“Peaky Blinders: The Immortal Man” opens several years after the series ended. World War II is raging and the Nazis are making a full court-press on the Brits, the last holdouts against the Germans in Europe. They are bombing London in a blitzkrieg of terror and destroying factories all over Britain, specifically targeting those supporting the British war effort. Meanwhile, in Germany, Hitler has come up with an ingenious plan, one that was actually put into practice: more than 100 million counterfeit pounds were created in a ploy to destroy the economy of Great Britain and thus cause a bloodless capitulation (this plan almost succeeded). John Beckett, a member of Moseley’s British Nazi party, has been chosen to lead the effort and carpet Britain with the fake money. (There is no indication that the real John Beckett, a leading member of the British Nazi party, was involved with the counterfeit scheme.)

Tommy, long retired to his country estate with only Johnny Dogs as a companion, is haunted by the past, especially the night terrors of his experience in the trenches of World War I, and the death of his daughter Ruby, who succumbed to tuberculosis. He wants nothing to do with the past or the here and now. He left the Peaky Blinders life behind and has no interest in what has become of them. Whether aware or oblivious, the Peaky Blinders found new, violent life under the leadership of Tommy’s son Duke, born of a youthful dalliance with a Romany lover. With his other son fighting at the front, Duke has been leading a gang of violent miscreants in terrorizing the town anew and stealing whatever they choose with the blessing of crooked politicians and police. When they hijack a shipment of weapons, Duke’s Aunt Ada, now a well-liked politician and MP, has had enough. Driving into the countryside, she pleads with her brother to return and set things right. The people still revere him but are terrified of his son. Her pleas fall on deaf ears. Tommy cannot be moved.

Duke’s audacious activities have not gone unnoticed by John Beckett. Clearly Duke, unmoved by patriotism or compassion of any kind, is an excellent choice to move the counterfeit money into the mainstream. The enticement he offers, a healthy cut of the profits, is too good for the amoral Duke to pass up. They strike a bargain and the stage is set for a collision of murders, crimes and loyalty that will finally bring Tommy back to Birmingham.

Stephen Knight, creator of the original series and writer of the film, has found a way to blends in most of the original elements, many of the original characters and create an engrossing real-life plot that often leaves you on the edge of your seat. The tone is somber, the action moves forward at an alarming pace, the villains, although a bit too black and white, are identifiable and loathsome. Knight weaves in just enough fact-based activity that the film remains somewhat grounded. There was such a Nazi plot, as recounted brilliantly in the 2007 Austrian film, “The Counterfeiters,” directed by Stefan Ruzowitsky. Oswald Mosley was the leader of the British Union of Fascists, a party he created that espoused anti-Semitism and sought alliances with Mussolini’s Italy and Hitler’s Germany. That he was or was not involved in the counterfeit plot is immaterial; he very well could have been. The plausible non-fiction elements of the plot blend nicely with the fictional ones.

Loaded down with the kind of violence and explosions endemic to the original series, they are, nevertheless, organic to the plot and the characters. Director Tom Harper keeps the pace moving at a fast, sometimes almost too fast, clip. The cinematography of George Steel and Ben Wilson is effectively grimy, muddy and evocative of the frozen temperatures and barren landscapes. Production designer Jacqueline Abrahams and costume designer Alison McCosh contribute beautifully, perhaps not the right word, to this realistic period piece with the bombed-out buildings and the tattered clothing caked in mud. The punk score by Antony Genn and Martin Slattery adds to the thumping action of the characters, underscored by the resurrection of Nick Cave’s “The Red Right Hand,” used so prominently in the series as the musical theme of Tommy Shelby.

Knight and Harper have assembled a cast worthy of the film. The extraordinary Cillian Murphy brings a melancholy and resolve, along with the uncanny ability to engender sympathy for a character whose cursed life has been conducted on the wrong side of society. Seeing his careworn and haunted face up close is one of the best reasons to see this film on the big screen. His beauty is offset by the pain in his eyes. Murphy is an actor whose every feeling can be expressed in the twitch of an eyelash or the tight grimace of his lips. His criminal son is played effectively by Barry Keoghan with the dimness he showed in “The Banshees of Inisherin” and the cagey immorality of his character in “Saltburn.” He revels in criminality and shows only snatches of consciousness. He’s not what you’d consider a rooting interest, as one had for the Tommy Shelby of yore, but he has just enough mystery to keep you guessing. Several of the original characters from the series appear, most notably Sophie Rundle as Ada, Stephen Graham as Hayden Stagg, a former antagonist turned ally, Ned Dennehy as Charlie Strong and Ian Peck as Curly, as Tommy’s past loyal henchmen, but most are there as recognizable place markers. Rebecca Ferguson is the Gypsy seer and twin sister to Tommy’s first love, long dead, and Duke’s aunt. Her character is a plot pusher, there to remind the audience that Tommy has Gypsy origins and believes in the curses and forecasting so important to that culture. Tim Roth is the villain John Beckett, and although it is always a pleasure to see Roth on screen, Knight has cast him in black and white without any shading. One expects him to twirl his non-existent mustache for effect.

See this on the big screen where all the colors, emotions, and visuals are heightened.

Now playing at the Alamo Drafthouse downtown, the Landmark Sunset 5 or the Egyptian in Hollywood. Streaming on Netflix beginning March 20. 

Neely Swanson spent most of her professional career in the television industry, almost all of it working for David E. Kelley. In her last full-time position as Executive Vice President of Development, she reviewed writer submissions and targeted content for adaptation. As she has often said, she did book reports for a living. For several years she was a freelance writer for “Written By,” the magazine of the WGA West, and was adjunct faculty at USC in the writing division of the School of Cinematic Arts. Neely has been writing film and television reviews for the “Easy Reader” for more than 10 years. Her past reviews can be read on Rotten Tomatoes where she is a tomatometer-approved critic.

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A warning is given. Mary Godwin Shelley appears on screen, back from the dead, to announce her disappointment in her early demise (poetic license because she died in her 50s) and her unfinished work—she had intended to write a companion piece to Frankenstein, pun intended, one that would be entirely from the female perspective. After Mary’s onscreen warning of what’s to come, we are transported to Chicago in the 1930s. The city is owned by Lupino, the gangster controlling all the rackets and cops in town. He does not cotton to women with big mouths and the jars behind him attest to his dislike of mouthy women. Ida, a wild thing, unapologetic of her sex, both gender and employment, has run afoul of the big boss. Slapped around by his henchmen, Ida takes a fatal fall and is hastily buried. (Note for those not versed in film history: combine Ida and Lupino and you have the name of one of the first successful female directors in the talkie era.)

Frankenstein, heretofore called Frank, has been wandering the earth for eons, alone and in desperate need of companionship. It is not mere coincidence that his travels have taken him to Chicago where he alights on the doorstep of Dr. Euphronious. He has heard that she is capable of reanimation. She is reluctant to try again because all previous successful experiments had been on animals. He is very convincing. First order of business, a not too stiff stiff. Under cover of night, they steal off to the nearest cemetery and dig up a fresh corpse, the recently deceased Ida.

Electrodes and wires akimbo, sparks fly, literally and figuratively, and a recognizable Ida, hair statically enhanced, emerges from the laboratory gurney. The primary side effects, however, are the indigo stains at her mouth and along her arms resembling a Rorschach test gone awry. Still, all in all, not a bad try. Stripped of memory, she can be whatever he, or primarily she, makes her to be. He’ll call her Penelope; she’ll make it Penny, but either way, she’s the Bride.

Arm in arm, emerging from Euphronious’ elegant mansion, Frank wants to take her to the movies. He wants to share his love of screen star Ronnie Reed, the handsome song and dance man. She does not yet understand, but Ronnie Reed is everything Frank wants to be. He daydreams himself on screen mimicking the dance steps and melodies of his hero (think Peter Boyle as the monster with top hat and tails, performing “Putting on the Ritz” in “Young Frankenstein”). Ronnie Reed and the Bride are Frank’s Achilles’ heels.

They are, to say the least, an unusual looking couple and, inevitably, attract the wrong kind of scrutiny. Frank has always had a hard time gauging his own strength and the body count begins to rise. Running afoul of the law, they take it on the lam, stealing a car and capturing the imagination of the public following their exploits in the news. Detective Jake Wiles and his intrepid secretary/assistant Myrna Malloy (as in Myrna Loy, the box office queen in the 30’s) are on the case but always a step or two behind. The wily Wiles knows, however, that Frank will be stopping at every theater showing a Ronnie Reed movie along the way and begins to track him by the movies playing along their escape route.

Penny is the catalyst, fighting alongside Frank and driving the getaway car. Her independence and “take no prisoners” approach has lit a fire in women across the country who copy the indigo pattern on Penny’s face and chant “Me Too, time’s up.” They are Bonnie and Clyde on no particular mission. Their relationship has been growing and Penny, now devoted to Frank, is willing to make it legal. Forces are combining to thwart their plans.

Gyllenhaal has made a film of sound and fury signifying nothing, but that is, in a way, her point. She has mashed everything up and doesn’t stay on one thing too long. Yes, there’s a momentary feminist bent but this is an entertainment not a diatribe. The adventures of Frank and Penny, whose true identity eventually becomes known as they are chased not just by the police but by Lupino’s men as well. They skip merrily from one misadventure to another, growing closer as the chaos increases. They are partners in crime and love and what Dr. Euphronious has joined together, let no man cast asunder.

Although criticized by many for its meanderings and stunted themes lacking in development, I would propose that this is exactly the point. Feminism may be a somewhat undeveloped undercurrent but “The Bride” is pandemonium and an homage to many of Gyllenhaal’s favorite things. I have caught a few of the obvious homages like Ida Lupino and Myrna Loy, but there are, no doubt, many others. The color palette is frighteningly bold, with its primary colors bleeding off the screen. The playlist is a mishmash of songs, old and new, from the canon of 30’s hits like “I’ve Got a Feeling I’m Falling” and punk rock songs from Fever Ray to the occasional dip into Schubert. Stay for the end credits and be treated to the song you knew had to be coming. Hildur Guđnadóttir has created a punk score that both mirrors and contrasts with the mood on screen.

Costuming by three-time Oscar winner Sandy Powell contributes to the bright and messy themes. Production designer Karen Murphy has created a specific time and place set that locates the film in the here and now of the era using the saturated tones chosen by Gyllenhaal. Cinematographer Lawrence Sher blends the real with the surreal.

And what a cast! Jessie Buckley is Ida/the Bride/Mary Shelley and carries this hodge podge on her often bared shoulders. Christian Bale, as you’ve never seen him, plays the subdued Frank awakened by his love for the Bride, a somewhat reluctant Clyde Barrow to her shoot from the hip Bonnie. Annette Bening is the easily convinced Dr. Euphronious and Jeannie Berlin is her hilarious maid and Igor-figure Greta stealing everything but the wall paper. Jake Gyllenhaal, Maggie’s brother,  plays the movie god Ronnie Reed, seen primarily in on-screen movie clips doing his own singing and dancing. There may be something more than transference in Frank’s idolization of this star. The sympathetically crooked Detective Wiles is Peter Sarsgaard, Maggie’s partner in real life; his assistant, the lovely Myrna Malloy is played by a luscious Penelope Cruz.

Initial box office returns indicate that “The Bride” may not be everyone’s cup of tea but it was mine and time will tell if this worthy film might gain more traction in cult status as people gradually catch on to the joke.

Now playing at The Grove and other theaters throughout Los Angeles. 

Neely Swanson spent most of her professional career in the television industry, almost all of it working for David E. Kelley. In her last full-time position as Executive Vice President of Development, she reviewed writer submissions and targeted content for adaptation. As she has often said, she did book reports for a living. For several years she was a freelance writer for “Written By,” the magazine of the WGA West, and was adjunct faculty at USC in the writing division of the School of Cinematic Arts. Neely has been writing film and television reviews for the “Easy Reader” for more than 10 years. Her past reviews can be read on Rotten Tomatoes where she is a tomatometer-approved critic.

The post ‘The Bride’—Here She Comes, Ready or Not appeared first on Beverly Hills Courier.

 Davidson is well known in the Los Angeles performing arts community from her prior role as president and CEO of the Los Angeles Master Chorale at The Music Center from 2015 to 2023. During her tenue, she introduced an international touring model, produced major recordings, and guided the Chorale through the pandemic, securing over $2 million in federal and local support. Davidson also increased contributed revenue by 48% in four years, led a successful strategic planning process, negotiated key labor agreements and advanced a comprehensive rebranding that repositioned the organization.

 Immediately prior to joining The Wallis, Davidson was Executive Director of the National Symphony Orchestra at the John F. Kennedy Center for the Performing Arts in Washington D.C., from 2023 until the present. Under her leadership, the NSO returned to international touring, released several acclaimed recordings and expanded innovative community and educational initiatives. Davidson spearheaded an endowment campaign, securing $25 million in gifts and pledges, and delivered a substantial increase in classical subscription sales while overseeing programming.

 “The arts are where a community sees itself, and where it imagines what’s possible next. I’m honored to join the Wallis Annenberg Center for the Arts at this pivotal moment. Together, we will build on its strong artistic foundation, attract world-class talent, and ensure that The Wallis remains a premier destination for exceptional and inspiring work. I’m excited to partner with our artists, audiences, and supporters to propel The Wallis into its next era as a national leader in bold creativity and big ideas,” said Davidson.

 Daphna Nazarian, the chair of The Wallis Board of Directors, noted, “We are thrilled to welcome Jean Davidson as the new Executive Director and CEO of the Wallis Annenberg Center for the Performing Arts. She brings exceptional vision, strategic insight and a distinguished record of leadership that will elevate our organization and strengthen our community.”

Nazarian continued, “As a dynamic and accomplished leader, she offers a powerful and timely perspective aligned with our mission to uplift and inspire through the arts. The Wallis stands as a vital, cultural anchor where creativity fosters connection and understanding, and I am confident in her upcoming stewardship to guide us into our next chapter. Together we embrace a forward vision grounded in stability and excellence.”

 Davidson succeeds Robert van Leer, who departed to assume his new position as the Performing Arts Program Director of the William and Flora Hewlett Foundation. Christine Bernardi Weil is the interim managing director and Coy Middlebrook is acting chief programming officer of The Wallis.  

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“F-1,” with a cast that boasts Brad Pitt, relies primarily on its occasionally exciting racing footage at actual Formula One tracks like Abu Dhabi and Las Vegas. The movie itself suffers from a lack of originality with the theme of an old-timer (Pitt) agreeing to come back into the game after a devastating accident years before to help out a close friend (Javier Bardem) and mentor a young turk with potential (Damson Idris). No surprises. The characters are all stereotypes and the script actually dulls some of the racing rivalries. Still, the star power and the race footage brought lots of eyeballs to this Apple-produced film. See it now on Apple.

Both “Frankenstein” and “Train Dreams” were intended for streaming by Netflix and released only nominally in theaters. “Frankenstein,” a creation by Guillermo del Toro, is a visual masterpiece but never seems to heat up despite casting two hunks in the roles of Dr. Victor Frankenstein (Oscar Isaac) and the monster (Jacob Elordi). Del Toro is a master at painting a picture, and he more than succeeds with his “Frankenstein,” from the chilly Arctic locations to its Victorian London environs, but the possibilities of making this a more universally themed classic seem to have been missed. The relationship between Victor and his monster is clearly love/hate with slight homoerotic overtones. The yelling, screaming, fright and fighting is there, but what is missing is the emotion, leaving the film all form and no substance.

“Train Dreams” is a real puzzle. A critical darling, it left me completely cold and surprised by its nomination. Starring Joel Edgerton, directed by Clint Bentley and based on a novella by Denis Johnson, it is a character study of one man’s life in the woods as he makes his way through the forests of Oregon as a lumberjack. Chopping trees is hard work and leaves little time to bond with his fellow men. Passively, always a watcher and rarely a participant, he sees racial violence against Chinese co-workers, bar room fights and death by falling trees. Finding a wife, he determines that he will build a better life for his small family, one that eventually includes a daughter, but even that is thwarted when, in fitting tribute to the vicissitudes of nature, they are lost in a forest fire. Never giving up hope, he lives the rest of his life in solitude, always with the hope that they are not dead and will eventually find their way back to him. Life goes on around him and the changes are massive, ones that, again, he views impassively. And then he dies. That’s it.

Most of the nominations for actors have already been mentioned. A few, however, were not in Oscar-nominated films. Ethan Hawke was nominated for his role in “Blue Moon,” a movie I absolutely hated. Hawke was better in the film than I credited him with. He portrayed Lorenz Hart, the prolific and brilliant lyricist of songs like “Bewitched, Bothered and Bewildered,” “Falling in Love with Love,” “Isn’t It Romantic” and, of course, his least favorite creation, his golden goose, “Blue Moon.” Hawke portrays him at the end of his life, miserable, a closeted homosexual, alcoholic and no longer collaborating with Richard Rodgers. It is the opening night of “Oklahoma” and Hart is beside himself with anxiety. Perhaps I was mostly put off by the tricks used to disguise the 5’10” Hawke as a man of the petite stature of 5 feet at best. The gyrations needed to make him look short were distracting.

