Category: Movies Page 3 of 56

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.

Two documentaries at the Nashville Film Festival caught my eye on Sunday and Monday, September 22 and 23. The first was “They All Came Out to Montreux,” followed by “The Black Sea.”“They All Came Out to Montreux” was a love letter to the man responsible for creating, founding and sustaining the Montreux Jazz Festival, Claude Nobbs. Oliver Murray created this documentary as a tribute to Claude Nobbs. Nobbs dedicated his entire life to making Montreaux, Switzerland, his home town, a premier destination for the very best musicians in the world. Claude and his partner showcased the Shakespeares and Picassos of Jazz and, over time, branched out to include other forms of music.

Nobbs was so devoted to musicians and helping preserve their work that he and his partner since 1987, Thierry Ansalm, digitally preserved every concert ever given there from 1970 on. (There are even a few from 1968 and 1969). They created a huge archive collection of the premier performers of the past 60 years. On this documentary there were many famous musicians either performing or talking about Claude—a wealth of talent from jazz, rock, blues, and beyond.

CLAUDE’S INFLUENCE

Claude was universally loved by all the musicians whom he encountered, although some of the locals in Montreux (Switzerland) on Lake Geneva (the Swiss Riviera) were not keen on having a bunch of hippies pitch tents on their well-manicured lawns. There was even an arrest of Claude based on his homosexuality that represented a trumped-up charge designed to stop his quest to make Montreux into a must-stop destination for World Class musicians.

Quincy Jones produced the festival for at least 3 years, with Miles Davis appointed as an honorary greeter. The voices we hear talking about the legendary Claude Andre Nobbs include Keith Richards of the Rolling Stones, who lived nearby for some time and considered Claude’s archived music collection an oasis in the desert. Here is a (partial) list of the renowned names who either testify to Claude’s supremely enthusiastic vision or actually perform onscreen in short vignettes: Jack White; Wyclef Jean, George Clinton, Lizzo, Questlove, Carlos Santana, James Brown, Marvin Gaye, B.B. King, Ray Charles, Roberta Flack, Nina Simone, Herbie Hancock, Van Morrison, Sting, Carol King, Queen, AC/DC, Deep Purple, Muddy Waters, Aretha Franklin, Ella Fitzgerald, Joan Baez, Shania Twain, Z.Z. Topp, Elvis Costello, Dizzy Gillespie and Frank Zappa. And many, many more.

CATASTROPHE

During Frank Zappa’s show, an audience member fired a flare gun towards the ceiling of the casino. The casino caught fire and burned to the ground. Claude personally rescued some teenagers from the burning structure. The song “Smoke on the Water” was composed to describe the incident. The fire didn’t stop Claude. He directed his irresistible enthusiasm and passion to the project of rebuilding. Three years later, there was a new casino for performers to utilize.

Nesuhi Ertegan, head of Capital Records, offered Claude a full-time job during the period that represented the manufactured gay charges, but Claude did not want to leave his home town. He was enthusiastic to the point that one admirer said, “Claude was too much.” He cared deeply about the music and the musicians. One voice on the film says, “When I started in the Music Business 35 years ago, the emphasis was on the 2 words The Music. Now it’s on the 2 words The Business.” Many said that Claude was fighting for the human factor of the music business and would be very unhappy with the trend today toward monetizing music. “His passion was deep. His whole life resolved around the festival.”

Claude was killed in a skiing accident on Dec. 24, 2012. He fell into a coma and died on January 10th, 2013 at age 76. But Claude’s friends and supporters like Quincy Jones (a producer of the film) collated this film to honor him and his irrepressible enthusiasm and passion for music and life.

“The Black Sea”

“The Black Sea”

The second documentary that we saw on Monday, September 23, chronicled a charming man who could also bring others together, even if he didn’t speak their language. That was the film “The Black Sea” which told the story of a Black guy from Brooklyn who ends up in Bulgaria with no money and no passport.

The synopsis reads: “Khalid, a charismatic big dreamer from Brooklyn gets stuck in a small Bulgarian resort town on the Black Sea after chasing a fast cash opportunity that goes awry. As the only Black guy around, he becomes the center of the town’s curiosity. His New York City street hip-hop rap is all he has to survive and figure out how to get home. But in his pursuit he finds connections in a way he never expected.”

The film showcased Derrick B. Harden as Khaled (who also did the rap music) and Ina, played by Irmena Chichikova . Crystal Moselle and Derrick B. Harden are the movers and shakers on this one, which has been picked up by Metrograph Pictures for distribution,. It had no real script and was shot during the pandemic, apparently in Bulgaria with cinematography by

The film was promising when Derrick arrives in Bulgaria only to learn that he has no passport, no money and no ability to communicate with the locals. It’s an absolutely terrifying feeling, which I have experienced. Derrick reminds of a younger version of J.B. Smoove and he uses his charismatic personality to figure it out (much like Claude Nobbs did in the Montreux documentary).

The lack of a plan for what happens next begins to pull the story down after that; the end of the film is not entirely satisfactory, but congratulations to the makers of this small film. The setting was beautiful in both films and there is a common thread beyond the beautiful geography and that is but one of their similarities. Both Claude Nobbs and Derrick B. Harden were positive people who had the charisma to organize others and that means a lot.

World Premiere of “Catch A Killer” on 9/21 at Nashville Film Festival

By Connie Wilson

On September 23, 2024

In Movies, Pop Culture, Reviews

Poster for Catch A Killer

The World Premiere of “Catch A Killer” took place at the Nashville Film Festival on Saturday, September 21^st. The idea of a serial killer basing his (or her) kills on famous slasher movies was somewhat original, but the entire film needed work. There are low-budget horror movies out there that show signs of originality (“Cuckoo” comes to mind), but this isn’t one of them. Written and directed by Teddy Grennan, the film starred Sam Brooks (“Fear Street, Part 2: 1978,” “Stargirl,” and “Long, Slow, Exhale”). Grennan is known for “Ravage” (2019) and “Wicked Games” (2021).

The film should have been a natural fit for me, since I was as an active voting member of the Horror Writers’ Association for years (and the author of “The Color of Evil” trilogy”). It wasn’t. I thought the plot, which leaned heavily on familiarity with the horror movie genre would be a natural and that Writer/Director Teddy Grennan had an intriguing concept, but it just didn’t work, for me. What were the weak points? The sound, the cinematography, the story and the over-use of herky-jerky shots of previous gory murders from famous films.

SOUND

For one thing, the screener had sound problems. I actually changed computers three times to watch it. You could not hear the dialogue well on any of three computers, especially at the very beginning of the film. I’d blame my computers, but this was on a desktop and two laptops. Beyond the volume issues, the sounds that were used to accompany the action of the film never seemed to “fit.” At one point, a sound like a drain backing up was used, which had nothing at all to do with what was onscreen.

CINEMATOGRAPHY

Flashes of murders in a herky-jerky fashion opened the film. It was disorienting. Did not encourage me to keep going, but I did. (Once more into the breach!)

PLOT

Leading man Sam Brooks as Otto in “Catch A Killer.”

I found it unlikely in the extreme that the handsome leading man, Otto (Sam Brooks), had joined the police force at 17 by forging his GED and lying about his age. We may need more police officers, but no 17-year-old has been hired to be a policeman by pretending to be 18. Unbelievable. I also wasn’t buying the hot 26-year-old blonde getting Otto fired from the force.

Why a pregnant love interest? Although “Rosemary’s Baby” is mentioned at one point, the connection was tenuous. It was just something thrown into the plot that added nothing, ultimately.

