Welcome to WeeklyWilson.com, where author/film critic Connie (Corcoran) Wilson avoids totally losing her marbles in semi-retirement by writing about film (see the Chicago Film Festival reviews and SXSW), politics and books----her own books and those of other people. You'll also find her diverging frequently to share humorous (or not-so-humorous) anecdotes and concerns. Try it! You'll like it!
Connie has been reviewing film uninterruptedly since 1970 (47 years) and routinely covers the Chicago International Film Festival (14 years), SXSW, the Austin Film Festival, and others, sharing detailed looks in advance at upcoming entertainment. She has taught a class on film and is the author of the book “Training the Teacher As A Champion; From The Godfather to Apocalypse Now, published by the Merry Blacksmith Press of Rhode Island.
When it comes to movies, setting can be everything.
Movies about love, conflict, redemption (and any other theme) are judged as much by where and when they’re set as on their themes. Take “Titanic,” for example. It’s a love story, but it is set against the backdrop of that well-known tragic disaster, adding to the poignancy of the romance.
“Forrest Gump” was the biggest live action film of 1994. This Tom Hanks/Robin Wright/Sally Field film utilized multiple locations to present a complicated tale of equality and acceptance. “Forrest Gump” was popularized using numerous nods to history, including some instances in which star Tom Hanks is inserted into actual photographs of the time, “Zelig” style. Along with references to Elvis Presley, there were historical references that made the movie accessible to any audience and helped emphasize Director Robert Zemeckis’ messages. (I met Robert Zemeckis in Chicago when he was publicizing the 2012 film “Flight” with Denzel Washington.)
Choosing the right backdrop and setting can make or break a film.
Poker is a setting writers use to accentuate tension. When poker is included in a film, it can leave you feeling like you have been dealt a royal flush. Worldwide, it is a popular game, with complex rules. Audiences are generally familiar with common poker terms and rules, which helps sell the film. Taking the tension of a high stakes poker game and interpreting it in writing, however, can be a difficult task. But when poker is incorporated skillfully into the plot of a film, it can enhance the viewing experience.
The iconic poker movie was “Rounders,” released in 1998. The film featured Matt Damon, Edward Norton and Gretchen Mol in a plot that IMDB.com describes this way: “A young, reformed gambler must return to playing big stakes poker to help a friend pay off loan sharks, while balancing his relationship with his girlfriend and his commitments to law school.”
That classic aside, here are three of the best, albeit, lesser-known poker films of the past 25 years:
“Finder’s Fee” (2001) dropped just before the original poker boom, which changed poker overnight. Rather than raising the stakes, it folded quickly, which is a real shame. This Ryan Reynolds, James Earl Jones, Matthew Lillard film is overlooked among poker films. The central character finds a $6 million winning lottery ticket. The twist come when he finds himself embroiled in a backroom poker game where the stake is a simple lottery ticket. The action takes place over a single night.
Released in 2017, “Molly’s Game” is the best poker movie to hit screens in the past five years. It features Jessica Chastain as Molly Bloom, the real-life organizer of illicit poker games between high profile stars. The film is based on Molly Bloom’s book of the same name and was Aaron Sorkin’s (“The West Wing”) directorial debut. Kevin Costner and Idris Elba also appeared in the all-star cast with characters based on real-life poker-playing personalities, such as Tobey Maguire. Michael Cera (Player X) and Jeremy Strong, Emmy-nominated this year for his role as Kendall Roy in “Succession,”also were featured in the cast. “Molly’s Game” won several awards, including Best Screenplay for Aaron Sorkin at AARP’s Movies for Grownups Awards. It is just one of many Jessica Chastain strong roles that were overlooked prior to her Oscar win last year for “The Eyes of Tammy Faye.” (“Take Shelter” was another, in support of Michael Shannon.)
“Lucky You” (2007) attempted to seize upon the popularity of poker during the boom. Filmed on location in Las Vegas, $58 million was invested in this story of Huck Cheever (Eric Bana), a young talented poker player who made it to the World Series of Poker while striving to move out of the shadow of his poker-playing father (Robert Duvall). The movie made only $8.4 million at the box office, opening opposite “Spider-Man 3.” Eric Bana, Drew Barrymore, and Robert Duvall starred, directed by Curtis Hanson (“8 Mile,” “L.A. Confidential”) who co-wrote the screenplay with Eric Roth (“Forrest Gump”). As with “Rounders,” the film has stood the test of time, although it did not find an audience at the time of its release.
This Brad Pitt vehicle is—(dare I say it?)—a train wreck.
I had a very bad feeling about the film going in. This line from the script sums up my feelings about “Bullet Train:” “I haven’t got the time or the patience, let alone the interest.” I can’t recommend you take this one in at the Cineplex for actual cash.
If you do invest the time in “Bullet Train” when it streams somewhere, Brad Pitt is the best thing in this overlong fist-fest. He plays a hit-man who is trying to mend his violent ways and learn to solve problems in a more peaceful manner.
Code-named Ladybug in a “cute” discussion with his handler (Sandra Bullock) that already screams “Turkey,” among other pronouncements from Pitt are these: “Let this be a lesson on the toxicity of anger.” “A path to a peaceful outcome is an opportunity for growth.” “I just wanna’ get off this train and go see a Zen garden or some shit.” “When we are so quick to anger, we are slow to understand.” “If you do not control your fate, it controls you.” Not a lot of great original writing in those bon mots. The writing here is byZak Olkewicz (screenplay) and based on the book by Kôtarô Isaka.
Pressed into service in place of the mysterious Carver (Ryan Reynolds in a cameo), Ladybug is supposed to steal a briefcase on the bullet train. The case is being protected by 2 other assassins code-named Tangerine and Lemon. [Also cloyingly cute.] Tangerine is played by Aaron Taylor-Johnson, who was brilliant in 2016’s “Nocturnal Animals.” It’s a great part for the handsome actor, speaking in his native British accent, who was nominated for a BAFTA in 2017 for Best Supporting Actor for that role. His “twin” partner is Black actor Bryan Tyree-Henry (2018’s “Spiderman: Into the Spiderverse”). Also a forced joke, since they are obviously not biological “twins.”
