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< Back Are horror movies and thrillers one and the same or completely different? Distinguishing Two of Cinema's Most Popular Genres Chris Chaisson 11/23/24 Reading Time: 10 minutes 📸: Used with Permission, Sarah Sumeray https://www.sarahsumerayonline.com/art I recently saw the new Hugh Grant-led A24 movie Heretic in theaters. Before I went, I listened to a podcast that described the movie as “more of a thriller than a horror movie.” Ouch. While the podcast critics gave it a glowing review, this phrase sounded more like a back-handed compliment. Presuming Heretic was going for horror, calling it “more of a thriller” is effectively saying it was not scary. If you’re a standup comedian, you don’t really want to hear your performance referred to as “more of a one-man show” (aka not funny). Sure, it’s a sliding scale; thrillers can be scary and one-man shows can be funny. However, receiving a different label than the one you were going for can sting more than someone just calling it garbage. I came away from Heretic disagreeing with the podcasters, as I found the movie sufficiently scary. The idea of being held captive, and forced to answer questions about my religion from a potentially violent stranger felt far more frightening than thrilling. My guess is that to most moviegoers, frightening and thrilling are just semantics, but if there is a difference between horror and thriller, then what are the parameters? Surprise or Suspense? I asked my friends how they differentiate the horror and thriller genres and their first answer was what most people go to horror movies for: jump scares. The perfectly timed switch in camera angle and blaring horn note can get the audience to white-knuckle grip their armrests. They may induce a scream, a head turn, a semi-curl into the fetal position, or a literal jump. Usually, it’s when the killer sneaks up behind their prey off screen, but an increasingly common jump scare is a person being flattened by a speeding vehicle that none of us saw coming (looking at you, Smile 2 ). If blood, gore and violence make no difference to you, a filmmaker can get quite creative with jump scares. The Final Destination franchise frequently utilized this tactic, as they spared no expense with gruesome onscreen deaths. Thrillers do not necessarily catch us by surprise as much as keep us in suspense amidst various chase scenes, gunfights and hand-to-hand combat. They do not lull you into a false sense of safety for an effective scare; they simply show your hero or heroine hanging from the edge of a proverbial cliff for 10 or 15 minutes at a time. I would boil the difference down to the known versus the unknown. Jason Bourne wasn’t getting haunted or terrorized by a headless horseman or hockey mask aficionado; he was being punched in the face and thrown through windows by government spies. With thrillers, we know who the protagonists are; with horror, we often don’t. The Thriller We Know; The Horror We Don’t Horror movies tend to have a supernatural element to both the universe and the villains themselves. Ghosts, demons, clowns, or just some really weird people. Hugh Grant’s character is not someone you would find on a Magic the Gathering card, but he is strange enough and persistent. Moreover, he lives in an estate on a hill, far removed from the street with no close neighbors. This type of setting is so familiar to the horror genre that it creeps into the titles themselves (i.e. House on Haunted Hill ). Sometimes it’s the woods, sometimes it’s a hotel, sometimes it’s a vessel floating through space. There’s immediately a mystique about such a setting, as most of us don’t have a whole lot of friends living in creepy mansions or traveling to Jupiter. It increases the tension, as now we’ve moved from our universe to one where this character can create any dysfunction. However tormented or brutal they are remains to be seen, and the odds of escape or rescue plummet. Horror protagonists are further isolated by inclement weather and, in a more psychological sense, the disbelief of characters that actually can help them. Thrillers frequently take place in a downtown metropolis under blue skies (maybe to simplify shooting action sequences). The identity of the protagonist matters greatly to how we differentiate the two genres. It is not uncommon in any given genre for the main character to have a “superpower,” whether it’s counting cards, switching to a Rastafarian accent at a moment’s notice, or beating up a garage-full of guys slipping on motor oil . Thrillers tend to have powerful main characters. They are either extremely cunning, such as in political thrillers like Miss Sloane , or physically imposing, like the aforementioned Jason Bourne. They are still an underdog, as they are likely taking on an entire institution. But their background gives us a reason to believe they have a fighting chance. Meanwhile, our horror brethren can’t really do anything. They often have to figure out what or who the villain is, which may take a third of the movie, before even figuring out how to defend themselves and their loved ones (another third). Horror movies go for a much more vulnerable profile, often someone we associate with innocence. Horny teenagers, single mothers, third grade children, or as in Heretic , young missionaries. Perhaps the purpose of horror choosing easy targets is that it is scarier to think of an evil force being so indiscriminate with whom it preys on. In thrillers, we often get the sense of who is off limits or considered worthy of protection. Take Trapped , for example, starring Charlize Theron as Karen and Kevin Bacon as Hickey. Yes, Karen’s daughter is kidnapped, but Hickey is merely after a ransom, and the plan goes off the rails when learning of the daughter’s health issues (and Karen fighting back, of course). Weaponry Most thriller protagonists are handy with guns, knives, and their fists, which highlights another difference between the genres: the weaponry. Writers in the horror genre almost always go for an abstract version of a weapon, adding to their supernatural feel. The Exorcist uses a Bible, a crucifix and prayer. We’re more than accustomed to the stake in the heart bringing about a vampire’s demise (thanks Buffy). In The Babadook , our heroine fights off a monster with the power of…belief, I guess. I don’t know, she just kinda yells until it goes away (I know there’s a deeper meaning but still!). These “weapons” all make sense when you watch, but a more blunt interpretation is they’re great budget-savers. No real weapons or weapons expert is needed on set; box checked. Blood and Gore The use of blood and gore illustrates another distinction between horror and thrillers. In horror, the blood and gore are for the audience . In thrillers, they’re for the characters . Final Destination shows us characters getting beheaded or crushed by construction equipment. Die Hard shows us John McClane with cut up feet as obstacles he has to maneuver around. In the action thriller category, we frequently see characters having to nurse their own wounds or figure out how to hide them from villains. It becomes a part of the plot; the rising stakes and the decreasing odds of success. Horror and Thriller Resolutions The conclusions of horror movies and thrillers tend to vary. In thrillers, our heroes win far more often