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Catalina considers what it means to call someone a friend < Back Catalina considers what it means to call someone a friend rubbertape, 2022 16 minutes Director/Writer: Tyler Rabinowitz / Sam DiGiovanni Reading Time: 4 minutes 📷 : Used with permission, rubbertape Catalina Friendship And Enmity (BYXIMB0N9DPNS9UC) 00:00 / 04:20 Chamomile Family dramas Ginger Thought-provoking movies/shows Reba Chaisson 2023-10-02 Located off the coast of southern California, Catalina Islands (or Catalina) boasts wonderful activities, restaurants, and accommodations for our vacationing pleasure. Why, then, would anyone go there to camp? Gus, Will and Brian do – and they make the trip every year to relax and reconnect. Catalina is about the bond the three have shared since childhood and their intentional efforts to remain close. The late twenty-something trio differ in several ways. Will is African American and Gus and Brian are White. Gus and Brian are secure in their chosen careers and Will is in flux after recently dropping out of law school. Gus is gay and his friends are not. Their relationship is unusual since most of us engage in gender homophily , meaning our closest friendships tend to be with people whose sexual orientation is the same as ours. Researchers found that the quality of male cross-orientation friendships is high. This is remarkable given that most heterosexual males hold steadfast to traditional views of masculinity. So, the idea of men being friends, let alone, good friends with someone of a different sexual orientation is astonishing. But in Catalina , Gus (Sam DiGiovanni), Brian (Ben Holtzmuller) and Will (Ronald Peet) are comfortable divulging their personal and professional struggles to one another without fear of judgment or criticism. This comfort level is something we typically find with our parents, close family members, and occasionally, long-time best friends – people we trust to offer support and encouragement rather than a snicker and/or admonishment. Researchers also found that close cross-orientation friendships usually predate disclosure of the gay member’s sexual identity. Sharing their sexual orientation with their heterosexual friends creates the space for the group’s relationship to grow deeper and more supportive. Gus, Brian and Will exemplify this as their friendship began when they were just kids and their depth of caring for one another has deepened over the years. Part of this consisted of the men gradually, over time, shedding their ideas about what constitutes masculinity. There are cases, however, in cross-orientation friendships, when heterosexual group members pull away because of concerns about being hit on by their friends who are gay. There are also instances where gay members make assumptions about their friends’ ideas about them, leading them to keep their sexual identity to themselves or avoid their friends for fear of ostracism and ridicule. Catalina touches on this dilemma when Gus, obviously hesitant, hits on one of his friends. This pivotal moment risks the film falling into stereotypes about both gay and heterosexual men. The film, though, reaches beyond these tropes to center this moment as a test of their friendship, so we can watch with bated breath if it will bend, break, or hold firm under these taboos. Among the many things I learned from a dear friend of mine who recently passed away, was to be intentional in loving the people you say you love. Catalina crystallizes this and for that reason, I found this film quite moving. Director Tyler Rabinowitz’s work makes us consider just how much richer our lives could be if we were intentional in letting go of our phobias and the contempt they breed. Catalina depicts this possibility along with the stumbling blocks that can occur along the way. How we handle them says something about us and the importance of our friendships. The short isn’t a tearjerker, just a 16-minute depiction of what it means to call someone a friend despite your differences. As for camping - don’t mind me. I like the outdoors, but I just crave modern amenities like plumbing, glass plates, and a roof over my head. 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!

< Back This suspenseful political thriller starring Jessica Chastain, takes viewers on a whirlwind around Washington’s power-elites where influence, will, and ingenuity meet center stage. EuropaCorp, 2016 132 minutes Director/Writer: John Madden / Johnathan Perera Reading Time: 5 minutes Miss Sloane Intercept (KJBRWNSW03XUAWPG) 00:00 / 05:39 📷 : Licensed from Shutterstock Ginseng: Suspenseful and intense thrillers Barley: Movies and TV shows with a lot of dialog Reba Chaisson 2022-05-22 Some people might argue that it takes a person devoid of emotion to do the work of politics, where the goal is not to be charismatic but simply to get your way. This suggests that those who do political work are automatons motivated solely by the desire to win, damn the cause and the potential human costs— even to oneself. This also suggests that the person has lost him or herself in the quest to win. That they have become oblivious to what drove them to the debate in the first place. When this happens, they lose sight of their peripheral vision and are blindsided by moves they failed to anticipate. Why? Because politics is a game of chess, not checkers. Chess so aptly describes Miss Sloane , an immersive film about political maneuverings, manipulation of relationships, and ideologies that shift with the wind depending on which direction yields the advantage over an adversary. Headlined by Jessica Chastain ( Molly’s Game , Zero Dark Thirty ) in the title role as Madeline Sloane, the contemporary Washington DC-based drama is a suspenseful political thriller, in which figuring out motivations and a winning strategy proves to be simultaneously mind-boggling and mind-blowing. Because Shakespearean tragedies involve the death of a political hero, few people consider their parallels when tragedy befalls a heroine. To sell a modern story as one, the central character must be cloaked in stoicism and traditional, yet masculine exhibitions of leadership and determination. In Miss Sloan for example, Evelyn Sumner, a wealthy supporter of feminist causes who is played by Christine Baranski ( Mamma Mia! , The Good Wife ), does not hide her disdain for Sloane, telling her directly that “all she needed was a d***.” So, a woman who exhibits traditional male qualities and conducts her business in a traditional male domain is essentially viewed as problematic when she does not consistently support feminist causes. This, however, narrows what women can be and helps explain why some exhibit behaviors typically associated with men, particularly in the political arena. Sloane is a quick-witted, high-energy, and bold thirty-something political operative who takes on the powerful gun lobby to regulate firearm purchases. This not only upsets the lobbyists but also raises the ire of certain congressional members who receive millions of dollars in campaign donations and in-kind favors under the tacit assurance that restrictions are never imposed on gun purchases. With the vote on a gun regulation bill looming, the lobby solicits the political consulting firm where Sloane is highly regarded and used to winning. Unable to contain her cynicism when approached by the head of the gun lobby, Bill Sanford, played by Chuck Shamata ( The Day After Tomorrow , One Week ), she laughs in his face and declares that they have no case. Incensed, her boss, George Dupont, played by Sam Waterston of Law and Order fame, gives her an ultimatum. She then takes viewers on a whirlwind around Washington’s power-elites where influence, will, and ingenuity meet center stage. The 2016 release is reminiscent of the 1987 film, No Way Out , which stars Kevin Costner as Navy Lieutenant Commander Tom Farrell. He secretly witnesses the accidental killing of his lover, Susan Atwell by Senator David Brice, a powerful politician who was having an affair with her. Played by Gene Hackman ( The French Connection , Runaway Jury ), Senator