Tag: Documentary Feature

STILLER & MEARA: NOTHING IS LOST – Review

Here’s a terrific showbiz documentary that’s been sent to streaming just months after another superb one, MY MOM JAYNE (which is still on HBO Max, if it’s still called that). Aside from both this doc’s subjects also being a big part of 20th century pop culture, they also both deal with siblings (both are directors of their docs), who are stars in their own right, discovering their parent(s) through boxes and cases of old recordings, press clippings, and notebooks. Sure, some of the legacy of Jayne Mansfield is fairly funny (such tacky fashions), this new film really explores humor, because it’s about a comedy team. That phrase usually conjures up Laurel & Hardy, the Stooges, those Marx Brothers, but this is one of the rare male/female teamings. While their early 60s contemporaries Nichols & May never settled down, this duo, like Burns & Allen decades before, married and started a family. Here’s the story of how their son Ben discovered that, with STILLER & MEARA: NOTHING IS LOST. Really, it’s all there…

The son, of course, is actor/director/writer/producer Ben Stiller. His father Jerry passed away in 2020, five years after his mom, Anne Meara. Since the world was in lockdown due to the pandemic, Ben decided to prepare their longtime Riverside apartment in NYC for an eventual sale (and take one last spin around with his camera). Before the place could be “staged” for presentation to buyers, Ben, and sister Amy, dove into the cases and cartons of material their folks had accumulated over nearly 70 years. Jerry and Anne married in 1953, and as they took on acting gigs in early TV and the theater, they decided to go out as a comedy team. And they were successful, first in nightclubs, and then becoming a favorite of Ed Sullivan (he booked them on his show 36 times). Ben and Amy relive those old days as they pour over correspondence (seeing their love letters), listening to countless audio cassettes, and watching grainy 8mm home movies. . Somehow, their folks almost return to vivid life, guiding Ben through a very difficult time (his recent separation from wife Christine Taylor). Along this nostalgic journey, Ben interviews his own family, along with dear friends of his parents, including actor Christopher Walken and playwright John Guare. In putting together this loving cinematic tribute, Ben realizes how similar his own life, personal and professional, to his recently departed mom and pop, Could this be sage parent advice and consul from the “Great Beyond”?

Talk about your “labor of love”! What a splendid, interesting and entertaining film which should help dispel that old notion that “documentaries are homework”. Certainly, Ben does make use of the doc trope of “talking heads” (mainly with his aunt), but he’s found a way to juggle and intercut the archival photos and footage in a fresh, compelling way. The segments from the Sullivan show are crisp, looking as though they aired new last Sunday night, while we also get the grainy VHS (or maybe half inch) video dupes of the duo co-hosting “The Mike Douglas Show” and bringing in little Benji and Amy for a sweet, though “ear-testing” violin duet. The notebook scribblings and the murky (sounds like a basement) audio of Anne and Jerry working out a routine for a TV appearance, gives us a rare peek at the creative process. We hear that Anne was relaxed and confident performing while Jerry was a perfection who fretted and “over-rehearsed”, which Ben recognizes in his own work discipline (yup, a chip off the “old man’s” block). There’s a big contrast in the duo’s early years. Jerry wasn’t encouraged by his folks, while Anne was the adored “princess”, perhaps because hers was a single parent household due to a horrific suicide. It’s also fascinating that when the team split, the marriage got a bit stronger since Anne could,at last, pursue dramatic roles and Jerry could finally be the solo comic he dreamed of (his lauded work on the TV sitcoms “Seinfeld” and “King of Queens” in his 70s is one heck of a rousing career third act). Plus the film does shine a light on Ben’s rise with his own 8mm films and videos (starring Jerry), while he also “takes the heat” during the one-on-one-interviews with his spouse and two kids (daughter Ella is still ticked that he cut her out of one of his features). Pressure and guilt (being away too long) are shared by both generations in the “biz”. This is a “pull-no-punches” journey, though with a touch of sweet nostalgia, that is a must for comedy fans (the “collection” is now part of the Museum of Comedy in New York state) of the current media icon and the team that spawned him. Hopefully they’ll be “rediscovered” and found via STILLER & MEARA: NOTHING IS LOST.

3.5 out of 4

STILLER & MEARA : NOTHING IS LOST is now streaming exclusively on Apple TV+ and is playing in select theaters

THE BEACH BOYS (2024) – Review

Kicking off the start of Summer with the big Memorial Day weekend, a new documentary poses the question: What’s the “go-to” music for this season? Well, for the past 63 years, it’s been these pop icons out of Hawthorne, California, of course. Their signature songs invoke memories of ocean waves hitting the sand as eager athletes run through the foam with their trusty boards. Interestingly only one member of the original band surfed, though when watching a blonde adonis catching a “tasty wave”, you automatically, in your head, recall the sweet infectious harmonies of THE BEACH BOYS.

