Tag: Sony Pictures Classics

MERRILY WE ROLL ALONG (2025) – Review

During this cold, hectic holiday season, what could be more invigorating than taking in a big Broadway musical hit? But there’s no need to hop on a plane to the Big Apple, this recent smash is at your local multiplex (or at a big “single screen”, if you’re so fortunate). It’s not a new idea, since Disney tried it five years ago with HAMILTON. The pandemic scrapped plans for a wide theatrical release, so it premiered on their streaming app (however, a few months ago it enjoyed a brief big-screen run). Well, now Sony Classics is behind a filmed version of a recent (it was shot last year) multi-Tony awarding winning revival of a 1981 work from a giant of musical theater. However, this didn’t “click” on the Great White Way nearly 45 years ago, though it’s grown in stature with his fans (even getting a nod in LADY BIRD). This one worked, perhaps due to a bit of “magic” from the star of a huge film franchise. Will the same thing occur when the (movie) theater curtain rises for MERRILY WE ROLL ALONG?


The show’s format sets it apart, as the story is told in reverse, going back in time from its big splashy opening number in 1976. We’re in a swanky beach house in Malibu to celebrate the opening of a new hit movie, and its “buzzed-about” producer, Frank Shepard (Jonathan Groff). Everybody’s feeding his ego, except for an old friend turned theater critic, Mary Flynn (Lindsay Mendez). She taunts him over his split with another pal, being a ‘sell-out” to his musical theater roots, and drinks too much before existing. The plot shifts to 1973 and a disastrous TV interview with Frank and his former songwriting partner, Charley Kringas (Daniel Radcliffe), which leads to the aforementioned “bust-up”. We also get to experience the second Mrs. Shepard, stage diva Gussie Carnegie (Krystal Joy Brown). The following scenes are set 3 to 4 years in the trio’s history, with Shepard and Kringas becoming Broadway hit-makers with producer Joe Joesphson (Reg Rogers), the first hubby of Gussie. We also meet Frank’s first wife, Beth (Katie Rose Clarke), as the two fall in and out of love while becoming the parents of Frank Jr. (Max Rackenberg). The “march of time” backtracks all the way to 1957, when the trifecta of Mary, Frank, and Charley begin their then-optimistic journey to become “old friends”.

Of course, that “magic maker” I mentioned earlier is the very talented Mr. Radcliffe, who becomes somewhat of a Broadway staple with another revival of a classic (he did succeed in “How to Succeed in Business Without Really Trying” several years ago. Though he’s more of a “featured player”, Radcliffe has plenty of moments to shine as the snarky lyricist who feels discarded. This is really accented in his show-stopping number, the acerbic “Franklin Shepard, Inc” (the guy can really handle those “tongue-twisters”). So, who’s the lead, then? According to the Tonys, it’s Groff as the “morally-challenged” Frank whose soul seems to chip away with every year, giving Groff a chance to go from dark to light with each “rewind”. His big number is probably “Growing Up” as Frank gets a “wake-up call” after his showbiz dreams. The most dramatic role is probably Mary, offering Mendez the chance to hurl barbs and burns, while giving us a glimpse into her heartbreak as she pines for the clueless Frank. And her “pipes” get a great workout with “Now You Know” along with several duets and tunes with her two pals. The entire ensemble is great with outstanding work by Brown as the vampy Gussie (doing high-kicks in a sparkly gown), the funny-turned-tragic Rogers as the schlubby cynical Joe, and the gifted physical comedian and superb singer Clarke as the sweet, sorrowful Beth.


These stage pros are guided by Maria Friedman who also directed the London West End revival that spawned this US company. The pacing is superb, with performers promptly establishing the changing years, while arranging the period props and settings. Oh, the musical theater icon is Stephen Sondheim, who crafted the superb music and lyrics with his usual wit and inspired rhymes and song structure, though without any huge “”standards”, with “Old Friends” perhaps the most enduring. His “Company” collaborator George Furth cleverly adapted and updated the 1934 play by George S. Kaufman and Moss hart, getting in plenty of digs at showbiz deceptions and rivalries, elicitng laughs and a deep melancholy since we see the seeds of heartbreak planted that will destroy marriages and that central friendship. This isn’t frothy “taps and taps”, rather it’s got a real bite, which may explain why it’s taken many years to be appreciated. And now we can bask in its wonder from a reasonably-priced (have you heard about those Broadway tickets) movie theater seat and enjoy the terrific talents at work in MERRILY WE ROLL ALONG.

