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< Back Speak No Evil shows the most severe consequences of acquiescing Profile Pictures, 2022 97 minutes Director/Writer: Christian Tafdrup / Christian Tafdrup and Mads Tafdrup Reading Time: 5 minutes Speak No Evil Feast (UUXKG2RZM3LJUDFS) 00:00 / 05:27 📷 : Licensed from Shutterstock Ginseng: Suspenseful and intense thrillers Barley: Movies and TV shows with a lot of dialog Chris Chaisson 2023-01-17 “Why are you doing this?” “Because you let me.” Full disclosure: I rarely leave parties exactly when I’m ready to be gone. I have had a frequent problem throughout my youth cutting the cord and saying my goodbyes. I could blame this on any number of things: being indecisive, fear of missing out, or frankly, not having any other plans (insert shrug emoji). The main reason many struggle with this, and label themselves introverts because of it, is the need to be polite. Many of us squander way too much free time simply avoiding an uncomfortable exit from hosts that will likely either not be offended or will get over it quickly. Director Christian Tafdrup takes this basic level of common acquiescence and ratchets it up to a life-or-death situation in his new work, Speak No Evil . At an enjoyable retreat, Bjørn (Morten Burian, Sons of Denmark ) and Louise (Sidsel Siem Koch, Steppeulven ), a couple from Denmark, meet Patrick and Karin, two casual acquaintances from Holland. Patrick (Fedja van Huêt, Character ) and Karin (Karina Smulders, Bride Flight ) send them a postcard inviting them to visit their countryside property for a few days. The invite feels aggressive, as they barely know the couple. Rather than decline, they offer a reluctant acceptance and head off. Bjørn and Louise bring along their daughter Agnes to join and spend time with Abel, Patrick and Karin’s son. This unenthusiastic RSVP sets the tone for a series of uncomfortable occurrences between the two families over the course of the stay. Patrick and Karin impose several times by not respecting Louise’s dietary restrictions, invading their privacy, hiring a babysitter they’ve never met to watch the children, and being verbally abusive to Abel in front of them. Despite ample opportunities to leave and signs that something is off, Bjørn, Louise and Agnes stick around and get much more than they bargain for. Speak No Evil ’s genius is its ability to start its protagonists off with a relatable emotion, the unwillingness to offend. Patrick and Karin make such a gracious offer that many watching the movie would possibly consider it themselves. After all, some people are more trusting of strangers than others. The first act of the movie may come off as two couples with different lifestyles and different behavioral standards in the presence of others. For the viewer, it makes for some hilarious, albeit cringe worthy, scenes in the stylings of Meet the Parents . However, the visit quickly takes a turn for the dark as Bjørn and Louise express their displeasure more vocally and even attempt to leave. Patrick and Karin pull the very familiar tactics of manipulative people: play dumb, apologize and insincerely promise to change. In a word: gaslighting. A prevalent criticism of movies like Speak No Evil is that the main characters’ passivity rises to a level too far-fetched to keep audiences engaged. At some point, we like to see the protagonists stand up for themselves to complete their character arcs. The reason behind Bjørn’s consistent buckling under becomes obvious as the film progresses: he is entranced by Patrick’s type A personality. Patrick has far more hutzpah, which Bjørn both admires and envies. This desire comes through in one of the few wholesome moments of the film, where they walk to an open field and take turns shouting into the void to release their tension. The power dynamic between the two, Patrick being more in charge than Bjørn, is not confined to money, work or social status, but rather difference in personality. Bjørn’s unspoken longing to be more like Patrick compromises his judgement, a situation very common in real life. Speak No Evil could easily be compared to its contemporaries Get Out and Barbarian , movies with a general sense of dread where a character visits an ominous place and ignores signs that they should leave. Another common comparison floating around is the 2008 home invasion thriller The Strangers , particularly due to similar lines uttered between the protagonists and villains near the end of each movie. Between reading, watching, and listening to podcasts regarding the film, it instead brought to mind for me another movie from the early 2010s: Compliance . An equally disturbing film, Compliance depicts the true story of a fast food worker who is accused of stealing and strip-searched by her co-workers at the instruction of someone impersonating a police officer over the phone. Both films call to question social etiquette and the ways that people will bend to either perceived authority or the incessant need to be polite. It is so ingrained in some of us that we get taken advantage of and even put in harm’s way. For moviegoers who are less trusting in their everyday lives, Compliance and Speak No Evil are just movies about people who are either cowards or complete idiots. For those of us who have been scammed, duped, pranked or even harmed, these two projects serve as a reminder to follow your intuition and protect yourself at all costs. 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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 Amid an alien invasion, a young couple deals with problems faced by people of all ages. Keshet Studios, 2020 94 minutes Director/Writer: Alex Huston Fischer and Eleanor Wilson Reading Time: 3 minutes Save Yourselves! Strange Science (4XOMNUYUFYAMK4BC) 00:00 / 03:39 📷 : Licensed from Shutterstock Jasmine: Movies and TV shows with heart, positive vibes, and warm messages Chris Chaisson 2021-07-25 When you hear “alien apocalypse movie," you typically think of a blockbuster dripping with effects, action, and toxic masculinity. Even if comedies like The World’s End or This is the End come to mind, both are loaded with more crude, slapstick humor. Save Yourselves! instead goes for the heart and slice‑of-life approach, leaving the alien takeover as the backdrop. In reality, the movie is about a couple in their early thirties seeking to shake up their routine by unplugging and going on vacation. Jack (John Reynolds, Stranger Things ) and Su (Sunita Mani, GLOW ) head off to a cabin in the woods for a temporary escape from their lives (No it’s not a limerick.). Their trip coincides with an invasion of homicidal aliens in the shape of large Koosh balls, if I can date myself with a reference. With their retreat now upset, they must flee their getaway home for survival. The film, as you may have guessed, has much more to do with the couple than the situation they find themselves in. Jack and Su are both likeable and relatable; they deal with problems that young people and couples of all ages deal with. Over the course of an hour and a half, the audience hears them bemoan feelings of inadequacy, frustrations with each other’s quirks and flaws, and where they are at their age compared to their parents. Nonetheless, they love each other, and you never sense that their relationship is on the rocks. Perhaps what is refreshing about Save Yourselves! is its ability to address imperfection and insecurity in a real way rather than bury the emotions of its main characters