Brice finds a Polaroid negative underneath Atwell’s bed appearing to be Atwell and her lover. He then embarks on a plan to divert attention away from himself by pointing the authorities in the direction of Farrell as the killer. Not only must he get the negative developed first, but he must ensure Atwell’s friends don’t reveal his relationship with her. Unfortunately for Farrell, Senator Brice exerts his influence to get the case assigned to him and to insist he uses the Pentagon’s software to render “the killer’s” image from the negative. Unbeknownst to Brice, the image is that of Farrell, who must work against himself to ensure the picture does not get revealed and that he simultaneously protects Atwell’s friends by staying one step ahead of Brice and his goons. Both are done at great cost to all involved. Like No Way Out , Miss Sloane uses politics to tell a story about human costs and sacrifice. Sure, the cost of expending energy to win in Washington is measured in terms of livelihood, degree of influence, and wealth. So determined are the players to get their way that they leave immeasurable human wreckage in their wake. Instead, said wreckage manifests itself in intangibles like unmet needs, unchecked emotions, and unrequited love. Miss Sloane left me wondering how much of ourselves we should sacrifice, and if winning is worth what we are risking. The price of not pausing to consider these has long-term consequences for what many believe are the most important things in life. Understanding this, is winning truly everything? 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 Biosphere takes a more docile, academic angle in the post-apocalyptic genre Duplass Brothers Productions, 2023 106 minutes Director/Writer: Mel Eslyn Reading Time: 4 minutes Biosphere Strange Science (DHJJSCGX4M4QFF6S) 00:00 / 04:14 📷 : Pixabay Barley: Movies and TV shows with a lot of dialog Ginger: Thought-provoking movies and TV shows Chris Chaisson 2023-08-02 Set in an apocalyptic future, Biosphere stars two lifelong friends, Ray (Sterling K. Brown, Black Panther ) and Billy (Mark Duplass, Safety Not Guaranteed ), who have witnessed the end of civilization and now co-exist in a self-sufficient biosphere. As they are both biologically male, Ray and Billy being the sole survivors would indicate the inevitable extinction of the human race. But is it that simple or is an unforeseen evolutionary change coming? Ray and Billy’s relationship sees its ups and downs as they debate their differing perspectives, reflect on their lives before the incident, and plan for what is to come. As one might expect from a two-character story, Ray and Billy have very glaring differences. Ray is the overachieving intellectual, having built the biosphere they are surviving in himself. Not only is he highly educated in biochemistry, but he served as an adviser to Billy’s presidency. What to some may be the most perplexing element of the story is that Billy was ever the President of anything, let alone the United States. Though charming, he appears to lack any leadership skills or authoritative presence, mostly deferring to Ray’s expertise. His character is most likely a satire of many leaders in real life, if not the entire idea that a leader knows any more than the average person. Billy serves as the voice of the audience, specifically those not well-versed in science or evolution, and reacts just as they would to hearing the volume of information that Ray throws out. Ultimately, Billy becomes a sympathetic character, as having a highly intelligent and accomplished friend could conjure up feelings of insecurity. Biosphere being a post-apocalyptic buddy comedy allows for it to present many interesting questions. One such question is where to turn to after an argument? In many post-apocalyptic films, there is one survivor who speaks to inanimate objects for a sense of socialization. However, Ray and Billy each have someone to talk to, but not anyone to moderate once they have verbal disagreements. One solution is the fish that they are growing (and eventually eating) in the biosphere’s pond. Ray talks to them for a reprieve multiple times after getting into it with his best friend. Though not exactly like Wilson in Cast Away or the mannequins in I Am Legend , we see that even with the presence of a human companion, situations dictate turning to other beings for conflict resolution. The movie’s main question pondered over the course of 106 minutes is “could an organism’s biological makeup change out of necessity in order to continue its species?” On this topic, Ray and Billy both must face changes propelling them to act in ways they never thought they would have to in a civilized society. What pulls the viewer into the story is that due to their lifelong friendship and confinement to a single space, the characters have candid conversations about who they are, how they have been raised, and how both factors act as mental roadblocks to evolution that they must figure out a way around. Writer/director Mel Eslyn’s film differs from many others in its genre. In most films with two friends struggling to survive, they are stranded in the wilderness or space, still with some faint hope of rescue. In many post-apocalyptic movies, there is either a sole survivor still able to traverse the wasteland for resources or many groups of survivors that form their own cliques (i.e. Mad Max ). Having two friends co-existing in a biosphere avoids the violence and tribalism that we often see from movies in this category. Instead, it goes the academic and largely comedic route. Pressed for a comparison, Biosphere bears some resemblance to the Oscar-nominated 2017 film The Shape of Water . In Guillermo del Toro’s critically acclaimed flick, a lonely janitor forms a relationship with an amphibious creature being held captive. Both films raise questions about how human beings adapt in the face of loneliness, desperation and, in the case of Biosphere , possible extinction. 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 Alex Morsanutto A Conversation with Operation: Cavity Writer/Director Alex Morsanutto Cup of Tea Critiques sits down with indie director Alex Morsanutto Chris Chaisson 2022-10-31 Reading time: 10 minutes Synopsis: A group of young kids team up to rob the dentist who has wrought havoc on their childhood. Cast: Jonathan P. O’Reilly as Douglas Maroney Scarlett Lewis as Lucy Howie Sheard as Kitkat Declan Foley as Timmy Neil Samuels as Dr. Caine Crew: Writer/Director: Alex Morsanutto Editor: Alexander Frasse Director of Photography: Sam Cutler-Kreutz Music: Sam Warfield Producers: Kara Bartek, Catalfamo Megan, Alex Morsanutto Special Makeup Effects: Jessie Roberts Alex Morsanutto wanted to make a short film about a relatable concept: childhood fear. Cue Operation: Cavity , a fun coming-of-age-meets-heist short film about four friends who plot to avenge the pain their dentist has inflicted on them. Cup of Tea Critiques sat down with Alex to talk about where he gets his ideas, his favorite aspect of directing, the purpose behind producing a short, and other aspects of his work. We began by talking about the themes in Operation: Cavity , including the hyperbolic nature of kids’ imaginations. “The film in general is inspired from my youth, and kind of like that idea of playfulness and adventure,” says Alex. “And, thinking crazy things are in play, when in reality, you're just a kid, and you don't really know what you're getting yourself into. But, all those intimate shows that we grew up on, Hey Arnold, Doug, Recess: School's Out is another great reference. All played into where I was drawing from for this sort of adventure.” Similar to other creators, Alex found inspiration in his own life experience, both past and present. After careful thought, he was able to fuse the style of movie that he wanted to make with that life experience. “I mean, to this day, I'm still nervous to go to the dentist. And I feel like for the past eight years, maybe I've had this idea of a film I wanted to do with the dentist. I just couldn't figure out how to make it into a film for the longest time. And, I