One of the flaws of the film is that the director is David Leitch. As a former stuntman, himself, he has a passion for fight sequences (which is primarily what this movie is). He has been Brad Pitt’s stunt double 5 times and served as Matt Damon’s stunt double many times, including in “The Bourne Ultimatum.” Leitch co-directed “John Wick” (2014) with Chad Stahelski. He directed “Atomic Blonde” (2017) starring Charlize Theron. David also directed the box office smash/critically acclaimed “Deadpool 2” (2018). These movies all depend on non-stop action sequences; that is what you get in “Bullet Train.” Not a fan.
A second failing, for me, is that the plot is impossibly convoluted and not worth the time and effort to follow it. Lots of bathroom humor. (Imean that literally.) A particularly wasted co-star was Michael Shannon as The White Death. (I hate it when Michael Shannon’s considerable talents are wasted, and they are wasted here).
A third problem is that the music feels very dated. The musical director was Dominic Lewis, so lay the blame for selecting such songs as “Staying Alive,” “Holding Out for a Hero,” and “I Just Wanna Celebrate” at his feet. . None of these songs are even remotely new. “Staying Alive” is almost 40 years old. “Holding Out for a Hero” was released in 1986 (36 years ago). “I Just Wanna Celebrate” was released in 1971, 51 years ago. There are also some oldies-but-not-goodies, including the one with the lyric “If you miss the train I’m on Hear the whistle blow 100 miles.” Yeah. Soundtrack sucked.
The entire film screams “Look how cute and hip we are.” Various stars make cameos (Channing Tatum, Ryan Reynolds, Sondra Bullock,Zazie Beetz) and, all-in-all, I felt cheated out of a decently themed movie with something to say. It was not worth the price of theater admission.
Other critics say it is going to be Brad Pitt’s new ongoing vehicle in the same way that Robert Downey, Jr., repeatedly rode “Ironman” to the bank. All I can say to that is, “Count me out.”
Besides the convoluted repetitive plot, the non-stop fight sequences, and the lack-luster musical score, the humor came off as forced and unfunny. The entire film was way too “cutesy” and much too dependent on CGI special effects (primarily of trains crashing). The propping up of dead bodies to make them appear to be alive: not “funny.” I want to see Brad Pitt in the context of a well-written film with some depth and a message. I’m so glad we took in “Vengeance” (B.J. Novak) before “Bullet Train.”
At times I was confused about whether we were watching Japanese actors in Mexico or vice versa. I got the feeling that the entire movie was aimed at a Japanese audience that will enjoy the Bruce Lee vibe, and, to them, I say Sayonara. I really did not enjoy much of anything about this pastiche, but I do like me some Brad Pitt, (even though the line from the movie that sums up his sex appeal in this is, “You look like every white homeless man I’ve ever seen.”)
Having told you what I think of this Boomslang of a film, in good conscience I should report that others coming out of the theater were chatting about how much they enjoyed this mindless mess of movie/ fight sequence. Something tells me that they have seen far fewer films than I have seen.
I found the humor strained and the entire undertaking a waste of money ($85,900,000 down the “Bullet Train” drain.)
The film “Vengeance” is written and directed by B.J. Novak of “The Office” fame. The synopsis of the plot reads: “A writer from New York City attempts to solve the murder of a girl he hooked up with, and travels down South to investigate the circumstances of her death and discover what happened to her.”
As the film opens, B.J.—who plays the main character Ben Manalowitz in a sort of early Woody Allen-esque fashion modeled on the “Annie Hall” template—is out and about in New York City with John Mayer, the singer. Mayer essentially plays himself. It is well-known that the singer (“Your Body Is A Wonderland”) has practically made a career out of dating numerous female pop icons. The conversation between Mayer’s character (John) and B.J.’s character of Ben, which seems to take place atop a New York City rooftop party, is all about hooking up with various women on a casual basis. The two are using their cell phones to revisit past and present conquests and agreeing with one another (without really communicating) with the rote response “100% !”
The next step in the plot has Ben (B.J. Novak) answering a late-night phone call from someone who says his name is Ty Shaw (Boyd Holbrook). Ty describes himself as the brother of a one-time hook-up of Ben’s named Abilene Shaw (Lio Tipton). Ty assumes that Ben will be coming South to Texas for Abilene’s funeral. Ben is at a loss to process this suggestion, as he barely remembers Abilene at all.
Where, in Texas, is this home town? Three hours from Dallas and five hours from Abilene, so literally in the middle of nowhere in west Texas. Ben tries to beg off, saying, “I’ll be there in spirit,” which causes Ty (the brother) to respond that he will pick Ben up from the Spirit Airlines terminal at the airport.
Ben does fly to Texas, because he has the idea that his experiences in rural Texas might provide good raw material for a podcast topic he is pitching to a radio executive, played by Issa Rae as Eloise.
When Ty picks Ben up at the airport, he lays out a case for Abilene, an aspiring singer, having been murdered. They are in Ben’s pick-up truck and Ben is quite taken aback, exclaiming “I don’t avenge deaths. I don’t live in a Liam Neeson movie.” This leads to a wry conversation with Ty about Liam Neeson movies, with Ty proclaiming “Schindler’s List” to be “a huge downer.” Hard not to laugh.
It also sets up the scene at the burial of Abilene where Ben—who barely knew the girl—is asked to get up and say a few words about his “girlfriend.” Ben does an excellent job of uttering platitudes along the lines of “I never expected to be in a situation like this.” He goes on to mention banal remarks about “spending more time” with someone (“All of us”) and mentions how she “loved music.” It should be mentioned that Jessie Novak actually wrote one of the songs entitled “I Finished My Shift at Claire’s” and B.J. Novak gets credit for one with a title something like “When I Get Signal.” Andrea Von Foroester was in charge of the music and Cinematographer was Lyn Moncrief in this Jason Blum production.
The eulogy from Ben graveside gets him off the hook with the family (re his relationship with Abilene) for the moment, but, because he needs more material for his podcast proposal, Ben is talked into staying at the family home and actually sleeping in Abilene’s old childhood bedroom. Ben keeps humoring Ty in his quest for vengeance, which, in one insightful line, the script explains is the new reality that the truth is too hard to accept, so people are always looking for someone to blame. There are also some deep nuggets concerning social media adding to the proliferation of conspiracy theories and those who hold forth their own opinions as everyone’s truth (without proof), so the film is not just all fun and games and searching for killers who may or may not exist.
