Look Into My Eyes: A Patchwork Film About Psychics And Collective Trauma

Filmmaker Lana Wilson brings a new sort of documentary about psychics living in New York City, that seems to float along without a clear sense of where it’s going, nor what the focused point is.

The people who see the psychics mostly have their own deep seated trauma that they desperately need help with. However, with the state that some of these psychics are in, I wondered if it was actually the blind leading the blind.

the lonely city

The film starts with a few introductions to clients and their questions, along with a scene or two of actual readings that seemed as if they could be truly real.

Wilson brings in more clients and psychics throughout, each having a bit of their own reads and clientele, leaving the audience as witnesses to the “connections” that the psychics have made. There are various types of readers, including one that purports to know the thoughts of animals, both alive and deceased.

The film then pivots the focus on to the psychics themselves, who tell their own stories about their lives and what called them to become psychics. All of the psychics are creatives of one form or another, trying to make their dreams come true in the harsh and often isolating big city.

What most of the psychics seem to have in common is debilitating trauma, and pasts that were extensively painful. Not many tell us about any profound spiritual experience that prompted them to be psychic. One talks about having seen ghosts as a child, while others say they took classes to become a psychic.

The last part of the film, we see the psychics together, as they share their own experiences and ask each other questions. The film continuously zigzags back and forth, from psychic to client and back again, leaving an unsatisfying ending that turns out to be rather odd.

in all honesty…

A24

Look Into My Eyes is a highly ambitious and thought provoking idea that, unfortunately, lacks any precise focus or theme, and meanders to its own demise.

Too many questions were left unanswered, including what exactly Wilson intended us to know. She says that this film is supposed to be about the emotional “connection” between two strangers and how it can impact their lives.

However, the film leaves an uneasy, disorienting feeling that made me wonder if Wilson was actually aware of what she wanted to create.

Is this about psychics and healing, or a stance on the mental health of psychics and their ability, or lack thereof, to help others? Is it a piece about how some psychics may fool us to take money or the agony of artists, rife with trauma, who can’t get work?

Though there were a couple who seemed to connect, I didn’t see much depth here, rather what construed of someone telling their clients what they think they want to hear.

The spirituality that I know is unquestionably real, but, as fallible humans, it can be easily clouded by our egos. Someone who is spiritually “gifted” can gain the most clarity they need to help others, after they gain knowledge of the workings of their egos and heal from past trauma.

I liken it to therapists who aren’t healed themselves, but somehow set out a plan of healing for their clients, when they don’t really know what healed looks like.

Definitions and data can only take one so far. In contrast, those with trauma that has been worked through and healed, prepares them to truly understand the process and what it takes to get clients there themselves.

Those who have healed and are aware of their own shortcomings, generally procure better outcomes with patients. It can become a dangerous situation when a therapist is unaware of their lack of insight, and prescribes biased, unbalanced treatments.

A24

Though I’m sure all of the psychics in the film approach this work with good intentions, those who lack self insight would make channeling more precarious and unclear. While bogged underneath trauma, there isn’t much room for clarity.

It is such an intimate and deeply personal experience for those who come to spiritual people or therapists, with the hopes of putting to rest an experience that has plagued them. It takes courage and vulnerability to trust in someone for that help, and that trust should not be meddled with or taken lightly.

The pain from this damaged human society and its lack of compassion is very real. It’s something we should all think about before sharing our intimate experiences with someone who may not be emotionally secure or trust worthy.

I truly felt a couple of the psychic’s bewildered sadness and thought that, for now, they should be focusing more on self love and creating emotional stability for themselves.

Overall, this film was a bit of a let down. Instead of the inspiring, deeply connected experiences I was hoping see, this is a head scratching hodgepodge, showcasing a lot of confused, flailing souls, both psychic and client, without personal acuity, or anyone safely grounded enough to lead them.

Look Into My Eyes is currently in select US theaters as of September 6, 2024

Sorry, Not Sorry: Putting A Spotlight On The Twisted Entertainment Industry's Boys Club

When I was three, I saw the Original Star Wars in the theater, and it left such an impression on me that I can still remember it to this day. That was the start of my love of film/artistry. The next two sequels cemented it.

As I grew, it became all that I wanted, and I studied a lot of theater, working in various positions for many years. I also was a natural writer, so I began learning screenwriting in my twenties.

I had heard how women were treated in the film industry, well, every entertainment/artistic industry, but I knew that in my soul I wanted to create magic, somehow, some way.  After modeling for a bit, I then realized what it actually meant to be a young woman in the industry.

Sorry/Not Sorry, directed by Cara Mones and Caroline Suh, expands on the culture of silence and misogyny that permeates entertainment, where twisted, powerful men get away with almost anything.

“The Greatest Threat To Women Is Men”

The film begins with several male comedians, journalists and business owners discussing comedian Louis CK’s rise to fame. Many of them tote him as a “genius” in comedy and talk about his charisma and ability to draw an audience, as if he was some honey-tongued bard who could do no wrong.

Intertwined are the experiences of comedians Jen Kirkman, Megan Koester and Abby Schachner, along with other female journalists and performers, sharing their experiences with CK, and the fallout that followed his victims when they spoke out about it.

From the few shows of CK’s I’ve seen, he seemed to try to set himself up as a “feminist” of sorts, relaying to audiences that he was a girl dad, touting quotes as seen above, while “comically” warning audiences about the dangers of men.

At the same time, there was a disturbing and depraved dark humor, woven throughout his material, with just enough creep to make me question, does he actually believe in what he’s saying?

Little did we all know at the time, that the depravity and darkness in his shows turned out to be a live confession of who CK really was on the inside. 

Cis Male Privilege

Greenwich Entertainment/The New York Times

Women began the independent studio system around 1912 and flourished in it. Then, in the 1920’s, when men saw what a lucrative business it could be, they essentially stole it, using their existing privilege to push women out of the industry and back into homes. The men set up their own unions, and the system that we know it to be today. They created the misconception that film and business just wasn’t for women.

This culture is still alive today. Men have had so much privilege for so long, that it seems they have never had to evolve into self-awareness.  As such, they are blinded to the pain and trauma caused by their, and other fellow men’s disgusting behavior.

This mentality MUST be part of the reasons that so many of the men in this documentary stick up for and are surprised to hear that CK would do stuff like this.

Ask almost any woman, who isn’t also stuck in the delusional toxic masculine, and there would be no shock. We are taught to fear men from day one because of this privilege, and men like CK.

Quotes such as “It’s not a crime.”, “What did he do wrong? Ask for consent for non-contact?”, “Every comedian has their skeletons (do they?), but when it comes to telling the truth about one of our own, suddenly we shut up”.

Does “one of our own” mean from the perspective of all comedians or just male comedians? As it stands, non consensual exposure and masturbation actually is a crime.

But in the entertainment business, men stick with men so often, that much of the disturbing behaviors that do happen are rarely ever told. It becomes less about what the laws say, rather than this “boys will be boys” agenda that ultimately becomes, “you tell anyone what happened and you are ruined”.

When victims do speak up, especially women, there comes this outrageous backlash by their peers and ignorant fans, who use toxic rape culture’s baseless assumptions that she was ”just looking for money”, or was “a climber”.

Hush culture has been a bane to women and minorities in all sorts of business and is systematically keeping them down and silenced. The amount of privilege it takes to maintain a world and industry ruled by this culture, then feign shock about it, is very telling.

Greenwich Pictures/The New York Times

After CK admitted that all of what his victims said was true, men still jumped to help him get back his career just nine months later.

Noam Dworman, owner of The Comedy Cellar in NYC, when asked why he secretly invited CK to perform after CK admitted to his deviant behavior, states, “Everybody I know, knows people who’ve done things they should be ashamed of. The idea that you have the right to impose on a private business, who’s employing a free person to perform, in front of people who want to see him…that is where I was really drawing my line”.

Except, from what I understand, many of the people who saw CK that evening were surprised and didn’t want to see him.

This Rolling Stone article from 2018 illustrates Dworman’s evasive presentation, on why he allows people like CK and Aziz Ansari to reappear, after they have shown themselves to be predators.

He seems to shift the focus towards more of a “free speech” issue, rather than taking any responsibility for giving these known perpetrators another platform. He also seems to wash his hands of responsibility with a “what can you do?” attitude.

The writer of the Rolling Stone article, Lily Dancyger, beautifully sums up the dereliction of Dworman’s comments stating: “Customers who don’t want to condone his behavior by watching him perform aren’t objecting to the man’s art or threatening his freedom of expression. They’re objecting to the perpetuance of a culture that leaves it up to women to remove themselves from unsafe environments rather than working to make those environments safer.”

Whether people choose to acknowledge it or not, if they don’t use what power they have to denounce or put a stop to deviant behavior, they are complicit in letting it continue.

 IN ALL HONESTY…

Greenwich Entertainment/The New York Times

Sorry/Not Sorry is an eye opening look at just one example of the environment of toxic fear and intimidation held up by privileged men in the entertainment industry.

I want to commend Megan Koester, Jen Kirkman, Abby Schachner and all of those who had the courage to come forward, knowing what this would mean for their careers, while facing hate mail, death threats and toxic ignorance on social media, to tell the truth. It is people like yourselves who are the reason that all this noxious “hush” culture can, eventually, be changed.

My heart aches for his victims, and the idea that women in entertainment must accept this behavior in order to “fit in”.

Koester talks about getting out of the industry, because she no longer wants to deal with deviants and their protectors, like this. That genuinely resonated with my own hesitancy to join the industry, as an artist in film.

Big entertainment runs on its own rules. There is no accountability yet on pay, racism, sexism, office politics, safety of those employed from assault, rape or other humiliating, violent behaviors of men in power.

What Mones and Suh have done by creating this visual collage of The New York Times report, amplifies its message while giving us real faces of the people who were traumatized by CK, so they aren’t just words on a page.

Make no mistake, what CK did was sexual violence. He was not sorry. He was just sorry he got caught. Regardless of “how bad” the assault was or is, does not exclude him from being a sexual predator, who should be blacklisted from the privilege of a lucrative and rare job in entertainment.

CK knew it was wrong, but decided to keep doing it anyway. That was his choice, and the blame for that belongs to him and all the other enablers who continue to support him, and look the other way.

The real truth is that there are plenty of working and non working artists, in and out of the industry, that wouldn’t do what CK did. The pool of possibilities is virtually endless, so there’s no need to rehire people who deviate from professional, respectful behavior.

This film, is less a documentary, than an open discussion. The ending leaves plenty of room for all of us to think about it, look inside, and decide if we really want to choose the ethical path towards truth, or continue to stay willingly blind for money or celebrity.

