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Anatomy of a Scandal emphasizes the difference between facade and reality < Back Anatomy of a Scandal emphasizes the difference between facade and reality 3dot Productions, 2022 45 minutes Creator: David E. Kelley and Melissa James Gibson Reading Time: 5 minutes 📷 : Used with permission, Netflix Anatomy of a Scandal True Crime Investigation (D3SGMJXWKFQOQMKJ) 00:00 / 06:21 Barley Movies and TV shows with a lot of dialog Honeybush Nonfamily dramas with strong adult and/or socioeconomic themes Reba Chaisson 2023-07-10 Erving Goffman, a social theorist, coined the concepts “front stage” and “back stage” to convey that we all have a public-facing persona, or front stage, that is very different from our private one, back stage. For those of us who are heavily invested in our career aspirations, particularly as they relate to politics, the stakes are high. In this case, realizing them and gaining influence relies heavily on our front stage appearance. How well we take care of this can be the difference between achieving our goals or remaining a relative unknown. The television series, Anatomy of a Scandal , drives this home, as it centers on a crisis faced by an affluent, political family in Britain. The six-episode story presents Peter Whitehouse, a very handsome, eloquent, and perfectly well-dressed member of the British Parliament accused of raping Olivia Lytton, a colleague in his office with whom he had a long-time affair. While both admit to the affair, it is the context of their last encounter that is in question. Before the story breaks, Peter, played by Rupert Friend ( Homeland , Asteroid City ), rushes home to tell his wife, Sophie, about both the accusation and the affair – in that order. Keenly aware that it would be disruptive to his family, made perfect with his beautiful wife, two kids, and even a housekeeper and dog, Peter uses a political consultant to help control the story. Sophie Whitehouse, Peter’s partner since their time at Oxford University, doesn’t receive the news well, and the cynical political operative in their living room doesn’t help matters any. Peter admits to the affair, but he vehemently denies the rape and the case goes to trial. While not a political thriller, Anatomy of a Scandal is riveting, with some special effects that add suspense to the drama, tempting us to binge watch the series. It also helps that the story is not contained to the courtroom, but moves throughout London, taking us in, out, and around offices, homes, and Westminster Abbey, all of which are nice distractions from the extensive dialog in the series. As an affluent political family, it is important that the Whitehouses, whose name likely stems from the U.S.’s own sex scandal during the Clinton administration, display both the accoutrements and demeanor of their class to maintain appearances. Thus, Sophie attends court with Peter, despite things being less than harmonious at home. In this narrow sense, the series is similar to The Law According to Lidia Poët . While Lidia presents as a member of Italy’s wealthy and influential class, she has no money of her own, despite growing up wealthy. She is even kicked out of her apartment, which forces her to move in with her brother and his family. Despite this, Lidia continues to dress like a member of the elites. In Anatomy of a Scandal , Peter and his family present as unified, and they possess the wealth and influence their presentation suggests. Like Lidia, though, this outward appearance of unity is inconsistent with a core aspect of their private life, the increasing disintegration of the family’s harmony at home. Another focal point of the series is the highly skilled prosecutor, Kate Woodcroft. Played by Michelle Dockery ( Downton Abbey , The Gentlemen ), Kate insists on handling the case herself, and believes, quite vehemently, that Peter is guilty of rape. In the courtroom, she skillfully questions both the accuser and the accused about the most minute details of their affair and the ensuing event. Both provide equally eloquent and impressive testimonies, as respective versions of their sexual encounters and the rape are shown through flashbacks. Nearly every response to every question is upsetting to Sophie, as the intimate acts they describe are familiar to her – at times even overwhelming for her. Complicating the trial is Peter’s long-time connection to the prime minister. A best friend since college, the prime minister stands by Peter, asserting his innocence to the press and suffering political backlash for it. For his part, Peter, with great eloquence, self-control, and even humility, focuses on maintaining appearances so as not to blow up his chances of realizing his political aspiration to succeed his friend as prime minister. After a while, the series begins to feel like a game of Whac-a-Mole as more and more details of Peter’s affair come to light, and he then feels compelled to explain away the events to Sophie, played by Sienna Miller ( American Sniper , The Lost City of Z ). For appearances, she is pressured to be in the courtroom with him, but repeatedly hearing the details of their relationship is excruciatingly painful for her. Each time, Peter eloquently rationalizes what was revealed, essentially conveying that the details are not what they seem and again reasserting his innocence. And each time, Kate ramps up her cross-examination, and grows even more determined to prove his guilt. Peter’s seemingly daily explanations prime his wife to stay in the fight with him, and essentially, mentally prepares her for the next day’s revelations. But between the details, political pressures, the press, and the poignant questions by the prosecutor, Sophie becomes increasingly unable to maintain the facade. Oxford-educated like her husband, Sophie mentally relents and gives in to her instincts, wondering about the man she married and why such an accomplished and skilled prosecutor took on this case. She begins asking some questions of her own, which gradually reveal truths about who people are and what the trial is about. What we learn is that like most situations in life, things are not always as they seem. 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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< Back From the World of John Wick: Ballerina entertains while projecting subtle messages with a big punch Lionsgate, 2025 124 minutes Director/Writer: Len Wiseman / Shay Hatten and Derek Kolstad Reading Time: 4 minutes From the World of John Wick: Ballerina Fight in the Shade (EKIKGL4QFG9IHJ3G) 00:00 / 05:56 📷 : Used with permission, visualsofazmet https://www.instagram.com/Visualsofazmat/ https://x.com/visualsofazmat1 Rosemary: Movies and TV shows with intense action Masala Chai: Movies and TV shows about toughness and athletic competition Reba Chaisson 2025-06-11 When my kids took Tae Kwon Do, I remember their teacher constantly harping on the fact that body size doesn’t matter. That even if the kids were small in stature or girth, they could take down someone tall and big because they were quicker, more agile, and perhaps even stronger than the larger person. Being a fan of movies, I’ve heard this a lot since then in films like the original Karate Kid and Enemy of the State , although I have to say I’ve never seen it done in real life. (Then again, I don’t watch fights in real life!) I can now add From the World of John Wick: Ballerina to that list of movies making this claim. The latest installment in the John Wick series does not disappoint in its action nor story, but I think its much more subtle message packs the biggest punch. From the World of John Wick: Ballerina ( Ballerina ) opens with a mildly bruised and brooding young girl sitting alone in a police station holding a snow globe of a ballerina. The inciting incident is the invasion of the young girl’s home by well-armed fighters. They arrive at the water isolated Czech Republic compound like Navy Seals, slowly and stealthily lifting their heads out of the water under the cover of night, quietly killing armed guards, and engaging in hand-to-hand