Category Archives: Movie Reviews

May 7, 2024 · 1:21 am

UNFROSTED Directed by Jerry Seinfeld movie review

Unfrosted. Directed by Jerry Seinfeld. Netflix.

Jerry Seinfeld’s new movie, Unfrosted, as Tony the Tiger would say, is great! It’s great for more reasons than you might think. First and foremost, it’s funny as it keeps to its theme, basically that of our love/hate relationship with American consumer culture (at its zenith in the early ’60s), and just runs with it with sincere passion and goofy humor. The whole thing rings true in a way that you can’t fake, managing to unlock that secret code that usually eludes Hollywood of creating a homage piece in the style of the thing being honored, in this case, the broad and frenetic ’60s comedy. It doesn’t feel at all like a contrived attempt but, in fact, the culmination of a lifelong love for a certain moment in time. Any fan of Jerry Seinfeld’s standup comedy knows that he loves, and loves to poke fun at, the simple pleasures in life, like the Pop-Tart.

This movie is all about Pop-Tarts and then some. It’s everything that you would expect from a comedy that is like a classic ’60s comedy: somewhat higher production value, family friendly, usually with a cavalcade of comic actors and unapologetically nonsensical. I don’t think I’m giving anything away (but spoiler alert nonetheless) when I say that this is the kind of movie that invests a lot of time and energy in establishing that the milk industry is having a very hard time with the emergence of a product that will replace cereal. Did Pop-Tarts ever really threaten to replace cereal? Don’t Pop-Tarts go great with milk? Toss any serious arguments aside and just bask in the playful satire, including spot on jabs at John F. Kennedy (Bill Burr) and remarkable send-ups of Walter Cronkite and Johnny Carson (both by Kyle Dunnigan).

Kyle Dunnigan, as Johnny Carson.

This whole movie is a hilarious send-up of ’60s culture from the race to the moon to the race to the consumer. Just add milk, and I’m sure this movie will deliver some good laughs. It’s certainly not meant to be taken too seriously, at least not in any obvious way. That said, it has its own special social commentary particularly focused upon American exceptionalism. A highly polished report could do no better. This gentle well thought-out and heart-felt comedy has plenty to say and with a stellar cast, including everyone from Hugh Grant to Amy Schumer to Jim Gaffigan to Melissa McCarthy. In fact, this movie has some great child actors, including Eleanor Sweeney who helps in the mad pursuit to invent the ultimate breakfast treat. If these young stars of tomorrow can not only appreciate the humor in this movie but help to make it shine, then there’s still hope for the rest of us.

5 Highly Anticipated Thriller Films in 2020

You know you’ve found the right thriller movie when it’s full of suspense, tension, excitement, and a compelling plot. One of the more offbeat and unusual examples of this is the 2017 movie, Hangman, starring Al Pacino, Karl Urban and Brittany Snow, which lived up to its promise of keeping audiences on the edge of their seats.

So, let’s take a look at some of this year’s highly anticipated thriller films.

Vivarium (March 27)

Vivarium (Credit: Variety)

Ireland’s famous director Lorcan Finnegan will be showing an unconventional and sinister portrait of marriage through his latest film, Vivarium. In the film, Tom and Gemma, played by Jesse Eisenberg and Imogen Poots, are looking for a place together. In their search, they find themselves in a suburban neighborhood of never-ending rows of eerily identical houses with no person or car in sight. After their realtor suddenly disappears, the couple soon realizes that there is no way out of the village. Screen Daily’s review of the film highlights that the low-key science-fiction thriller confidently executes the hells of aging, commitment, and parenthood in the most unconventional way possible. Have a look at their mind-boggling trailer:

Swallow (March 6)

Swallow (Credit: Roger Ebert)

While many consider pregnancy as a miracle or gift that should be celebrated, it made life even more miserable for Haley Bennett’s character, Hunter, who may seem to have it all. As the pressure of her controlling in-laws’ and husband’s expectations weigh her down, Hunter develops a dangerous disorder called pica – a condition that has her compulsively swallowing inedible and life-threatening objects. Rotten Tomatoes’ write up on Swallow outlines how the film directed by Carlo Mirabella-Davis tackles the unfortunate ways people try to reclaim independence in the face of an inescapable and oppressive system. Here’s a clip to give you a peek at some of the things Hunter swallows:

