Spoiler Alert – Movie Review

Directed by:  Michael Showalter

Written by:  David Marshall Grant and Dave Savage, based on Michael Ausiello’s memoir

Starring:  Jim Parsons, Ben Aldridge, Bill Irwin, and Sally Field

Runtime:  115 minutes

 ‘Spoiler Alert’:  Straight away, this touching romantic drama reveals its ending  

Has a friend, colleague, random stranger, or movie critic uttered a key plot point of a book, television show, or movie BEFORE you read a publication or watched a program or flick?  

On a personal note, my worst experience occurred at the Portland International Airport around 2004.  While waiting for the boarding announcement, I held a copy of the “The Di Vinci Code” (novel), and the bookmark visibly stuck above the binding, about 50 pages into the story.  Another passenger pointed at the precious literary cargo and blurted out the novel’s most crucial secret.  

Ugh. 

Well, jettisoning that memory (while opening up your recollections to similar happenstances), let’s fly back to 2022.  A new drama arrives in cinemas, but it doesn’t worry about accidental disclosures.  In fact, this film embraces aforementioned concept, as stated in its title, “Spoiler Alert”.  

Director Michael Showalter’s movie – written by David Marshall Grant and Dan Savage, based on Michael Ausiello’s 2017 memoir  – divulges the ending in the opening few minutes.

Kit (Ben Aldridge) lies in a hospital bed and suffers from a terminal condition, and his partner, Michael (Jim Parsons), rests by his side to offer comfort.  

Comfort for Kit and himself.  

Over the remaining 110 minutes, “Spoiler Alert” recounts Kit and Michael’s relationship, from beginning to end, in a touching and thoughtful theatrical experience.

The setting is New York City during the early 2000s, and Michael enjoys a successful career as a workaholic TV Guide journalist.  Yes, that TV Guide!  As his 9-to-5 (which, in reality, seems like a 9-to-9) advances professional satisfaction, his love life laments in obscurity.  That all changes one night during a chance meeting at a club, where our introverted, inexperienced lead meets Kit, an attractive player who manages a healthy balance between his photography work and the dating scene.   

The period is on display, as nostalgia occasionally appears in the forms of flip phones and Kit’s digital camera.  Not to mention, an Edie Brickell-esque soundtrack frequently stops by and gently sways in the background.  

Still, opposites attract through mysterious chemistry and magic, and Michael and Kit quickly become a couple.  The narrative strolls through traditional tropes, like meeting a new love’s friends, a first-time sexual encounter, and personal discoveries.  The Big Apple lifestyle – a popular (or tired, depending on your point of view) backdrop for romantic dramas and comedies – is everywhere.  Since the film features a “The Big Bang Theory” star, the screenplay peppers in some comedic moments here and there, including a big-time belly laugh about one particular idiosyncrasy in Michael’s apartment.  

Michael also regularly flashes back to his 1970s or 1980s childhood, as a 10-year-old Michael (Brody Caines) converses with his family on a sitcom television production set with a laugh track and all.  These trips to yesterdecade don’t always quite work or fit, but they add context to Michael’s feelings in present-day.  Jokes land during the first 45 or 60 minutes, but then dramatic tones sneak into view thereafter as Kit’s diagnosis is officially acknowledged.  Thankfully, Kit and Michael’s support group somewhat temper heartbreak and despair.  

Some friends pop in, but through inspired casting choices, Kit’s parents are played by Sally Field and Bill Irwin.  The 70-something actors are terrific additions here, and their characters offer crucial connective tissue for the young men, especially in the 3rd act.  (You may not know Irwin by name, but his face is easily recognizable, and this critic highly recommends “Rachel Getting Married” (2008), a searing family drama with Bill playing the patriarch.)

Speaking of connections, is there one with Parsons and Ausiello?  

Yes.  

In Moises Mendez II’s Dec. 2 “Time” article, Ausiello affirms that he asked Parsons to moderate a Q&A in 2017 during his book’s rollout, and the actor responded without reading it.  

He adds, “It felt like a tremendous confidence boost to me when I needed it most.  This was the week the book was coming out, and I didn’t know how it would be received.  I was in a vulnerable place.”

In the big-screen adaption of Kit and Michael’s story, Aldridge and Parsons clearly and convincingly deliver their (real-life) characters’ susceptibilities as they stare directly into tragedy.  

Here’s one more spoiler:  bring tissues. 

Jeff’s ranking

2.5/4 stars

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The Inspection – Movie Review

Directed and written by:  Elegance Bratton

Starring:  Jeremy Pope, Gabrielle Union, Bokeem Woodbine, Raul Castillo, McCaul Lombardi, and Nicholas Logan

Runtime:  95 minutes

 ‘The Inspection’:  Bratton’s personal movie is worth a careful look  

“The Inspection” – “Many people think of perfectionism as striving to be your best, but it is not about self-improvement; it’s about earning approval and acceptance.” – Brene Brown

Yearning for acceptance might be a universal trait.  You could argue that counter-culture types buck this prevalent trend by “defining themselves in opposition to the mainstream.”   However, individuals living outside convention also covet their like-minded, eccentric soulmates, so seeking out recognition - for public or personal audiences – seems like a unanimous feature of the human spirit.  

Ellis French (Jeremy Pope) – a 20-something pauper loitering on the streets - makes a life-changing decision, one that pleas for survival and seeks acceptance.   

The former is born out of practicality because, by his internal estimation, he could be dead at 30. 

Ellis hasn’t lived with his mom (Gabrielle Union) since his teen years, at 16 years young, to be precise.  Director/writer Elegance Bratton implies that Inez (Union) kicked her son out of her apartment but explicitly presents that they’ve been estranged for years due to one inescapable fact.  

Ellis is gay, and Inez doesn’t accept it.  Yes, he seeks out the latter for an audience of one.

(For the record, Union delivers one of the year’s best supporting performances.  Inez is frank, cold, and ruthless.  Still, she carries her truth with the conviction of a devout Jesuit priest lying on his deathbed or an admitted alien abductee bellowing her story to the local police.  Makeup artist Ren Rohling worked wonders because he transformed this beautiful actress into Inez, a 40-something mom who appears to have smoked four packs of cigarettes per day for 80 years straight.) 

Off-camera, Ellis joins the U.S. Marines as a last resort of sorts.  Bratton sets the timeline some years back, during Don’t Ask, Don’t Tell, where gay and lesbian recruits could participate in the country’s military, but they essentially had to remain closeted. 

Straight away, Bratton establishes two main points of contention for Ellis: conflicts with his mother and his chosen profession.  Bratton’s film is a deeply personal one.  

In a September 2022 The Hollywood Reporter interview, Bratton explains, “(This movie) is 100 percent autobiographical when it comes to the hopes and fears and the motivations of our lead character, but the situations are a composite of different marines that I had the pleasure of serving with and other stories that I heard.”

To tell his story, Bratton leans on 30-year-old Jeremy Pope, who delivers a marvelous, nuanced performance that’s vastly physical but also emotionally demonstrative.  Pope’s Ellis isn’t wrestling with his sexuality, but he struggles against his environment.  

Walking into the movie, one might anticipate an avalanche of malice that awaits him.  On a personal note, this critic’s imagination was immediately sent to Parris Island, S.C. and the horrific events of Stanley Kubrick’s “Full Metal Jacket” (1987).

In some respects, that brutality is realized. It materializes in the form of Sgt. Leland Laws (Bokeem Woodbine).  Laws and a pair of his chief enforcers bark, woof, and snarl orders with the regularity of everyday breathing patterns as they “accidentally” spray spit and create micro 90-mph wind gusts aimed directly at the unsuspecting newcomers.  

The freshly over-18 crowd also faces daunting physical challenges that we’ve seen in other big-screen boot camp affairs: obstacle course activities, shooting practice, and supervised and unsupervised hand-to-hand combat.  Ellis possesses a warrior mindset to push through the tasks and encounters.  However, moments turn darker when his sexuality becomes exposed.  

Circling back to “Full Metal Jacket”, two primary divergences emerge.  First, Bratton and his team don’t enjoy Kubrick’s big-budget luxuries, as everyday discourse and run-ins in “The Inspection” sit in grounded, earthy spaces, sometimes with dim lighting.  Still, nearly every minute of the lengthy second act feels wholly authentic.  This fact helps elevate the stakes for our lead, a man with who we already felt deep sympathy.  

Bullying, intimidation, and badgering might be the ABCs – or the BIBs - of boot camp, but these long-standing practices are designed to turn civilians into marines.  Still, this progression is upsetting to witness.  Since Ellis confronts additional adversity than his heterosexual brothers and sisters, the film could quickly escalate into a 95-minute severe slog of cinematic cruelty.  Thankfully, in a second noted departure, the screenplay turns away from this notion.  Ellis has allies within his ranks, and he discovers reprieves that grant him – and us - moments of solace.

Still, he faces true peril because even during Don’t Ask, Don’t Tell, questions are asked.  

Laws demands, “Are you now or have you ever been a homosexual?” 

Ellis screams back, “No, Sir!” 

Through Pope’s bold performance, Bratton’s personal script, and Tommy Love and Erik Louis Robert’s realistic production design, you might find yourself thinking beyond Ellis’ training.  His daily scraps in the weeds become less critical because the more significant questions become:  Will Ellis survive this experience?  If so, how will he change?  Will he find the aforementioned acceptance that he seeks?

He confronts fire and brimstone, but life already sacked him with worse:  his mother’s rejection.   

Therefore, his altruistic pursuit for perfection could be worth it. 

Jeff’s ranking

3/4 stars

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The Menu - Movie Review

Dir: Mark Mylod

Starring: Ralph Fiennes, Anya Taylor-Joy, Nicholas Hoult, Hong Chau, Judith Light, Aimee Carrero, and John Leguizamo 

1h 46m

Search through the range of suggested videos on your social media platforms, and you are guaranteed to come across commentaries regarding the artistry of cuisine. The meticulously constructed, often decadent, combination of ingredients transformed into food unworthy of destruction with a fork and knife. Director Mark Mylod turns the cinematic lens onto highfalutin foodies with "The Menu," an entertaining and biting dark comedy about entitlement and food culture.  

New couple Margot (Anya Taylor-Joy) and Tyler (Nicholas Hoult) wait impatiently for a boat that is transporting them to a private island for an exclusive dinner presented by the famed Chef Slowik (Ralph Fiennes). Other guests, who compose the top percentage of affluence, also wait in anticipation, mingling with their boastful opinions about the evening ahead of them. Upon arrival at the swanky kitchen, an obedient and highly-organized army of kitchen staff wait to serve a multi-course of curated cuisines.

Chef Slowik, who at the clap of his hands immediately receives a stand-at-attention and response of "Yes Chef" from his kitchen staff, has hand-picked the arrangement of menu items along with the specific group of guests in his dining room. No one is there by accident. The guests include a name-dropping movie star (John Leguizamo), a group of male social media influencers (Arturo Castro, Mark St. Cyr, and Rob Yang), and a pretentious food critic (Janet McTeer), amongst other people who each occupy their own indulgent and arrogant place in society. Margot, who was added to the guest list at the last minute, is the exception. Chef Slowik has devious plans, and Margot has the potential to ruin his menu. 