combat. They encounter quite the challenge, however, with Eve’s father, Javier (David Castañeda), who is not only determined to protect his 8-ish-year-old daughter Eve, but who is also quite skilled himself. Ultimately, Eve ends up alone and is taken in by The Director (Anjelica Huston), who heads the Ruska Roma crime organization where they not only teach ballet but train the students to become lethal weapons themselves. Ana de Armas plays the adult Eve in Ballerina . With the bitter pill of her father’s loss on her tongue and a promise to avenge his death, she is further toughened by The Director who insists she repetitively practices dance movements even while blood soaks through her pointe shoes. “Again!” asserts The Director. “Again!” Nogi (Sharon Duncan-Brewster) is equally tough as the fighting teacher. When Eve continues to get beat by a male opponent in class, she becomes upset and claims she “can’t” beat him. With intensity, Nogi exclaims that she is allowing him to dictate the terms of the fight and adds that she must “fight like a girl.” I love this unpretentious movie. Not only do The Director’s and Nogi’s teachings emphasize winning, but they project the reality that female fighters are more often than not disadvantaged in physical battles. Traditional methods are male-developed and male-centered and thus do not work effectively for females. This means that the latter must play their own game, use whatever is at their disposal, and occasionally break rules if they must. We see Eve put the school’s lessons into practice when she gets her first assignment. More so than traditional weapons, she uses dishes, groin kicks, and eye gouges to get the advantage on her male opponents. We continue to see this creativity (and frankly, entertainment) throughout the film. What it demonstrates is that women have, indeed must have, a more strategic approach to fighting, not just physical battles but dealing with other challenges as well. What we learn also from this film is that maturity enhances the ability to set aside emotions. When Eve and John Wick (Keanu Reeves) battle, for instance, she seems unable to compete. It is as if she is back in school unsuccessfully fighting against her male competitor on the mat. Like then, her objectivity is lost and she is fighting with emotion, proving Nogi’s point that when emotion takes over, she is unable to reason, see things clearly, and play to her strengths. While I love the powerful themes underlying Ballerina , I would argue that they do not just apply to women but also to people of color and other disadvantaged social groups. To be fair, the film hints at a bit of this with its portrayals of Eve and Nogi, both actresses of color. With the deck stacked against these groups, all must prepare their mindset and develop strategies to deal with the big and tall obstacles they regularly (and will inevitably) face. I like the structure of this film because it presents like a game. It requires toughness, creativity, and wit – all while also requiring that you abide by a set of rules. This is the function of The Continental, a hotel that serves as a safe haven for assassins in the John Wick series. While being a guest at The Continental, certain rules cannot be broken. In this sense, Ballerina reminds me of movies like The Hunger Games series and Escape Room , all of which require protagonists to use their wits to survive either physical battles or other constraints imposed upon them over the course of the films. 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 Perfect Days reminds us to count our blessings Master Mind, 2023 123 minutes Director/Writer: Wim Wenders / Wim Wenders and Takuma Takasaki Reading Time: 5 minutes Perfect Days Warmth And Wonder (E97ZYSRMYWTFIXZS) 00:00 / 05:33 📷 : Used with permission, Christian Niemann https://www.instagram.com/justbychris/ https://twitter.com/justbychris https://www.behance.net/justbychris Jasmine: Movies and TV shows with heart, positive vibes, and warm messages Sage: Movies and TV shows with low-key characters Chris Chaisson 2024-02-28 A frequent topic amongst news outlets and culture critics is the seemingly endless rise in depression, particularly amongst adolescents. There are several theories on why (e.g.. social media pressures, financial struggles, loneliness, etc.), and they’re probably all at least a little bit correct. The sheer number of hypotheses might pinpoint the cause: life has gotten too complicated, and those who can simplify it often remain the happiest. I harken back to an episode of the ‘90s sitcom Frasier , where Frasier creates a long and detailed bucket list after seeing a false obituary of himself in the local paper. His dad cautions him against trying to accomplish all these random, herculean tasks, saying, “You know, I think what you discovered this week is that something's missing from your life. And before you start to fill it up with everything but the kitchen sink, I think you ought to just ask yourself, "what do I really want? What is really going to make me happy... now?" Wim Wenders ponders this notion in his latest film, Perfect Days . Set in Tokyo, Perfect Days covers the daily routine of Hirayama (Koji Yakusho, Babel ), a very kind but somewhat aloof man who cleans public toilets for a living. Hirayama sleeps on the floor of his home and wakes up every day to the sound of a neighbor sweeping the sidewalk. When doing his work, he patiently waits for bathroom attendees and even lets them in when the bathroom is technically closed. Nothing seems to bother him about his job or the behaviors of others, who often shuffle past him as if he is not there. On his breaks, he takes time to stare at the greenery around the parks and public areas he is in, direct people who get lost, or comfort children looking for their parents. His assistant Takashi (Tokio Emoto, Outrage ), much younger than him, is less committed to and enthused about the job, but maintains a good rapport with his cleaning partner nonetheless. While Hirayama’s existence seems lonely and mundane, he takes constant joy in the simplicity of his daily agenda. As the film follows its protagonist through every single scene, it is easy for the audience to at first feel like something is missing. Often, the conflict in our favorite yarns is produced from frenzied, anxiety-inducing run-ins with villains, bullies, or nature. Perfect Days carries a calmness and quirkiness throughout, where the antagonist becomes less an actual person and more a desire for complexity. Hirayama’s routine slowly exorcises this need from the viewer, and we see the positives of enjoying what we have without looking for something more. The characters around Hirayama serve as the audience’s subconscious, providing a contrast to his content nature. He has several interactions with people who are busy, anxious, or too complex for their own good. For instance, Takashi opines about his social life early on in the movie and later ditches work with no heads up. A mother in the park scowls at Hirayama for comforting her son after they get separated. Some of the bathroom attendees avoid eye contact and treat him as though he is a bother, or worse, invisible. The biggest contrast is provided by Hirayama’s pre-teen niece, Niko, who runs away from home and visits him. Few things illustrate a lack of happiness like running away from home as an adolescent. Her desire to visit him not only shows her affection for him but also her recognition of how he differs from her mother. Niko’s frequent tendency to pull out her smartphone to take pictures and perform Google searches sharply contrasts with Hirayama’s use of his phone for nothing but phone calls. At one point, Niko mentions Spotify, which he has never heard of, and he confuses it for a brick-and-mortar store, much to her delight. Ultimately, when Niko’s mother tracks her down, she reunites with Hirayama and carries on a conversation with him that very much highlights their differences. Though the love is clearly there, she cannot fathom the thought of him being pleased with his modest lifestyle. While these interactions call attention