kind of just started brainstorming, and then I wanted to make a heist movie, and I thought maybe I can mix these two genres together.” While the film as a story stands alone, Alex produced the short with a longer project in mind. Many filmmakers with a limited budget go this route, like Robert Rodriguez with The Customer is Always Right or Zack Snyder with Die Free . “I was hoping that this would be like a proof of concept for a TV series, where each episode would focus on these kids. And they get themselves into trouble. They need to get themselves out of it in a creative way. So, the next one could have been detention or some kind of devils of night adventure, around Halloween time, stuff like that. It's definitely something I'm gonna keep pushing once I get the opportunity to.” Alex’s goal is not uncommon among indie directors, who often have limited resources for making their films. Rather than produce a full-length feature, many young directors opt to use their budget and connections to make a short film that, similar to a portfolio or a writing sample, showcases the director’s abilities. “A short film is either like a calling card, or just something to display, your directing ability or writing ability, producing, whatever. And I was trying to get the most bang for my buck. I tried to develop a short film that I could adapt into something bigger, and really launch my career as a director in the narrative space. So, these things take a lot of time to make, as I said earlier, and trying to make every single at-bat count, as much as possible. If you're gonna spend three years making a short film, might as well make it something that you could hopefully adapt and launch your career moving forward.” Often, an indie director’s long-term goal is to parlay his or her concept into a more expansive project. Alex spoke on the logic behind using a short film not just as a display of his directing chops, but also as a proof of concept. “Proof of concept is great, because if you have a bigger idea, you could show a producer, or an agent, maybe your manager, ‘Hey, this is what I'm thinking of, something that I'd like to do as my next project. I already have this visual example of what it's going to be like. This is the proof of concept. All you need to do is get me the money and we're in business.’” Many filmmakers feed off of the passion and devotion to style that the most accomplished in the business give off. Alex spoke on how he enjoys directors who have had a similar career path to his own. “I always liked the directors that came from a commercial world, because I come from a commercial world. And I'm hoping that my career can somehow replicate theirs. Directors like Ridley Scott or David Fincher, Michael Bay, that'd be an awesome career, but, I also like Jeff Nichols. Jordan Peele. I really admired his stuff with Key and Peele . As a commercial director, I work in the comedic space. And the sketches that he did on that show are just amazing. His ability to pivot from comedy to horror is something I look to as if it's possible, we can make some movies after the stuff we've already made.” Moviegoers frequently think of directors as responsible for planning the look, angle, and length of every shot on screen, but an equally important task is coaching up the actors and managing people. Alex shared which aspect of directing he likes best. “Working with actors is one of my favorite parts of the job. I went to acting school after NYU. I did some time at [Lee Strasberg Theatre & Film Institute] and then I did [Upright Citizens Brigade] in New York. And I really started to appreciate just the craft of acting and what goes on in an actor's head, scene by scene. And when they get the script, what are they thinking about? So as a director, it's like you're trying to pull that out from them.” Filmmakers get their starts in varied ways and often draw on their past experiences to solve problems. Some cross over from another field of entertainment, like former standup comedian Judd Apatow. Others find their way into directing from a completely different industry, such as former journalist Ava DuVernay. For Alex, directing commercials allowed him to get his feet wet and become comfortable taking charge. “It's kind of like anything in life. Directing commercials gives you an opportunity to get the repetition, to get in the habit of creating a shot list, creating a mood board, working with department heads, working with actors, trying to get specific shots, and working with new equipment and all that stuff. It's really just getting the reps in, like how an athlete works out so many hours a day and practices with their team. I feel like it's the same thing for an artist, you need to get those reps in, and get comfortable taking charge of the set, pivoting if something goes wrong, or changing the line of dialogue if it's not reading right, and stuff like that. Directing commercials has been so rewarding for me in that way.” Children ages 12 to 13 are at the center of Operation: Cavity . Many professionals in the film industry speak to the challenges of directing child actors, whether it be the limited hours they are available for shooting the film due to school, their typically shorter attention spans, or their lack of significant life experience to draw motivation from for playing their characters. Alex elaborated on the challenge of keeping the kids’ energy levels and spirits up, as well as some of the tactics he used on set to reinvigorate his adolescent actors. “Working with kids is particularly hard. Especially at that young age, when they memorize the lines, they get to the cadence where they're memorizing with their parents, or guardian, whatever. And they almost sound like robots. Even when it comes to line delivery. I went as far as creating these audio notes for them, sending them how I think they should read the lines to help them get into the pacing of things and the inflection, stuff like that. You really have to be clever with how you schedule your days so you get a good burst of energy…it's really tough to get them to keep moving. We tried donuts and cupcakes, and candy to try to keep them going. And it was fun, because the kids are feeding off each other too. So all you really need to do is have one of them buy in and then, they all were pumped. But it is, it's definitely a challenge.” It took Alex a solid two years to finish post-production, which consists of editing, color correction and the addition of music. Though the completion of the film itself gets much of the attention, the marketing and distribution can be the most arduous task. Many indie filmmakers have trouble getting eyeballs on their completed project and hear many “no’s” before something breaks their way. For Alex, it took almost a year before his short film was accepted to the Hollyshorts Film Festival in Hollywood, California. “It's such a weird dance,” Alex mused. “You spend all this time in post-production, trying to make everything right. And then, with a short film, and basically a feature film too, you want to get a good premiere. So you're submitting to all these top tier film festivals, you're getting a bunch of rejections, you're waiting a long period of time, because it's not like they're one after another. So we were going through that process. And we were basically at the end of the line when we got in with Hollyshorts, which was great, because it was an Oscar qualifier. That was almost nine months of submitting to film festivals to get a premiere somewhere big…It's such a weird process, because a lot of it is just waiting with this finished film. Hoping to get it in front of people who can help push your career one way or another.” Alex hopes to build upon the success of Operation: Cavity but is also pivoting to different projects to continue challenging himself. “If the opportunity comes up to adapt Operation: Cavity , I'd love to keep building out that world. Other than that, the thing I had my eyes set on right now is this Viking film that I'm going to shoot in Norway in 2023. Super indie, not a lot of money, but just something unique. And that's kind of grounded in the Norse mythology over there in Norway, so I'm excited for that. As I've gotten older, I've gravitated away from comedic movies to stuff that's more serious; horror, thriller, suspense, that type of stuff. So I'm hoping my next movie is along those genres.” You can follow Alex’s upcoming projects at silvermineproductions.com or follow him on Instagram and Twitter @ajmorsanutto or @silvermineproductions. 