As artists, we need to organize, call for more legislation over the beast that these industries have become, or come together to create our own businesses that foster real change for working artists.

As audiences we need to hold these people accountable by not giving money towards the perpetrators and the businesses who choose to look the other way.

The system as it is now, will not sustain itself. It is up to all of us, especially other men, to call this stuff out and quit punishing women for the vulgar acts of powerful men, who outright refuse to respect us and treat us as equals.

The Vourdalak: An Interesting Gothic Tale of Old

The Vourdalak, written and directed by Adrian Beau, is a curious new vision of the classic novella by Alexsy Tolstoy.

The film takes place in a mysterious countryside of Serbia in 1884, filled with lore and superstition.

When an unassuming envoy to the French King, Marquis Jacque Antoine Saturnin d’Urfe (Kacey Mottet Klien), gets attacked by wayside bandits, he is unaware of the oddities and danger he will be forced to face trying to survive.

Life or death?

While wandering the forest at night, Urfe stumbles upon a small abode. He asks the owner (Erwan Ribard) for a horse to continue his journey. The owner tells him he doesn’t have a horse, so he sends him to the house of Gorcha (Adrien Beau), just down the path.

As he approaches, he sees the beautiful Sdenka (Ariane Labed), singing and doing a strange dance amongst the trees. She runs away when she sees Urfe, so he pursues her into the forest. He stumbles into her brother Piotr (Vassili Schneider) instead, and after explaining his predicament, Piotr takes him to their house.

When they arrive, Urfe meets their strange family. Eldest son Jegor (Gregoire Colin), his wife Anja (Claire Duburcq) and their son Vlad (Gabriel Pavie). They all react quietly anxious towards their guest when he asks to speak to Gorcha.

When Jegor goes to speak with Gorcha about the guest, he finds him missing. Piotr tells Jegor that Gorcha left, taking his gun with him, to go and fight the Turks. Jegor is surprised that he “let him go” in his condition and at his age.

When Jegor asks when he will return, Sdenka informs him that Gorcha told them that if he did not return within six days by six o’clock, they should refuse him entrance as he would then be a vourdalak (vampire). That evening happens to be the sixth day and he has not yet returned.

Piotr cautions that they should consider him dead for all intents and purposes, but Jegor calls him silly and refuses to give up.

Um, is it just me?

Oscilloscope Laboratories

When the family joins at the dinner table that evening, Anja spots Gorcha laying at the edge of the forest. Jegor goes to him, picks him up and sets him down at the dinner table.

What they see is a decrepit, emaciated skeleton of the man Gorcha used to be. Though everyone notices how odd he looks, no one says anything, leading to an almost comical scene of banter between Gorcha and the family.

As explained in the story, a vourdalak attaches itself to the ones he cares for, feeding upon them and turning them into vourdalaks as well.

Gorcha amuses his grandson, Vlad (which I cannot figure out why by the look of Gorcha), he becomes the first that Gorcha hones in on. The entire family is now at risk when they take him back in to the house.

Piotr and Sdenka begin to take things in their own hands since Jegor is in complete denial. They enlist help from Urfe to bring down the creature and try to save Vlad and the rest of the family.

Will they be able to kill Gorcha, or, will they themselves fall victim to the monster that Gorcha has become?

in all honesty…

The Vourdalak is a beautifully shot and atmospherically laden film that summons the “ick” factor from scary films of old.

The mood, tone and color of the film is gorgeous, though most of the actors still looked too modern to be believed. Klein’s performance as the bumbling Urfe was on point as a privileged man of court, especially his expectations of women he wants and “peasants”.

Oscilloscope Laboratories

The vourdalak puppet Gorcha, who was wonderfully voiced and created by Beau, is highly imaginative, but seeing it in full light left a lack of suspension of disbelief. Though it does bring a sense of humor, I think the puppet would have been better left to the likes of theatrical plays and odd comedies.

It got to a point of folly when this weightless puppet was supposed to be believed to have thrown a grown man, which could clearly be seen as the fluffy, soft alternative to the real actor. I’m not aware if Beau meant for the comedic tones, but if he was going for the full on Gothic scares, it didn’t help.

I can’t praise enough the eclectic, atmospheric colors, tones and effects that cinematographer David Chillzalet and the visual effects crew brought to the story. It is hands down the best part of the film.

I loved the choices of adding the filters of old school filmmaking woven throughout, as they created an unsettling creepiness that encloses the audience in its clutches.

The set decorations, led by Thibault Pinto, created the exquisite glue that anchored all of that gorgeous camera work and lighting, into 17th century perfection. It gave the show its grit and a bone-chilling backdrop to keep audiences unsettled and enveloped in the 17th century.

Overall a stunning to look at film, with just enough creativity to offset the suspension of disbelief issues and the bits of absurdity from its main villain. It’s a pure delight for those who appreciate artistry behind the scenes.

Tiger Stripes: The Spirit of Woman That Refuses To Be Held Down Anymore

Tiger Stripes is a coming of age, Malaysian film written and directed by Amanda Nell Eu. It follows protagonist Zaffan (Zafreen Zairizal), who becomes the first of her friends to get her period.

When she is harassed, bullied and shamed by multiple family members and friends, Zaffan finds she has to figure out and navigate these changes herself.

into the jungle

Zaffan is an imaginative, headstrong, outgoing Malaysian 12-year-old, going to an all girls school. She and her best friends Miriam (Piqa) and Farah (Deena Ezral), spend their free time hanging out at their favorite water hole swimming, talking and playing.

When Zaffan wakes up one night, having gotten blood on her bed, she calls to her overbearing mother Munah (June Lojong), who comes in to check, and immediately states that Zaffan is “dirty now”. Munah puts her in a shower to clean up.

As Zaffan starts changing, she gets itchy rashes, hears growling and starts seeing a “demon” woman in the trees. She begins feeling angrier and finds herself fully distracted from school and family life.

Miriam and Farah start listening to and perpetuating ignorant rumors about periods, how women go crazy, smell bad and disappear into the jungle. As Zaffan’s “strange” behaviors escalate, Farah begins bullying her, calling her a slut and starts spreading nasty rumors about her around school.

With this transformation, Zaffan becomes more rebellious, not listening to the conservative and toxic patriarchic beliefs about how a woman should act, speak and dress. Instead of fearing it, as she’s conditioned to do, she slowly embraces her inner “wild” and realizes there’s freedom in it.

Dark Star Pictures

what is happening here?

Zaffan goes camping with a group of girls from the school, training to be cadets. While camping, in the middle of the night, Zaffan hears the low growl of a tiger, then a scream from one of the other girls.

She finds out that, a girl who went on her own to pee, also saw a “demon” in the trees, and a few of the others hear things that only Zaffan could hear before.

The next day, Farah blames Zaffan for bringing the sounds and demon to the camp, even though she is no longer on her period. When getting ready to go home, the girls realize that someone is missing and head into the jungle together to find her.

Zaffan, with her “tiger demon” heightened senses, strays from the group as they are on the wrong track. When Zaffan finds the lost girl up in a tree, the girl states she is there so the senior girls wouldn’t make fun of her. Zaffan then realizes that it isn’t just her who is starting to change.

As the symptoms start to affect all of the girls, the village begins to question whether or not a true demon is infecting the girls, or, could it be more of a thing that needs to be learned about and celebrated?

Dark Star Pictures

in all honesty…

Tiger Stripes is a hypnotic film that brings to life the stigmas against girls and women, put upon us by the poisonous patriarchy. It inspires young women to defy all of the terrible things they have been told about their bodies, and, to become their true authentic selves.

Zairizal shines and delights embodying Zaffan, who authentically represents the battle cry of the spirit of women. In her first movie and at such a tender age, she provides a fierce energy and presence that most performers her age would not be able to imitate.

The most beautiful part of this film was the intricately woven metaphors, subtly lingering throughout. In fact it may take a second glance to pick them all up.

My favorite was when the girls were watching a video of a tiger walking down a road, surrounded by men who eventually killed it. For me, that was a not so subtle reality that women face in the world, should we try to be free and wild amongst men.

As things are, toxic masculinity has done everything possible to keep girls and women as lesser.

Dark Star Pictures

From stigmatizing our natural bodies as ugly or dirty; denial of our healthcare and lack of medical studies over the years for women’s bodies; rape; using purity and “appropriate” behavior as a goal for little girls; to making us smaller and silenced, it literally and figuratively kills us everyday.

This sort of film reminds us where women still are today, and what we should be doing to put an end to the stigmas put upon us by toxic masculinity. We were never meant to be “proper”, we were created with divine feminine fire that should be seen and celebrated all over the world.

People with uteruses are the bringers of life, and none should be mistreated or underestimated. We need to see ourselves as the goddesses we are and deny any shred of the toxic masculine to rule us, which includes not putting one another down using the language and stereotypes of our oppressors.

No matter what we were told growing up; no matter the toxic masculine religions forced upon us say, and no matter the rules placed on our bodies, we should continue to fight for our collective freedom and inherent rights, with all of the magnificent ferociousness of tigers in cages aching to be set free.

Bravo to both cast and crew for bringing to light what we still need to change and illustrating through Zaffan, that our collective spirits cannot and will not be silenced any longer.

Solo: An Exemplary Story About Self Love And Rediscovering Yourself

Director/Writer Sophie Dupuis brings to life a visionary story of a young up and coming drag performer. With stunning lighting and imagery, we follow a young adult as he navigates new love, old and new trauma, in a true caterpillar to butterfly tale.

At first sight

Simon (Theodore Pellerin) is an up and coming star of the Montreal drag scene. When new man Olivier (Felix Maritaud) starts working at the club, the two are drawn almost instantly to each other. They begin a passionate love affair that brings a lot of happiness to them both.

His family readily embraces Olivier when Simon brings him home for the weekly family brunch, and it looks to be a relationship that could stand the test of time.

Simon and Olivier start to do performances together, and, though everything seems great from the start, Olivier begins to start showing Simon his true self, filled with toxicity and lies. Simon becomes trapped in Olivier’s gaslighting, controlling world, and begins to lose himself in the process.

He begins to isolate himself from his family and friends, as he gets more deeply involved.

Simon’s sister Maude (Alice Moreault), a costume designer who normally helps make Simon’s costumes, tries to talk with him about their relationship, as they are normally very close. Simon denies any problems he’s having with or due to Olivier.

When he hears that his birth mother Claire (Anne-Marie Cadieux), a world famous opera singer, is coming back to Montreal for a visit, he is very excited.

Maude, who wants nothing to do with the woman she claims abandoned them, gets upset and refuses to meet with Claire. Simon stays positive though, wanting to spend time with her and have her see one of his performances.

don’t forget your roots

Music Box Films

Things start to unravel after another rejection by Claire. Though she says that she may see his show, she leaves after five minutes of seeing him, even though he expected that they would have dinner.

