SEARCH RESULTS

Clarice shrouded in mystery and intrigue with diverse cultural representations < Back Clarice shrouded in mystery and intrigue with diverse cultural representations Secret Hideout, 2021- 60 minutes Creator: Alex Kurtzman and Jenny Lumet Reading Time: 4 minutes 📷 : Licensed from Shutterstock Clarice Miles Away (CFUTYOYA5NRV01VN) 00:00 / 04:40 Ginseng Suspenseful and intense thrillers Matcha Mysteries or whodunnits Reba Chaisson 2021-07-25 A television series spinoff of the 1991 film, Silence of the Lambs , Clarice features very smart but green FBI agent, Clarice Starling. While the crimes are gruesome, the series does not present a likeness of Dr. Hannibal Lecter (at least not yet), so no need to prepare for the show with a glass of Chianti. In each week of season 1, the series unveils a piece of the evolving story, which contains multiple creepy antagonists steeped in a diabolical murder conspiracy. Despite the challenges of the case, Clarice continues to be haunted by her confrontation with Buffalo Bill, the pathological villain from the movie. Like her namesake in the film, played by Jodie Foster, Clarice has a naïve fearlessness about her that makes her very good at her job. Supporting her naivete is the character’s roots in Appalachia, which her mild southern drawl triggers with each line of her dialog. As the show reveals, this makes Clarice uniquely qualified for cases in rural geographies. And her naiveté helps her sustain a level of humility that keeps her engaged in investigations with a child-like curiosity. Played by Rebecca Breeds ( The Originals , Pretty Little Liars ), Agent Starling has a special ability in profiling offenders of gruesome crimes, and once they are pinpointed, tapping into her own instincts to solve them. Consistent with the types of crimes her team investigates, the aesthetics of the show are dark. In fact, the scenes often occur in the dimly lit halls of its east coast FBI headquarters, or at night in wet and sometimes muddy conditions. The homes and buildings they visit are designed of old architecture with dark-brown, spacious interiors and a bottom-up vantage point of long, straight staircases—all adding to the frightening nature of the show’s subject matter. Clarice’s roommate and best friend is Ardelia Mapp, a Black woman and FBI agent, played by Devyn A. Tyler ( The Underground Railroad , Antebellum ). Despite graduating from Quantico with top marks, she researches cold cases in isolation rather than investigating active cases with fieldwork, a prized part of the job. Mapp’s frustration with her job assignment is revealed during a conversation with Starling in which she excoriates the FBI for denying her opportunity while Starling’s gets dropped into her lap. Starling empathizes, even sympathizes with her friend but is at a loss for what to say or do. “The work,” Mapp responds in exasperation. The poignant exchange drives home statements about systemic racism and the complexity of friendship across race and region. The show continually revisits the salience of race in the FBI, which, in real-life, has been long‑rumored to be laden with discrimination. In Episode 4, for example, a Black male security guard, also an FBI agent, invites Mapp to a meeting of The Black Coalition, a support group for Black agents in the FBI that assists in obtaining opportunities in the Bureau. While she respectfully declines, asserting, “it’s not for me,” the frank exchange makes it clear that the show is not shying away from the hard realities of being Black in the Bureau. Lucca De Oliveira ( Seal Team , The Punisher ) plays Tomas, a young, military-trained sniper and Hispanic member of Clarice’s team. Showing strength in courage, he befriends and partners with Clarice when she is dismissed and admonished by her boss and deals with pranks by other FBI agents. Her no‑nonsense and reserved boss, played by Michael Cudlitz ( Southland , The Walking Dead ), surprises Clarice and the audience, though, at every turn. Initially resistant to her joining his team, his trust of her instincts, and her hope of his fair treatment, grows as the series moves on. For viewers who love crime mysteries shrouded in dark aesthetics, with smart, racially, ethnically, and regionally diverse characters and relationships, this is a series you might enjoy. Just don’t expect Hannibal Lecter to be lurking around. 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!

Bloodline reveals that outcasts/monsters are created – not born < Back Bloodline reveals that outcasts/monsters are created – not born KZK Productions, 2015-17 60 minutes Creator: Glenn Kessler, Todd A. Kessler, and Daniel Zelman Reading Time: 5 minutes 📷 : Used with permission, Netflix Bloodline Altered Fate (JADIEIFGX0QKXZJ1) 00:00 / 06:01 Dandelion Movies and TV shows with heavy subjects Peach Movies and TV shows with a springtime feel or with images of the season Reba Chaisson 2021-07-25 When I was in graduate school, my professor stated, “Inequality is violent.” I listened attentively to his explanation then, and while I thought he made a solid case I never fully bought into it. Even the most socialist and altruistic countries have inequality, which indicates it is something that is inevitable and occurs naturally. I do agree, however, that the scale of inequality in the U.S. is obscene and must be remedied through policy. What is violent is unequal treatment and unequal access to opportunities because they allow for castigation, marginalization, and even dehumanization of people who do not have the resources valued in the culture—or in the case of Bloodline , the family. Bloodline is a Netflix original series about a traditional family of six in present-day Florida Keys, an untraditional but serene setting. Sam Shepard and Sissy Spacek head the cast as Robert and Sally Rayburn, a set of older Baby Boomers who own Rayburn House, a beautiful resort set on the ocean. As the patriarch of the family, Robert is loved and revered by his four adult children, while Sally is adored and overprotected by them. Skeletons haunt the family, as we learn through flashbacks, old pictures, and of course the dialog between the characters. While the family is highly respected in the community and appears to be close‑knit, it harbors strong anxieties and a general distrust of Danny, the eldest sibling. At the root of these are Robert’s sentiments for his son and the lifelong purgatory he has relegated Danny to because of a pivotal moment of poor judgment he exhibited as a teenager. As the siblings follow Robert’s lead in his ostracism of Danny, we painstakingly realize that outcasts and monsters are not born, rather they are molded and shaped through years of harsh and unequal treatment. The style and