One of the most interesting and well-scripted films out now is “Heretic,” a horror/suspense thriller written and directed by the boys from Bettendorf (Iowa), Scott Beck and Bryan Woods, who gave us “A Quiet Place” back in 2018. During my interview with them at SXSW on March 10, 2018, I wrote, “I’m predicting ‘A Quiet Place’ will take off like a rocket, helping Beck and Woods receive even more deserved recognition.” That prediction is holding up well with this third film from the dynamic duo. The film earned back its production costs in its first weekend. It was sitting at $22 million in revenue, worldwide, as of November 14, 2024 for a film that cost less than $10 million.
“Heretic” depicts two Mormon missionaries, Sister Paxton (Chloe East of “The Fabelmans”) and Sister Barnes (Sophie Thatcher of “Yellowjackets”) accepting an invitation to share their faith with a seemingly kindly older gentleman named Mr. Reed (Hugh Grant). He tells them his wife is busy in the kitchen baking a blueberry pie, when inviting them into his house. Since missionaries from the Church of Jesus Christ of Latter-day Saints would not enter his small home if there were not a woman present to chaperone their discussion, the rest of the film becomes a game of cat-and-mouse, belief and disbelief, control of the two girls by a man who may or may not be diabolical.
(Left to Right) Scott Beck, Connie Wilson and Bryan Woods at SXSW (Austin, TX) on March 10, 2018.
When “A Quiet Place” opened SXSW in 2018, I interviewed Scott Beck & Bryan Woods in Austin. We talked about our mutual hometown area and how it contributed to the phenomenal success of creating “A Quiet Place” and then handing off their creation to John Krasinski (who contributed to the script). Beck & Woods have moved on to give us another wildly original and well-plotted current film, “Heretic,” starring Hugh Grant. Two young female Mormon missionaries pay a call on Mr. Reed (Hugh Grant) and place their lives in danger while discussing their faith.
Anyone who has seen “A Quiet Place” knows that, dialogue-wise, it is spare. The creatures might hear you and come for you, so mum’s the word. The 2023 sci-fi outing “25” that Beck & Woods did last, starring Adam Driver, was also more action, less talk. This one is dialogue heavy and Hugh Grant pulls it off beautifully.
Hugh Grant in “Heretic.”
SCRIPT
With “Heretic,” Beck & Woods have created an original script for a film that is a very in-depth talk about religion and life-after-death. It’s all couched within a horror movie concept. Talk—and deep concepts—dominate the movie. As Scott Beck told Matt Grobar of “Deadline”: “Heretic was something that Bryan and I had just been scratching at—the idea of religious ideologist Trojan horsing into a genre movie—for years and years.”
Bryan Woods: “We started writing the film 10 years ago, and got to the young missionaries meeting Mr. Reed. They sit down with him. Mr. Reed opens his mouth, and immediately we kind of stopped dead in our tracks, because he has a genius-level IQ. He has studied all the world’s religions, and we felt like we had not done that work yet. We’ve been interested in religion and cults our whole lives, but we hadn’t sat down and read the Quran or the Book of Mormon. We hadn’t filled our heads with enough information. So we spent the last decade just enriching our point of view—speaking with a lot of people, sitting down with missionaries, reading a lot of atheist thinkers and ingesting their points of view. The reason we picked up the script again and kept writing wasn’t so much that we reached a point of, ‘We did it! We’ve solved religion! or, ‘We’ve read enough to understand Mr. Reed.’ It was actually a confluence of personal and professional events.”
Woods said, “Every time we’d write a line, we’d have to stop and then go to Wikipedia to research something. It just felt inorganic, and so we did some fun research over the course of 10 years so that it could be a first language once we got further into writing Reed.” Woods told the “Hollywood Reporter” (David Brians, Nov. 9, 2024), “We also set out to make a movie that was deeply personal in terms of our relationship with the subject matter of belief and disbelief and what happens when you die. So, after pouring out all our neuroses and spilling our guts into this movie, it’s very exciting to see it connect with audiences, to say the least. We read interesting thinkers like Christopher Hitchens and Richard Dawkins. It wasn’t rigorous research every night at the library, but we read a lot of atheist thinkers and contemporary philosophers, as well as holy books we’d never read like the Book of Mormon or the Quran, just so that it could be a first language once we got further into writing Reed.”
GENESIS
Sophie Thatcher & Chloe East in “Heretic.”
Sophie Thatcher (L) and Chloe East in “Heretic.”
Woods: “It was just in our lives we had hit this emotional low point where it seemed like everything was going wrong. At that low point, my father passed away unexpectedly from esophageal cancer…It was that kind of pain and depression. Confrontation with these large questions of, ‘What happens when you die? Is there something? Is there nothing?’ It was that moment where we were like, ‘It’s time to finally pick up the script and write it.’ Because we were feeling so raw emotionally. We always felt that “Heretic” needed to be one of those projects that’s just embarrassingly personal, and we’ve always dreamed of doing a movie like that. It was time to express all of our fears and anxiety about what happens when you die and the mystery of death. So that’s where it came from, and once we sat down to write the script in earnest, it just poured out of us.”
Scott Beck: “We wanted to swing in the opposite direction of “A Quiet Place” and “65”, two films that are void of dialogue and are straightforward thrillers. For “Heretic” it was all about how we could weaponize dialogue and ideas about theology to create something that hopefully feels as scary a ‘A Quiet Place.’ There’s a line in the movie that goes ‘The more you know, the less you know’ and the older we get (they are 40), we find ourselves gravitating to the philosophy that life is a mystery. And what happens when we die is the greatest mystery, but there’s something beautiful in not knowing. There’s something beautiful in the pursuit of the truth of knowing, while also embracing the fact that you won’t know until it’s too late.” As the young men pointed out in various interviews, almost every horror movie has fear of death as a catalyst and plot point.
The pair told the University of Iowa alumni magazine, “Every scary movie is about the same thing. It’s about our human fear of death and this question of what happens when you die. We wanted to turn that conversation that we’ve been having since we were eleven years old (when the pair began making small films in the Iowa Quad Cities) into a movie.”
Bryan Woods (left) and Scott Beck at SXSW in Austin (TX) on March 10, 2018.
FILM FINANCING
Scott Beck: “I think it’s our responsibility as filmmakers not only to think creatively about the story, but to think creatively about how do we get movies made in this landscape right now, especially coming from the viewpoint that we love movies that aren’t based on anything else and ostensibly are original stories. I think about ‘Heretic’ the same way I think about ‘A Quiet Place.’ When working on the script for these movies we didn’t think either were necessarily a home run, meaning we needed to protect ourselves to just have the means to make each movie. So each movie was written in the spirit of, can we make this for $50,000 in our home state of Iowa? And best case scenario, can we get it made at the studio level with proper resources? ‘Heretic’ was certainly something, because of the content of having a theological debate in the vessel of a thriller, that we felt it may not be a home run, But, if so, a home like A24 could incubate that in a responsible way, both creatively and financially. I think it’s in our interest, also, when creating these movies, to make sure that it feels like there’s a demand to see the movie in a theater. So, while certain people have compared ‘Heretic’ to a stage play, we’re very adamant about the fact that it’s a piece of cinema. (It should be noted that the pair now owns “The Last Picture House” theater in Davenport, Iowa, where “Heretic” premiered on November 8th with one of the film’s stars, Chloe East, in attendance.)
“The Last Picture House” in Davenport, Iowa.
Bryan Woods: “There is a conversation, though, right now, that we’re picking up on in movie culture right now, this feeling of, ‘Oh, if only movies were cheaper then they would be more financially responsible and, therefore, more successful.’ It’s an interesting question to be asking, but, also, we would caution against that a little bit because you do want to preserve this feeling of spectacle, this feeling of going to a theater and seeing something special. Big movies and studios that spend a lot of money on movies, that’s a great thing. I think what’s not a great thing is just how boring it’s all gotten. It’s gotten too easy to make white noise, and so taking risks on a big level, for us, it is a great thing.” Woods added, “With movies, they haven’t quite replicated that experiential feeling of going to a cinema, watching a piece of work with 200 strangers.” (to Matt Grobar, “Deadline”).
HUGH GRANT AND OTHER IMPOSSIBLE GETS
“Heretic” movie poster
Scott Beck: “We feel like one of the movie’s secret weapons is Hugh Grant. Hugh Grant is an actor who has charmed worldwide audiences with his romantic comedies, and yet this movie, we kind of weaponize that good will that he’s formed with an audience. Partly because of that, the movie keeps you guessing. ‘Am I in a dangerous situation or am I just perceiving danger that’s not really there?’” Beck & Woods shared this marketing tactic with the University of Iowa alumni magazine in an interview. Grant, himself, during an appearance on ‘Late Night with Seth Meyer,’ said of this uncharacteristic role, “I spent months building up a huge biography for the character. I don’t know if it helps at all, but it seems to calm me down. It’s better than Lorazepam. He (Mr. Reed) is not exactly charming. What’s so fabulous about this is that it’s so different. What I was aiming for was a kind of groovy professor—a bit of a twat is the word. He’s a prankster who just, for some reason, is not very popular so he over-compensates by being a bit too fun.”
Chloe East (L) & Sophie Thatcher (R) in front of Mr. Reed’s (Hugh Grant’s) house.
