was an interesting idea given their age group, and it promised to make for a fun and enjoyable 11 minutes. Not surprisingly, there are indeed some hilarious moments. But what you are most likely to be left with are the poignant ones. Throughout the film, I couldn’t help but admire the group’s dedication to their friend, their commitment to the project, and their willingness to do what was necessary to help – short of what they viewed as “embarrassing [themselves]” that is. If you have just a few minutes, this one could be worth your time. 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 Drive My Car breaks convention even within the framework of a familiar setup. Bitters End, 2021 179 minutes Director/Writer: Ryûsuke Hamaguchi / Haruki Murakami, Ryûsuke Hamaguchi, and Takamasa Oe Reading Time: 5 minutes Drive My Car Awase (LREOPXDAVYJMCQWE) 00:00 / 05:26 📷 : Used with permission, Snollygoster Productions https://www.instagram.com/snollygoster.productions/ https://posterspy.com/profile/snollygoster-productions/ Honeybush: Nonfamily dramas with strong adult and/or socioeconomic themes Ginger: Thought-provoking movies and TV shows Chris Chaisson 2022-02-12 If you spent much of the pandemic locked down with the same one or two people, you may have thrown around the term “trauma bonding” more than you ever thought you would. The notion that shared grief can bring individuals closer makes all the sense in the world, and often is necessary for many to push through traumatic events. Many times, our will and inspiration come from an unforeseen presence. Such is the case in director Ryûsuke Hamaguchi’s critically acclaimed Drive My Car . Drive My Car breaks convention even within the framework of a familiar setup. After all, we’ve seen the narrative of a troubled protagonist befriending their driver/passenger before, most notably in Driving Miss Daisy . Hamaguchi’s film presents a more personal, familial struggle for each of its co-stars than we’ve seen in past movies. Yüsuke (Hidetoshi Nishijima), our lead, crosses paths with Misaki (Tôko Miura) when Misaki is assigned to be his chauffeur while he prepares to direct a stage play in Hiroshima. As they open up to each other about troubling events from their respective pasts, it highlights the reality that there is no timetable for the grieving process. Both suffer survivor’s guilt and question their own self-worth. They each discover how much they need a sympathetic ear and outside perspective to push through their remorse. While many films present us with a basic “guardian angel” character dynamic, Drive My Car provides its audience with portrayals that we do not often get to see in U.S. cinema. One major divergent path that Hamaguchi’s film travels is in portraying its Asian male characters as sexually active and capable partners. Too often in Western cinema, Asian men are portrayed as impotent, undesirable, or even asexual. Drive My Car , while not being overly raunchy, wades into these waters and humanizes all its characters in doing so. Additionally, Yüsuke and Misaki’s bond manages to pull the audience in and steer clear of the temptation to force them together. Most stories on screen do not entertain the idea of a platonic opposite-sex relationship between single characters. Though some of the blame can be laid at the feet of the industry, the reality is audiences tend to crave that romance. Drive My Car pulls off the feat of showing two people thrust together connecting emotionally without the temptation, or at least the necessity, of a physical element. Interestingly enough, the movie pulls this off despite (or maybe because of) having already established the sexuality of its protagonist. It even shows an ancillary character who frequently seduces women but feels an emptiness over not achieving an emotional connection like Yüsuke. The story, on several occasions, illustrates intimacy in unexpected moments between unexpected duos. Another trend the film manages to buck is the dependable but familiar revenge angle. In casting his play, Yüsuke encounters a stage actor named Kôji (Masaki Okada), who he has every reason to hold a grudge against. While some lingering resentment remains, he figures out a way to work with Kôji and communicate on a meaningful level. As they meet, a possible direction the story could take would be for Yüsuke’s entire focus to shift toward plotting Kôji’s demise. This shift would have undermined the far more important internal struggle that Yüsuke already faces and instead center the story around a far less important character. This is not to scoff at the allure of revenge films but more to applaud Drive My Car for choosing a route less rooted in escapism. The most endearing element of the film, uncommon in just about any cinema, is the presence of a hearing-impaired character with a significant number of lines and screen time. One of Yüsuke’s actresses, Lee Yoo-na (Park Yoo-rim), speaks Korean Sign Language and wins her role with a strong audition. Despite being the spouse of Yusuke’s assistant director, she chooses to audition anonymously to avoid any favoritism. She invites Yüsuke over for dinner and stresses that she does not want to be treated more kindly than any other actor in the production. The penultimate scene in the film consists of Lee delivering a long, powerful monologue on stage, signing a message of encouragement with her arms wrapped around Yüsuke. In addition to Driving Miss Daisy , Drive My Car also brings to mind the classic Alexander Payne film, About Schmidt . Jack Nicholson plays a disgruntled husband in a rut who, upon suddenly losing his wife, struggles adjusting to his new identity as a widower. He makes it his mission to hit the road and reconnect with his daughter, hoping to talk her out of what he sees as a future loveless marriage. While not an identical comp, Yüsuke needs a mission and a companion to find his sense of purpose. Hamaguchi weaves together a deep, personal story that manages to go against the grain, illustrating diversity of not just race and gender, but characters and relationships. 