The piece starts out to be a somewhat snobbish look down Ben’s nose at the fly-over country he is visiting, a land where, according to the locals, “In Texas, we don’t dial 9-1-1.” It ends up failing to endorse the proposal that all city folk are smarter and sharper and better. The sincerity of the locals cannot fail to impress. However, you do come away with the impression that the bright lights of the rural Heartland won’t win fame and fortune unless they move to a city where their talent can be recognized, so you tell me if that is a vote for west Texas or, like Sam Kinnison’s act, someone screaming, “You live in the desert. Move to the water.”
As it turns out, Abilene—(who initially is misrepresented as someone “who wouldn’t even touch anAdvil)—did have a bit of a drug problem, and the reason seems to be the dead-end life she was living in rural Texas, her New York City dreams having not panned out.
Abilene attended a party near an oil field, where cell reception was poor. The party took place at the intersection of four competing jurisdictions off Highway 29. This meant that neither the local Banefield Police Department (Officers Mike and Dan), the border patrol, the DEA, nor Sheriff Jimeniz really would care enough to investigate a party like the one where Abilene died, which seems to have been a routine event in the area.
The Shaws are a family where the younger brother of Abilene’s (Eli Bickel as Mason) is routinely referred to as “El Stupido.” When Ben objects to categorizing the middle school-aged boy this way, Ty, his older brother, says, “It’s okay. He doesn’t speak Spanish.”
Ty is portrayed as “a good old boy” and a typical Texan. Only Quentin Sellers seems to have a clue about the Big City. At one point in the dialogue, Ashton Kutcher’s character mentioned that he had moved to this godforsaken spot from another state. I’d have to see it again to tell you if it was Iowa or Idaho, but we all know that, IRL, Ashton is from the Cedar Rapids/Amana area, so please let me know if Iowa got a plug.
The movie makes fun of the Texas fascination with the Whataburger franchise. The simplistic reason for liking it is given as “because it’s right there.” However, when Ty is pushed to explain further, he says, “You just love it, and that’s how love works.” This “heart to heart” theme comes off as perhaps superior to the lack of compassion or empathy evinced by city dwellers, early in the film.
Many of the snobby Jewish boy’s pre-conceived impressions about the South are shown up for what they are: prejudice. In a revealing debate with one of Abilene’s sisters (Isabella Amara as Paris Shaw) about literature, it becomes clear that Paris has actually read the source material, while Ben has not. (Harry Potter books abound in Abilene’s bedroom, thanks to 2 female set decorators who grew up in San Antonio and are about the same age as Abilene of the film.) Ben is merely reciting rote opinions without being as well-informed as this Texas high school girl, but he has retained an air of superiority. Alex Jones, without the shouting.
Ashton Kutcher, who has not appeared in a major movie role since roughly 2013 (“Jobs”) appears as Quentin Sellers. The Iowa-born native recently revealed that he had been suffering from “a super rare form of Vasculitis” that he contracted three years ago. The disease attacks the veins and arteries and is an auto-immune disorder that involves inflammation and can cause organ failure or aneurysms in its most severe form. Kutcher said, “Like two years ago, I had this weird, super-rare form of vasculitis,” Kutcher shared these experiences in an exclusive video clip released to “Access Hollywood” from an upcoming episode of National Geographic’s “Running Wild with Bear Grylls: The Challenge.”
“Knocked out my vision, knocked out my hearing, knocked out like all my equilibrium. It took me like a year to build it all back up.”
Therefore, it was a treat to see a healthy 44-year-old white-clad Kutcher playing Quentin Sellers, founder of the Quentin Sellers Music Factory in the middle of Texas. Quentin gives an inspiring speech about “all these bright creative lights with nowhere to plug in their energy,” as he holds himself out as a music impresario in the middle of nowhere. His wardrobe is a plus (mostly white) and he looks great.
The writing is extremely insightful. The actors do well with their parts, and, for a first-time director, Novak has hit a home run. The dry humor (see trailer) leaves you laughing out loud.
My only criticism would be the denouement of the film. It seemed out of character for the protagonist. I won’t say any more than that, because this is one you’ll want to rent and enjoy for yourself.
I look forward to B.J. Novak’s next writer/director outing.
I liked “Nope” and I’ve tried to explain it more for those who aren’t interested in researching all of the allusions and references to other films. Therefore, proceed at your own peril. I have tried not to reveal all of the mysteries of the plot, but there may be spoilers.
We journeyed out to the theater to see “Nope,” Jordan Peele’s latest film, starring Oscar-winner Daniel Kaluuya from “Get Out” and “Judas and the Black Messiah.” Peele is more political than M. Night Shymalan, whose films and themes Peele’s works most resemble (of directors working today). As such, much of the film is commentary on the film industry (spectacle), including the role of Blacks through the years. There is also commentary on the American emphasis on commercialism. (The coin in the plastic evidence bag is a subtle dig). It’s a veritable homage to alien encounter films throughout history, with horror/thriller films, especially Spielberg’s, entering in, as well. There is dialogue regarding possible proof of the existence of aliens and the value of such proof to anyone securing it: “People are gonna’ come and do what they always do. Try to take it for themselves.”
Thus begins the plan to capture pictures and video of the aliens, who seemingly are lurking behind a cloud that never moves above a remote far west ranch. Is that a spaceship in the night, or is it a marauding creature? Therein hangs the tale. The central plan to capture video of aliens that dominates “Nope” will be quite an adventure; the audience gets to go along for the ride. I enjoyed it more than my puzzled spouse, but I admit to having spent way more time watching the movies this film honors. It struck me as not unlike the the way that Mel Brooks satirized genre after genre with his humorous films. Only this movie is a cross between thriller/horror/science fiction, saluting those genres. (There are plenty of alien encounter movies to draw from.)
Special kudos go to the sound engineers overseeing the sound effects, the score by Michael Abels, and the cinematographer shooting what appears to be a silver disc in the sky, Hoyt van Hoytema. A prophetic quote from the Book of Nahum (3.6) starts us off: “It will cast abominable filth at you, make you vile, and make you a spectacle.” Literally.
The characters who lead us on the adventure are a brother and sister (Daniel Kaluuya and Keke Palmer) who have inherited a horse farm that provides trained horses for Hollywood productions. Haywood’s Hollywood Horses was founded by Otis Haywood, Sr. When Otis, Sr., dies in a strange fashion—seemingly shot by objects that fall from the sky without warning—Otis, Jr., known as O.J. dedicates himself to carrying on the Haywood tradition. Young O.J. wants to continue training horses as an animal wrangler and also wants to buy back some of the horses the ranch has had to sell to a neighboring circus-like attraction, Jupiter’s Claim, to stay financially afloat.