than not. They outsmart or beat up the bad guy, they clear their name, and they either return to everyday life or get ready for the next mission. The glaring exception off the top of my head is Arlington Road , the 1999 thriller about a professor who believes his neighbors may be terrorists (they are). Much of the time, though, good triumphs over evil, and even in conspiracy thrillers, the protagonist makes it to safety whether or not the conspiracy continues. Horror tends to have a more pessimistic bend. The group of main characters rarely make it out unscathed, most meeting their untimely end and the survivor (usually dubbed the “final girl”) left scarred for life and still not really safe. The vast majority of horror films keep hope alive for a sequel, so the writer and director do the most complicated mental gymnastics possible to suggest that the threat is still out there. Movies often get studied in focus groups before release to see how the ending fares with test audiences, and the fact that thrillers have more positive endings suggest favoritism towards the names we know versus the ones we don’t. Thrillers tend to have an A-lister front and center. We as audience members do not like seeing our favorite box office draws get axed, and if you glance at some of their contract clauses, you’ll probably see that they don’t like it either. Meanwhile, horror movies, which are often low-budget, tend to have lesser known actors and the filmmakers have no problem killing them off or replacing them for the sequel. Smile 2 , for instance, features a completely different main character than its predecessor and, very early on, does away with the only returning character. Are they complete no-names or bad actors? No, but it didn’t cost $20 million to book them either. Maybe a good tell is how we interact with each genre. MovieWeb lists the highest grossing horror movies and the highest grossing thrillers. They have one movie in common: The Sixth Sense . It’s second on the horror list , only seventh on the thriller list . This difference suggests thrillers are more popular and more mainstream, which makes sense as many of them can be branded as action movies with a formidable cast. The horror genre has a smaller but more fervent fan base, and the experience of being scared is heavily dependent on music and sound effects. As Alfred Hitchcock states, “There is no terror in the bang, only in the anticipation of it.” This reality compels many fans of the genre to watch the most anticipated horror films while they are in theaters, which makes it telling that they still do not outperform their thriller counterparts. The End Okay, these are a lot of thoughts for a throwaway comment on a podcast I listened to. In looking back, though, there seems to be quite a few differences between horror and thriller (at least from where I’m sitting). Your preference for one or the other may speak volumes about your cinematic tastes. Do you prefer to be scared or simply excited? Do big-name actors or small budgets draw you to the box office? Are you squeamish and empathetic or do you enjoy the blood and gore? What piques your interest more, films grounded in reality or the supernatural? And most of all, what kind of ending do you need: Thomas Jane in Deep Blue Sea (we did it) or Thomas Jane in The Mist (oop)? For more on Horrors and Thrillers, listen to Season 1, Episode 1 of the Cup of Tea Critiques Podcast . Tune in on Apple Podcasts, Spotify, iHeart Radio, and more. Previous Next Sign-up for new reviews, exclusives, deep dives, and more First name Last name Enter your email here I agree to the terms & conditions Sign-up Thanks for joining us!

Presumed Innocent zooms in on loyalty < Back Presumed Innocent zooms in on loyalty Apple Studios, 2024 45 minutes Creator: David E. Kelley Reading Time: 5 minutes 📷 : Apple Studios Presumed Innocent Echoes of Solitude (B0URCQ1U3NO0U3AS) 00:00 / 05:45 Ginseng Suspenseful and intense thrillers Sage Movies and TV shows with low-key characters Reba Chaisson 2024-08-04 You would agree that loyalty matters in a relationship, right? This is so with partnerships of all types, especially romantic ones. What would you do if this trust was broken? Sadly, some people react in ways that are counterproductive. For the most part though, people behave rationally — thinking, gaining some perspective on their situation before deciding their next move. You know the usual options, stay or leave. Apple TV’s Presumed Innocent is an 8-episode series largely about that question. Unlike the theatrical release in 1990 starring Harrison Ford, the story is presented in the most riveting way. Jake Gyllenhaal stars in the series as Rusty Sabich, a respected prosecutor who finds himself on the defense side of the table when he is accused of killing his colleague/mistress out of rage. Carolyn Pohemus, played by Renate Reinsve ( The Worst Person in the World , A Different Man ), is found bludgeoned and ritually bound in her apartment. All hell breaks loose when it is discovered that the pair had been involved in a long-term affair that even Rusty describes as his “obsession” with her. Based on Scott Turow’s 1987 novel of the same name, Presumed Innocent dramatically covers Rusty’s trial, giving it a dark suspense/thriller vibe fitting of Ginseng tea . The fallout from the discovery of Rusty’s relationship with Carolyn lands heavy on his colleagues and children much like a cup of Dandelion tea lands on the tongue. Not so much though on Barbara Sabich, Rusty’s spouse played by Ruth Negga ( Loving , Agents of S.H.I.E.L.D. ). Barbara’s sedate demeanor and self-effacing presentation tempers the heavy, bitter feel of the show with a Sage-like calmness. Rusty and his predicament are front and center, yet we are drawn to the peripheral story that is Barbara’s personal and private space. Barbara is frequently presented alone, doing laundry, riding a stationary bike in her garage, and listening to Rusty as if she is obligated to do so because she is his partner. Film representations of betrayed spouses are typically depicted yelling and crying. Barbara, however, carries a quiet rage. She rarely speaks, so when she does, her kids, lawyers, and even Rusty listen like she is EF Hutton revealing something subtle yet profound. We only get a hint of her sentiments when she tells Rusty in very simple terms, “I know you. I know you couldn’t do this,” and then remains by his side during his trial. Some might say that considering the extent of Rusty’s betrayal, Barbara’s unusual loyalty makes little sense. Money is not an issue for her family, so she is likely to maintain a comfortable lifestyle if she leaves him. It reminds me a bit of the 1993 film, Indecent Proposal , with Robert Redford as John Gage and Demi Moore as newlywed Diana Murphy. John is so taken by Diana, who is on her honeymoon, that he offers her a million dollars to sleep with him for just one night. Young and broke, she and her husband David (Woody Harrelson) reluctantly but strongly consider the proposal. Like Presumed Innocent , Indecent Proposal begs us to consider what we would do if our circumstances were similar to either scenario. Diana’s situation is complicated by her financial constraints, not by a betrayal of trust. Barbara’s isn’t similarly complicated, yet she stays despite the relative ease of her decision compared to Diana’s in Indecent