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Yae: Blind Samurai Woman shows the disdain for condescension < Back Yae: Blind Samurai Woman shows the disdain for condescension Samurai Girl, 2022 19 minutes Director/Writer: Akiko Izumitani / Akiko Izumitani and James “Doc” Mason Reading Time: 3 minutes 📷 : Used with permission, Akiko Izumitani Yae: The Blind Samurai Woman The Curse of the Hourglass (9LRKKSSNJAOBXODH) 00:00 / 03:26 Barley Movies and TV shows with a lot of dialog Masala Chai Movies and TV shows about toughness and athletic competition Reba Chaisson 2023-03-02 Being underestimated has its advantages. You can then blindside the person or people that are displaying their condescension towards you, by whipping out your knowledge of Durkheim’s structural-functionalist theory and Parsons’ take on it. Or suddenly plopping down at a piano and flawlessly playing Pachelbel’s “Canon in D” before seamlessly moving into Lizzo’s “About Damn Time.” Think about the scene from the 1997 movie, Good Will Hunting , when Matt Damon’s character embarrasses a student from Harvard by showing him he understood some classical theories better than the student did. Was that a good scene or what? This is Yae: Blind Samurai Woman in a nutshell. The short film is about a young woman in 18 th century rural Japan who has the power to heal. It comes at a cost however, in that she loses some degree of her eyesight or “light” whenever she uses her power. Starring Yuwi Kim ( The Music Box , Desperation ), Yae has already lost most of her light at the beginning of the film, when she hears her father, a samurai, fighting in the forest but arrives too late to use her powers to save him. She encounters his killer, Masanobu, who offers to lead her out of the forest to a nearby village so she will not be alone given that she is blind. Too often, people with disabilities are treated as if they lack certain sensibilities because they are missing a limb, reliant on support devices, unable to hear, or vision-impaired. For this reason, some films centering disabilities are problematic because the disabilities take on a life of their own, making the individual who is disabled appear unable, such as in Children of a Lesser God , My Left Foot , and more recently, The Upside . But this is far from the truth. What is often lost in these depictions is the fact that human beings have five senses, and medical science suggests that the loss of one usually leads to enhancement of the other four. What is also lost is that despite having a disability – cognitive or physical, people with them still have hopes and dreams. They enjoy socializing, having fun, and challenging themselves as others do. As it turns out, Yae likes a challenge and Masanobu underestimates the wrong woman on this day. Played by Masa Kanome ( Bullet Train , Snake Eyes ), Masanobu is boastful and proud of what he calls his killing in honor of his father. Despite Yae’s insistence that he remains quiet, he continues to talk as they embark on their journey out of the forest. A funny thing happens though, when we engage in conversation with people. We get to know them. We humanize them. And things become not quite as simple as they once seemed. Intrigued? If you have 20 minutes, you might want to give this one a try. 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!

< Back Maestro discards the notion of simplicity Sikelia Productions, 2023 129 minutes Director/Writer: Bradley Cooper / Bradley Cooper and Josh Singer Reading Time: 5 minutes Maestro Path of Purpose (4KOGNGHXIHZBMTVK) 00:00 / 06:16 📷 : Used with permission, Netflix Ginger: Thought-provoking movies and TV shows Barley Movies and TV shows with a lot of dialog Reba Chaisson 2024-01-06 I have this thing about presumptuousness in writing. When statements are prefaced with terms like “simply,” “of course,” and “obviously,” I encourage authors to consider that the knowledge they are asserting is not necessarily known to their reader, so it is neither simple nor obvious. Thus, qualifiers should be removed. We should assume nothing. The film, Maestro , exemplifies this notion, which is why “Oscar contender” is likely written all over it. I am surprised to see this theater-worthy film from the comfort of my sofa, but lucky me. Director and lead actor, Bradley Cooper, outdoes himself with this biopic of Leonard Bernstein, whose 72-year life spans the identity politics divide. The film begins with a quote from the music virtuoso himself, which reads in part, “A work of art does not answer questions, it provokes them …” In an era where we seem to want and expect simple answers to some of life’s most complex questions, this statement gives us pause. It forces us to consider how far removed we are from a past when we thought for ourselves rather than relying on technology, Internet search engines, and now artificial intelligence for straightforward answers. Most researchers recognize that the questions they seek to answer with their qualitative and quantitative methods will offer some insight into the problems they are trying to solve. But in the course of their work, their results will also raise questions that require more research to be conducted by themselves and others in their discipline. In effect then, and to Bernstein’s point, a question is never fully answered. We just gain deeper insight into the scale and complexity of the problem. Leonard Bernstein was by any measure a musical genius, but what I learned from Maestro is that his depth of understanding for people and humanity were uncanny. According to the film, even “Lenny’s” wife of more than 25 years, who marries him knowing his sexual preference for men, cares for him deeply and he for her. Some of us might ask how this could be. How could she marry him knowing this? During a remote radio interview from their home soon after marrying, she talks proudly and incessantly about how busy “Lenny” is composing and directing. So, status maybe? What was she thinking? What hubris to think she could change him! Played by Carey Mulligan, Felicia, Bernstein’s wife, says to her sister-in-law Shirley Bernstein (Sarah Silverman) decades into their marriage and now with children (paraphrasing), “I’ve always known about Lenny. But I still love him.” So, if we learn anything from Leonard Bernstein’s story, and there is plenty to learn, it is that nothing is ever simple. Just as remarkable as Bernstein’s life is the film presentation itself. Director Bradley Cooper presents the first half of the movie in black and white, giving it the feel of a 1940s era film. Bernstein is constantly surrounded by large groups of musically talented friends who each keep a cigarette in their mouth or between their fingers and a bar glass with a drink nearby – and never far away from a piano. Most of the men are openly gay, as evidenced by the way they touch one another on the behind and casually rub each other’s backs and hair in the presence of others. Sometimes they even kiss. No one seems to notice or care. Interestingly, these public displays of affection are not depicted among the women in the group, which makes the playing out of gender seem out of balance. There’s a lot of noise and chatter with infectious happiness and celebration seemingly about nothing in particular. Their exchanges are more like quipping than deep engagements in conversation. It is as if they don’t take themselves too seriously. They are having too much fun and too much musical success to do so. The circumstances surrounding the circle of 20 or so friends change as time changes. When the presentation converts from monochromatic to color, the speech tempo slows as if to suggest they are all getting older now. One of the first colorized scenes is yet another gathering of the friends, now older and some married, even those who are gay. A few are new to the group, including a gay gentleman who guffaws when Bernstein says that he is married. Laws at that time did not allow for same-sex marriage, so the man rightly assumes Bernstein is married to a woman. The man’s cynicism signals the ushering in of politics around sexual identity during this time, roughly the 1960s. Prior to this period, no one seemed to care about one’s sexual orientation or more likely tolerated the differences in sexuality. Sensitivities seem heightened with television media, perhaps, due to its ability to beam into living rooms how a gay person, such as Bernstein, displays his sexual identity. Bernstein, though, dismisses the man’s laughter as if wondering what all the fuss is about, not yet realizing times were changing and he might have to figure out how to balance his lifestyle with his wide popularity. Watching this film is like being in a time capsule that spans 70 years. Bernstein’s music sets the mood, providing the audio that signals the ebb and flow of the composer’s life. The dynamic music is racy and powerful in his younger years and smooths out as he gets older. Indeed, the film itself feels like a musical performance on stage with multiple acts across the chronology of the genius’s life. It mimics the look and style of the Humphrey Bogart movies, Casablanca and To Have and Have Not with cigarettes, drinks, and all. This is fitting for a guy like Bernstein who lived his life on his own terms, accepting – no, embracing it with all its complexity. Damn our perplexity about it! Previous Next Sign-up for new reviews, exclusives, deep dives, and more First name Last name Enter your email here I agree to the terms & conditions Sign-up Thanks for joining us!