to the anomaly of living such a simple life, they also reveal people’s willingness to connect with Hirayama where he’s at. For instance, one bathroom attendee, whom he never actually meets, leaves a game of tic tac toe behind for someone to join in. Hirayama finds the game and makes a new move every day, enthused by the interaction. Just the same, he attends a restaurant every day where the staff knows him by name and greets him with a glass of water “for his hard work.” Though not directly called out, these moments are clearly bright spots in his day, an experience many regulars at restaurants can relate to. All in all, Perfect Days and its protagonist urge us to be content with and appreciative of what we have and what’s positive in our lives, whether that be friends, family, or an enjoyable view. Whether or not cleaning toilets brings Hirayama joy, the interactions his job allows him to have with others, and the calming environment it places him in, ultimately lead to the happiness that many others cannot achieve in much more lucrative professions. His enduring spirit can be a lesson to us all: figure out what really makes you happy, shut out everything else, and enjoy both the clarity and simplicity of your life. 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 Bear presents layered characters struggling in a pressure-packed profession. < Back The Bear presents layered characters struggling in a pressure-packed profession. FX Productions, 2022 30 minutes Creator: Christopher Storer Reading Time: 5 minutes 📷 : Licensed from Shutterstock The Bear Need for Speed (ALTE9ZSD0ZNQDXAR) 00:00 / 05:57 Chamomile Family dramas Saffron Movies and TV shows with great visual effects Chris Chaisson 2022-09-07 On the big screen, the director calls all the shots and gains notoriety when a movie is well-received. However, in television, directors do not get nearly the same level of publicity or recognition. Often considered interchangeable, any given show can have several directors, even in just one season. Given this stark difference between television and film, the shooting style for shows can often be generic. For this reason, the new and critically acclaimed series The Bear stands out. Its stylized direction offers a contrast from many of its contemporaries and, paired with exceptional writing, has created a memorable first season. Starring Jeremy Allen White ( Shameless ), The Bear follows Carmen “Carmy” Berzatto, a world class chef, and the back of the house crew at his family-owned sandwich shop on the south side of Chicago. The show is chock full of references to The Second City, be it the transportation, major streets, architecture, or consistently disappointing sports teams (I’m not bitter at all). On the surface, the show is about the turbulence and pressure that comes with working in food service. However, as the show’s title is a reference to the protagonist’s nickname, the deeper meaning of the half-hour drama is Carmy’s relationship with his family, specifically his deceased brother Michael (played in flashbacks by The Walking Dead ’s Jon Bernthal). The Bear utilizes every element at its disposal to convey the stress of running a kitchen. Creator Christopher Storer ( Ramy ) selects shots that make the viewer feel as though they are in training and shadowing the chefs. To heighten the senses, the show incorporates fast-paced music in the background as they toil, sometimes increasing in speed when they butt heads with one another. The camera often follows the characters around every corner as they slide past each other, shout instructions and multitask. It frequently swish pans between speaking characters and swerves as it circles the kitchen island. The audience experiences an abundance of close-ups, specifically when a character is stagnant as they taste-test or check order receipts. Although there is plenty happening in regards to the restaurant in each episode, the FX series does not deny its audience three-dimensionality with its main characters. Carmy is an award-winning chef who has worked at the best restaurants in the world, so resurrecting the modest sandwich shop proves to be a humbling experience for him. In the later episodes, we learn what drove him to be so accomplished. His cousin Richie (Ebon Moss-Bachrach, Girls ) wants to preserve the old feel of the shop and clashes with Carmy, who tries to run a tighter ship. While he is protective and loyal, Richie exhibits obnoxious, unfocused, and misogynistic behavior. Though he plays an antagonistic role at times, making Carmy’s job harder for seemingly no reason, a lot of his demeanor is explained by him masking the pain he feels at the sudden death of his best friend Michael. Two characters that try to help Carmy, but actually frustrate him, are Sydney (Ayo Edebiri, Big Mouth ), the second-in-command chef, and his sister, Natalie “Sugar” Berzatto (Abby Elliott, How I Met Your Mother ). Sydney is ambitious and innovative but often tries to force change too quickly. A young woman and relatively new to the team, she struggles to gain the respect of the rest of the kitchen. Her efforts to connect with Tina (Liza Colón-Zayas, In Treatment ) are initially rejected, and she continuously deals with Richie talking down to her. Through some successes along with Carmy’s support, she gains confidence but still carries doubt from her past shortcomings as a culinary entrepreneur. Natalie, on the other hand, expresses concern for Carmy’s well-being. While not a fan of the restaurant, her love for her brother is obvious in how frequently she reaches out to him and attempts to get the restaurant on solid financial ground. The Bear’s best aspect is that it allows you to empathize with every character. From a professional standpoint, anyone who has worked in food service can relate to how the main characters cope with rough shifts and unwind afterward. For instance, Carmy goes home and, despite all his cooking expertise, makes a peanut butter and jelly sandwich. The show also allows you to relate on a personal level. Anyone watching has grieved the death of a loved one and maybe even tried to continue working a job while doing so, like Carmy and Richie. Any viewer can relate to feeling like an outsider in a new job or school, especially when coming off a failed venture as Sydney does. Many audience members have had an aloof sibling that they wanted to open up to, similar to Natalie’s experiences. While very different people, the one thing the main cast of characters has in common is their struggle to overcome self-doubt. All of their emotions are easy to understand and add depth to their interactions. The Bear will get your blood pumping during the lunch rush but may make you misty-eyed when the shift finally 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 The Holdovers lends depth to each of its fatefully stuck-together characters Focus Features, 2023 133 minutes Director/Writer: David Hemingson / Alexander Payne Reading Time: 6 minutes The Holdovers Bright Sunny Day (G7U0H1UMMC4MVGLG) 00:00 / 06:04 📷 : Used with permission, Agustin R. Michel https://www.instagram.com/agustinrmichel https://twitter.com/AgustinrMichel https://www.behance.net/agustin_rmichel Mint: Movies and TV shows in cold weather and blizzard conditions Jasmine: Movies and TV shows with heart, positive vibes, and warm messages Chris Chaisson 2023-11-06 If you’re an avid TV watcher, you’re most likely familiar with the term “bottle episode.” It often refers to an anomalous episode in a series where two or more characters are stuck together due to some extenuating circumstance (i.e. locked in a room, stuck in an elevator). Often, the two characters have nothing in common or even have an adversarial relationship, and over the course of the episode, they learn not only more about each other’s interests but all of the ways they’ve misunderstood one another. This story device can make for either a memorable, compelling episode (i.e. “The Suitcase” episode of Mad Men ) or, in other cases, the absolute worst episode of a series (I’ll be nice). Sometimes, it forever changes the relationship while other times, like