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< Back Opportunity combines an anti-hero with unusual villains Morris Hill Productions, 2024 96 minutes Director/Writer: Rusty Rehl Reading Time: 5 minutes Opportunity Hope Springs Internal (VG1KXOOFFBESR7C9) 00:00 / 05:40 📷 : Used with permission, Morris Hill Productions White: Movies and TV shows that make you laugh, or involve urgency, like chase scenes or other physical activity Ginkgo Biloba: Youthful, lighthearted, and fun movies and TV shows Chris Chaisson 2024-12-02 When watching a story unfold, we often adopt the perspective of the character most central to it. Generally, they have basic decency or some relatable quality, while the antagonistic force is motivated by greed or a general desire to harm. However, sometimes we can be in the thick of a story and say, “Wait a minute, who is actually the jerk here?” Anti-heroes are a mainstay in cinema and a good way to shake up the routine. Rusty Rehl’s debut feature Opportunity provides us with just such a character. Opportunity revolves around Patrick, a down-on-his-luck thirty-something living out of his van while trying to buy a house. He is “roughing it” somewhat unnecessarily, as he has savings but simply refuses to rent. In order to secure a loan, he agrees to pull off a theft for Jared, a mischievous businessman, by breaking into the home of a well-connected accountant named Tim to do so. With his friend Donnie’s help, he pulls it off. But when Tim discovers his identity, Patrick goes on the run, and a cat-and-mouse game ensues with a group of Mormon gangsters in pursuit. Patrick’s mindset may be head-scratching to some viewers yet make perfect sense to others. Who would choose to live out of a vehicle on principle when they have the funds to put a roof over their head? Patrick sidesteps the question when Donnie poses it to him early in the film. He seems preoccupied with the down payment on a home but nonchalant about the other costs of home ownership. In addition to being stubborn, Patrick’s obliviousness to the costs of owning a home perfectly illustrates immaturity and naïveté, respectively. The younger we are, the more idealistic we tend to be about our life and career goals, overlooking the forest for the trees. Patrick’s nomadic propensity speaks to an anti-establishment mentality, which makes him forego the most common-sense option that presents the stability he needs at the moment. Though not the sharpest tool in the shed, Patrick’s friend Donnie is loyal to the end. Donnie seems far more invested in their friendship than in his not-so-monogamous relationship with his girlfriend Julia, who loathes Patrick. Julia, whom Donnie also financially supports, has dictated to Donnie that she is free to see other people but he is not. This nugget sticks in Patrick’s craw, and leads to arguments between him and Donnie. As in most friendships, each has to point out the other’s blind spots, but they fall on deaf ears more often than not. Other than Patrick’s and Donnie’s squabbles, Opportunity ’s comedic relief stems from its anomalous villains: a group of well-mannered, articulate, Bible-pushing Mormons who have their hands in crypto. They comprise a perfect villain for a crime comedy, as they are not nearly as intimidating as the gangsters we typically see in the media. They are always professionally dressed, never use profanity and speak politely even amidst altercations. By contrast, Patrick consistently name-calls and uses vulgar, hostile language every time he encounters them. This is a characterization frequently used in screwball comedies; our “hero” behaves like a bad guy and our bad guys behave like heroes. Consider Animal House , where the protagonists are troublemakers who destroy property and the “villain” is the dean trying to hold them accountable. When Patrick and Donnie break into a safe and steal a computer device containing a virtual crypto wallet, the gangsters go after them while also trying not to tarnish their public images. Patrick and Donnie go to their tech-savvy friend Tony, who works in IT for Jared’s accounting firm. Reluctant to get involved, Tony repeatedly denies them entry to his house until they insist and shove their way past him. Again, Patrick and Donnie exhibit off-putting behavior despite being the duo we’re conditioned to root for. Tony figures out the value of what they have stolen before kicking them out of his place. The rising action of the film inches toward a violent climax between Patrick, Donnie, Jared and the gangsters, who all at times seem like disorganized stooges. Once the dust