An Undying Love in SPOILER ALERT

Based on a memoir, Spoiler Alert is a sensitive, honest drama (directed by Michael Showalter), showcasing Jim Parsons (Big Bang Theory) in an impressive change of pace role. . 

Set several years prior, Mike (Jim Parsons) is a journalist who meets and falls for Kit (Ben Aldridge). Both are stark contrasts to one other as Mike is reserved and self-conscious, whereas Kit, a photographer, is more adventurous yet fearful about coming out to his own parents (Sally Field, Bill Irwin).  We see their relationship develop over time as they weather highs and lows, and when adversity strikes, it not only tests their love, but changes their world forever. 

Told primarily from his point of view, it’s about Mike finding a meaningful relationship with a soulmate, and, significantly, how even with his insecurities and jealousy, he is able to evolve and grow as a person over time. The film shows two individuals being vulnerable to each other, who sacrifice and forgive, and ultimately allow each to be an authentic self.  These two men develop their dynamic through the years so that you care for them when tragedy strikes.

The film is about taking chances in life, going outside one’s comfort zone, and learning to move on after loss. (This is essentially a touching, couple’s story switching a heterosexual pair for same sex.) More than a love story, it ultimately settles on the joy and fragility of life, but it does so with compassion. The thoughtful, at times humorous screenplay, is well acted by the principal cast. Parsons is able to display a full range of emotions and pushes his acting to new heights.  This may pleasantly surprise those who invest themselves in its heartfelt narrative.

*** ½ of **** stars (a must for Parsons fans)

Holiday Spirit Lives in THE GUARDIANS OF THE GALAXY HOLIDAY SPECIAL

Writer/Director James Gunn was a fan of the Star Wars Holiday Special from 1978 and in turn created The Guardians of the Galaxy Holiday Special (on Disney Plus), a one-off to celebrate the holidays, and the result is better than you might think.

Mantis (Pom Klementieff) and Drax (Dave Bautista) want to help Peter Quill (Chris Pratt) get some Christmas cheer especially in light of the loss of his love, Gamora. Since Quill had raved as a child over Footloose, naturally the two travel to Earth to find Kevin Bacon. Of course, things don’t go as planned and yet somehow, just maybe everything will work out in the end, hopefully.   

This is an expected ‘fish out of water’ scenario with some funny situations highlighting the duo’s (Mantis and Drax) chemistry while exploring these supporting characters better.  We learn more about Quill’s history with his surrogate dad, Yondu, and by the end, the true spirit of Christmas emerges in simple, heartwarming ways. Also present are the rest of the Guardians crew including Groot, Rocket, Nebula, and even Kraglin, and there is even a continuing character, Cosmos the Spacedog. This timeline follows Thor: Love and Thunder and leads to Guardians of the Galaxy Vol. 3 with one major plot reveal. At 44 minutes, it breezes by quickly and feels like Guardians-lite with mirth and good tidings.

Gunn wanted to recall his fondness for Christmas TV specials like Rudolph the Red-Nosed Reindeer and How the Grinch Stole Christmas. With this special, he is on the right track.

*** of **** stars (add ½* for Guardians fans)

 

Stern Explores The Boss

The Howard Stern Interview: Bruce Springsteen on HBO is amazing. Say what you will about Stern. He can be an engrossing interviewer, and he excels with Springsteen. If you have ever liked Bruce, the interview is mesmerizing and fascinating. (The greatest concert I ever saw was his Born in the USA tour.) 

 

 

 

McVie Was Fleetwood Mac Keyboradist

 

Rock star Christine McVie has passed at 79. As part of Fleetwood Mac, she collaborated on records that sold over 100 million copies which peaked with their classic Rumours album, and the Grammy Award winning group was inducted into the Rock and Roll Hall of Fame in 1999. Her keyboards and smooth vocals will always be beautiful.

Horrific Obsession in SMILE

 

With visual flair by first-time feature director Parker Finn, Smile is a fright fest of images and menace that is a fairly effective tale of terror.

When Dr. Rose Cotter (Sosie Bacon) treats a disturbed patient who is paranoid and scared to death, it is the beginning of a terrifying descent into madness as she begins to witness disturbing visions. The recurring motif is the appearance of evil smiles on other people’s faces.  Feeling herself losing touch with reality and sanity, she alienates those closest to her and sees her therapist wondering if some unseen force is responsible for the nightmarish visions.  When she finds that there may be other victims, she must turn to an unlikely source to find answers, and her investigation forces her to confront her past and her mom’s tragic death.  Her life in danger, she desperately searches for answers before it’s too late. Can she avoid the ghastly fate of the others? 