under clichés or gunfights. While our leads could be classified as a coastal hippie couple, Reynolds and Mani possess charisma and great onscreen chemistry. Several times during the film, I nodded my head at the sentiments each of them conveyed. The film subtly expresses two major points: wherever you are in life is okay as long as you keep going, and it never hurts to be honest. Though the timing of their retreat seems ill-fated, Jack and Su are fortunate enough to speak their minds and improve their relationship in ways that could help them survive. As for the invasion itself, please do not tune in just for this. The nature of the invasion or the psychology of the Koosh ball aliens is not at all delved into, and even their behavior is inconsistent. Multiple times, the first aliens that Jack and Su encounter could easily kill them and just don’t. This is never truly explained, so if you are more of the District 9 type, the ambiguity may frustrate you. Nonetheless, Save Yourselves! is a pleasant couples comedy with enough heart to push the common “alien apocalypse” subgenre to the background. Witnessing a young couple work out their issues with honesty and a little technological detachment is a refreshing break from adrenaline-filled blockbusters. 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!

Queen Sono brings a spy thriller from a different part of the world < Back Queen Sono brings a spy thriller from a different part of the world Diprente Films, 2020 43 minutes Creator: Kagiso Lediga and Karabo Lediga Reading Time: 6 minutes 📷 : Used with permission, Netflix Queen Sono Adrenaline Rush (0F2JDLS3MEXST1KL) 00:00 / 07:04 Masala Chai Movies and TV shows about toughness and athletic competition Matcha Mysteries or whodunnits Reba Chaisson 2023-10-30 Cinematic representations of spies are usually of U.S., European, or Israeli descent, predominantly male, and between 40-60 years of age. Think Eric Bana as Avner in Munich , Gary Oldman as George Smiley and John Hurt as Control in Tinker Tailor Soldier Spy , George Clooney as Bob Barnes in Syriana , and Leonardo DiCaprio as Roger Ferris in Body of Lie s . There are a handful of female spies but unlike the subtlety of their male counterparts, they are usually presented as action characters with a lot of sass and pop. Think Helen Mirren as Victoria in Red , Angelina Jolie as Evelyn Salt in Salt , and Charlize Theron as Lorraine Broughton in Atomic Blond . Queen Sono presents an interesting departure from these stories and depictions. First, rather than a film, it is a six-episode Netflix series. Second, the story is set in South Africa and features a little-known Black actress, Pearl Thusi ( Quantico , Catching Feelings ), as Queen Sono, a South African spy who kicks her antagonists’ tails as she gathers intel from countries like Kenya and Zimbabwe. Queen Sono is the daughter of Sofia, a celebrated militant and activist who was killed when “Q” was a child, an event which haunts her to this day. Raised by her scrappy paternal grandmother, Mazet, and supported by Dr. Sidwell Isaacs, intelligence director and close friend of her mother’s, Q joins the government’s security agency (SOG) with aspirations of doing field work. She becomes a part of the South African president’s secret service detail and eventually moves into the country’s intelligence ranks. The story contains parallel plot lines, one of which consists of Q’s private mission to learn who was behind her mother’s assassination and hold them responsible. This operation allows us to see beyond Q’s tough veneer, exposing the deep hurt she masks from the loss of her mother. It makes her actions appear reasonable, as she uses her elusiveness to enter a prison to confront the man accused of the crime, and later takes on a fictitious identity to gain access to a family to casually extract information she needs. The other storyline involves Q’s legitimate job, which is to dismantle an organization headed by eKaterina Gromova. Played by Kate Liquorish ( Still Breathing , Eye in the Sky ), eKaterina is a ruthless corporate leader from Eastern Europe who wants to take over the security and communications infrastructure for all the African governments. While Q has many occasions to show off her fighting skills, she bleeds a few times during her physical confrontations and even loses one of them. Combined, the two storylines make the character a realistic portrayal of a spy – making her human versus automaton-like. One of the things I like about the series is it forces us to distinguish the countries in Africa. Too often, we view Africa as a monolith rather than a continent of 54 nations, each with its own set of languages, customs, cultures, sociopolitical systems, and economic challenges and priorities. In media, women and children in Africa are typically depicted as poverty-stricken, malnourished, and without shelter or living in huts. The preponderance of the images leads us to generalize this reality to all countries on the African continent. In Queen Sono , people live in homes and apartments in urban areas, not huts in rural areas at the edges of towns where movies about Africans tend to be set. And as we see in the series, even countries rife with problems have spectacular views of forestry and waterfalls. But urban areas and landscapes are rarely if ever depicted in Western cinema set in African nations. So, in this sense, Queen Sono is an exception. The scenes across several African countries help us to appreciate the distinct systems, cultures, and even problems of each. Although Black people have been in the U.S. for over 400 years, our past and present experiences continue to shape our sense of belonging in the country that has been our home longer than most Europeans and all people of color, except Indigenous Peoples. It is interesting to see so many patriotic Black people in South Africa who take ownership of it and view it as “[theirs] to protect.” For example, they carry a high level of disdain for President Malunga, the current leader of the country, because of the depths of his corruption and greed. Yet, they still respect him because he is the elected president. This mix of commitments comes through as Q’s aunt, Nana, played by Connie Chiume ( I Dreamed of Africa , Black Panther ) who is well-connected and active in politics, hosts a luncheon for the president at her home. Before carrying a tray out to the patio, she says to her daughter, “It’s not every day we get to host a president. Let’s go and put on a show for that a***h***.” This thread runs throughout the show as we observe “Q’s” commitment to her role at SOG to “keep South Africa safe.” We also see it in her lover, Shandu, played by Vuyo Dabula ( Invictus , Mandela: Long Walk to Freedom ), who is vocal and active in his commitment to freeing Congolese, South Africans, and others on the continent from being exploited by white diamond miners, other outside groups, and the corruption of political leaders like President Malunga. Queen Sono is similar to the 1970s films, Coffy and Foxy Brown , each about a Black woman pursuing vigilante justice. Both films feature Pam Grier as an early 30-something African American woman who seeks revenge for an attack on her sister ( Coffy ) and boyfriend ( Foxy Brown ). The films contain a lot of action for a time when it was rare to see Black women on screen as leads, let alone in such strong and active roles. The Queen Sono character is a modern-day blend of Coffy and Foxy Brown. Each work is even named for the lead characters. It is refreshing to be presented with a strong lead character of color from a part of the world we rarely get to see so broadly and extensively. Queen Sono is a substantive piece about a woman dealing with a personal struggle while fighting publicly sanctioned battles. The presentation passively breaks down our ideas of countries in Africa as similarly impoverished and rife with instability, and of the people who live in them as poor and apathetic. While I understand the pandemic interrupted Netflix’s plans to continue this series beyond the first season, my hope is that the company revisits this decision with the goal of completing the narrative. It is a visually entertaining presentation bolstered by a solid story. 