After opening with glorious footage of an electric 1975 outdoor concert (naturally in the bright Summer sun), the doc springs back 15 or so years to the modest suburban home on 119th Street when the eldest Wilson brother Brian became fascinated by the careful vocal craftsmanship of the Four Freshmen along with other musical acts. That included rock and roll and the emerging sound of the surfing-inspired instramentals. He brought in his younger brothers, Carl and Dennis, and later enlisted Mike Love and schoolmates Al Jardine and David Marks to record songs on Brian’s new reel-to-reel recorder as the “”Pembertones. Father Murry Wilson took their song “Surfin'” to the Candix label, and the disc was released sporting a new moniker for the guys, the Beach Boys. They soon went from regional radio staples to the top of the Billboard charts when they signed with Capitol Records, scoring with odes to fun at the seashore like “Surfin Safari” and “Surfin’ U.S.A.”. The film charts their meteoric rise while chronicling the many changes to the performing roster of musicians. When David returned, Brian tired of performing live which ushered in performers like record producer Bruce Johnston, guitar legend Gelen Campbell, and eventually Blondie Chaplin and Ricky Fataar. The film also touches on the conflicts, from the abrasive tirades of Murry to the wild antics of Dennis and his brush with the Manson family. Yet somehow the music’s legacy grew in stature which culminates in a remarkable reunion with the survivors on the location of one of their most famous album covers.

This film marks another excellent feature documentary from two veteran directors of the “music doc” genre, Frank Marshall (JAZZ FEST: A NEW ORLEANS STORY and THE BEE GEES: HOW DO YOU MEND A BROKEN HEART) and Thom Zimny (several Bruce Springsteen profiles along with Willie Nelson and Johnny Cash). They’ve assembled quite an exhaustive compilation of performance pieces from the past including TV shows ( a sketch with mop top wig-wearing Jack Benny and Bob Hope) and live concert shows (love the young ladies leaping on stage to tackle Mike Love), not to mention terrific archival interviews with the Wilsons and some collaborators (Campbell and members of the famed “Wrecking Crew”). We also get close-ups of Brian’s notepads of lyrics and a few audio clips made during recording sessions when a tipsy aggressive Murry rightly earned the ire of his sons. A few of the scandals are glossed over (the indulgences of Dennis and that scary association with Charlie I mentioned earlier), Brian’s shadowy reclusive years (the docudrama LOVE & MERCY tackles that in full), and the legal skirmishes between Brian and Mike. Oh, and there are some interesting new interviews done with folks like producer Don Was and artists Janelle Monae and Lindsey Buckingham along with the band. Even Brian’s first wife Marion is there with some great personal memories. And though they were initially rivals, Paul McCartney expresses his admiration for the group, And that all stems from that sound, those harmonies, and the giddy fun of those songs celebrating the carefree teenage days. Yes, celebration is the operative word, even as Brian shares the fate of Barry Gibb (in Marshall’s HBO doc) as the last brother, we see the power of music to heal as the now geriatric “Boys” gather on the sand for that warm gathering before the final fade-out. It’s truly an “Endless Summer” in this engaging and compelling portrait of “America’s band”, THE BEACH BOYS.

3.5 Out of 4

THE BEACH BOYS is now streaming on Disney+

STAN LEE – Review

Face front, true believers! Here’s an interesting lil’ tidbit about the current cinema landscape. Just who has been the major part of several huge box office hits over the last fifteen years? Well, we’re not talking about an actor, or a filmmaker, or a studio exec. Oh, and he left the planet almost five years ago. Okay, you got it, I’m talking about the comic book writing superstar who co-created almost the entire staple of Marvel superheroes. And he became a fun bit of business in the screen adaptations of those characters by popping up in brief cameo roles (I made it a game with my nephews to nudge me when he flashed that big grin). He’s been profiled by several TV newsmagazine shows and mini-bios, but now he’s getting the full feature-length documentary treatment with the simply titled STAN LEE. Excelsior!

