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< Back Talk to Me tackles peer pressure and the effects of witnessing violence A24, 2023 95 minutes Director/Writer: Danny Philippou / Michael Philippou Reading Time: 5 minutes Talk to Me A Most Sinister Kind (LQSZUBJOBXALHA5N) 00:00 / 05:00 📷 : Used with permission, Agustin R. Michel https://www.instagram.com/agustinrmichel https://twitter.com/AgustinrMichel https://www.behance.net/agustin_rmichel Dandelion: Movies and TV shows with heavy subjects Ginseng: Suspenseful and intense thrillers Chris Chaisson 2023-08-11 The phrase “elevated horror” has been thrown around in cinematic circles over the last few years, as horror directors aim for more depth in their stories. The term is meant to refer to horror stories that tie in to social or psychological issues. Many younger creators have touched on topics like social media addiction, grief and generational trauma with their works, a change of pace from the costumed villains of decades past. I recently re-watched a ‘90s film Menace II Society , an unflinchingly violent film about the final high school days of two friends growing up in Watts, California. What struck me most about the film was how every brutal moment had an innocent bystander who would likely face permanent emotional damage due to what they had just witnessed. Though part of a much different genre, Australian YouTubers Danny and Michael Philippou tackle this theme in their new A24 flick, Talk to Me . Talk to Me revolves around a group of high school aged students who use an embalmed hand cased in ceramic to conjure up spirits. After lighting a candle and holding the hand, they say, “Talk to me,” and a ghost appears to whomever is holding the hand. They then recite, “I let you in,” allowing the ghost to possess their body. The caveat is that after 90 seconds, the spirit will want to remain in the body, so they must let go of the hand and blow out the candle before the time is up. When the younger sibling of one student partakes, the spirit possessing his body causes him to inflict violence on himself, putting him in critical condition and ending the group’s enjoyment permanently. The A24 project, created by two brothers who own the popular YouTube channel “RackaRacka,” is certainly not the first horror movie to feature kids contacting spirits from beyond the grave. There have been several Ouija board-adjacent horror flicks in which the game goes terribly wrong. Where Talk to Me diverges from the others is its tie-in to contemporary pop culture trends. The teenagers do not partake in the activity to rebel against strict parents; they do it to fit in and gain attention. An unfortunate trend in recent years has been adolescents succumbing to dangerous challenges on social media that bring them harm and, in some cases, death. Though letting ghosts possess your body sounds, um… ill-advised , so does consuming laundry detergent or running across a series of large stacked crates. The film points out the intoxicating effects of fame and popularity, whether in a local or global community. As we see repeatedly, all that is needed to encourage foolish behavior are a couple of examples where nothing bad happens. The more individual sub-plot of Talk to Me is the stages of grief its protagonist, Mia (Sophie Wilde, The Portable Door ), experiences. Having witnessed her mother’s overdose, Mia struggles to come to terms with the loss of a loved one, as does her father. She lives with her friend Jade’s family, as her relationship with her father has been strained. With both having witnessed the life leave her mother’s body two years prior, Mia and her father both struggle to come to terms not only with the loss of life, but what they saw with their own eyes. They each carry the guilt of believing that she could have been saved. Mia’s infatuation with contacting the spirits compromises her judgment. Not only does Mia play along but encourages Jade’s little brother, Riley, to join in, putting him in a perilous situation against Jade’s wishes. After the teens all witness a violent, horrifying and consequential moment, the fun ends and the ancillary characters drift out of the story. While this puts even more focus on grief-stricken Mia, it also highlights how trends among youth come and go once a sobering and catastrophic moment occurs. Though Talk to Me mirrors Menace II Society in its depiction of young people witnessing death and violence, the two films hail from completely opposed dramas. Talk to Me ventures into the supernatural while Menace II Society is very grounded in the reality of its time period. A better comparison in the same genre would be the early 2000s thriller Joy Ride . Paul Walker and Steve Zahn play brothers on a cross-country trip who prank a truck driver on a CB radio, leading him on to think they are a woman that is interested in him. Once they reveal themselves, the truck driver wants vengeance and goes on a violent rampage. What the films do have in common is young people seeking attention, letting a game go too far, and having to cope with the horrifying, irreversible results. Previous Next Sign-up for new reviews, exclusives, deep dives, and more First name Last name Enter your email here I agree to the terms & conditions Sign-up Thanks for joining us!