3.5 Out of 4

MERRILY WE ROLL ALONG is now playing in select theaters

BLUE MOON (2025) – Review

Can there really be two music biopics opening this weekend? Yes, though they share little in common other than popular songs. The “Boss” flick is set in the early 1980s and zeroes in on a couple of years of his career. This film is set nearly forty years before, and it mainly (other than a brief prologue) happens during one fateful night. And it’s pretty much set in one place. Oh, and rather than the world of rock and roll, this comedy/drama is in the world of musical theater on Broadway (technically musical comedy, I suppose). You may not know the name of this film’s main focus, but after eighty years, much of the world is still singing his lyrics, especially the often-recorded and revived BLUE MOON.

Yes, you read that correctly. This film isn’t about a tunesmith, but rather a writer of lyrics. In that aforementioned prologue, we see a diminutive man shuffling and stumbling through a rain-drenched alley. That man is Lorenz Hart (Ethan Hawke). The story then shifts to a few months in the past, the evening of March 31, 1943, the opening of the classic Broadway musical, “Oklahoma”. Lorenz, along with his mother, watches from an exclusive “box seat” until he can stand no more of the “corn pone”. Telling his mom that he needs a drink, Hart sprints away to Sardi’s restaurant, where the show’s after-party will be held. In the first floor bar area, he begins to kibitz with his old bartender pal Eddie (Bobby Cannavale). He’ll only serve Lorenz club soda, as he has a big booze problem, though a bottle is keep near “for appearances”. Hart is both looking forward to and dreading a reunion with his old writing partner Richard Rodgers (Andrew Scott), now teamed with Oscar Hammerstein II (Simon Delaney). But Hart is ecstatic about a tryst with young Yale art student Elizabeth Weiland (Margaret Qualley). Eddie’s a bit confused, since he though Lorenz leaned toward another gender. Hart insists that he’s fluid and, despite their 27-year age difference, believes that tonight’s the big night for them. As he bemoans the impending demise of wit on the “Great White Way”, Hart notices a man writing at a table. It’s one of his favorite authors, E.B. White (Patrick Kennedy). The two bound over their love of language until Elizabeth arrives. As she regales Hart with stories of college “hook-ups”, the “Oklahoma” entourage dashes in for cocktails and to read the early rave reviews. Hart corners Rodgers to pitch a new pairing while discussing a revival of an older work. As the new Broadway “darlings” begin to depart, Hart ponders whether he’ll ever be back on “top”, in his profession and in his personal life.

This film is truly a tour de force showcase for the acting artistry of Hawke as he tackles a truly complex artist. His work goes beyond the “gimmick” of appearing to be a spin on Jose Ferrer as Toulouse Lautrec in MOULIN ROUGE and his severe “comb-over” to give life to a man riddled with insecurity, struggling to retain his dignity, all the while obsessively trying to regain the “brass ring”, be it Broadway success or the elusive young protégé. In Hart’s meeting with Rodgers, Hawke conveys that pleading sweaty desperation while acting as if nothing as really changed between. This might be the defining performance of Hawke’s impressive career. Luckily, the engaging Cannavale proves to be a superb scene partner as Eddie, who is alternately amused and disgusted by Hart’s antics (his “BS detector” is working overtime) while making sure he steers clear of the booze that will destroy him. Qualley is a wide-eyed, bouncy blonde dream girl as the effusive, but unknowingly encouraging Elizabeth.. She thinks of Hart as a mentor, while dismissing his often clumsy advances. Then there’s Hart’s other object of desire, a re-teaming with the “man that got away”, Rodgers, given a distracted air by the compelling Scott. Yes, he’s happy to be showered with praise, but he’s not entirely indifferent to his former partner. Scott shows us that as he tries to toss Hart a life preserver (a revival of their old show) while defending pointed barbs at his latest work (there’s a place for sentiment in the war-torn world) and trying to make it clear that he’s part of a different duo. Their interplay is both amusing and sad, much like the ending of a theatrical marriage.


Longtime Hawke collaborator Richard Linklater directs from a very literate script from Robert Kaplow that deftly balances comedy and tragedy in the tale of longing and regret. Hart had once had everything until he squandered it all due to his addictions and an ego bigger than his slight frame. Yes, it does often resemble a stage play after the brief alley prologue and the scene that follows during the finale of “Oklahoma”, but the character dynamics and bouncy retorts expand the confines of the bar (though we do explore the “water closet” briefly). The period costumes are quite stunning, especially Qualley’s gown, and the soundtrack filled with period tunes (from Hart and others) is very effective. Plus, this story is pure “catnip” for musical comedy buffs , especially when we get a brief moment with Oscar’s precocious young guest (stage fans will get it). It’s not a sprawling epic, but fans of the era, and the excellent cast, will be enchanted. Why, they might just be over the BLUE MOON about it.