After a brief montage of those film bits and a stream of “through the years” photos, we hear from the man himself. Stanley Lieber (his birth name) relates a rags-to-riches tale, as he was born in 1922 to immigrant parents in NYC near the end of 1922. A voracious reading appetite led to an urge to write his own fiction, augmented by a love for the movies (“I wanted to be Errol Flynn”). Through a relative, he landed a gig while in high school at a publishing company whose output included Timely Comics. He went from office boy?” gofer” to occasional writer to editor (his boss said it was temporary but Stan was never replaced). Stan served in WWII as a writer stationed near the Big Apple where he met the love of his life, his future wife Joan, a British model.. Timely seemed to “squeak by” following the trends of the other big comics companies, which frustrated Stan. As he was thinking about resigning, his boss, publisher Martin Goodman, told him to come up with a superhero team as the Justice League of America was a big seller in 1961. Joan told Stan he should write what he liked since he was going to quit anyway and the Fantastic Four was born (co-created by frequent collaborator artist Jack Kirby). It was a smash, perhaps because Stan gave them real-life quirks and problems (that quartet could bicker). As it gained a rabid following, Stan came up with Iron Man, the Hulk, the X-Men, and many more. But his biggest success might be the scrawny teenager known as Spider-Man. The company was redubbed Marvel and the books became the talk of college kids where Stan was in demand as a speaker. It took several decades, but Hollywood caught up to the Marvel misfits, and the movies of the MCU, Marvel Cinematic Universe, have been ruling the box office since 2008.

Filmmaker David Gelb wisely combines Stan’s own words with a treasure trove of home movies (Stan and Joan loved getting a tan), archival interviews (Stan on TV talk shows and at comics conventions), and audio snippets from some of his contemporaries (Kirby, Joe Simon, and “gal Friday”, Flo Steinberg). And naturally, there are lots of comic book panels and covers. That’s great, but Gelb adds to the whimsy with story recreations utilizing miniature figures and settings (little Stanley on his adored bicycle, teen Stan atop a desk in the Timely bullpen). It’s irresistible and quite charming. Sure many of the stories are familiar as Stan retold the creation of Spidey countless times, along with the clash with the Comics Code Authority. But Gelb also includes some of the controversies, particularly in a heated exchange between Lee and Kirby on a radio talk show in the mid-1970s. Plus we hear of Kirby’s jump to rival DC in the 70s and Steve Ditko (Spidey and Dr. Strange co-creator) in the 60s. But Gelb chooses not to tell us that both men returned in the late 70s. And that’s a big part of the doc’s problems as many major bits of history aren’t covered (no mention of the hit CBS-TV show “The Incredible Hulk” which lasted several years). Also, the exit of Ditko would have been a great intro to John Romita who saved the book and became the art director (and sadly passed away just days ago). Different sections spotlight certain years with news footage (“1961”, “1963”), but later there’s a massive jump as it goes from “1980” (Stan becomes Marvel publisher) to “2010” (Stan films a cameo for THOR). Really? A lot happened in those 30 years, big company takeovers and the formation of the film studio (leading to its purchase by Disney). Of course, this also zips past family financial squabbles, rumors of senior exploitation, and Stan’s own litigation against his old company (and failed solo enterprises). I suppose this was due to the film being co-produced by Marvel and shown on Disney+. This leads to a triumphant finale scene of Stan as a college commencement speaker in 2017, with no mention of his passing the next year, Perhpas this was an attempt to make the project more “kid friendly” much like a book biography aimed for the pre-teen set. In that regard, the film works, but longtime comics fans and historians may need to satisfy their curiosity with several recent tomes that go beyond the legend of the charming comic book huckster (maybe cheerleader is more apropos) the world adored as STAN LEE.

3 Out of 4

STAN LEE is now streaming exclusively on Disney+

STILL: A MICHAEL J. FOX MOVIE – Review

As we slide into the 2023 Summer movie season, a new release takes us back to another one, now 38 years old. And while in recent years you could say that a major studio “owned’ the Summer as Paramount did last year with the TOP GUN sequel, or as Marvel Studios has done (along with some characters licensed out to others) a couple of years prior. Oh, but the Summer of 1985 was pretty much owned by an unlikely cinema superstar, Michael J. Fox. For a week or two his “star vehicles”, BACK TO THE FUTURE and TEEN WOLF were respectively numbers one and two on the box office charts. But his streak wasn’t limited to the big screen, as his “day job” on the NBC sitcom “Family Ties” had a safe perch in the top ten Nielsen ratings. But now he’s perhaps best known for his battle to defeat the deadly disease that has taken him away (for the most part) from the sound stages and into medical research fundraisers and labs. His incredible journey is expertly detailed in the new documentary feature, STILL: A MICHAEL J. FOX MOVIE.