THE SCREENPLAY

The dialogue was unrealistic. At one point the line is “I know this sounds pretty strong.” The term “Yo” was heard just prior to that. Nothing about the screenplay sounded “normal” or “natural.” (“Kojak is back, Baby.” “Kojak” ran from 1973-1978. Nothing like a timely allusion.)

Then there’s the factual content, like the statement that “9 out of 10 murders have forced entry.” Really? We’ve all been watching marathon doses of the Forensic Files for years, so that is not gonna’ fly. 55.7% of burglaries involve forced entry, while 37.8% are unlawful entries and 6.5% of would-be burglars attempt forcible entry. The most common time for break-ins is between 10 AM and 3 PM Those statistics are from a site called Statistica.com. True, it does not mention break-ins that lead to murder, but I think we all know that the cops will be focusing on people who knew the victim(s)—often the spouse, unfortunately. Yes, this is supposed to be a serial killer, but even serial killers have what are known as M.O.’s and the Orion map tie-in was really reaching.

CONCLUSION:

World Premiere of “Catch A Killer” at the Nashville Film Festival on September 21st.

The acting by the principals was adequate. Sam Brooks was photogenic and the supporting female leads were fine.

As I’ve said in other reviews, the actors (or actresses) are only as good as the material they are given. I will be surprised if this film rises above the 4.0 to 4.5 ratings that previous efforts by this writer/director/producer have garnered. I was also irked by the obvious attempt to “coast” on the much bigger movie “To Catch A Killer.” I have had this happen to me many times with my novel trilogy “The Color of Evil.” Somebody pops up with just “Color of Evil” and takes ads on your Amazon page, etc.

It is really annoying to have a different creator attempt to “coast” on the good reviews you may have built up with a similarly named film or book. Yes, it is legal, but maybe create your own title. Having said that, I learned only years later that there was a short story (Stephen King) with the same title, so perhaps that is what happened here and there really was no attempt to “use” the much better-known film. I hope that’s the explanation, except that “To Catch A Killer” seems much more widely disseminated as a title.

This one just didn’t work for me. Good luck to all on future ventures. After all, even Matthew McConaughy started out with “Texas Chainsaw Massacre” and look at him now.

“Saturday Night” Lights Up the Screen at the Nashville Film Festival on 9/21/2024

By Connie Wilson

On September 22, 2024

In Humor and Weird Wilson-isms, Movies, Of Local (Quad Cities') Interest, Pop Culture, Reviews, Uncategorized

Jason Reitman brought his newest film, “Saturday Night,” a re-enactment of the opening night (October 11, 1975) when “Saturday Night Live” went on the air “live” for the first time to the Nashville Film Festival on September 21, 2024. When “Saturday Night” played to a packed house at the Nashville Film Festival, Writer/Director Reitman brought casting director John Papsidera with him. That was a master stroke, because this re-enactment of the opening night of “Saturday Night Live,” boasts a star-studded cast. There are so many up-and-coming young talents (and established talents, like Willem Dafoe and J.K. Simmons) involved, that it is almost impossible to list them all. But it’s worth trying, so you can keep an eye out for the identities of the over 80 speaking parts, figure out who that individual was (in historical terms), and marvel at the job that casting them all must have represented.

THE CAST

The plot is told through the eyes of the creator of “Saturday Night Live,” Lorne Michaels. Michaels is played by Gabriel LaBelle, who was cast as young Steven Spielberg in “The Fabelmans” (2022). Jon Batiste plays Billy Preston; Kaia Gerber (daughter of Cindy Crawford) is Jacqueline Carlin; Finn Wolfhard (“Stranger Things”) portrays an unnamed NBC page; Lamorne Morris (recent Emmy winner for “Fargo”) is Garrett Morris; Tommy Dewey (“Casual”) is head writer Michael O’Donoghue; Nicolas Braun (“Succession”) handles two roles, as Jim Henson and Andy Kaufman; Matthew Rhys (“The Americans”) is George Carlin; Cooper Hoffman (“Licorice Pizza”) plays Dick Ebersol; Andrew Barth Feldman (“No Hard Feelings”) is Neil Levy; Taylor Gray (“Star Wars: Rebels”) is Al Franken; Rachel Sennott (“Bottoms”) is Lorne Michaels’ first wife, Rosie Shuster, and Dylan O’Brien (“The Maze Runner,” 2014) is Dan Aykroyd. I’m certain I’ve failed to properly mention all of the up-and-coming stars of tomorrow in the film about 1975’s up-and-coming stars of tomorrow, but you’ll want to see how close the actors come, appearance-wise, to the real stars of “SNL.”

John Papsidera, Connie Wilson and Jason Reitman at the Nashville Film Festival.

(L to R) Casting Director John Papsidera, Connie Wilson, and Writer/Director Jason Reitman in Nashville at the Nashville Film Festival showing of “Saturday Night” on September 21, 2024.

There are over 80 speaking parts in the film. John Papsidera (a sometimes Nashville resident), who also worked on “Oppenheimer,” described that as a huge number. The most difficult cast member to decide upon turned out to be Dan Aykroyd,(said the duo in the Q&A after the screening). Finding the right actor to play Aykroyd took the longest and turned out to be the most difficult. With the others, they said, they “tried to find the essence of the person. The movie is about who they are.” The key was to find one main characteristic per character, so Chevy Chase was primarily portrayed as egotistical. Garrick Morris was trying to identify how he fit in amongst the cast. O’Donaghue displayed the ability to say the nastiest things but have them come from a place of humor. Gilda Radner was always taking care of others.

THE PERFECT DIRECTOR FOR THE FILM

Back in 2007, right after “Juno” had made waves for Reitman, garnering Best Director and Best Picture Oscar nominations, Jason was asked what he wanted to do next. He mentioned his desire to write for SNL (as well as continuing to direct.) Jason was given a one-night stand opportunity to participate in the behind-the-scenes goings on writing for one SNL episode. He shared that Ashton Kutcher was the host (and starred in the skit Reitman wrote, entitled “Death by Chocolate”) and Gnarls Barkley was the musical guest “which gives you an idea what decade it was,” laughed Reitman. The cast members were discouraged from interacting with their real-life counterparts during shooting—(assuming the original was still alive.)

SETS

Writer/Director Jason Reitman.

Reitman shared this, “We rebuilt the 8^th and 9^th floors of Rockefeller Center from the original floor plans. We lived on that set for 2 months.” Various catastrophes present themselves in the hour leading up to the first broadcast. As the press notes say: “The writers are stoned. The sound system is f*****. The actors are physically assaulting each other. The crew is in open revolt. They have 90 minutes to get their shit together or the network is pulling the plug.” It’s just a good thing that Lorne Michaels “believes in his vision and he doesn’t really bend.” Many wonder if the fabled creator of “SNL” will bend after this season and pass the torch to a new generation. After all, it’s been a good year for creative visionaries who believe in their visions to step back from power and hand off the baton to their subordinates.

THE SCORE

Jason Reitman and John Papsidera in Nashville on September 21, 2024.

Jason Reitman: “Jon Batiste is a genius unlike anyone I’ve ever met in my life. He has a photographic memory of sound. We decided we should try to do the sound track the way they did SNL: live. There is music in the movie that would never have been there if Jon hadn’t been giving it to me like that.” Batiste’s rendition of “Nothin’ from Nothin” that kicks off the first show is electric. Batiste’s interpretation of the Afro-haired musician Billy Preston (who actually wore wigs for his gigs) was spot-on. Steven Colbert had Batiste for a short time as his band leader; he seems destined for much more greatness. Another recommendation for those who love great documentaries would be the new one by Paris Barclay about Billy Preston’s life, entitled “That’s the Way God Planned It.” There’s an entire feature film in there, for sure.