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 Sinners takes vampirism to the Deep South Warner Bros., 2025 137 minutes Director/Writer: Ryan Coogler Reading Time: 7 minutes Sinners Swamp Tale (G9X2F45UL234MNVH) 00:00 / 07:36 📷 : Used with permission, Nuno Sarnadas (www.darkdesign.pt ) Rosemary: Movies and TV shows with intense action Saffron Movies and TV shows with great visual effects Chris Chaisson 2025-05-08 Zombie films seem to have been all the rage the last decade or so. The popularity of The Walking Dead has led us to embrace the post-apocalyptic universe in the entertainment world and question our own survival skills. As I discovered on a trip to the bookstore during Covid, much in the world of fiction, whether in novel or screenplay form, imagines a dystopia as opposed to the contemporary, somewhat functional society. Even stories such as The Handmaid’s Tale , the Hunger Games trilogy, or the Mad Max franchise exist as zombie movie fill-ins, with people acting as blood-thirsty monsters without a conscience just the same. These stories can be thrilling and reveal the character of its survivors amidst their difficult decision-making, but as far as monster movies go, they represent a bleaker reality than, say, vampire movies. Over the holiday season, I went to see Robert Eggers’s rendition of Nosferatu with my father. As we left the theater, he mentioned that though he enjoyed it, he was expecting it to deviate from the original a little more than it did. Having not seen the original, I went into it with very little expectation but enjoyed the traditionalist feel that it presented. My association with vampire movies leaned more in the modern, fast-paced action category, which is to say, Buffy , Blade , and Underworld . The great thing about a fantastical sub-genre like vampire movies is the ability to place it in both real and surreal universes, as most of us are familiar enough with the concept of vampires to buy into them. Ryan Coogler’s new hit, Sinners , takes vampirism to a world we all know but have not seen vampires represented in: Jim Crow in the Deep South. Set in the 1930’s, Sinners kicks off with twin brothers Smoke and Stack (Michael B. Jordan) returning to their home state of Mississippi after spending a few years in Chicago. Happy to be home, they buy an abandoned farmhouse with the plan to run a juke joint and host a grand opening. After closing the deal, they head into town to reunite with their cousin Sammie, a talented musician, and spread the word about their opening. Once the evening falls and everyone shows up for a good time, three strangers arrive with their instruments and Irish folk tunes in hopes of joining the festivities, but something seems off about them. After Smoke and Stack turn them away, Stack’s old flame Mary (Hailee Steinfeld), starts after them to play peacemaker. This gesture proves to be a mistake and sets off a chain of violent supernatural events no one saw coming at the beginning of the night. The brilliance of Sinners is its multi-faceted nature. Rather than immediately jump into vampirism, it sets up a compelling story that can exist independent of its supernatural elements. The first half of the film delves into the pasts and desires of its main characters in relation to music and business. Smoke and Stack have had their fill of the North and have returned to their roots to run a successful establishment. Although they do not necessarily want to revisit their young and immature ways, they need the support of their chums from the past. Sammie has a deep passion for blues guitar and a captivating singing voice, but his father Jedidiah believes his musical exploits to be the work of the devil. Delroy Lindo plays Delta Slim, an alcoholic musician who jumps at the opportunity to participate in Smoke and Stack’s grand opening. He fears that he doesn’t have very many of such experiences left in his future. These various storylines and motivations combine for an enjoyable party scene before the crap hits the fan. In a way, the gathering is reminiscent of teen party comedies such as House Party , Animal House and Project X , but with a more earnest and soulful intention behind it. The characters escape from the pressures of life expectations and the dangers of being Black in the Jim Crow South, even if just for a few hours. While Sinners deviates from other vampire movies in certain respects, it maintains plenty of vampire folklore. For instance, there are a couple of intense standoffs at the entrance to the farmhouse when those who have been infected ask to come in, a request vampires must make before entering. Just the same, the vampires have superhuman strength, become excited by the sight of blood, and perish in the daylight. Maybe most significant to the atmosphere of the movie is their abilities of hypnotism and seduction. The film has its fair share of promiscuity before vampires ever enter the equation, as Smoke, Stack, and Jedidiah all engage in sexual acts in the first half of the movie. But the addition of vampirism to the story only heightens the sexual tension between the characters, many of whom are engaging in either infidelity or miscegenation, an unlawful act during the Jim Crow era. Most impressive about Sinners is its ability to weave in elements of history amidst the fiction and supernaturalism. Frequently throughout U.S. history, prosperous Black communities were viewed as a threat and were ravaged by White out-of-towners, burned down to smoldering remains. Neighborhoods in Rosewood, Tulsa, Harlem and many others suffered this fate. The film hints at these massacres with its imagery in the third act. Additionally, blues music has been subject to cultural appropriation, often being stolen from its founders or repurposed with no attribution. The antagonists in Sinners make the same effort, which Ryan Coogler captures in an opening scene filled with symbolism as Sammie limps back into town with mere shards of his guitar. Moreover, the film alludes to racism that Black people faced when they sought to travel north. Smoke comments early in the film, “Chicago ain’t nothin’ but Mississippi with tall buildings instead of plantations.” This statement alludes to the fact that while the economy in northern cities was more industrial than agrarian, the bigoted mindset and discrimination remained intact. Finally, two of Smoke and Stack’s friends include a Chinese-American couple with their own store in town who join the party. The vampires threaten to raid the store and harm their children, alluding to the threats that many Asian-American immigrants also suffered at the time. All in all, Sinners stays true to much of the folklore surrounding vampires, appealing to fans of the sub-genre itself. However, it strategically places new elements around the vampirism: a predominantly Black cast, the backdrop of 1930s Mississippi, and the infusion of blues music. It blends genres like comedy, action, historical fiction, and even the “teen partying” into the story. The film’s multifaceted nature allows viewers to catch something different when watching a second or third time, while not being too preachy or on-the-nose with the social issues it broaches. The genre blend makes it difficult to provide a comparable film, so I will instead say Sinners is True Blood meets Mississippi Burning with just the right amount of Mo’ Betta Blues . Hopefully, when you check it out, it makes more sense than whatever I just said. 