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!

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Hellfire & Damnation: The Perfect Halloween Collection

Sticky post

Click to buy the e-book at Amazon.

There are three books in the “Hellfire & Damnation” series, all short stories that illustrate the 9 Circle of Hell in Dante’s “Inferno” and give examples of each.

As New York Times best-selling author Jon Land said of the books: “Hellfire & Damnation‘ is a remarkable collection of somber, noirish, flat-out scary and altogether satisfying stories that seek to find hope in a dark world that defies it. Her subtle irony and penchant for finding terror in the least expected places will generate comparisons to Stephen King and Ray Bradbury, with just a hint of Philip K. Dick thrown in. But don’t be fooled: Wilson has a wondrous voice in her own right, and her tight, twisty tales establish her as a force to be reckoned with.”

Hellfire & Damnation 2 Cover

Click to buy the paperback and  e-book at Amazon.

Click on the link to purchase the 15 stories in “Hellfire & Damnation,” Volume I, or move on to the creepy blue cover of Volume II, with an additional eleven stories, a forward by Jason V Brock, and an informative “From the Author” appendix that tells about the inspiration for each story in that volume. Volume III will provide an additional 10 stories to bring you nearly forty stories that will haunt you right up until Halloween and beyond.

As two former Bram Stoker winners and icons in the genre said: “‘Hellfire & Damnation‘ is an impressive collection, a series of remarkable tales—some based on true stories—organized around a brilliant and unifying theme that echoes Dante’s Inferno. Wilson’s harrowing work will stay with you long after you finish the final page.”

Click to buy the paperback and e-book at Amazon.

And, as William F. Nolan, a Living Legend in Horror and author of “Logan’s Run” said: “Let me start right off by saying that Connie Wilson presents what I call ‘matter-of-fact’ horror…Frankly, and I consider myself well read in the shock genre, I have never encountered a style such as she displays here, in story after story. She writes solid declarative sentences rife with dark undertones…Connie Wilson’s dark talent is unique, and readers will stagger away from her icy tales stunned and groggy. I have a final word for it: WOW!

And, echoing the more famous writers (above), reviewer Adam Groves of www.Fright.com said, “In horror fiction, as in most any other sort, true originality is an increasingly rare commodity. But it does exist, as proven by ‘Hellfire & Damnation,’ an anthology that is genuinely, blazingly original.

“Annette” with Adam Driver & Marion Cotillard Sings Its Way Into Cannes’ Awards

Adam Driver and Marion Cotillard portray a celebrity couple in “Annette.” She’s a world-famous opera singer and he is a comedian billed as “The Ape of God.” Driver is also an executive producer of the film helmed by Leos Carax, who is known as an avant garde French filmmaker. Carax  previously directed the Cannes favorite “Holy Motors,” a big Cannes favorite, which I found almost unwatchable.

“Annette” follows along in this tradition of  very weird films from Leos Carax. It is based on the dialogue and music of the group known as Spark, brothers Ron and Russell Mael. Much of the dialogue is sung, which has been done before both on television in a police sit-com directed by Steven Bochco (“Cop Rock”) where all of the dialogue was sung, and in a film featuring Anna Kendrick directed by Richard Lagravenese, “The Last Five Years.” And let’s not forget about operas like Bizet’s “Carmen.”

The singing is not particularly good, but Adam Driver likes to sing, as proven by the completely unnecessary singing he did in “Marriage Story.” The plot has Marion Cotillard’s character of Ann Defrasnoux cast as a world famous opera singer whose career is going great guns. Plus, she and Henry (Driver) are crazy about each other, although she was dating her accompanist (Simon Helberg) before she met Henry.

Henry McHenry (Adam Driver) is a misogynistic comic who goes onstage clad only in black BVDs and a green bathrobe and rants, usually in a darkly humorous vein. At first, like Kanye, Henry McHenry’s schtick in his act (known as “The Ape of God”) is considered cool and chill by his audiences. His brand of toxic masculinity, blending intimate, often obnoxious confessions with a crude onstage persona (a la Andrew “Dice” Clay or Donald J. Trump), has the audience cheering. But things change.