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< Back An intense story of betrayal covering a turbulent time period in the U.S. in the late 1960s. BRON Studios, 2021 125 minutes Director/Writer: Shaka King / Will Berson, Shaka King, and Kenneth Lucas Reading Time: 3 minutes Judas and the Black Messiah Enough Said (8COAKXLXPP0JCOC9) 00:00 / 03:50 📷 : Used with permission, Snollygoster Productions https://www.instagram.com/snollygoster.productions/ https://posterspy.com/profile/snollygoster-productions/ Dandelion: Movies and TV shows with heavy subjects Chris Chaisson 2021-07-25 Julius Caesar . 1984 . Antony and Cleopatra . Stories of betrayal can be heavily appealing to many of us. Though the aforementioned examples straddle reality and fiction, you can find plenty of real-world instances of a character using someone’s trust to double cross them. Take for instance mob movies like Donnie Brasco , based on one of many real-life cases of undercover law enforcement entering a mob family. Such characters often prove to be anticipatory and quick on their feet, causing the audience to root for them to escape with their concealed identity intact. The story trope of a mole infiltrating an organized group, be it criminals, activists or law enforcement, conjures up angst and anticipation in viewers who are game. The popular TV series 24 managed to recycle this trope for the better part of eight seasons, earning high ratings the entire way. As fans watch these stories play out, they tend to be drawn in by the dramatic irony. Will the imposter be caught and what will be the consequences? If you’ve indulged in this storytelling enough, you know the stakes are often life and death; and not a peaceful death at that. Judas and the Black Messiah deals with one such story surrounding a revolutionary figure in Black history along with Black Panther Party leader, Fred Hampton. Rather than take the conventional angle of centering the story around Hampton, Judas instead chooses the perspective of William O’Neal (LaKeith Stanfield, Get Out ). A street hustler turned FBI informant, O’Neal strikes a deal with FBI Agent Mitchell (Jesse Plemons, The Irishman ) to infiltrate the Black Panther Party in exchange for a reduced sentence. In doing so, he finds himself in perilous situations with his cover nearly blown while also questioning where his allegiances ultimately lie. Judas and the Black Messiah maintains a level of intensity throughout with strong performances from its leads in Plemons, Stanfield and Daniel Kaluuya as Fred Hampton. Despite its formidable cast, the film occasionally misses opportunities to submerge its audience in the time period, as 1968 was a turbulent year filled with assassinations, hate crimes, and news of the ongoing Vietnam War. Sometimes, rather than portraying real-world events or even story events on-screen, the script opts to simply tell the audience through dialogue. Additionally, while Kaluuya gives a riveting performance, Fred Hampton remains the “1b” character to O’Neal, which may frustrate viewers who are drawn to the lore of this larger-than-life figure. Nonetheless, the film will certainly entice those that enjoy stories of betrayal. Watching Judas and the Black Messiah may take you back to sitting in the movie theater (remember those?) and taking in American Gangster or White Boy Rick , to mention just two such films of the same sub-genre. Though none of these movies is perfect, moviegoers could enjoy all three for their elements of dramatic irony and suspense. Your familiarity with the story of Fred Hampton may tip off the ending to you, but the journey to this finale would make it worth the ride. That is, if you’re into that sort of thing. 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!

You Know Where to Find Me shows how far we’ve come in how we view difference < Back You Know Where to Find Me shows how far we’ve come in how we view difference Junk Drawer, 2023 20 minutes Director/Writer: Sam A. Davis Reading Time: 3 minutes 📷 : Used with permission, Sam A. Davis You Know Where to Find Me Playtime (R0KD8JFHXVVCYSM2) 00:00 / 03:51 Chamomile Family dramas Jasmine Movies/shows with heart, positive vibes, warm message Reba Chaisson 2024-01-16 “A mattress. There’s nothing like moving a mattress.” When I was in high school, children with learning or mild intellectual disabilities either attended classes on the school’s third floor or they went to specialized schools that were designed to meet their specific challenges. Early in the 1980s though, mainstreaming, the initiative to move students with such disabilities out of segregated learning areas into regular settings, came along. In addition to reducing the stigma often associated with students with disabilities, the goal of mainstreaming was to socialize them into the everyday culture of kids their age, enjoy school events, and just hang out like high school kids do. What we’ve come to recognize over the last 40 years is that people with learning and mild intellectual disabilities are capable of understanding and doing significantly more than they were given credit for prior to mainstreaming. Back then, for example, the establishment operated under the assumption that many of these individuals did not have the temperament to live with their families or the capacity to even hold down a job. I love this 20-minute short about a kid with a job and moving out of his mother’s home because it pointedly contradicts these assumptions. Frankie is a 23-year-old with a mild intellectual disability, and he is moving into his own place for the first time in his life. Excited about his new place, even if it is just across the way from his mom’s house, Frankie, played by acting neophyte Grayson Deeney, makes an adjustment to a piece of furniture and says with satisfaction, “I been planning this my whole life.” When his housewarming party does not quite turn out as planned, we learn something about his perseverance as he later tells his mom, “Don’t keep looking out the window at me. Love you.” Seemingly alone, Frankie’s mother, played by Noa Graham ( Elegy for a Glacier , The Secret Diet of an Exchange Student ), is soft-spoken and patient as she coaches her son on the appropriate greeting to leave on his answering machine. It takes several (okay, more than several) tries, but ultimately, she leaves him the space to craft a message that is right for him. It is one of the most touching scenes I’ve ever seen. One of the things I find interesting about films centering children with disabilities is that they often show mothers as the sole caretakers of children with disabilities. Unfortunately, You Know Where to Find Me is no different. Perhaps the percentages bear this out, but it would be nice to see fathers depicted as caregivers of their children as well. I wonder how Frankie’s adjustment to his new apartment and experience living alone would differ if someone he identified much more closely with (a father or another male figure) was depicted as being a part of his life. A girl, for example, attends his party. While we get the sense that he likes her, he is clearly inexperienced on how to engage her. Could the influence of a father or father figure have boosted his comfort level in this regard? Can Frankie’s quality of life be even better with the appropriate support? Watching Sam A. Davis’s beautiful short makes me wonder how, for so many years, we could have disregarded people because they present themselves to the world a little differently than most. I like this film because it shows that presenting oneself differently doesn’t mean we’re wrong for the world. It just means we’re different. 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!