< Back Opportunity combines an anti-hero with unusual villains Morris Hill Productions, 2024 96 minutes Director/Writer: Rusty Rehl Reading Time: 5 minutes Opportunity Hope Springs Internal (VG1KXOOFFBESR7C9) 00:00 / 05:40 📷 : Used with permission, Morris Hill Productions White: Movies and TV shows that make you laugh, or involve urgency, like chase scenes or other physical activity Ginkgo Biloba: Youthful, lighthearted, and fun movies and TV shows Chris Chaisson 2024-12-02 When watching a story unfold, we often adopt the perspective of the character most central to it. Generally, they have basic decency or some relatable quality, while the antagonistic force is motivated by greed or a general desire to harm. However, sometimes we can be in the thick of a story and say, “Wait a minute, who is actually the jerk here?” Anti-heroes are a mainstay in cinema and a good way to shake up the routine. Rusty Rehl’s debut feature Opportunity provides us with just such a character. Opportunity revolves around Patrick, a down-on-his-luck thirty-something living out of his van while trying to buy a house. He is “roughing it” somewhat unnecessarily, as he has savings but simply refuses to rent. In order to secure a loan, he agrees to pull off a theft for Jared, a mischievous businessman, by breaking into the home of a well-connected accountant named Tim to do so. With his friend Donnie’s help, he pulls it off. But when Tim discovers his identity, Patrick goes on the run, and a cat-and-mouse game ensues with a group of Mormon gangsters in pursuit. Patrick’s mindset may be head-scratching to some viewers yet make perfect sense to others. Who would choose to live out of a vehicle on principle when they have the funds to put a roof over their head? Patrick sidesteps the question when Donnie poses it to him early in the film. He seems preoccupied with the down payment on a home but nonchalant about the other costs of home ownership. In addition to being stubborn, Patrick’s obliviousness to the costs of owning a home perfectly illustrates immaturity and naïveté, respectively. The younger we are, the more idealistic we tend to be about our life and career goals, overlooking the forest for the trees. Patrick’s nomadic propensity speaks to an anti-establishment mentality, which makes him forego the most common-sense option that presents the stability he needs at the moment. Though not the sharpest tool in the shed, Patrick’s friend Donnie is loyal to the end. Donnie seems far more invested in their friendship than in his not-so-monogamous relationship with his girlfriend Julia, who loathes Patrick. Julia, whom Donnie also financially supports, has dictated to Donnie that she is free to see other people but he is not. This nugget sticks in Patrick’s craw, and leads to arguments between him and Donnie. As in most friendships, each has to point out the other’s blind spots, but they fall on deaf ears more often than not. Other than Patrick’s and Donnie’s squabbles, Opportunity ’s comedic relief stems from its anomalous villains: a group of well-mannered, articulate, Bible-pushing Mormons who have their hands in crypto. They comprise a perfect villain for a crime comedy, as they are not nearly as intimidating as the gangsters we typically see in the media. They are always professionally dressed, never use profanity and speak politely even amidst altercations. By contrast, Patrick consistently name-calls and uses vulgar, hostile language every time he encounters them. This is a characterization frequently used in screwball comedies; our “hero” behaves like a bad guy and our bad guys behave like heroes. Consider Animal House , where the protagonists are troublemakers who destroy property and the “villain” is the dean trying to hold them accountable. When Patrick and Donnie break into a safe and steal a computer device containing a virtual crypto wallet, the gangsters go after them while also trying not to tarnish their public images. Patrick and Donnie go to their tech-savvy friend Tony, who works in IT for Jared’s accounting firm. Reluctant to get involved, Tony repeatedly denies them entry to his house until they insist and shove their way past him. Again, Patrick and Donnie exhibit off-putting behavior despite being the duo we’re conditioned to root for. Tony figures out the value of what they have stolen before kicking them out of his place. The rising action of the film inches toward a violent climax between Patrick, Donnie, Jared and the gangsters, who all at times seem like disorganized stooges. Once the dust has settled, the audience is left wondering who actually was in the right. We can use the adage that “desperation compromises judgement” to explain Patrick’s actions. For Donnie, we can conclude that loyalty can pull us into all kinds of calamities. And as for Tim and the gangsters, we can surmise that they just want their property back. Ultimately, this is how comedy suspends our disbelief. In the same way we watch Vin Diesel drive out of a skyscraper window into a nearby skyscraper window and accept it as plausible, comedies convince us to be on the side of a criminal protagonist who is perpetually mean-spirited, even to his companions. In terms of plot, Opportunity may bring to mind the Coen Brothers hit No Country for Old Men , where a hunter steals a large sum of money resulting from a drug deal gone wrong and winds up in the crosshairs of a psychopathic killer. Clearly, Rusty Rehl’s feature takes a far more light-hearted tone, but both present a main character with compromised morals and cat-and-mouse games erupting in violence. 