setting of Bloodline are reminiscent of the 1960s Elvis Presley movies shot in Hawaii. White sandy beaches, palm trees, and tropical foliage are omnipresent. Boomer hippies sit around in straw hats singing songs backed by the music of Robert’s ever-present ukulele, along with a speckle of teenagers to draw young audiences. The tone and subject matter of the story, however, are serious, making Bloodline a stark contrast from Blue Hawaii , Girls! Girls! Girls! and Paradise, Hawaiian Style . When he is unable to stay an extra day, a guest jokingly says to Sally “I feel like I am being kicked out of paradise!” Far from paradise, the series is particularly disturbing in season 1, where I often found it difficult to sleep after watching an episode. Generation-X is well represented with the 40-something children led by Kyle Chandler ( Friday Night Lights , Early Edition ) as John Rayburn and Ben Mendelsohn as Danny ( The King , Ready Player ). And while Robert and Sally Rayburn present as hippies, Rayburn House offers very little in diversity by way of its employees, guests, or friends of the Rayburn family. Except for the Hispanic workers who have stereotypical roles of carrying the guests’ suitcases, driving the hotel shuttles, and turning down the beds, the resort—indeed the cast—is overwhelmingly White. But according to the U.S. Census Bureau , Key West is 60% Non-Hispanic White. This means 40% of the island consists of other groups, namely, Hispanics who comprise just under a quarter and Blacks who make up about 14%. Their absence in Robert and Sally’s circle after 50 years on the island reinforces the show's ‘60s aesthetics feel. Interestingly though, each of the siblings has a working or personal relationship with a member of one of these groups, as if the writers were positing the message that time has moved on. Finally and annoyingly, Sally is flappable at every unexpected turn of events. Despite establishing the reputation of the Rayburn House with her husband over the last 50 years, she repeatedly asks how, why, and when questions like she’s clueless, and she defers meaningful business and family decisions to her husband and children. They, in turn, consider the degree to which their decisions will please or upset “Mom.” Sally’s relinquishing of her power is another example of the throwback feel of the show. She is the matriarch of the family, but she does not assert her authority by making her wishes known. Instead, she retreats, refusing to deal with the difficult things and expecting the men in her life to “take care of [them].” Unlike her mother, Meg, played by Linda Cardellini ( The Green Book , Daddy’s Home 2 ), is a strong‑willed, tenacious, and competent lawyer who handles the legal aspects of the family business. Throughout the series, she is revealed as fun‑loving and quite the opposite of a traditional wallflower. Her portrayal hammers home the generational difference between her and her mother. Make no mistake about this show. While it is a ‘60s feel story in a contemporary, bright, beach setting, the subject matter is serious and can be quite disturbing. Stories about family dysfunction often are this way, some less scratch-the-chalkboard-surface than others. But our tastes and appetites vary. While I struggled to get past season 1, this series might just work for 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!

< Back Twinless poses questions about the durability of friendships Permut Presentations, 2025 100 minutes Director/Writer: James Sweeney Reading Time: 6 minutes Twinless Don't Keep Me Waiting (66XECAPGHBL2DNLR) 00:00 / 07:49 Sage: Movies and TV shows with low-key characters Ginger Thought-provoking movies and TV shows Reba Chaisson 2025-10-23 Unlikely couple. If we only had a dime for every time we heard this. When we see two people who differ dramatically in appearance, speech, or even sexual orientation, we tilt our heads as if mentally shifting the duo to the metaphorical misfit category, relegating their relationship to doom. James Sweeney’s Twinless forces us to modify such responses. It’s a story about Roman, a twenty-something man who suddenly loses his twin brother Rocky in a car accident. The film opens with a shot of a colorful commuter train leaving a station. As the train clears out and the camera holds on the empty platform, we hear the screech of a car’s wheels and a terrible impact. Immediately, we know something has gone terribly wrong. Set in Portland, Twinless stars Dylan O’Brien from the long-running television series Teen Wolf , and James Sweeney, who is also the writer and director of the 2019 film, Straight Up . A native Idahoan, Roman (O’Brien) is mourning the tragic loss of his identical twin brother, Rocky. When his mother Lisa, played by Lauren Graham of Gilmore Girls , insists that he needs help, he joins a support group for people who have lost twin siblings. The group’s therapist, Charlotte, played by Tasha Smith from Why Did I Get Married and First Wives Club , asks them to introduce themselves by naming a vegetable beginning with the letter of their first name and revealing something they don’t miss about their twin. At this moment, I wonder if the movie is a comedy rather than the heavy drama I surmised from the story’s synopsis. But given the timing soon after Rocky’s funeral, perhaps this was intended to bring some levity to the moment. Roman meets Dennis (James Sweeney) during a session break, as Dennis makes small jokes and shares that he lost his twin brother Dean. In their mourning, Roman and Dennis forge a bond, attending parties and hockey games together as if standing in for each other’s sibling. Roman and Dennis, though, could not be more different. Roman is heterosexual and Dennis is gay. Roman likes hockey and Dennis craves sandwiches. Roman is fit and goes to the gym regularly, and Dennis, who does not work out, is slim and lanky in appearance. Yet the two become very close. Roman struggles mightily with Rocky’s loss, as evidenced by him wearing Rocky’s clothes and avoiding everyday tasks. But when he opens the refrigerator to find only a sliced onion and discovers only stale cookies in the cabinet, he calls Dennis to go grocery shopping with him, something the two continue regularly. During a shopping trip, they bump into George, one of Rocky’s friends, who notes that he witnessed the accident and was the last to see him alive. As he clumsily and without invitation shares that Rocky was distracted by a “crazy guy” who was yelling at him at the time, Roman says he would (to put it mildly) hurt the guy real bad if he found him. Leaving a hockey game one night, the duo encounter three men, one of whom lobs a gay pejorative at them. Roman confronts him and insists he apologize. When