Director Mark Mylod and writers Seth Reiss and Will Tracy craft a tight mystery seasoned with a pinch of horror movie influences. The story is a clever mix of dark comedy setups and a self-aware examination of modern food culture. Much humor is sprinkled throughout the story; the best jokes come at the peak of tension-fueled moments, at unexpected times when the film diverges momentarily down a darker path. However, it's never scary; the characters, with their loathsome mannerisms and cynical commentaries, dictate the sarcastic and comedic tone established throughout the film. 

It's hard to empathize with the guests in Chef Slowik's dining room. Each is obnoxious to various degrees of tolerability. The food critic imposes negative critiques after every bite. The movie star is more concerned with his fading status than the food in front of him. And Margot's date, Tyler, snaps pictures of every course even after being told it wasn't allowed. Except for Margot, who could care less about the food, everyone is terrible. 

At many moments Chef Slowik, the obvious villain of the film, garners the most sympathy. That's all because of the talents of Ralph Fiennes, who is no stranger to villainous roles. The actor’s sad eyes and uneasy mannerisms cut through the more powerful emotions of resentment and arrogance for the character. Fiennes's exceptional performance is a skillful balancing act. Anna Taylor-Joy is also great; her honest self-worth and confidence counter nicely against the other guests and the challenge of the demanding Chef. 

"The Menu," in moments, makes unnecessary narrative shifts for the sake of drama that stalls the otherwise tight pacing. But that rarely distracts from the fun the film is having. Supported by great performances and the entertaining use of dark comedy, "The Menu" is the best pick for a "dinner and a movie" night. 

Monte's Rating

4.00 out of 5.00

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She Said – Movie Review

Directed by:  Maria Schrader

Written by:  Rebecca Lenkiewicz

Starring:  Carey Mulligan, Zoe Kazan, Patricia Clarkson, Andre Braugher, Samantha Morton, and Jennifer Ehle

Runtime:  128 minutes

 ‘She Said’ effectively tells a troubling story and historic journalistic event

Megan Twohey and Jodi Kantor.

These women might not be household names for many folks (including this critic), but director Maria Schrader’s historical drama might change all that.  

The German filmmaker (“I’m Your Man” (2021)), British thespian Carey Mulligan, and American actress Zoe Kazan recreate Twohey and Kantor’s heroic efforts in writing their explosive Oct. 5, 2017 The New York Times article, “Harvey Weinstein Paid Off Sexual Harassment Accusers for Decades”, a piece that kicked off the viral, worldwide #MeToo Movement.  

(If you aren’t familiar with Harvey Weinstein.  He was a Hollywood producer, who co-founded Miramax Films, and was found guilty of sexually assaulting countless women.  In 2020, a court sentenced him to 23 years in prison.) 

“She Said” is (almost entirely) set in 2016 and 2017.  

You won’t see Michael Keaton and Glenn Close tussle next to towering printing equipment over a demand to “Stop the Presses,” as depicted in Ron Howard’s “The Paper” (1994).  Cell phones and laptops replace landlines and typewriters.  Copy and managing editors and reporters stare at computer screens to review stories before a chosen one in the group plays God by pressing down on a wireless mouse and selecting the “Publish” button. 

However, the Fourth Estate’s principles are the same in the 20th and 21st centuries, and these two investigative journalists - Megan (Mulligan) and Jodi (Kazan) - listen to their editors, hit the pavement, interview sources, gather facts, get second (and third and fourth…) sources, and cover the other side(s), including reaching out for comments. 

“She Said” brings flashbacks of “Spotlight”, the 2016 Best Picture Oscar winner.  In both movies, depictions of real-life, high-profile sordid wrongs are uncovered through good old-fashioned journalism.  The reporters and editors’ efforts resulted in pieces that rocked the public and shook the foundations of enormous institutions, Hollywood and The Catholic Church, respectively.  

In 2022, Harvey Weinstein sits in the Wende Correctional Facility in Alden, N.Y., and Schrader’s picture - based on Twohey and Kantor’s 2019 book – illuminates the ways that the reporters sent him there.  

Their road wasn’t easy.

However, Mulligan and Kazan play a determined, dynamic duo as Megan and Jodi.  Both journalists are capable veterans but carry Electra-Woman-and-Dyna-Girl vibes when knocking on doors and chasing leads.  Both actresses are about the same age, but because of Mulligan’s height (which the movie calls out) and Megan’s toughened exterior - due to covering troubling stories of Donald Trump’s accusers in 2016 – Twohey seems a bit more senior here.  Megan’s internal disgust rises to the surface more frequently than Jodi’s because she has already heard victimized women declare their upsetting tales far too often.

However, Megan and Jodi share altruistic chemistry, and their bosses – Rebecca Corbett (Patricia Clarkson) and Dean Baquet (Andre Braugher) - offer constant heaps of support and guidance along the way.  Both Clarkson and Braugher bring executive gravitas to the picture.  Their collective presence allows the audience and the on-screen reporters to feel encouragement at home base.  The support is needed because the journalists encounter doors shutting in their faces.  Actresses, Miramax executives, and former Harvey assistants universally state “no comment” or “I can’t go on the record.” 

The picture’s primary beat revolves around seemingly insurmountable roadblocks to print Harvey’s transgressions and cash payoffs.  The Twohey-Kantor team plays sleuths to chisel cracks into these figurative barriers, ones forged through contractional holds or flat-out fear.

At one point, when a witness is asked “Were you scared of him?”, she responds, “Yes, we all were.” 

The film’s primary setback is pacing.  It doesn’t help that Megan and Jodi’s paths are literally pedestrian, and some big moments occur through iPhones that don’t always “translate” well on the big screen.  Still, the ladies swiftly shift – back and forth - from strategy sessions at the office to secluded late-night meetings in sparsely populated restaurants, and car rides and sidewalk strides across New York City and a surprising, far-away locale. 

Their workaholic routines are only interrupted by several stops into the women’s personal lives.  They have husbands and children, but are their spouses supportive of their careers?  Schrader and screenwriter Rebecca Lenkiewicz devote 20 or 30 (or possibly more) minutes of the 128-minute runtime to answer this question.  The film deliberately explores life at home, an aspect that most working moms would appreciate.  

(Most moviegoers will also welcome Schrader’s choices when addressing Weinstein’s limited on-screen appearances.) 

“She Said” is a thorough recounting of a historic journalistic event.  Still, the most elevated and emotional moments are key scenes when Harvey’s survivors speak in traumatic, itemized detail about their ordeals.  In the noted cases, the women were awfully young – in their early 20s – when the aforementioned villain struck. 

One woman says, “He took my voice when I was about to start finding it.”  

“She Said” offers an opportunity to listen.

Jeff’s ranking

3/4 stars

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Black Panther: Wakanda Forever – Movie Review

Directed by:  Ryan Coogler 

Written by:  Ryan Coogler and Joe Robert Cole

Starring:  Angela Bassett, Letitia Wright, Tenoch Huerta, Danai Gurira, Winston Duke, Lupita Nyong’o, Dominique Thorne, Isaach De Bankole, and Martin Freeman

Runtime:  161 minutes

 ‘Black Panther: Wakanda Forever’:  The tributes are memorable but the movie is not

 The King is dead.

Chadwick Boseman tragically died from colon cancer on Aug. 28, 2020, and the world continues to mourn. 

The man played Jackie Robinson, James Brown, and Supreme Court Justice Thurgood Marshall on the big screen, but Chadwick’s most celebrated role is T’Challa, The Black Panther.  T’Challa was an Avenger, and he first burst onto the MCU scene in “Captain America: Civil War” (2016).  Boseman gladly reprised the charismatic character in his Oscar-nominated solo film “Black Panther” (2018) and the MCU’s colossal entries “Avengers: Infinity War” (2018) and “Avengers: Endgame” (2019). 

Prince T’Challa became Wakanda’s King, but in 2022, Boseman and his super-hero alter ego are gone.

In “Black Panther: Wakanda Forever”, Marvel Studios and director/writer Ryan Coogler (“Black Panther” (2018), “Fruitvale Station” (2013), “Creed” (2015)) did not replace Boseman in the iconic role, and Wakanda residents and a dedicated movie audience are left to pick up the pieces. 

Although Coogler offers two beautiful tributes to T’Challa and Boseman, this Black Panther sequel is depressing, apprehensive, and noticeably slow.  The pacing and tones are tired and contain barely any joy or thrills.

In fact, this Marvel cinematic account may incorporate, perhaps, a scant 15 or 20 minutes of action during the first two hours, and with a runtime of 161 minutes, the film feels like a sedate six-hour affair.

Those are a lot of numbers to process.  Look, the first two acts are principally conversational, as several players wrestle with loss – and the entrance of a new threat - through subdued one-on-one discourse.

At the very beginning of the picture, Coogler and co-writer Joe Robert Cole address the elephant in the room.  Straight away, they quasi-mirror Boseman’s death with T’Challa’s demise during the film’s opening few minutes, but in a mysterious and off-camera fashion. 

After that, downhearted moods are understandable, as Wakanda royalty and leaders like Queen Ramonda (Angela Bassett), Princess Shuri (Letitia Wright), M’Baku (Winston Duke), River Tribe Elder (Isaach De Bankole), and an entire nation grieve.  Still, Wakanda no longer has its protector, and despite space-age technology and the all-female Dora Milaje force – led by Okoye (Danai Gurira) -  the country is vulnerable. 

While Wakanda laments, a second story awakens across the globe: somewhere in the Atlantic Ocean.  A U.S. government faction discovers vibranium on the ocean floor, but a superhuman covert army – in the dark of night – halts their mining process.  These soldiers are led by Namor (Tenoch Huerta), a being as powerful as The Hulk and who can breathe underwater and on land.  This legion of warriors live in a subaquatic home, and they wish to protect it, a place enriched with vibranium, and these American outsiders assembled too closely. 

In the comics, Namor hails from Atlantis, and according to the Marvel Database, the locale sits in the “Atlantic Ocean between North America and Europe.”  

In “Wakanda Forever”, Namor’s home is called Talokan, an undersea paradise near Mesoamerica.  Hence, Namor and the Talokan people speak Mayan throughout the movie.  Although, note that Namor speaks English as well, which comes in handy when Shuri stops by for a visit.  The on-screen cultural representation – with language, traditional dress, and focus on history - is an intriguing, curious, and welcoming addition to the MCU. 

However – for some reason – during Namor’s origin flashback, he’s nicknamed “The Child (or Boy) without love,” which is apparently signifies that his orphaned status helped fuel his more threatening adulthood tendencies.  Quite frankly, the purposely injected line is entirely unnecessary, and – for some reason - the audience meets Namor’s mother, but his dad is weirdly absent.  Another bad dad in the universe…

But, I digress…and roll my eyes.

Anyway, these two kingdoms – Wakanda and Talokan – eventually collide, and the sole reason for the entire conflict is one specific action by Riri Williams (Dominique Thorne), a genius teenager from M.I.T.  Riri’s inclusion in this picture feels as forced as attempting to jam Shaquille O’Neal’s size 23 foot into a size 6 stiletto, but hey, we need a reason for these two empires to fight. 

For the record, Riri will star in her new 2023 Disney television series, “Ironheart”, where she’s a next-generation Tony Stark/Iron Man, so let’s start her marketing campaign right now.

Ms. Williams’ intro isn’t the only obligatory admission, as Everett Ross (Martin Freeman) makes several appearances with no evident purpose whatsoever.  However, Coogler introduces a surprising MCU connection to Ross, but even this mystery guest’s reason for existing here is undetermined, and the inclusion of both characters are needless wastes of additional ticks on the already bloated aforementioned runtime.