< Back Passages expertly uses flaws as a humanizing element SBS Productions, 2023 91 minutes Director/Writer: Ira Sachs Reading Time: 4 minutes Passages Bouar (EKBQ1CUPJWHZ3ZXE) 00:00 / 04:36 📷 : Pixabay Barley: Movies and TV shows with a lot of dialog Honeybush: Nonfamily dramas with strong adult and/or socioeconomic themes Chris Chaisson 2023-08-20 For cinephiles who crave original stories and original characters, positivity can be found in a negative representation. Often, members of marginalized groups get depicted in film as perfect victims; constantly the targets of bullying and paragons of virtue. We tend to think of humanizing portrayals as showing the most admirable characteristics, but sometimes the true equality lies in everyone’s ability to be a douchebag. Tomas, the protagonist in Ira Sachs’s risqué drama Passages , serves as just such a character. Set in modern-day France, Passages revolves around a complex, pansexual love triangle. Tomas (Franz Rogowski, Victoria ), a German filmmaker, is married to his supportive husband Martin (Ben Whishaw, The Lobster ). After a night out with friends, Tomas has an affair with Agathe (Adèle Exarchopoulos, Blue Is the Warmest Colour ), a young school teacher. While it may seem like an inebriated lapse in judgment or momentary passion, he confesses to Martin, only to continue sleeping with Agathe. Though the terms of their marriage are never explicitly stated, it is clear that Tomas’s infidelity hurts Martin. The larger issue is that even in Tomas’s confession, he is more concerned with his own feelings and experiences than how he has made Martin feel, a recurring dynamic throughout the film. At first glance, Tomas could come off as simply too impulsive to make a good partner. However, with every passing interaction, it becomes clearer that he will do whatever suits his own best interest in the moment. Devoid of any remorse for his actions, Tomas lacks the sensitivity to comfort either of his lovers when they are in a moment of emotional need, instead manipulating them whenever he can. When Martin begins seeing Amad (Erwan Kepoa Falé, Winter Boy ), a novelist who genuinely cares for him, Tomas not only seethes but runs interference in their romance whenever the opportunity presents itself. When Agathe is busy or needs time to herself, he consistently hounds her for attention. Upon meeting her parents, he quickly starts an argument with Agathe’s mother to avoid any questions about his long-term plans (because he doesn’t have them). Tomas is not only unfocused but also shows complete disregard for the people he claims to care for. All of these negative qualities Tomas possesses could turn you completely off of this erotic French indie. Maybe you would rather see a wholesome protagonist fighting to make a relationship work despite his or her own shortcomings. However, there is a refreshing quality to watching an irredeemable character of a marginalized background. It feels true to anyone else’s experience, as we can often be our own worst enemies. Passages shows the complexities that a same-sex couple could have from within their relationship, rather than inserting a homophobic antagonist from the outside world. Depicting the gaping flaws of one partner in a relationship and how the other struggles to hold it together is a particularly humanizing representation. Many have occupied one role or the other at least as much as they have experienced the “us against the world” narrative many romantic dramas put forth. Passages does not merely portray the arguments and power struggles of relationships; it also portrays the physical element. The film has its fair share of nudity and intercourse, not pulling a single punch. While some moviegoers find such scenes superfluous to the plot, the vanity and raunchiness actually makes perfect sense for a movie all about relationships and what keeps them going through tough times. The focus on Tomas’s sexuality adds another layer to the love triangle, making him slightly more appealing in spite of his complete inability to provide emotional support. The sex scenes serve as a collective symbol of each character’s vulnerability, an aspect that the protagonist consistently preys on. Watching Passages brings to mind the late 2000s romantic drama Vicky Cristina Barcelona , in which two friends visit Spain for the summer and become involved with a painter whose ex-wife comes back into the fold. Both films have numerous displays of intimacy, complicated relationship dynamics, and beautiful cities known for encouraging romance as backdrops. Not to mention some selfish and impulsive characters that may make you roll your eyes. Previous Next Sign-up for new reviews, exclusives, deep dives, and more First name Last name Enter your email here I agree to the terms & conditions Sign-up Thanks for joining us!

Pose highlights the gay and trans community comprising the ballroom culture in 1980s New York. < Back Pose highlights the gay and trans community comprising the ballroom culture in 1980s New York. Color Force, 2018-21 59 minutes Creator: Steven Canals, Brad Falchuk, and Ryan Murphy Reading Time: 3 minutes 📷 : Pixabay Pose Fearless (MKJOZQUC9NFWSH3I) 00:00 / 04:09 Dandelion Movies and TV shows with heavy subjects Honeybush Nonfamily dramas with strong adult and/or socioeconomic themes Chris Chaisson 2021-10-15 Pose , created by Ryan Murphy ( Glee , American Horror Story ), highlights the gay and trans community comprising the ballroom culture in 1980s New York. The series centers particularly around Blanca, a Trans woman who sets out to start her own house after being diagnosed with HIV. Blanca takes in several youngsters to mentor, including Damon, Lil Papi, Ricky, and Angel. Their performing arts skills are varied, but Blanca strives to instill them all with confidence, discipline and most importantly, self‑esteem. The most striking aspect of Pose is how it highlights the multitude of angles from which the Black Trans community receives vitriol. In one particular episode, Blanca tries to get served at a predominantly White gay bar. She is not only asked to leave but on one occasion is physically removed and arrested. This and other storylines expose the glaring truth that many communities are simultaneously oppressed and oppressive. In addition to shining a spotlight on institutional injustice, Pose provides a glimpse into the strife surrounding the characters’ personal relationships. Pray Tell, the regular emcee for the nightly ball competitions, struggles through hospital visits one after another in support of his boyfriend, who has contracted AIDS. Angel meets a married Wall Street exec (Evan Peters) and mulls over how she feels being his secret mistress. Candy debates getting genital reconstructive surgery and how her longtime partner will view her new anatomy. Though the particulars of their issues seem specific to the Trans community, their interpersonal relationships and the emotions involved remain universal. As one might expect, a series about ballroom culture includes plenty of ballroom scenes. Normally the more joyous scenes in the show, the members of the various houses walk the floor in their outfits as music blares over the sound system. Pray Tell comments on their getup before turning it over to the five judges, who each put up a number from one to ten. At the end of the night, grand prize and runner-up trophies are awarded. While the vibes are celebratory, the commentary between competitors can be blunt and deep-cutting, with Pray Tell roasting ensembles that are not on point. The culture amongst the ball participants is one of no-holds-barred criticism, making the dialogue harsh and the insults frequent. The subtext of these biting exchanges is that the members must have thick skin due to the flagrant disrespect and threats they face when they leave the community. While the conflict is legitimate, there is an element of tough love to how the ball members speak to one another. The lynchpin of the show is without a doubt Blanca, who exhibits leadership and strong decision-making. From the Bronx, she embodies toughness and displays the ability to be confrontational. The way she handles everything thrown her way is reminiscent of a high school principal, such as Principal Harper (Chi McBride) in Boston Public . Having been shunned by her family, who insists on calling her by her masculine birth name, Blanca strives to teach all her house members how to stand on their own two feet as she has learned to do. Her major character flaw of stubbornness drives much of the show’s conflict but makes her as relatable to the audience as her strengths. Overall, Pose grants viewers the opportunity to see Trans characters as more than victims or fleeting storylines, but rather three-dimensional characters who have goals, strengths, weaknesses and most of all, gumption. Their struggles provide insight to those not frequently exposed to members of the trans community, and the ways they handle those struggles allows the audience to feel an emotion necessary for all to possess -- empathy. 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!