The Card Counter (Early 2020)

The Card Counter (Credit: The Hollywood Reporter)

Oscar-nominee Paul Schrader’s next film is the revenge thriller The Card Counter. It will star Oscar Isaac as William Tell, a gambler who just wants to play cards, and Tiffany Haddish as a mysterious gambling financier named La Linda. The movie will follow Tell as he sets out to reform a young man seeking revenge and help him win the World Series of Poker in Las Vegas with La Linda’s aid. While regular audience members might not be able to aim as high, CardPlayer Lifestyle’s review of PPPoker explains that casual players can participate in online tournaments and clubs to seek their next thrill. The popularity of online gaming is sure to drive a lot of the interest for this film; however, unfortunately, Paul Schrader reported that they had to stop production after one of the actors tested positive for the novel coronavirus. With the filming abruptly halted, no poster or trailer has been released yet, but rest assured that the filming will commence once the pandemic dies down.

A Quiet Place 2 (March 20)

A Quiet Place 2 (Credit: Insider)

After surviving the deadly events at home, the Abbott family must now face the outside world where monsters that hunt by sound and many others can be found. Entertainment Weekly’s preview of A Quiet Place 2 expressed that the movie will also provide viewers with a sense of what the world and the family were like before the nightmarish events happened. As the family realizes that there are other survivors out there, the movie will touch on how far an individual in distress can extend a hand to others in the same situation. Emily Blunt, who plays Evelyn Abbott, shared that it is important that the movie talks about the fractured sense of community that’s happening right now on a global scale. See the new creatures that will haunt your dreams through this trailer:

The Woman in the Window (May 15)

The Woman in the Window (Credit: Sinefesto)

Based on The New York Times bestselling book The Woman in the Window, by A.J. Finn, the film of the same title, starring Amy Adams, will be a psychological mystery thriller you should definitely look forward to. The film follows Adams’s character Anna Fox who is a child psychologist consumed by a case of agoraphobia and a hefty amount of wine and pills which leads her to obsess over her neighbors. One day as she looks outside the window, she witnesses what looks like a murder. Coming off as a closed-off drunk, the police didn’t believe Anna when she reported what she saw. The rest of the movie will revolve around unearthing the truth behind Anna and her claim. With its Oscar pedigree cast and addictive plot, Pop Sugar’s spoiler feature highlights how the film will be just as big of a hit as the book it was based on. Watch the trailer and see for yourself: did Anna really witness a murder or was it just a product of her hallucinations?

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Filed under Lists, Movie Previews, Movie Reviews, Thriller

Tagged as Entertainment, Hollywood, Lists, Media, Movies, Pop Culture, Thrillers

March 18, 2020 · 3:15 pm

File Under #TwilightZone Movie Review: The Vast of Night

Everett and Fay light up the basketball court.

The Vast of Night, directed by Andrew Patterson, screenplay by Craig W. Sanger and James Montague, cinematography by Miguel Ioann and Littin Menz, Amazon Studios, release date May 29, 2020 (USA)

I enjoy exploring a broad range of topics but my core niche resides somewhere “between the pit of man’s fears and the summit of his knowledge.” Go back far enough and maybe it’s the same for you. It sure is with this film. It begins with a retro living room scene and an antique television with a flickering image. An announcer refers to a “frequency caught between logic and myth” and introduces Paradox Theatre and that night’s episode, The Vast of Night, which is also the title of this film. As an added bonus for any loyal Twilight Zone fan, the next scene is set in Cayuga, New Mexico. Rod Serling’s prodcution company during TZ was named, Cayuga Productions. So, the bar is set pretty high and it follows through. I simply could not stop once I began.

Fay picks up strange signals.

The camera proceeds to snake its way into that night’s basketball game at Cayuga High School. It’s the 1950s and it feels like it in a glorious way. Everett (Jake Horowitz) is a teenager set on becoming the next Edward R. Murrow. Fay (Sierra McCormick) is a teenager completely enthralled with Everett. They both wander around the high school gym with a tape recorder making the most of the latest technology. Everett is so poised and Fay is so frantic. It seems like anything is possible with an added tension that maybe more is possible than anyone could ever have imagined.