The film works partly as a mystery as she follows clues to other witnesses connected to grisly deaths.  It’s a relatively straightforward premise with its strong theme of past trauma.  Part of the unsettled feel of the story is not knowing whether what Cotter sees is real or imagined.  Some scenes are visually horrifying, and though you can sense or guess something coming, it still packs a wallop nonetheless.

The film is another version of malevolent menace employed in films like It Follows and has a tinge of supernatural vibe from The Ring.  A bit methodical in its pacing at times, it builds tension and delivers its shocks, and though there are instances you wish the film explored certain subplots more, Finn impresses.  It’s best to let his film play and exact its scares.

*** of **** stars (add ½* for horror fans)

Spielberg Revisits His Origins in THE FABELMANS

 

Director Steven Spielberg has frequently imbued his films with aspects of his early life, whether it be the fractured family in E.T., the tribute to his father in Saving Private Ryan, or his Jewish background in Schindler’s List.  He fully reconnects with his past in The Fabelmans, an earnest, heartfelt remembrance of his youth and the events that came to shape arguably the greatest film director of his generation.

In 1952 in New Jersey, the Fabelmans are a middle class, Jewish family whose young son, Sam, is so affected by The Greatest Show on Earth that he begins a lifelong passion of making movies.  Sam's parents are stark contrasts as his free-spirited mom, Mitzi (Michelle Williams), loves the arts and encourages her son’s creativity while pragmatic dad, Burt (Paul Dano), is an engineer, whose jobs relocate the family to the west coast.  As a high schooler, Sam (Gabriel LaBelle) is a victim of racism and bullying while also discovering love. As his filmmaking career beckons, his parents’ marital strife threatens to tear the family apart.

It must have been painful yet cathartic for Spielberg to relive his early years (via Sam), but what shines through is his parents’ unwavering love and sacrifice and how filmmaking served as his emotional refuge.  There are poignant and funny moments, but the film never falls into sentimentality.

Williams and Dano are outstanding with great support from Seth Rogan and Judd Hirsch.  In a film filled with movie inspirations and Easter eggs, the final scene (featuring a memorable turn by David Lynch) is truly prescient with Sam at the brink of his film career.  This loving tribute to his parents leaves you with a sense of empathy and understanding of Spielberg’s touchstones.  

**** of **** stars (For movie lovers everywhere)

SHE SAID and Its Hidden Truths

Adapted from a landmark New York Times investigation/book, She Said (directed by Maria Schrader) is the fascinating expose on sexual harassment of women and subsequent cover-up which led to the beginnings of the MeToo movement in Hollywood and beyond.

In 2016 with President Trump’s alleged, improper behavior and subsequent focus on rumors of sexual misconduct in Hollywood, two New York Times reporters (Carey Mulligan and Zoe Kazan) investigate Harvey Weinstein, a powerful, manipulative producer who for decades has allegedly preyed on women via seemingly innocent production meetings that become sexual encounters.  A grim picture emerges of destroyed lives amid sexual harassment, intimidation, and the fear of being blacklisted. However, Weinstein’s pattern of behavior is just part of a larger, systemic problem.  The ultimate challenge becomes getting victims or witnesses to ‘go on the record’, and slowly production assistants and accountants are joined by actresses in coming forward as the truth begins to come to light.

Told mainly from the reporters’ point of view, it’s an engrossing, mystery story and a riveting journey with subject matter that maintains your attention from beginning to end. These reporters are humanized by showing their personal lives and families, and though frustrated by dead ends and self-doubt, they are also brave, compassionate and relentless.  Their reporting of sensitive stories from broken individuals is sobering and heartbreaking, but by giving voice to them, it becomes empowering.  

Highlighted by an emotional turning point with Ashley Judd (portraying herself), the strong cast shines.  In the tradition of landmark, investigative films like All the President’s Men, Spotlight, and more recently, The Post, it’s not necessarily a perfect film, but its timely topic and adherence to a compelling, true story warrant attention and awards buzz.  These ordinary reporters became extraordinary heroes for our time.

**** of **** stars

A Solemn, Hopeful BLACK PANTHER: WAKANDA FOREVER

 

The spirit of the late Chadwick Boseman formerly T’Challa, Black Panther, is strong in this moving sequel, Black Panther: Wakanda Forever, effectively transitioning from the past to the future with some stirring moments as directed by co-writer Ryan Coogler.