Rose Byrne received a Best Actress nomination for her stunning turn as an overwhelmed mother in “If I Had Legs I’d Kick You.” The Golden Globe winner for Best Actress in a Comedy or Musical was a head-scratcher. This was a very dramatic role, but the Globes had already given Best Actress in a Drama to Jessie Buckley for “Hamnet” and, no doubt, felt a need to honor Byrne for her brave performance. The Globes has done this in the past when they felt the need to honor two different actors who should have been in the same grouping. Case in point was when they shoehorned Matt Damon in “The Martian” into the Comedy and Musical category. Byrne is very good but has a tendency to play this role at the top register, leaving her very little room to maneuver to the quieter moments.

Kate Hudson’s Best Actress nomination was for her role in “Song Sung Blue,” playing Claire, part of a Neil Diamond tribute duo. The film, one of my favorites of the year, did not get a lot of love from the Academy and Hudson campaigned hard for the film and her role in it. As Claire, she showed the range and depth of a middle class woman who finds happiness in life with the right partner only to be felled in a freak accident and have to claw her way back to health. It could have been cliché. Even though this is based on a real person, the “finding happiness in love and life, losing it all and then working to regain it” is not a new concept. That Hudson breathes life into this formula is a tribute to her acting.

What were the surprises and snubs? There were several. From my point of view, “F-1” was a nod to commercial success. It was certainly deserving of all the technical nominations it received, but it was a stretch to call this overworked scenario full of stereotypic characters a viable Best Picture. I feel similarly about “Train Dreams,” which left me cold from beginning to end. I still can’t figure it out. Ethan Hawke’s nomination for “Blue Moon” was a surprise but, given that Paul Mescal was the actor who would probably have gotten that slot, it was, as they say, six of one half a dozen of another. Elle Fanning’s Best Supporting Actress nomination still puzzles me. She’s fine but doesn’t rise to the level of the others in the very fine “Sentimental Value.”

The snubs were more plentiful. The omission of “Wicked for Good” was startling. It was a box office behemoth with the same wonderful cast and marvelous effects. Of no more substance than “F-1,” it surely deserved a place at the same table.

Jesse Plemons, as critical to “Bugonia” as Emma Stone, was, for some reason, not nominated in either the Best or Supporting Actor category. It’s a puzzlement, as the lyrics from “The King and I” express. I was surprised that Jennifer Lawrence did not get a nomination for her harrowing portrayal of a woman in the throes of mental illness brought on by postpartum depression, exacerbated by an unfaithful husband and an unfriendly environment in “Die, My Love.” Lawrence was outstanding in a film that wasn’t, so it’s probably similar to a great player on an unremarkable team not getting an MVP. Kathleen Chalfant was amazing in a little-seen film called “Familiar Touch.” She portrayed a woman descending gradually into dementia as she adjusts to her new assisted living quarters. Rarely, if ever, has the slow tumble into memory loss, with occasional flashes of lucidity, been depicted with such sensitivity and subtlety. Criminally underused in film and on stage, Chalfant has always been an actor of immense depth.

My favorite film of the year, “The Life of Chuck” was ignored along with Tom Hiddleston, an actor who deserved a nomination. Granted, this small film, based on a Stephen King novella, had an interesting but confusing structure, starting at the end and ending at the beginning, it demanded a great deal of attention on the part of the viewer to put the puzzle pieces together. But the clues are all there in a poem by Walt Whitman and Carl Sagan’s explanation of the Cosmos, leading to the eventual understanding of the intersecting parts and players. It is totally satisfying and begs to be watched multiple times (I’ve seen it four times and each deepens my understanding of King’s intentions). Hiddleston portrays Chuck with colors that I didn’t even know existed. Assured from end to beginning (remember it starts with Act Three and ends at Act One), he is the everyman for every occasion. As this film, and his stage work, attests, Hiddleston is so much more than Loki! See it on Netflix.

Watch the Oscars on ABC and Hulu on March 15 at 4 p.m. Pacific Time. Conan O’Brien is your host.  

Neely Swanson spent most of her professional career in the television industry, almost all of it working for David E. Kelley. In her last full-time position as Executive Vice President of Development, she reviewed writer submissions and targeted content for adaptation. As she has often said, she did book reports for a living. For several years she was a freelance writer for “Written By,” the magazine of the WGA West, and was adjunct faculty at USC in the writing division of the School of Cinematic Arts. Neely has been writing film and television reviews for the “Easy Reader” for more than 10 years. Her past reviews can be read on Rotten Tomatoes where she is a tomatometer-approved critic.

The post Hits, Misses and Oscars, Oh My Part II appeared first on Beverly Hills Courier.

Although both sides would deny it, the timing of the Golden Globes broadcast on Jan. 11 announcing its winners is, no doubt, designed to influence Oscar voters, whose nomination ballots were due on Jan. 16.  The Globes especially like to point out their prescience because many of their award winners will also walk away with the golden trophy on March 15. Year in and year out there is a great deal of overlap, helped by the fact that the Globes give contenders two shots at the Best Picture and Actor top prizes because they have two categories: “Best Motion Picture (Actor) Drama” and “Best Motion Picture (Actor) Comedy or Musical.” The Golden Globe winner in Drama was “Hamnet,” for Best Musical or Comedy, it was “One Battle After Another” (a comedy?). Best Actor and Actress in a Drama were, respectively, Wagner Moura for “The Secret Agent” and Jessie Buckley for “Hamnet.” Best Actor and Actress in a Musical or Comedy were Timothée Chalamet for “Marty Supreme” and Rose Byrne for “If I Had Legs, I’d Kick You” (very few if any yucks in that one). Voting for the Oscars has just begun and ends Feb. 18.

Although Box Office receipts for most of the Best Picture nominees were not stellar, the few exceptions were for “F-1” and “Sinners,” although the late 2025 premieres of “Marty Supreme” and “Hamnet” are showing strength in the early 2026 returns. And…the Award for best  Box Office and Commercial Appeal should go to “F-1” and “Sinners.”

“Sinners” definitely deserves its place at the table. To call it a horror film or zombie movie is to diminish the actual artistry of this innovative film starring Michael B. Jordan (nominated in the Best Actor category) as twin brothers trying to build a business in an unfriendly (to say the least) environment. Character development, dramatic twists and turns in a story that is as much about prejudice as it is about perseverance, and outstanding acting make “Sinners” one of the front-runners for Best Picture. Director Ryan Coogler, nominated for Best Director, uses metaphor in a way that makes this film transcend its so-called “horror” genre. I never saw any of it coming and if you haven’t seen it, catch up with it on MAX.

“One Battle After Another,” like “Sinners,” takes an innovative approach to the oft-told “apocalypse” genre and finds ways to make it new. With a cast that includes Leonardo DiCaprio (nominated in the Best Actor category), Sean Penn (nominated for Best Supporting Actor) as a slimy villain just this side of V from “V for Vendetta” and Benicio del Toro (also nominated for Best Supporting Actor) as a low key but heroic counterpoint to Penn’s character. Directed by Paul Thomas Anderson (nominated for Best Director), he tells a complex story of the fight against man’s inhumanity to man with humor and depth. It probably has a marginal lead over “Sinners” for Best Picture, although both are deserving. Watch it on MAX.

“Sentimental Value” is a sleeper. A Norwegian movie (also nominated for Best International Film), it tells the story of an actress, Nora, at a crossroads with her career, her family and her life in general. It’s all complicated. Her father, Gustav, a famous film director, abandoned the family after his divorce from his psychotherapist wife. Their two daughters continued to live in his family home with their mother, a home that had been in his family for generations. With the death of his ex-wife and his career in decline, he returns to claim the house, evicting daughter Agnes and rekindling all the resentments that Nora had held in check. Ulterior motives abound because Gustav has a script and he needs Nora to play the lead role, one based on their family dynamics and his hidden demons. Directed flawlessly by Joachim Trier (nominated for Best Director), who proves that no matter how familiar the story, there’s always a new approach and his approach is filled with complexity and character development. Starring the incomparable Stellan Skarsgård as Gustav, nominated for Best Supporting Actor, Renate Reinsve, Nora, nominated for Best Actress, with Elle Fanning, as an American actress and Inga Ibsdotter Lilleaas, playing Nora’s sister Agnes, both nominated for Best Supporting Actress. This small, thoroughly engaging and thoughtful film garnered five major nominations, the same number of major nominations as “One Battle After Another,” and both were nominated in their respective writing categories.

“Marty Supreme” was a real surprise and very worthy of its spot on this roster. Who could ever have imagined that a movie about a professional ping pong player and conman would find its way to the Oscars? The script is inventive, the directing by Josh Safdie, Oscar-nominated for Best Director, is fast-paced, and the acting, oh the acting. Timothée Chalamet is nothing short of brilliant in the role of Marty Mauser and was rewarded with a nomination for Best Actor. He makes the film positively soar with his Machiavellian antics. His Marty goes well beyond misrepresentation into the realm of amoral deception all in the name of getting to that next international tournament. Aided ably by Gwyneth Paltrow as a jaded ex-movie star caged by her captain of industry husband, played by a brilliant and absolutely chilling Kevin O’Leary, the Canadian businessman and “Shark Tank” producer. Odessa A’zian is Rachel, who will stop at nothing to trap Marty for herself. Watch for a very subdued and effective Fran Drescher as Marty’s mother. This is Timothée Chalamet at his zenith and illustrating, once again, his ability to melt seamlessly into a role, bringing us with him. If I had a vote, it would be for him.

I was very much looking forward to “Hamnet,” one of my favorite books of the last several years. I broke my hard and fast rule to judge a film on its own and not on its underlying material and was disappointed. The setting of Elizabethan England was lush but the story was somewhat flat. Shakespeare, played by Paul Mescal, was thunderstruck by the beauty and free spirit of Agnes when he first saw her. He was the Latin tutor of her brothers and she was the Cinderella daughter of her father’s first wife, unbeloved by his second. Director Chloé Zhao, nominated for Best Director, focuses almost the entire story on Agnes, Oscar-nominated Jessie Buckley. Shakespeare is often the missing ingredient in the story of his wife raising their children on her own as he goes off to direct his plays in London. Uninterested in his life, she focuses on the day- to-day difficulties of their hard scrapple life. Losing their son, Hamnet, to the plague is devastating, and it is only this that seemingly brings them together. As bland and plodding as the film was throughout most of the runtime, it makes up for it in the last sequence when Agnes finally goes to London to see the play that bears their dead son’s name, “Hamlet.” It proves again that a spectacular ending can resurrect a moribund film.

Nobody could have been more surprised than I was to find “Bugonia” an engaging and remarkable movie. Having sworn off the films of Yorgos Lanthimos after “Kinds of Kindnesses,” I realized it was the only one of the 10 nominations for Best Picture that I hadn’t seen. Starring his muses Jesse Plemons and Emma Stone, staples in his previous films, they tell the story of a bedraggled duo of conspiracy theorists who are convinced that a Pharma CEO, the Oscar-nominated Stone, is part of an alien network hell bent on subjecting and then destroying the population of earth. Kidnapping her, it is a battle of wills and brains between the outmatched Teddy (Plemons) and the brilliant Michelle (Stone). Not an easy film to follow, Lanthimos’ signature hyperreality and supersaturated colors do end up with a surprise, killer finish, one that, if not out of thin air, is definitely out of this world.

“Secret Agent,” like “Sentimental Value,” is also nominated for Best International Film. Telling the story of a heroic individual, marked for death because he disrespected a corrupt businessman with powerful governmental ties, he decides it’s time for him to return home to Recife and reconnect with his son. Together they will leave Brazil for a safe haven elsewhere, or at least that is the plan. Anchored by the stunning performance of Wagner Moura, nominated for Best Actor and winner of both the Golden Globe and the Cannes Film Festival for Best Actor, his Marcello takes us into the clandestine world of others trying to escape the injustice about to be meted out for spurious reasons. Director Kleber Mendonça Filho drags you slowly into a spiderweb from which the characters cannot escape. It is a film very much for today when thin-skinned politicians target political rivals, seek retribution and misuse the judiciary. Yes, this is a film of and about Brazil but sadly it’s no longer just Brazil.

Part II will highlight Best Film nominations that puzzled me or were not up to the level of those discussed in Part I, as well as Best Actor nominations that were not part of movies nominated in the top categories. And then, there are the surprises and snubs, because there are always some, although everyone has their own opinions of what they were. You get my opinion.

Neely Swanson spent most of her professional career in the television industry, almost all of it working for David E. Kelley. In her last full-time position as Executive Vice President of Development, she reviewed writer submissions and targeted content for adaptation. As she has often said, she did book reports for a living. For several years she was a freelance writer for “Written By,” the magazine of the WGA West, and was adjunct faculty at USC in the writing division of the School of Cinematic Arts. Neely has been writing film and television reviews for the “Easy Reader” for more than 10 years. Her past reviews can be read on Rotten Tomatoes where she is a tomatometer-approved critic.

The post Hits, Misses and Oscars, Oh My! Part I appeared first on Beverly Hills Courier.

“Sirāt” is as full of life as it is of death; of the found and the lost. Luis is a father who has ventured into the unforgiving Moroccan desert with his young son Esteban. The pulsing bass of the subwoofers, the scantily clothed hordes, heads and bodies shaking, sweating and dancing in ecstasy in the relentless heat announces that he has found his destination. They are searching for his daughter and Estaban’s sister, Mar, who disappeared months ago into the black hole of rave culture. Determined to find her, they pass out flyers with her picture without result. Seemingly in the middle of nowhere, far from any urban areas, a battalion of army vehicles arrives to evacuate the ravers from riots that are taking place elsewhere in the country.

An intrepid crew of outcasts decides to flee and continue on to the next rave, alleged to be in Mauritania, to the south of Morocco. Luis, in his ill-equipped car with his son and their dog, is determined to follow them despite their warnings. The terrain will be punishing, at times over rocks and treacherously narrow unpaved paths. The professional ravers drive two ancient, well-broken-in massive Land Cruisers, large enough to sleep in and still carry all their living necessities. Luis will not be dissuaded. He has bonded with this group of international (French, English and Spanish) misfits: Josh, Stef and Jade, tatted and equal to the men, one-legged Tonin and Bigui, jolly, profane and missing part of one arm. Like camp followers, this intrepid group goes on instinct, not maps, to follow their dreams. Exiled from mainstream society, they find beauty that others overlook.

Luis is Laxe’s everyman. Like most of us, he lives an ordinary, anonymous life and, like most of us, he keeps life at arm’s distance, comforted in the lack of challenge, startled when confronted by something outside his norm. This is exactly what happens to him on the road trip he’s chosen, one he hopes will bring him to his daughter. Instead, he is confronted head-on by life and death, changing him immeasurably both for good and bad. This band of merry ravers lives life as it comes, facing its challenges and asking nothing more than continued adventures. Unrooted, unprepared, they relish this arduous journey not just for the goal at the end but for the unexpected that they face on their way. Luis, for whom his son and daughter are everything, has taken this trip not to bring his daughter back but to connect, to see her again. With his daughter’s disappearance, his world has been thrown off its axis. He is perplexed by this motley group. Do they not have families who miss them? They are as puzzled by him as he is of them. Of course, they have family; it is their cherished family with whom they live and travel every day. Family is not who you are born to, it is who you choose. They are the people St. Francis was thinking about when he said, “Grace is found especially among the excluded.” They are the very embodiment of the Beatitudes: “Blessed are the meek, for they will inherit the earth; Blessed are the merciful, for they will be shown mercy;  and “Blessed are those who mourn, for they shall be comforted.”

The tone of “Sirāt” is its strength because starting off as a careless, happy, almost joyous road trip, an adventure to add to the many they have already experienced, it changes abruptly, a jagged chasm opened by an unexpected 7.5 earthquake, making us understand that how one confronts death is deeper and more fundamental to living than how one faces and lives life.

The cinematography by Mauro Herce sets the screen on fire. The Moroccan desert with its terracotta plateaus rising from the flat, beige Sahara, wisps of heat rising from the flat surfaces disturbed only by the gyrating bodies communing with the thumping bass of the loudspeakers is visceral imagery. The relentless danger from the unpaved roads followed by the intrepid family of voyagers is in direct contrast to Herce’s beautiful mountain backdrops that belie the dangers of the road. His photography of the rocky terrain is such that you feel the sting of their sharp edges. His color palette is as intense at times as it is muted at others. Herce has made the relentless landscape a character as important as the humans traversing it.

Kangding Ray’s score is immersive. As important to the film as the photography, he transitions seamlessly from the thumping boom of the rave’s techno beat to soothing, almost spiritual background music as they head off down the road until it disintegrates into cacophony as they face increasing obstacles along the way. He won the Soundtrack Award at Cannes for his score.

The actors, the majority of whom have only one credit on a television news series called “Arte Journal” in 1998, inhabited this movie and draw you into this heart of darkness with their amazing depth and focus. Working together as a cohesive unit, a bond that must have been shared before, the ravers are Stefania Gadda as Steff, Joshua Liam Hererson as Josh, Jade Oukid as Jade, the extraordinary one-armed Richard “Bigui” Bellamy as Bigui, the mesmerizing anchor of the group, and their graceful, peg-legged leader Tonin Janvier as Tonin. Bruno Nuñez Arjona plays young Esteban with wide-eyed wonder and the adolescent penchant towards danger.

