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

< Back Living provides a twist on the “bucket list” movie genre British Film Institute (BFI), 2022 102 minutes Director/Writer: Oliver Hermanus / Kazuo Ishiguro, Akira Kurosawa, and Shinobu Hashimoto Reading Time: 5 minutes Living Warmth And Wonder (W39SX3IRSVIEESNK) 00:00 / 05:05 📷 : Used with permission, 80smovielove https://www.facebook.com/masahiro0728/ Ginger: Thought-provoking movies and TV shows Sage: Movies and TV shows with low-key characters Chris Chaisson 2023-02-01 We hear the phrase, “Live every day like it’s your last,” more times than we probably care to. Nonetheless, few people actually take this advice to heart or even reflect on its meaning. In truth, most people with reasonable means interpret the idiom to mean “make reckless decisions.” Quit your job. Go cliff diving. Streak across a football field. One could examine this behavior in the subgenre I call “bucket list movies.” In these stories, the protagonists learn that they have a limited time left to live and respond by partaking in the exhilarating experiences that they have always put off. They abandon their daily routines to travel, skydive, ski or mountain climb. The overall message of the movies is to not let day-to-day tasks prevent you from pursuing every adrenaline rush you can. A person receiving such grim news, however, does not have to let it be a nudge to go bungee jumping. An equally and maybe even more interesting character may take time to figure out what lasting impression he or she would like to leave, choosing a different route than thrill-seeking. Prioritizing their own happiness will never be viewed as a sin for such a protagonist. But a character investing his or her time in the happiness and well-being of others is also worthy of appreciation. Enter Mr. Williams (Bill Nighy, About Time ), the central character of Oliver Hermanus’s new British drama Living . Adapted from Akira Kurosawa’s 1952 film Ikiru , Living drops its audience into the daily routine of Mr. Williams, a widower and septuagenarian managing the public works department of the London County Council. As one of the longer-tenured members in the office, Mr. Williams serves as the physical embodiment of aloofness. In fact, in the opening sequence, he tips his hat to his colleagues through the train window from the platform, but then commutes to work on his own. While he is not alone in lacking the desire to socialize with his co-workers, he maintains the same emotional distance in every other aspect of his life: his work, his hobbies (he has none), and even his child. Though he lives with his son, they do not often interact or spend time together. The newer members of his team, Margaret Harris (Aimee Lou Wood, The Electrical Life of Louis Wain ) and Peter Wakeling (Alex Sharp, The Trial of the Chicago 7 ), bear a quiet admiration for him but clearly wish to establish a connection. Mr. Williams’s propensity for solitude seems in part dictated by the nature of his government job, where very little is seen through to completion. Often, projects and approvals get tossed around from department to department and put off to no end, frustrating proactive residents. Existing day-to-day, week-to-week in a work culture where accomplishments are rare, sheds light on the workers’ apathy and frustration. After a typical day at the office, Mr. Williams heads to the doctor for a follow-up visit, during which he is informed he is terminally ill and has only a few months to live. He takes the evening to process the information, quietly mourn and decide whether to share the unfortunate news before continuing on with his daily routine. For the rest of the film, Mr. Williams goes on an emotional journey to find what will bring him the most peace in his final days. He first goes the usual thrill-seeking route after sharing his diagnosis with a complete stranger, who takes him gallivanting into the local nightlife. After confiding in Margaret and leaning on her for emotional support, he reflects on his time spent since his diagnosis and decides on one last mission to see through to the end. Mr. Williams spends his remaining time using his influence to complete what he deems as a worthwhile, community-changing project. Scene to scene, Living may not provide the adrenaline rush that you would get from a bucket list movie in which the protagonist turns into Evel Knievel. Nevertheless, it grants its audience a new perspective on living out one’s final days. Rather than existing as if you have nothing to lose, strive to give back as if you have everything to lose. Exhilarating extracurricular activities can bring us temporary highs, but Nobel Prize-winning writer Kazuo Ishiguro seems to suggest that acts of selflessness can bring us just as much fulfillment before we perish, and in the case of Mr. Williams, also a legacy of persistence. 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 40 Acres makes us seriously consider the near future Magnolia Pictures, 2024 113 minutes Director/Writer: R.T. Thorne / R.T. Thorne, Glenn Taylor, Lora Campbell Reading Time: 6 minutes 40 Acres Rebellion (FSUNP56O2894XEXK) 00:00 / 07:53 📷 : Magnolia Pictures Press Kit https://www.dropbox.com/scl/fo/shnuoc9k3wiz44l824zkh/AA7WU3RtNVFNKyDObG3D0I0?rlkey=3atyx7kz9y3yvh65ubhttbyk5&e=1&st=ylsn0byh&dl=0 Rosemary: Movies and TV shows with intense action Coca: Movies and TV shows about drugs or with disorienting presentations Reba Chaisson 2025-06-27 When I was young my mother always insisted that I do as I was told. I was resistant to her directive—well, internally resistant anyway. I always did what she told me to do, sometimes to my detriment and often against my own self-interest. There comes a time though where doing as you’re told just doesn’t play well. At some point you need to follow your own instincts, use your own judgment, and stumble on your own so you can have new experiences, gain some wisdom, and develop your own perspective. Right? R.T. Thorne’s postapocalyptic film, 40 Acres , makes us question this self-righteous stance. Set on a farm in the not-too-distant future, 40 Acres opens with a group of about twenty men armed with guns, knives, and