has settled, the audience is left wondering who actually was in the right. We can use the adage that “desperation compromises judgement” to explain Patrick’s actions. For Donnie, we can conclude that loyalty can pull us into all kinds of calamities. And as for Tim and the gangsters, we can surmise that they just want their property back. Ultimately, this is how comedy suspends our disbelief. In the same way we watch Vin Diesel drive out of a skyscraper window into a nearby skyscraper window and accept it as plausible, comedies convince us to be on the side of a criminal protagonist who is perpetually mean-spirited, even to his companions. In terms of plot, Opportunity may bring to mind the Coen Brothers hit No Country for Old Men , where a hunter steals a large sum of money resulting from a drug deal gone wrong and winds up in the crosshairs of a psychopathic killer. Clearly, Rusty Rehl’s feature takes a far more light-hearted tone, but both present a main character with compromised morals and cat-and-mouse games erupting in violence. 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The Law According to Lidia Poët makes for strong entertainment and raises ponderings about barriers < Back The Law According to Lidia Poët makes for strong entertainment and raises ponderings about barriers Groenlandia, 2023 42 minutes Creator: Guido Iuculano and Davide Orsini Reading Time: 5 minutes 📷 : Used with permission, Netflix The Law According to Lidia Poët Knowledge & Power 00:00 / 06:34 Barley Movies and TV shows with a lot of dialog Matcha Mysteries or whodunnits Reba Chaisson 2023-03-02 Years ago – yes, I refuse to be specific for fear of dating myself – my husband and I fell in love with a movie called Dangerous Liaisons . It was a period piece starring Glenn Close, John Malkovich, and Michelle Pfeiffer centering around a torrid love affair. Other than the film Amadeus , I didn’t fancy period pieces, but only because I didn’t give them a try. Most were dramas set in Europe that focused on privileged people, and yes, I mean the past and present definitions of the term. They were not just high earners, but to use a Marxist phrase, they owned the means of production. In other words, they were elites. Some of the actors were from the U.S., but most of the characters they played spoke with an accent of one of the European countries – back then and I suppose even now, often viewed as a cue of high social class. Think Titanic . For the films I did watch, which included all of the above and then some, I enjoyed them thoroughly, and I learned that they had something to offer in teaching us how people of this stature live, socialize, celebrate, control, and even handle adversity. And The Law According to Lidia Poët is equally valuable and honestly, a lot more fun than its predecessors. Set in Northern Italy in about 1883, the Netflix miniseries starring Matilda De Angelis ( Rose Island , The Undoing ) is about a young single woman who recently graduated from law school and despite passing the Bar, will not be admitted to it because – anybody? anybody? – she’s a woman. Based on a true story, the six-episode series is not preoccupied with the sexism of the day, but rather a demonstration of Lidia’s perseverance, guile, and legal talent. The mention of Northern Italy is pertinent here as until about 1860, Italy was divided into northern and southern states. Predominantly poor families, many of whom were farmers, resided in the South while upper-class elites inhabited the North. Little changed after reunification, so many people in the southern part of the country began immigrating to the United States for economic opportunity and political freedom, as the country was run by elites in the North. While we don’t get a sense of the politics in the series, the context is nonetheless important. Despite Lidia being from the North and born into wealth, she has little means, at one point even asking her brother for money. Yet her dress, make-up, and speech emanate upper-class status, which together speaks to the degree we are socialized to class and how hard some must work to maintain it, even if it means conspicuously consuming the clothing and accouterments of class to do so. After being evicted from her place for non-payment, Lydia is forced to move in with her well-to-do brother, Enrico Poët, who is also a solicitor. There is still some resentment between Lidia and Enrico because – anybody? anybody? – yes, she went to law school instead of getting married as women should do. To be fair, this would all be funny if not for the fact that the story is based on actual events and that still today, more than a century later across oceans and into other lands, such beliefs are still strongly held, especially in upper-class elite families . Even though she has not been admitted to the Bar, Lidia is approached with cases. In little time, she drags the reluctant Enrico, played by Pier Luigi Pasino ( Sargno farfalle quantiche ), into them since she is not allowed to argue in court. What comes through strongly as the series progresses, though, is that Enrico loves his sister, making even their spats and strong disagreements not virulent but more a test of wills. At many points during their debates, Enrico gives up on cases, insisting that they cannot be won or the accused person is guilty. Lidia keeps going