This film makes me think of some of my favorite period pieces, like Back to the Future or The Last Picture Show. What The Vast of Night does so well is completely embrace its time period and manage to give it new life, say something new about it. The viewer enters into a complete and fully realized world. In fact, some of the best moments are when the camera is set loose and, like a snake, slithers about town, taking us on a ground level tour through main street, back to the high school basketball game, and over to the local radio station.

The camera slithers along like a snake.

However, in the end, it’s the dynamic performances by both Horowitz and McCormick that really steal the show: the chemistry between them; and the lonely moments when they’re apart. McCormick is especially engaging as an expert switchboard operator. I don’t know if, in fact, operators could work from home but Fay does in this movie. Fay and that enormous switchboard are quite a sight to behold. And, of course, all of this is leading up to something. These characters can’t be too far from Roswell, New Mexico. And those strange sounds that Fay is picking up must mean something. Overall, this is one of the most charming and engaging movies I’ve seen in a long while. Oddly enough, it fits right in with the strange times we’re all currently living through. This film won’t be out until May so keep an eye out for it.

Movie Sketchnote Review: ‘Parasite’

Cramped Quarters

Would I have seen Parasite differently if I’d never heard of it and I’d simply stumbled upon it? I believe that I would have recognized it as something unique. But how high would my praise have gone? The important thing now is to go see it! Part of the point of the movement for change at the Academy Awards is to shake up the playing field and reconsider what makes for great cinema. Looking back on the Oscars, I see now how painfully obvious it would have been for 1917 to have won for Best Picture. It certainly delivered the goods but all too much in an Old Hollywood tradition. Director Bong Joon-ho is, of course, well-versed in and part of a new generation that is upturning the status quo. It’s all about mashing up genres and exuberant irreverence. While 1917 is in the great anti-war spirit, Parasite is as disruptive as the best work by another fellow cultural rebel, Jordan Peele. As is the case with many movies that take on an iconic status, you can read all sorts of things into Parasite. Many people, without having seen it, believe it is a movie about the need to care for others. I’m sure that Bong Joon-ho would be the first to laugh at the irony over some of the platitudes being said about his horror fable. Yes, there is social commentary. But, in the end, it is an artful, and highly entertaining, story told well.

Spacious Elegance

It is the contrast between the poverty-stricken Kim family and the ultra-rich Park family that is the linchpin to this tale. We begin with the Kim family and find mother, father, and teen daughter and son literally hunched over in their tiny decrepit basement apartment. Played for laughs, we see them as they struggle to catch a free Wi-Fi signal from a neighbor. They are so starved for space that even the bathroom works as a suitable meeting area. In fact, it might be one of the bigger spaces as all functionality has been pushed up against a wall. You need to walk up some steps in order to reach the open toilet that rests just a few feet below the ceiling. Fast forward a bit and we see that the Kim family has set their sights on exploiting the wealthy Park family. First, it’s the son who lands a job as a tutor and, from there, it all spirals out of control as the whole family takes over each remaining staff position. It is a splendid caper that allows the Kim family to, at least, have a taste of the good life. Representing the best is the Park’s home, built by a famous architect and the ultimate in spacious elegance.

Going Underground

The story takes a decidedly grisly turn once the plot goes underground and focuses on activity in the Park’s secret bunker. Like any good horror movie, Parasite is by degrees turning up the heat in the frog kettle. Without spoiling a thing, it’s safe to say that this is a tale of one thing leading to another and then another and the consequences that arise. One by one, each of the Kim family members must confront what lives in the basement. If not for their own scheming, the Kim family could have remained blissfully poor and naive and all the better for it. But sometimes you gain wisdom once it’s too late. The rich Park family aren’t villains, even if they think the Kims smell of damp old rags. The Kim family only needs to look in the mirror to see the true culprits.

