Tag: television

SATURDAY NIGHT – Review

Gilda Radner (Ella Hunt), Jane Curtain (Kim Matula), Dick Ebersol (Cooper Hoffman), Rosie Shuster (Rachel Sennott), Garrett Morris (Lamorne Morris), Alan Zweibel (Josh Brener) and Lorne Michaels (Gabriel LaBelle) in SATURDAY NIGHT.

Ah, the weekend, a time to kick back and relax after the drudgery of the nine-to-fives grind. Well, that’s the case for most of us. For the folks working at “30 Rock” in the “Big Apple” it’s truly “crunch time” Most weeks, that is. And it all started exactly 49 years ago. That’s when one of the “big three” networks (in those “prehistoric’ times before cable and streaming), the National Broadcasting Company decided to gamble on a risky concept, one that was once the “norm” nearly twenty years prior. Back in the 1950s almost everything on the tube (other than creaky old movies) was aired live. But with the advent of video tape, most of the entertainment or “variety shows” shows were run free of glitches and goof-ups thanks to meticulous editing of the “pre-recorded” content. Due to pressure from “the king of late night” NBC wanted something new and off beat, a show that could appeal to the coveted 18 to 34 demographic that sponsors love, to run rather than repeats of “The Tonight Show Starring Johnny Carson”. After corraling a motley team of eager energetic twenty-somethings, a ninety minute original comedy and music “revue” would air at the weekend’s “epicenter”. And this new film tells the backstage story of that fateful night. To paraphrase one of the show’s many “catchphrases”, “Filmed In New York (and Georgia), it’s SATURDAY NIGHT!”. And thank you, Don Pardo…

The film takes place in the ninety minutes prior to the premiere on October 11, 1975. It’s 10 pm and a frustrated NBC page (Finn Wolfhard) can’t even give away free audience passes to the new show. His “spiel” is interrupted by the program’s creator/producer Lorne Michaels (Gabrielle LaBelle) as he greets a “featured performer” Andy Kaufman (Nicholas Braun), who has been dropped off by his parents. After getting past the security team, they two take the elevator to the “nerve center” on the eighth floor. Lorne is quickly approached by the NBC VP of late-night programming Dick Ebersol (Cooper Hoffman) who is his “sounding board” and advisor. Priority one is the on-air talent. Chicago Second City vet John Belushi (Matt Wood) balks at wearing the bee costumes and avoids signing his contract. Garrett Morris (Lamorne Morris) questions his place in the show. As does the “classicly-trained” actress Jane Curtin (Kim Matula). Dan Ackroyd (Dylan O’Brien) doesn’t like his props while Gilda Radner (Ella Hunt) fears being typecast as everybody’s “kid sister”. And Laraine Newman (Emily Fairn) wants to change costumes quicker. Towering over them all is the snarky, confident Chevy Chase (Cory Michael Smith). The loudest complainer may be the host, counter-culture stand-up comedy icon George Carlin (Matthew Rhys), while the softest may be Muppet master Jim Henson (Braun again). And as the sets are still being built, Lorne is getting “pitches” from his writing staff led by the acerbic dark-humored Michael O’Donogue (Tommy Dewey) and Lorne’s soon-to-be ex-wife Rosie Shuster (Rachel Sennott). And if that weren’t enough, the NBC talent relations exec David Tebet (Willem Dafoe) has brought in a horde of middle-aged NBC station affiliate owners and the network’s first “superstar”, Milton Berle (J.K. Simmons), who act more like sharks that just smelled blood in the water. Tebet has a big reel-to-reel videotape of Carson ready to go. Will Lorne’s “dream” be scrapped before it’s even aired? Well, we know the answer to that…