3 Out of 4

BLUE MOON is now playing in select theatres

ELEANOR THE GREAT – Review

This weekend, moviegoers will get to savor another wonderful performance from a veteran actor who has been enjoying a remarkable “second act”. That curtain rose almost a dozen years ago when director Alexander Payne realized, to the delight of her new fans, that she was his “secret weapon” in the character “dramedy” NEBRASKA. In it, she earned raves and was frequently referred to as a “scene-stealer”. If that’s a crime, well, she was so “guilty” that she was “sentenced” to. her first Oscar nomination for Supporting Actress (note that I said “first”). Last year, she garnered more accolades in her first lead performance in the “sleeper hit” THELMA (and she even did some stunt work). Pretty nice for somebody who’s been in small TV and movie roles for the last 40 years (while still working on the stage, going all the way back to the original touring company of “Gypsy” with Ethel Merman). Now, she returns as another title character. And this time she’s guided by a current screen star who makes her feature directing debut with ELEANOR THE GREAT.

The royal “moniker” is given to the story’s main focus, the irascible 94-year-old widow Eleanor Morganstern (June Squibb), who is living a quiet life in a retirement apartment complex, sharing a unit with another widow, her BFF Bessie (Rita Zohar). Aside from her recurring nightmares about her time in a WWII concentration camp (Eleanor has always lived in the States), the two enjoy a quiet life in Florida. But the clouds form over the Sunshine State when Bessie unexpectedly passes. Rathing than wallowing in her grief, Eleanor decides to make a bold move. She’s relocating to NYC, and spending her last years with her divorced daughter Lisa (Jessica Hecht) and her college-aged son Max (Will Price). It’s a significant change for Eleanor, as she occupies a spare bedroom in Lisa’s place while contemplating another move, possibly to a retirement community. Lisa nudges her to go out and meet folks her own age. Initially resistant, Eleanor finally heads down to the nearby Jewish adult education facility to look into their “senior singing” classes. After a quick peek, she decides this isn’t for her and is headed back home until a friendly lady leads her into another room where her “group” is about to begin. After it starts, Eleanor realizes that this is a “support” meeting for Holocaust survivors. Though embarrassed at first, she decides to stay, perhaps getting some comfort after the loss of her old friend. But things soon take an “odd” turn when Eleanor is asked to “share”, and haltingly repeats a memory from the late Bessie. The heartbreaking tale captures the attention of a young journalism student who is “sitting in”, Nina (Erin Kellyman). She and Eleanor strike up a friendship as the “little white lie” grows and grows, with Nina sharing her story with her newscaster father, Roger (Chiwetel Ejiofor), who wants to do a feature piece on Eleanor’s desire to finally have her own bat mitzvah. Can Eleanor keep this all from her family before her “fib” is broadcast and she is “found out”?

At the “forefront” of this engaging character study is that “force of nature”, Ms. Squibb. As with her other recent work, she captures our hearts with her incredible “can-do” spirit and deft comic timing (not since the much-missed Betty White has a nonagenarian launched scalding insults with such precise accuracy). But her Eleanor is more than a sharp-tongued white-haired sprite. She’s had to put up a tough-as-nails exterior to cope with the loss of loved ones, especially Bessie, along with her own impending mortality. Plus, there’s also her panic as she scrambles to try and charm her way out of her own web of well-intentioned deceit. Happily, though, this isn’t a one-woman “showcase” (which would still be very entertaining), as Squibb proves to be an excellent screen “partner” to the talented Ms. Kellyman (I recall her interesting villainess in “The Falcon and the Winter Soldier”) as the much-younger woman also dealing with a major loss. Nina, despite her own tough outer “shell”, still mourns her own deceased mom, so her connection to Eleanor seems to fulfill her yearning for a matronly connection (though Eleanor may be more of a surrogate grandmother). Kellyman shows how she beams under the elder lady’s lifeforce, while her homelife is far less nurturing due to her now-strained interaction with her father. Ejiofor as Roger, also seems to be wearing a mask of strength, as he seems to be denying and “pushing down” his own grief while trying to find a way to reach out and connect to his drifting child. Hecht balances the delicate balance of an adult daughter who must also act as parent to her “prodigal” mama as she strains to retain her own freedom. In the pivotal role of beloved Bessie, Zohar is a most resilient survivor, a woman who has lost so much but pushes on, despite those demons of a distant past.

Oh, the big screen star that’s now behind the camera for this? None other than Scarlett Johansson, fresh off helming a couple of short films. And it appears she’s got another talent in her considerable “arsenal” (she’s been acting for over thirty years now). Ms. J brings a quiet sensitivity to this modern morality tale, gently pacing the plot points and set pieces, eschewing any flashy narrative tricks, though she smartly dissolves to Bessie telling her past horrors during Eleanor’s support group sequences. Johansson also shows us how the new friendship between E and Nina really helps them move forward while attempting to manage their shared grief. Much of the film’s power derives from the script by another feature film newcomer, Tory Kamen. She has a keen ear for family conversation, while still squeezing in humor to balance the pathos. And it all looks and sounds great courtesy of cinematographer Helene Louvart (the NYC neighborhoods look most inviting) and the score by Dustin O’ Halloran. as the summer of loud action blockbusters begins to recede, it’s great to have a sweet, funny, and compassionate visit from Ms. Squibb who has us worried and rooting, and a bit smitten, as ELEANOR THE GREAT.

