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< Back A Beautiful Life adds the human dimension to pop stardom SF Studios Production, 2023 98 minutes Director/Writer: Mehdi Avaz / Stefan Jaworski Reading Time: 5 minutes A Beautiful Life Dreams to Reality (XZ5GCXZ3C4EKRARA) 00:00 / 05:21 📷 : Used with permission, Netflix Ginger Thought-provoking movies and TV shows Jasmine Movies and TV shows with heart, positive vibes, and warm messages Reba Chaisson 2023-06-16 Entertainers, or more specifically music artists, are rarely viewed as being invested in anyone other than themselves. They are often begrudged by less successful people for their wealth and talent, and frequently objectified by fans as icons that churn out likable tunes but who are void of humanity. This seems like a harsh assessment, but one need only pick up any pop star magazine or check out the number of celebrity Twitter followers to realize this is the case. What is interesting about A Beautiful Life is its depiction of pop stardom as all these things, with the added dimension of the human element. Set in Denmark, A Beautiful Life follows Elliott, a late 20-something who works as a fisherman, saves his pay, and lives alone on an unseaworthy, small wooden boat. A gifted musician, he has no aspirations to perform professionally. His best friend, Oliver, however, does, so Elliott performs the guitar accompaniment for him at a local club in Ebeltoft. But on a night when a major music producer is expected in the audience, Oliver is unprepared and goes cold mid-performance, forcing Elliott to play and sing to cover for him. Predictably, Elliott gets noticed for his talent and Oliver, played by Sebastian Jessen ( While We Live, 4Reality ), is shunned for his lack of it, leading to friction between the two friends. Played by Danish pop star Christopher, Elliott, who was orphaned at a young age, initially resists demonstrating his range of musical talents, so much so that his producer Lilly, played by Inga Ibsdotter Lilleaas ( The Last King, Women in Oversized Men’s Shirts) , considers giving up on him. Guilt-ridden, Elliott needs to be cajoled into seizing the opportunity in front of him, but indulging it is like punishment. It is as if he feels undeserving of the chance to become hugely successful at something he loves. A Beautiful Life brings to mind the 1997 film, Good Will Hunting , with Ben Affleck and Matt Damon as best friends from a working-class area of Boston. While both work alongside each other in building demolition, Matt’s character, Will, is a math genius who insists on staying with his friends and busting bricks for life, rather than exploring opportunities readily available to him in math and engineering. Like Elliott in A Beautiful Life , this reluctance is a part of his deeper issues around loyalty, fear, and sense of guilt. In Good Will Hunting , Will’s therapist, Sean, played by Robin Williams, gets him to understand why he won’t take this step. Elliott has proxy therapists, so a good portion of the film is spent with him brooding while those around him offer sage advice and tough love. Also, unlike Will, whose best friend Chuckie insists he seizes his opportunities — telling Will “If you’re still around here in 20 years, I swear to God I’ll kill you” – Elliott’s best friend is too jealous to do such a thing. Instead, Oliver asserts that Elliott’s limelight should be shared with him “since [Elliott] is living [his] life.” The similarities and nuances between the two films are not meant to suggest that A Beautiful Life is a potential Oscar contender, let alone winner, like Good Will Hunting . The film does not spend enough time letting the audience get to know Elliott before he shifts into the world of music. It is as if the film wanted to get to the frenzied life of being a professional musician with pressures all around to wear a mask of happiness and perform on cue. With no family, what did Elliott do in his spare time? What comprised his social life with friends other than Oliver? How is it that Oliver is so important to him when they are only shown bickering with one another? What kinds of things did he enjoy other than music? Additionally, Elliott’s insistence that he lacks interest in pursuing music professionally is at odds with his level of talent that surely took time to develop. Who doesn’t pick up a guitar and imagine him– or herself performing on stage? Even accepting this, what drove him to hone his musical talents – and how did he become so good? It is as if the film tried too hard to fashion Elliott as a unicorn. Elliott’s high level of talent suggests that music did indeed matter to him and that he aspired to play professionally. The omissions and inconsistencies in the film make the story seem disingenuous. But the film’s theme that deeply personal issues keep us stuck in the mud rings strong and true. Moreover, the film adds the dimension that while loss can lead to inertia and dampen aspirations, it can also instill strong will and determination if you keep company with people who care about you and vice versa. These elements get at the depth and breadth of humanity that move Elliott’s celebrity from icon to being just human like the rest of us, dealing with hardship. 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 Emily the Criminal shows the deceptive innocence of white-collar crime Low Spark Films, 2022 97 min Director/Writer: John Patton Ford Reading Time: 5 minutes Emily the Criminal Grimey a River (S7NF0YJXBZ7YPSYM) 00:00 / 05:05 📷 : Used with permission, Netflix Ginseng Suspenseful/Intense thrillers Chris Chaisson 2022-12-23 Many of you reading this have probably had the experience of knowing someone for a decent amount of time, then being blindsided by information about them that changes your perspective. You might have gone to karaoke with them and found out they sing like Whitney Houston. Maybe they cooked you a Gordon Ramsay-caliber meal. Or in a darker vein, maybe they told you about their past misdeeds. Depending on the severity, it could influence your trust level or even end your relationship entirely. John Patton Ford’s newest work, Emily the Criminal , presents a protagonist with a cloudy history who falls back on her old behavior in a moment of desperation. Starring Aubrey Plaza ( White Lotus, Parks and Rec ), Emily the Criminal ’s title character has a relatable struggle: she’s broke and saddled with student loan debt. Her day job as a food runner does not pay her nearly enough for financial security, leaving her on the verge of moving from California back to New Jersey. While Emily could find a better job, one big caveat stands in her way: she has a criminal record. In fact, the movie opens with her lying about it in the midst of a job interview. Though not explicitly stated, her past interferes with any chance she has at financial stability. One day, her co-worker gives her a lead to a one-off gig for some quick cash. As it turns out, the gig in question is credit card fraud. Emily pursues the lead, completes the mission and is offered the chance at another quick score. She is initially reluctant, but she finds success and continues when her problem of gaining a legitimate income source continues. However, the missions escalate into more and more dangerous territory. The majority of moviegoers probably do not lend much credence to the titles of the movies they watch. We are mainly hooked in by trailers, lead actors, directors, and brand familiarity (*cough* Marvel *cough*). For this particular indie piece, the title gives the audience an interesting dilemma in how they perceive Emily. Her struggle is all too common, and her veneer seems innocent enough. Since Emily is the character we follow for the entirety of the film, it is tempting to give her the benefit of the doubt on her past transgressions, vague as she is about them. After all, no one wants to dwell on or be forever judged by their lowest moments. In spite of our initial leniency, every story worth its salt puts their characters in situations that reveal to us who they really are. As the plot progresses, Emily finds herself (and places herself) in volatile circumstances. The film suggests that she is not simply a docile character struggling to survive, but rather, she has her own demons. Though student loan debt is practically a rite-of-passage for any former student, most people would not engage in theft, violence and deception as the means for dealing with it. Emily is sometimes on the receiving end of the violence but delves out her share as well. Whether intentionally or not, the film calls attention to how much we profile people. Emily does not have the hardened exterior we associate with a felon. She does not scowl at people or snap at the first provocation. She does not curse like a sailor or carry a firearm. Her criminal activity put in context seems relatively victimless, until it’s not. A moment emblematic of her character occurs when she commits her first theft and leaves the store wearing a hat that she absent-mindedly took off the shelf. The store security guard, unaware of her more serious ongoing crime, confronts her about it in the parking lot, to which she willingly hands the hat back and apologizes. Her disarming presence and relatable need make her appear much more well-intentioned than she actually is. Emily the Criminal and its protagonist bring to mind the 2014 film Nightcrawler , starring Jake Gyllenhaal. Louis, the main character, is ambitious and desperate for work. While it is clear from the start that Louis is not exactly a boy scout, he largely appears to possess an entrepreneurial spirit, trying to excel in a career that he has carved out for himself. He gradually becomes more controlling and manipulative, crossing the line further and further. Emily, on the other hand, just wants to be free of debt and maintain her current living situation. Nonetheless, in both films and other crime dramas as well, the characters dipping their toes in the pool of illegal activity always end up doing a full-fledged cannonball. 