Swarm offers interesting social commentary on excessive fandom < Back Swarm offers interesting social commentary on excessive fandom Amazon Studios, 2023 30 minutes Creator: Janine Nabers and Donald Glover Reading Time: 5 minutes 📷 : Used with Permission, Izzy Aghahowa https://izzyaghahowa.co.uk/ Swarm My Sweet Lady (F9HC1NRUFKQHFVWE) 00:00 / 05:29 Rosemary Movies and TV shows with intense action Yarrow Movies and TV shows about illness or set in hospitals or similar medical institutions Chris Chaisson 2023-03-29 “Who’s your favorite artist?” For those that follow pop stars in the era of social media, we know the danger that comes with criticizing any of them. The biggest Top 40 artists all have their own armies (or in one case Navy ) who go to great lengths to bully critics into silence and obscurity. While it would be easy to tell those super-fans to get a life, their dedication speaks to an unbreakable bond we often feel with celebrities that have brought us so much joy. The stars’ personas and extravagant lifestyles provide fans with the same escapism that the art itself does. The cyberbullying and intimidation tactics reflect our desperation to hold onto that dopamine rush. The lengths to which anyone chooses to take their fandom is an individual choice, heavily influenced by the need to hide from real life circumstances. Such can be said for Dre in the new Amazon series Swarm . Played by the talented Dominique Fishback ( The Hate U Give ), Dre is a lonely teenager who idolizes world-famous pop singer Ni'Jah. Her fandom becomes so intense that she responds to any criticism, ill sentiments or even indifference of Ni'Jah with brutal violence. After losing a close friend, Dre goes on a killing spree across several different cities, with all of her victims having in common their disdain for Ni'Jah’s talent and fame. Outside of escaping culpability, Dre’s ultimate goal is to see Ni'Jah up close and personal. The series is very cleverly cast, as it consists of many actors who are adjacent to staggering pop star fame or are indeed pop stars themselves. The supporting characters include singers Billie Eilish and Chloe Bailey, Paris Jackson, and Rory Culkin. The latter two are the daughter of the late Michael Jackson and brother of Macaulay Culkin, respectively. This infusion of personalities and recognizable faces adds to the thematic elements of the show. Donald Glover’s name may be the draw of the series, specifically for fans of the Emmy-winning Atlanta , but the co-creator Janine Nabers deserves a shout-out as well. In addition to writing for Atlanta , she produced episodes for Watchmen , the hit HBO mini-series from 2019. Nabers is also an award-winning playwright and librettist (one who writes the words for an extended musical composition). We’ve seen successful crossovers from the stage to the screen before with writers like Aaron Sorkin, and Nabers’ contributions to Swarm certainly demonstrate her versatility. Beyoncé fans, affectionately known as the Beyhive, may watch Swarm and feel slighted. After all, there are numerous references to real-life events, anecdotes, and details that make it obvious who Ni'Jah is “supposed” to be modeled after. Taken at face value, the series is nothing more than the satirizing of how Beyoncé’s most loyal followers behave, online and occasionally in person. However, if you look closer, much of Dre’s language and behavior (outside of maybe the assaults and murders) applies to fans of several other larger-than-life pop culture figures: LeBron James, Taylor Swift, Katy Perry, Kanye West, Nicki Minaj, and the list goes on. Fans become so swept up in the emotions these figures conjure up that they no longer see a difference of opinion as a positive or even an option. As Dre hops from destination to destination, her experiences become more than just homicidal missions being carried out. Her adolescence and past trauma comes into view, expanding the scope of the series’ premise beyond a parody of excessive fandom and into an examination of mental health and the foster care system. Though these details humanize Dre, her transgressions still overshadow any sympathy the audience might feel. After all, her victims are human as well. Swarm ’s innovation is not in its satirical elements but in who its story focuses around. Many serial killer stories revolve around psychotic, cognitively dissonant White men. They are often well-educated, financially successful, and completely irredeemable. This series instead chooses a young, gender-fluid Black woman suffering the effects of childhood trauma. Despite her past, Dre’s actions remain reprehensible. While her string of homicides begins with people who have questionable moral compasses themselves, it becomes clear that Dre will harm anyone of any background, no matter how virtuous. We see these qualities in anti-heroes such as Dexter, Patrick Bateman or Joe Goldberg, all distinguished White men, in Dexter, American Psycho and You , respectively. However, we rarely see a Black female protagonist allowed to exhibit rage, immorality and violence that they get away with time and again. The connotation of the term satire may mislead you to think Swarm is light-hearted and playful in tone. On the contrary, there are several grim and sobering moments, in addition to the overall violence and raunchiness. Still, viewers can take and leave as much as they want from the show’s overall theme. The series exists as a deeper conversation piece, or something to chuckle about whenever Beyoncé fans get on your nerves. In any case, these 7 episodes convinced me to keep any critical opinions of pop music icons to myself [grits teeth]. 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 Mickey Hardaway highlights the need to prioritize mental health Mylineal Films, 2023 104 min Director/Writer: Marcellus Cox Reading Time: 5 minutes Mickey Hardaway A Dark Past (VNQH2YEJUZ5IYSE2) 00:00 / 05:04 📷 : Used with permission, Marcellus Cox Dandelion: Movies and TV shows with heavy subjects Barley: Movies and TV shows with a lot of dialog Chris Chaisson 2023-04-18 The title character in this brooding melodrama has not had an easy life. Mickey, a 20-something talented aspiring artist, simply wants to pursue his dream of creative expression. He embraces the possible footfalls that come with it, but simply wants to be given a chance. The story begins with his visit to a psychiatrist. As he opens up to his therapist, we see flashbacks of Mickey’s upbringing and key moments that influenced the path of his life. The most impactful element of his trajectory is the relentless verbal and physical abuse he endures from his father. Mickey’s dad, Randall, clearly maintains the practical mindset with which he was raised, the belief that artistic endeavors are a waste of time and energy. In his view, both are better spent learning a trade that could earn money and help loved ones. Part of Randall’s mindset, we later learn, comes from sacrificing his football dreams for the good of the family. Rather than accepting what his life has become, he continually takes out his anger on his family, beating Mickey up and verbally disrespecting Mickey’s mother, Jackie. Once he finally stands up to Randall, Mickey decides he is better off living on his own. His father does not try to keep him from going but instead encourages him to get out. In addition to his financial struggles, Mickey battles a bad drinking habit he has learned from his father. When his girlfriend, Grace, brings it to his attention, he admits that he has always used it as a way to calm his anxiety. Between his father’s abuse, his drinking habit and his inability to achieve a career breakthrough, he becomes self-sabotaging and emotionally unavailable, creating problems in his relationships with Grace and a supportive former teacher. The culmination of these issues compel Grace to encourage Mickey to seek the help of a professional. But can Mickey’s new therapist be accessible enough to meet his needs? There has been an abundance of discourse about the need for young Black men and women to prioritize their mental health and seek counseling when feeling overwhelmed. However, a stigma has long stood in the way of taking this step, with therapy being viewed as something for the “weak,” “soft,” or “crazy.” Many Black men in particular are necessarily raised to be tough and independent, and admitting the need for counseling does not fit in with such old-school ideas of masculinity. Additionally, quality mental health services are not always available or affordable for marginalized groups, which lends itself to continuing the perception in communities of color that mental health support is not meant for people like them. Another challenge to overcoming the stigma of using mental health services is the matter of finding relatable professionals. In the film, Mickey is a young Black man seeking the help of a professional with a similar background, which is an important component of counseling. Negative or unhelpful experiences with therapy sometimes stem from the patient and professional having vastly different life experiences. This dissonance can leave the patient feeling misunderstood or as though their experience is being minimized. On the flipside, the professional may have their expertise dismissed by the patient. Many female therapists, for example, struggle getting through to their male patients who display misogynistic tendencies. In any case, this indie feature subtly conveys the need to find help from professionals with a shared viewpoint. Mickey clearly needs help, but has he waited too long to find it? Has he reached a point of no return where he will act out in an irreversibly destructive way? In entertainment, scenes of protagonists undergoing therapy have often been used as somewhat comedic devices, particularly when they do not fit the profile of psychotherapy patients (i.e. Tony Soprano or Paul Vitti). This is done in fun and meant only as a source of humor - for its entertainment value. However, there is a serious side to the issue that also deserves attention. Mickey Hardaway gets at this by illustrating the importance of doing away with the perception of therapy as something that is needed and should not be embarrassing when sought. As far as melodramas go, Mickey Hardaway is most reminiscent of the early 2000’s biopic Antwone Fisher . Both films consist of young Black protagonists dealing with residual anger from years of mistreatment and finally seek counseling in hopes of turning things around. Jonah Hill's Stutz , although more of a docu-drama, deals with this topic as well and with similar goals to Mickey Hardaway . The hope is to get young people to seek help when needed and in doing so, find a therapist they feel comfortable with and that is right for them. 