he doesn’t, the four get into a brawl while Dennis watches fearfully but with concern. This brings to mind a scene from the limited series Black Doves , where a gay man, steeled by the gunfire around him, becomes so paralyzed, he has to be physically carried out of danger while he cries and covers his ears. LGBTQ individuals are often targets of harassment and violence, but such character portrayals can lead to the perpetuation of stereotypes about the group. While most studies in this area focus on partner violence, research out of London found that men who are gay “score higher for empathy and show significantly lower levels of physical aggression than heterosexual men.” This suggests that the former are not likely to engage in physical fighting, even when it means defending themselves against strangers. I am reminded of Hoon Lee’s portrayal of Job (pronounced Jobe) in the popular television series Banshee , where the LGBTQ character frequently demonstrates the ability to handle bullies with a sharp tongue and with or without weapons. Perhaps the London research attests to the threat response of many gay men. But I wonder if more portrayals of LGBTQ men fighting back or coming to the defense of their friends, can help disrupt stereotypes about the community as passive and thus vulnerable. Roman’s altercation with the trio after the hockey game and his expressed desire to exact retribution on the person he views as responsible for Rocky’s death suggest that he is still struggling with Rocky’s loss. He later reveals to Dennis that he regrettably used the same pejorative against Rocky soon after he came out as gay, and that he feels that “drove him” to leave home and settle elsewhere. To provide comfort, Dennis invites Roman to talk to him as if he were Rocky. Roman says through tears, “I don’t know how to be without you.” Testimonials at the therapy sessions reveal not only the patients’ sense of loss, but also how their pain can be differentiated from the pain that stems from losing a sibling who is not a twin. Roman reveals, for example, that he’s glad he has the pain because otherwise he is “actually alone.” Another notes that twins are “built-in best friends.” As if to drive home this point, in a flashback scene, Rocky describes breaking his toe as a child, and how Roman smashed his own toe so he wouldn’t have to suffer alone. Given this, it is no surprise that Roman defines himself in relation to his brother and struggles to adjust to life without him. Roman’s life changes when he meets Marcie (Aisling Franciosi) at a party. As the pair begin spending time together, Dennis becomes resentful and is seen peering at the couple during the party and later sniping at Marcie. A long time co-worker of Dennis’s, Marcie questions the veracity of Dennis’s claims of having a twin brother, leading her then to question his motives for befriending Roman. There are some great plot twists in this drama that help keep the audience in anticipation of what will unfold in the story. Central to them are what is Dennis’s motivation for lying and what he wants with Roman. These questions are posed by writer James Sweeney, to challenge the notion that friendships built on lies and half-truths, wherever they line up on the compatibility scale, cannot endure. 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 One Battle After Another shows what commitment looks like Ghoulardi Film Company, 2025 161 minutes Director/Writer: Paul Thomas Anderson / Paul Thomas Anderson and Thomas Pynchon Reading Time: 7 minutes One Battle After Another Sweat and Steel (RFNEP3V3LPB6SW9N) 00:00 / 09:02 📷 : Used with permission, Alessandro Montalto https://x.com/noctrnlayouts https://www.instagram.com/noctrnl.layouts/ https://www.behance.net/nocturnalayouts Honeybush: Nonfamily dramas with strong adult and/or socioeconomic themes Rosemary: Movies and TV shows with intense action Reba Chaisson 2025-10-30 Such a fitting title, One Battle after Another . One reason I enjoyed this film so much is it takes modern day problems and presents them through a 1970s lens using cinematography, close spaces, and automobiles that take us back to the era. The film stars Teyana Taylor of A Thousand and One , Leonardo DiCaprio, and Sean Penn in a gripping, moving story about an activist determined to right injustices through action rather than words, and a colonel just as determined to get his way. The film opens with Perfidia (Taylor) walking intentionally across a bridge and peering down into what appears to be some type of encampment below. She quickly meets up with about six others, where together they strategize an attack on the area. When Perfidia’s partner, Bob (DiCaprio), asks her what she wants him to do, she instructs him to "create a show” when she gives him the signal. All quickly retreat to their cars, drive a short distance, and quietly enter a gated area holding heavy duty rifles, and taking care of anyone who gets in their way. Perfidia encounters a sleeping Colonel Steven J. Lockjaw (Penn), who oversees what turns out to be a holding camp for undocumented immigrants. She puts the weapon in his face, wakes him, emphatically introduces herself, “Wake up, soldier boy. You died and went to p***** heaven, motherf*****,” and eventually subdues him without laying a finger on him. Incensed, he assures her that he will see her again. The group then releases the immigrants, loads them into trucks, and drives away. This 161-minute film wastes no time pulling you into the story. Immediately, you are intrigued by Perfidia, a tough, late twenty-something who seems to fear nothing and is willing to risk her life to stand on principle. Where did such fearlessness and commitment come from? We get hints from this later in the film when her grandmother asks Bob where he came from and tells him he is not tough enough for Perfidia, adding that she comes from “a long line of revolutionaries.” When a small group of the racially diverse French 75 crew execute a mission to plant bombs in a federal building, Perfidia is encountered by Colonel Lockjaw, who surprisingly tells her that he wouldn’t stop her from doing whatever she was doing, if she meets him later. After only a momentary pause, she continues planting the bomb and proceeds to leave, all while Lockjaw lustfully watches her walk away. Perfidia’s lack of change in facial expression or body language not only indicated that she was undeterred by Lockjaw’s demand, but that nothing, even sleeping with the enemy, would keep her from what seemed to be a personal commitment to right the wrongs for problems that many of us feel powerless to effect. Think of the times where we shook our heads or shrugged our shoulders, as if to say “What are you gonna do?” or “He’s the boss” or “They’re in the chair.” Clearly, Perfidia is neither a head-shaker nor a shrugger. She feels empowered and has embarked on a path that suggests she is fully committed to the cause. Bob is dismayed when Perfidia doesn’t pull back while she is pregnant nor even after the baby arrives. Many people, once learning they are having a child, become introspective and consider adjustments they must make to provide a stable life for their child. Ironically, Bob is ready to do this. But when he confronts Perfidia about doing the same, she tells him that she is a revolutionary, not a homemaker. This flips the script on gender roles. Gender norms and the cult of domesticity tacitly transmit beliefs from generation to generation that taking care of children and the home are the mother’s responsibility, and that the father’s role is to provide for the family financially. While the roles have blended substantially since the 1970s, the cultural expectations around parental responsibilities are still largely based in gender. Colonel Lockjaw’s priorities in this film are interesting with respect to his aspirations to join an elite, all-male, all-White club that believes in the superiority of an Aryan race and requires its members to remain racially pure. In other words, applicants can have no history of intimate relations with anyone who is not White. Although Lockjaw’s affinity for Perfidia is in direct conflict with the club’s strict rules, like a rottweiler with a meaty bone and a vampire who sees blood, he is committed to being accepted as a member. So, under the guise of capturing undocumented Hispanic immigrants, he spends much of the movie mobilizing his troops across U.S. cities in pursuit of Perfidia and others who are aware of his sexual preferences. This scenario mirrors contemporary issues and events, in particular the government’s refusal to release the Epstein files and the ordering of Immigration Control Enforcement (ICE) agents and National Guard troops across U.S. cities. The film hints that the government’s dispatching of agents and troops is intended, at least in part, to obfuscate the controversy around the release of the Epstein files. The allusion of the colonel’s name to the lack of speech and transparency only bolsters this inference. The movie also carries interesting themes about the risks of being unaware of what is happening in the world. When a heist goes bad, the crew is forced to disperse and go on the run. Believing he and his family are safe after more than a decade of no one knocking on the door, Bob becomes a habitual cannabis smoker. But when he receives notification that “they” are on their way, he can’t get his bearings, saying only, “After all this time!” To receive French 75’s help in getting away, Bob needs to remember the passcodes to verify his identity but he struggles to recall them, thus endangering himself and jeopardizing his loved ones. Rather than blame himself for getting comfortable and not remaining vigilant, he repeatedly yells expletives at French 75’s operators who won’t budge on giving him information without him first providing the necessary passcodes. The scenario is meant to be a lesson on the dangers of becoming oblivious to what is going on around us, and of buying into the belief that our lives will not be touched by them. We don’t usually comment on acting in our reviews, but the strong performances in this film demand their mention. In addition to the lead actors, Regina Hall ( The Hate U Give , The Best Man: The Final Chapters ) and Chase Infiniti ( Presumed Innocent ) play pivotal supporting characters in the film. From the story to the aesthetic presentation, One Battle after Another is the total package. Harkening us to the Vietnam War era, incorporating terminology like “revolutionary,” and using resistance tactics from the period, allow for a more objective view of today’s issues by presenting them through yesterday’s lens. Central to the film are the corollary perspectives of Perfidia’s fight for justice and Lockjaw’s fight for himself, which help us see what staunch commitment looks like, regardless of the side you stand on and what you stand for. One Battle After Another is comparable to the 2022 film, How to Blow Up a Pipeline , about a group of young environmentalists frustrated by the lack of attention to climate change, so they devise a plan to destroy a pipeline to make a point. The clandestine nature of the operation along with the film’s dark cinematography also gives it a feel similar to One Battle . 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!

From prioritizes three-dimensional characters in its dystopian universe < Back From prioritizes three-dimensional characters in its dystopian universe Epix Studios, 2022- 52 minutes Creator: John Griffin Reading Time: 5 minutes 📷 : Licensed from Shutterstock From A Most Sinister Kind (DDEBPQXXMUPGG39Y) 00:00 / 04:55 Ginseng Suspenseful and intense thrillers Yarrow Movies and TV shows about illness or set in hospitals or similar medical institutions Chris Chaisson 2023-05-04 Sci-fi horror projects tend to be pretty cut and dry with their good guys, bad guys, and missions. The lead characters are bad mamma-jammas who know how to operate every weapon ever created. The villains are ugly, bloodthirsty and otherworldly. The mission boils down to fight or flight: defeat the bad guy or get away safely. But what if the bad guy cannot be defeated and the setting cannot be escaped? The story and character representation need to shift to other aspects, especially to maintain a several episodes-long TV show. The new horror series From masterfully manages its breakaway from these established archetypes. From takes place in a present-day dystopian universe, centering around a community of strangers trapped in a nowhere town surrounded by the forest. In addition to their inability to leave, they have to barricade themselves inside at sundown to stay safe from ravenous monsters in the form of ghostly humans protruding from the woods. The monsters can only enter through open doors or windows and retreat at sunrise, but when they get inside, they kill and devour the town residents in brutal fashion. The townspeople are led and protected by the town sheriff, Boyd, his deputy Kenny, Father Khatri, a paramedic named Kristi, and several others. Despite its sci-fi horror premise, this MGM+ original series picks its spots to be gory and violent. Rather than going the action route, From is much more character-driven than one might guess. It differs from many other post-apocalyptic works in that the characters still have some semblance of free will. In sci-fi shows like The Walking Dead or The Last of Us , the protagonists essentially have to keep fleeing the flesh-eating