Henry’s audience turns on him and his fortunes as a comedian suffer. The fall from favor that Henry experiences made me think of a stand-up routine I once suffered through with a late-in-the-game ailing George Carlin, where he went on a supposedly comic rant in a routine about suicide. Patrons were streaming for the exits. So, that is, roughly, what happens to Henry, who finally wears out his welcome like many insult comics.

“Annette” turns into the plot of “A Star Is Born” when Ann’s opera career continues to thrive while Henry’s fans reject his “Ape of God” appearances. This sets up problems in a marriage and the early crooning of their song (“We Love Each Other So Much”) now gives way to a fall from grace, with Henry drinking too much and a melodramatically staged storm leading to tragedy.

But Annette, the daughter that Ann gives birth to, is still there for Henry to care for. Henry begins to shirk that responsibility more and more, leaving paternal duties to Ann’s accompanist-turned-orchestra director, well played by Simon Helberg (“The Big Bang Theory”).

Somewhere in the second half of this 2 hour and 21 minute film Henry—who has discovered that Baby Annette has inherited her mother’s fantastic vocal instrument—decides to exploit his young daughter’s talent by having her tour non-stop singing for stadium-sized audiences. The part of Annette from birth until age five is played by an obvious wooden dummy throughout the first three-fourths of the film. That is very odd, but so is the film. Only in the final prison scenes of the movie do we get a real live girl, Devyn McDowell, who sings her part opposite Adam Driver as he languishes in jail.

The look-alike redhead is only five years old and she is terrific! I would have liked the film to be set up in such a way that we could have had more of Devyn. She is one of the best things in it. The five-year-old traveled to Belgium and Germany for filming and “Annette” not only won the Best Soundtrack and Best Director awards at Cannes, it was the opening night film. At 6 years old, Devyn also worked with the talented, award winning cast of Jessica Chastain and Eddie Redmayne in the anticipated thriller, “The Good Nurse”, directed by Tobias Lindholm

Ultimately, we learn that the most important thing in life is to have someone to love (and vice versa). The singing in the prison sequence between Baby Annette and her father isn’t as distracting as elsewhere in the film. Devyn actually is very, very good for a five-year-old and the message of the film is pretty impressive. As the New York Times critic said, “The final reckoning is as devastating as anything I’ve seen in a recent film,” calling the movie depiction of megalomania “feverishly imaginative.” It earned the film a 5-minute standing ovation at Cannes.

I was burned by “Holy Motors,”one of Leos Carax’s early films (2012). This one is just as odd, but has a better message and better acting.

This film is overlong, has average singers singing the dialogue, and uses a theme we’ve seen done many times previously, but it was far more entertaining than I anticipated it would be.

“Shrill” Leaves Air After 3 Seasons

I just watched the final season of “Shrill” on Hulu.

It took me back to March of 2019 when the series was launching and Executive Producer Elizabeth Banks and star Aidy Bryant came to SXSW with a panel that included the woman, Lindy West, who wrote the book on which the series was based. I sat right behind Ms. Banks during the introduction and then she moved to the stage following the showing of one episode for the Q&A.

Aidy Bryant of “SNL” played the lead role of Annie Easton, a writer for the fictional “Thorn” newspaper where she interacted with Boss Gabe Parrish (John Cameron Mitchell), and Ian Owens as Amadi. The 22 episodes that I’ve watched followed the plight of an overweight single woman in today’s dating scene. We didn’t get to see as much of Aidy on “SNL” because of her involvement in this show, but that will, hopefully, end with the series finale.

Annie (Aidy) lives with her college friend Fran (Lolly Adefope), who is a Black Nigerian lesbian who grew up in London, and, for most of the series she dates Ryan (Luka Jones) who was replaced in the show’s final episodes by a new more promising boyfriend named Will (Cameron Britton).