3.5 Out of 4

ELEANOR THE GREAT opens in select theatres on Friday, September 26, 2025

ON SWIFT HORSES – Review

One of this weekend’s big film releases is yet another cinematic ride in Doc Brown’s DeLorean to what many believe to be a simpler, more “fun” era. Of course, last week, SINNERS dispelled such notions about the oh-so segregated 1930s (and then tossed vampires into the mix). It’s appropriate that I referenced that 1985 classic, since this new film is also set in the 1950s, those “Happy Days” referred to in the classic TV show (shessh, it’s over forty years old now). Sure, it was the birthplace of great rock and roll, but for certain minorities, it was a time to be very careful to the point of hiding in the shadows. While this film also briefly touches on race, its main focus is on sexual orientation, which could also lead to harsh punishments from all sides (including the courts). Perhaps that’s why one of the characters in this tale wants to escape the repressive era by any means available, including cars, trains, and ON SWIFT HORSES.

This story begins in 1954, not long after the end of the Korean War. Muriel (Daisy Edgar-Jones) shares her family’s home in Kansas with her long-time boyfriend (he keeps proposing), soldier-on-leave Lee (Will Poulter). He’s got big plans to move West as soon as his brother joins them. Finally, his sibling, Julius (Jacob Elordi) arrives, informing them that he has been discharged from the service, offering a vague explanation. Still, Lee is stoked that he will join the couple in California. Ah, but Julius has the “wanderlust” and, after giving Muriel some “card shark” tips, he leaves before dawn. In the following months, Lee finishes his stint in the service, and the two move West where he toils in a factory where Muriel is a waitress in a diner frequented by some fellows who “play the ponies” (she listens and makes some profitable wagers without telling her now husband). Meanwhile, Julius earns a “bankroll” from midnight poker games and as a gigolo, which soon lands him in Vegas. He gets a job in an off-strip casino watching the tables from the “rafters” and alerting the pit bosses to cheating gamblers. Soon, Julius is joined in the steamy “attic” by the dark and brooding Henry (Diego Calva). Eventually, the co-workers share an apartment and become much more than roommates, having to keep their passion very, very private. Back in San Diego, Lee and Muriel finally have enough saved (she’s still hiding most of her “winnings”) to get one of the “tract” houses in a new suburban development neighborhood. But Muriel is more interested in one of the locals, a woman with a chicken business (mainly eggs), an aspiring musician named Sandra (Sasha Calle). And soon, these two become much more than neighbors. Can Muriel keep her gambling and her Lesbian affair a secret from Lee? And what will happen when Julius and Henry try to take down the other Vegas casinos? Will the old “Kansas trio” ever reunite?


This tale of forbidden secret love is almost equally split between Muriel and Julius, though she may have the more complex conflicts. As Muriel, Edgar-Jones expertly embodies the typical steadfast supportive housewife of that time, though we can catch her eyes darting about as she formulates a way to go after her compulsion (the gambling) and desires (Sandra, mainly). We feel Muriel’s yearning to break out of her destined societial role, while wanting to shield Lee. And yet, there’s that connection with Julius, played with a dark, brooding charm by Elordi. He’s a restless spirit who never wants to be tethered down, sneaking away quickly (perhaps the ‘swiftest horse”). And then he finds his own liberation by his devotion to Henry, perhaps wanting to ‘settle down” like Muriel, but having to keep his true self hidden from the world. As his brother Lee, Poulter brings great empathy to a role that could easily be a stereotypical “clueless cuckold”, but instead is a good, loyal man trying to understand the change in the two people he adores. Calva makes Henry a fiery, spirited rebel. who wants nothing more than to be alongside Julius in their romantic “bubble”. Calle, as Sandra, has much of that same smouldering persona, coupled with a snarky line delivery, and a determination not to be the fun “side fling” for Muriel. Also of note is Don Swayze as the sneering surly casino pit boss and Kat Cumming as the bombshell blonde who fans the flames of Muriel’s liberated libido.

In just his second feature film, after decades helming “prestige” TV programs, director Daniel Minahan superbly recreates the postwar West while shattering the often “rose-colored” tint of nostalgia, reminding us that the “good ole’ days” didn’t extend to everyone. Minahan gives us the bright diners and casinos, while also giving us the clandestine gay meeting spots an aura of real danger and doom, with those secret revelers always keeping an eye out for the “morality enforcers”. The dialogue is sharp and very witty in Bryce Kass’ screenplay adaptation of the novel by Shannon Pufahl, though the romance of Muriel and Sandra feels more rushed as compared to the evolving relationship of Julius and Henry. In some ways, this feels like a companion piece to BROKEBACK MOUNTAIN, with the era’s repressions and hidden affairs, though the story never quite hits the heights of that ground-breaking classic. Still, the performances are solid, and the period fashions and locales are splendid (including the “yechh” chain-smoking). ON SWIFT HORSES is a very well-crafted look at a time when expressing your true self to love was the biggest gamble.