< Back The Holdovers lends depth to each of its fatefully stuck-together characters Focus Features, 2023 133 minutes Director/Writer: David Hemingson / Alexander Payne Reading Time: 6 minutes The Holdovers Bright Sunny Day (G7U0H1UMMC4MVGLG) 00:00 / 06:04 📷 : Used with permission, Agustin R. Michel https://www.instagram.com/agustinrmichel https://twitter.com/AgustinrMichel https://www.behance.net/agustin_rmichel Mint: Movies and TV shows in cold weather and blizzard conditions Jasmine: Movies and TV shows with heart, positive vibes, and warm messages Chris Chaisson 2023-11-06 If you’re an avid TV watcher, you’re most likely familiar with the term “bottle episode.” It often refers to an anomalous episode in a series where two or more characters are stuck together due to some extenuating circumstance (i.e. locked in a room, stuck in an elevator). Often, the two characters have nothing in common or even have an adversarial relationship, and over the course of the episode, they learn not only more about each other’s interests but all of the ways they’ve misunderstood one another. This story device can make for either a memorable, compelling episode (i.e. “The Suitcase” episode of Mad Men ) or, in other cases, the absolute worst episode of a series (I’ll be nice). Sometimes, it forever changes the relationship while other times, like in most episodic sitcoms, the segment is of zero consequence. Alexander Payne’s newest film, The Holdovers , serves as a heartwarming example of such a story device, indeed having a lasting effect on its main characters. Set in the early 1970s, The Holdovers revolves around Paul (Paul Giamatti, Sideways ), a long-tenured boarding school teacher, and one of his students, Angus (Dominic Sessa). As Christmas break approaches, the headmaster assigns Paul to remain at the school to supervise the students who cannot return home. What starts out as a handful of students quickly dwindles to just Angus once the other children leave. Over the course of two weeks, Paul and Angus become more well acquainted and develop an unlikely friendship, with the help of the lead chef, Mary (Da’Vine Joy Randolph, On the Come Up ). The age gap and the student-teacher dynamic are enough to make Paul and Angus’s initial discord believable. On top of that, it is clear that Paul has developed a disdain for his students. Near the beginning of the film, he strolls through the classroom humming a tune as he places graded tests on each student’s desk. His apparent bliss as he delivers their subpar scores suggests that he takes delight in their underperformance. Paul offers them the opportunity for a makeup quiz, which Angus rejects due to the difficulty of learning new material right before holiday break. Paul rescinds the offer and tells everyone to thank Angus for their bad grades, making him unpopular with his classmates. Though his response is somewhat warranted, Paul’s schadenfreude suggests he enjoys seeing his pupils struggle. As the story progresses, he reveals that he views the boarding school students as being born with a silver spoon in their mouths. Their privilege makes it hard for him to feel much empathy on the surface, a prejudice that Mary helps him to shed over time. Angus serves as just the co-lead to change Paul’s perspective. He is a child of divorce and has been kicked out of school before. Should it happen again, he will be sent to military school, a thought he dreads. His initially pompous disposition causes Paul to view him the same way as his peers, but Angus opens up about his own interests while coaxing Paul into both personal conversations and more spontaneous decisions. By nature, Paul is a shut-in with his own degree of pretentiousness. Underneath it, he lacks self-confidence about anything outside of academia and even certain elements within it, revealed later in the film. Initially pressed into more open conversation by Angus, Paul starts to voluntarily share details about himself and his past. Despite previously coming across as stuck-up, Angus reveals himself to be not only curious but free of judgment, encouraging Paul to be more of an open book. Mary serves as the go-between for both Paul and Angus. Despite her role in Paul and Angus’s life, she has her own troubles and family issues independent of them. As the lead cook in the school, she copes with the recent loss of her twenty-something son, who had attended the boarding school before joining the military. Though more down-to-earth and frank than Paul, Mary still disguises the pain that she feels on a regular basis from her loss, which comes out at inopportune moments. She feels a connection to Paul, who regularly defends her against classist remarks from the students. Playing the mediator, she serves as Paul’s conscience whenever he wants to dismiss any requests from Angus or retreat into his biases on what he views as trust fund babies. While the holidays can often be a melancholy time for those estranged from their families, it can also serve as a much-needed recess from the hustle and bustle of our routines. This timeout allows us to re-assess our relationships and possibly come out on the other side with a different perspective on the people we share our space with, be they colleagues, friends or family. As with the aforementioned bottle episodes, The Holdovers serves as a great reminder not to judge a book by its cover. As the old saying goes, “Be kind, for everyone you meet is fighting a battle you know nothing about.” (Ian Maclaren). Though Angus has an initial view of Paul as a curmudgeon standing in the way of what he wants, he decides to be more understanding, likely brought on by the absence of his fellow students and school routines. Similarly, Paul realizes that Angus, and by extension any one of his other students, could be experiencing a turbulent personal life regardless of their financial advantages. The Holdovers seems very similar to the odd couple pairings of Up or Good Will Hunting . By unlikely circumstance, two characters who are polar opposites get stuck together and slowly see the potential that each other possesses. At a time where it can be easy to profile and vilify those of privilege, such stories allow for three-dimensionality among all of us. 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 Product Manager Apply Now San Francisco, CA, USA Job Type Full Time Workspace On-Site About the Role This is placeholder text. To change this content, double-click on the element and click Change Content. Want to view and manage all your collections? Click on the Content Manager button in the Add panel on the left. Here, you can make changes to your content, add new fields, create dynamic pages and more. Your collection is already set up for you with fields and content. Add your own content or import it from a CSV file. Add fields for any type of content you want to display, such as rich text, images, and videos. Be sure to click Sync after making changes in a collection, so visitors can see your newest content on your live site. Requirements This is placeholder text. To change this content, double-click on the element and click Change Content. To manage all your collections, click on the Content Manager button in the Add panel on the left. This is placeholder text. To change this content, double-click on the element and click Change Content. To manage all your collections, click on the Content Manager button in the Add panel on the left. This is placeholder text. To change this content, double-click on the element and click Change Content. To manage all your collections, click on the Content Manager button in the Add panel on the left. This is placeholder text. To change this content, double-click on the element and click Change Content. To manage all your collections, click on the Content Manager button in the Add panel on the left. About the Company This is placeholder text. To change this content, double-click on the element and click Change Content. Want to view and manage all your collections? Click on the Content Manager button in the Add panel on the left. Here, you can make changes to your content, add new fields, create dynamic pages and more. You can create as many collections as you need. Your collection is already set up for you with fields and content. Add your own, or import content from a CSV file. Add fields for any type of content you want to display, such as rich text, images, videos and more. You can also collect and store information from your site visitors using input elements like custom forms and fields. Be sure to click Sync after making changes in a collection, so visitors can see your newest content on your live site. Preview your site to check that all your elements are displaying content from the right collection fields. Apply Now