The main reason, if any other were needed, to see this or any other movie is its star, Sergi López, an internationally acclaimed Spanish actor with credits that range from del Toro’s masterpiece “Pan’s Labyrinth” to his César-winning role in “A Friend Like Harry.” Whether playing heroes, villains or anything in between, his malleable face expresses longing, fear, hope, tragedy and the will to live. Both his sense of defeat and his will to continue are written not just on his face or in his voice but in his body and whole being. For me, López is an actor that I will watch regardless of the material, and he has always surprised me, that rare actor who is as effective in French and English as he is in his native Spanish. He elevates the material and this is even the case when the underlying story was already close to perfection.

Director/writer Oliver Laxe, collaborating with writer Santiago Fillol, winner of the 2025 Jury Prize at Cannes, has given us a story that is as universal as it is specific, bringing all the elements, photography, music and acting, together in a cohesive whole that will have you reeling. Submitted by Spain for awards consideration, it has been nominated for both an Academy Award and an Independent Spirit for Best International Film.

In Spanish, French and English with English subtitles.

Opening Feb. 6 at the Landmark’s Nuart Theatre.

Neely Swanson spent most of her professional career in the television industry, almost all of it working for David E. Kelley. In her last full-time position as Executive Vice President of Development, she reviewed writer submissions and targeted content for adaptation. As she has often said, she did book reports for a living. For several years she was a freelance writer for “Written By,” the magazine of the WGA West, and was adjunct faculty at USC in the writing division of the School of Cinematic Arts. Neely has been writing film and television reviews for the “Easy Reader” for more than 10 years. Her past reviews can be read on Rotten Tomatoes where she is a tomatometer-approved critic.

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Under the tutelage of her friend Stuart, she begins her journey with the hawk. Ironically, it’s not Helen training the bird, but the bird who is training Helen. Completely absorbed in the project, the recalcitrant hawk takes over her life. It’s a long road toward trust and the bird, at the beginning, won’t eat or obey. She takes him everywhere, something that displeases the resident directors, who remind her that pets are not allowed in campus housing. As she explains to one and all, her bird, now named Mabel, is not a pet.

As she becomes more and more absorbed in what may have started as a hobby but is now a life choice, she begins to neglect her classes, students and work. Her best friend Christina, still around despite the ghosting behavior of Helen, watches out for her friend as she goes down the rabbit hole of obsession.

Helen’s memories of significant moments with her father blend into her total consumption of Mabel’s behavior. Mabel is more attached to Helen than the jesses, the leather straps that keep her secured to Helen’s wrist as she trains. This is an inverse relationship because the more independent and proficient at hunting untethered Mabel grows, Helen becomes more dependent on the bird, worrying whether it will return or whether it will find its prey. Helen, the formerly neat and natty lecturer, nails done, hair coiffed, attire immaculate, gradually descends into slovenliness from dress to hygiene. Her classes are neglected and her future in doubt, Helen sees only the hawk, a substitute for her lost attachment to her father.

“H Is for Hawk” is based on the memoir by Helen Macdonald, who spent a year training a goshawk after her father passed away suddenly from a heart attack. It is a slim story made better by the extraordinary cast. In an undeveloped role, Lindsay Duncan as Helen’s mother, exudes care and concern. Denise Gough is Helen’s best friend Christina, whose loyalty is a touchstone both to Helen and the film. Brenden Gleeson as Helen’s dad, is always a welcome presence and a highlight of this small movie. It is easy to understand how wonderful an influence he was on his daughter, and how great a loss his absence is. Gleeson is an actor who would make the telephone book (remember those?) fascinating reading. Simultaneously gruff and warm, as a father he would be irreplaceable. Claire Foy is an exceptional Helen. She lets you see all the enthusiastic promise that her character held and breaks your heart as you see her obsession take over every aspect of her life, an obsession that merely masks but doesn’t replace her aching loss. Helen becomes a case study in depression.

The narrative is slight and ends rather abruptly, but it’s still an absorbing film full of character development and depth. Mabel the goshawk is, at turns, frightening and loveable, undergoing changes that dominate the screen and her mistress. The cinematography is excellent, highlighting the beautiful countryside around Cambridge. The film never drags, and just the falconry alone is worthwhile experiencing.

Now playing at the Laemmle Monica Film Center.

Neely Swanson spent most of her professional career in the television industry, almost all of it working for David E. Kelley. In her last full-time position as Executive Vice President of Development, she reviewed writer submissions and targeted content for adaptation. As she has often said, she did book reports for a living. For several years she was a freelance writer for “Written By,” the magazine of the WGA West, and was adjunct faculty at USC in the writing division of the School of Cinematic Arts. Neely has been writing film and television reviews for the “Easy Reader” for more than 10 years. Her past reviews can be read on Rotten Tomatoes where she is a tomatometer-approved critic.

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“A Private Life” is a multifaceted title referring not just to psychiatrist Lilian Steiner (Foster) who has compartmentalized all the parts of her life, but also to the patients in her practice. Certainly everyone has a private life, a life separated from the professional, the family and the inner self, but not all of them are quite as complicated as the many rigid lives of Dr. Steiner. A psychoanalyst, she tries to make her patients adhere to the times she has allotted them. Not pleased one evening when a client shows up unannounced, she reluctantly lets him in. He’s through, he tells her. He has been coming to her for many years in an effort to stop smoking and, until just last week, he still smoked. What did the trick, he tells her, was not her therapy but his visit to a hypnotist who cured him in one short session. Not only is he no longer in need of her services but he’s angry that his sessions on her sofa did him no good. Stoically, she reminds him that much more than smoking was discussed and that cures for specific ills are not guaranteed. Off he huffs, vowing never to set foot in her office again.

More problematic news follows when she learns that Paula, a longtime patient, has died. Lilian is floored. Attending the funeral, she is confronted by Paula’s outraged husband who, inexplicably, blames her. Leaving, she records his reaction. His guilt, she thinks, is misdirected at her. But she’s troubled. Tears begin to pour down the cheeks of the formerly implacable Steiner. This has never happened before and she is powerless to stop the flow, no matter the situation. Perhaps her ex, Gabriel, a leading ophthalmologist, can help. Examining her, he is amazed. “I think it’s the first time I’ve ever seen you cry,” he says. “I’m not crying,” she exclaims. “It’s my eyes that are.” He tells her that everything is normal. “Did something happen?” “No,” she replies. “Nothing special.”

Still, the tears keep coming. Paula’s daughter arrives with the information that Paula’s death was a suicide using the pills prescribed by Steiner. Though she can submerge her feelings, she cannot stop the tears. She continues to see patients; her tears continue to flow. Frustrated to the point of exhaustion, she does the unthinkable and visits her former client’s hypnotherapist, Jessica, a woman who specializes in Ericksonian hypnotherapy, where focus on the present is given precedence over Freud’s self-exploration of past events. Remarkably, Jessica tells her she can’t stop her from crying because something within her needs to cry, needs to be in mourning. What she will do, however, is take her back to the past; open a portal to a past life that might give credence to what she’s feeling. Skeptical, Lilian allows Jessica to hypnotize her, and what she finds in this imagined past is remarkable, opening something within her, symbols that may have representations in her present.

Lilian clings to the past life portal that has been opened, finding in it another way to dismiss the here and now. Remarkably, the tears have stopped. Now she must unravel the death of Paula, convinced she couldn’t have missed the symptoms. Listening to one of Paula’s taped sessions, she discovers a possible hint to her death, a secret that Paula kept. She must have been murdered. Meeting Gabriel for dinner, she enlists him as her partner in solving what she is certain is a crime. She becomes more convinced than ever that foul play is involved when she returns home to find her office ransacked and the critical tape of Paula’s last session missing.

It is at this point that Zlotowski’s film veers away from psychodrama and into the realm of the slightly wacky, as Gabriel and Lilian follow what they think are clues to what Lilian is convinced is a murder, drawing them closer together than they have been in years. At this point the film has a slight “Only Murders in the Building” tone that might have worked a bit better if it hadn’t been a complete left turn. Nevertheless, this departure from the somber opens up the character of Lilian, who up until now was what one might politely call a stiff. The challenge of the chase, underscored by the weird past life scenario, serves to allow Lilian to relate more humanely to those around her, especially her much maligned son and the grandchild whose mere presence makes her wince. Zlotowski’s intent is to present Lilian as a new woman, less self-involved and more willing to deal with the ambiguities in her own life.

Zlotowski, both as director and co-writer with Anne Berest, was, perhaps, a bit overly ambitious. The various turns in tone and subject matter don’t always work but, if you stay with it until the end, the character development of Lilian Steiner from therapist to human being is quite satisfactory. Helping enormously is the amazing cast she assembled. Jodie Foster, a four-time Academy Award nominee and two-time winner, is remarkable as Steiner. A still-beautiful woman, aging gracefully, the lines etched along her mouth attest to years of stress and no release, characteristics endemic to this physician. Foster is able to convey tension and coldness in her posture as well as her eyes. She is a marvel to watch and would be reason enough to see the film.

But Foster isn’t the only stellar member of this cast. Daniel Auteuil, star of countless iconic films and an icon himself, plays Gabriel, Steiner’s husband. His warmth offsets her froideur; their chemistry is palpable. Nominated for 14 César awards (the French Oscar) and winner of two, he lends importance to any film in which he appears and he is one of the reasons to stay with this one. Virginie Efira, a César winner for “Revoir Paris,” plays Paula and capitalizes on the mystery of her character, making a big impression with the little screen time she has.

Mathieu Amalric, familiar to American audiences for his roles in “Munich” and “The Grand Budapest Hotel,” is a 10-time César nominee (for writing, directing and acting) and three-time actor César winner, playing Paula’s surviving husband Simon, his anger and sadness colliding effectively into explosiveness. A favorite of mine is Vincent Lacoste who plays Steiner and Gabriel’s son Julien. His realistic disappointment can be read all over his being, engendering sympathy as the neglected son of a troubled mother. A César winner for “Lost Illusions,” you would do yourself a favor to see this exquisite film (streaming on Amazon). Sophie Guillemin plays Jessica the hypnotherapist with conviction and Frederick Wiseman, a highly regarded documentarian and French favorite, is Dr. Goldstein, Steiner’s former professor, now colleague, whether he’s willing to admit it or not. The nonagenarian Wiseman approaches his role with a well-earned twinkle in his eye. Don’t miss his outstanding documentary “Menus Plaisirs – Les Troisgros” on PBS Passport.

Editor Géraldine Mangenot keeps the flow continuous even when the tone changes and cinematographer George Lechaptois makes his relatively dark palette find depth as the film takes a film noir turn.

Any reservations I have, and I do have them, relate to the choppy way in which Zlotowski changes the tone. Veering from personal crisis to a somewhat ineffective film noir homage, she then segues into a rather unconvincing farcical-mystery investigation. She finally arrives at a satisfying, if too hasty, romantic-comedy reconciliation between Steiner and her ex. The parts never completely coalesce into a whole. Although primarily a character study of the psychiatrist, in lesser hands, Steiner’s personal rehabilitation would not ring true, but Foster, the consummate actor, makes it believable.

In French with English subtitles.

Now playing at the Laemmle Royal 

Neely Swanson spent most of her professional career in the television industry, almost all of it working for David E. Kelley. In her last full-time position as Executive Vice President of Development, she reviewed writer submissions and targeted content for adaptation. As she has often said, she did book reports for a living. For several years she was a freelance writer for “Written By,” the magazine of the WGA West, and was adjunct faculty at USC in the writing division of the School of Cinematic Arts. Neely has been writing film and television reviews for the “Easy Reader” for more than 10 years. Her past reviews can be read on Rotten Tomatoes where she is a tomatometer-approved critic.

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Man-su is living the good life with his lovely wife Miri, two children and two golden retrievers in a bucolic suburb in a custom home with all the amenities. He’s earned it. Working for one of the leading paper factories in the country, he’s good at his job, one he’s held for almost 25 years. He’s the very picture of self-satisfaction as he fires up his Weber Grill to barbecue the eel that has been sent to him in appreciation from his company. Certainly he is spending above his means, but he’s not worried. The eel was a symbol of the esteem in which he’s held and will, he is sure, result in a promotion and raise. Company loyalty is something he can count on— until he can’t. Called into the office, with a large group of other staff, he is told that their company is being merged with another and he is among many being made redundant. Not to fear, he is told. With his ability, experience, Japanese language skills and their self-help seminars, he should find a job in no time … or at least within three months. After all, he was, at one time, Pulp Man of the Year.

But this is no mere temporary layoff; paper companies across the country are consolidating and Man-su is still unemployed after many months. It’s not just the lack of money, but the loss of face. Overdue bills are piling up and they are behind on their mortgage. So sure that he would be back at work in no time, he continued spending and living a high life that they can no longer afford. His wife has realized that they are in a hole and has taken a job, and by doing so has seemingly announced their loss of status to the rest of the world, or at least to their social set. Still, Man-su will not retrench or retreat. What he needs is a new plan.

There are very few available jobs after all the company mergers and Man-su has graphed out where they are and against whom he might be competing. Of the dozen or so men who are out of work, he has determined that only two or three would be his direct competitors. How can he stand out against them? How can he get the job that might go to one of them instead? Man-su is a realist. Reviewing their skills and comparing them against his own, they would probably be higher on the ladder. The odds are stacked against him and that, in itself, calls for drastic action. He will eliminate the competition, literally and figuratively.

He is adept at mapping out the competition, where they live and what their weaknesses might be. He knows where to find his rivals but dispatching them efficiently without leaving clues is not his strong suit.

Most of the humor in this film is derived from Man-su’s attempts to kill his rivals. It must be said that he does get better at it the more he tries. But this is only one of the tools that director Park Chan-wook uses to highlight the ills of society. Unlike corporate America, the working man in Korea, much like the “company man” of Japan, has come to expect the same loyalty from their employers as they have given to them. Company men like Man-su, protective and loyal to the men (it is almost always men) they supervise, were always led to believe that there would be a pay off. The pay-off they were expecting has become a kiss-off at the end of the road. At the same time, Chan-wook is poking fun at the Korean version of American-style consumerism, spending and debt accumulation. Man-su’s superficiality is underscored by his wife’s willingness to live a simpler life, one they can afford. She is Chan-wook’s heroine, willing to step back from her position in society and work, protect her children and loyally stand by her man.

Especially pointed is a scene in which American businessmen arrive at the factory to judge its suitability as a target. Their dismissive attitude towards the workers is a harbinger of things to come, highlighting the disconnect between honor and profit that will soon take place.

The characters are well drawn; that their development is sadly lacking, in most cases, is a deliberate choice. That no one learns anything from their actions is the point. The writing is sharp, with contributions from Chan-wook, Lee Kyoung-mi, Don McKellar and Jahye Lee. It is significant to note that both Chan-wook and McKellar, creators of the HBO television series “The Sympathizer,” were expelled from the WGA for continuing to write for that series during the strike in 2023. As a Korean film, the sanctions were not applicable.

The acting is uniformly good. Lee Byung-hun as Man-su becomes more finely tuned in his actions as he “matures” into a more adept murderer. Son Ye-jin, Miri, is the very picture of a helpful wife, supportive but worried, only slightly, as she sees her husband edge closer to mania and become more secretive. The first target of Man-su’s plot, Bummo (Lee Sung-min), much like Man-su, has been living above his means and has taken to drink; his wife Ara (Yeom Hye- ran) has reached her limit with him. He has become a weight around her neck and, whether inadvertently or deliberately, she aids Man-su against her husband.

There is no argument that “No Other Choice” is darkly humorous. The ending is a killer, so to speak, but not literally. It is a payoff that makes the bloated 2½ hour run time worthwhile. The problem is that in each setup, it takes too long to get to the payoff, making the film drag. My enthusiasm would have been greater if “No Other Choice” had been 90 minutes long.

In Korean with English subtitles.

Opening Dec. 25 at the AMC Grove 14 and the AMC Century City 15. Opening wide Jan. 2. 

Neely Swanson spent most of her professional career in the television industry, almost all of it working for David E. Kelley. In her last full-time position as Executive Vice President of Development, she reviewed writer submissions and targeted content for adaptation. As she has often said, she did book reports for a living. For several years she was a freelance writer for “Written By,” the magazine of the WGA West, and was adjunct faculty at USC in the writing division of the School of Cinematic Arts. Neely has been writing film and television reviews for the “Easy Reader” for more than 10 years. Her past reviews can be read on Rotten Tomatoes where she is a tomatometer-approved critic.

The post ‘No Other Choice’ appeared first on Beverly Hills Courier.

For Alderman Duxbury (Roger Allam), the owner of the local mill, there is another loss to contend with. He founded and funds the local choral group, and their director has just enlisted. Replacement choices are few. The local photographer has a suggestion that won’t go down easily. Dr. Henry Guthrie (Ralph Fiennes) has returned to town and may be available. As undertaker Herbert Trickett (Alun Armstrong) points out, he won’t be a popular choice. Guthrie has spent many years in Germany as a much-respected artist. The locals will look unfavorably on what they perceive to be consorting with the enemy during these times. But Guthrie it is and it will be Bach’s St. Matthew Passion that he will be conducting. But possibly not. The anti-German feeling extends to anything written by Bach, Beethoven, Brahms and Mendelsohn. Instead, he chooses “The Dream of Gerontius” by Elgar. They are aghast. Elgar? Composer of “Pomp and Circumstance”? Guthrie explains that Elgar has more facets than marches, and he had a grand success in Germany conducting the “Gerontius.”

Guthrie, his standards high, calls for auditions, and every available voice in town is conscripted into his army of music. A few gems are found, but everyone else will be used to fill out the background. More problematic is the Alderman. He demands to sing lead tenor. He is the right age to play an old man dying and being led away from the devil by an ethereal young maiden; a tenor, however, he is not.