3 Out of 4

ON SWIFT HORSES is now playing in select theatres

THE ROOM NEXT DOOR (2025) – Review

This weekend sees the wider release of a film that would probably be referred to as “Oscar bait” since it stars two actresses who have that “golden guy” and it’s directed by a beloved and celebrated filmmaker. With the latter, this shares a similar distinction with another lauded “end of the year” work, EMILIA PEREZ. No, this isn’t a musical. The common thread is that PEREZ was made by a French director who is telling a story in the Spanish language, while this new release has a Spanish helmer working completely in English for the very first time after nearly half of a century in cinema. And though it’s set in today’s modern world it harkens back to the movies of Hollywood’s Golden Age”. It becomes clear to cinephiles the moment they enter (if it’s ajar…a big plot point) THE ROOM NEXT DOOR.

The opening scene takes us to a swanky book store in Manhattan where the popular author of several works of “historical fiction” signs copies of her latest. Ingrid (Julianne Moore) is surprised when an old friend steps out from the long line of fans. Stella (Sarah Demeestere) informs her that a mutual acquaintance is battling cancer in a nearby hospital. The news startles Ingrid, as she’s been out of touch with this friend for a while. A reunion is overdue, so she makes an impromptu call at the hospital room of former war correspondent Martha (Tilda Swinton). The duo quickly gets “up to speed”, with Martha confiding that she’s estranged from her adult daughter. Ingrid is surprised by her story of a teenage pregnancy sired by a first love who was emotionally scared by combat. They never married. The daughter, Michelle, was resentful of Martha’s “globe-trotting” as she wrote of various international conflicts. The hospital visits soon extended to Martha’s Central Park-view apartment, during the “off time” between medical stays. During a visit after a new promising experimental treatment, a frustrated Martha tells Ingrid that it didn’t work. She has a few months left, at best, before her mind and body begin to degenerate and finally shut down. A bit later Martha delivers another bombshell. She’s purchased a “euthanasia pill” via the “dark web”, but doesn’t wish to use it in her NYC home. Martha is hoping to rent a lush cottage in upstate New York that she’ll share with Ingrid. Martha explains that when she expires, she wants to be discovered by someone she loves who is in “the room next door”. Ingrid is filled with anxiety and sadness but also wants to be supportive of her friend. Does she have the strength to join Martha as their rekindled relationship concludes? And could she somehow be legally liable for assisting in Martha’s “good death”?

There’s such a warm easy rapport between the two lead actresses that it feels as though they’ve been teamed many times over their impressive screen careers. Because Ingrid has several encounters aside from her time with Martha, Moore would have the lead role as our “pathway” into Martha’s last journey. It’s through her expert use of body language and facial expressions (her eyes are truly that window) that Moore shows us the heartbreak and empathy of this old friend whose renewed bond will be severed. She pledges her help even though Moore’s quivering voice conveys Ingrid’s conflicted feelings. Fortunately, her main scene partner is equally compelling, though with different challenges in her character. Swinton, as Ingrid, must also express many moods, while also reflecting the physical changes her body must endure as the disease takes its toll. Martha has a calm acceptance, often at odds with her frustrations about her diminished stamina and “brain fog”. And though she rejects pity, Swinton’s joy while confiding in a friend thought to be loss shows lets us see that there’s still a yearning for human connections while exiting her life. This isn’t a two-person tale as Ingrid also shares scenes with a pair of superb supporting actors. John Turturro is quite good as Damian, a social commentator on a lecture tour, who was a past lover to both women, though with no “overlap” for a romantic “triangle”. And, an extra dramatic “punch’ is provided by Alessandro Nivola who is quite intimidating and fierce as a dogged policeman encountered by Ingrid.

That acclaimed Spanish filmmaker I alluded to earlier is, of course, the talented Pedro Almodovar, who directed his screenplay adaptation of the novel “What Are You Going Through” by Sigrid Nunez. This caps an impressive roster of films that have explored female relationships with this intimate tale of love and loss. With its smooth tranquil pacing, lingering close-ups, and serene nearly melodramatic flashbacks, Almodovar appears to be paying tribute to the classic “women’s pictures” so prolific during the early years of sound movies (“pre-code” and a bit beyond). I kept thinking that the main plot could have paired Bette Davis with Miriam Hopkins on the Warner backlot (the new score from Alberto Iglesias takes inspiration from Steiner and Herriman). But there are also elements of the glossy technicolor romances of Douglas Sirk, especially with the gorgeous rental estate in the woods, which looks to have been lifted straight from “Architectural Digest” magazine (perhaps Lazlo Toth of THE BRUTALIST designed its multi-level wonders). All the stylistic choices (the color red is prominent, from the shared car to the vibrant lipstick shades) never detract from the story’s main focus on friendship and facing (that dreaded “D” word) death. Certainly, this may re-spark debates about the “quality of life”, but most folks on both sides would agree that the last days would be most pleasant with a caring person in THE ROOM NEXT DOOR.