various swords quietly sneaking between the rows of tall corn and various vegetables. As they exit the field and approach the large farmhouse in the clearing, they begin snickering and chanting like they had achieved their goal and were about to pounce on the property and its inhabitants. Suddenly the men bringing up the rear begin falling from whisks of sniper shots to the head. Others disappear under the tops of corn as if snatched underwater by some semblance of Jaws on land. Before we know it, all the men are dead from gunfire or stabbings, and the people who killed them rise up from the corn and emerge from the farmhouse unscathed. Along with two forty-something-year-old adults are four people ranging from about 10 to 20 years old. Danielle Deadwyler leads the cast of 40 Acres as Hailey Freeman, a tough military veteran willing her family’s survival after a virus has destroyed all living cattle, forcing everyone to fend for themselves by eating only what they can grow. Cannibals, however, are a constant threat to the family’s existence, so they must remain vigilant to avoid being tortured and eaten by people who target them for food. Because of this reality, Hailey doesn’t play. When she speaks or gives a directive, like E.F. Hutton, everyone gets quiet and listens. The Freeman children are not only trained in combat but are also educated at home and held accountable for their work. When Hailey’s teenage daughter teases her little sister about being admonished for not completing a chore, Hailey immediately turns to her and says sternly, “Where is that book report you owe me?” Dissatisfied with the answer, Hailey adds a second assignment with both due in two days. The child’s humble response is only “yes ma’am.” Michael Greyeyes, a Cree actor, plays Hailey’s capable partner Gralen. Each seemingly brought a child into the relationship and then together added two more. The eldest of the family, Hailey’s son Emanuel (Kataem O’Connor), is a point of focus in the film. An early twenty-something, he is seldom permitted to venture outside the electrified gates of the farm except to take his ATV on specific errands and promptly return home. However, he deviates from his mother’s orders one day and takes a swim in a nearby stream. While getting dressed he notices a young woman (Milcania Diaz-Rojas) swimming and follows her to a clearing, where he sees a community of people. When he arrives home late, Gralen asks angrily, “Where you been?” When Emanuel explains that he got sidetracked, Gralen says, “I didn’t ask you what happened; I asked where you been.” Clearly neither Hailey nor Gralen deal in nonsense; both mean business. “Noticing” the young woman doesn’t adequately describe the degree to which Emanuel is taken by the swimmer; “entranced” is a much more apt term. Emanuel had already shown signs of longing for the company of a female when his mother burst into his room once without knocking. “Mom, could you knock?!” Being unable to engage the woman (whom we later learn is named Dawn) clearly frustrated him. His angst compelled him on this night to question his parents’ choices to isolate their family and insist that they neither speak with nor help anyone they might encounter. At their core, human beings are social animals. Psychologists and sociologists attest to what happens when we lack regular communication, social activities, and meaningful relationships with others. Without such social interaction, we become inept at engaging others, experience detachment from our feelings, and eventually fall into depression or loneliness. Given its critical importance to humans’ quality of life, should social interaction take a backseat to staying alive? Hailey and Gralen would unequivocally insist that it does. For what is quality of life without the physical existence of the body? When Dawn suddenly appears in front of the farm’s gates injured and desperate, Emanuel takes her in unbeknownst to the others. When she is discovered by his parents, Hailey angrily tells her, “I am not my son so you ain’t got nothing to offer me but answers!” What we learn is why Hailey insists her family be at their posts, trust no one, and do as they are told. The plot of 40 Acres is quite plausible. With news headlines about deadly bird flu leading to an unsafe egg supply and mad cow disease potentially infecting beef, it makes us consider the likelihood of a story like 40 Acres coming to pass. Add to this the alienating social climate today and the extent to which we seem perfectly comfortable dehumanizing people for the purpose of political and economic gain. In the event of a diminished food supply, what will we become? What are the chances that by then we will have dehumanized each other so much that demoting people in the food chain will be as easy as warming up a slice of apple pie for dessert? 40 Acres is an appropriately dark film in terms of its cinematography, and its storyline contains dark prospects for both survival and the quality of life should we survive. Danielle Deadwyler, who also played a lead role in The Piano Lesson , is powerful as Hailey Freeman. I would be quite surprised and extremely disappointed if she is not nominated for a Best Actress Oscar for this role. This film is a true indie with an ethnically mixed cast of relatively unfamiliar actors, and a plausible and intriguing storyline that we hope to also see nominated for a Best Picture Oscar. People as prey have come in the form of movies like Jumanji and Jurassic Park . In these films, humans are pursued by vociferous carnivores, so it is entirely reasonable to expect this. We are in their jungles. We have also seen films depicting cannibalism like Society of the Snow , where survivors of a plane crash consume the bodies of dead passengers in order to survive. This too can be considered reasonable. What comes closest to 40 Acres in terms of stories about human beings pursuing other human beings as prey is the Hannibal Lecter franchise, with movies like Silence of the Lambs and Hannibal . The cannibals in 40 Acres are much less classy though; they don’t consume their meals with glasses of Chianti. 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!