Olivier starts to get impossible to live with, as his cheating and gaslighting increase, and Simon finally decides that he won’t deal with it anymore. Growing tensions rise between Simon and another performer, who has cheated with Olivier, that explodes into Simon giving up drag and leaving the club.

Deep within the cocoon of darkness that envelopes him, Simon goes inside to recognize and finally feel his past traumas that he hasn’t been able to reckon with before..
Will Simon be able to deal with the loss of his love and take the steps to heal from his childhood, or will he succumb to this darkness, ultimately losing himself and everything he loves?

In all honesty

Solo is one of the most beautiful films I’ve had the pleasure to see all year.

With gorgeous lighting and breathtaking cinematography; unwavering emotional acting and a superbly written script, this film shines with grace and glory.

Pellerin portrays Simon, flowing through his whirlwind of emotions, with such ease and elegance. It allows the audience to experience everything with Simon, instead of just being a simple observer.

He and Maritaud have an effortless, sensual chemistry between them that is so genuine, it sends sparks through the screen, allowing those who know that feeling, to sense it in their own skin.

Cinematographer Mathieu Laverdiere, creates a lush world of artistry, lighting and color that made every scene a lesson in cinematographic genius. It engulfs the audience into the film’s world, making every scene an absolute pleasure to watch.

Music Box Films

Dupuis’s passion drips like sweet nectar throughout this film and everything is perfectly set up
to put audiences at ease and lull us into this beautiful and sometimes heartbreaking character study.

I loved that Simon is fully able to be what and who he is, and have his whole family be supporting, without a single reference of homophobia throughout.

However, I wish Dupuis had dumped Simon’s comment about being “fat” though, as it was completely unnecessary and potentially harmful to others.

I’m so tired of hearing blatant fatphobia in all forms, with its toxic white masculine, racist ideologies. It’s old, discriminatory and a lie. Just dump it altogether, filmmakers.

Other than that, I highly recommend this film for its artistry and how it normalizes gay men and drag in our society, showing that those who are generally “othered”, are actually just like everyone else. We all need love, acceptance and a place to safely be, unapologetically who we are.

Nightwatch: Demons Are Forever: A Revisit To Horror And Trauma

Serial killer Doctor Wormer (Ulf Pilgaard) is back after a 30 year hiatus from the first release, Nightwatch 1994. Nightwatch: Demon’s Are Forever is a fun and creepy reunion of the original surviving characters, and Wormer is out for revenge on those who stopped him in the first place.

History repeats

The film begins with Emma (Fanny Leander Bornedal), daughter to Martin (Nikolaj Coster-Waldeau), the main character of the original. She is in med school and mourning the untimely suicide of her mother Kalinka (Sofie Grabol), several years past.

Martin has lived with toxic PTSD since surviving Wormer’s first attack, and being more traumatized by the death of his beloved Kalinka, due to her own PTSD. Emma has grown up surrounded by tragedy and trauma, and she struggles to find steady ground to stand on.

Martin is a chronic user of tranquilizers and Emma has felt invisible to him for many years. Needing to take care of money that Martin isn’t currently making, she finds out that, low and behold, the same night watch position in the morgue that Martin once had, is open again.

Emma sees this opportunity as a way to figure out exactly what happened and, hopefully, give Martin and Kalinka the justice they deserve.

Darkness never dies

Shudder

Meanwhile the local police are tracking, what they believe to be, a copycat of Dr. Wormer’s. Bent (Casper Kjaer Jensen), a local psychiatric patient is their prime suspect. On Emma’s first tour of the facility, she finds out that Wormer is in fact alive and living in the same psychiatric hospital as Bent.

Emma pulls a few strings and gets help from her boyfriend, Fredrick (Alex Hogh Andersen) to get a pass into the hospital and talk to Wormer. She wants to get a video of him to prove to Martin that he has nothing to worry about anymore.

Wormer lives in a dark, dank room, and is supposedly blind and infirm. She confronts him, talking to him about all of the pain he has caused her family, and records for Martin how pathetic he has become.

What she doesn’t realize, is that seeing her, brings Wormer a renewed sense of revenge and purpose, to get back at the family that put a halt to his original, twisted game plan.

in all honesty…

Nightwatch: Demons Are Forever is a sharper and decidedly improved sequel to its predecessors.

Though the writing and overall acting quality goes in and out throughout the film, Fanny Leander Bornedal’s exemplary performance is what saves it from being downright silly and falling into total mediocrity. For as young as she is, she pilots like a seasoned pro.

She plays an astute, intelligent and resolute Emma, who never wavers at any point in her performance.

Shudder

The nostalgia brought on by the many past characters who show up throughout the film, brings an element of fun amidst the background of darkness and death.

Jensen shines as Bent, with a Joker-esque feel the likes of Cameron Monaghan’s Jeremiah Valeska, mixed with Anthony Carrigan’s Victor Zsaz, in the Gotham television series.

It was hard for me, while watching, to tell whether or not I thought it was a solid, scary film, or a thriller one might see on daytime television.

A lot of the writing is silly and sits on the border of contrivance, but the strong performances and coming together of the old characters do help sew the film together with tighter seams.

Though this film is proclaimed to be able to stand on its own without having seen the first, I think the audience would miss a lot of the nuances and character background by not seeing the it.

Shudder

It isn’t Coster-Waldeau’s most solid performance, but he manages to find areas of painful fear, playing a man who is lost in a traumatized world. I think the way that Martin is written also didn’t leave him a lot to expand upon.

There are a couple decent twists that keep things interesting, and the setup does pretty well preparing us for them, it just felt like there was more to flesh out. Instead, the filmmakers chose a more formulaic approach, rather than attempting to make it truly stand out.

Overall, it’s an entertaining film that horror enthusiasts may like, if they don’t go into it with high expectations. Bornedal’s stand out performance is well worth a look.

Pure O: A Problematic Film That Does Too Much Talking and Not Enough Showing

Pure O, written and directed by Dillon Tucker, is a story of a man who is supposedly suffering from a certain spectrum of Obsessive Compulsive Disorder (OCD).

Inspired by Tucker’s own struggles, the film feels like a head patting, feel good show, that doesn’t even begin to touch the surface of the depth of its crippling problems

Quick diagnosis

Cooper (Daniel Dorr), is an addiction counselor who has been in a relationship with his girlfriend Emily (Hope Lauren) for eight years. They have come to the point of getting engaged and are mapping out possibilities for their life.

Cooper gets, what seems like, a one session diagnosis of OCD, a purely obsessional type that tends to present itself mentally only, and is sent to see a specialist (Candice Renee), to start treatment.

She too knows all the answers about Cooper’s situation ahead of time, and what he has without barely even talking to him. She spouts long winded definitions without having tested him whatsoever.

Meanwhile, Cooper’s life starts to slowly fall apart, starting with the loss of a screenwriting job. The OCD doesn’t seem to trouble him much at all, with the one exception of an intrusive thought about causing harm to his girlfriend.

He starts group therapy, with Rodney (Clint James), Liz (Casey Vandeventer) and Jake (Chuck Arjavac), who are dutifully assigned different types of OCD, which they also define for the audience.

No one seems particularly fussed about their issues, and it’s like the actors are there just to embody a diagnosis and nothing else. They jovially joke about their issues and laugh, rather than share any feelings of shame, depression or anxiety.

Life happens

Good Deed Entertainment

Cooper’s life starts to take a turn for the worse when Emily’s stepfather gets terminal cancer and she gets unexpectedly pregnant.

Neither Emily or Cooper are ready for the pregnancy. Though they try to make it a good thing at first, eventually the discussion of abortion comes up. With any other person, even without OCD, both of these life stressors can become extremely upsetting and change the lives of those going through it.

Not only would you have to help your partner manage the loss of a father figure, but navigating the decision about ending a pregnancy can be traumatizing, especially for the person with the uterus.

Somehow Cooper manages to keep his OCD thoughts and anxieties at a low simmer while handling these problems, AND living with the stress of working with addicts. For most people with OCD, life problems only increase their symptoms and some shut down completely from issues much lighter than these.

in all honesty…

Pure O aspires to be a primer for those who know nothing about OCD, but refuses to show the realities of the disorder. It spends way too much time talking about definitions and focusing on Cooper’s outside problems, without allowing us to see what’s really going on inside.

Definitions don’t connect an audience nor help them get a feel of what OCD is or what it does. Screenwriting is supposed to show, more than tell what any character is going through, so the audience can have perspective and an experience with them.

We see Cooper triggered by a couple of things, like chopping vegetables near his girlfriend, but none of his thoughts or how they are affecting him are explored with more than a couple of words. When Cooper gets upset, there’s no information for us to understand what or why it’s so distressing to him.

As someone who has worked in mental health for decades and lives with a loved one with OCD, this film fails audiences on almost all levels. Though everyone’s experience is different, OCD can be especially disabling, wreck relationships, cause incredible stress on families, interfere with daily activities and make some unable to work a job or function sexually.

Good Deed Entertainment

The anxiety caused by OCD can get so terrible that it is all consuming. The film states that, unlike the stereotype, not all OCD presents as obsessive cleaning and rituals, which is true. However, it glazes over just how bad the reality can actually get.

In the 5th version of the Diagnostic and Statistical Manual (DSM-V), which trained therapists use to diagnose patients, it is no longer considered an anxiety disorder, rather, it’s in its own category called “Obsessive Compulsive and Related Disorders”.

Anxiety is just one of the symptoms that presents in OCD, but this kind of anxiety is taken to a severe extreme, that can present with breathtaking fears due to the lack of control people living with this feel. No one really knows yet how it happens, but genetics and past trauma are a couple of theories.

The danger that can happen when an audience isn’t able to connect with a character in this sort of film, is that they can walk away with a skewed perspective of the problems and its repercussions.

The filmmaker’s decision to make this all about Cooper’s outside life, versus spending more time with his inner experiences, sets an irresponsible, ableist view about OCD. It makes it seems like all a person has to do is go get diagnosed and have one or two sessions with facing their fears, and they’re miraculously healed.

The reality is a nightmare. OCD looks a lot like many other types of disorders, and it takes time and in depth neurologic and psychiatric testing to diagnose. Absolutely no competent therapist would ever diagnose it after one or two sessions, nor would they allow a client to put a real knife to someone’s throat, within the confines of treatment.

Cooper probably wouldn’t have the capacity to care for people with addictions. Addicts have a whole host of different problems and needs that require a level of stability by their caretakers and counselors, that most people living with OCD wouldn’t be able to meet. The idea that an addict would have a life altering breakthrough moment from one of Cooper’s insights about himself, is ludicrous.