But it’s still a fun, exhilarating ride thanks to this superb cast led by LaBelle who follows up his lead role in THE FABELMANS by playing another media icon. Sure, he often resembles a “deer caught in headlights” as everything appears on the verge of self-destruction, but LaBelle imbues Michaels with a steely determination and a strong backbone when the “suits’ encircle him. He’s got to put on a brave face, but lets the mask slip away with his two biggest “back-ups”. One is Shuster given a smart and sassy air by the engaging Sennott. She’s truly walking a tightrope as she tries to bolster Michaels just enough without leading him to think that their marriage will be “patched up” while engaging in some flirty banter with O’Brien’s Ackroyd. Plus she’s also the “Belushi-whisperer” as hers is the only voice that seems to calm his “savage beast”. The other person in Michaels’ “corner” is Ebersol played with great energy and empathy by Hoffman who cares about the project but isn’t afraid to “lay it on the line” to the frazzled producer (and his “product placement” rant is pretty funny). The story’s “villain”, other than the clicking countdown to air, might be Dafoe, at his most reptilian (and that’s saying a lot) as the sinister Tebet, a blow-dried Lucifer dangling stardom in front of Chase, while cooly pushing Michaels to “try for next week” in a passive-aggressive whisper. Almost matching him is Simmons whose “Uncle Milty” swings his “BDE” as he clings to his past glories. While they aren’t “perfect doppelgangers” for the original “Not Ready for Prime Time Players”, all of the ensemble can suggest them via subtle voice inflection and gestures especially the aforementioned O’Brien who captures the aggressive super-focused nerdiness of Ackroyd as he rattles off the specs of a pistol in one breath along with Morris who conveys the inner-conflict and turmoil inside Garrett as he fears that all of his schoolings may be in service of TV “tokenism” (“I’m an opera singer, now I’m a pimp?”). Kudos also to Robert Wuhl as bemused journeyman director Dave Wilson and Tracy Letts as grizzled comedy guru Herb Sargent, who outlines Chevy’s future (Smith’s terrific as the swaggering comic “alpha”). But the MVP may be Braun doing delicious “double-duty” as the strange Kaufman and the quietly eccentric Henson.


And who’s the talented filmmaker that imbues a vibrant vitality to a tale so familiar to TV fans and historians? Why, it’s none other than Jason Reitman, who himself is part of a comedy dynasty that mixed with many SNL vets ( he and his late father directed Ghostbuster flicks with Ackroyd). He also co-wrote the film with Gil Kenan, and sure some of it is probably “dramatically-altered” embellishments to the legends (certainly no live show would bring in the audience with only minutes to spare as the set floor was still being built), but it’s a movie, not a TV mini-series (which would be pretty cool, too). More important than 100% accuracy is the immediacy Reitman gives this fable, which at times seems to be a fever dream from Michaels who is constantly “spinning plates”. This takes the “walk and talk” trope of Aaron Sorkin to dizzying heights as the always-in-motion- producer is cornered by questioners from the left and right (30 Rock has some long hallways). Several bits from much later sketches are referenced (did these comic ideas gestate for years), but it adds to the manic footloose frenzy. It’s all given a gritty smoke-filled haze (so much chain-smoking) thanks to the 16mm cinematography by Eric Steelberg and accented by the score from Jon Batiste, who doubles as “musical guest” Billy Preston. And let’s give ‘props” to the prop department along with the art and design teams and the funky period costuming of Danny Glicker. Yes, the pace is a bit overwhelming at times, but this film takes its place amongst the great films set around classic TV shows both real (BEING THE RICARDOS) and fictional (MY FAVORITE YEAR) as it balances the emergence of the new “raised by the tube” creators and the zeal of the Judy and Mickey “let’s put on a show” flicks. Best of all it reminds us of that magic time hanging out with your school pals hunkered around the TV (not too loud since the folks are in bed) waiting for the clock to hit 11:30 (10:30 central) to finish the big lazy day with some laughs and music on SATURDAY NIGHT.

4 Out of 4

SATURDAY NIGHT is now playing exclusively in theatres everywhere

LATE NIGHT WITH THE DEVIL – Review

Being an avid fan of “old school” horror (almost a “monster kid” since I devoured “Famous Monsters of Filmland” magazine, built the Aurora model kits, and scooped up the Super 8 Castle Films abridged versions of the 30s ad 40s Universal classics), I try to keep an open mind to the newer films, even the “sub-genres”. One of those is the “found footage” chiller that probably established itself with its biggest hit THE BLAIR WITCH PROJECT. It opened the floodgates for jittery, shakey phony home video slightly “tweaked” via software trickery. The multiplexes are so bombarded that I almost dread a new one. Oh, but an Aussie filmmaking duo has come up with a new “twist’ that keys right into another bit of nostalgia: classic TV not from the “golden age’ of the 50s, but the often “schlocky” stuff of the 70s. Plus it’s not from daytime or prime time (8 to 11 PM EST). I mean what kid 47 years ago wouldn’t try to sneak downstairs to the massive 19-inch console TV, sit close to the screen so you can keep the volume low (and not wake up the parents), and gaze at the “forbidden fruit” of LATE NIGHT WITH THE DEVIL? Oh, the night school day is going to be rough…