O.J. (Daniel Kaluuya) is the son who understands animal behavior and tries to warn others about not looking an animal in the eye and remaining calm, etc.; his sister Emerald (Keke Palmer) is O.J.’s somewhat unreliable sidekick. Emerald does not see the horse farm as her future. She constantly inserts personal promos for her many other skills, which range from motorcycle riding to acting. Emerald is more extroverted, but O.J. is the one who negotiates with Jupe (Steven Yeun) to provide horses for his attraction, Jupiter’s Claim. It is also Emerald who, upon agreeing that aliens might be visiting the nearby remote landscape, wants to secure definitive proof via photographs and video as a money-maker.
Emerald contacts Cinematographer Antlers Holst (Michael Wincott), a crack videotographer,who lugs what appears to be an old IMAX camera out to the remote western site, to assist the young video salesman Angel Torres who originally hooked up photographic equipment the duo bought. The video sales guy is played by Brandon Perea as Angel Torres and he contribute much in the area of comic relief. While I enjoyed Angel’s contribution, we had difficulty understanding TV “Password” hostess Keke Palmer’s dialogue.
O.J. feels it important to keep alive the tradition and history of the (fictitious) relative Emerald says was the Black Bahamian jockey shown in a few minutes of film thought to be the very first moving picture image ever captured. The short piece of film was captured by 19th century inventor and adventurer Eadweard Muybridge in 1878. Muybridge had been commissioned to study the movement of a galloping horse; the name of the Black Bahamian jockey was lost to history, but, for purposes of this film, Jordan Peele has created a fictitious identity for the rider—Alistair Haywood, the family’s horse ranch founder. O.J. Sr,—presumably Alistair’s son and heir— is played by veteran horror actor Keith David, who appeared in “Armageddon” (1998) and “Dante’s Peak” (1997) over his long career.
Here are some of the homages to other cinematic moments:
.When Keke Palmer slides on the motorcycle, it is a reference to a classic anime film, “Akira.” It’s been referenced in dozens of movie for the last 30 years.
.When a character says, “They’re here,” it’s an homage to “Poltergeist.” Easter egg references (“Spielbergian,” said one critic) abound, but the “Nope” plot is definitely original.
.There is the opening reference to a chimp attack during the filming of a TV show called “Gordy’s Home” in 1996. A real chimp attack was featured on Oprah’s syndicated TV show. Charla Nash, a woman who was mauled and disfigured by her chimp Travis appeared on Oprah. When Jupe’s former co-star Mary Jo (Sophia Coto) from “Gordy’s Home” visits Jupiter’s Claim, she is wearing a hat and veil to hide her scars from the chimpanzee attack. Both the scars and the outfit resemble Nash during her real-life interview with Oprah.
.OJ and Emerald visit a Fry’s Electronics store to purchase the surveillance equipment they hope to use in their efforts to capture the alien on film, where they meet employee and alien enthusiast Angel (Brandon Perea). Each Fry’s location featured a unique theme before the family-owned chain when out of business in 2021. Burbank’s Fry’s Electronics store had an alien theme.
.”The Wizard of Oz” has been named as a big influence by Peele. The way in which the alien uploads “food” via dust tornadoes reflects that, as well as the name Emerald and her repetitive wearing of the color green.
.O.J. wears orange, in tribute to his name. The hooded orange sweatshirt that says “Crew” is identical to those worn on the set of the Rock’s film “The Scorpion King.” There is also a poster of the 1972 film “Buck and the Preacher,” Sidney Poitier’s directorial debut, seen in the film.
.Every famous movie about alien encounters that you can think of is referenced, directly or indirectly. The fist bump between child and chimp reminds a bit of the E.T./Elliot finger connection. Even the film’s title of “Nope” is similar to “E.T.,” since E.T. meant extra terrestrial and some have said that “Nope” means “Not of This Planet.” On the other hand, the phrase is spoken throughout the movie. There is one point where our hero (Daniel Kaluuya) opens the truck door, looks out, murmurs “Nope” and re-enters the vehicle. Every major alien encounter film—“E.T.,” “Close Encounters of the Third Kind,” “War of the Worlds,” “Invasion of the Body Snatchers,” “Arrival” receives attention. This isn’t even throwing in the “B” movie efforts like 1998’s “The Faculty” or films like “Alien Autopsy” (2006), “The Mothman Prophecies” (2002); “Ancient Aliens” (2009); “The Blob” (1958); “The Thing”; “District 9” (2009); “Indiana Jones and the Kingdom of the Crystal Skull” (2008) or any number of lesser movies.
.Antlers Holst (Michael Wincott) reminds of other key characters in Spielberg films, like Quinn in Spielberg’s “Jaws” or Bob Peck’s Muldoon from “Jurassic Park.” I found his grizzled presence reminiscent of Lance Henriksen, a veteran presence in numerous horror films. Wincott’s decision to venture out and film the creature in a climactic scene seems to be his desire to get “the impossible shot.” As Antlers told Emerald when she approached him to help them film the encounter, “Horse Girl, this is a dream you’re chasing. The one where you end up at the top of the mountain—all eyes on you. It’s the dream you never wake up from.”
I found the movie to be quite original and unique. Like Peele’s other films, you can peel the plot layers back like an onion. Most fun I’ve had at the movies this summer, because English majors always want to explore symbolism and themes that are buried beneath the surface, and that is what Peele incorporates in his films, which I enjoy. You can still enjoy it on the surface as a thriller, without the deep dive, however.
We checked out two new films recently, I’ll give you an idea about them to save you the time.
After checking out the trailers on my Guide movie-for rent list, I narrowed the choices to “The Forgiven” or “Abandoned.”
“The Forgiven” starred Ralph Fiennes and Jessica Chastain, a big plus. It was on Amazon Prime and the price of each was $7.95 to rent. The rating by the audience on IMDB was only 5.8 out of 10, but these two are Oscar caliber actors. Plus, I liked another co-star, Christopher Abbott, who dallies with the married Jo Henninger in the film while her husband is away.
“Abandoned” is a horror thriller starring Emma Roberts, John Gallagher, Jr. (“Network News”) and one of my all-time favorites, Michael Shannon.