Commenting on his co-stars, Chloe East as Sister Paxton and Sophie Thatcher as Sister Barnes on “Late Night,” Grant praised their performances, saying, “They are properly good and very three-dimensional and likeable. It could have happened that they came off as zealous Mormon boors.” As Beck & Woods have acknowledged, “Much of this movie is about dialogue and philosophical thoughts and ideas, a man who’s talking, almost mansplaining, but also two women who are trying to basically have a conversation between each other just on their faces. Learning about how much people say when they don’t say anything has always been a good tool to have in our writing toolbox.” The two told me back in 2018 that it was a class in American sign language on campus at the University of Iowa that sparked “A Quiet Place” and, once again, the 2007 graduates of the University of Iowa in communication studies credit a class they took at Iowa on nonverbal communication with helping to inspire their storytelling style. Both of the female leads grew up Mormon.
Both Steven Spielberg and Steven King have weighed in as admiring “Heretic.” Spielberg called up producer Stacey Sher, because Spielberg had cast Chloe in “The Fabelmans” and wanted to see where she had gone in her career. Beck & Woods asked Sher, producer of “Pulp Fiction,” to help them get permission to use all of the cultural touchstones they wanted in the movie, such as the rights disputes between Radiohead, Lana Del Rey and the Hollies. There were also references to games like Monopoly. Said Bryan Woods, “There was no back-up plan! We were terrified. When we wrote that scene, we were elated and so proud of it, but then that feeling was instantly followed by: ‘This will never get off the page. We will never get Monopoly cleared. We will never be able to air Radiohead’s dirty laundry.’ So it became a depressing moment, and that’s when you pick up the phone and you ask Stacey Sher to please help produce this movie with us. We asked her to help us do what felt like the impossible, which was get all of these pop cultural touchstones into the movie, so there was absolutely no back-up, and we were sweating it even up until three weeks ago. There was some last-minute wrangling about rights,” Bryan Woods told Brian Davids of “The Hollywood Reporter.”
OTHER CAST
Hugh Grant as Mr. Reed.
Chang-hoon Chung, the man who shot “The Handmaiden” and “Oldboy” did great work cinematically with the interior of the house. Topher Grant (“That 70s Show,” “BlacKkKlansman“) portrays Elder Kennedy. Also a huge help to the film’s success was Phil Messina, production designer and art director. Messina had worked on “The Hunger Games: Catching Fire” (2013) and “The Hunger Games: Mockingjay” (2015) and “Mother” (2017). As Woods told Matt Grobar of “Deadline,” “We’re very visual writers, and I mean that literally. Like, our script for “A Quiet Place” had certain pages that were completely blank, and then just had one word on it to emphasize a certain sound effect, or would have images and diagrams to help sell the concept of a modern-day silent film. With “Heretic” we’re using the Monopoly board images in the script. We’re putting them in, how we see them all lay out. And to that end, the house layout as Scott and I are writing, we’re diagramming and drawing up the bad version of what the house looks like and how it connects. It’s funny. We write in a kind of dream logic, and there’s two of us. There’s two brains, and sometimes we wonder if we’re like right and left brain, and then the two of us equal one brain. It’s funny how, when we write, Scott will diagram something out. He’ll have a door be on the left side and I’ll be like, ‘Oh, interesting. I always saw it on the right side.’ So a big part of our process is drawing and diagramming so that we’re imagining the same movie. Then you bring in someone like Phil Messina and he elevates it and helps us clarify some of the dream logic.” The house is like a Mobius strip and plays an important role in the plot.
THE ENDING
Chloe East in “Heretic”
Chloe East as Sister Paxton in “Heretic.”
Beck: “How do we finalize this ending and communicate an ambiguity, but an intentional ambiguity, so that it can anchor in people’s interpretations of the movie, in terms of their relationship with either being religious or non-religious, and the way they see the world. The butterfly felt like it was a proper symbol for that.” The open-ended interpretation of what happens (or doesn’t happen) reminded me of “Twelve Monkeys,” which was able to be interpreted in more than one way and set off many discussions among fans and critics. The pair told CinemaBlend’s Eric Eisenberg: “Well, the ending, the mark was always to present a larger question that’s a take home for the audience. Our ambition with this film is that it’s a conversational starter. Everybody has their own relationship to belief or disbelief, atheism, to being staunchly religious. And it felt like this movie, if anything, can hold a mirror up to the questions of like, ‘Why do we believe what we believe? How do we come to our own convictions?’ The end of the film presents, I think, that question in a very ambiguous way, but may be very overt. There can be three, four, five different interpretations of how you walk away from that movie. And the hope is that your interpretation of that reflects upon your own contradictions or your own reasonings to why you believe what you believe.”
WHAT’S NEXT?
“We have movies at different scales and passion will win out. And we love writing things that we don’t direct. So I hope it’s not going to be, we’ve got five great projects and only one of them comes to life. The next one we’re directing will probably be whatever scares us the most,” said Bryan Woods to “Deadline.” “We were terrified of making ‘Heretic’ because the whole conceptual framework of ‘Heretic’ is, can you replace the jump scare that we had been bored with and became our usual bag of tricks. Can you replace that with a philosophical idea? Can a line of dialogue about religion be just as scary as the monster that’s hiding under your bed? A movie that’s wall-to-wall talking, that’s still somehow engaging, felt really hard to do. So, I think whatever we do next is going to be something that we look and go, ‘This is insane. Nobody’s going to want to make this movie, especially us. That’ll probably be the one.”
Here are 5 more Oscar-eligible shorts in an attempt to acquaint audiences with some of the contenders for this year’s Academy Awards: “Moeder,” “Then Comes the Body,” “Fireline,” “Will I See You Again?” and “Sunflower.”
“Moeder”
– This 20 minute film, directed by Salomon Ligthelm focused on the deaths of 298 civilian passengers when the Russians shot down Malaysian Airlines MH17 on 7/17/2014. The flight, filled with civilians who were primarily Dutch citizens, was 50 kilometers from the Russian/Ukrainian border in Donetsk when a surface-to-air missile took it down, killing all aboard. Apparently, the Russians thought the plane might have arms or ammunition aboard, as it was close to the fighting. A phone from the plane fell to Earth and landed in the back yard of one of the locals. Vitalik Ivanov picks it up and hears a woman’s voice say (in Dutch), “Daniel, can you hear me?” The fellow who found the still operative phone (and the corpse?) of a Dutch victim in his back yard is a Rozspyne miner. He and his fellow miners are sent out into the fields to locate the bodies of the victims and to mark them with long white-flagged poles. The hero of this film finds a dying horse fatally wounded by falling debris. Vitalik has to finish the job the Russians started and dispatch the injured animal, which is traumatic for him. None of Vitalik’s co-workers (miners) are happy about being assigned this non-work-related task, either. One of them mutters, “We’re miners, not soldiers.”
“Moeder”
The landscape for all of this action is like a background for a Ukrainian Gothic portrait in the manner of American Gothic. It is a beautifully photographed bucolic, pastoral setting. In just the opening moments there is a shot of the miner, smoking, silhouetted in the frame of the back door of his home, a beautifully composed shot. Vitalik has just heard the sounds of bombs or falling debris hitting the ground. His wife (Yeva) says, “It sounded like the end of the world. And perhaps it was, for some.” The sound effects were exceptionally well-done. The couple is offered $100 for an interview. Yeva is pregnant. She says, “We can use the money.” Vitalik struggles unsuccessfully to remain composed throughout the interview. He ultimately translates a few Ukrainian words into Russian and sends the mother of the Dutch victim (“Moeder” translates to “Mother”) the bad news of her son’s death in his back yard, via the phone that fell from Flight MH17.This was a riveting, well-done, timely short. It made me feel even more concern for Ukraine after our November 5th Presidential election. The sound, cinematography, and acting were all top notch.
Nigerian ballet dancer dancing atop the roofs of busses.
Nigerian ballet dancers in “Then Comes the Body.”
“Then Comes the Body” – Jacob Krupnick has filmed the story of ballet in Nigeria. The enterprising individual who taught himself ballet from YouTube videos has founded a Nigerian Classical Ballet Company in Lagos, Nigeria, called Leap of Dance, to teach ballet to other Nigerian children. Daniel Owosoni Ajala has taught several talented Nigerian youth to dance, and they have become so good that other nations are offering them scholarships to study ballet in places like Belgium and South Africa. The film had its World Premiere at Tribeca in 2023, It had its International Premiere in Melbourne and its European Premiere at Cameraimage. It was named Best Short non-fiction and short shorts in Tokyo and Krupnick’s work became a viral sensation during the pandemic. The 14 minute, 44 second short had excellent sound, edited and mixed by Zach Egan, with a score by Martin Veloz. The primary dancers are Olamide Olarwe and Precious Duru. The film’s message: “First comes the heart; then comes the body.” That message has been my guide in selecting which of these 5 Oscar-eligible shorts is most impressive. “Then Comes the Body” has heart and plenty of it. The last few in this set of 5 films didn’t have as much “heart.” They were done well, but the top two had way more heart.
“Fireline” short.