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The Diplomat brings back the reluctant hero trope < Back The Diplomat brings back the reluctant hero trope Netflix Studios, 2023- 50 minutes Creator: Debora Cahn Reading Time: 5 minutes 📷 : Used with permission, Netflix The Diplomat Sliced Bread (FEVQK74RKH2DUPI5) 00:00 / 05:33 Barley Movies and TV shows with a lot of dialog Chris Chaisson 2023-05-24 The age of big-budget, effects-driven media tends to offer us very willing and/or vengeful protagonists. Many superheroes either immediately accept their responsibility to protect the innocent or seek payback for loved ones that have been hurt. Even Spider-man, who at times desires a regular existence, dons his suit to pursue retribution for the murder of Uncle Ben (I would say spoiler alert, but we are about 50 Spider-mans in at this point). While revenge and righteousness are two motives easy to convey to the audience, there has been a decrease in another kind of main character to follow: the reluctant hero. Occasionally, viewers watch a disinterested but capable protagonist get dragged into a situation they want little if anything to do with (think Robin Williams in Man of the Year ). It not only creates curiosity about how they will solve the problem despite the lack of motivation but also adds humor to the story. If you’ve ever been the last to touch your nose or shout “Not it!” you can probably relate to the reluctant hero of the new Netflix political drama, The Diplomat . Keri Russell ( The Americans, Cocaine Bear ) stars as Kate Wyler, an ambassador who is thrust into the middle of a muddy foreign affairs situation after a British aircraft carrier is attacked. The assailant is unknown, though many suspect that Iran is to blame. Kate initially has no interest in playing the mediator, but her presence in Britain is requested by the President of the U.S. and the White House Chief of Staff. Thus, she accepts her assignment and heads to London with her husband Hal (Rufus Sewell, The Man in the High Castle ), also an experienced diplomat. She works closely with Stuart Hayford (Ato Essandoh, Chicago Med ) and CIA operative Eidra Park (Ali Ahn, Raising Dion ) to put out the various mini-fires between government officials, including the British Prime Minister (Rory Kinnear, Penny Dreadful ), that could spark a preeminent but costly reaction. As a character, Kate has the perfect makeup for a reluctant hero. She has too much experience in the world of politics to be intimidated by anyone in the room, regardless of rank. Unlike characters such as Frank from House of Cards , her motive is not to climb the ladder to achieve any particular office or possess any power. The lack of desire for upward mobility, along with the amount of conflict resolution that she has overseen, makes Kate disgruntled with the superfluous aspects of her job. The audience sees this very early and often, specifically when she is asked to wear “ladylike” attire for events and photo shoots. Even when she begrudgingly acquiesces, it is less for the sake of good PR and more to stay on schedule. The biggest contributing factor to Kate’s attitude is not the direction of her career or disdain for the field, but the extremely rocky relationship with her husband. Hal is also highly intelligent, connected and accomplished in the same field as Kate. The gracious approach for him, given the stakes of Kate’s current task, would be to lay low and provide emotional support. Instead, his expertise, along with his exceedingly confident personality, allow him to be meddlesome and dishonest with her. Rather than having the source of tension between them be a secret or tangential to the story, Hal’s overbearing behavior directly impacts the chain of events, making it obvious why he and Kate are having issues. With the context of an interfering spouse, Kate’s reluctant hero persona comes off not only as understandable but relatable. An ordinary day job is tough to be invested in while experiencing marital issues, much less a job requiring you to settle volatile disputes between countries. In addition to being ethnically diverse, The Diplomat displays varying personalities, always a necessity in political dramas since everyone is wearing the exact same clothes (I kid; but really). For instance, the UK Prime Minister is crass and prickly, frequently exhibiting misogynistic behavior towards Kate. Other characters are overly self-aware and are afraid to criticize or shoot straight with her, fearing that they will come off sexist. In spite of her many years in the field, Kate still endures both dismissive and overly sensitive attitudes from other characters. As the episodes pass, she develops a rapport with the others, convincing her advisers to be direct and leaders to be respectful. The show effectively avoids being too on-the-nose with its social critique but clearly hints at what many female government officials likely tolerate on a consistent basis. The 8-episode drama’s dialogue-heavy nature feels most reminiscent of series like The West Wing and Madam Secretary . It is not as melodramatic as Scandal was at times but instead maintains an even-keeled and at times comical tone. For instance, as Kate sits down with a group of government officials in one scene, she has to drag her chair forward loudly and is embarrassed when her aides try to swap the chair out for her. Where The Diplomat differs from the aforementioned shows is that it presents a highly skilled protagonist who is not as emotionally invested as Jed Bartlett, Elizabeth McCord, or Olivia Pope. Kate is instead a reluctant hero, making her biggest antagonist her own lack of enthusiasm. 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< Back The Outfit takes viewers on a rollercoaster of continuous dread and relief Focus Features, 2022 105 minutes Director/Writer: Graham Moore / Graham Moore and Johnathan McClain Reading Time: 3 minutes The Outfit With You Always (NOVN2BQ05DLWR5DD) 00:00 / 03:58 📷 : Pixabay Ginseng: Suspenseful and intense thrillers Matcha: Mysteries or whodunnits Chris Chaisson 2022-04-24 Mysteries rarely come without the presence of some form of law enforcement. Whether a detective, private investigator, or street officer, these stories typically consist of a character that the audience will assume has the skills and experience to bring about justice. However, the occasional story takes an introverted character free of such a profession and centers the story around them. As they are underestimated or dismissed entirely, they figure out how to manipulate the more dynamic characters to reveal the truth. The Outfit is a gangster movie seen through the eyes of a local tailor named Leonard (Mark Rylance, Dunkirk ), who must repeatedly outwit dangerous goons to spare his life. Set in the 1950s, The Outfit chooses Leonard to