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 three-season series covers the transformation of New York City’s Deuce district into what we now know as Times Square. < Back The three-season series covers the transformation of New York City’s Deuce district into what we now know as Times Square. Blown Deadline Productions, 2017-19 60 minutes Creator: George Pelecanos and David Simon Reading Time: 3 minutes 📷 : Used with permission, HBO The Deuce Tell Dem (I96IRB1HB2AEJATW) 00:00 / 04:13 Ginger Thought-provoking movies and TV shows Honeybush Nonfamily dramas with strong adult and/or socioeconomic themes Reba Chaisson 2021-07-25 While short-lived, The Deuce provides an immersive experience. Nothing less would be expected from David Simon ( The Wire , Treme ), who co-wrote and co-produced it with George Pelecanos and others. The three-season series covers the transformation of New York City’s Deuce district into what we now know as Times Square. A long way from the glitz and popular tourist attraction it is today, The Deuce, as it was known in the 1970s, burst with a bustling and open sex trade with well‑dressed pimps and tenacious sex workers who openly flaunted their stuff for sale. The gritty series captures the feel of the era with the authenticity of a warm embrace from a long-passed favorite aunt. Like a time-machine, it places us in the familiar urban settings of the period when afros were in style, communities were called neighborhoods, and everyone knew the folks who lived there—and what they did to get by. James Franco headlines the cast, playing a dual role as a resourceful but reluctant bar and dance club owner and his carefree twin who jumps at any chance to get ahead. Maggie Gyllenhaal plays Candy, a fiercely independent worker in the sex trade who later realizes success producing pornographic films because “It’s just sex, right?” The characters take refuge at Leon’s Diner owned by Anwan Glover ( The Wire ), who graciously serves hot meals and pie to his customers without judgment of their dress or avocation. This sanctuary is where we get a glimpse inside many of the characters’ lives and gain an appreciation for their aspirations, shortcomings, and the life events that led them there. Beneath it all are unseen political forces working to reshape, reinvent, and reconstruct the area they view as home. During a contentious meeting about coming changes to the area, Abbie, played by Margarita Levieva ( The Blacklist , The Lincoln Lawyer ), proudly proclaims her bar as a place where people in the neighborhood are treated with respect and can get “an honest pour” no matter their walk of life. While she doesn’t hide her disdain for the pimps who patronize the Hi Hat, once referring to them as “slap-a-hoes,” she spoke truth about the bar’s customer service. Lines like this run throughout the series. This one provokes thoughts about the exclusivity of establishments of all types today, the degree to which respect and an honest pour is afforded to everyone who enters them, or if these courtesies are perhaps doled out only to those viewed as worthy. Indeed, this questioning of ourselves and what we have come to accept as normal treatment are part of what makes the writing so great and keeps the show’s subject matter relevant even 50 years later. Beyond the struggle for survival, most of the characters in The Deuce are running away rather than toward something, while a smaller contingent desperately fights to remain relevant and to keep the status quo intact. As we know though, change is inevitable. Indeed, this story is about the inevitability of change. So real, it is as palpable as the raw emotions of fear and love displayed by the characters, along with the seemingly necessary emotional detachment they exhibit at crucial times throughout the series. The depth of the characters and their transformation over the series resonate with the experiences and aspirations of many everyday people who strive to maintain their dignity and strength. This suggests that the show has something that appeals to everyone. It is raw, but a necessary raw that pushes forth conversations about power, race, class, and gender. If this is your thing, go for it—and be prepared to think a lot about its themes in the days that follow. Previous Next Sign-up for new reviews, exclusives, deep dives, and more First name Last name Enter your email here I agree to the terms & conditions Sign-up Thanks for joining us!

< Back Opus poses questions about tribalism and the allure of fame A24, 2025 103 minutes Director/Writer: Mark Anthony Green Reading Time: 6 minutes Opus Feast (9L5SNPNTMM9NAGCF) 00:00 / 06:08 📷 : Pixabay Ginseng: Suspenseful and intense thrillers Oolong: Movies and TV shows that make you laugh or involve physical activities like dance and exercise Chris Chaisson 2025-03-14 Fandom creates communities. Whether it’s for a sports team, a movie franchise, or a pop star, people form lifetime bonds over their shared love for a source of entertainment. It can rear its ugly head just as quickly when fans assume the role of protector. We’ve seen online bullying and doxing when writers criticize Taylor Swift, or fights and verbal abuse break out at Raiders games. Tribalism has a strong hold on anyone who feels the need to belong and can evoke criminal behavior from otherwise mellow, well-intentioned beings. What makes it worse? When the worshipped entity contributes to and encourages the behavior; maybe even demands it. First-time writer/director Mark Anthony Green tackles this phenomenon in the new A24 movie Opus . Ariel (Ayo Edebiri, The Bear ) is a magazine writer in her late 20’s who wants to have her breakthrough story. When her friend points out that she is lacking the life experience necessary for a gripping perspective, Ariel feels compelled to join her boss Stan (Murray Bartlett, The White Lotus ) on a retreat to the compound of a former pop star, Alfred Moretti (John Malkovich, Burn After Reading ), who is releasing new music. His expansive resort exists in an isolated location, over 50 miles away from civilization. Upon arriving there, Ariel notices strange behavior from the fan community that has assimilated. Combined with the removal of their communication devices, she realizes that she, Stan, and a few other professionals from the outside world may be in grave danger. Can she figure out a way to escape? While Opus evolves into a suspenseful thriller, Mark Anthony Green takes full advantage of the comedic talents his cast possesses. For the first hour, Ayo Edebiri effectively plays the straight man in a comedy skit. Her compadres, including Stan, an entertainer named Clara Armstrong (Juliette Lewis, Yellowjackets ) and social media influencer Emily (Stephanie Suganami, Something from Tiffany's ) find themselves seduced by Alfred’s charisma and entertainment skills, while Ariel has her guard up from the very beginning. Several humorous moments ensue, like when a concierge tails her for a morning jog, mirroring her strides only a few steps behind. Similarly, another of Alfred’s cohorts wants to give Ariel a makeover and asks her an invasive question about her shaving habits. The humor escalates when Alfred later performs his single on stage with all the newcomers and unveils several suggestive dance moves while wearing an unorthodox costume. The camera flashes to close-ups on the surrounding fans entranced by the beat and repetitive lyrics. Even when it is evident the vibes will eventually take a sharp turn, the behavior of Alfred and his fans, met with Ariel’s skepticism, provides several big laughs. Opus quickly approaches the point of no return, where the comedy falls away and Alfred’s fans prove themselves capable of violence. Knowing that she and the others are being surveyed full time, she sneaks away through a window to recover her phone and computer. The somewhat friendly but overbearing concierge kicks her bedroom door in to look for her and finds her missing. The aggressive act and thud of her kick marks the end of the comedic part of the film and beginning of the horror and suspense. When Ariel realizes that she will not be escorted out but will instead have to run, hide and fight, the movie shifts to a darker mood and the action ensues. This part of the film still provides a couple of laughs but also more gore and suspense. Ultimately, it feels rushed and somewhat