Skipping platitudes, metaphors; distractions are of extreme importance; many of you have requested suggestions of what to view, as an escape from an uninvited reality. In calmer times I have written posts on the plethora of choices gifted to viewers with streaming capabilities. Reducing redundancy, you may check the past, before investing in future enticements: “Potpourri of What to See …
Read More »Netflix and Beyond
A DARK PLACE (AMAZON PRIME)
“Dr. Shaun Murphy” (“The Good Doctor”) depicted with inimitable skill by Freddie Highmore, is outrageously wonderful, a one-of-a-kind character, functioning brilliantly with autism; his diagnostic acuity, unparalleled; hilariously unfiltered, personally and professionally. Rarely can I state that I love a character unconditionally; Dr. Murphy, claims that ardor. Director Simon Fellows in “A Dark Place” gifts actor Andrew Scott the license …
Read More »THE POSTCARD KILLINGS
Our priorities and expectations have been seriously transformed; this applies to home entertainment; what, in the past, was instantaneously dismissed, now is given more license, case in point, is director Danis Tanovic’s, “The Postcard Killings”, starring dimpled Jeffrey Dean Morgan as “Jacob Kanon” a New York detective whose daughter and son-in-law have been grotesquely slaughtered in London; the slayers send …
Read More »STOP THE WORLD: I WANT TO GET OFF
Throughout life, Anthony Newley’s 1961 musical, in times of stress, has profoundly resonated; now, ironically the world has been halted by Corvid-19, and universally we are on “pause”; rarely, if ever, have the continents been so in sync; mankind is in this together, in a vacuum, hibernating as a whole. It is catastrophic but also reflective; a time to survey …
Read More »FIRST COW
An unlikely partnership, is rarely found or experienced as in writer/director Kelly Reichardt’s quirky, strangely hypnotic, story of two disparate “outliers” joining forces in the Oregon Territory, 1820’s; “Cookie” Figowitz (John Magaro) a displaced baker, joins an outlaw “King Lu” (Orion Lee) in a money-making scheme, revolving around the milking theft of “Chief Factor’s” (Toby Jones) cow, the first and …
Read More »HOPE GAP
Poetic evaluation of a “hopeless” partnership, commencing with one dissatisfied member, the other oblivious to, what viewers recognize, the obvious: twenty-nine years of marriage, cauterized, well before we meet “Grace” (inimitable Annette Bening) and “Edward” (dour Bill Nighy); she exudes bliss, in tandem with his robotic gloom; their only child “Jamie” (sensitive, Josh O’Connor) is conscripted as referee; his keen, …
Read More »GREED
In 1911, the Triangle Shirtwaist Factory, New York, caught fire, 138 female workers were incinerated; 2016, the Rana factory, Bangladesh, collapsed, killing 1,138, primarily women workers; high-end fashion and its quest for inexpensive labor, hovers at the heart of these egregious wrongs; little has changed, unprotected by labor laws, these outrageous abuses are being catalogued by pivotal documentaries, YouTube videos …
Read More »BAAGHI 3 (REBEL) (HINDI: ENGLISH SUBTITLES)
Prayerfully, there will not be a 4th; director Ahmed Khan’s latest action-saturated, thrill-seeker, is just that, all action and zero substance; Tiger Shroff (Jackie’s son) splendidly buffed, monopolizes every aerial, aerobic moment, ad nauseam; a handsomer model of his father, at thirty, he has time to cultivate his acting acuity, instead of spending countless days and hours in the gym. …
Read More »EMMA
“Of all the Emmas’, in all the films, in all the miniseries,” here treads the feistiest. Jane Austen’s (1775-1817) “Emma” published in 1815, England: George III was king; Lord Byron and Walter Scott were in full throttle; Napoleon was defeated at Waterloo. Women invisible, an accessory in a patriarchal society; their fortunes, gifted to their husband’s after marriage. Stifled, stymied, …
Read More »THE INVISIBLE MAN
Slick, scary and reverential tribute to H.G. Wells 1897’s “The Invisible Man: A Grotesque Romance”; creepy scientist conjures, with the illusion of light, his transformative power of invisibility; Oliver Jackson-Cohen, “Adrian Griffin”, scores as a mad genius who controls his lover by exercising his mind over her matter; Elizabeth Moss, “Cecilia Kass”, dynamites her every moment of misery; a role …
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