serve as the rare non-gangster protagonist of a gangster movie. He is an older gentleman who moved to Chicago to escape his secretive past and has settled in at his clothing shop, along with his companion Mable (Zoey Deutch, Zombieland: Double Tap ). There is, nonetheless, a complicating factor to his business: it is controlled by an Irish mob boss named Roy Boyle (Simon Russell, The Death of Stalin ). Making matters worse, Mable has an ongoing romance with Richie (Dylan O’Brien, The Maze Runner ), Roy’s son. Leonard has no choice but to embrace every aspect of his business situation, as the mobsters remain his most loyal customers. One night, enforcer Francis (Johnny Flynn, Emma. ) shows up with a wounded Richie, who was shot during a run-in with the LaFontaine family, a rival mob of Black Frenchmen. After a confrontation between Richie and Francis ends in Richie’s death, Leonard spends the remainder of the night trying to survive the impulsive Francis and Roy while also protecting Mable. The Outfit provides the feel of watching a stage play, as the film takes place almost entirely in Leonard’s shop, consists largely of dialogue and a small cast, and has very sophisticated costume design. The story’s biggest draw is how Leonard stays one step ahead of the mobsters consistently, knowing that any misstep will cost him his life. Despite being older and not appearing intimidating or authoritative, he maintains his poise in the face of danger time and again, using clever fibs and reverse psychology to convince the mobsters that they need him alive. Graham Moore’s directorial debut joins Knives Out and The Gentlemen as recent mystery thrillers executed at a high level. Though a more limited release than the others, The Outfit has received some critical acclaim following its festival appearances and shows the storytelling that can be done with limited resources. Despite Leonard not having the character arc of a typical protagonist, he sticks out as a non-superhero personality that nevertheless has a superpower. While the above movies may be the most apt comparisons, another similar story to The Outfit would be the early 2000s thriller Road to Perdition . Rather than the violence that Tom Hanks’s character, Michael Sullivan, uses to protect his son while on the run, Leonard uses wit and finesse, lacking the ability to flee the scene. The film’s cat-and-mouse dynamic at times could also be reminiscent of other heart-stoppers like Enemy of the State or No Country for Old Men , as you find yourself thinking, “How is he going to get out of this one?” These films all have their strengths and weaknesses but evoke the same emotional highs and lows in their viewers. 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 Dream Scenario examines obsessions with fame and the subconscious A24, 2023 102 minutes Director/Writer: Kristoffer Borgli Reading Time: 6 minutes Dream Scenario Path of Purpose (TRMMUPNBM4ILZX8U) 00:00 / 06:01 📷 : Used with permission, Aleks Phoenix https://www.instagram.com/aleks_phoenix/ https://twitter.com/aleksphoenix Saffron Movies and TV shows with great visual effects White: Movies and TV shows that make you laugh, or involve urgency, like chase scenes or other physical activity Chris Chaisson 2023-12-05 A24’s new sci-fi feature Dream Scenario follows Paul (Nicolas Cage), a tenured professor, husband and father who traverses a monotonous existence. His students view him with complete indifference, and to his daughters, he is the uncool dad. Paul’s major objective is to publish a book on his academic research, an idea with which he is very possessive despite not having written a single word. His reality suddenly changes when family, friends, and strangers alike start seeing him in the backdrops of their dreams. Similar to his role in their real lives, Paul serves little purpose in the dreams regardless of how dynamic or perilous they appear. He still plays up his overnight (no pun intended) fame, enticed by the thought of being relevant. He tries to parlay it into a book deal after meeting with a talent agency, who instead steers him in the direction of superficial viral moments. Eventually, the nature of the general public’s dreams about Paul turn dark, rendering him a menace in the dream world and a social pariah in the waking world. The target of much scorn, Paul must figure out how to revive his image. The film begins in the middle of a dream sequence, immediately placing the audience in the universe of Paul’s burgeoning fame. Not only does this keep the audience engaged from start to finish, it mirrors most of our experiences with dreams. We rarely dream lucid, where our fear dissipates because we know we are not awake. Rather, we experience the surreal and wake up in a panic. This scene, and every dream sequence throughout the film, pull the viewer into the movie’s universe. Through Paul’s interactions in the first 30 minutes, we get a sense of his character and his routine as it was without needing any exposition spoon-fed to us. This story choice allows us to spend more time watching the dreams play out, as well as Paul’s various human interactions with the characters who were not previously part of his life. Kristoffer Borgli’s feature gives an original take on the trappings of celebrity. The common perception of the public’s treatment of celebrities is that we build them up only to tear them down. Though the nature of the dreams about Paul are out of everyone’s control, their treatment of him fluctuates along this same sine wave. Paul finds himself being held accountable for actions that he did not commit in the real world, and to compound his issues, he does not have the charisma or public relations team to smooth over his image. Thus, he winds up digging himself into deeper and deeper holes, even alienating his own family. Arguably, Paul’s biggest mistake and tragic flaw is his welcoming of the attention in the first place. Against the warnings of friends and family, he sacrifices his own privacy simply for undeserved fame. Similar to many famous people in the real world, giving away privacy can create mental health issues and tumultuous personal relationships. Though Paul never has control over whether or not people dream about him, embracing his celebrity legitimizes the recurring dreams in the eyes of everyone else. The temptation to do so comes from his dissatisfaction with his mundane life as it previously stood. His feeling of being underappreciated is a growing trend even in the world today, especially as people assess their own value or celebrity by their social media presence. Fewer and fewer people are satisfied with an anonymous lifestyle and embrace attention that is, or could, turn negative. Dream Scenario presents other social commentary as well, most notably the power that many people lend to their dreams. Instead of viewing dreams as random and meaningless, many people interpret them as a call to action. For instance, early in the film, Paul’s ex-girlfriend approaches him to tell him that she has seen him in her dreams and asks him out for coffee in front of his wife. Just the same, an attractive talent manager from the agency he meets with asks him out for drinks in order to get to the bottom of her recurring dreams featuring Paul. Despite his marriage, Paul rejects neither of these advances, paving the way for turmoil later on. Both interactions, however, speak to how often people let dreams guide their behavior and spur them to connect with those that they may have ignored. A subtler