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

Hit & Run leaves us considering if it’s worth the risk to know the truth < Back Hit & Run leaves us considering if it’s worth the risk to know the truth Artists First, 2021 42 minutes Creator: Avi Issacharoff, Dawn Prestwich, and Lior Raz Reading Time: 6 minutes 📷 : Used with permission, Netflix Hit & Run Life's Mystery (OLLLP7JCTXBC9LYN) 00:00 / 07:03 Ginseng Suspenseful and intense thrillers Matcha Mysteries or whodunnits Reba Chaisson 2023-09-12 Some people follow the old wisdom to accept things as they are, rather than digging around to find what’s hidden beneath them. Others, though, feel quite differently – that it is better to know the truth even if it hurts. Netflix puts this question front and center with Hit & Run , a 9-part series about a man desperate to know what happened to his wife, a professional dancer who was killed in a suspicious hit and run accident. And thanks to his military background, Segev Azulay, played by the series’ co-creator Lior Raz ( Fauda , 6 Underground ), has the skills to handle anyone who gets in his way of finding the truth about Danielle’s death. We realize something is awry early in the series, as Danielle “Dani” Azulay, played by Kaelen Ohm ( Taken , Flint ), prepares to leave their home in Israel for an audition in New York City. She seems distant and is frequently distracted by messages coming through on her mobile. While he clearly adores his wife, Segev, who is intense and high-energy, doesn’t seem to notice. When he bids her goodbye as she heads to the airport, he takes Ella, his 10-year old daughter from his first marriage, to school and goes straight to work as a tour guide. Upon leaving his property, he encounters a man parked by the side of the road just outside of his home, but Segev dismisses his unease when the man explains that he is waiting for someone who is late. Tali Shapira, Segev’s 30-something cousin played by Moran Rosenblatt ( We Were the Lucky Ones , Fauda ), is a captain on the police force and helps him in his investigation with mostly off-the-book research. Although she is in the third trimester of her pregnancy, she wears a gun holster around her waist, drives and crashes cars in chase scenes, and throws bad guys up against walls. Her toughness and tenacity as a woman so far along in her pregnancy make her casting unusual but likely deliberate. Women, especially white women who are pregnant, are typically depicted in cinema as fragile, often ending up in the hospital because a fall, faint, or sneeze put either the baby or the mom in distress. “The Waiting Room” episode in This is Us when Chrissy Metz’s character goes into premature labor is an example of this. Another is when Kim Raver’s character suffers a pregnancy complication in the “Add it Up” episode of Grey’s Anatomy . I could go as far back as the ‘80s with the movie, She’s Having a Baby, and the ‘90s with the “What Child is This?” episode of The Practice , but I won’t. In Hit & Run , Tali challenges this representation, as she even endures an explosion and comes away with just a few cuts and bruises and her unborn child still active in her belly. Perhaps a bit unrealistic. But while not the central character in Hit & Run , Tali is by far the most dynamic and interesting one. The Hebrew dialog in the series is overdubbed in English, making Hit & Run an easier watch than shows with subtitles, where we are tasked with reading while trying to watch what is happening on screen. The weather throughout the series is cool and perpetually overcast, likely to remind us of the somber circumstances. Also perpetual is Segev’s scowl. This is quite distinct from a look of sadness, but it hints at gender differences in how we handle grief. Though researchers emphasize that grieving can be a blend of emotional and physical displays, they acknowledge that women tend to talk with others while men express grief physically. Segev’s response to Dani’s death is unquestionably the latter. Indeed, it would have been refreshing to see him as a more complex character with a blend of emotion and physicality in the handling of his wife’s death. Instead, his character reinforces the traditional gender stereotypes around grieving. In addition to Segev’s overwhelming grief, Dani’s death sets into motion home invaders, where we see Segev display his fighting skills, explosions, and confrontations with the police because they “still don’t have any answers.” Eventually, his need for the truth takes him from his home in Israel to New York City, where he enlists Ron, his longtime friend and former military buddy, for help. Ron, who is down on his luck but enthusiastic about reuniting with Segev, provides him with weapons and accompanies him on his mission. Curiously though, he is surprised when Segev’s tactics for extracting information get out of hand. This inconsistency in the show is never explained. The show also stars Sanaa Latham as Naomi, an accomplished journalist for a high-end investigative magazine and Segev’s close friend. As with his cousin Tali and friend Ron, Segev enlists Naomi’s help in understanding the circumstances surrounding Dani’s death. Initially reluctant because she fears he will go off the rails in his coercive techniques, as he did often when they were in Mexico, she nonetheless goes down the rabbit hole with him in the investigation. In addition to the ending, the show leaves some holes. For example, the story begins in Israel, where Segev and Dani live in a rustic setting on a big, beautiful piece of property that includes a large home. Although he is a former Israeli soldier, it is unclear how his present self-employment as a tour guide generates the means to own such a large piece of real estate. This is never explained, but perhaps it is from the ill-gotten gains reaped during his stint in Mexico that is alluded to during his talks with Ron and Naomi. Another question concerns the repeating of Segev’s name. Each character states his name a minimum of three times during every exchange. It is as if the creators want to emphasize his character as the lead in the show, or that they’re concerned we will forget his name while watching it. This becomes obvious and annoying as the show moves on. Think about it. How many times do you name-drop during a 3-minute conversation? Hit & Run is comparable to The Agent , a Netflix series about a CIA agent working with his protectee to uncover who killed her aunt and uncle in their home and why. Both productions blend action and politics to render an intriguing story. As a whodunnit, action-filled, international thriller, Hit & Run offers a few surprises in the things uncovered about Dani and the circumstances surrounding her death. Nonetheless, the findings of the investigations in Hit & Run , leave us questioning if all the death, destroyed lives, and lives placed at risk were worth the truth, or if Segev should have just left well-enough alone. I don’t know. Could you? Previous Next Sign-up for new reviews, exclusives, deep dives, and more First name Last name Enter your email here I agree to the terms & conditions Sign-up Thanks for joining us!