So, how does this movie add up? 

It’s hard to say. 

Rather than recast T’Challa with another sterling actor, the film matches reality with a gloomy MCU outlook for Wakanda, and a new leader needs to step up and soar.  It’s not terribly difficult to guess which local will take the mantle, and when this moment occurs, it – regrettably - doesn’t feel authentic or earned.  The said passing of the torch uneventfully lands in the third act, and there are not plenty of minutes left to emotionally and logically dial into this new actuality. 

Can this said character carry the weight and responsibility of Wakanda’s protector for upcoming MCU films?  Does the unnamed (in this review) actor or actress have the charisma to carry another Black Panther film?  Based on this particular cinematic experience, these are sincere questions without clear answers. 

From an action-adventure perspective, the entire first-act introductory ambush and portions of the third-act climatic clash do dazzle, but almost every other second of physical conflict in between is formulaic and familiar.  (However, there is one particular moment of daunting consequence.) 

Still, this is a movie where deadly wounds to the abdomen are magically healed without explanation, and a humongous war cruiser suffers crippling blows to its hull but miraculously still floats!     

Bassett and Huerta deliver the film’s most charismatic performances, but Namor sometimes volleys between reason and irrationality depending on the “tide” (pardon the pun).  The man also changes his entire rationale for promoting his conflict with Wakanda.  Originally, Riri was the point of contention, but somewhere in the second act, he shifts to an entirely different enemy.  Our aquatic antagonist also has two chief lieutenants in his marine militia, but who are they exactly?  What are their names?  Do we learn something specific about at least one Talokan citizen in present day? 

The answers are:  No idea, no idea, and no.

To make matters worse, Okoye is sidelined for a while, and M’Baku only flashes in and out for a few minutes here and there.

“Black Panther: Wakanda Forever” is frustrating. 

To be fair, when there’s a death, any death, the remaining family members and friends are usually left wavering on a wobbly foundation.  That’s how this film feels.  The experience is an uneven collection of morose and cloudy mindsets, a brand-new origin tale, obligatory inclusions to support a future Disneyplus series or two, and the late, late, late emergence of a new hero.

On the plus side, Coogler’s Chadwick Boseman/T’Challa tributes are memorable and beautifully crafted, and so are the gorgeous costumes and makeup of Wakanda and Talokan residents.  Those are the reasons – probably the only significant ones - to see this well-intentioned but painfully slow and messy misfire.

 Jeff’s ranking 

2/4 stars

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Aftersun - Movie Review

Directed and written by:  Charlotte Wells

Starring:  Paul Mescal and Frankie Corio

Runtime:  102 minutes

 ‘Aftersun’:  Don’t miss this trip

Summer vacations are (mostly) pleasing breaks from the daily grinds of school, work, and everyday life.  Years later, many of us tend to look back on those escapes with fond recollections of amusement park rides, snow cones, unfamiliar hotel lobbies, and ocean, lake, or swimming pool plunges.  Perhaps the best moments are when our parents let their guards down and allow their inner child-flags to fly.  

Good times.

On the other hand, these getaways aren’t all smiles, rainbows, and lollipops.  Conflict and mishaps can arise – out of nowhere - and for reference and commiseration, watch “National Lampoon’s Vacation” as a form of therapy.  

“This is the new Wagon Queen Family Truckster.  This is a damn-fine automobile if you want my honest opinion.”  

There’s a reason why this hilarious Chevy Chase vehicle (pardon the pun) earned 63 million at the box office in 1983 dollars.

In my view, director/writer Charlotte Wells’ debut feature film, “Aftersun”, is about as memorable as the aforementioned comedy, but for vastly different reasons.  This 102-minute art-house drama features a dad (Paul Mescal) and his 11-year-old daughter (first-time actress Frankie Corio), and these Scottish natives take a holiday under the warm sun and blue skies of a Turkish coastal city. 

This particular trip comprises of many more grand times than sullen ones, and Wells showcases dozens of individual moments – between Calum (Mescal) and Sophie (Corio) - that are ordinary in scope and usually filled with casual discourse and mild debates.

“Aftersun” is presented as an everyday family getaway.  

Mescal and Corio carry so much authentic father-daughter chemistry, the movie feels like a documentary where Wells seems to tag along silently with her camera in tow.  Through most of the first and second acts, barely any happenings rise above dramatic room temperature as Calum and Sophie lounge by the pool, grab drinks, stroll to an outdoor arcade, and hop on a boat.  Back at home, Sophie lives with her mom in Scotland, while Calum resides miles and miles away in England.  In Turkey, the two catch up and converse about her school and future, his work (prospects), and commonplace discussions about their lazy-day events, like deciding when to put sunblock on their vulnerable, pasty white skin or acknowledging lost scuba equipment. 

The deliberate, relaxed pacing and subdued exchanges can initiate frustration for some audiences, but Wells includes essential clues along the way, especially about Calum through his change in moods, small conversational reveals, and the clear presence of a cast surrounding one of his forearms. 

Our young protagonist behaves like any other 11-year-old kid, but Sophie is a constant source of good manners.  Her agreeable persona is drama-free.  She utters some minimalist declarations that mostly appear inconsequential during the first 70 or so minutes, but they land with grand impacts in the imminent third act.  

Meanwhile, calming images of welcoming weather patterns, clear waters, and casual pleasantries of dozens of other smiling visitors accompany our parent-child heroes, and cinematographer Gregory Oke and Wells assuredly and effectively lull us into a sense of comfort. 

We’re along for this amiable journey too, where a largely absent father - due to living and working arrangements – attempts to offer his pride and joy a marvelous, scenic outing, one above his means. 

Look, it’s best to approach “Aftersun” with patience, ease, and attentiveness.  Embrace the performances, look and listen for visual and verbal cues, and note the famous 1981 track by two renowned British artists during the third act.  Through careful nuance and routine occurrences, Wells threads colossal and timeless messages that can deeply resonate with just about every family in Scotland, England, Turkey, and anywhere else in our universe.  

Don’t miss this trip. 

Jeff’s ranking

3.5/4 stars

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Raymond & Ray – Movie Review

Directed and written by:  Rodrigo Garcia

Starring:  Ewan McGregor, Ethan Hawke, Maribel Verdu, Sophie Okonedo, Vondie Curtis-Hall, and Todd Louiso

Runtime:  105 minutes

 ‘Raymond & Ray’:  This modest, everyday tale is memorable for the wrong reason

“A dysfunctional family is any family with more than one person in it.” – Mary Karr, poet

Ms. Karr is correct.  Every family – including mine - has its share of dysfunction.  It’s just a matter of degree.  Not even the British Royals can escape the reach of imperfect human nature.  

In “Raymond & Ray”, director/writer Rodrigo Garcia explores a specific event of an ordinary clan in Middle America, but this particular domestic unit lugs – like a weight of 10,000 tons - more than its share of dissension.  

What is the said event?  Benjamin Reed Harris III’s funeral.  

For this everyday circumstance, Garcia recruits two extraordinary actors to play the late Mr. Harris’ sons.  Ewan McGregor and Ethan Hawke are Raymond and Ray, respectively, and when you think about it – which this critic didn’t, but the movie points it out – they share the same name.  

Ray is short for Raymond. 

Raymond and Ray are half-brothers who grew up together with a mentally and physically abusive father, and the surviving siblings are estranged from their dad.  It’s been years since they’ve spoken to him.  Perhaps decades. 

Well, the old man passed away, so the boys (grown men in their 40s or 50s) travel a couple of hours by car to pay their respects, even though they didn’t respect their father while he was alive.  

Respect?  They didn’t like him.  Raymond and Ray hated him.

Garcia’s film is partially a road-trip movie, but the brothers arrive at their destination, the funeral, by the second act.  Here, R & R have to face the past, their demons, the chief antagonist of their lives.  Since Benjamin cast a long, dark shadow on their emotional makeup, the fellas carry their share of faulty wiring.  

With a straightforward premise, Garcia tries to fill the 105-minute runtime with eccentricities and vibrant supporting personalities played by distinguished thespians who are also familiar faces.  Unfortunately, the movie has an unrelated problem – and it’s a biggie - but let’s first address the quirks and strong supporting characters.

The chief oddity will not be revealed in this review because this worthwhile twist establishes the happenings for most of the second and third acts.  Sorry.

Meanwhile, the guys meet two intriguing women who knew their pop, but the ladies had different experiences, optimistic ones.  Lucia (Maribel Verdu), a grounded single mom, lived with Benjamin for a healthy period, and she offers Raymond and Ray hospitality while they sort out their feelings and some of their dad’s affairs.  She gives a temporary landing spot of stability, and Lucia is a warm, secure presence during just about every on-screen minute.  Kiera (Sophie Okonedo) has similar vibes.  She was Benjamin’s nurse, but in the here and now, Kiera mainly interacts with Ray.  He’s a ladies’ man, but she bears the scars from broken relationships.  Kiera proceeds with caution, but there’s potential for a meeting of the minds between this professional caretaker and aging playboy.  

Vondie Curtis-Hall and Todd Louiso round out the recognizable cast as a wise reverend and an introverted caretaker, respectively.  In fact, Canfield (Louiso) could be Louiso’s noteworthy record store employee from “High Fidelity” (2000), if Dick (Louiso) changed careers to the funeral business after the music industry’s downturn. 

The script includes a couple more surprises, but “Raymond & Ray” isn’t a riotous comedy.  It’s a dramedy but with more drama than laughs.  

More than anything, Garcia’s film is a curiosity, one with an abundance of talented actors encompassing a minimalist – but formal - affair where intense, authentic resentment no longer connects with a living host but with a ghost.  

While Verdu, Okonedo, Curtis-Hall, and Louiso offer lively performances to energize the downtrodden narrative, the paramount problem with “Raymond & Ray” is that the lead characters aren’t terribly believable.  Sure, the damage they drag around is on display, but their actions sometimes careen from way out in left field.  The said moments – like a few brief, brotherly tussles - seem forced.  Raymond also engages in a completely uninhabited act that – on paper – might resonate as cathartic, humorous, and a bit bizarre; however, the aforementioned event feels ugly and inappropriate.  Also, the two leads are aloof and distant during a critical reunion when they should be welcoming and accommodating.  

In other words, Raymond and Ray don’t behave authentically in some key spots.  Unfortunately, these moments failed to suspend (my) disbelief and initiated emotional distance between this critic and the big screen.  Dysfunctional characters can propagate defective deeds, but when you reach middle age, another “d” word should win the day when under duress: decorum.  Ironically, this modest tale needed more.  “Raymond & Ray” is not a bad film, but it’s memorable for the wrong reason.  

Jeff’s ranking

2/4 stars

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Ticket to Paradise – Movie Review

Directed by:  Ol Parker

Written by:  Ol Parker and Daniel Pipski

Starring:  George Clooney, Julia Roberts, Kaitlyn Dever, Maxime Bouttier, Sean Lynch, and Billie Lourd

Runtime:  104 minutes

Maybe don’t pack your bags.  ‘Ticket to Paradise’ is a forgettable trip.

“We’ve waited so long.  We’ve waited so long.  I got two tickets to paradise.  Won’t you pack your bags, we’ll leave tonight.” – “Two Tickets to Paradise” (1978) by Eddie Money 

George Clooney and Julia Roberts. 

Movie audiences haven’t “waited so long” for a Clooney-Roberts collaboration.  These two megastars have connected on the big screen for years, dating back to 2001.