SCRIPT

The writing shows Reitman’s award-winning touch (Gil Kenan is co-writer.) Reitman’s film “Juno” won a nomination for Best Screenplay based on Diablo Cody’s collaboration on the script in 2007. “Up in the Air” won the Golden Globe in 2010 for Best Screenplay (based on the Sheldon Turner book). The script was also Oscar-nominated for an Oscar (2009) while winning the BAFTA that year. The script for “Saturday Night” has more zingers and one-liners than any film released this year.

Here’s just one quick example: “Let me know when my expectations exceed your capabilities” (to the light crew, after lights nearly fall on the performers.) Another good one, aimed at a meddling middle-aged female censor (Catherine Curtin as Joan Carbunkle; no relation to Jane Curtin): “I’ve heard that love is blind, and now I know why.” A continuing joke involves the cast trying to sneak sexual references into their scripts by misleading Carbunkle, the censor, as to what the phrases actually mean.

AWARDS

Writer/Director Jason Reitman of “Saturday Night” in Nashville on 9/21/2024.

Jason Reitman (born in 1977) was on the set of “Animal House,” which his father directed, in 1978 He has been involved in making movies ever since, beginning with 6 short films submitted to Sundance” in 1998. Reitman actually won the BAFTA in 2009 for Best Screenplay and has continued turning out truly enjoyable films like “Tully” (2018) and “The Front Runner,”(also 2018) a story about the ill-fated Senatorial campaign of Gary Hart of Colorado which starred Hugh Jackman. If I see it is a Jason Reitman film, I’m in.

When I spoke with Reitman and mentioned meeting him previously in Chicago the year of “The Front Runner” he suggested (ruefully) that I might be one of the few at tonight’s screening who had seen the film. (While I’m not sure about that, I have been reviewing since 1970, and that is 7 years before Reitman was born.) When I mentioned “The Front Runner” (Hugh Jackman starred) Reitman said, “It turns out that people were less interested in Gary Hart’s Senate campaign than in Saturday Night Live.” It’s a shame, as “The Front Runner” and “Up In the Air,” “Tully,” “Thank You for Smoking” and “Jennifer’s Body” are among my favorite films by any director working today.

More recently, Reitman directed “Ghostbusters: Afterlife” (released on November 11, 2021) and “Ghostbusters: Frozen Empire (2024), which co-writer and collaborator Gil Kenan went on to direct solo. Reitman also produced (but did not write or direct) the DuPlass Brothers comedy “Jeff, Who Lives At Home” with Susan Sarandon, Jason Seigel, and Ed Helms starring, an early film (2011) with a lesbian subplot (also remembered from the Chicago International Film Festival in 2011).

STYLE

John Papsidera and Jason Reitman at the Nashville Film Festival on 9/21/2024.

John Papsidera and Jason Reitman during the Nashville Q&A following the screening of “Saturday Night” on 9/21/2024 at the Nashville Film Festival.

There were discussions of trying to shoot the film in one long scene (as Hitchcock attempted with “Rope”). It didn’t work for Hitchcock in 1948, either. Instead “Rope” is made up of several 8 minute continuous shots. This was the length of film that fit onto one reel then. That ambitious idea had to be shelved in 2024 as well.

“Saturday Night” is shot using 16 millimeter film. The pace of the film is the pace of the production that night, as the cast struggles to make the project gel before 11:30 p.m. on Saturday night. That was a great idea to assist the pacing, which is frenetic. As we learn, Johnny Carson was NOT supportive of SNL (originally called just “Saturday Night”). It represented the network (NBC) manipulating him during contract negotiations. The great (and oft-nominated Willem Dafoe) portrays David Tebet, the Chief Suit who will decide if “Saturday Night” goes on the air live or if canned re-runs of Carson’s “Tonight” show, will bump it. Like “Apollo 13,” even though we know how that plays out, it adds pacing and tension to the plot’s story and the show’s dilemma. (*I don’t know if that is true or creative license; it was a great idea and helps build the sense of confrontation.) Referencing the frenetic and often chaotic pace of the show on that night (and any Saturday night), the comment was made, jokingly, that the Michael Ritchie style was like “Robert Altman on amphetamines.”

KUDOS

Jason Reitman and casting director John Papsidera.

This is such an ambitious project. Hats off to all involved. “Saturday Night” is documenting the passing of the torch from one comedic generation to another. With the current political situation in the United States, movies about passing the torch from one generation to another are a hot commodity. With Jean Smart (“Hacks”) set to hostess the opening program of the 50^th year of “Saturday Night Live” on October 11^th, this edge-of-your-seat attempt to show who the original “Saturday Night Live” not-ready-for-prime-time players were yields a great movie that makes you feel something. As Reitman said, “It requires so much control to pull off the chaos.” He also pointed out “the distinction between simply telling a story and feeling something.” Paying tribute to his profession, he marveled, “It (filmmaking) draws on the talents of people in so many different disciplines.”

The film is “the prism that captures the light of an emerging generation.” The 50^th season of “SNL” is upon us; the release date of October 11^th is an homage to the television show’s debut date. Let the comedy begin

Does “Saturday Night” work?

Yes, it does. “Saturday Night” is hugely entertaining and never flags. Check it out at the theater on October 11, 2024,

“Bang Bang” with Tim Blake Nelson at Nashville Film Festival on 9/20/2024

By Connie Wilson

On September 21, 2024

In Movies, Reviews, Sports

Tim Blake Nelson
Tim Blake Nelson Nelson at the 2016 Fantastic Fest
Born	Timothy Blake Nelson May 11, 1964 (age 60) Tulsa, Oklahoma, U.S.
Education	Brown University (BA) Juilliard School (GrDip)
Occupations	Actor playwright director producer screenwriter
Years active	1989–present
Spouse	Lisa Benavides (m. 1994)
Children	3

Tim Blake Nelson is the kind of excellent character actor around whom an indie film can be built, and Vincent Gashaw (“What Josiah Saw,” 2021) has done exactly that. Nelson is a Brown University graduate who has also studied at Julliard. I met him in 2019 in Chicago, where he appeared in support of “Just Mercy” in which he played Ralph Myers. His short stature ( 5’ 5”) marks him as someone who would make a great Lee Harvey Oswald in any future bio-pics dealing with the JFK assassination. His roles include Delmar O’Donnell in O Brother, Where Art Thou? (2000), Gideon in Minority Report (2002), Danny Dalton Jr. in Syriana (2005), Samuel Sterns in the Marvel Cinematic Universe, Richard Schell in Lincoln (2012), the titular character of The Ballad of Buster Scruggs (2018) and Henry McCarty in Old Henry (2021).. His involvement in this film sold me on checking it out at the Nashville Film Festival, where it screened on September 20, 2024.

THE PLOT

In “Bang Bang” Nelson portrays a down-on-his-luck former boxing champion (Featherweight Champion) out of Detroit, Michigan, whose brother Bobby also fought. Bernard “Bang Bang” Rozyski and brother Bobby fought “so we wouldn’t catch a beating from our father.” Bang Bang is now many years past his fighting prime and living in a run-down house. He is still remembered in the old neighborhood as “the Pride of Poland.” Nelson even speaks a little Polish to the locals on the streets of his former neighborhood.