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

< Back Are Mumblecore Movies Relatable or Just Boring? Examining a Subgenre of Indie Filmmaking Chris Chaisson 11/15/23 Reading Time: 9 minutes 📸: Used with Permission, Scott Saslow (scottsaslow.com Instagram: @scottsaslow Twitter: @saslow_scott) During the pandemic, many consumer trends changed, some temporarily and others permanently. One particular uptick was younger people tuning in to YouTube live streams of lo-fi hip-hop. Loosely defined, lo-fi (low fidelity) hip hop is a music genre that consists of short, downtempo, repetitive beats meant to give a raw, unpolished sound. Rather than mixing and mastering to create clean audio for mass consumption, producers leave the static, feedback, and other aural imperfections in. The style stems from both the desire for a more authentic sound and the limitations of the artist’s recording equipment. As a genre, lo-fi hip hop’s raw sound and down-to-earth feel not only create a sense of nostalgia and heart but also hope, particularly for anyone that does not have the means to record on high-tech gear. What does this have to do with film? Lo-fi hip hop has its doppelganger in the world of film with a subgenre that many cinephiles call mumblecore . This label describes movies in the independent space that contain imperfect dialogue, naturalistic acting, and minimal budgets. Much like lo-fi, the genre was born out of directors’ lack of resources and connections to shoot more polished, grandiose productions. Over time, it became a preferred style for some romantic comedy (rom-com) filmmakers. Once a handful of directors succeeded in gaining traction with these films, the movement over time attracted more familiar faces and increased budgets for the filmmakers themselves. In addition to bigger name actors gravitating towards such projects, the familiar faces already in the mumblecore space became household names. Mark Duplass, a mumblecore mainstay as both actor and director, starred in the popular FX series The League and Apple TV+ hit, The Morning Show . Adam Driver played a supporting role in 2012 mumblecore favorite Frances Ha before going on to star in both small screen and big screen productions, such as episodes VII and VIII of Star Wars . Not to be outdone, the star of Frances Ha , Greta Gerwig, just directed one of the top grossing movies in cinema history, Barbie . I must say, if you were cool at all growing up, you probably won’t relate to anything you see onscreen. The films are called mumblecore for a good reason. There is a lot of staring at feet, “I dunno,” and unnecessary apologizing. At some point, you may shout at the screen, “Just say something! Anything!” The characters in this genre wear their neuroticism around their necks. Their mannerisms and speech reflect the same lack of assurance about the direction their lives are going in (or not going in). Your late teens and early twenties can certainly be a confusing and scary time, and for some people, it is hard to break out of their shell. The portrayals of aimless characters serve as a reflection of where most twenty-somethings are mentally. Knowing your life path at that age is admirable and reassuring, but it takes many people a decent amount of time to figure it out as they gather life experience. In mumblecore movies, the characters typically get around to voicing some of their insecurities or uncertainties, likely reminding viewers of their own sentiments at such an age. For instance, in the 2014 Lynn Shelton indie, Laggies , Keira Knightly’s 20-something year-old character, Megan, panics after her boyfriend proposes and hides out for a few days at a teenager’s house. At one point in the film, Megan utters, “I'm sure it does seem kind of stupid to make some sort of rigid plan for the future. But... It's stupider not to start paying attention to who you are and what makes you happy. Otherwise, you just float.” Her aside is both relevant to the plot and a message for twenty-somethings watching the film to process. Despite, or maybe even because of, their technical imperfections, mumblecore movies have received critical acclaim on the festival circuit. Many originators in the mumblecore genre earned recognition from critics and audiences alike. Drinking Buddies , directed by Joel Swanberg, won Narrative Spotlight at SXSW in 2013. Girls creator Lena Dunham’s first feature, Tiny Furniture , won numerous festival awards, including Best First Screenplay at the Film Independent Spirit Awards in 2011. Plenty of criticisms of this style could be voiced by…well, critics. One particular critique is that the movies do not have enough conflict from scene to scene. When you show awkward teens and tweens hanging out and struggling