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The Studio provides laughs with its bungling protagonist < Back The Studio provides laughs with its bungling protagonist Lionsgate Television, 2025- 25 minutes Creator: Evan Goldberg Reading Time: 5 minutes 📷 : Used with permission, Christian Niemann https://www.instagram.com/justbychris/ The Studio Groove Station (XLK5J9TJBAVMOYXC) 00:00 / 05:58 https://x.com/justbychris Ginkgo Biloba Youthful, lighthearted, and fun movies and TV shows White Movies and TV shows that make you laugh, or involve urgency, like chase scenes or other physical activity Chris Chaisson 2025-06-23 Many comedies center around a person or a friend group who are just regular people. They have a regular job and no real power to speak of, making them relatable to most of the audience. While this works just fine for many comedies, it is refreshing to occasionally see a show revolving around a boss who is out over his skis. Having an authoritative figure who lacks an authoritative presence reminds the audience that often, no one knows what they’re doing in life and everybody is faking it to some degree. This persona also serves as the perfect setup for endless hi-jinks. Such is the case in Seth Rogen’s new Apple + hit The Studio . The inciting incident of The Studio involves its protagonist, Matt Remick (Rogen), realizing a life-long dream as he is promoted to the lead executive. With his new responsibility to green-light projects and approve of spending requests from filmmakers, you would think that he is the most popular man at The Continental Studio; as it turns out, far from it. While Matt gives off a less cold and detached vibe than the stereotypical studio head, his desire to be viewed as an artist leads him to be overbearing. He consistently inserts himself into the filmmaking process rather than simply making decisions and observing at a distance. Thus, many of the actors and directors grow tired of him but consistently suck up to him to get what they want. Matt lacks the self-awareness that his right-hand man Sal (Ike Barinholz, MadTV ) has, leading to many cringeworthy moments throughout the series. Matt often overstays his welcome (if he was ever welcomed) on sets and in trailers, interfering with any progress being made on a project. Even though he cares more than your average executive, he takes his persona as a creator too seriously, and his performance as the studio head suffers. The hilarity of The Studio comes from the fact that despite Matt’s nerdy demeanor, lack of social grace and inability to project any modicum of strength, he still holds an authoritative position. His decisions, sometimes calculated but often impulsive, hold great influence, and even other producers and executives must defer to him. His character could be summed up as “if Michael Scott bought movies instead of selling paper.” The protagonist from The Office , played for many years by Steve Carell, Michael Scott had very endearing qualities but often seemed like too much of a stooge to be in charge. Nonetheless, he was. Not only did his place as the decision-maker bring about a lot of hilarious and cringe-worthy moments, it made him a sympathetic figure. Much of the audience undoubtedly has bosses they do not respect. So protagonists such as Matt and Michael serve as somewhat of a confirmation bias, while also providing us enough emotional distance to laugh at their mistakes—mistakes that are not so funny in our actual workplace. Despite all the comedy deduced from the characters’ ineptitude and faux pas, The Studio ’s appeal also comes from its authenticity. Many of the discussions between the executives and the creatives, and the concerns expressed mid-conversation, feel very true to real life. For instance, Matt obsesses over delivering an unfortunate note to Ron Howard about a scene that needs to be cut from his newest film, as he does not want to give negative feedback. In discussing with his team, he tries to pawn the responsibility off on the head of marketing, Maya Mason (Kathryn Hahn, Tiny Beautiful Things ), who responds by saying no creative would ever take a note from marketing seriously. This moment speaks to how strictly roles and power structures are defined in the entertainment industry. Thus, having reluctant bosses in positions of power creates so many problems that are, in a fictional world, very fun to watch. The style of the shooting involves very long takes as Matt drives around the studio lot, walks through active movie sets, or greets people in the foyer of his office building before leading them upstairs. The takes are accompanied by soft, percussive jazz music, reminiscent of the Best Picture winner Birdman (or the Unexpected Virtue of Ignorance) , starring Michael Keaton. This shooting style leaves audiences stuck with Matt in every uncomfortable moment after there is friction between him and a director or member of his team. When he needs to juggle meetings or quickly convey information, we see how dizzying his job can get and how often he needs to quickly put on a friendly face. These scenes give the audience a hint of empathy for people in positions of power, who may have a very disorienting daily routine. It also reinforces how difficult such a position is to occupy without the appropriate Type A personality. Between its well-written characters, tremendous acting, uncomfortable scenes and gut-busting physical gags, The Studio may very well be the next award-winning comedy to be considered the best on television. Fans of The Office will surely see a hint of Michael Scott’s influence in this Apple + hit and may take to it the same way. The Studio offers countless laughs every episode and reminds us not to take ourselves too seriously. Previous Next Sign-up for new reviews, exclusives, deep dives, and more First name Last name Enter your email here I agree to the terms & conditions Sign-up Thanks for joining us!