We watched “The Forgiven” first, and that ended up being the better choice. It is a well-crafted film with a plot set in Morocco and examining what happens when a couple on their way to a wedding accidentally hits and kills a young man on the dark highway who is selling fossils. (Apparently, selling fossils is a big industry for the locals. Who knew?) It also had an appearance by Christopher Abbott, who I knew from “James White,” where he played Cynthia Nixon’s son, and “It Comes At Night” in 2017—a horror movie that never quite delivered on the successful atmospheric brooding cinematography of Director Trey Edward Shults.
IMDB describes the plot this way: “The Forgiven takes place over a weekend in the High Atlas Mountains of Morocco, and explores the reverberations of a random accident on the lives of both the local Muslims, and Western visitors to a house party in a grand villa.: Director James Michael McDonagh filmed on location; we get an inside look at the Arabic culture in what appears to be one of those countries that our former president described as “a s***ole country,” The folks flocking to the villa in the middle of nowhere appear to be either Euro-trash or, as one is identified, the style editor from a famous women’s magazine, which shall be nameless for the intention of this review.
Jessica (Chastain) and Ralph (Fiennes) are an unhappily married couple, Jo and David Henninger, on the verge of divorce. After David hits and kills the young native boy, the authorities are contacted. The boy’s father comes to the villa and demands that Ralph accompany him back to the desolate village from whence he came. We learn that the young man (Driss) might have been planning to rob some of the rich party-goers with another youth.
Should Ralph Fiennes’ character of David Henninger accompany the dead boy’s father back to Driss’ village? If he does, what will happen? Fiennes does accompany Driss’ dad, but what happens after that, while a satisfactory surprise ending, is still one that I am processing.
“Abandoned,” on the other hand, held the promise of a young woman (Emma Roberts) suffering from post-partum depression who has recently given birth and moves, with her husband (John Gallagher, Jr.) to a remote haunted house (which, the end-of-film credits tell us, was located in Smithfield, North Carolina.)
The house had a history, but the price was right. The previous family had a psychotic father who impregnated his underage daughter three times; it is hinted that he had a way with an axe. An old wardrobe in the house seems to be the entryway to a portion of the house where some of the offspring of the underage daughter of the house live on as ghosts, [as in “American Horror Story.”]
Most of the film consists of the vulnerable Emma (Roberts) trying to work through her depression and deal with her infant son, who has a bad case of colic. Michael Shannon enters for roughly 20 minutes of film time, which is a crime in and of itself. Shannon plays the brother of the poor underage sister and he shares the couch with Emma Roberts discussing his life in the house before its occupants met untimely ends.
The movie is a total waste of the talents of an actor as talented as Michael Shannon. For that matter, the script did no favors to the young couple, both of whom are good actors.
I am glad we began our viewing with “The Forgiven,” which at least had a structure that merited sticking with it to the end, but I cannot give a thumbs-up to “Abandoned.” The films rented for $7.95. In one case it was money well spent. In the other it was a waste of time and money.
Time in Austin is dwindling and the return to the Midwest is upon us.
As a result we journeyed out to my favorite downtown restaurant, The Roaring Fork. I don’t often post pictures of food, but I’m going to post a picture of the dining room, the bar, and my favorite dish on the menu, the chicken with dressing and green beans, which retails for around $24 and is delicious!
When we headed downtown, we had planned to stroll around after dinner and see what might be going on downtown, but when the temperature hit 108 and it was still 95 degrees at 9 p.m., that plan died a grisly death.
The other random topic I want to address is the Minions fad of dressing up to attend the new Minions movie.
The Roaring Fork, Austin, Texas.
It immediately reminded me of a long-ago field trip with my class at Silvis Junior High School. We were going to be sharing the movie auditorium with another junior high school (John Deere Junior High) and I wanted my students to behave. It had not escaped my attention that the day we were set to make the field trip was also the day that our school normally had something called Dress Up Day.
So, on the blackboard of my classroom, I wrote “DUD Day” and explained that that meant Dress Up for Deere day.
The kids got behind the idea and showed up looking like they were going to Sunday church or out on a fancy date. The girls looked lovely; the boys were also dressed like those attending the Minions movie that I’ve seen. My students were very well-behaved, and I think their attire was part of that equation. John Deere Junior High’s? Not so much.
I was never so proud of my wonderful students as when they got behind the idea of DUD Day and behaved like the ladies and gentlemen I knew they could be. They were on their best behavior.
I think dressing up for movies and other formal occasions–something my generation did as a matter of course—is a wonderful idea. It’s nice to know that it’s not totally dead, even if the dressing up, this time, is for a totally digital online fad/reason. (And no throwing bananas if you’re dressed up at the Minions movie!)
Armie Hammer and wife (2018 SXSW Festival, photo by Connie Wilson)
I never thought I’d type the words “Armie Hammer is now working as a time-share salesman.” I’m guessing that Armie Hammer never thought he’d become one, either.
I met the actor at SXSW (with his then-wife) hyping a film directed by Stanley Tucci. The film, released in 2017, was “Final Portrait.” It was “the story of Swiss painter and sculptor Alberto Giacometti.” The movie starred Geoffrey Rush, Armie Hammer and Tony Shalhoub. It was written and directed by Stanley Tucci. Tucci—who is, also, coincidentally, the brother-in-law of “A Quiet Place” star Emily Blunt (married to her sister)—was not there in person, but he sent Armie Hammer and it was shown in the theater right next door to the Paramount, the Stateside (formerly the State Theater) on Opening Night, a theater where I had previously seen a troupe of trained cats entertain my granddaughters. [Some of the cats escaped during the show and we were cautioned about opening the door to the lobby.]
“Final Portrait” Red Carpet at SXSW.
This theater was built in 1935 and, after renovations through the years, what remains looks every one of those 86 years of age. It comfortably seats 305 today. In 1950 it was announced that it seated 997; I cannot imagine how that was possible, unless the patrons were stacked like cordwood. The theater itself fell on hard times in the 70s and suffered a water main break in June of 2006 that delayed its 70-year anniversary celebration.
“A Quiet Place” was going to be opening the festival next door at the Paramount. I had secured a ticket to “A Quiet Place” because the writers of that film were Bettendorf (IA) natives Scott Beck and Bryan Woods. I decided to see if I could hit both at once, leaving “Final Portrait” early because, honestly, I had little interest in this obscure Italian painter and sculptor, but was intensely interested in how “A Quiet Place” would do as Paramount’s Opening Night Film at SXSW. It was a wise decision.
Armie Hammer at the Red Carpet at the Stateside Theater in Austin (Tx) for Final Portrait, Stanley Tucci’s directorial debut. (Photo by Connie Wilson).
