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< Back American Skin deals with justice, fairness and accountability in this film about a father's loss. Tiny Giant Entertainment, 2021 90 minutes Director/Writer: Nate Parker Reading Time: 3 minutes American Skin R Naught (CRLTXLK9CDNFAEV2) 00:00 / 04:15 📷 : Used with permission, Sterling Light Productions Barley: Movies and TV shows with a lot of dialog Ginger: Thought-provoking movies and TV shows Reba Chaisson 2021-07-25 I recently reconnected with a cousin I hadn’t been close to in more than 30 years. Hearing about her life now made me realize how I had frozen her in time. She had been, in my mind at least, still the teenager I went to school with and the young lady I last saw just beginning her life as an adult. It has happened to me before, where I had frozen people in time because I had not interacted with them in so long. This is the sensation I felt with American Skin, like I was frozen in time because somehow life just stopped during this story. Written and directed by Nate Parker ( Birth of a Nation , Eden ), the film is about a Black man’s reaction to the murder of his 14 year‑old son, Kajani, by a White police officer during a traffic stop. We often hear that children are the center of their parents’ lives, and that losing them to tragedy depletes their own lives of meaning, making it difficult to move on–freezing them in time. When asked why he still works at his son’s school, Kajani’s father simply could not respond. It was as if he had no answer for the question. But while this film’s storyline is familiar, the father’s way of dealing with his immeasurable grief, loss of purpose, and subsequent lack of justice is far from typical. And it is a step he rationalizes as necessary to propel him forward again. Lincoln “Linc” Jefferson, played by Parker, stages a direct confrontation with the police that deals head‑on with questions around justice, fairness, and accountability. The film does far more than nibble around the edges and offer platitudes, but instead takes a deep dive to explore and reveal the ugliness underlying these issues. For a period, the dialog feels like an intense exchange among passionate students in a sociology or political science course. Long overdue, the discussion is both needed and welcome. The emotional depths of the performances compel us to face ourselves as individuals and acknowledge our part in perpetuating the disrespectful and inhumane treatment of people of color in America. At its core, the film beckons us to grapple with what it means to be an American. And the strong acting and meaningful dialog keep viewers interested, engaged, and perhaps even wanting to participate in addressing this question. Clearly, American Skin is being used to educate. The film spurs us to critically think about a number of searing, enduring, and relevant issues, such as: What it means to have a jury of your peers. The degree to which Blacks and Hispanics in particular are dehumanized by police and further diminished in the justice process, as well as the cumulative stress they endure as a result. The depths of denial people will travel to protect their outward identities, even at a cost to themselves. The readiness of White jurors to empathize with police officers and attach meaning to their lives, and refusal to recognize the same humanity in Blacks and Hispanics. Like classroom discourses, the film leaves us with the understanding that it is okay to be conflicted at times, and that it is okay not to have all the answers. That the importance lies in having an informed perspective and being aware of our own stance. That courage lies in shedding the veneer and being true to ourselves. American Skin insists that these prerequisites be fulfilled to ensure tragedies like this one don’t repeat. If you are interested in attending this class, then take a seat. Be prepared to be transfixed for 90 minutes and to feel emotionally spent when it ends. 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 Dream Scenario examines obsessions with fame and the subconscious A24, 2023 102 minutes Director/Writer: Kristoffer Borgli Reading Time: 6 minutes Dream Scenario Path of Purpose (TRMMUPNBM4ILZX8U) 00:00 / 06:01 📷 : Used with permission, Aleks Phoenix https://www.instagram.com/aleks_phoenix/ https://twitter.com/aleksphoenix Saffron Movies and TV shows with great visual effects White: Movies and TV shows that make you laugh, or involve urgency, like chase scenes or other physical activity Chris Chaisson 2023-12-05 A24’s new sci-fi feature Dream Scenario follows Paul (Nicolas Cage), a tenured professor, husband and father who traverses a monotonous existence. His students view him with complete indifference, and to his daughters, he is the uncool dad. Paul’s major objective is to publish a book on his academic research, an idea with which he is very possessive despite not having written a single word. His reality suddenly changes when family, friends, and strangers alike start seeing him in the backdrops of their dreams. Similar to his role in their real lives, Paul serves little purpose in the dreams regardless of how dynamic or perilous they appear. He still plays up his overnight (no pun intended) fame, enticed by the thought of being relevant. He tries to parlay it into a book deal after meeting with a talent agency, who instead steers him in the direction of superficial viral moments. Eventually, the nature of the general public’s dreams about Paul turn dark, rendering him a menace in the dream world and a social pariah in the waking world. The target of much scorn, Paul must figure out how to revive his image. The film begins in the middle of a dream sequence, immediately placing the audience in the universe of Paul’s burgeoning fame. Not only does this keep the audience engaged from start to finish, it mirrors most of our experiences with dreams. We rarely dream lucid, where our fear dissipates because we know we are not awake. Rather, we experience the surreal and wake up in a panic. This scene, and every dream sequence throughout the film, pull the viewer into the movie’s universe. Through Paul’s interactions in the first 30 minutes, we get a sense of his character and his routine as it was without needing any exposition spoon-fed to us. This story choice allows us to spend more time watching the dreams play out, as well as Paul’s various human interactions with the characters who were not previously part of his life. Kristoffer Borgli’s feature gives an original take on the trappings of celebrity. The common perception of the public’s treatment of celebrities is that we build them up only to tear them down. Though the nature of the dreams about Paul are out of everyone’s control, their treatment of him fluctuates along this same sine wave. Paul finds himself being held accountable for actions that he did not commit in the real world, and to compound his issues, he does not have the charisma or public relations team to smooth over his image. Thus, he winds up digging himself into deeper and deeper holes, even alienating his own family. Arguably, Paul’s biggest mistake and tragic flaw is his welcoming of the attention in the first place. Against the warnings of friends and family, he sacrifices his own privacy simply for undeserved fame. Similar to many famous people in the real world, giving away privacy can create mental health issues and