3.5 Out of 4

THE ROOM NEXT DOOR opens in selected theatres on Friday, January 17, 2025

CARMEN (2023) – Review

Alright, you eager Summer movie blockbuster fans, cool your jets. There will be plenty of fast cars, fist fights, and superheroes headed your way in the next couple of months. For now, we can settle down for a bit of culture, a deep dive into high art. Oh, but don’t be fooled by the title, this isn’t a literal translation of the centuries-old Bizet opera. Nor is it the 50’s revamp that starred the much-missed Harry Belafonte. True, there’s a song or two, but the main mode of communication, aside from the dialogue, is dance. No tutus are seen, as it’s a gritty tale of murder of desire along the much-in-the-news Southern border involving a vet named Aidan on the US side, and on the other side, a sultry young beauty on the run named CARMEN.

And the opening scenes are set on her side, near the tiny home she shares with her mother, far away from any village. Um, I should say “shared” as Carmen (Melissa Barrera) returns there moments after a tragic event. After throwing a few belongings in a bag, she hurries to meet up with a truck headed to the border. And on that side we meet Aidan (Paul Mescal), a recently returned soldier (two stints), who’s adrift, either sweating daily boxing workouts or hanging with his old pals (though he’s now sober as he deals with PTS).. His sister urges him to head into town that night to be a volunteer observer for the border patrol (which could lead to a formal job with them). Unfortunately, he’s paired with a local “hare trigger” who has no intention of “calling it in” if he spots some illegals. He gets his chance when he spots a truck that’s broken down, with Carmen in the back. After the burst of violence, she hops into a working vehicle, just as Aidan jumps in the cargo bed. The two strangers are on the run, certain that the authorities are close behind. Yet, somehow they make it to LA, where Carmen is reunited with her aunt, Masilda (Rossy de Palma), who runs a neighborhood dance center. Masilda offers the talented Carmen a job there along with a room for her and Aidan, He needs cash to disappear into the night, and a friend tells him of an illegal underground boxing club. But can he score the big cash prize? And will he want to leave Carmen after they’ve fallen in love, a romance that may be cut short by a dogged plainclothes cop on their trail?

Though perhaps best known for her lead role in the last two entries of the SCREAM franchise, Barrera impresses with her movement skills as the haunted dancer at the center of this story. Her gestures and intense posing, often with piercing stares, draw us into her inner turmoil. Mescal makes an excellent partner, whether in a dancing duet or in the volatile verbal exchanges as they try to pierce each other’s protective emotional armor. Aidan’s may be harder than hers as his hallucinations hint at the horror he’s endured and his realization that there’s no going back. Making the most of her break from her work with Pedro Almodovar, de Palma is a riveting visual icon as her Msilda hovers over most of the drama, as though an observing titan. She comes back to Earth with her nurturing tender rapport with her adored niece. Another striking dance performance is provided by the fierce Marina Tamayo as Carmen’s doomed mama, who chooses to stare down the “devil’ rather than submit and betray. And Elsa Pataky is magnetic as the glowing blonde angel behind the bar, Gabrielle.


This marks the feature film directing debut of acclaimed choreographer Benjamin Millepied (BLACK SWAN), who has crafted some stunning dance sequences while giving the film a unique dreamscape look and feel. Fire erupts in the desert in the dead of night along with a shower of sparks near a traveling carnival (perhaps a roadside mirage). Glowing pastel neon cuts through the midnight darkness, leading to the Oz-like LA dance haven. There is a script from Lisa Loomer, Loic Barrere, and Alexander Dinelaris adapting the Prosper Merimee novel, but much more care is devoted to the sights and sounds, rather than giving us much of a motivation for many characters, as they have hazy backstories (why must Carmen flee). A lot of it is predictable, and the big final act showdown is confusing and a tad anticlimactic with sudden location shifts and fast-forward images. The music and dance are quite distinctive, but the narrative is “waiting in the wings” in the politically charged allegories surrounding CARMEN.