in most episodic sitcoms, the segment is of zero consequence. Alexander Payne’s newest film, The Holdovers , serves as a heartwarming example of such a story device, indeed having a lasting effect on its main characters. Set in the early 1970s, The Holdovers revolves around Paul (Paul Giamatti, Sideways ), a long-tenured boarding school teacher, and one of his students, Angus (Dominic Sessa). As Christmas break approaches, the headmaster assigns Paul to remain at the school to supervise the students who cannot return home. What starts out as a handful of students quickly dwindles to just Angus once the other children leave. Over the course of two weeks, Paul and Angus become more well acquainted and develop an unlikely friendship, with the help of the lead chef, Mary (Da’Vine Joy Randolph, On the Come Up ). The age gap and the student-teacher dynamic are enough to make Paul and Angus’s initial discord believable. On top of that, it is clear that Paul has developed a disdain for his students. Near the beginning of the film, he strolls through the classroom humming a tune as he places graded tests on each student’s desk. His apparent bliss as he delivers their subpar scores suggests that he takes delight in their underperformance. Paul offers them the opportunity for a makeup quiz, which Angus rejects due to the difficulty of learning new material right before holiday break. Paul rescinds the offer and tells everyone to thank Angus for their bad grades, making him unpopular with his classmates. Though his response is somewhat warranted, Paul’s schadenfreude suggests he enjoys seeing his pupils struggle. As the story progresses, he reveals that he views the boarding school students as being born with a silver spoon in their mouths. Their privilege makes it hard for him to feel much empathy on the surface, a prejudice that Mary helps him to shed over time. Angus serves as just the co-lead to change Paul’s perspective. He is a child of divorce and has been kicked out of school before. Should it happen again, he will be sent to military school, a thought he dreads. His initially pompous disposition causes Paul to view him the same way as his peers, but Angus opens up about his own interests while coaxing Paul into both personal conversations and more spontaneous decisions. By nature, Paul is a shut-in with his own degree of pretentiousness. Underneath it, he lacks self-confidence about anything outside of academia and even certain elements within it, revealed later in the film. Initially pressed into more open conversation by Angus, Paul starts to voluntarily share details about himself and his past. Despite previously coming across as stuck-up, Angus reveals himself to be not only curious but free of judgment, encouraging Paul to be more of an open book. Mary serves as the go-between for both Paul and Angus. Despite her role in Paul and Angus’s life, she has her own troubles and family issues independent of them. As the lead cook in the school, she copes with the recent loss of her twenty-something son, who had attended the boarding school before joining the military. Though more down-to-earth and frank than Paul, Mary still disguises the pain that she feels on a regular basis from her loss, which comes out at inopportune moments. She feels a connection to Paul, who regularly defends her against classist remarks from the students. Playing the mediator, she serves as Paul’s conscience whenever he wants to dismiss any requests from Angus or retreat into his biases on what he views as trust fund babies. While the holidays can often be a melancholy time for those estranged from their families, it can also serve as a much-needed recess from the hustle and bustle of our routines. This timeout allows us to re-assess our relationships and possibly come out on the other side with a different perspective on the people we share our space with, be they colleagues, friends or family. As with the aforementioned bottle episodes, The Holdovers serves as a great reminder not to judge a book by its cover. As the old saying goes, “Be kind, for everyone you meet is fighting a battle you know nothing about.” (Ian Maclaren). Though Angus has an initial view of Paul as a curmudgeon standing in the way of what he wants, he decides to be more understanding, likely brought on by the absence of his fellow students and school routines. Similarly, Paul realizes that Angus, and by extension any one of his other students, could be experiencing a turbulent personal life regardless of their financial advantages. The Holdovers seems very similar to the odd couple pairings of Up or Good Will Hunting . By unlikely circumstance, two characters who are polar opposites get stuck together and slowly see the potential that each other possesses. At a time where it can be easy to profile and vilify those of privilege, such stories allow for three-dimensionality among all of us. 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!

Tardes De Sol. Noches de Agua. (Afternoons of Sun. Nights of Water.) provides a glimpse into the many systems perpetuating violence against vulnerable people. < Back Tardes De Sol. Noches de Agua. (Afternoons of Sun. Nights of Water.) provides a glimpse into the many systems perpetuating violence against vulnerable people. CAY Productora, 2019 20 minutes Director/Writer: VD Menzella Reading Time: 3 minutes 📷 : Used with permission, CAY Productora Tardes De Sol. Noches de Agua A Dark Past (JLBBO78WK8JWZXUT) 00:00 / 03:19 Dandelion Movies/shows with heavy subjects Ginger Thought-provoking movies/shows Chris Chaisson 2022-09-25 Tardes De Sol. Noches de Agua. centers around Lamia, a young woman who is developmentally disabled. She resides in a small Argentinian village under the close supervision of her devoutly Christian mother. Forced to dress conservatively and refrain from any hint of promiscuity, Lamia draws and writes in her diary as an outlet for her fantasies. She creates a character, Sister Rosa, to contrast with the deity that her mother worships and wants her to fear. In her ventures through the village to deliver groceries and her mother’s knitting to neighbors, she develops an infatuation with Rabbit, a local man in the neighborhood who seduces her. After he violently assaults Lamia, she goes into a comatose state, prompting her mother and the village priest to nurse her back to health. This stellar short film highlights several significant social issues, not the least of which are the attempts of men, religious institutions and older generations to suppress women’s sexuality. Despite the close parental supervision, Lamia lives a very lonely and vulnerable existence. Her mother forces her to recite mantras about the evil nature of men, instructs her to conceal her figure at all times, and physically punishes her upon finding out about her crush on Rabbit. Director VD Menzella highlights this suppressive environment through shots of Lamia hiding her diary or avoiding eye contact with the other characters. Rabbit’s disturbing assault illuminates the reality that many people with developmental disabilities become victims of violence, despite the frequent narrative that they are more often perpetrators of it. The motive behind many such assaults stems from the culprit’s belief that they will get away with it, largely because the victim’s credibility is questioned. Lamia’s mother, for instance, believes that she has harmed herself, a theory that the local priest adheres to without much pushback. The skepticism and attempts to control women’s behavior have historically led to torture in the name of religion, be it through execution, exile, or other means. Such institutions do offer support and comfort to community members, giving them direction and hope during tough times. However, they also chastise conduct and thought processes that are different from theirs. As opposed to showing compassion, Lamia’s mother and priest instead ostracize her. T ardes De Sol. Noches de Agua. is reminiscent of feature films such as Boys Don’t Cry and Precious . Lamia, Brandon Teena and Precious are all vulnerable protagonists existing in environments where they are subject to abuse because of their sexuality, gender and skin complexion, either in the household or the larger community. While the films all have different conclusions, they each center around a young character attempting to survive and break free from authoritarian surroundings. 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!