tumultuous personal relationships. Though Paul never has control over whether or not people dream about him, embracing his celebrity legitimizes the recurring dreams in the eyes of everyone else. The temptation to do so comes from his dissatisfaction with his mundane life as it previously stood. His feeling of being underappreciated is a growing trend even in the world today, especially as people assess their own value or celebrity by their social media presence. Fewer and fewer people are satisfied with an anonymous lifestyle and embrace attention that is, or could, turn negative. Dream Scenario presents other social commentary as well, most notably the power that many people lend to their dreams. Instead of viewing dreams as random and meaningless, many people interpret them as a call to action. For instance, early in the film, Paul’s ex-girlfriend approaches him to tell him that she has seen him in her dreams and asks him out for coffee in front of his wife. Just the same, an attractive talent manager from the agency he meets with asks him out for drinks in order to get to the bottom of her recurring dreams featuring Paul. Despite his marriage, Paul rejects neither of these advances, paving the way for turmoil later on. Both interactions, however, speak to how often people let dreams guide their behavior and spur them to connect with those that they may have ignored. A subtler theme in Dream Scenario is the disregard for academic prowess. As a professor with a doctorate, Paul’s work receives little to no attention and is not appreciated. His lectures fall on deaf ears until the students start having dreams about him. He finds his most engaging sessions are when he foregoes the class material and simply discusses the students’ dreams with them. Similarly, the talent managers he meets with do not care about his expertise or his goal of writing an educational manuscript whatsoever. They instead discuss commercials, talk shows, podcasts and celebrity meetups to amplify his mystique. Paul very clearly starts to devalue his own work, simply riding the wave of his popularity and begging for sympathy when it runs out. Dream Scenario presents itself as the sci-fi twist on the Oscar-nominated 2022 film, Tår . Lydia Tår allows esteem and celebrity to inflate her ego to a point that she mistreats others. Once the collective opinion of her takes a turn for the worst, the same people who propped her up ostracize her and cast her out. Paul gets put on a pedestal by people who have never met him and he enjoys the positive attention he initially receives. Once he allows it to go to his head, the dreams change and public opinion turns on him quickly. Just as is the case in the real world, both Lydia and Paul become victims of the trappings of celebrity. Each film demonstrates that fame is a kind of power, and those who get a taste scramble to hold onto it while thirsting for 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 Speak No Evil shows the most severe consequences of acquiescing Profile Pictures, 2022 97 minutes Director/Writer: Christian Tafdrup / Christian Tafdrup and Mads Tafdrup Reading Time: 5 minutes Speak No Evil Feast (UUXKG2RZM3LJUDFS) 00:00 / 05:27 📷 : Licensed from Shutterstock Ginseng: Suspenseful and intense thrillers Barley: Movies and TV shows with a lot of dialog Chris Chaisson 2023-01-17 “Why are you doing this?” “Because you let me.” Full disclosure: I rarely leave parties exactly when I’m ready to be gone. I have had a frequent problem throughout my youth cutting the cord and saying my goodbyes. I could blame this on any number of things: being indecisive, fear of missing out, or frankly, not having any other plans (insert shrug emoji). The main reason many struggle with this, and label themselves introverts because of it, is the need to be polite. Many of us squander way too much free time simply avoiding an uncomfortable exit from hosts that will likely either not be offended or will get over it quickly. Director Christian Tafdrup takes this basic level of common acquiescence and ratchets it up to a life-or-death situation in his new work, Speak No Evil . At an enjoyable retreat, Bjørn (Morten Burian, Sons of Denmark ) and Louise (Sidsel Siem Koch, Steppeulven ), a couple from Denmark, meet Patrick and Karin, two casual acquaintances from Holland. Patrick (Fedja van Huêt, Character ) and Karin (Karina Smulders, Bride Flight ) send them a postcard inviting them to visit their countryside property for a few days. The invite feels aggressive, as they barely know the couple. Rather than decline, they offer a reluctant acceptance and head off. Bjørn and Louise bring along their daughter Agnes to join and spend time with Abel, Patrick and Karin’s son. This unenthusiastic RSVP sets the tone for a series of uncomfortable occurrences between the two families over the course of the stay. Patrick and Karin impose several times by not respecting Louise’s dietary restrictions, invading their privacy, hiring a babysitter they’ve never met to watch the children, and being verbally abusive to Abel in front of them. Despite ample opportunities to leave and signs that something is off, Bjørn, Louise and Agnes stick around and get much more than they bargain for. Speak No Evil ’s genius is its ability to start its protagonists off with a relatable emotion, the unwillingness to offend. Patrick and Karin make such a gracious offer that many watching the movie would possibly consider it themselves. After all, some people are more trusting of strangers than others. The first act of the movie may come off as two couples with different lifestyles and different behavioral standards in the presence of others. For the viewer, it makes for some hilarious, albeit cringe worthy, scenes in the stylings of Meet the Parents . However, the visit quickly takes a turn for the dark as Bjørn and Louise express their displeasure more vocally and even attempt to leave. Patrick and Karin pull the very familiar tactics of manipulative people: play dumb, apologize and insincerely promise to change. In a word: gaslighting. A prevalent criticism of movies like Speak No Evil is that the main characters’ passivity rises to a level too far-fetched to keep audiences engaged. At some point, we like to see the protagonists stand up for themselves to complete their character arcs. The reason behind Bjørn’s consistent buckling under becomes obvious as the film progresses: he is entranced by Patrick’s type A personality. Patrick has far more hutzpah, which Bjørn both admires and envies. This desire comes through in one of the few wholesome moments of the film, where they walk to an open field and take turns shouting into the void to release their tension. The power dynamic between the two, Patrick being more in charge than Bjørn, is not confined to money, work or social status, but rather difference in personality. Bjørn’s unspoken longing to be more like Patrick compromises his judgement, a situation very common in real life. Speak No Evil could easily be compared to its contemporaries Get Out and Barbarian , movies with a general sense of dread where a character visits an ominous place and ignores signs that they should leave. Another common comparison floating around is the 2008 home invasion thriller The Strangers , particularly due to similar lines uttered between the protagonists and villains near the end of each movie. Between reading, watching, and listening to podcasts regarding the film, it instead brought to mind for me another movie from the early 2010s: Compliance . An equally disturbing film, Compliance depicts the true story of a fast food worker who is accused of stealing and strip-searched by her co-workers at the instruction of someone impersonating a police officer over the phone. Both films call to question social etiquette and the ways that people will bend to either perceived authority or the incessant need to be polite. It is so ingrained in some of us that we get taken advantage of and even put in harm’s way. For moviegoers who are less trusting in their everyday lives, Compliance and Speak No Evil are just movies about people who are either cowards or complete idiots. For those of us who have been scammed, duped, pranked or even harmed, these two projects serve as a reminder to follow your intuition and protect yourself at all costs. 