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 Stutz tackles a heavy topic and concludes with a positive outlook Netflix, 2022 96 min Director/Writer: Jonah Hill Reading Time: 4 minutes Stutz Therapy (Y3TJGI41LL4LT4CK) 00:00 / 04:32 📷 : Used with permission, Netflix Dandelion: Movies and TV shows with heavy subjects Ginger: Thought-provoking movies and TV shows Chris Chaisson 2022-12-28 Documentaries can be groundbreaking, informative, and impactful. They sometimes even serve as the catalyst for change or long overdue accountability. Still, for all the wisdom documentaries impart, they often leave the audience feeling depressed and even a little hopeless. As they frequently revolve around sociopolitical issues, there rarely seems to be a happy ending or, frankly, any ending to the problem. Jonah Hill’s new project, Stutz , bucks this trend in a way. Sitting down with his long-time therapist, Phil Stutz, MD, Hill discusses the mental health techniques that Stutz has taught him over the years for managing grief and confronting his biggest mental hurdles. Hill’s goal in broadcasting these therapy sessions is to help those who may not have the same access to mental health resources that he does. While the subject is equally heavy to many other documentaries, its introspective nature and the coping mechanisms shared leave the audience feeling more optimistic. Similar to the way cinephiles look at a cast to decide whether or not to see a movie, Stutz , as an experimental project, undoubtedly benefits from having Hill at the helm. As a reputable actor appearing in his fair share of blockbusters and cult classics, Hill’s name recognition aids in the film’s mission of reaching as many people as possible. Those who have followed Hill’s career have seen him play both the supporting actor and the front-and-center roles, evolving from mostly comedic relief to a jack of all trades. Nonetheless, Hill lacks the All-American, magazine cover page look that many view as the “ideal” body image. While anyone can suffer from body dysmorphia, Jonah Hill may elicit more sympathy from an audience than say, Jason Momoa. On the other side of the room is Stutz, a 74-year-old native New Yorker with Parkinson’s disease. Despite Jonah Hill’s reputation as a comedic personality, Stutz cracks many of the jokes. His sense of humor and obvious rapport with Hill provides an immediate hook for the audience. Rather than sitting in reserved silence to listen to Hill’s problems, Stutz shares many of his own. Among them are dealing with the unexpected death of a loved one early in his adolescence, the discovery and diagnosis of his Parkinson’s disease, and his mother’s pessimism surrounding men based on her own life experience. Stutz’s contributions add balance, as most people’s perception of therapy is the patient doing all the sharing and the doctor merely being a soundboard. The real draw of Stutz is his ability to provide advice and exercises rather than follow-up questions and theories. As Jonah Hill points out early on, patients find themselves getting more advice from their naïve friends who just want to lend an ear, than their knowledgeable therapists. The methodology behind therapy is listening and not imposing ideas or assuming anything, which helps the patient open up. Stutz admits from the jump that he does not agree with the philosophy: “Do what the [heck] I tell you; do exactly what I tell you and I guarantee you will feel better.” Over the next hour and a half, Stutz runs through his terminology, (i.e. Loss Processing, Radical Acceptance, Graceful Flow) accompanied by drawings to visualize the concepts. Hill then shares his own experiences trying to implement said language and exercises into his own routine. His honesty allows the audience to realize that these exercises show incremental progress rather than immediate cures, an important lesson for those who view the effectiveness of therapy in absolutes. Admitting your fears, flaws and hang-ups from adolescence does not come easy to most people, which is often the biggest hurdle to even seeking help in the first place. Stutz just may provide a nudge to thousands if not millions of people who need it. Seeing a successful celebrity, alongside his anonymous mentor, show a willingness to open up and share helpful tips may spur on others to do the same. 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 How Do You Like Your Cinema? What You Said about What You Watch Reba Chaisson 11/16/23 Reading Time: 15 minutes 📸: Licensed from Shutterstock When I conducted interviews with studio executives from HBO and October Films 25 years ago, one of the things they shared with me was that they received tons of scripts and videotapes from aspiring filmmakers, so much that it was impossible to review all the submissions. They suggested then that there is more cinema content available than places to display them. Less than ten years later, television and video technology exploded with the advent of DVDs, streaming channels, and movie websites. Today, we also have smart TVs, smartphones with advanced video functionality, and television on demand. The days of true appointment TV watching (having to be available when our favorite show airs) have long gone by the wayside. Undoubtedly, this new technology has spoiled us. We can pretty much see any show we want, any day or time that is convenient for us, and even any time zone we are in. No longer do we have to suffer through periods where there seems to be nothing on television we like. There’s plenty in terms of quantity and variety – and we can watch it any time we want! Well, maybe. While some of our favorite streaming series drop all the season’s episodes at once (potentially enabling what researchers call “ binge watching ”), others are released to us on a weekly basis throughout the season. We conducted a survey to learn how people like their streaming shows served to them. What we found was consistent with Statista’s finding that the younger we are, the stronger our sentiments on the subject. We asked more than 400 adults to tell us how they like to watch their favorite television series. A quarter of them told us first that they like “Traditional” appointment TV shows. Such shows are typically episodic, consisting of 12–16-week seasons with one new episode per week. Think shows like Chicago P.D. , F.B.I. , Found , etcetera. Prior to Smart TVs and satellite technology like DirecTV and Dish, you had to record the show on your VCR/DVD or be in front of your television when the show aired. Chart 1 - Respondents' Television Preferences Sixteen percent of survey respondents indicated they prefer “Limited series” - short focused serials consisting of 3-10 episodes. Think Game of Thrones , Breaking Bad , and Special Ops: Lioness . Although Limited series (or miniseries) sometimes evolve into multiple seasons, they are initially intended as a single story extended across several episodes. Not surprisingly, more than half (57%), though, told us that they like a mix of both Traditional and Limited series. This is not surprising given the new technologies ushered in over the last 20 years that allow for easy recording of our favorite Traditional shows on the major networks (free TV) and streaming platforms that make them available to us the way a library does books. Pick what you want to see and pull it off the shelf (hit play) when you’re ready. While it sounds blissfully convenient, it still falls short of the utopia many of us want to achieve. Limited Series TV Utopia For those who indulge in Limited series, we asked how they like to receive their content. More than 70% of these respondents indicated they wanted all the episodes available to them at once. This result is not surprising given the technology available that allows for controlling not only what and how much we watch, but when. The respondents seem to suggest that since the controls are already in our hands, why unnecessarily suppress our appetites for a series we are enjoying. Releasing all the shows at once allows for the cinematic experience we prefer. Chart 2 – Limited Series Appetite Much of the remainder of the group (27%) indicated that one episode per week worked for them. This is especially interesting because it suggests that a fair number of people who like focused series are patient enough to let the story play out over time. This could also be tied to occupation or personal responsibilities that make them unavailable for series viewing more than a few hours a week. While they are living their cinematic utopia, the majority, however, are not. We wondered if there were some concerns about serving up all of a season’s episodes at once. The Virtues and Risks of Limited Series TV Utopia Television researchers correlate the availability of all a season’s episodes to us as lending itself to binge-watching, which they define as “viewing suspenseful dramatic, narrative content for a considerable amount of time: often more than three or four hours.” While binging has a negative connotation, it isn’t presented in the research as a one-dimensional concept. In fact, researchers distinguish between “ problematic ” and “ non-harmful ” binge-watching. Problematic binge-watching is the use of television content to distract from everyday worries and feelings of loneliness. These, according to researchers, can lead to complacency and a reticence to persevere at important tasks – something my mother often referred to as malaise. In short, it has the potential to make us lazy and apathetic. Non-harmful binge-watching, on the other hand, is the gratification we receive from becoming immersed in the story and characters on-screen, as well as “critical thinking and social conversations” we develop as a result of the television-viewing experience. Psychology Today also reports on a study that found that not all TV-watching is bad. They write, “Some TV shows are complex and will keep you mentally stimulated. If you have fun or revealing conversations with your friends and family about TV shows, that’s a big plus: Social connection is as good for you as exercise.” Even this, though, should not be in lieu of activities like reading, exercising, and stretching the brain with crossword or jigsaw puzzles. So, while reasonably, non-harmful binge-watching is preferred over problematic, the former can gradually morph into the latter if it becomes our only source of leisure, escape, or activity. Why Limited over Traditional series? For survey respondents who indicated they preferred Limited over Traditional series, we asked them why. What they told us can be grouped into five categories: succinctness of story, quality of show, enjoyment, completeness of story, and self-control issues. Several examples of each are listed in the chart below. Chart 3 – Appeal of Limited Series Respondents who prefer Limited series cite substantive elements of the presentation to support their preference for such shows. The series are shorter, which makes the stories tighter and leads to both presenting conflicts and resolving problems quickly. Importantly, they cite Limited series as having a resolution, which indicates the significance of this to their television viewing experience. Fewer than a handful indicate that they struggle with control issues, noting tendencies toward problematic binging and making conscious efforts to avoid doing so. Think of the recent Paramount+ series, Special Ops: Lioness , with Zoe Saldana, Nicole Kidman, and Michael Kelly. The eight-episode serial was quite complex, layering in several storylines of military action, politics, undercover complications, and the leader’s (Saldana’s character) family life challenges. The complete, suspenseful story with an all-star cast packed a powerful punch, and still left you wanting to see it again – and again and again. It takes a