I really wanted to support the idea of the film, but its reality is far too limited in scope and depicts OCD as an alarmingly easy to deal with disorder. It felt like a Lifetime Television version of a mental health issue, where everything is tidily fixed, and is wrapped up with a smiley sticker at the end.

That sort of depiction is seriously disrespectful to the many others who suffer with these devastating conditions, and misinforms with its toxically naive, light hearted portrayal.

People living with this condition deserve much better.

American Delivery: A Much Needed Look Into the Heroes Making A Difference

American Delivery, directed by Carolyn Jones, is a timely documentary focusing on the women at the forefront of labor and delivery, who work tirelessly to help improve the lives of women, and put an end to the preventable high maternal mortality rate that plagues the United States.

From nurses, especially midwives, to the hospitals and clinics that care, the film highlights these she-roes protecting women’s health, who also fight the systemic racism that is complicit in the high percentage of black women who die in this country, giving birth every year.

Fighting the good fight

The statistics of maternal mortality in America are bleak, but there are those in the trenches who are working, across the nation, to make the stats get better. These special souls and more are highlighted throughout the film.

In Cleveland, Ohio, Dr. Airica Steed, a registered nurse, has become the first black and female CEO in MetroHealth hospital’s 200 year history. She is a staunch advocate for women of color in the area, and her mission is to create a health system that is fair and equal for everyone, including the staff that works there.

According to the film, Cleveland ranks lowest in the nation in livability for black women. Dr. Steed, and many of the nurses at MetroHealth work together, both in and out of the hospital, educating through outreach and taking steps to ensure the safety of a woman’s right to choose how they give birth.

Their midwives offer at home services both before and after the baby is delivered, educating new moms on all that they need to know about this new transition and, to help them find better outcomes for their own health, the baby’s health, nursing and mental health.

Carolyn Jones Productions

The film states that 1/3 of American cities fall under areas called “maternity care deserts”, where access to healthcare, food and other basic necessities don’t exist. These ghost towns house people, mostly people of color, that are all but forgotten.

Dayton, Ohio is one of these deserts, and the Five Rivers Health Center is a federally funded center, where women can get access to all stages of maternity care, regardless of ability to pay. This clinic, also led by a black, female CEO, Gina McFarlane-El, envisions it to be a “one stop” place for all things maternity and child care.

They service a wide variety of women that are homeless, in jail, and those who suffer with mental illnesses, with the quality of care so desperately needed there.

One of their midwives, Toni Tipton, is the only black midwife in all of southern Ohio. She heads a black women’s nursing group, while seeing patients, to help lower the number of infant mortalities, as black babies here are four times more likely to die than white babies.

With systemic racism, low education, food and housing insecurity, and widespread poverty among the people of color who live here, this clinic is a literal lifesaver in the midst of the crisis.

Most of the focus of the film is centered on the importance of midwives in labor and delivery, who are able to take a lot of the burden off of the hospital system. Midwives provide one to one care, both before and after birth, that is generally not available to mothers who take the traditional hospital route. They also provide more birthing options, allowing women more control.

These nurses provide lifesaving treatment, education, outreach and baby supplies to those who normally don’t have access to any of it.

In all honesty…

Carolyn Jones Productions

American Delivery is an essential film, not just because of its enlightening information, but because it sheds a positive perspective amidst the normalized media frenzy of the grim and disastrous.

Many documentaries I’ve seen tell us what the problems are, but don’t always offer solutions, or show us those who are already making the change happen. The negative perspectives can leave audiences baffled, with no way to know what they can do to help.

Many of the nurses and midwives featured have a history with subpar care from doctors and hospitals during their own pregnancies, that could have been avoided if this country would get their healthcare system together. They took their own trauma, and turned them into hope for other women.

Racism, of course, is the at the core of US society, that leaves way too many people of color without basic human needs and services. The noxious judgments about those in need, steeped in white supremacy and capitalism, is a brutal system that has plagued this country from the very beginning.

People of color are purposefully blocked from access to a good education, well paying work, and kept in poverty so they never reach true equity.

Women are still second class citizens, so we do not benefit from a toxic masculine society based on power and greed. Women of color, especially black women, suffer the most from the lack of care by affluent white ideology and pay with their lives in many respects.

The fact that they are three times more likely to die in childbirth compared to any other race is a blatant disregard of their lives stemming from hateful structures like slavery and Jim Crowe, that continue to poison our society today.

The essential work that these midwives and nurses do, is on the forefront of dismantling the nefarious structures of power that harm and kill black people at alarming rates.

Carolyn Jones Productions

Tanzania, which, according to the film, had the worst maternal mortality rate in the world, has cut their crisis in half by the hard work of nurses and midwives there. Why would one of the richest countries in the world even have this issue? Just take a look at our history to see how much it hates women and people of color.

Jones’s choice to allow these women a platform for their personal stories, trauma, joys and tears, gives a voice to those who might not otherwise have one, and also shows the audience a perspective not seen in other documentaries of its like. It is positivity, dedication and love in motion.

At such a crucial time in America, when women’s rights are being cruelly eliminated, this is the type of film we need when looking for hope. There are so many unsung heroes and she-roes, bringing light to the dark on Earth, that we never hear about.

Filmmakers like Jones pave a way for these lightworkers to be seen, and help bring us the promise that, working together, maybe we can solve the systemic poisons woven into our society, and let love and light prevail.

East Bay: A Very Odd, But Delightful Comedy

East Bay is a new comedy written, directed and starring Daniel Yoon as the main character Jack Lee. Jack is an exceedingly awkward, “middle aged” (at 39?) man, who is feeling the pressure of his ancestry that demands that he live up to societal standards of success in order to make his family proud.

When his unstable girlfriend Beth (Melissa Pond) announces that she is pregnant by another man and breaks up with him, Jack finds his life spiraling into a crisis.

burnout

Jack works in Systems Administration, a downsized job from once working as a Programmer. Jack got burned out from the programming job, but is hating the drab job he’s now found himself in.

He fancies himself an artist and has made several very low budget, short films, which are hilariously terrible, and he is working towards his hopeful big break. His most recent film is accepted to a small film festival, where his friend Sara (Constance Wu) is the program director.

After the breakup, he is forced to move in with his friends and work colleagues Tim (Edmund Sim) and Stuart (Destry Miller), two geeky, and also messed up people with a host of their own problems. They spend most of their time at home, Tim doing pot 24/7 and Stuart, a cynic who is dying to be proven wrong, who spends most of his down time on computer games.

Jack starts a new, short documentary of sorts, questioning God, trying to find himself and the meaning of love and life.

Looking without rather than within

Level 33 Entertainment

Jack finds out about a “medical healer” on tv, who seems to know a lot about spirituality, so he sets up an interview with her. When he meets Vivanti (Kavi Ramachandran Ladnier), she seems to know so much about spirituality, a lot of which is very true.

He asks her to be his spiritual guide but, unfortunately, ends up sleeping with her. He finds out later that she too is horrifyingly unstable, with a serious people pleasing affliction.

The film seems to push Jack more in the direction of Sara, but she too is distressingly unstable. Like attracts like, or, does it bring up greater questions about our struggles as humans? Either way, our truths cannot be found, nor can we ever find true inner peace and healing from an outside source.

in all honesty…

East Bay, is a relatively lighthearted, comical film that seems to explore how deeply wounded humans are by societal hierarchies and old traditions, that are far too difficult for the average person to live up to.

Humans are burdened from day one with expectations that are virtually impossible for most people to meet. We are also taught to value and uphold extremely toxic notions from generations past, instead of allowing individualism, and for people to be who they are and what they were made to be.

We see Jack trying to find answers about life with some of the most disturbed people, who are blind to their own unique, inner beauty and importance. Spending life in the capitalistic grind will never bring fulfillment or self realization.

Level 33 Entertainment

It brings a sense that maybe we’re all messed up and that there is never one answer that is suitable to all. Looking for answers from other people becomes the blind leading the blind.

Both Sara and Vivanti are the most beautiful looking women ever, but still struggle to love and accept themselves, There is a lot of real truth to be found in that.

No matter how “together” everyone seems to be, the truth is that we are all struggling to understand a life trapped in serving the 1% and figuring out what we were really meant to be.

Like Sara and Vivanti, I believe that we are all parts of the vast multiverse and that the overarching energy of the multiverse is love. The clarity that we seek isn’t always easy to find, and we must be willing to traverse through our darkness to learn to love who we truly are and integrate it into a solid balance.

That is no easy feat and takes an abundance of strength, courage and desire to keep moving forward. All of the confusion that each character represents is nothing unexpected given the toxic societies we live in.

The film leaves us with the thought that, though we don’t have all the answers, there is always hope, no matter how small of an amount we can see. It is naively innocent, yet unintentionally brilliant and beautifully human.

There is no one way to finding ourselves or moving toward the path of enlightenment and love. Putting a greater emphasis on how we are alike and how we are all connected, rather than fearing our differences, is a great start.

The Coffee Table: Be Careful What You Wish For

The Coffee Table, directed by Caye Casas and written by Casas and Cristina Borobia, is a lesson of sorts for when ego gets the best of us and the consequences of having to be right.

Jesus (David Pareja) and Maria (Estefania de los Santos) are a couple on the edge of a break up, who incessantly argue and take toxic swipes at each other. While they are out shopping for a coffee table for their apartment, the fighting escalates and each of them spend the whole time seeing who can be nastiest.

The egos that they both live in become a centerpiece of the film, that causes a horrifying event that neither can take back.

Is It really worth it?

Jesus and Maria stand before a coffee table, gilded in faux gold with a glass top. It’s really a cheesy, cheap looking table that looks like it belongs in Trump Tower and simply isn’t worth the price.

The salesman (Eduardo Antuna), is the picturesque representation of the comedic extreme, giving a wholly false presentation of the table that the company who made it would praise him for. He sustains a rigorous amount of pressure, challenging Juan’s toxic masculine side, encouraging him to stand up for what he wants, no matter what his partner says.

Maria is equally toxic and super controlling. She says anything she wants to him, no matter how hurtful it is and Jesus takes corresponding nips at her, even to the likes of telling her that their newborn son was, essentially her fault and that he didn’t really want kids.

Jesus, fed up with her domination, man spreads his way into buying the table, and, in his eyes, settling the score between them.

His stubbornness manifests a nightmare that no one sees coming.

Cinephobia Releasing

Pride Goeth before a literal fall

When they return home with the table, Maria heads to the grocery store alone to prepare for a dinner with Jesus’s brother Carlos (Josep Maria Riera) and his new girlfriend Cristina (Claudia Riera), later that evening.