Wakanda mourns the loss of their leader, T’Challa, and must reconcile its standing in the world as it guards its precious vibranium.  However, the discovery of another source threatens a mysterious underwater kingdom led by all-powerful Namor (Tenoch Huerta), who ruthlessly protects his people and proves a formidable rival of Wakanda led by Queen Mother (Angela Bassett) and T’Challa’s brilliant sister, Princess Shuri (Letitia Wright). As the FBI and CIA close in, Wakanda ally Everett Ross (Martin Freeman) tries to stave off disaster when Namor challenges Wakanda setting up a major confrontation. In a world with no Black Panther, Shuri must prepare her nation for battle; will she do the right thing and at what cost?

The ambitious story is engaging as it builds to a grand faceoff while it deals with processing loss and healing for T’Challa’s family.  Contrasting two proud cultures, each powerful and technologically advanced, the film effectively serves as an origin story for Namor and introduces a new character, Ironheart (Dominique Thorne).

Along with Lupita Nyong’o, Bassett and Wright are simply excellent; indeed the cast rises to the occasion with their roles expanded significantly while newcomer Huerta shines in his debut. There are callbacks to the past (with some surprises).

With colorful production values and a lovely Rihanna song, Coogler accomplishes much by honoring Boseman’s legacy, introducing new characters and storylines, and, to its credit, it almost all works. This is Marvel’s most mature film, and the moving end (and mid-credit scene) will resonate.

***1/2 of ****stars (add ½* for Wakanda fans)

Tár and Her Compulsion

 

Tár is a psychological drama from writer/director Todd Field (In the Bedroom, Little Children) that features a disturbing depiction of genius undone by human behavior. It’s also is a masterful showcase for Cate Blanchett.

Lydia Tár (Blanchett) has a prodigious career as a brilliant classical composer and conductor for a German orchestra.  Mentored by Leonard Bernstein and having won the highest accolades, she is an advocate for female representation in classical music. With her female partner and their young daughter, her life is full and brimming with music students, business meetings, concert rehearsals, and a new book. When she repeatedly avoids urgent messages from a female in her past and begins to focus her attention on a talented female cellist, it leads to larger, more sinister issues.  When the past catches up with her, truths emerge that threaten to upend her personal and professional life.  

Told from her point of view, Lydia can be demanding and precise in her art, and her position of power and decision making often impact other people’s lives whether it be students, musicians, or associates.  The question soon becomes, “Does she take advantage of her position for selfish reasons?” As she becomes more self-consumed with her personal sins, she begins to experience strange sounds and a growing paranoia.  Ultimately, her compulsive behavior and past transgressions come back to haunt her. 

This meticulously researched and authentic screenplay that embraces the creative process and the politics of music, also gives a fascinating take on issues like ‘cancel culture’. Blanchett’s acting is on a different level, incorporating physicality and nuance into creating this complex character. It’s not a matter of ‘if’ but rather ‘when’ she gets an Oscar nomination.  She’s that good. And that final shot is stunning.

**** of ****stars (for Blanchett fans)

Lonely Souls in The Banshees of Inisherin

Written and directed by Martin McDonagh (Three Billboards Outside Ebbing, Missouri), The Banshees of Inisherin is an unusual, intimate study of human behavior in an isolated setting, Brilliantly acted, it’s also one of the best films of the year.

In a small, island village off the coast of Ireland in 1923, a farmer, Pádraic (Colin Farrell), is stunned by the abrupt end of a friendship with his drinking buddy Colm (Brendan Gleeson). His sister (Kerry Condon) and friend, Dominic (Barry Keoghan), try to console him, but Pádraic desperately tries to understand what has happened and to salvage their relationship.  Resolute and determined, Colm responds by issuing a shocking and ominous response.  What follows goes beyond the simple bond between two men and taps into inner demons and unleashes the longings of each person.

This minimalist drama, with flourishes of humor (featuring one of the most unusual confessional scenes you’ll see,) and tragedy, could easily have been adapted for the stage.  Its emerging themes of loneliness and purpose take on almost a mythic, classic tragedy. Colm’s sudden change and unyielding stance creates a mystery and forms the backbone of the narrative as both leads are in different stages of reexamining themselves.

In support, Condon and Keoghan are quite impressive, etching memorable characters with their own life ambitions.  Beautifully shot, the landscape and even animals like a dog and donkey serve as significant, supporting players.

The story touches upon one’s legacy and portrays life as a delicate, fragile balance. As such, it’s a film that won’t register for some people looking for easy resolutions and explanations; rather, it needs to be simply experienced as an acting showcase. Those who are game will be rewarded.  Oscar nominations will surely follow. 