The big “conceit” is the existence of a talk show host who tried to topple the “king of late night” Johnny Carson and his “Tonight Show” on NBC. In the opening prologue, we learn of a seedy “upstart” syndicated network, UBC, and their “jewel”, the live show “Night Owls with Jack Delroy”. Its host (David Dastmalchian) is a slightly awkward Chicago DJ who’s now the headliner in the network’s NYC hub. Naturally, there’s a band and a dweeby stooge/sidekick, Gus McConnell (Rhys Auteri). It hit the airwaves in 1971, and soon…made no headway at all against Johnny. Jack’s constantly on the verge of cancellation, despite the influence of his membership in a private secretive millionaire’s club “The Grove”, until he interviews his wife, Madeleine (Georgina Haig), who is in a losing battle with breast cancer. After she succumbs, Jack leaves his show… temporarily. When he returns Jack decides to set the show apart from the landscape of late night by tackling controversial, often exploitive topics and courting confrontation (telling several guests to “hit the bricks”). This all sets the stage for the unaired Halloween show of 1977. After a twitchy monologue Jack brings out a “speaker for the deceased” Christou (Fayssal Bazzi) whose segment takes a truly dark turn when he’s rushed away to a hospital. Perhaps his exit was spurred on by a heated exchange with magician and paranormal debunker Carmichael Haig (Ian Bliss). But this is nothing compared to the night’s “big get” as Jack brings on scholar/author June Ross-Mitchell (Laura Gordon) and the subject of her book “Conversations with the Devil”, teenager Lilly D’Abo (Ingrid Torelli), the only surviving member of the Abraxas satanic cult. Actually, a demon they worshipped, Lilly calls him “Mr. Wriggles”, can speak through her. Soon the show goes completely “off the rails” when Jack pressures June to set up a “session” with Lilly and Mr. W, mostly to humiliate Haig. From then, the Neilsen Ratings are the very least of Jack’s troubles…

One of the busiest character actors, bouncing in and out of several franchises and genres (he’s in the MCU, the DCEU, Dune, the recent Dracula spin-off, even OPPENHEIMER), Dastmalchian truly gets a chance to shine in the lead role as the in-over-his-head Delroy, employing his comic “chops” in the TV monologue sets before settling into weasily desperation and the dread of his plunge into televised Hell. Perhaps Jack was most comfortable riffing into a radio mike since Dastmalchain conveys a near-constant “flop-sweat” making it clear that this guy would never dethrone Carson. He’s certainly not helped by Atueri as the cringyly awkward “second banana” who is easily rattled and demeaned. One of his main bullies is the producer of the show, Jack’s manager and “right hand” Leo Fiske (Josh Quong Tart) an arrogant, unethical opportunist. Much of that is true for Bliss as Haig, a pompous gasbag who fancies himself as a modern Houdini, though he’s playing his own “con” while flaunting his righteous superiority. Gordon is quite good as the morally conflicted doctor who truly cares for her patient despite the blatant exploitation of her trauma. And as that patient, Lily, Torelli effortlessly goes from a sweet helpful young woman to a taunting harpy who could be the conduit for fiery chaos.

Oh, the Aussie duo I mentioned earlier are the Cairnes Brothers, Colin and Cameron, the film’s writing and directing “tag team”. They truly score a “hat trick” with their third feature as they tread a fine line between satire and terror. Working with their artisans they carefully recreated the tacky period from the polyester suits (and massive neckties) to the TV set furnishings complete with multi-color graphic backdrop walls, and even the “stay tuned, we’ll be right back” art card “bumpers” (supposedly made with AI). Once we settle in and stifle our nostalgic giggles, the story shifts gears into nightmare territory as we become invested in the often caricatured “guests”. There’s even a nice nod to horror flicks of that era with the use of practical effects involving puppetry, prosthetics, and mood lighting (when they go to “commercial” the backstage footage is in docu-style handheld monochrome). Sure, we’re kind of stuck in the studio, but it never feels claustrophobic or “stage” as the feeling of dread increases By the final denouncements, we’re left to ponder the fate of the principals and how or who put everything “into motion”. It all makes for a most interesting exploration of TV talk show terror in the imaginative and audacious LATE NIGHT WITH THE DEVIL.

3 Out of 4

LATE NIGHT WITH THE DEVIL is now playing in select theatres.