with “That’s not possible if …” or “Not if we can prove …” These interactions add a level of warmth to the series and an important element for ensuring the audience does not generalize the Bar association’s stance regarding a “woman’s place” as reflective of the views of all men even at that time. Soon, Enrico recognizes Lidia’s talents, realizes her value, and offers to help in handling her appeal to the Bar. It is in Lidia’s investigation and research of cases, along with advice to Enrico on ways to present them, that we get the opportunity to see her kick some a**. This aspect of the series reminds me of the times when Black athletes were not allowed to compete in sports at many major colleges in the U.S. I’m thinking of the 2006 film, Glory Road set in 1966, where it was revealed that schools such as the University of Kentucky and others, did not allow Blacks on their basketball teams. Certainly, the college landscape has changed now, but I remember thinking as I watched that film: Why? What were they afraid of? I had these same questions as I watched The Law According to Lidia Poët . My thoughts are that barriers like these can only be erected out of tradition and/or the fear of losing identity and status. If I’m right, it makes you wonder about the capitalist tenet of competition and the class value of meritocracy. Where do they fit given the intentional construction of barriers like these? In addition to observing Lidia’s investigative and legal prowess, we get to voyeuristically enjoy her romantic exploits, which allow us to see her as fun, fun-loving and three-dimensional. It helps that her lovers are smart, engaging, and witty. Together, the vestiges of upper-class status, occupational prestige, and staunch independence are worn well by Lidia Poët, making the series informative and entertaining. If you want to dip your toe into a 6-episode period piece that is more upbeat than down, you might want to give this one a try. 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 Studio provides laughs with its bungling protagonist < Back The Studio provides laughs with its bungling protagonist Lionsgate Television, 2025- 25 minutes Creator: Evan Goldberg Reading Time: 5 minutes 📷 : Used with permission, Christian Niemann https://www.instagram.com/justbychris/ The Studio Groove Station (XLK5J9TJBAVMOYXC) 00:00 / 05:58 https://x.com/justbychris Ginkgo Biloba Youthful, lighthearted, and fun movies and TV shows White Movies and TV shows that make you laugh, or involve urgency, like chase scenes or other physical activity Chris Chaisson 2025-06-23 Many comedies center around a person or a friend group who are just regular people. They have a regular job and no real power to speak of, making them relatable to most of the audience. While this works just fine for many comedies, it is refreshing to occasionally see a show revolving around a boss who is out over his skis. Having an authoritative figure who lacks an authoritative presence reminds the audience that often, no one knows what they’re doing in life and everybody is faking it to some degree. This persona also serves as the perfect setup for endless hi-jinks. Such is the case in Seth Rogen’s new Apple + hit The Studio . The inciting incident of The Studio involves its protagonist, Matt Remick (Rogen), realizing a life-long dream as he is promoted to the lead executive. With his new responsibility to green-light projects and approve of spending requests from filmmakers, you would think that he is the most popular man at The Continental Studio; as it turns out, far from it. While Matt gives off a less cold and detached vibe than the stereotypical studio head, his desire to be viewed as an artist leads him to be overbearing. He consistently inserts himself into the filmmaking process rather than simply making decisions and observing at a distance. Thus, many of the actors and directors grow tired of him but consistently suck up to him to get what they want. Matt lacks the self-awareness that his right-hand man Sal (Ike Barinholz, MadTV ) has, leading to many cringeworthy moments throughout the series. Matt often overstays his welcome (if he was ever welcomed) on sets and in trailers, interfering with any progress being made on a project. Even though he cares more than your average executive, he takes his persona as a creator too seriously, and his performance as the studio head suffers. The hilarity of The Studio comes from the fact that despite Matt’s nerdy demeanor, lack of social grace and inability to project any modicum of strength, he still holds an authoritative position. His decisions, sometimes calculated but often impulsive, hold great influence, and even other producers and executives must defer to him. His character could be summed up as “if Michael Scott bought movies instead of selling paper.” The protagonist from The Office , played for many years by Steve Carell, Michael Scott had very endearing qualities but often seemed like too much of a stooge to be in charge. Nonetheless, he was. Not only did his place as the decision-maker bring about a lot of hilarious and cringe-worthy moments, it made him a sympathetic figure. Much of the audience undoubtedly has bosses they do not respect. So protagonists such as Matt and Michael serve as somewhat of a confirmation bias, while also providing us enough emotional