Borgen provides an international perspective through political drama < Back Borgen provides an international perspective through political drama Dansmark Radio, 2010-13 58 minutes Creator: Adam Price Reading Time: 4 minutes 📷 : Used with permission, Netflix Borgen Sliced Bread (PMGPOVFPRLWGTPW0) 00:00 / 04:30 Barley Movies and TV shows with a lot of dialog Honeybush Nonfamily dramas with strong adult and/or socioeconomic themes Reba Chaisson 2021-07-25 For years, I have contended that there is no better way to understand the system you are in and your degree of socialization to it, without an international perspective. Insight into how other countries operate—politically, economically, and socially—is a good way to appreciate the privileges of your own and to acknowledge its constraints. That the lessons are accompanied with intrigue, tension, crises, and poignant moments is a bonus. Borgen is a present-day series about politics in Denmark and the rise of its first female prime minister. Starring Sidse Babett Knudsen ( Westworld , A Hologram for the King ) as Birgitte Nyborg Christensen, the series depicts a convergence of the different interests that make the Danish government work. Through portrayals of power‑sharing across political parties and even the process of selecting a prime minister, the show presents what it means to serve and be accountable to the electorate. Unlike the United States, Denmark consists of more than ten political parties , five of which occupy approximately three-quarters of its 179 elected parliamentary seats. The system still holds firm after more than 170 years and yields the intentional effect of forcing cooperation, negotiation, and compromise with groups that have distinct and sometimes opposing political ideas and priorities. This against the backdrop of the centuries-old buildings, small living quarters, cozy cafes, and cool temperatures gives us a feel for the culture of the North European country. A wife and mother of two, Christensen is overwhelmed by parental demands, as are most protagonists in stories about career women. Also, predictably, she is saddled with a loving but unfaithful husband, portrayed by Mikael Bikkjaer. A wise senior adviser, played by Lars Knutzon, helps her realize her power and to grasp a more complete view of the Danish political landscape. This proves to be epiphanous for the leader of the newly elected majority party in Parliament. Much like The West Wing , the series takes viewers inside the room where negotiations are conducted, tensions and ambitions are revealed, and wills are tested. Indeed, the efforts to undercut Christensen’s power are continuous. A CEO threatens to relocate his billion-dollar company if a measure passes mandating that women comprise half of all private sector board members. In a private, late-night meeting with Christensen, the man calmly sips his coffee from the fine china and states with strong self‑assurance, “… we cannot risk having incompetent leadership in our companies due to state intervention.” Politics are around the clock in this series where there is no rest for the weary prime minister. The constant wrangling for attention, power, and control are ever-present, and each has to be weighed against the country’s social-democratic values. When a cabinet minister discloses the cease-and-desist order he took against a group of journalists because he could not find a mole, the prime minister admonishes him and squashes the action, referring to it as out of line with their principles. When political tensions arise with a former colony, she dismisses the leader with niceties because of “more important matters” she needs to attend to at home. Realizing the need to recalibrate, she learns about the damage of colonization, triggering for us the experiences of Indigenous people in the U.S. What is most interesting about this series is it allows us to see up close how multiple interests can be served at the national level. The show, then, forces us to reckon with the constraints of a system that drives and cajoles us into bifurcated camps and often antagonistic political identities as Democrats or Republicans. If you like pondering political matters like these, you might want to give Borgen a try. It’s also pretty cool to see the virtues of only two people debating at a time, standing at a small round table with the moderator between them! Yeah—different. 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 Awakening of Lilith portrays a lonely, grieving widow struggling to find her footing. Refuge Films, 2020 83 minutes Director/Writer: Steven Adam Renkovish Reading Time: 3 minutes The Awakening of Lilith Counting Breaths (RNVQWXPAQMEVKOSB) 00:00 / 03:28 📷 : Used with permission, Refuge Films Dandelion: Movies and TV shows with heavy subjects Chris Chaisson 2021-11-14 The processing of one’s grief after a major loss can take on many forms. Some choose to deny or evade their emotions. Others try to power through by continuing their routines as if nothing has changed. But another group remains in their state of grief for an extended period of time. With no support system or structure around them, they struggle to find the light at the end of the tunnel. The Awakening of Lilith portrays a lonely, grieving widow struggling to find her footing after her partner Noah’s death. The non-linear story depicts its protagonist as a woman who places much of her self-worth into her significant other and struggles to find her sense of self in the aftermath of his passing. Lilith’s attempts to appease the depressed and irritable Noah reveal an imperfect union. She finds herself lacking