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< Back The Piano Lesson reminds us of the similarity of our stories Mundy Lane Entertainment, 2024 125 minutes Director/Writer: Malcolm Washington / Virgil Williams, Malcolm Washington, and August Wilson Reading Time: 5 minutes The Piano Lesson Life in Wonder (YZTFZ6JOABMIRD4V) 00:00 / 07:20 📷 : Used with permission, Netflix Barley: Movies and TV shows with a lot of dialog Ginger: Thought-provoking movies and TV shows Reba Chaisson 2024-12-04 Many of us hold on to trinkets. We have boxes and drawers stuffed with small but meaningful cards and gifts that we just cannot bring ourselves to part with. These things carry a lot of sentimental value for us, and they can be exchanged for no amount of money. That Willie Mays baseball card. The special note we received from an aunt after graduating. The plastic jewelry box gifted to us by a sibling when we were just 8 years old. The $2 bill our dad gave us when they were freshly minted. Or the journals or special drawings our children made for us when they were in second grade. Except for the Willie Mays baseball card, these keepsakes aren’t worth much on the open market. But what if they were, and cashing them in could add a significant boost to our family’s life? Denzel Washington’s son, Malcolm, takes up August Wilson’s Pulitzer Prize-winning play, The Piano Lesson , which explores this very hypothetical. With an all-star cast in tow, Malcolm Washington takes on the tall task of directing a period piece about a Black family in 1930s Pittsburgh whose ancestry dates to the time of early enslavement in the South. Boy Willie, played by John David Washington, arrives at his sister’s place in Pittsburgh with his friend Lymon (Ray Fisher) and a truck full of watermelons from Mississippi to sell. Brash and outspoken, Boy Willie aspires to buy the Mississippi land of his family’s former enslaver. Even selling all the watermelons leaves him short to buy the 100 acres, so he wants to sell the family’s prized piano which has long sat silent in his sister Berniece’s possession. Played by Danielle Deadwyler ( Till , The Haves and Have Nots ), Berniece makes it unequivocally and emphatically clear to her brother that she “is not selling that piano.” She even threatens to shoot him when he tries to do so anyway. Samuel L. Jackson plays Boy Willie’s and Berniece’s uncle, Doaker, who owns the home where Berniece lives and where much of the film is set. Doaker is easy-going but makes it clear that he is to be respected in his own home. As the siblings bicker constantly over the fate of the piano, Doaker lets it go on for so long before he puts his foot down and insists that Boy Willie back off. Doaker is quite deft at this as he gets Boy Willie’s attention, while also acknowledging that the fight over the piano is between the two siblings and not him. Amid Boy Willie’s and Berniece’s bickering is the presence of the family’s former enslaver, Sutter, who is deceased. Berniece insists she frequently sees his ghost upstairs, and the audience shares this sighting with her along with water flowing across the floors and doors creaking. Berniece believes Sutter haunts them because of the way her family came to be in possession of the piano, as well as the circumstances under which he died. In our Crumpets piece on horrors and thrillers, we note that villains are typically known in horror movies, and that their innocent victims need to take time to “[figure] out how to defend themselves and their loved ones from them,” who in this case is Sutter’s ghost. Perhaps Berniece’s insistence that she maintains possession of the piano is her way of protecting Boy Willie and her child from him until she figures out how to rid herself of Sutter’s haunting. Nonetheless, as the original owner of the piano, Sutter’s ghost adds a mystique to the film that is not just about giving a fright, but about sending a chill up our spines and making horror’s presence palpable. In some respects, The Piano Lesson brings to mind Tyler Perry’s 2020 film, A Fall from Grace . The latter’s setting is present day Atlanta, and the subject matter of each film is very different. The two movies are similar, however, in their rising action. Towards the end of both films, the level of suspense is raised from something more than anticipated in the drama we expected to experience when we sat down to watch these films. What the two also have in common is the southern urban aesthetics, despite The Piano Lesson ’s setting being more dated than A Fall from Grace and situated in the Northeast rather than South. The homes in each have dark wood interiors and are dimly lit, but the dark hues are quite effective in drawing the audience into the story. Indeed, Doaker enlightens the audience when he effectively takes center stage in The Piano Lesson . His ensuing monologue explains the significance of what to some might be nothing more than a heavy, old-fashioned piece of furniture with numerous carvings. From him, we get a history lesson about the piano but learn a thing or two in the process that helps us consider the real value of those trinkets we keep. In The Piano Lesson: Legacy and a Vision , Washington said he wanted to respect the playwright’s work but to update it in some ways to “speak to the current times,” including language, images, and sounds. He addresses this, in part, by infusing timely orchestral music with deep soulful sounds, danceable tunes, and even on-screen performances by Erykah Badu. The mix of 1930s costumes with the day’s decor, dance styles, jazz, gospel, and today’s R&B offer a cinematic experience that reaches beyond the intrigue of the story to connect us to the family and keep us fully engaged in the film. Viewers are likely to find themselves not wanting to miss anything in this period piece, when such movies typically lose our interest, and we gladly excuse ourselves to get popcorn or go on a bathroom break. That the film accomplishes this level of engagement without racy scenes or excessive profanities is impressive, and interestingly, consistent with the cinema of the era. In addition to the mystique around the piano itself, The Piano Lesson offers intrigue, horror, romance, and a mix of music delivered through powerful songs and strong acting. And because of this fusion, the film is likely to both attract and engage viewers across a wide age range, albeit a narrow ethnic group given its subject matter. My hope is The Piano Lesson will get us to consider – no, remember – how similar our stories are and the ties that bind us, still. 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!