War is Over! shows how bonds can be formed amid desperate situations < Back War is Over! shows how bonds can be formed amid desperate situations ElectroLeague, 2023 11 minutes Director/Writer: Dave Mullins / Dave Mullins and Sean Lennon Reading Time: 4 minutes 📷 : Photo from Pixabay War is Over! Storyteller (ISEAHXTOBZNX3FRV) 00:00 / 04:14 Ginger Thought-provoking movies/shows Mint Movies and TV shows in cold weather and blizzard conditions Chris Chaisson 2024-03-18 I spend a lot of time playing chess online, mostly against one of the many bots that are free to play against. His name is Antonio, and I can’t stand him or his stupid pre-programmed responses. My resentment is built up from having played him dozens (hundreds) of times, and I have reached the conclusion that it is way too easy to start new games and play over and over again. If it took more of a concerted effort, I may appreciate the game and my opponent more. Now pluck me from the comfort of my heated apartment unit and into a more primal setting, and this game may become my only escape. War movies can be dark, grisly and bleak. Despite the critical acclaim many receive (i.e. Platoon , Saving Private Ryan , Braveheart , The Hurt Locker ), they can be a tough second watch, particularly for the squeamish. Nonetheless, the genre consists of some of the most visually stunning works cinema has seen, thanks to creative filmmakers and sizable budgets. The biggest challenge for war movies, one could argue, is instilling their story with a glimmer of hope for the audience to take with them as they file out of the theater. Particularly when based on real-life events, this challenge can prove too much, if embraced at all. Dave Mullins' Oscar-winning short, War is Over! , pulls off this feat by juxtaposing war with a fun board game. This critically acclaimed animated work takes place during World War I, as a pair of soldiers on opposite sides of the battlefield become entrenched in a spirited game of chess. Both have their own board set up and communicate their moves via carrier pigeon. The pigeon takes the messages containing the newest move back and forth across the battlefield, dodging flying projectiles to reach the other side. The catch is that neither soldier really knows who the opponent is, let alone that they are technically an enemy. The game becomes an escape not just for the two, but for the soldiers around them who observe and cheer their comrades on. The fun comes to an end when a general discovers the game and berates his soldiers for taking part instead of focusing on the mission at hand. He knocks the board over and even physically assaults his soldier to teach him a lesson. Forced back into battle, the soldier ends up engaged with his chess opponent in a fight to the death before their carrier pigeon finds them in the middle of the battlefield. Is the realization of their connection enough to stop the violence? While only 11 minutes, War is Over! highlights several unfortunate truths. For instance, in the course of their training, soldiers are often forced to purge any shred of their individuality. This tactic makes it easier for them to dehumanize their enemy and even themselves to a large degree. The display of a soldier playing a game he enjoys and the response from his general show the deliberate attempt to suppress any humanity that may come about during wartime. The fact that the soldier is able to bond unknowingly with someone on the other side shows that there is common ground to be had, even among senseless violence. Aside from any war themes, the biggest takeaway from War is Over! is that limitations create not only bonds but increased levels of passion. Many people might like chess or any other game, but playing via carrier pigeon takes a different level of dedication. In our comfortable, tech-filled lives, many modes of communication have made it too convenient for us to discover what, or who, we care about the most. While our productivity has been boosted, we no longer must give the same effort to maintain relationships or follow through on promises. So the next time you think of a friend or family member you haven’t seen in a while, pull out your feathered quill and parchment and send them a handwritten, bird-delivered hello (kidding). 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!

Mare of Easttown tries to strike a balance with representations < Back Mare of Easttown tries to strike a balance with representations Zobot Projects, 2021 60 minutes Creator: Brad Ingelsby Reading Time: 8 minutes 📷 : Used with permission, HBO Mare of Easttown Shadow Passage (8K382WTLKE7VG6UX) 00:00 / 09:33 Matcha Mysteries or whodunnits Dandelion Movies and TV shows with heavy subjects Reba Chaisson 2021-08-30 Several elements contribute to the power of film productions. In addition to story structure and strong acting, cinema exerts its influence through the representations of groups and the relationships between characters of different race, class, gender, generation, and other categories. Mare of Easttown exemplifies the power of these images on-screen, which seem benign—yet passively teach us about ourselves and how we think of others. Set in the fictional, small town of Easttown, Pennsylvania, this 7-part series follows Detective Mare Sheehan while she investigates a missing persons/murder case. The detective, played by Kate Winslet, is self-effacing and neither crude nor cruel. She is, however, unpretentious in her interactions, be they with suspects, friends, family, or lovers. A bit of a maverick, Detective Sheehan insists on working alone as she tirelessly investigates her cases. Undeterred by passage of time, injury, personal relationships, or even station politics, she relents only when she arrives at the most granular level of truth. As she finds though, this approach can also lead to tragic and regrettable consequences. A working-class area where people earn a living standing on their feet and working with their hands, Easttown feels straddled on the boundary between urban and rural. About half of the scenes are set in an urban working-class neighborhood with modest, closely situated two-story brick homes. The other half is set in rural areas peppered with small isolated, frame farmhouses that have dimly lit interiors and require long country roads to reach. Fall is signaled with near-constant overcast skies and thick clothing, which together give the feel of cool temperatures, short days, and damp weather. Although not snowy, Mare of Easttown moves much like Wind River . The story and dialog are Andante‑paced with strong actors who hold the camera and mouth telling dialog that immerses viewers into their characters’ lived experiences. As one character admits to her adult child “Truth is, I was angry a lot. That your father wasn’t the person I thought I’d married and I was angry I couldn’t fix him. And I took a lot of that out on you. And I’m sorry. …” Divorced and the single mother of a teenager, Detective Sheehan is obsessed with her work and simultaneously juggles it with maintaining custody of her young grandson and dealing with some long‑buried feelings of guilt. Although her specialty is crime investigation, the detective’s life is so intertwined with the lives of those in her lifelong community that they rely on her for more than her policing prowess. Here, neighbors and friends call “Mare” day or night for everything from checking their security system, tracking down relatives they have not seen in the usual day or two, to investigating a young neighbor leering at them. “I wanted to make sure you knew about this right away so the community’s safe in case this pervert’s still on the loose.” This level of comfort reaching out to the detective alludes to the residents’ decades-long