purpose, and her social circle does little to pull her out of her tailspin. Renkovish’s framing conveys Lilith’s co-dependency, as in many scenes and still photographs of her with Noah, she is staring at him while he stares either into the camera or off into the distance. The film couples its more nuanced elements with overt and often surreal moments. Lilith’s troubles include dark hallucinations, piercing verbal abuse from her mother and judgment from the members of her Bible study group. Her interactions, along with living in solitude, leave her in a disoriented and self-pitying state. While the more absurdist moments lend themselves to the horror genre, the film stays grounded in its relatable representation of how lost one can feel while mourning a traumatic event. As the film progresses, Lilith discovers ways to manage, illustrated by some of her diatribes and the arrival of a supportive friend. The conclusion suggests that Lilith has reached a crossroads where she may wade her way out of the grief or plunge right back into her depressed state, but there is a glimmer of hope for her to establish her independence. Similar movies to The Awakening of Lilith include In the Bedroom , an early 2000s film starring Tom Wilkinson, Sissy Spacek and Marisa Tomei, in which an older couple struggles to cope with the murder of their son. On the more paranormal and surreal side of comparable projects is Ghost , the very popular Patrick Swayze-Demi Moore project from 1990. The Awakening of Lilith differs from both of these in the sense that Lilith lacks a true confidant to grieve with and, of course in the case of Ghost , cannot reconnect with her deceased significant other despite her best efforts. The mind often plays tricks on you when in a state of grief. The way Renkovish's film addresses this is reminiscent of the critically acclaimed breakup movies, 500 Days of Summer and Eternal Sunshine of the Spotless Mind . In both films, the protagonists come to the realization that they have put their significant other on a steep pedestal with expectations that could never be met. If there is a common message behind all of these movies, it is to learn to love without losing yourself. 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!

Win by Two uses heavy symbolism to highlight a heavy topic < Back Win by Two uses heavy symbolism to highlight a heavy topic Flightsuit Productions, 2020 13 minutes Director/Writer: Abraham Felix / Milo Daemgen and Abraham Felix Reading Time: 3 minutes 📷 : Used with permission, Abraham Felix Win by Two Power (RQDBWUHFLURJQJZK) 00:00 / 03:46 Masala Chai Movies/shows about toughness and athletic competition Ginger Thought-provoking movies/shows Chris Chaisson 2022-10-09 In recent years, culture critics and advocacy groups have traced many social issues back to toxic masculinity. It remains a controversial topic due to conflicting opinions about which behaviors fall under this umbrella, but the concept affects men and women from seemingly every community. Feelings on the topic often vary by generation or political leanings. Nonetheless, toxic masculinity manifests itself most blatantly in athletic competition. Coaches, parents and teammates pressure young athletes to not show pain, weakness or sometimes even basic sportsmanship. This phenomenon is the central theme of Abraham Felix’s powerful short, Win by Two . Win by Two opens with Jalil, the lanky protagonist, practicing jump shots in an empty gym while we hear voice-overs of his mother Sylvia, providing advice and well wishes. Her reassurance immediately tells the audience that Jalil is preparing for something important and also has a support system. Soon after, Frank, an intimidating basketball scout, walks in with Kevin, Jalil’s competition. Frank is gracious in his introduction, as is Kevin, but he then pivots to analytical mode as he sizes Jalil up. We can clearly see that Kevin is bigger and stronger, so Jalil will have to rely on his quickness and skill. Frank states the terms of the one-on-one game and lets Jalil and Kevin go at it. After Jalil gets off to a good start, Kevin gets physical, causing Jalil to appeal to Frank. We see a drastic shift in Frank’s demeanor, as he relies on old-school, tough-nosed coaching tactics. Frank speaks of separating boys from men, challenging and even insulting Jalil until he backs Kevin down and throws an elbow to score a bucket. Frank looks appeased while Kevin examines the blood seeping from his face. Though surrounding a simple one-on-one game of hoops, Win by Two is chock full of symbolism, largely seeking to highlight the effects of toxic masculinity on the mindsets of young men. While athletic competition requires having an edge to excel, many coaches and authority figures use bullying tactics to rile up their players. The short illustrates this through the contrasting instructions of Sylvia and Frank. With the nurturing advice of his mother, Jalil works strictly on his skill and remains cordial to both Frank and Kevin. Once challenged to “be a man,” he becomes more aggressive, culminating in a somewhat dirty move that injures his opponent. The blood running down Kevin’s face signifies the common and overwhelming result of toxic masculinity: violence. Win by Two also echoes the ambiguity around how to properly tackle toxic masculinity, as it is rooted in a very primal instinct. No matter how much we evolve, human beings hold on to behaviors and biases deeply ingrained over generations that, frankly, lead to success in certain areas of life. However, these same behaviors can leave young men lacking empathy for one another, paving the way for catastrophic results. Win by Two serves as a reminder to authority figures to motivate adolescents, but always leave room for compassion. 