2 Out of 4

CARMEN is now playing in select theatres

THE SON – Review

With only 11 days left in the month, January cinema continues its two traditions. And no, it’s not about drafty theatres. As many moviegoers bemoan, the wintery time is often a “dumping ground” for flicks that don’t quite have the needed “hook” to send folks trudging through the snow to the multiplex. Last weekend’s big releases weren’t made available to us, though the previous week’s “biggie” M3GAN did well with the public and the reviewers. The other tradition is the release to smaller markets of serious “award bait” films, and this is one of three today. It’s got a big “pedigree” cast with a few Oscar winners. And it’s the follow-up to the writer/director’s big award-winner from a couple of years ago, so hopes are high that he’ll grab some more gold with THE SON.

As opposed to that former flick that was set “across the pond”, this story starts in modern-day NYC in a plush high-rise apartment building. As business exec Peter Miller (Hugh Jackman) hurriedly tries to get ready to leave for his job in another fancy locale, there’s a buzz at his front door. Though she’s tending to their infant son, his young wife Bess (Vanessa Kirby) peers through the door’s peephole” and is surprised to find the first Mrs. Miller, Pete’s ex Kate (Laura Dern). Opening the door, he admonishes her for not calling first, but she fires back that he’s not returning her messages. Kate is concerned about their teenage son after his school tells her that he’s not attending classes. So where is he going when he leaves for school in the morning? Peter insists that he’ll look into it, and he’s good at his word. After calling the school Peter meets with his son Nicholas (Zen McGrath). The somber sixteen-year-old says that he just doesn’t “fit in” and pleads to move in with Peter after too many clashes with his mom Kate. After a long talk with Bess, they move Anthony into a spare bedroom. Peter believes that he’s enjoying his new surroundings, but while he’s at work Anthony expresses his resentment toward Bess for busting up his parents. This leads to a father/son “blow-up” which sends Anthony into his school-ditching behavior. His deep depression erupts with an attempt at self-harm. Peter and kate must unite in order to get their son the professional counseling he desperately needs. But can the two exes remain strong in the face of Anthony’s increasing anguish?

Though he’s not the title lead (well, maybe…), the film rests on Jackman’s considerable talents. Here he gets a chance to test his dramatic prowess after being lauded for his more physical roles, either in musicals or as a certain marvelous mutant. Jackman brings gravitas and humanity to Peter, as he shows us his struggle to connect with Anthony while not giving in to his guilt over starting a new family. We see that inner turmoil in his eyes as Peter tries to control events beyond his reign. Aside from the discomfort with his teen, he also has to work with his former love, who Dern bestows a prickly dignity. We see that Kate is pushing down her rage while struggling to be seen as more than the woman Peter left. But with a few fleeting glances, Dern shows us that Kate has the slimmest hope that some of the past can be revisited. This makes things trickier and more awkward for the current Mrs. Miller played with a serene empathy by Kirby. Her Bess wants to be there for Peter and makes an effort to connect with Anthony. However, when he tries to shove her into the “homewrecker” cliche, Bess will not take his insults. As for the accuser, McGrath as the troubled Anthony does his best to navigate this difficult role. The script makes him more of a cautionary character than a fleshed-out teen. The title son bounces between moody and angry, with nary a glimpse into his twisted emotions. Oh, as I hinted Jackman’s Peter could be considered the son, for a few minutes, when he joined his own pop for lunch during a business trip to DC. That father is played by the actor from the film of the same title, none other than Anthony Hopkins. His toxic bully is perhaps there to show us the source of Peter’s desire to be a nurturing parent, the opposite of the bile-spewing Miller senior.

So, yes this is the same team from the lauded 2022 film THE FATHER. And again Florian Zeller is directing the screen version of his own stage play that has been adapted by Christopher Hampton. Can they expect the same accolades? Well, doubtful as this effort has little of the devasting impact of the earlier drama. The cast does their best with the unwieldy and often predictable family dynamic. The drama “beats” are telegraphed with all the subtlety of a basic cable TV film or even a “very special” afterschool special from the 70s. Speaking of that era, the script trods much of the same territory as the 1980 Oscar darling ORDINARY PEOPLE complete with a young lead even more twitchy and sullen than Timothy Hutton (it could’ve used an MTM ice queen, too). The film’s overall dark tone is nearly suffocating despite the attempts at levity with Jackman dancing to a 60s Tom Jones pop standard and taking time to toss around snacks with McGrath while watching a public domain cartoon. Most frustrating is the finale when two characters we thought were smart are easily manipulated. All the film’s earnestness and the end credit helpline info can’t ease the dreary emotional pummeling. And that’s what audiences are left with as the sun sets on THE SON.