3 inmate firefighters in “Fireline”
- “Fireline” – “Fireline” was a 13 minute 23 second short about incarcerated firefighters. It was directed by Robin Takao D’Oench, a Japanese American writer/ director/ producer from NYC. Robin is a Film Independent Project Involve Directing Fellow and a graduate of New York University’s Tisch School of the Arts. These Wildland firefighters were photographed by Ming Jue Hu and the script was written and directed by Robin Takao D’oenoh. Lena Waithe (and 3 others) executive produced this story of Otto Reyes (Bobby Soto), an incarcerated inmate who has just learned that his request for parole has been denied. Not long after learning that he is not getting out of prison early, he and the others are called to go battle a fire. Joshua Caleb Johnson portrayed Shawn Davies and Fabian Alomar was Primo. Otto has secured an illegal cell phone, which he wants to use to call his daughter to wish her a happy birthday. The visual effects of a fire bearing down on the firefighters are excellent. It seemed very short in comparison to the others, which, in fact, it was. This film was presented at the Tribeca Film Festival and was part of the official selection at HollyShorts, and was made as part of Indeed’s Rising Voices program – an initiative set up to discover, invest in and share stories created by BIPOC filmmakers and storytellers. Rising Voices was created in collaboration with Lena Waithe, Hillman Grad Productions, Ventureland and 271 Films. “Fireline” has qualified to be considered for the 2025 Oscars®. Robin is a Film Independent Project Involve Directing Fellow and a graduate of New York University’s Tisch School of the Arts. The acting was fine. The special visual effects were better than in the Angelina Jolie 2021 film “Those Who Wished Me Dead” and on a par with 2018’s “Wildlife.” (Cary Mulligan and Jake Gyllenhaal).
Nick Wechsler as Paul Jensen.
- “Will I See You Again?” – Michael Perez-Lindsey, a queer Mexican-American director, has helmed a well-acted vignette that depicts the funeral of a former friend that brings two former lovers back together after many years. The deceased friend, Jim Turner (Robert Okumu) has left an inheritance for the two former lovers, but they can only inherit it if they each answer 5 questions honestly while hooked up to lie detectors. [What could be unrealistic about that scenario—right?] The Black former lover is portrayed by Hosea Chanchez as Max Palmer. His former white love, Paul Jensen, is portrayed by Nick Wechsler. These two gave it their best shot, but the entire set-up seemed hokey, to me. The song that played at the end, performed by Jalen Ngonda, who co-wrote it with Mike Buckley, was similarly cheesy. It was a very Barry White-esque rendition of “Come Around and Love Me,” which seemed desperate. Having the two leads grasp each other’s fore-arms at film’s end (24 minutes 13 seconds) might have represented a happy ending, but the best way to sum up what was not working with this one would be to use the words of “Then Comes the Body”: “First comes the heart.” This one lacked a realistic premise. I don’t read (or write) heterosexual romances because they are too cheesy for my tastes, so I was not the right audience for this sentimental-but-unrealistic project. That said, it had a very professional sheen and the gay community certainly might enjoy the theme of reconciliation and love recovered despite 20 years of alienation.
“Sunflower” short
- Sunflower – This 16 minute, 26 second short from Mateusz Balcerek was based on a true story about Danuta Gorecka, the director’s grandmother, and what happened to her during WWII in 1944 as a child. (Poland, Italy, the United Kingdom and the U.S. collaborated). The little girl who played Danuta (Martyna Zazula) was very cute and did a very credible acting job. She was told to hide under the bed while soldiers entered her home and shot her grandfather dead. There is another close call in the yard, when Danuta and her mother Alicia (Sylwia Boron) are almost apprehended while building something that I suspect was a coffin for the dead grandfather. The music by Roberto Mengoli was good. The Guildhall London Symphony Orchestra and the London Music Central Kids’ Choir performed beautifully. The motif of a sunflower (Slonecznik) used animation and repeated as a linking motif throughout the film.
Casino featured in “Never Say Never Again.” (Photo by Connie Wilson).
From the opulent halls of traditional land-based casinos to the digital world of online casino for real money platforms, gambling has adapted to a massive change in the broader social change in technology and accessibility. This evolution translates to gambling taking center stage in global cinematic storytelling, an irresistible backdrop. The casino scene from Monte Carlo to the Las Vegas bright lights has kept filmmakers and audiences intrigued by these lights and their allure. Not only have these scenes helped fuel endless dramas and intrigues for some of the movies people most enjoy, but they’ve also made for some of the most memorable moments in the annals of movie history. We journey into some of these legendary movie moments located within casinos — diving into the magic and tension they add to the silver screen.
Crazy Rich Asians (2018)
The casino in ‘Crazy Rich Asians from 2018 shows one of the most luxurious scenes of a glamorous place to be: the iconic Marina Bay Sands in Singapore and also where the film set it. This is an important scene, unfolding with a tense poker game that brings to life its understanding of the wealthy elite and their dynamic, simmering economy. The drama has the casino as its lavish setting, and the extravagance is emphasized as it defines the characters’ world. In reality, Singapore imposes tight restrictions on how Singaporeans can play, making gambling infinitely more complicated than it seems. Online casinos are becoming more popular. However, there is only one legal operator in the country, leaving those wishing to expand beyond that to offshore platforms. ‘Crazy Rich Asians remains a delightful romp through storytelling that surprisingly manages to weave in copious amounts of charm and humor.
Casino Royale (2006)
Casino gambling at its finest.
Bond as the film franchise gets a 2006 rebrand with the rebooted installment, “Casino Royale,” a grittier and more visceral version of the international spy that impresses. The Casino Royale in Montenegro high stakes poker game serves as the centerpiece film for Bond’s development of character but is so much more than just a card game. In the tense, bluffing, strategic gambling landscape of such a battle between the terrorist financier Le Chiffre and Bond, much psychological struggle is being waged. A twist and turn in the game changes the series trajectory just as much as it does regarding the emotional stakes, which run as high as the financial ones. Sitting on top of the final poker scene of this one, this climactic scene doesn’t just provide the suspense; it also sets the tone for where the Bond series goes next — in that it’s more cerebral, as well as physical, which shapes the character for the new audience.
Ocean’s Eleven (2001)
Steven Soderbergh’s version of “Ocean’s Eleven” is famous for its glamorous, sophisticated casino scenes, capped by a fantastic Bellagio casino sequence. At the Bellagio with its famed fountains, the Bellagio’s heist is reached with its entire splendor as a team of suave con artists pulls off the job perfectly. The team comes together to watch the hypnotizing fountain show of Debussy’s “Clair de Lune.” The moment is something greater than pure visual spectacle, and it represents the team being cool as a cucumber and playing it artfully and precisely. The way this blends visual storytelling with a payoff on an emotional level is perfect; the film has charm and wit in perfect measures. This is a quintessential moment in cinema, playing out in one of the world’s most famous casinos within one of the most iconic settings.
Casino (1995)
The Monte Carlo Casino used in several James Bond films.
Best known for its depiction of casino life, Martin Scorse’s “Casino” (1995) features a scene that will be remembered — the floor show. In this scene, we see the delicate workings of a Las Vegas casino under the eye of Robert De Niro’s Sam ‘Ace’ Rothstein. It describes how Ace runs the show, keeps the casino running, and skims off the money for the mob in the background. It is a powerful look at the glitz and gaudy underbelly Las Vegas wore during the 1970s and 1980s. The film’s attention to detail and powerful performances from Sharon Stone, including a Golden Globe for Best Actress, made the film famous to many. Other awards went to Stone, including an Oscar and a BAFTA, so the film is recognized as one of the best gambling-themed movies.
Maverick (1994)
Mel Gibson’s role in the 1994 Maverick movie is being celebrated, particularly for the climactic poker game on the riverboat Lauren Belle. The dramatic set piece at the heart of this scene pitches Maverick, a smooth card player and grifter, against various criminals as he endeavors to raise enough to buy a ticket to the high-dollar poker tournament. A classic Western comedy, as much as it’s a gambling boon, the scene proves Maverick deftly manipulates the deck to secure his victory. It looked better than most casino films, combining tension and humor in the manner only “Maverick” can weave.
Rain Man (1988)
Casino de Monte Carlo, featured in “Golden Eye.” (Photo by Connie Wilson).
One of cinema’s most iconic casino moments is when the 1988 film ‘Rain Man’ features a gut-wrenching blackjack session. Tom Cruise plays Charlie, the fraternal sibling of Raymond Babbitt (aka Dustin Hoffman), who has an extraordinary talent for counting cards: an autistic savant buffeted by peculiar behavior but blessed with an artful way to make bank. It’s more than just gameplay; it takes a peek at their relationship’s developing ebb and flow and how they work as a team to bring the odds against the casino. The heart-thumping tension only builds as Raymond’s uncanny sense of numbers turns a regular fish and chips into an unrepeatable cinematic masterpiece. A sequence of drama, strategic execution, and emotional flashback, the sequence is the depths of the bond that knits the siblings together in their common quest for success. Even today, it remains a visual illustration of the power of that film to convey the immediacy of pure sibling bonding even in a high-stakes world of casino gambling.
The Hangover (2009)
“The Hangover” won laughs in 2009 with its take on the casino movie genre, and Zach Galifianakis gives what is likely his most memorable performance as Alan. A quirky card-counting attempt at big-stakes action, Vegas-themed casino films can also be significant in a funny way. The film traces chaos after one of its friends has pilled poker chips, with a series of mischievous and hilarious adventures through Sin City. This comedic approach, combined with the casino movie pulling from an arsenal of traditionally tension-filled stories, makes this newest entry feel like a comedic departure from the status quo. This is a successful offer of a lighthearted but memorable version of casino antics, and it is a standout of sorts in this genre.
Elise in the center in the Valero shirt, flanked by team members whose names I will have to learn before Tuesday,
So it’s one day post the presidential election, and I am turning my attention to the granddaughter’s volleyball tournament action.
