Tag: amazon prime

THE IDEA OF YOU – Review

With the tsunami of action blockbusters flooding the multiplex, you might think that the movie studios have forgotten that Spring (despite some near ninety-degree days) is the season for romance. So, where are the love stories? Actually, this new one is only streaming, though it’s certainly worthy of a theatrical run, After all, it stars an Oscar-winning actress and its director has made two films that “took home the gold” (not for him, but for the lead actress and a pair of married screenwriters). Plus it’s based on a popular novel, though in many ways it’s a modern media gloss on a fairy tale. Mind you, the “princess” is unlike any we’ve met as this is more of a MAY/DECEMBER pairing (minus the tons of angst of that flick from last year). Like that classic Nat King Cole tune, each of these unlikely lovers is smitten with THE IDEA OF YOU.

We first meet one of the “yous” in the film’s opening scene. She is Solene (Anne Hathaway) a forty-year-old (we drop in on the big B-day festivities) divorced mom who runs a small retail art gallery in the LA suburb of Silver Lake. To treat herself after the milestone, she’s going on a solo camping trip while her almost sixteen-year-old daughter Izzy (Ella Rubin) will enjoy a VIP pass (along with her two best pals) at the Coachella music festival courtesy of her remarried lawyer Papa Daniel (Reid Scott). Naturally, after the “hand-over” drop-off to her ex, just as she begins to load the car, Daniel pulls up with the trio saying that a work emergency popped up and she needs to be their escort. Aaargghh! Solene’s no fan of the line-up, which is topped by Izzy’s former faves, the “boy band” August Moon, but she’s a good mom so she drops them off in the audience’s grounds, while she retreats to the VIP pass-holder tent. After getting some confusing directions to the restroom, she enters one of the main trailers and is soon shocked when there’s a tapping on the bathroom door. Turns out that she’s in the private deluxe digs of one of the heartthrobs of “AM”, 24-year-old Hayes Campbell (Nicholas Galitzine). The duo engages in some flirty small talk before Solene joins Izzy and her crew for AM’s “set” (where Hayes makes strong eye contact with Solene during a song dedicated to “someone special he just met”). Ah but it’s soon time to get back to the “grind” for her at the gallery. Things are pretty normal until they get a very special “customer”: Hayes. With the pretext of needing to fill the walls of his new home, the two spend most of the afternoon together, going from an artist’s storage space to Solene’s home for Lunch. After a tender kiss, she pushes him away, saying a date would be absurd, so Hayes departs after leaving his pricey wristwatch behind. This gives him an excuse to text her and invite her to join him on AM’s world tour. Hmm, he bought out the gallery spurring a temporary closing, so why not? Solene doesn’t tell anyone, even Izzy, and the duo enjoy a whirlwind worldwide secret romance. Can they make it work despite the big age gap? More importantly, what will happen when the paparazzi finally catches them?

The role of Solene proves to be a terrific showcase for the talented Ms. Hathaway, who we’ve not seen enough of on the big screen (she took some ‘family time”). Coming off her work as the slinky, seductive Rebecca in last year’s EILEEN, Hathaway now puts a spin on a down-to-Earth working woman who gets a new chance at romance and the “glamorous life”. So, it’s a bit of a spin on Cinderella, though Solene needs no magical fairy godmother, nor does she need to be rescued. We can see her delight in really being appreciated by Hayes, which leads to a big conflict. Hathaway shows us that Solene’s not sure if she really deserves it (she so does). We see that battle between her mind and heart in her expressive eyes. Plus Hathaway uses her sharp comic skills, whether bantering with Hayes, dealing with a long line of dull, but age-appropriate suitors on her birthday, or giving her ex a verbal smack-down while rebuffing her new wife’s desire to start a friendship. At one point, Solene is intimidated by the twenty-something girlfriends of Hayes’ bandmates, though we can see that she should harbor no insecurities. Hathaway’s a dream for any suitor.


And Galitzine fulfills that part very well as the soulful dreamboat Hayes, who descends from his “castle” to reach new heights of passion with the ‘stunner from Silver Lake”. Sure, he projects confidence, yet he somehow has a vulnerable side, not sure if Solene will accept him. And in another twist on Cinderella, he’s the one leaving a glass slipper behind, though it’s a sparkly bit of male jewelry. On the other end of the male spectrum, Scott oozes smarm and arrogance, much like his “Veep” role, as the pompous ex-hubby Daniel. It’s no wonder his current spouse, played with great comic disgust by Perry Mattfield yearns to be pals with Solene. But her BFF is daughter Izzy, played with great energy and humor by Rubin. That’s until the news breaks on her mom’s new beau. She conveys the hurt in Izzy’s eyes, not at the pairing but at the pain of her mother not confiding in her. The story also benefits from the comic work of Annie Mumolo as Solene’s other pal Tracy, though her screentime is reduced to make room for the romance.

The lauded director I mentioned earlier is comic actor Michael Showalter, and those Oscar-winning films are THE EYES OF TAMMY FAYE and THE BIG SICK. He also worked with actress Jennifer Westfeldt in adapting Robbine Lee’s book, which expertly mixes wit (though boy bonds are a fairly easy target for laughs) with a swoony, delirious romantic fantasy. Hey, who wouldn’t want the “high-life” though the story shows that it comes with a price. This occurs when the relationship is “out”, allowing Showalter a chance to skewer social media in a dizzying montage that uses clever pixelation of screens, phones, and pads, where Solene is digitally dragged through the mud by anonymous vultures pecking at her flesh (and moral character). She’s now a conniving callous cougar that has ensnared the naive tunesmith. Daughter Izzy is even caught in the firestorm at school. But Showalter doesn’t let the “influencers’ drag down the “high spirits” of the story’s bouncy “meet cute” or the verbal dance of the duo in the art world. The director and the writers provide us with fun, and frivolity while actually taking a sharp stick to online outrage. And they never lose focus on the engaging couple that is the beating heart of the tale, who also bring that simmering chemistry, that often makes us lightheaded at THE IDEA OF YOU.