to have conversations, the story is lacking an antagonistic force. Nothing is stopping the characters from getting what they want, since at times, they don’t even seem to want anything. Traditional Hollywood movie plots rely on goal-oriented characters striving to achieve something, which is how the audience finds them endearing. Watching a 25-year-old with no hopes or dreams could frustrate a viewer who wants to root for him or her. Furthermore, the element of imperfect dialogue can be cumbersome for audience members to endure. It is certainly truer to real life, as we don’t all have perfectly timed exchanges, quips, and witty responses to one another. True conversations are rarely as rhythmic as the ones we witness onscreen and often just trail off. However, movies are entertainment, and a conversation with no flow to it becomes either boring or uncomfortable. Despite these perfectly valid bones to pick with mumblecore, any criticism can have pushback. If you sit down to watch a slice-of-life film about characters and relationships, what better way to display them than through imperfect dialogue and occasional conflict? Most of us are not constantly at odds with those in our social circle; if so, it may be time to do some vetting. When meeting new people, we often try too hard to make an impression, straining to say something relatable, speaking out of turn, or making a joke that falls painfully flat (I just got a shiver thinking about something I said 15 years ago to break the silence). It may not be the height of entertainment to watch characters do the same for 90 minutes, but one could argue this flaw is as endearing as any buttoned-up character could exhibit. Mumblecore movies likely won’t offer the same escapism as Mission: Impossible , but they can bring about nostalgia and appreciation for the struggles of young adulthood. A harder critique to push back against would be the exclusivity of the mumblecore subgenre. Often, the main characters and their priorities tilt heavily toward a middle-class, white-collar perspective. The protagonists may be “broke,” but they are generally college educated and have parents to support them, whether they are part of the story or not. Generally, they have no one financially dependent on them and no dire concern relating to their situation (i.e. getting evicted). Most mumblecore characters seem as though everything is going to work out for them, which makes each of them a little less of an underdog. That said, many films and television shows follow exceedingly rich people who are petty beyond belief and somehow still endearing to the audience. Additionally, as the community of mumblecore filmmakers can be somewhat insular, the projects often lack racial diversity among both the main characters and the communities in which the films take place. One notable exception is the 2008 indie Medicine for Melancholy , starring former The Daily Show regular Wyatt Cenac, about two San Franciscans bonding over their status as minorities in a city being gentrified. Its director, Barry Jenkins, went on to direct the Best Picture winner Moonlight , further illustrating what a great foot in the door this genre provides for aspiring filmmakers of all demographics. Mumblecore has proven over the years to be somewhat malleable, as it extends beyond slice-of-life comedy. An offshoot of the movement has coined the phrase “mumble-gore,” indie movies with the same types of characters and dialogue but in the horror genre. One such unsettling movie is the 2014 Mark Duplass hit Creep , where a videographer drives to a remote location for a gig and meets a strange man who wants to make videos for his unborn son (or so the videographer thinks). Sometimes, mumblegore movies will have several silent or one-actor scenes that later culminate in extreme violence, such as Blue Ruin (2013). Other times, these projects feature similar conversations between characters as the comedies, except the nerdy or awkward character is actually a lunatic. They can go in several directions, but the common thread is the same minimalistic feel. Some might wonder what the future of this subgenre holds. It is likely to continue evolving, especially since as smartphones evolve, more creative and motivated people have the technology to make something . One can only hope that the plots expand to include more perspectives, as that is the best way for any movement to continue growing. As for the other criticisms, they are all a matter of taste. Maybe heavily rehearsed dialogue, fancy set designs and top-flight visual effects are too perfect for some. In any case, mumblecore provides us with more of the variety we always seek in our entertainment. 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!