The film actually begins during one of Michael’s biggest “movie star” years, as he recovers from a night of hard partying with co-star Woody Harrelson (they were teamed in DOC HOLLYWOOD) in a swanky Florida hotel room. He raises his hand to block the sunlight and notices something odd. He can’t stop his pinky finger from twitching, almost as though it were vibrating. Jump cut to Fox today as he tells of soon getting the stupifying diagnosis of Parkinson’s disease in 1991 (“But that just happens to old folks!”). We then follow him along as he works with his physical therapist, exercising and trying to walk without slamming into walls (and we do see him take a spill, and then ease the tension with a perfectly-timed quip). From there it’s “back to the past” with a peak at his early life, growing up as the “baby of the family” in the suburbs of Canada where the acting bug bit him when he got his first laugh on stage. Even though his pop thought he was a, well “f*#%#up, he took him to seek greater fame (he was a sitcom star on the CBC) in LA. Fox relates the usual “horror stories” of struggle (swiped jelly packs for meals and selling off a sectional couch one piece at a time) until that script from Family Ties arrived. It seems all of his bosses, the show’s producer, and the network chief (the “lunchbox” story is a hoot), were against him, but the audience adored him. Then it’s just a couple of years until he’s tapped to replace the lead in the big Spielberg/Zemeckis time travel epic and shoot it at night and on weekends while still doing the TV show (we get a POV of his hectic schedule for over three months). With his career headed into the stratosphere, he’s gobsmacked by the smart NYC stage actress brought in to play his TV girlfriend, Tracy Pollan. The film shifts to love story mode, from their uneasy first meetings to a lasting marriage and a quartet of kids. Tracy is his “rock” when the disease kicks in, helping him deal with it (Fox found ways of hiding symptoms during his second TV show, “Spin City”), until he finally “went public” in 1998. we get intimate details of the start of his research foundation, his occasional forays back into TV, and the struggle and triumphs as Fox strives to keep moving forward.

Bravo to the film’s subject and also to the inventive talented filmmaker that destroys the many misconceptions over documentary features. I’m speaking of Davis Guggenheim, Oscar-winner for AN INCONVENIENT TRUTH, who has delivered a string of compelling non-fiction films. Here he balances the standard “talking head” interviews, proving that Fox has lost little of his communication skills, with first-person narration (much of it gleamed from Fox’s lauded memoirs and recreations of pivotal moments in recent history. Now, here’s the clever “bit” (and kudos to the research staff involved), archival news footage is seamlessly meshed with backstage clips, recreations using set “mock-ups” and “look-a-likes”(often seen from the back), along with footage from Fox’s film and TV work. A story of an NYC press visit has bits from FOR LOVE OR MONEY (the hotel room) and BRIGHT LIGHTS, BIG CITY (on the sidewalks). And though his name is in the title, it’s his wife Tracy who may truly be the heart of the tale, especially when she sees Michael trying to drown his fear in booze. Honestly, I was somewhat dreading this film, as the recent news pieces on Fox are heartwrenching to watch. But, as he states in the film, Mr. Fox will have none of that. He’s got no time or patience for pity or sorrow (a real “save yer’ tears” fella’). You can almost imagine Parkinson’s looming over him ala BTTF’s Biff which recalls Fox as Marty knowing he’s maybe got one chance for a punch, so he’s putting everything into it. This film is an endearing look back at the “go-go” 1980s/90s which also inspires as an uplifting “call to action”. Who’d have thought that one of this year’s most compelling motion pictures would be about a former “teen dream” whose health struggles fail to keep him STILL, as in A MICHAEL J. FOX MOVIE? Way to be, Alex P.!

4 Out of 4

STILL: A MICHAEL J. FOX MOVIE opens in select theatres and streams exclusively on AppleTV+ beginning on Friday, May 12, 2023

MICKEY: THE STORY OF A MOUSE – Review

So there have been some great documentary feature biographies of show biz superstars. This year alone we’ve been given in-depth profiles of Sidney Poitier, Tanya Tucker, and Louis Armstrong. Oh but this one, well he just may be the biggest star in the whole wide world, and for the longest time. So, did I mention that he’s an animated character? Oh, but he’s THE cartoon icon, who’s been entertaining the globe for 95 years. It’s been said that the test of a cartoon design is whether the figure can be identified by its silhouette. He’s got that beat as the shape of his head is immediately recognized, perhaps it’s because of its simplicity. After all, it’s really three connected circles that outline the face of MICKEY: THE STORY OF A MOUSE.


