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< 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. 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< 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!

Mr. and Mrs. Smith fuses relatability with escapism < Back Mr. and Mrs. Smith fuses relatability with escapism Amazon Studios, 2024- 45 minutes Creator: Donald Glover and Francesca Sloane Reading Time: 6 minutes 📷 : Used with permission, Alexander Kaufmann https://www.instagram.com/djanoidgfx Mr. and Mrs. Smith Hope Springs Internal (RLQDVWKEF6DHSGLT) 00:00 / 06:01 https://twitter.com/DjANOIDgfx https://jakaufmann.myportfolio.com/ Rosemary Movies and TV shows with intense action Oolong Movies and TV shows that make you laugh or involve physical activities like dance and exercise Chris Chaisson 2024-02-18 Numerous articles are written about the decreasing number of young people getting married (the median age of a first marriage has been increasing, per Forbes ). At the end of the day, there is a financial component to the institution of marriage that has muddied the waters for millennials and older Gen-Z members. Even with these shifts in trends and generational perspectives on marriage, marital issues will always be relatable to most of the country, as many have at least witnessed the ups and downs of marriage in their own households. For this reason, the most recognizable people in our culture typically have a spouse and possibly children. Their day-to-day celebrations and squabbles have mass appeal and can win hearts, as evidenced by top-selling gossip magazines and long-running shows about married couples and their families. This is the case even if their careers are not the least bit relatable. Such is the premise for the TV series adaptation, Mr. and Mrs. Smith . Adapted from the 2005 Brangelina blockbuster , as well as a lesser known 1996 TV series starring Maria Bello and Scott Bakula, Donald Glover’s newest project revolves around John (Glover) and Jane (Maya Erskine), two strangers thrust together by a secret organization to carry out spy missions with the cover of an arranged marriage. While they initially swear off anything physical and struggle to create chemistry, John and Jane eventually bond and forge a romance in the midst of their dangerous operations. Throughout the eight episodes, the audience sees the many phases of relationships play out: honeymoon, jealousy, exposed secrets, and differing long-term desires. Despite their work not being relatable, everything about their arguments and personality clashes feel like something most viewers have experienced firsthand. The overall theme of the series is that relationships involve a lot of hard work and communication, at times seeming even more difficult than the life-and-death situations of being a spy. In many scenes, John and Jane argue about their relationship while they are in imminent danger. Resolving their differences seems to be harder than fighting off bad guys, acquiring assets or tailing a moving target who is on to them. Just as in its aforementioned predecessors, the violence and suspense often seem trivial when superseded by the bickering of a married couple. Mr. and Mrs. Smith is an interesting study in how our perception of the elements in a movie or series can be relative to whatever else is happening on screen. Without John and Jane’s arguments, the action scenes could have the suspense of a sequence from The Bourne trilogy, a Bond movie, or a Mission: Impossible film. Imagine Matt Damon or Tom Cruise arguing with their significant other about who was supposed to take the garbage out in the middle of combat. Imagine the Benny Hill theme music playing while Daniel Craig pummels some henchman; it kind of overtakes the violence at hand. In an interview many years ago, comedian Chris Rock discussed how most household names of stand-up comedy are (or were) married. As funny as a single performer can be, his or her problems do not have the same relatability as someone with a family and a spouse to keep happy. While they can be very successful in the industry, they may not have the same universal fan base. Often, shows and movies present complete escapism or complete relatability. There may be a small thematic element of one in a movie that is about the other, but rarely do they contain a balance of both. Mr. and Mrs. Smith creates its humor by juxtaposing an up-and-down marriage (relatable) with the adventures of an international spy (escapism). It is hard not to giggle at the notion that when you have a life partner, nothing could make you put your petty squabbles aside, even the most dangerous possible situations. If you’ll argue with your spouse while fighting off a villain trying to stab you to death, when will you not argue with your spouse? When this series was first advertised, many people thought of the feature film and balked at the casting choices. After all, the film consisted of two A-list actors, both known largely for their sex appeal and action roles. Glover and Erskine are both known for comedy, with much of Erskine’s work coming in the voice-over world ( Bob’s Burgers , Big Mouth ). In fact, Paul Dano ( The Fabelmans ), who plays their next-door neighbor, is a larger movie star than either lead. I would argue this casting makes perfect