For starters, “Ocean’s Eleven” (2001), “Ocean’s Twelve” (2004), and “Money Monster” (2016), and Julia starred in a provocative supporting role in “Confessions of a Dangerous Mind” (2002), director George Clooney’s compelling biopic on “The Gong Show” host Chuck Barris.  Incidentally, Ms. Roberts played a villain in “Confessions”, possibly for the first time in her career. 

In “Ticket to Paradise”, director/co-writer Ol Parker’s rom-com, Julia and George are on-screen antagonists, in a way.  

David (Clooney) and Georgia (Roberts) are the bitterly divorced parents of their only child, Lily (Kaitlyn Dever), and they – separately, mind you - support their little girl in every conceivable way.   

Well, Lily isn’t a kid any longer.  She graduated from law school!  

To celebrate, she and her bestie Wren (Billie Lourd) – a party animal who carries a combo-vibe of Natasha Lyonne’s Jessica from “American Pie” (1999) meets Sean Penn’s Jeff Spicoli – take a trip to Bali, a beyond gorgeous tropical spot, sitting eight degrees south of the equator. 

It’s time to P-A-R-T-Y, at least before Lily starts her job as a high-powered lawyer in Chicago.  What are Wren’s plans after college?  Who knows, but perhaps it will involve “some tasty waves (and) a cool buzz.” 

Wren does serve a purpose.  Other than about 20 minutes of amusing, argumentative (and some celebratory) banter between George and Julia throughout the picture, Lourd adds a few more comical lines in the first act. 

Unfortunately, Wren’s usefulness ends soon after, and the filmmakers don’t give the woman much to do.

Anyway, during the girls’ trip, Lily meets a local, Gede (Maxime Bouttier).  He’s an attractive and industrious seaweed farmer, and the two have a Boy-meets-Girl moment that results in a marriage proposal.  

Hey, that’s sweet, but David and Georgia try to break up Lily and Gede, so their daughter can start her law career in Chicago.

Once the unhappy divorced pair arrives in Bali, the film shifts from Lily’s folks bickering with one another - which delivers some genuine laugh-out-loud moments – to nonsensical and patently unfunny schemes where the rents conspire to sabotage their daughter’s impending marriage. 

(In their eyes, Lily is throwing away her career on a guy she met 37 days ago.)

George and Julia’s obvious chemistry as squabbling divorcees doesn’t entirely fade during their time in the tropics.  Parker and co-writer Daniel Pipski construct a couple of hilarious moments, like a beer pong contest, and it seems that the larger-than-life actors improv a bit. 

However, the film also includes groan-inducing, painfully unfunny scenes like a dolphin attack and an unplanned camping overnight in the wilderness that feel better suited for an Adam Sandler flick. 

For the most part, the last hour stages an endless array of David and Georgia’s tired monologues and exchanges about Lily’s future and the said daughter’s monotonous analysis of her relationships with Gede, Wren, and her rents.  Meanwhile, composer Lorne Balfe overlays the will-they-or-won’t-they-get-married premise with a syrupy score that accentuates David’s, Georgia’s, Lily’s, and Gede’s attempts to pour every ounce of their beings into this “monumental” decision. 

This all begs the question:  Do we care?

Ms. Dever is 26 years young, but she seems a lot younger on-screen, like 19, and Kaitlyn doesn’t convey that Lily’s a mid-20-something who just finished three grueling years of law school.  Lily seems like a kid who just finished her freshman year.  Does she know where to buy her textbooks?  Just asking.  Even though Gede seems like a responsible, sensitive, and thoughtful guy, Kaitlyn gives all the vibes of an inexperienced college student jumping into a relationship.  

In other words, David and Georgia have a point. 

Conversely, if you buy what Lily is selling, maybe “Ticket to Paradise” will work well for you, especially since George and Julia get a prime opportunity to frolic on holiday!  Hey, grab a glass of wine, a designated driver, and enjoy! 

Either way, Parker and the film’s producers probably hired the Bali Tourism Office as consultants because in between the aforementioned characters agonizing over this wedding like it was an Israel-Palestine peace treaty, the movie tries to hypnotize the audience with about 100,000 drone shots of this Indonesian island.  

Hey, Bali is a dazzling place, but it’s not mesmerizing enough to ignore that Wren says she’s known Lily through four years of college when law school takes only three.  Also, Lily and Wren meet Gede under duress because their boat left them while scuba diving – like in “Open Water” (2003) - but the girls didn’t sport scuba-diving equipment.  They just had a couple of snorkels, so how long were they underwater when the boat mysteriously left?  More importantly and simply put, this Clooney-Roberts project needs more laughs and a lot less grandstanding over awfully familiar family dynamics.    

Maybe don’t pack your bags.  “Ticket to Paradise” is a disposable, forgettable trip. 

Jeff’s ranking

2/4 stars

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Celebrate Sigourney Weaver’s birthday with these five memorable performances

Sigourney Weaver turns 73 years young on Oct. 8, so Happy Birthday, Ms. Weaver!  

Most folks – including yours truly - link Sigourney to Ellen Ripley as her most recognizable character, but this legendary, Oscar-nominated actress has dozens of impressive credits listed on her resume.  To celebrate Sigourney’s birthday, let’s look back at five memorable performances, ones outside the “Alien” and “Ghostbusters” franchises. 

Dian Fossey, “Gorillas in the Mist” (1988) – In the 1960s, American primatologist Dian Fossey moved to Africa and lived among, studied, and protected mountain gorillas, an endangered species, in the Congo and Rwanda.  She stayed for nearly 20 years, and in this fascinating biopic, Weaver plays Fossey in a physically and emotionally demanding role that earned her a Best Actress Oscar nomination.  Director Michael Apted, the crew, and Sigourney filmed in Rwanda, and our lead actress sat with and held real primates in the jungle and even met Maggie, a gorilla that knew Fossey.  There are some moments when actors donned animal suits, but not always.  And you think carpal tunnel syndrome is a workplace hazard!  

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Katharine Parker, “Working Girl” (1988) – Sigourney frequently carries CEO vibes in movies, so she easily closes the deal as a 29-year-old New York City business executive in director Mike Nichols’ rom-com, a film that earned six Oscar nominations, including Best Supporting Actress for Weaver.  Katharine Parker (Weaver) is astute but also conniving and entitled, and her latter traits aren’t encouraging to her secretary, Tess (Melanie Griffith), who seeks trust in the office.  Weaver chews up the big screen with glee as the aloof and colorful boss in this 80s flick with Griffith, Harrison Ford, Alec Baldwin, Nora Dunn, Oliver Platt, and Joan Cusack, who sports one of the gaudiest, tallest hairdos in cinematic history.  Well, let’s not judge.  It was 1988, and Joan earned a supporting Oscar nomination too.  

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First Lady Ellen Mitchell, “Dave” (1993) – U.S. President Bill Mitchell suffers a stroke and lies in a coma, so Chief of Staff Bob Alexander (Frank Langella) and Communications Director Alan Reed (Kevin Dunn) have a local employment agency manager, Dave Kovic (Kevin Kline), impersonate the president…for a while.  You see, Dave is Bill Mitchell’s uncanny doppelganger, but pretending to be the leader of the free world?  That sounds frightening, but not as scary as attempting to convince First Lady Ellen Mitchell (Weaver), who carries the gravitas of a U.S. president herself.  While we’re constantly concerned about Dave’s well-being during this grand charade, we’re equally wondering about this everyday man’s navigation with Ms. Mitchell, a most intimidating presence.  Sigourney easily fits into a First Lady role and also gives Ellen a welcoming side.  Do Ellen and Dave make a great couple?  Watch this pitch-perfect Ivan Reitman comedy to find out!

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Gwen DeMarco, “Galaxy Quest” (1999) – Director Dean Parisot’s “Star Trek” spoof gets everything right!  It’s flat-out hilarious with self-deprecating humor and impeccable comedic timing, but this out-of-this-world adventure is also a surprising thrill-ride.  Tim Allen, Weaver, Alan Rickman, Tony Shalhoub, Daryl Mitchell, and Sam Rockwell play actors - in the now-retired sci-fi series “Galaxy Quest” – who are called to duty by real-life aliens who genuinely think that they are space explorers.  Weaver is a terrific choice for this ensemble, and she and the script highlight Gwen’s (Weaver) contrast with Ellen Ripley.  For instance, while crawling in an air duct, Gwen says, “Ducts!  Why is it always ducts?”  As the show’s communications officer, Gwen and her castmates joke that her GQ character simply repeats the already-spoken computer commands.  Gwen says, “Look, I have one job on this lousy ship.  It’s stupid, but I’m gonna do it, OK!”  Hey, this Star Trek fan thanks you for taking this job, Sigourney! 

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Grandma, “A Monster Calls” (2016) – When a 30-something single mom (Felicity Jones) is slowly dying from a vicious illness, her son Conor (Lewis MacDougall) – as a coping mechanism - sees visions of a yew tree transforming in a gnarled walking and talking monster (voiced by Liam Neeson).  Based on the 2011 young adult novel of the same name, the movie blends childhood fantasy with searing, painful trauma, as director J.A. Bayona and Jones don’t pull punches with the horrors of a crippling disease, which in this case, appears to be cancer.  Grandma (Weaver) has to pick up the pieces of Conor’s shattered psyche while struggling with her own agony.  Weaver anchors the picture – in a profoundly moving performance – by balancing Grandma’s resolute internal strength with quivering vulnerability.  Bring tissues. 

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Smile - Movie Review

Dir: Parker Finn

Starring: Susie Bacon, Jessie Usher, Kyle Gallner, Robin Weigert, and Kal Penn

1h 55m

An unwanted stare and a sinister smile are used throughout cinematic history to evoke unnerving and discomforting fear. Norman Bates' final moments in "Psycho," Pennywise smiling with balloons in "It," and Freddy Krueger's deadly smirk in "Nightmare on Elm Street" are a few examples. In horror movies, the scariest monster often has the biggest grin.

There is much to smile about with writer/director Parker Finn's horror film "Smile," a simplistic, albeit creepy and fun, head trip of genre filmmaking. Utilizing characters with evil gazes and unnaturally forced, ear-to-ear grins, Finn crafts a horror film that startles, shocks, and scares its way through a story that utilizes trauma and mental health as a narrative vessel. While the film may not always succeed with its intentions of exploring trauma through a horror lens, it's evident that the filmmaking team understands how to establish an atmosphere and execute a scare. 

Rose Cotter (Susie Bacon) is a psychologist working at a treatment facility while carrying past childhood trauma concerning the suicide of her mother. Rose is called to assist a new patient, a young woman named Laura (Caitlin Stasey), who is having negative feelings while also being stalked by, what she believes, is a sinister force. During their consultation, Laura begins to scream for help. After calling for assistance, Rose witnesses Laura, who has a massive smile, kill herself. Rose soon discovers that whatever tormented her patient has now latched itself to her, blurring the lines between reality and a nightmare.

"Smile" takes a creepy setup and builds familiar scare tactics all around it. Sound effect stings push the jump scare level into high gear. The building of tension within a quiet house, with manipulation of dark corners and masked backgrounds, adds an unexpected element of surprise to the horror setups. It's an ingenious design, but nothing horror audiences haven't seen in other films. Still, these familiar elements all play supporting characters to some awe-inspiring imagery, a few that will be lasting nightmare fuel for some unsuspecting viewers.