This overview/history/appreciation begins with the mouse meeting his many fans at different venues on the planet. Many of the older ones tell us of their personal connections to him. The film shifts into his creation and his creator Walt Disney and how he came up with the star when he lost his other toon series, We’ve taken to Marceline, MO for a spin around his old family farm and the “Dreaming Tree” that captivated young Walt. Then it’s back to today for the feature’s real “framing device”, ironically the making of a brand-new Mickey short to commemorate his big birthday. It’s spearheaded by animation artist supreme, Eric Goldberg, who actually handles (with white gloves and supervision) the original animation drawings and guides from the 1930s, Mickey’s golden years as the number cartoon short star (until a certain spinach-lovin’ sailor arrived). Naturally, the merchandising would follow (the watch) and we see how the mouse changed over the years from his black dot eyes to full pupils to his personality as he had to be a “nice” role model for the kiddos. Soon he was the studio mascot who became the greeter at the theme parks. We also meet his many voices and witness his entries into different media (his TV club dominated) and new tech (he’s got several streaming CGI programs). There’s even a glimpse of his controversies, from an unauthorized short “Mickey Goes to Vietnam”, to his name as a derogatory adjective (a clip from the GODFATHER films has Pacino barking about a “Mickey Mouse outfit”). And yet the mouse endures and becomes the first cartoon pal for each new generation with no end in sight.

Director Jeff Maimberg has crafted an affectionate look at everybody’s favorite movie mouse without steering clear of his often controversial history. Aside from the aforementioned anti-war short, we get several scenes of Mickey being way too aggressive with Minnie (a bit past Pepe le Pew’s lust) and taking several jabs at minorities. But as many have said (in the video collection disclaimers) it was a different time. It’s amazing to see how theatres devoted so much of their entrances and marquees to the mouse, reminding us of a popular filmgoer’s complaint, “What, no Mickey Mouse”? But much time is spent showing the “taming of the rodent” which helped the career of his cohort, Donald Duck (who could be nasty and mean-spirited). Eventually Mick became a “straight man” in the Pluto shorts until TV revived his “rep”. Aside from the wealth of archival footage, the best moments come from the artists who crafted the magical moments. Goldberg is quite eloquent as he draws a classic pose. Plus, in addition to his collaborators, we’re treated to a visit from the great Floyd Norman (star of his own superb doc feature) who worked with Walt back in the day. But really, how can you not melt a bit as the kids dash to the big mouse for a warm hug (one older fan calls him “pure joy”). Is there a better way to celebrate a superstar who’s quickly approaching the century mark than MICKEY: THE STORY OF A MOUSE? I mean other than a big hunk o’ cheese? And this is far from “cheesy”!

3.5 Out of 4

MICKEY: THE STORY OF A MOUSE is now streaming on Disney+

THE RETURN OF TANYA TUCKER: FEATURING BRANDI CARLILE – Review

So, who doesn’t love the story of a comeback, the rise from the ashes soaring into greater glories and triumphs? Well, this particular performer at the heart of this new feature-length documentary isn’t too keen on it. It actually annoys her a bit, as she prefers something closer to a “resurgence” or a “re-appreciation”. If anyone has truly earned the right to specify a “labeL’ then it’s this artist, who’s been part of the music charts for over fifty years now. She’s amassed lots of fans in that time, but happily one of the youngest fans is making quite a name for herself now, and she’s using her clout to forge a new collaboration with her longtime inspiration. Which explains the lengthy title, THE RETURN OF TANYA TUCKER: FEATURING BRANDI CARLILE.


The “making of” part of the doc really begins with that “featured” performer. Ms. Carlile is pacing the floors of the Fantasy Records studio in LA along with producer Shooter Jennings as they await the arrival of their beloved “diva”. Naturally, she’s fashionably late and strolls from her RV through the doors, just as they’d expect Tanya Tucker to do. It seems that “star on the rise” Carlile saw Tucker perform in a small club and convinced Jennings that an album of new songs was in order (he agreed if she’d co-produce). As she enjoys an early cocktail to “loosen the larynx”, Tucker’s gravelly laugh provides a glimpse of a life lived at full throttle. The film intercuts the studio mixing and discoveries with a look back at a career begun in the early 70s when Tucker hit the charts with “Delta Dawn” at the tender age of thirteen. She was soon the toast of the country music scene with wild nights on the road, and a disastrous foray into pop and disco, before igniting a tabloid inferno with her torrid romance with the much-older star Glen Campbell. But Tanya insists that she’s never gone away, as hard-core fans (the CW music ones are known for their loyalty) stuck with her through smaller venues and stints in rehab. Carlile is one that truly “kept the faith” and we see her gently push Tanya out of her “comfort zone” to pour more of herself into this new work. The film a great “overview” of the new music biz, as they host a “listening party”, play a couple of small clubs, do the “radio DJ interview circuit”, and await the album’s “feedback”. The capper is the preparations going into Tucker singing one of the tunes at a birthday concert for country queen Loretta Lynn (who passed recently). Then looming on the horizon is the announcement of the Grammy nominations. Will they embrace Carlile’s “dream project” and Tucker’s “re-evaluation”?