3 out of 4

THE IDEA OF YOU streams exclusively on Amazon Prime Video beginning on Thursday, May 2, 2024

“Mr. and Mrs. Smith” – TV series review

Donald Glover and Maya Erskine, in “Mr. & Mrs. Smith” on Amazon Prime. Courtesy of Amazon Prime.

Donald Glover is a multi-talented young man. Proof lies in his boatload of awards and nominations for acting, writing, directing, producing and in several aspects of the music biz. Further proof lies in his having enough clout to attract a slew of stars for mostly brief appearances in this eight-episode action comedy. Alas, “Mr. & Mrs. Smith” is not his best work as co-writer or co-star.

Glover plays a guy recruited by an unspecified secret agency to pose as half of a normal, bland couple while remaining perpetually on call for any kind of covert op, from protection to swiping documents to whacking designated baddies. The “wife” they picked for him (Maya Erskine) shares all the assignments while helping to maintain their cover. As is par for such courses, they don’t like each other until they do. Throughout the season, they quibble with each other between and during their jobs. He’s more experienced, but she’s smarter. He’s impulsive; she’s methodical. Both chafe at the others’ assertions of leadership in most situations they face.

Not a bad setup, but poorly executed. The scripts aren’t as funny or exciting as they should be. That’s especially disappointing since they decided to reuse the title of a superior 1996 series starring Scott Bakula and Maria Bello, and the zany “Brangelina” (aka Brad Pitt and Angelina Jolie) pairing in a 2005 movie. Third time under the banner was not the charm. All ran on similar façade and function dichotomies, though the movie upped the ante a bit with its spin of the spouses not even knowing each other’s secret identity. Those productions set the bar somewhat higher than this could reach. It’s not a remake of either. This incarnation fizzles on its own initiative.

The couple’s repetitious verbal clashes grow tedious. Action sequences are too few and far between, as they build to a fairly bizarre climax. Some of the guest stars pitch in bits of panache – notably Parker Posey, John Turturro and Ron Perlman. Same for either comedian Dave Attell or his clone in an uncredited appearance.

Worst of all, the two stars are seriously miscast. No credible chemistry to match their character arcs. Glover looks great with his shirt off, as he makes a point of proving several times (*author’s confession – I’d be tempted to do the same if my torso even closely resembled his. Alas, my six-pack is thoroughly insulated beneath an ample layer of less screen-worthy covering). On the other hand, there’s no insight into how Erskine looks without hers. The whole thing is quite PG-13 as to sex, language and violence. And unfortunately dull.

“Mr. & Mrs. Smith” is available streaming on Amazon Prime starting Friday, Feb. 2.

RATING: 1 out of 4 stars

THE UNDERDOGGS – Review

With the “big game” (careful, the phrase “S-B” is “locked down”) only a few weeks away, do you need some movie fuel for your football “fever”? Something brand new, I should say since most gridiron fans probably have their shelves stocked with ANY GIVEN SUNDAY, THE REPLACEMENTS, and RUDY. Well, Amazon has just the thing with a raucous comedy about a ragtag bunch of preteen misfits in peewee football, coached by a guy whose heart is slowly melted by them. Sounds like a variation of last year’s football, er soccer, and adult inspired by real events comedy set in American Samoa, NEXT GOAL WINS. Yes, it’s a tried and true formula, but this flick has a twist in its casting, as the coach is played by rapper Snoop Dogg. He provides the “spark” (if you get my drift) and the inspiration for the movie’s title, THE UNDERDOGGS.

The film begins on the field as the story flashes back twenty years to the glory days of football phenom Jaycen (“Two Js”) Jennings. Then he was the star receiver for his Long Beach high school in sunny California. From there it was a quick step through college and into the NFL. Then it’s not long before he begins his descent from the “mountaintop” propelled by his hard-partying lifestyle and massive ego. After several team changes and a huge PR disaster, he’s banished to his big estate. One day JJ’s (Snoop Dogg) thwarted attempts to get his agent on the phone push him to show up at the agency’s office, which leads to a “viral” calamity that sends him to court. The judge isn’t snowed by his swagger and charm, and JJ is sentenced to 300 hours of community service. He’s sent to the the public park in Long Beach to pick up trash (the whole orange vest” pointy stick thing) and has a run-in with the foul-mouthed pre-teens that make up the local peewee football team. Just as the insults accelerate, the mother of “mouthy” quarterback Trey (Jonigan Booth) arrives to pick him up. It’s none other than JJ’s high school “bae”, Cherise (Tika Sumpter). Hmmm, maybe he can be the team’s coach as part of his “sentence” and reconnect with his now single former flame. But can he set his ego aside and become a mentor to these often inept and hapless players?

Okay, so Snoop is basically doing a “riff’ on his media (Music, TV, ads, etc.) persona, which he’s perfected over several decades, but he gives JJ a lot of dramatic depth, through his story “arc”. He’s really making an effort to engage with his co-stars, not merely projecting an ultra-cool, hip attitude. JJ really “steps Up” as a leader to the kids, and lets his guard down around the dazzling Cherise, played with spunk and good humor by the always engaging Ms. Sumpter. Only from a handful of scenes (she’s regulated to the cheering stands usually), she makes us want to learn more about Cherise’s history, maybe even see her healing the sick and injured. Happily, there’s a nice casual chemistry with Snoop making their “cautious courtship” a nifty subplot. Snoop also has a terrific comic rapport with Mike Epps as the energetic, “minor-league gangsta” Kareem, a slapstick take on the coach’s aide who just needs a “chance”. The duo is an inspired comic pairing. Much of the same can be said of George Lopez as JJ’s high school mentor, the “Jedi mind-trickin'” Coach Feiz, quietly stealing scenes with seemingly “off the cuff” quips. And what would a sports story be without an arrogant nemesis for JJ and the squad? Here it’s the motor-mouthed gadfly turned coach Chip Collins, played with smarm to spare by the weasily Andrew Schulz. What a pompous jerk worthy of a caustic comeuppance! And extra kudos to the real-life athletes and TV sports commentators who have a great time spoofing themselves.