distance to laugh at their mistakes—mistakes that are not so funny in our actual workplace. Despite all the comedy deduced from the characters’ ineptitude and faux pas, The Studio ’s appeal also comes from its authenticity. Many of the discussions between the executives and the creatives, and the concerns expressed mid-conversation, feel very true to real life. For instance, Matt obsesses over delivering an unfortunate note to Ron Howard about a scene that needs to be cut from his newest film, as he does not want to give negative feedback. In discussing with his team, he tries to pawn the responsibility off on the head of marketing, Maya Mason (Kathryn Hahn, Tiny Beautiful Things ), who responds by saying no creative would ever take a note from marketing seriously. This moment speaks to how strictly roles and power structures are defined in the entertainment industry. Thus, having reluctant bosses in positions of power creates so many problems that are, in a fictional world, very fun to watch. The style of the shooting involves very long takes as Matt drives around the studio lot, walks through active movie sets, or greets people in the foyer of his office building before leading them upstairs. The takes are accompanied by soft, percussive jazz music, reminiscent of the Best Picture winner Birdman (or the Unexpected Virtue of Ignorance) , starring Michael Keaton. This shooting style leaves audiences stuck with Matt in every uncomfortable moment after there is friction between him and a director or member of his team. When he needs to juggle meetings or quickly convey information, we see how dizzying his job can get and how often he needs to quickly put on a friendly face. These scenes give the audience a hint of empathy for people in positions of power, who may have a very disorienting daily routine. It also reinforces how difficult such a position is to occupy without the appropriate Type A personality. Between its well-written characters, tremendous acting, uncomfortable scenes and gut-busting physical gags, The Studio may very well be the next award-winning comedy to be considered the best on television. Fans of The Office will surely see a hint of Michael Scott’s influence in this Apple + hit and may take to it the same way. The Studio offers countless laughs every episode and reminds us not to take ourselves too seriously. 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 Night Agent’s diverse cast helps welcome all to the political thriller genre < Back The Night Agent’s diverse cast helps welcome all to the political thriller genre Exhibit A, 2023 49 minutes Creator: Shawn Ryan Reading Time: 7 minutes 📷 : Used with permission, Netflix The Night Agent Rising Tide (WDHRNXUZFGYGCOIV) 00:00 / 07:22 Matcha Mysteries or whodunnits White Movies and TV shows that make you laugh, or involve urgency, like chase scenes or other physical activity Reba Chaisson 2023-04-12 I like political-spy thrillers – novels that is, not cinema so much. They just don’t quite deliver the mystery and adrenaline rush of a well-written book. Windmills of the Gods by Sydney Sheldon still stays with me more than 30 years after reading it. Brad Thor’s Code of Conduct , Foreign Agent , and Backlash novels are others I could not put down. Dean Koontz’s The Silent Corner is yet another one that comes to mind. In terms of movies and television shows, Miss Sloane and the television series, 24 , definitely hit the mark. So given the short list of cinema, my expectations were low for the Netflix series, The Night Agent . The Night Agent is a ten-episode political thriller about an early 30-something FBI agent who works the Night Action phone in an isolated room of the White House. For his eight-hour shift, Peter Sutherland, played by Gabriel Basso ( Hillbilly Elegy , Super 8 ), sits alone in a secured room, waiting in the unlikely event that the phone on his desk will ring. The phone ringing signifies that the caller, a U.S. spy or night agent, has been compromised and needs emergency assistance. Normally an uneventful 3 rd shift, the phone rings. But instead of a night agent, it is Rose Larkin, a 30-something like Peter whose aunt and uncle were suddenly attacked and killed in their home. She has narrowly escaped, but not before the pair gave Rose a phone number urging her to call it immediately and get out of the house. Making eye-contact with one of the killers while running away, Rose is now a target. This inciting incident for the series sets off a chain of events that leads to Peter as Rose’s protector. The two must collaborate on who Rose’s aunt and uncle really were, why they were killed, and how their identities as spies were compromised. Diane Farr, the president’s chief of staff, assigns Peter to be Rose’s protector, and he proves himself to be up to the task. On several occasions throughout the series, he is forced to use his surveillance acumen as well as his self-defense and neutralizing skills, both with and without a weapon. Observing his proficiency in these areas goes a long way in establishing his much-needed credibility given his youth and the personal baggage he carries about the wrongdoings of his late father, a disgraced FBI agent. He repeatedly complains about the events that transpired around his father’s case, making him seem immature and thus difficult to take seriously. Showing