monsters to survive. In From , the citizens of this town live ordinary lives during the day and hole up inside at night, relying on trust and cooperation. This caveat creates interesting distinctions in the characters’ behavior. The mix of personalities reveal opposing mindsets about how to handle such a grim reality, allowing different audience members to identify with different characters. For instance, Jade spends all of his time trying to figure out a way to escape the town. As a bachelor with no family who’s lost his best friend, Jade’s focus is not on providing, protecting, or cultivating relationships. He simply wants to get back to his old life. In complete contrast to Jade’s attitude is Fatima, who makes it a point to celebrate life and community with her acts of generosity, even in such a bleak atmosphere. She even says to another character at one point that she does not know how she would return back to her old life if they were all to escape. Jim and Tabitha must factor their children, Julie and Ethan, into every decision they make, protecting them before all else. In context, all of these characters’ actions and behaviors feel justifiable, but the characters nonetheless clash simply over their contrary approaches to coping. The premise of From contributes to one of its biggest strengths—the diversity of its cast. Sci-fi projects tend to be predominantly White, often a reflection of their writer’s rooms. While there are plenty of White characters, Boyd, Kevin, and Kristi are all from underrepresented demographics (Black, Asian and Hispanic, respectively). All three characters have heavy speaking roles, positions of authority, and depth to their personalities. Though many projects are capable of incorporating this range of diversity into their cast, some fall back on the excuse of the time period or geographic region for not doing so. Having a premise in which the cast of characters randomly wind up in an undetermined dystopian setting, creates an opportunity for many people of color to appear on screen. Aside from their racial/ethnic backgrounds, the characters vary in age, gender and marital status as well. Since the citizens of From must cooperate with one another to gather resources and survive, their interactions (cordial or not) reveal their multi-dimensionality. Given the hallucinations and ominous threats that the seemingly trapped townspeople experience, From feels the most similar to a season of American Horror Story . In spite of its surrealism and occasional graphic scenes, much of the story revolves around the backgrounds of the lead characters and their differing philosophies on how to stay alive. While From is not for the queasy or faint-of-heart, it provides an array of personalities that appeal to various audience segments. For added fun, take a shot of rum every time you hear the word “talisman.” Cast Harold Perrineau as "Boyd" Ricky He as "Kenny " Shaun Majumder as "Father Khatri" Chloe Van Landschoot as "Kristi " David Alpay as "Jade" Pegah Ghafoori as "Fatima" Eion Bailey as "Jim" Catalina Sandino Moreno as "Tabitha" Hannah Cheramy as "Julie" Simon Webster as "Ethan" 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 Plainclothes wraps a forbidden love story in an unconventional package Lorton Entertainment, 2025 95 minutes Director/Writer: Carmen Emmi Reading Time: 6 minutes Plainclothes Bouar 00:00 / 06:23 📷 : Pixabay Dandelion: Movies and TV shows with heavy subjects Coca Movies and TV shows about drugs or with disorienting presentations Chris Chaisson 2025-02-14 Stories of romance can have all sorts of complications: rich girl/poor guy, love triangle, wartime draft. Generally, we see a couple pulled apart by circumstances beyond their control such as meddling families or political strife. Thus, Carmen Emmi’s Sundance darling Plainclothes provides an original angle, offering both an examination of an oppressive culture, a predatory law enforcement practice and the bounds of societal expectations. Set in 1997, Plainclothes revolves around Lucas (Tom Blyth, Robin Hood ), a plainclothes police officer that participates in a continual sting operation run by law enforcement. He goes to a public place with his team, seduces gay men, lures them into public restrooms and coaxes them into exposing themselves. Once they do, he signals to a nearby officer to move in and make an arrest on the grounds of indecent exposure. At one point, this was indeed a standard practice by law enforcement, leading to the arrest of some notable public figures. Lucas seems conflicted with his task much of the time, and amid one such operation, spares the target, a man named Andrew (Russell Tovey, Pride ). Andrew instead gives Lucas his number before they part ways. When Lucas later contacts Andrew, they begin a private but complicated romance where they each have something to lose. Separate from his work life, Lucas grapples with what is at times overwhelming anxiety, spurred on by doubts about his sexuality. He has a complicated relationship with his ex-girlfriend, to whom he admitted that he may be attracted to men while they were still dating. Though clearly hurt, she supports his efforts to discover his true identity. Interfering with Lucas’s path to self-discovery is a bigoted uncle, the reality of his everyday job, and his grief over the recent passing of his father. An increasing number of films in recent years have shed light on homophobia and same-sex romance, but few have tackled the volatile relationship between the LGBTQ+ community and police. Plainclothes sheds light on this dynamic through a protagonist at the crossroads. Lucas faces all the typical pressures of a closeted homosexual man in the late ‘90s: a strained heterosexual relationship, a general feeling of loneliness, and a close family member unaware of his sexuality who makes disparaging comments. Lucas just so happens to have the huge additional weight of his job, which is to entrap men like himself. Even though his time with Andrew allows him happiness that he hadn’t known before, Andrew contends that their romance is just a fling and can be nothing more. This is the last thing Lucas, battling self-esteem and anxiety, needs to hear. Plainclothes uses many technical elements to create a ‘90s feel. For starters, many of Lucas’s sting operations take place in malls, a setting much more popular at the time. Director Carmen Emmi shoots with a hi-8 camera, reminiscent of home movies, also more common back then. The most effective use of hi-8 in the movie is during Lucas’s sporadic anxiety attacks, displaying how disconcerting the experience can be. Emmi uses abrasive noises combined with rapid cuts and sped-up visuals that convey Lucas’s disorder. These scenes give us empathy