theme in Dream Scenario is the disregard for academic prowess. As a professor with a doctorate, Paul’s work receives little to no attention and is not appreciated. His lectures fall on deaf ears until the students start having dreams about him. He finds his most engaging sessions are when he foregoes the class material and simply discusses the students’ dreams with them. Similarly, the talent managers he meets with do not care about his expertise or his goal of writing an educational manuscript whatsoever. They instead discuss commercials, talk shows, podcasts and celebrity meetups to amplify his mystique. Paul very clearly starts to devalue his own work, simply riding the wave of his popularity and begging for sympathy when it runs out. Dream Scenario presents itself as the sci-fi twist on the Oscar-nominated 2022 film, Tår . Lydia Tår allows esteem and celebrity to inflate her ego to a point that she mistreats others. Once the collective opinion of her takes a turn for the worst, the same people who propped her up ostracize her and cast her out. Paul gets put on a pedestal by people who have never met him and he enjoys the positive attention he initially receives. Once he allows it to go to his head, the dreams change and public opinion turns on him quickly. Just as is the case in the real world, both Lydia and Paul become victims of the trappings of celebrity. Each film demonstrates that fame is a kind of power, and those who get a taste scramble to hold onto it while thirsting for more. 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!

Reservation Dogs features Indigenous teens experiencing joys and pains on a reservation in Oklahoma. < Back Reservation Dogs features Indigenous teens experiencing joys and pains on a reservation in Oklahoma. FX Productions, 2021- 30 minutes Creator: Sterlin Harjo and Taika Waititi Reading Time: 3 minutes 📷 : Pixabay Reservation Dogs Groove Station (WBNFSZVDNWGFGUQI) 00:00 / 03:48 Oolong Movies and TV shows that make you laugh or involve physical activities like dance and exercise Ginkgo Biloba Youthful, lighthearted, and fun movies and TV shows Chris Chaisson 2021-10-18 Even as the portrayals of people of color in fictional media have increased in recent years, a frequent criticism still lingers: the stories almost entirely revolve around oppression. Whether it is the civil rights era, gang violence or eminent domain, stories centered around Black, Hispanic and Indigenous groups tend to zero in on pain and suffering. It is certainly important to highlight but not great to fixate on, as it cuts out the full range of existence. Some of the most original content stems from characters of various backgrounds having individual joys and pains. Reservation Dogs is the latest production shooting for this type of storyline. Though just a few episodes in, Taika Waititi’s ( Thor: Ragnarok ) latest creation features a group of four Native Americans teens living on a reservation in Oklahoma. Their goal is to raise enough money to relocate to California together, but to do that, they rob cargo vehicles and sell the supplies. Their long‑term plan comes to a screeching halt due to a group of rival teens trying to intimidate them at every turn. Bear (D'Pharaoh Woon-A-Tai) and his three friends refuse to turn tail and run, so they now must stay and defend their territory. Amid their transgressions, they do their best to evade the town police officer, Big (Zahn McClarnon, Westworld ). Reservation Dogs leans on some of the same comedy stylings of Waititi’s previous project, What We Do in the Shadows . The show uses elements of surrealism, such as during Bear’s daydreams where he receives advice from an ancestor on a horse. It also doesn’t shy away from satire, such as when Bear and his friends are shot with paintball guns by their new rivals and Bear’s mannerisms mimic action scenes from Platoon . Waititi and co-creator Sterlin Harjo shrewdly casted a couple of stand-up comedians in Kirk Fox and Bobby Lee. Both provide deadpan expression and dry delivery as they address the children, with Lee’s recurring gag as the doctor for every medical specialty on the reservation. This gag is indicative of a consistent achievement of the show, which is poking fun at life on the reservation while providing nuggets of truth. Though a slight exaggeration, Bobby Lee’s portrayal of every kind of doctor hints at a reality about the environment, that there may only be one person in town capable of any given task. Reservation Dogs delves even further into the truths in how they portray Bear’s father. Despite not living with Bear and his mother, his father is still on the reservation and able to be reached. Bear goes to him for advice about handling bullies, but he is reluctant to share. The estranged father that is still around can be a sobering plot device, but the show chooses not to dwell on it. As with other elements of the show, this fact is presented as an unfortunate circumstance but not one that defines Bear or any of the other main characters. This half-hour comedy can still go in many directions but presents its audience with a rarely told, easily embraced concept: Indigenous youth simply living their lives. Shows such as Reservation Dogs illustrate that you do not have to be of good means or part of a dominant group in society in order to enjoy life. Waititi manages to weave in cultural elements that may hint at historical oppression without pulling the series out of its genre, giving youngsters a way to see themselves represented onscreen in a blissful, positive light. 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!

Beef illustrates the snowball effect of insecurity and stubbornness < Back Beef illustrates the snowball effect of insecurity and stubbornness A24, 2023- 30 minutes Creator: Lee Sung Jin Reading Time: 5 minutes 📷 : Used with permission, Netflix Beef Heist (BRYFFHN6ZQAN9Q4K) 00:00 / 04:50 Chamomile Family dramas White Movies and TV shows that make you laugh, or involve urgency, like chase scenes or other physical activity Chris Chaisson 2023-04-18 “It is selfish for broken people to spread their…brokenness.” Few experiences encapsulate displaced anger as clearly as road rage incidents. Whether they act on it or not, most people see a road rage incident in the news and can recall being that infuriated. I’ve always perceived this anger as being confined to that specific moment. Driving a vehicle is the most dangerous activity most of us ever do, and a close call due to someone’s negligence can bring that to the forefront of our minds. As I get older, I realize that the close call itself is likely the straw that broke the camel’s back. Sometimes, frustration from our personal lives boils over, and we use a stranger who (in theory) we will never see again as the outlet. Cooler heads usually prevail, but every now and then pettiness wins. Danny (Steven Yeun, Blue Bayou ) and Amy (Ali Wong, Big Mouth ) in the new Netflix series Beef show us the catastrophic results of such an instance. Beef ’s inciting incident, a close call in a parking lot, serves as a gravitational pull into a game of one-upmanship for the two protagonists. After unsuccessfully attempting to return supplies to a department store, Danny nearly hits Amy’s SUV as he reverses out of his parking spot. She honks and flips him the bird before heading off. It is clearly the wrong day for Danny, who pursues her for no apparent reason other than sheer frustration. After a dangerous back-and-forth of trying to run each other off