sense, as both Glover and Erskine have the comedic timing to do a series that is ultimately based in humor. Their place on the totem pole of in-demand actors should probably take a backseat to their on-screen chemistry, which is pretty copacetic. A bird’s-eye view of the show could lead you to conclude that it is indicative of the disappearance of “movie stars,” precipitated by the takeover of superhero franchises. I would rather view it as bolstering the comedic vibes of the series, while simultaneously representing an interracial couple (black man and Japanese woman) that seldom appears onscreen. Having co-stars from underrepresented groups, each with comedic backgrounds, further illustrates how anyone’s relationship issues can be funny and relatable. As far as romantic spy thrillers go, most play it pretty straight, with Mr. and Mrs. Smith giving a rare comedic twist that foregrounds the relationship. Outside of the movie and series it is based on, the closest comparison to draw is likely the mid-90s thriller True Lies , starring Arnold Schwarzenegger and Jamie Lee Curtis. Like Mr. and Mrs. Smith , it consists of a spy trying to save his marriage and includes its fair share of humorous scenes. Donald Glover’s newest project drops the mundane, sympathetic problems of a rocky relationship into a world of gunfights and hand-to-hand combat, providing us a chance to relate and escape all at once. 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 Flamin’ Hot speaks to vision and the need for support to realize it Searchlight Pictures, 2023 99 minutes Director/Writer: Eva Longoria / Lewis Colick, Linda Yvette Chávez, Richard Montañez, Judy Montañez Reading Time: 7 minutes Flamin' Hot How Do I Say This (C5SRMZJ81V79THDF) 00:00 / 08:33 📷 : Licensed from Shutterstock Barley: Movies and TV shows with a lot of dialog White: Movies and TV shows that make you laugh, or involve urgency, like chase scenes or other physical activity Reba Chaisson 2024-10-03 I am not sure if you remember the song by the late Minnie Riperton called “The Edge of a Dream,” but it kept ringing through my head as I watched this film about a man who, indeed, had only a dream. Based on a true story, Flamin’ Hot is about Richard “Richie” Montañez, a down-on-his-luck married father of two in the mid-1970s. After applying for dozens of jobs, Richie, played by Jesse Garcia ( Snowfall , Narcos: Mexico ), finally lands one as a janitor at a Frito Lay factory in Rancho Cucamonga, California. Upbeat and social, everybody likes Richie, even his supervisor, Lonny, played by Matt Walsh ( The Hangover , Veep ). However, Lonny dismisses Richie’s aspirations for doing more meaningful work at the factory and even his ideas for customizing the company’s products to appeal to the Hispanic segment of consumers. This is not because Lonny believes Richie’s idea of a spicy (Flamin’ Hot) recipe for its Doritos and chips is preposterous, but because the idea’s source stems from someone with no occupational prestige, marketing credentials, nor level of authority in the company. So, Richie goes home each night dismayed because he doesn’t see himself as having value nor advancing beyond his current role. Early on in his tenure at Frito Lay, Richie meets Clarence, played by Dennis Haysbert ( 24 , Major League ), an engineer at the factory and the only African American of his stature. Although Clarence is recognized as being the best engineer at the plant, he has hit a glass ceiling. He too has not been promoted to a “white shirt” manager despite his years of service and high level of skill and expertise. Eager to learn from him and believing he can “fix anything,” Richie, against the advice of his friends to stay in his own lane, asks Clarence to teach him what he knows. Initially skeptical, Clarence buys into Richie’s initiative and infectious enthusiasm and takes him on as his new protégé. One of his first lessons to Richie is to listen carefully rather than speak, adding that he can tell which machine is off simply by the directional hum of the room. Flamin’ Hot is an upbeat comedy with a lot of laughs, but as with most comedies it carries a lot of truths. For instance, director Eva Longoria pulls no punches in presenting the blatant hierarchy and segregation that is most evident in the Frito Lay plant’s cafeteria. While Richie comically introduces the sections of the cafeteria by jobs and rank, the occupations line up, not so coincidentally, by race and ethnicity. Sitting together is a group of Hispanics, responsible for the most unsanitary and physical jobs designated by the baby blue uniforms they are assigned to wear. Except for Clarence, the engineers are White and don blue coats, while their supervisors, all White men, are set apart by their white shirts and hard hats. What they all have in common, though, is their frustration with feeling stuck in their jobs at the plant and not advancing to the corporate office in administrative roles. Flamin’ Hot is a story about how difficult, or rather unlikely, it is to get where you want to go alone. While Richie is the main character, it is just as much about others who support him in his journey as it is about him. This is particularly the case with his wife Judy, played by Annie Gonzalez. When Richie and Judy were kids, for instance, they were teased and ostracized