Troubles began immediately. We were all crowded into a tiny lobby of the Stateside Theater, but the projector wasn’t operative or the film was flawed or some other technical problem was causing those in charge to attempt to carry a laptop computer to the control booth. The plan, as I overheard it, was to show us the film from the computer stream. That didn’t sound like the Opening Night experience I had in mind, so, after meeting and greeting the extremely handsome Armie Hammer, I split for “A Quiet Place” next door at the Paramount—but not before taking the pictures you see here.
Then came news of Armie’s infidelities and his texts about cannibalism and other such revelations. Still, he was the “star” of “Death on the Nile” and was in too many scenes to remove him, so Armie had another day in the sun. And Armie’s family is extremely wealthy, as profiled in a “Vanity Fair” article.
Now, according to the “Daily Globe,” Armie’s days in the sun are spent in the Cayman Islands selling time shares for $2,000 a week or $21,000 for 10 years at Morritt’s Resort. At least, he was spotted there in June pricing a unit with potential buyers, although his agent denied this when asked.
In another weird story, Elon Musk is not going to spend $44 billion buying Twitter and will probably be sued for backing out of the deal.
I was tempted to entitle this story “Death in the Caymans” (but you’d have to be aware that Armie Hammer was in that 2022 movie).
After all, Armie’s family is still filthy rich and he’s still extremely handsome, so it’s hard to feel too sorry for him, even now. His downfall was caused by inappropriate texting, a fascination with cannibalism, and infidelity; hard to blame anyone but Armie for his demise.
In 1977, Caan rated several of his Top Ten movies: – The Godfather (1972) , Freebie and the Bean (1974), Cinderella Liberty(1973) , The Gambler (1974), Funny Lady (1975), Rollerball(1975), The Killer Elite (1975), Harry and Walter Go to New York (1976) , Slither(1973), A Bridge Too Far (1977), and Another Man, Another Chance (1977) . He also liked his performances in The RainPeople(1969) and Thief(1981). I would add “Misery”and his television lead as Brian Piccolo in “Brian’s Song” to Caan’s own list.
When I heard that tough guy Jimmy Caan—the actor who moved into the Playboy Mansion for a while during a divorce—was dead, I immediately thought of the loss just days ago of another such film stalwart, Ray Liotta. Both were the kind of actors who brought believability to their roles and were much in demand, although, in Caan’s case, he seemed to have a way of shooting himself in the foot by not accepting Oscar-making roles.
There were at least 3 Richard Dreyfuss roles that Jimmy Caan turned down: “Close Encounters of the Third Kind,” “The Good-Bye Girl,” and “What About Bob?” In two of those instances, the lead was in the running for an Oscar. (Caan was nominated only as Best Supporting Actor for his portrayal of Sonny Corleone in 1972’s “The Godfather.”)
James Caan was often honored by Italian/American groups and commented that he wasn’t even Italian (he was Jewish and his father was a Queens butcher), but that they wouldn’t allow him to turn down the honors. Caan also played football at Michigan State in his youth and attended (but did not graduate from) Hofstra or MSU.
Caan turned down the lead role in “Kramer vs. Kramer” (Dustin Hoffman) and “One Flew Over the Cuckoo’s Nest,” a film which swept the Oscars and earned Jack Nicholson an Oscar. When the part was offered to Caan, he said something derogatory about a film that would take place largely within the walls of a mental institution, but he learned his lesson from turning down that Oscar part, later accepting the lead role in 1990’s “Misery,” which was directed by his good friend Rob Reiner.
In various articles James Caan holds out that last role as an offering from Reiner to help Caan out of a deep depression, precipitated by the death of his sister from leukemia at only 38 (she was working for Caan at the time). Caan talked openly about his battle with depression. He also battled a cocaine addiction for a while and, while considered for both the role of Travis Bickle in “Taxi Driver”(1976) and Axel Foley in “Beverley Hills Cop” (1984), there were times when getting him insured was a crap shoot, much like the situation with Robert Downey, Jr., during Downey’s bad years flirting with drug disaster.
After the sixties spent learning his craft and appearing on television shows such as “Dr. Kildare” (1963), “Ben Casey” (1963), “The Untouchables” (1962) and “The Naked City” (1961) Caan broke through in 1972 as Sonny Corleone in Francis Ford Coppola’s “The Godfather.” He would make 4 films with Francis Ford Coppola.
Slated to play Michael Corleone in “The Godfather” first, Sonny was the part that cemented James Caan in the public’s consciousness as the hot-headed Italian brother of Michael who dies a grisly death during a toll booth assassination. Once considered for Gene Hackman’s role in “The French Connection” (1971), for Stallone’s role in “Rocky” (1976) and for Ryan O’Neal’s role in 1970’s “Love Story,” James Caan’s 137 credits included a lot of major missed opportunities. One story said that, when offered a role in “Apocalypse Now,” his agent said Jimmy would read it only if guaranteed $1 million. The small role went to Harrison Ford. And then there was the point when Caan discovered, to his dismay, that his money was gone and he was flat broke.
Moving past that set-back, James Caan would end life valued at $20 million, having started out with a $35,000 salary for his storied role in “The Godfather” (1972). He reprised his role, uncredited, in the 1974 “The Godfather II” for the same amount. In 2013, the rough-and-tough James Caan earned $75,000 for a role, an amount which did not appropriately reflect his impact on American cinema.
It seemed incongruous, to me, that, when he died, one obituary mainly mentioned Caan’s role in “Elf” opposite Will Ferrell. That role did earn him $140,000 in residuals but it was far from his most memorable or his best work.
For 9 years this Jewish cowboy from Queens rode on the rodeo circuit, with a clause that allowed him to pass if he was shooting a movie. He once described massive numbers of screws (14 in one spot) and other medical measures, the result of doing many of his own stunts and his own daredevil attitude.
It was this attitude that his many friends commented upon, including his great sense of humor. Along with comments that he was seen being pushed in a wheelchair by one of his sons in 2021 and using a walker when out to dinner in the last year, came the remarks about his appearance at “The Godfather” 50th anniversary celebration. Time, the critics said, had not been kind to Jimmy Caan.