Proposal . Thus, Barbara’s appeal is her extraordinary loyalty. It gives us pause, piques our curiosity about her, and leads us to question where the red line exists for ourselves. During the story, Barbara meets Clifton, a tall, dark, and handsome bartender with a baritone voice like Barry White’s. She likes him as evidenced by her frequent midday returns to the empty upscale bar, and Clifton, played by Sarunas J. Jackson ( Insecure , Good Trouble ), enjoys her company as well. Interestingly, Clifton serves as our eyes and ears into Barbara’s sentiments on her predicament. He is, effectively, our proxy friend. As she sits alone in her thoughts, Clifton recognizes her from news reports and gently asks about her feelings on the situation. She has no clear answers. He is empathetic, which further enhances his appeal. These interactions tell us, though, that Barbara is reeling. She needs a friend who appreciates her circumstances and has no connection to her troubles. Through Clifton, we gain deep empathy for Barbara and come to appreciate why she seems aloof, detached, and lost. On its face, Presumed Innocent is like the 2023 miniseries, Anatomy of a Scandal , with Rupert Friend starring as James Whitehouse, a wealthy politician accused of raping his former mistress. Sienna Miller plays his partner, Sophie, who, like Barbara, is also loyal and even attends James’s trial. Eventually for Sophie, however, the thousand cuts revealed at trial become too much and leads to clarity of her red line. This line seems to be elusive for Barbara. I love works that lead us to question ourselves and dig deep to gain a deeper understanding of who we are. Whether it is betrayal or some other trigger, we have ideas on what we would do. But what do we do when the situation is no longer hypothetical, when we’re actually starring in a drama of our own predicament? 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< Back The Banshees of Inisherin depicts a conundrum many friendships face Searchlight Pictures, 2022 114 min Director/Writer: Martin McDonagh Reading Time: 5 minutes The Banshees of Inisherin Me and My Friends (NLTYAPWAOSPTMC5Z) 00:00 / 05:19 📷 : Used with permission, Snollygoster Productions https://www.instagram.com/snollygoster.productions/ https://posterspy.com/profile/snollygoster-productions/ Barley: Movies and TV shows with a lot of dialog Honeybush: Nonfamily dramas with strong adult and/or socioeconomic themes Chris Chaisson 2022-12-28 Few things devastate the psyche quite like the sudden end of a friendship. As romantic relationships come and go, many people take solace in their platonic friends and the bonds they share through the other changes in their lives. If you’re like me, you’ve mostly experienced the end of friendships in a gradual manner. Less check-ins, less hang-outs, new priorities; all leading to a slightly less painful and finite parting of ways. The hurt is multiplied when one member of the friendship abruptly cuts communication off, as opposed to a mutual, tacit agreement. Human beings often need closure (and in some cases, a replacement friend). The Banshees of Inisherin being centered around the ending of a friendship sounds like a thin premise until you reflect on your own relationships and realize how deep and complex such a situation could actually be. Our friends in question are Colm (Brendan Gleeson, Calvary ) and Pádraic (Colin Ferrell, The Lobster ), two drinking buddies living on a sparsely populated island off the coast of Ireland. A talented musician, Colm asks Pádraic on a whim to leave him be so that he can indulge in his composing and fiddle practice. He gets increasingly blunt as Pádraic presses, admitting that he finds him a dull waste of time. As Colm stares his own mortality in the face, he wishes to accomplish something in his music endeavors that will make him remembered beyond his passing. Pádraic, light on hobbies other than drinking, feels the sting of rejection even harder since he feels he has no one else to turn to. His strongest relationships other than with Colm are with his sister, the more practical Siobhán (Kerry Condon, Three Billboards Outside Ebbing, Missouri ), and his pet donkey. His small circle leaves him little recourse for his damaged pride. The Banshees of Inisherin serves as a perfect example of a film where the setting takes on a character role (i.e. Sex and the City ). The fact that Pádraic and Colm live on a small island heightens the importance of their friendship. Rather than a metropolitan setting where one can meet and connect with strangers anywhere they go, Inisherin forces our two lead characters to interact. There are not many new places to go or people to meet, so their relationships with and opinions of the other island dwellers are largely set in stone. Moreover, the island setting gives them an audience for their issues. Most of their arguments play out at the local pub, where everyone already knows them, and typical island gossip lets everyone else in on their discord. The presence of the other islanders intensifies the rejection that Pádraic feels from Colm, and his bruised ego (along with a little liquid courage) leads him to act out even more. Siobhán, Padraic’s sister, serves as the innocent bystander-turned-voice of reason in their sophomoric feud. As Pádraic is forced to evaluate his behavior and personality, Siobhán becomes a reluctant soundboard, doing her best to reassure him that he is a decent man. Similarly, she assures Colm that while he finds Pádraic dull, this is no reason to end their friendship, since frankly, all men are dull. She frequently voices the audience’s thoughts, along with Padraic’s drunken acquaintance, Dominic (Barry Keoghan, The Killing of a Sacred Deer ). At the crux of Colm and Padraic’s issues is their shared insecurity. Colm wants to achieve greatness with his creative endeavors, stemming from age-related anxiety. Pádraic, having been plucked from his daily routine and forced to re-examine his own character, wonders whether he is a good person and friend. While it may seem petty, this insecurity is the film’s biggest draw, as it is rather relatable. Some people want to be remembered beyond their time and receive effusive posthumous praise. Others simply want to exist and foster their relationships while they’re here. It can be strongly argued that neither one is better than the other, nor can one exist without the other. Nonetheless, when the two mindsets clash, feelings can easily be hurt. The Banshees of Inisherin brings to mind the early 2000s drama Finding Forrester . While the settings and characters are different, the bond between the two and the differing aspirations that threaten it mirror each other. Jamal and Forrester have a shared love of writing, but Forrester is a recluse while Jamal is a star basketball player accused of plagiarism. Though their friendship persists throughout the film, Forrester simply wants to stay out of the spotlight while Jamal deals with both wanted and unwanted attention for his talents. Despite their shared love of drinking and small talk, Colm and Pádraic have two different life goals. As Colm acknowledges his own, he views Pádraic as an impediment rather than a confidant. The Banshees of Inisherin could make you reflect on your own friendships and which side of the ledge you land on. 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!