Oddly enough, the Valor team played another Valor team tonight, after winning all of their regular season games to get to this night,
They still have to win a game this coming Tuesday night at 7 p.m., so we’re not breaking out the champagne yet. Actually, I’m not allowed any alcohol because of elevated liver enzymes, so maybe no champagne ever.
If they win that game, the team goes to state in Texas, although I am woefully unaware of the levels of competition, other than that Elise Wilson is the Valero (spelling?), which means that she has to do all the scooping up of balls from the court. She (and the rest of the team) played well tonight, winning the first 3 games in the best 3 out of 5 bracket.
I attempted to catch Elise in action, scooping up and setting volleyball plays, so that the ball can be returned and, hopefully, spiked.
We saw the team play a few months ago and they have improved immeasurably.
Wishing them good luck and posting some videos/photos, I hope.
Well, the video posting is not going well. Let me see if I can still remember how this might work. (Probably not).
Donald Trump
I’m sitting here on election night, watching the blue wall fall and feeling dejected, but not as “taken off guard” as I felt in 2016 after Hillary Clinton lost her much-vaunted race against Agent Orange.
I am convinced that Donald J. Trump (and cohorts) have bought the presidency (Thanks, Elon!, she said ruefully) and misogyny, racism and incompetents in office are going to be the order of the day. Think about RFK, Jr. running Health Care. No, don’t think about it, if you can put that aside, which any sane, thinking individual cannot. It will just depress you further.
At least Vance is ostensibly a smart guy and has certainly learned how to suck up to power. He will be the future of the GOP/Trump Maga cult. Eat your heart out, Ron DeSantis!
FEARS
Donald Trump
I never felt that Harris had it “in the bag.” I sent a copy of a very insightful article about why not to a friend, which was pulled from a book that was written by Democratic strategists in 1970, pointing out where the Democratic party had lost its way, as far as determining the mood of the country. Just showing up at my local gym, run by young Black athletic types, told me how they viewed the geriatric Trump as way superior to Biden (then the candidate), and they definitely would not have been keen to vote for a woman to be Boss—even though it is past time.
I would not put anything past Donald Trump. He would order “hits” on people if it meant keeping himself out of jail and that is what this election meant to him. If Kamala Harris had been able to prevail, DJT would face consequences for his crimes and misdeeds, but now he’s going to be like a bull in a china shop. I wonder if I can take up a hobby that allows me to transport myself to another dimension in order to forget that we might face 4 years of DJT (unless he is successfully impeached, which looks unlikely now that Republicans are seizing the Senate) or worse.
DISGUST
I don’t feel sad so much as I feel disgusted. How dumb is the average rural voter that they can’t tell that the man is a congenital liar and you can’t believe a word he says? It seems to be rural voters who have prevailed to place him back in office. (Shame on you, Iowa!) Now we U.S. citizens will have to hang our heads in shame, worldwide. Richard Gere sold his house in the U.S. just in time. He is moving to Spain with his Spanish wife. [Good move, Richard!]
Many more savvy analysts than me will be analyzing this election for years, but I will just give you some thoughts off the top of the head of the woman who was named Yahoo Content Producer of the Year for Politics in 2008. I knew that Obama was going to win in 2008 because I traveled all over following him. He represented change. We were sick of Bush and company and endless wars. The pendulum has a way of swinging and it has swung. I was not traveling the country with this year’s candidates and, therefore, had no “gut” feeling for who would win this thing. In fact, after 2016, I was concerned. As it turns out, I was concerned for good cause.
CHANGE
Barack Obama
People saying that “change” (even if it is change from an honorable person to a convicted criminal) is a powerful vote getter at all times. You had a man who lied constantly during his appearances and ranted on about how “bad” the country was doing—even though it wasn’t. He failed to mention what a terrible manager he was for Covid, but talked about higher grocery and gas prices (When did things NOT go up over time?) He failed to mention that we need to address climate change and, instead, called it a hoax. Good luck to us during this period of climate catastrophes brought on by people like DJT and good luck to the Ukraine!
Obama’s win represented change. The backlash to a Black man being elected to the White House is part of the racism that has now propelled a man (convicted way back in the 70s of refusing to rent to Blacks) into office again.
So, Change, Misogyny, Racism, and a guy who was literally running for his life, because if he lost, he probably could have gone to jail for his incitement of the January 6th coup.
MONEY TALKS
Let’s not forget the Big Money Donors (Elon Musk, anyone?) who got behind DJT. Or those like Jeff Bezos who did not have the courage to try to help the better candidate prevail (even though she is a woman. That, in and of itself, is difficult to overcome). Get ready for rich people to get richer, and poor people to get poorer.
DAVID AXELROD & VAN JONES
Photo by Lauren Gerson.David Axelrod
“She handled herself well. She tried to appeal to the better angels of people’s nature.” (from David Axelrod) He went on to say that her debate performance was one of the best ever and that was why Trump did not want to debate her a second time. My sister and I agreed, noting how the Democrats way back in 2000 showed the gracious way to behave during an election, even one that was probably handed to the opponent by the opponent’s Governor brother. The Trumps of life fight dirty and have no compassion or empathy or respect for science. “Drill, baby, drill!” is not the rallying cry that will save the planet, but rural America did not like the thought of giving up their gas-guzzling vehicles in favor of electric ones.
Van Jones thinks that Kamala’s own words beat her and mentions the phrase “Nothing comes to mind” used by the GOP in their attack ads. That WAS a bad ad. Van also brought up the Israel issue, which I felt was going to lose Harris the Michigan vote. “I can’t think of anything offhand” was disastrous, says Axelrod. She should have just said she was grateful to him and talked about the future and not criticized her mentor. I agree.
The Republican on the debate says that the “green new deal” was not what the American public wanted to buy. (“They were selling what the American public did not want to buy.”)
TRUMP’S REMARKS
West Palm Beach, Florida at 2:31 a.m.
“I’m proud to be an American” is playing in background. (Lee Greenwood)
Melania looks like the cat that swallowed the canary.
J.D. Vance is smiling smugly.
“Incredible movement….a movement like nobody’s ever seen before. The greatest political movement of all time. Never been anything like this before in this country. Help our country heal. We have a country that needs help and needs it very badly. We’re going to fix everything about our country, We overcame obstacles that nobody thought possible Look what happened. Is this crazy? It’s a political victory that our country has never seen before,” from Trump.
“I will fight for you and your family. Every single day I will be fighting for you. I will not rest until we have delivered the strong, safe America. Will truly be the Golden Age of America. It will allow us to ‘make America great again. ’“We’re going to make you very happy and proud of your vote.”
North Carolina, Georgia, Pennsylvania and Wisconsin. Predicting 315 electoral votes for himself. Also glad to have won the popular vote.
Unprecedented and powerful mandate: control of the Senate.
Right now, 266 to 195 (Trump to Harris).
“What happens to a dream deferred? Does it dry up, like a raisin in the sun?” When Al Gore failed to fight for the position in 2000, we lost 25 years of preparation against the catastrophes of climate change. We are now reaping that poor election choice, 25 years later. I can only assume that climate change will get worse, under Trump, before it gets better, because he has called climate change a hoax.
Good luck to us all.
Gassing up along the way.
Driving to Austin (Texas) from Illinois is always a multi-day trek.
We generally spend one night in St. Louis with family. (Thanks, Mark!)
After that, normally, we take our own sweet time, but my spouse decreed that we would not leave until Saturday (Nov. 2) and that has made all the difference. I don’t know why I meekly accepted that departure date. I’ll just say it was because I was dumb.
Why dumb?
Because I wanted to make sure to vote for President on November 5th and now we’re registered in Texas. The U.S. cannot afford another 4 years of Donald J. Trump. It barely withstood the first four horrible years of Covid, climate denial, cronyism, insults and incompetent people in sensitive government posts followed by a January 6th coup in an attempt to seize power when DJT lost the 2020 election. Enough! We are the world’s laughing stock to even think of putting a convicted felon in a post where he travels the world representing us, as a nation, when his Access Hollywood tape displays plenty of reasons why a man accused of (and convicted of) sexual assault is not a fit person to lead the greatest nation on Earth. How can a man who calls our military “chumps” and “losers” be made Commander-in-Chief ? It’s preposterous and unthinkable. Not only that: how can any parent be proud of holding up DJT for their children to emulate— a guy who is a congenital liar and hawks everything from watches to shoes to any other con known to man. (And also rode the Lolita Express to his friend Jeffrey Epstein’s private island on more than one occasion.)
The Christmas Cats Fear for the Deer
I wrote 6 books in a series called “The Christmas Cats in Silly Hats” and all of them were about helping others and being good citizens. And then Donald J. Trump—a convicted felon and world class liar and con man—somehow (with Russia’s assistance) became our representative abroad as President of the United States. I’m still in shock over that and just read a very interesting “New Yorker” story about the extent of Russia’s aid to DJT back in 2016, which Attorney General Bill Barr downplayed when it was very real. (I own a copy of the Mueller Report and have read the entire thing, not the Bill Barr Cliff Notes version.)
We had received all kinds of absentee Illinois ballots, in Rock Island County where we previously voted. My question is whether or not we could have voted using the absentee ballots we received (in Illinois) as long as we didn’t “double up?” (i.e., no voting twice.) Since I did not know if we could pick and choose, we went with the “drive to Texas and vote when we get there” plan, which has revealed itself to have many drawbacks, just as I had feared.