conscious effort to avoid this. Engaging in other social and physical outlets helps us manage this. Why Traditional series over Limited? We also asked those who preferred Traditional over Limited series about the appeal of such shows, which, to be fair, do not all fit the definition of focused content. Mixed with suspenseful narratives like Chicago P.D. , NCIS , and Fire Country are the ultra-popular reality and talent shows like The Bachelor , Survivor , The Voice , and America’s Got Talent . What respondents had to say about watching Traditional series can be categorized into six groups: breadth and length of series, enjoyment, time for investment in the show, anticipation/suspense, lifestyle, and familiarity. Several examples of each are noted in the chart below. Chart 4 – Appeal of Traditional Series Most interesting about the responses is the emphasis placed on the investment of time to immerse themselves in the story and characters of Traditional series. Limited series are too “short term” to develop these elements of a show, so getting one episode at a time is the perfect cadence for them, and in some cases, it suits their lifestyles quite well. Consider the series, Chicago P.D ., soon to be entering its 13 th season. Could Sergeant Voight’s tough but loyal persona be appreciated in an eight-episode Limited series? Probably not. Generally, fans of the show (of which I am one) come to love him because the series, over time, allows for getting to know his depth and breadth of character. Also, unlike a Limited series, the Traditional series are reliable. Viewers are confident they will “stick around for more seasons.” Interestingly, though, a fair number of respondents indicate that they watch Traditional series simply because they grew up on this type of television viewing. Some habits are hard to break – or we simply have no need or interest in tampering with something that works for us. Are Demographics a Factor in Television Preferences? Our data shows that a wide range of people (ages 30-60) enjoy viewing Traditional series, while those younger and 45-60 prefer Limited series. That is, while 64% of Traditional series viewers consist of people ages 30-60, just under a third of Limited series viewers are 18-29 years of age and more than 1/3 rd are 45-60. By far, Traditional series is least preferred by 18-29 year-olds, where they comprise only 20% of Traditional series viewers. Chart 5 – Preference for Limited and Traditional Series by Age Group Data from Pew Research shows that few 18-29 year-olds are married with children. They are also either in college or in the nascent stages of their careers/occupations. It is not surprising, then, that 80% of our respondents reported earning less than $100,000 a year. At this age, some are in college, many are still supported by their parents, and most have few obligations, all situations that allow them to have some disposable income. This life stage, then, affords young people relative luxuries like streaming channels such as Netflix, Hulu, MAX, Showtime, Paramount+, and others, where Limited series are found in abundance. On these channels, the volume and breadth of content are wide and stream around the clock. So, for young people with energy, streaming channels are Limited series utopia on Earth. Other than those over 60, Limited series are least preferred by 30-44 year-olds, where they make up only a quarter of respondents who indicated they indulge in them. Many people in this age group are starting families and simultaneously gaining some traction in their careers/occupations. Although 40% of this group reported making $100,000 or more per year, research indicates they are careful about their spending and focused on shoring up the family’s savings for emergencies and college funds as opposed to paying for premium channels, where Limited series are typically available. Statista recently conducted a survey and found that the most popular streaming channels were, in order, Netflix, Prime Video, Disney+, and Hulu. Disney+ is likely one of the few premium channels 30-44 year-olds subscribe to because of its abundance of children’s programs. Amazon Prime is likely another because of its shopping benefits like free delivery. Few Limited series are available on Amazon Prime, however ( Jack Ryan is one of few exceptions), as the channel primarily streams movies and reruns of Traditional series. Forty-five to 60-year-olds make up the largest segment of Limited series viewers at 35%. They are also the highest earners, where 2/3 rd of this group reported having annual incomes of $100,000 or more. They are also homeowners with families that include children who are in college or nearing high school graduation. Now settled into their careers and making a comfortable living, people in this age group can better afford multiple streaming channels. This includes periodically adjusting the household’s streaming channel configuration with the ages of their children – and to their own cinematic tastes. Finally, more than half the people who reported making less than $50,000 per year are over 60 years of age. This is a sad commentary that speaks to the struggles of our older adults, many of whom have spent four or more decades working to be comfortable in their retirement. Unfortunately, it also suggests that this group has little money to commit to streaming channels for indulging in Limited series that they just might enjoy. In our data, this group makes up just 8% of those who watch Limited series. To sum, yes, demographics do indeed play a role in our television viewing preferences. Access to advanced television technologies influences the type of content we watch. Our cinematic tastes vary by age. But the extent to which we can indulge these tastes is constrained by our ability to pay for it combined with our own financial priorities. Understanding this, we have to wonder if the content we watch is a matter of preference or a reflection of what we have learned to enjoy because it is all that has been available to us. How do we explain what we watch? When we consider demographics, it raises the question: How much of what we watch can be attributed to cinematic taste versus conditioning and family budget considerations? Money is typically a consideration in most decisions as the overwhelming majority of us don’t have it like that. But I can’t help but feel for the large segment of society that is unable to engage in the content choices across the many streaming platforms to even see if there’s something there that resonates with them. Perhaps streaming companies can consider demographic factors like age, income, and even disability in developing a sliding fee scale to enhance content accessibility. In any event, while we have come to accept constraints around content access as the norm, we also have to acknowledge that these constraints shape our choices around the content we watch. Responding to questions around attribution are rarely, if ever, simple. Appreciating the complexity of the one posed here, though, allows us to at least ponder the degree to which our content choices are due to cinematic taste or conditioning. It is beyond the scope of this paper to delve further into this. Suffice it to say that undoubtedly, a bit of both plays into our preferences. Summary Comedian, Chris Rock, performed a bit in his Bigger and Blacker show, about arriving home from work and hearing a litany of complaints from his wife about people she had encountered throughout her day – family, friends, co-workers, etc. Tired and wanting his dinner to re-energize, he shouted, “Can’t I just get my big piece of CHICKEN?!” Similarly, and according to the data, most people who prefer Limited series want all their episodes at once. For them, these shows are succinct and of high quality. They are also rich, with well-developed characters, and stories that are complete. Watching them exemplifies the non-harmful binge-watching described by researchers that relates the gratification we receive from becoming immersed in the story and characters, and critically thinking through and talking about the content afterwards. None of our respondents mentioned engaging in conversation with family, friends, or colleagues about the shows. But we can reasonably assume that they do, given that we all generally talk to others about things we enjoy. Why then delay their gratification by releasing one show per week to those who are ready for more? Not doing so reminds me a bit of the famed Pavlov dog experiment - there is a fear that these viewers will engage in problematic binge-watching. This is not an issue for those who prefer Traditional series. They enjoy the breadth and length of the shows, and the fact that they are available only once per week suits them fine. They like how the plots develop over time, and they get to know the characters over time. Seeing the shows once per week gives them something to look forward to. It even feels familiar to them as many of them grew up watching television this way. By contrast, you can even say that people who prefer Traditional series are relatively patient. Regarding Limited series specifically, perhaps wanting all episodes at once primes these viewers to be impatient. To want everything everywhere and all at once (yes, this was intended). But the existing research doesn’t point to this as problematic. Indeed, our data suggests that those who prefer Limited series show no signs of having an unhealthy appetite for such content. So, come on streaming channels! Can you just give these viewers their big piece of CHICKEN?! Survey Demographics References Ehrenfeld, Temma. (2021). Watching (Too Much) TV Is Bad for Adults, Too. Psychology Today , (2021, June 8) https://www.psychologytoday.com/us/blog/open-gently/202106/watching-too-much-tv-is-bad-adults-too Flayelle, Maeva, Elhai, Jon D., Maurage, Pierre, Vogele, Claus, & Brevers, Damien. Identifying the psychological processes delineating non-harmful from problematic binge-watching: A machine learning analytical approach. Telematics and Informatics , 74, Article 101880. https://www.sciencedirect.com/science/article/pii/S0736585322001137#:~:text=Non%2Dharmful%20binge%2Dwatching%20is,by%20negative%20reinforcement%20motives%2Fimpulsivity . Fry, Richard and Cohn, D’vera. (2011). The Households and demographics of 30- to 44-Year-olds. Pew Research Center , (2011, June 27). https://www.pewresearch.org/social-trends/2011/06/27/iv-the-households-and-demographics-of-30-to-44-year-olds/ Pew Research Center. (2019). Millennial life: How young adulthood today compares with prior generation. Pew Research Center , (2019, February 14). https://www.pewresearch.org/social-trends/2019/02/14/millennial-life-how-young-adulthood-today-compares-with-prior-generations-2/ Rubenking, Brigett and Bracken, Cheryl Campanella. (2021). Binge watching and serial viewing: Comparing new media viewing habits in 2015 and 2020. Addictive Behaviors Report , 14, Article 100356. https://www.sciencedirect.com/science/article/pii/S2352853221000195?via%3Dihub Rubenking, Brigett, Bracken, Cheryl Campanella, Sandoval, Jennifer, Rister, Alex. (2018). Defining new viewing behaviours: What makes and motivates TV binge-watching?, International Journal of Digital Television , 9(1), 69-85. https://doi.org/10.1386/jdtv.9.1.69_1 