Bang Bang harbors a great deal of ill will towards his arch enemy, a Black boxer, Darnell Washington (Glenn Plummer, “Strange Days,” 1995), who is now running for Mayor of Detroit. As the story unfolds, courtesy of writer Will Janowitz (who also played Dylan in the film), we learn that Robinson was the fighter who battered Bernard’s brother Bobby into a nursing home. Washington was booked for a return fight against Bang Bang just 4 months after Washington had beaten his brother half to death. The outcome of that fight has haunted Bernard ever since. He has blamed all of his bad luck in life on Washington, whether justified or not. There is a classic showdown meeting between the two that takes place in Washington’s home.

The film opens with Bang Bang in a wheelchair and actually considering shooting Washington as the candidate is giving a campaign speech at a local church. The wheelchair is something that Bang Bang only needs at times, if at all. The other set of wheels that is highlighted in the film belong to a vintage gold TransAm that the fighter says he was gifted by local Detroit singing legend Bob Seger of the Silver Bullet Band (“Old Time Rock and Roll”). When Bernard’s daughter, Jen (Nina Arianda, “Midnight in Paris,” 2011) takes a new job in Chicago, she asks Bang Bang to temporarily watch over her teen-aged son Justin while she is getting established in the new city. By “watching over” she does not mean starting him on a path of training as a boxer, but that is the direction the action takes. It does not end well for Justin, his grandson (Andrew Liner, “Gray Matter”), his daughter, or him.

THE GOOD

The script was well-written and the fighting scenes—especially the climactic one at Washington’s house—are well done. The acting is good from one and all. Erica Gimpel portrays a cancer-stricken love from Bang Bang’s past. It was nice to see an actress portray a beautiful woman fighting cancer, mastectomy and all, who actually looks to be the right age to be Bang Bang’s girlfriend. Kevin Corrigan portrays Bang Bang’s best friend John Eaton, an alcoholic trainer who owns a small gym. He is also good in his part.

The sets, especially the mansion that Bang Bang revisits which he once owned and the gorgeous mansion in which Darnell Washington now resides are great set finds. Detroit is a character, itself. There are lines like, “This city may be down, but it most certainly is not out.”

The fight scenes were well choreographed and added vastly to the production.

THE BAD

Bang Bang is portrayed as so universally negative and depressed that it’s hard to root for him and relate to him in the light of his days of former glory. That’s the way the part is written. The entire movie turns out to be an anti-boxing polemic that is dedicated to all boxers of the past, present and future. Much blame for the brutality and corruption of the sport is laid at the feet of journalists who glorified boxing in print.

Bang Bang was released on June 11, 2024. It was entertaining, although the lead character’s failure to take any responsibility for his downfall makes him a hard hero to root for. “Rocky” this is not. It’s a grim look at the reality of the boxing game, as seen through the prism of one man’s shattered and battered life.

“Will & Harper” At Nashville Film Festival on 9/20/2024

By Connie Wilson

On September 21, 2024

In Humor and Weird Wilson-isms, Movies, Of Local (Quad Cities') Interest, Pop Culture, Reviews, Television

The Josh Greenbaum directed documentary “Will and Harper” is showing at select theaters now and will stream on Netflix beginning September 27th. It showed at the Nashville Film Festival on Friday, 9/20/2024 having premiered, originally, at the 40th Sundance Film Festival in January, 2024. The 114 minute documentary depicts Will Ferrell’s 17-day cross-country trip with his close friend of 30 years, Harper Steele, who has just come out as a transgender female. Over 250 hours of film was shot and then reduced to this 2-hour look at being transgender in America in 2024. Harper—who was head writer at “Saturday Night Live” and started the same week that Ferrell did in 1995—was born Andrew Steele in Iowa City, Iowa, one of five children of University of Iowa professors.

THE GOOD

The best thing about the unscripted 17-day trip from New York to Santa Monica, California was how authentic and genuine the emotional relationship between Ferrell and Steele is. Both of them are reduced to tears, and you will be, too. Viewers come away with the feeling that Will Ferrel in real life is very much like his character in “Elf:” one of the nicest guys you could know. I hope that is sincerely the real Will Ferrell because, as a stranger in an Oklahoma City, Oklahoma bar tells him, “I like your support for your friends. There’s not a lot of it out there now.” Many have commented on how brave Harper is to have come out. There should also be praise for Will Ferrell (and friends) for being so supportive of Harper in MAGA America.

The trailer for the film shows Ferrell reading from the e-mail he received from Steele. It informed him that his old buddy was undergoing transgender surgery and would now be called Harper. Ferrell realized, somewhat belatedly, that he didn’t really know much about the transgender community. He proposed a 17-day cross-country road trip in Steele’s vintage Jeep Wagoneer (remember the wood?) to re-acquaint the new old friends. They were followed, discreetly, by a camera crew. As the film defines the goal of the documentary, “What are the new ground rules? How much has changed? How much is the same?” Apparently Steele had a reputation as someone who loved to take cross-country trips that stopped at dive bars, diners, and other such places—all of which sound dicey for a transgender woman traveling solo in the United States in 2024. Will would be able to run interference for his longtime friend as they criss-crossed America.

The music (Nathan Halpern) is very good, including the idea of having Kirsten Wiig write a “theme song” for their trip (She sings it at film’s end). The cinematography—including a stop at the Grand Canyon—is also wonderful. Harper” is simply a real-life, honest comic gem amidst a sea of boring drek. Hopefully, it will do some good in the world in the ongoing fight against hate. We’ve had enough of divisive rhetoric and mean-spirited people who want to make themselves feel powerful and others feel fearful. Let’s hear it for inclusivity and the love and good will towards others we are urged to practice by all religions.

THE STOPS

The pair set out from New York and made stops in Washington, D.C., Indianapolis, Iowa City, Oklahoma City, Amarillo, Las Vegas and various other cities, most of them in “red” states. They were received well everywhere but Texas, where rude tweets follow the duo’s appearance at a steakhouse (Ferrell dressed as Sherlock Holmes and attempting to eat a 72-ounce steak). One Texas tweet that commented on the stop the pair had just made at Harper’s sister Eleanor’s house in Iowa City, called Ferrell “a Satanic illuminati pedophile in Iowa.” But the general reception was the opposite, although one critic has asked the obvious question if that is because a celebrity was running interference for his old friend. (Others wondered about product placement, since Pringles and Duncan Donuts get a lot of conversational time,)

IOWA CITY & SORROW

Harper’s sister, Eleanor, when she received the same e-mail that Ferrell got, responded to him quickly, “Oh, good! I’ve always wanted a sister.” However, when the pair actually stops for the night at her home in my old college town, Ferrell asks her what her reaction was upon receiving the news. She admits that “I was totally surprised” and defines the emotion she felt as “sorrow.”

I felt that sorrow, too, when Harper shared journaling snippets of the pain experienced for decades: “It wasn’t about body parts. It was about how I am in my head. Fix me or kill me,” is one entry. “A lot of transitioning is learning to accept yourself” is another truth shared in Peoria, Illinois, in a meeting with a 65-year-old transgender woman. “I dream of a world where I can lay my vulnerabilities out there for anyone…I knew something was weird in me growing up in Iowa, but it was impossible to think of doing anything about it.”

In a world where gay men are being executed in certain countries, you just want to repeat Rodney King’s mantra. May 1, 1992, King called a press conference in hopes of stopping the death and destruction after the L.A. riots. “I just want to say, you know, can we all get along? Can we stop making it horrible for the older people and the kids?”