I was in Chicago right up until October 28th (Chicago International Film Festival), so I began packing immediately upon returning to East Moline, Illinois, and was ready to leave after 2 days of packing. I would have preferred arriving a day or so prior to the vote, just in case anything unexpected happened on the drive down (see photos). I would have liked to have left no later than November 1st. Even more, I wish we had secured absentee ballots, because now I will have to stand in line in Austin, Texas. (*Mind you: I also spent July 25 through September here in sunny Austin; the back-and-forth continues). But I accepted the “November 2” departure pronouncement without a word of protest. That’s on me. I should have known better. As one friend pointed out, I should have voted absentee. But, honestly, this plan to vote in Texas is so new that I did not know how to get an absentee ballot from Texas here. I’ll have to work on that for future elections.
In an attempt to make the Choctaw Indian Casino and Resort in Durant, Oklahoma, to spend the night there on November 3rd, we were caught up in the tornadoes, heavy rain and 70 mph winds that swept through Oklahoma on Sunday. We drove from 10 in the morning until the accident that you see pictured here, which took place around 7 p.m. in Okmulgee, Oklahoma, (which is not close to anything and only has about 11,000 residents.) We had decided to give up on the push to make it to Durant by nightfall, because of the weather, and were stopped at an intersection that had red blinking lights. It had been dark since 4:30 p.m. (thanks to Daylight Savings Time). We stopped at the intersection (U.S. 75 and 6th Street), just as one is supposed to, but the car heading from the driver’s left either did not stop at all or stopped way too briefly and then gunned through the intersection, in the driving rain, and side-swiped my 2020 Prius Anniversary Car.
I was and am very, very sad about this. It was one of only two that were even sold in Moline from this 2020 Special Edition. (I have owned about 6 Priuses going back to 2002, when they cost $20,050 and you got a $500 rebate from the government, along with 0% interest.) Moline got a white one and a red one; I bought the red one. We drove it less than 100 yards to the bottom of Kennedy Drive and John Deere Road, after picking it up, brand new, when an uninsured driver from Texas rear-ended me. Not a great beginning and now, not a great ending—if it is the ending, [which it well could be.]
My door frame was sprung. I could just barely get in and/or out of the car. I’m pretty sure I incurred a broken rib (from the seat belt) upon impact, as it hurts to laugh, cough or hiccup. I think my side of the car does looks like it got hit harder. My husband, fortunately, was unhurt. We both feel very lucky that injury was avoided. But now what?
‘By trip’s end, more pieces of my poor car had given up the ghost. [This Thanksgiving trip is but one of many I can make, but most would be with air miles or using the daughter’s flight attendant perks.
After I ran 150 yards to a Subway store with a bathroom (of paramount importance at that particular moment in time), we found the Holiday Inn Express 1.6 miles down the road and checked in. I think I was experiencing PTSD, because it was only 7:30 p.m. but I was exhausted. It could be auto-immune hepatitis, which the liver people think I may have and which makes you tired. (I start CellCept soon).
I fell asleep (until 4:3o a.m.) and went back to sleep until 8 a.m., but we also contacted Triple AAA and someone was supposed to come help us out with our car situation in 90 minutes.
We waited for 2 hours and nobody showed up. We canceled the appointment and decided we would attempt to drive the damaged car farther. I do not recommend this and we hoped that we were invisible to highway patrol along the route, because the main reason for continuing, despite the risks, was so that we could vote tomorrow. I hope to be among those from northern states who are “purpling” up the state of Texas, in time. (After all, if we voted in Illinois, the state will go blue; if we vote in Texas, the state will go red. But more people are moving to Texas than are moving to Illinois, so...).
Ironically, the interior of the car seemed fine. The headlights were dubious, but the taillights worked fine and, although the dashboard was signaling all kinds of issues with various dashboard services (no cruise control; passenger door not able to be fully opened; etc.) the actual motor seemed to be okay, the radio worked, the tail lights and signals worked, as did the windshield wipers. It was primarily the headlights (and my door) that were not working well. My husband spent the night restlessly trying to figure out how we were going to get a rental car when we had been told the closest one was 50 miles away in Tulsa. And there was no way to get to Tulsa but to drive the injured vehicle there (which is why we should have left earlier for our voting trip down). I, on the other hand, felt exhausted and passed out early, [which never happens.] I seriously don’t know if it was the dealing with this unexpected catastrophe, riding all day from St. Louis, or AIH, but I was totally out of it and remained so for about 12 hours.
On Monday (Nov. 4, today), my spouse got up at 7:00 a.m. (to call the AAA guy at 7:15 a.m.) and we were on the road fairly quickly, once we had waited (and waited and waited) for the Triple AAA guy [who did not show up in 90 minutes, or 120 minutes.] Our kids suggested flights out of Tulsa, but we had beaucoup crap to get to Texas packed in our car, including a rather large painting I want to hang over the TV set. How would we deal with getting all of that stuff into a different car—if we could even get one in Tulsa, 50 miles away?
BEE GONE, available on Amazon
We talked about our options. My Big Concern was getting down here to vote for Kamala Harris. I am, after all, the author of “BEE GONE” (available on Amazon) and I really want to see DJT “BEE GONE.”
So, we decided to chance it. (Kids: Do NOT Try This At Home!)
First, we purchased zip ties and tied everything down on my poor red car that we could.
That didn’t keep the right front fender from beginning to become really wonky by the time we hit Waco. We pulled off and—somehow—my husband removed the front panel that had (previously) been zip tied and left it in the parking lot of a tractor supply store. (Apropos), We would have transported the fender to a dumpster if we could have put the piece of metal in our overcrowded car. We had to drive for 5 hours in my damaged 2020 Anniversary Edition Prius. Can it even be saved? Don’t know. Can’t tell you.
KAMALA: I HOPE YOU APPRECIATE THIS! We risked tickets and personal injury to get to the polls tomorrow.
I read that older women prefer Kamala 68% to 25% or some such and I believe it. I fought hard for women to have the right to decide about what happens to their own bodies, back in the 60s and 70s. I still have my ERA bracelet from the 70s. Watching it all disappear under this guy is not on my Top Ten list. We will NOT go back. It is time to give Agent Orange his walking papers.
I managed to read half of Steven King’s book “The Long Walk” during our drive down but we forgot to charge the e-reader and it gave up the ghost about the same time my front right fender did. We’ll finish it on the way home. I also was reading Bob Woodward’s “War” and a book entitled “Watchdogs.”
We prayed for invisibility when driving, as this is obviously not the kind of vehicle you want on the road in that condition. But I was NOT going to be denied the ability to vote DJT into oblivion. “BEE GONE.”
OUCH!
I just hope that my liver doctor, who saw me on July 26 when I had just had my right thumbnail ripped off at the airport (see photo), isn’t disappointed in my ability to follow her directions to me, which were, “Try not to hurt yourself before I see you again.”
I see her on November 7th for a fibrescan and now I have a rib that hurts when I cough, laugh or hiccup.
I just hope that’s all I have.
Wish me luck.
And vote for good over evil and hope over fear.
Ladies, it’s up to us to save democracy. I’m doing my part. Do yours!
Robert Zemeckis often produces movies at the fore-front of technology (Back to the Future (1985), Who Framed Roger Rabbit (1988), Forrest Gump (1994), Contact (1997), The Polar Express (2004)). The Chicago native returned to his hometown for closing night of the 60th Chicago International Film Festival with “Here.” “Here” is also cinematically ground-breaking. Since the entire film is shot in the same living room from a single camera angle in the home of Alan and Rose Young (Rose and Al were the real first names of Zemeckis’ parents on the South side of Chicago), it is a multi-generational look at the Young family. Richard (Tom Hanks) and Margaret (Robin Wright), the reunited stars of Forrest Gump (1994), are the primary couple followed in the most depth.
A.I. DE-AGING
The A.I. de-aging (Metaphysic A.I.) really works well here. There were complaints when I first saw it used in Scorsese’s “The Irishman” in 2019. I heard none after “Here,” 5 years later. Zemeckis at age 72, with a career that began in 1972, has 35 films as director, nearly as many as writer, and 55 as producer. Other directors who started out in Chicago with their first films include Martin Scorsese, Oliver Stone, Taylor Hackford and William Friedkin. Zemeckis is in storied company and this is another classic cinematic achievement in his long career.
ONE ROOM
The set of Robert Zemeckis’ “Here.”
“Here” is shot in one room from one camera angle. That sounds like a play, but picture-frame-like boxes are super-imposed on the screen at various points to depict other families in other eras who have lived in the same house. Directed by Robert Zemeckis, written by Eric Roth and Zemeckis and told much in the style of the acclaimed graphic novel by Richard McGuire on which it is based, the story travels through generations. Tom Hanks and Robin Wright are the primary stars of this tale of love, loss, laughter and life, all of which happen right “Here.” Because the camera is in one spot, at times the actors walk towards it like we might see television hosts on late-night talk shows walk up to the camera. It’s new and original. Like the split-screen technique (which I remember in 1968’s “The Boston Strangler” with Tony Curtis, although it was first used in “The Parent Trap” by Disney in 1961), I wouldn’t want to see every single film done this way, but when something works, it works. With Zemeckis at the helm, it worked in “Here.”
FOUNDERS AWARD
Director Robert Zemeckis (L) accepts the Founders’ Award from Michael Kutza (R), retired founder of the Chicago International Film Festival.