“Don Matteo: Season 9” – TV Series Review

Terence Hill in “Don Matteo” on MHz Choice

If you’re in the mood for light-hearted mysteries with an engaging cast of characters, the subtitled Italian TV series “Don Matteo: Season 9” may suit your fancy. No TV program runs for over 20 years and 260+ episodes in ANY country without considerable merit. Iconic actor Terence Hill stars as the priest in a little village who can’t help becoming a murder magnet, constantly involved in solving the crime of the day, usually to rescue one of his wrongly-accused parishioners. The local cops alternately rely on and resent his sleuthing, but it always leads to the right result within an hour of air time.

Hill became a global star in the 1970s largely from his wonderful comedic Spaghetti Westerns (most notably the TRINITY flicks), among many pairings with Bud Spencer. The latter usually played a burly, grumpy sidekick to Hill’s playful lead in many successful light adventures, whether situated in the Old West or a variety of contemporary settings. Hill’s charming characters invariably faced life with a knowing smile and twinkling eyes that said he was capable of handling anything without taking it too seriously. In those days, his gift for physical comedy was also a large part of fun.

The 60-year-old Hill, who started this series in 2000, eschewed most of the physical for this one, but still had that endearing look of warmth and humor that established him as the kind of priest any churchgoer would hope to find at the pulpit. He’s surrounded by a cast of characters who provide most of the comic relief as he solves a new crime each episode. Many of them have been around from the first season to this ninth of the twelve that have aired abroad to date. Though I was only able to screen four of its 26 episodes, fans can be assured of receiving the kind of stories and level of quality they expect from the first eight. Don Matteo moves to a new town, but remains surrounded by many of the old faces. In these episodes, the balance between Hill’s sleuthing and the mostly-comedic antics of the supporting cast tipped more towards the latter than when the series began.

Since each episode covers a new crime, there’s no pressure to binge. Leisurely tales can be savored at a leisurely pace. Those unfamiliar with this series might find it similar in tone and content to the long-running British series “Father Brown.” Both are bright, humble, insightful priests in small communities, surrounded by characters who help or hinder their efforts in solving murders and other felonies in a light-hearted, non-gory presentation. Both also get around mainly on bicycles. That English analog started in 2013 with 100 episodes to date. Both are still producing new shows in their homelands, and available in the U.S. on TV or streaming.

The only downside to the character of Don Matteo is that Hill is my senior by about eight years, but still looks like he could get on a horse, strap on a six-gun and dispatch any villains in his path. My delight in what he still brings to the screen, comes at the cost of feeling even older than I usually do. Your mileage may vary.

“Don Matteo: Season 9,” in Italian with English subtitles, is streaming on MHz Choice starting April 5.

RATING: 3 out of 4 stars

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

BEING THE RICARDOS – Review

JAVIER BARDEM, J.K. SIMMONS, NINA ARIANDA, and NICOLE KIDMAN star in BEING THE RICARDOS Photo: GLEN WILSON © AMAZON CONTENT SERVICES LLC

As awards season is now in full swing, just what subject is the source of the newest work by an Oscar-winning screenwriter and three Oscar-winning directors? An acclaimed literary classic, perhaps? Maybe a pivotal moment in history, eh? No, they’ve decided to shine their talents, and considerable “star power”, on … a TV show. Really? Well, it’s not just any bit of “video escapism”. Oh no, this is a “biggie”, a true icon, one that still influences all matter of media to this day. And it’s still on the air, either being broadcast or streamed or replayed in all recorded formats, from Beta to Bluray. In any list of the “greatest TV shows of all time” it’s placed near the very top. And during its “hay day”, it was garnering “Soper Bowl-sized’ ratings…every week. It could be called the “mother of all situation comedies”. Its stars Lucille Ball and Desi Arnaz, who were fairly well-known as a film star and a singer/bandleader before the show premiered, but they achieved “pop culture immortality” by BEING THE RICARDOS.