< Back Chevalier shows that being the best isn’t always good enough Element Pictures, 2022 108 minutes Director/Writer: Stephen Williams / Stefani Robinson Reading Time: 7 minutes Chevalier Good Grace (SQBKGUFKX3KJNETU) 00:00 / 07:45 📷 : Licensed from Shutterstock Honeybush Nonfamily dramas with strong adult and/or socioeconomic themes Oolong Movies and TV shows that make you laugh or involve physical activities like dance and exercise Reba Chaisson 2023-05-09 I remember my high school modern world history teacher, Miss O’Donnell, walking back and forth as she confidently lectured about the French monarchy and its heads, Louis XVI and his wife, Marie Antoinette. Both catered to fellow aristocracy and disregarded their constituents in the process. Miss O’Donnell explained that Marie Antoinette loved her lavish wigs, some of which had replicas of ships built into them. I remember her talking about the French coup d’état, which ended with the beheadings of the king and queen. I also remember some mentions of Joseph Chevalier – but never that he was a Black man, formerly enslaved, nor that he was a classical music virtuoso. Chevalier is about an African Frenchman who began his life in enslavement on a French plantation. His father, who is also his enslaver, takes his preadolescent son from his mother and enrolls the gifted violinist in a boarding school. With casual indifference, he leaves Joseph with the parting words, [Be the best and no one can deny you anything you want.]. Not coincidentally, African American children are often told early on by parents and loved ones that they cannot just be good at what they do, they must be the best at it. It is undue pressure to put on a kid, some might say an impossible aspiration for anyone. But imploring Black children to be the best is likely a universal phenomenon. Although it was centuries ago in another country, even Chevalier’s father and enslaver was keenly aware of the forces his young son would contend with as he grew into a man in France. Enduring bullying (old-school style) and beatings from some of his privileged White classmates, Chevalier, played by Kelvin Harrison Jr. ( Luce , Waves ) nonetheless perseveres, seemingly using the abuse as fuel that propels him toward perfection. He strengthens his knowledge of music along with his talent for playing the violin – so much so that by the time he leaves school, he is ready to not only challenge but beat Mozart in an impromptu performance of dueling violins. Chevalier earns wide popularity in France for his music and leadership role in the French symphony. Having gained entrée to French aristocracy, he has access to wealthy and influential people, and is even close friends with Queen Marie Antoinette. When an opportunity arises to head the French opera house, rumors spread that the queen will be appointing a British musician to the role. She confirms the rumor when Chevalier broaches the topic with her during one of the many lavish aristocratic festivities. Incredulous, he states, “But he isn’t even French!” She responds in a cajoling manner, “You know, things are complicated.” Here, Chevalier learns that even being a renowned musician and composer is not enough to be awarded a coveted appointment in his field, in his own country. His father’s assertion that as the best, he would not be denied, does not come to pass in this case because “things are complicated” – undoubtedly code for: a Black man cannot be allowed to hold such a high position in France. Upset that he is denied a prestigious position that should have been his without debate or controversy, Chevalier openly challenges the British musician for the role. Enjoying drama and attention, the queen, played by Lucy Boynton ( Bohemian Rhapsody , Murder on the Orient Express ), agrees. Each must compose an opera and perform it for her. The winner, she adds, will be appointed to head the opera house. So, despite having proved his excellence in music over the years, Chevalier must press himself into a situation to once again prove he is the best, and deserving of an accolade that should have been his all along. Simultaneous with the happenings in privileged circles, poor and less privileged people in France across the racial spectrum are experiencing angst and anger. Many lack necessities, basic freedoms, and support of the monarchy. Rumblings of a revolt are brewing. Chevalier is aware of these goings-on, but since the happenings are not a part of his world, he is only mildly empathetic. His focus is on composing his opera and winning the prized head of the French house. Along the way however, he falls in love with Marie Josephine, played by Samara Weaving ( Three Billboards Outside Ebbing, Missouri , Ready or Not ), who is the lead in his production and the wife of the powerful Marquis de Montalembert, played by Marton Csokas ( The Equalizer , The Amazing Spider-Man 2 ). The confluence of love, politics, and a heightened awareness of the salience of race and class in French high society lead to personal disappointments and tragic events for Chevalier. Together, these compel him to use his music for something powerful and life changing, despite a stern warning from the queen against doing so. Moving ahead proves to be consequential, and reveals yet again, that it is not enough to be the best at his craft; in this case, he also had to be obedient as if he were a child. Many thanks to Stefani Robinson and Stephen Williams for penning this riveting story and pushing it to the big screen. What is striking about this film is how it reveals that very little has changed in the nearly 2 ½ centuries since the French revolution in 1789. Universally, there is no sense of fairness. Power, politics, and personal sentiment still play huge roles in the outcomes of even the most straightforward decisions, and race is just as salient now across lands as it was centuries ago. In the U.S., one need only look at the lopsided racial distributions in wealth, income, health disparities, and other measures of socioeconomic well-being to appreciate this. Also, given the current protests in France over the president’s unilateral decision to extend the retirement age, today’s aristocrats in the country still seem to be operating as King Louis XVI and Queen Marie Antoinette did - with little regard for its citizens. Chevalier’s timing reminds me of the 2016 film Hidden Figures , about Drs. Katherine