by their White classmates for being among the few Mexican students in their elementary school. As a result, the two grew closer and ended up sharing a strong deep love and supportive bond, ironically forged by the disdain of their classmates and the negative treatment of police. At one point in the film, a 10-year-old Richie is handcuffed and arrested for attempting to purchase candy with his own money because the police officer suspects he stole it. It reminds me of a scene from the 1998 hostage movie, The Negotiator , when Rudy (Paul Giamatti) said with frustration while handcuffed to a filing cabinet, “Once you familiarize yourself with the chains of bondage, you prepare your own limbs to wear them.” Being handcuffed doesn’t just influence how others think of you; it influences how you think of yourself. The act of handcuffing someone, whether the person is culpable or not, criminalizes them and has consequences for who they are and what they can become. In Flamin’ Hot , Richie hints at this understanding as well when he says, “Once they treat you like a criminal, you act like one.” Indeed, his challenges in landing a job or even believing he can do so can be tied to his experiences with the authorities as a child. Over time, Judy grows even closer to Richie, and her support of him persists throughout their marriage. In a classic example, Richie struggles to complete the education portion of a job application, so she immediately sits down with him and offers to help. While he degrades himself, Judy says, “Stop! Can you do the job?” Richie replies, “I guess.” She stiffens her demeanor and asks the question again, and he changes his reply, “Yes, I can do the job.” Judy says, “Well alright then. You have a high school diploma” as she fills in the section of the application. This funny, matter-of-fact moment typifies Richie and Judy’s ‘we’ll deal with it’ relationship. Judy’s constant and unwavering support continues throughout the couple’s numerous and lengthy periods of financial instability. Richie’s outlook changes when he inadvertently sees a video of the company’s CEO, Roger Enrico (Tony Shalhoub) compelling employees to “think like a CEO.” With an idea in his head that he expects will catalyze the Hispanic market segment, he finally gets up the nerve to call Enrico to pitch his idea, but he first needs to get past his secretary, Patti (Lori Martinez-Cunningham). Executive secretaries are typically gatekeepers, put in place in large part to grant or deny access to people, such as Enrico, in privileged positions who hold a great deal of power. Getting past Patti is the equivalent of getting your best shot. According to the film, Richie talks his way in, takes his best swing, and ultimately his boss bites. Richard Montañez has been much maligned in the media with intimations that he didn’t create Frito Lay’s Flamin’ Hot recipe. As I said in my review of the Amy Winehouse biopic, Back to Black , it is difficult to know what is true, what is embellishment, and what is patently false when it comes to biopics. These nuances, though, do not change the essence of this story about sitting on the edge of a dream and leaning into it until it blends with reality. Whether entirely factual or not, Eva Longoria deserves kudos for going behind the camera and bringing to the screen a story for people at the bottom of the social hierarchy. It is both an important and entertaining film that pushes the possibility of dreams as something realizable with vision and the support of people who take just a little time to care. For Richie in Flamin’ Hot , these include his wife Judy, his mentor Clarence, and someone whom he doesn’t know, Patti, who grants him access for his pitch to the CEO. Hmmm. I’m thinking about the equivalents in my life. Who would be the equivalents in yours? 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Hit & Run leaves us considering if it’s worth the risk to know the truth < Back Hit & Run leaves us considering if it’s worth the risk to know the truth Artists First, 2021 42 minutes Creator: Avi Issacharoff, Dawn Prestwich, and Lior Raz Reading Time: 6 minutes 📷 : Used with permission, Netflix Hit & Run Life's Mystery (OLLLP7JCTXBC9LYN) 00:00 / 07:03 Ginseng Suspenseful and intense thrillers Matcha Mysteries or whodunnits Reba Chaisson 2023-09-12 Some people follow the old wisdom to accept things as they are, rather than digging around to find what’s hidden beneath them. Others, though, feel quite differently – that it is better to know the truth even if it hurts. Netflix puts this question front and center with Hit & Run , a 9-part series about a man desperate to know what happened to his wife, a professional dancer who was killed in a suspicious hit and run accident. And thanks to his military background, Segev Azulay, played by the series’ co-creator Lior Raz ( Fauda , 6 Underground ), has the skills to handle anyone who gets in his way of finding the truth about Danielle’s death. We realize something is awry early in the series, as Danielle “Dani” Azulay, played by Kaelen Ohm ( Taken , Flint ), prepares to leave their home in Israel for an audition in New York City. She seems distant and is frequently distracted by messages coming through on her mobile. While he clearly adores his wife, Segev, who is intense and high-energy, doesn’t