for a character who, at the beginning of the film, is not quite as easy to root for. A couple of scenes consist of the lens being the view through a camcorder, with the familiar time display in the bottom right. This not only clearly establishes the year the film is set in but gives the nostalgic feel of what it was like to record pre-camera phone. Seeing a family member walk around with a camcorder highlighted special occasions and prompted us to create memorable moments with one another. Similarly, another scene depicts a character playing a Gameboy, a handheld video game device synonymous with the late ‘90s. While it premiered in 1989, the Gameboy continued to rise in popularity throughout the next decade. As many gamers now opt for interactive headset devices from home, the presence of the handheld device in Plainclothes , even in just one scene, contributes greatly to the feel of the movie. It reminds the audience of an inexpensive gaming option that still allowed adolescents to be out and about while playing. Possibly the subtlest representation of the ‘90s in Plainclothes was the fashion. The premise of the film and the sting operation allow for the protagonist to be donned in the attire of the time rather than the standard uniform of a police officer. Because of this detail, we see Lucas contributing to the casual chic look, wearing flannel shirts, bomber jackets, stonewashed jeans and a logo-less baseball cap to make himself look younger. Andrew rocks a pair of Dockers and a puffy winter jacket, also popular in the era. As sometimes, the costuming in a period piece can put you way over budget (think The Get Down ), these fairly simple outfits contribute to a minimalist feel. There are not many comps for a film like Plainclothes , but as far as its relationship dynamic, this Sundance entry oddly enough reminds me of the 2009 dram-edy Up in the Air . George Clooney plays a consultant whose job is to fire people on behalf of their employers, leading him to become emotionally detached. Though Lucas certainly expresses his emotions, the job of luring people into handcuffs has caused him to suppress part of himself. Clooney’s character falls for a business partner (Vera Farmiga) who has her own obligations and views him as a fling, even telling him, “You are an escape. You’re a break from our normal lives, you’re a parenthesis.” Lucas feels the same rejection from Andrew and struggles to cope. Ultimately, both characters must change their approach to life in order to love themselves. 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!

Presumed Innocent zooms in on loyalty < Back Presumed Innocent zooms in on loyalty Apple Studios, 2024 45 minutes Creator: David E. Kelley Reading Time: 5 minutes 📷 : Apple Studios Presumed Innocent Echoes of Solitude (B0URCQ1U3NO0U3AS) 00:00 / 05:45 Ginseng Suspenseful and intense thrillers Sage Movies and TV shows with low-key characters Reba Chaisson 2024-08-04 You would agree that loyalty matters in a relationship, right? This is so with partnerships of all types, especially romantic ones. What would you do if this trust was broken? Sadly, some people react in ways that are counterproductive. For the most part though, people behave rationally — thinking, gaining some perspective on their situation before deciding their next move. You know the usual options, stay or leave. Apple TV’s Presumed Innocent is an 8-episode series largely about that question. Unlike the theatrical release in 1990 starring Harrison Ford, the story is presented in the most riveting way. Jake Gyllenhaal stars in the series as Rusty Sabich, a respected prosecutor who finds himself on the defense side of the table when he is accused of killing his colleague/mistress out of rage. Carolyn Pohemus, played by Renate Reinsve ( The Worst Person in the World , A Different Man ), is found bludgeoned and ritually bound in her apartment. All hell breaks loose when it is discovered that the pair had been involved in a long-term affair that even Rusty describes as his “obsession” with her. Based on Scott Turow’s 1987 novel of the same name, Presumed Innocent dramatically covers Rusty’s trial, giving it a dark suspense/thriller vibe fitting of Ginseng tea . The fallout from the discovery of Rusty’s relationship with Carolyn lands heavy on his colleagues and children much like a cup of Dandelion tea lands on the tongue. Not so much though on Barbara Sabich, Rusty’s spouse played by Ruth Negga ( Loving , Agents of S.H.I.E.L.D. ). Barbara’s sedate demeanor and self-effacing presentation tempers the heavy, bitter feel of the show with a Sage-like calmness. Rusty and his predicament are front and center, yet we are drawn to the peripheral story that is Barbara’s personal and private space. Barbara is frequently presented alone, doing laundry, riding a stationary bike in her garage, and listening to Rusty as if she is obligated to do so because she is his partner. Film representations of betrayed spouses are typically depicted yelling and crying. Barbara, however, carries a quiet rage. She rarely speaks, so when she does, her kids, lawyers, and even Rusty listen like she is EF Hutton revealing something subtle yet profound. We only get a hint of her sentiments when she tells Rusty in very simple terms, “I know you. I know you couldn’t do this,” and then remains by his side during his trial. Some might say that considering the extent of Rusty’s betrayal, Barbara’s unusual loyalty makes little sense. Money is not an issue for her family, so she is likely to maintain a comfortable lifestyle if she leaves him. It reminds me a bit of the 1993 film, Indecent Proposal , with Robert Redford as John Gage and Demi Moore as newlywed Diana Murphy. John is so taken by Diana, who is on her honeymoon, that he offers her a million dollars to sleep with him for just one night. Young and broke, she and her husband David (Woody Harrelson) reluctantly but strongly consider the proposal. Like Presumed Innocent , Indecent Proposal begs us to consider what we would do if our circumstances were similar to either scenario. Diana’s situation is complicated by her financial constraints, not by a betrayal of trust. Barbara’s isn’t similarly complicated, yet she stays despite the relative ease of her decision compared to Diana’s in Indecent Proposal . Thus, Barbara’s appeal is her extraordinary loyalty. It gives us pause, piques our curiosity about her, and leads us to question where the red line exists for ourselves. During the story, Barbara meets Clifton, a tall, dark, and handsome bartender with a baritone voice like Barry White’s. She likes him as evidenced by her frequent midday returns to the empty upscale bar, and Clifton, played by Sarunas J. Jackson ( Insecure , Good Trouble ), enjoys her company as well. Interestingly, Clifton serves as our eyes and ears into Barbara’s sentiments on her predicament. He is, effectively, our proxy friend. As she sits alone in her thoughts, Clifton recognizes her from news reports and gently asks about her feelings on the situation. She has no clear answers. He is empathetic, which further enhances his appeal. These interactions tell us, though, that Barbara is reeling. She needs a friend who appreciates her circumstances and has no connection to her troubles. Through Clifton, we gain deep empathy for Barbara and come to appreciate why she seems aloof, detached, and lost. On its face, Presumed Innocent is like the 2023 miniseries, Anatomy of a Scandal , with Rupert Friend starring as James Whitehouse, a wealthy politician accused of raping his former mistress. Sienna Miller plays his partner, Sophie, who, like Barbara, is also loyal and even attends James’s trial. Eventually for Sophie, however, the thousand cuts revealed at trial become too much and leads to clarity of her red line. This line seems to be elusive for Barbara. I love works that lead us to question ourselves and dig deep to gain a deeper understanding of who we are. Whether it is betrayal or some other trigger, we have ideas on what we would do. But what do we do when the situation is no longer hypothetical, when we’re actually starring in a drama of our own predicament? 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 How Deep is the Ocean spurs questions around self-sabotage A W Pictures, 2023 78 minutes Director/Writer: Andrew Walsh Reading Time: 6 minutes How Deep is the Ocean Sepulveda (VXAQAGDAIRDQD7FB) 00:00 / 07:08 📷 : Used with permission, Andrew Walsh Ginger: Thought-provoking movies and TV shows Coca: Movies and TV shows about drugs or with disorienting presentations Reba Chaisson 2024-05-17 You might have heard of a very successful film released in 1996, called Jerry McGuire , starring Tom Cruise, Cuba Gooding Jr., and Renée Zellweger. Tom Cruise plays the title character, a self-absorbed sports agent who is left with just one client after being fired from his firm for writing a Mission Statement. The Statement contradicted the company’s values of being aggressive and even unethical in recruiting clients. A poignant scene during the story’s setup shows a dejected Maguire on the elevator, when he observes a deaf couple signing “You complete me” to one another. The stark contrast between the couple’s enthrallment and Cruise’s down-on-his-luck body language is quite hilarious. But this scene ignites wonderings about self-sabotage, much like Andrew Walsh’s indie film, How Deep is the Ocean . Set in Melbourne, Australia, the improvisational film stars Cris Cochrane ( My Cherry Pie , A Promise Carved in Flesh ) and Olivia Fildes ( Sunflower ) as new roommates Roy and Eleanor, respectively. Roughly in his late 40s/early 50s, Roy is gregarious, quick-witted, and a heavy drinker, while Eleanor, a late 20-something emigrant from Los Angeles, is nonchalant, broke, and lacking any short- or long-term plans for herself. Despite clear signs that Roy suffers from alcoholism, she agrees to rent a room from him in his home, leaving us perplexed about her decision. When he bursts into her bedroom drunk on her first night, she kicks him out and promptly returns to bed, seeming largely unfazed by the intrusion. Many of us would have responded quite differently, perhaps beating up the intruder and leaving the house at first light, if not that very moment. Shortly after renting the room from Roy, Eleanor meets Matt, who takes a liking to her when he helps her get Roy settled after one of his benders. Matt even uses his influence to get Eleanor a job at the store where he works when she tells him she was fired from her restaurant job. She conveniently leaves out the part about spitting in the coffee of a rude customer. Despite Matt’s overtures, Eleanor opts instead for Roy’s friend, Charlie, played by Adam Rowland ( Home and Away , Neighbors ). Within minutes of meeting him, she promptly asks Charlie out to lunch. Upon learning that Charlie is married, she continues to pursue a relationship with him despite the likelihood that she will end up with a broken heart. In case you are unfamiliar, improvisational films like How Deep is the Ocean lack a script, which means there is no (or minimal) prepared dialog. Think the long-running comedy series Curb Your Enthusiasm . The actors are guided by their character’s descriptions and interactions, along with a general understanding of the story’s flow. This lack of structure inevitably leads to awkward scenes, where something unplanned occurs and we anticipate a type of response that never transpires, much like the aforementioned bedroom encounter. There are several instances of such awkward scenes in the movie. During Eleanor’s and Charlie’s picnic on the beach, a bird comes into the frame as if beckoning for food. Instead of the couple shooing it away, they ignore the bird despite its persistent and continual encroachment of their space. Another example of similar unresolved anticipation occurs in the kitchen where Roy and Eleanor are having a casual conversation. Several times, the camera zooms on the sausage cooking in the skillet. We anticipate something funny will happen with the sausage but nothing does. The panning on the links (pun intended) has no import, which shows how even the film’s crew become a part of onscreen play in an unscripted production. They too are never sure what will happen in a scene. And like us, they anticipate some action which often never materializes. There are also some incredibly funny and astounding moments that come out of the film’s improv. Eleanor drinks whisky at a job interview and eats the food she accidentally drops on the ground. Maybe the streets are cleaner in Australia than in the U.S., though. How Deep is the Ocean provides the feel of a bright, upbeat film. The 78-minute production is shot in warm, sunny weather, and the interactions among the characters are largely friendly and quippy. In addition to more than five sets, the film has a big cast which includes four main characters. It is rare to see this breadth of mise-en-scène and cast members in what the director, Andrew Walsh, describes as a micro budget film. We also see such largesse in the short film, Divertimento , where the 31-minute movie has more than 20 actors, some with name recognition (i.e. Kellan Lutz of FBI: Most Wanted and Torrey DeVitto of Chicago Fire fame). The film was set in a castle in France, which likely chewed up a significant piece of the budget. Still, what filmmakers are able to do with so few funds is impressive. There are plenty of movies centering self-sabotaging