Zemeckis received the Founders’ Award from retired Chicago International Film Founder Michael Kutza, who started the festival in 1964. The award correctly applauded Zemeckis for his “impeccably crafted and deeply moving stories,” which includes the five mentioned above, as well as “Castaway,” “Flight,” “What Lies Beneath,” “Romancing the Stone” and a host of others. Zemeckis has directed three films that have been selected for the National Film Registry by the Library of Congress as being “culturally, historically or aesthetically” significant: Back to the Future (1985), Who Framed Roger Rabbit (1988) and Forrest Gump (1994).
DESCRIBING “HERE’S” UNIQUE STYLE
In presenting Zemeckis with the Founders’ Award, Michael Kutza declared “Here” to be Zemeckis’ “Lawrence of Arabia.” If that accolade doesn’t resonate with you, consider that the unusual original use of a picture-frame-like box, insert atop the screen highlights everything from the dinosaur age to the present, which keeps the audience from getting the sense of claustrophobia that some of us experienced in 2022’s “The Whale,” when Brendan Fraser’s character never left his living room. The boxed skipping to various generations prevents that. It also highlights, briefly, other families who have lived in the same house all the way back to the time of Benjamin Franklin. It is a little like thumbing through a photo book and recalling the moment in time when each was taken, or turning on the radio to hear a favorite tune that instantly takes you back to a specific time in your life.
The choice of moments to guide the audience was spot-on. We see the Three Stooges and Red Skelton on the living room television set. Jane Fonda is seen doing aerobics. The “Theme from a Summer Place” saturated the air waves in 1963. Margaret is wearing the “flip” hair-do when Richard takes her home to meet his parents, a 60s give-away. The news on the television set in the background tells us that the Japanese just bombed Pearl Harbor. Thanksgivings of yesteryear are revisited and there is even drama in the living room, from characters having medical emergencies, as there would be in a home occupied all the way back to Indian days in America. Out the picture window and across the street is a house where Benjamin Franklin once lived, so we can infer that this is Philadelphia. That East coast location is further borne out by the snow that periodically falls outside the window, most memorably during Richard’s apology to Margaret for basically ignoring her throughout their marriage. Zemeckis has said, “You can examine the truth about something that happened in the past, because you’ve been able to look at it through the prism of time.” And that is what “Here” is doing.
MUSIC
(L to R) Director Robert Zemeckis, CIFF founder Michael Kutza, Lesley Zemeckis and Zsa Zsa Zemeckis, at the closing night of the 60th Chicago International Film Festival screening of “Here.”
Alan Silvestri has worked on every Zemeckis film since “Romancing the Stone,” a 40-year partnership. The music in “Here” is wonderful and adds immeasurably to the film’s appeal. It is, once-again, Oscar-worthy. Silvestri has had 2 Oscar nominations (for Zemecki’s “Forrest Gump” in 1994 and for “The Polar Express” in 2004), 2 Golden Globe nominations, 3 Grammy and 2 Emmys. Silvestri at 74 and Zemeckis at 72 utilize their maturity in this film. They have lived life and can relate to the young wife or husband whose youthful dreams are dashed as real life happens while they’re making other plans.
THEMES
The life experiences of Richard and Margaret serve as a stand-in for those of us in the audience. Richard is a talented artist. In his youth, he wanted to attend school to become a graphic design artist. Instead, Margaret gets pregnant and Richard ends up selling insurance. Later, Margaret will ask Richard why he quit painting. He answers, “I had to make a living…Do you think I wanted to be done with my life when I was 22?”
Margaret always wanted to travel. She also wanted her own house, but ends up having to settle for living with her in-laws for many years. As old age takes its toll on Al and Rose, Richard and Margaret are called upon to help them, as family does. Any time Margaret brings up her desire for a house of her own, Richard will say that it is too expensive, to the point that Margaret eventually goes to work. To his credit, Richard does draw up house plans once, but, like everything else, those plans are pushed aside until later. As the script says, “You always find a reason not to do something.”
Richard will ultimately apologize for ignoring Margaret’s desires so many times over the years. (This was the second film at CIFF where husbands apologize to the wives they habitually ignored; the first was “Nightbitch.”) Among the truisms that will be articulated by a character or characters in the film are “Time flies” and “We did the best we could.” Satisfaction that their children are realizing their own dreams comes through in the voices of the proud parents when Vanessa (played by Zsa Zsa Zemeckis, Zemeckis’ real-life daughter) goes to law school and becomes an attorney.
CONCLUSION
Director Robert Zemeckis with his Founders’ Award at the closing night of the 60th Chicago International Film Festival on October 27, 2024.
In 2007 “Entertainment Weekly” magazine named Robert (Bob) Zemeckis Number 18 on its list of “the smartest people in Hollywood.” From his first start (with co-writer and collaborator Bob Gale) when they sold an episode of “Kolchak: The Night Stalker, Chopper (#1.15) in 1975, Zemeckis has experimented with digital movie-making (“The Polar Express,” 2004) saying, “I just love all types of movies, but I was especially interested in digital cinema. I was interested in films that could be done in digital.” On October 25, 2012, when Zemeckis came to Chicago to screen “Flight” (his 2nd showing in Chicago) he said, “All film techniques should disappear and be there to serve the characters and the story.”
Zemeckis has well-served the characters and the story in “Here” with this new film technique. The picture-frame technique and the improved de-aging were original, unique never-seen-before methods to create another iconic Zemeckis film. Miramax releases “Here” on November 1, 2024. It should attract fans of “Forrest Gump” and all other classic Zemeckis films.
In 2021, when I was covering Sundance as Press, a small film entitled “Coming Home in the Dark” from New Zealand caught my eye. I watched this story based on an Owen Marshall short story and directed by James Ashcroft. It showed a family having a lovely time in a scenic pastoral setting in New Zealand, only to be taken prisoner by a pair of ruthless drifters. The husband is a schoolteacher and the two would like the father of the family to pay for something he did in his past. The ending might not have satisfied all of us, but the lead-up was brutal. I made a mental note to watch for its director (James Ashcroft) in the future.
It’s now the future. Here’s what Steven King (yes, THE Steven King) had to say about “The Rule of Jenny Pen,” which screened at the 60th Chicago International Film Festival. King tweets, “I watched one of the best movies I’ve seen this year. It’s called The Rule Of Jenny Pen, and I urge you to watch it when it appears on Shudder. Geoffrey Rush stars, with John Lithgow as a geriatric psychopath with an evil hand puppet.”
“The Rule of Jenny Pen” premiered at Fantastic Fest in Austin, Texas, on September 19, 2024. The film won Best Director honors for James Ashcroft and Geoffrey Rush was named Best Actor. The storied pair (Lithgow and Rush) shared Best Actor honors at a film festival in Catalonia. The program synopsis says: “Confined to a secluded rest home and trapped within his stroke-ridden body, a former Judge must stop an elderly psychopath who employs a child’s puppet to abuse the home’s residents with deadly consequences.”
CAST
The two stars, Geoffrey Rush and John Lithgow, are phenomenal actors. (They also have producer credits on the film.) Geoffrey Rush won the Oscar in 1997 for “Shine” and has been nominated three other times (1999, “Shakespeare in Love;” 2001- “Quills”; and 2011-“The King’s Speech”). He has won many other awards in many countries. Rush plays an elderly judge named Stefan Mortenson.
Opposite Rush is another World Class actor, John Lithgow. Lithgow has been nominated for Oscars twice, has won 6 of the 12 Emmys he was nominated for, has won 2 of the 5 Golden Globes for which he was nominated, has been nominated as Best Actor by the Screen Actors’ Guild 10 time (and won 3), has 2 Tonys and has been nominated for 4 Grammys. When you put these two in showcase performances, bad guy (Lithgow) versus the retired judge (Rush), the audience is in for a treat. The screenplay is based, once again, on an Owen Marshall short story and co-adapted by Ashcroft and Eli Kent.
PLOT
John Lithgow as Dave Crealey in “Jenny Pen Rules” (photo by Matt Henley,)
“The Rule of Jenny Pen” is a character study of both men. It opens with Judge Mortenson having a breakdown in his courtroom. He ends up in a wheelchair, semi-paralyzed, but still sharp as a tack. He’s now living at the Royal Pine Mews Care Home in New Zealand, housed in a double room with roommate, Tony Garfield (George Henare), who is a Maori native once known as Gunny Garfield on the rugby field. Stefan Mortenson is not very friendly. He is fond of breaking into quotes from Hemingway (“A Farewell to Arms”) or Shakespeare. Stefan hasn’t lost a step, mentally, but is fighting against the physical ravages of aging. Stefan’s going to need all of his intelligence to fight off the villain of the piece, Dave Crealey (John Lithgow). Dave Crealey has apparently spent his entire life either working at the nursing home or living in it.
Just as we wondered what motivated the men in Ashcroft’s first film to grab the schoolteacher’s family, we wonder why Dave dislikes Stefan, whom he had not met previously. We learn mid-movie that Stefan once came into a restaurant that Dave was in and, when he saw the then-powerful man, Dave said, “There’s a man who’s made something of himself. And what have I done?” So, the Green-Eyed Monster of Jealousy and Envy has Dave prejudiced against Stefan, just as he is prejudiced against the Maori people (Dave tells a tasteless joke that illustrates this.) The script also notes, “We all get what’s coming to us in the end.” Dave has gone off his rocker and wears a small plastic doll on his hand, puppet-like, a doll he calls Jenny Pen. And Jenny Pen rules—or else.