seem to notice. When he bids her goodbye as she heads to the airport, he takes Ella, his 10-year old daughter from his first marriage, to school and goes straight to work as a tour guide. Upon leaving his property, he encounters a man parked by the side of the road just outside of his home, but Segev dismisses his unease when the man explains that he is waiting for someone who is late. Tali Shapira, Segev’s 30-something cousin played by Moran Rosenblatt ( We Were the Lucky Ones , Fauda ), is a captain on the police force and helps him in his investigation with mostly off-the-book research. Although she is in the third trimester of her pregnancy, she wears a gun holster around her waist, drives and crashes cars in chase scenes, and throws bad guys up against walls. Her toughness and tenacity as a woman so far along in her pregnancy make her casting unusual but likely deliberate. Women, especially white women who are pregnant, are typically depicted in cinema as fragile, often ending up in the hospital because a fall, faint, or sneeze put either the baby or the mom in distress. “The Waiting Room” episode in This is Us when Chrissy Metz’s character goes into premature labor is an example of this. Another is when Kim Raver’s character suffers a pregnancy complication in the “Add it Up” episode of Grey’s Anatomy . I could go as far back as the ‘80s with the movie, She’s Having a Baby, and the ‘90s with the “What Child is This?” episode of The Practice , but I won’t. In Hit & Run , Tali challenges this representation, as she even endures an explosion and comes away with just a few cuts and bruises and her unborn child still active in her belly. Perhaps a bit unrealistic. But while not the central character in Hit & Run , Tali is by far the most dynamic and interesting one. The Hebrew dialog in the series is overdubbed in English, making Hit & Run an easier watch than shows with subtitles, where we are tasked with reading while trying to watch what is happening on screen. The weather throughout the series is cool and perpetually overcast, likely to remind us of the somber circumstances. Also perpetual is Segev’s scowl. This is quite distinct from a look of sadness, but it hints at gender differences in how we handle grief. Though researchers emphasize that grieving can be a blend of emotional and physical displays, they acknowledge that women tend to talk with others while men express grief physically. Segev’s response to Dani’s death is unquestionably the latter. Indeed, it would have been refreshing to see him as a more complex character with a blend of emotion and physicality in the handling of his wife’s death. Instead, his character reinforces the traditional gender stereotypes around grieving. In addition to Segev’s overwhelming grief, Dani’s death sets into motion home invaders, where we see Segev display his fighting skills, explosions, and confrontations with the police because they “still don’t have any answers.” Eventually, his need for the truth takes him from his home in Israel to New York City, where he enlists Ron, his longtime friend and former military buddy, for help. Ron, who is down on his luck but enthusiastic about reuniting with Segev, provides him with weapons and accompanies him on his mission. Curiously though, he is surprised when Segev’s tactics for extracting information get out of hand. This inconsistency in the show is never explained. The show also stars Sanaa Latham as Naomi, an accomplished journalist for a high-end investigative magazine and Segev’s close friend. As with his cousin Tali and friend Ron, Segev enlists Naomi’s help in understanding the circumstances surrounding Dani’s death. Initially reluctant because she fears he will go off the rails in his coercive techniques, as he did often when they were in Mexico, she nonetheless goes down the rabbit hole with him in the investigation. In addition to the ending, the show leaves some holes. For example, the story begins in Israel, where Segev and Dani live in a rustic setting on a big, beautiful piece of property that includes a large home. Although he is a former Israeli soldier, it is unclear how his present self-employment as a tour guide generates the means to own such a large piece of real estate. This is never explained, but perhaps it is from the ill-gotten gains reaped during his stint in Mexico that is alluded to during his talks with Ron and Naomi. Another question concerns the repeating of Segev’s name. Each character states his name a minimum of three times during every exchange. It is as if the creators want to emphasize his character as the lead in the show, or that they’re concerned we will forget his name while watching it. This becomes obvious and annoying as the show moves on. Think about it. How many times do you name-drop during a 3-minute conversation? Hit & Run is comparable to The Agent , a Netflix series about a CIA agent working with his protectee to uncover who killed her aunt and uncle in their home and why. Both productions blend action and politics to render an intriguing story. As a whodunnit, action-filled, international thriller, Hit & Run offers a few surprises in the things uncovered about Dani and the circumstances surrounding her death. Nonetheless, the findings of the investigations in Hit & Run , leave us questioning if all the death, destroyed lives, and lives placed at risk were worth the truth, or if Segev should have just left well-enough alone. I don’t know. Could you? Previous Next Sign-up for new reviews, exclusives, deep dives, and more First name Last name Enter your email here I agree to the terms & conditions Sign-up Thanks for joining us!