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 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 A Fall from Grace puts the matter of trust at center stage Tyler Perry Studios, 2020 120 minutes Director/Writer: Tyler Perry Reading Time: 5 minutes A Fall from Grace Rampant (18I3YMSBSMH3VNJU) 00:00 / 05:45 📷 : Licensed from Shutterstock Dandelion: Movies and TV shows with heavy subjects Ginger: Thought-provoking movies and TV shows Reba Chaisson 2021-07-25 A Fall from Grace is a contemporary film about an independent, older single woman named Grace, played by Crystal Fox ( The Haves and the Have Nots, Big Little Lie s), who falls in love with Shannon, a young charismatic photographer played by Mehcad Brooks ( The Game , Necessary Roughness ). Predictably, the fairy-tale affair ends when all hell breaks loose after their inevitable nuptials. The heartbreaking story is reminiscent of the 1990 film, Pacific Heights , with Melanie Griffith as “Patty” and Matthew Modine as “Drake.” The newlyweds invest their savings in a beautiful San Francisco apartment building and then struggle to remove Carter, a vile tenant played by Michael Keaton, who has wormed his way into legal squatter’s rights. In A Fall from Grace , despite Grace’s efforts to get Shannon out of her house and bank account, he unabashedly exploits his new legal entitlements, remaining entrenched and entangled in both. “What’s mine is ours” is twisted by Shannon into: “What’s mine is mine and what’s yours is mine too!” As with Patty, we can feel Grace's frustration and hopelessness. But A Fall from Grace takes a huge departure from Pacific Heights as its story unfolds. At center stage of the film is the matter of trust, which no written documents, legal contracts, and mutual understandings and sentiments can tightly wrap in a bow and make ironclad. While Spiderman has his “spidey” senses and Fred Flintstone “The Great Gazoo,” we only have our instincts, feelings–our hearts–as fallbacks, and we ultimately take giant leaps of faith based on these. When we are shaken like a rag doll because we were wrong, we feel foolish. But as Grace’s young lawyer intimates, taking the risk to trust someone only means we are human. Grace’s lawyer plays a key role in the film. At age 26, Jasmine, played by Bresha Webb, seemingly accepts her lot as the public defender with a specialty in plea bargaining, until she encounters her new client. Although even then, there are some problematic moments where she pouts and appears to lack any legal training at all. Also pivotal in the film are Phylicia Rashad as Grace’s best friend, "Sarah," and Tyler Perry as Jasmine’s jaded boss who demands nothing more of Jasmine than her legal expertise. Two-hour movies are rare today and what filmmakers make of the extra 20 to 30 minutes can be intriguing. A Fall from Grace is presented out of order, layered in like a puzzle and forcing the audience to figure out how and where pieces fit to make the story a full yarn. Here, the technique has the effect of inviting viewers into the weaving of the story. Guided through Grace’s narration of past encounters with Shannon, her confidences shared with Sarah, and then combined with Jasmine’s present-day investigation, the film unfolds into something we could have never anticipated. The level of suspense raises the story from something more than a simple, predictable drama to a story that pushes viewers to the edges of their seats. The Southern urban aesthetics of the film include large, old, picturesque homes pushed back from the street as if giving the audience room to breathe. The addition of dark hues draws the audience’s focus and has the effect of inviting viewers into the story. This setting, though, was disrupted with a single, isolated scene of Grace and Shannon having dinner at a diner that looked like a Checkers - yes, the fast food restaurant. The oddity was compounded by capping off the meal with the two drinking wine from stemware. During this moment, the film lost its aesthetic magic, its feel. Minus the distraction, I felt like I was in the room during the scenes at Grace’s home and being blanketed with a healthy dose of Southern hospitality. The warmth made it starkly apparent that Shannon did not belong in this space. Calling her "a fool" – and in her own home, he remarks that “A woman your age is low hanging fruit.” Speaking of age, a treat of the film is an appearance by Cicely Tyson. This is one of her last roles before her death in early 2021, at age 96. Reviewers talk a lot about aging as the subject matter of films (i.e. Book Club and perhaps Trouble with the Curve ), but seldom is the topic of age diversity in films broached. While the cast of A Fall from Grace is predominantly Black, age representations range from the youngest Millennials through the Greatest Generation, and all in prominent roles with significant on-screen time. And as for color-struck, this film is a step toward priming audiences to get over it! Several themes run throughout A Fall from Grace , most more overt than subtle. Among them: Youth is no excuse for lack of persistence. Skepticism is healthy. And at times, you have to trust somebody or you will end up alone. If you are in the mood for a contemporary and suspenseful story with a Southern feel, you might want to give this one a try. Previous Next Sign-up for new reviews, exclusives, deep dives, and more First name Last name Enter your email here I agree to the terms & conditions Sign-up Thanks for joining us!