Basking in Luxury

The rich are not like you and me, so said F. Scott Fitzgerald, in one of the most celebrated lines of fiction. Bong Joon-ho enjoys his take on it with gleeful passion. While much has been said about the one percent versus the rest of us theme attached to this movie, another aspect is simply human folly. The rich, just like anyone else, can be utterly duped. The reason it’s important when it happens to the rich is pretty obvious. There’s money to be made from human vanity and ignorance. A perfect example in the movie is when so much is made of the Park family’s little boy who has aspirations to becoming the next Jean-Michel Basquiat. A obviously splapdash painting hangs in a hallway there as a shrine. It is definitely not lost on Bong Joon-ho that Jean-Michel Basquiat himself remains a bit of a mixed bag of authentic artistic genius and oversaturated superstardom. Jean-Michel Basquiat provides a cautionary example not only to the viewer but to the celebrated movie director as well.

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Filed under Movie Reviews, Sketchnotes, Storyboards, Visual Storytelling

Tagged as Academy Awards, Bong Joon-ho, Entertainment, Hollywood, Horror, Media, Movie Reviews, Movies, Pop Culture, South Korea, Storyboards

February 3, 2020 · 8:35 pm

Movie Sketchnote Review: ‘1917’

A story told in the trenches.

1917 is a movie that brings World War I to life, a story told in the trenches and meant to be sobering. Early scenes in the film are looking down into the trenches. The humble title sets the tone for a narrative that focuses the viewer on a specific time, place, and protagonist. This is a journey that one soldier must take in order to save a battalion of 1,600 men. The battalion is being ordered to stand down in order to avoid an enemy trap and two soldiers have been tasked as couriers to send that message.

Crouching toward the goal.

Lance Corporal Schofield (George MacKay) never expected such a dangerous, and pivotal, assignment but there he is, paired with another soldier (Dean-Charles Chapman) who he doesn’t really care for. But any callow sentiment is quickly wiped away once the race is on. As the two move above ground, they can’t help but remain low, crouching toward their goal. It’s not long before Schofield loses his teammate and the focus tightens upon the determination of one man.

Schofield’s silhouette often holds together the composition of scenes.

Designed to play out in the form of a single, extended, endlessly mobile shot, 1917 is visually stunning, bringing The Great War into brilliant 21st century relevance. No, we are not at all that different from our early 20th century ancestors, even with our technological superiority and cultural awakening. Bravery is the overriding theme. Schofield is the unlikely hero who is but a little cog in a system. It has been foisted upon him to do the right thing and that will only happen if he follows his conscience and precisely follows orders. Now, the camera moves closer on Schofield and his silhouette often holds together the composition of scenes.

Schofield retains the grace of the understated hero.

Director Sam Mendes pays tribute to his grandfather’s exploits in this epic film. Both Mendes and co-writer Krysty Wilson-Cairns were guided by family war stories. The narrative is, by all measures, epic in the extreme. Influenced by the lore found in some of the best in cinema, literature, and even video games, this is a movie packed to the gills with intensity, a veritable roller coaster of highs and lows. Sandwiched between two heart-wrenching scenes of mortal combat, there’s even a quiet moment when Schofield stumbles upon a mother and child quietly surviving in the shadows. This tender scene inspires Schofield to sing a few lines from Edward Lear: “On a winter’s morn, on a stormy day, In a Sieve they went to sea!” Not long after that, Schofield himself is fighting the mighty life-threatening river currents. No doubt, this is a movie that can get caught up in its own grandiloquence. And yet, through it all, Schofield remains the stalwart understated hero and preserves for this epic film the irresistible charm of a fable. For all its grandeur, 1917 manages to retain a great sense of humility. Among its many influences is the classic novel, All Quiet on the Western Front, a story that is decidedly humble. Within this big epic film resides a modest human heart.