clunky. Like a gymnastics routine, films are ultimately judged by their dismount. Many moviegoers will question Opus ’s ending, which ironically enough seems to question us. Even if we can be observers of toxic fandom and ruminate over its effects, can we just as easily partake in it and even wish to be the object of it? Most of us want to be considered remarkable whether we are or not, meaning we can both be seduced by the fame of others and want it for ourselves. While we are all familiar with the idea of a cult in its most literal form, we readily join more subtle and assimilated versions of cults surrounding our favorite entertainers. Do we draw a line in how committed we are to them? It remains an individual choice; some of us choose different places to draw the line and others don’t draw it at all. Even when we think we have, we may jump at the chance to elevate our own status and influence others to be fanatics just the same. Opus incorporates intentional humor into its premise better than many other like-minded films. Movies that it may bring to mind include A24 predecessor Midsommar , as well as the 1970s film The Wicker Man and its more farcical 2006 remake featuring Nicolas Cage. A more recent work tackling the same subject was the Amazon Prime Original Swarm about a fan obsessed with a modern-day pop star. Opus chooses the more literal portrayal of a cult and features a dated pop star, which highlights just how much of a grip fame can have on fans, even long after a celebrity’s heyday. It holds a mirror up to us in the same way as Swarm while placing us in an environment like Midsommar and The Wicker Man . Though it provides a few more laughs thanks to well-timed gags and a very capable cast, Opus leaves us with some food for thought as well. 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< Back Talk to Me tackles peer pressure and the effects of witnessing violence A24, 2023 95 minutes Director/Writer: Danny Philippou / Michael Philippou Reading Time: 5 minutes Talk to Me A Most Sinister Kind (LQSZUBJOBXALHA5N) 00:00 / 05:00 📷 : Used with permission, Agustin R. Michel https://www.instagram.com/agustinrmichel https://twitter.com/AgustinrMichel https://www.behance.net/agustin_rmichel Dandelion: Movies and TV shows with heavy subjects Ginseng: Suspenseful and intense thrillers Chris Chaisson 2023-08-11 The phrase “elevated horror” has been thrown around in cinematic circles over the last few years, as horror directors aim for more depth in their stories. The term is meant to refer to horror stories that tie in to social or psychological issues. Many younger creators have touched on topics like social media addiction, grief and generational trauma with their works, a change of pace from the costumed villains of decades past. I recently re-watched a ‘90s film Menace II Society , an unflinchingly violent film about the final high school days of two friends growing up in Watts, California. What struck me most about the film was how every brutal moment had an innocent bystander who would likely face permanent emotional damage due to what they had just witnessed. Though part of a much different genre, Australian YouTubers Danny and Michael Philippou tackle this theme in their new A24 flick, Talk to Me . Talk to Me revolves around a group of high school aged students who use an embalmed hand cased in ceramic to conjure up spirits. After lighting a candle and holding the hand, they say, “Talk to me,” and a ghost appears to whomever is holding the hand. They then recite, “I let you in,” allowing the ghost to possess their body. The caveat is that after 90 seconds, the spirit will want to remain in the body, so they must let go of the hand and blow out the candle before the time is up. When the younger sibling of one student partakes, the spirit possessing his body causes him to inflict violence on himself, putting him in critical condition and ending the group’s enjoyment permanently. The A24 project, created by two brothers who own the popular YouTube channel “RackaRacka,” is certainly not the first horror movie to feature kids contacting spirits from beyond the grave. There have been several Ouija board-adjacent horror flicks in which the game goes terribly wrong. Where Talk to Me diverges from the others is its tie-in to contemporary pop culture trends. The teenagers do not partake in the activity to rebel against strict parents; they do it to fit in and gain attention. An unfortunate trend in recent years has been adolescents succumbing to dangerous challenges on social media that bring them harm and, in some cases, death. Though letting ghosts possess your body sounds, um… ill-advised , so does consuming laundry detergent or running across a series of large stacked crates. The film points out the intoxicating effects of fame and popularity, whether in a local or global community. As we see repeatedly, all that is needed to encourage foolish behavior are a couple of examples where nothing bad happens. The more individual sub-plot of Talk to Me is the stages of grief its protagonist, Mia (Sophie Wilde, The Portable Door ), experiences. Having witnessed her mother’s overdose, Mia struggles to come to terms with the loss of a loved one, as does her father. She lives with her friend Jade’s family, as her relationship with her father has been strained. With both having witnessed the life leave her mother’s body two years prior, Mia and her father both struggle to come to terms not only with the loss of life, but what they saw with their own eyes. They each carry the guilt of believing that she could have been saved. Mia’s infatuation with contacting the spirits compromises her judgment. Not only does Mia play along but encourages Jade’s little brother, Riley, to join in, putting him in a perilous situation against Jade’s wishes. After the teens all witness a violent, horrifying and consequential moment, the fun ends and the ancillary characters drift out of the story. While this puts even more focus on grief-stricken Mia, it also highlights how trends among youth come and go once a sobering and catastrophic moment occurs. Though Talk to Me mirrors Menace II Society in its depiction of young people witnessing death and violence, the two films hail from completely opposed dramas. Talk to Me ventures into the supernatural while Menace II Society is very grounded in the reality of its time period. A better comparison in the same genre would be the early 2000s thriller Joy Ride . Paul Walker and Steve Zahn play brothers on a cross-country trip who prank a truck driver on a CB radio, leading him on to think they are a woman that is interested in him. Once they reveal themselves, the truck driver wants vengeance and goes on a violent rampage. What the films do have in common is young people seeking attention, letting a game go too far, and having to cope with the horrifying, irreversible results. 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 Opportunity combines an anti-hero with unusual villains Morris Hill Productions, 2024 96 minutes Director/Writer: Rusty Rehl Reading Time: 5 minutes Opportunity Hope Springs Internal (VG1KXOOFFBESR7C9) 00:00 / 05:40 📷 : Used with permission, Morris Hill Productions White: Movies and TV shows that make you laugh, or involve urgency, like chase scenes or other physical activity Ginkgo Biloba: Youthful, lighthearted, and fun movies and TV shows Chris Chaisson 2024-12-02 When watching a story unfold, we often adopt the perspective of the character most central to it. Generally, they have basic decency or some relatable quality, while the antagonistic force is motivated by greed or a general desire to harm. However, sometimes we can be in the thick of a story and say, “Wait a minute, who is actually the jerk here?” Anti-heroes are a mainstay in cinema and a good way to shake up the routine. Rusty Rehl’s debut feature Opportunity provides us with just such a character. Opportunity revolves around Patrick, a down-on-his-luck thirty-something living out of his van while trying to buy a house. He is “roughing it” somewhat unnecessarily, as he has savings but simply refuses to rent. In order to secure a loan, he agrees to pull off a theft for Jared, a mischievous businessman, by breaking into the home of a well-connected accountant named Tim to do so. With his friend Donnie’s help, he pulls it off. But when Tim discovers his identity, Patrick goes on the run, and a cat-and-mouse game ensues with a group of Mormon gangsters in pursuit. Patrick’s mindset may be head-scratching to some viewers yet make perfect sense to others. Who would choose to live out of a vehicle on principle when they have the funds to put a roof over their head? Patrick sidesteps the question when Donnie poses it to him early in the film. He seems preoccupied with the down payment on a home but nonchalant about the other costs of home ownership. In addition to being stubborn, Patrick’s obliviousness to the costs of owning a home perfectly illustrates immaturity and naïveté, respectively. The younger we are, the more idealistic we tend to be about our life and career goals, overlooking the forest for the trees. Patrick’s nomadic propensity speaks to an anti-establishment mentality, which makes him