Susie Bacon does a great job carrying the lead performance through significant emotional and physical changes. As her character experiences greater torments, the world around her begins to fall into deeper despair. Bacon composes a feeling that, at first, responds with a calm physical demeanor, finding answers based on the reality of her job as a psychologist. But, as the threat grows stronger, invading moments that blur reality and a dream, the character begins to unravel emotionally. The performance complements the story, especially as the film starts to regurgitate ideas and scares one too many times. 

"Smile" takes a creepy setup, retools some familiar elements from other films, and crafts a scary movie told with a focus on unresolved trauma and mental health concerns. The story suffers when the film functions solely as a scare device. However, as a scary movie arriving at the start of the spooky season, "Smile" is a fun horror experience.

Monte's Rating

3.50 out of 5.00

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God’s Creatures – Movie Review

Directed by:  Saela Davis and Anna Rose Holmer

Written by:  Shane Crowley

Starring:  Emily Watson, Paul Mescal, and Aisling Franciosi

Runtime:  94 minutes

 ‘God’s Creatures’:  This secluded noir reveals a bleak side of humanity

Directors Saela Davis and Anna Rose Holmer filmed “God’s Creatures” in Ireland’s County Donegal, located in the northernmost portion of Ireland and directly west of Northern Ireland.  

According to weatherspark.com, “The summers are cool; the winters are long, very cold, and wet; and it is windy and mostly cloudy year round.”  

The site added, “The temperature is rarely below 29 degrees F or above 71 degrees F.”

Davis and Holmer capture this weather sentiment for their noir production, a film set in a secluded fishing locale facing the unforgiving North Atlantic Ocean.

The village’s principal employer appears to be a fishery, and many locals – of all sizes and ages – work there, but generally, men catch and gather oysters and fish.  Women sort out the deep’s product on assembly lines.

Everyone works earnestly for an honest day’s pay, and trips to pubs or restaurants or quiet moments at home consume the evenings.  Keeping your nose clean is best in this close-knit community because gossip could run through the populous faster than a 5:00 pm workday horn.  

For the most part, the residents lead decent lives…until they don’t. 

“God’s Creatures” is an unsettling drama that deals with a salt-of-the-earth municipality suddenly coping with a stark injustice, an incident that can’t be smoothed over, covered up, or hidden from view, especially within the close quarters of a small fishing village.

Emily Watson is mesmerizing as Aileen O’Hara, a woman at the center or near-center of an unlawful storm.  Aileen didn’t cause the aforementioned initial episode, but she states an egregious lie and finds herself tangled in personal and communal crises.  One disaster – again, not of her doing - is combustible, but the second causes severe anguish too.  The result is a largely-unseen whisper campaign, but one entirely valid.   

Watson delivers a pronounced performance that roams with guilt, churn, and shame.  For most of the picture, Aileen internalizes these feelings, as the movie audience and townsfolk can read these troubling, roiling emotions all over her face.

The original, infamous, and aforementioned incident will not be revealed in this review, but know that it is explosive, violating, and upsetting.  

Writer Shane Crowley’s screenplay – at least the way the film’s final cut is presented - doesn’t feature heaps of discourse, as Davis, Holmer, and cinematographer Chayse Irvin tend to rely on visual storying.  However, when Aileen, her husband (Declan Conlon), her son (Paul Mescal), and her co-worker Sarah (Aisling Franciosi) speak, the actors make it count. 

Otherwise, the filmmakers offer plenty of screen time on everyday activities of work and leisure that highlight several non-verbal cues but also provide broader settings (in those environments) that play as B-roll.  The gloomy weather is ever-present.  We witness melancholy, sweeping shots of gray skies meeting buttes, rocks, and hundreds of acres of uninhabited land, which, in turn, merge with the ocean.  Occasionally, fishermen trudge out on foot into the icy, shallow waters.   

“God’s Creatures” only runs 94 minutes, but with measured pacing and long stretches of bleak atmosphere, this slight runtime fits.  It’s just a guess, but Davis and Holmer’s cinematic creation probably would not land as well as a two-hour production.  Still, either way, the third act packs a wallop.  The community fades, and the film’s ultimate confrontations become intimate and confidential.  

In a June 3, 2022 Deadline Hollywood interview, Emily Watson discusses Aileen’s actions and says, “I think there’s a very real world issue around this which is very particular in Ireland.”  

No doubt, the events in “God’s Creatures” could occur anywhere, but seek out Emily’s interview after watching the movie to help supplement this sobering cinematic experience. 

Jeff’s ranking

3/4 stars

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The Greatest Beer Run Ever – Movie Review

Directed by:  Peter Farrelly

Written by:  Peter Farrelly, Brian Hayes Currie, and Pete Jones

Starring:  Zac Efron, Russell Crowe, and Bill Murray

Runtime:  126 minutes

Raise a can and toast ‘The Greatest Beer Run Ever’ 

On a personal note, my greatest beer run occurred during my senior year of college.  It entailed a trip to a nearby Tops supermarket in Buffalo, NY, and yours truly secured enough cheap American beer to overindulge a small army.

The aforementioned trek only ran a few miles, so John “Chickie” Donohue has me flat-out beat.  It’s not even close.  

The year was 1967, and Chickie said, “I’m going to Vietnam, and I’m bringing them beer.”

“Them” are his buddies from Inwood, a New York City neighborhood, fighting in the Vietnam War.  

Chickie, a U.S. Marine veteran who served from 1958 to 1964, lives stateside in ’67 and wants to make a difference.  So, JCD talks himself into hopping on a boat from the NYC region, traveling to Southeast Asia with a duffle bag full of unopened beer cans, and attempting to make a foolhardy but earnest delivery. 

For the record, according to ports.com, that’s an 11,944-mile voyage.  

As crazy as this idea sounds, it’s a true story!  

Director/co-writer Peter Farrelly (“Dumb and Dumber” (1994), “Kingpin” (1996), “Green Book” (2018)) and writers Brian Hayes Currie and Pete Jones directed and penned Donohue’s outlandish actions to film in “The Greatest Beer Run Ever”, and Zac Efron – sporting a healthy mustache – plays the infamous/famous lead.  

With Farrelly leading the cinematic charge, one might assume that “The Greatest Beer Run Ever” is a riotous comedy, but surprisingly, it is not.

Although “Beer Run” doesn’t work in a comedic way, John Donohue’s adventure is a worthwhile one to experience.  The movie volleys between an absurdist drama and the dangers of war, and it works, primarily because this tale seems impossible to swallow, especially as our lead dodges bullets on the battlefield and witnesses explosions in urban centers.

This film occasionally has “Good Morning, Vietnam” (1987) vibes, but Farrelly does NOT ask Efron to perform zany antics that Robin Williams classically did during his Oscar-nominated performance as U.S. Military radio personality Adrian Cronauer.  No, you won’t see Efron’s Donohue imitate Lawrence Welk or The Wicked Witch of the “North” behind a microphone.  

Instead, Donohue is the object of ridicule, but the intended jokes – about John’s lackadaisical persona - didn’t land.  

However, the film effectively establishes Chickie straightaway.  He’s not a 26-year-old man pursuing regal career goals.  He’s getting by, living at home with his family, and drinking with his buds, but he shows conviction in one space: taking a firm stance on the war.  

Look, the fighting in Vietnam raged between the North and South, but the United States boiled into a civil war of its own.  

This Southeast Asian conflict split American opinions.  Compromise among the end-the-war and support-our-troops factions seemed about as unlikely – at the time - as The UK letting go of Northern Ireland, Mickey Mantle joining the Los Angeles Dodgers, or Lucille Ball and Desi Arnaz remarrying.  

In other words, no hope. 

Even though Farrelly doesn’t present this stateside argument on a grand scale, he includes a couple of scenes with protestors – including one picketer specifically close to Chickie – clashing with John, and these moments do enough to drive the dividing-line point home. 

Efron skillfully portrays Chickie as an everyman who convinces himself that traveling halfway across the world to hand deliver adult beverages in a war zone is a sensible idea.  Additionally, Zac shares Chickie’s frightening realization that this beer brainstorm overflows with recklessness.  Not surviving the journey back to NYC becomes a real possibility. 

Zac convinces the real John Donohue, too.

In Corey Kilgannon’s Sept. 27, 2022 The New York Times article, Donohue says, “I’m no judge of acting, but I think (Zac) really nailed me.”  He adds, “Watching (Zac) playing me, I felt the same emotion that I felt 50-something years ago.” 

Farrelly doesn’t capture massive New York protests, but he, his cast, and crew shot in Thailand for the film’s war scenes, and every moment here authentically feels like 1967 Vietnam.  This is important because Chickie’s delivery scheme seems too implausible to be genuine.  So, the Vietnam setting HAS to be believed on-screen because we’re constantly questioning our belief in Chickie’s ultimate goal as he navigates his way through this foreign land like a blind man following bread crumbs. 

He leads a one-man car crash through the firefight wreckage, and simply observing this surreal trail of eccentric deliveries is worth the price of admission.

Does John meet up with all of his military buddies?  You have to watch the movie to find out, but admittedly, it is problematic keeping Chickie’s friends’ names straight.  And where are they stationed exactly?  We don’t have a sense of space.   

John wings it, but it would be helpful for us, the movie-civilians, to see a list of names revealed on-screen, and then repeated, as our hero attempts to reach each one.  Displaying something like “Chapter 1 – Rick” would be nice.  Still, we get the general idea, and recognizable faces Bill Murray and Russell Crowe play supporting roles to assist John at home and abroad, respectively.  Although, Crowe’s screen time is dramatically more impactful.  

Chickie’s attempted stunt did not affect the war’s outcome, but it brought new lifelong memories to the Inwood community and the man’s family and friends.

John Chickie Donohue is still alive, and Peter Farrelly, Zac Efron, and company are retelling his unbelievable yarn on the big screen.  

So, raise a can and toast Chickie and ‘The Greatest Beer Run Ever’. 

Jeff’s ranking

2.5/4 stars

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The Best of TIFF 2022 – Part Two

The 47th Annual Toronto International Festival (TIFF) came to a close on Sept. 18, 2022, and this proud Canadian jewel – once again – delivered countless movie options for professionals and fans of all ages. 

This critic experienced 40 feature-length films over 11 days and noted five of my festival favorites in a Phoenix Film Festival Sept. 16 article, The Best of TIFF 2022 – Part One.  Let’s double that total of my top choices, as here are five more flicks, The Best of TIFF 2022 – Part Two.  

I hope you see these movies soon at a nearby cinema, and let’s compare notes!  

“All Quiet on the Western Front” – Director/co-writer Edward Berger delivers his nightmarish and haunting vision of Erich Maria Remarque’s 1929 novel about the horrors of WWI.  This epic carries jaw-dropping and sweeping technical achievements but also effectively follows a young German soldier’s (Felix Kammerer) specific journey, one that lands him in a trench-warfare hell.  Berger doesn’t always hold us in the trenches, as he thankfully offers some reprieves to catch our collective breath, including several moments with the ever-reliable Daniel Bruhl, who plays Matthias Erzberger, a politician attempting to negotiate a ceasefire.  

“The Banshees of Inisherin” - Martin McDonagh's fourth film is his most picturesque, as he shot in gorgeous Counties Mayo and Galway, but "Banshees" is also his most straightforward. The story marches on ryegrass and clover around a simple one-sided quarrel between two men (Brendan Gleeson and Colin Farrell). However, the grim conflict feels like a spaghetti western/fable concoction, and these ingredients churn in a cauldron forged by Irish history. 