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Filed under Movie Reviews, Sketchnotes, Storyboards, Visual Storytelling, World War I

Tagged as 1917, Academy Awards, Art, Entertainment, Film, Hollywood, Media, Movie Reviews, Movies, Pop Culture, Screenwriters, Sketching, Sketchnotes, Storyboards, Storytelling, Visual Storytelling, War, World War I

August 7, 2019 · 1:00 pm

Movie Review: Once Upon a Time In Hollywood

Trying to Hold on to Old Hollywood

There’s a wonderful interview by Dick Cavett with Orson Welles in which Cavett asks Welles to reveal his secrets to filmmaking. Welles delivers an answer spiked with mystery and simple honesty. Welles claimed that everything you need to know about filmmaking can be learned in about an hour. In other words, the basics are accessible. It’s a question of what you do after that! With Welles, you had a masterful storyteller and an artist of great vision. Filmmaking becomes just a means to an end. And so it has for Quentin Tarantino many times over. He’s had a bumpy ride with accusations of lifting from other movies including lifting the entire story for Reservoir Dogs from a Hong Kong action movie from the ’80s. In his latest film, Once Upon a Time in Hollywood, it seems safe to say that Tarantino displays the strengths of a seasoned director.

Pitt and DiCaprio out to defend what matters.

Tarantino the king of retro, has been around long enough to see his own career turn retro. A lot of Millennials were either too young or not even born when Pulp Fiction first came out in 1994, chock full of vintage pop culture references. In Once Upon a Time in Hollywood, Tarantino can bring to bear his retro obsession with mature grace. Tarantino is now, like Welles, a director with well-honed themes and obsessions, everything fitting him like a perfectly well-worn leather jacket. And that’s a huge part of what is going on in this movie: a love letter to a bygone era. Just consider the first scene set in Hollywood’s legendary Musso & Frank Grill. If there is one place that represents Old Hollywood, when actors could still be glamorous stars, that is the place. But change is in the air. It is 1969 and a number of factors have cleared the landscape, including television. The fatal break with the glorious past would arrive on the night of August 8, 1969 with the mass murders by the Manson Family. It is that turning point to which all concerned are converging upon. The two main innocent bystanders are a couple of Hollywood fixtures: aging leading man Rick Dalton (Leonardo DiCaprio) and his stuntman/handyman Cliff Booth (Brad Pitt). The obsession with retro is fully satisfied here.

Margaret Qualley and her bare feet.

Another hallmark of any Tarantino movie is his love for a salty, dark and raw sensuality. It is in every one of his films. In Tarantino’s case, he seems to best evoke that vibe whenever he manages to share with the viewer his fascination with feet. He is not the first director to make that relatively offbeat choice. You can go back to such film legends as Luis Bunuel for that. To his credit, Tarantino is simply being true to his own quirky passion as well as mining for something original and provocative. It’s all interconnected: his foot fancy and his love for B-movies and throwaway culture. He seems to be challenging the viewer to find art in unexpected places. And, with age one hopes comes some wisdom. Compared to his overindulgent examination of Uma Thurman’s feet in Pulp Fiction and Kill Bill, Tarantino appears to have restrained himself enough to use his obsession like a painter to a canvas. A scene that manages to display the soles of Sharon Tate’s (Margot Robbie) feet while she’s in a movie theater must have been challenging and seems perhaps only a bit contrived. Another scene that has one of the Manson Family members (Margaret Qualley) with her bare feet resting on the dashboard and firmly pressed on the windshield comes across as more natural and provides that spot on Tarantino touch. The unique appeal of feet and B-movies may not seem to add up to much and yet perhaps a mystery remains, a nearly indescribable appeal. That’s the stuff that dreams, and movies, are made of.

Once Upon a Time in Hollywood

And no Tarantino movie would be complete without his ultimate obsession: righteous fury! Remember, this is a love letter to everything that Tarantino holds dear to a once wondrous Tinseltown. If there is a dark force that needs to be dealt with in order for truth and beauty to survive, then you know Tarantino is going to unleash the remedy. In this case, the hippie culture with all its navel-gazing sense of entitlement and self-righteous angst is anathema to a more refined and disciplined era. To see a new generation that is not only not up to the old standards but doesn’t care is pretty heartbreaking for Tarantino. But for that movement to be weaponized is the last straw and that brings us to the fight that Tarantino is more than willing to engage in.

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Filed under Hollywood, Movie Reviews

Tagged as Barefeet, Brad Pitt, Dick Cavett, Entertainment, Feet, Hollywood, Leonardo DiCaprio, Media, Movies, Orson Welles, Pop Culture, Quentin Tarantino, Television, Tinseltown

April 28, 2019 · 10:00 am

Movie Review: Avengers: Endgame

It’s Endgame time!