Elizabeth Banks (l) and Lindy West (R) onstage at SXSW in 2019, lauching “Shrill.”

Ryan made it through 16 episodes as the sadly tone-deaf boyfriend, while the Will character only made it through 4 episodes before he became hopelessly pissed off that Annie went to the coffee shop where Will’s ex-wife worked, just to see what her new boyfriend’s ex looked like. After all, Will and his ex-wife met at age 15 and she was the only girl he had ever been with, whereas Annie is seen jumping in and out of bed with a variety of swains, including a really depressing deflowering experience at an “Oklahoma” cast after-party, where the prop manager of the play offered to “do” Annie, since she was the only one in their circle who was a virgin.

Most of the show wants to be striking a blow against fat-shaming. There’s the episode where Annie’s doctor mentions that she could opt for stomach stapling and Annie reacts with a great deal of profanity and unpleasantness. There’s the episode that is a pool party with a bevy of Big Beauties who are lesbian.  The show also wants to come down firmly on the side of lesbian love and there is definitely a strong message for mothers of girls with a weight problem that harping on the problem and putting their daughter on diet after diet isn’t the right approach to urging an overweight child (especially a girl) to lose weight.

As a woman who was of “normal” weight for most of my life, but gained weight after having my 2 kids, I could relate to the mother, played by pro Julia Sweeney, who spends most of her time harassing her daughter about her weight. This approach doesn’t work and the grown-up Annie proves it.

There is also a fun plot about striking back at Internet trolls, with Beck Bennet guest starring as the troll who goes online to attack fat people, especially girls, even if they are complete strangers.

There was a lot of talk about sex or having sex and there was a quirky work group that rivaled “The Office.”

I enjoyed the series while it was on the air, although I thought the attempt to strike a blow for overweight women was probably doomed to failure from the get go.

SPOILER ALERT

Aidy Bryant (second from left) and Elizabeth Banks (second from far right) with the interviewer and other executive producer appearing onstage for a Q&A following the 2019 screening of an episode of “Shrill,” as it launched.

By the last episode, Fran (Annie’s roommate) has managed to deep-six her lesbian relationship and Annie is on the outs with Will because of the ill-advised trip to the coffee shop where Will’s ex worked. I realize that the creative minds behind this venture (Lindy West and Alexandra Rushfield for all of the episodes, with Elizabeth Banks involved for 16 of them) had to end this somehow, but it was definitely not an inspiring finale. Fran and Annie are sitting on a park bench with a bottle of what looks like champagne that they had saved for the day they would stop being roommates and they both confess that they have managed to completely screw up their most recent love relationships and the final word on that is, “I’ll fix it.”

That was not the “happy ending” most of us had hoped for.

The best that can be said about “happy endings” here is that we learn that Gabe has bought “The Thorn” and Annie and Office Manager Amadi have been promoted, so take your happiness where you can find it.

“No Sudden Move” Has Star-Studded Cast (Now Streaming)

Steven Soderbergh (“Sex, Lies and Videotape,” “Michael Clayton”) has a new movie streaming on HBO Max with a killer cast. The leads are Don Cheadle and Benicio Del Toro. The rest of the cast includes David Harbour (“Revolutionary Road,” “Stranger Things”); Brendan Frasier (“The Mummy”); Ray Liotta (“Goodfellas”); Kieran Culkin (“Succession,” “Igby Goes Down”); Noah Jupe (“Ford versus Ferrari,” “A Quiet Place”); Bill Duke (“Predator,” “American Gigolo”); Jon Hamm (“Mad Men”); and Matt Damon (“Good Will Hunting,” “The Talented Mr. Ripley”).

The odd thing about this impressive list of actors is that Matt Damon doesn’t  appear on the credits at any point. He appears in a somewhat pivotal role, but is not listed on IMDB, in the credits at the end, or in the P.R. for the movie.