Johnson, Dorothy Vaughan and Mary Jackson – three African American mathematicians who worked for NASA and played big roles in the successes of the early Apollo missions in the 1960s. This acknowledgment comes a full fifty years after their accomplishments. It would have been nice to have this comprehensive view of Chevalier during my high school modern world history class. In elementary and secondary schools, history lessons about Black people largely consist of the enslavement era, memorizing who discovered what and when, and perhaps a bit about the civil rights movement or more specifically, Dr. Martin Luther King Jr. Rarely do the lessons contextualize the existence of African Americans by delving into the political and social climates in which they lived, experiences told from African Americans’ points of view, or the talents of Black people with respect to math, science, and performance arts. Chevalier encompasses these elements, and it does so in an engaging and entertaining way. I am, however, disturbed that the news comes so late, and so I sit at the edge of my seat in anticipation of more. Previous Next Sign-up for new reviews, exclusives, deep dives, and more First name Last name Enter your email here I agree to the terms & conditions Sign-up Thanks for joining us!

< Back Twinless poses questions about the durability of friendships Permut Presentations, 2025 100 minutes Director/Writer: James Sweeney Reading Time: 6 minutes Twinless Don't Keep Me Waiting (66XECAPGHBL2DNLR) 00:00 / 07:49 Sage: Movies and TV shows with low-key characters Ginger Thought-provoking movies and TV shows Reba Chaisson 2025-10-23 Unlikely couple. If we only had a dime for every time we heard this. When we see two people who differ dramatically in appearance, speech, or even sexual orientation, we tilt our heads as if mentally shifting the duo to the metaphorical misfit category, relegating their relationship to doom. James Sweeney’s Twinless forces us to modify such responses. It’s a story about Roman, a twenty-something man who suddenly loses his twin brother Rocky in a car accident. The film opens with a shot of a colorful commuter train leaving a station. As the train clears out and the camera holds on the empty platform, we hear the screech of a car’s wheels and a terrible impact. Immediately, we know something has gone terribly wrong. Set in Portland, Twinless stars Dylan O’Brien from the long-running television series Teen Wolf , and James Sweeney, who is also the writer and director of the 2019 film, Straight Up . A native Idahoan, Roman (O’Brien) is mourning the tragic loss of his identical twin brother, Rocky. When his mother Lisa, played by Lauren Graham of Gilmore Girls , insists that he needs help, he joins a support group for people who have lost twin siblings. The group’s therapist, Charlotte, played by Tasha Smith from Why Did I Get Married and First Wives Club , asks them to introduce themselves by naming a vegetable beginning with the letter of their first name and revealing something they don’t miss about their twin. At this moment, I wonder if the movie is a comedy rather than the heavy drama I surmised from the story’s synopsis. But given the timing soon after Rocky’s funeral, perhaps this was intended to bring some levity to the moment. Roman meets Dennis (James Sweeney) during a session break, as Dennis makes small jokes and shares that he lost his twin brother Dean. In their mourning, Roman and Dennis forge a bond, attending parties and hockey games together as if standing in for each other’s sibling. Roman and Dennis, though, could not be more different. Roman is heterosexual and Dennis is gay. Roman likes hockey and Dennis craves sandwiches. Roman is fit and goes to the gym regularly, and Dennis, who does not work out, is slim and lanky in appearance. Yet the two become very close. Roman struggles mightily with Rocky’s loss, as evidenced by him wearing Rocky’s clothes and avoiding everyday tasks. But when he opens the refrigerator to find only a sliced onion and discovers only stale cookies in the cabinet, he calls Dennis to go grocery shopping with him, something the two continue regularly. During a shopping trip, they bump into George, one of Rocky’s friends, who notes that he witnessed the accident and was the last to see him alive. As he clumsily and without invitation shares that Rocky was distracted by a “crazy guy” who was yelling at him at the time, Roman says he would (to put it mildly) hurt the guy real bad if he found him. Leaving a hockey game one night, the duo encounter three men, one of whom lobs a gay pejorative at them. Roman confronts him and insists he apologize. When he doesn’t, the four get into a brawl while Dennis watches fearfully but with concern. This brings to mind a scene from the limited series Black Doves , where a gay man, steeled by the gunfire around him, becomes so paralyzed, he has to be physically carried out of danger while he cries and covers his ears. LGBTQ individuals are often targets of harassment and violence, but such character portrayals can lead to the perpetuation of stereotypes about the group. While most studies in this area focus on partner violence, research out of London found that men who are gay “score higher for empathy and show significantly lower levels of physical aggression than heterosexual men.” This suggests that the former are not likely to engage in physical fighting, even when it means defending themselves against strangers. I am reminded of Hoon Lee’s portrayal of Job (pronounced Jobe) in the popular television series Banshee , where the LGBTQ character frequently demonstrates the ability to handle bullies with a sharp tongue and with or without weapons. Perhaps the London research attests to the threat response of many gay men. But I wonder if more portrayals of LGBTQ men fighting back or coming to the defense of their friends, can help disrupt stereotypes about the community as passive and thus vulnerable. Roman’s altercation with the trio after the hockey game and his expressed desire to exact retribution on the person he views as responsible for Rocky’s death suggest that he is still struggling with Rocky’s loss. He later reveals to Dennis that he regrettably used the same pejorative against Rocky soon after he came out as gay, and that he feels that “drove him” to leave home and settle elsewhere. To provide comfort, Dennis invites Roman to