If you’re a Marvel Comics fan, or just about anyone game for some fun entertainment, it is hard to resist heading out to see the latest, and final, Avengers movie as we’ve come to know them. Last? Hey, it isn’t called Endgame for nothing! Now, let’s be honest, the Marvel franchise’s ideal audience, those most susceptible to having a mind-blowing experience from this movie, are way younger than my average reader. It’s kids who most love and most relate to this–as well it should be. Sure, without a heck of a lot of mature and professional adults, there would be no Marvel franchise but, at its heart, this is primarily kid-friendly fare. That said, there’s no shame in being a kid at heart and I definitely found that to be the case last night. What’s more, fueled by the Disney-Marvel powerhouse of pop storytelling, what is essentially magnificent entertainment excess manages to strike enough chords to not only satisfy hard-core fans but also those looking for some humanity with their popcorn. In fact, Marvel has proven time and time again to have a golden touch when it comes to character development.

A new Hulk among the interesting tweaks in new and final Avengers flick.

Without an end, we can’t fully appreciate the whole. With a satisfying and well constructed ending, we can often forgive any shortcomings along the way and we can take a satisfying pause before the next big thing. That’s how it works for regular comic book readers as they follow a certain story arc through a series of issues to its end. And that is what regular moviegoers have come to see ever since the current Marvel Comics franchise has been in existence. This Avengers movie rounds out a ten-year reign for Marvel Comics on the big screen. Never before has a mainstream audience been provided with so much of the narrative, full of all the nerdy and arcane details, that was once the sole domain of the comic book reading experience. Even the relatively obscure animated features based on comics books did not go as deep. All that said, with this Avengers movie, a mass audience gets to experience the bittersweet sting of finality. Yes, it should be no spoiler here, some stuff happens in this movie that is very, very final.

Among the very nerdy but usually quite delightful things you find in this movie that is a staple of comic books is something that subverts your expectations. The best example of that is what happens to The Hulk. It is right in the spirit of Marvel’s traditionally dry humor. The Hulk is no longer the aggressive out-of-control brute we’re so familiar with. Nope, Bruce Banner (Mark Ruffalo) has been tinkering with his perpetual recipe for disaster and has managed to combine the best of both worlds! Now, he’s turned himself into a hybrid: the enormous strength of The Hulk has morphed with the brilliant mind of Bruce Banner! He’s now a kinder and gentler Hulk who can now discern what is the most efficient way to dispatch of a supervillain without wreaking havoc in his wake each and every time. There’s also a very funny makeover going on with Thor but I will let you find out about that on your own.

Again, the big takeaway here is that all things must come to an end–well, at least, for now. Avengers: Endgame, the fourth and final Avengers superhero movie, is the 22nd movie in the Marvel Cinematic Universe, which launched in 2008 with Iron Man. Those films have now eclipsed $19 billion in worldwide box office. The timing to bring the Avengers leg of the franchise as we’ve known it to a close could not be any better. We’ve had some true heroes here among actors, everyone from Robert Downey Jr., Chris Evans, Mark Ruffalo, Chris Hemsworth, Scarlett Johansson, Jeremy Renner, Don Cheadle, Paul Rudd, Brie Larson, Karen Gillan, Danai Gurira, Bradley Cooper to Josh Brolin. Box office records for Avengers: Endgame show a stunning $350 million in North America and $1.2 billion worldwide. It could not have been planned ahead for any better. If all the time and effort involved in getting this franchise right was used for something else, well, the results would likely be just as stunning. You can fill in the blank however you please. A cure for… Or and end to… Now, that’s a mind-blowing proposition.

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Filed under Comics, Disney, Marvel Comics, Movie Reviews

Tagged as comic books, comics, Disney, Entertainment, graphic novels, Marvel Comics, Media, Movie Reviews, Movies, Pop Culture, The Avengers, The Avengers Endgame

April 5, 2019 · 11:27 am

Movie Review: BREAKING HABITS

A nun at work providing support through cannabis.