The beginning of the film is very impressive; it sucks us in immediately. Some bad guys are hired to retrieve something from a safe. Every time an amount is mentioned for the task to be performed it changes. The audience is not clear in the beginning what is being retrieved. What’s in the safe? Is it diamonds? Is it a little black book that lists Mafia members? Is it pictures meant to blackmail some important person? The log-line online says: “A group of criminals are brought together under mysterious circumstances and have to work together to uncover what’s really going on when their simple job goes completely sideways”

A family is taken hostage and the father (David Harbour) is instructed to get the contents of the envelope in the safe at his office and bring them back to his home. If he doesn’t, his wife and son and daughter are in peril, being held hostage by Don Cheadle and Kieran Culkin who are masked in the world’s worst identity-concealing masks and are holding the family at gunpoint.

The son, Matthew Wertz, Jr.—Noah Jupe of “Ford vs Ferrari” and “A Quiet Place”—is 16 now, and it shows. He is no longer the small boy of those previous films. While the actress playing Noah’s Mom (Amy Seinmetz) as Mary Wertz is good, Julia Fox, who plays Benicio del Toro’s love interest is not very good. She has very few career credits; they only go back to 2018. “Uncut Gems,” in which she played a character also named Julia, was about the most impressive and memorable of those listed. She even appeared in an interview talking about her relative lack of experience when measured against the majority of the cast members. This was not promising, and her fears about her performance as Vanessa were fulfilled.

I paid close attention and even while paying careful attention to the plot, it was tough sledding. The characters throw around names when we haven’t really figured out who these people are yet. It wasn’t until a conversation that Don Cheadle makes from a phone booth (the film is set in 1954 Detroit) that I even developed a coherent theory about what the plot involved. (Note: in the final frames of the film, Soderbergh will synopsize the entire plot in a few brief paragraphs, so don’t worry about leaving the movie without knowing what it was all about.)

The film looked terrific and it was very complicated and, for the most part, well-written and well-acted. Not a “10” on a 10-point scale, but better than most of the original films that are currently streaming.

“Tom Petty: “Somewhere You Feel Free” Premieres at SXSW on March17, 2021

Tom Petty: Somewhere You Feel Free” documentary premieres at SXSW Online on March 17th. Photo of Petty and Producer Rick Rudin by Robert Sebree.

The Tom Petty documentary “Tom Petty:  Somewhere You Feel Free,” directed by Mary Wharton, depicts his career and his personality using film shot by Marlyn Atkins between 1993 and 1995, during the taping of the “Wildflower” album.

At that time, Tom would have been in his mid-forties and a long way away from his untimely death after just completing the Heartbreakers’ 40th Anniversary tour on October 2, 2017.

Tom’s daughter Aida is listed as an Executive Producer. There will not be undue focus on his death, as that sad event was 24 years in the future when the unused film was discovered and refurbished for use in this story of Tom Petty’s views on life and work.

One thing that comes through is that he was an easy-going guy with a good sense of humor. Aside from conflict with one long-time band member who left after many years (without saying good bye, according to Wikipedia.org), he got along well with his bandmates. There are concert shots and  songs performed in the recording studio that Petty had set up. Other scenes are in a room literally crammed with a variety of guitars.

Petty’s move away from record producer Jeff Lynne, who had produced most of the Heartbreakers albums, towards Rick Rubin is addressed.   Tom says, “You don’t want to stay in just one little circle all the time.” He had spent 20 years with the Heartbreakers with Lynne producing and, although Rubin had been told that his desire to work with Petty was not going to bear fruit, it did when Petty, himself, called Rubin up about collaborating.

At one point, a band member says, “How can there be this many good songs from one person?” Petty sold over 80 million records and was inducted into the Rock and Roll Hall of Fame in 2002. He described (Wikipedia.org) his desire to become a singer/songwriter as stemming from meeting Elvis Presley when he was 10 years old and referred to the Rolling Stones as “my punk music.”