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

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

Florida Man adds hilarity to parallel and seemingly disconnected plotlines < Back Florida Man adds hilarity to parallel and seemingly disconnected plotlines Aggregate Films, 2023 50 minutes Creator: Donald Todd Reading Time: 6 minutes 📷 : Used with permission, Netflix Florida Man Another Round (TFTXNDKQV3RPRF6U) 00:00 / 07:03 Oolong Movies and TV shows that make you laugh or involve physical activities like dance and exercise Peach Movies and TV shows with a springtime feel or with images of the season Reba Chaisson 2023-05-18 My guitar teacher talks a lot about the importance of gradually building the music during a performance, especially when you are a solo act playing acoustic guitar. Start a song off deliberately, for example, with simple Travis picking, build it to a light strum maybe adding a 4 th to a couple of the main chords, and move into the end with a serious strum that puts all these together and gets people moving – or at least their heads shaking to the rhythm. The new Netflix mini-series, Florida Man , brings this to mind. What is interesting about the 7-episode series is rather than laying out maybe two or three main plots in the first few episodes, it develops several parallel plotlines as the story moves along. While each seems random to some degree, once converged, they fit the characters and existing storylines like a glove. Florida Man stars Edgar Ramirez ( Yes Day , Gold ) as Mike Valentine, a reluctant and unconventional mobster. In contrast to portrayals of gangsters where underlings do as they are told and go about their “business” donned in slacks, polos, and suits, Mike frequently argues with his boss and dresses in jeans and a casual untucked print collared shirt. He also hates Florida, a place where gangsters are rumored to retire, describing it as “[the place] that provided [him] with the opportunity to leave, and [he’s] not going back.” Originally “employed” by his boss’s late father, Mike wants out but Moss Yankov, who now heads the Philadelphia-based “family business,” refuses to let him go. In the absence of an emotional connection with Moss, who is also her fiancée, Delly West becomes close with Mike, as he drives her around town to nightspots and on coffee runs. One morning, Moss awakens to find her gone. She has taken the BMW he gave to her the night before and is heading towards Florida. Moss, played by Emory Cohen ( Lords of Chaos , The OA ), orders Mike to go to Florida to bring her back. Begrudgingly, Mike makes the trip and reunites with his family, which includes his seemingly well-grounded sister, Patsy, played by Otmara Marrero ( Clementine , Yoshua ), who he is very close to, and his father, Sonny, who he is not. At this juncture, the show peels back the layers of Mike’s disdain for Florida, suggesting that something is amiss between him and his father, played by Anthony LaPaglia ( Without a Trace , Halifax: Retribution ). But this is only a teaser, as the source of this tension still has not been revealed. Meanwhile, Deputy Ketcher is a detective on vacation with his family in Florida. He lost his gun somewhere in transit, and he is feeling uncomfortable without one. Frustrated at his difficulties buying a replacement at a firearms store, Deputy Ketcher, played by Clark Gregg ( Agents of S.H.I.E.L.D. , The Avengers ), rants, “This is Florida. The g**damn state is shaped like one. I can’t go to a mailbox without tripping over 3 of ‘em, but God forbid you sell me one.” Desperate, he buys one illegally, adding another seemingly disconnected but hilarious plotline to the story. Upon finding Delly, Mike observes her faking her own death, which makes Florida’s television news. When he confronts her, he learns that she is in pursuit of a large cache of gold, one that Moss talked about incessantly but still believed to be a myth. Mike is hooked both on Delly’s quest and Delly herself, so much so that he lies to Moss about Delly’s fate – adding more layers to the plotline. Moss is so heartbroken, he even holds a repast for Delly at his home in Philadelphia, where Tyrone Davis’s 1970 R&B hit, “Turn Back the Hands of Time,” is heard playing in the background at the all-White gathering. Things become complicated when Delly, played by Abbey Lee ( Mad Max: Fury Road , The Dark Tower ), grows impatient and invites Sonny to help in searching for and recovering the treasure. However, Sonny, who is the retired chief of police in town, turns out to be a bit unsavory and develops his own plans. All of this is occurring while the FBI is investigating a gangland style murder, which they believe was committed by Moss’s crew in Philadelphia. They need Mike and/or Delly’s help to make their case. But they, like Moss, bought the news that Delly is dead, and they cannot seem to locate Mike – whose ex-wife is one of the investigators. To sum, the numerous and parallel plotlines and characters culminate in a fun and entertaining story. Florida Man brings to mind the 1984 film, Against All Odds . Besides a terrific soundtrack by Phil Collins, the movie stars Jeff Bridges as Terry Brogan, an injured and broke former professional football player who owes favors to Jake Wise, a shady nightclub owner played by James Woods. Jessie Wyler is Jake’s girlfriend played by Rachel Ward. When she leaves Jake and heads to South America, Jake forces Terry to go find her and bring her back. Terry finds her and the two fall in love. While the stories are nearly identical, the look, tone, and feel of Against All Odds and Florida Man differ dramatically. The former is heavy and dark with adult themes, violence, and menacing characters. The latter, on the other hand, is colorful and light. While it has adult themes, they are not presented in scary and intimidating ways. Even the violence in Florida Man is tough to take seriously because it is embedded in such hilarity. What I also like about this series is that Mike speaks in a Latino dialect, and his father and sister do not. That this is never highlighted nor explained in the series suggests the filmmakers, and perhaps Edgar Ramirez himself, insisted on bringing his ethnic identity to this role and proving that it can indeed be pulled off for this character. For the first half century of cinema, White actors played people of color using makeup and wigs to modify their appearance to resemble the groups they were portraying, or sadly, present caricatures of some others. No special makeup or dialect is used for Mike Valentine’s character in Florida Man . Ramirez brought his full authentic self to the role. I wonder about the implications of this for actors in portraying characters of different racial and ethnic groups. Does this have the potential to work for or against making more on-screen roles available for people of color? This is something to ponder. But regardless of which side you come down on, Florida Man pulls this off without a hitch. 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!