2.5 out of 4

THE SON is now playing in select theatres

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

FRENCH EXIT (2021) – Review

Hey, have you “re-couped” after last week’s virtual comic trek along the East Coast, which despite its title I didn’t consider at all a BAD TRIP? Feeling a bit more adventurous, enough to leave the good ole’ US of A? Well, the “Silver Screen Travel Agency’ has an excursion that might be the cure to your “lock-down” laments. Let’s get those virtual bags re-packed, ’cause the movies are taking us over Spring Break to one of the jewels of Europe, Oh and you’ll be in the company of one of the true cinema goddesses, a talented beauty who has mesmerized movie audiences for five decades now. Quite a “clincher”, eh? She’s our guide and a teacher who can train us on how to execute the perfect FRENCH EXIT.

But before we meet her character, we’re first introduced to her movie son. Malcolm Price (Lucas Hedges) is part of Manhattan’s elite, a drifting twenty-something who can’t be bothered with employment, which would take time away from his “non-committal” relationship with the ever-patient Susan (Imogen Poots). In a flashback, we learn that his big parental influencer is his eccentric glamorous mother Frances (Michelle Pfieffer). He became her constant companion soon after the passing of his father, her hubby Franklin. That’s when she scooped up pre-teen Malcolm and “busted” him out of a snooty prep school. And now things are going to change. After constant pleading with her, the family accountant informs Frances that Franklin’s “financial legacy” has almost evaporated. What to do now? Luckily a close friend offers a radical solution. After liquidating the assets of the plush Price NYC home, Frances and Malcolm can live in the spacious apartment she keeps in Paris. After Malcolm dismisses Susan over the phone, he joins his mother at the harbor loading gate. If they can smuggle in their family’s newest addition, a pet black cat that Frances insists is Franklin reincarnated (it speaks to her in his voice, which sounds just like actor/playwriter Tracy Letts), the two will travel across the Atlantic in a luxury cruise ship. Onboard, Malcolm has a romantic fling with the ship’s “entertainer”, Madeline the Medium (Danielle Macdonald). Upon arrival, the Prices occupy their temporary, loaned new home. Soon they begin collecting a group of new friends and acquaintances including another displaced American, Mme Reynard (Valerie Mahaffey), and quiet intellectual Julius (Isaach De Bankole). Eventually, their lush apartment will include the fired Madeline and Malcolm’s ex Susan who brings along her annoyed preppy boyfriend Tom (Daniel di Tomasso) in her quest for “closure”. They’re all part of the new world that Frances has made for herself and her son.

Since her film roles have been a tad sporadic (sometimes a new project every other year) and of a supporting nature (a small part of the Marvel Studios flicks), Ms. Pfeiffer’s decision to take the lead in this current release is ample cause for celebration. The camera still adores her, helping to draw us in to savor her impeccable line delivery as she recalls the charisma of the icons of Hollywood’s Golden Age. Although she’s always a delight, Frances is just not worthy of her precious time and talents. Perhaps she’s intended as a modern “spin” on the unconventional matriarch in AUNTIE MAME, but the widowed Price is often a spiteful indulgent arrested adolescent. She seems to aimlessly drift from one situation to the next, her half-opened eyes hidden in a perpetual cloud of cigarette smoke. Pfieffer deserves so much more. The character’s casual irresponsibility extends to her son Malcolm who seems to be in a near-constant stupor, an accessory to Frances’ chic fashion ensemble. Hedges plays him with a cool disaffected demeanor but feels too detached. Hopefully, Mr. Hedges will tell his “people” to pass on another role as the escort of an actress “of a certain age” as they embark on an ocean cruise (feels like we just saw him with Meryl Streep in LET THEM ALL TALK). It’s hard to understand his “fling” with Madeline, a character that drains the delightful energy and infectious charm of the usually compelling Ms. Macdonald. At least she fares better than Poots who does her best to bring life to Malcolm’s ex Susan whose intense devotion is so puzzling. A similar loyalty engulfs Mme. Reynard, a character who’s little more than a doormat for the Price duo, and doesn’t make use of the deft comic skills of Mahaffey.

Director Azazel Jacobs makes excellent use of the locations, beginning in NYC, highlighting the excesses of the cruise ship before the wonders of Paris. Unfortunately, he can’t seem to inject much energy into the meandering script by Patrick DeWitt, who adapts his novel. They want us to embrace the Price family as nonconformist rebels who push against those boring “norms”, but the two really come off as spoiled brats sneering at the “worker drones”: the family accountant, the school headmaster, and a hapless waiter (Frances actually starts a fire at the dining table). This attitude is countered by Frances treating the street dwellers as nobility, showering the panhandlers with cash that could be used to reimburse those that have extended a hand to them (living rent-free, for instance). And though Pfieffer can be a truly delightful diva (still the best movie Catwoman ever), after spending nearly two hours with the Prices, you’ll be more than ready to make a hasty FRENCH EXIT.

1.5 Out of 4

FRENCH EXIT opens in select theatres everywhere and screens exclusively in the St. Louis area at Landmark’s Plaza Frontenac Cinemas and the Hi-Pointe Theatre on Friday, April 2, 2021.