Every member of the choral, young and old, has their own drama going on. For Lofty, Ellis and their friend Mitch, it’s about girls and how to get them. For Mary, the young Salvation Army soprano and one of the gems, it’s finding her voice and who she is; for Bella, it’s discovering where her passion lies. Is it with her missing-in-action fiancé Clyde or her new flirtation with Ellis? Life becomes even more complicated when Clyde returns, minus a limb but eager to rekindle their romance. A former star of the choral, Clyde is reluctant to return to the choral when he realizes he’s been replaced in Bella’s heart. Pressure is exerted and he acquiesces, bringing with him his beautiful tenor. They need a star tenor to anchor the production and it isn’t the Alderman. If Guthrie rewrites the scenario of “Gerontius,” making the old man a young man, Clyde, who is dying in the war, reframing all the other actors as soldiers and Mary as a nurse then they would have a viable scenario. Even the Alderman is thrown a bone and promised the role of the devil.

It’s all highly suspect, reworking Elgar’s composition, but they are in a small village so it’s unlikely he’ll find out. But Mary has learned that he is receiving an honorary degree in Manchester, less than an hour away, and without Guthrie’s knowledge she invites him to a rehearsal. What are the chances? Elgar arrives and discovers their plans, going ballistic and threatening them all with a lawsuit. What started off promisingly ends very badly as he huffs off to the limo that brought him. Will they proceed? You will have to wait and see.

The plot is a good one, but Bennett has overladen it with subplots, denying each its own proper development. His ambition to tie the  inhumanity of war into the embrace of music that would soothe the savage beast was noble but far too diffuse. It was as if Bennett wove a tapestry, but forgot to tie the threads and they unraveled. It often feels like a play with too many characters. The enigmatic character of Guthrie shows very little depth. His time in Germany leaves us with questions and no answers, only hinting at his former life. His character has some marvelous unspoken moments, but subtext is one thing and total inscrutability is another.

All of the characters interact easily and knowingly but we’re not in on the game. There is enough drama in fitting disparate, sometimes dissonant souls into a life-defining concert, but it is a drama that is blunted by the many poorly defined interactions outside the rehearsal hall. Too much going on is the same as not enough.

The fault doesn’t just lie with Bennett’s screenplay but also with his longtime collaborator Hytner. It is the director’s job to keep things moving for the audience to engage and help the actors deepen their performances. The pace is often glacial, hovering too long on a meaningful look or an unspoken moment of longing. One of the greatest theater directors working today, it is surprising that he was unable to drive the action so that there was a compelling pace.

The cast was filled with famous names who should have lit up the screen. Roger Allam, the Alderman, is a star of stage, television and screen. He was the original Javert in “Les Misérables,” so it was a nice piece of acting for him to sing poorly as Girontius. The other elders, have little to define them. The youngsters were all good, especially Jacob Dudman as Clyde who effectively portrays a heartbreak that involves more than lost love. Ralph Fiennes as Guthrie was good, but it’s disappointing that he wasn’t great. He is little more than a tense, mysterious man who withholds emotion from everyone.

The true bright spot in all of this is the appearance of Simon Russell Beale as the officious, grandiose and lecherous Elgar. Arriving like a summer wind and exiting like a howling storm, this man of genius lets it be known that he has no equals and certainly not in the hinterlands. His performance makes you wish there had been more of that energy in the rest of the production.

“The Choral” is a good movie and worth a view. Its themes are effective and universal. I was just hoping it would be better and more resonant.

Now playing at the Laemmle Royal; wide release to follow on Jan. 16. 

Neely Swanson spent most of her professional career in the television industry, almost all of it working for David E. Kelley. In her last full-time position as Executive Vice President of Development, she reviewed writer submissions and targeted content for adaptation. As she has often said, she did book reports for a living. For several years she was a freelance writer for “Written By,” the magazine of the WGA West, and was adjunct faculty at USC in the writing division of the School of Cinematic Arts. Neely has been writing film and television reviews for the “Easy Reader” for more than 10 years. Her past reviews can be read on Rotten Tomatoes where she is a tomatometer-approved critic.

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Eden is a wild child. Sexy, outrageous, unfettered by the restraints of society, she goes her own way, certain of her younger brother Nati’s approval and belief in the lack of boundaries she sets. As far as she is concerned, they have no secrets; they share everything. Ragged, raw, untethered, Eden demands attention and obedience. On Nati’s birthday, she has him kidnapped, terrifying him until he is released to her on a cliff overlooking the deep blue sea. She finds it hilarious; he, not so much. Eden exudes an almost incestuous adoration of Nati, one that clearly has him on edge, unnoticed by her. Finally escaping her bacchanal, he texts someone he is on his way. Distracted, a car slams into him and his young life ends almost before it begins.

Lost, angry, self-focused, Eden spends the evening after his funeral dancing with abandon at the techno nightclub she frequents on a daily basis. She would rather lose herself in her married lover’s arms than take the time to mourn, and if he won’t comply she’ll find others who will. When she suddenly learns that her brother had a girlfriend, someone he hid from her, she loses whatever small control she had over her emotions and determines to find this other person. Stalking her, she’s outraged by how ordinary this girl is. Her name is Maya and she lives with her mother. She is modest, studious and an inconceivable match for the beloved brother she thought she knew so well. Approaching her, at first with malice and eventually with curiosity, Eden is determined to unravel this other part of Nati’s life, one where he was the very picture of middle-class bourgeois desire—chaste girlfriend, pre-med aspirations, quiet evenings without the kind of drama that defines Eden. Maya is everything that Eden is not and the reverse is also true.

What Eden comes to recognize, however, is that a bond with Maya will keep Nati alive in both their hearts and minds and they begin to melt into one another. Eden is intent on turning Maya into her mirror image. Maya is her Pygmalion and she hasn’t got a chance.

Nesher has written a character study of Eden, an extremely flawed young woman. Throughout most of the film she is irredeemable, a classic example of clinical narcissistic personality disorder. Nesher gives us some insight into causation: a bitter divorce between the parents, a mother intent on self-healing to the disadvantage of her two children, a manipulative father and an obsessive relationship with a malleable younger sibling. While there may be extenuating circumstances, all we see is the end result: a toxic, unempathetic young woman who thinks nothing of upending the lives around her.

It is apparent that while Nesher intended to show the growth of Eden from oblivious to more cognizant of her behavior, she spent far too much time on the negative side, leaving not enough room to account for the growth she’d like us to believe Eden experiences over the time frame, with mourning rituals as the marking points from the funeral, to Shiva, to the one-month memorial, to the one-year visit to the graveside. There are two difficulties inherent in the way she approaches her subject. The first is that Eden is so unpleasant throughout most of the film that it’s difficult to stay with her. She’s just not someone you want to spend that much time with, and Nesher almost “lost me at hello,” to misuse a movie quote. The second is that by shortcutting Eden’s development to maturity and empathy, primarily experienced through the eyes and actions of Maya, she loses the kind of gradual character development Eden needs.

The production values are very good. Editing is smooth, costuming highlights Eden’s sensuality and the cinematography underscores the milestones experienced by Maya and Eden, highlighted by stunning scenery in the Sinai. Lia Elalouf, as Eden, in her debut performance, won the Best Leading Actress at the Ophirs  and deservedly so. It is a performance that is unchained and fearless. Darya Rosenn, as Maya, played her character with believable warmth and empathy, showing a well-paced character growth that was, alas, missing in Eden, one that enhanced the film and carried the audience with her during her development. Both actresses should have long careers.

Nesher’s film rises and falls with Eden. She was so focused on the interesting, outrageous and egregious aspects of Eden’s personality that she left too little time for her to gradually grow, mature and recognize the damage she has caused. We see the end result but not enough of the development leading up to it. Eden has cut a swath of personal destruction that leaves little room for one single incident to sell the transition to empathy.

In Hebrew with English subtitles.

Opening Dec. 12 at the Laemmle Royal 

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“Malice”

This clever revenge tale is too obvious from the beginning. The so-called innocent helper who is always there when you most need him and don’t realize that he set up that need is a thriller. The ultra-wealthy Tanner family is vacationing at their villa in the Greek Isles. Jamie Tanner (David Duchovny) is annoyed that wife Nat has invited friends Jules and Damien and their family to spend time with them. The Tanner nanny is rather useless but Adam, the tutor for Jules’ and Damien’s kids, is uber helpful, at the ready for any errand. He seems always to be around.

But Adam has a hidden agenda, one that will eventually become clearer, if not to the Tanners, at least to the viewers. Soon, things go missing, accidents happen, calls are misdirected, and the nanny is hospitalized from an almost deadly food poisoning, leaving the Tanners in need of the solicitous services of Adam, whose tutoring gig has come to an end.

Returning to London, more untraceable catastrophic events begin to engulf the Tanners, specifically Jamie, as their fortunes begin a precipitous fall.

Bloated, even at 6 episodes, it is evident from the start that the very wide-eyed innocence of Adam is at the root of all evil. Even though he is such an easily unmasked villain, it still takes time to uncover his motives. There would have been myriad ways to make this all-too-apparent scenario a bit more subtle, thus making each oncoming catastrophe less obvious. Jack Whitehall (“Bad Education”) as Adam lacks the depth necessary to keep the viewer completely on edge, waiting for the other shoe to drop. Nat, played by Carice van Houten (“Game of Thrones”), and Jamie, an excellent David Duchovny, are convincing as the targets of Adam’s misdeeds. Christine Adams, Jules, is convincingly unaware, but Raza Jaffrey, Jules’ husband Damien, has a star turn in the episode where he is on the path to unlocking Adam’s duplicity.

I prefer my thrillers a bit less obvious.

Now streaming on Amazon.

“Down Cemetery Road”

This should have been a slam-dunk series. Starring Emma Thompson and Ruth Wilson, with an appearance by the fabulous Adam Godley, all gold standard British actors, it is based on a book by Mick Herron, author of the books on which “Slow Horses” is based, and written for television by Morwenna Banks, also the writer of the “Slow Horses” series. How could this go wrong? Wrong may not be the optimal word, but uninteresting is. Bloated at 10 episodes and obtuse in the underlying mystery, “Down Cemetery Road” is not engaging.

Sarah (Ruth Wilson) has too much time on her hands. When an adjacent building blows up, an ambulance arrives to take away the two dead and the one survivor, Dinah, a ten-year-old. Sarah is immediately concerned about the welfare of Dinah and runs into roadblock after roadblock when she attempts to visit her in the hospital. Convinced that there is a nefarious plot afoot, she makes her way to the office of private investigators Zoe Boehm (Thompson) and her husband Joe Silverman (Godley). Joe is a sympathetic listener and desperate for a case, any case. Zoe, not so much. But when Joe turns up dead, Zoe finally begins to investigate and realizes that there is something underhanded going on.

The villains are many, each with different agendas, everyone seems to be in danger and the pitfalls abundant with increasing stakes. Amazingly, I didn’t end up caring, maybe you will.

Now streaming on Apple.

“Death by Lightning”—Dead on arrival

One of my all-time favorite biographies is “Destiny of the Republic” by Candice Millard. She tells the story of the fateful collision of events and people, all of which relate to the assassination of President James Garfield, a truly extraordinary man. The book explores the intersection of major mid-19th century figures, all of whom crossed paths at the 1876 Centennial Exposition in Philadelphia: Joseph Lister, father of antisepsis, Alexander Graham Bell and Senator James Garfield, soon to be elected president. Separate chapters are devoted to Charles Guiteau, the delusional individual who would eventually be on a self-proclaimed mission from God to assassinate Garfield, a man who he felt needed to be eliminated to save the union.

Mike Makowsky, the writer of this limited series allegedly based on the book, decided to take a different approach, choosing instead to present a rather fictionalized version of Guiteau, a man whose grandiosity and narcissism were the hallmarks of his failed life and needed no embellishment. Other characters fare worse. Chester Arthur, Garfield’s Vice President, and Roscoe Conkling, senator from New York, Arthur’s patron and Garfield’s political enemy, are presented as little more than foul-mouthed drunken buffoons. None of the important players in the death of Garfield are well defined, either by their roles in his death or who they were in life. Any significance is eventually taken care of in chyrons at the end.

An overabundance of exposition and too little development is the hallmark of Makowsky’s script. My bias comes through here, but I felt that too much time was spent on Garfield’s pre-presidential development, reducing the time spent on his potential as a president, one into which he was almost co-opted into the job. Of Alexander Graham Bell, little is mentioned of his close tie to Garfield and his desire to use his scientific knowledge to try to save his life. His resulting invention, a precursor to the X-ray machine, would find better use in the fields of World War I. Garfield’s attending physician, Dr. Willard Bliss, an opponent of Joseph Lister’s antisepsis methods, was the real killer and therein lay the most important part of the story, one that was given short shrift. For the rest of his life he was rightfully haunted by the expression “Ignorance is Bliss.”

Nick Offerman (Chester Arthur) and Shea Whigham (Roscoe Conkling) are reduced to stereotypes, good old boys intent on drinking their way through life. In real life, the roles of both were important and Chester Arthur rose to temporary greatness after Garfield’s death, something that would never be surmised from this tale. Bradley Whitford is excellent as James Blaine, first as a rival to Garfield and later as his most important supporter. Zeljko Ivanek (Dr. Bliss) plays the doctor arrogantly, as he should be. Michael Shannon is an excellent empathetic Garfield. The star turn was given to Matthew Macfadyen as Charles Guiteau, a man he, ironically, resembles. His prominent position in the limited series matches the position he was given in the book. Interestingly, the writer soft-pedals his personality. Yes, he was crazy as a loon, but he was also considerably more malevolent than seen here, spreading havoc across the country and even in Europe before he “discovered” that his true calling was politics.

With the exception of the fictionalized version of Guiteau, so little is actually learned about any of these men that it begs the question, “What story was he telling?” I’m not an impartial judge of this material because of the enormous liberties and direction that Makowsky took with this excellent work of nonfiction. “Death by Lightning,” at a mere four episodes, was a jumbled mess because the writer didn’t know how to frame his narrative in a meaningful and cogent manner. Watcher beware.

Now streaming on Netflix.

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“It’s so beautiful,” BHHS Theater Director Samantha Howard told the Courier. “It’s just such a unique, cool space now. I’m beyond thrilled; it’s gorgeous.”  

The theater is located in the high school’s Building 3 (B3) and has been under renovation since 2019 as part of a larger construction project to upgrade multiple buildings on campus. Funded through local bond measures, the renovations at BHHS, including the work done on the Salter Theatre, are being overseen by management firm Fonder-Solari, which took over from Team Concept Development Services in 2022. Design was spearheaded by the DLR Group. 

The theater was named in 1991 for the family of the late Maxwell and Janet Salter. Maxwell served two terms as the mayor of Beverly Hills. 

According to the Beverly Hills Unified School District (BHUSD), upgrades to the Salter Theatre included the installation of modernized equipment such as industry-leading audio-visual technology, performance-grade sound and lighting systems, a redesigned backstage area and enhanced safety features. 

The stage floor was also made level with the ground floor, and seating was rearranged to create a more comfortable space for audience members and performers alike. The theater can now seat approximately 125 people. 

In addition to plays, the theater will host dance showcases, guest speakers and more.  

During construction, students who previously used the Salter Theatre for rehearsals and performances relocated to various sites on campus and in the community. Some shows were staged at Horace Mann Elementary School, and BHUSD also contracted with the Saban Theatre. 

Howard expressed her excitement at having a home stage so students can practice in the same place that they will perform without having to move around. 

“The trucking back and forth has been so hard to do, along with designing for an off-site space and rehearsing off-site and then trying to translate that in the kids’ minds and bodies onto a new performance space,” she said. 

Howard noted that students in all specializations will see their education “dramatically improved” by the renovations. Learners studying theater tech will have access to “state-of-the-art sound equipment and consoles that we really didn’t have a place to set up before,” she said. 

Faculty is also considering creating a light lab where those pupils can practice using the equipment with lower stakes. 

For actors, Howard emphasized the confidence that comes with performing in a familiar space as well as the possibility for instruction on techniques such as developing a stage voice without using a microphone. 

“I’ve been making do, but I think this will start to show a big difference in their vocal work,” she said. 

For the performance of “Little Women,” which ran from Nov. 13 through 15 and Nov. 20 through 22, Howard was able to make the most of the new space. She describes the stage as a “modified thrust,” referencing a stage that extends into the audience on three sides. 

“I tend to utilize all the space I can,” Howard said. “So, for Little Women, we had a set that was a little bit more of a traditional setup, further upstage. But then we were using the [Salter], and it was a way to connect with the audience differently. I also used the aisle around the stage as the exterior scene locations, which was very cool.”

BHUSD Superintendent Alex Cherniss voiced his pride in the professionalism on display at the performances of “Little Women.”

“The BHHS production of Little Women is a shining example of the passion, discipline and creativity that define our performing arts program,” said. “Our students brought this classic story to life with extraordinary heart and talent, and I couldn’t be more proud of the team onstage and behind the scenes.”

Calling the performance “amazing,” BHUSD Board of Education President Rachelle Marcus expressed her enthusiasm for the work that went into every aspect of the show. 

“Little Women was beautifully done from start to finish,” she said. “Every part of the production: acting, set design, lighting and costumes was created by our students. It was moving, professional and a true example of the incredible talent we have in BHUSD.” 