Sports comedy vet Charles Stone III gives the familiar “against all odds” story a swift pace and infuses it with some great satiric jabs at the media, especially the online “fast to cancel” community. He’s able to squeeze some unexpected laughs from the genre tropes, even when the writers resort to grabbing giggles from trite, overused bits of kids saying wildly inappropriate things, with their parents often joining in. Folks, those BAD NEWS BEARS did it with more style nearly fifty years ago. And though we know how JJ’s moral “crisis” will resolve, Stone is still able to get some suspense and a bit of pathos from it. Ditto for the outcome of the big final act game (maybe it’s a sequel setup), which fades into a big plug for real-life charities. Speaking of plugs, it’s a shame they couldn’t have made a more subtle pitch for a real fast-food chain, instead of making it feel like a “stop the action” commercial break. Oh well, the young actors on the team aren’t cloying or annoying (although a big dangerous infraction merits no real punishment here), and most of the jokes land, so that makes for a fairly entertaining time on the field for THE UNDERDOGGS. And the final score is…

2 Out of 4

THE UNDERDOGGS streams exclusively on Amazon Prime beginning on Friday, January 26, 2024

ROLE PLAY (2024) – Review

How do you make a “rom-com” centered around a long-time married couple (yes, they’ve got kids)? Well, one idea would be to throw them a “curve”. With the Bracketts in this story, she’s forgotten their anniversary prompting him to take, well not desperate, but offbeat measures. Would it “spice” things up considerably, maybe rekindle those old sparks, if they pretended to be strangers meeting for the first time? But how could she have “blanked’ on the “big day”? For that answer, this new movie mixes in elements of an action flick. With that new twist, we learn that she indulges in many variations of ROLE PLAY.


Oh, the lady in question is Emma Brackett (Kaley Cuoco). At the start of the story, she’s on the job, donning a wig, and terminating a target. As in assassinate. From there she phones her handler Raj (Rudy Dharmalingam), and heads to the airport. In the next scene, Emma has taken an Uber to the quiet, nondescript suburban two-story she shares with hubby Dave (Davis Oyelowo) and their two kids, preteen Wyatt and adorable moppet Caroline. But why are they preparing her favorite meal (Dave’s BBQ pineapple chicken) as the kids “play restaurant”? It’s the big wedding anniversary and Emma was too preoccupied with her “gig”. Dave thinks that she’s often on the road conducting training seminars, so he doesn’t blink when Emma takes a call from her boss Ralph (really Raj again). It seems that the “hired killers’ union” (actually “the Sovereignty”) is angry over her going “freelance” and has put a price, and a “target” on her. Emma’s not globetrotting again and promises him that she’ll “lay low”. That night Dave shyly gifts her a “naughty nurse” outfit. But Emma “ups the ante” with a suggestion that they get a sitter, assume fake identities, and “hook up” in the bar of a swanky NYC hotel. She dons a slink LBD and a red wig and waits for Dave at the bar. Of course, he gets stuck in traffic, which allows time for an older, dapper Brit named Bob (Bill Nighy) to make a pass at her. Dave finally arrives as Bob insists that they do “shots’ and makes several odd comments to Emma. It turns out that the couple aren’t the only role players leading to an incident at the hotel that puts Emma on the run and Dave in the “hot seat”. Will she have to tell him the truth, or will it be too late to save them as Emma’s past catches up to them?

After being a TV sitcom staple in a couple of long-running shows, Ms. Cuoco gets a chance to show another side to her considerable talents. We’ve seen her snarky and sarcastic while projecting a playful sultry vibe, along with an engaging warmth. Now we get her “action hero mode” (we got a smattering from her vocal work as Harley Quinn in the Max animated series), and she’s splendid. She’s brusk and all business in the first half then shifts into “mama grizzly” as things get more “personal”. And this is a huge chance of pace for her co-star as Oyelowo proves to be an entertaining comic straight man as the bewildered and baffled Dave, a guy who just wants to chill with the “fam” after his 9-to-5 office drone job. After his superb Oscar-winning dramatic work, it’s great to see his lighter side. The two actors work well together and with the charming, but a bit sinister, Nighy as the wonky entertaining barfly. Another screen vet, Connie Nielson turns in a terrific performance as a special agent who is also more than she appears.

In the director’s chair is TV series vet Thomas Vincent who effortlessly switches gears from domestic bliss (the kids are more cute than cloying) to sexy banter (Cuoco’s a fiery sassy ginger) before plunging us into deadly showdowns. The script from Seth W. Owen provides some great dialogue for the two leads even though we soon realize that most of the plot is rehashed and reheated elements of TRUE LIES and MR. & MRS. SMITH. Nighy’s off-kilter Bob shakes things up a bit, but much of the finale seems to be a lighter version (and fairly bloodless) take on Bourne and John Wick. And though Emma is supposed to be a world-traveling pro-killer, we never really get a sense of the far-flung locales. There’s a basic cable blandness for most of the flick along with a lack of real brutality to the action (perhaps to try for a lighter rating than the “R” it received). The actors playing the Bracketts have easy-going chemistry but that’s not enough to redeem the overall familiarity of ROLE PLAY.