But rather than giving us a full biography of the stars or a year-by-year history of that TV show, the filmmakers decide to spotlight one production week, Sunday through Friday (filming day) of a 1953 episode of “I Love Lucy”. To tie things together, some recreated 1970’s talking heads interviews with the former writers and executive producer “frame” the drama with a running narration/commentary. Those trying times commence with the interruption of some pre-work romance by the last minutes of newspaper gossip Walter Winchell’s radio broadcast as he drops some not-so-subtle hints that America’s favorite TV “funny lady” is a “red” AKA a “Commie”. Needless to say that this destroys the mood for Lucy (Nicole Kidman) and Desi (Javier Bardem). The resulting “discussion” leads to another recent scandal, as a photo of Desi sharing drinks with a woman, not Lucy. has made the cover of “Confidential” magazine (recall “QT” from LA CONFIDENTIAL). He reminds Lucy that this was an old pic of him entertaining the daughter of their show’s sponsor. Still, Lucy has her suspicions over Desi’s claim that he was “playing cards” with the boys on their boat the previous night. But it’s back to work the next morning for a “read through” of that week’s script. There’s open animosity between co-stars Vivian Vance (Nina Arianda) and Bill Frawley (J.K. Simmons) who play the Ricardos’ neighbors Ethel and Fred Mertz. Plus the rivalry between writers Madelyn Pugh ( Alia Shawkat) and Bob Carroll (Jake Lacy) is in full force. Keeping them on track while keeping the stars, the network, and the sponsors happy is over-worked executive producer Jess Oppenheimer (Tony Hale). But a new bombshell soon drops on him. The show’s star duo informs him, along with the CBS and the other “money men”, that Lucille is pregnant. What will they do? How will it affect the show? But if this whole Communist headline isn’t squelched, will there even be a show? Perhaps the couple will be drummed out of “show biz”. You’d think that getting a show on “its feet” within five days is stressful enough!

Amidst all the social media bashing over the casting of these beloved, almost worshipped TV icons, the ensemble does a terrific job of not nearly mimicking, but bringing real humanity to them. At the forefront of the frenzy is Ms. Kidman, who may be scrutinized most of all. The “Lucy legion” need not fret, as her performance captures the comic genius while giving us a woman truly ahead of her time. And in certain shots, at certain angles, you’d think Mrs. Aranz was recreated ala CGI (much like another comic star in a recent “re-boot”). Kidman shows us the hard-working “pro”, the exacting perfectionist who dares to question her “role”. Despite the outlandish slapstick, she won’t throw out “logic” for a laugh. At times she seems to go into a “trance’ as we almost see through her eyes how she plans to “sell” a gag. There’s even a glimpse of Ball’s playful sexy “vibe’ in some steamy flashbacks. But best of all, we get her vulnerability as her old studio home at RKO “evicts” her, as she begins to fight to keep her marriage together (she doesn’t budge on casting Desi as “Ricky”). Kidman makes her the unstoppable “hero” of the story. And Bardem’s Desi is a big part of that. He conveys the wild, untamed passion of his nightclub act (with tables of swooning admirers. But we also see his “taming”, if only temporary, by the glamorous starlet (Bardem has a great “gobsmacked’ expression during their very “lengthy” first date). But we see his frustration via Bardem’s expert body language, as Desi’postwar movie dreams are dashed. But on the set of his sitcom, his shoulders broaden, as his finely tailored suits barely contain his new “swagger”. And pity those who try to patronize him as the affable Cuban turns into a roaring lion. These talented actors show us how this “power couple” generated laughter, ratings, and heat.

From left to right, Vivian Vance, William Frawley, Desi Arnaz (1917 – 1986) and Lucille Ball (1911 – 1989) on the popular television series ‘I Love Lucy’, circa 1955. (Photo by Pictorial Parade/Archive Photos/Getty Images)

The “ice” is created in the interactions between the show’s supporting couple. Simmons gives Frawley a “seen-it-all” snark as he tries to stay away from his “cups” while staying above the chaos. He’s even a warm father-like mentor to his boss and co-star Lucy. But he just can’t “get” his other co-star, played with annoyed energy by Arianda (so good as Mrs. Laurel in STAN AND OLLIE). Her Vivian is dismayed that Ethel is the brunt of jokes about her appearance, while nothing is made of the big age difference with her sitcom spouse. She wants her light to shine, but it must be dimmed next to the title role. Hale breaks out of his nebbish former TV roles in “Arrested Development” and “Veep”, as the no-nonsense producer Jess. His intense glare tells us that he will do his job and won’t be intimidated by anyone, especially the “stars”. His “AD” castmate Shawkat is terrific as the lone female writer in a mostly male talent pool. She won’t be pushed aside even as she tells Lucy of her fight to keep her character from being “infantile”. And there’s a teasing rivalry/attraction with Lacy as her scheming co-writer/partner, who delights in claiming credit, even as he hesitates on presenting new ideas.