Gleeson and Farrell are at the peak of their powers. Kerry Condon is a delightful and grounded scene stealer, and Barry Keoghan could earn his first Oscar nomination.

“EO” – A circus donkey finds freedom through happenstance, travels the Polish countryside, and meets a wide assortment of people and other animals along the way.  Director/co-writer Jerzy Skolimowski’s arthouse presentation of frank animal-advocate messaging presents both human kindness and depravity, and the filmmaker doesn’t pull his punches.  Isabelle Huppert makes a small supporting appearance in this grand ensemble, and six donkeys play the lead, EO, who tries to make sense of his ever-growing worldview.  

“Hawa” – Sania Halifa makes an impressive acting debut and makes a lasting mark as Hawa, a Parisian teen who suddenly decides that former U.S. First Lady Michelle Obama should adopt her.  With Ms. Obama visiting Paris for four days, Hawa races all over The City of Light to secure her future-parent dream.  Director/co-writer Maimouna Doucoure and Halifa convincingly capture Hawa’s desperation and elevate the drama around the possibilities.  Grammy-winning singer Oumou Sangare plays the girl’s grandmother in a key supporting role. 

“Viking” – A space agency interviews and hires five ordinary citizens to live together in a Biosphere situation on Earth, so scientists can anticipate five astronauts’ behavioral issues on the first manned mission to Mars.  Director/co-writer Stephane Lafleur’s movie sounds heavy, but it’s quite the opposite.  His eccentric and hilarious picture soars and spins on its axis with oodles of subtle and blatant sociological humor, as the players, led by a mild-mannered gym teacher (Steve Laplante), have varied responses to their cooped-up circumstances.  

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Railway Children – Movie Review

Directed by:  Morgan Matthews

Written by:  Daniel Brocklehurst and Jemma Rodgers

Starring:  Beau Gadsdon, Eden Hamilton, Zac Cudby, Jenny Agutter, John Bradley, Sheridan Smith, and Tom Courtenay

Runtime:  95 minutes

‘Railway Children’ is an ordinary and puzzling ride

During WWII, the German military relentlessly bombed British cities, as residents of all ages were forced to repeatedly dodge deadly projectiles.  It was a part of their daily lives, like going to work or making supper.  Those nightmarish times could be especially cruel on the most vulnerable.  

Therefore, the UK enacted Operation Pied Piper in 1939, which relocated about 3 million people during the movement’s first four days, according to an Oct. 22, 2021 DefenseMediaNetwork article written by Dwight Jon Zimmerman.  

Most evacuees were children, and the action sent them to rural UK communities and also outside the British Isles.

Parents’ hearts were torn in two, but safe, temporary partings top the potential for worse-case scenarios in the city centers.  

Director Morgan Matthews and writers Daniel Brocklehurst and Jemma Rodgers retell this period of history in “Railway Children”, a follow-up to 1970’s “The Railway Children”, a film set in 1905. 

Fifty-two years have passed since the original movie graced steel tracks, but hey, “Top Gun: Maverick” flew into cinemas 36 years after “Top Gun”, so let’s load a new locomotive with “Railway Children”. 

Admittedly, this critic hasn’t seen director Lionel Jeffries’ 1970 family drama, based on Edith Nesbit’s 1906 novel.  However, this WWII story, where siblings Lily (Beau Gadsdon), Pattie (Eden Hamilton), and Ted Watts (Zac Cudby) travel from Manchester (Salford to be exact) to the Oakworth countryside, unfortunately runs off-track, primarily because the film doesn’t seem to exactly know what to do with the Watts youth contingent.  

Mama Watts (a single mom) and scores of other parents agonize with the emotional strain of sending their offspring off to Yorkshire by train, and the feeling is mutual with the younglings.  Of course, adults in the rural destination will look after them, but Oakworth isn’t home.  

Matthews, Brocklehurst, and Rodgers have miles of opportunities to feature separation anxiety, play up the stranger-in-a-strange-land angle, and take their film in a comic or dramatic route.  No matter the direction, one would assume that teenage Lily and elementary school-aged Pattie and Ted would carry the primary focus, and the movie would highlight the kids’ angst and growth, and maybe offer some hijinks along the way.    

This PG-flick lays out some of those cinematic and character tropes.  We learn why Mother Watts is a single parent, and the trio becomes entangled – a little - in adjusting to their new environment, but for some reason, the filmmakers thought it was amusing to have several boys “go number 1” on the side of the tracks.  What a riot. 

Anyway, the kiddos’ main focus becomes derailed when the Watts spawn and Oakworth tots discover an American soldier (KJ Aikens) deserting the U.S. military.  American Military Police are after him, and Lily and company take ownership to get the slightly wounded combatant back to Manchester for medical treatment.  

So, MPs are the antagonists, and the local youths – in the know – have to avoid them and nearby parental units to fulfill their new duty.  

Look, cinematographer Kit Fraser expertly captures a lovely, springtime small-town feel with grassy greens and blue skies, and costume designer Dinah Collin seems to get 1944 fashion correct.  The kids are competent actors, as well, but the film’s aforementioned oddball detour becomes the main plot thread, one about as curious and engaging as a Wednesday evening trip to the pharmacy.  

One might suppose that Matthews wants to draw a parallel with Abe (Aikens) and the Watts youngsters, all coping with the same anxiety of feeling stuck in Yorkshire and far from home.  Sure, but the film’s presumed original intent and focus on Lily, Pattie, and Ted’s tale are compromised.  

Even an Oakworth local, 10-year-old Thomas (Austin Haynes) – not the Watts tykes - outruns a train during the third act.  Yes, this wonderkid is that fast.  Someone hire him for “The Flash” (2023).  

Well, this family flick does offer some pleasant moments with two-time Oscar nominee Tom Courtenay (“Doctor Zhivago” (1965), “The Dresser” (1983), “45 Years” (2015)), so there’s that.  “Railway Children” isn’t a bad movie.  It will capably occupy your kids for 95 minutes, but this film is an ordinary and puzzling ride. 

Jeff’s ranking

2/4 stars

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The Best of TIFF 2022 – Part One

The 47th Annual Toronto International Festival (TIFF) is taking the world by storm from its Great White North locale, as this proud Canadian jewel – once again - offers countless movie options for professionals and fans of all ages. 

Certainly, TIFF is a mammoth 11-day event, and this proud Phoenix Film Festival critic has caught 32 films so far (as of Sept. 15, Day 8).  Let me take a moment to jot down five of my favorites, The Best of TIFF 2022 – Part One.  On Sept. 23, I’ll add an additional five in a Best of TIFF 2022 – Part Two article. 

Thank you for reading, and I’ll see you soon, Phoenix!

“Godland” – Hlynur Palmason (“A White, White Day” (2019)) effectively presents a decisive clash between naivete and nature in a scenic drama about a Danish priest’s attempt to establish a church in 19th-century Iceland.  Indeed, Palmason fashions the Icelandic countryside as a mystical and intimating character for the audience and the clergyman (Elliott Crosset Hove), but Lucas’ (Hove) lofty emotional make-up also collides with the locals’ earthy pragmatism.  Palmason channels his inner Werner Herzog and Terrence Malick in this instant classic.  

“Holy Spider” – A serial killer is murdering prostitutes in Mashhad, Iran, and a committed journalist (Zar Amir-Ebrahimi) travels to this anxious city to investigate the hideous crimes in a gripping, grimy thriller from director/co-writer Ali Abbasi (“Border” (2018)).  Amir-Ebrahimi – who won Cannes’ 2022 Best Actress Award - delivers a harrowing turn as Rahimi, a woman fighting for the truth while battling sexism along the way.  Abbasi’s film – based on a true story - reveals the perpetrator very early during the first act, leading to surprising turns in the second and third. 

“One Fine Morning” – Lea Seydoux gives one of the best TIFF 2022 performances as a 30-something single mom attempting to divide time between her ailing father, her daughter, and a brand-new love interest.  To further complicate matters, Sandra (Seydoux) is the other woman in the romantic relationship.  Filmmakers have told these narratives for ages, but director/writer Mia Hansen-Love refreshingly avoids clichés here and offers innumerable views of Paris as a background, including a climb up Montmartre.  

“Sisu” – The year is 1944.  WWII is nearly over.  A gray-bearded Finnish gold prospector (Jorma Tommila) simply wants to seek gilded treasure.  Unfortunately, he randomly encounters a squadron of about 30 Nazi soldiers looking for trouble.  However, misfortune has found these German combatants because this particular – otherwise ordinary-looking – Finn is a one-man killing machine!  Director/writer Jalmari Helander’s wild, bloody flick delivers cartoonish gore and theatrical insanity that will delight Midnight Madness audiences.  

“Women Talking” – Rooney Mara, Jessie Buckley, Claire Foy, and Sheila McCarthy lead an impressive ensemble in director/writer Sarah Polley’s (“Stories We Tell” (2012)) first big-screen movie – adapted from Miriam Toews’ novel - in 10 years.  When certain men in a rural, religious community commit a hideous deception on the women, several chosen ladies gather in a barn to decide their next steps.  Powerful, poignant discourse occurs in this ordinary locale, and the conversations focus on the characters’ specific plight but also on issues that have occurred throughout human history.

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See How They Run – Movie Review

Directed by:  Tom George

Written by:  Mark Chappell

Starring:  Sam Rockwell, Saoirse Ronan, Adrien Brody, David Oyelowo, Harris Dickinson, Gregory Cox, Charlie Cooper, Ruth Wilson, Reece Shearsmith, and Sian Clifford

Runtime:  93 minutes

‘See How They Run’ plods in place

“(If) you’ve seen one, you’ve seen them all.” – Leo Kopernick (Adrien Brody)

In Tom George’s first movie, he sends (fictional) Hollywood director Leo Kopernick to London to catch a play, Agatha Christie’s “The Mousetrap”, because the blunt-talking, on-screen filmmaker wants to turn the work into a motion picture.

The year is 1953, and Mr. Kopernick is a fish out of water while staying across the pond.  This crafty, former New Yorker (judging by his accent) doesn’t exactly mesh with British socialites.  Soon after a “The Mousetrap” performance, we discover that some of the cast and crew don’t particularly enjoy Kopernick’s company.  In fact, Leo physically tackles the play’s lead, Richard Attenborough (Harris Dickinson), into a giant green cake! 

So, our American “friend” makes a mess of things. 

Well, “The Mousetrap” is a murder mystery, a Christie specialty, but Leo’s tepid reaction to the play and the genre is captured in his aforementioned quote. 

“See How They Run” – written by Mark Chappell – is a murder mystery as well, set in the world of theatre where just about “everyone” plays a made-up part in a stage drama within this movie, but some become homicide suspects, too. 

In addition to a couple of twists, George and Chappell throw the audience a curveball because “See How They Run” doubles as a comedy or a supposed one.  

Other than a lively, playful performance by Saoirse Ronan – who plays Scotland Yard’s Constable Stalker, a plucky, young upstart with no practical, in-the-field experience yet - this spoof, unfortunately, dies on the cinematic vine.  

The 93-minute runtime feels like an eternity. 

This story trudges through mechanical introductions and nondescript follow-up encounters, as Inspector Stoppard (Sam Rockwell) – a fatigued, sluggish cynic who’d rather throw a few back at a local pub than hit the pavement to solve crimes – and Stalker aim to solve a murder because someone dies in the West End. 