Still, for me, I remember the four-times married James Caan as the very definition of “a man’s man.” His appearance as Brian Piccolo in television’s “Brian’s Song” (1972), or his 1975 appearance in “Rollerball” and “Misery” in 1990 were epic. Less epic was the song-and-dance-man role opposite Bette Midler in “For the Boys” (1991) or his role as Mr. Henry in the indie film “Bottle Rocket” (1996) or as Frank Vitale in “Mickey Blue Eyes” (1999), that last role playing off his role as a Mob guy.
Jimmy Caan was “in” to women and karate and was married four times, producing 5 children. Most of his marriages did not last long, with 5 years being the norm for two of them, but the marriage to Sheila Ryan that produced acting son Scott Caan (“Hawaii Five-Oh”) lasted only from January 12, 1976 to December 7, 1976, which is not even one year. His final marriage commenced in 1995, but was failing and a divorce was in the works when Caan died on July 6th, 2022.
I will not remember Jimmy Caan as the Dad from “Elf.” I will have many much more intense memories of much more memorable films that he gave us during his 137 outings. Thank you for those many memorable films, James Caan.
Viewing “Elvis” and recognizing that very little was said about Elvis’ many girlfriends or what happened to Lisa Marie Presley in the wake of their 1966 divorce made me take a look at some of the history since his death in 1972.
For those too young to have seen Elvis in his prime, this movie is an education. However, the film does veer dramatically from the truth along the way. Gone is any mention of Elvis’ many loves including his affair with Ann Margret while filming “Viva, Las Vegas.” Wikipedia tells us that Elvis and Priscilla Presley became increasingly distant after the 7 and ½ year courtship, including her relocation to Graceland after Elvis met her in Germany in 1959. She was 14 when they met; he was 24. They married in 1966, although she lived at Graceland with him for nearly 8 years before they tied the knot. They divorced in 1972. Priscilla gave birth to Lisa Marie Presley, Elvis’ only child, in 1968. Priscilla’s parents apparently went along with the idea of the then 14-year-old girl being “raised” in Memphis by Vernon Presley. Weird.
It is noteworthy that both Priscilla and Lisa Marie and granddaughter Riley Keough appeared with Austin Butler in a special about Baz Lurhmann’s film that I watched. Speaking in the Jungle Room in Memphis, Elvis’ wife and daughter were extremely enthusiastic about this film and Austin Butler’s portrayal of Elvis. Lisa Marie said, “I loved this film and I hope you do, too.” Lisa Marie and Priscilla and granddaughter Riley Keough, an actress, participated.
It made me wonder about any other children of Elvis’ only daughter, who was nine when he died. Didn’t Lisa Marie—who also put out three albums—have other children?
Lisa Marie has been married 4 times. She actually has (or had) four children, but Riley’s brother, Benjamin Keough, died on July 12, 2020, at the age of 27 in Calabasas, California, of a self-inflicted gunshot wound. On October 7, 2008, Presley gave birth to fraternal twin girls, Harper Vivienne Ann Lockwood and Finley Aaron Love Lockwood, via Caesarian section at Los Robles Hospital & Medical Center in Thousand Oaks, California.
In February 2017, Presley said that her daughters were taken into protective custody. She opposed her husband Michael Lockwood’s request for spousal support, claiming that she had found hundreds of images and videos of child pornography on his personal computer. The divorce was finalized sometime in 2021. Sources say that Lisa Marie—who married both Michael Jackson and Nicolas Cage—remains on good terms with Danny Keough, her first husband, the father of Riley. One source suggested that Keough continues to live on the property, but the couple are not an item. Regardless, Riley, has appeared in 38 films, including 2015’s “Mad Max: Fury Road” as Capable, and she will have a recurring role in the new streaming series “The Terminal” as Lauren Reese in 8 episodes, opposite Chris Pratt. (The series premieres on July 1st),
In 1971 an affair Elvis had with Joyce Bova resulted—[unbeknownst to Elvis]—in her pregnancy and an abortion. Elvis often raised the possibility of Bova moving into Graceland, saying that he was likely to leave Priscilla. Elvis and Priscilla separated on February 23, 1972, after Priscilla disclosed her relationship with Mike Stone, a karate instructor Presley had recommended to her. (No mention of this in the screenplay). At the time of his death, Elvis was supposedly engaged to Ginger Alden. Prior to Ginger, Presley and Linda Thompson split in November 1976. (Linda Thompson was also once married to Bruce/Caitlin Jenner and, after him, David Foster, who is now married to “American Idol’s” Katharine McPhee. Foster has been married 5 times and was, for a while, step-father to Brandon and Brody Jenner, when married to Linda Thompson.)
“Priscilla related that when she told him, Presley “grabbed … and forcefully made love to” her, declaring, “This is how a real man makes love to his woman.” She later stated in an interview that she regretted her choice of words in describing the incident, and said it had been an overstatement. Five months later, Presley’s new girlfriend, Linda Thompson, a songwriter and one-time Memphis beauty queen, moved in with him.”
As Wikipedia recounts: “On July 6, 1972, Thompson attended a private movie screening hosted by Elvis Presley at the Memphian Theater in Memphis. Thompson was 22 at the time.] Linda Thompson and Presley hit it off and subsequently dated for four years before breaking up around Christmas 1976. They broke up because, like Priscilla before her, Thompson wanted a “normal” life, which was not possible with Presley’s lifestyle. However, they broke up on good terms and remained good friends until Presley’s death.” Presley met Ms. Thompson, a songwriter, 5 months after Priscilla and he separated. The Presleys were not officially divorced until August of 1972, one month after he met Linda Thompson.
Perhaps the next bio-pic could be a cross between Linda Thompson and David Foster, both of whom seem to have interesting lives? Foster married his fourth wife, Dutch model Yolanda Hadid in Beverly Hills, California, on November 11, 2011. She is the mother of Gigi, Bella and Anwar Hadid, who are constantly in the tabloids. That gave way on 2011 and Foster proposed marriage to Katharine McPhee in 2019. He is 72; she is 38 and just had their child on Feb. 22, 2021. Ms. McPhee/Foster donates to Republican causes.
So, so much for depicting Elvis as a one-woman man who was crushed by his wife’s departure. It does seem logical that Priscilla’s departure would severely wound him, since he was known to be unusually close to his mother, Gladys, and deeply affected by her death at age 46. The movie version shows Elvis feeling increasingly trapped in a career that did not reflect what he most wanted to be doing. Baz Luhrmann, in the special, even talks about the somewhat heavy-handed way in which he shows Elvis, onstage, singing “caught in a trap” while Colonel Tom is signing a deal for him to work at the Las Vegas International Hotel for the next five years, in exchange for expunging the considerable gambling debt he had run up (among other compensation).