his skills builds his credibility as a competent, but still whiney, agent. A tech genius, Rose, played by Luciane Buchanan ( The New Legends of Monkey , Sweet Tooth ), uses her skills to break into computers and navigate complex file systems. But while determined to find out who killed her aunt and uncle, she presents as naïve. Rather than strategizing, she looks to act on the information she finds by confronting the parties she believes to be involved, as if they will simply give her honest answers, let alone permit access to them. Peter’s experiences in the White House temper this by helping Rose realize that these are powerful people with strong influence and broad social networks. Direct confrontation accomplishes nothing. Dealing with these matters must be approached like a game of chess, not checkers. In this sense, the series reminds me of the political suspense thriller, Miss Sloane , where Jessica Chastain plays the title character as a cunning and powerful Washington, D.C. political operative who takes on the gun lobby. The film pulled me in and kept me guessing about what move would be made next. I became so immersed in this story, which contained strong characters and took its time unfolding. The ending was so great, it made me sing – and I can’t carry a tune in a bucket. The closest television production to The Night Agent is 24 , the series led by Kiefer Sutherland as CIA agent Jack Bauer, who took audiences on a thrill-ride for seven seasons across the first decade of the new millennium. The action-packed series was full of twists and turns, and far from predictable in story or character. Story and depth of character are usually the draw of cinematic pieces. With just a few exceptions, The Night Agent was largely lacking in both. Nearly everything about it was predictable. The relationship between Peter and Rose – predictable. The young female secret service agent who resents the older, more experienced male agent – predictable. The bratty daughter of the vice-president – predictable. The people involved in the conspiracy – predictable. The conspiracy itself – predictable. The gist here is that The Night Agent needs to go deep to measure up to its predecessors in the political thriller genre. One saving grace of the series is Diane Farr as the president’s powerful and quick-thinking chief of staff, who can deliver a profanity-laced line better than soldiers in the armed forces, albeit with a calm and controlled demeanor. Played by Hong Chau ( The Whale , The Menu ), Diane receives significant screen time in the series since she serves as the connection between Peter and the White House. It was quite entertaining to watch her calmly take down people above and below her in rank with her verbal wit, especially knowing she had the power to back up her words – and threats. The most important element of appeal, though, is the wide-ranging characters and the racial, ethnic, and gender diversity across roles. The roles are not patronizing but substantive: Black male and female secret service agents and an agency head who is Hispanic; a woman of color with IT security acumen; an Asian American female chief of staff to the president; a White woman as president, and a cast ranging from early 30s to mid-60s distributed across influential roles. This casting seems natural and reflective of today’s mosaic. It likely helps audience members connect with the series, allowing them to imagine what the political landscape and the seats of power across the Executive Branch could or even should look like today. In casting the series in such an inclusive way, the filmmakers signal to audiences that everyone belongs at the table, every group is entitled to political power. This is the major appeal of The Night Agent and it distinguishes it from any of its predecessors in the genre. The Night Agent holds some entertainment value and promises to keep you engaged to get answers to the unanswered questions, such as: Who ordered the hit on Rose’s aunt and uncle? What are they after? And what does any of this have to do with the White House? These are the questions that hover over the ten-episode series. But don’t underestimate the aesthetic power of seeing ourselves represented on screen in seats we don’t typically occupy. 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!

Peter & the Wolf provides a goth-animated adaptation to a familiar fairy tale < Back Peter & the Wolf provides a goth-animated adaptation to a familiar fairy tale Blink Industries, 2023 33 minutes Director/Writer: Elliot Dear and Stephen McNally / Bono and Sergei Prokofiev Reading Time: 4 minutes 📷 : Licensed from Shutterstock Peter & the Wolf Boo! (RESPVDYED21KBUR7) 00:00 / 04:02 Ginkgo Biloba Youthful, lighthearted, and fun movies and TV shows Jasmine Movies and TV shows with heart, positive vibes, and warm messages Chris Chaisson 2023-10-26 Peter & the Wolf tells the tale of a grieving 12-year-old boy sent to live with his grandfather in the forest after the death of a parent. While he wants to play outside, his grandfather tries to keep him close to the house and back inside early, as there is said to be a wolf on the prowl. However, Peter seeks out an encounter with the wolf with the help of a duck, a bird and his cat. He initially finds the wolf aggressive and predatory, but once he tames it, Peter