familiarity with, and reliance on, one another. Indeed, most people of Easttown are lifelong residents as evidenced by a big celebration of the town’s high school basketball victory 20 years prior, where many of the female characters were teammates. The disproportionate number of retirees in the series and the age variation of the cast bring to mind the 1991 film, Fried Green Tomatoes . Released when Millennials were still being born, conceived, and considered, the film stars Generation-X actress Mary Stuart Masterson, Baby-Boomers Kathy Bates and Mary-Louise Parker, and Traditionalist, the late Jessica Tandy. As with Easttown, an appreciation grows for their close-knit relationships, reminiscent of those in small towns like Easttown and even Carlinville, Indiana as depicted in the 2014 film, The Judge . In a scene with his young daughter asking to come with him to his mother’s funeral, Hank, played by Robert Downey Jr., quips, “Trust me, nobody wants to go to Carlinville, Indiana. Everybody wants to leave.” Some in Carlinville, though, appreciate the small-town feel of the place, as Hank’s ex-girlfriend, Samantha Powell (played by Vera Farmiga), later retorted, “I am never leaving Carlinville. I love it here.” Most residents of Easttown fall into the latter group, appreciating the familiarity and valuing the relationships that small-town life can bring. However, we learn in Mare of Easttown that this is not for everyone, as a character grapples with staying for the virtues offered by the town, or like Hank, leaving for something different. Although Easttown is predominantly White, it depicts a smidgeon of racial diversity. It comes in the form of a couple of passing characters as well as two Black/African Americans with more substantial on‑screen presence. They include her police chief, played by John Douglas Thompson ( The Bourne Legacy , 21 Bridges ), and Beth Hanlon, played by Chinasa Ogbuagu. Other dimensions of diversity are represented in terms of sexual preference, disability, and age. All of these go beyond just representations in the series, but work to chip away at many long-held stereotypes associated with them. Mare’s teenage daughter, Siobhan, played by Angourie Rice ( The Nice Guys , Spiderman ), is a lesbian who shatters the “butch” stereotype often associated with women who prefer same sex partners. Julianne Nicholson ( I, Tonya , Black Mass ) plays Mare’s best friend, Lori Ross, whose daughter Moira, played by Kassie Mundhenk, has Down Syndrome. Unlike many shows of the past, Moira’s character is weaved naturally, yet realistically, into her family setting, school, and outside activities. Finally, Jean Smart plays Mare’s retired, enabled, incredibly smart, bold, and funny mother who lives with her, but with whom she often finds herself at odds. The series challenges the identities of lesbians, persons with congenital disabilities, and older adults, and even humanizes people in traditional working-class occupations and communities. However, it falls short on impugning popular cinematic tropes of Blacks as drug addicts and thieves. Structural explanations for drugs and crime in working‑class communities notwithstanding, for now, it is simply important to note that their prevalence in these areas requires a semblance of illicit activities in Mare of Easttown to maintain cinematic authenticity. But connecting them with one of the few Blacks in Easttown is problematic given the plentiful options for associating the activity with one of the many White residents in the community. So, while the series works to challenge the identities around some social categories, it falls back on the age-old stereotypes of race, specifically, Black. Seeming to apologize for this boondoggle, the filmmakers strive to balance this negative depiction with the town’s Black police chief. Mare is considered by her boss, Chief Carter, to be very good at her job, but due to her difficulties with a case, he requests a federal agent for additional support. Seeing a Black man cast opposite a White woman on-screen is rare. Indeed, I remember the uproar when Idris Elba was cast opposite Kate Winslet in the 2017 film, The Mountain Between Us . A fair number of Rotten Tomatoes reviews downgraded the piece, describing it as “unconvincing,” “unrealistic,” “horrendous,” and “[the] castings feeling VERY wrong, and out of place.” Keep in mind though, that movies are typically neither produced nor viewed in isolation, but rather against the backdrop of the political and social climates of the time. Given the tumultuousness of the period in which the film was released, it is likely that these elements colored the audience’s perceptions of Winslet and Elba in the film. At one point in Mare of Easttown , Chief Carter, a consummate professional, stands in Mare’s personal space and calmly berates her for doing something quite out of bounds: “Cut the bullsh*t Mare. I know it was you…Part of me wants to make sure you never wear a badge again…” Interestingly, I have been unable to find any backlash online. Hmmm. Could the changing political and social dynamics explain this absence? Overall, Mare of Easttown makes a valiant effort to strike a balance with diverse representations and goes further to break the mold in some. It is imperfect in this regard, but it does signal the filmmaker’s conscientiousness about identities and representations. Wrapping them in an immersive small-town story helps the series along and could keep you engaged. If you are sensitive to representations and you like small-town mysteries set in the fall, you might be interested in cuddling up in a blanket for this one. 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 Challengers shows us what it’s like to handle a different type of loss Frenesy Film Company, 2024 131 minutes Director/Writer: Luca Guadagnino / Justin Kuritzkes Reading Time: 7 minutes Challengers Afterpxrty (YYABID45DSUN9L0A) 00:00 / 08:14 📷 : Used with permission, Bartos Gyorgy https://www.instagram.com/bartosgy https://www.facebook.com/methwarddesigns https://www.bartosgyorgy.com/ Masala Chai: Movies and TV shows about toughness and athletic competition Honeybush: Nonfamily dramas with strong adult and/or socioeconomic themes Reba Chaisson 2024-05-01 Loss is often viewed as the death of a loved one, but it can also refer to the sudden loss of an ability we once had. In both instances, we grieve. After denial, anger, bargaining, and depression, the stages of grief note that we accept our loss and figure out a way forward by discovering or nurturing a newfound purpose. But according to psychologists , sometimes we never get to acceptance. Because the loss is so devastating, we carry the emotional weight wherever we go, and it manifests in our treatment of others. In addition to being a story about a love triangle, Challengers is about the damage such baggage can inflict on us and those we care most about. Played by Zendaya ( Spiderman: Homecoming , The Greatest Showman ), Tashi is a confident but sociable 18-year-old tennis phenom who believes a match is about “a relationship” with her opponent. She is quick on her feet, powerful with the racquet, and has an intense yell when she wins a long and active volley. Smitten by her beauty, talent, and passion for winning, roommates and best friends Art and Paul, who are strong tennis players themselves, fall for Tashi while attending one of her matches. Their mouths drop the moment she removes her sweater and steps onto the court. The heads of the spectators turn left and right with the movement of the ball, but Art and Paul stare only at Tashi, as if in a drunken daze despite neither having had a drink. In a conversation with Art and Paul during a party at her home, Tashi mentions that she’s going to Stanford in the fall. When Paul (Josh O’Connor) asks why she prefers to beat up on college girls in tennis rather than go professional, she laughs flirtatiously and responds, “You know nothing about tennis.” It’s a “relationship” with the other player, she explains. Paul and Art become so enraptured by Tashi that a years-long competition ensues in a game the boys might call, “Who