talk to him as if he were Rocky. Roman says through tears, “I don’t know how to be without you.” Testimonials at the therapy sessions reveal not only the patients’ sense of loss, but also how their pain can be differentiated from the pain that stems from losing a sibling who is not a twin. Roman reveals, for example, that he’s glad he has the pain because otherwise he is “actually alone.” Another notes that twins are “built-in best friends.” As if to drive home this point, in a flashback scene, Rocky describes breaking his toe as a child, and how Roman smashed his own toe so he wouldn’t have to suffer alone. Given this, it is no surprise that Roman defines himself in relation to his brother and struggles to adjust to life without him. Roman’s life changes when he meets Marcie (Aisling Franciosi) at a party. As the pair begin spending time together, Dennis becomes resentful and is seen peering at the couple during the party and later sniping at Marcie. A long time co-worker of Dennis’s, Marcie questions the veracity of Dennis’s claims of having a twin brother, leading her then to question his motives for befriending Roman. There are some great plot twists in this drama that help keep the audience in anticipation of what will unfold in the story. Central to them are what is Dennis’s motivation for lying and what he wants with Roman. These questions are posed by writer James Sweeney, to challenge the notion that friendships built on lies and half-truths, wherever they line up on the compatibility scale, cannot endure. Previous Next Sign-up for new reviews, exclusives, deep dives, and more First name Last name Enter your email here I agree to the terms & conditions Sign-up Thanks for joining us!

Black Doves, a quirky spy thriller that avoids tokenism < Back Black Doves, a quirky spy thriller that avoids tokenism Noisy Bear, 2024 55 minutes Creator: Joe Barton Reading Time: 7 minutes 📷 : Used with permission, Netflix Black Doves Rebel (HLUU3PIJNIDKQNJ0) 00:00 / 08:47 Matcha Mysteries or whodunnits Ginseng Suspenseful and intense thrillers Reba Chaisson 2025-02-10 Black Doves is a quirky six-part series starring Keira Knightley and Sarah Lancashire. Knightley is Helen Webb, a British politician’s wife with young twins, who unbeknownst to her family, is a spy for an independent intelligence organization known as Black Doves. A clandestine “company,” Black Doves makes its services available to the highest international bidder. Lancashire is Reed, Helen’s no-nonsense boss at Black Doves, who rarely smiles, rarely changes her calm demeanor, and is always focused on results. When Reed pulls Helen away from her Christmas party, she informs Helen that her secret lover, Jason, has been murdered. Helen is momentarily perplexed how Reed knows about him at all since she thought she was being so careful. (Doesn’t everybody?). Emotionally overwhelmed by the news, Helen’s disbelief and hurt become evident, which along with flashbacks, make it clear how much Jason meant to her. Still quite upset, Helen presses Reed for the circumstances surrounding his death. Though Reed explains that Jason was shot, she continues to convey information to Helen about her next mission. To give her context, she states that Ambassador Chen, China’s ambassador to Britain, was found dead in his residence, and that his 19-year-old daughter Kai-Ming has disappeared. Flabbergasted by both the manner of Jason’s death and Reed’s insensitivity, Helen, still clearly upset, is adamant that she needs to find who killed Jason and to kill them. Reed, on the other hand, is less concerned about who murdered Jason than Helen’s next mission, which is to find Kai Ming. Later that night, while her husband is out and the kids are asleep, a man with a gun enters her home and accosts her in the kitchen. He asks for a recording, which she knows nothing about. When he threatens the life of her kids a second time, she states “I advise you not to do it a third.” When he does, she attacks him, completely catching the audience off guard. Her fast hands, swift body movements, and deftness at turning kitchen appliances into weapons make for a shocking and entertaining fight scene. This is the most engaging sequence of the series because we are drawn into a significant moment of departure from Helen, the mother and politician’s wife who just hosted a large obligatory Christmas party, to this fighting machine. The physical altercation made for enjoyable action early in the series, portending a fun and dynamic story ahead. Black Doves ’ action, characters, and numerous twists and turns are reminiscent of spy thrillers, particularly those depicted in episodic series like Mr. and Mrs. Smith and The Night Agent . But rather than a dark quality like the latter, Black Doves has the quirkiness quality of Mr. and Mrs. Smith , that aspect of a show that conveys it is neither scary nor should it be taken too seriously. Indeed, Black Doves ’ quirkiness contains elements of comedic short films like Drone and Operation: Cavity , which are not satire but take humorous twists on serious topics not to make fun of them, but to have fun with them. When Helen tells Reed about the encounter in her kitchen and the man’s inquiry regarding a recording, Reed says she knows nothing about the latter nor what prompted the former. However, she decides to call in someone to protect Helen — despite Helen’s insistence that she always works alone. She gives in when Reed tells her that the person is Sam Young. The two are friends, even though they haven’t seen one another since they last worked together. Played by Ben Whishaw, Sam is an early 30-something independent contractor with killer/assassin qualifications. What is striking about Sam is he is small in frame and stature, so the idea that he can protect Helen is inconceivable. He appears quite unassuming as he frequently walks around with his hands in his jacket pockets and is always dressed too thin for the cool fall temperatures. When other people are donning thick sweaters and coats, he is still wearing the same short, spring jacket, appearing to be cold but never doing anything to address it. By far, Sam is the most intriguing character in Black Doves . When others around him are talkative, he is self-effacing and contemplative but a bit tense. He is, however, loyal, a man of action, and a person who loves sincerely and deeply. We learn a lot about Sam during a flashback