attempts to protect it from capture at the hands of two hunters. Bono’s adaptation of a 1946 Disney animation (which itself was based on a classical composition by the same name) centers heavily around the idea of protection. Peter spends the entire short film trying to protect his animal friends from each other and from humans, while his father also tries to protect him from the wolf and the hunters. Peter uses several methods as means of protection, including his slingshot, trickery, and reasoning skills. His adventures allow him to transfer his angry energy about the loss of a parent into something productive, as he essentially makes a new family out of his animal friends. In stages of grief, we often need to withdraw from our routines in order to emotionally recover. Peter & the Wolf paints a different picture of processing grief, with its protagonist taking on the responsibility of caring for animals. The short also uses gothic animation to portray the good and bad, or innocence and guilt, in its characters. The wolf, initially in its predator state, is outlined in chalk with X’s for eyes, making it the clear villain. Once Peter has tamed it, the wolf’s outline goes away to reveal its fur and soft, round eyes, drawn the same as the other characters. Another example is the duck wearing a snorkel mask while it wades in the pond. Not only does it add a touch of humor, but it makes the duck seem more like a human. We see Peter’s animal friends experience the full emotional spectrum, from fearful to brave to playful to serious, and even annoyed (the cat jumps and glares at Peter for slamming down a book). Even more clever than the art is the way Peter & the Wolf uses music. The classical music accompanying this children’s story might even offer a nice reprieve for parents who still have Justin Timberlake’s “Can’t Stop the Feeling” or the Hamilton soundtrack ringing in their ears. Accompanied by singer Gavin Friday’s narration, the short consists of similar music to the original, which contained compositions by Sergei Prokofiev. Each character (bird, duck, grandfather, wolf, Peter, and hunters) has their own instrument and musical theme. As with Prokofiev’s symphonic fairy tale first performed in 1936, the musical pace quickens to represent impending danger and the rush to safety, while the normal slow, bouncy tunes symbolize calm. The music, along with the character’s behavior, exhibits how violence begets violence, with the characters threatening each other’s safety one after the other before being subdued. Peter & the Wolf differs from a lot of children’s stories that tend to be about lost characters and their adventures in trying to find a way home. Rather, it depicts the need for safety and security of the most vulnerable creatures. There are few symphonic fairy tales available for a comparison; however, a recent one to shout out is the 2021 Merregnon: Land of Silence , about a wooden robot who must find his creator in a realm of eternal frost. Both projects offer adults a chance to introduce classical music to their children within the context of what is still a children’s story. Available on max 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 Wonderful Story of Henry Sugar brings wit and style to a children’s tale < Back The Wonderful Story of Henry Sugar brings wit and style to a children’s tale Netflix Studios, 2023 37 minutes Director/Writer: Wes Anderson / Roald Dahl and Wes Anderson Reading Time: 3 minutes 📷 : Used with permission, Netflix The Wonderful Story of Henry Sugar Storyteller (AIBRWGF5BI7RHQF0) 00:00 / 03:37 Oolong Movies/shows that make you laugh or involve physical activity like exercise/dance Ginkgo Biloba Youthful, lighthearted, and fun movies and TV shows Chris Chaisson 2023-11-20 Wes Anderson’s distinct style is well-known amongst the film student crowd. His humor, childlike characters, and pastel color palette to tell his stories allow his fans a sense of certainty. The majority of moviegoers buying a ticket to his newest release know what they are getting and know that they like it. Those who do not care for his style will simply not attend. Thus, he is free to experiment within his own style and work with many different A-list actors. The types of characters and stories Anderson writes jive well with children’s stories, as was illustrated in Fantastic Mr. Fox . This may explain his recent short film adaptation of Roald Dahl’s works, including the charming and on-brand work The Wonderful Story of Henry Sugar . Anderson’s new Netflix short centers around Henry, a wealthy man who learns of a curious patient featured in a doctor’s report. The patient, treated in a hospital in India, possesses the ability to see through objects despite his obstructed vision. He is not so subtly referred to as “The Man Who Sees Without Using His Eyes,” and he uses his gift for selfish reasons. The doctors seek to use him for a more philanthropic purpose as a teacher of students who are blind, but their plans go awry. Most notable about The Wonderful Story of Henry Sugar is how Anderson maintains the feel of reading a book. The characters narrate on screen, breaking the fourth wall briefly and then returning to the scene. Their many asides serve to maintain the verbiage that would be read in a children’s book and allow the audience to chuckle at the short’s