Writer/director Kathlyn Horan really gives us a “fly on the wall” inside peak of the whole creative process. There aren’t any “big blow-ups”, instead we sit in on artistic discussions in which creative folks who respect and cherish each other differ and often compromise on the length or tone of a single note or the inflection of a lyric. Carlile may know the vocal stylings of Tucker as well if not more than the artist herself with often startling intimacy. Oh, but it’s not all a “love letter” as Horan offers up a “warts and all” overview of Tucker’s “ups and downs” in her professional and private life, giving us a glimpse of country’s “outlaw party-girl” and her scandalous union with Campbell (himself the subject of a terrific recent feature doc). This adds to her surprising life of moderation rather than straight sobriety, Tucker knows when to “cut herself off” and knows that she’s got to stop smoking, mainly for the damage to her vocal “instrument”. But beyond the creative collaboration, we’re given a glimpse of how this union goes from mentor and pupil to a shared admiration of talents. Carlile sees Tucker as a true “trailblazer” pushing country music into the center of “mainstream pop entertainment” rather than the “benchwarmer” or rivaled “outsider”. This is given a visual “spin” by the magenta coif of the still rebellious sixty-something superstar. Okay, Ms. T, we won’t say comeback, but fans of movies and music will be riveted by THE RETURN OF TANYA TUCKER: FEATURING BRANDI CARLILE.


3 Out of 4

THE RETURN OF TANYA TUCKER: FEATURING BRANDI CARLILE opens in select theatres on Friday, November 4, 2022

JAZZ FEST: A NEW ORLEANS STORY – Review

Only a couple of days into June and the movies are bombarding us with some nifty vacation options. Let’s see, we just took a wild funny trek to FIRE ISLAND in the northeastern part of the country, so where “to” now virtually? Well, the last one was a scripted twist on the “rom-com”, so how about a non-fiction flick? Yes, a documentary feature (now don’t you whine and cry “Homework?!”), but it’s also a concert overview. In fact, it’s a toe-tapping delight, much in the vein of last year’s Oscar-winner (and crowd-pleaser) SUMMER OF SOUL. We’re still in the good ole’ US of A, but a lot further south and a bit west. And though this on-the-bayou burg is known usually for one type of tune, this film looks at an annual event that’s a celebration of all things musical from all around the world. Let’s get an “ear’ and an “eye-full” of the talents on display in JAZZ FEST: A NEW ORLEANS STORY.

The filmmakers were fortunate to speak with the man who was there from the beginning, the fest’s founder jazz mogul George Wein. After his success with the Newport Jazz Festival, Louisana locals contacted him to put together something similar in the “Big Easy”. But in 1962 the still “on the books” “Jim Crow” laws prohibited blacks and whites from mixing at most public venues. But seven years later, JC was history and Wein enlisted an enthusiastic young man, Quint Davis (also interviewed) to run the two-week music explosion over at the Fair Grounds Race Course. The doc then delves deep into the archives to give us an overview of the amazing talents that headlined through the five decades. And of course, many of the current tunesmiths sit down to offer their reflections on performing there, including the doc’s co-producer Jimmy Buffet. The cameras put us right on stage, then out in the vast standing audience to witness the magical connection between the two. We’re also there as the crews put up massive tents and stages, while the chefs and services whip up tons of tantalizing local cuisine (good thing this isn’t in “Smell-o-vision”). It’s an astounding achievement, even more so when the fest returned just weeks after the city was nearly destroyed by Hurricane Katrina. But it endures until… the pandemic. The film concludes with its triumphant revival only weeks ago providing not only a “happy ending’ but a continuing showcase for an unstoppable city and its people.