gets the girl?” and Tashi would dub “Which boy is most aggressive on the court?” Tashi’s standards are simple; you must win. On this point, she is inflexible. Already a student at Stanford, Art (Mike Faist) becomes close friends with Tashi. Both are at the top of their tennis games until Tashi takes a fall that ends her tennis career. No longer able to play, she pours herself into coaching Art at the professional level, imploring him to win every match and even questioning his desire to win when he loses. She is viewed in the tennis world as a good coach, but behind the scenes she is mean about it. Challengers reminds me of the 1983 movie, Class , with Jacqueline Bisset, Rob Lowe, and Andrew McCarthy. It’s about an 18-year-old boarding school student falling for an older woman who turns out to be his roommate’s mother. The movie was promoted as a comedy, but the story contained themes about deep sadness, mental illness, and the difficulties of being mired in controlling families with huge amounts of wealth. I always felt the movie’s marketing team shot itself in the foot with this one, since it was a more important and meaningful story than just a film about laughs. Roger Ebert wrote that “the movie's ads [were] devoted to revealing that very point.” The New York Times commented that “The movie can't make up its mind whether it's a lighthearted comedy … or a romantic drama.” Today, Rotten Tomatoes rates Class at 49% and IMDB gives it a 6.0. Promotions for Challengers suggest it is a fun film where a tennis phenom toys with two guys vying for her affection. Like Class , it has some funny moments, but the film says much more. Challengers is a commentary on what can happen when we are no longer able to do what we once could. And the younger we are, the more difficult a time we have coping with the loss of a significant part of our identity, one we have honed for the previous 15 of our first 18 years of life. We question who we are now and wonder where we direct our energy. When musicians lose the ability to play, they go through periods of frustration and mourning. This is vividly depicted in the 2019 movie, Sound of Metal , where Ruben, a professional heavy metal drummer, begins losing his hearing. He smashes things in his home and is impatient with the people around him in his desperation to just “fix the problem” now. Gradually, he learns to communicate in other ways. The same frustration and mourning applies to athletes, particularly when they are robbed of their abilities early on in their careers, before they have had the chance to challenge themselves and see how far they can take their talents. To stay connected to their game, some elite athletes immediately move into coaching. Researchers argue that this “fast-tracking” of players is premature. An article by Mentally Tough Tennis acknowledges that elite athletes have some clear advantages over coaches who have not played at a high level. It adds, however, that the former phenoms have not focused on honing skills like patience, empathy and athletic skill‑development, all needed to nurture a player’s growth and maturation. Researchers have also expressed concern that fast‑tracking “may perpetuate incorrect, inappropriate, and even abusive coaching practices” which sometimes stem from the newly minted coach's time as a player. Years after her injury, Tashi still demeans Art whenever he loses a match. When he explains that he is tired and ready to retire, she ignores him. Instead, she devises an unscrupulous plan for Art to win and even involves his friend, Paul, in the scheme. Living vicariously through others is one thing. Behaving as if our most central identity is deeply entangled with other people’s accomplishments indicates something is awry, that some level of maturation has not been achieved. Tashi doesn’t seem to have accepted that she is no longer the player. Art’s life is not hers, nor are his tennis competitions hers to win. No matter how hard she tries, she cannot undo the injury that ended her own aspirations to play professional tennis. Her refusal or inability to accept this risks the wellbeing and friendship of the two men closest to her. Tennis has a feel and cadence, which is reflected in Challengers . Much of the movie is shot during the daylight with warm, sunny weather and calm winds. People are lightly dressed in bright colors and their spirits are high. The game commences only when the chatter dies down upon the umpire’s announcement to “Quiet please.” Then, there is no noise except the sound of the ball being served. The heads of the audience move with the rhythm and tempo of the play. So, during the film, spectators are frequently shown turning their heads in unison from left to right and right to left, coordinated with the ball’s impact against the racket and its bounce on the tennis court. The faster the ball moves, the faster the spectators’ heads move. It is as if the ball, the racket, and the court are providing background music for an otherwise quiet affair, until a point is won. Like tennis, Challengers is layered, visiting the characters’ pasts and volleying back to the present. This can be a bit disorienting at times because it is not always clear what is the past versus the present. Nonetheless, Challengers is a film whose look and feel draws you into a story about a love triangle, where each participant struggles to get what they want without losing the other two. At its center, the film is a story about handling loss in a way that doesn’t lead to us losing everyone that means something to us. 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 Blue Bayou brings well-rounded characters and a humanizing touch to a complex issue Focus Features, 2021 119 minutes Director/Writer: Justin Chon Reading Time: 3 minutes Blue Bayou Dialogues (OYGI4OTBHPZB4HUA) 00:00 / 04:23 📷 : Pixabay Chamomile: Family dramas Dandelion: Movies and TV shows with heavy subjects Chris Chaisson 2021-11-13 Rarely does a movie succeed in highlighting an ongoing political issue that affects millions of people through the lens of a personal story. Many films opt for the multi-protagonist approach, such as Crash , Traffic , or Requiem for a Dream . Having several characters as the main focus rather than one makes it easier to represent as many facets of the issue as possible. Written, directed and produced by lead actor Justin Chon ( Twilight trilogy), Blue Bayou manages to capture the turbulence and obstacles that befall many U.S. immigrants through the eyes of just one character. Through Chon’s brilliant performance, we see him navigate circumstances both in and out of his control. Blue Bayou centers around Antonio (Chon), a Korean immigrant with a daughter, Jessie (Sydney Kowalske), and pregnant wife Kathy (Alicia Vikander, Lara Croft: Tomb Raider ). Antonio is a devoted father attempting to improve his family’s circumstances and overcome his past mistakes. Along the way, he strikes up a friendship with Parker (Linh Dan Pham, Mr. Nobody ), a terminally ill woman from Vietnam who bonds with him over their shared journey to the U.S. However, friction between himself and Jessie’s biological father, a police officer named Ace (Mark O'Brien, Ready or Not ), leads to Antonio being on the verge of deportation. Blue Bayou skillfully displays the complexity of its characters. Rather than present them as purely good or evil, the film allows the audience to see them as three-dimensional. For instance, one of Antonio’s good friends is an ICE agent (Toby Vitrano) who frequents his tattoo parlor. Despite his job, the officer hangs out with and looks after several of his immigrant friends, subverting the expectation that he would harbor any hostility towards them. While Antonio is a family man that viewers are inclined to root for, he has a criminal record that he must reconcile. Despite appearing to be a villainous character, Ace simply wants to see his daughter Jessie and has no desire to negatively impact Antonio’s life. Though Kathy is a strong mother who loves Antonio fiercely, she struggles to get out from under her mother’s influence. Even Denny (Emory Cohen, T he OA ), Ace’s bigoted and morally bankrupt partner, views his actions through the lens of being a loyal friend. All of the major characters have well-established wants and tragic flaws that impact the chain of events in the story. The complexity of the characters is mirrored by the convoluted rules around gaining U.S. citizenship, as displayed in several scenes between Antonio and his attorney, Barry Boucher (Vondie Curtis-Hall, Chicago Hope ). Though being born in the U.S. grants you citizenship, arriving in the U.S. as a toddler does not. Despite being a child of adoption, Antonio is handcuffed by his specific circumstances. Antonio’s back story reveals a dizzying upbringing in which he did not feel safe or supported. As the movie delves into his childhood, we further understand the strong bond he has with Jessie and Kathy, raising the stakes for what is about to unfold. As many natives’ exposure to the issue of immigration is merely through dehumanizing commentary, a story like Blue Bayou decreases the emotional distance many people have. While not seeking to impose a viewpoint, the film puts into perspective that immigrants are human beings with hopes, dreams, and loved ones to look after. Tonally, Blue Bayou resembles a family drama of a similar name, Blue Valentine . The 2010 drama provides more of a non-linear storyline without a political backdrop, but it consists of similar family strife. Both films include a strong father-daughter relationship, a resentful and interfering ex-boyfriend, and a mother trying to escape the influence of her family to make her own decisions. Despite strong bonds, the desires of the families in both movies to stay together become threatened by outside forces and stressful circumstances. Though it tugs at the heart strings, Blue Bayou may be the family melodrama you’re in the mood for. 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 Good House centers alcohol addiction to show that change has to come from within. DreamWorks Pictures, 2021 104 minutes Director/Writer: Maya Forbes and Wallace Wolodarsky / Maya Forbes, Wallace Wolodarsky, Thomas Bezucha, and Ann Leary Reading Time: 5 minutes The Good House Home Inside (PKS6TGUQSPJMSHQC) 00:00 / 06:37 📷 : Licensed from Shutterstock Jasmine: Movies and TV shows with heart, positive vibes, and warm messages Yarrow: Movies and TV shows about illness or set in hospitals or similar medical institutions Reba Chaisson 2022-10-24 So, I decided to take in a film at the Angelika during some downtime on a recent trip to Dallas. A classic example of Chris’s observations on how theaters have transformed in recent years, the Angelika in Plano provides a wonderful ambience for viewing independent film. Its modern architecture, wide open lobby with a bar, and sunlight streaming through its large windows make it a beautiful establishment for settling in and watching a story play out on film in the form of The Good House . Based on Ann Leary’s similarly titled novel, The Good House is headed by a cast of familiar names. Sigourney Weaver plays Hildy Good ( Alien , Ghostbusters ), a single mother in the small New England town of Wendover, Massachusetts where she grew up, and Kevin Kline as Frank Getchell ( The Big Chill , Dave ) the town’s unassuming wealthy builder and Hildy’s longtime friend. Although a successful realtor in the close-knit community where everyone knows each other and gossip reigns as truth, Hildy is quietly buckling under the demands of alimony payments to her ex-husband and the needs (or indulgences) of her two adult children. Charitable yet financially constrained, she copes with it all through humor and work, while maintaining the all too important balance of staying connected to her family, friends and community. Hildy also relies on something else to sustain her—alcohol, which is at the center of the film’s story. It is rare that we think of wine as the beverage of someone who drinks heavily. But Hildy loves her Merlot. When we think of tropes around excessive drinking, images of “the town drunk” on hard liquor come to mind. They are also typically men who have lost their jobs, homes and families and are summarily shunned by friends and community members for “failing” to live up to the traditional expectations of masculinity, in other words, providing for themselves and their families. Women, on the other hand, are “hard drinkers” or “party girls” who serve as fodder for gossip and objects of disdain for the local prudes. A longtime resident of the town and accomplished realtor with well-adjusted children, Hildy doesn’t fit neatly in either mold (save for the gossip). She is best described as a high-functioning woman who uses alcohol to mask a painful childhood memory, one that is the worst kept secret in town. More comedic than depressing, the brightly lit story takes place on the Eastern Seaboard. Hildy is not a brooding drunk but a self-sufficient woman with a great sense of humor, a high capacity to love and care for others, and a strong sense of self. We get a sense of her self-awareness as she bonds with Rebecca McAllister, played by Morena Baccarin ( Dead Pool , The End Game ). Rebecca, a wealthy woman, recently moved into the spacious house Hildy sold to her. She presents as naïve and struggles to connect with others in the tight-knit community. Bonding over wine, she and Hildy gossip and share each other’s secrets as friends do. But unlike Rebecca, who makes light of Hildy’s passing concerns on the town gossip about her drinking, Hildy is direct, as she provides sobering advice on several problems Rebecca shares about herself. I love this story. While alcoholism is at its center, it does not present Hildy as a caricature, but a person who loves and cares for others, even while carrying a very deep emotional pain that she denies. She does, however, repeatedly encounter Frank, which rekindles her romantic spirit. Unlike Rebecca, Frank proves to be equally honest and sobering with Hildy about her drinking and its potential consequences, as Hildy is with Rebecca about her behavior. As he predicts, a set of tragic events makes it clear that it is not an option for her to continue to push pain aside until another day. The film moves at just the right cadence for the audience to climb inside Hildy’s life and see her as a flawed human being rather than the stereotypical “drunk.” All throughout, we come to realize that no rehabilitation, intervention, or even self-discipline can stop the drinking. Rather the change has to begin with a commitment from her to deal with the bad and ugly of its underlying cause. The Good House brings to mind the HBO series, Mare of Easttown , which is set in a close-knit community situated in eastern Pennsylvania, where residents live in the town where they grew up and everyone knows everyone else’s business. It is also a bit reminiscent of the 1983 film, The Big Chill , which includes Kevin Kline among the leading cast members. In a scene from the movie, Harold (Kline’s character) plays stud to his wife’s best friend at his wife’s request. His character appears as uncomfortable and unassuming then as it does in the actor’s portrayal of Frank in The Good House . Like The Good House , Mare of Easttown and The Big Chill were set on the East Coast. And as with these films, the cast is representative of the racial and cultural demographics on the Eastern Seaboard. However, the directors, Maya Forbes and Wallace Wolodarsky, should be commended for their efforts to add diverse voices to the production. They accomplish this largely through the soundtrack, which features the late Sam Cooke’s Bring it on Home to Me , Joan Armatrading, a Black singer-songwriter with the folk hit Down to Zero , and the upbeat blues sound of Ray Cashman’s Hardway , among other less well-known music artists. More important than the music score, the directors should again be congratulated on a wonderful job for this well-focused story that doesn’t demonize people who struggle to control their drinking. Rather, it depicts the risks to one’s self and others of masking emotional pain. 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