forego the most common-sense option that presents the stability he needs at the moment. Though not the sharpest tool in the shed, Patrick’s friend Donnie is loyal to the end. Donnie seems far more invested in their friendship than in his not-so-monogamous relationship with his girlfriend Julia, who loathes Patrick. Julia, whom Donnie also financially supports, has dictated to Donnie that she is free to see other people but he is not. This nugget sticks in Patrick’s craw, and leads to arguments between him and Donnie. As in most friendships, each has to point out the other’s blind spots, but they fall on deaf ears more often than not. Other than Patrick’s and Donnie’s squabbles, Opportunity ’s comedic relief stems from its anomalous villains: a group of well-mannered, articulate, Bible-pushing Mormons who have their hands in crypto. They comprise a perfect villain for a crime comedy, as they are not nearly as intimidating as the gangsters we typically see in the media. They are always professionally dressed, never use profanity and speak politely even amidst altercations. By contrast, Patrick consistently name-calls and uses vulgar, hostile language every time he encounters them. This is a characterization frequently used in screwball comedies; our “hero” behaves like a bad guy and our bad guys behave like heroes. Consider Animal House , where the protagonists are troublemakers who destroy property and the “villain” is the dean trying to hold them accountable. When Patrick and Donnie break into a safe and steal a computer device containing a virtual crypto wallet, the gangsters go after them while also trying not to tarnish their public images. Patrick and Donnie go to their tech-savvy friend Tony, who works in IT for Jared’s accounting firm. Reluctant to get involved, Tony repeatedly denies them entry to his house until they insist and shove their way past him. Again, Patrick and Donnie exhibit off-putting behavior despite being the duo we’re conditioned to root for. Tony figures out the value of what they have stolen before kicking them out of his place. The rising action of the film inches toward a violent climax between Patrick, Donnie, Jared and the gangsters, who all at times seem like disorganized stooges. Once the dust has settled, the audience is left wondering who actually was in the right. We can use the adage that “desperation compromises judgement” to explain Patrick’s actions. For Donnie, we can conclude that loyalty can pull us into all kinds of calamities. And as for Tim and the gangsters, we can surmise that they just want their property back. Ultimately, this is how comedy suspends our disbelief. In the same way we watch Vin Diesel drive out of a skyscraper window into a nearby skyscraper window and accept it as plausible, comedies convince us to be on the side of a criminal protagonist who is perpetually mean-spirited, even to his companions. In terms of plot, Opportunity may bring to mind the Coen Brothers hit No Country for Old Men , where a hunter steals a large sum of money resulting from a drug deal gone wrong and winds up in the crosshairs of a psychopathic killer. Clearly, Rusty Rehl’s feature takes a far more light-hearted tone, but both present a main character with compromised morals and cat-and-mouse games erupting in violence. 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The Studio provides laughs with its bungling protagonist < Back The Studio provides laughs with its bungling protagonist Lionsgate Television, 2025- 25 minutes Creator: Evan Goldberg Reading Time: 5 minutes 📷 : Used with permission, Christian Niemann https://www.instagram.com/justbychris/ The Studio Groove Station (XLK5J9TJBAVMOYXC) 00:00 / 05:58 https://x.com/justbychris Ginkgo Biloba Youthful, lighthearted, and fun movies and TV shows White Movies and TV shows that make you laugh, or involve urgency, like chase scenes or other physical activity Chris Chaisson 2025-06-23 Many comedies center around a person or a friend group who are just regular people. They have a regular job and no real power to speak of, making them relatable to most of the audience. While this works just fine for many comedies, it is refreshing to occasionally see a show revolving around a boss who is out over his skis. Having an authoritative figure who lacks an authoritative presence reminds the audience that often, no one knows what they’re doing in life and everybody is faking it to some degree. This persona also serves as the perfect setup for endless hi-jinks. Such is the case in Seth Rogen’s new Apple + hit The Studio . The inciting incident of The Studio involves its protagonist, Matt Remick (Rogen), realizing a life-long dream as he is promoted to the lead executive. With his new responsibility to green-light projects and approve of spending requests from filmmakers, you would think that he is the most popular man at The Continental Studio; as it turns out, far from it. While Matt gives off a less cold and detached vibe than the stereotypical studio head, his desire to be viewed as an artist leads him to be overbearing. He consistently inserts himself into the filmmaking process rather than simply making decisions and observing at a distance. Thus, many of the actors and directors grow tired of him but consistently suck up to him to get what they want. Matt lacks the self-awareness that his right-hand man Sal (Ike Barinholz, MadTV ) has, leading to many cringeworthy moments throughout the series. Matt often overstays his welcome (if he was ever welcomed) on sets and in trailers, interfering with any progress being made on a project. Even though he cares more than your average executive, he takes his persona as a creator too seriously, and his performance as the studio head suffers. The hilarity of The Studio comes from the fact that despite Matt’s nerdy demeanor, lack of social grace and inability to project any modicum of strength, he still holds an authoritative position. His decisions, sometimes calculated but often impulsive, hold great influence, and even other producers and executives must defer to him. His character could be summed up as “if Michael Scott bought movies instead of selling paper.” The protagonist from The Office , played for many years by Steve Carell, Michael Scott had very endearing qualities but often seemed like too much of a stooge to be in charge. Nonetheless, he was. Not only did his place as the decision-maker bring about a lot of hilarious and cringe-worthy moments, it made him a sympathetic figure. Much of the audience undoubtedly has bosses they do not respect. So protagonists such as Matt and Michael serve as somewhat of a confirmation bias, while also providing us enough emotional distance to laugh at their mistakes—mistakes that are not so funny in our actual workplace. Despite all the comedy deduced from the characters’ ineptitude and faux pas, The Studio ’s appeal also comes from its authenticity. Many of the discussions between the executives and the creatives, and the concerns expressed mid-conversation, feel very true to real life. For instance, Matt obsesses over delivering an unfortunate note to Ron Howard about a scene that needs to be cut from his newest film, as he does not want to give negative feedback. In discussing with his team, he tries to pawn the responsibility off on the head of marketing, Maya Mason (Kathryn Hahn, Tiny Beautiful Things ), who responds by saying no creative would ever take a note from marketing seriously. This moment speaks to how strictly roles and power structures are defined in the entertainment industry. Thus, having reluctant bosses in positions of power creates so many problems that are, in a fictional world, very fun to watch. The style of the shooting involves very long takes as Matt drives around the studio lot, walks through active movie sets, or greets people in the foyer of his office building before leading them upstairs. The takes are accompanied by soft, percussive jazz music, reminiscent of the Best Picture winner Birdman (or the Unexpected Virtue of Ignorance) , starring Michael Keaton. This shooting style leaves audiences stuck with Matt in every uncomfortable moment after there is friction between him and a director or member of his team. When he needs to juggle meetings or quickly convey information, we see how dizzying his job can get and how often he needs to quickly put on a friendly face. These scenes give the audience a hint of empathy for people in positions of power, who may have a very disorienting daily routine. It also reinforces how difficult such a position is to occupy without the appropriate Type A personality. Between its well-written characters, tremendous acting, uncomfortable scenes and gut-busting physical gags, The Studio may very well be the next award-winning comedy to be considered the best on television. Fans of The Office will surely see a hint of Michael Scott’s influence in this Apple + hit and may take to it the same way. The Studio offers countless laughs every episode and reminds us not to take ourselves too seriously. Previous Next Sign-up for new reviews, exclusives, deep dives, and more First name Last name Enter your email here I agree to the terms & conditions Sign-up Thanks for joining us!