Stefan has a bit of a superiority complex, as he spent years on the bench dispensing rulings about others’ guilt or innocence. Stepping down from the podium of power is difficult. His intelligence and education is both a blessing and a curse, when he is forced to live amongst mental cases and among many who are experiencing severe mental decline. Stefan seems to have no family who inquire about his well-being. At one point, he muses, “When did I become this bitter, lazy, stupid, forgot-myself, gave-up-on-people in the worship of what? A podium?” Stefan lodges numerous complaints against his abuser, but he is now in the position of being treated as though HE is the problem. He doesn’t like that change of status one little bit. Since the maniacal Crealey keeps entering the room that Stefan shares with Tony late at night, Stefan tries to get the former rugby star to vouch for him. He wants Tony to testify that the threats and harassment are really occurring. But Mortenson has really not built up much of a favorable rating with the other residents, as he tends to do things like correct his roommate’s quotation, even thought it’s only slightly off. (“Look on my works, ye mighty, and despair.”)
THE QUESTION
The Big Question is whether Stefan will give in to the constant barrage of annoying attacks that Dave Crealey launches. It’s a battle of wills. Dave kicks Stefan in his paralyzed shins under the table. He throws urine on Stefan in his bed after dark. Dave makes threats of worse to come. Through it all, Stefan urges Tony to step up and be brave and help him fight back. It’s quite a coup when Stefan finds a way to sneak into Dave’s room and empty his inhaler stash, which gives John Lithgow a fantastic near-death scene. Dave discovers that his inhalers don’t work at a point when he needs one badly. Kudos should also be extended to the cast members playing other residents of the home. Every single one of them rings true as authentic.
SOUND
There are several moments in the film when Lithgow either dances or sings. If Geoffrey Rush is quoting great literature, Lithgow as Dave Crealey is obnoxiously singing “Knees Up, Mother Brown” or dancing so rambunctiously on the small dance floor (while intentionally stomping on the feet of others) that the floor is soon empty. Tony even admits to having found a hidey-hole near the washing machines where he will sometimes lay low when he recognizes that Dave is on the rampage. Dave’s many years both working and living at the facility have given him superior knowledge of the entire nursing home system and he uses it to his advantage and the disadvantage of others.
John Gibson does the music and high-pitched screeching sounds add to the tension. Ashcroft described the sound technicians as “purists” and the sound adds much to the mosaic of the home, with sounds of other residents in distant hallways merging with high-pitched sounds that are as intense in ratcheting up tension as fingers on a blackboard. The cinematography by Matt Henley also serves the piece well, as he closes in on the faces of the 79-year-old Lithgow and the 73-year-old Rush and the other elderly residents of the home.
CONCLUSION
Chicago International Film Festival founder Michael Kutza. IPhoto by Connie Wilson).
Try to catch “Jenny Pen Rules” when it plays near you or on television. Steven King was right. It’s a real tour de force acting class which I enjoyed at the 60th Chicago International Film Festival, seated directly in front of festival founder Michael Kutza, who even had a chair down front staked out for himself with his name on it and was, this day, in it to catch this enjoyable thriller.
“Blitz,” from British director Steve McQueen, depicts Londoners during the Blitz of World War II in 1940. The harrowing drama focuses on a young bi-racial boy (Elliott Heffernan) sent to the countryside by his mother (Saoirse Ronan) for safekeeping. Approximately 500,000 young children were sent to the countryside from London to protect them from the blitz. Young George Hanway, age 9, jumps off the train taking him to safety, and tries to return to his home in Stepney, Clifford Lane, and his piano-playing grandfather (Paul Weller) and his Mom. The blitz (short for “blitzkrieg”) took place from September of 1940 through May of 1941. Forty-three thousand civilians, primarily in London, were killed; that number represented half of Britain’s wartime civilian casualties.
GENESIS
I began wondering what caused Writer/Director Steve McQueen to go back in time, historically, and create such an accurate depiction of what it must have been like to live through the war-time bombing of London. Perhaps the germ of an idea came out of McQueen’s expressed wish to do with the city of London something similar to what Martin Scorsese has done with New York City? McQueen has a highly developed artistic background; it serves him well in “Blitz.” When asked about the inspiration for the film, he mentioned a picture he had seen of a small boy of the time being sent off to the countryside on July 5, 1940. It was this picture that guided much of the search for a young boy to play the lead role, as McQueen envisioned the blitz being seen through a child’s eyes.
July 5, 1940 British child being sent to the countryside for safety during the Blitz.
CAST
Elliott Heffernan was cast as that small child, the daughter of Rita Hanway (Saiorse Ronan), a white worker in the factory making bombs for Britain, and the son of an absent father from Grenada, who is deported, leaving nothing behind for his wife and child but a St. Christopher Medal given him by his own mother. McQueen has said, in other interviews, “To some extent he (Elliott Heffernan) carries this movie.” Elliott was 9 when filming began. “He was 8 when he auditioned,” says McQueen. “So he was a little boy, and he auditioned because he’d never done acting before. As soon as I saw him, I thought, ‘Oh, he is the truth!’ He wasn’t going to pretend to be a child. He was a child.” (“Deadline” interview).
Also carrying the movie and singing in it, as well, is Saiorse Ronan (“The Lovely Bones,” “Brooklyn,” “Atonement”). McQueen’s lead actress has two strong films out this year with “The Outrun” receiving Oscar buzz. Says McQueen of Saoirse Ronan, “She’s like Bette Davis. She’s that good.” He called her “interesting” and “fascinating. “She makes the ordinary extraordinary, the arbitrary fascinating.” The eyelash scene, where Rita asks George to “make a wish” on an eyelash plucked from his cheek was actually something that occurred naturally between Saiorse and Elliott while they were bonding between scenes. McQueen chose to take the normal gesture and use it prominently in the film.
MUSIC
For composer Hans Zimmer, this is a deeply personal movie. His mother was evacuated from Germany and spent the war years in London. He remembered her stories about living in Mayfair, with bombs dropping all around. Zimmer reflected on his childhood when composing the score. He constructed it from a child’s perspective of terror and chaos, opening with an orchestra of children’s recorders. Zimmer’s score for this film is mentioned as a probable Oscar nominee. There are also many period songs utilized in the film and much (too much?) singing.
Back in 2016, when McQueen received the Artistic Vision Award here in Chicago, he said, “Sound is so important in film. People need to lean in to listen. It gives them something to do”.
CAST BASED ON REAL PEOPLE
Leigh Gill (“Joker,” “Game of Thrones”) portrayed “Mickey the Midget,” a Jewish East ender, Mickey Davies, a local optician and community organizer who stepped up to help make the time spent underground in the subway more humane. (Buckets for rest rooms, for openers.) There was a movement to memorialize Mickey IRL, but it died when Boris Johnson was Mayor of London.
Benjamin Clementine (“Dune: Part One”) portrays Ife, who was based on the real-life E.I. EKpenyon, who was a law student from Nigeria who became an air warden in Marleybone. Ife (translated as “love” in Nigeria) teaches George to sing “Alleluia” as George accompanies him on his route, telling the locals to honor the blackout during the blitz. [Like all the horror movies where you know it’s a bad sign when someone is going to go to the attic or the basement, the well-meaning promises that Ife makes to George about returning him to his home the next day seem based on shifting sand.]
Paul Weller (“Grosse Pointe Blank”), a true musician, plays Gerald, or Grand-dad, as he is called. McQueen said seeing a picture of Paul McCartney with his father and a piano in Paul McCartney’s original house triggered the selection and one of the more haunting images (spoiler alert) is of Grand-dad’s dead body after he becomes one of the victims of the blitz. The camera lingers on his face in the rubble.
There were two Black clubs in London at the time. One was the Shim-Sham and, on the Piccadilly side, there was the Café de Paris, which the locals frequented because it was below ground and, therefore, considered safer. Onscreen, the local bandleader, Ken “Snakehips” Johnson is well-played by a young Black man in a white tux and tails who introduces a stunning Black singer in a white dress who sings “Oh, Johnny.” (Both were impressive.) Sadly, two bombs entered the ventilation shaft to the underground club and a scene is set in the remains of the club that involves young George, which seemed to be reaching a bit in depicting the adventures of the 9-year-old.
PICARESQUE HERO
Young George, with his mother and grand-dad, as he is leaving for the countryside.
Filmed at 13 locations around England and London, McQueen has said of “Blitz,” “It’s a very dark fairy tale. It’s the Brothers Grimm. And that’s the journey George goes on.” In the English-speaking world, the term “picaresque” is used loosely to refer to novels that contain some elements of this genre; e.g. an episodic recounting of adventures on the road. An English Literature major, I recognized enough picaresque elements of “Blitz” to recognize that the term applies to the adventures that young George has while trying to return home. While some of the adventures held your interest—especially the accurate re-creations of such things as the flooding of the tube (which actually occurred and killed 34 people)—having them ALL happen to George on his journey seemed a bit much. (Mid-film I wrote, “Film needs a bit more to sustain it when it’s simply George being taken advantage of.”)
CONCLUSION
Saiorse Ronan and co-star Elliott Heffernan in Blitz.
In some ways, the comparisons to “Belfast,” which opened the 58th Chicago International Film Festival, are valid. Both turn the clock back on time, although “Blitz” does so in a much more arresting style, visually. The opening scene alone, where an old-style leaky canvas firehose is proving almost impossible to control while fighting the fires in the streets of London, is riveting. Others along the way, especially the scenes of how life went down in the tube (subway) are equally mesmerizing.