< Back Account Director Apply Now San Francisco, CA, USA Job Type Full Time Workspace Hybrid 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

The Law According to Lidia Poët makes for strong entertainment and raises ponderings about barriers < Back The Law According to Lidia Poët makes for strong entertainment and raises ponderings about barriers Groenlandia, 2023 42 minutes Creator: Guido Iuculano and Davide Orsini Reading Time: 5 minutes 📷 : Used with permission, Netflix The Law According to Lidia Poët Knowledge & Power 00:00 / 06:34 Barley Movies and TV shows with a lot of dialog Matcha Mysteries or whodunnits Reba Chaisson 2023-03-02 Years ago – yes, I refuse to be specific for fear of dating myself – my husband and I fell in love with a movie called Dangerous Liaisons . It was a period piece starring Glenn Close, John Malkovich, and Michelle Pfeiffer centering around a torrid love affair. Other than the film Amadeus , I didn’t fancy period pieces, but only because I didn’t give them a try. Most were dramas set in Europe that focused on privileged people, and yes, I mean the past and present definitions of the term. They were not just high earners, but to use a Marxist phrase, they owned the means of production. In other words, they were elites. Some of the actors were from the U.S., but most of the characters they played spoke with an accent of one of the European countries – back then and I suppose even now, often viewed as a cue of high social class. Think Titanic . For the films I did watch, which included all of the above and then some, I enjoyed them thoroughly, and I learned that they had something to offer in teaching us how people of this stature live, socialize, celebrate, control, and even handle adversity. And The Law According to Lidia Poët is equally valuable and honestly, a lot more fun than its predecessors. Set in Northern Italy in about 1883, the Netflix miniseries starring Matilda De Angelis ( Rose Island , The Undoing ) is about a young single woman who recently graduated from law school and despite passing the Bar, will not be admitted to it because – anybody? anybody? – she’s a woman. Based on a true story, the six-episode series is not preoccupied with the sexism of the day, but rather a demonstration of Lidia’s perseverance, guile, and legal talent. The mention of Northern Italy is pertinent here as until about 1860, Italy was divided into northern and southern states. Predominantly poor families, many of whom were farmers, resided in the South while upper-class elites inhabited the North. Little changed after reunification, so many people in the southern part of the country began immigrating to the United States for economic opportunity and political freedom, as the country was run by elites in the North. While we don’t get a sense of the politics in the series, the context is nonetheless important. Despite Lidia being from the North and born into wealth, she has little means, at one point even asking her brother for money. Yet her dress, make-up, and speech emanate upper-class status, which together speaks to the degree we are socialized to class and how hard some must work to maintain it, even if it means conspicuously consuming the clothing and accouterments of class to do so. After being evicted from her place for non-payment, Lydia is forced to move in with her well-to-do brother, Enrico Poët, who is also a solicitor. There is still some resentment between Lidia and Enrico because – anybody? anybody? – yes, she went to law school instead of getting married as women should do. To be fair, this would all be funny if not for the fact that the story is based on actual events and that still today, more than a century later across oceans and into other lands, such beliefs are still strongly held, especially in upper-class elite families . Even though she has not been admitted to the Bar, Lidia is approached with cases. In little time, she drags the reluctant Enrico, played by Pier Luigi Pasino ( Sargno farfalle quantiche ), into them since she is not allowed to argue in court. What comes through strongly as the series progresses, though, is that Enrico loves his sister, making even their spats and strong disagreements not virulent but more a test of wills. At many points during their debates, Enrico gives up on cases, insisting that they cannot be won or the accused person is guilty. Lidia keeps going with “That’s not possible if …” or “Not if we can prove …” These interactions add a level of warmth to the series and an important element for ensuring the audience does not generalize the Bar association’s stance regarding a “woman’s place” as reflective of the views of all men even at that time. Soon, Enrico recognizes Lidia’s talents, realizes her value, and offers to help in handling her appeal to the Bar. It is in Lidia’s investigation and research of cases, along with advice to Enrico on ways to present them, that we get the opportunity to see her kick some a**. This aspect of the series reminds me of the times when Black athletes were not allowed to compete in sports at many major colleges in the U.S. I’m thinking of the 2006 film, Glory Road set in 1966, where it was revealed that schools such as the University of Kentucky and others, did not allow Blacks on their basketball teams. Certainly, the college landscape has changed now, but I remember thinking as I watched that film: Why? What were they afraid of? I had these same questions as I watched The Law According to Lidia Poët . My thoughts are that barriers like these can only be erected out of tradition and/or the fear of losing identity and status. If I’m right, it makes you wonder about the capitalist tenet of competition and the class value of meritocracy. Where do they fit given the intentional construction of barriers like these? In addition to observing Lidia’s investigative and legal prowess, we get to voyeuristically enjoy her romantic exploits, which allow us to see her as fun, fun-loving and three-dimensional. It helps that her lovers are smart, engaging, and witty. Together, the vestiges of upper-class status, occupational prestige, and staunch independence are worn well by Lidia Poët, making the series informative and entertaining. If you want to dip your toe into a 6-episode period piece that is more upbeat than down, you might want to give this one a try. Previous Next Sign-up for new reviews, exclusives, deep dives, and more First name Last name Enter your email here I agree to the terms & conditions Sign-up Thanks for joining us!