Full Circle deals with the pitfalls of desperation < Back Full Circle deals with the pitfalls of desperation HBO Max, 2023 60 minutes Creator: Ed Solomon Reading Time: 7 minutes 📷 : Licensed from Shutterstock Full Circle Mystery (ZAO6TMJ2PEKED1UZ) 00:00 / 07:59 Dandelion Movies and TV shows with heavy subjects Ginseng Suspenseful and intense thrillers Reba Chaisson 2023-08-02 A common view of our mistakes is that they are inevitable, that we should learn from them and apply the lessons to our lives going forward. On the other hand, some of us believe what goes around comes around. Like karma, past mistakes come back to haunt us, making us desperate to set things right. If we’re not careful though, such desperation can render us susceptible to guile. Full Circle places this scenario front and center, in a six-episode series about the pitfalls of desperation. Savitri Mahabir loses yet another family member at the hands of a rival organization. She is convinced that her family’s string of deaths can be traced back to a decades-old curse due to her late husband’s activities in Guyana that resulted in a murder. Desperate to end it, she reaches out to the deceased’s family members, who arrive in New York and give her strict instructions for lifting it. “Miss Mahabir” is determined to follow them to their minutest detail. Coincidentally, Louis arrives in New York from Guyana to join his sister, Natalia, and best friend, Xavier. Awaiting the excited twenty-something men are jobs with Natalia’s employer, Miss Mahabir, who, unbeknownst to the boys, heads a crime organization. Natalia, played by Adia ( The Midnight Club ), is a reluctant employee who serves as the boss’s massage therapist and personal assistant. We realize the depths of the organization’s unsavoriness when Miss Mahabir’s underling and the young men’s new boss, takes Louis and Xavier’s passports, promising to give them back after each has worked off $50,000. Played by CCH Pounder ( NCIS: New Orleans , Avatar: The Way of the Water ), Miss Mahabir never meets with Louis and Xavier. This renders them invisible to her and facilitates their treatment as tools with a specific utility. Her instructions for them involve kidnapping Jared Browne, the teenage grandson of a wealthy family. They are to take Jared to the chalked circle in the park, where his family must bring the ransom money by exactly 1:11 AM or he will be killed. Louis, Xavier, and Natalia’s predicament speaks to the lack of options available for today’s immigrants to become productive citizens and realize the dream they imagined from their arrival on U.S. soil. This disappointment and dismay are especially visible in Louis’s body language and facial expressions, as he goes from a happy and excited young man to displaying looks of concern, worry, and desperation to survive and get back home. But as with Miss Mahabir, this repeatedly leaves him gullible and vulnerable to deceit. How can immigrants’ circumstances in a land touted for its opportunity become so bad that they want to go full circle, even when the prospects for a better life are nonexistent back home? With no history of criminal behavior, Louis and Xavier are confused about the kidnapping, the significance of the circle, and the unusual timeframe. Why this kid? And why 1:11, rather than 1:00 or 1:30? Nervous and reluctant to become involved in murder, Louis and his sister, Natalia, devise a plan of their own to save Jared’s life. But things go off the rails when the wrong child is kidnapped. When Jared suddenly arrives home safe and sound, his family must decide if they want to pay ransom for a child who is not theirs. Full Circle brings to mind the 2006 feature-length film, Miami Vice , starring Colin Farrell and Jamie Foxx as Detectives Crockett and Tubbs, respectively. This excellent movie, which captures the essence of its 1980s television series namesake, includes a scene where Crockett and his team recruit a known drug dealer as an informant. He is reluctant because of the danger it poses, but Crockett and his team threaten to send him back to jail if he doesn’t help them. Frustrated and flustered, he rhetorically asks, “Why is this happening to me?” Detective Trudy Joplin, a member of Crockett’s team played by Naomie Watts, responds, “Because you live a life of crime.” Such truths can be hard to swallow. Shot using dark cinematography and a graininess similar to that of Miami Vice , Full Circle gives you the feel of being mired in a shady world where it is tough to see things clearly. This is fitting for a series that depicts truth as something hard to face and tough to swallow. Rather than believing that her family members are killed because they live lives of drugs and violent crime, Miss Mahabir prefers to believe a curse is the reason for their deaths. At the opposite end of the spectrum are Jared’s parents, Derek and Samantha “Sam” Browne, who insist on playing victim. They repeatedly assert that they know nothing about why Jared was kidnapped and what any of this has to do with Guyana. Determined to gain clarity on the Guyana connection and uncover family secrets is Detective Harmony, played by Zazie Beetz ( Atlanta , Joker ). Smart, witty and deeply cynical, her character feels like a breath of fresh air in this dark and eerie tale. She nonchalantly and repeatedly breaks decorum, showing up unannounced and asking the Brownes pointed questions at the wrong time and place. Just as Miss Mahabir is desperate to save her family, so is Sam Browne, played by Claire Danes ( Homeland , The Hours ), who obfuscates at every turn. Her husband, Derek, played by Timothy Olyphant, does the same as he maintains a subdued but curious demeanor throughout the ordeal. Detective Harmony is convinced the Brownes are not forthcoming, and she is determined to get it out of them even under the threat of losing her job, “I know you’re hiding something. What are you hiding?” We tend to assume wealthy people are innocent. A recent study designed to assess trust revealed that an individual’s economic status is related to their perceived trustworthiness. The authors concluded that “people are more likely to trust strangers with a high income, compared with individuals with a low income.” Another study found that conservative Supreme Court justices “rarely vote to reverse convictions of poor criminal defendants, [but show] a clear sympathy for rich ones.” So this latent bias has ramifications even for the notion of accountability. It allows people with wealth to garner our empathy when bad things happen in their lives. In Full Circle , this ingrained presumption of innocence makes it easy to see the Brownes as victims – until Detective Mel Harmon comes along and shatters this view. This bias also leads us to think of immigrants of color as undignified not only because many lack means, but also because unflattering media images show them at their worst, after they have desperately crossed borders for a better and safer life. Conflating desperation, though, with lack of dignity leads to knee-jerk assertions that void people of their humanity rather than explain their experiences with exploitation and other challenges. While Louis, Natalia, and Xavier are desperate for economic opportunity, they still possess a deep moral sense of right and wrong that centers them and makes them unwilling to cross what they view as a thick line to get it. Some of us believe that giving in to temptation inevitably comes back to haunt us, like karma or a curse. For others, the fact that the deed is so egregious is enough to reverse course. Full Circle is a cautionary tale, reminding us that if we are not careful, our desperation can lead to a loss of our moral center. 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!