Your Honor proves that villains need to show action < Back Your Honor proves that villains need to show action CBS Television Studios, 2021 60 minutes Creator: Peter Moffat Reading Time: 3 minutes 📷 : Photo by Bill Oxford on Unsplash Your Honor Passage (NMVFDEUVERIIQV0F) 00:00 / 03:18 Ginseng Suspenseful and intense thrillers White Movies and TV shows that make you laugh, or involve urgency, like chase scenes or other physical activity Reba Chaisson 2021-07-25 The ten-part series epitomizes irony and hypocrisy at every turn. Starring Bryan Cranston as Judge Michael Desiato, the story chronicles the pangs of a desperate father trying to protect his teenage son from a New Orleans mob family. Aesthetically, the show hits on all cylinders as it takes us to what is now a balkanized city, particularly so since Hurricane Katrina. Affluent areas are completely restored since the disaster and urban centers are active. But poor residential areas are desolate, containing numerous vacant buildings with decades-old signs, and homes appearing worn and barely touched with a nail and hammer since the waters receded. As for lived experiences, wealthy people own well-to-do hotels and live in sprawling mansions. The professional, middle-class live in newly constructed brick buildings with modern interiors, and poor people live in “shot-gun houses.” Intrigued? A decades-long career on the bench where he is both considered and referred to as honorable, Judge Desiato tramples on the very meaning of honor to protect his son. Apart from the first two segments though, I left each installment vexed. At 18 years old, the judge’s son, Adam, played by Hunter Doohan ( Truth Be Told , Schooled ), repeatedly puts himself at risk despite his father’s extreme efforts to protect him. Also, not only is the mobster, played by Michael Stuhlbarg ( Shirley , Traitors ), not scary, but it never became clear how he ‘earns’ his ill-gotten gains. The dynamic with his wife, played by Hope Davis ( For the People , Love Life ), makes his character even more problematic. Villains should be scary, not just present a stern face. The latter usually works with parents, but we generally know they will back it up with action. This doesn’t work with villains in dramatic cinema. They need to show the audience what they are capable of doing, how far they will go to get what they want. In other words, they need to do something. Your Honor reminded me of Bad Boys II . In it, the villain was not scary; he was random and engaged in silly, over-the-top things that did nothing more than disrespect the audience and call attention to himself. Good dramatic villains do not want to call attention to themselves. Remember Denzel Washington’s character in American Gangster ? He was livid that the new coat his girlfriend gave him as a gift called attention to him. As for action, he beat up his own brother! And the first Bad Boys movie? That one also had a good villain. Your Honor could certainly be your cup of tea though if a formidable villain is not needed to draw you into a dramatic story. It might also be for you if you don’t mind characters that frustrate you, particularly if they move the story along or if their actions seem to be in line with the writer’s intent. However, if your aesthetic tastes do not align with these or you are not in the mood for it, perhaps you might do better to consider something a little different for now. Previous Next Sign-up for new reviews, exclusives, deep dives, and more First name Last name Enter your email here I agree to the terms & conditions Sign-up Thanks for joining us!

Divertimento exemplifies art imitating life < Back Divertimento exemplifies art imitating life Amitice, 2020 31 minutes Director/Writer: Keyvan Sheikhalishahi Reading Time: 4 minutes 📷 : Used with permission, Amitice Divertimento Quiet Desperation Part 2 (4Y0FZPSB3YVBEXKX) 00:00 / 04:44 Ginseng Suspenseful and intense thrillers Coca Movies and TV shows about drugs or with disorienting presentations Reba Chaisson 2023-07-20 Unlike the video games from the early ‘90s, recent releases of games played on sophisticated, high tech, and dare I say high-cost platforms, contain more lifelike animations of artificial blood and guts than their predecessors. The characters aren’t real. But while research does not show that such games influence violent behavior, it does suggest that regular play of such games makes players less bothered by “violent or distressing images.” The burning question, then, is can games go too far in imitating real life? Keyvan Sheikhalishahi broaches this question in his 31-minute short, Divertimento , a story centered on the no-tech game of chess and solving a murder. Divertimento stars Kellan Lutz ( The Guardians of Justice (Will Save You) , The Twilight Saga - Breaking Down ) as Jonas Olsen, an uber-wealthy 40-something, who finds Cathy on a dark dirt road one night while riding in the back of his Rolls Royce. Played by Torry Devitto ( Chicago Med , Pretty Little Liars ), Cathy is well-dressed but disoriented and clueless about how she got there. Both, though, received invitations from Divertimento, a mysterious group, to join them at a castle to participate in a game to solve a murder. Jonas gets Cathy in the car, and they continue on the road to the event. The film opens ominously in the middle of a dark and eerie castle in France with about 30 “guests and souls.” All present at the event are serious and wealthy individuals in formal attire, who seemingly come together each year to challenge each other at chess. The women intently watch in support of their husbands as they compete against each other. In another instance of art imitating life, the scene reinforces the view of women as ardent supporters of their men, and of chess as a male-dominated activity . There is no dance or music at this gathering, only the occasional comment from an observer, making the space quiet, which allows for centering the chess match as the focal point. This is despite the invitation to spend the night playing a game to solve the killer of one of the guests. Divertimento feels like a play with the dark ambience of an Agatha Christie novel, combined with the disorienting sense of the 2010 movie, Inception , starring Leonardo DiCaprio. Divertimento gradually pulls us from a story about a game of murder into the center of a high stakes chess game, and back again. The whiplash mystifies us, as we get settled into one storyline only to have it shift to another. What we come to realize is that the chess pieces are representations of the members of the group, and that the fate of the guests is tied to the moves made by the game’s players. For members of Divertimento, chess, then, is a game that costs lives. Since we have become invested in Jonas, we feel as if we have a stake in him winning his match, particularly since he has promised his wife that it will be his last time attending the group’s annual soiree on their wedding anniversary. He tells her that he wants to beat Gustav again, insisting, “Just one more game of chess and it’ll be over.” When the outcome is not what Jonas planned, he accuses Gustav, played by Ola Rapace ( Skyfall , Valerian and the City of a Thousand Planets ), of cheating. The normally tamed gathering is disrupted by Jonas’s break in convention, inadvertently leading to tragic events. But should a game ever go this far? What’s beautiful about Divertimento is it leaves us to ponder this question for ourselves. Most short films consist of a very small cast, typically no more than five actors. And the stories often serve as teasers for feature films or television series. While Divertimento has the makings for a feature film, it is a complete story with a cast of more than 30 people. Its shortcoming is its lack of racial/ethnic diversity, which speaks to the tendencies of wealthy people to gravitate to those who look like them and share their passions and perspectives on a range of matters – including competitive chess. For broader appeal, the film could have benefited from a more diverse cast. Nonetheless, Divertimento is intriguing as its mystique, darkness, and silence pulls us into the story, as if we are being invited to be a part of the games. If you think you can handle perplexity and the intense feeling of high stakes, go for it. But try to stay upright as you do! 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!