CONCLUSION

This is a gem of a documentary, which contains so much pain and yet provokes so much laughter. One can’t help but smile when Ferrell, asked about his share of piloting the vintage automobile cross country responds, “I’m a narcoleptic and I’m not a good driver.”

As the theme song for the documentary goes, “a friend is a friend is a friend till the end.”

Catch this one when it streams on Netflix beginning September 27th.

“DEVO” Opens the 55th Nashville Film Festival on 9/19/2024

By Connie Wilson

On September 19, 2024

In Movies, Music, Pop Culture, Reviews

Opening night of the 55^th Nashville Film Festival on September 19, 2024, highlighted a documentary, DEVO, directed by Chad Smith, which premiered originally on January 21, 2024 at Sundance. As it was introduced to the audience at the Belcourt Theater, the comment was: “So insightful in ways that I never thought it would be.” The “Whip It” creators formed DEVO in 1973 in Akron, Ohio. They still seem to be ready and willing to continue as a band, if not as able as they were in the 70s and 80s. The dedication at documentary’s end was to three members of the group who are dead. At film’s end three of the surviving members—Bob Mothersbaugh, Mark Mothersbaugh and Gerard Casale—answered questions from the audience via zoom screen.

At the Opening of the 55th Nashville Film Festival.

The band credits the impetus for their formation to the political unrest at Kent State, Ohio, that led to the May 4, 1970 deaths of 4 students (and the wounding of 30) who were demonstrating against the Vietnam War. As someone who took part in demonstrations of the era at Berkeley, I can remember and relate to the horror the members of the group experienced at this historic mis-use of power in the United States. Nixon had expanded the war in Vietnam without an act of Congress; my generation’s young men were being sent to Vietnam to die in a war that was ill-advised and unwinnable. The draft was in full swing; we were mad as hell and not going to take it any more. The students had set fire to the ROTC headquarters on campus and burned that building down. President Richard Nixon decided to send in the National Guard, who opened fire on the unarmed students.

AHEAD OF THEIR TIME

DEVO:
photographed in Holland, 1978 by Barry Schulz.

Through the years, the band doggedly worked to satirize society and, as they admit, “We did some absurd things.” In explaining the famous “energy hats,” as well as the lacquered hair-dos that the band wore (based on JFK, not Reagan), the group admitted, “We like ironic humor.” They also said that the masks and hats and odd costumes were “a way to amuse ourselves—a very Meta idea.” DEVO was anti-punk rock, saying, “We’re the fluid in the punk enema bag.” Over the years, the group saw the future of film in music and began making music videos which were shown on MTV (MTV didn’t exist when the band first formed). Casale went on to helm music videos for current groups like Dave Grohl’s Foo Fighters and Soundgarden.

Not only was the band way ahead of the curve in using music videos to promote themselves (most of which were directed by Gerard Casale), but they contributed to the birth of electronic music. Jim Mothersbaugh created circuit bending before there was a name for that process. Jim Mothersbaugh went to a muffler shop to build a guitar that was the precursor of the Moog synthesizer. In this respect, the film reminded me of the SXSW documentary “Resynator,” ,helmed by Alyson Tavel, which catalogued her father Don’s similar pioneering attempts to create the Moog synthesizer. (Highly recommended). DEVO has been nominated for the Rock and Roll Hall of Fame in 2018, 2021 and 2022.

FAMOUS FANS

Audience members at DEVO at the Nashville Film Festival on 9/19/2024.

After a video that the band submitted won an award at the Ann Arbor Film Festival their fortunes took a turn upwards. Famous fans included David Bowie, Iggy Pop, Jack Nicholson, Mick Jagger, Dennis Hopper, Leonard Cohen and Neil Young. Over the years, the band made appearances on “Saturday Night Live,” David Letterman’s “Tonight” show, daytime talk shows like Merv Griffin’s, “American Bandstand” and many others. Neil Young put them in a movie entitled “Human Highway” in 1977 (released in 1982) where the members of the group wrote their own parts and portrayed nuclear garbagemen.

However, the group said, “Being self-aware put us in a delicate position” and added, “How soon will you become the people you hated?”

Q&A

During the post-film conversation with three members of DEVO the trio shared some amusing details of what they term the “headache” solo. This episode is shown onscreen. The small audience of 12 people dwindled to 6 people when all the band played were electronic high-pitched sounds. As Mark said, “The guitar players backstage were having a horrible time trying to tune their guitars. The bit ran five times as long as we thought it would. It was Supreme Dada—like Andy Kaufman performance art.”

Bob Mothersbaugh, Mark Mothersbaugh, and Gerard Casale during the zoom interview after the documentary DEVO.

CONCLUSION

This documentary about a band best-known for their #14 Billboard Hit “Whip It” was quite interesting. It drives home the need for good marketing, good management, and good legal advice in areas like the music, publishing and entertainment businesses. While DEVO’s video marketing was good, it was ahead of its time as MTV did not yet exist. The management and the legal advice seem to have been spectacularly MIA.

That, as much as anything else, led to the death of DEVO—(if they are really and truly dead.) As Mark Mothersbaugh said, “Somebody decided that DEVO should die. We succumbed to the same reality we were satirizing.” He added, “DEVO didn’t officially end” and said, perhaps prophetically, “It’s better to burn out than to fade away.”

A solid opening to the 55th Nashville Film Festival.

“Voice of Shadows:” Long on Creepy; Short on Screenplay Sense

By Connie Wilson

On September 13, 2024

In Movies, Pop Culture, Reviews, Scary stories, Television

“Voice of Shadows” has the benefit of a truly intriguing trailer that should interest viewers. It appears to be a classic horror film dealing with a possibly haunted house and an elderly woman named “Milda” (Jane Hammill) who lives in it. And dies in it, willing the house to her niece Emma (Corinne Mica). There’s also a claim that Milda has “died twice” and a poorly explained tie to occult goings-on in the past.

The tag line for the film was, “A young working class woman stands to inherit an estate if she and her boyfriend abide by a set of bizarre stipulations.” The film was written and directed by Nicholas Bain (as Nick Bain) and shot in Minnesota—a surprise, as the house and setting seemed more European than American, but, then, Nick Bain is originally from Minnesota, which he left in 2014 to travel to Los Angeles to make movies.

THE GOOD

Right now, horror is an extremely hot genre. (It makes me think I should do something more with my screenplay for the three-novel set “The Color of Evil.”) If Nick Bain can write this script, mine might have a chance. The good news for me is that this script gives me hope for my own to succeed. “If this one can, my script can.” [That isn’t necessarily good news as my commentary on the script for “Voice of Shadows.”]

The cinematography by Neil Murphy and the music by Utkucan Eken and Elif Karlidag was quite good at setting the spooky overall mood. Trailer totally sucked me in. (Read on, to see if that first peek pays off).

The acting was adequate. We won’t be seeing any of the actors or actresses at the Oscars, but horror is a hard sell to the Academy.

The length of the movie, at 90 minutes, was like “the old days,” a welcome relief from the 3-hour marathon recent films. Bravo!

The house set was impressive, but the time the movie is supposed to take place in is a mystery. The old rotary dial phone would indicate long ago, but we never really find out.

The visual effects by Jeff Sardar were fine. The visual effects won the film an award at the Los Angeles Crime and Horror Film Festival. Having black stuff come out of the heroine’s mouth isn’t that new a visual effect, but it still works. For that matter, the film has had three wins and four nominations, with the Latitude Film Awards and the Romford Horror Festival naming it Best Feature Film.