< Back The Royal Hotel paints the slippery slope of toxic male behavior See-Saw Films, 2023 91 minutes Director/Writer: Oscar Redding / Kitty Green Reading Time: 6 minutes The Royal Hotel Quiet Desperation Part 2 (SYYIRAK1LRXPB8EA) 00:00 / 06:30 📷 : Licensed from Shutterstock Ginseng: Suspenseful and intense thrillers Coca Movies and TV shows about drugs or with disorienting presentations Chris Chaisson 2023-10-12 A couple of years ago, I went on a cross-country trip with a group of four friends on a school bus (long story). At one point, we stopped at a remote motel in the middle of Nebraska and noticed a couple of strangers scoping out our vehicle, which had all of our stuff in it. Two of my friends, both female, stayed outside at one point to watch the bus, and I felt compelled to also stand guard. When I joined them, one said, “Chris…are you watching us watch the bus?” I very dryly replied, “Yeah.” As we continued our conversation, she mentioned a study she read showing that significantly more women than men feel uncomfortable in social settings . It was a sobering reality that did not surprise me at all to hear. This conversation came to mind as I watched Kitty Green’s new suspenseful indie, The Royal Hotel . This See-Saw Films production follows Hanna (Julia Garner, Ozark ) and Liv (Jessica Henwick, Glass Onion ), two backpacking Canadian friends who decide to vacation in Australia. Their travel agent sets them up at a rural bar attached to a hotel that is just outside a mining town. In order to save money for their vacation, they agree to bartend at the pub for a few weeks. Once they arrive and begin working, they discover that the regulars at the bar are not only rowdy but dangerous and predatory. As they debate whether to stay or go, they find themselves in compromising situations night after night with steadily heightening stakes. The Royal Hotel stands as a strong examination of drinking culture and toxic masculinity’s impacts on women. While it comes off as a thriller with horror elements, there is nothing fantastical or escapist about it. Many women have personal stories that resemble any one of the encounters that happen in the movie. What the film illustrates is how mildly bad behavior can escalate to dangerous and criminal based on environment, state of mind and familiarity. On their first night, Hanna and Liv tolerate crass jokes, demanding patrons and spontaneous bar top dancing. As the male regulars get more comfortable, their behavior quickly turns to sexual advances, harassment, and violence. Hanna in particular goes from feeling annoyed and angered on the first few nights to severely frightened. She fails to convince Liv to flee the town early on, paving the way for the tumultuous days that follow. Liv serves as the more forgiving character who parrots catchphrases and enabling language that excuse bad behavior. When Hanna says that she does not trust one of the volatile bar regulars, Liv says, “He’s just lonely” and “Why can’t you just give him a chance?” These are phrases often aimed at women who reject men’s advances and get held accountable for how poorly the men take it. Similarly, when Hanna is ready to leave right away, Liv says, “Let’s just put up with it for a few more weeks.” Her comment highlights how women are faced with the choices of tolerating bad behavior or leaving rather than men being forced to behave more appropriately. While the co-leads are female, the film also consists of male characters that encapsulate different aspects of toxic masculinity. One of the regulars at the bar plies Liv with drinks on multiple occasions, hoping to get her away from the sober and protective Hanna and into his car. In one particular scene, he yells at an older couple who turns down his offer to pay for another round of their champagne, highlighting the unhealthy aspect of drinking culture that refuses to accept moderation from others. Another character, normally more subdued and polite than his fellow patrons, violently protects Liv from harm, but only because he views her as a prize. This occurs days after he asks her out in front of the other patrons, a common lose-lose situation female bartenders are frequently placed in. Billy, the bar owner played by Hugo Weaving ( The Matrix ), enables his patrons’ unruly behavior by refusing to confront them. He also suffers from substance abuse himself, leading to confrontations with his assistant manager and neglecting to pay his vendor for several months at a time. Rather than having any male character exist as a paragon of virtue, the patrons in The Royal Hotel display differing traits that contribute to the same larger problem. Their behaviors are consistently egged on by one another in the spirit of having a good time, and while their actions begin as micro-aggressions, they spiral into much more obvious, destructive and threatening conduct. An important scene occurs when Liv interacts with the Aboriginal vendor (Baykali Ganambarr, The Nightingale ) as he unloads his truck. While unspoken, it is obvious he understands the climate of the bar and what troubles she and Hanna. When Liv invites him to stick around for the night, he is immediately discouraged by one of the patrons helping to unload the truck. Obvious to both him and Liv is that if he joins them in The Royal Hotel, he will be ostracized and possibly harmed based on the color of his skin. Even when Liv connects with a purely intentioned male character, he is essentially scared away. Thus, she and Hanna are never accompanied by a sobering presence that can highlight how problematic everyone else’s behavior is. The Royal Hotel would best be described as a psychological thriller and resembles the generally unsafe ambiances of folk horror films like Midsommar or Deliverance . However, it does not take place in a universe that’s easy to dismiss as high concept or surreal. Rather, the drinking culture and misogyny displayed are very grounded in reality. The community depicted in The Royal Hotel is isolated, but these same interactions happen in other environments as well. The film’s pervasively ominous atmosphere is most similar to the 1970s Dustin Hoffman film Straw Dogs . In that film, a couple visits the wife’s childhood town in rural England and encounters strange, threatening behavior from the townsfolk, many of whom are heavy drinkers. The same groupthink and substance abuse drives the action in both stories and shows that general rowdiness can quickly devolve into life-and-death scenarios. 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 Nobody is Crazy takes societal norms to task with humor and a light touch Vendetta Furiosa, 2022 104 minutes Director/Writer: Federico J. Arioni Reading Time: 6 minutes Nobody is Crazy Today is Your Day (EGAIQRQSFMG7GYPP) 00:00 / 07:54 📷 : Used with permission, Federico J. Arioni Barley: Movies and TV shows with a lot of dialog Ginkgo Biloba: Youthful, lighthearted, and fun movies and TV shows Reba Chaisson 2024-03-22 Nobody is Crazy is about Rafael, a teenager who feels like an outsider because of his difficulties with obsessive-compulsive disorder (OCD). Exacerbating his struggles is his mother’s plan to send him to military school if he does not take steps to improve his social life. While ditching his self-help group, he stumbles upon a jovial, mid 20-something masked man who describes himself as a time-traveler named, “Nobody.” Viewing him as “crazy,” Rafael, played by Manuel Gutierrez ( Por un puñado de pesos ), is skeptical, but the two nonetheless quickly become friends. They are later joined by Daria (Lara Ammi Wheeler), an early 20-something who is smitten by Nobody and intrigued by his mask, philosophical nature, and outgoing personality. The three spend time together roller skating, playing pool, and lightly challenging one another at arcade games. Set in Argentina, Nobody is Crazy is available with English subtitles and shot mostly outdoors during the daytime in the warm, sunny, and dry weather of Neuquén. The set design is flat and non‑descript, which is perhaps strategic on the part of filmmaker Federico J. Arioni in his effort to convey the emptiness that is Rafael’s social life. The buildings in the scenes have no names or distinct markers. The lone boat on the water makes the lake itself appear forgotten by its population. Even the arcade, which in the U.S. is typically full of young people running about, consists of only a handful of folks, including the staff. Ironically, Nobody is Crazy heavily centers on the character whose name suggests unimportance, but Nobody, played by Federico J. Arioni, has a lot of important things