Stoll, Julia. (2021). Share of adults who prefer whole seasons of TV shows on streaming services to be released at the same time in the United States as of October 2019, by age group, Statista (2019, October). https://www.statista.com/statistics/687388/binge-watching-preference-usa/ Woo, Angela. (2018). The Forgotten Generation: Let's Talk About Generation X. Forbes , (2018, November 14). https://www.forbes.com/sites/forbesagencycouncil/2018/11/14/the-forgotten-generation-lets-talk-about-generation-x/?sh=74d1762676d5 Zandt, Florian. (2023). The Most Popular Streaming Services in the U.S. Statista , (2023, July 20). https://www.statista.com/chart/25382/most-used-video-streaming-platforms/ 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 Decision to Leave turns romance tropes on their heads Moho Film, 2022 139 minutes Director/Writer: Park Chan-wook / Park Chan-wook and Chung Seo-kyung Reading Time: 4 minutes Decision to Leave Haunted Romance (9OGOZYCCB7PWGYD3) 00:00 / 05:02 📷 : Used with permission, CMB Graphic Design https://www.instagram.com/cmbgraphicdesign/ https://www.facebook.com/cmbgraphicdesign/ https://www.cmbgraphicdesign.com/ Matcha Mysteries or whodunnits Saffron Movies and TV shows with great visual effects Chris Chaisson 2022-12-13 Stories of romance, regardless of book, movie or series, often tug at the heart strings with melodramatic actions that are not actually relatable (and in some cases, ill-advised). While audience members may have experienced passionate flings, they likely have never hung from a Ferris wheel or laid down in the middle of the road to win someone’s heart (see The Notebook ). Grand romantic gestures like these appear and reappear in movies for a reason; they work when it comes to engaging the audience. Watching lovers be rational is considerably more boring than seeing them run back on to a sinking ship, draw each other naked or hold up a blaring boombox outside their bedroom windows. Nonetheless, it can be refreshing to experience a romantic narrative that steers clear of such over-the-top, unhinged expression. Despite incorporating surreal elements and a shocking conclusion, Park Chan-wook ( Oldboy ) pulls off such a feat in his newest work, Decision to Leave . Set in metropolitan South Korea, Decision to Leave tells a story of forbidden love surrounding Jang Hae-joon (Park Hae-il), an accomplished investigator assigned to solve the murder of a rock climber. The chief suspect is the victim’s widow, Song Seo-rae (Tang Wei), a caretaker who emigrated from China. Despite his marriage and Song’s seemingly obvious guilt in the murder, Jang becomes deeply infatuated with her. His conflict of interest heightens as the evidence against her continues to mount, negatively affecting his decision-making. Jang’s brilliance and professionalism as a detective is laid bare in the early stages of the film, highlighting how much his desire for Song compromises his integrity. He picks up numerous clues from the crime scene at the beginning and excels at handling adjacent cases. Not only does he chase down and apprehend a suspect from another case, he effectively cross-examines the man at the police station. However, as the plot progresses with his main case, he overlooks damning evidence, both concrete and circumstantial, pointing at Song’s culpability. His dishonesty to his wife surrounding the chief suspect adds to his list of bad decisions, as he eventually struggles to keep up with his own lies. Park Chan-wook, who won Best Director at Cannes Film Festival for this romantic thriller, makes many interesting stylistic choices throughout the movie. For instance, he depicts Jang as being in close proximity with Song several times when he is either on the phone with her or staking her out from a distance. Chan-wook also incorporates a language barrier between the two leads into the story, which they must overcome in order to have a stronger connection. When he first interrogates her, Jang and Song must use a translator app, as Song’s Korean is not the strongest. This barrier evolves into Jang trying desperately to learn her native tongue. Whereas most romantic stories involve a night of passion or montage of tactile experiences, our two leads in Decision to Leave have no physical relationship for much of the movie, placing all the emphasis on their emotions. Chan-wook does a superb job of using the supporting characters to intensify the romance between Jang and Song. Jang’s partner, Soo-wan (Go Kyung-Pyo) serves as the comedic relief by cracking jokes and struggling with the physical duties of law enforcement. During several scenes, Jang either carries Soo-wan along or leaves him behind when pursuing suspects and evidence. Jang’s wife, Jeong-ahn (Lee Jung-hyun) has a demanding career of her own and thus rarely spends time with Jang. She speaks very practically to him about their relationship, quoting statistics about behaviors they should adapt in order to live longer and healthier. The absence of romance between them, coupled with the comedic presence of Soo-wan, contrast sharply with the deep longing between Jang and Song. Billed as a romantic thriller, Decision to Leave delivers much more on the side of romance than thriller. Even in doing so, creative story and shot choices convey intimacy without absurdity. Rather than engaging in exaggerated gags that convey obsession instead of love, Jang’s desire comes through in very relatable ways, mainly poor decision-making. While this is not to talk down the more theatrical approach to romantic storytelling, Decision to Leave may provide you a breath of fresh air from the many Romeo and Juliet -styled yarns that line our DVD library shelves. 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 Monkey Man puts a new face on martial arts thrillers Universal Pictures, 2024 121 minutes Director/Writer: Dev Patel Reading Time: 5 minutes Monkey Man Wicked Cinema (QWRUZNJLFRWMLNIO) 00:00 / 05:07 📷 : Used with permission, Ryan Keeble https://www.instagram.com/keebleryan_/ https://posterspy.com/profile/ryankeeble/ Rosemary: Movies and TV shows with intense action Dandelion: Movies and TV shows with heavy subjects Chris Chaisson 2024-04-05 “It’s time to remember who you are.” At one point in time in the late ‘80s, Arnold Schwarzenegger got tired of being a successful bodybuilder and successful action star (tough life). He wanted to prove that he could be funny as well, a sentiment he voiced to the director of Twins , Ivan Reitman. Arnold was so confident in his yuck-yuck ability that he declined to be paid for his role in the 1987 hit, instead taking ownership of the movie. If it flopped, he would go home penniless. If it succeeded, he’d get a cut. This anecdote illustrates not only the importance of believing in yourself, but to show your versatility, you may have to take a DIY approach. In order to star in his first true martial arts action role, Dev Patel took a page out of Schwarzenegger’s book by writing and directing the new revenge flick, Monkey Man . Monkey Man revolves around its anonymous title character (Patel), a young man who participates in an underground fight club while donning a monkey mask. He loses intentionally and violently in order to get his cut from the promoter while seeking income elsewhere during the day. After catching on at a high-end restaurant, he comes face-to-face with a man from his past: the ruthless tyrant who murdered his family and tore apart his village. Once his first attempt on the man’s life fails, the protagonist recovers and trains in order to enact vengeance on all of the political leaders involved in his childhood trauma. On the surface, Patel’s directorial debut does not create any never-before-seen angle on the action genre or revenge tales specifically. In fact, it wears its influences on its sleeve, from the color schemes to the costumes to the point-of-view style action scenes. You do not have to be the biggest fan of martial arts films to recognize where the mix of styles comes from, including the John Wick and Bourne franchises with a little Tarantino sprinkled in. In the week leading up to Monkey Man ’s release, Patel stated on The Tonight Show with Jimmy Fallon that Bruce Lee films introduced him to the world of cinema, and Patel’s mannerisms in the final showdown are a subtle yet clear nod to the martial arts legend. Despite all of its influences, the most important addition Patel provides is casting himself as the leading man. While we’ve seen our fair share of action stars from east Asia, martial arts protagonists of Indian descent have been rare or non-existent outside of Bollywood. To see Patel going toe-to-toe with menacing bad guys was a refreshing twist, especially after a filmography consisting of more cerebral characters ( The Newsroom ) or being occasionally shrouded in chain mail . Patel not only shows personal range here but expands the scope of who can be an action star. His mere presence in the lead role highlights that “action hero” is not limited to any gender, ethnicity, or group of ethnicities. Furthermore, Monkey Man is set in a fictional city in India and includes a predominantly Indian cast. Though very little Hindi is spoken, the film does include other cultural elements, such as currency, attire and class differences, without making a spectacle out of them. Hollywood action films set outside the U.S. can often take place in a vacuum of sorts, where everything unique about the location is pushed far into the background or depicted in mocking fashion. With Patel directing and starring, along with Jordan Peele producing, Monkey Man maintains a certain authenticity that many other films do not prioritize. To be clear, Patel’s debut goes about as dark as it can. It is not nearly as light-hearted or quirky as Kill Bill or other more humorous revenge tales. Nonetheless, he gives a little wink to the audience with the occasional misstep of his character, feeling for just a moment like past characters that he has taken on. In one scene, he tries to escape by jumping through a window and fails rather decisively. While there are at best a handful of moments like this, they, along with a carefully placed Rick Ross jingle, offer the audience just enough chuckles to make the overall darkness work. As said before, Monkey Man does not go to great lengths to hide its influences. The most direct comparison, however, would seem to be the 2003 Park Chan-wook masterpiece Oldboy . The lead in Oldboy is held captive in a cell for 15 years without knowing his kidnapper and seeks vengeance upon escaping. While Patel’s character is physically free, he remains imprisoned mentally by the events of his past and the violent losses of his loved ones. Neither film is for the squeamish, but if you are a fan of great fight choreography, it is tough to pass on either one of these revenge thrillers. 