Fifty years of a fabulous fest would be a daunting task for anyone to fit into a 94-minute film, but directors Ryan Suffern and Frank Marshall (acclaimed producer/filmmaker who helmed an excellent recent HBO Bee Gee “bio-doc”) are more than up for the challenge. Unlike the earlier mentioned SUMMER OF SOUL, they opted for a grand “overview” with snippets from dozens of groups, giving us a taste of the fest’s variety, while also scoring some exceptional “talking head” testimony from an eclectic array of talents, along with organizers Wein and Davis. This brings up my only problem (and it’s tiny, I confess). One of the earliest interview subjects is Tom Jones, so naturally, I waited in anticipation for the Welsh “super-soulman” to dominate that stage. Nope. Not even a couple of bars of “Delilah”. Oh well. Ah, but within this tuneful buffet ( a little portion, here, a smidgeon of this), there are real standout “sets’. the archival footage includes the amazing B.B. King and the “re-invention” of Rev. Al Green. Aside from Buffet, there’s Earth, Wind, and Fire and Pitbull’s sweaty, sexy spectacle. Most surprising is the gospel section which includes a church choir backing up Katy Pery (no new interview, though) on “Oh Happy Day”. But even more moving is the “Boss” himself Bruce Springstein saluting the city’s survival from Katrina with “Rise Up”. Happily, there’s a brief history of the town’s ongoing musical traditions, including those funeral marches which are almost topped by the incredible local culinary delights. You may want to make sure you have dinner or lunch before seeing this, although you may wish that you’d indulged in crawfish and gumbo. It’s quite an engaging and compelling salute to (the actual event moniker) the New Orleans Jazz & Heritage Festival. And if you’re still a tad uneasy with traveling to be with the enthusiastic throngs then JAZZ FEST: A NEW ORLEANS STORY will still inspire you to “bust a move” in the comfort of your theatre seat.

3.5 Out of 5

JAZZ FEST: A NEW ORLEANS STORY is now playing in select theatres

POLAR BEAR – Review

Disneynature’s POLAR BEAR – Photo by Florian Ledoux. ©2022 Disney Enterprises, Inc. All Rights Reserved.

To commemorate Earth Day, Disney+ invites its viewers to embark on an adventure in a faraway land. Now, with warmer temps in the near future, you might think that you’ll be virtually basking in the sun, perhaps on a white island beach, or trekking through a lush jungle. Well, that’s not the plan as these talented filmmakers follow the remarkable life of a pretty remarkable and resilient creature. And the weather does play a big part in this film, you might even consider it another character. That’s because of its now radically changing aspects, forcing the title animal to go to more creative and extreme links to survive. that’s because it is now tougher than ever to be a POLAR BEAR.

It begins with a mother and daughter “ice bear” on the move, swimming in search of the next elusive meal. We soon learn that the story’s focus is not on the cub, but on the mama, whose narrative voice is provided by Catherine Keener. The story flashes back in time to when the mother was a cub herself, part of an ever-wandering trio with her twin brother and protective mom. It’s springtime in the Arctic, when she must try to gather enough food to keep them alive through the winter. Mother teaches the twins to swim, making their way from one floating chunk of ice to the next (in the next season those chunks will be further apart and smaller). She’s got to grab a sea lion while it sunbathes ashore since it’s far too fast underwater. But life is not just “schooling” for the cubs as they need to keep their distance from ravenous adult male bears who see them as easy and delicious prey. Later they’ll set their sites on nesting birds, beluga whales, and a walrus herd (hoping to get their “younguns” since the adults are enormous). We witness the beauty of those dancing northern lights in their green and purple hues. The ensuing season becomes more desperate as the trio dines on seaweed to fuel their long march across the mud, where once the ice glistened. The family experiences triumph and tragedy leading to a final split that sends the now teenage female cub to wander alone until she begins her own family. Thus we get that “circle of life” when the story picks up back where it began with the always on-the-hunt duo, battling hunger and a climate that seems to be getting warmer with every new year.

So, is this film as ‘family-friendly” as the other recent feature docs from the Disneynature imprint? Well, yes and no, which is a good thing. This is a more serious, somber, and reflective offering as it attempts to do “double’ narrative duty. First and foremost it’s a chronicle of the everyday endeavors of these incredible creatures. But then, entering in during several engrossing sequences is a look at the impact of the now rapidly-changing climate. It’s jarring to see that gorgeous white fur smeared with sticky mud, a coating that clings even as they swim to the tiniest of floating ice sheets. In these scenes, the film is the perfect fit for Earth Day. The direction from the team of Alastair Fothergill and Jeff Wilson has an elegant grace, cutting from long overhead shots (drones are put to great use) and closer, more intimate framing (a sequence of distant death is so haunting). Much of the film’s power comes from the stunning photography of another team, James Ewen and Rolf Steinmann (which sends a cold numb feeling through my fingers just thinking about it). And it’s all held together tonally by the nuanced and never-overpowering music score from Harry Gregson-Williams. Also setting the proper dramatic tone is the compelling narration by Keener. She’s not resorting to funny voices (which detracted from the previous features), even eschewing giving the bears human or anthropomorphic names. She uses her voice much like any instrument in the orchestra, accentuating and pausing to add even more power to the superb imagery (those glowing night skies are more mesmerizing than any CG-created effect). And as I mentioned earlier there are scenes of death and hunting, but the more grisly aspects are discreetly out of camera view. And those stalking scenes of mama bear easing up on the sea lions are pure suspense. Though many youngsters see them as seasonal soda pitchmen, the film will show them the real wonder and drama in the life of the often lonely POLAR BEAR.