to share. So much so that in some ways, it feels as if we are listening to a high-energy philosopher proudly regurgitating his vast knowledge to a captive audience. In this case, it is largely Rafael, an audience of one who is a lonely and naïve kid just pleased that someone notices him – even if he doesn’t know who this person is or why he has taken an interest in him. Because Nobody’s dialog is extensive, a richer set design could have given depth to the film and enhanced the viewing and listening experience. Budget limitations notwithstanding, I imagine some low-cost options exist in proximity to Neuquén province to give a glimpse of Argentina’s uniqueness. Villa Traful, for instance, has a beautiful landscape that includes a view of a mountain range, so just imagine this as a backdrop for some of the more poignant dialog in the film. Junín de los Andes has trails for hiking and horseback riding, so consider two members of the trio as skilled riders and the other as hesitant. Dinosaurs roamed in Cañadón Escondido, so scenes of the three gazing in wonder at fossils and planting their feet inside dinosaur footprints would be both awe-inspiring and fun to see. Scenes such as these hold the potential to add depth to the on-screen visuals and the dimensionality of the characters. The actions themselves constitute bonding moments, much more so than playing arcade games, throwing rocks in a lake, and talking in front of a building with no people present. These give us very little sensory information to gradually construct the emotional context needed to connect with the characters and their predicaments throughout the film. Nobody is Crazy comes close to presenting an enriching experience when the three friends visit an art gallery and several shots of them are shown in different formations, much like those in Ferris Bueller’s Day Off ( Ferris Bueller ). In this regard, Nobody is Crazy strives to mimic the wildly successful film that has maintained its popularity since its release in 1986. In Ferris Bueller , two guys and a girl ditch school to hang out together and do random things, including sharing funny moments at an art gallery. However, the lead in Ferris Bueller takes several actions that are daring, entertaining, and allow space for other characters to get involved. The trio go to a baseball game, where Cameron (Alan Ruck), Bueller’s depressed friend, releases his inhibitions with “Hey Batter Batter. S-wing Batter Batter.” They eat at a posh restaurant and are forced to dodge Bueller’s father, who happens to arrive there for lunch. Finally, Bueller jumps atop a float going through downtown Chicago, grabs the microphone and sings “Twist and Shout,” interspersed with funny shots of folks dancing on the streets and in their offices. Undoubtedly, the budget for Ferris Bueller was much bigger than that for Nobody is Crazy . Let’s face it; Ferris Bueller’s Day Off was a John Hughes movie! Still, the beautiful, natural areas surrounding Neuquén had the potential to add depth to Nobody is Crazy , which could have gone a long way in enhancing the viewing experience and connecting us to the story and characters. Rafael is presented in the film as having OCD, but other than the two watches he wears, we quickly forget that he has this disorder. While it has a wide range of manifestations, OCD is typically revealed through obvious patterns of repetitive behaviors, such as an obsession about cleanliness which leads to a compulsion to frequently wash your hands. This happens once in the film and only because Nobody tells Rafael that he hasn’t exercised his compulsion in a while. The Mayo Clinic , though, describes OCD as a disorder that takes up a great deal of time, reduces the person’s quality of life, and gets in the way of their daily routines and responsibilities. Thus, the idea that Rafael is cured of his OCD after spending a few hours with Nobody and Daria or that he has to be reminded of his compulsion is a distortion. The disorder isn’t realistically depicted in the film, which suggests that it is presented in the story as a convenient way to understand Rafael’s predicament. It’s unfortunate, though, that the disorder is not addressed with more authenticity here, as people dealing with OCD are rarely depicted on‑screen in humanizing ways. Not addressing it as such in the movie was a missed opportunity. Despite Nobody is Crazy ’s shortcomings, the movie carries some very strong themes, and we don’t have to work hard to figure them out since they are evident in the dialog. Nobody notes that “some crazinesses are more accepted than others,” later adding that people who talk to themselves, lie, or have a gambling addiction are considered “normal.” “We’re all crazy,” he says; “what matters is what kind of crazy you are.” Sociology deals quite a bit with cultural norms and the degree to which we label people as deviant because they do not conform to them. Specialists in the field begin their critique of deviance with the question of who gets to establish the norms. Who is the authority that gets to decide what is normal and what is not, particularly in societies that are diverse on so many human dimensions and cultural traditions? Throughout this film, Nobody is conducting this same critique — taking the label of “crazy” to task because Rafael is alienated by others’ assumptions of him as an outcast because of his disorder. Rather than dealing with it though, Nobody encourages Rafael to escape it, screw it. Hmmm. I’m not sure that’s the answer either. Then again, I’m probably crazy myself. But I’m good with that — for now. 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 Opus poses questions about tribalism and the allure of fame A24, 2025 103 minutes Director/Writer: Mark Anthony Green Reading Time: 6 minutes Opus Feast (9L5SNPNTMM9NAGCF) 00:00 / 06:08 📷 : Pixabay Ginseng: Suspenseful and intense thrillers Oolong: Movies and TV shows that make you laugh or involve physical activities like dance and exercise Chris Chaisson 2025-03-14 Fandom creates communities. Whether it’s for a sports team, a movie franchise, or a pop star, people form lifetime bonds over their shared love for a source of entertainment. It can rear its ugly head just as quickly when fans assume the role of protector. We’ve seen online bullying and doxing when writers criticize Taylor Swift, or fights and verbal abuse break out at Raiders games. Tribalism has a strong hold on anyone who feels the need to belong and can evoke criminal behavior from otherwise mellow, well-intentioned beings. What makes it worse? When the worshipped entity contributes to and encourages the behavior; maybe even demands it. First-time writer/director Mark Anthony Green tackles this phenomenon in the new A24 movie Opus . Ariel (Ayo Edebiri, The Bear ) is a magazine writer in her late 20’s who wants to have her breakthrough story. When her friend points out that she is lacking the life experience necessary for a gripping perspective, Ariel feels compelled to join her boss Stan (Murray Bartlett, The White Lotus ) on a retreat to the compound of a former pop star, Alfred Moretti (John Malkovich, Burn After Reading ), who is releasing new music. His expansive resort exists in an isolated location, over 50 miles away from civilization. Upon arriving there, Ariel notices strange behavior from the fan community that has assimilated. Combined with the removal of their communication devices, she realizes that she, Stan, and a few other professionals from the outside world may be in grave danger. Can she figure out a way to escape? While Opus evolves into a suspenseful thriller, Mark Anthony Green takes full advantage of the comedic talents his cast possesses. For the first hour, Ayo Edebiri effectively plays the straight man in a comedy skit. Her compadres, including Stan, an entertainer named Clara Armstrong (Juliette Lewis, Yellowjackets ) and social media influencer Emily (Stephanie Suganami, Something from Tiffany's ) find themselves seduced by Alfred’s charisma and entertainment skills, while Ariel has her guard up from the very beginning. Several humorous moments ensue, like when a concierge tails her for a morning jog, mirroring her strides only a few steps behind. Similarly, another of Alfred’s cohorts wants to give Ariel a makeover and asks her an invasive question about her shaving habits. The humor escalates when Alfred later performs his single on stage with all the newcomers and unveils several suggestive dance moves while wearing an unorthodox costume. The camera flashes to close-ups on the surrounding fans entranced by the beat and repetitive lyrics. Even when it is evident the vibes will eventually take a sharp turn, the behavior of Alfred