The Oscar-winner in charge is lauded screenwriter turned director (this is his third feature) Aaron Sorkin. Sure, he indulges in his “talky-walky” penchant that he used most famously in his own TV show “The West Wing”, as Desi and company argue through endless hallways behind studio sets. But here it feels somewhat natural to the frantic pace of doing a weekly show. In a wise move, he eschews the usual bio-format (“this happened which let to this…then this…”) to focus on a five-day period (similar to what Spielberg did with LINCOLN). The idea somewhat stumbles by pushing too many things in the time frame, as those scandals didn’t rally “pile-up’ over one episode. But it can be chalked up to the need for “dramatic conflict” (I’d hope the rest of their ‘season” was a “cake-walk”). Although a final confrontation between the main duo seems highly implausible. Plus the story is “fleshed-out” with those aforementioned “flashbacks” as we get a handle on the romance of Lucy and Desi. But there’s also a “flash-forward’ as Lucy imagines what will be a signature scene, though I’d have enjoined another “forward” of her buying RKO after they gave her the “boot”. Happily, the era is expertly recreated via the talented production artisans (nice to see the Ricardos tiny living room in color) and the lush cinematography from Jeff Cronenweth. Oh, and those fashions from Susan Lyall are stunning, too. I may quibble with what’s left out, but the cast really delivers, giving us an inside look into the very real people who kept us entertained for over 70 years by BEING THE RICARDOS. Babaloooo!!

3.5 Out of 4

BEING THE RICARDOS opens in select theatres on Friday, December 10, 2021

LATE NIGHT – Review

Emma Thompson (foreground) and Mindy Kaling (far right) star in LATE NIGHT. Photo courtesy of Amazon Studios.

Emma Thompson and Mindy Kaling star in a sort of buddy comedy about a much-lauded but out-of-touch late-night talk show host who hires a young South Asian-American chemist-turned-comedy writer to turn around her sagging ratings, in director Nisha Ganatra’s LATE NIGHT. Yeah, it’s silly but it is surprisingly fun as Thompson and Kaling explore topics ranging from toxic workplaces, sexism, diversity, cut-throat television competition to what makes comedy work, all with dash of inspiration and warmth

The film opens with Thompson’s Katherine Newbury accepting yet another award for her long-career as the first woman to host a late night talk show. Katherine’s show features guests such as Doris Kearns Goodwin and an opening monologue but over the years she has fallen into routine and complacency. With all her awards, the last thing she expects is for the network’s new female CEO to tell her she is being replaced.

Shocked into action, Katherine turns to her writing staff and suddenly notices it is all men. In an effort to add a woman’s voice, she hires the first one through the door – Molly (Kaling), a South Asian-American chemist trying to break into comedy writing.

As soon as newbie Molly shows up in the all-male, all-white writers room, they assume she’s there to fetch coffee. “I wish I was a woman of color so I could get hired with zero qualification,” whines one of the writers, in a fit of white male privilege. But while Molly may have little experience, she brings a ton of brains and fresh ideas to the stale writers’ room.

Mindy Kaling really makes this work. Of course, Kaling certainly knows something about being a woman writer in the male-dominated comedy field, as well as working in television. She works in bits about clueless bosses, slams at diversity hires, and a host of other timely topics. Not every bit works but there are enough of them to garner laughs of enough to keep the movie bouncing along.

While Kaling does her fish-out-of-water comedy, Thompson mines the film’s more dramatic side. Thompson’s character is a comedian who seems to have lost her sense of humor. As charming as she seems in public, she is pretty callous to her staff. She is a self-absorbed boss from hell dressed in designer clothes (a little echo from “The Devil Wears Prada”) but Thompson makes her more than that. Thompson does sport some flashy fashions and footwear as she terrorizes her staff. After years of ignoring her writers, she shows up at their meeting demanding material that is timely and funny. Not wanting to bother to learning their names, she gives them numbers instead.

Meanwhile Thompson explores other topics with her character, an ambitious driven woman who forgo having a family for her career. She lives only for her career – and for her husband Walter (John Lithgow), a respected academic now in poor health. The film explores the complications in her long marriage, with warm, well-drawn performances from both Lithgow and Thompson.

Kaling’s character faces a daunting workplace where women are not welcome – much less one of color. She is not only expected to get the coffee but finds the all-male writing team even use the women’s bathroom. She doesn’t even get a chair at the writer’s table and has only a corner of a desk. Still, she gets organized and gets to work on jokes for the monologue

There is potential for some pointed political humor here but Kaling takes a softer approach, making some points but backing off from anything truly biting. Kaling makes up for that with warmth and the kind of bonding scenes between her and Thompson, in a female version of a bromance (sis-mance? womance?). They start out not liking but needing each other, and winding up more like mentor-protege, even friends.