Foul play is afoot, but the movie starts on the wrong one with Stoppard’s entrance to the crime scene.  

Usually, Rockwell is a delightful presence with oceans of charisma and charm, even when Sam portrays disreputable characters.  Just look back at his turns as a dog thief (“Seven Psychopaths” (2012)), a con artist (“Matchstick Men” (2003)), a racist cop (“Three Billboards Outside Ebbing, Missouri” (2017)), and a Nazi captain (“Jojo Rabbit” (2019)).  Don’t forget other memorable Rockwell performances in “Galaxy Quest” (1999), “Moon” (2009), “The Way Way Back” (2013), and as Chuck Barris in “Confessions of a Dangerous Mind” (2003).   

Rockwell is an immensely talented actor, but – for whatever reason - he portrays Stoppard with all the enthusiasm of a master chef dropping a stale slice of Wonder Bread in a toaster.  

(Sam seems miscast here, or he’s just going for the wrong vibe.  Instead, insert Brian Cox, and let him revise his dedicated but frequently agitated Captain O’Hagan from “Super Troopers” (2001), as Stalker’s mentor.  Naturally, Brian should use his natural-born Scottish accent in this case.)

Perhaps, Stoppard and the audience would benefit if our lifeless lead took some advice from his captain when he says, “I’m hoping some of (Stalker’s) enthusiasm for police work might rub off on you.”

Most regrettably, it doesn’t.

Stoppard’s largely lethargic aura seems to set the dull, inspired tones for this film that ironically has all the look, feel, and whimsy of a Wes Anderson picture.  Cheers to production designer Amanda McCarthur for the colorful sets and editors Gary Dollner and Peter Lambert for quirky shifts between locations inside and outside the theatre house.  

This movie has eccentric characters as well. 

Actually, scratch the last part because even though the players may look slightly oddball, they don’t feel or act peculiar.  Instead, when Stoppard and Stalker confront the suspects, they must all be watching American television because they routinely recite “just the facts, Ma’am.” 

This approach may work splendidly for “Dragnet” (1951 – 1959) but not for a whimsical comedy.  David Oyelowo (“Selma” (2014), “A United Kingdom” (2016)) is an accomplished actor, and Dickinson, Gregory Cox, Charlie Cooper, Ruth Wilson, Reece Shearsmith, and Sian Clifford might be fine thespians, but no one other than Ronan offers an amusing line, at least one that I could remember.

Then again, the plot does follow a familiar pattern of a Christie story, and from that perspective, the picture offers more than simple competence.  Though, you might have to ignore the clumsy, awkward discourse and choreography during the third-act reveal…or, at that point, even care about the ultimate conclusion.  

Again, Leo mentions, “If you’ve seen one (murder mystery), you’ve seen them all.”  

Let’s hope that’s not a true statement because “See How They Run” just plods in place. 

Jeff’s ranking

2/4 stars

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Barbarian - Movie Review

Dir: Zach Cregger

Starring: Georgina Campbell, Bill Skarsgård, Justin Long

1h 42m

The element of surprise is a rare treat to find in a film these days. For writer/director Zach Cregger and the horror thriller "Barbarian," the secretive plot intentions of the film are part of the enjoyment of the experience. Assisted by a well-crafted trailer, the film provides just enough information to keep the suspense brewing until it shifts strongly beyond expectations. "Barbarian" is a crowd pleaser, a horror film full of fun surprises.

Zach Cregger, part of the comedy troupe "The Whitest Kids U' Know," cleverly adapts a timely story that initially feels like a relationship thriller but turns into an undeniable venture into the depths of horror storytelling. In the opening moments, Tess (Georgina Campbell), heading to Detroit for a job interview, arrives on a rainy night at her Airbnb. Unexpectedly, someone else is staying at the house, a suspicious man named Keith (Bill Skarsgård), who is just as confused about the mix-up. After being warned about the rough neighborhood, Tess is talked into sharing the space by Keith. 

Cregger does a great job of building an atmosphere from the start. In the beginning moments, Tess' arrival at the Airbnb creates a sense of isolation with a vehicle arriving in a dark and desolate community in the middle of a storm. The raindrops thump with a bass-heavy drone, and screams echo subtly in the background. It's no doubt from the start that something scary is building.  

"Barbarian" does an excellent job of engaging in real-world fears, creating an uncomfortable scenario for Tess. Having actor Bill Skarsgård, well-known as Pennywise from the 2017 update of "It," helps establish the unsettling vibe with enthusiastic creepiness. A glass of wine is the perfect scenario to add layers to the suspense of everything between the two characters. Cregger composes exceptional pacing in these early set-ups, leading to an encounter in the middle of the night between Tess and a sleeping Keith that adds to the questions. 

Once daylight breaks and Tess starts her drive to the interview in the city, she finally sees the complete disrepair of the neighborhood. The home she slept in was the lone livable residence in the entire community. After a successful interview, Tess returns to the house and is lured into the basement. She finds a rope that, when pulled on, opens a hidden door. Behind it is a maze of abandoned rooms and hallways leading deeper below the house. 

"Barbarian" should not be spoiled beyond this point. What Cregger and his collaborators do with the remainder of the film is shocking, funny, and completely unexpected. It's a horror film that has excellent balance with how it utilizes its tropes while also allowing the characters time to be intelligent and foolish with their decisions. It is the perfect kind of character for a horror film. The unexpected arrival of another character, an arrogant actor (Justin Long), adds an interesting narrative element that provides relevant commentary about the abusive trauma men induce on women. It all comes crashing together in a third act that goes completely off the rails of expectations. While the social commentary themes get a little lost in the mix of the extremes that happen in the finale, they still offer a nice balance with the characters in a fun and unique way. 

Go to "Barbarian" knowing as little about the movie as possible; it's one of the year's best surprises.  

Monte's Rating

3.50 out of 5.00

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Honk for Jesus. Save Your Soul. – Movie Review

Written and directed by:  Adamma Ebo

Starring:  Sterling K. Brown, Regina Hall, Nicole Beharie, Conphidance, and Austin Crute

Runtime:  102 minutes

‘Honk for Jesus.  Save Your Soul.’ makes comedic and daring cinematic noise

“Religion f***** a lot of people up.  The m***** f****** ‘(In) God We Trust’ is on the dollar.” – Richard Pryor 

“Don’t call it a comeback.  I’ve been here for years.” – “Mama Said Knock You Out” (1990), LL Cool J

Pastor Lee-Curtis Childs (Sterling K. Brown) and his wife, Trinitie Childs (Regina Hall), are planning a revival, a return to their place of worship, the Wander to the Greater Paths Baptist Church, for an Easter Sunday service.  

For years, Pastor Lee-Curtis and Trinitie were local celebrities in Atlanta.  During the first few minutes of writer/director Adamma Ebo’s film, we see an enormous outpouring of love and money cast toward the Childs.  A couple of thousand believers “religiously” attended the pastor’s sermons every Sunday, and their donations helped finance the Childs’ opportunity to spread the word of God and enjoy an opulent lifestyle.  They reside in a 10,000 sq. foot mansion, drive expensive cars, and wander through a wardrobe that resembles Saks Fifth Avenue. 

“A pastor in Prada gives you chills,” Trinitie says.  

Oh, and they regularly sit on golden thrones, like a king and queen, at their ministry. 

However, society casts them out of Eden when Lee-Curtis becomes embroiled in a scandal.  

After a forced sabbatical, the Childs recruit a film crew for publicity, and Lee-Curtis says, “This is going to chronicle the ultimate comeback.”  

Ebo’s film is a faux-documentary where the said crew accompanies our two ego-bruised leads through their steep climb towards redemption, as Lee-Curtis and Trinitie attempt to repair their fallen walls of Jericho.  However, “Honk for Jesus.  Save Your Soul.” is a mockumentary in the vein of Christopher Guest’s “Best in Show” (2000) or Rob Reiner’s “This is Spinal Tap” (1984).  Granted, “Honk” is not as strong as the two aforementioned classics, but Ebo, Brown, and Hall deliver many laugh-out-loud moments for about half of the 102-minute runtime, as this flawed couple frequently falls into embarrassment and succumbs to inadvertent hilarity through clumsy actions.

Lee-Curtis frequently showboats, and Trinitie squirms in awkward discomfort.  Sterling is on-point with this character as he repeatedly delivers macho grandstanding and stages mini-celebration dances, as Lee-Curtis’ Dunning-Kruger effect is on full display.  Meanwhile, Regina’s Trinitie nervously glances at the camera and sometimes asks, “Can we cut out that part?”

Ebo, however, does not make cuts, as we witness this entire holy train wreck, and our lead actors successfully address the monumental task of navigating their comedic timing through their characters’ moral and financial calamity.  

That’s the thing.  As mentioned earlier, the comic moments unfold for about half the picture because Adamma makes bold choices that turn “Honk” from a straightforward comedy to an arthouse picture.  Well done, as the script steps into unexpected territory, and Brown and Hall deliver robust performances to withstand – and also bend towards - the gusts of changing, gloomier tones.  Indeed, these shifts challenge the audience, but we experience profound, reflective gravitas in return. 

Adamma Ebo and her producer sister, Adanne, drew upon their experiences growing up in a megachurch environment.  

During a Jan. 24 Blavity TV interview with Trey Mangum, Adamma says, “The inspiration came from an area of critique and an area of love, where this culture is meaningful and could be and should be doing better.” 

No question, the Ebo sisters make daring, valiant noise with “Honk for Jesus.  Save Your Soul.” 

Jeff’s ranking

3/4 stars

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Breaking – Movie Review

Directed by:  Abi Damaris Corbin 

Written by:  Abi Damaris Corbin and Kwame Kwei-Armah  

Starring:  John Boyega, Nicole Beharie, Selenis Leyva, and Michael Kenneth Williams

Runtime:  103 minutes

‘Breaking’ could test your patience, but this distressing, depressing story is an important one.

Brian Brown-Easley (John Boyega) is fed up. 

He’s had enough. 

He’s at his breaking point. 

Brian’s story is a true one.

“I was flabbergasted that I hadn’t read or heard about Brian’s story when it happened,” director Abi Damaris Corbin said in a Jan. 31, 2022 interview with Collider Interviews.

Corbin and Kwame Kwei-Armah wrote the screenplay for “Breaking”, a cautionary tale about an injustice that drove a man to an irrational brink, a razor’s edge in the center of an Atlanta Wells Fargo bank in 2017.  

“Breaking” is a messy account, and over 103 minutes, Corbin’s film will cause frustration and impatience for its audience.  That’s by design.  However, the movie’s awfully sluggish pacing hampers the cinematic experience.  Spouts of momentum are frequently stalled by random cutaways and quiet moments of isolation that pull away our attention.  

On the other hand, empathy is a feeling that comes to mind when watching this distressing, depressing tale.  Corbin’s altruistic efforts and Nicole Beharie’s, Selenis Leyva’s, Michael Kenneth Williams’ (who passed away last year), and Boyega’s strong performances are enough to make a worthy withdrawal from your savings to see this movie. 

(Speaking of performances, “Breaking” won the Best Ensemble Cast award at the 2022 Sundance Film Festival under the movie’s original title, “892”.) 