I Got This calls into question what it means to be a family < Back I Got This calls into question what it means to be a family Funclub Unlimited, 2018 22 minutes Director/Writer: Erik Bork Reading Time: 3 minutes 📷 : Licensed from Shutterstock I Got This Long Weekend (IB9NFREA1TRJSFJ8) 00:00 / 03:52 Jasmine Movies and TV shows with heart, positive vibes, and warm messages White Movies and TV shows that make you laugh, or involve urgency, like chase scenes or other physical activity Reba Chaisson 2022-12-22 We don’t typically review comedies on the platform. But in thinking about Chris’s wonderful Crumpets article on the purpose of short films, I got to thinking about the breadth of stories told through independent cinema. Compared to mainstream, the range of genres seems narrow (predominantly drama, documentary, and horror). This reality means we need to dig deeper to find nuggets and granules of other works in this segment of the industry. Given the random approach to seeking out more thematic variety, I stumble upon one. I Got This is a comedy short starring Rome Shadanloo ( The Last Shift , Beyond Paradise ) as Jennifer, a reticent mother who comes clean to her partner about the fact that he is not her 3-year-old daughter’s father and she doesn’t know who is. Jack De Sena ( Lego Monkie Kid: Embrace Your Destiny , This Could Be a Podcast ) plays Chris, Jennifer’s self-effacing and dedicated partner who insists that the biological father, nonetheless, has the right to know he has a child. The late 20-something year-old couple sets out to covertly collect biological samples from each of her past encounters for DNA testing. (Despite the humor, one scene in this part of the film should be accompanied by a trigger warning since it is quite graphic.) Except for the courage of such young people, this is not an unusual story. Several past and present daytime television talk shows commodify personal stories like this — about women who are less than forthcoming about their child’s biological father. Billed as entertainment, the shows typically devolve into silliness, rancor, and even physical fights among family members. It was refreshing to see that this film was a quiet story centered only on the two people involved. Instead of family conflict and high-level acrimony, this story is tame and honest as it depicts another, more humorous, way of handling an awkward and emotionally painful situation. The film got me thinking about the notion of family, which is similar to themes in the film, Mr. Church . In our critique, we noted that a family isn’t just limited to shared genes. Along these lines, I couldn’t help but wonder if the answer Jennifer and Chris are looking for really matters. Yes, I know, but hear me out. Often the relationships between children and stepparents are indistinguishable from those between children and their biological parents. Having already stood in the role of dad for three years — which included changing diapers, playing with her in the snow, reading to her before bed, and all the things that parents often do for their children — Chris’s love and affection for his child is highly unlikely to change after learning who the biological father is. Case in point: After breaking the news to Chris and announcing her plans to move, Jennifer adds, “Maybe you can live nearby or come visit regularly. That would be ideal.” Such a statement likely sounds ridiculous to someone who is emotionally attached to the child he has raised since birth. Simultaneously, it conveys the emotionally wrenching prospect of pulling a family apart – blood-related or not. So, what constitutes family, and what does it mean to be a father? One thing for sure, a shared biology is not a necessary condition for either, right? Available on Film Shortage 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!

A Brush of Violence makes us consider how we handle disappointments < Back A Brush of Violence makes us consider how we handle disappointments DLW, 2023 40 minutes Director/Writer: Daniel Lawrence Wilson Reading Time: 5 minutes 📷 : Used with permission, Daniel Lawrence Wilson A Brush of Violence Echo Mountain (T4UAWDOFDJONIQJD) 00:00 / 05:26 Ginseng Suspenseful and intense thrillers Dandelion Movies and TV shows with heavy subjects Reba Chaisson 2023-08-21 “Always remember why you started in the first place.” Popular wisdom on adversity contends that how we respond to disappointments and setbacks reveal a lot about our inner strength and focus. Do we persist when things initially don’t go our way, or do we cut and run in a different direction? I think the thinking here is simplistic since it considers neither the context of our lives nor our complexity as individuals. In other words, we neither cope with nor respond to happenings in the same ways. A Brush of Violence highlights this issue, but also leads us to consider our own fragility as it relates to our passions and disappointments. A Brush of Violence centers Vio, a reclusive artist who is famous for his provocative and violent paintings. After years of anonymity and being isolated in his home, he requests that Akila, a photographer, come to his home to take pictures of him that would amount to an unveiling of the man behind the paintings. Played by Mia Krystyna ( Solitude , A Letter on Loss ), the sedate and unflappable Akila is initially hesitant, though also curious why he chose her. She accepts Vio’s invitation, realizing it as a rare opportunity to boost her career ambitions. Darren Streibrig’s cinematography for the film is dark, fitting for the subject matter about a man who rarely ventures beyond the brick masonry and stone walls of his vast, eerie, and isolated estate. Joseph Holiday and Snakes of Russia’s soundtrack of low notes and shrieking violins add an ominous tone that hangs throughout the presentation. When combined with the minimal though profound dialog, it completes the film’s doomy feel. So, when Vio, played by Yavor Vesselinov ( The Bridge , Adultery ), asks Akila how far she will go to be remembered, we get the sense that something dark and unimaginable might happen during her visit. The 40-minute film contains some unexplained symbolism with flashes of color and masks. This may be frustrating for some of us since we’re not keen to Vio’s experiences, motivations, and what brought him to his life as a recluse. But films of all genres and lengths contain elements that are annoying and off-putting. I am reminded of several Spike Lee films that are laden with symbolism and special effects forced into the productions, disrupting an otherwise seamless movie-watching experience. The 2006 film Inside Man and the 1991 hit Jungle Fever come to mind. Both were, nonetheless, engaging films with strong lessons. In A Brush of Violence , the annoyance of the symbols is dampened by writer/director Daniel Lawrence Wilson’s use of multiple locations and the large cast of extras appearing in scenes at a bar and an art gallery, for example. Unusual for short films, these elements seem to make the movie come up for air after what feels like a dark and suffocating visit with Vio. Over an eerie silence, Vio and Akila engage in a conversation that gently stirs our emotions with light fingertips as the two use few words to talk about