where he is contracted to kill three brothers. Without hesitation, he creates a bloodbath killing two of them. But when he realizes the third is a child, he finds himself unable to finish the job, as if he himself has suddenly learned he has a red line. And now that Reed’s hiring has brought Sam to London years later, his former boss wants him to finish the job she hired him to do before he left – kill the third brother. Accomplishing this while protecting Helen will be a challenge for him. As Helen and Sam investigate Jason’s death and at a lower priority look for Kai-Ming, they begin to unravel a conspiracy at the highest levels of the British government as the cases converge. Complicating things, China’s Intelligence officers are in-country on a rogue mission, determined to find out who killed Ambassador Chen, and Helen and Sam are getting in the way. Their pursuit of the truth puts their lives and those of the people they care about at grave risk, despite being highly skilled assets themselves. Reed expresses her annoyance not because their lives are at risk, but because by deviating from their very narrow assignment of finding Kai-Ming, they have discovered a recording they shouldn’t have, thus jeopardizing Black Doves’ reliability and credibility with its mysterious client. Black Doves is a highly entertaining series and one of the most inclusive I have watched in recent decades. It contains a fusion of representation with characters from traditionally underrepresented race, gender, and LGBTQ+ groups. Michael, for example, is a mild-mannered and gay Black male who exhibits traditional feminine traits. During a shootout, he relies on his partner’s protection by hiding behind him and physically holding onto his waist with his eyes closed due to sheer fear. Sam is a quiet, self-effacing White male with a small frame who is a killer for hire and who is also gay. Helen, who in addition to being a mother and performing the traditional ceremonial obligations and emotional labor of being a political spouse, is also quite deft at hand-to-hand combat. In a scene exemplifying Helen's toughness, she casually slams her dislocated shoulder into a structure to force it back into place. This is reminiscent of an oft repeated technique used by Mel Gibson’s character in the Lethal Weapon franchise for fixing his bad shoulder. Such skills and traits tend to be much more associated with masculinity than femininity. So, by extension, the show displays the varying manifestations of gender in males and females, and particularly highlights the versatility and adaptability of the latter. All of this demonstrates that people of both sexes cannot simply be confined to the boxes they were assigned to at birth and the keys subsequently thrown away. They present themselves to the world in varied ways. Most interesting about Black Doves is that these characters in the series are not presented as tokens; each has an active role in the show, which lends itself to humanizing people of all types. Black Doves bears some similarities to Guy Ritchie's 2023 theatrical release, The Ministry of Ungentlemanly Warfare . Let by Henry Cavill from Man of Steel along with Alan Ritchson of Reacher fame, the show presents a racially and ethnically diverse cast, including a gay character who occasionally displays feminine traits. Both movies are spy thrillers with quirky characters and avoid taking on too much of a dark or ominous tone. Ginseng tea is much better suited for these productions than a tea that yields a heavier feel, like Rosemary or Dandelion. 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 Passages expertly uses flaws as a humanizing element SBS Productions, 2023 91 minutes Director/Writer: Ira Sachs Reading Time: 4 minutes Passages Bouar (EKBQ1CUPJWHZ3ZXE) 00:00 / 04:36 📷 : Pixabay Barley: Movies and TV shows with a lot of dialog Honeybush: Nonfamily dramas with strong adult and/or socioeconomic themes Chris Chaisson 2023-08-20 For cinephiles who crave original stories and original characters, positivity can be found in a negative representation. Often, members of marginalized groups get depicted in film as perfect victims; constantly the targets of bullying and paragons of virtue. We tend to think of humanizing portrayals as showing the most admirable characteristics, but sometimes the true equality lies in everyone’s ability to be a douchebag. Tomas, the protagonist in Ira Sachs’s risqué drama Passages , serves as just such a character. Set in modern-day France, Passages revolves around a complex, pansexual love triangle. Tomas (Franz Rogowski, Victoria ), a German filmmaker, is married to his supportive husband Martin (Ben Whishaw, The Lobster ). After a night out with friends, Tomas has an affair with Agathe (Adèle Exarchopoulos, Blue Is the Warmest Colour ), a young school teacher. While it may seem like an inebriated lapse in judgment or momentary passion, he confesses to Martin, only to continue sleeping with Agathe. Though the terms of their marriage are never explicitly stated, it is clear that Tomas’s infidelity hurts Martin. The larger issue is that even in Tomas’s confession, he is more concerned with his own feelings and experiences than how he has made Martin feel, a recurring dynamic throughout the film. At first glance, Tomas could come off as simply too impulsive to make a good partner. However, with every passing interaction, it becomes clearer that he will do whatever suits his own best interest in the moment. Devoid of any remorse for his actions, Tomas lacks the sensitivity to comfort either of his lovers when they are in a moment of emotional need, instead manipulating them whenever he can. When Martin begins seeing Amad (Erwan Kepoa Falé, Winter Boy ), a novelist who genuinely cares for him, Tomas not only seethes but runs interference in their romance whenever the opportunity presents itself. When Agathe is busy or needs time to herself, he consistently hounds her for attention. Upon meeting her parents, he quickly starts an argument with Agathe’s mother to avoid any questions about his long-term plans (because he doesn’t have them). Tomas is not only unfocused but also shows complete disregard for the people he claims to care for. All of these negative qualities Tomas possesses could turn you completely off of this erotic French indie. Maybe you would rather see a wholesome protagonist fighting to make a relationship