< Back The Book of Clarence blends coming-of-age comedy with biblical epic Legendary Entertainment, 2024 129 minutes Director/Writer: Jeymes Samuel Reading Time: 5 minutes The Book of Clarence Enough Said (TFKO7JBQDRJDMZJO) 00:00 / 05:31 📷 : Pixabay White: Movies and TV shows that make you laugh, or involve urgency, like chase scenes or other physical activity Honeybush: Nonfamily dramas with strong adult and/or socioeconomic themes Chris Chaisson 2024-01-29 Full confession: I have a Catholic education up to and through high school. As theology was always a priority, I have seen my fair share of “Bible story” movies, in the days of grainy VCR playback with tracking lines going across the TV. Some were compelling and some were very tedious, but the message was consistently sent to take the depictions very seriously. If you told me then I would be watching Jeymes Samuel’s parody of such epics, I probably…well, I would’ve said that far in the future, I could be doing anything. Nonetheless, The Book of Clarence may ruffle some feathers, but it does provide a little bit of a trip down memory lane and a fair share of chuckles along the way. Clarence, played by the mercurial LaKeith Stanfield ( Sorry to Bother You ), finds himself in a hole after losing a chariot race and totaling the vehicle…that is, someone else’s vehicle. After facing the threat of death if he does not repay Jedidiah (Eric Kofi Abrefa, Fury ), Clarence, along with his best friend Elijah (RJ Cyler, White Boy Rick ) must brainstorm a plan to raise the money. After being laughed out of the room for trying to become the 13 th apostle, Clarence decides to play himself up as a second Messiah, performing “miracles” with the help of his close friends who fake being blind, deaf and paralyzed for several audiences. However, if you’re familiar with the Bible, you know that the “powers that were” did not take kindly to anyone calling themselves the Messiah. Even as he continues to raise money, Clarence must face the scorn and potentially fatal punishment of the authorities. Biblical epics are known to be very serious works, with much of the dialogue pulled verbatim from scriptures. The reasoning for this is fairly simple and obvious: devout members of the Christian faith do not usually take kindly to anything other than the most literal interpretations of the stories in the Bible. Given this context, a film that appears to be poking fun at much of the New Testament is likely to produce a few scowls and some contempt. Clarence himself, at the beginning of the film, does not buy much of what is now scripture, even questioning the Virgin Mary’s (played by Alfre Woodard) story in person. Multiple times, he says, “Oh, okay, so you really believe this.” The notion of a biblical epic starring an atheist is rather humorous on its face, and hijinks ensue due to Clarence’s contempt for the beliefs of others, including his twin brother Thomas, one of the 12 apostles. The Book of Clarence achieves much of its humor from infusing current lingo and behavior into an ancient time period. In one scene, Clarence sucker punches a man getting ready to fight him. When the man says, “You hit me unprovoked,” Clarence shrugs and says, “Hey, look alive.” The film borrows several modern-day phrases, contrasting heavily with the Old English typically uttered in Bible stories. Additionally, the music blends the sounds of traditional hymns with a more modern R&B/Soul taste, using artists such as Kid Cudi, Jorja Smith and D’Angelo. Visually, the costuming and scenery is very much on point for a biblical epic. The one glaring difference is the actors: they’re predominantly black, pretty much unheard of in this genre of movie despite its historical accuracy. The key to all of the movie’s experimentation is the splendid cast, which consists of supporting roles filled by Teyana Taylor, David Oyelowo, Marianne Jean-Baptiste, Benedict Cumberbatch and James McAvoy. Despite the movie’s humorous and at times mocking tone, The Book of Clarence takes a rather drastic turn for the serious in its last 20 minutes. It may be a head-scratcher and even a letdown to viewers who enjoyed the comedic stylings, as it strays so far from the vibe that it spent more than 90 minutes creating. One theory could be that this shift is meant to appease more devoutly religious attendees, who do not get much satisfaction out of seeing their faith be a punchline. If true, a fair counterpoint is that they are surely already pissed off if they attended at all, and there is no point in compromising your ending to appease them. Nonetheless, you may fall anywhere on the spectrum of enjoying the majority of the film, nodding in approval at its resolution, or