passion, aspiration, and ego. At one point, Vio, in his light, monotone voice advises Akila to “Always remember why you started in the first place” and later asking rhetorically, “What if there was never a day you were forgotten?” Vio’s musings hint that he lost himself sometime during his career, and that the passionate painting he once relished was somehow derailed. Despite his famed accomplishments, he is deeply saddened by not having fulfilled his ambitions and is now concerned about his legacy. In this sense, A Brush of Violence is similar to the passion exhibited in the 2008 tearjerker, The Wrestler . Mickey Rourke received an Oscar nomination for his role as Randy “The Ram,” a retired wrestler who has settled into a life outside the ring. While he works to make amends for his past failings as a father and husband, he longs for the fame and popularity he once reaped from the sport. He seizes the opportunity to get back into the ring, telling his fans that they are the only people to tell him when he’s through “doing his thing.” Passionate but not as brazen and vocal, Vio in A Brush of Violence is similarly concerned about his legacy and wants to solidify it on his own terms. I think many of us, especially those over 40, can relate to this. We begin our work lives with every intention of doing what we love, but we abandon it for practical reasons, or we are forced to leave it because of a life event. Also, sometimes, crap just happens! Our response to these disappointments varies, for instance dabbling in our passions on the weekends or returning to them after the dust has settled in our lives — to restore the essence of ourselves. I’m hoping Vio’s response to his disappointments is the exception. Check out this intriguing film and you’ll see what I mean. 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Explore Critical Evaluation of Film & Short Film Reviews with Cup of Tea Critiques, your online source for sharp insights on movies and television. Click here to see what we have to offer! Tea Brew Legend Our critiques are tagged with a tea brew that evokes a feel for the movie or television show. So, instead of likes, ratings, emojis, or thumbs up or down, they are assigned a tea that, based on its benefits, gives you a sense of the production's feel and substance. Below we show several plants that teas are made from. So, scroll to figure out which tea best fits the movie or TV show that matches your mood. We hope you enjoy our critical evaluation of film & short film reviews Photo by Emma Van Sant on Unsplash Tea: Barley Category: Herbal Barley tea is good for oral health, which translates nicely to shows that have a lot of dialog like: The Accident , Between the Temples , and Flamin' Hot — to name just a few! Genre: Movies and TV shows with a lot of dialog Tea: Chamomile Category: Herbal Chamomile tea induces sleepiness. This is not to say that shows marked with this tea are boring; they're actually rather calming — not action packed. Try the Oscar-nominated film, American Fiction , The Long Game, or The Old Oak for example. Genre: Family dramas Photo by Rebecca Asryan on Unsplash Tea: Coca Category: Herbal Coca tea can produce psychosomatic effects, making it perfect for marking movies and shows about drugs or disorienting presentations such as Back to Black , Lonesome Soldier , and The Substance . Genre: Movies and TV shows about drugs or with disorienting presentations Licensed from Adobe Stock Photo by David Dawson on Unsplash Tea: Dandelion Category: Herbal Dandelion tea is a bitter herbal tea that fits with movies and shows with difficult or heavy subjects like Fair Play , the Oscar–nominated film, Killers of the Flower Moon , Monkey Man , and Presumed Innocent . Genre: Movies and TV shows with heavy subjects Tea: Ginger Category: Herbal Ginger tea has many benefits, one of which is protecting the brain against disease. This translates perfectly to thought-provoking movies and shows, for example: the Oscar-nominated film, Drive My Car , Life After , Maestro, and War is Over! . Genre: Thought-provoking movies and TV shows Photo by Joris Neyt from Pexels Photo by Uwe Nake on Unsplash Tea: Ginkgo Biloba Category: Herbal Ginkgo Biloba tea slows signs of aging, so what better movies and shows than fun, youthful , and lighthearted ones like Nobody is Crazy , Rye Lane , and The Wonderful Story of Henry Sugar . Genre: Youthful, lighthearted, and fun movies and TV shows Tea: Ginseng Category: Herbal Like Chrysanthemum, its floral counterpart, Ginseng tea acts as a stimulant. We reserve this designation for suspenseful and intense thrillers that contain some violence. From, Leave the World Behind, Longlegs , and Rebel Ridge are among these. Genre: Suspenseful and intense thrillers Photo by Rodion Kutsaev from Pexels Licensed from Adobe Stock Tea: Honeybush Category: Herbal Honeybush tea is calming. But unlike chamomile, this one is best for non-family dramas with adult themes like A Good Day Will Come , Challengers , and Rez Ball . Genre: Nonfamily dramas with strong adult and/or socioeconomic themes Tea: Jasmine Category: Green Jasmine tea is sweet and relaxing, making it a great sip for movies and shows with heart, positive vibes, and warm messages like the ones in these: Babes , Bob Marley: One Love , Perfect Days, and the Oscar–nominated film, The Holdovers . Genre: Movies and TV shows with heart, positive vibes, and warm messages Photo by Tanya Nedelcheva on Unsplash Photo licensed from Shutterstock Tea: Masala Chai Category: Black Masala Chai is a black tea that promotes strong bones, oral and digestive health, and reduces the risk of stroke, making this drink perfect for movies and shows about toughness or athletic competition like Lawmen: Bass Reeves, Napoleon, and The Brothers Sun . Genre: Movies and TV shows about toughness and athletic competition Tea: Matcha Category: Green Matcha improves mental focus, making it perfect for navigating mysteries and figuring out whodunnits such as Decision to Leave , Fight Night: The Million Dollar Heist, The Independent , and The Night Agent . Genre: Mysteries or whodunnits Photo by Michael Burrows from Pexels Photo by Simon Lee on Unsplash Tea: Mint Category: Herbal Mint tea has a cooling effect and is known to reduce fever, which makes it a good fit for movies and shows filmed in cold weather or blizzards, such as Blow the Man Down, Society of the Snow, and Wind River . Genre: Movies and TV shows in cold weather and blizzard conditions Tea: Oolong Category: Oolong Oolong tea is fat burning, supports weight loss, and helps mental performance, making it compatible with movies and shows that make you laugh or involve physical activity like dance and exercise. Chevalier, Florida Man, and Mr. and Mrs. Smith are just three examples! Genre: Movies and TV shows that make you laugh or involve physical activities like dance and exercise Licensed from Adobe Stock Photo by Jared Subia on Unsplash Tea: Peach Category: Floral Peach tea has a sweet and pleasing aroma, making it perfect for movies and shows with a springtime feel and imagery of the season, such as Bloodline, Florida Man, and I Love That for You . Genre: Movies and TV shows with a springtime feel or with images of the season Tea: Rosemary Category: Herbal Rosemary tea has a sharp pine fragrance and is proven to boost memory, making it perfect for signaling stimulating shows with intense action like Civil War , Lawman: Bass Reeves , and Monkey Man . Genre: Movies and TV shows with intense action Photo licensed from Shutterstock Photo by Mohammed Amiri on Unsplash Tea: Saffron Category: Herbal Besides the beauty of its color, Saffron tea promotes eye health, which transfers well to movies and shows with great visual effects like Dream Scenario , Leave the World Behind , the Emmy– and Golden Globe– nominated series, The Bear, and The Substance . Genre: Movies and TV shows with great visual effects Tea: Sage Category: Herbal Similar to its floral counterpart (Lavender), Sage tea is an anxiety/stress reducer, which makes it great for watching films with low-key characters like those in Bob Marley: One Love, Living, and Perfect Days . Genre: Movies and TV shows with low-key characters Photo by Phillip Larking on Unsplash Tea: White Category: White White tea is fat burning, supports healthy weight loss and skin, and slows aging. All are qualities that make it a good fit for shows that make you laugh or involve urgency like chase scenes or other rigorous physical activity such as those in Full Time and I Got This . Genre: Movies and TV shows that make you laugh, or involve urgency, like chase scenes or other physical activity Licensed from Shutterstock Tea: Yarrow Category: Herbal Like Ginger, Yarrow tea promotes digestive health, reduces fever, cold, and cramps, and even relieves itchy skin, making it appropriate for movies and shows about illness or that are set in hospitals or other medical institutions such as those in A Girl Upstairs, From, the Oscar–nominated film, Killers of the Flower Moon, and Swarm . Genre: Movies and TV shows about illness or set in hospitals or similar medical institutions Licensed from Adobe Stock 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 A Lot of Nothing expresses the power of feeling powerless Anonymous Content, 2022 104 min Director/Writer: Sarah Kelly Kaplan / Sarah Kelly Kaplan and Mo McRae Reading Time: 5 minutes A Lot of Nothing Treacherous (FZWPDWAOPLBCQGMG) 00:00 / 06:09 📷 : Licensed from Shutterstock Ginger: Thought-provoking 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 2023-03-21 A Lot of Nothing presents the successful, charming couple of James (Y'lan Noel, Insecure ) and Vanessa (Cleopatra Coleman, Infinity Pool ). Living in their extravagant house in the Hollywood Hills, the two lawyers hear a news report one night about a fatal police shooting involving their uniformed next-door neighbor, Brian (Justin Hartley, Smallville ). They disagree on their comprehension of the news story, with James suggesting they should not jump to conclusions and Vanessa insisting that Brian is guilty. As they come to an agreement about Brian’s probable guilt, they then debate on what, if anything, they should do about it. After they each experience a stressful day of work, James comes home and unwinds while Vanessa, left to bring in groceries alone, spots Brian and heads over to confront him about his involvement in the shooting. After Brian is disrespectful and threatening in his response, Vanessa heads off and tells James, who heads over to Brian’s house to clear the air. When he fares no better, he and Vanessa kidnap Brian at gunpoint, forcing him into their house and tying him to a chair in the garage, all to coerce him into a more remorseful tone. As the evening progresses, their plan goes farther and farther off the rails. A Lot of Nothing certainly has its flaws, with a couple of far-fetched moments and plot details introduced way too far along in the story. As in other works, if you find the film humorous enough, you may overlook its biggest weaknesses. Nonetheless, the film serves as an examination into how a sense of powerlessness can strongly influence one’s behavior. Despite being a well-to-do couple working for established law firms, James and Vanessa ultimately feel like they cannot incite change in any methodical, level-headed way. Mo McRae’s directorial debut provides social critiques without being preachy, particularly in its first act. For instance, James bristles at his White co-worker’s use of the term “baby mama.” Vanessa copes with being talked over by her male colleagues and having her fair skin complexion used to insult her. These moments serve as snapshots of what members of marginalized groups can experience in spaces dominated by the majority. They often do not feel that they have the power to express their objection to the language or treatment of others, and the frustration from such encounters festers. Despite its serious synopsis, this indie flick swings from a humorous tone to suspenseful and back several times. For instance, in the scene preceding Vanessa’s first intimidating encounter with Brian, James speaks very seductively to his Peloton machine in a goofy aside. Similarly, the opening scene oscillates between the fearfulness James and Vanessa feel over the revelation about their neighbor and their brainstorming which Martin Luther King quote to post to Facebook. The humor infused into the story differentiates it from many other films on the subject of police brutality. While it may sound ill-fitting, the comedic element endears the film’s main characters to the audience. On the topic of characters, the situation escalates once James’s brother Jamal and his pregnant fiancée come over for dinner. As in many stories, such as Rachel Getting Married (2008) or the aptly-named Brothers (2009), the presence of a sibling can shed light on the way a protagonist behaves. Jamal is much more militant than James, consistently inferring that James is conforming to White society. Similar tension exists between Jamal’s earthy fiancée, Candy, and the more practical Vanessa, who rolls her eyes at Candy’s talk of veganism, energy and overused proverbs. They share a contentious conversation once Jamal and Candy arrive, all while trying to conceal the fact that they are holding Brian captive. The presence of in-laws with different philosophies on life allows McRae and co-writer Sarah Kelly Kaplan to show Black characters as more than a monolith, again without preaching this point to the audience. A Lot of Nothing does not tie up every loose end. However, it gives its viewers a decent amount to chew on, offering different perspectives and three-dimensional characters. It effectively dodges the temptation to have each party involved provide the exact spiel you’d expect from scene to scene, keeping the interest level up despite some absurd turns in the story. Despite its weaknesses, the SXSW Festival award-nominated indie manages to be visually interesting and thought-provoking. There is no pinpoint accurate comparison for A Lot of Nothing , but a film that bears a slight resemblance is the 1982 Martin Scorsese flick The King of Comedy . Robert De Niro plays Rupert, an unsuccessful comic who develops an obsession with his idol, talk show host Jerry Langford, and proceeds to stalk and kidnap him after an initial rejection. While Rupert is clearly demented, his actions stem from a sense of desperation and powerlessness, similar to James and Vanessa. Both films show their protagonists taking drastic and illegal action in response to these feelings, wasting massive amounts of duct tape in the process. 