What ensues in the apartment while she is away, is a nightmare of epic proportions, sending Jesus into a downward spiral of shock, shame and unbearable guilt.

He spends the rest of the film trying to keep the devastating secret to himself, that, inevitably rocks him and the people around him to the core.

in all honesty…

The Coffee Table is one of the best psychological horrors that I’ve seen in a very long time.

The inciting incident that happens early on in the film literally made me gasp and cover my mouth in utter surprise. Though the incident is full of devastation, it also creates a lot space for the film to explore the human psyche and leaves audiences to draw upon its powerful metaphors.

The particular harshness of this incident, when looked at as a consequence of ego, is most extreme, but works within the confines of a brutal tale. Though there is no fantasy involved, it still harkened memories of old, dark fairy tales and stories of the macabre I read as a child.

Cinephobia Releasing

With Poe-esque madness, the tension in the film is a masterclass of story building that won’t let you go even after the end of the film. It stands among the best films of all time for its unrelenting grip. The audience is wrapped up with Jesus and we feel all of the film’s tragic mercilessness with him, whether we want to or not.

I can understand my critic colleagues when they recoil from recommending this, as it has the potential to trigger a very specific group of people, but as a horror fan, I really think that not recommending it is also a tragedy.

It has the power to teach us how horrifyingly dark our egos can get, when we try to selfishly overpower one another and don’t allow a truce in order to heal our wounds, and truly see each other.

So simplistic, so surreal and yet violently authentic, it is a breathtaking, all consuming ride into just how far darkness can consume us, both literally and figuratively. It is an unrelenting nightmare that viewers won’t be able forget.

The Three Musketeers Part Deux: Milady: Every Bit As Good As The First

The Musketeers are back in the second installment of director Martin Bourboulon’s The Three Musketeers saga.

As tensions between the French Protestants and Catholics rise to the point of war, d’Artagnan (Francois Civil), Athos (Vincent Cassel), Aramis (Romain Duris) and Porthos (Pio Marmai) race against the clock to find those responsible for King Louis XIII’s (Louis Garrel) assassination attempt.

Meanwhile the story of Milady de Winter (Eva Green) is explored more deeply, as we get to find out about her past and how her story is woven into the fabric of this intricate tale.

all for love

The story picks up where it ended last, when Constance (Lyna Khoudri), Queen Anne’s (Vicky Krieps) most trusted companion and d’Artagnan’s love, is kidnapped after seeing who was involved in the plot to kill the King.

D’Artagnan, who was also abducted, makes his way free, threatening traitor Le Comte de Chalais’s (Patrick Mille) life if he doesn’t take him to the jail that d’Artagnan believes holds Constance. When they arrive at the cell, the only one he finds is Milady.

D’Artagnan frees Milady and is forced to flee for fear of getting caught, still lacking the information he needs to find Constance, but Milady picks up some coded letters off the desk of de Chalais, which includes the name of the leader responsible for the coup upon King Louis.

Meanwhile, the other Musketeers join the rest of the soldiers at an encampment outside the Protestant city of La Rochelle, awaiting orders to help complete their plan of war.

There they also learn more pieces of the extensive puzzle, and fall to more hidden treachery, while figuring out how Milady and Richelieu (Eric Ruf) are involved, as d’Artagnan believes that they too are possible traitors.

Samuel Goldwyn Films

in all honesty…

Bourboulon’s second installment of The Three Musketeers stands proudly equal to his first.

This time, though there may not have been so many plot points as the first, writers Matthieu Delaporte and Alexandre de La Patellière, start tying together almost everything that was left hanging from the first.

The film itself is darker, so the colors have been tampered down to cold grays and blues, creating a perfect atmosphere for an enclosed, dank, fearful time.

Cinematographer Nicolas Bulduc spends just as much time on creating the most beautiful, masterful shots that wow with picturesque perfection, drawing us closer in to the feeling and sites of the time.

He renders some of the most breathtaking war shots that I’ve ever seen to date. How one renders beauty to war is beyond me. Truly an artistic triumph.

The production design, costumes and sets are pure excellence, adding to the richness of the film and further enveloping us into the world.

Samuel Goldwyn Films

The acting is also enjoyable, though we don’t get to see enough of the three Musketeers, and there is very little new in the development for Porthos and Aramis. Both of them were absolutely delightful in the first and I wish that we had a bit more time with them.

Surprisingly, the story ends on another cliffhanger. Perhaps a third may be afoot?

Overall, you can’t go wrong seeing this, especially on the big screen. Prepare to be delighted and titillated by the newest addition to this wonderful epic.

Arcadian: A Good Idea That Leaves Us With Too Many Questions.

Arcadian is one of Nicholas Cage’s new films, about a father and two sons who are living in a post apocalyptic era, where monsters roam free during the night. Directed by Benjamin Brewer, this film focuses on the survivors of a war of sorts from 15 years ago, where much of the population was wiped out for unclear reasons.

just a creature feature?

The film takes place in rural America, though I could tell it was actually filmed in the UK, where Paul (Nicholas Cage) is a single dad of two teenage boys, Joseph (Jaeden Martell) and Thomas (Maxwell Jenkins).

Paul has taught both of his sons how to live within the constraints of a broken down system, where killer monsters come out every night in search of humans. There isn’t a lot of information given in the story about when, where or why these creatures came to be, nor how they arrived.

Other than the creatures, the area they live is relatively safe, but very sparsely populated and supplies aren’t very plentiful. Joseph is the quiet, brainy son, while Thomas is the more outgoing one, doing what he can to help a family close by, because their daughter Charlotte (Sadie Soverall) has caught his eye.

Thomas tends to run back and forth to their house on a daily basis and has, at times, been late for the evening curfew. One night, while running back home, Thomas falls into a fissure in the ground that he is usually able to jump.

As dark closes in, Paul is forced to leave Joseph to go out and find Thomas. When Paul gets seriously wounded rescuing Thomas, the kids have to band together to figure things out and learn how to keep him safe and survive without his help.

RLJE Films

in all honesty…

Arcadian, though full of creative creatures and action, sorely lacks too much information and script development to be considered well rounded.

I was very impressed with the creative creatures that looked like a mash up of a sloth, dinosaur and werewolf. With their sped up chompy chomps and rolly rolls, they add excellent tension and jump scares that are likely to hit well with audiences.

The film quality is also well done, but the lighting overall was much too dark. It was difficult for me to see much of the early creature activity, or grasp what they looked like due to so many scenes that were poorly lit. I wasn’t always sure what I was looking at.

Jaeden Martell, the sweetheart of the most recent It films, continues to wow with his acting that is so incredibly focused and intuitive. He hardly had a chance to expound on his talents though with the script that was so lacking.

There simply wasn’t enough time or development put into this script. There were so many questions left unanswered, such as what made the world desolate to begin with; where the creatures came from or how; why they only eat humans; how Paul and his family survived and found decent housing within the parameters of the disaster; what happened to mom and the general sense of who each character is individually.

Instead, everything just “is” and I think that choice cheated us out of so much that it simply couldn’t suspend our disbelief in the world to be fully immersive, which was so disappointing.

RLJE Films

For a disaster film to really work, it requires time, space, highly necessary and developed characters, and a sense of urgency to be absorbed into the world. There weren’t any high stakes in the film other than survival and no relief to be had in the end.

The ending itself was very abrupt and wholly incomplete. It was as if Brewer just wanted to focus on creatures only, which left a lot to be desired. The failures in the script become failures of character, story, plot, a ticking clock, general direction and a point.

What was it that Brewer wanted to tell us? Why was this particular story something that he thought was necessary to be seen?

Though I’m sure that audiences may like the tension, creatures and excitement they cause, the rest of it is just one big enigma that left me completely unsatisfied.

Against All Enemies: A Battle Cry For Help

Against All Enemies is a new documentary directed by Charlie Sadoff that explores the origins of hate groups in America, and why so many veterans become parts of them. With a plethora of information and across the political spectrum insights, this is a documentary that should be paid close attention to as it shows us much that needs to be healed in this country.

why are we so far from uniity?

The film focuses on the rise of extremist, right wing political groups the likes of The Proud Boys and Q Anon, and those who stormed the US Capitol on January 6th, 2021.

With the aid of former veterans both in the political arena and out, Sadoff explores these extremist groups from their leaders, their recruiting sites, their grooming of lost veterans and the misinformation that they spread.

These groups hail from a long history of white supremacy, racism, and other white nationalist groups like the Ku Klux Klan, in an intricate web of lies and deception. They feed off of fear, insecurity, low education and conspiracy theories.

Using these fears and insecurities, others who want power see opportunities for success in the political arena, and create platforms that feed into them. Trump, of course, is the biggest con artist of the myriad of politicians, who spread misinformation in order to incite violent action, to realize his own dream of fascism and dictatorship, which isn’t surprising, as his own father was in the KKK.

AP

Trump’s followers in the senate and other government positions continue to do whatever they can to push the white, cis, hetero normative, including banning books, not allowing LGBTQ+ to be seen, heard or protected, abolishing the right to choose, gerrymandering and suppression of voting for black and brown communities.

With the unbelievable amount of poisonous lies, these people continue to have strong platforms to keep spreading their malcontent because no one is taking them to task.

why recruit veterans?

According to the film, these sorts of extremist groups purposely focus on our vets. They need people who are armed/know how to use weapons, have an undeniably twisted sense of patriotism and who are most susceptible to radicalization, for a sense of purpose, belonging and “family”.

The leaders tend to all be white men, educated at white, bought-in, “elite” schools, who know the law, but are generally amoral and use it to their advantages.

As I’ve seen, with a hearty history of mental health education and counseling experience, US Veterans are not taken care of. Most of the men going into the military are young and inexperienced, who come home from political wars with PTSD and all kinds of other mental health needs, only to be shutdown and not cared for by our government for their service.

Take a group of people who have been traumatized; initiated by violence and war, then left to their own devices and not slowly reintegrated back to normal society coming home; add guns to the mixture and you’ve got an explosive concoction of vitriol, misdirected pain and the need for relevance.

It’s become astonishingly difficult to know who we can trust in politics and our daily lives and many inadvertently fall victim to those who con.

Mighty Pictures

in all honesty…

Sadoff has given us such an abundance of information packed into one film that it’s hard to know where to start.

We have had a crisis of military mental health since the beginning of military history. As a supporter of our troops, I have seen the toll that war takes on them. I’ve also seen a lot of people who get denied treatment from the government programs, such as the VA, that have promised to take care of them and their families.

What makes me most angry about this subject are the rich people who continue to use and exploit them as pawns, knowing full well that they would never do the job themselves nor expect their children to go to war.