Never close to his somewhat abusive father, Tom dropped out of high school at seventeen to play bass guitar and dated his desire to have his own band from when he saw the Beatles appear on “Ed Sullivan.” Petty says he knew he could do that, and adds, “I didn’t have any choice. I just did it.  I feel very fortunate, because it all worked out.”

While he began in 1976, by 1979 he had a hit with “Don’t Do Me Like That.” Born on October 20, 1950, Tom was married for 22 years to Jane Renyo. Their daughter Adria relates how she knew her parents were splitting up when she heard the songs he was working on for “Wildflowers” in 1994. In fact, Tom and Jane split up in 1996. It would be five years before he would remarry Dana York in 2001.

One period that is glossed over in the documentary came after the recording sessions that provided the basis for the film. From 1996 to 1999 Tom Petty had addiction issues to heroin. He made a decision to break that cycle on his own and went into treatment.

Petty had just finished the Heartbreakers’ 40th Anniversary Tour when he died on October 2, 2017.  His wife said he was in a lot of pain from a hip that was fractured and needed surgery. Tom had put off the surgery until the end of the tour, since so many other musicians were counting on him.

The autopsy on Petty’s body showed he did have a fracture. It also showed these drugs in his system: fentanyl; oxycontin; acetylfentanyl; temazepam; alprazolam; and citalprum. He also suffered from emphysema. He smokes, non-stop, during the film, which makes that seem likely.

I saw Tom Petty “live” once, in a concert in Moline, Illinois at the Mark of the Quad Cities. He was in his prime. I was a fan, but not a fanatic.

One interesting later career tid-bit that came out of researching his career: 12.5% of the profits from Sam Smith’s album “Stay With Me” had to be paid to Petty for using much of “I Won’t Back Down” in Smith’s song. The statement from Petty was: “All my years of songwriting have shown me these things can happen. Most times you catch it before it gets out the studio door but in this case it got by. Sam’s people were very understanding of our predicament and we easily came to an agreement”.

Liz Cheney Speaks Out & Further Editorial Remarks on 1/16

The Capitol, Washington, D.C.

From Bret Stephens of the New York Times on 1/16/2021:

“If Conservatives want to have a moral leg to stand on as they condemn  a siege of a federal courthouse in Portland, Oregon, or a police station in Minneapolis, they have an obligation to impeach Trump now.

The institutional case is clear:

  • The president attacked the states, in their right to set their own election procedures.
  • He attacked the courts—state as well as federal, in their right to settle the election challenges brought before them.
  • He attacked the Congress, in its right to conduct orderly business free of ear.
  • He attacked the vice president, in his obligation to fulfill his duties under the 12th Amendment.
  • He attacked the American people, in their right to choose the electors who choose the president.

From Liz Cheney, third-ranking House Republican, following the insurrection of January 6th:

“On January 6th, 2021, a violent mob attacked the United States Capitol to obstruct the process of our democracy and stop the counting of presidential electoral votes.  The insurrection caused injury, death, and destruction in the most sacred space in our Republic.

Much more will become clear in coming days and weeks, but what we know now is enough.  The President of the United States summoned this mob, assembled the mob, and lit the flame of this attack.  Everything that followed was his doing.  None of this would have happened without the President.  The President could have immediately and forcefully intervened to stop the violence. He did not. (*Trump did not intervene for 2 full hours.) There has never been a greater betrayal by a President of the United States of his office and his oath to the Constitution.

I will vote to impeach the President.”

Editor’s Note: Far-right sites “buzz” has been about further insurrection to take place on 1/17. What? Where? Unclear at this time, but a man was apprehended trying to enter the Capitol area with 500 rounds of ammunition for his fire-arm and fake Inauguration documents.

 

Traveling Down to Texas: Day Two

Road to St. Louis.

Day Two of the Trip to Texas is upon us.

I stayed up until 2:30 a.m. posting the previous post. That gave me time to watch all of the Sunday morning news shows that I had taped, which I had not had a chance to watch before our departure for Chicago.