< Back Missing disorients time and place with suspense and thrill Stage 6 Films, 2023 111 minutes Director/Writer: Nicholas D. Johnson and Will Merrick / Will Merrick, Nicholas D. Johnson, Sev Ohanian Reading Time: 5 minutes Missing Quiet Desperation (HRM7QT5CDUE33KUJ) 00:00 / 05:33 📷 : Used with permission, Netflix Coca Movies and TV shows about drugs or with disorienting presentations Ginseng Suspenseful and intense thrillers Reba Chaisson 2023-06-15 As adults, we sometimes carry grudges against our parents for all kinds of things. As time passes, we either shake them off or become increasingly incensed. “How could Mom possibly do that?” “Well, she didn’t do this!” “Mom likes you better than me.” In our complaints, we former kids come off as omniscient, as if we had a complete understanding of the nuances of parenting as preadolescents and teenagers. The film, Missing , humbles us by letting us know that as kids, we understood little about the decisions parents made to do what was best for their children. At first glance, a movie where the audience spends half the duration of the film looking at the reflection of the lead actor in monitors and mobile phone screens seems inconceivable, corny, and unappealing. Well actually, all are still true. However, Missing evolves into a suspenseful thriller about a woman who goes missing and her daughter’s efforts to find her. Along the way, the film reinforces the intended function of technology, which is to serve as tools that not only simplify our lives but, when used optimally, can help with challenging and arduous tasks. Storm Reid ( A Wrinkle in Time , Euphoria ) plays June, a tech-savvy 18-year-old occasionally irritated by her mother’s tendency to fuss over her. Insistent on calling and texting to check on her, Grace, June’s single mom played by Nia Long ( The Best Man: The Final Chapters , Look Both Ways ), is loving but also obsessed with keeping her only child safe. While June is a normal older teen with the obligatory best friend and a healthy peer group, she experiences moments of melancholy when sitting in front of her oversized computer monitors. Pulling up a home video of her late father James, whom she was close to as a young child, helps us understand that she still grieves his loss. On this day, Grace is excitedly preparing for a vacation in Cartagena, Columbia with Kevin, her sedate partner played by Ken Leung ( Industry , Lost ). Not as adept as her daughter at technology, Grace inadvertently Facetimes June instead of calling her. Flustered, Grace explains to June when she will return and asks her to pick them up at LAX. June replies in the affirmative with strong hints of annoyance and sarcasm in her tone – “Yes ma’am.” Sound familiar? The mood of the film suddenly turns ominous when Grace and Kevin do not get off the plane from their scheduled flight, and June’s efforts to reach them are in vain. Planting herself in front of her computer, we see her reflection in the monitors for much of the film as she desperately makes phone calls, sends texts, and breaks into emails for clues on their whereabouts. In this sense, Missing brings to mind the 2018 film, A Simple Favor , with Anna Kendrick as Stephanie, a vlogger who uses technology to locate Emily, a missing woman played by Blake Lively. Providing background noise, or what can also be viewed as the soundtrack for Missing , is the familiar sound of computer work, such as telephone ringing, text message bubble bursting, and fingernails hitting the keyboard. In addition to the audio, the film also provides an unorthodox movie experience with doorbell cameras and video chats. For example, June has video chats with personnel at the U.S. Embassy in Columbia and also with Javier, a messenger in Cartagena played by Joaquim de Almeda ( Warrior Nun , Queen of the South ). Through the video interactions, the audience is given the sense of remote work. Images of Columbians in outdoor settings reveal the architecture and the bright and clear days. People moving about in short sleeves and tank tops indicate the hot temperatures. And the honking of horns gives a sense of the city as busy and congested. The effect of these combined with the aforementioned soundtrack, gives the sense of watching a movie within a movie. So rather than the audience being contained to June’s room to stare at her reflection for much of the film, Missing uses video images to provide a sense of movement in the film, not to mention an international flair. Despite her deftness at technology, June becomes frustrated when she can neither get the answers she wants nor the help she needs. She is at the mercy of people who sympathize but do not share her urgency in finding Grace. One example of this is her need to see the hotel’s security camera video before it loops. While the embassy worker does take June’s call, he does not sufficiently engage to be of help. Javi, on the other hand, will, but for a price. Through these experiences, June realizes that technology and the skills to use them are powerful, but both have their limits when you don’t know what you don’t know. At some point, footwork and face-to-face engagement are necessary to find the answers to questions you don’t know to ask. What is uncovered in this virtual-to-reality thriller blindsides us, leaving us with the all too familiar epiphany that we ignore as children and young adults. We might think we’re smarter than our parents, but we don’t know anything. 