and his fans, met with Ariel’s skepticism, provides several big laughs. Opus quickly approaches the point of no return, where the comedy falls away and Alfred’s fans prove themselves capable of violence. Knowing that she and the others are being surveyed full time, she sneaks away through a window to recover her phone and computer. The somewhat friendly but overbearing concierge kicks her bedroom door in to look for her and finds her missing. The aggressive act and thud of her kick marks the end of the comedic part of the film and beginning of the horror and suspense. When Ariel realizes that she will not be escorted out but will instead have to run, hide and fight, the movie shifts to a darker mood and the action ensues. This part of the film still provides a couple of laughs but also more gore and suspense. Ultimately, it feels rushed and somewhat clunky. Like a gymnastics routine, films are ultimately judged by their dismount. Many moviegoers will question Opus ’s ending, which ironically enough seems to question us. Even if we can be observers of toxic fandom and ruminate over its effects, can we just as easily partake in it and even wish to be the object of it? Most of us want to be considered remarkable whether we are or not, meaning we can both be seduced by the fame of others and want it for ourselves. While we are all familiar with the idea of a cult in its most literal form, we readily join more subtle and assimilated versions of cults surrounding our favorite entertainers. Do we draw a line in how committed we are to them? It remains an individual choice; some of us choose different places to draw the line and others don’t draw it at all. Even when we think we have, we may jump at the chance to elevate our own status and influence others to be fanatics just the same. Opus incorporates intentional humor into its premise better than many other like-minded films. Movies that it may bring to mind include A24 predecessor Midsommar , as well as the 1970s film The Wicker Man and its more farcical 2006 remake featuring Nicolas Cage. A more recent work tackling the same subject was the Amazon Prime Original Swarm about a fan obsessed with a modern-day pop star. Opus chooses the more literal portrayal of a cult and features a dated pop star, which highlights just how much of a grip fame can have on fans, even long after a celebrity’s heyday. It holds a mirror up to us in the same way as Swarm while placing us in an environment like Midsommar and The Wicker Man . Though it provides a few more laughs thanks to well-timed gags and a very capable cast, Opus leaves us with some food for thought as well. 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< Back Our Son centers the pain of a break-up with an atypical couple Tigresa, 2023 104 minutes Director/Writer: Bill Oliver / Peter Nickowitz and Bill Oliver Reading Time: 5 minutes Our Son A Father's Love (SBPKC2XMTQYWW7G6) 00:00 / 06:08 📷 : Licensed from Shutterstock Dandelion: Movies and TV shows with heavy subjects Honeybush: Nonfamily dramas with strong adult and/or socioeconomic themes Reba Chaisson 2023-12-14 Our lives can get messy. What even our closest friends see and hear doesn’t reveal what’s underneath the façade masking the messiness of our realities. But I guess it depends how closely we hold our friends. In the movie, Our Son , Gabriel and Nicky are married with an 8-year-old son named Owen. To their relatives and friends, they appear to be a happy family. But while Gabriel is close to his son, he no longer feels close to Nicky. A stay-at-home dad, Gabriel is the prototypical homemaker: cooking, cleaning, walking Owen to and from school, dealing with the PTA (Bless him!), and comforting him in time of need. Nicky is a successful publishing executive who works outside the home to financially support the family. The two share a tight-knit group of friends with whom they regularly get together for dinner, special events, and just hanging out. Hints of problems in Gabriel and Nicky’s relationship appear as they initially exchange small slights in private, which then evolve into larger put-downs in front of their friends. Owen, while generally a happy child, senses a breakdown of the harmony at home as he overhears the two arguing more and more frequently, despite their efforts to keep it down. When one of them files for divorce, what was once a tightly woven relationship begins to unravel and the pain experienced by everyone in proximity to them becomes palpable, even to us in the audience. I can remember a visit to the emergency room when I was in severe abdominal pain, so much so that I would not allow the doctor to touch me. It doesn’t make sense, but we rarely do when we are in excruciating pain. We get a sense of the emotional parallel to this when Gabriel insists that he and Nicky tell Owen that they are splitting up. Nicky responds by promptly kicking Gabriel out of the house. Incredulous, Gabriel asks, “Are you serious?” Nicky angrily points to the door, “Go, now.” Nicky stands in the foyer as Gabriel very slowly puts on his slippers, opens the door, and turns to look at Nicky in disbelief before walking through the threshold and softly closing the door behind him. Similar scenes in dramatic films are usually performed fast, in fits of anger with raised voices, and ending with the slamming of a door, as in the 2010 film, Blue Valentine . The absence of such histrionics in Our Son is undoubtedly by design, so the audience is permitted the time to sit in the scene and feel the pain of the deep emotional wounds often associated with divorce. This tactic is not unique to this film, though, as it can be found in other compassionate works on the subject, such as the 2019 release, Marriage Story starring Adam Driver and Scarlett Johansson, and the 2021 HBO mini-series, Scenes from a Marriage , with Jessica Chastain and Oscar Isaac. True to form for stories about divorce, there is some yelling. But yelling neither dominates nor defines these pieces so exquisitely crafted to depict the pain and dynamics of the break-up of a marriage. Another major distinction between Our Son and other films about divorce is that the lead characters are a gay couple rather than heterosexual . I love this switch. Indeed, one of my pet peeves about films with LGBTQ+ individuals and communities is their tendency to center the story on the people rather than the problem that needs to be solved. Think Boys in the Band , The Miseducation of Cameron Post , and numerous other films. In contrast to these, Our Son focuses on divorce as the dilemma requiring a resolution. This is a refreshing contrast from past films because it presents LGBTQ+ individuals and families dealing with the same kinds of issues and struggles that others do – the most fundamental of which is keeping their families safe and intact. Phylicia Rashad makes an appearance in Our Son as Gabriel’s loving mother, who reminds him that despite their differences, Nicky, played by Luke Evans ( Beauty and the Beast , The Hobbit: The Desolation of Smaug ), is someone he cares deeply about. The two, however, are at odds over who gets custody of Owen - Nicky who says he “can support him financially in the way he has become accustomed,” or Gabriel, played by Billy Porter ( Pose , Fairfax ), who feels it is appropriate since he has been “Owen’s primary caretaker since he was born.” These are not atypical claims for fractured families who live middle-class lifestyles, such as those with college degrees, low to mid-six-figure incomes, and multi-story homes in communities with Blue Ribbon public schools. This is the context of Gabriel and Nicky’s existence, which leaves one to wonder if such a story about divorce would be appealing within a different set of socioeconomic circumstances - a movie, for example, about the divorce of a working-class couple (same-sex or heterosexual) presented in a similarly humane and palpable way. For working-class families, such stories are rarely central to the film, and when they are, they tend to be presented as modern-day comedies ( Crazy, Stupid, Love. Def initely, Maybe ) or tragedies ( Safe Haven , Enough ). In this respect, Our Son depicts more of the middle-class lifestyle often presented in film and television. Despite the social-class rub, Peter Nickowitz and Bill Oliver’s moving piece does an excellent job of maintaining the focus not on the couple’s sexual orientation, but on the unimaginable yet relatable pain that is part and parcel of the break-up of a love that once was. This is needed to help us remain mindful that these are people’s lives and the sh**’s real no matter the couple’s sexual orientation. 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!