THE BAD

Voice of Shadows horror film, featuring Aunt Milda

Voice of Shadows poster, featuring Aunt Milda

Guillermo Blanco (The Queen of Flow”) plays the lead of Gabriel. It seems that Milda, the old woman who owns the house, doesn’t like Gabriel. One of the “bizarre stipulations” that Milda has put on the inheritance of her impressive house by her niece Emma is that Gabriel never stay there—not even for one night. Given the “plot spill” that the script begins with, where Gabriel is in the confessional and confesses to being a murderer (for good reasons as he lays out the case for the first murder) that scene makes Gabriel’s first murder initially seem reasonable, (just as the old television series “Dexter” used to justify Dexter’s homicidal acts with a variety of plausible excuses.)

Gabriel’s character throughout is difficult for the audience to figure out. He is swilling liquor from a bottle while in the confessional. We can conclude from that that he drinks too much (and in the wrong places). That certainly might influence his decision-making. But Gabriel still seems very willing to murder people at a moment’s notice. The worst assault was a fellow named Ernest (Martin Harris). Gabriel’s motives for plunging a knife into Ernest are unclear; the screenplay goes downhill from there. I wanted to sympathize with and like Gabriel, because he initially seemed like a good fellow and Milda’s instant dislike for him appeared to be petty jealousy, but murdering multiple people with little or no motivation was a bit much, even for me.

The acting by female lead Corinne Mica (“Always, Lola”) as Emma and Maria Jose Vargas Aguidelo as Celeste and Guillermo Blanco as Gabriel was adequate. I thought that Father John, played by Michael Paul Levin was stronger in his supporting part. Bee Vang (“Stranger Things,” “Gran Torino”) plays Father James.

PLOT REVEALS

There was a lot of information dumped on the audience, beginning with the very first confessional scene. Too much telling and not enough showing. I’ve written scripts. A couple of them have even won awards. It’s better to assume the audience is savvy enough to put two-and-two together than to have your main characters ranting on about why they did this or why they did that in a long monologue.

It’s easy to see that Emma’s character and behavior is changing once her Aunt Milda leaves her the house. Emma begins disappearing with Ernesto to “the art gallery.” As a general criticism, most of the climactic scenes in the film—murders and the like—either have no explanation or are overly explained. So, for me, the script needed work.

There was nothing super original or new in the film, but the trailer is very well-done. As horror movies go, “Voice of Shadows” (the title made me think of “Stir of Echoes”) was a good effort with some inexplicable plot directions that might need rethinking or refining.

VOICE OF SHADOWS will arrive September 17 on digital and streaming platforms, including iTunes/Apple TV, Amazon Prime Video, Google Play, Fandango at Home, Vimeo, and local cable & satellite providers.

VOICE OF SHADOWS

Directed by: Nicholas Bain

Written by: Nicholas Bain

Starring: Guillermo Blanco, Corrinne Mica, Bee Vang, Michael Paul Levin, Martin Harris

Produced by: Guillermo Blanco, Martin Harris, Jamie Roberts

Executive Producers: Nick Breid, Todd R. Johnson, Dan Lehto,

Stephen McGraw, Nicholas Bain

Associate Producers: Matthew Fahey, Matt Roy

Cinematography by: Neil Murphy

Edited by: Mark Ferris

Music Composed by: Utkucan Eken, Elif Karlidag

USA I 2024 I Horror, Thriller I 90 minutes | NR

“Luki & the Lights” Helps Foster Understanding of ALS

By Connie Wilson

On September 12, 2024

In Editorial, Health/Medicine, Movies, Of Local (Quad Cities') Interest, Reviews, Science and Medicine, Uncategorized

Luki & the Lights robot Luki from the Oscar-eligible animated film

This ten and one-half minute short, “Luki and the Lights” came to my in-box. I watched it while knowing that there would be no happy ending to this story. Here was the synopsis provided:”Toby Cochran’s LUKI & THE LIGHTS shares a charming and touching story of a robot named LUKi who is slowly starting to malfunction. But even with the struggles ahead, LUKi demonstrates unwavering resilience, painting a vivid portrait of what it means to truly live and the power to find light even in the darkest of times. This poignant animated short was made to raise awareness of ALS as well as to create a platform for children to understand what the disease is. It has qualified to be considered for the 2025 Oscars®.”

ALS ON FILM:

Sascha Groen and her husband, Anjo Snijders, were searching for a tool to help explain his recently-diagnosed terminal disease to their children. Director Toby Cochran is the founder and creative force behind Big Grin Productions. He has 20 years of animation and production expertise. Cochran’s roles span story artist, writer, and director and extends across various entertainment realms, including games, commercials, live-action, and animated series. His distinguished career includes collaborations with studios and companies such as Netflix, Marvel, Disney, ReelFX, Discovery Channel, Bill & Melinda Gates Foundation, Nestle, Lego Universe, and Kuku Studios.

THE SHORT FILM “LUKI & THE LIGHTS“

The decision was made to have an active, charming upbeat robot named Luki shown being struck by ALS. Do robots get ALS? While I applaud the idea of helping children understand this horrible and debilitating disease, a robot is made by man and can be fixed by man. People are different from robots. Currently, the ability to “fix” a person who has ALS is beyond the reach of science.

This 10 and 1/2 minute short has won over 20 awards and claims the distinction of being “the first ever animated short film featuring the first-ever animated character to have ALS.” This sounds good until you stop and think that the “character” is not human, so it (he) could perhaps have been “fixed” by a trip back to the robot factory? Not the case with human beings.

To date, the film has taken home twenty awards including the “Audience Award” at the Florida Film Festival, the “Audience Choice Award” at Indy Shorts International Film Festival and Siggraph Electronic Theater, the Children’s Audience Award at Animayo Gran Canaria, “Best Animated Short” at the Phoenix Film Festival, and the “FilmSlam Student Choice Award for Best Short” at Cleveland International Film Festival.

Producer Adrian Ochoa is an award-winning producer, prior to joining Big Grin, Adrian worked at Pixar Animation Studios, PlayStudios, and Penrose Studios. His credits include Toy Story 2, Monsters Inc., Finding Nemo, The Incredibles, Cars, Wall-E, Cars 2, Monsters University, Inside Out, and The Good Dinosaur. He also worked on various shorts including Cars Toons, live-action shorts, and the animated short Day and Night. He’s also produced over 45 mobile games, including three with Shaquille O’Neal and the award-winning VR animated short film Arden’s Wake.

Throughout the film, there is charming music, but there is no dialogue as such. More accurately, what we have as “dialogue” is mostly incomprehensible, just like the disease itself.

ALS PRIME DOCUMENTARY: “NO ORDINARY CAMPAIGN”

Back in 2022, Katie Couric produced an ALS documentary about the struggle of Brian Wallach, a worker in the Obama campaign who was a successful Chicago attorney at the time he was diagnosed with ALS. Brian was only 37 years old and had just returned to home with a new child with his wife, Sandra Obrevaya. (They have two children.) Chris Burke, a friend who was a filmmaker, set out to make a film about Brian’s struggle as the couple are thrust into the medical system where they must advocate for themselves and, hopefully, for others.

By the time this film came out the “Ice Bucket Challenge” was 8 years in the rear view mirror (2014). When diagnosed in 2017, Brian was given only 6 months to live. The couple chose to publicize Brian’s struggle to continue to survive by promoting a bill to fund research into this killer disease. He got some help from former President Barack Obama, who appears in the film. It was during Obama’s campaign in 2008 that Brian and Sandra had met while working to help elect our first Black president.