The indoctrination involved, also explained in the movie, is sickening. More laws against disinformation and the online presence of these extremist predators need to be made before anything. There’s nothing “constitutional” about conning others and creating violence against other groups of people through hatred. We have laws against hate speech so why not online?

Sadoff also has a section comparing Isis with the domestic US extremist groups. Though they have many similarities, the US doesn’t crack down on the groups here like overseas, most likely because our perps are white.

The biggest threat to our democracy are cons like Trump and those who support him. I don’t know what hold he has over his supporters, but I do know that all he cares about is becoming an all powerful dictator. He has literally said it before and praised dictators across the world.

He is using Hitler’s words and tactics in his speeches trying to convince his supporters that dictators aren’t
”so bad”, and many of his political pawns are now in jail. Trump himself has almost 100 charges against him for fraud, sexual assault and mishandling of classified government documents. What else will it take to convince his supporters? It’s so blatant it’s frightening.

Absolutely zero legitimate presidents have ever had so many lawsuits against them in US history. Is racism so powerful that many citizens would vote for someone who is showing you who they are? It’s all “Fake News” unless Trump agrees with it.

MSNBC

The battle of “wokeness” is also being manipulated by the same MAGA politicians to mean something ugly, when it’s literally just being awakened to all of the injustices of our world. When we are able to see with more clarity, we are better able to fix the problems around us. Why would anyone want to stay “asleep”?

Our political system on both sides is rigged for the super wealthy only and needs to be overhauled, no question. Replacing this with fascist, hate filled politicians and rhetoric would be epically worse than what we have now, and there is a real possibility that the US could be walking itself ignorantly and apathetically into it.

Against All Enemies brings us a multifaceted buffet of the problems at hand, asking its audience to come up with answers that most of us don’t have the knowledge or power to answer. There is little here to keep us hopeful.

Trump’s presidency has left America with multiple questions regarding legality and how to handle a corrupt president. We need to come together and demand from our elected officials that laws to protect our democracy are vitally needed now.

The rise of authoritarianism is a real threat that needs real answers and effective measures taken against it. I personally am less afraid of a second Civil War, as mentioned in the film, than Trump getting the chance to change more of the government to his liking than he already has.

We’ve been there historically in the 1940’s and fought against it. Where is that same enthusiasm now? Why haven’t we learned?

Those of us who are awakened have an obligation to fight the rise of fascism with our votes and help those who can’t see clearly to wake up and find the clarity they need.

Fighting each other will only keep us divided without the ability to break from our self created gridlock and allow fascists to slip in in the meantime.

Do we continue to support and uphold the rubbish sold to us by the 1% and toxic capitalism, or will we have the courage to do the tough work of our own healing, and demand in large numbers that this non-sustainable society, hatred and malfeasance be banished for good?

The choice is ours. Vote like your lives depend on it, because they very well may.

The Crime Is Mine: A Delightful Comedy Harkening Melodrama Nostalgia

The Crime is Mine, directed and written by Francois Ozon, loosely based on the 1934 play Mon Crime, is a lively and entertaining film with the feel of a stylized melodramatic play. With excellent acting, timing and flow, this film is sure to charm viewers into its light-hearted grasp.

Caught in desperation

Madeleine Verdier (Nadia Tereszkiewicz) is an up and coming actress in 1930’s Paris. She and her roommate Pauline Mauleon (Rebecca Marder), a young up and coming lawyer, share a tiny, broken down flat. With rent that is months overdue, and Madeleine’s career at a standstill they are both desperate for prospects.

Madeleine is invited to seedy producer Montferrand’s (Jean Christophe Bouvet) mansion to “discuss” a possible role for her. While she is there she finds, like many young actresses, that he is only interested in having her as a sexual mistress.

After fighting her assailant off, she returns home to more bad news about past due bills only to have her boyfriend Andre (Edouard Sulpice), stop by to tell her that his wealthy father M. Bonnard (Andre Doussolier) is insisting that he marry into another wealthy family. He also discusses having her as a mistress so they can still stay together.

Frustrated that she doesn’t have any other prospects to help her, she overdramatically muses taking her own life with her pistol. Pauline talks her out of it believing there is a less permanent way to proceed.

When they are visited by M. Brun (Regis Laspales), a local detective, and told that Montferrand has been murdered, Madeleine becomes a suspect.

Murder is a good thing?

Music Box Pictures

The story takes a twisted turn when Madeleine finds out that she cannot be put in jail for killing someone in self defense. With Pauline representing her in court Madeleine makes a desperate plea, accepting responsibility for Montferrand’s death.

When she is acquitted, she becomes a shooting star, seen by others as representing purity and a model of a woman who refuses to put up with attacks by sleazy men. Her fame soars and she and Pauline finally enjoy the life they were hoping for.

When Odette Chaumette (Isabelle Huppert), an out of work older actress comes to them claiming that she was the actual killer and wants compensation from Madeleine’s fame, Madeleine faces another unexpected challenge.

What is the truth? Will Madeleine’s fame be stolen by a blackmailer or will she have to confess to a story that may or may not be true?

in all honesty…

Music Box Films

The Crime Is Mine is a funny, beautifully charismatic film, full of brilliant characters, gorgeous costumes and captivating production design.

Everything, from the acting, writing, costuming, pacing, editing and scenic design, seemed absolutely effortless. It never drags, bores or overcompensates. Because of the harmonically orchestrated craft and collaboration by the artists involved, there is not a single frame that doesn’t belong.

The protagonist Odette Chaumette has such a hilarious stint that she doesn’t even feel like a true “villain”, and Dany Boon plays an absolutely charming Fernand Palmarede, who becomes a mentor and father figure for Madeleine.

Also want to shout out Pascaline Chavanne, Constance Allain and their entire crew for such superb, impeccable costume designs and wardrobe, and also the artists behind the sets and set dressing. Their combined efforts really brought to life the times in such a sumptuous, romantic way.

This exquisite film that you’re sure to relish is available on BluRay, and streaming on most major platforms in the U.S. It is such a pleasure and rarity to come across films such as this in my profession. I hope you like and support it.

Enjoy!

Femme: A Dangerously Toxic Film

Trigger Warning! Mild talk of sexual assault

Femme is the debut feature by writer/directors Sam H. Freeman and Ng Choon Ping. Based upon their short with the same name, the film explores the seriously dark sides of two men who are both deeply traumatized by the toxic masculine and acting upon deep seated fear.

With powerful performances by leads George MacKay (Preston) and Nathan Stewart-Jarrett (Jules), the film wanders down an exceedingly dark path where both characters become equally loathsome with zero redemption at the end.

Lost

Jules works as a drag queen in a hopping queer club in London. One night, when he is outside on a smoke break, he notices that he is out of cigarettes and walks to a corner shop to get more. While in there, Preston and his group of friends come in.

Preston notices Jules and seems very struck by him. As the friends notice that Jules is in drag, the homophobic inferences towards Jules begin. Though Jules tries to ignore it at first, he decides to come back at Preston in an attempt to put him in his place.

Due to Preston’s extreme homophobia he, of course, has to slather his toxic masculine all over Jules because he’s so insecure about his own homosexuality. Preston follows Jules outside and brutally attacks him.

Jules’s life is turned on its head and he is unable to continue working.

the dregs

Utopia

Later, Jules is relaxing at a gay bathhouse when he notices Preston is there, loudly shaming another man for hitting on him. Jules follows him into the locker room and notices that his locker is right next to Preston’s. Somehow not recognizing Jules out of drag, Preston eyes him up, and on his way out demands Jules follow him.

When Jules finds him outside, he gets in Preston’s car and they drive off together to have sex at Preston’s apartment. Preston continues to be demanding, wanting Jules to follow behind him so no one sees them together.

They start the process of their noxious affair, but are interrupted when Preston’s friends let themselves in to the apartment. Preston introduces Jules as his “mate” to his friends, which continues down a closeted, pernicious, rabbit hole of obsessive darkness.

Jules, plotting his “revenge”, watches toxic, gay, outing porn sites. He pursues the idea of getting a video of them having sex, to out and humiliate Preston, thinking that this will somehow make him feel better.

For the rest of the show it becomes a shame inducing cesspool that consistently humiliates only Jules.

In all honesty…

Utopia

Femme is a mephitic story of two seriously unstable characters, who choose to go down the path of darkness and destruction into a toxic relationship of epic proportions.

With beautiful lighting and cinematography, we see two human beings on opposite sides of the toxic masculine. Preston, who most likely was traumatized by the straight normative, is a beastly man with hardly any feelings or remorse, and when threatened, lashes out like the wounded animal he is.

Jules on the other hand is clearly out and open about his homosexuality and challenging gender norms, but in seeking revenge in a way that will traumatize him more, he too falls into an inescapable darkness that he cannot be redeemed from.

As a member of the LGBTQ+ community, I found this film extremely disturbing. Not only for the homophobic brutality inflicted by Preston, but mostly by the way Jules counters his attacker with a revoltingly submissive catharsis of degradation I’ve not yet seen the likes of.

The filmmakers chose a path for Jules that made him almost equally as culpable as Preston, in the sense that he would go so far as to knowingly out someone, who is unaware, in a despicable public arena and disgrace himself by willingly having sex with, and becoming attracted to his attacker.

There is nothing redeeming about this film, as the two characters walk the line of psychosis, attempting to find their way through their darkness using more darkness. They couldn’t be more blind and unaware.

There is nothing thrilling, erotic or sexy about the story, only more and more malignant behaviors until the final scene where no one has changed or learned anything.

Utopia

Jules is a physically larger and stronger bodied person who couldn’t be bested by Preston in any way unless he allowed it. At one point Jules does try to overpower Preston, which I thought might be a chance for his redemption, but instead he continues to be the shivering submissive every time Preston shouts.

Though I wanted to root for Jules, the lengths he goes to in humiliating himself casts a horrible shadow of rape culture as well. Jules may not have been physically raped in Preston’s first attack, but it felt like he got physically and emotionally raped over and over again every time he continued to go back to him.

Make no mistake, there is zero presence of real love here in either man, personally or together.

None of the craft behind or on scene can save this repulsive tale. It takes the LGBTQ+ community’s struggles for equality, advancement and humanity, and basically vomits on it. It also leaves LGBTQ+ people open for more ways that the ignorant can judge and revile us more, should they choose to generalize us by these characters.

With no justice, no growth in the characters, no redeemable qualities in either, it’s just a graphic ick fest of mental illness gone exceedingly wrong, with queer characters who both need years of serious therapy, and in Preston’s case, jail time.

They could have chosen an endless number of ways for Jules to get justice that would’ve been far more clever and interesting, instead, they lead him down this path of indignity and willful destruction.

There are, most decidedly, much better queer films to choose to spend your time on. No need to waste your time here in the dark.