Queen of the South follows Teresa Mendoza from her beginnings as a money changer on the streets of Sinaloa to her rise as head of an international drug empire. < Back Queen of the South follows Teresa Mendoza from her beginnings as a money changer on the streets of Sinaloa to her rise as head of an international drug empire. USA Network, 2016-21 45 minutes Creator: M.A. Fortin and Joshua John Miller Reading Time: 6 minutes 📷 : Licensed from Shutterstock Queen of the South Latin Sunset (PCTCZB52I0DZLNEA) 00:00 / 07:05 Coca Movies and TV shows about drugs or with disorienting presentations Ginger Thought-provoking movies and TV shows Reba Chaisson 2022-05-02 The 1981 film, Mommie Dearest , contains an iconic scene showing a woman’s courage and strength in a time when social norms dictated that women be obedient, docile, and dependent on their partners. Starring Faye Dunaway ( Bonnie and Clyde , Chinatown ), the film is based on the life of the late actress, Joan Crawford. The scene depicts Crawford facing destitution after the death of her husband in 1959, who was an executive at Pepsi-Cola Corporation. At a meeting intended to nudge her from his board seat, she stands up at the head of the long conference room table fully surrounded with men in suits, leans forward, and loudly and sternly asserts, “Don’t f*** with me fellas!” It got their attention. Sometimes, business dealings come to this. But there are other ways to get what you want too. Queen of the South follows Teresa Mendoza from her beginnings as a money changer on the streets of Sinaloa to her rise as head of an international drug empire. She is left vulnerable after her lover, Guero, played by Jon-Michael Ecker ( Narcos , Firefly Lane ), is killed under suspicious circumstances while working as a drug runner for a cartel. Realizing her life is at risk and now without the protection that comes with being a member of “the family,” she is forced to figure things out on her own. Her only hope for survival is the cliché “notebook” given to her by Guero, which he then urges her to trade with his boss for her life should anything happen to him. Guero’s boss, Don Epifano (Joaquim de Almeida, Fast Five ), will literally kill to get the book back into his hands. The drugs, crime, and brutal violence in Queen of the South provide the landscape for this story about a woman, and more generally, about how women can get it done, whatever “it” is, in a way different than “business as usual.” The series reminds me of Miss Sloane , the 2016 release where Jessica Chastain ( Zero Dark Thirty , Molly’s Game ) plays Madeline Sloane, a smart political operative in D.C. who leads a campaign to pass anti-gun legislation into law. More than a notion, this makes her the enemy of the powerful gun lobby. Similar to Teresa, Madeline navigates her terrain like chess, with deliberate, well-thought-out decisions at every move designed to get her what she wants, without costly missteps. Played by Alice Braga ( I am Legend , Elysium ), Teresa scratches, claws, and fights her way to relative safety in the U.S. She exhales for only a moment before being captured by Don Epifano’s estranged wife and rival, Doña Camila Vargas, played by Veronica Falcón ( Ozark , Perry Mason ). Running her cartel on the U.S. side of the border, she coerces Teresa into drug mule duties. Unbeknownst to Camila, her new “employee” is in possession of a book her husband so desperately wants, a tool that can be used as leverage against him. Meanwhile, Teresa says and does what is necessary to survive, all while learning about “the business.” In Queen of the South , Teresa and Camila differ in their approach to business growth and management. Their starkly contrasting styles are presented in part to let the audience think about whether women’s instincts are innate or if they vary by personality and socialization. To what degree are their decisions and actions shaped by distinguishing qualities they are born with versus forces like: their exposure to ways of handling people and problems; a focus on individual needs; the constrained set of opportunities available to them. Strong, confident, and commanding of attention, Camila can be brutal in her tactics. She punishes rivals and demands nothing short of obedience from her employees. Teresa learns this when she discovers one of her boss’ business partners is cheating her. Although empowered to teach him a lesson, Teresa chooses to “do nothing.” Later, Camila admonishes her for this. “You were in a position to do something about it and you chose mercy. Women in this business cannot afford to look weak. Don’t ever make that mistake again.” This outlook and management style make Camila more like the traditional merciless cartel leader who allows no room for mistakes. Typically, violence characterizes cartels, but Teresa goes against type and stereotype. Rather than brutal killings and wreaked havoc, she is focused and skilled at negotiating deals with suppliers and competitors, qualities which mark her as a leader to be taken seriously. Even her trusted right-hand expresses concern about her approach to conducting business. Pote, played by Hemky Madera ( Spider-Man: Homecoming , Perry Mason ), fears she is too forgiving, that her kindness and mild-mannered approach will be misconstrued as weakness. But thinking on her feet, quickly devising creative solutions to problems, and holding herself, her suppliers, and