***1/2 of **** stars (add ½* for Gleeson and Farrell)

'The Killer' Is Gone

Rock n roll legend Jerry Lee Lewis has passed at 87. Nicknamed "the Killer", he was popular for decades with his showman skills on piano highlighted by classic songs Great Balls of Fire, Whole Lotta Shakin' Goin' On, and Breathless. Although rocked by personal scandal, he outlived his contemporaries like Elvis Presley, Carl Perkins, Roy Orbison, and Johnny Cash. He won 4 Grammys and was among the first class to be inducted into the Rock and Roll Hall of Fame in 1986.

I actually recall seeing him in concert in 1983 at the old Wax Museum in Washington D.C. where he performed an essentially informal jam session which occasionally threw in a familiar tune. The crowd ate it up. It was amazing to just be there while he was schmoozing the audience.

Savage Splendor in THE WOMAN KING

With its strong cast and loosely inspired by real events, The Woman King is a fascinating, exciting tale of a pivotal time in history breathtakingly realized by director Gina Prince-Bythewood and writers Dana Stevens and Maria Bello. 

An African tribe in Dahomey in 1823 must defend itself from slave trading rivals by relying on its fierce army of female warriors led by Nanisca (Viola Davis).  Among the young female trainees is a girl, Nawi (Thuso Mbedu), who has an important link to the tribe.  Outnumbered by the gathering tribes, Nanisca must strategize a daring, risky plan that not only will determine their survival, but has far reaching consequences as truths are revealed and loyalties tested.

These Amazons are noble, yet brutal when in battle where there is no room for weakness or sentiment.  They are supreme fighters not unlike the Amazons in Wonder Woman and the Wakanda women in Black Panther; you get the idea.  With its well-choreographed, unflinching depiction of hand to hand combat, the film also has the DNA of Braveheart. 

An engrossing screenplay is able to focus on each character’s motivation and past trauma revealing a deep, unwavering bond and sisterhood.  The story elicits strong, emotional moments especially in its rousing climax.  Most of all, the film is also a message about empowerment and the powerful meaning of ‘family’, even a newly found one.  Further, the film also makes a statement about its time period with the Dahomey tribe transcending and evolving from a male dominated world and an immoral slave trade. 

With Davis completely transforming herself into a powerful leader and Lashana Lynch outstanding in support, expect multiple Oscar nominations for a movie that thrills, surprises, and touches the heart all at once.

**** of **** stars (With a brief mid credit scene)

Grand Dame of Stage, Screen and TV

Actress Dame Angela Lansbury has passed just shy of 97. This legend and one of the last of Hollywood's Golden Age, conquered stage, screen, and television. 

From her early roles in the Oscar nominated Gaslight, the epic Samson and Delilah, the memorable comedy, The Court Jester, the voice of Mrs. Potts in the animated classic, Beauty and the Beast, to her great portrayal as the dominating mom in the original Manchurian Candidate and as the elderly balloon lady in Mary Poppins Returns, she had 3 Oscar nominations and was honored with a lifetime Oscar. 

In the 1960s and 1970s she dominated Broadway with leads in Mame, Gypsy, and Sweeney Todd, while capturing 5 Tony Awards and an honorary lifetime Tony. 

She would guest star on various TV shows and hit paydirt with a glorious 12 year run in Murder She Wrote while amassing 18 Emmy nominations!

And what a treat, she has a cameo in the upcoming Knives Out sequel, Glass Onion!

Ghoulish Treat from Marvel

Werewolf by Night (on Disney+) is a one shot adaptation from Marvel Comics featuring a more graphic, horror oriented show, that is one of the MCU's best streaming presentations.
World class assassins gather for a deadly hunt  to win the coveted Moonstone. The event involves monsters, unlikely bonds, and surprises.
Make no mistake, this is a dark, violent tale with a macabre narrative. For those a bit bored by Marvel's more recent fare, this one is perfectly suited for the Halloween season. Long time Marvel and Disney music composer, Michael Giachinno, directed this gem. It won't be his last.

***1/2 of **** stars
 

The Queen of Country

Country singer Loretta Lynn passed at 90. This legend won 3 Grammy Awards and lifetime awards as queen of country music for 7 decades while writing the first number one country single by a female artist. Her story was dramatized on film with Sissy Spacek winning an Oscar as Loretta in Coal Miners Daughter. Her 50th album, Still Woman Enough, was recorded last year and its title track contains her life in her own words.

"I'm still woman enough, still got what it takes inside;

I know how to love, lose, and survive;

Ain't much I ain't seen, I ain't tried;

I've been knocked down, but never out of the fight;

I'm strong, but I'm tender;

Wise, but I'm tough;

And let me tell you when it comes to love;

I'm still woman enough."