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< Back Footnotes illuminates the highs and lows of a pandemic-era romance Box Party Films, 2023 95 minutes Director/Writer: Chris Leary Reading Time: 4 minutes Footnotes Home Inside (LJBFFLYOBAYC6VUN) 00:00 / 05:03 📷 : Used with permission, Chris Leary Barley: Movies and TV shows with a lot of dialog Jasmine Movies and TV shows with heart, positive vibes, and warm messages Chris Chaisson 2023-06-23 We’ve all heard idioms such as, “Absence makes the heart grow fonder.” However, platitudes like this ignore the reality of how humans survive in a new environment. Adapting involves making new friends in your new surroundings and letting go of connections from your old one. Those who believe in soulmates feel like their heart will always yearn for the same person regardless of distance, but for everyone else, it is important to turn the page. Chris Leary’s touching pandemic-era romantic drama Footnotes highlights these diverging mindsets. The co-stars of this indie film set at the height of the pandemic in 2020 are Will (Chris Leary), a 20-something building manager in Los Angeles, and his new tenant Apurna (Sharayu Mahale). They meet in February, when she moves in, and hang out to pass the time after the economy shuts down due to COVID. Early on, Apurna addresses the elephant in the room, saying that she will not sleep with Will. After clearing the air, the two hit it off, swapping stories and sharing intimate details about themselves over the course of several months. While their relationship is platonic, they clearly have romantic chemistry, evident when Apurna is silently jealous of Will having a date with another girl. Despite their budding unspoken romance, Apurna takes a trip home to New England to visit family around the holidays. Now apart, only time will tell whether their feelings grow or simply dissipate. During the pandemic, many couples experienced severe turbulence in their relationships, as their increased time together exacerbated any conflict between them. Footnotes presents the flipside of this dynamic, illustrating how the pandemic also had the opposite effect of bringing two people together who likely would have never formed a bond. Both homesick and living alone, Will and Apurna become friends in large part due to going stir-crazy. Through his dialogue, writer/director Chris Leary takes viewers back to the very relatable phenomenon of the struggle to socialize after a lack of human interaction or to reexamination of their place in life, both of which many people experienced back in 2020. Just the same, Will and Apurna’s exchanges foreshadow what is to come in their relationship, particularly as they talk about their exes. Though there are no flashbacks in the story, the sentiments they share reveal their flaws as potential partners. Will puts people and his relationships with them on a pedestal, while Apurna hedges, staying non-committal. Their imperfections feel very real and apply to someone in most people’s dating history. Even if the co-stars come off as flaky on one side or possessive on the other, Apurna and Will are operating in a very uncertain time period and have no idea of what the future holds. Remembering this uncertainty that many of us felt at the time makes their actions and emotions understandable. A new romantic connection can be exciting but also intimidating in what feels like an alternate universe, prompting people to return to what may be a more familiar past. Apurna is faced with such a mix of emotions as she reverts to her past by returning home. While Will seems too dependent on Apurna to maintain his emotional state, struggling to take care of himself when she leaves, his difficulties appear similar to the stories told by single people about their emotional challenges during the pandemic. Despite its minimal cast, Footnotes also manages to depict cultural differences. Apurna’s Indian heritage is discussed in her conversations with Will and depicted when she returns home, both in a way that does not feel forced. While being traditional, her parents still have their own personalities, as is shown when Apurna’s mother engages in a Jane Fonda-like workout on TV, or her dad stares in confusion at the box of Special K cereal Apurna brings home with her. These slice-of-life moments keep all of the characters from feeling like stereotypes and keep the story from being too centered on Will’s perspective alone. Footnotes feels most similar to the 2009 Joseph Gordon Levitt-led film 500 Days of Summer . Like Will, Tom (Levitt) is a hopeless romantic who has put his love interest on an unreachable pedestal and is crushed by reality. Sadly, Footnotes lacks a flash mob scene set to Hall and Oates but does deliver on the other emotional swings of a romantic drama. 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!