the road, they go their separate ways without having caught a glimpse of each other. Unbeknownst to either of them, the incident was caught on tape and goes viral. What ensues is a series of escalating pranks and sabotage attempts between the two that begin to involve loved ones, culminating in darker and darker consequences. Danny and Amy play off each other perfectly, as they do not appear to have anything in common. Amy is a wealthy business owner in Calabasas with her own family, on the precipice of a deal that will make her even richer. Danny is a single, down-on-his-luck contractor taking care of his aimless younger brother Paul (Young Mazino, Fish Bones ). He resents Amy’s financial status, profiling her and going on several tangents about what he assumes her background to be. As it turns out, they both have similar frustrations with how their lives are going. Danny is strapped for cash and cannot seem to impart his wisdom or work ethic onto Paul. Amy feels disconnected from her husband, her plant business and a wealthy potential investor (Maria Bello) that she must continually schmooze to win her over. The repressed anger and depression of both characters fuel their childish pranks and quests for vengeance on one another. After a few episodes, Beef makes it obvious that the back-and-forth between Amy and Danny provides each with a strange catharsis. Even though they are both engaging in juvenile and, at times, criminal behavior, it grants them a departure from what is unsatisfactory about their personal lives. Their petty endeavors are not only selfish but eventually begin to put their loved ones in harm’s way. Neither of them is wise to the repercussions because they have gotten swept up in their own adrenaline rushes. In a way, Danny and Amy have developed a contentious, unorthodox romance. Beef consists of a predominantly Asian cast, with Danny and Amy playing Korean characters while Amy’s husband is Japanese. The series differs from many others in its representations of such characters by allowing them to be individualistic, angry and petty. Often, Asian characters are depicted as docile and adhering to a collectivist mindset. For many decades, Asian-Americans have been referred to as the “model minority,” a back-handed compliment that subtly characterizes them as being subservient. Beef deliberately depicts Danny and Amy as selfish and fueled by an inner rage, showing that diverse representations do not always have to be based around positive attributes. The protagonists are not perfect, endearing or admirable; they’re simply flawed in a way that we are not used to seeing. While not a TV series, the project most similar to Beef from a premise standpoint is the early 2000’s thriller Changing Lanes . Samuel L. Jackson and Ben Affleck play two members of a road rage incident who let a feud develop between them. Though it does not hit on the same class, gender, or race differences as Beef , both involve flawed characters who let petty emotions take them down dark paths. The message in both stories is to always let go of your fleeting road rage before it devolves into a much bigger issue. Or just Uber everywhere (shrug). 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 Saint Omer weaves a deep story that draws in the audience and shifts perspective Srab Films, 2022 122 minutes Director/Writer: Alice Diop / Amrita David, Alice Diop, and Zoé Galeron Reading Time: 5 minutes Saint Omer Redemption (A7X9UHXWTZE3THEC) 00:00 / 06:31 📷 : Licensed from Shutterstock Barley Movies and TV shows with a lot of dialog Dandelion Movies and TV shows with heavy subjects Reba Chaisson 2023-03-28 In 2000, Nicolas Cage played Memphis Raines, a master car thief in the film Gone in 60 Seconds . Incentivized by a big payday, he came out of retirement to steal 50 luxury cars in one night. I recall cheering for his success as he came close to hitting his number, and pondering how the filmmakers were able to manipulate my emotions in this way. How do writers and filmmakers convert the audience from sympathizing with protagonists to cheering for antagonists? There seems to be multiple ways, one of which is through flash for sure, but others are certainly breadth of story and depth of character. Saint Omer certainly fits the latter two. Saint Omer is about a writer and literature professor who covers the courtroom drama of a woman who has pleaded guilty to leaving her 15-month old daughter to drown in the sea. Set in France with nearly the entire film situated in a courtroom, Rama, played by Kayije Kagame ( H24, 24 h de la vie d'une femme , L'invité ), is drawn to the case’s similarity to the Greek mythological story about Medea. Referred to in the film as “The Saint,” the story is about a woman who murders her children as revenge against her husband. Lacking an emotional connection with her mother, Rama carries a deep-seated fear that she too is capable of such an act. I would not think that a film set largely in a formal space and dictated by rule and order could hold my attention for two hours. But the extensive soliloquies and in-depth interviews that make up the overarching foci of the film continually pull me in, arm over arm like tug of war. Unlike the game, I offer no resistance. Laurence Coly’s telling of her story, not through flashbacks but her own words, are compelling enough to make me empathize, even sympathize with her plight. Like everyone in the courtroom gallery, I become deeply immersed in her story to learn why – how she could have done something so unthinkable. In France, even a guilty plea allows for getting answers to these questions, which is in stark contrast to the judicial process in the U.S. When a person pleads guilty in the U.S. court system, it is to avoid an inquiry into the crime and minimize the risk of extensive punishment – in theory anyway. Indeed, the guilty plea is entered and the person who is accused is summarily sentenced by the judge to some pre-negotiated terms. In France, a plea of guilty does not circumvent an extensive court inquiry into the commission of the crime. On the contrary, a detailed examination is performed of the person’s life from birth to present, including family background, schooling, relationships, social life, psychological state, and even current experiences with incarceration. The process is akin to an oral defense of a thesis or dissertation. Instead of professors lobbing questions at the graduate candidate, the judge asks the defendant numerous and detailed questions informed by police reports, psychiatric examinations, and other investigations. In Saint Omer , Laurence, played by Guslagie Malanda ( My Friend Victoria , The Beast ), stands in a designated box throughout the entirety of the proceedings. She responds to each question, even sometimes with a hesitating but eloquent “I don’t know,” essentially putting on her best defense with hopes of mitigating her punishment for the crime. To sum, the French courts aim to gain an appreciation not only for the context of the crime but also the context of Laurence’s life before sentencing her. This is very different from the U.S. system that operates in a way that suggests it cares very little about the circumstances of a crime, let alone the person who committed it – in some cases even if the person committed it. It takes a brilliant piece of writing to convert an observer who initially dismisses a person because of their heinous deeds to one who sympathizes with said antagonist. But something happens when we get to know