even her employees accountable in interesting ways, effectively become her trademarks. Like everyone, Teresa and Camila’s lives have been shaped by societal forces, but their responses to those experiences differ greatly. Camila focuses on outward signs of power which becomes apparent in subtle ways. When she and Teresa attend an upscale event, she sarcastically but sternly asks her, “Now, are you going to wear that dress or are you going to let it wear you?” Teresa changes her walk and demeanor to project power—and following Camila’s advice, wears that dress! Projecting power is key for Camila. Her experiences as the wife of a cartel leader taught her the importance of this in helping to prevent troubles brought about by employee betrayal and business partners who cheat. Teresa garners strength and loyalty by recognizing the depths of humanity and coming up with ways to make it work. The cinematography is bright, with scenes often shot in ideal weather conditions—warm temperatures underneath clear skies. Over the course of five seasons, the series peers into cities in Mexico, the United States, Spain, and Malta. The venues become progressively palatial and the scenery increasingly posh, signifying Teresa’s ascendancy in the business. A far cry from the need to yell at a room full of men, Teresa and Camila make clear in this piece, 40 years after Mommie Dearest , that times have changed and there is more than one way to get the job done. 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 In Syria calls cinematic heroism into question Centre du Cinéma et de l'Audiovisuel de la Fédération Wallonie-Bruxelles, 2017 85 minutes Director/Writer: Philippe Van Leeuw Reading Time: 5 minutes In Syria Al'Athir (FBG6STOWFOY4UTPR) 00:00 / 06:03 📷 : Licensed from Shutterstock Ginseng: Suspenseful and intense thrillers Dandelion: Movies and TV shows with heavy subjects Reba Chaisson 2021-08-30 In Syria dramatizes the life of an extended family living out the Syrian civil war from their Damascus apartment as sporadic sniper fire rings out and bombs drop around them without warning. Years after commencement of the conflict, the once-bustling city is only a shell of its former self, now closer to resembling a post-apocalyptic scene from the 1984 film, The Terminator . Giant pieces of concrete and severely damaged buildings are omnipresent remnants of the war. Abandoned, smashed, and dust‑covered cars sitting idle in unlikely places appear not only as relics of the conflict, but as reminders of the lives and neighborhoods that once thrived here. Headed by Oum Yazan as the mother of three, played by Hiam Abbass ( Succession , Inheritance ), the 10‑person household contains her pre-adolescent boy and two teenage girls, along with her young adult nephew and father-in-law. Additional occupants include her housekeeper, Delhani, played by Juliette Navis ( The Tunnel , Paris ), and a young couple (Samir and Halima) with their infant son who were neighbors in the now nearly empty and damaged building. As if being on edge about bombs dropping all around is not enough, the family is terrorized by Syrian security forces who randomly knock on the door, insisting that they enter to ensure enemy combatants are not holed up inside. Each occurrence is terrifying and nerve-wracking as Oum holds them off, repeatedly asserting that her husband is not home. In Syria feels like a play rather than a film and is reminiscent of the 1959 Broadway production of A Raisin in the Sun . Released on the big screen in 1961, the film stars Sidney Poitier and the late actresses, Claudia McNeil and Ruby Dee, as an extended family struggling to get by in a small Chicago apartment. Like most of the scenes in A Raisin in the Sun , In Syria takes place in a single setting, an apartment. Both stories are about survival and depict families in desperate and emotional situations. The productions, however, differ in their struggles. In A Raisin in the Sun , the struggle relates to quality of life–the ability to pay the bills and be able to experience a piece of the proverbial American dream by owning a home. In Syria highlights the struggle to simply survive another day. The stories also differ in the characters’ views of the family unit. In A Raisin in the Sun , matriarch Lena Younger treats everyone in the household as family; conversely, In Syria’s protagonist, Oum, views family as those only related by blood. This comes through when the housekeeper explains to Oum, in exasperation, that she has been holed up there for days and needs to get home to her son. Oum stares at her and snaps “Get back to work.” And later in the film, Oum makes a grave and typically regrettable decision, yet exhibits no remorse for doing so. Not noted as a hero in the reviews is Karim, the young nephew played by Elias Khatter. In only his late teens, he stands strong and respectfully pleads with his aunt to allow him to help. She shushes him, her mind made up. Later, he does what he feels compelled to do over the objections of others. Watching this sequence, I could not help but wonder if we are so focused on designating women as heroines that we sometimes get short-circuited in our determination to do so. While Oum’s desperation to keep her family safe is understandable, she exploits and sacrifices other women to do so. The fact that the women carry traits associated with groups who have historically been exploited indicates