Girls from Ipanema examines the many ways patriarchal power structures prevent women’s independence, specifically in the late 1950s-early ‘60s. < Back Girls from Ipanema examines the many ways patriarchal power structures prevent women’s independence, specifically in the late 1950s-early ‘60s. Prodigo Films, 2019- 45 minutes Creator: Giuliano Cedroni and Heather Roth Reading Time: 4 minutes 📷 : Used with permission, Netflix Girls from Ipanema Bomba Estrella (UH9VYWDEJXXFHIGN) 00:00 / 04:34 Dandelion Movies and TV shows with heavy subjects Honeybush Nonfamily dramas with strong adult and/or socioeconomic themes Chris Chaisson 2022-03-05 “If your dreams don’t scare you, they aren’t big enough.” Hollywood has seen a recent push for stronger leading female roles, with mixed success. As more female writers and directors forge their paths, talented actresses gain the opportunity to show their range. However, with Marvel now dominating both the big and small screens, the definition of “strong female lead” has often become a woman who can punch through brick walls. These portrayals fit in with what’s currently popular but at times interfere with the increased reputation of more down-to-earth depictions (i.e. Erin Brokovich ). This is not to be interpreted as a push to cancel the She-Hulk reboot but simply a memo to exhibit feminine strength outside of the fantasy realm. Enter the period piece Girls from Ipanema , a Brazilian drama about perseverance in the face of chauvinism. Girls from Ipanema examines the many ways patriarchal power structures prevent women’s independence, specifically in the late 1950s-early ‘60s. The two-season series follows Maria “Malu” Luiza (Maria Casadevall), a devoted wife and mother who arrives in Rio from Sao Paulo, Brazil, to discover that her husband, Pedro (Kiko Bertholini), has abandoned her. Left with nothing but the property they planned to establish a restaurant on, she decides to open a bossa nova music club called Coisa Maís Linda with the help of her new friend, Adelia (Pathy Dejesus), and lifelong best friend, Ligia (Fernanda Vasconcellos). Along the way, they also receive help from Ligia’s ambitious journalist friend, Thereza (Mel Lisboa), and business mogul Roberto (Gustavo Machado). Malu’s strength and determination make her one of the most endearing protagonists you will ever see. She is not only fierce but charismatic, most clearly on display in how she greets the club audiences. Malu faces down numerous threats on her club’s operations and proves to be both clever and fearless in her resolutions. Amid jumping through many hoops, she provides inspiration and words of wisdom to her female companions while also learning more about herself. Throughout the series, we see just how many roadblocks the controlling, adversarial male characters set to stand in the way of the women’s autonomy, be it from singing, printing a news story, running a business or raising a family. Most tragic is Ligia’s relationship with the abusive Augusto (Gustavo Vaz), who very much resents her desire to perform on stage or even at parties for fun. As the main characters jump through hoops, they not only discover creative solutions but find helping hands along the way, such as Roberto and Malu’s gruff but loyal alcohol vendor. Girls from Ipanema does not shy away from illustrating any social issues, including classism, racism, sexism and the intersection of all three. Most admirable about the show is its ability to display these ‑isms in their many facets rather than just over-the-top, fleeting, or symbolic ways. In one scene, Thereza pretends to be upset with a fellow female co-worker in order to appease the editor-in-chief watching from a distance. As a housekeeper, Adelia faces verbal abuse from the many wealthy White women she has worked for, and her frustration boils over in a conversation with the more privileged Malu when their club is abruptly flooded, putting them out of business. Malu must figure out how to retain full ownership of her club when the pesky Pedro returns, as property laws heavily favored men. The show even succeeds in showing generational gaps, as Augusto’s mother seeks to enable him and protect him from consequences. Pressed to come up with a comparison, the show is most reminiscent of The Marvelous Mrs. Maisel , a more mainstream show from the same time period about a housewife becoming a standup comedian. Both series dive deep into all the ways that institutional sexism operates in the time period and carries through to present day. 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!