2.5 Out of 4

ROLE PLAY is now streaming exclusively on Amazon Prime Video

MERRY LITTLE BATMAN – Review

© Warner Bros. Entertainment Inc. MERRY LITTLE BATMAN and all related characters and elements are trademarks of and © DC. All rights reserved.

Here’s a new streaming flick that’s perfect for the season and answers a question that’s probably on the minds of many youngsters: do my favorite superheroes get to celebrate the holiday? I mean do the ‘super-baddies” give them a day off? Those queries have been explored in many animated TV shows and in the comic book source materials (the rival comics companies would usually publish a “Christmas with the Superheroes” annual special edition). So a feature-length “jolly romp” is well overdue. So, will Christmas Eve lighten up the Dark Knight? Especially if there’s a junior caped crusader in the mix (and we’re not talking about the “boy wonder”). Hey, who’s that swinging over the roofs of Gotham City? It’s none other than a MERRY LITTLE BATMAN.


The title refers to the son of Bruce Wayne, Damian (voice of Yonas Kibreab) who gets into loads of mischief with his pet cat Serena as they “cosplay” (he’s got a paper-bag cowl) through the vast environs of stately Wayne Manor. Luckily Alfred the trusted butler (James Cromwell) still has enough energy to clean up, while Papa Bruce (Luke Wilson) worries about his boy’s safety. He doesn’t have much else to do, since his alter ego has pretty much made Gotham crime-free. Ah, but there’s still his duties as a founding member of the Justice League. This afternoon he gets an emergency phone call from them requesting that he tend to an emergency in the Arctic, on Christmas for bat’s sake! But before he starts up the ole’ Batjet, Bruce lets Damian open one present. And it’s a great one, his very own utility belt! Sure it’s full of bandages, but still…wow! After Bruce departs, Damian figures out a way to get Alfred outta’ the way (urgent marshmallow run), so that he can really test out the belt, which leads him to discover the secret passage to the Batcave. In one display case, Damian finds the bat-suit made just for him. Of course, he’s gotta try it on which activates a monitor in its chest emblem. Plus it instructs him using the voice of his dad. And he’ll need that fatherly AI advice when two burglars bust in and somehow nab his prized belt. Damian’s pursuit of the duo leads him into a showdown with Batman’s “arch-est” enemy and most of the old rogue’s gallery. Even with all the hi-tech gizmos, can one eight-year-old lad save the city? And will Batman Senior return before the bad guys ruin Christmas?

Now, here’s a fun little stocking stuffer, a nice switch from the ultra-somber and serious hero in most live-action movie offerings, though missing the “camp” of the 60’s TV incarnation (though this film gives a quick nod to it). Much of the fun is conjured by the superb vocal performances. Kibreab has a natural energy to his line readings, as he conveys a sense of wonder over each discovery. Cromwell channels a bit of the classic British character actors (always enjoying a “spot o’ tea”) as the slightly grumpy but still grandfatherly Mr. Pennyworth. And in the father role, Wilson exudes a similar warm, naturing vibe that he perfected as the father of “Sttargirl”, a much-missed “under the radar” superhero TV show. Speaking of the small screen this has a much different look, much more exaggerated than the Bruce Timm-designed Dark Knight of the last thirty or so years. And thankfully it’s not “over-rendered” CGI either. The look here is very much inspired by the gnarly “ink-scratches” of the great Ronald Searle (for the movies he designed the title sequence for THOSE MAGNIFICENT MEN IN THEIR FLYING MACHINES), though I detected elements of the great magazine cartoonist Arnold Roth with a pinch or two of Charles Addams and Mad magazine’s Peter Paul Porges. It’s filled with scrunched-up noses and figures that shouldn’t be able to stand though they glide with grace past the exquisite ink-type backgrounds full of intricate machinery and towering buildings. And all popping to life with a color scheme that recalls delicate dyes and watercolor paints. I’m sure there was some software used, but it’s refreshing to see this old 2D animation in vogue once more. And did I mention how great the classic villains look in this type of “zany takes”? So, to steal a line from a popular schoolyard song parody, Mr. Wayne “doesn’t smell”, but instead hopes that his fans everywhere will have a MERRY LITTLE BATMAN. No “humbugs” here!

3 Out of 4

MERRY LITTLE BATMAN is now streaming exclusively on Amazon Prime

SILVER DOLLAR ROAD – Review

As the year-end holidays start to become everyone’s main focus here’s a documentary feature that zeros in on the desired destination of travelers…home. But what if it’s denied you? Is it worth fighting for, even risking imprisonment? That’s the focus of this film, the value of the home, and most importantly the land. Sounds a bit similar to the epic docudrama arriving today from Martin Scorsese, eh? Now, that’s set one hundred years ago with murder stemming from a lust for oil-rich land. This doc concerns the lust for water, rather than oil. It’s a valued beachfront property. Plus it all happened in the last dozen or so years. Despite all the nefarious plans of developers, could anyone possibly displace the families on SILVER DOLLAR ROAD?

Oh, and unlike the other big film this weekend, we’re not talking about a tribe, but another minority. The family at this story’s core descended from slavery in North Carolina. A son of a slave, Mitchell Reels, bought 65 marshy wooded acres that led right to the shore of the ocean inlet. Rather than selling off the property, Reeves kept it in the family with each new generation setting up homes on that trail that ended at the shore, which was dubbed Silver Dollar Road. The modest homes were a paradise to the distant relatives who would go there for Summer vacations. But recently the development groups turned their attention to that valuable area, as neighboring towns were transformed into getaway mansions complete with docks for yachts and speedboats, all for the wealthy folks from the northern states. Finally, the Adams Creek reps made their move with a sold deed from a distant relative giving them ownership of land owned by two brothers, Licurtis Reels and Melvin Davis. The duo were charged with trespassing, found guilty In Carteret, and sent to jail rather than paying the hefty fine. The family tried to hire new legal teams with no luck and left with big legal fees. As the years pass the family begins to lose any hope of bringing the brothers home and keeping the corporations from grabbing their inherited land.