Fight Night: The Million Dollar Heist makes us reprioritize the gift of respect < Back Fight Night: The Million Dollar Heist makes us reprioritize the gift of respect Hartbeat Productions, 2024 50 minutes Creator: Shaye Ogbonna Reading Time: 9 minutes 📷 : Used with permission, Geoffrey Riccio http://www.riccioproductions.com/ Fight Night: The Million Dollar Heist Tell Dem 00:00 / 10:53 Barley Movies and TV shows with a lot of dialog Matcha Mysteries or whodunnits Reba Chaisson 2024-10-11 Years ago, I heard a caller on the radio say that sometimes we advocate for the wrong things. The context was R. Kelly’s arrest or trial, and some people were screaming injustice and others insisting he should be thrown in jail (Crickets on this issue now since the numerous documentaries.). I think about this because at times we misplace our priorities and afford respect to things probably best left unacknowledged. Shaye Ogbonna’s 8-episode series, Fight Night: The Million Dollar Heist , helps us to see this a bit more clearly. Based on a true story, Fight Night takes us back to 1970 when big afros and processed hair were popular at the same time, and the look wasn’t complete without plaid wool suits, platform shoes, and fake fur coats. Some of the coolest guys, or those who thought they were the coolest, added a cane for style. In the series, we even hear the ringing of landline telephones and catch visuals in restaurants and bars with coin-operated payphones. The all-star cast includes Kevin Hart as Gordon “Chicken Man” Williams, an individual who claims to know Atlanta “better than anybody.” Together with his business partner Vivian Thomas, played by Taraji P. Henson, Chicken Man hustles his numbers game to a trusted set of repeat customers and shops his party-throwing know-how to big-timers who visit the city, with its now growing Black population. Such big-time visitors include Samuel L. Jackson as Frank Moten, a lead member of the Black Mafia, heading to Atlanta to see the Muhammad Ali-Jerry Quarry fight. When Chicken Man gets wind of Frank’s plans, he offers to host an after-fight house party in Frank’s honor with hopes of being his go-to man whenever he comes to town. Unbeknownst to Chicken Man, a group of people led by Willie Black (Myles Bullock) and McKinley “Mac” Rogers (Sinqua Walls) conspire to stage a robbery of the event with plans to hold partygoers at gunpoint for hours while they confiscate their jewelry and money. Only Willie, however, knows that Frank and other members of the famed Black Mafia would be making an appearance. By the time his co-conspirators realize this, it is too late. Fight Night brings to mind A.V. Rockwell’s 2023 film, A Thousand and One , with its dated telephone technology and dark cinematography. Set in the 1990s and shot in New York City, the movie’s landscape consists of tenement buildings, subways, elevated trains, and crowded streets. Set a generation earlier, Fight Night ’s Atlanta setting consists mostly of single-family homes and no public commuter rail system at that time. Yet, the payphones and cinematography are quite similar. Indeed, an annoyance with throwback films is the use of cinematography so dark that it is often difficult to make out people and objects. But Fight Night ’s cinematographers, Joe “Jody” Williams and Michael Watson, strike a balance of tones and shades that allow the audience to appreciate what is happening on screen and who is performing the action. In Fight Night , Don Cheadle plays the upright Detective J.D. Hudson, assigned by his chief to protect Muhammad Ali during his stay in Atlanta. Symbolic of an individual fighting injustice from the inside, Detective Hudson has frequent run-ins with the racist Detective Mason, played by Ben VanderMey, who is known for abusing Black detainees and frequently calling Detective Hudson the “n” word — though not without pushback from Hudson who threatens to knock him to Kingdom Come. A military veteran, Hudson’s goal is to change things from the inside, which proves a challenge given the racist structure of the department. His White chief tolerates openly racist detectives like Mason, who once threatens to hang Hudson from a tree right in front of him. Hudson’s hope is to advance in his job to a rank where he can kick Mason off the force. It is clear that Hudson’s role in the series is meant to prove just how difficult it is to work within a system constrained by a lack of honor and courage, even if you are a military veteran who should be afforded at least a smidgeon of respect. When Chicken Man, the Black Mafia members, and other partygoers are forced to strip to their undies and sit on a cold basement floor for hours at gunpoint, Frank and his crew begin to suspect Chicken Man’s involvement. Other than surviving the ordeal, they begin to consider how they will rectify their humiliation. After all, who would have the gumption to rob the Black Mafia? In a meeting convened later, we learn that some of the members saw the robbery as an affront to their stature as mafia, so those who did this had to suffer public humiliation (death). Another member, Missouri Slim (David Banner), indignantly insists on revenge for being forced to strip to his underwear in front of a “bunch of [b****es].” Missouri Slim’s infantile concerns bring to mind the notions of pride and prejudice. Anyone, for instance, would be upset that someone with a shotgun robbed them of their dignity, pride, and sense of control over their lives. But what is it about the presence of women that makes Missouri Slim and men like him so incensed about stripping down to their skivvies? This seems to be not so much about pride but about prejudice and condescension. Looking at this from an opposing point of view demonstrates the problems with Missouri Slim’s perspective. During the robbery, Willie recognizes Vivian from her days as a stripper and forces her to dance suggestively in front of the entire group. Despite the threat of being shot, Chicken Man tries to halt it multiple times until Vivian insists he stop trying to protect her for his own safety. As she performs, Chicken Man’s body language and facial expression droop, conveying the depth of his concern for her and his regret in being unable to stop Willie’s humiliation of her. Chicken Man’s actions and emotional response contrast sharply with that of Missouri Slim’s. His complaint, in effect, dehumanizes the women, essentially rendering them insignificant and as having no value. I found his comment personally disconcerting and hurtful, but I also wonder why I should have expected anything different from someone who exploits women for a living. As noted earlier, the look on Chicken Man’s face is one of hurt and pain for Vivian when Willie forces her to dance. We see in another scene when Faye (Artrece Johnson), Chicken Man’s wife, learns from him about his relationship with Vivian. She is hurt but not surprised, admitting she “knew who he was before [they] were married.” Despite the news, she still trusts him. She still gives in to his insistence that he keep her and their children safe while he figures out how to convince Frank he was not behind the heist. Chicken Man’s behaviors and attitudes in contrast to Slim’s conjures thoughts of how respect works and the ironic ways it is doled out. Respect is a term that is sometimes conflated and even confused with fear. Frank Moten, Slim, and their counterparts are characters who build their wealth and reputation on murdering people, coercing women into sex work, and dealing in illegal drugs. They dress to the nines, gain access to powerful politicians, and live lavish, upscale lifestyles. Yet, everyday folks who encounter them preface their greetings with “Mr.,” a common sign of respect afforded to older men and men in power. Ironically, Chicken Man, while imperfect and a mover and shaker, is the most honorable man of the bunch. Like a Lannister ( Game of Thrones ), he always pays his debts when his customers win at the numbers games he sells. Despite the risk of death, he shows courage in standing up for Vivian when she is forced to do a humiliating performance in front of dozens of people. And he is honest with Faye about who he is and what he is doing before and during their marriage. Respect, though, is not afforded to Chicken Man. Even Detective Hudson harasses him and suspects him in the goings-on at the house party. Respect, however, is automatically afforded to the people who instill fear in others and they are revered for their criminal status. All of which suggests that sometimes our priorities are misplaced. One thing for sure, if it is driven by fear, the respect we give is vacuous, meaningless, and certainly ephemeral. I enjoyed this series, especially for its visual appeal with regard to the authenticity of the costumes and set design. Even the production design of Fight Night ’s opening makes us feel like we are in a time warp. The only element the series seems to be missing is Curtis Mayfield’s 1970 hit “Don’t Worry” to set it off. Indeed, you have to look really hard for any anachronisms in this exquisitely produced series by Dianne Ashford. Fight Night gives us not just a story but a cinematic experience with a thread about the irony of respect. Previous Next Sign-up for new reviews, exclusives, deep dives, and more First name Last name Enter your email here I agree to the terms & conditions Sign-up Thanks for joining us!