The Taste of Things: A Gorgeous Celebration of the Art of Cooking and Love

The Taste of Things, starring Juliette Binoche (Eugenie) and her real life ex, Benoit Magimel (Dodin Bouffant), is a story of a celebrity chef and his cook, that have worked together and been lovers for 20 years. Directed by Ahn Hung Tran, the story is set in 1889 France in Dodin’s beautiful manor home, where both he and Eugenie spend nearly every moment creating culinary art in his rustic kitchen.

the perfect mix

When the film opens we see a breathtaking montage of Eugenie, Dodin and their helpers creating a feast for the dinner party that Dodin is hosting for his closest friends. It delves into the hard work, knowledge and craft that professional chefs endure to manifest the most exquisite sensorial, palate pleasing experience.

It is clear that Eugenie and Dodin are masters of the kitchen and amazing teachers to Violette (Galatea Bellugi), the housemaid and her young niece Pauline (Bonnie Chagneau-Ravoire), who may very well be a natural savant in the kitchen . Director Anh Hung Tran and crew, create an effortless looking scene that flows back and forth and doesn’t miss a beat.

As the film continues, we learn that Eugenie and Dodin’s relationship is deeper than it appears. Dodin has spent many years asking Eugenie to marry him, but she denies him every time saying that she retains more independence and decision making by staying single. which, in that time, definitely holds true.

When Dodin gets the invitation of a lifetime to dine and then cook for a Prince, everyone is over the moon. Unfortunately Eugenie hides an illness that is causing her pain and may interfere with their work and their relationship.

When Eugenie refuses his hand in marriage yet again, he decides to create a meal especially for her, using all of the right ingredients to impress her, in the hopes that she will finally accept him.

IFC Films

in all honesty…

The Taste of Things, even though lighter on story, is an exquisite film celebrating art, love and cooking.

It was fascinating watching the creation of all their dishes especially while using less culinary technology than we have today. Everything was done with equal parts perfectionism and love. It was a time when our quick cooking gadgets weren’t available and the beauty in taking one’s time to make everything from scratch.

Dodin has his own garden in his back yard and everyone uses only the freshest ingredients, sourced locally and from far away. The richness of this tradition is far lost on society today where the mentality is “faster is better”. No chain restaurants today come anywhere near the wholeness and the sublime natural ingredients done in days past.

Juliette Binoche is beautiful as always, and such a perfect addition to this film.

Her Eugenie is earnestly devoted to craft and is earnestly independent from the rules of the patriarchy and being “owned” by a husband. Though you can see that she loves Dodin, she does it through the perspective of clarity, knowing exactly who she is and what she wants to do.

Dodin is naturally drawn to her because of her self respect and how different she is than most women. Eugenie does what she can to remain useful and also keep the mood light surrounding her unfortunate mystery illness. Binoche herself has never married and I find that remarkably admirable.

IFC Films

The sets and production design are impeccable and the flow of the moving shots sets you under a spell of sorts as it takes you dancing across the screen. The rustic kitchen was absolutely stunning and I enjoyed every second of being in it.

Couple that with breathtaking countryside cinematography from Jonathan Ricquebourg and you’ve got a recipe for a moving symphony.

I do wish that there was more to the story regarding Dodin and Eugenie’s relationship. As it is, we only get to see some rather topical events that happen between them, but it is impossible not to love the film and its characters.

It’s a refreshingly delightful replacement to all of the loud CGI debacles out there now and I highly recommend it to those who want to watch true artistry in motion.

Spaceman: A Film That Promises So Much More, But Doesn't Deliver

Spaceman is a new SciFi film, starring Adam Sandler (Jakub Prochazka), about an astronaut who has left behind his pregnant partner Lenka (Carey Mulligan), to take a year long space odyssey to study a strange phenomena in the sky called the “Chopra cloud”,

Though I believe this film had good intentions of being something mind blowing, we instead get served up uninspiring, already done subjects and a protagonist who didn’t need a space odyssey to get the answers he needed.

On the rocks

Jakub is an ordinary self centered man who has spent most of his life trying to recover from his abusive father, and running away from his wife Lenka, and her love for him.

Things were already on the rocks for Jakub and Lenka before he goes on this isolative trip, so the trip becomes an even greater wedge between them. Jakub is very self involved and focuses only on what he is currently doing, whilst ignoring and taking for granted the supposed love of his life.

When the film opens, we see Lenka send a message to Jakub in space regarding the fact that she has decided to leave him, because she can no longer wait for him to get his head out of his ass. As the film continues, we see that this trip is just the straw that broke the camel’s back.

Mission Control won’t allow him to see this message as they don’t want to ruin the mission nor Jakub’s already deteriorating mental health, so they make a plea to Lenka to communicate with Jakub as though she is still waiting for him.

Lenka refuses and moves back with her mother.

Skinny human

Netflix

While on his journey, Jakub meets an ancient alien, a giant space spider later known as Hanus (Paul Dano). Hanus apparently comes to Jakub as he is floating through space. He finds Jakub interesting for some reason, and decides to board his ship to study him up close.

Though he knows that Jakub is a human, he apparently doesn’t know anything about humans, though he has the power to access Jakub’s thoughts, feelings and his past. As the film progresses, Hanus becomes a mentor and a friend to Jakub within space’s cold, isolative blackness.

Hanus condemns and forces Jakub to confront his past behavior, giving him the opportunity to change his ways for a chance at redemption with Lenka.

in all honesty…

Spaceman is a well dressed, fantastical idea that fizzles out horribly by the end.

There were so many moments missed to show more depth, perspective, soul growth, personal growth, and the reasons why this couple and the protagonist are special enough to deserve a story about them. It’s an utter failure in character development, background and story telling.

It felt like a very expensive way to tell a yet another story about why cishet men believe that they can be wholly self centered, treat a woman like crap, and still believe they deserve another chance for forgiveness. The worst part is cishet men’s ability to believe that a woman and their kids should wait around for them. It’s a fantasy that has been woven into the fabric of storytelling for centuries.

We have seen countless stories in the past with the same themes, from The Godfather’s, Scorsese’s mob films, to Interstellar, with the message that no matter how self centered, narcissistic, or mentally ill a cishet man is, their families and their wives should accept all kinds of abuse, abandonment, emotional and mental gaslighting, sexism and second classism to “stick with their man”.

They weren’t even able to show us why Jakub deserves a second chance to begin with.

Netflix

It’s also extremely far fetched that any space research facility is going to invest in someone close to their sixties, to enter into the rigors of space travel for a mission that is so important for them, for a week, let alone a year. At the same time we are meant to believe that a woman twenty years his junior is going to wait for him, when the relationship shown hasn’t been anything special to begin with.

Hanus is also an alien species that has been around from the beginning of time, who knows what humans are, has special empathic abilities, but doesn’t know anything about them or how they work. It is also drawn in by Jakub, who also isn’t really anything special in character. There is no way that a being who has lived since the beginning of time doesn’t know about humans and everything else already.

By the end it becomes clear that this alien, only has the most basic of truths to share with Jakub and helps him come to a conclusion that could’ve easily been drawn through some lesser happenings on Earth. If it takes six months in space and an alien to make Jakub come to the conclusion that he’s been an idiot, why is the story centered on him?

I was really hoping for something mind blowing at the end for all of the things that Jakub goes through, but even an ancient space spider turns out to be something too close to humanity to be believed as a wise, all knowing being.

Hanus even becomes angry and threatening at one point, which would happen only if he was living with duality, and lived within the confines of unawakened humanity, with a life spent focusing only on the tiny, individualistic bubbles of life in front of them.

The filmmakers likened Hanus to be something of a Yoda character from Star Wars, yet Yoda, who was only 900 years old, knew way more about spirituality and life truths than Hanus. Yoda’s metaphorical knowledge still holds true today.

Netflix

Mulligan, who I love in almost everything, had nothing to work with in Lenka’s character whatsoever. Even the reasons presented of why Lenka loves Jakub and sticks by him aren’t enough to warrant an actor of her caliber. The only reason I heard uttered from Lenka’s mouth through the whole film, about why their relationship is special was a really good first kiss.

The musical score, space design and Dano’s performance created a beautiful symphony of ethereal peace throughout the film, there are just far too many unanswered questions, underdeveloped characters with nothing special about them, and super far fetched situations for this film to work.

Drift: A Story of Violence Against Women and the Relationships Between Women That Help Heal

Trigger Warning! Reference to war violence and sexual assault. This film is not recommended for people who are still healing from violent trauma.

Drift is a heartbreaking new film, adapted from a novel by Alexander Maksik, written by Susanne Ferrell and directed by Anthony Chen. It explores Jacqueline’s (Cynthia Erivo) life from privilege to unforeseen trauma that forces her migration to a foreign country with nothing but her clothes and the little she has in her purse.

Though some may imagine this story to be about what immigrants face, I saw it as more about the connection between women and how we rely on each other in times when the toxic masculine turns horrifically violent.

All alone

When we first meet Jacqueline, she is eking out an existence in a small beach town of Greece. We don’t know why she is there or even that she is a drifter of sorts there. We see her doing what she can to survive, including taking sugar packs as paltry sustenance from the restaurant she gets coffee in.

A small group of African men watch her when she’s in town and she does anything to avoid them, for reasons we don’t know at first. She sleeps in a cave by the beach, washing her clothes in the ocean with the small bar of soap she has.

When she notices the African men approaching beach goers to give foot massages, she picks up on that and is able to get some money from those who allow her to do it.

Utopia

Bit by bit, scenes of her past life get fed to us. We see she is an African woman, who’s father is a minister of the African government, who lives in London freely as a queer woman.

Her sleeping cave becomes threatened when she sees the African men on a boat just outside of it and she moves to find safety again.

where to go?

While sitting amongst some ancient ruins overlooking the sea, she meets Callie (Alia Shawkat), a tour guide educating a group of tourists about the ruins. Callie is outgoing, curious and interested in knowing Jacqueline’s story.

Jacqueline is hesitant, but enjoys being able to talk to someone who finally seems trustworthy. Callie picks up on the fact that Jacqueline is alone, and doesn’t have the husband she claims to be there with. They create a friendship of sorts, limited by Jacqueline’s trauma and trust issues.

Though Callie continues, bit by bit, to get to know Jacqueline and earn her trust, there is still a wall built by Jacqueline, that is hard to penetrate. Callie is always respectful of her boundaries, but feels she can’t help Jacqueline without her permission.

As the two women slowly bond, Callie finds out the horrors that Jacqueline has faced and becomes the only one that Jacqueline can trust. Will Jacqueline be able to allow a friendship to blossom, or will her pride and fear break her away from the only kindness and opportunity for healing she’s had since the incident?

in all honesty…

Utopia

Drift is a slow moving, beautifully portrayed film about the necessity of women’s friendships when the world they know is shattered by violence and the toxic masculine.