people — when we get inside the lives of people. Something changes. We come to appreciate that things are much more complex than they seem. We realize that context matters. One of the enjoyable aspects of international films is the view it provides of cultural practices in other countries. France considers context in its efforts to understand criminal cases. It makes me ponder the difference it would make in the complexion of the criminal justice system in the U.S. and the prisons in which they house the people that are convicted. Saint Omer also helps to answer more personal questions concerning Rama’s worries about the kind of mother she can be. And that is: Does coming face to face with those things we fear most help us move forward? Winning the grand jury prize and best debut feature in the Venice Film festival, Saint Omer was the only French film submitted for an Oscars nomination in the international films category. The strength of the feature is not surprising given writer/director Alice Diop’s 15 years as a documentarian presenting stories about the lives of people living on the periphery of French society. As she told The Guardian , “For 15 years, I’ve been making films from the margins, with a political intention of filming those margins – the banlieue, people who have been silenced, because those are the people I come from. That’s my territory, my history.” Saint Omer, which is based on a true story, resonated with Diop’s aesthetic priorities and filmmaking style due to its compelling, eloquent, and deeply personal story. We look forward to seeing more of her work. 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 Thelma prompts us to reconsider our roles in others’ lives Bandwagon, 2024 97 minutes Director/Writer: Josh Margolin Reading Time: 6 minutes Thelma Ante (JASJU1U0XPTXNIPM) 00:00 / 06:12 📷 : Pixabay White: Movies and TV shows that make you laugh, or involve urgency, like chase scenes or other physical activity Chamomile: Family dramas Chris Chaisson 2024-07-09 Getting scammed absolutely stinks. Being set back financially is often not even the worst part. The most regrettable aspect of it is feeling both that you are too gullible and maybe even that you lack the necessary survival skills to take care of yourself. If you’re fortunate, you rebound and get a good story out of it. For some people, it may be a breaking point or an opportunity for others to write them off entirely. Regardless, anyone who’s been bamboozled wishes they can recoup their losses, and Josh Margolin’s newest comedy Thelma allows them to live vicariously through a 93-year-old woman doing just that. Played by June Squibb ( Nebraska ), Thelma is a widow in her nineties holding on to her autonomy despite her family’s concerns. She remains very close with her grandson, Daniel (Fred Hechinger, The White Lotus ), who visits her frequently and looks after her. When Thelma falls for a scam and sends $10,000 to someone pretending to be Daniel, she hatches a plan to get her money back despite Daniel and his parents (Parker Posey and Clark Gregg) attempting to dissuade her. She pairs up with an old friend, Ben (Richard Roundtree, Shaft ), at a local retirement home and goes on an adventure to track down the scammer. As more roles open up for underrepresented demographics (in this case older adults), there has been a tendency to portray them as victims who need protecting. Often, older adult characters in movies get scammed or robbed and are rescued by a younger heroic figure. Similarly, many LGBTQ+ characters are portrayed as victims of hate crimes in ways where the story abandons character development and zooms in on the violence they endure. And, as has been frequently pointed out about the 2010s, moviegoers experienced a heavy dose of films surrounding slavery and civil rights. While the increased representation is a positive for marginalized groups, a common thread is them being defined by their suffering and in need of saving. Despite being a goofy comedy with the primary objective of providing a few chuckles, Thelma bucks this cinematic trend. Rather than chalking the scam up as a loss or letting someone else track down the perpetrator, Thelma takes matters into her own hands. Aside from the understandable anger that comes with being scammed, Thelma gains motivation from overhearing her family suggest that this incident proves it is time to put her in a home. In a sense, her goal is less to retrieve $10,000 than to retain her independence. Thelma’s plan requires some ingenuity, as she must first sneak away from her overprotective family, convince Ben to tag along, and even borrow (without asking) a weapon from a doddering friend who lives alone. Through Thelma’s actions, it is clear that she is of sound mind and physically capable enough to look after herself. After all, even most young and healthy people never go through the trouble to track down their scammers (I sure as hell didn’t). Not only does Thelma have to overcome the expectations of her family, she must rebel against the ideas of those in her own age range as well. Ben feels perfectly comfortable being supported by others and tries to convince Thelma that she will be better off surrendering to her family’s perception of her. His character illustrates that just like other demographics, older adults are not a monolith. Some welcome the chance to be cared for while others actively reject it. Additionally, Daniel struggles with the concept of “acting his age.” While it is clear that he genuinely loves his grandmother, he also takes great pride in caring for her. As a young adult who recently experienced a break-up, he carries with him an insecurity that he is not growing up fast enough and assuming adult responsibilities. He views looking after Thelma as a way of establishing his self-worth. His conundrum shows how our behavior and decision-making surrounding our aging relatives can sometimes be more about us than them. Much of the film’s humor comes from poking fun at the action genre, frequently through the use of its soundtrack. Several scenes invoke music that we have gotten used to hearing in fast-paced car chases or hand-to-hand combat. Yet in Thelma , the speeding sedans and shootouts have been replaced by slow-moving motorized scooters. While the music brings to mind scenes from cult classic thrillers that contain life-and-death stakes, there is no such threat when Thelma is simply trying to bust out of Ben’s retirement home or exit the gas station unseen. Mixed in with these “action” sequences are scenes where Daniel teaches Thelma how to use social media and recurring gags involving other members and staff at Ben’s retirement home. In addition to inducing several laughs from its audience, Thelma challenges our perceptions of those we view as feeble or incapable. While it is often out of love and concern, our assumptions can quickly become patronizing or ultimately about what we want. The film serves as a reminder to not be so quick to define what our loved ones are or decide what they should desire, but simply be there for them when the time comes. A decent comparison for Thelma is another June Squibb film from 2013, Nebraska . While less humorous, the film revolves around an older character (played by Bruce Dern) taking a road trip with his son to reclaim a prize and dodging predatory people who learn of his good fortune. Both films show how aging may make you a target but it does not have to render you helpless. 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!