The attempts to recognize real heroes like Mickey Davies and to preach a bit in one subway scene (“We are all equal members of this country, willing or not…Treat each other with compassion and respect.”), while laudable, come off a bit obvious to everything going down around us in the world today. We can applaud the message and hope that it is internalized by everyone, but, in this country, at least, we are about to go to the polls to vote for a new President, and one of the candidates has made a mockery of that message. One critic used an expression “muffled by good intentions,” which applies, but even more than that, there was something so old-fashioned about the film that it surprised me it was a Steve McQueen film.
The movie opens in theaters on November 1st and will be streaming on Apple by November 22nd. There is also an Apple special that is a “behind-the-scenes” look at the making of “Blitz” that should be truly entertaining, just as researching some of the real-life background for the film proved to be.
It’s a powerful film. It will resonate with anyone who hopes we learn from the mistakes of our past and forge better paths to peace.
Five Oscar-eligible shorts have come to me recently. They are “Tea,” “Corpse Fishing,” “Anuja,” “Heart of Texas” and “Deck 5B.” There are more to come, but here’s how the first five struck me, listed in the order I enjoyed them:
Olivia Nikkanen and Michael Gandolfini in “Tea,” the Oscar-eligible short.
Michael Gandolfini, son of James Gandolfini, star of “Tea.”
- “Tea” was directed by Blake Rice and starred Michael Gandolfini (“The Many Saints of Newark”), son of James Gandolfini. This hilarious short follows a young man rehearsing to ask out the girl of his dreams, when a sudden hornet sting throws everything into chaos.This offbeat comedy premiered at Cannes as the only U.S. film in the Short Films Competition and qualified to be considered for the 2025 Oscars®. It qualified for Best Short Film at the Nashville Film Festival, Tirana International Film Festival, Woodstock Film Festival, Palm Springs and HollyShorts. I thought immediately of the 1999 film “Election” (Reese Witherspoon and Matthew Broderick) where a bee sting renders Broderick into someone more closely resembling the Hunchback of Notre Dame than the previous smiling teacher supervising the school election. Similarly, young Gandolfini is immediately in dire straits after being stung, appearance-wise and health-wise. It falls to Olivia Nikkanen to save the poor guy. Olivia (“The Americans,” “Boardwalk Empire,” “The Little Foxes”) is best known for her work as a series regular on the Netflix hit series THE SOCIETY (2019) and for her recurring arc on SUPERGIRL (2015). This short spoke to me because it seemed to represent the growing portion of the U.S. male population defined as “incels.” Incels are involuntarily celibate, usually white and male, and often found online. They would like to have a girlfriend, but, for a variety of reasons, that isn’t happening, despite their best efforts. Some incels then become hostile towards all women, but in this amusing short, we hope that the two might actually connect, although it certainly takes a lot for young Gandolfini to get through to his would-be female rescuer that he’s suffering from anaphylactic shock and this is a real health emergency, not just a flirting technique.
“Corpse Fisherman:” Yan aboard the corpse fisherman’s boat in a home-made life preserver.
- “Corpse Fishing” – Set in southern China in the Hubei Province, this enigmatic short follows a despairing girl named Yan as she strikes a deal with a stranger to go fishing for bodies in a desperate attempt to find her missing father. This incredible story is inspired by a real ‘corpse fisherman’, who scans the river looking for cadavers, which he then sells back to grieving families. This film was presented at the Tribeca Film Festival and was part of the official selection at HollyShorts. The 16-minute film has qualified for the Academy Awards and, indeed, the very thought that there is a job called “corpse fisherman” was enough to grab my attention. Wei Xinpeng, a real ‘corpse fisherman’, scans the river looking for cadavers, which he then sells back to grieving families. He charges $100 to look and $1,000 to bury the body. Yan—who has been futilely searching for her father who disappeared—speaks with the corpse fisherman; he is so grateful to have company (the odor of decomposing bodies on his boat makes him a social outcast) that he offers her the opportunity to travel with him down the river and, for each day she withstands the horrible smell of decomposing bodies aboard his small
Corpse Fisherman short
boat, she will earn a peek at a body. There are three corpses aboard the boat when Yan throws in with the fisherman, who puts a home-made life preserver on the young girl after she tells him that she cannot swim. We also learn that her mother disappeared and she was told that “the heat drove Mother mad and she went North to recover.” The film was written and directed by Jean Liu and is part of an initiative called “Rising Voices,” which seeks to give under-represented filmmakers a chance at success. Indeed’s “Rising Voices” was created in collaboration with Lena Waithe, Hillman Grad Productions, and 271 Films. The idea was to give the financial production of a national TV spot and, instead, invest it in ten BIPOC (Black, Indigenous, and people of color) directors creating short films. The directors each received $10,000 script payment and $100,000 to make their film. Through 4 seasons, over 2,000 industry jobs have been created in this fashion, with many of them going to people of color who have been historically under-represented. For a reviewer born in Independence, Iowa, on the Wapsi-Pinicon River, the idea of a corpse fisherman in central China was mind-blowing.
“Anuja.”
- “Anuja” came in third for me, for many of the same reasons that “Corpse Fishing” grabbed my attention. It is a film set in Delhi, India, and the star of the film, Sajda Pathan, is, herself, an orphan from the streets of Delhi who lives in a home for children rescued from the streets. They are provided food, shelter and education and there are thousands of them. Anuja’s older sister is portrayed by Ananya Shanbhag as Palak. Ananya is employed in a sweat shop sewing clothing. She is very resourceful and hard-working and has figured out a way to use scraps of material to make bags, which she and her younger sister, Anuja, sell on the streets of Delhi. Anuja, however, is a 9-year-old math wizard. She is claiming to be 14 and working, illegally, alongside her sister in the sweat shop. If she will takeadvantage of the opportunity afforded her to break out of the yoke of illegal child labor she can take a qualifying exam and attend the Williams Boarding School, which will give her a chance at a better life, but also take her away from her older sister. Adam J. Graves is the Writer/Director of “Anuja,” which highlights the nonprofit organization the Salaam Baalak Trust in its efforts to rescue homeless children from the streets of Delhi. Watching young Sajda watch the film for the first time with the other children in the home was touching.
Deck 2B
- “Deck 5B -This captivating film follows a mother who is torn between the needs of her young child and her own desires. The drama won “Best International Short Film” at the 2024 Toronto International Film Festival (TIFF) and has qualified for consideration for the upcoming Academy Awards. Director Malin Ingrid Johansson was born and raised on a farm in the Swedish countryside and might be one of the few directors who knows how to operate a tractor as well as a camera. Malin’s previous short MADDEN premiered internationally at the Berlinale ‘23, claiming multiple awards at various international film festivals. Lead actress Alma Pöysti is an acclaimed Finnish actor who has made significant strides in Scandinavian cinema, earning accolades such as ‘Best Actress’ at the Finnish Film Awards for her role in TOVE and ‘Best Actress’ at the 2023 Gothenburg Film Festival for FOUR LITTLE ADULTS. Her recent works includes lead roles in Netflix’s A DAY AND A HALF and Aki Kaurismäki’s Cannes Film Festival’s Prix du Jury winner FALLEN LEAVES, for which she received a Golden Globe nomination. It’s not that Alma Poysti doesn’t do a good job with the story of a mother aboard a boat (cars on boats that cross the English Channel, for instance) who is heading for a tryst with a new boyfriend who also has a child. The little boy is a typical little boy and not particularly cooperative in helping his mother connect with a potential new boyfriend. The short film was well done, but it was too ordinary. Nothing screamed, “Wow! Look at that!” I enjoyed it, but I wondered how much of its acclaim could be laid at the feet of the accolades the lead actress has garnered for other parts.
Heart of Texas”
- “Heart of Texas” – After receiving positive news that she’s one of three song-writing finalists from a potentially life-changing radio contest, an aspiring country singer Janie May (Lauren Noll) races to the studio after her overnight diner shift when she collides with an undocumented worker — changing the course of both their futures. Gregory J.M. Kasunich’s THE HEART OF TEXAS has screened at HollyShorts, In the Palace International Short Film Festival and Sidewalk Film Festival, accumulating 14 accolades so far during its festival run. The film has “qualified for the 2025 Oscars®. Director and co-writer Gregory JM Kasunich is an award winning film, commercial and music video writer, director, and producer from Pittsburgh, PA. His body of work includes projects for Taylor Swift, The Pentatonix, The Summer Set, DreamWorks, Disney, Lucasfilm, General Mills, DirectTV, Mattel, iHeartRadio, and many others. Star Lauren Noll is a Los Angeles based actor and filmmaker with a Master’s Degree in Acting from Harvard University. Since arriving in LA post-grad school, in addition to acting in various films, commercials, and music videos, Lauren’s curiosity around other roles in filmmaking led her to write, direct, and star in her first award-winning short film, “Honor” (2020), a personal drama about the encounter of a queer student with Brigham Young University’s honor code office. She followed that filmmaking debut with “Gen V” (2021) for which she was granted a development deal with Adi Shankar’s Bootleg Universe, and “Clean Slate” (2022), which was awarded a grand jury prize at the Collaboration Filmmakers Challenge, and “The Heart of Texas” (2023), which has garnered her six acting awards to date. She is currently preparing for her feature film directorial debut.
Lauren Noll of “Heart of Texas” short