The next performance scheduled for the Salter Theatre is a production of “The Pliant Girls” in April, which will be student-designed and produced.  

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Gehry Partners chief of staff Meaghan Lloyd said that his death followed a brief respiratory illness.

Gehry recently designed the Louis Vuitton flagship store that will open in Beverly Hills’ Golden Triangle in 2029. Bernard Arnault, the Chairman and CEO of Louis Vuitton’s parent company, the luxury conglomerate LVMH, expressed his sorrow over Gehry’s passing.

“I am profoundly saddened by the passing of Frank Gehry, in whom I lose a very dear friend and for whom I shall forever retain boundless admiration,” Arnault said. “I owe to him one of the longest, most intense, and most ambitious creative partnerships I have ever had the privilege to experience. His oeuvre, crowned by the Pritzker Prize, is immense. He will remain a genius of lightness, transparency, and grace. Frank Gehry—who possessed an unparalleled gift for shaping forms, pleating glass like canvas, making it dance like a silhouette—will long endure as a living source of inspiration for Louis Vuitton as well as for all the Maisons of the LVMH group. With the Fondation Louis Vuitton pour la Création, he bestowed upon Paris and upon France his greatest masterpiece, the highest expression of his creative power, commensurate with the friendship he bore our city and the affection he showed for our culture. My wife, my children, and I express our deepest condolences to his wife, Berta, and to his children.”

Born Frank Owen Goldberg on Feb. 28, 1929, in Toronto, Canada, Gehry moved with his parents to Los Angeles after finishing high school and enrolled in art and architecture classes at L.A. City College.

He earned a bachelor’s degree in architecture from USC in 1954, and that same year changed his last name to Gehry.

Gehry gained the attention of the design and architecture world thanks to his renovations of his own Santa Monica home, which he remodeled into a livable work of art using unexpected materials such as corrugated metal and chain link fencing.

He went on to become the most recognized American architect since Frank Lloyd Wright. He received international acclaim for the Walt Disney Concert Hall in downtown Los Angeles, the Guggenheim Museum in Bilbao, the Fondation Louis Vuitton in Paris and many more structures.

In the hours following the announcement of his death, condolences and remembrances have poured in.

“Frank Gehry didn’t just design buildings—he created spaces that lift up artists and have brought generations of people together,” L.A. County Supervisor Janice Hahn posted on X. “His design of the SELA Cultural Center on the LA River will be a lasting gift to the families of Southeast LA. We’ve lost a giant. Thank you, Frank.”

In a statement, L.A. County Supervisor Hilda L. Solis said that working alongside Gehry was “one of the great honors of my life.”

“Frank’s brilliance was matched only by his generosity of spirit, and his ability to see possibility where others saw limits transformed not only the County of Los Angeles and communities across the world, but all of us who had the privilege to work with him,” she said.

Gehry is survived by his wife, Berta, and four children.

The post Legendary Architect Frank O. Gehry Dies at 96 appeared first on Beverly Hills Courier.

My latest thumbnail sketches include series that premiered as long ago as last summer and as recently as last week. It seems to be a case of diminishing returns because few of the new offerings rise above the mediocre. And of course, this is always just my impression; a glance at Rotten Tomatoes will illustrate the wide range of opinions on offer.

Luckily, wading through the morass of offerings occasionally produces a gem or two.

“Chief of War”

Power struggles, greed, jealousy, passion. These are universal themes, and the new series “Chief of War” explores them in depth as they relate to Hawaiian unification struggles in the late 18th century. This exquisitely produced period piece presents an account we know so little about. Although historical fiction, there is an authentic feel to this story that is magnetic.

Oahu, Maui, Hawaii and Kauai are separate kingdoms with their own monarchical structure. Peace between the islands has been tenuous at best, but when the ruler of Maui yearns for more power and riches, he turns his eyes and army to Oahu. Falsely declaring that Oahu is preparing a war to invade the other islands, he gathers a great army to strike first. His most fearsome warrior, Ka’iana, is nowhere to be found. When he eventually appears, he is vilified by both the king and the king’s duplicitous sons. Ka’iana, a skilled soldier, fights ferociously against the people of Oahu, but discovers that this war was a ploy by the Maui king to subjugate the people of the island, decimating their army and killing their king, a mere boy. Considered disloyal, Ka’iana is hunted and, as witnessed by others, thrown off a high cliff to a certain death in the sea.

This is merely the start of Ka’iana’s journey, one that will intersect English and Spanish privateers before he is able to make his way to Hawaii, where he will reunite with family and ally himself with Kamehameha. Kamehameha, living in peace, has become the mortal enemy of the new king, Keoua. When Keoua’s father died, he declared his son, Keoua, to be his rightful heir to the throne, but gave the important position of Guardian of the God of War to Kamehameha. Keoua, outraged by the legacy given to his cousin, plots to overtake and kill him. It is Ka’iana’s allegiance to Kamehameha that propels the narrative.

It is a violent history and “Chief of War” is not for the faint of heart. This is not the Western warfare we are used to experiencing but an even more personal, exacting and horrifying use of spears, daggers, and incredible feats of strength. These men are big, seemingly enormous and fit beyond imagination. The male pulchritude on offer is reason enough to watch, but add to that great writing, terrific characters and incredible production values as seen through the cinematography by Matthew Chuang and Michael Snyman. Co-created by Thomas Pa’a Sibbett and Jason Momoa, the cast is led by the fabulous Momoa as Ka’iana, a better actor than you ever imagined. Cliff Curtis, that chameleon-like Maori actor who first grabbed attention as a Latino drug kingpin in “Training Day” and stole “Three Kings” as the haunted Arab refugee, here gets his teeth into a villain of Maori origin, as are most native Hawaiians. “Chief of War” is excellent and tells a story you probably didn’t know. Watch this first.

Now streaming on Apple, this is a must-see.

“All Her Fault”

“All Her Fault” is a terrific new thriller about family. Going to pick up her little boy, Milo, from a play date, Marissa discovers that not only is he not there but there never was a play date. Her son is missing, and there’s no sign of what happened. He’s been taken, but by whom? As each episode rolls out, more pieces of the puzzle are gradually forced into place. Unbeknownst to Marissa, supportive husband Peter knows more than he’s telling. Peter and Marissa are wealthy denizens of a glamorous Eastern seaside suburb with perfect lives like their perfect neighbors. Is this a kidnapping for ransom or a plot against the parents? Each episode unlocks one more drawer full of paranoia, secrets and subterfuge. Revealing any more details would diminish the tension and thrill of this series at the root of which is every parent’s nightmare.

Gifted with an extraordinary cast led by Sarah Snook as Marissa, Jake Lacy as Peter and Dakota Fanning as one of the neighbors who may or may not have her own secret. The twists and turns come hard and fast with an ending that fulfills the promise of the beginning and is enhanced by the character development of each member of this so-called perfect community. Scratch the surface and the creatures come into the light.

Now streaming on Peacock.

“Chad Powers”

This is a starring vehicle for Glen Powell that takes advantage of his twinkling bad-boy persona as Russ Holiday, an arrogant, extremely talented college quarterback. Playing in the Rose Bowl for the national championship, he spectacularly screws up his final play, loses the game, blames everyone but himself and, in a fit of anger on national television, upends a child in a wheelchair. All NFL hopes are dashed as he becomes the face of rude entitlement and failure. Several years later, just when the clouds begin to lift and he’s about to get a contract with a rival league, his past deeds come back and bite him you know where. Even for this no-name league, his infamy is too much for them to risk.

All Holiday knows is football. Still unrepentant, what he needs is another chance, an anonymous chance. And such a chance appears in the shape of a podunk college team in Georgia. In a leap of bad faith, he disguises himself as a nobody from nowhere and walks on. With the help of the school mascot who, unlike everyone around him, recognizes Holiday and signs on to the challenge of helping him with his new identity as Chad Powers.

“Chad Powers” benefits from a good cast with Steve Zahn as a very put-upon head coach with health and marriage issues and Perry Mattfeld as his daughter Ricky who is one of his assistant coaches. Of course, this is a highly unlikely scenario but suspend belief and you will be entertained.

Now streaming on Hulu.

“The Girlfriend”

The episodes of this ingenious series are each divided into two parts, in a girlfriend vs. mom scenario. Daniel has come home with a new girlfriend, Cherry, and his very controlling mother, Laura, has taken an immediate dislike to her. Each half episode looks at the same scene through the eyes of one woman and then the other. The interpretations of the same events, phrasing, motions are parsed through the eyes of Cherry, on the one hand, and Laura, on the other. Is Cherry a manipulative bitch only interested in the family money? Is Laura an overly controlling mother who can’t let go of her son? Who is right? Who is wrong? What is actually happening? And caught in the middle is Daniel who loves them both and doesn’t want to have to choose.

Each episode will keep you guessing and shifting your alliances. Well-scripted, the real draw is the acting. Olivia Cooke as Cherry is at turns innocent and manipulative. Robin Wright, wonderful as mother Laura, will make you hate her one moment and sympathize the next. Lots of hairpulling and angst, the supporting cast includes Waleed Zuaiter, Ben Miles and Anna Chancellor.

Now streaming on Amazon.

“The Paper”

If you’ve missed “The Office,” have no fear because “The Paper” is a direct descendant. Using the same “mockumentary” format, the camera follows a ragtag group of quasi-journalists as they try to keep a small-town midwestern newspaper afloat. Ned Sampson (Domhnall Gleeson) has just been hired to be editor-in-chief of this weekly throwaway, the “Toledo Truth Teller,” previously run by managing editor Esmeralda Grand, a hottie whose strength, if you can call it that, is planting false social media meant to enhance herself and using volunteers to download wire service articles. She is none too pleased with the arrival of Ned. This motley crew is beyond inept but Ned, despite blowback from Esmeralda, is determined to bring team spirit.

If you miss “The Office,” then this is the show for you. Created by Greg Daniels, also the creator of “The Office,” and Michael Koman, a veteran writer of SNL, the similarities and structure are deliberate, right down to the character of Oscar Martinez, the paper’s accountant. Martinez, played by Oscar Nuñez, was the accountant for Dunder Mifflin now working at the “Toledo Truth Teller.” Like he was at Dunder Mifflin, Oscar still hates being followed by a camera crew around the office, an office that is shared with Softees, a toilet paper company.

Now streaming on Peacock.

This list does not include returning favorites and they are favorites for a reason. “The Diplomat” (Season 3) not only lives up to the standards it set in the first season but at times even exceeds them. It is definitely a series to be binged and devoured. “Slow Horses” (Season 5) offers a delectable sendup of Roddy, the tech expert without any redeeming social value; and “Only Murders in the Building” (Season 5) has its ups and downs but is still very entertaining.

Part 2 will discuss new series that have attracted attention but are not up to the standards of the above shows.  

Neely Swanson spent most of her professional career in the television industry, almost all of it working for David E. Kelley. In her last full-time position as Executive Vice President of Development, she reviewed writer submissions and targeted content for adaptation. As she has often said, she did book reports for a living. For several years she was a freelance writer for “Written By,” the magazine of the WGA West, and was adjunct faculty at USC in the writing division of the School of Cinematic Arts. Neely has been writing film and television reviews for the “Easy Reader” for more than 10 years. Her past reviews can be read on Rotten Tomatoes where she is a tomatometer-approved critic.

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Ashamedly, I must admit that I knew little about the suffrage movement, only that American women did not get the vote until 1920. The trip down that aisle was long, circuitous and very, very slow. The opening number, “Let Mother Vote,” sung by Carrie Chapman Catt, one of the important leaders of the early movement and a protegee of Susan B. Anthony, cleverly illustrates the approach of the older suffragists. Always ladylike, she makes the appeal that mothers raised their sons to do good and be respectful and the respectful thing to do would be to give their mothers the vote. President of the leading suffrage organization, the National American Woman Suffrage Association (NAWSA), she ruled with her iron fist in a velvet glove.

Alice Paul arrives on the scene in 1913. Tired of waiting and seeing that the “ladylike” approach is going nowhere, she has other ideas, ideas that are rebuffed by Catt. Paul forms her own organization, taking a more direct approach by organizing a march in Washington to show the strength and volubility of these young women. A rift developed between Catt’s NAWSA and Paul’s new group, the National Women’s Party. Both recognized that a constitutional amendment would be necessary, but getting there was a stumbling block to them both.

Especially notable is the role of Woodrow Wilson, president throughout most of this battle, and his patronizing refusal to take the movement seriously. Although portrayed as a buffoon without nuance, it should be noted that historically, Wilson was the very antithesis of equal rights. His record on civil rights runs to the overtly racist and he jailed Paul and her supporters for protesting in front of the White House in the guise of treasonous activity that was counter to national security. Like all the other characters in this play, the men are played by women.

It must be said that the play is inventive and the musical approach is meant to go down like a spoonful of sugar. The difficulty in telling this story is that everything comes off as episodes, separate scenes without enough yarn to knit them together, much like watching the tableaux at the Pageant of the Masters in Laguna Beach. “Suffs” is all exposition, much told musically but not entirely effectively. The songs overwhelm the narrative. There is a song for everything, something that denies both the development of the individual characters and the story beyond its exposition. Recognizing that my opinion lies outside that of the Tony voters, Taub’s music is overly familiar. She has borrowed from the best; many times I was reminded of the scores of “Hamilton” and “Rent.” I was frustrated because I recognized refrains from other musicals but just couldn’t quite pinpoint from where they were borrowed.

She has a big story to tell, but because of the episodic way she has chosen, many important characters are shoehorned into scenes that do them little justice. The primary example of this is the introduction of Ida B. Wells, one of the most important figures in the history of civil rights who was shoved to the side by the leaders of the suffrage movement who, historically, found it more expedient to make it an all-white association. Treated tangentially is Catt’s homosexuality, presented in a lament as she sings “If We Were Married” to her longtime companion in life and in the movement, Mollie Hay.

There is no “pow” finish, just a clever tip of the hat to Paul and her continuation of the fight in the 1970s as she campaigned for the Equal Rights Amendment. Interestingly, however, Catt’s post-vote accomplishments were sidelined. She was the founder of the League of Women Voters.

The cast was good, but perhaps due to the ensemble nature, no one leaped out. Maya Keleher is a sincere and emotional Alice Paul and Marya Grandy is a steely Carrie Chapman Catt. Danyel Fulton never quite catches on as Ida B. Wells, some of which may be the nature of the way she was written, but I would have liked a bit more fire. Laura Stracko as Alva Belmont, a wealthy woman underwriting Paul’s group, stopped the show with her antics and furs. The costumes were evocative of the era and the use of the minimalist stage was inventive, although the choreography was rather perfunctory.

I wished I had liked it as much as the majority of the opening-night audience. I just wished it had been better.

Now playing through Dec. 7, Tuesdays through Sundays. Check the Broadway in Hollywood website for times.

Hollywood Pantages Theatre, 6233 Hollywood Blvd., Los Angeles. 

Neely Swanson spent most of her professional career in the television industry, almost all of it working for David E. Kelley. In her last full-time position as Executive Vice President of Development, she reviewed writer submissions and targeted content for adaptation. As she has often said, she did book reports for a living. For several years she was a freelance writer for “Written By,” the magazine of the WGA West, and was adjunct faculty at USC in the writing division of the School of Cinematic Arts. Neely has been writing film and television reviews for the “Easy Reader” for more than 10 years. Her past reviews can be read on Rotten Tomatoes where she is a tomatometer-approved critic.

The post ‘Suffs’—Stuffed appeared first on Beverly Hills Courier.

Daphna Nazarian, Wallis Board Chair, said, “Robert’s vision, dedication and his belief in a collaborative arts community has broadened our core mission. We are deeply grateful for Robert’s strong leadership and the many contributions he has made during his time with us. His decades of experience expanding access to the arts and breaking down barriers and divides across genres made him a great fit to set the stage and foundation for our organization as we embarked on the second decade in the history, growth and evolution of the Wallis Annenberg Performing Arts Center.”
 

During van Leer’s tenure at The Wallis, he established a new template for the programming.  In a short time, The Wallis became the region’s most important home for a number of widely regarded performing arts companies based in Southern California. Van Leer also brought and/or continued relationships with LA Opera led by Christopher Koelsch, Sebastian Paul and Marybelle Musco President and CEO, that had a triumph with the world premiere of Beth Morrison Projects’ HILDEGARD; Pacific Jazz Orchestra founded by Chris Walden, National Theatre Live, Seth Rudetsky, the new Scott Dunn Orchestra performing the music of classic Hollywood film composers, Film Independent, MUSE/IQUE led by Artistic Director Rachael Worby, the ASCAP Musical Theatre program with composer lyricist Stephen Schwartz, and performances by the Colburn School, among others.
 

Van Leer led the team of 50 at The Wallis in presenting more than 140 productions, with over 150 curtains each season. This provided audiences and education program participants with an advanced access to the arts, and expanded programming that integrate legacy art forms with contemporary ones.
  

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Ben Richards is a have-not. His baby daughter has a high fever and is dying. He’s out of work and his wife’s job doesn’t provide enough for medicine or a doctor. Burying his pride, Richards returns to his old employer, one that fired him because he made a verbal complaint about leaking radiation at the factory, and begs for his job or at least a small stipend so he can provide for his dying child. Compassion is not a word known by big business, and he is laughed out of the office. He’s run out of options and, in desperation, he joins the throngs auditioning for a spot on one of the endless reality shows.