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 Untold Story of Mild Sauce will make you chuckle and reminisce < Back The Untold Story of Mild Sauce will make you chuckle and reminisce Ill-Hio Films, 2021 13 minutes Director/Writer: Anton Deshawn / Johnathan Craig and Anton Deshawn Reading Time: 3 minutes 📷 : Used with permission, Anton Deshawn The Untold Story of Mild Sauce Cats And Dogs Living Together (ECIADMH14RKW9MLT) 00:00 / 03:16 Oolong Movies/shows that make you laugh or involve physical activity like exercise/dance Ginkgo Biloba Youthful, lighthearted, and fun movies and TV shows Chris Chaisson 2023-04-11 For anyone who vividly remembers ‘90s R&B and VH1 programming, The Untold Story of Mild Sauce will offer quite a few chuckles. Shot in mockumentary style, the story raises the curtain on fictional R&B group Mild Sauce, a four-person boy band comprised of Vonn, Juju, Heno, and Dre, and their manager Stony Mack. Between narration and confessional-style interviews, director Anton Deshawn splices in Mild Sauce’s music videos. The choreography and vocals are clearly meant to poke fun at hit songs by the extremely popular groups of the era, namely New Edition, Boyz II Men and Dru Hill. Interestingly enough, the humor hits harder now that R&B music has transitioned away from this style. In the ‘90s and early 2000s, boy bands in pop and R&B were so revered that it would be tough to imagine anyone producing a satire of them. Contemporary groups largely consist of individual acts that collaborate across other genres and lean heavily on sex appeal. The generation-old trends that The Untold Story of Mild Sauce mocks make it easier to look back and laugh at styles that were universally admired at the time. The funniest element of The Untold Story of Mild Sauce is without a doubt the lack of accountability that permeates the actual VH1 Behind the Scenes -style interviews. Generally, the artists and managers alike never own up to any of their transgressions. They instead point the finger at other parties, rationalize their actions or simply deny details that have already been proven true. Mild Sauce turns this into a recurring gag, where the members do not take responsibility for the downturns in their careers or in their personal lives. In one particular interview, a Mild Sauce member will not even give kudos to a female R&B group (likely a nod to TLC or En Vogue) that outsold them at the time. Similarly, Stony Mack does not own up to ripping off the band, just as most managers never do. As is common in VH1 Behind the Scenes stories, a publicist, manager or record label executive takes advantage of the group’s success and cheats them out of money. Mack’s denial is consistent with a vast majority of stories we hear from the music industry, where the swindler acts as though other expenses prevented the band from getting paid out. The interview segments cleverly mimic those from every documentary or biopic that we watch about feuding artists and deceitful management. At this point, so many of our favorite musicians from the past have decided they hate each other, so we may as well poke fun at the never-ending feuds. The Untold Story of Mild Sauce serves as part satire, part time-machine, and executes both equally well. Available on Kweli TV 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 The Baltimorons shows characters breaking out of their perceived limitations Duplass Brothers Productions, 2025 101 minutes Director/Writer: Jay Duplass / Jay Duplass and Michael Strassner Reading Time: 6 minutes The Baltimorons Christmas Wish (XCUORJD1HGJNHVFV) 00:00 / 07:44 📷 : IFC Films and Sapan Studio Jasmine: Movies and TV shows with heart, positive vibes, and warm messages Mint Movies and TV shows in cold weather and blizzard conditions Reba Chaisson 2025-10-16 The popular adage says that what happens in Vegas stays in Vegas. The trip to what is known as Sin City is meant to be an escape from reality, which includes but is not limited to the past due bills and stressful relationships we leave behind. Much more so than other vacations, the high people get from Vegas is not only natural, but it is heightened. No real need for weed, but I wouldn’t know (wink). Jay Duplass’s The Baltimorons , though, has nothing to do with Vegas, but everything to do with its aspects of escapism that elevate the senses. Set in Baltimore and led by Michael Strassner and Liz Larsen as Cliff and Didi, respectively, The Baltimorons is about a roughly thirty-five-year-old man struggling to stay sober using humor and maintaining connections to the people and activities that bring him joy. You wouldn’t know this from the film’s opening, which shows Cliff walking up a narrow staircase to an attic, proceeding to stand on a stool and put his belt around his neck, and clumsily falling flat on his bottom. The absence of any sound other than Cliff’s groan and the stool hitting the wooden floor make an otherwise sad scene quite hilarious, thus setting the tone for the movie. The inciting incident in the film occurs when Cliff and his fiancée, Brittany (Olivia Luccardi), arrive at her parents’ home for Christmas Eve dinner. When she sees a text come across his phone regarding plans to hang out with his friends later, the two argue as they exit the car. Distracted while texting his friend, Cliff crashes into the Luccardis’ entry door, knocking out his tooth. In search of a dentist, he finally finds Dr. Didi Daw, a mid-forty-year-old divorcée, who agrees to meet him at her office. When Cliff’s car is towed while receiving care and Didi’s plans for family dinner are abruptly canceled, the two wind up spending the day together. With humor, jazzy Christmas music, and festive holiday decorations in mostly neighborhood settings, The Baltimorons maintains a light tone while dealing with what are normally heavy subjects. When Cliff calls his best friend Marvin (Rob Phoenix) for help getting out of a jam for instance, Marvin, who is a Black man, is incredulous to learn of Cliff’s request, responding “You want me, a Black man, to break into a tow yard?” It is only then that Cliff realizes he was asking his friend not only to commit a crime but that the perception (and likely consequences) of Marvin doing such a thing is very different than they would be for someone who is White. This exchange in the film is brilliantly executed, as its point is dulled neither by its brevity nor its humor. Complementing these humorous and teachable moments are the quiet spaces left for more serious, intimate dialog to soak in. Surprised, for instance, that Cliff wants to have dinner with her, Didi asks him “Why do you want to have dinner with me?” “Because we’re having fun,” he responds. Didi’s question suggests she has doubts about her own attractiveness. This is not unusual for women who have experienced divorce. Therapist Lara Farrokh writes that “[they] often feel like potential partners will see them as ‘used goods’ — as if women are like cars which devalue with age and use.” Cliff’s response in this tender exchange speaks to his feelings of vulnerability, which is an unusual depiction of men, particularly for those of higher weight. This group is often treated as if they are made of metal exteriors, as if they don’t experience physical or emotional pain like others, or that they cannot and should not be taken seriously. Cliff flips these conceptions on their head. The class and age differences between Cliff and Didi are subtly highlighted in the The Baltimorons . When Cliff sees Didi’s home, he jokes that she has good credit. The comment calls attention to