their casting was strategic. Since their characteristics fit the stereotypes of socially acceptable expendables, their representations in the film are palatable and makes the women’s treatment by Oum easy to overlook as problematic. The impact of this casting, though, undermines the film’s goal to make Oum the heroine of In Syria . Heroism is sacrifice of self and the taking of risk for others–the very antithesis of exploitation. These do not characterize Oum’s actions; rather, they are the actions of her young nephew, Karim. Is he not viewed as the hero because he is a man and popular sentiment now leans toward making women the heroes of stories, even when their characters are not? It can even be argued that the casting of a first-time actor in the role of Karim was designed to make it easy to situate Oum as the hero of this story. Karim’s casting eliminates familiar actors from the competition for recognition. Still though, heroism occurs through deeds, self-sacrifice, and demonstrations of courage. Oum is exploitative–and worse yet, exploits other women and women in a socially weaker position than hers. Fake heroism does not yield sweet fruit. It just doubles down on the contention that identities are constructed through biased lenses. Perhaps the film warrants your own take. What you will certainly appreciate from the presentation is the terror of living in the midst of war. 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 Brothers Sun uses pure entertainment to negotiate tension between traditional and unconventional < Back The Brothers Sun uses pure entertainment to negotiate tension between traditional and unconventional Brad Falchuk Tely-Vision, 2024 69 minutes Creator: Brad Falchuk, Amy Wang, and Byron Wu Reading Time: 6 minutes 📷 : Used with permission, Netflix The Brothers Sun East Meets West (0J9CSWYXZD8LTPO8) 00:00 / 06:36 Oolong Movies and TV shows that make you laugh or involve physical activities like dance and exercise Masala Chai Movies and TV shows about toughness and athletic competition Reba Chaisson 2024-01-12 I love this entertaining 8-episode series about a family’s struggle to break free of longstanding cultural and familial constraints. This action-packed series, which combines spoken English and English subtitles, features the Sun family. Big Sun and his early 30-something-year-old son Charles live in Taiwan and run the Jade Dragons segment of the notorious Triads criminal organization. Mother Eileen and her 20-year-old son Bruce have lived a “normal life” in Los Angeles for over 10 years. Apart in mindset and physical distance, the Suns are nonetheless bonded by a secret held by Eileen that gives her family leverage should anything in the Triads organization go awry. Led by Oscar-winner Michelle Yeoh as Eileen Sun, The Brothers Sun mixes drama, humor, and a lot of martial arts to draw us into this story about the tension between traditional and unconventional lifestyles. When Charles, played by Justin Chien, is attacked in his home and Big Sun (Johnny Kou) is shot by the unknown assailant, leaving him in a coma, Charles flies to Los Angeles to protect his estranged kin until it is determined who is out to destroy the Suns. The Brothers Sun has the cinematography and feel of a Quentin Tarantino film to go along with a soundtrack that is broad in genre. Rap, doo wop, guoyue, smooth rock, country, techno club music, and Asian club music combine to give the film a deep texture. But the heavy mix of music takes away from the production. A soundtrack typically functions as the glue that connects the scenes, so the production feels seamless. Here, multiple genres of music disrupt this continuity and, at times, make it unclear how to interpret the presentation. At one point in the story, for example, Charles gets his heart broken. In a subsequent episode, he sings Sheryl Crow’s version of “The First Cut is the Deepest” on a karaoke machine in what comes across as a moment of hilarity. But is this meant to be funny or a dramatic expression of his feelings? Frequently, in the series, there seems to be a disconnect between the music and the event, making it difficult to interpret the work. But then again, maybe the point is to not take ourselves too seriously. The humor in the series draws from its extensive contrasts. Having been raised in the U.S., for example, Bruce, played by Sam Song Li ( Never Have I Ever , Better Call Saul ), has a lighthearted and easygoing personality. Charles, on the other hand, takes on a more stoic demeanor, having been raised with traditional expectations of being the family’s protector and his father’s right hand man. Add Charles and Bruce’s blood relation and the fact that they are becoming reacquainted, we not only laugh, but become invested. In this sense, The Brothers Sun adopts the tactics of the long-running series, Frasier , where Frasier’s upscale lifestyle frequently clashes with his live-in father’s (Martin) working-class simplicity. Moments such as Martin mounting a big screen television on Frasier’s living room wall, Martin’s dog Eddie that cramped Frasier’s style, and the ever-present tattered recliner were all frequent sources of humor throughout the show’s 11 seasons. No one in The Brothers Sun is who they appear to be, and everyone wants to be someone they are not. Charles, a career killer and top member of a major organized crime family, is obsessed with being a pastry chef. Bruce, a