Veteran documentary filmmaker Raoul Peck has crafted a compelling emotional family saga from the ProPublica investigation by Lizzie Pressler. To illustrate the complex family tree Peck makes creative use of animation graphics for the ever-expanding branches and later renders family portraits in a warm pastel/chalk style along with the long incarceration of the brothers. In the engaging first half, we see a wondrous mix of old 8mm home movies and fading polaroids. The film’s strength is gleaned from the one-on-one interviews with the expressive family members themselves. Most memorable may be the woman we meet in the opening moments as Gertrude Reels is celebrating her 90+ birthday (she even takes a hike in the woods to lay out the family property for us). There are even a few moments of vintage 1970s video of the TV show “Soul Train” as Licurtis recalls the good times at his nightclub/dancehall “Fantasy Island”. But the funky tunes fade as the outsiders swoop in and the doc’s tone echos the frustration and outrage as justice is thwarted. Nearly a decade for trespassing in this day and age is almost brutal in its cruelty (the men wore shackles ala their slave forefathers). Almost as infuriating are the tales of greedy unethical lawyers who lined their pockets with the family’s meager savings. It’s a fascinating story that may raise your blood pressure a bit (or a lot). This is terrific film journalism and a rousing cry for legal reform and just compensation for the unbroken defiant families of SILVER DOLLAR ROAD.

3 Out of 4

SILVER DOLLAR ROAD streams exclusively on Amazon Prime Video

THE BURIAL – Review

Tommy Lee Jones as Jeremiah O’Keefe and Jamie Foxx as Willie Gary in The Burial. Photo: Skip Bolen © AMAZON CONTENT SERVICES LLC

End-of-the-year movie awards season is in full swing as we see the release of a film focused on a profession that has had a complex Hollywood history. Often these characters are heroes or villains, with minimal “grey area”. It’s not the police or politicians or even used car dealers. This weekend’s new release is set in the courts, and it’s not basketball, rather the lead is a lawyer. Many times they’re portrayed as sleazy, corrupt “ambulance-chasers”. Or they’re noble ” seekers of the truth” ala’ ninety-plus defender of the innocent Perry Mason, who made a huge impact on TV after becoming an icon in “dime novels”, early “talkies”, and radio. But this film isn’t from the pen of his creator Gardner or the current courtroom scribe, Mr. Grisham. It’s taken from the 25-year-old headlines and news reports, making this work a docudrama. Even though several moviegoers may believe it’s a horror story, it does figure into the case, due to its title THE BURIAL.

It all begins in a Florida church where flashy successful personal injury attorney Willie Gary (Jaimie Foxx) keeps the congregation riveted with his “rags to riches” testimony. From there we see him in another “pulpit” as he delivers his closing summation in a trial that nets his plaintiff $75 million from a trucking firm. Hmm, now who’s the older gentleman watching intently from the court audience? We soon find out as Mr. Gary gets a most surprising visit in his opulent office from a young Biloxi lawyer Hal Dockins (Mamoudou Athie) and his client, that same trial spectator, Jeremiah O’Keefe (Tommy Lee Jones). Gary listens to Hal as he recounts O’Keefe’s story. He’s a respected member of the Biloxi, Mississippi community who owns several funeral homes and a “pre-need” insurance company. All’s well until he gets a visit from the state. It seems he must have a minimum amount in savings assets to keep his license and O’Keefe doesn’t have the funds. He consults his longtime local lawyer Mike Allred (Allan Ruck) who recommends that he sell a couple of his funeral homes. Allred then arranges for them to meet Ray Loewen (Bill Camp), whose Canadian funeral services company wants to expand further into the States. After a fancy seafood dinner on Ray’s yacht, they strike a deal for three O’Keefe locations with the verbal promise that Loewen will let Jeremiah keep his insurance services at them. An “open-ended” contract is signed, and the Loewen company stalls on the finalization, causing Jeremiah to close down much of his chain after his license is pulled. Jeremiah thinks that Mike is too eager to settle for a meager amount, so he turns to Hal who runs a tape of a TV piece on Gary. But Mr. G is reluctant since he’s never taken a contract case, nor has he had a white client. And that five million seems paltry. But Hal convinces him and soon Gary brings his team to Biloxi via his private jet (“Wings of Justice”) to face off against the Loewen legal team led by the fierce and formidable Mame Downes (Jurnee Smollett). Has Willie “the giant slayer” met his match? Will his streak of court victories finally snap as he enters this unfamiliar territory?

The film’s power is primarily due to the compelling and quite different performances of the Oscar-winning lead actors. The more flamboyant (of course) role showcases the skills, comic and dramatic, of the fabulous Mr. Foxx (okay, fantastic too). Foxx makes a “full meal” of the larger-than-life, but very real, Mr. Gary. He’s the hero we want to root for, despite his flashy swagger, as he delights in deflating the “fat cats”. And yet, Foxx shows us his softer side, as he feels the pangs of self-doubt when the courtroom ceases to be his “showroom”. A big part of his concern stems from the unlikely bond with O’Keefe who is given gravitas and dignity by the subtle and superb Mr. Jones. This is one Biloxi boy who won’t take folks talking “down” to him, nor will he be “bulldozed” by Gary or the funeral “kingpins”. Jones’ quiet draws us in and gives real power to this dramatic duo. As the defense attorney Downes, Ms. Smollett is a most worthy and smart adversary, unafraid to “mix it up” with the “boys” while preparing to use every ounce of her law-school savvy. What a pleasure to see the always enjoyable Mr. Ruck (how many decades after playing the BFF of Ferris) as the old pal of Jeremiah who tries to hide his wounded ego to help the case. He even gets a turn on the witness stand, with Ruck conveying every manner of emotion during a brutal “cross-exam”. Every good story needs a great villain, and Camp is more than up to the task making Ray the dead-eyed face of greed and deciet. His annoyance at being in court during the big third act almost steals the movie. There’s also solid support from Athie as the amiable young lawyer who learns to take a stand and become the hard-working “brains” behind the “dream team”. And it’s great to see TV and screen vet Pamela Reed as Mrs. O’Keefe who provides moral strength to her hubby while being as pivotal a partner to him as Gary.