protagonists. One such film is A Star is Born with Bradley Cooper as a successful but deeply unhappy musician who suffers from alcoholism. Another is Leaving Las Vegas with Nicholas Cage as an alcoholic who sets out to drink himself to death. There is also Uncut Gems where Adam Sandler plays a gambling addict who risks his family’s safety when he is unable to settle his debts. Finally, there’s Queen of Earth with Elizabeth Moss as a woman who resents her close friend and winds up descending into delusion. How Deep is the Ocean is neither dark or heavy, nor is it a film about addiction or mental illness. Its style and elements make it comparable to the mumblecore subgenre film, Drinking Buddies – improvisation, love angle, young adult focus, and all. Walsh’s indie is a bright story about a young person with no sense of direction in her life, and who repeatedly exacerbates this rudderlessness and lack of introspection with poor judgment and ill-advised decisions. How Deep is the Ocean makes us adults (young, old, and every age in between) consider why we self-sabotage in these ways. Why we exacerbate the challenges in our lives, making our experiences more unpleasant and our lives more onerous than need be. Why we tend toward something that risks our heart and sense of self, and against something that takes care of both. These are questions worth pondering for a moment or two as we engage in self-therapy. Perhaps How Deep is the Ocean gives us some insight. 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 Red Suitcase offers a glimpse into a different reality < Back The Red Suitcase offers a glimpse into a different reality Cynefilms, 2022 18 minutes Director/Writer: Cyrus Neshvad / Guillaume Levil and Cyrus Neshvad Reading Time: 3 minutes 📷 : Licensed from Pixabay The Red Suitcase Just A Dream (TRRI0X7EOJWAGDDF) 00:00 / 03:26 Ginseng Suspenseful and intense thrillers Chris Chaisson 2023-03-11 Short films have their obvious limitations, and in order to stay within time and budget limitations, they often narrow their focus to one character, one location, or maybe even one object. Even with this narrowed scope, every filmmaker, regardless of project length, wants to properly convey the universe of their story’s setting.. It could be a fantasy realm, a period piece, or a multiverse. Or it could be more grounded, set in the present-day and located where most of its audience resides. However, some shorts give you one character, one location, one object, and a culture you may not have been exposed to, but nonetheless exists for a large population. Such is the case in the cat-and-mouse Oscar nominated short The Red Suitcase . The Red Suitcase drops us into the middle of 16-year-old Ariane’s life-changing dilemma. As she arrives at the Luxembourg Airport from Iran, she dreads the new life that awaits her: a marriage arranged by her family. Her spouse-to-be waits with anticipation at the arrival gate, but she does her best to evade him. He is unfamiliar with her appearance and has only one thing to identify her by: her red suitcase. Ariane does her best to make it through and out of the airport in covert fashion, rebelling against the future assigned to her by her father. Despite her best efforts, she encounters obstacle after obstacle to her imminent safety. Short films do not have much time to provide exposition or build tension, and The Red Suitcase expertly bypasses any unnecessary setup. The audience immediately feels the unease of Ariane before even grasping her situation. Her suitcase is filled with her own artwork, which not only reveals part of her personality but what will bring her joy should she choose to leave the airport with her fiancée. In the mere 18 minutes of the film, Ariane appears to be home free and then desperately hiding several times, giving the audience a roller coaster of emotions. Though she repeatedly uses wit and awareness, misfortune seems to lurk around every corner for her. The suspense remains right up until the final moment where Ariane is forced to accept a compromise. Beyond tension, what the short film provides is a glimpse into another culture and the reluctance of adolescents who are forced to participate in it. Leaving home at such a young age is daunting when done of free will, much less to enter into an arranged marriage. It is not explicitly stated whether Ariane is having second thoughts or ever wanted this life in the first place, but her attempts to evade her future spouse fill the audience with dread from beginning to end. Any viewer of The Red Suitcase can decide for themselves whether or not to cast judgment on the traditions of another culture, but where the short succeeds with flying colors is making the viewer empathize with a young, lonely, fearful protagonist seeking freedom of choice. 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!

Sorry for the inconvenience We are down for maintenance. Please check back again shortly.

Subscribe for new review s, exclusives, deep dives , and more First Name Last Name Email I agree to the terms & conditions (see below) Subscribe Thank you for subscribing!

Cup of Tea Critiques delivers Cinema & Film Reviews online, helping film lovers find hidden gems and explore movies worth watching. Click here to see what we offer! Cup of Tea Critiques Movie and Television Reviews At Cup of Tea Critiques, we believe film should spark conversation, reveal truth, and yes, even challenge your comfort zone. Whether you're a casual moviegoer or a film buff, our reviews are brewed just for you. We do more than rate; we dig into what makes a movie work (or not) from story and direction to character, tone, visual style, and emotional impact. What to Expect Fresh Takes on new releases, indie gems, and festival favorites Deep Analysis of themes, pacing, cinematography, and sound design Spoiler-Free Summaries so you can decide if something’s your cup of tea—no surprises unless you want them Context & Comparisons, because knowing what a film is aiming for often makes all the difference Why Read Our Reviews? Every review is crafted to help you think critically—not just about whether a movie is “good” or “bad,” but why. You'll get insights that go beyond trailers and publicity: what works, where things falter, and how it all comes together (or doesn’t). ® Subscribe for updates! Email us at hello@cupofteacritiques.com Movie: One Battle After Another Image: Used with permission, Alessandro Montalto Movie: Twinless poses questions about the durability of friendships Permut Presentations Interview: River of Grass Writer/Director Derek Magyar sits down with Cup of Tea Critiques Image used with permission, Derek Magyar Movie: One Battle After Another Image: Used with permission, Alessandro Montalto 1/10