Didi’s lifestyle in contrast to the numerous past due bills casually strewn on Cliff’s table at his home. And when Didi indicates she is unfamiliar with sketch comedy, Cliff happily explains the art form to her. Such moments in the story speak to the social class and generational gaps, respectively, between the two adults. The contrasts allow us to hold up a mirror to ourselves to consider where we fall on each spectrum. We can even reflect on how we conduct ourselves when we encounter people in social and age locations different from our own. The Baltimorons brings to mind similar indie films like Raine Allen‑Miller’s 2023 debut feature, Rye Lane , and Nora Ephron’s 1993 classic, Sleepless in Seattle . Both depict serendipitous events that bring two people together. Like The Baltimorons , they use wit and humor to avoid being heavy and preachy while they invite questions about friendship and complicated romantic relationships that we stumble into. While Cliff periodically updates Brittany on his whereabouts, ensuring her that he will be home soon, it becomes clear that neither he nor Didi are quite ready to go back to their lives. What is never spoken out loud, however, is how different their lives are. That is, despite the difference in age and social class, the two gravitate toward one another. When she and Cliff perform an impromptu set at a sketch comedy club, he admits to her that he didn’t think he could ever do anything like that sober, suggesting how invaluable her support meant to him. When Didi’s ex-husband takes several verbal jabs at her, Cliff interjects to humiliate him, indicating how he is becoming protective of her. I love this film about two people who can be seen as needing an escape to avoid the realities of their lives at a time of year when people often feel lonely. In addition to being funny and entertaining, The Baltimorons teaches us that the social dimensions we occupy don’t have to be hard lines or barriers that keep us from engaging one another and enjoying the rich relationships that can evolve from that. Indeed, Cliff and Didi would probably describe their time together as fun, surreal, and just what they needed at that time. But where does Brittany fit in all of this? As Cliff’s fiancée, she not only wonders but worries about where and why he has gone AWOL on one of the most significant family holidays of the year. Unfortunately for her, he might as well have been in Vegas. 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 Footnotes illuminates the highs and lows of a pandemic-era romance Box Party Films, 2023 95 minutes Director/Writer: Chris Leary Reading Time: 4 minutes Footnotes Home Inside (LJBFFLYOBAYC6VUN) 00:00 / 05:03 📷 : Used with permission, Chris Leary Barley: Movies and TV shows with a lot of dialog Jasmine Movies and TV shows with heart, positive vibes, and warm messages Chris Chaisson 2023-06-23 We’ve all heard idioms such as, “Absence makes the heart grow fonder.” However, platitudes like this ignore the reality of how humans survive in a new environment. Adapting involves making new friends in your new surroundings and letting go of connections from your old one. Those who believe in soulmates feel like their heart will always yearn for the same person regardless of distance, but for everyone else, it is important to turn the page. Chris Leary’s touching pandemic-era romantic drama Footnotes highlights these diverging mindsets. The co-stars of this indie film set at the height of the pandemic in 2020 are Will (Chris Leary), a 20-something building manager in Los Angeles, and his new tenant Apurna (Sharayu Mahale). They meet in February, when she moves in, and hang out to pass the time after the economy shuts down due to COVID. Early on, Apurna addresses the elephant in the room, saying that she will not sleep with Will. After clearing the air, the two hit it off, swapping stories and sharing intimate details about themselves over the course of several months. While their relationship is platonic, they clearly have romantic chemistry, evident when Apurna is silently jealous of Will having a date with another girl. Despite their budding unspoken romance, Apurna takes a trip home to New England to visit family around the holidays. Now apart, only time will tell whether their feelings grow or simply dissipate. During the pandemic, many couples experienced severe turbulence in their relationships, as their increased time together exacerbated any conflict between them. Footnotes presents the flipside of this dynamic, illustrating how the pandemic also had the opposite effect of bringing two people together who likely would have never formed a bond. Both homesick and living alone, Will and Apurna become friends in large part due to going stir-crazy. Through his dialogue, writer/director Chris Leary takes viewers back to the very relatable phenomenon of the struggle to socialize after a lack of human interaction or to reexamination of their place in life, both of which many people experienced back in 2020. Just the same, Will and Apurna’s exchanges foreshadow what is to come in their relationship, particularly as they talk about their exes. Though there are no flashbacks in the story, the sentiments they share reveal their flaws as potential partners. Will puts people and his relationships with them on a pedestal, while Apurna hedges, staying non-committal. Their imperfections feel very real and apply to someone in most people’s dating history. Even if the co-stars come off as flaky on one side or possessive on the other, Apurna and Will are operating in a very uncertain time period and have no idea of what the future holds. Remembering this uncertainty that many of us felt at the time makes their actions and emotions understandable. A new romantic connection can be exciting but also intimidating in what feels like an alternate universe, prompting people to return to what may be a more familiar past. Apurna is faced with such a mix of emotions as she reverts to her past by returning home. While Will seems too dependent on Apurna to maintain his emotional state, struggling to take care of himself when she leaves, his difficulties appear similar to the stories told by single people about their emotional challenges during the pandemic. Despite its minimal cast, Footnotes also manages to depict cultural differences. Apurna’s Indian heritage is discussed in her conversations with Will and depicted when she returns home, both in a way that does not feel forced. While being traditional, her parents still have their own personalities, as is shown when Apurna’s mother engages in a Jane Fonda-like workout on TV, or her dad stares in confusion at the box of Special K cereal Apurna brings home with her. These slice-of-life moments keep all of the characters from feeling like stereotypes and keep the story from being too centered on Will’s perspective alone. Footnotes feels most similar to the 2009 Joseph Gordon Levitt-led film 500 Days of Summer . Like Will, Tom (Levitt) is a hopeless romantic who has put his love interest on an unreachable pedestal and is crushed by reality. Sadly, Footnotes lacks a flash mob scene set to Hall and Oates but does deliver on the other emotional swings of a romantic drama. Previous Next Sign-up for new reviews, exclusives, deep dives, and more First name Last name Enter your email here I agree to the terms & conditions Sign-up Thanks for joining us!