In her third feature film, director Maggie Betts, who co-wrote the screenplay with Doug Wright adapting the article by Jonathan Carr, guides this incredible ensemble and somehow makes funeral contract law an engrossing story element. Yes, it is the main plot, but it’s not overshadowed by the big personality of Foxx’s Gary. Though many scenes outside the court occur in offices and conference centers, there’s no claustrophobia. That is until the characters come into intense disagreements, giving the pace a needed “spark”. Unfortunately, the film needs a bit more of it as it battles a midpoint “lull” as Foxx is pushed to the sidelines. Luckily this leads to a rousing finale, but much of that infectious early energy is drained. This is offset somewhat by the tender sequences involving the O’Keefes and the Garys (despite the chaste verbal flirtations with Ms. Downes). Plus it’s hard to disparage a real “David vs. Goliath” story with a crackling last-act showdown ( and bucking the court film trend of lengthy final summations). Despite the troubles with the flow of the story, fans of Jones and Foxx will dig (sorry) THE BURIAL. Court adjourned!

3 out of 4

THE BURIAL is now playing in select theatres and streams exclusively on Amazon Prime Video

A MILLION MILES AWAY – Review

Now that most schools are back in session, who’s up for a history lesson? Okay, we had one a few weeks ago with the, still in theatres, OPPENHEIMER. And though it’s really well done, to be honest, it’s kind of a “downer” what with all the “atomic bomb stuff”. This new flick also deals with science, but it concerns the exploration of space, much like the surprise “crowd-pleaser” of 2016, HIDDEN FIGURES. Like that film, it concerns one member, rather than the mathematics trio, of a minority that is usually not the focus of these docudramas. Oh, and rather than the swinging sixties this story is much more recent, capping off in 2009. It’s really the story of a dreamer, a man who dares to imagine leaving Earth to travel A MILLION MILES AWAY.

It is the late 1960s when we meet the Hernandez family, who are leaving lots of friends, They’re loading up their sputtering car and heading to another job at another California locale. Such is the transient life of farmworkers. Eight-year-old Jose somehow excels in school, despite rising before dawn to join his parents and siblings in the fields. One of his teachers, the sympathetic Miss Young (Michelle Krusiec), notices his skills and pleads with his parents to let him finish the year in Stockton, to no avail. Despite the long working hours, Jose becomes obsessed with the Apollo 11 moon landing. His dream of reaching for the stars sticks with him through his school years and into his first “white collar” job as an engineer at the Lawrence Livermore National Laboratory. oh, but his bosses underestimate him and the receptionist thinks that he’s the new janitor. This just makes Jose (Michael Pena) more determined. Each year he sends off an application to NASA and gets a curt rejection reply. Luckily, he’s more successful with his romance with a young woman at a used car lot, who had also worked in the fields, Adela (Rosa Salazar). But this is equally challenging thanks to her stern father and scary cousins, who don’t want her to “date”. Somehow the duo makes it to the altar and begins a family. After he begrudgingly shares his space dreams with her, she encourages him to work toward his goal. Jose volunteers for a big multi-nation project in Russia, making him now “tri-lingual”. Upon his return he takes flying and scuba diving lessons. With the next application, Jose delivers his form in person at the Johnson Space Center and hands it to Commander Frederick Sturckow (Garret Dillahunt). And it works, he’s in. Thus begins many months of tense and arduous training, challenging not only himself but also putting a considerable strain on his ever-expanding family.

Mind you, I was one of the few postive reviewers of the last Ant-Man flick, but I’ll admit that I sorely missed Mr. Pena as Scott’s motor-mouthed sidekick. I’m so glad he’s now carrying this story squarely on his more-than-capable shoulders. Certainly, Jose is an inspirational hero, but Pena gives him real humanity. Yes, we’re rooting for Jose as his peers roll their eyes, and we cheer when he’s later elevated to their supervisor. But then we see how his ambitions make his personal life take a “back seat”. Still, his hesitant romance is charming and his interactions with his folks and relatives have a real warmth. Oh, adding greatly to those romantic scenes is the chemistry with the engaging Ms. Salazar, almost making us forget her turn as the “battle angel” Alita. Her smile lights up the screen, even beneath the retro 90s hairstyles (layered, feathered, and frosted tips). And she’s more than a doting adoring cheerleader. In a pivotal scene, she conveys her anger and disappointment upon discovering her hubby’s stash of NASA rejections. Adela wants to be Jose’s partner in every sense while chiding him for his disinterest in her own culinary dreams. Dillahunt also dishes out some “tough love” as Jose’s stern taskmaster, knowing just how to deliver the right type of “nudge”. Kudos to Veronica Falcon and Julio Cesar Cedillo as Jose’s hardworking, nurturing parents who shine in the early sequences with the talented young Juan Pablo Monterrubio playing the daydreaming stargazing grade-school-aged Jose.