Being in Chicago at my place there also allowed us to watch “The Undoing” (final episode), “Fargo” (final episode) and make a meal from things in our freezer at home that would otherwise have been thrown out. Therefore, we had pork chops, green beans, left-over chicken (from Thanksgiving, when we cooked a 5 lb. chicken instead of a turkey.

The weather turned colder overnight and there was 5 inches of snow predicted for Northwest Indiana. Because we hadd food with us, we didn’t leave the condominium in downtown Chicago. It has been said that one out of every fifteen residents of Chicago tests positive for Covid-19. I asked two of the other residents of my building if anyone there in the South Loop had tested positive and they said no one had.

Sunset

But, he added, “I don’t know that they’d tell us if anyone had.”

We left at 12:30 for St. Louis and arrived about 5:30 p.m.

We have now finished watching “Butch Cassidy and the Sundance Kid” at my brother-in-law’s house, where we are missing Wendy (left us on April 18th).

Praying for good weather the rest of the way to Texas.

“Stormchaser” Is Well-done Short Film by Gretl Claggett

Stormchaser”

Filmmaker Gretl Claggett both wrote and directed a short film/narrative pilot called “Stormchaser.”

I’m not sure which Midwestern state is portrayed in this 27 minute film, but the license plate said Missouri, so I’ll take a wild guess that it was, indeed, Missouri.

Gretl’s indie film, which might morph into a pilot if all goes well, won the AMC Networks’ Best Female Creator Award at the Stareable Fest 2020 and is traveling throughout the festival circuit now. She will be my guest on my podcast Weekly Wilson on November 19th at 7 p.m. (CDT) talking about this film and her burgeoning career. The film will be screening at Film Girl Film Festival in Milwaukee November 13th through November 20th.

So, what is the plot of “Stormchaser”?

I expected it to be up-close-and-personal information on tornadoes and their devastating effects on those trapped in them.

Not the case.

“Stormchaser” is about Bonnie Blue (Mary Birdsong of “The Descendants”), who grew up chasing tornadoes with her dad and now is making a statement for female empowerment. She’s trapped in a  demeaning job as a sales person for Flip Smith’s shingles and siding business, where “Flip the Switch” is the go-to phrase for the sales people.  (Nice acting on the part of Stephen Plunkett, who has been recognized at several film festivals.)

The film begins with a young Bonnie sliding into the cab of the truck next to her father as they seek to chase a tornado, described as “a gift from the infinite universe.” They encounter “a great river of air” and are off to the races.  Later, a radio preacher is heard burbling about “a visual manifestation of turmoil just beneath the surface.” By that point, the turmoil has pretty much broken through to the outside world.

Oddly enough, I wrote this review in my basement (hoping I would not lose power and the internet while working) during a tornado warning for the Chicago area and  Illinois on 11/10/2020, which lasted until 3 p.m. It is a classic gesture of serendipity that I was actually hunkered down in my basement avoiding the possible consequences of a tornado while watching “Stormchaser.”

The film becomes a story about a woman of a certain age—only female in a male-dominated workplace—standing up for her rights. She’s disconnected, up against a recession, and facing down a boss (Stephen Plunkett of “The Mend”) who deserves everything that comes to him in the course of the film.

Mary Birdsong (“The Descendants”) portrays Bonnie Blue and does a fine job. Plunkett won Best Actor awards for his role as Flip Smith at the Grove Film Festival (New Jersey) and the cast won Best Ensemble Cast at the Richmond International Film Festival. Plunkett also was nominated as Best Actor at the Idyllwild Film Festival.

Filmmaker Gretl Claggett said, “I created ‘Stormchaser’ as a darkly funny allegory, in which the main characters represent different facets of our sociopolitical system, from the Old America and culture of entitlement to the changing face and values of a New America struggling to find its way.”

Tune in on November 19th at 7 p.m. (CDT) when Gretl and I talk about “Stormchaser” and her past and future film projects. 