The network’s crown jewel is “The Running Man,” a deadly competition that pits Runners, the contestants, against Assassins, whose only job is to hunt down the Runners, with an assist from the general public, and kill them. The Runners are tasked with staying alive for 30 days, with a gigantic payout, $1 billion, for the winner. The deck is stacked, much more stacked than the bloodthirsty public knows. But, the stakes for the desperate are worth the risk because it’s not just a payout at the end, no one has ever beaten the odds, but the intermediate bonuses awarded by reaching certain goals that go to the designated survivors. Although Richards had promised his wife that he would choose a non-lethal game, it was not in his hands because his anger-infused personality was just what the producer was looking for. He will be a ratings hit and ratings are what drive the financial gain for all. Richards is the dream come true for producer Dan Killian, who convinces him that, at the very least, the intermediary bonuses will keep his daughter alive and allow them to move up to better accommodations with the promise of increased status.

The race is on, prominently featured on TV and moderated by the network’s very smooth host, Bobby Thompson. The audience is clearly on Richards’ side, keeping him in the game as the hunters begin zeroing in. Richards, now something of a folk hero, is able to tap into his own personal resources, one who provides him with disguises and fake IDs, another who hides and then ferries him to an outlier, discovering that there is an underground network working to undermine the system that holds them back and has destroyed dissension. And the relentless Assassins keep coming while the television audiences are manipulated by the producer, who alters video and events to increase or decrease Richards’ popularity.

The director, humor horror master Edgar Wright (“Shaun of the Dead”),  seems to have lost his way in “The Running Man.” One has the distinct impression that he wanted this movie to be a darkly humorous take on present day American society, where the cultural and financial divide is increasing, acceptance of dissent is decreasing, and we are being fed an increasingly stultifying range of reality shows that definitely fall into the category of opiate for the masses. All of these elements are present, along with gratuitous violence, explosions, deafening noise and bazooka shots to the belly. Look for a hilarious sendup of “Keeping Up with the Kardashians” called “The Americanos,” the network’s other hit primetime reality show. If you look closely, you’ll see Debi Mazur as the matriarch of this raven-haired coven.

Wright has constructed a movie of scenes, all of which seem to stand alone but never completely mesh into a cohesive unit. Richards runs; Richards hides with or without the help of others; the Assassins chase; collateral damage ensues; quirky characters emerge periodically; Richard runs. Rinse, repeat. Somewhere within this loud, fast movie a plot may lie. Yes, it’s a sendup of reality TV, dark-hatted villains and cartoon violence, but it never comes together. It’s a real head-scratcher.

The failures lie squarely in the hands of the uncooked script by Michael Bacall and Edgar Wright and in Wright’s directorial concept, a concept that I have yet to grasp. The actors, on the other hand, are terrific and do what was on the confusing page.

Michael Cera is one of the bright lights in all of this as he plays Elton, an offbeat, off-kilter farmer with a justifiable grudge against the government and a fetish about hot dogs. Helping Richards along his way is undermined by his nuttier than a fruitcake mother, Victoria, played by Sandra Dickinson. Coleman Domingo is Bobby Thompson, the ultra-suave MC who plays his role without a “wink-wink” but definitely with humor. Domingo always elevates his material. Josh Brolin, as Dan Killian the producer, is a good enough actor that his villain is missing only a “V for Vendetta” mustache. He’s chilling, charming and frightening.

Glen Powell plays Ben Richards. Handsome, angry, vengeful, he is a network’s dream leading man. Range is not something built into the character but he keeps you watching and rooting for him. His role is nevertheless hampered by the lack of development, both of his character and the script. Because Ben Richards’ situation is so dire there is no humor, black or otherwise, built into his character and that is a pity because it’s been a strength he’s shown in other movies.

At an hour and a half, it’s still too long and bloated. Apparently, the filmmakers were of the opinion that more is never enough when it comes to explosions and killing, not realizing that there is a saturation point where the audience becomes inured to everything, even the sound.

Paramount treats reviewers well, in this case hosting the preview on the studio lot in their beautiful theater and providing popcorn. Unfortunately, like the movie, the popcorn was stale.

Now playing at AMC theaters including the Century City 15 as well as the Culver Theater. 

Neely Swanson spent most of her professional career in the television industry, almost all of it working for David E. Kelley. In her last full-time position as Executive Vice President of Development, she reviewed writer submissions and targeted content for adaptation. As she has often said, she did book reports for a living. For several years she was a freelance writer for “Written By,” the magazine of the WGA West, and was adjunct faculty at USC in the writing division of the School of Cinematic Arts. Neely has been writing film and television reviews for the “Easy Reader” for more than 10 years. Her past reviews can be read on Rotten Tomatoes where she is a tomatometer-approved critic.

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You may have already seen some of the films that premiered in early November, but I’ll give you a recap of some of them, with an emphasis on movies scheduled to premiere at the end of the month and into December.

Early November

“Bugonia” is for fans of filmmaker Yorgos Lanthimos who will celebrate his take on alien conspiracy theorists who meet their match in the corporate executive they kidnap. Convinced she has been put on Earth to destroy the planet, something will have to give, and neither she nor her crazy kidnappers will give an inch. Lanthimos favorites, Emma Stone and Jesse Plemons, star.

“Wake Up Dead Man: A Knives Out Mystery” features Daniel Craig as Benoit Blanc, back to solve another mystery with Andrew Scott, Josh Brolin, Glenn Close, Jeremy Renner, Kerry Washington and Josh O’Connor as victims or suspects.

“Nuremberg” revisits the postwar trial in Nuremberg, Germany of Hermann Göring and features an all-star cast led by Russell Crowe as Göring, the face of evil, matching wits with psychiatrist Douglas Kelley (Rami Malek) and lead prosecutor Robert H. Jackson (Michael Shannon). Göring’s crimes and his part in the “Final Solution” were gut-wrenching and all will be exposed.

“Predator: Badlands” is all about predators and prey. On a planet where all present are the prey, the search for the predator by alien monsters is aided by the limb-challenged Elle Fanning.

“Die My Love” shows the disintegration of a woman whose life begins to go downhill catastrophically when she moves to her husband’s small town. Jennifer Lawrence stars as a woman who begins to unravel after the birth of her first child.

“Christy” is a story about the resilience of Christy Martin, the most successful female boxer in the ‘90s. The role is played by Sydney Sweeney, who is almost unrecognizable in a bad shag hairdo and a mouth guard.

“Frankenstein” lets Guillermo del Toro combine his incredible visual sense with his love of monsters to retell this famous tale. As Dr. Frankenstein, played by Oscar Isaac, says, “In seeking life, I created death.” Heartthrob Jacob Elordi is his creation.

“Jay Kelly” is George Clooney and George Clooney is Jay Kelly in a movie about a movie star who has lost his way and wants to find it. Think of the old Cary Grant quote: “Everyone wants to be Cary Grant. Even I want to be Cary Grant.”

“Peter Hujar’s Day,” starring Ben Whishaw as photographer Hujar and Rebecca Hall as Linda Rosenkrantz, his interviewer, treats us to an extended conversation between them in 1974 about his career photographing the New York scene in its Bohemian heyday. Their conversation on screen is anything but static; it makes that era come alive while shining a light on a talented photographer whose fame has fallen to the wayside.

“The Running Man” is a reimagination of the Stephen King classic by director Edgar Wright and starring screen darling Glen Powell. Trying to raise money to save his child, Ben Richards joins “the game,” a last-man-standing contest where the players are hunted down and killed.

“Now You See Me, Now You Don’t” is best expressed by one of the characters: “Eight magicians against a worldwide criminal network? I like our chances.” A sequel to “Now You See It,” Jesse Eisenberg, Woody Harrelson, Isla Fisher and David Franco are back, with the tantalizing addition of Morgan Freeman and Rosamund Pike.

“Keeper” is the latest in a string of horror movies where a loving couple on a romantic getaway rents a house that happens to be haunted. How will they keep love alive, let alone survive this haunted house? Directed by Osgood Perkins, it stars TV favorite Tatiana Maslany.

Nov. 21

“Wicked for Good” arrives, and the wait is finally over. Part II continues the story of Elphaba (Cynthia Erivo) and Glinda (Ariana Grande) as they try to find their places in a world where Elphaba has become the Wicked Witch of the West. Dorothy will enter this picture, and the Wizard (Jeff Goldblum) will return alongside hunky Flyero (Jonathan Bailey) and Madame Morrible (Michelle Yeoh). Expect more fabulous songs from the “Wicked” playbook.

“Rental Family” reveals an interesting concept in Japanese society. Phillip Vandarpleog’s acting career is at a standstill when he gets an unusual offer from an agent in Japan. His gig? Be a stand-in character in real families needing someone to play the role of a family member—a missing brother, father, husband or son. Finding what’s missing in his life while filling in something for the people who hired him has its own peculiar reward.

Nov. 26

“Eternity” is something of a damned if you do and damned if you don’t proposition. Arriving in the afterlife, Joan has one week to decide where she will spend eternity and with whom. Adding to the inherent complexity of these choices, she is reunited with both men she married: her recently deceased husband of many years and her first husband, who died very early in their marriage and who has been waiting an “eternity” for her. It’s a competition where there can only be one winner. The film stars Miles Teller, Elizabeth Olsen and Callum Turner, with Da’Vine Joy Randolph as a heavenly overseer.

“Zootopia 2” finds Judy and Nick (voiced by Ginnifer Goodwin and Jason Bateman) together again, this time hunting giant reptiles causing havoc. A plethora of famous voices adds to the delight of this animated favorite, including Yvette Nichole Brown, Quinta Brunson, Idris Elba and Macaulay Culkin.

Nov. 28

“The Thing With Feathers” dissects the world-shattering grief of a father (Benedict Cumberbatch) when his wife suddenly dies and he is left to raise his two sons. Trying desperately to cope, his grief appears to him as a crow, the metaphorical representation of where he is stuck and where he must go to help his children.

Dec. 3

“Oh. What. Fun.” for everyone but mom. Overwhelmed by Christmas preparations and activities that never end, Claire Clauster feels underappreciated by her brood, who take everything for granted. After all, no one ever talks about Mrs. Claus, and she probably does all the work. When she goes MIA, they finally realize how amazingly she did everything and how little they appreciated it. Without Claire (a luminous Michelle Pfeiffer), there is no Christmas. Also starring Felicity Jones, Danielle Brooks, Denis Leary and Eva Longoria, to name just a few.

Dec. 5

“The Secret Agent” is Brazil’s submission for the Best International Film Oscar and the most awarded film this year at the Cannes Film Festival. It tells the story of Armando, a former teacher, with a mysterious background, who is on the run from a corrupt CEO with a personal grudge against him. The powerful executive hires assassins, some of whom may work for the junta and the police, to kill him. Mixing horror with suspense and political intrigue, the film travels backward and forward in time to tell Armando’s story. Wagner Moura (Armando) won Best Actor at Cannes. Writer/director Kleber Mendonça Filho won Best Director.

“Five Nights at Freddy’s 2” finds Freddy Fazbear’s Pizza about to reopen. The video game animatronic characters are about to raise more havoc. Starring Elizabeth Lail, Josh Henderson and Matthew Lillard, it’s “Five Nights” all over again.

“Fackham Hall,” look out “Downton Abbey.” The lives of Lord and Lady Davenport go south when their daughter marries her wastrel cousin, and their daughter begins a clandestine romance with a petty thief who has ensconced himself in the manor house. Competing with the local vicar for her hand, he is soon framed for murder. It’s all very 19th-century fun and who couldn’t use a bit of aristocratic shenanigans? Starring Damian Lewis, Jimmy Carr (who also wrote the screenplay), Katherine Waterston and Thomasin McKenzie, it’s oh sooo British.

“100 Nights of Hero” is a reimagining of the Arab tale “A Thousand and One Nights.” Left alone in her husband’s castle, Cherry is being courted by their houseguest Manfred, who has bet her husband that he can seduce her in 100 nights. Aware of the wager, Cherry, with the help of her faithful servant Hero, devises a plan to avert his attentions by regaling him with stories from Hero’s arsenal. Based on the popular graphic novel, it builds a fairy tale with deadly stakes.

Dec. 12

“Hamnet,” based on the bestselling novel by Maggie O’Farrell, speaks to the love of Shakespeare and his wife Ann, as they navigate the devastating loss of their son Hamnet, whose name would live forever as Hamlet. Directed by Chloé Zhao, Academy Award winner for “Nomadland,” it stars Paul Mescal and Jessie Buckley.

“Ella McCay” brings back director James L. Brooks’ refreshing comedic touch to the screen. Families! Can’t live with them, can’t live without them. Ella (Emma Mackey) has a doozy of a family, and their hilarious dysfunction only increases when she is elected governor of the state. Also starring Jamie Lee Curtis, Woody Harrelson and Jack Lowden, Julie Kavner even shows up without that blue beehive she wore as Marge Simpson.

Dec. 19

“Avatar: Fire and Ash” is the third in James Cameron’s “Avatar” franchise. Expect outstanding effects and magical creatures. Will they survive the invading human armies? The soon-to-follow Part IV is an indication that they will. The stellar cast of actors includes the returning Sam Worthington, Zoe Saldaña and Sigourney Weaver. Michelle Yeoh plays a human scientist, with Oona Chaplin as the villain.

“The Housemaid,” based on the bestselling novel, is a thriller with lots of twists and turns, too plot-revealing to divulge. The book was a killer, literally and figuratively, and the casting is pitch perfect, with Sydney Sweeney playing the newly hired maid with a big secret and Amanda Seyfried as her wealthy employer who isn’t what she appears to be.

“The SpongeBob Movie: Search for SquarePants” returns for a sea adventure with pirates. This fourth big-screen addition to the franchise is sure to please the fans of this long-running TV series.

“Father Mother Sister Brother” relates family dysfunction through three related stories, all about the relationship of adult siblings to each other and their parents. Expect absurdist comedy from writer/director Jim Jarmusch, starring Adam Driver, Tom Waits, Charlotte Rampling, Cate Blanchett and more.

“Is This Thing On?” is loosely based on the life of British comedian John Bishop. Bradley Cooper directs from a script he wrote with Will Arnett and Mark Chappell that details the end of Alex’s marriage to Tess and the beginning of his new adventure. It stars Will Arnett and Laura Dern, with appearances by Cooper, Amy Sedaris and Sean Hayes.

Dec. 25

“Anaconda” is the very definition of a reimagination. The previous two Anaconda movies were horror films. This time around, led by Steve Zahn, Paul Rudd and Jack Black, all of whom know their way around absurdity, it’s comedy all the way as this trio decides to make their own “Anaconda” movie. Traveling to the jungle, they run into one problem after another, including a giant, very hungry, man-eating anaconda.

“Marty Supreme” is an unlikely movie about an unlikely man, Marty Reismara, a world-famous table tennis player trying to make his way through life when everyone else doubts his path. Starring Timothée Chalamet and Gwyneth Paltrow, they bring the flamboyant Marty to life.

“The Choral” is a look into the life of the villagers in a small Yorkshire town through the prism of the town choir. World War I has already scooped up many of the town’s young men, some members of the choral group, and its choral director. The appointment of a new director is controversial because of his ties to the hated Germans, but they need him to keep the choir running and get ready for their winter show.

“No Other Choice” is a Korean black comedy thriller about a man who loses his longtime position at a paper company and determines to find another, even if it means eliminating the competition, literally and figuratively. Winner of the International Award at the Toronto Film Festival, it is directed by Park Chan-wook and based on the Donald Westlake novel, “The Axe.”

“Song Sung Blue” features Hugh Jackman and Kate Hudson, down-and-out singers looking for a break. That break comes when they start a Neil Diamond tribute band called Lightning and Thunder. Together they find romance, heartache and success. It is based on the documentary by Greg Kohs about Mike and Claire Sardina.

December TBD

“In the Grey,” release date still to be announced, is Guy Ritchie’s newest action thriller. Jake Gyllenhaal and Henry Cavill are extraction specialists assigned to rescue a translator trapped behind enemy lines. Eliza Gonzalez also stars with Rosamund Pike and Fisher Stevens in support. There is no release date yet and Ritchie has been famously silent about details.

This is just a sampling of what’s coming. There will be something for everyone as we approach the holidays. Head on down to the nearest multiplex, grab some popcorn and a soda and treat yourself to a movie on the big screen. It’s a respite from the holiday preparations and fraught family visits.

Happy Holidays and Happy Viewing. 

The post Winter Movies: The Heat Is On appeared first on Beverly Hills Courier.

Suddenly, the sound unraveled. Quickly opening his eyes, Gustavo saw worried, pale faces staring back at him. His instructor, Maestro Luis Jimenez, had arrived and stood in the back of the hall. 

“Oh my God, this is the end of my life as a musician,” said Maestro Gustavo Dudamel, recounting his terror in the hall’s silence. He thought, “I’m done. This is the end.”  

Maestro Jimenez slowly approached Gustavo. In a serious tone he said, “You have kind of a talent for conducting.” He then walked to his conducting block and raised his baton to begin the rehearsal.  

Later, Gustavo was summoned to the Maestro’s office. Instead of a stern reprimand, Gustavo was offered the introductory position of assistant conductor. This defining moment changed Gustavo’s life forever.

“I have to thank him a lot. I’m ‘here’ because of him.”