Not sure if we are your cup of tea? Come take a look as we have all the answers to your questions! Click here to view our frequently asked questions! Frequently Asked Questions What is Cup of Tea Critiques? Cup of Tea Critiques is a platform that examines movies and television series—especially independent cinema—through a critical lens, helping audiences decide if a film or show is their "cup of tea." What types of films and shows do you focus on? The site focuses on independent and under-the-radar films and TV shows—not typically seen in mainstream theaters or widely advertised—though they are broadly available on streaming platforms. How are reviews presented on the site? Reviews analyze story, character depth, themes, and aesthetics. Instead of ratings or likes, each review is tagged with a type of tea that conveys the feel and substance of the content. What’s the purpose of the “tea brew” tags? The tea tags give readers a sensory sense of the content—like mood or tone. For example, “barley tea” might indicate dialogue-heavy fare, while “ginkgo biloba” might signal something light. Do you provide a guide to understanding the tea tags? Yes—a legend on the site describes each tea used in their reviews, helping readers understand what the tag means. Can I request a review of my film? Yes—Cup of Tea Critiques will evaluate your film (for a small fee). Deployment details appear on the site. Is there a podcast associated with the site? Yes—there's a weekly Cup of Tea Critiques Podcast that dives into film genres and industry trends, offering clarity and guidance for aspiring filmmakers. Is podcast content legally compliant? Yes—the podcast invokes “fair use” under U.S. Copyright law (Section 107) when discussing copyrighted films and series for social commentary and criticism. What kind of interactive content do you offer? The site features the weekly games "Tuesday Trivia" and "Crossword Wednesday," with fun movie and television questions for visitors to enjoy. Do you interview industry professionals? Yes—Cup of Tea Critiques conducts interviews with filmmakers, composers, directors, and other industry professionals, such as Derek Magyar, Greg Sgammato, and others. How can I subscribe to updates? You can subscribe by providing your first name, last name, and email, and agreeing to the terms and conditions on the subscribe page. What legal notices or policies should I be aware of? The site includes a Fair Use Notice affirming that reviews reside under fair use for social commentary. It also incorporates pages for Terms & Conditions, Privacy Policy, and Cookie Policy.

The Night Agent’s diverse cast helps welcome all to the political thriller genre < Back The Night Agent’s diverse cast helps welcome all to the political thriller genre Exhibit A, 2023 49 minutes Creator: Shawn Ryan Reading Time: 7 minutes 📷 : Used with permission, Netflix The Night Agent Rising Tide (WDHRNXUZFGYGCOIV) 00:00 / 07:22 Matcha Mysteries or whodunnits White Movies and TV shows that make you laugh, or involve urgency, like chase scenes or other physical activity Reba Chaisson 2023-04-12 I like political-spy thrillers – novels that is, not cinema so much. They just don’t quite deliver the mystery and adrenaline rush of a well-written book. Windmills of the Gods by Sydney Sheldon still stays with me more than 30 years after reading it. Brad Thor’s Code of Conduct , Foreign Agent , and Backlash novels are others I could not put down. Dean Koontz’s The Silent Corner is yet another one that comes to mind. In terms of movies and television shows, Miss Sloane and the television series, 24 , definitely hit the mark. So given the short list of cinema, my expectations were low for the Netflix series, The Night Agent . The Night Agent is a ten-episode political thriller about an early 30-something FBI agent who works the Night Action phone in an isolated room of the White House. For his eight-hour shift, Peter Sutherland, played by Gabriel Basso ( Hillbilly Elegy , Super 8 ), sits alone in a secured room, waiting in the unlikely event that the phone on his desk will ring. The phone ringing signifies that the caller, a U.S. spy or night agent, has been compromised and needs emergency assistance. Normally an uneventful 3 rd shift, the phone rings. But instead of a night agent, it is Rose Larkin, a 30-something like Peter whose aunt and uncle were suddenly attacked and killed in their home. She has narrowly escaped, but not before the pair gave Rose a phone number urging her to call it immediately and get out of the house. Making eye-contact with one of the killers while running away, Rose is now a target. This inciting incident for the series sets off a chain of events that leads to Peter as Rose’s protector. The two must collaborate on who Rose’s aunt and uncle really were, why they were killed, and how their identities as spies were compromised. Diane Farr, the president’s chief of staff, assigns Peter to be Rose’s protector, and he proves himself to be up to the