self-awareness. Just the same, the characters speak at a frenetic pace and in hushed tones, almost as if they are worried about waking someone up. As many readers simply scan the words or read late at night when others are asleep, this detail of the short makes it feel like a bedtime story. The set design of Henry Sugar provides the audience with the feel of watching a theatrical work, many of which are based on novels themselves. Oftentimes, rather than cuts and dissolves, the transitions from scene to scene are simply props and backgrounds being rearranged. Anderson uses the depth of the location, foregrounding his narrator to make breaking the fourth wall easy while putting the other characters farther from the camera. When the actual storyteller appears on-screen, removed from any of the settings, he is in the center of the frame and speaks directly into the camera. In theater, audiences tend to experience these moments from the narrator at the end of an act as the lights around them dim and they address the entire auditorium. All of these elements approximate the story's original form, the beloved children’s book from which it is derived. While the story itself slightly resembles the 1996 film Phenomenon starring John Travolta, Wes Anderson’s storytelling style in The Wonderful Story of Henry Sugar feels similar to Roald Dahl’s most popular work, Matilda (1996). The popular feature film centers around another gifted character and, while not on-screen, still has voice-over narration that helps it maintain a childlike mood, despite some dark, abusive behavior coming from adults. Anderson proves with his short how helpful stylistic choices can be in paying homage to other great artists. Available on Netflix 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 Neighbors’ Window puts a melodramatic spin on its genre < Back The Neighbors’ Window puts a melodramatic spin on its genre Marshall Curry Productions LLC, 2019 21 minutes Director/Writer: Marshall Curry / Diane Weipert and Marshall Curry Reading Time: 3 minutes 📷 : Licensed from Shutterstock The Neighbors' Window Home Inside (IAPD4ZHMI2KGRI5V) 00:00 / 03:29 Chamomile Family dramas Dandelion Movies/shows with heavy subjects Chris Chaisson 2023-06-07 Many “peeping tom” movies fall into the suspense/thriller genre. The voyeuristic protagonist in question either witnesses a crime ( Rear Window, Disturbia ) or becomes obsessed enough to commit a crime themselves ( One Hour Photo ). On occasion, a film opts for the dramatic angle, providing a moral beyond “mind your dang business.” Such is the case in the Oscar-winning short film The Neighbor’s Window . Marshall Curry’s award-winning short stars Alli (Maria Dizzia, Funny Pages ) and Jacob (Greg Keller, Jane Wants a Boyfriend ), a middle-aged married couple with kids, who become entranced by the lives of a twenty-something couple in the curtainless apartment building directly across from them. Observing their celebratory nature, including their sex life, Alli and Jacob clearly become envious of the couple’s youthful ways. Their jealousy leads to increased stress and arguing over matters such as Alli feeling that Jacob does not help out enough with parental duties. One day, Alli notices a shift in the vibe between the young couple they have been observing. Their life appears much more somber, making Alli reconsider her previous assumptions about their joy and bliss. At the outset of this Oscar-winning short, it seems that we are headed for a standard “peeping tom” story arc, where someone holed up in their apartment passes the time by spying on others only to witness something heinous. After a humorous exchange between Alli and Jacob in the opening scene, the story seems pointed in the direction of the couple shaking up their routine by blasting music or smoking pot. However, the short film bypasses any such inciting incidents and heads in a completely different direction. Instead, the young couple unknowingly burrow their way into Alli and Jacob’s arguments, as the two now gauge their own happiness relative to complete strangers. Despite having healthy children and a spacious, upscale apartment, the two long for the youth and spontaneity their counterparts still have. The middle of the short, in a strange way, feels like the aftermath of a double date where one couple had way better chemistry than the other. As has been said many times, comparison is the thief of joy. Once the young couple experiences their dramatic shift, Alli stops viewing them as a fantasy of what her life and relationship should be. She instead views them as the three-dimensional beings that they are. Regardless of how anyone’s life looks at a glance, their emotional states ebb and flow, and any unexpected news can cause a sudden change. Through watching her neighbors, Alli realizes the fragility of happiness, and it hits her like a ton of bricks. When you’re stuck in the doldrums, it can be tough to count your blessings. Alli not only gets a reminder of all the good in her life but also how quickly things can take a major turn. The Neighbors’ Window provides less of a high-flying, escapist plot that we see in other spy/peeping tom stories and instead delivers an important reminder about what not to take for granted. Available on Film Shortage 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!