pre-med student, wants to do improv, so unbeknownst to his mother, he sneakily takes improv classes at night. Envious that his brother is recognized as brave, Bruce brags to him that he is a “rebel.” Charles responds, “A rebel if [Mom] knows about it. If she doesn’t, just a liar.” Also in the series, everyone wants everyone else to be someone they are not, such as when Charles gives Bruce an ultimatum to be a gangster or not be his brother. Bruce wants his mother to revert to who she was before Charles arrived - a typical mom who works a 9 to 5 and is otherwise home and available. The women in this series are as competent at fighting as the men, with stiff competition even in cross-gender battles. The series has an Asian-diverse cast, with characters from China, Taiwan, and South Korea. For groups that are missing, they are seen in other ways, such as Bruce’s mention of the “Filipino cover band” on his t-shirt. With a film grounded in Asian representations, it can be argued that the broad music genres are meant as an invitation to other groups to enjoy the entertainment experience that The Brothers Sun offers. There are a few exaggerations in The Brothers Sun , which were likely intentionally inserted for comedic purposes. Although this is Charles’ first trip to Los Angeles, for example, he drives himself around town without the help of GPS - as if he is familiar with LA’s geography. Furthermore, in this age of smartphones, Charles uses a flip phone, which is especially hilarious when we consider that Taiwan is the biggest semiconductor chip producer in the world. The Brothers Sun is a fun, fun series, so much so that you might be tempted to binge-watch it. Be forewarned, though, that there are quite a few jokes and quips around weight that could be offensive to some people. Note that this is a cultural issue. What is considered heavy, thin, or even just right varies from culture to culture. Keeping this in mind would be helpful as you hear some of these lines. What we learn from this film is that there are different kinds of strengths and toughness. While Bruce lacks physical prowess, martial arts skills, and suave, he often comes up with helpful ideas. Charles, on the other hand, is brave, strong, and capable, but to no surprise he has a tender side. As overlooked as women often are in most cultures, Eileen is a strategist, a planner who shares what is necessary and only when it is ready for sharing. Sounds like a lot of moms, right? Enjoy! 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!

Eye Two Times Mouth makes thematic use of light < Back Eye Two Times Mouth makes thematic use of light Cine CANÍBAL, 2023 23 minutes Director/Writer: Lila Avilés Reading Time: 2 minutes 📷 : Licensed from Shutterstock Eye Two Times Mouth Joy (YJQJ3VTNKTOZBWTI) 00:00 / 03:14 Chamomile Family dramas Jasmine Movies and TV shows with heart, positive vibes, and warm messages Reba Chaisson 2023-06-21 Eye Two Times Mouth is an unappealing title for a short film about an early 30-something woman who aspires to become an opera singer. Despite its namesake, Lila Aviles's new short film manages to be quite compelling. Set in Mexico, Luz Suarez, played by Akemi Endo, works at an art gallery, seemingly as a security guard and helping in other areas when needed. A professional opera soprano in real life, Luz, whose name means light, is often depicted alone when she is at work – even when there are people around. She quietly sings during idle periods and at times loses herself practicing operatic dance. The film is shot with dark cinematography, making it difficult at times to appreciate what is transpiring between the characters on the screen. A poignant moment, though, occurs in soft light when Luz spends time with her voice teacher Lucian, played by professional opera tenor Alan Pingarrón. Like the actor, Lucian is blind. Luz articulates her curiosity about how he visualizes color, and he beautifully explains how he interprets color in the context of music dynamics. People with visual disabilities are rarely engaged by colleagues and acquaintances about how they “see” the world and manage their way around it. As Rosemary Mahoney explains in her New York Times article on “Why We Fear the Blind,” people who are blind are “perceived as a people apart.” Indeed, many people are afraid to engage visually impaired persons at all, let alone ask what may be construed as direct or perhaps seemingly offensive questions. In this moment, the film allows the audience to live vicariously through Luz as she bravely asks her friend, teacher, and mentor about his ways of seeing the world when he lacks the ability to see with his eyes. Luz and Lucian’s relatively prolonged discussion on color provides an interesting contrast with the dark cinematography. Avilés’s use of tints and shades for the film also suits its quietness, as there is little dialog, and the focal points are the usually quiet, classical genre segments of the fine arts. The title, Eye Two Times Mouth , relates to facial symmetry - that the mouth is twice the size of one eye. This notion of balance is at the center of the film’s theme. Our understanding about what it means to live in darkness is elucidated through Luz and Lucian’s conversation, as well as Luz’s inability to be seen at her job, to being seen as someone with immense operatic talent. Available on MUBI 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!