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 What's that Sound? The Profound Seamlessness of Film Scores Reba Chaisson 4/4/25 Reading Time: 16 minutes 📸: Cup of Tea Critiques I’ll share a secret with you. Since I was 16, I have aspired to be a musician, specifically an acoustic guitarist and a pianist. Indeed, I fell in love with the acoustic guitar the moment I saw a shiny picture of it in a Sears Roebuck catalog when I was 9-years-old. But something about the way my structured brain works doesn’t lend itself to being the gifted, creative musician I aspired to be. So, in addition to admiring my sons who have serious musical chops, I greatly admire the people I learned about as I burrowed down a rabbit hole into the world of film composing. Since film composers are not front and center like actors and movie directors, we have to be intentional about learning anything at all about them. So, I rummaged through historical information on the Web, scrolled through IMDB listings, read the blogs of music historians, and watched music documentaries. No worries, it’s all digital so I didn’t sneeze once. I actually found it to be an enjoyable and immersive learning experience, and I could continue down that rabbit hole but I have a deadline! Suffice it to say that the way composers’ minds work and the sounds they create just moved something in me. In film, their music manifests as an ever-present, invisible character seamlessly weaved into the production. But consider for a moment that this wasn’t always the case. The Past I have no intention of approaching the history of film composition chronologically, but it is worth mentioning that this art form was not always an integral element of films. As a matter of fact, the first motion-pictures didn’t even have sound. First, you should know that there’s some debate around who invented the first motion-picture camera, and even who recorded the first movie. Nonetheless, the date on the patent and the evidence of a moving image indisputably prove that Frenchman, Louis LePrince was the first to do both in the late 19th century. In subsequent decades, Wurlitzer organs were placed in theaters (yes, this predates TV folks!), and a musician would play something consistent with the goings-on in the film. A train moving fast, the organist played fast. A couple walking slow, the organist played slow. Something scary, the organist’s fingers alternated quickly across a few keys. Needless to say, this approach augmented the entertainment value of going to the movies or at least kept the audience from getting bored. If they didn’t come to the theater for the film, at least they would come for the music. Indeed, the addition of the music opened up huge possibilities for what could be done with film, if music were truly integrated into the events in the movie — following its ebbs and flows, emotional ups and downs, moments of intensity, fear, sadness, adrenaline rushes, etcetera. Max Steiner’s symphonic composition for the 1933 release of King Kong , you know, the one with Fay Wray sitting in Kong’s hand, is considered groundbreaking in this regard. Steiner’s music was not only a part of the production, but it filled in the film’s spaces that were once left vacuous, spaces that voided the film of the crucial element of emotion. Less than a generation later, composer Alex North introduced orchestral jazz into the 1951 release, Streetcar Named Desire . The movie’s composition signaled a departure from traditional European symphonic music to the diverse styles and genres that characterized the United States. As if on cue, later in the decade, Miles Davis was tapped by French filmmaker, Louis Malle, to compose the jazz score for his film noir, Elevator to the Gallows , which Olajide Paris of Film Independent says “[made] him one of the earliest African-American film composers, paving the way for later artists like Quincy Jones, Herbie Hancock and Terence Blanchard to follow in his footsteps.” Since the 1960s and the advent of synthesizers, electric piano, and the growing popularity of folk and pop music, film scoring has been derived from a number of sources. In addition to symphonic and jazz, shrieking synthesizers, acoustic guitars, and original and licensed music made their entrée into the cinematic space. Think of Simon & Garfunkel’s folk song “Mrs. Robinson,” the only original tune from the 1969 movie The Graduate . Think of the full soundtracks for the hit films, Saturday Night Fever (1977) and Beverly Hills Cop (1984) . And let’s not forget the acoustic guitar. Ennio Morricone wasn’t shy about inserting this incredible sound (yes, I’m biased!) into the 1984 film, Once Upon a Time in America . The list goes on. Don’t worry, there were (and still are) plenty of films with traditional symphonic compositions, such as Mad Max , E.T. the Extra-Terrestrial , and Raiders of the Lost Ark . And yes, the list continues even today. It is worth noting that the use of film soundtracks similar to the aforementioned Saturday Night Fever and Beverly Hills Cop eventually faded due to licensing costs. What is it, though, about music that makes such a big difference in the cinematic experience? I mean, is there science behind the way it makes us feel? The science behind the music In the documentary Score , Kalamazoo College professor, Dr Siu Lan Tan, sheds light on our sensory connection to music by linking elements of it to processes in our brain. She explains that there are visible signs of the body’s “physiological response” when music is heard. There’s a system in the brain, ventral striatum; it’s our reward center. Things like chocolate or sex, these are reactions that we can see involve these structures. So, it’s interesting because the same kinds of pleasurable feeling we get from chocolate, dopamine release, we could see some of the same kinds of activations in the brain to music. ( Score , 2016) When Dr. Tan suggests researchers can “see” our reactions when we like something or experience pleasure, she really means they can observe this occurring in our brain with the use of medical imaging devices. So, our reactions to hearing music are more than just emotive or psychological, but initially they are physical. The act of hearing the music emanating from a poignant scene, for example, triggers the physiological response and subsequently shifts our emotional state to sadness, joy, anger, etcetera. I like to think of its effect as a chain reaction or a set of carefully constructed dominoes, where the catalyst is – you got it – the music itself. It is so amazing that this intangible thing, music, has the power to affect us so profoundly. So, how do they do it as a group? How do filmmakers and composers collaborate on a film project? How do filmmakers and composers collaborate on a film project? When famed Guns & Roses guitarist, Slash, received word from his agent that Michael Jackson requested him to play on some of his songs, Slash agreed. This sounds reasonable, right? Even if one could argue that Michael Jackson’s and Slash’s music specialties are slightly different, they’re pretty close and the project is still a music-to-music collaboration, making it seamless for both parties. But what if Steven Spielberg approached Slash about a composition for say, E.T. the Extra-Terrestrial , or if Michael Jackson had approached John Williams about doing the guitar solo for “Give in to Me?” Now, things get interesting. James Cameron remarked that film directors know little about how to use music to invoke emotion, leading them to rely on the composers to do this. So, while the aforementioned scenarios are far-fetched, it is reasonable to want to understand how movie directors and music composers work together. Mychael Danna, who composed Moneyball , Life of Pi , Storks , and Where the Crawdad Sings , notes that film composers view themselves as part of the storytelling team, even though they are not brought into the project until the movie itself is completed. Generally, film directors choose the composers they want to score their films. Once the film is shot, edited, and finished, the director meets with the composer in what is formally referred to as a spotting session. During this meeting, the director verbally steps through the film, explaining his audio-vision, if you will, for various scenes. The composer mainly listens but occasionally chimes in and provides a sample of sound from an instrument to confirm his understanding of the director’s vision. It is clear that in addition to being musically talented, film composers must have patience and good interpersonal skills as they work with filmmakers in their struggle to communicate what they want using a language they don’t necessarily speak — music. It is reasonable to surmise that composers must also be quite disciplined in finishing the score by the deadline, as missing it can cost the studio tens of millions of dollars in wasted marketing, lost opportunities for award nominations, and ultimately raise the ire of the filmmaker and the studio’s executives alike. So, film composing, while fun, glamorous, and perhaps a life-long dream of some, is at its most basic level rooted in the business of film production and distribution. As such, money, careers, and reputations are at stake. Despite having deep experience and being trusted with scoring multimillion-dollar movie projects, some composers experience imposter syndrome. Hans Zimmer, who has scored such films as Gladiator , Inception , and The Crown , expounds on this notion, saying that while you’re excited and flattered that they want you to do this, you suddenly feel you have no idea how to do this. Hans’s reaction to a new project, though, is not unlike that of many people who, despite their proven talent and past accomplishments, have sudden moments of panic and strong sense of dubiousness about their abilities. Researchers estimate that 70% of us will experience this at some point in our lives. I would argue that we will experience it at multiple points, especially those of us who are perfectionists or see ourselves as experts. Psychologists have suggestions for getting past imposter syndrome. Me? I just drink a glass or two of Cabernet, get a good night’s sleep, and I’m good - usually! To be fair, though, we’re not all the same. But now that you know film composers are human like everyone else and that film is at its core a business, how can you, a gifted musician and composer who is patient and possesses strong interpersonal skills and good self-discipline, make your foray into film composing? How to navigate your path to professional film composing? There is plenty of information available on how to do film composition and on refining your skills in this area, but little by way of marketing your talent or where best to find opportunities. In such cases, firsthand knowledge is best, so I present two recommendations, one from a film composer getting started in his career and another who is quite experienced. I present them to you in order. First, read COTC’s interview with film composer, Greg Sgammato. Greg has composed more than 10 short films and a TV episode in his short career. In this wide-ranging conversation, he talks about the importance of finding your niche with respect to film genre as well as developing strategies for finding work and collaborative opportunities. In explaining how he got his start in scoring films, Greg recalls that he was playing piano and drum accompaniment for dancers when a friend approached him and asked him to score a short film for him. Surprised, he said, “Yeah, of course. I'll do that.” From that experience, he got referrals and from there scored more short films. Greg’s first scoring opportunity occurred by happenstance, but it took only one for him to show his chops and get his foot in the