Brian, a 33-year-old U.S. Marine veteran, is desperate and out of reasonable options.  He no longer lives with his wife (Olivia Washington) and young daughter (London Covington).  Instead, our lead lodges at a cheap motel but still can’t afford its daily-rate pittance.  The government redirects Brian’s disability checks towards another debt he claims is not legit.  He’s broke and tells a Veterans Affairs employee that he won’t be able to feed himself.  With the system continually shunning his requests (that turn to pleas), Brian walks into a Wells Fargo Bank – on an otherwise ordinary day – claims that he has a bomb, and takes hostages.  

The man wants money from the VA that he believes is rightfully his, but Brian’s method of collecting this particular debt does not align with success.  

It’s a self-destructive suicide mission.

Boyega effectively portrays Brown-Easley as a conflicted soul with rage fracturing his gentle, courteous foundation.  For most of his stay at the bank, Brian treats hostages Estel Valerie (Beharie) and Rosa Diaz (Leyva) with polite discourse and respect.  The man displays a potential history of responding to women with, “Yes, Ma’am,” for three decades, but on this day, he occasionally erupts with intimating verbal wrath.  These outbursts aren’t directed at the frightened females but towards the state of his world, his current predicament.  

The film’s events primarily occur within the aforementioned Wells Fargo.  Brian keeps just two captives, and this story isn’t teeming with traditional drama that one would expect in a bank robbery movie.  Instead, the vibes are intimate and sometimes sedate between the three individuals, and two – Estel and Rosa – pseudo-garner Stockholm Syndrome.  Not because they feel safe.  The women don’t, but they hold sympathy for Brian’s plight.  

The problem is some unexpected stretches of downtime and the recurrent respectful exchanges between Brian and the two employees dial down the film’s tension.  Even though Estel and Rosa are scared, their fear barely assigned itself to this critic.  The bottom line?  I absolutely felt their empathy, but not their angst.  Admittedly, women might have an altogether different reaction to these on-screen happenings.

Anyway, back to Brian’s original predicament and the one that he creates for himself.  In addition to his desperate need for financial solvency, he intends to attract massive attention, but that comes at a dangerous price because seemingly every single Atlanta police officer encircles this financial institution, and armaments everywhere point in his direction.  

While low-key movements occur inside the bank, massive bedlam morphs outside as law enforcement and media encompass the bank like wolves and vultures approach their prey.  Various police departments want a quick resolution with no innocent lives hurt.  Brian is their sole adversary, and lethal means of addressing him are immediately preferred.

The striking dichotomy between calm and chaos flushes to the big screen with Corbin’s frequent volleys between the events on either side of the Wells Fargo walls.  Brian felt helpless before this specific day, but he encounters continual exasperation while attempting to earn satisfaction.  Most of the interior happenings are civil, but armies of militia facing the bank’s exterior seem disorganized and mob-like.   

Hostage negotiator Eli Bernard (Williams) lands on the scene, and he appears to be the only voice of reason within the multitudes of S.W.A.T. vehicles and snipers that spin, loop, zig, and zag in all directions. 

Bernard asks a fellow officer about sniper units, and she responds, “Three units, as I understand, but there’s a lot going on.”

And how.

Meanwhile, Lisa Larson (Connie Britton), a television station producer, speaks with Brian on the phone for inordinate amounts of time, but she’s about as useful as a pencil without lead, a car without tires, a laptop without a CPU, or choose another analogy.  Indeed, the media has taken a beating for decades, but Ms. Larson might be the public’s new punching bag, as she’s a glaring abundance of ineptitude, or perhaps, her actions are entirely purposeful. 

Brian’s story may be best symbolized in “Breaking” when Eli answers the vet’s request for a pack of cigarettes, which the negotiator fulfills straight away at a nearby convenience store, but the clerk doesn’t have matches.  Neither do any of the officers…to Eli’s dismay, as he asks everyone in sight.  

No matches.  No light.  Eli is frustrated, and we are too.

Jeff’s ranking

2.5/4 stars

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Interview with Esther Smith and Rafe Spall, the stars of the Apple TV+ series ‘Trying’

Depending on which website you read, adoption wait times in the United Kingdom average from 6 to 26 months, but no matter where a hopeful couple and a prospective child land on this scale, it’s a long stretch for everyone involved.  Nikki (Esther Smith) and Jason (Rafe Spall) - a lovely 30-something pair living in Camden, a hip and lively London district – have first-hand knowledge of this bureaucratic and emotional passage to possible parenthood.  Esther and Rafe star in “Trying”, the comedy/drama Apple TV+ series that follows Nikki and Jason’s struggles, small victories, doubts, and grand smiles through their day-to-day lives and adoption marathon.

Creator/writer Andy Wolton, Esther, Rafe, and an engaging ensemble cast balance comedic and affecting tones in this charming show that is nearly complete with its third season.  Esther and Rafe arrived in Phoenix and graciously met with the Phoenix Film Festival and other media outlets for this enjoyable group interview.  The stars thoughtfully chatted about their characters’ relationship, Mr. Wolton, fans’ feedback, and more.  

Seasons 1, 2, and 3 are available to stream on Apple TV+, and Episode 3.7 (of the 8-episode season) arrives on Aug. 26! 

Q:  Nikki and Jason are supportive of one another.  They are a solid couple and have the same goals.  They share a united front.  I think this dynamic really works with the show, and even though Nikki and Jason face bumps in the road, they don’t run into relationship conflicts very often.  Adopting a child is difficult enough.  I like that aspect of “Trying”.  How do you feel?

RS:  I think it’s very real.  I think it’s aspirational, really.  You want your own life to have a relationship like Nikki and Jason’s.  They face adversity, and it may cause arguments sometimes, but after the arguments, after the disagreements, their relationship deepens.  I think that’s really wonderful.  Beautiful, and they seemingly have found the right person.  Nikki says a wonderful thing at the end of the first season.  

She says, “Even if this (adoption) doesn’t work, you’re enough.  It’s enough.  We’re enough.”  

That’s a beautiful sentiment.  We can all aspire to find that person (who) sees us, accepts us.  All we want, as humans, is to be seen, and they really see each other.  I think that they are a great couple, and I love them.  When we finish a season, I miss them.   

Q:  Nikki calls Jason, “Jas.”  It’s the little things that endear the audience to this couple.  Did you come up with that, or was that written? 

ES:  Oh my gosh, I can’t even remember.  I think we sometimes slightly get in trouble because I definitely add in more “Jases” than are written in the scripts, just because it feels like such a normal, natural thing as a term of endearment.

RS:  I think it’s a mix of both.  The whole show is written by one guy, Andy Wolton, which in this day and age is really unheard of.  He’s actually written to our voices as well.  He’s written to our specific speech patterns.  There is some room for improvisation, but most of the funny stuff in the show, 99.9 percent of the good stuff, is written by him.  We do add the odd thing now and again.  

Q:  Imelda Staunton plays Penny, a social worker who works with Nikki and Jason on their adoption journey.  When I first saw Penny on-screen, I thought, “Oh no, she’s going to be bad news.”  [Esther and the interviewer laugh.]  But Penny is very supportive, and she fights for them.  How important is it that Penny is their ally?  I think it’s infinitely important because Nikki and Jason are new to the process.

ES:  Absolutely.  I feel they need (support) because it has taken them a lot to have the courage to go, “Do you know what?  Yea, let’s go down this route.”  

They (need) people on their side.  What I love about Imelda’s character is she’s not this kind of “normal, what you’d expect” social worker.  (Penny) is a kind of a pay-as-it-comes, bit-by-bit, step-by-step (person).  The first time we meet her, she’s holding up a piece of her clothing because someone has thrown wee on it.  She leaves it outside, and she just kind of bustles in.  She plays with these two people particularly well because Nikki and Jason are also square-peg, round-hole people, particularly Nikki.  I think Penny speaks to that and is probably (a) voice of wisdom.  She’s a few steps ahead of them in life.  

RS:  There’s also no antagonist in the show, which is quite refreshing.  There are no baddies.  There’s no mustache-twirling.  Everyone is trying to do the right thing, and to have someone of Imelda’s caliber, Oscar-nominated, one of our finest actors in the world (is wonderful).  Obviously, there’s a lack of her in Season 3, but that’s because she’s now the Queen of England (in “The Crown”).  When she’s finished her reign, perhaps, she’ll come back and hang out with the peasants again.  [Everyone in the interview room laughs.]

Q:  Nikki’s sister Karen (Sian Brooke) is with Scott (Darren Boyd), and they’re not a perfect couple, not a perfect match, but they play important roles on the show.  At first, I wasn’t generally happy with them together, but I’ve grown to accept them.  How do Nikki and Jason feel about Karen and Scott as a couple? 

ES:  Maybe similarly to you, I feel like Nikki definitely had huge reservations about Scott being part of the family.  But as it has gone on, they somehow work as a couple, and I love watching their scenes together.  (Rafe and I) never get to see them.  You read (their scenes) in the scripts, but you focus on your part of the story.  It’s a lovely treat when you’re watching it all back, and there’s this other kind of world going on.  I find them heartbreaking.  I find them hilarious.  And they do really work.  I’d like to think that Nikki and Jason perhaps tolerate Scott. [Esther laughs.]  They tolerate him.  

RS:  Scott means well, and he’s a very vulnerable character.  Andy’s written this character (who) could seem a little heightened, but (he) roots him with heart.  He’s full of heart.  

ES:  There are those lovely little bits and pieces in the series, one where Karen is really cold.  (Karen and Scott) are coming out of the tube station, and he wraps his scarf around her.  Yea, underneath all this (stuff), yea, (he cares.  He loves her).  (Scott’s) just like all of us.  Perhaps, we’re all presenting a version of ourselves to protect ourselves.

Q:  There is some tension between Nikki and their potential adoptee, Princess.  Esther, not being a parent yourself, what do you pull from to give such a sincere performance? 

ES:  Maybe it’s helpful that I’m not a parent because Nikki isn’t, and then she becomes one quite quickly.  What I find completely heartbreaking about the Nikki-Princess thing is Nikki tries so hard, and she’s such a good person.  She just wants the best, but inevitably, you can’t control what a person, especially a 10-year-old, is going to be like, particularly a 10-year-old who probably (has) a lot of trauma for whatever they’ve been through in their life.  Nikki is so patient and so present with her, and yea, I find it completely heartbreaking.  But, I also love that (because Nikki) wants (to be a parent), so she’s really fighting up against it.  

RS:  Also, from an outsider’s point of view, Esther is as lovely with Eden, who plays Princess, as Nikki is with Princess.  Esther’s really kind and gorgeous and lovely with her, so it comes naturally to you, I imagine.  [Rafe turns to Esther.]

Q:  In this day and age of overpopulation, is Nikki and Jason’s story an important one, adoption versus having your own children?  

RS:  It would be disingenuous to say that was the objective of (this) storyline because it isn’t.  This is a couple who have tried to conceive naturally, and they haven’t been blessed with that ability.  So, I can’t really talk to the politics of it, but in terms of representation, in terms of one in seven people affected by infertility, it’s really wonderful for people to be seen, for their story to be represented.  (Infertility) is something that touches a lot of people’s lives, and it’s a source of great pain to very many folks.  So, I can say (it’s) great that we represent that.  

ES:  What’s been a lovely bonus of this show is the amount of people that reach out (to us).  They’re going through the (adoption) process, or they have gone through the process, or they’re having fertility struggles.  It’s like a lovely stream of people constantly getting in touch.  They feel seen (because of the show).  They feel like (our show) is an accurate portrayal of what they have gone through.  They see themselves in these two characters, and most importantly, they don’t feel alone.  It’s so great to be a source of comfort.  

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