task. On several occasions throughout the series, he is forced to use his surveillance acumen as well as his self-defense and neutralizing skills, both with and without a weapon. Observing his proficiency in these areas goes a long way in establishing his much-needed credibility given his youth and the personal baggage he carries about the wrongdoings of his late father, a disgraced FBI agent. He repeatedly complains about the events that transpired around his father’s case, making him seem immature and thus difficult to take seriously. Showing his skills builds his credibility as a competent, but still whiney, agent. A tech genius, Rose, played by Luciane Buchanan ( The New Legends of Monkey , Sweet Tooth ), uses her skills to break into computers and navigate complex file systems. But while determined to find out who killed her aunt and uncle, she presents as naïve. Rather than strategizing, she looks to act on the information she finds by confronting the parties she believes to be involved, as if they will simply give her honest answers, let alone permit access to them. Peter’s experiences in the White House temper this by helping Rose realize that these are powerful people with strong influence and broad social networks. Direct confrontation accomplishes nothing. Dealing with these matters must be approached like a game of chess, not checkers. In this sense, the series reminds me of the political suspense thriller, Miss Sloane , where Jessica Chastain plays the title character as a cunning and powerful Washington, D.C. political operative who takes on the gun lobby. The film pulled me in and kept me guessing about what move would be made next. I became so immersed in this story, which contained strong characters and took its time unfolding. The ending was so great, it made me sing – and I can’t carry a tune in a bucket. The closest television production to The Night Agent is 24 , the series led by Kiefer Sutherland as CIA agent Jack Bauer, who took audiences on a thrill-ride for seven seasons across the first decade of the new millennium. The action-packed series was full of twists and turns, and far from predictable in story or character. Story and depth of character are usually the draw of cinematic pieces. With just a few exceptions, The Night Agent was largely lacking in both. Nearly everything about it was predictable. The relationship between Peter and Rose – predictable. The young female secret service agent who resents the older, more experienced male agent – predictable. The bratty daughter of the vice-president – predictable. The people involved in the conspiracy – predictable. The conspiracy itself – predictable. The gist here is that The Night Agent needs to go deep to measure up to its predecessors in the political thriller genre. One saving grace of the series is Diane Farr as the president’s powerful and quick-thinking chief of staff, who can deliver a profanity-laced line better than soldiers in the armed forces, albeit with a calm and controlled demeanor. Played by Hong Chau ( The Whale , The Menu ), Diane receives significant screen time in the series since she serves as the connection between Peter and the White House. It was quite entertaining to watch her calmly take down people above and below her in rank with her verbal wit, especially knowing she had the power to back up her words – and threats. The most important element of appeal, though, is the wide-ranging characters and the racial, ethnic, and gender diversity across roles. The roles are not patronizing but substantive: Black male and female secret service agents and an agency head who is Hispanic; a woman of color with IT security acumen; an Asian American female chief of staff to the president; a White woman as president, and a cast ranging from early 30s to mid-60s distributed across influential roles. This casting seems natural and reflective of today’s mosaic. It likely helps audience members connect with the series, allowing them to imagine what the political landscape and the seats of power across the Executive Branch could or even should look like today. In casting the series in such an inclusive way, the filmmakers signal to audiences that everyone belongs at the table, every group is entitled to political power. This is the major appeal of The Night Agent and it distinguishes it from any of its predecessors in the genre. The Night Agent holds some entertainment value and promises to keep you engaged to get answers to the unanswered questions, such as: Who ordered the hit on Rose’s aunt and uncle? What are they after? And what does any of this have to do with the White House? These are the questions that hover over the ten-episode series. But don’t underestimate the aesthetic power of seeing ourselves represented on screen in seats we don’t typically occupy. Previous Next Sign-up for new reviews, exclusives, deep dives, and more First name Last name Enter your email here I agree to the terms & conditions Sign-up Thanks for joining us!