Director and co-writer (with Bettina Gilois and Hernan Jimenez) Alejandra Marquez Abella has crafted an entertaining biopic that tugs on the heartstrings without being precious or cloying and extolls the virtues of setting a goal and working to achieve it. We can almost feel the muscle aches and heat exhaustion in those scenes in the near-endless fields (lots of bandages on little fingers) while also making us feel as though we’re right next to Jose in the often frightening astronaut tests (how long can he hold his breathe wearing that heavy spacesuit). The decades are recreated well from the autos to the fashions (and those “rabbit-eared” TVs). The jump from grade school to lab engineer feels like a brisk jump, but perhaps it can be elaborated on in a second film (Jose’s foray into politics a decade ago would make for a great “part two”). The glories of space travel are there, but the dangers aren’t pushed aside. My only major problem with the film is that it’s not in theatres where this true tale of determination could make the most impact. So, if you can get access to this inspiring story, A MILLION MILES AWAY is more than worth the effort (especially for families).

3 Out of 4

A MILLION MILES AWAY streams exclusively on Amazon Prime beginning on Friday, September 15, 2023

LUCY AND DESI – Review

(Original Caption) Lucille Ball and Desi Arnaz going over business matters. Picture from Lucy’s personal file.

So here’s the perfect companion to one of the big feature film “docudramas” from the last weeks of 2021. You may even consider it a “super bonus extra” for a proposed home video release. Ah, but it’s so much more than that. It delves into the history and legacy more thoroughly than any “squeezed into a brief timeline” big-screen treatment. Sure there are lots of clips from this duo’s greatest collaboration, which is still being adored by fans all over the planet every day, but there are historical artifacts that many of us have never seen and heard before. And happily, there are the early, early”pre-superstardom” snippets as the careers of these two began to converge and meld. These gems along with archival footage have been assembled by a talented comic actress who might be considered a “spiritual offspring” of the feminine half of the couple in question. Hey, these two still come to mind when examining their main medium’s history. In the arena of real-life couples who worked together, you’ve got Lunt and Fontanne on stage, in the movies there’s Bogie and Bacall and in television, particularly comedy, it all begins with (and some say is still dominated by). LUCY AND DESI.


It all starts with the enduring images of the two, Lucille Ball and Desi Arnaz. There are countless clips of the Ricardos: Lucy trying to share the stage with Ricky at “the club”, Ricky exploding with a barrage of Spanish as he reveals Lucy’s newest scheme, Lucy hatches said plot with BFF neighbor Ethel Mertz. Then the filmmakers take us back to the duo’s modest, even desperate early times. Brother Fred (in an archival interview) tells of his sister Lucy almost becoming the head of the household when a target practice accident nearly takes everything from their grandfather’s Jamestown NY home. She’s determined to be a star, trying out for Broadway shows, modeling, and even creating a “wild west” persona “Montana” Ball to try and jumpstart a hopeful film career as she heads to LA. Not far from the US, young Desi flees the Cuban Revolution of 1933 and barely makes it to Miami, eking out a living by cleaning canary cages before his musical skills attract the attention of Xavier Cugat, leading to the formation of Desi’s own band. Fans only familiar with the sitcoms will be dazzled by the early images of the two, Lucy, a Technicolor flaming-red-haired movie goddess at MGM, and Desi, a gorgeous exotic untamed congo drum-pounding heartthrob. Home movie scenes and audio recordings (Desi on seeing Lucy for the first time, “Now, thas’ some hunka’ woman!”) chronicle their fiery romance, courtship, and marriage. We’re treated to an amazing montage of Lucy’s screen roles, many of which couldn’t quite capture her talents (leading lady or wisecracking supporting player). And there’s that TV show that never “went away”. We see the foundation being built for the Desilu empire, and its demise as the divorce almost derails the entertainment juggernaut. Though the heads of the company wouldn’t perform on camera, they still had a behind-the-scenes working relationship…for a time. The film provides an overview of their solo lives and careers leading up to their final days in the late 1980s.

Oh, that talented comic actress I mentioned earlier is none other than the “pride of Pawnee” Amy Poehler, known for her memorable TV work on SNL and “Parks and Recreations” in her impressive feature documentary debut. Though much of the story and materials are familiar, she brings a real vitality to the legend via access to those family treasures. Hearing the duo’s voices paired with the keenly selected clips adds an unexpected poignancy. Footage shot on the set of the 1960s “The Lucy Show” gives us Desi’s unexpected visit to the Studio, surprising the guest star (another show biz superstar), though Ms. B doesn’t look that pleased (maybe just indifferent). We get Ball’s work ethic, hinted at in Sorkin’s biopic, as she shockingly states that, “I’m not funny…I just work very hard”. And though he professionalism often caused many to label her the “B word’, I’d think that stands for “boss” as we see her presiding over a board meeting of Desilu shareholders just after Desi was bought out. .Ms. Poehler know when to sparingly utilize some great “talking head” subjects. Carol Burnett gushes over her “gypsy pal, Bette Midler tells of Lucy’s mentoring, while Charo (yes the “gootchie-gootchie gal”) sings the praises of Desi while strumming a guitar. Most prominently daughter Lucie Arnaz offers insights and anecdotes, while we only hear from brother Desi Junior. Plus we’re treated to news interviews with TV writers Madelyn Davis and Bob Carroll Jr., along with Lucy’s brother Fred, though it’s a shame that the last surviving TV cast member, Richard Keith (“Little Rick”) doesn’t appear. We really get a sense of the Desilu domination of early TV as Desi was the major force behind the three-camera filming setup (still used today) and (for better or worse) the rerun., That’s one of the sadder aspects of the tale as Desi had to remind folks that he wasn’t just the “lucky stiff’ riding the apron strings of his comic firebrand wife. And this helped accelerate the breakup that devastated fans. My only complaint with the film is its omissions of the post “I Love Lucy” careers of the two. Yes, Lucy’s follow-up sitcoms are here, but no mention of her feature film work: two comic romps with Bob Hope, the surprise hit YOURS MINE AND OURS (recently spoofed in LICORICE PIZZA), and the “megaflop” MAME (reportedly Desi tried to warn Lucy of the bomb, but she didn’t listen). Oh, and no mention of the mid-80s misfire sitcom comeback on ABC, “Life with Lucy” (perhaps that’s a good thing). Plus Desi stayed active behind the scenes in the late 60s show “The Mothers-In-Law”. Maybe it’s not a “knock” to wish this engaging and often moving non-fiction film was a bit longer. And really, couldn’t the world right now use a lot more of LUCY AND DESI? Babalooooo!!