Cynthia Ervio is one of the most spectacular actors of our time. She embodied Jacqueline with earnest focus, as she has in every one of her performances, and I cannot understand why she has not yet received an Oscar win (though I have a few guesses).

Ervio transforms into Jacqueline so vividly, that we are able to see and feel, at all times, how she feels. From her nervousness, hunger, sense of being lost, and how these new, chaotic emotions wreak havoc in her newly traumatized body. Jacqueline clearly hasn’t had time to process all that encompasses a person’s experience surrounding having survived physical and emotional terrorism.

Though the screenplay is written by a woman, I felt that this particular story should’ve also been directed by a woman, especially a woman of color. Chen does a nice job of creating this film, as the book was also written by a man, but it lacked the emotional connection, that those who are more in touch with actual female experiences like this, would readily have.

Since the majority of people who experience rape and terrorism are women, then a woman would’ve been a better choice to do a film like this. I’m simply tired of men telling our stories in general. I wouldn’t know anything about his journey in the world as an Asian man, and I wouldn’t dare think that I had the experience to write/direct films about it.

Utopis

There is still a huge gap between male and female directors in the industry and maybe he just should’ve passed on it to give a female a chance. The bottom line is, if you haven’t experienced life as a woman you simply won’t have the insight to create something about women that is truly connected and authentic.

Ervio saved this film with her powerhouse acting abilities and added part of what was necessary, but again, the connection to the situation was palpably nil, and no amount of violent scenes can make up for that. The grief and terror women feel as a collective, is something that simply cannot be replicated by men.

Callie didn’t have Jacqueline’s personal experience, but living as a woman in this world gifts her with the compassion that she knows she needs to have in such sensitive, almost exclusively female situations. Women walk around every day in fear of being killed, raped or more by toxic, entitled, ignorant men.

Still, Ervio’s performance is enough to make this film a good one to see if you can stomach the violence at the end. I very much enjoyed Jacqueline and Callie’s relationship too. It mimics the opposite of the ugly toxic violence with the softness, kindness and hope necessary for healing to occur.

I think, especially at this moment in our history, we are far overdue for much more of that.

The Boy and The Heron: A Sumptuous Journey Through the Mind of an Animation Master

The Boy and The Heron, written and directed by the legendary Hayao Miyazaki, is a fantastical tale of a boy grieving the loss of his mother, who is lead into a journey about the pain of life and figuring out who he is after it.

With similarities to some of Miyazaki’s other films, this one dives into a literal realm of existentialism where the boy must choose to leave behind his broken past, push through his pain, and grow into who he is becoming.

Heed the call

The film starts in WWII Japan, where a young Mahito (Luca Padovan) is terrorized by the bombing of his village.

While being pulled to safety by his father Shoichi (Christian Bale), Mahito breaks free to run and get his mother, who is away in another part of the village. When he gets there, the building where she was, is set ablaze and Mahito can’t save her.

Fast forward a couple years later, and Shoichi has remarried his deceased wife’s younger sister, Natsuko (Gemma Chan), who is now pregnant with Mahito’s new sibling. Having moved to his family’s estate in the country, Mahito must adjust to a new town and school.

The children at school are less than welcoming, and Mahito finds himself the target of bullying. He ends up taking a rock and hitting himself in the head in order not to go back to school. As he explores the new grounds, he comes across a big, ugly heron (Robert Pattinson) that leads him to a mysterious tower.

GKIDS

He asks his caretakers, a gaggle of comical “grannies”, Aiko (Barbara Goodson), Izumi (Denise Pickering), Eriko (Melora Harte), Utako (Barbara Rosenblat), Oyuki (Nika Futterman) and Kazuko (Debi Derryberry), about the tower.

They all discourage him to go and tell him to leave the place alone, as his Granduncle (Mark Hamill), also disappeared there long ago.

But the Heron persists in getting Mahito’s attention, at one point telling him to come “save her”, in reference to his mother. When his stepmother disappears, Mahito takes it upon himself to rescue her so that he doesn’t lose another mother again.

the other side

The Heron leads him into the tower that is full of magic and mystery. They are sent into a world “beneath” their own, where everything looks like Earth, but is always a bit unsettlingly off. A sailor called Kiriko (Florence Pugh) leads him to a massive structure that is another world within this world.

There he is taken further into the search for his stepmother, in an ethereal realm with all kinds of strange creatures, those who would be helpful and some that are not. He begins to explore more of his family’s past there, where he also figures out what happened to his Granduncle.

GKIDS

Within that, Mahito is forced to make an important choice that will decide not only his fate, but the fate of his lineage and the world “beneath”.

In all honesty…

The Boy And the Heron is a spectacular vision of creativity, humanity and the unsettling duality of pain and grief.

Apparently semi-autobiographical, Miyazaki, in his final film, pays homage to his experiences as a young boy growing up in a time of war, and the heart-wrenching end of childhood innocence after the loss of his mother.

His mother and the war have been depicted in many of his past films, showing up in a lot of the lead females he has written. He remembers her so fondly and she is said to be one of his greatest influences in his creative work and life.

This film delves into the “whys” that I think a lot of humans think about when bad things happen and when we wish life could be easier. The duality within us is something that we all share while on our Earthly journeys, some of us choosing to live within the light, and others of us who choose to live within the dark.

It is a deep question that has haunted humanity since the beginning of our time here, and will continue to follow us in the never ending circle called life on Earth.

GKIDS

Miyazaki uses beautiful and strange imagery to create a moving, vivid metaphor for life, and demonstrates the necessity for pain and loss. We find that only through pain can we grow and change, which couldn’t happen if life was always easy.

The filmmakers do an excellent job of creating a world that is palpably beautiful and peaceful, with an unsettling feeling that things are not quite right.

Though one could argue that this particular film may not be his best, it is nonetheless still destined to be a classic and an elegant closure to the legacy that this master of animation leaves with us.

Studio Ghibli has a look and a feeling that is truly one of a kind, no matter who may try to recreate it. Whatever the situation its protagonists find themselves in, there is always a feeling of hope, grandiosity, and a side of the startlingly bizarre, created with so much heart, love and extraordinary artistry.

I always enjoy his tiny side creatures the most. From the soot sprites of Spirited Away to the Wata Wata’s in this film, it always adds a dimension of the adorable and brings to life minor things most of us would never even think of.

What a ride Miyazaki has brought to the lives of so many people and what an incredible life he has led. He is a true master of animation and storytelling, and so blessed to have been one of the privileged few who have been able to share his work on such a grand scale with the rest of the world.

His legacy will persist and live to inspire for countless years to come. Bravo sir!

The Three Musketeers: Part 1: D'Artagnan: An Exceptional Reimagining of a Classic

The Three Musketeers Part One, directed by Martin Bourboulon, is another reimagining of Alexandre Dumas’s classic book. This time, the film focuses on young D’Artagnan (Francois Civil) and his passion for and journey to become an official Musketeer.

Though one might think with all of the multitudes of remakes out there, how could this be any different? Hold on, because you are in for a beautifully crafted, raucous ride with a plethora of impressively well crafted, interwoven story arcs.

Follow your heart

The film begins with a dirty, disheveled D’Artagnan, who is on his way to Paris to answer a call for Musketeers. He encounters, what looks to be a robbery of a noblewoman, and, being an honorable man, fights to protect her.

He bests the men who are trying to pull off the “robbery”, then ends up being shot by the woman he was trying to save. What he doesn’t realize, is that he has inadvertently stumbled into something much deeper and more complex than he could’ve imagined.

Surviving the attempt, he makes his way to the palace, sneaking past the days long wait, to speak to the Captain of the Musketeers, (Marc Barbe), securing a cadet position. Pursuing someone he recognizes in the palace courtyard, he manages to literally run into Athos (Vincent Cassel), Porthos (Pio Marmai) and Aramis (Romain Duris), sending him careening into the adventure of his life.

La Guerre

At the same time France is in perpetual tensions with England due to the rise of Protestantism. King Louis XIII (Louis Garrel), is surrounded by people of the court, including his advisor Cardinal De Richelieu (Eric Ruf), who wants war between the Protestants of England and the French Catholics.

Samuel Goldwyn Films

King Louis wants peace, ruffling the feathers of his advisors and some close to him, who scheme behind his back. Along with Richelieu is a mysterious woman known as Milady (Eva Green), who works with Richelieu vying for war, all while who she really is and why she does, alludes us.

When a plot to rid the King of his best Musketeers begins, Aramis, Porthos and D’Artagnan leap to action to prove the innocence of their friend, Athos, who is wrongly accused of a crime. It takes them on an unexpected journey woven in treachery and deceit, where it seems no one can be trusted.

Will they be able to save Athos, keep themselves and the King and Queen (Vicky Krieps) safe, while figuring out the answers to this intricate plot?

in all honesty…

D’Artagnan proves itself a highly worthy contestant amongst its predecessors, shining with exemplary visual craft, writing and acting. It’s not like any of the others that I have seen.

Abounding with breathtaking cinematography and lighting; excellent chemistry and performances from the actors, and a story with so many carefully crafted twists, it is an outstanding beginning for this film series. It felt like an overwhelming labor of love by everyone involved.

Civil plays an astute, and charming D’Artagnan, with a welcome lightheartedness and earnest heart. Green serves up Milady with captivating beauty that is wickedly smart, cunning and cutthroat. I was also pleased to see a layer added to Porthos regarding his sexuality, that added more dimension to his character and flowed exquisitely with Marmai’s portrayal.

Samuel Goldwyn Films

I was pleased to see that Richelieu wasn’t the main villain this time around. He was played with much more reserve than in other films and though he’s still plotting, this rendition sets him aside this round for other, more colorful characters. These characters mesh effortlessly within a world where no one is safe and where anything can happen.

I was awed with the ability of writers Matthieu Delaporte and Alexandre de La Patelliere, to set up so many story arcs that were so skillfully crafted and layered. They were able to have multiple moving parts that all wrapped up smoothly, leaving me excited for the next installment.

The flow of the film is never fettered by its multiple arcs and there wasn’t a part of it that seemed dragged out or boring. Though we are left with questions, with the confident way it’s portrayed and executed, we know we are in secure and skillful hands.

Bravo cast and crew! I rarely get to give this shining of a recommendation of a high budget remake, especially in the writing department, because most remakes today rely on CGI instead of true craft to succeed.

All that remains to be seen now is if Bourboulon and his talented crew will be able to pull off the next film(s) with as much grace and satisfaction as this one.

I hope that the next one(s) are created just as well, if not better! Looking forward to see what they come up with.