Boys in Blue offers a raw view into the lives of high school football players and coaches < Back Boys in Blue offers a raw view into the lives of high school football players and coaches Showtime Sports Documentary Films, 2023 45 minutes Creator: Peter Berg Reading Time: 7 minutes 📷 : Used with permission, Showtime Boys in Blue Vision (WHGTRGECNCLJ0AQJ) 00:00 / 07:56 Dandelion Movies and TV shows with heavy subjects Masala Chai Movies and TV shows about toughness and athletic competition Reba Chaisson 2023-01-31 Okay, I am not a prude, just naïve about some things. Several years after my son graduated high school, I asked out of the blue if his high school football coaches used foul language. He was incredulous that I would ask a question that seemed to him to have such an “obvious” answer. “Yeah,” he said. I also learned that it was not unusual for football coaches to have profanity-laced practices and film sessions. Indeed, this was the norm. The documentary series, Boys in Blue , sent these memories rushing back and I could not help but laugh. So that’s what Brandon meant! Boys in Blue focuses on the North Community High School football team. Located in Minneapolis, the predominantly Black school sits in the middle of a poor community where sadly, gunfire and violence are all too common. Initially unbeknownst to the talented football players, the coaching staff consists of Minneapolis police officers. This combined with the team’s blue uniforms makes for an apt title for the piece. In addition to the jovial and open coaching staff, several of the kids are profiled. Hill, the 15-year-old varsity quarterback, is friendly but reserved, and quietly aspires to play professional football. Best friends Meiko and “Rio” are seniors whose goals are to do the same. And “Cash” is a sophomore who is focused on using football to “repay [his] family for everything they’ve done for [him].” The coaches are all in lock step with the kids, as their own goals are to help their players get where they want to go. In this sense, high school football, at least for many of the team members at North High, is a means to an end – but this is not in any way atypical. We know this from the numerous studies conducted by social researchers over the last 30 years. In The Great American Football Ritual , D.E. Foley writes about the season he spent studying a high school football team in a small Texas town back in 1990. He found that the Friday night “football ritual” played a significant role in how the players, and even the community, viewed themselves and their status relative to non-elite players and towns, respectively, based on the strength of their high school football program. The television series Friday Night Lights , which ran from 2005-2011, was based on H. G. Bissinger’s 2004 book of the same name . The critically acclaimed series was about a high school football team in Odessa, Texas, and its significance to the town’s identity. Like the kids at North Community High School, the players here aspired – even expected – to go to a major university and ultimately play in the National Football League (NFL). I think a lot about the level of emphasis kids and coaches place on getting to the pros. According to the NCAA , only 7.3% of high school football players play NCAA football, and of those, 1.6% go pro. In raw numbers, that is 254 NFL players out of 1,006,000 high school football athletes each year. Knowing these odds, should young people be given what can be viewed as false hope? Shouldn’t they instead be encouraged to pursue much more realistic, attainable goals? Admittedly over the years I have waffled on these questions. My family and I have had long, serious, and sometimes contentious debates at the dinner table on this very issue. The viewpoint I settled on is that these are not mutually exclusive paths. Pursuing the dream to play professional sports does not preclude simultaneously preparing for a more traditional career. Given the odds of going pro, grave mistakes are made when the former is heavily – or worse, solely emphasized over the latter. Still, some might say it is sad that the lofty dreams of the kids in Boys in Blue are not being tempered by the adults around them. Such statements though, reflect a lack of appreciation for the complexity of the kids’ lives. The sadness here should be reserved for the circumstances under which Hill, Rio, Meiko, Cash, and the other kids at North High are forced to learn and live every day. Gunshots are heard throughout much of the documentary’s filming. Coach Adams acknowledges the persistent violence in the surrounding community, adding with great seriousness: “But for some reason, when it’s game time (shaking his head slowly), don’t f*** up my football game. Don’t f*** up my football game.” When gunshots are heard during a talk outdoors with Rio and Meiko, Meiko casually comments: “I ain’t ‘gon lie; that sh** normal for us.” Much of the research on high school sports focuses on teams in Texas, with a smattering in Florida and New York, and all address things like identity, sense of community, unrealistic aspirations, and significantly, the dangers of concussion. Not to minimize the importance of these issues, but none hone in on the challenging and often dangerous conditions under which students learn, play, and even walk to school every weekday. Perhaps these were not the conditions of the communities that were studied. If so, then sense of community is not the same near North High as it is in the places focused on in many of the studies. So while the coaches in Boys in Blue can be criticized for not tempering the kids’ aspirations for going pro, they should be recognized if not rewarded for what they do provide. These include friendship, yet another family to trust and rely on, and a sense of security for their young players, who are experiencing daily travails that include just trying to stay alive. I was glad to see Peter Berg contextualize the players’ experiences in this work. Boys in Blue reminds me so much of the HBO series, The Wire , which ran from 2002-2008. Each season focused on a different aspect of the Baltimore community: the police, the streets, the docks, the media, and even a focus on the schools. During that particular season, viewers saw teachers find innovative ways to both connect their students to the work and show that they were there for them during difficult times. This is similar to the role of North High’s coaches in the training and support of their players. Also like The Wire , Boys in Blue delved into local politics and how the actions of leaders often impact students’ lives in unintentional but very real and stressful ways. Indeed, politics in the North High community looms over the fate of all of the boys in blue. While not technically a film, Berg’s Boys in Blue documentary series checks all the boxes for why it nonetheless fits the indie sector so well. It tells a small story of a high school football team in an urban community, allowing the audience to not only get inside the school, but inside the players and coaches’ lives. The significance of this cannot be understated. Whereas judgments are often made about predominantly Black schools and the kids in them, this work gives us the privilege of an extended firsthand glimpse over four episodes. With this, we can at least begin to form/shape/modify our own ideas about the kids, families, and coaches through a deep and broad lens. At Cup of Tea Critiques, we rarely recommend a production – this will be our first (and perhaps only) exception to this. 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