“Here” is the magnificent Walt Disney Concert Hall in downtown Los Angeles. For the past 17 years, beginning at the age of 27, Maestro Gustavo Dudamel has been the ordained “gift” to Los Angeles, the honored and cherished Music & Artistic Director of the Los Angeles Philharmonic. But soon Los Angeles will be saying, “Gracias, Gustavo!”

His leadership is often described as magical, as he infuses enthusiasm and spontaneous engagement, making classical music feel relevant and alive. With his bold and diverse programming, his dynamic, performative approach and his ability to inspire contemporary works, Maestro Dudamel has captured the world’s heart in classical music. He has not only dramatically increased his audience fan base, but he’s also transformed younger more diverse enthusiasts towards classical music. The New York Times has called him the “superstar conductor” and has praised his talents with helping to make the LA Philharmonic “the most important orchestra in America—period.” 

“Under his leadership, we’ve become a model for what a 21st-century orchestra can be: boldly creative, fiercely relevant, and deeply connected to its community,” said Chairman of the Board of the Los Angeles Philharmonic Jason Subotky.

During his extraordinary tenure, he’s energized global audiences, holding additional positions as Music Director of the Paris Opera (2021-2023), Music Director of the Gothenburg Symphony Orchestra of Sweden (2007-2012), and Music Director of the Simón Bolívar Youth Symphony Orchestra of Venezuela (since 1999). 

As a visionary, he’s created many symphonic firsts. He has led orchestra performances at major pop culture events, including the Super Bowl halftime show with Bruno Mars, Beyoncé and Chris Martin. He conducted the LA Philharmonic as it opened the 91st Academy Awards broadcast, and many collaborative performances with artists like Billie Eilish and Coldplay, as well as having been featured in mainstream films and series such as “West Side Story,” “Sesame Street,” and “Mozart in the Jungle.” He’s been awarded eight Grammy Awards and five honorary doctorates in music from highly respected institutions from around the world, including Harvard University. Internationally, he has received Spain’s Gold Medal for Merit in Fine Arts, Chevalier and later Officier of the Ordre des Arts et des Lettres of France, the Queen Sofía Spanish Institute Gold Medal, and is a foreign member of the Royal Swedish Academy of Music.  

Accolades aside, what drives this megastar maestro is deeply rooted in his humble beginnings and the transformative power he experienced as a participant in El Sistema of Venezuela.  Modeling that system he founded the Youth Orchestra of Los Angeles (YOLA). In partnership with the LA Philharmonic, YOLA today boasts over 1,700 young musicians ages 6-18, who receive free instruments, intensive music training and academic support.  

President and Chief Executive Officer Kim Noltemy of the LA Philharmonic noted, “For years, audiences have witnessed this profound and mutual affection between Gustavo and the orchestra, because when Gustavo conducts, what radiates from the stage is pure, shared joy. His deep respect and love for the orchestra are unmistakable in every performance.” 

This natural connection with his orchestra, and his innovative thinking and trailblazing collaborations, have inspired audience enthusiasm. This past spring, at Coachella, Maestro Dudamel brought the LA Phil to perform for the first time. He smashed all expectations and records by intermingling works by Bach, Strauss, Wagner and John Williams, with contemporary artists such as LL Cool J, Laufey, Dave Grohl, Zedd and Cynthia Erivo. Gustavo stated in the Los Angeles Times, “This performance ‘represents a journey of making music accessible to everybody.’” 

By successfully “crossing over” from classical music into the world’s pop culture, Gustavo Dudamel has ignited awareness, exponentially, of the transformative power of music. His historical Billboard magazine cover story in 2024, the first classical musician ever to be featured, signifies this unprecedented crossover. As he packs his bags for the New York Philharmonic, ending his extraordinary reign in late spring 2026, the Courier was honored with this rare opportunity to gain an intimate understanding of his astonishing, meteoric journey, his wisdom, and how he believes music can be a unifier to help heal the world. 

From the calm, carpeted corridor, I opened the Disney Concert Hall’s auditorium door to the thunderous power of the LA Philharmonic and the Los Angeles Master Chorale, led by Maestro Dudamel. Having been invited to peek in on his private rehearsal of a new contemporary composition, I quickly slipped into a back mezzanine seat. The empty hall in its colorful and acoustical grandeur further heightened the mesmerizing moment. 

The piece, “Earth Between Oceans,” explores the power of nature through the lens of the four elements: Earth, Air, Fire and Water. Undoubtedly, I had entered during the dramatic Fire section. The robust “wordless choir added a dynamic timbre to the ensemble,” said Ellen Reid, its Pulitzer Prize-winning composer, at the world premiere the following night. 

Suddenly, Gustavo’s large arm gestures silenced the sound. In the quiet, he turned in his conductor’s rehearsal chair and called to Ms. Reid sitting in the orchestra section behind him. They shared words of interpretation. He then swiveled back to his orchestra, lifted his arms, and revisited the refrain. It was extraordinary to watch his process.

“The good thing is that she’s there,” said Gustavo, reflecting on the rehearsal later that afternoon with me in his private office. “But she’s letting me go. She writes the music, and we interpret it. She was very touched about what was happening.” 

Ms. Reid had never heard her creation performed live before that afternoon. Neither had Gustavo nor the orchestra.  

He continued, “And for me, it’s wonderful. It’s like having Mahler or Beethoven there. ‘Hey, Ludwig, what do think about it?  Are we doing well?’” Gustavo chuckled at the thought.  “Although they [Mahler and Beethoven] are not present with us, they are present with their music, and you have to really read the music to understand and bring them alive.”

This is one of the benefits of performing new, contemporary compositions. 

“It’s like a baby that walks immediately,” said Gustavo. “When we are playing something, we don’t know what is going to happen. [Ms. Reid] has an idea. We have an idea. She’s very talented. I have premiered other pieces by her, and she’s very clear in what she wants. But in that moment when you play something for the first time.” He pauses. “It’s beautiful.”

“Beautiful” is also the way Gustavo describes hearing the sound of live orchestral music for the first time in his life. 

Little Gustavo was 5 years old. It was Rimsky-Korsakov’s Scheherazade, a symphonic suite inspired by the tales of “One Thousand and One Nights,” also known as “The Arabian Nights.” His young father was a trombonist in the youth orchestra.  

“I was blown away. It was like, wow! I have the memory of the theater where we were, and the amount of sound that was coming. I was so excited. I was trying to see my father. But I couldn’t see him because I was very little.” 

Music is in Gustavo’s blood. His parents met in a folk music group in Barquisimeto at the ages of 15 and 16. Young Solangel Ramirez Viloria, a singer and voice teacher, fell in love with Oscar Dudamel Vasquez, a trombonist and salsa musician. They raised their two sons Roger and Gustavo, in a musical environment, beginning with Latin music, bolero, salsa, and merengue. 

Gustavo’s grandmother, Engracia Vasquez de Dudamel, lived with the family when Gustavo was a boy. She has shared stories about him, arranging his toy soldiers in orchestral positions. While the music played on the record, he would conduct their performance. This imaginative play from an early age made conducting feel very natural to him. 

But it was the revered Maestro José Antonio Abreu, and his trailblazing work to democratize access to the arts, who lit the fire under Gustavo. While mentoring him toward maestro prominence, Maestro Abreu inspired Gustavo toward a life commitment to social advocacy. 

In 1975, Maestro Abreu created a groundbreaking music education program, funded by the Venezuelan government’s social services division, to provide free musical education for all children regardless of their socioeconomic background. Believing music is a universal right, Maestro Abreu felt music education was essential for the well-being of children at risk, providing social inclusion and personal development through shared music making. As music transmits harmony and mutual compassion, he was convinced it could unite communities. Called El Sistema, it grew into a nationwide network of hundreds of music centers reaching hundreds of thousands of children from underprivileged backgrounds. Maestro Gustavo Dudamel is indisputably El Sistema’s most successful alumnus.  

Entering the program as a young boy, Gustavo thoroughly enjoyed making music with his friends. It was his happy place. El Sistema was popular and thriving. At the young age of 12, he was selected as a violinist from all the children in youth orchestras in Venezuela to be in the National Children’s Orchestra. This was his first encounter with Maestro Abreu. 

“Of course, he was there all the time supervising the rehearsals. One day he asked me to lead, to show the people how to do it.” 

Maestro Abreu recognized Gustavo’s talent and took him under his wing. Soon after, he invited Gustavo on a trip to Caracas, at age 14, to witness his first ballet performance. It was a ballet rehearsal of  “Swan Lake.”

“I was sitting there, and he asked me, ‘Do you see the rhythm? … in the body? Do you see the melody?’ I was like, wow, I have to discover that.” “‘Now, where do you feel the harmony? The chords?’ It was amazing because it was the most beautiful natural expression … Maestro Abreu was a genius.”

He was instructing Gustavo to see the orchestra in the movement of the body. At another point, Maestro Abreu used the analogy of a flying bird as a metaphor to help teach the movements of conducting hands. 

“He said to me, ‘Your hand is like a bird. You feel all the air in the palm of your hand and there is the dimension of sound. You are taking the sound that is everywhere. Even if you think it’s silent, there is energy. That is harmony and that is sound. And when you are making the movement of the upbeat to start, you are bringing that sound there,” as he gestured lifting his arms in his office. “And this is the way I hold the baton in my hand because it’s the body and the wings. And this is the head,” as he continued to demonstrate. 

Maestro Dudamel often conducts major repertoire and signature works like Beethoven and Stravinsky without a music score. He credits Maestro Abreu for this preparation. When asked about his dynamic, performative choreography possibly being memorized, as it pairs seamlessly and harmoniously with the memorized music, Gustavo quickly dismissed the thought.  

“No, never. I don’t practice my gestures. I have never practiced my gestures. The thing is, if I prepare everything perfectly, maybe what I have in mind doesn’t go with what the orchestra is expecting. My advice to young conductors is to be flexible, to manage the moment … The process has to be very natural.” 

Additionally, there’s commentary about Maestro Dudamel’s magic when he performs. It’s referred to as a spiritual connection that transforms him. Gustavo did not deny this interpretation. Instead, he recalled a “very important lady in the arts,” who was the head of the Latin American Festival of Theater in Venezuela and a dear friend of Maestro Abreu. After observing Gustavo’s talent as a young man, she declared that he had “duende,” from Federico García Lorca’s essay, “In Search of Duende.” It explores the concept of artistic spirit, or “magic,” that presents itself through a visceral, spontaneous power. 

“She told me I have magic. I thought, OK, I’m possessed or something. But it’s true. There is something that goes naturally with my body, with my soul, what I listen to, and what I feel.” 

When Gustavo was 18 years old in 1999, he was appointed as the youngest Music Director of the Simón Bolívar Youth Symphony Orchestra of Venezuela. All of the musicians were graduates of the El Sistema program. As the chief conductor, he led the orchestra performing in Venezuela and around the world. 

“I had a series of concerts. I remember we played at the U.N. [United Nations].”

Enjoying performing with his friends, he was less motivated to do competitions. But Maestro Abreu had other plans for Gustavo. He felt Gustavo needed competition experience in order for his conducting talents to be seen and recognized internationally. 

Years earlier, when he was 11 years old, Gustavo heard a recording of Gustav Mahler’s Fifth Symphony and quickly became a lifelong fan. When the opportunity arose in 2004 for Gustavo, at the age of 23, to enter the prestigious Gustav Mahler Conducting Competition in Bamberg, Germany, Maestro Abreu wanted him to enter. But Gustavo was in Berlin for three months as an assistant conductor to Sir Simon Rattle at the Berlin Philharmonic. Nonetheless, back home in Venezuela, Maestro Abreu filled out the application paperwork. 

When Gustavo returned from Berlin, he said, “I told my Maestro I was feeling bad. I need to check with the doctor. I was trying to avoid going back to Germany.”

But Maestro Abreu pressed. It was to be the first time that Gustavo would be leading an internationally acclaimed orchestra as a conductor, the Bamberg Symphony Orchestra. After two weeks in Venezuela, Gustavo acquiesced. 

“I never pushed myself to say, I’ve got to do this. I got to win. It’s not my personality. I went there to enjoy, to experience the beautiful moment of knowing a wonderful orchestra, and knowing great people.” 

The outcome dramatically changed Gustavo’s career trajectory. 

“I passed the first round; my name was there. The second round, I said, well, this looks serious; let’s keep going. Then third round, then semifinals, then I’m a finalist. And it was very natural. I never pushed myself, saying I’ve got to win. But I felt that from my fellow competitors.” 

Gustavo won and the international community took note. One of the esteemed judges in Bamberg was, at that time, the current Music Director of the Los Angeles Philharmonic, Maestro Esa-Pekka Salonen. In 2027, he will be returning to the LA Philharmonic as Creative Director, bookending Gustavo Dudamel’s tenure. 

Maestro Salonen shared, “When I saw him at the Gustav Mahler competition, it was stunning how naturally he connected with the orchestra and how effortlessly music flowed from him. He stepped in front of the Bamberg Orchestra, conducting a professional orchestra for the first time, Symphony No. 5 by Mahler, which is notoriously difficult to conduct, and it just flowed. The musicians [a hundred all older than him] accepted the fact that there was this young Venezuelan guy in front of them, guiding them, who didn’t speak much English. It just lined up beautifully. I thought this kind of talent doesn’t come across every year. It’s more like a generational thing.” 

Maestro Salonen quickly placed a call to the CEO Deborah Borda, requesting an invitation for this “conducting animal.” Soon after, Gustavo arrived in Los Angeles for the first time at age 24. The pressure was on, but Maestro Abreu had prepared him. 

Gustavo explained, “He made me play in the orchestra, to watch the conductors, and to feel what the musicians feel to be conducted. The work of conducting is not only making the orchestra sound good; it’s making the orchestra feel good … Remember that we are creating a sound together. We have the notes; we have the music composed by the geniuses of Beethoven or Mahler, all of them. But we have to reproduce that [sound]. And that is a feeling, a metaphysical process. [The conductor] has to create an environment where it is healthy to create beauty.” 

For him, the key is about inspiring and motivating the orchestra, adding, “I’m no one without the musicians because my instrument doesn’t sound.”

“You know how many times these musicians play Beethoven’s Fifth Symphony with so many conductors? What can be different in that moment? That is the secret. The secret is how you don’t change things. You try to enhance the moments and the spirit of everybody.”

That first visit to Los Angeles could have been overwhelming for Gustavo. He was coming from conducting a youth orchestra in Venezuela, and stepping onto the platform to lead one of the top orchestras in the world.

“It was an instant connection … I was conducting them and the interaction was, at the highest level, artistically friendly. The sharing of my ideas and how they were taking those ideas and making a sound from my ideas felt natural.”

“What I find maybe most amazing about him is that, after all these years of fame and success and adulation, he’s still an idealist. He believes in the importance of music as a social force, and that’s really impressive.”
– Maestro Esa-Pekka Salonen 

His United States conducting debut with the Los Angeles Philharmonic at the Hollywood Bowl in September 2005 was met with immediate and overwhelming success. More performances with demanding repertoires at the Walt Disney Concert Hall followed. His graceful and natural strength empowered the enthusiasm, reflecting the genuine admiration from the orchestra and his “charismatic power” with the audiences. The Los Angeles Philharmonic did not waste time. He was appointed Music & Artistic Director, succeeding Maestro Esa-Pekka Salonen, in October 2009 at the age of 27. 

In 2007, before Gustavo formally took on his position as Artistic Director, he launched the YOLA program, directly inspired by his own formative experiences with El Sistema. With the dual goal of developing musical proficiency and fostering social change in diverse, underserved communities, it became a key component in negotiations with the LA Philharmonic’s leadership. As they enthusiastically embraced this concept, YOLA has become not only Gustavo’s signature project but also a foundational pillar of the LA Philharmonic’s mission. Together, they erected the Judith and Thomas L. Beckman YOLA Center in 2021, designed by Frank Gehry, located in Inglewood, as YOLA’s first permanent home.

“When you give an opportunity to a young child that is not in the environment of having opportunities, you are not changing the life of one person; you are changing the life of all that surrounds this kid … It’s a lot of circles: his family, his neighborhood, his community. Everything changes. When they see a kid walking with an instrument, they feel proud … This is the philosophy of YOLA. This is the philosophy of El Sistema. They are transforming their lives and the lives of the people that surround them.”

It’s also about one’s identity. 

“Mother Teresa of Calcutta said the worst thing about being poor is to be no one. And what a beautiful thing when you give a child an instrument. You are giving them an identity. You are giving them a place in society with the most sublime expression of humankind. That is art.”

Gustavo further explained, “If we look pragmatically and we open our mind and our soul, what we see are people producing beauty. Whoever you are, whatever you think, wherever you come from, you are united in that moment because you are sharing energy at the same time. What a beautiful thing. This is what happens on stage.”

He believes it’s similar to a violin and a trombone, a flute and a tuba. They all come together, and there is harmony. 

“I think the world right now is not in harmony. It’s in a cacophony. It’s noisy. But noisy in cacophony is also harmony. We [need to] really open our ears, open our souls, open our minds. We will see the beautiful chords that are inside. But we need more of this.”

This is what connected Gustavo to the love of his life, his wife, actress and director, María Valverde. They met while working on the film, “The Liberator.” She was the star; he composed the film’s soundtrack. Years later, their friendship developed into a romance, and in 2017 they were married in a private ceremony. 