3.5 Out of 4

LUCY AND DESI is now streaming exclusively on Amazon Prime Video

I WANT YOU BACK – Review

As you dash about making restaurant reservations and scheduling floral deliveries for the big holiday this weekend, do you ever think about those “non-participators”? I’m guessing that you may not during the whirlwind of “preps”. Sure. most of the “romantically challenged” hadn’t counted on joining in this Monday, but what about those who really thought they’d be toasting their “special someone”? As sort of “counter-programing” two of these “unfortunates” are the focus of a very twisted “rom-com”. This duo is completely “blindsided” by their respective “bust-ups”. So do they break out the ice cream as they plant themselves on the couch for a marathon streaming TV binge? Oh no, they hatch a scheme that loudly declares (though not out loud to the “targets”), I WANT YOU BACK.

The “shenanigans” start during a really awful weekend for our two main subjects. Funny, funky Emma (Jenny Slate) is finishing up a delicious brunch with her hunky beau Noah (Scott Eastwood), when he drops the “bomb”. He’s “moving on” and has a new “lady”, Ginny (Clark Backo), who owns her own trendy pie shop, while Emma hasn’t advanced (she’s still living in her old college apartment with new much-younger student roommates). Across town, affable, friendly Peter (Charlie Day) is frolicking with the “birthday boy’ at his girlfriend’s family’s party. He’s having a blast, but his gal Anne (Gina Rodriguez) seems distant and distracted. Peter finally pries the reason why from her: she’s done with his un-adventurous nature and has taken up with somebody that’s more “free-spirited”. He, like Emma, is completely stunned. But it’s back to work on Monday, so he attends a big morning meeting with the rest of the “team” at a major “senior retirement living center” management company…until he sees a social media pic of Anne and her new fella’. Peter dashes out of the conference room and heads to the building’s stairwell to compose himself. His sobbing is interrupted by a wail of anguish. It’s Emma, who works three floors below as a dental receptionist. The two bond over their shared heartache, and after an evening of karaoke they formulate a strategy. Grabbing info from their exes’ internet posts, they’ll help each other break up the new couples. Emma will seduce Anne’s guy, drama teacher Logan (Manny Jacinto), while Peter (he can’t compete with his beefcake perfection) will become pals with Noah and turn him against Ginny (the ole’ Iago ploy). But can this master plan really succeed? Can these conspirators really repair their old romances?

This “twisty-turny” farce provides a terrific showcase for its two engaging stars (who are deserving of a much larger audience). Slate has already “headlined’ in several interesting “indie” comedies (OBVIOUS CHILD and LANDLINE are the standouts), so her comedic ‘chops’ are proven. This time she reveals an endearing vulnerable side as the floundering Emma who tries to hide her pain behind a mask of snark. There’s an emotional wound, but Slate, through her moist eyes, shows that she thinks that maybe Emma is really “stuck”. Lucky for the filmmakers that she has caustic comic chemistry with Day who tempers his manic “motor-mouthed” delivery with a true sweetness as he questions his “mission”. And he too knows that he’s got to get out of his “comfort zone”, personally and professionally, as Pete was too scared of taking “risks”. And while their former flames would be the “baddies” in other flicks, the “dumpers” somehow don’t deserve our disdain. That’s due in large part to the work of Rodriguez and Eastwood. She’s wanting to “breakout’ before getting “settled”, but Anne still hesitates on making a big (sexual) “leap”. We know the camera adores Eastwood, but his warm take on Noah, closer to an “every-bro”, is moving, especially as he makes Peter his new “lil’ bro”. Oh ditto for their “new loves”. Backo’s a sweet career-minded woman who’s not taking the “plunge” till all is “right”. Jacinto’s a flighty spacey but sweet goofball (a slightly smarter take on his “The Good Place” TV role), who’s more adventurous than anyone thinks (aside from letting his middle school students put on a fairly adult musical). One of his students, Trevor. is played with natural ease by young Luke David Blumm, who has a touching rapport with Salte’s Emma.

Yes, as you may have surmised this is a “rom-com” riff on a Hitchcock classic, though it’s not the first funny “re-imagining” (that would be THROW MAMA FROM THE TRAIN from, really, 35 years ago). Rather than STRANGERS ON A TRAIN, this is “Strangers in a Stairwell” for the main premise. And it really is a “clever spin” on that chestnut thanks to the unpredictable script by TV vets Isaac Aptaker and Elizabeth Berger. Of course, we know that things won’t go completely according to Emma and Peter’s scheme, but the surprises and “turn arounds’ keep us invested and alert. The characters grow and emotionally change, thanks in part to the brief “detours”, particularly Emma’s warm friendship with Trevor in which she takes a big leap into “adulthood”. The story’s pace is solid thanks to the confident, directing from Jason Orley (pretty great for his sophomore feature film). It’s very strong for a comic romp with no true villains, but folks with different dreams and agendas. The Georgia locales are lovely, especially a big finale set aboard a riverboat. The film’s biggest plus is that I wanted to keep “hanging” with the characters just as the credits started to roll (a real rarity). Its biggest minus is the fact that it won’t be in theatres, since this film gives a nice “sheen” to the tarnished “rep” of “rom-coms”. Let’s hope we’ll see future pairings of Slate and Day because I WANT YOU BACK. Someday…

3 out of 4

I WANT YOU BACK streams exclusively on Amazon Prime Video beginning Friday, February 11, 2022