appreciating it as a whole (or just hating it I guess). The most obvious comparison for Jeymes Samuel’s second feature (his first was The Harder They Fall , also starring Stanfield) is Monty Python’s Life of Brian , the acclaimed 1979 British satire. I will throw in two slightly more recent films of the 1990s, Friday and Baby Boy . Both films had protagonists who, while charismatic, were hard-headed and could not get out of their own way at times. Like Craig (Ice Cube) and Jody (Tyrese Gibson), Clarence finds himself in a world of trouble simply because he refuses to shed his adolescent ways, even at the behest of his love interest. All three protagonists had fiercely loyal best friends and parents who simply wanted them to mature. The Book of Clarence may seem unfocused at times, but it certainly provides a familiar backdrop with a creative twist. 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!

Tell Me Your Secrets offers the latest story centered around a protagonist that cannot be trusted. < Back Tell Me Your Secrets offers the latest story centered around a protagonist that cannot be trusted. Made Up Stories, 2021 45 minutes Creator: Harriet Warner Reading Time: 3 minutes 📷 : Licensed from Shutterstock Tell Me Your Secrets A Most Sinister Kind (YWT7JB4LVLTOMWKQ) 00:00 / 03:31 Ginseng Suspenseful and intense thrillers Matcha Mysteries or whodunnits Chris Chaisson 2021-07-25 We all have a friend who tells the occasional elephant story. You listen to their spiel and try to resist rolling your eyes or saying, “Stop; I know you’re embellishing.” However, part of the reason we let them keep going is because we are genuinely entertained. Hearing an exaggerated version of how something went down can be far more intriguing than the truth. Perhaps this contributes to our enjoyment of the “unreliable narrator” trope in both literature and entertainment. Tell Me Your Secrets offers the latest story centered around a protagonist that cannot be trusted; in this case, it is Emma Hall (Lily Rabe, American Horror Story ). Just released from prison after seven years for being an accomplice to her serial killer boyfriend, Emma tries to start over in a small town in Louisiana. The problem is that she cannot remember all the details of her past and has fading trust in her psychiatrist. Elsewhere, Mary (Amy Brenneman, Judging Amy ) looks for her missing daughter Theresa, one of the many victims of Emma’s boyfriend. As the body has not been recovered, she holds onto hope that Theresa is out there and enlists the help of convicted sexual predator John (Hamish Linklater) to find Emma for answers. While the various character motives and pasts seem straightforward from the jump, we quickly find out that none of the main characters are exactly who they seem. Is John completely rehabbed? Is Mary just a grieving mother? Is Emma the monster Mary has made her out to be? Tell Me Your Secrets plays on not only our tendency to look for completely virtuous and evil characters but also our expectations of what a victim or a perpetrator looks like. No one is exactly who they appear to be at the start. The series effectively conceals many details about what the characters have done and what they are capable of for the first several episodes. While initially frustrating, it sets the table for a second half of the season full of surprises. Extremely dark and eerie throughout, Tell Me Your Secrets picks its moments to show violence and gore rather than making it pervasive. Its ability to be selective keeps the focus on the elements of mystery in the show and makes the violence more effective. The unreliable narrator remains a tempting plot device to employ in any mystery thriller; the best way to pull the wool over the eyes of your audience is to have a deranged or inebriated character spinning the tale. Emma isn’t speaking directly to the viewer, but she is simultaneously loathsome to the audience for her past transgressions and sympathetic for her present state. Thus, the seeds of doubt have been sown before we even realize that she is struggling with her memory. The best comparison for Tell Me Your Secrets is probably not a show but two recent films, Gone Girl and The Girl on the Train . Both films utilize unreliable narrators and effectively offer enough misdirection to hide the psychotic or abusive nature of either themselves or other characters. As a movie is one continuous story rather than a series of episodes, this trope flows more smoothly in a film. Nonetheless, if you enjoy weeding through a barrage of confusion and misdirection, Tell Me Your Secrets may provide the whirlwind you’re looking for. 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!