Another possible untruth involves Colonel Tom Parker telling Elvis he needed to go to Germany in 1958 and serve in the Army the normal way. Actually, one source said that the Colonel objected to Elvis performing for free for the government, or Elvis could have served far less than the two years he spent in Germany. Another source said that he tried to avoid serving altogether, but finally went along with Parker’s plan to rejuvenate his image. However, supposedly special arrangements were made for Presley to live while serving and the concept of him being a regular “G.I. Joe” is questioned.
Austin Bishop is not a name I was familiar with. From now on, his Elvis will be the best Elvis interpretation ever put onscreen. Bishop has the voice down, the movement down, the look down, and the film was wise in utilizing the real Elvis’ singing—including film of Elvis’ final performance before his untimely death on August 17, 1972 at the age of 42.
I would expect Austin Bishop to be nominated for an Oscar for his capturing the essence of the man often referred to as the King of Rock & Roll. (Of course I thought Chadwick Boseman deserved a nomination for portraying James Brown in “Get On Up,”and that never happened.)I just hope that this talented newcomer does not get stuck playing Elvis for the rest of his life.
Butler and Australian director Baz Luhrmann managed to make a long (2 hrs. 40 min.) tribute to the late great rock & roller that entertains while also glossing over much of the real history behind Elvis’ rise to greatness and his precipitous fall. (See some factual Elvis trivia below). You know it’s going to be a Baz Luhrmann epic from the moment the overdone credits appear. For Luhrmann, the operative phrase should be changed from “Less is more” to “More is less.” Luhrmann is best known for directing “Moulin Rouge” and “The Great Gatsby.” I go way back to 1992’s “Strictly Ballroom.” This film was the best of all of those and, despite the characteristic overkill, Luhrmann took on a huge story. He tried to tie Elvis’ rise and fall in with the turbulent story of the times, which is a tall order. A lot happened in the fifties and sixties and there are many reminders of those moments in time.
For those too young to have seen Elvis in his prime, this movie is an education. However, the film does veer from the truth along the way.(See some Elvis trivia below) Gone is any mention of Elvis’ many loves. Wikipedia tells us that Elvis and Priscilla Presley became increasingly distant after the 7 and ½ year courtship, including her relocation to Graceland after Elvis met her while serving in the Army in Germany in 1959. She was 14 when they met; he was 24. They married in 1966, although she lived at Graceland with him for nearly 8 years before they tied the knot. They divorced in 1972. Priscilla gave birth to Lisa Marie Presley, Elvis’ only child, in 1968. Lisa Marie was 4 when her parents split up and 9 when her father died.
The film was shot completely in Queensland, Australia.“Shooting the film completely in Queensland, Australia, called for meticulous recreations, especially when building Graceland. The production team did a huge analysis by visiting the real Memphis estate multiple times, accessing original plans through the Graceland archives, and studying photographs for hours on end. The model was built on what was once a horse paddock, near a flower farm. The initial interior features blue walls and red carpeting. “We were lucky enough to be taken around [Graceland] by the head archivist, Angie, and she took us into the hall closet,” Martin says. “There’s actually a bit of that blue paint extant in the closet, so we were able to take paint chips and match the color.”
This attention to Graceland detail allows us to see the entrance and the formal dining room, although the circular bed in the master bedroom, the hopelessly outdated kitchen and the famous “Jungle Room” do not appear in the film, nor do the outer buildings that were constructed after Elvis first bought the 18-room mansion on March 19, 1957 for $102,500.
Presley and Priscilla filed for divorce on August 18, 1972. They had been married since 1966, but she had spent the years from 1959 to 1966 living at Graceland, which means that their union lasted for roughly 16 years. According to Joe Moscheo of the Imperials, the failure of Presley’s marriage “was a blow from which he never recovered”. At a rare press conference that June, a reporter asked Presley whether he was satisfied with his image. Presley replied, “Well, the image is one thing and the human being another … it’s very hard to live up to an image.” The screenplay has Elvis saying, “I’m so tired of playing Elvis Presley” and, at another point, “Ever since then, I’ve been lost.”
For me, the movie took me back to July 1, 1957, when my sister turned 16. She was having a slumber party. All the girls were upstairs, but I—the unwelcome 4-years-younger little sister—was downstairs watching television when Elvis appeared on television for one of the first times in history. I was mesmerized. Nobody on TV had ever moved around while singing like Elvis Presley. I immediately began shouting for my sister and her sleepover friends to come down and watch this new phenomenon. They ignored me, of course, but it was a first appearance that I never forgot.
Tom Hanks provides the co-star name to bring in the movie crowd. Casting Tom Hanks as the villain has never been the best idea. He played a hit man in “The Road to Perdition.” While Hanks always delivers a fine performance, being the bad guy is not his sweet spot. This particular bad guy, Colonel Tom Parker, is particularly odd, as Hanks plays him decked out in fake padding and utilizing the Dutch accent that Andreas Cornelis van Kuijk (Parker’s real name) would naturally have developed. It was well-known for years that Parker’s lack of a passport and citizenship papers kept Elvis from going on international tours.
Did the Colonel Tom Parker of Elvis’ world speak with such a heavy accent? I have no idea, but it does make one wonder why it took so long for the truth about his lack of citizenship to emerge publicly. We are given a scene in Baz Luhrmann’s film where Elvis fires his longtime manager from onstage during a performance. Did that really happen? No idea.
Luhrmann’s touch—never a light one—is seen everywhere in this over-the-top rags-to-riches interpretation of Elvis Aaron Presley’s life. It’s a rags-to-riches story. One facet drawing praise is the credit given to the Black artists who influenced Elvis’ sound.
Whenever Austin Butler’s Elvis is performing, the resemblance is uncanny. You can’t look away. Butler spent two years prepping for the role and his imitation of Elvis far exceeds that of Kurt Russell, Nicolas Cage, Michael Shannon or others who have attempted to emulate Elvis. The cinematography by Mandy Walker was good and the costuming by Catherine Martin is Oscar-worthy. Other co-stars (Olivia DeJonge as Priscilla Presley; Helen Thomson as Gladys Presley; Richard Rosburgh as Vernon Presley.) are background wallpaper.
Lisa Marie Presley is featured in an endorsement, saying, “I love this film, and I hope you do, too.”