Kaling and Thompson are good in their scenes together, although their characters are often on dual tracks. The more affecting scenes are between Thompson and Lithgow as the long-married couple, working through a rough patch. Kaling bounces her comedy off the fellow writers, landing some good barbs.

LATE NIGHT’s two-track approach – comedic and dramatic – to exploring the challenges women face in the workplace doesn’t always work but it works often enough to make the film funny and thought-provoking most of the time. Which is pretty good.

LATE NIGHT opens Friday, June 14 at the Hi-Pointe Theater, Plaza Frontenac Cinema, and other area theaters.

RATING: 4 out of 5 stars

THEY’RE WATCHING Review

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Be honest. We’ve all done it. Some of us willingly and with no apologies, while others of us are closet fans, but those reality real estate shows are popular and addictive. Perhaps it’s because they tap into a core element of the American dream, but whatever the reason, they’ve made an impact on what television looks like these days. With that said, it only seems logical that some creative soul would take this phenomenon and mash it up with another modern cultural trend.

The graphic novelists and animators Jay Lender and Micah Wright have done just that, they wrote and directed this melding of reality-based home shopping shows with found footage, faux-documentary style horror-comedy. That’s right. No, I didn’t stutter or lose my mind. This is a thing. A real thing. I know, your reaction right now is probably quite similar to mine when I first heard of this film, but after reading a bit more about the plot and then watching the trailer, I saw an intriguing level of potential just under the surface.

THEY’RE WATCHING, despite our most instinctual better judgment, is actually a fun, smart and entertaining romp. Blending a filmmaking influence from the Raimi brothers with tongue-in-cheek humor and a subtle knack for the breaking of the fourth wall, the film makes fun of it’s multi-faceted genre base, makes fun of itself and makes for a good time. The story takes place in Moldova, which provides a setting and a backdrop combined with it’s sense of humor that will please any fan of Bruce Campbell’s THE MAN WITH THE SCREAMING BRAIN. I realize that’s a double-edged sword, but take you’ve got to take this film with a grain of salt and appreciate it for what it is, by design.

Stereotypes abound. Akin to Sasha Baron Coen’s BORAT, but less extreme, the Moldovan town folk in the film are simple, creepy and primitive in comparison to the western crew. The town’s constable is a stern, dictatorial man resembling Stalin and the town’s one and only real estate agent, aka “broker,” is an Eastern European mix of Johnny Bravo and Cousin Eddie from National Lampoon’s VACATION films. All the town folk are heavy drinkers and are afraid of the cameras, but in the end, they are merely play as pawns and fodder, as the plot slowly unveils their secret about a witch that must never be mentioned.

Becky (played by Brigid Brannagh) is the latest client on a popular real estate reality show, an artist who wishes to settle down to a simpler, slower life in Eastern Europe. Six months after Becky decided to buy a fixer-upper deep in the backwoods of a small, rural town in Moldova, the production crew of the show returns to shoot the second half of the episode and see what improvements Becky has made to the property. Fully expecting disaster, the crew arrives to find she’s pulled out a miracle and the property looks great. Seems like it’s going to be an outstanding episode after all…

That’s about the time things start getting weird. THEY’RE WATCHING is a title that has a duel meaning, referring both to the Moldovan town folk, and [of course] acknowledging the meta element of the film, about a reality TV show, that has an audience separate from those of us watching this film. Follow that? Anyway, Lender and Wright make no effort to be taken seriously. That’s not the goal. The entire film feels like an inside joke, and for the most part we get it. And it’s funny. The production looks like hi-definition digital video because it’s supposed to, and most likely is as it’s not a big budget film. On the other hand, it looks good, as good as any well-made respectable TV movie. This is higher caliber production than the Syfy Channel but not quite prime time. For the most part, the acting follows this same scale.

As the plot thickens and the tension increases — for the characters, not quite so much for the audience — THEY’RE WATCHING prepares for the money shots… or, shots, as the film’s final act is the cherry on top. Whatever minor flaws and discrepencies may exist are easily forgotten once the rib-jabbing jokes and cliche horror movie tendencies segway into the big showdown with the witch at the end.

If you thought witches were boring 17th century borefests or cheesy kids’ fare, beware. The film ends on a high note with a bloody, goretastic, over-the-top splatterfest that will make genre lovers proud, or sad, depending on what expectations you had going int the film. For those who enjoyed TUCKER & DALE VS EVIL and CABIN FEVER, you should most likely find THEY’RE WATCHING to be a satisfying, lower-calorie samplng of cinematic junk food.