door. Since that time a few years ago, he has scored ten short films, a TV episode, and has other projects in the works. Another point to note here is that Greg started with an accessible film segment. So, the lessons learned from Greg are to start small by composing for low budget features, TV shows, or short films, while keeping two things in mind. Stay loyal to your passions. Build your reputation by scoring films in a movie genre that fits the music you want to write. If you relish comedies, compose scores for comedy shorts. Prefer animated films? Look to write music for animated shorts. Collaborate by reaching out to composers who have scored films featured on short film sites like Film Shortage or Make-Believe Machines’s Shrieking Tree . Getting to know others in the film composing community can be a huge source of support whether things are going well or not. Being on that bumpy journey with others not only makes for a less lonely road but it increases the likelihood of stumbling onto ideas that move you closer to your goals. Those in the music composition community for short films are much more accessible than those in communities where members typically score major theatrical releases with big-name directors attached to them. A second useful source for navigating a career in film composing is the very experienced British film composer, Pete Thomas. Pete has scored the music for TV and film productions in the UK like Best (the Movie) , Another Side of London , and Barred Love , along with commercial compositions for Playstation, Dewars Whiskey, and Vidal Sassoon, and even the Cannes Film Festival broadcast for the BBC. Expressing deep empathy with aspiring film composers, Pete talks about the vicious and frustrating catch-22 of needing experience to get work scoring films. To address this, he emphasizes the importance of showcasing work on your website by taking, for example, a silent image and putting music to it. He encourages exploring options for access to the industry by getting bartending jobs or barista gigs near a film or TV studio to increase the chances of those serendipitous moments of meeting directors or big-time film composers. To enhance exposure, Pete suggests performing with a band because you never know who is in the audience. In his forum, he tells of a band performer who is approached by someone who turns out to be the client of an advertising agency. She wants to recommend the performer to do her company’s spot for their commercial, and the performer’s career takes off from there. The point is you never know where your next break will come from, nor where that break can take you next. Summary A blank page is a scary thing for a writer. As we saw with Hans Zimmer, it’s a scary thing for a composer as well when they have been charged, or should I say, gifted, with the opportunity to score a film for say, Steven Spielberg, Garry Marshall, George Lucas, or some other highly accomplished director with huge expectations. And they approached you because you are known to be one of the best, if not THE best, composer in the film industry. Sorry, I didn’t mean to add any pressure here — because there’s already plenty of that! Despite the expectations being so high on film composers and their influence on our emotions so great, we rarely hear anything about them or even know their names, save for a handful. We are profoundly influenced by film composers’ melodies and motifs that ultimately become our friends as we hum them for months if not years on end. They physiologically trigger memories of movies, characters, and story progressions, and we suddenly decide we want to watch that film tonight. Yet we don’t have a clue about the composer who planted that tune in our head, and we wouldn’t know them if we stair-stepped next to them at the health club every Tuesday and Thursday. Lucky them?! Perhaps they prefer it that way. When my son was about 9 years old, it was clear that he felt drawn to writing. When he told me and my husband that he wanted to be a screenwriter, he added that he could still maintain his privacy while doing the work he loves. People readily recognize actors and most filmmakers, but they don’t generally recognize screenwriters. My son said that he could do his work and still go into a restaurant and enjoy a meal without being gawked at or being asked to take a picture. I was taken aback that a kid that young would visualize his adult life with such forethought. The point I am making is that this relatively private life is indeed the life of film composers. Yet they find incredible ways to make music that seamlessly moves around inside of us for years on end, sometimes changing our lives in profound ways. Thank you, whoever and wherever you are. References Casey, Kieron. (2013). The mystery of Louis Le Prince, the father of cinematography. Science+Media Museum. (2013 August 29). https://blog.scienceandmediamuseum.org.uk/louis-le-prince-created-the-first-ever-moving-pictures/#:~:text=While%20Thomas%20Edison%20and%20the,his%20home%20in%20Roundhay%2C%20Leeds . Chaisson, Chris. (2023). A Conversation with Film Composer Greg Sgammato. Cup of Tea Critiques . (2025 June 2). https://www.cupofteacritiques.com/team/greg-sgammato. Davis , Miles. Elevator to the Gallows . https://www.milesdavis.com/film/elevator-to-the-gallows/ . Fracacio, Rafael. 1888- Roundhay Garden Scene [Film] https://youtu.be/F1i40rnpOsA . Murray, Conor. (2023). What To Know About Imposter Syndrome (2023 May 8). https://www.forbes.com/sites/conormurray/2023/05/08/what-to-know-about-imposter-syndrome-the-psychological-phenomenon-making-people-doubt-their-success/ . Paris, Olajide. (2024). The FI Hall of Fame: A Brief History of Film Music. Film Independent . (2024 July 5). https://www.filmindependent.org/blog/know-score-brief-history-film-music/ . Sakulku, Jaruwan & Alexander, James. (2011). The Impostor Phenomenon. International Journal of Behavioral Science 6(1), 75-97. https://so06.tci-thaijo.org/index.php/IJBS/article/view/521/pdf . Schrader, Matt (Director). (2016). Score [Film]. Prime Video. https://www.score-movie.com/ . Thomas, Pete. (2024). How to become a media/film/TV composer. Café Saxophone . (2024 November 28). https://cafesaxophone.com/threads/how-to-become-a-media-film-tv-composer.36275/ . Thomas, Pete. Taming the Saxophone . https://tamingthesaxophone.com/about/credits . Winter, David. (2024). The Symphony Behind the Screen: Understanding the Impact of Soundtracks in Film. Lightworks . (2024 February 7). https://lwks.com/blog/the-symphony-behind-the-screen-understanding-the-impact-of-soundtracks-in-film . 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 Full Time provides a story in which the antagonist is sheer misfortune Novoprod, 2021 88 min Director/Writer: Eric Gravel Reading Time: 4 minutes Full Time Sliced Bread (G98L3VFPEABSOVPK) 00:00 / 04:36 📷 : Pixabay Ginseng: Suspenseful and intense thrillers White: Movies and TV shows that make you laugh, or involve urgency, like chase scenes or other physical activity Chris Chaisson 2023-03-20 Films in the suspense genre mainly stick to escapist plots. Sometimes, they consist of characters with abnormal professions, such as an assassin or secret agent. Other times, they revolve around a very normal protagonist uprooted from his or her routine and into a stressful situation, like a family man who witnesses a mob hit. The obstacle to peace and happiness is generally a villain with malicious intent. Whether down-to-earth or fantastical, the suspense comes from the otherness of the situation itself. Eric Gravel’s French drama Full Time brings the same hair-raising intensity as other suspense films by simply displaying a single working mother attempting to maneuver around the landmines caused by a public transit strike. Julie (Laure Calamy, Only the Animals ) lives in the suburbs of Paris with her two children and works in the city as a room service attendant at an upscale hotel. Her daily routine is a pressure cooker, where she has little margin for error in terms of getting from point A to point B. Julie’s regular day-to-day stress levels increase tenfold when a union strike throws the public transit schedule out of orbit, forcing her to hitchhike and bargain her way to various locations every day before finally arriving back home. In addition to her logistical challenges, Julie’s tardiness causes her to fall out of favor with her employer and the nanny of her kids. Despite numerous attempts, she cannot get ahold of her children’s father for help, and she anxiously awaits the results of her interview for a marketing job that would pay far more than her current gig. Hearing a stranger recite all of these burdensome, stressful circumstances might make your eyes glaze over. After all, we each have our own hardships to focus on. We see this sentiment in how other busy characters react to Julie’s grievances. Even if they feel momentary sympathy, they either turn her away or briefly offer whatever help they can. Nonetheless, Full Time illustrates Julie’s struggles in a way that would induce anxiety in any empathetic audience member. Julie is always on the go and always being inconvenienced by cancellations, traffic jams, car troubles, and other external circumstances that every adult experiences. She rarely has a moment to herself, and they are usually spent thinking about the next task she needs to fulfill. Enhancing the intensity of the story and onscreen action is the brilliant film score from composer Irène Drésel. The quick tempo and ominous feel of the music from scene to scene creates a sense of dread, even though no one is chasing or threatening Julie’s safety. The stakes may not be life and death, but they are her livelihood. Losing her job, babysitter or means of transportation all feel like the end of the world, specifically since she has very few friends or family for support or comfort. Where Full Time differs from many other movies is in its lack of an active, concrete antagonist. For the most part, as audience members rooting for the main character, we are used to having a character or group to direct our ire towards, some menacing villain trying their hardest to stand in the way. Julie merely has circumstance as her antagonist, which could be all the more frustrating because she has nothing and no one to conquer. To make matters worse, no one is very understanding of her constraints and challenges. After all, we are with Julie every step of the way, whereas the other characters have their own lives to worry about. The easiest and most common comparison to the tone of Full Time is the popular, fast-paced 2019 thriller Uncut Gems , starring Adam Sandler. Howard, Sandler’s character, is an indebted jeweler who goes to great lengths to evade his collectors and survive another day. The two films have their differences, as Sandler’s antagonists are rather menacing humans as opposed to mere unfortunate circumstances. Additionally, Julie is, shall we say, a tad bit more virtuous than Sandler’s character. In any case, the pacing and music, as well as the stellar lead performances, create very similar moods between the two. If you want to empathize with the daily struggles of a working single parent, Full Time will provide the perfect emotional rollercoaster. 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!