Normally, ALS kills you within 2 to 5 years. Brian has been fighting the good fight for the past 6 years. He is in the top 20% of survivors. From their home in suburban Chicago, the couple has seen their efforts to pass “Act for ALS” turn into $100 million for research for the next 5 years. Since Brian was diagnosed in 2017,and the law passed the Senate unanimously on December 16, 2021, is time running out on the additional funding to solve this huge problem?

If you are as sympathetic to this fight and for funding to continue as I am, you should follow up the 10 and 1/2 minute animated ALS short”Luki & The Lights” with the longer documentary. It is a Prime Video documentary entitled “For Love and Life: No Ordinary Campaign.”

“Melissa Etheridge: I’m Not Broken” on 9/22 at Nashville Film Festival

By Connie Wilson

On September 9, 2024

In Editorial, Movies, Music, Pop Culture, Reviews, Television

Melissa Etheridge appears in a series streaming on Paramount Plus as of July 7^th, entitled “Melissa Etheridge: I’m Not Broken.” The two episodes are being shown on Sunday, September 22, from 7 to 9 p.m. as part of the Nashville Film Festival.

Young Melissa Etheridge.

A native of Leavenworth, Kansas, Etheridge is shown visiting the Topeka Correctional Facility for Women, after having corresponded with many of the inmates for 9 months prior. It was a homecoming of sorts for the singer, as, like Johnny Cash, she had performed at a Kansas prison when she was only 12 years old, in 1973. Brian Morrow and Amy Scott directed the series and five of the inmates of the prison are shown reading the letters they wrote to Etheridge. Etheridge talks with the five women and performs for them.

Saying that their letters inspired her, Melissa wrote some original music for the concert and said, “I realize I can’t save anyone, but I’m looking to inspire.”

HIGH POINTS

The Mayor of Leavenworth, Jermaine Wilson, who did 3 years in prison himself, is shown talking with Etheridge about the upcoming concert. Wilson and Etheridge, together, stressed that they wanted to inspire and encourage the imprisoned felons, saying, “Mistakes don’t define you. You are not a failure. You are not a mistake. You were created on purpose for a purpose.”

Mayor Jermaine Wilson of Leavenworth, KS.

Mayor Jermaine Wilson of Leavenworth, Kansas.

In addition to much charitable work, Melissa also founded the Etheridge Foundation which attempts to legalize cannabis and other drugs that might be useful for therapeutic purposes. She shared with the crowd of women—many of them incarcerated specifically for selling, using, or possession of drugs—that she once had an arrest as she entered the U.S. from Canada through North Dakota, where cannabis was illegal. “The best I can do is to be an example—a light that holds you up and says you matter.”

PRISON STATISTICS

Meghan Davis, an employee of the facility, said that the likelihood of a woman being the victim of a crime never drops for women as it does for men. Women do not grow up and become less likely to become victims of crime. In fact, over the last 40 years, there has been an 84% increase in women convicted of crimes and imprisoned, many of them crimes that originated with a drug habit.

Of the 760 women incarcerated in Topeka, 500 are mothers or grandmothers. Prison employee Dani Essman talked about how many of the imprisoned women lose their identity. One of the women expressed gratitude for Etheridge’s actions, saying, “We were just grateful that she gave a shit.”

POIGNANT SHARE

Melissa and her then-partner Julie Cypher had 2 children. Cypher gave birth to Bailey Jean and Beckett.^[⁶⁵^] Cypher became pregnant via artificial insemination using sperm donated by musician David Crosby.^[⁶⁶^] Cypher and Etheridge separated in 2000. On May 13, 2020, Etheridge announced on Twitter that her son with Cypher, Beckett, had died at the age of 21 of a drug overdose related to opioid addiction. (Her daughter, Bailey Jean, graduated from Columbia in 2019).

Beckett and sister Bailey.

When Etheridge shared this personal heartbreak with the crowd, she sang the song “Shadow of a Black Crow,” which she said she seldom performs. One of the lines in the song is, “I would rather die fast than ever drive slow. Father, forgive me, for what my mother don’t know.”

Etheridge—speaking to so many women who know only too well the curse of addiction—said, “He (Beckett) was either gonna’ find his way out or not, and in his case not.” Referencing the lyric “The scratch marks on my soul from the shadow of a black crow” Etheridge said, “I miss him here, but I know he is here (gesturing upwards).”

SECOND HALF

In the second episode of the Melissa Etheridge Paramount Plus offering “I’m Not Broken” Ms. Etheridge composed a song especially for the inmates of the Topeka State Prison. We witnessed the actual creative process as Etheridge discusses the evolution of the song. Band member Joe Ayoub tells us that they worked up the band’s part from Friday to Sunday.

Onstage.

particularly heartbreaking story, told by one of the five women spotlighted in the special (Andrea, Cierra, Jessica, Kristi and Leigh) shared with the viewers was that she became hooked on drugs and was pregnant by 19. Her baby died ten minutes before she gave birth.

Etheridge opened up about her son Beckett’s death on May 13, 2020. Beckett was born on November 18, 1998. Etheridge explained his addiction as stemming from Vicodin administered after a snowboarding accident. His addiction quickly spiraled out of control.

Beckett was 21 when the police found him dead after a wellness check that Melissa and her former partner Julie Cypher requested.

THE ODD

Beckett and Bailey.

I found Melissa Etheridge’s sharing of her personal trauma brave, but odd.

Melissa and son Beckett.

She said, “I do not let it take me out of my own sense of well-being. You can accept a person’s choices and it doesn’t have to destroy you.” She seemed remarkably calm and distanced from grief at the death of her son. I couldn’t help but wonder if, like the devotees of the new meditation start-up Jhourney, Etheridge has internalized the life rule “true peace comes from accepting things just as they are.” I admit that I was taken aback at the calm way Etheridge discussed the death of her 21-year-old son, Beckett. It was shocking and surprising; she seemed somewhat clinically detached. The death had taken place three years prior so that may help explain the low-key dispassionate discussion the film showcases.

CONCLUSION

The 2 part serial look into Melissa Etheridge’s life and creative process was interesting, but repetitive. There were too many shots of Etheridge performing on the temporary stage set up outside the prison walls. The interviews with the five inmates (Andrea, Cierra, Jessica, Kristi and Leigh) were conducted in less-than-optimal settings and there were a lot of those table shots. Perhaps film of the five inmates establishing the women’s relationships with their families of origin before they were incarcerated would have helped?

Onstage.

What comes through loud and clear is that Melissa Etheridge is a time-tested talent. She asks the assembled women if they are familiar with her music. Some are not. For them she described her audience as those aged 50 and up, as her Grammy-winning years were approximately 1993 through 2007. That’s a pity, as she is just as talented now as she was in earlier years— more seasoned and just as creative. She continues to write. This series is a tribute to a true talent trying to bring redemption and empowerment to incarcerated female prisoners. It is a wonderful humanitarian concept.

Melissa Etheridge onstage.

What else could have been done to liven up the many scenes of Ms. Etheridge talking with the inmates? The library setting was used repeatedly. Melissa performing onstage was entertaining, but also repetitive. Those were the weak points of the two-episode series, which will screen at the Nashville Film Festival on Sunday, September 22^nd, from 7 to 9 p.m., and on Paramount Plus.