Nuns are a group that we’ve come to perceive, especially in pop culture, as capable of anything. You just don’t mess with a nun. Expect the unexpected. And this idea proves true in the new documentary, Breaking Habits, written and directed by Rob Ryan. Not only do we have an inspiring story about nuns doing heroic things, we also have a fascinating look at where cannabis currently stands in the real world. Whether you support cannabis, are against cannabis, or fall somewhere in the middle, here is a documentary that tells it like it is and offers up various valid viewpoints.

Cannabis is a subject with plenty of gray area. What you’ll find in this documentary is that folks on all sides of the debate can potentially be pretty reasonable. Part of the problem is a legal one. As long as cannabis is caught within certain legal restraints, you have a messy situation. For example, the big problem our nuns face is trying to help those who can benefit from the medicinal benefits of cannabis while skirting the law. Currently, as is the case in Merced, California, a person can only own two cannabis plants and it is strictly for personal use only. However, as people see a golden opportunity to sell bumper crops, you regularly have violations of the two-plant limit. That is where our nuns find themselves: in direct violation of the law in favor of a higher calling. It’s a great business opportunity too but the risk of getting caught by law enforcement is just as great.

We follow the story of Christine Meeusen, from high-flying corporate executive to her new calling as Sister Kate, founder of the medical-marijuan empire Sisters of the Valley. We see Meeusen shed her former life, triggered by the outrageous actions of her former husband who left her and her family penniless. Sister. Healer. Grower. Meet Sister Kate, reborn rebel and founder of medical marijuana enterprise, Sisters of the Valley. Matter-of-factly, Sister Kate found a way out of her own despair and a came out the other side as a badass nun. Truth can indeed be stranger than fiction. Sister Kate’s troubles with the law are real. The embodiment to this, her nemesis per se, is the local sheriff who never met a cannabis plant or user he ever liked. But the law is the law and the case is made in a fair manner.

Most important is the crusade that Sister Kate and her nuns are on. She’s breaking new ground and, in time, others will follow. That is inevitable but we are dealing with current law. What needs to be understood better by everyone involved is the medical benefits of cannabis. Sister Kate and her disciples produce cannabidiol (CBD) products that treat cancer and other conditions, but despite their healing enterprise, continue to have a legal fight on their hands, along with dodging bullets from local drug kingpins.

Breaking Habits is a balanced look at where cannabis stands today in the real world and an inspiring story about a group of brave nuns. A worthy and entertaining documentary you won’t want to miss.

Breaking Habits will release in theaters and On Demand on April 19, 2019.

Movie Review: US by Jordan Peele

While Jordan Peele has downplayed any grand subtext to his latest film, I think Us may have an even grander subtext than Get Out. It comes down to privilege. The inspiration for Us comes from “Mirror Image,” an original Twilight Zone episode written by Rod Serling. In that story, pod people are replacing humans and they are assumed to be the superior versions. Peele reverses that and has his pod people as inferior to humans and seeking revenge as they attempt to replace them. A very scary prospect indeed: your less fortunate doppelganger, in a rage of resentment, is bent upon destroying you.

“If it wasn’t for you, I would never have danced at all.” That is the best line in the movie and speaks volumes to the super eerie tension between the humans and the subhumans, or as they’re called in the movie, “the shadow people.” Or call them whatever you like: the ugly, the misfits, the forgotten and the dispossessed. Or how about, “the silent majority” who find themselves thrust out into the open ready to wreak havoc and to “disrupt.” You see where I’m going with this? Well, it’s veiled social commentary in the best spirit of a good ole Twilight Zone episode. You don’t have to spell it all out for audiences. But, if there’s any doubt, all the shadow people wear red.

With Get Out and now Us, Peele continues to refashion the art house horror film, all too often exclusively made up of white actors, by replacing them with a predominantly African American cast. This act of replacement is subtext within subtext. Sure, it’s sad that such a movie should be a novelty on racial terms but that’s where we are today. It’s a scary movie for scary times.