work despite his or her own shortcomings. However, there is a refreshing quality to watching an irredeemable character of a marginalized background. It feels true to anyone else’s experience, as we can often be our own worst enemies. Passages shows the complexities that a same-sex couple could have from within their relationship, rather than inserting a homophobic antagonist from the outside world. Depicting the gaping flaws of one partner in a relationship and how the other struggles to hold it together is a particularly humanizing representation. Many have occupied one role or the other at least as much as they have experienced the “us against the world” narrative many romantic dramas put forth. Passages does not merely portray the arguments and power struggles of relationships; it also portrays the physical element. The film has its fair share of nudity and intercourse, not pulling a single punch. While some moviegoers find such scenes superfluous to the plot, the vanity and raunchiness actually makes perfect sense for a movie all about relationships and what keeps them going through tough times. The focus on Tomas’s sexuality adds another layer to the love triangle, making him slightly more appealing in spite of his complete inability to provide emotional support. The sex scenes serve as a collective symbol of each character’s vulnerability, an aspect that the protagonist consistently preys on. Watching Passages brings to mind the late 2000s romantic drama Vicky Cristina Barcelona , in which two friends visit Spain for the summer and become involved with a painter whose ex-wife comes back into the fold. Both films have numerous displays of intimacy, complicated relationship dynamics, and beautiful cities known for encouraging romance as backdrops. Not to mention some selfish and impulsive characters that may make you roll your eyes. 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!

Hamdardi presents a story about how to effectively communicate < Back Hamdardi presents a story about how to effectively communicate Taba Productions, 2023 29 minutes Director/Writer: Stefan Fairlamb and Ashley Tabatabai / Ashley Tabatabai Reading Time: 4 minutes 📷 : Used with permission, Ashley Tabatabai Hamdardi Just A Dream (IXCLFGULPVPQ4U18) 00:00 / 04:27 Chamomile Family dramas Dandelion Movies/shows with heavy subjects Chris Chaisson 2023-09-07 Hamdardi uses the backdrop of the controversial 2017 U.S. travel ban for its compelling story. The short film takes us into the tug of war between Ethan Reynolds, a U.S. immigration officer, and his superior, Hank Henson. When two siblings from Iran, 18-year-old Reza and 9-year-old Parvaneh, are detained at the border, Ethan struggles with whether or not to grant them admission into the U.S. to be reunited with their ill father. Hank, Ethan’s rules-oriented boss, exhibits impatience with the siblings due to the language barrier. Rather than seeking to accommodate them, Hank arranges a flight to send them back to their homeland, as he does with multiple other detainees. As Ethan is currently experiencing separation anxiety, being denied visitation rights to his own daughter, he shows more compassion than Hank and teeter-totters between following orders and rebelling. A voice in one of Ethan’s ears is Carol, a bilingual lawyer pressing Ethan to stand up to his boss. In his other ear is Hank, using his by-the-book approach to influence Ethan. Set in early 2017, writer/director Ashley Tabatabai’s enthralling short highlights the conflicting emotions that many immigration officers likely feel. Though Hank is the antagonist of the story, his mindset reflects that of most people in the middle of a chain of command. “I don’t make the rules” is a familiar refrain for anyone who does not have the freedom to make unilateral decisions. Many use the concepts of just doing their job and following orders to shed any guilt that they feel about a task that is inherently immoral or dispassionate. The act of separating families as part of law enforcement most likely does not sit well with everyone who carries out the task, but they do it nonetheless because they have been trained to obey marching orders and question nothing. Ethan, on the other hand, looks at Parvaneh and sees his daughter. He cannot maintain the emotional distance to simply abide by his boss’s wishes. His inability to disassociate is egged on by Carol, and after a game of Tic-Tac-Toe with Parvaneh, he calls the mother of his child and leaves a voicemail begging her to let him see his daughter. Drawing from his own pain, Ethan not only shows more compassion than Hank but also seeks out any path to reuniting Reza and Parvaneh with their parents. What Hamdardi adeptly highlights is how the inability to communicate can generate impatience and mistrust. Once it is clear that Reza does not speak English, Hank’s attitude becomes more and more hostile. While this could simply be written off as xenophobia, it can also be interpreted as Hank attempting to exhibit more control over a situation than he actually has. Rather than bridging the gap in communication, which would take more time and understanding, he resorts to intimidation by raising his voice and speaking sharply, a common tactic of people in positions of authority. For someone like Reza, who does not speak the language and is playing the role of protector for his younger sister, this elicits resentment and a lack of trust. All he knows is that he is being yelled at. Ethan takes a softer tone and makes more direct eye contact, highlighting how Hank’s approach is unnecessary but serves as an additional way to maintain emotional distance. The story of Hamdardi likely still resonates with anyone who follows the news and remembers this time of uncertainty. While it has a much heavier subject matter, the film reminded me of the early 2000s one-location comedy The Terminal . Tom Hanks plays an eastern European traveler stuck in the JFK airport for an extended period of time. He too encounters a language barrier with the employees of the airport, and despite the disconnect, must learn how to coexist and communicate with them until he can be on his way. Both films accentuate the importance of showing patience, making effort and demonstrating compassion with people from other cultures, as well as taking a personal risk to do right by others. 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!