< Back Nobody is Crazy takes societal norms to task with humor and a light touch Vendetta Furiosa, 2022 104 minutes Director/Writer: Federico J. Arioni Reading Time: 6 minutes Nobody is Crazy Today is Your Day (EGAIQRQSFMG7GYPP) 00:00 / 07:54 📷 : Used with permission, Federico J. Arioni Barley: Movies and TV shows with a lot of dialog Ginkgo Biloba: Youthful, lighthearted, and fun movies and TV shows Reba Chaisson 2024-03-22 Nobody is Crazy is about Rafael, a teenager who feels like an outsider because of his difficulties with obsessive-compulsive disorder (OCD). Exacerbating his struggles is his mother’s plan to send him to military school if he does not take steps to improve his social life. While ditching his self-help group, he stumbles upon a jovial, mid 20-something masked man who describes himself as a time-traveler named, “Nobody.” Viewing him as “crazy,” Rafael, played by Manuel Gutierrez ( Por un puñado de pesos ), is skeptical, but the two nonetheless quickly become friends. They are later joined by Daria (Lara Ammi Wheeler), an early 20-something who is smitten by Nobody and intrigued by his mask, philosophical nature, and outgoing personality. The three spend time together roller skating, playing pool, and lightly challenging one another at arcade games. Set in Argentina, Nobody is Crazy is available with English subtitles and shot mostly outdoors during the daytime in the warm, sunny, and dry weather of Neuquén. The set design is flat and non‑descript, which is perhaps strategic on the part of filmmaker Federico J. Arioni in his effort to convey the emptiness that is Rafael’s social life. The buildings in the scenes have no names or distinct markers. The lone boat on the water makes the lake itself appear forgotten by its population. Even the arcade, which in the U.S. is typically full of young people running about, consists of only a handful of folks, including the staff. Ironically, Nobody is Crazy heavily centers on the character whose name suggests unimportance, but Nobody, played by Federico J. Arioni, has a lot of important things to share. So much so that in some ways, it feels as if we are listening to a high-energy philosopher proudly regurgitating his vast knowledge to a captive audience. In this case, it is largely Rafael, an audience of one who is a lonely and naïve kid just pleased that someone notices him – even if he doesn’t know who this person is or why he has taken an interest in him. Because Nobody’s dialog is extensive, a richer set design could have given depth to the film and enhanced the viewing and listening experience. Budget limitations notwithstanding, I imagine some low-cost options exist in proximity to Neuquén province to give a glimpse of Argentina’s uniqueness. Villa Traful, for instance, has a beautiful landscape that includes a view of a mountain range, so just imagine this as a backdrop for some of the more poignant dialog in the film. Junín de los Andes has trails for hiking and horseback riding, so consider two members of the trio as skilled riders and the other as hesitant. Dinosaurs roamed in Cañadón Escondido, so scenes of the three gazing in wonder at fossils and planting their feet inside dinosaur footprints would be both awe-inspiring and fun to see. Scenes such as these hold the potential to add depth to the on-screen visuals and the dimensionality of the characters. The actions themselves constitute bonding moments, much more so than playing arcade games, throwing rocks in a lake, and talking in front of a building with no people present. These give us very little sensory information to gradually construct the emotional context needed to connect with the characters and their predicaments throughout the film. Nobody is Crazy comes close to presenting an enriching experience when the three friends visit an art gallery and several shots of them are shown in different formations, much like those in Ferris Bueller’s Day Off ( Ferris Bueller ). In this regard, Nobody is Crazy strives to mimic the wildly successful film that has maintained its popularity since its release in 1986. In Ferris Bueller , two guys and a girl ditch school to hang out together and do random things, including sharing funny moments at an art gallery. However, the lead in Ferris Bueller takes several actions that are daring, entertaining, and allow space for other characters to get involved. The trio go to a baseball game, where Cameron (Alan Ruck), Bueller’s depressed friend, releases his inhibitions with “Hey Batter Batter. S-wing Batter Batter.” They eat at a posh restaurant and are forced to dodge Bueller’s father, who happens to arrive there for lunch. Finally, Bueller jumps atop a float going through downtown Chicago, grabs the microphone and sings “Twist and Shout,” interspersed with funny shots of folks dancing on the streets and in their offices. Undoubtedly, the budget for Ferris Bueller was much bigger than that for Nobody is Crazy . Let’s face it; Ferris Bueller’s Day Off was a John Hughes movie! Still, the beautiful, natural areas surrounding Neuquén had the potential to add depth to Nobody is Crazy , which could have gone a long way in enhancing the viewing experience and connecting us to the story and characters. Rafael is presented in the film as having OCD, but other than the two watches he wears, we quickly forget that he has this disorder. While it has a wide range of manifestations, OCD is typically revealed through obvious patterns of repetitive behaviors, such as an obsession about cleanliness which leads to a compulsion to frequently wash your hands. This happens once in the film and only because Nobody tells Rafael that he hasn’t exercised his compulsion in a while. The Mayo Clinic , though, describes OCD as a disorder that takes up a great deal of time, reduces the person’s quality of life, and gets in the way of their daily routines and responsibilities. Thus, the idea that Rafael is cured of his OCD after spending a few hours with Nobody and Daria or that he has to be reminded of his compulsion is a distortion. The disorder isn’t realistically depicted in the film, which suggests that it is presented in the story as a convenient way to understand Rafael’s predicament. It’s unfortunate, though, that the disorder is not addressed with more authenticity here, as people dealing with OCD are rarely depicted on‑screen in humanizing ways. Not addressing it as such in the movie was a missed opportunity. Despite Nobody is Crazy ’s shortcomings, the movie carries some very strong themes, and we don’t have to work hard to figure them out since they are evident in the dialog. Nobody notes that “some crazinesses are more accepted than others,” later adding that people who talk to themselves, lie, or have a gambling addiction are considered “normal.” “We’re all crazy,” he says; “what matters is what kind of crazy you are.” Sociology deals quite a bit with cultural norms and the degree to which we label people as deviant because they do not conform to them. Specialists in the field begin their critique of deviance with the question of who gets to establish the norms. Who is the authority that gets to decide what is normal and what is not, particularly in societies that are diverse on so many human dimensions and cultural traditions? Throughout this film, Nobody is conducting this same critique — taking the label of “crazy” to task because Rafael is alienated by others’ assumptions of him as an outcast because of his disorder. Rather than dealing with it though, Nobody encourages Rafael to escape it, screw it. Hmmm. I’m not sure that’s the answer either. Then again, I’m probably crazy myself. But I’m good with that — for now. Previous Next Sign-up for new reviews, exclusives, deep dives, and more First name Last name Enter your email here I agree to the terms & conditions Sign-up Thanks for joining us!