There are a number of creepy coincidences in the movie that help to set the tone. But, in the end, truth is stranger than fiction. On the very date of this film’s release, March 22, 2019, Special Counsel Robert Mueller delivered his report on the Russia probe to the Justice Department. For starters, it’s scary to think of all the misinformation that lies ahead from the White House response to the report. That said, Peele’s movie is not so much political as psychological at its core, at least on the face of it. You won’t find any explicit message, per se. As a fine artist, Peele paints his canvas having brought in various elements to work with. We live in an era spiked with uncertainty and that creepy feeling makes it way into all our senses. Part of what Peele does is take that creepy feeling and give it a good tweak.

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Filed under Horror, Horror Movies, Jordan Peele, Movie Reviews, Rod Serling, The Twilight Zone

Tagged as Entertainment, Horror, Jordan Peele, Movie Reviews, Movies, Pop Culture, Race, Rod Serling, Television, The Twilight Zone, Writers, Writing

August 3, 2018 · 10:30 am

Movie Review: CHRISTOPHER ROBIN

Winnie-the-Pooh and an all grown up Christopher Robin.

Imagination has its own reality. Imagination is strongest in childhood. It takes a certain sensibility to carry you back into that world once you’re an adult. In the new movie, Christopher Robin, we see the stuff that dreams are made of. It’s vulnerable stuff. It’s made up of dream-like creatures like Winnie-the-Pooh, Eeyore, and Piglet. In this movie, we see A. A. Milne’s celebrated characters from Hundred Acre Wood depicted as the very creatures of childhood we remember them as in our mind’s eye.

Winnie-the-Pooh and an all grown up Christopher Robin. This clever idea is refined into something much more. These two seemed to be like two peas in pod: dreamers in pursuit of nothing, happily stumbling upon something because sometimes something comes from nothing. And then the boy had to leave for boarding school and the greater world beyond and bid farewell to his childhood friends who had to stay behind. It is the grown-up Christopher Robin, played by Ewan McGregor, who must reconcile his youthful dreams with his adult reality.

Winnie-the-Pooh and Friends.

A movie about an adult coming to terms with his childhood may sound a bit heavy but it fits right in with the Disney cornerstone of embracing childhood. Any family understands the delicate balancing act between honoring the needs of adults and children. Conflicts are never too far behind. Christopher Robin, the man, is up to his eyeballs in conflict as he juggles family life with corporate life. It is on the weekend that Christopher must work overtime on budget cuts, and most likely layoff workers, that Winnie-the-Pooh stumbles back into his life.

The beauty of this movie is in its understatement, alternating between a foggy and hectic post-war London to a foggy and mellow Hundred Acre Wood. And, at the heart of this low-key approach, is Winnie-the-Pooh and his friends. These characters do not light up the screen with manic frenzy like in the Toy Story franchise. Even Tigger gives off a more ambiguous vibe. These characters are not supposed to be so much larger-than-life as part of the stuff of life. You have to experience the movie for yourself to truly appreciate it. Essentially, the characters have been brought down to a childhood scale: sort of rumpled up as if left out in the rain once or twice. They look and feel as if lived-in, as if personifying childhood: milk and cookies, warm pajamas, and bedhead. What could be more wonderful?

Whimsy and Quirk Butt Heads with Harsh Reality.

Ah, the conflict between adult reality and childhood dreams. Thankfully, Ewan McGregor is up to the task of playing a Peter Pan in reverse. He is definitely all grown up and now must struggle to rediscover his inner child. McGregor, a naturally athletic and playful actor, is certainly up to the task. Also compelling is Hayley Atwell as Evelyn Robin. And, as the heir to the Pooh childhood, Bronte Carmichael is enchanting as Madeline Robin. All in all, you have just the right level of whimsy and ethereal quirk. I should mention here that The Wonderful Thing About Tiggers, written by Richard and Robert Sherman, gets it due as Tigger is easily triggered into singing it in any scene he’s in.

CHRISTOPHER ROBIN

For late summer entertainment, Christopher Robin is just right. Think of it as the other side of a coin that includes Tom Cruise in Mission: Impossible – Fallout. While the Cruise flick is relentlessly action-packed, the McGregor flick is relentlessly contemplative, even a bit melancholic, but in a very good way. Come to think of it, even the Cruise movie has its share of wistful moments! Both star men who somehow manage to defy age. Both can be Peter Pan if they care to be. And both can certainly entertain.