3.5 Out of 4

POLAR BEAR streams exclusively on Disney+ beginning on Friday, April 22, 2022

MORE THAN ROBOTS – Review

The movies have helped to propel our fascination (especially kids) with mechanical men. And women, since one of cinema’s most iconic fantasy images comes from the silent era, namely the female facsimile of Maria played by Brigitte Helm in the Fritz lang classic METROPOLIS, which in turn inspired the look of C-3PO in the Star Wars franchise. In those fifty years in between, there was the clunkier Tin Man of THE WIZARD OF OZ, countless slow-moving metal menaces in cheesy sci-fi and horror flicks and serials. leading to the more whimsical Robby the Robot in FORBIDDEN PLANET (who’s a not-too-distant relation of the Robot from TV’s “Lost in Space”). And there are countless more human-looking “artificials” in WESTWORLD and the many Terminator incarnations. We’re not quite there, though there have been “bot-building” contests and competitions for teens over the last thirty years. That’s the focus of this new feature-length doc which follows several of those teens from around the globe striving to show that their passion encompasses MORE THAN ROBOTS.

The camera crews are truly “globe-hopping” as they profile the different high school teams prepping for the 2019 FIRST Robotics Competition, an event begun by Dean (Mr. Segway) Kamen as a way to motivate and inspire young minds. After a brief prologue set at the big contest, the film jumps back three months to introduce several hopeful entrants. There are a couple of California-based students interviewed. In El Segundo, Jacob is proud to be part of his school’s team (each has a number and a creative name) #4201 the Vitruvian Bots, while over in Compton, Aaron has high hopes for#6904, the Terawatts. From there they skip across the “pond” to Chiba Japan where Kanon has arrived from Minnesota to be a mentor to the just-formed team at the Chiba Institute of Technology, Sakura Tempesta. And south of our border young Mariana is a big part of team #4010, Nautilis out of Mexico City. After Winter break, the different teams meet at a preview event to find out what the theme for the year requires in the way of tasks for their devices. FIRST has teamed with Lucasfilm ( a producer on this film also) as part of the Star Wars: A Force for Change initiative, and a fabled cast member of that movie franchise briefs them via video on the “mission”. Their robots will have to gather up spongy yellow balls, shoot them into hole-like “ports” (getting points for every ball going in). and then have the robots pull themselves up and balance on a lowered pole (though it resembles a huge coat hanger). Then the kids are off and running after getting a big box of assigned materials. The filmmakers follow them and their teachers and mentors through the whole process, full of long hours and mechanical “snafus”.Everyone’s laser-focused on the Spring event, not knowing that the year 2020 has a few “surprises” in store for them.

Hot on the heels of LUCY AND DESI just a couple of weeks ago, this new film marks the documentary feature debut of yet another talented comic (mainly) actress, Gillian Jacobs (best known for the TV series “Community” and soon to be seen in THE CONTRACTOR). With the confidence of an old “doc pro” Jacobs deftly balances the personal stories of the global quartet with a history of the FIRST tournies and a sweeping, up-close, in the middle of the action, overview of the big event that they’ve all working toward. The energy and enthusiasm of the young people are infectious as they scurry about, making last-minute “fixes” and cheering each other on to new heights. She captures the fervent mania of the big FIRST event which almost feels like the college basketball annual tournaments (like “March Madness”), but a big difference is extolled by the participants and the founder, Kamen. The sting of competition is softened by the fact that the teams merge, two become one, in the final challenges, learning to work together and build on their ideas and strengths. Sure, it’s mainly a “feel good” modern fable, but Jacobs shows us that all the tests and ‘trial runs” can be for naught as the machines seemingly refuse to function. But there are no wailing and gnashing of teeth (braces mostly) displays of dramatic despair, rather an “Oh well, back to the drawing board (or laptop)”. Plus there’s the unexpected element of suspense as Jacobs lets our knowledge of the early 2020 world events creep in, making the plans of the teams more poignant. And again, when the world “stopped” they go on to use their skills in another arena with a very different set of goals. We come away feeling that, yes, “the kids are alright” because their dreams are about much MORE THAN ROBOTS.

3 Out of 4

MORE THAN ROBOTS begins streaming exclusively on Disney+ on Friday, March 18, 2022

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