 

Film Festival Favorite Theme: Losing One’s Mind in “Little Fish”

“Little Fish” at the 43rd Denver Film Festival.

Every year, attending film festivals in Chicago, Texas, Colorado and elsewhere, there is often a pattern that emerges for that year’s films. Sometimes, it’s a similarity of titles. Sometimes, it’s a similarity of theme.

In 1984 there was “The River” and “Places in the Heart,” two movies about families losing the family farm. One starred Sissy Spacek and the other featured Sally Field, with America’s farm crisis taking center stage. That thematic refrain has echoed through the decades.

In 2018, at the Chicago Film Festival, the big theme was drug addiction, with “Beautiful Boy” (Timothy Chalamet) and “Diane” (Mary Kay Place) dealing with the opioid crisis in the U.S.

In 2019, the theme that more than one film covered was Death Row. We had Alfre Woodard’s “Clemency,” with Alfre as a prison warden tasked with carrying out the execution of a Death Row inmate, and “Just Mercy,” with Jamie Foxx as a convicted prisoner on Death Row and Michael B. Jordan working to free this  innocent man.

So, what is the Topic Du Jour in 2020?

Perhaps not surprisingly, the topic is epidemics that come out of nowhere and strike without warning. But what the epidemics cause is different from real-life horror stories like “Contagion.”

This year, the pandemic that is sweeping the multiplex, afflicting people at random is amnesia. In both “Apples,” a Greek film, and “Little Fish,” we have people who are losing their memories and their minds. I didn’t like “Apples,” the film that showed at both the 56th Chicago International Film Festival and the 43rd Denver Film Festival, because it tried to play the theme as humorous, when losing our knowledge of who we are is anything but humorous. Still, in Chicago “Apples won the Silver Hugo for Best Screenplay.

Olivia Cooke

“Little Fish,” directed by Chad Hartigan and based on a short story by Aja Gabel which Gabel and Mattson Tomlin crafted into a screenplay, is a love story between Emma (Olivia Cooke of “Ready Player One” and “Me and Earl and the Dying Girl”) and Jack O’Connell (2014’s “Unbroken” and “Seberg”).

Called NIA, Neural Information Affliction, at first people simply forgot to stop running a marathon or abandoned the bus they were driving in the middle of the street. Over time, more and more people began to forget their loved ones and pilots forgot how to fly and crashed.

The plot focuses on the romance between Emma (Olivia Cooke) and Jude (Jack O’Connell) and their friendship with another couple, Ben (Raul Castillo) and Samantha (Soko). As Ben, a musician, is losing his memories, he strikes out and becomes violent, ultimately destroying his relationship with Samantha.

Emma and Jude are determined not to let his memory loss ruin their relationship. Jude even qualifies for a pilot program that will try an experimental method called Oral Cranium Puncture, where a hole is surgically drilled in the top of one’s mouth into the brain cavity. When Ben is turned down for the experimental treatment because he tests positive for cocaine, he talks Emma, a veterinarian, into trying the method on him herself. That adds drama and intensity to the simple retelling of people losing their minds, but, ultimately, neither film could figure out how to come to a satisfactory “ending.”

Jack O’Connell

The cinematography by Sean McElwee (some nice aerial shots and great scenery) is good, the acting is more than good, and Josh Crockett has done a fine job editing the film, but, ultimately, the failure to stick the landing hurt both “Apples” and “Little Fish.”

Baby Hannah Gets Married (Sept. 6, 2020)

Elise, Jessica and Ava.

September 6th wedding of Hannah & Chris Poffenberger.

Niece Megan Wilson Eddy and daughter Stacey.

Son Scott with his daughters (Ava & Elise) and the bride and groom, Hannah and Chris.

Ava and Elise Wilson.

Ava & Elise Wilson.

Ring bearer.

Figge Museum Reception location.

The bride and groom.

 

Craig, Connie, Scott & Stacey

Scott & Jessica, Elise and Ava

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