Living with Yourself rocks the boat using the doppelganger trope < Back Living with Yourself rocks the boat using the doppelganger trope Jax Media, 2019- 30 minutes Creator: Timothy Greenberg Reading Time: 4 minutes 📷 : Used with permission, Netflix Living with Yourself Dialogues (NQ3OCH3UGSK9611V) 00:00 / 04:23 Ginger Thought-provoking movies and TV shows Coca Movies and TV shows about drugs or with disorienting presentations Chris Chaisson 2021-10-15 Human beings have an uncanny ability to adapt to their circumstances. While we typically associate this with people of modest means, the same holds just as true for the haves as it does the have-nots. Many family dramas with an element of fantasy in them choose to highlight characters who take their living situations for granted. Taking an ungrateful character and turning their world upside down paves the way for many hijinks, especially when this change includes the arrival of a new character. Such is the case in the 8-episode Netflix series Living with Yourself . Created by Timothy Greenberg ( The Daily Show ), Living with Yourself follows Miles (Paul Rudd, Ant-Man ), a suburban husband experiencing a rut who visits an obscure spa in order to rejuvenate himself. Upon arrival, he is cloned and buried alive. When he escapes his burial and encounters the clone, he must figure out how to coexist with his doppelganger and whether or not to keep his dual existence a secret. Though Miles is a regular suburbanite, his character flaw jumps out at the viewer right away: he does not appreciate his wife or job as much as he should. The show begins with him entering a work meeting unprepared for his presentation, but not terribly bothered by it. He then resents his coworker (Desmin Borges, You’re the Worst ) for being more engaging and likeable to the team. The next morning, he shares a rather contentious breakfast with his wife. The particular issue causing friction between himself and Kate (Aisling Bea, This Way Up ) is his reluctance to go to the fertility clinic. Their major want as a couple is to start a family, but they are struggling to conceive and Miles drags his feet in seeking consultation, frustrating Kate. Miles comes across as a sort of Ebenezer Scrooge before his trip to the spa. It’s not that he’s unlikeable; on the contrary, his emotions can be relatable to anyone who feels their daily routine becoming monotonous. Miles desperately needs to shake things up, and rather than go on a vacation with Kate or put his head down and strive for a promotion, he badgers his coworker for some secret remedy. This sets the table for the show’s inciting incident and Miles’s eventual transformation into a more appreciative husband and employee. Of course, like in many other clone/twin stories, Miles cannot resist the urge to coerce his counterpart into doing all the boring tasks that he is sick of, such as: going to work; hosting a dinner party; etc. There is one issue with Miles’s plan, which is that his clone is very much his superior at all these tasks. Kate takes more of a shine to the clone, appreciating his new attitude. The clone also outperforms the colleagues that Miles had been previously lagging. Rather than be introspective, Miles is consumed by jealousy and insecurity, leading to much conflict, twists and turns throughout the eight episodes. Not only does Miles experience a character arc, but Kate goes through a change in her own perspective. While she appreciates the clone’s demeanor, she realizes that Miles’s imperfections, while frustrating, make him human in a way that the clone could never be. Living with Yourself is of course not the first movie or show to utilize the concept of a main character getting cloned. While its predecessors provide the easiest comparisons, the series brings to mind other dramadies that had an element of fantasy in them, like The Family Man (2000), where a wealthy bachelor gets a glimpse into his life had he married his college sweetheart. Both present a main character who has essentially become numb to their surroundings. Though Jack in The Family Man was more content than Miles, he had still lost an appreciation for how the people around him enriched his life. The roller coaster ride that Miles’s clone takes him on brings him to appreciate the stability and support he can always count on from his significant other and his profession. If you enjoy escapist narratives with the backdrop of an average suburban lifestyle (and a Tom Brady cameo), Living with Yourself will surely quench your thirst. 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 Killers of the Flower Moon tells an intense but necessary story Appian Way, 2023 206 minutes Director/Writer: Martin Scorsese / Eric Roth, Martin Scorsese, David Grann Reading Time: 5 minutes Killers of the Flower Moon Altar Call (PAGLJGCDIPFBYQHN) 00:00 / 06:29 📷 : Used with permission, Matt Needle Design & Illustration https://www.instagram.com/needledesign/ https://twitter.com/needledesign https://www.mattneedle.co.uk/ Dandelion: Movies and TV shows with heavy subjects Yarrow: Movies and TV shows about illness or set in hospitals or similar medical institutions Reba Chaisson 2023-11-20 Factual stories are compelling, sad, angering, and at times exhilarating. Based on David Grann’s 2017 best seller, the movie, Killers of the Flower Moon , is all these things. Set in the 1920s, Director Martin Scorsese’s Killers of the Flower Moon highlights the widespread conspiracy to extort money from an Indigenous American tribe in Oklahoma. After striking it rich from oil found on their land, members of the Osage Nation lived in luxury. Many had automobiles, horse-drawn carriages with drivers, furs to keep them warm, and large multi-level homes with fireplaces and servants. The idea of wealthy “Indians'' didn't sit well with White citizens near or far. So, paternalistic structures were put into place to force Osage to see “the man” any time they wanted to withdraw money – and requiring them to justify the amount of their request. White people with influence, like sheriffs, local politicians, and prominent community members, devised schemes for White men to marry Osage women as a way to partake in the family’s wealth. Soon after marrying, the women began to fall ill with what the local doctors described as “wasting,” a mysterious ailment symptomized by weakness, lack of appetite, and eventual death. It seems that to avoid sharing the wealth at all, the men slowly and methodically killed their brides to inherit the wealth exclusively. The film reveals the boldness of this pursuit, as one scene depicts a White man presenting a hypothetical to a lawyer of his plans to do just that. Paraphrasing: “You realize by telling me this you are telling me you plan to do this, right?” says the lawyer. “Right,” says the man matter of factly. “So, can I do it?” This epic film stirs a range of emotions. For one, it feels good to see Osage citizens basking in the yields of the resources from their lands. Understanding this means knowing that the U.S. has a very long history of exploiting Indigenous groups: attempted genocide through war and intentional exposure to disease ( smallpox blankets ), forced assimilation practices through Indian boarding schools , and the habitual breaking of treaties. It also has a history of relocating Indigenous groups from valuable lands that the groups rightfully own. So yes, it feels good to see a film that shows this group triumph and display the accoutrements of wealth. The second emotion stirred by the film is the way in which Indigenous Americans are represented. Historically, the groups are presented speaking in monosyllabic utterances and situated opposite White people with little if any negotiating power. Such is not the case in Killers of the Flower Moon , as the Osage Nation has economic leverage. This, however, goes only so far when we realize that wealth does not necessarily translate to political influence when the money is held by a marginalized group. So, the stirring of emotions slows as the insidious nature of the schemes, the scale of the conspiracies, and the breadth and magnitude of the crimes become evident, and the ability to do something about them amounts to the equivalent of using a banana to drive a nail into a wall. Starring Al Pacino as William Hale and Leonardo DiCaprio as Ernest Burkhart, Killers of the Flower Moon is led with star power. But the strength of other performances in this film deserves mention as well. Lily Gladstone ( Fancy Dance , The Unknown Country ) who plays Mollie Burkhart, Ernest Burkhart’s wife, delivers a powerful performance as she balances her love for self and her Osage identity with her love for her husband and family. Ernest, however, is caught between his overbearing Uncle Will (Pacino) and his genuine love for his wife - and he must figure out where his loyalties lie. Mollie’s mother Lizzie Q, played by Tantoo Cardinal ( Wind River , Shouting Secrets ), is “old-school” Indigenous American, as she distrusts White men and sees Osage women dying not long after marrying them. “It is not wasting,” she insists. “They are being killed.” But as with many older adults today, few if any young people listen to Lizzie Q or believe what she says, not even her own children. Unlike older and even some newer films featuring Indigenous American characters (i.e. Geronimo (1962), The Lone Ranger (2013), numerous Westerns starring John Wayne), Killers of the Flower Moon is cast with Indigenous American actors. This serves the dual purpose of representing authentic Indigenous American identities on-screen and providing them with the space and the microphone to tell their own story. The result is a film that grabs the lapels of our humanity with both hands and shakes us to our core. I am saddened by the experiences of this group, but also by the fact that we are just now learning about such a travesty a century after it occurred. In terms of aesthetics, Killers of the Flower Moon brings to mind the 1965-69 television series, The Big Valley (a show my parents watched). Created by A.I. Bezzerides and Louis F. Edelman, the weekly hour-long Western is about a wealthy White family living in a big multi-level home on their California ranch in the late 19 th century. Fast forward 40 years, add automobiles, and change the setting from rural to urban, and you have the feel of Killers of the Flower Moon . The movie’s lighting is darker to reflect the subject matter, but Mollie’s home is similarly designed with a long staircase to the upper level. It does, however, feel less expansive due to the tight urban setting - and likely that Mollie’s money is new! Based on a true story, this film stirs a range of emotions as good films often do. If you can handle this intense experience, I encourage you to see Killers of the Flower Moon . It is an epic covering a piece of history we should know and never forget. 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!