THEY’RE WATCHING  — In Theaters and On Demand — March 25th, 2016

Overall Rating: 3 out of 5 stars

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Did Dan Fogler Spoil The End Of SECRETS & LIES?

Dan Fogler - Spoiler Alert

If you watch SECRETS & LIES on ABC then the biggest question on your mind is Who Killed Tom Murphy? Everyone has their own theories but not everyone gets a chance to sit down with a key cast member to discuss them. I recently had the the pleasure of interviewing Dan Fogler about the Kickstarter campaign for his new comic book Brooklyn Gladiator. Dan expertly plays the role of Dave Lindsey, who adds some much-needed moments of levity while also providing some tense dramatic story beats. After discussing Dan’s comic, I brought up my theory of who I think killed Tom. Dan’s reaction might reveal just a little too much. Watch for yourself and let us know what you think. #DidDaveKillTom?

Jerry Cavallaro  – @GetStuck  –  www.JerryCavallaro.com

FALLING SKIES: WHAT HIDES BENEATH – The TV Review

With the first seven episodes of FALLING SKIES under our belts, we’ve learned the basics of what our post-invasion world has become. Civilians gathered in camps, forming our own resistance forces and constantly looking over our shoulders for signs of skitters and their devastating mechs lurking nearby. It’s a dangerous new way of life, one based solely on survival, but we’ve also learned that some things may not be quite what they seem.

On Sunday, July 31st, FALLING SKIES continues with its eighth episode — What Hides Beneath — of ten in the series’ first season. Up to this point, I’ve enjoyed the ride, the popcorn thrill of the show that combines human drama with science-fiction and suspense. The development of the main characters now nearly complete, the truth and the fate of the harnessed children is now suspect as Anne and Lourdes make a shocking discovery while dissecting a dead skitter.

Weaver is showing signs of stress and sleeplessness, forcing Tom to question his ability to lead the 2nd Mass. Along with Hal, the three men set out on a recon mission in preparation for an offensive strike on the alien structure being build in the city. In the process, the stumble upon a woman surviving near the hot zone, played by guest star Blair Brown (FRINGE). The mystery continues to build around Ben, Rick and the woman, leading Weaver, Tom and Hal to another new discovery about the aliens, one we’ve not seen before now.

I still contend that Pope is my favorite character; the only source of what little comic relief exists in FALLING SKIES, but also the only truly convincing human badass of the series so far. In “What Hides Beneath,” Pope steps up and contributes a major breakthrough for the human resistance effort, potentially giving the 2nd Mass a significant upper hand in the coming offensive strike.

With Mike dead, Rick’s progress of physical recovery is overshadowed by the appearance of emotional regression, quiet and hollow, he has Anne worried, while Hal continues to notice signs that Ben is not the same kid he was before having been harnessed. All signs point to Ben and Rick being central characters to this story, but what does it all mean?

What Hides Beneath delivers new story arcs, new surprises and clues toward the ever-lingering question of “what the aliens want?” The special effects take on a another level of importance in DreamWorks’ and Spielberg’s vision, as we’re introduced to a new element of the alien enemy, one I shall not spoil by revealing any detail, other than to say the design is vaguely familiar to another of Spielberg’s visions which garnered divided opinions.

We know the characters and we understand what’s at stake, now the story begins to amp up the adrenaline as we presumably approach the first major battle depicted on screen. Over the past seven episodes, the pace has been decidedly comfortable and the danger factor has been kept relatively mild, but I have a feeling that’s all about to change.

FALLING SKIES hasn’t yet completely sold me as a series worthy of a long and fruitful run on television, but it has captured my imagination and set it hooks nears my gills. With even the slightest tug of an unexpected and exciting plot twist, Spielberg can have the hook set deep and begin to reel me in, but I’m not the type of fish to go down without a fight. With so much competition on television with outstanding dramatic series, I for one am picky with where my loyalties lie, but FALLING SKIES certainly still has a place on my DVR for the time being.

Video Preview of Shatner in $#*! MY DAD SAYS

Two words… William Shatner! No, I’m not a Trekkie. But, in my mind, Mr. Bill didn’t get really cool until after his Star Trek career ended. This video preview of his new television sitcom $#*! MY DAD SAYS premiering soon on CBS is proof of that notion. I need not say more. Watch the video, laugh until you cry and enjoy!