THE GOAL

The goal of bringing hope to the incarcerated women of the Topeka Correctional Facility for Women was worthwhile and deserving of support. The plea for accepting drugs for therapeutic purposes is also a progressive step forward, just as Etheridge’s original song “I Need to Wake Up” for Al Gore’s 2007 documentary “An Inconvenient Truth,” which won the Academy Award, was part of a good cause, trying to alert the world to the dangers of global warming. (I can’t help but regret how our weather patterns might be different if Florida and the candidate’s brother had not been allowed to prevail in the hanging chads election of 2000. A candidate whose party had no plan at all to address global warming—and still does not—was declared the winner. Al Gore, who was extremely concerned about our stewardship of the planet, stepped aside with decorum. How times change!)

Reservations aside, it’s a pleasure to watch a Top-Notch Singer/Songwriter writing and performing her work. Etheridge’s social conscience cannot be denied. This two-part Paramount Plus series is a testament to that .

M. Night Shymalan “Traps” Us Again with Twist After Twist

By Connie Wilson

On August 4, 2024

In Movies, Pop Culture, Reviews, Scary stories

Night Shymalan is a Writer/Director whose films seem to provoke strong reactions. He always seem to be trying for that “surprise twist” ending that appeared in his break-through iconic film “The Sixth Sense” (1999). In “Trap,” which opened August 2nd, the film has so many twists concluding at 103 minutes that I’d be giving away too much of the plot if I were to list them all. Just when you think “this is the end” there’s yet another twist. Personally, I enjoyed most of that. Other critics did not and savaged the film, but it definitely holds your interest throughout.

PLOT

Josh Hartnett plays a father with a dark side who takes his daughter to a music concert that has been set up to catch him there. How do they know he’s among the 3000 men present in a crowd of 20,642? You’ll find out as the plot progresses. His goal is to escape. But can he?

The premise of a doting father taking his teen-aged daughter to a Taylor Swift-like concert is timely. I could definitely relate to the hysteria of young teen-aged girls at these things. Not only did my daughter work for Ms. Swift and have the task of bringing audience members backstage to meet their idol (the role that M, Night Shymalan has here), but I was present at a Beatles concert in 1965 at the San Francisco Cow Palace, where teen-aged girls with tears streaming down their faces knew every line of every song and screamed themselves senseless.

I remember looking around, each time, and saying to myself, “WTF is going on?” I was beyond the age of hysterical fandom. But I’ve seen it go down, and it is something to behold and to be in the middle of it is an experience. More could have been done with that by the skilled cinematographer.

I have three main things that I would say about this film:

It appears that M. Night Shymalan’s daughter, Saleka Night Shymalan, wants to become a music diva like Taylor Swift. What better way to launch her career than depicting her as one in this film? (she wrote most of the music and performs a lot of it.) After all, it worked for DJT on “The Apprentice” and launched him to the presidency. Saleka even gets to be the heroine of the film when it finally winds down (which doesn’t seem to be happening for Trump right now).
Josh Hartnett is an actor whose talent should have been recognized long ago. However, a less-attractive male lead (Jesse Plemens or Mark Wahlberg, for instance) would have been a better choice to play Cooper. Hartnett is a good actor; he does his best with the script. But we expect our serial killers to be less handsome. We can argue about this, citing Ted Bundy (et. al.)as a serial killer whose appearance was not sinister, and I realize that Hartnett’s good looks did contribute to the success of many of his manipulative moments in “Trap”, but I still think that he comes off as way too “good.” The hidden evil is extremely well -hidden under that good-looking exterior. In “Twisters” (which I recently reviewed) both female leads did credible jobs, but the new (plural) “Twisters” needed the grit of the original “Twister” female lead,Helen Hunt. “Trap” needs less of the matinee idol handsomeness of Hartnett to really convince us he could be “the Butcher.”
The music wasn’t as “catchy” as Ms. Swift’s tunes lyrically, but Saleka Shymalan acquitted herself nobly onstage, aided by Kid Cudi as The Thinker. Great costumes. Okay songs and she can sing and play—definite pluses.

THE CAST

Who knew that Hayley Mills of “The Parent Trap” (1960) was still alive? And why would she be running the show as the FBI profiler who sets the trap to catch the Butcher at a concert by the teenaged songtress of the moment, Lady Raven? Someone suggested that Shymalan simply liked the fact that Hayley Mills was in “The Parent Trap” and that was enough. [Not really.]

Alison Pill portrays Cooper’s wife Rachel, and she is one of those faces that you just know you’ve seen in a million movies. She does a respectable but unremarkable job. She’s known for “The Newsroom” (2012-2014) and “Vice,” and has an extensive resume of work.

More remarkable in his role as Jamie, the Black guy who unwittingly helps Cooper out at the arena, is Jonathan Langdon, who provides a bit of comic relief (along with assistance to the bad guy) He’s so memorable that Shymalan has attached a small post script in the film that shows Jamie’s reaction when he learns that he has been duped by The Butcher.

I’ve seen nearly all of Shymalan’s films: “The Sixth Sense” (1999); “Unbreakable” (2000); “Signs” (2002); “The Village” (2004); “Lady in the Water” (2006); “Split” (2016); “Old”(2021); “A Knock at the Cabin” (2023). That only leaves a couple and some of his television work, so I feel comfortable saying that of the films in this list, the best is the classic “The Sixth Sense.” “Trap” would be included as one of the three best, otherwise, book-ended by “Split”—which benefited greatly from a world class acting performance by James McAvoy—and by “Signs”—which had Mel Gibson, Joaquin Phoenix and Rory Culkin (and don’t forget the tin-foil hats!).

The others I’ve listed left you feeling very disappointed, but I was not disappointed in the acting and tension and twistiness of “Trap.” I was just unconvinced that Josh Hartnett was the right choice for the role.

One player onscreen who WAS the right choice for the role was the young girl playing Riley, Cooper’s Lady Raven-obsessed daughter, Ariel Donoghue. The 14-year-old has appeared in a television series, “Wolf Like Me” (2022-2023) and already has eleven IMDB credits. She’s good, and, in this part, she is excellent. I’ll be watching for her in future roles.

So was Josh Hartnett fine at emoting, but he was just too darned good-looking and charming to convince me that he was bad-to-the-bone. (His cross to bear!) Harnett has said, in interviews, that attending a Taylor Swift concert really helped him to understand the scenario.

THE BAD:

Cinematographer Sayonbha Mukdeeprom (“Challengers”) could have done more with the crowd scenes within what is presented as the Tanaka Arena in Philadelphia. Only it isn’t.

Shymalan always pays tribute to his Philadelphia roots and even had a CGI insertion of a building into Philadelphia’s skyline for “Glass,” but I had a sneaking suspicion that this film, which was shot in Canada, was playing fast and loose with the Tanaka Arena’s real location. In fact, the exterior of the building is actually Canada’s Rogers Centre in Toronto and the exterior is Canada’s First Ontario Centre.

In his desire to have numerous twists, a few are waaay out there, (like the final one in the film.) I also object to the “escape from the limo” plot premise. I’m sure others will contribute their own objections to the many attempts at “twists” that seemed to go on for a good 30 to 45 minutes past what I thought was the finale.

It’s tough to always hit a home run and get a “twist” that satisfies. I salute M. Night Shymalan for continuing to try and for delivering an enjoyable film that holds your interest, despite its shortcomings. I’d predict more singing for M. Night Shymalan’s talented daughter Saleka. Her “Trap”role was a better premiere effort than Ishana Shymalan’s directorial debut with “Watchers,” which had far bigger plot problems than “Trap.”