From the very beginning, they shared “beautiful, deep talks about art, about the concept of ‘viendo la belleza del arte, looking at the beauty of art.’” He expounded, “This concept goes beyond what we can understand about art. But by opening the paths for opportunity, the younger generations can contemplate, share, work together and understand that community connections create harmony.” 

The Dudamel Foundation, which María co-chairs, instills the belief that art and music are fundamental human rights. Capable of fostering a more just, peaceful and inclusive society, music is a universal language that transcends barriers and speaks directly to the soul. Their foundation, which is a part of a global movement, not only aims to give every child the chance to fulfill personal dreams through music; it also sees music as the catalyst for societal transformation, inclusion, empowerment and lasting change. 

“What I find maybe most amazing about him is that, after all these years of fame and success and adulation, he’s still an idealist. He believes in the importance of music as a social force, and that’s really impressive,” said Maestro Salonen. 

Our time together was evaporating. We ventured toward his bookshelves, and I spotted his first Grammy, for Best Orchestra Performance in 2011, resting prominently as well as his most recent Grammy, one of three won in 2025, awarded for his conducting of the LA Philharmonic. There was a photo of him giving a speech at the White House honoring his friend José Andrés accepting the Medal of Freedom, and other prizes and awards from world leaders such as the President of Chile, and the President of France. 

He grabbed a small, weathered book off the shelf. “This was my Maestro’s, his agenda book from 1978,” a significant treasure from which Maestro Dudamel has modeled his life’s mission. He began to thumb through the pages of his heirloom. “See, he wrote, ‘This is done. This is what I have to do,’” pointing to the Spanish multicolored, handwritten entries. He took a moment, reading, clearly moved.  

“Under his leadership, we’ve become a model for what a 21st-century orchestra can be: boldly creative, fiercely relevant, and deeply connected to its community.” – Jason Subotky, Chairman of the Board of the Los Angeles Philharmonic

There were other memorabilia from some of his trailblazing concerts, which begged the question about future music collaborations. He offered that he has many. 

“I was with Jimmy Page, of Led Zeppelin, the other day. It would be a dream for me to do something with him. Radiohead is a group that I admire and I love. And many Latin artists I would love to work with. That was my home. I was listening from salsa, to rock, to classical. There was no border or a wall that separated music … Music is one, with different styles. It’s an expression of humans. That’s it.”

Which music does he choose when he is with María? He chuckled, “A lot of music.” Then he changed the direction of the question. “Family for me is the most important thing. And that is what provides me inspiration. I think of María, my son Martin, my parents …” as he grabbed a photo of his son. 

“He’s a teenager now. He’s wonderful. I love to go with him to eat and talk. I learn a lot. I think every time is my favorite when I’m sharing it with him.” 

Born and raised in Los Angeles, Martin lives in Madrid. Gustavo confirmed it is his home as well. 

“Yes, Madrid and Los Angeles.” His answer opened the door. Is he really not saying goodbye? 

Gustavo has said, “When a finale is approaching, you can feel it. Whether an orchestral piece concludes with a bang or a whimper, its ending is rarely ambiguous .… There’s only one thing a final movement, third act, and proper goodbye will always have in common—they are never easy to get right.” 

He has referred to Los Angeles as “home” in the media. He has also shared his intentions to continue to perform with the LA Phil in some capacity each year going forward. 

“I’d like to see this as Gustavo not leaving, just changing the nature of his role in the life of the LA Philharmonic. He will be coming back. It will be everybody’s highest priority to see him back in LA often. It’s not a farewell; it’s just a transition to another role. This is a relationship that will keep growing and deepening. I know Gustavo is going to be coming back as long as he’s around. And that thought gives me a lot of joy … Gustavo feels like family to me. We are very close. It’s a great relationship, and I’m very, very proud of it,” shared Maestro Esa-Pekka Salonen.

After 17 years of the Gustavo Dudamel era, he leaves a legacy of purposeful, transformational, artistic leadership, explosive growth and impactful community engagement, and a prestigiously historic elevation of the LA Philharmonic’s international profile. With more than 50% of the orchestra members coming from the Dudamel era, his visionary, risk-taking approach and deep connections with the musicians will ensure his influence will resonate in Los Angeles for decades to come. 

“We are closing a chapter, and we are opening a new chapter.  It’s very important for our institution to evolve and to be flexible to new things. But it’s beautiful to see that we are closing a chapter in such a beautiful state. It’s working perfectly … As I told the orchestra, they are the most important [part]. Whoever is at the podium, that is OK. In the end, it’s the LA Philharmonic. And that is why I’m so happy and proud of being part of this family.”

Gustavo has been having these discussions with his musicians during his orchestra rehearsals.    

“We talked about how this time has transformed us. It’s an evolution that is very powerful.  This relation will never end.” 

Still, it’s hard to close the chapter. Maestro Dudamel offered a Colombian poet who described it best.  

“A century in an instant,” he said. “Everything is so beautiful and intense that a hundred years passes in an instant … It’s what I feel. It has been 20 years coming regularly to Los Angeles. It feels like this year. It was yesterday, one hour ago. It happened because of love, a century in an instant … Love for the people of Los Angeles, love for the orchestra, love to all of these communities.  It’s their generosity …  I’m so grateful.”  

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Recognizing that the Allies had humiliated and bankrupted Germany after the First World War, acts of revenge against a vanquished foe that created the atmosphere that brought Hitler to power, President Truman did not want to put the enemies on trial just because they lost the war. He tasked Supreme Court Justice Robert H. Jackson with creating a tribunal of “justice” to hold the remaining Nazi hierarchy responsible for crimes against humanity. Truman was against the wholesale hanging of the perpetrators without a trial, something that our allies, especially the Russians, favored. Jackson must create a system that the rest of the world could trust—one that was seemingly devoid of obvious revenge against the losing side.

Following American common practice, one that remains today in potential capital cases, a psychiatrist, Lt. Col. Douglas Kelley, was assigned to assess the mental competence of the first group of defendants, among whom was Reichsmarschall Hermann Göring, second in command after Hitler and the highest-ranking Nazi captured alive. Assigned an interpreter, Sgt. Howie Triest, Kelley began his interviews using the tools available at that time. Administering Rorschach tests and interviews, he closely observed his subjects, amused by the disdain many showed, believing he was a Jew because he was part of what they considered a Jewish practice. Speaking to his subjects with the help of Triest, his interpreter, he is convinced that Göring was fluent in English despite his denials.

When Göring begins to trust him, Kelley tells Triest, they will be able to conduct their tests and interviews in English. And soon enough that happens. Kelley and Göring bond; so much so that Kelley is soon doing the Nazi’s bidding, transporting letters back and forth to Mrs. Göring, in hiding from the Americans. Keeping copious notes, crossing boundaries that are clear, not only from his mandate from the army but also professional psychiatric parameters, Kelley feels he is mining gold, the kind of gold that may make him famous. He has, seemingly, allied himself with the enemy, at times grabbing the bait that Göring is tempting him with.

Cutting back and forth to Jackson’s struggles to define the extent as well as the limitations of the court he is trying to create, we are given a firsthand view of how he brought about a court that was tasked with impartiality. Not insignificant was the difficulty in bringing the Russians into the fold. They were fully behind hanging them all. Jackson, knowing that the eyes of the world would be on this tribunal, assembles an unimpeachable cast of prosecutors, judges and jailers. He will be one of the prosecutors, aided by his British counterpart, David Maxwell-Fyfe. The danger, of course, is that any or all of the Nazis may be acquitted based on the evidence presented.

As Kelley slips further down the slippery slope of transference, his superiors, led by Burton C. Andrus, head of the prison, begin to doubt his impartiality and bring in a psychologist, Gustave Gilbert, whose agenda, a postwar book about those on trial, clouds his interpretation and skews the questions he uses to interview the war criminals. His postwar goals are not all that unlike those of Kelley. Discouraged and demoralized by his demotion, Kelley reveals to a journalist that he doubts that the prosecutors will be up to the task of convicting the brilliantly manipulative Göring.

There is a lot of good to be said about this film. Although heavy on the expositional side, it reveals much that is fairly new material. Vanderbilt wanted to give a 360-degree view of the tribunal process, from the building of the courtroom, the assembling of the prosecutorial pieces, to the process of determining competence, not just of the accused but also of the accusers. His storytelling was primarily divided into two parts: the story of Jackson, the Supreme Court justice who will establish new, international case law, and Kelley, the psychiatrist on whose research so much will hinge. The basis for the book was the story of Kelley and Göring. Ostensibly, everyone in this movie was based on a real individual; their motives and actions, however, are probably portrayed for dramatic effect. What was unmistakably real was the footage from the camps, used to support the prosecutors’ contentions that the Nazis knew full well what was taking place throughout their territories, despite Göring’s claims to the contrary.

Jackson, as played by Michael Shannon, is seen as having a great deal to lose. His is the most expositional of all the characters as he explains each and every move he makes. Shannon is a good enough actor that he triumphs over the expositional writing and allows us to experience the whys and wherefores of this new and important world court, so much of which will underpin future international trials.

Vanderbilt, however, based this film on the book about Kelley, so it’s safe to assume that he intended that part of the film to dominate the rest. In Russell Crowe, he found a formidable actor to portray Göring. No histrionics, no extraneous gestures, Crowe’s Göring fills the screen frighteningly with his brilliance and arrogance. As Kelley, unfortunately, Rami Malek is less than equal to Crowe’s Göring. Full of ticks, nervous energy and speech mannerisms, Malek does not command the screen. From the narrative standpoint, it is hard to identify with his subjugation to his patient. His betrayal of his superiors and his turnaround at the end are not entirely believable. It is possible that his actions are straight out of the book, but even so, it’s important to buy into all of his actions, and I didn’t. A stronger, less eccentric actor might have been more effective.

In smaller roles, Burton Andrus, in charge of the prison, is played by John Slattery as a one-note villain. No one expects a sympathetic jailer who must oversee Nazi criminals, but surely he has more than a scowl in his repertoire.

Richard E. Grant as David Maxwell-Fyfe was particularly strong. His prosecutor, always above the fray, was ever so British, effectively stiff upper lipped and sympathetic. Leo Woodall as Sgt. Triest, the interpreter, was a scene stealer. Always quiet, wide-eyed and observant, he was the soft-focused brush of reality, questioning Kelley’s actions but never inserting himself. The reveal of his background was poignant and worked to underscore his skepticism and heighten the sympathy he engendered.

Vanderbilt undermines his film by trying to tell too many stories. The drama and tension are kept too much in check. Not as dramatic as the 1961 movie classic “Judgment at Nuremberg,” it is far more factual but much less emotional. A more effective and much better film is the documentary called “Filmmakers for the Prosecution.” Directed by Jean-Christophe Klotz from an article written by Susan Schulberg, it documented the footage of atrocities uncovered by brothers Budd and Stuart Schulberg before the Nuremberg Trials, footage that was instrumental in proving Nazi intent and crimes.

The production design is outstanding, creating realistic World War II villages and bombed out buildings. Long, at 145 minutes, “Nuremberg” could have used some trimming and better editing. I wish it had been a more interesting film, but it does have a compelling performance by Russell Crowe that is reason enough to see it.

Opening Nov. 7 at the AMC Century City 15. 

Neely Swanson spent most of her professional career in the television industry, almost all of it working for David E. Kelley. In her last full-time position as Executive Vice President of Development, she reviewed writer submissions and targeted content for adaptation. As she has often said, she did book reports for a living. For several years she was a freelance writer for “Written By,” the magazine of the WGA West, and was adjunct faculty at USC in the writing division of the School of Cinematic Arts. Neely has been writing film and television reviews for the “Easy Reader” for more than 10 years. Her past reviews can be read on Rotten Tomatoes where she is a tomatometer-approved critic.

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A genre-defying movie, “It Was Just an Accident” hops between slapstick comedy and chilling thriller, oftentimes blending the two. These sudden shifts between the absurd and the dramatic are both the film’s strength and weakness.

Arrested several times over the last 25 years and imprisoned by Iranian authorities, often without specific charges but almost always related to his filmmaking, his most recent prison stay was in 2022; released in 2023 after he began a hunger strike. While incarcerated, his feelings of isolation and hopelessness mirrored that of his fellow prisoners. Jafar was blindfolded and interrogated for eight hours a day, its own brand of torture, and then released as suddenly as he was arrested. Forbidden by the government to make films, this ban was lifted after he was released from prison. The catch, because of course there is one, is that he could only film in Iran with official permission, permission that will never come.

“It Was Just an Accident” was shot in secret, much like his other features. Using guerrilla tactics, with a run-and-gun style that both helped and hindered the continuity of the scenario, he sped in and out of locations that easily disguised what he was doing. He infused his most recent experience in prison into the histories of the characters in this movie.

It’s late and the family is tired. Father (Ebrahim Azizi) is serious, focused and driving on a rough road at night when he hits something. Getting out, he discovers he has hit a dog. Nothing to do, he relates to his pregnant wife and young daughter, “It was just an accident.” Leaving the animal, suffering on the side of the road, he charges on, but the car has suffered damage and they must find a garage. As fate would have it, it’s the garage of Vahid (Vahid Mobasseri), who recognizes the man, or at least thinks he does, when he returns the next morning to pick up his car. Acting quickly, recklessly, Vahid attacks the man and bundles him into his van. Vahid is convinced that his captive is none other than Eghbal, the guard who relentlessly tortured him in prison. His prisoner denies it. Because he has some doubt, Vahid sets about collecting others who were also tortured by this man. He seeks revenge but must be certain it’s Eghbal, who had a wooden leg, also known as Peg Leg, very similar to the man he has kidnapped. Soon he has amassed Shiva (Mariam Afshari), recently released and newly employed as a wedding photographer, Golrokh (Hadis Pakbaten) and Ali (Majid Panahi), the couple she is shooting for their wedding the next day, and Hamid (Mohamad Ali Elyasmehr), the off the rails ex of Shiva, who is in favor of shoot first and don’t bother about the questions. Of all the members of this disparate group, it is Hamid who has no doubts that the man in the van is Eghbal by the sight and feel of his wooden leg.

Careening all over Tehran, discussing the pros and cons of revenge against their prisoner, who may or may not be the man who ruined their lives, it is Vahid who is either the moral compass of the group or the most indecisive. Where lies the humanity of extracting revenge? It is the combination of their zigzagging ride across town and into the desert, where they consider burying him alive and discuss the ethics of torturing their tormentor. For Hamid, there is no question that it is Eghbal, and no question that he should die, family or not. And this is where slapstick humor collides with the serious nature of revenge versus forgiveness. The occupants of the van, especially the future bride in full regalia, her precious wedding dress dragged through mud and dust, are almost a rollicking band of merry pranksters. Hamid, more over-the-top than the others, is resolute in his desire to kill the man he is certain is Eghbal, and leaves the group when they are still mulling over the philosophical implications of taking another life, regardless of his sins.

Complicating matters further is their encounter with his pregnant wife, about to give birth and in need of assistance, help that our not-so-merry band provides before they continue their life-and- death discussions. Promises are made; promises are broken. What can these innocent victims of Eghbal achieve when they abandon humanity and embrace his techniques? Who gets to choose who lives and who dies, and what do you lose in the process? Jafari ends the film in chilling ambiguity, an ending I will not reveal.

Whether the melding of genres amid philosophical questions works is an unanswered question. There are laugh-out-loud moments sprinkled with the horrors of memory and the dread of the future. Could it have been edited together more smoothly? Perhaps. Nevertheless, the questions at the root of this “man’s inhumanity to man” scenario are substantive and definitely worth considering.

In Farsi with English subtitles.

Now playing at the AMC Century City 15.

Neely Swanson spent most of her professional career in the television industry, almost all of it working for David E. Kelley. In her last full-time position as Executive Vice President of Development, she reviewed writer submissions and targeted content for adaptation. As she has often said, she did book reports for a living. For several years she was a freelance writer for “Written By,” the magazine of the WGA West, and was adjunct faculty at USC in the writing division of the School of Cinematic Arts. Neely has been writing film and television reviews for the “Easy Reader” for more than 10 years. Her past reviews can be read on Rotten Tomatoes where she is a tomatometer-approved critic.

The post ‘It Was Just an Accident’—Or Was It? appeared first on Beverly Hills Courier.

Invited to Poland in 2014 by his friends Aaron Friedman Tartakovsky and Aaron’s mother Anita Friedman, he accompanied them to a rededication of the Jewish cemetery in their ancestral home of Gniewoszów, Poland. They had been to Gniewoszów 10 years earlier but were chased away, literally and figuratively, by suspicious and antisemitic residents. There was something to hide, but it would take many years to unearth the details and that is what Potash set out to do.

Rumors had persisted over the years of the postwar treatment of Jews who had dared return to Gniewoszów, but it would take time, patience and luck to unearth the details. Further adding to the difficulty of revealing the truth, the newly elected far-right Polish government enacted a new law in 2018 that made it illegal, punishable by prison and/or a substantial fine, to even suggest that Poland had any part in the Holocaust. Revealing anything negative about the Polish people’s actions during or after the war, no matter how well-researched and substantiated by respected historians, was squelched and punished. The law, under pressure from Western European neighbors, was eventually downgraded from criminal offense to civil offense, but the chilling effect remained.

Learning from the previous experiences of Friedman and Tartakovsky, Potash realized that it would be difficult, if not impossible, to get the residents of Gniewoszów to talk. All around, he found evidence of what had been done to erase any remnants of a Jewish presence in a town that had been almost 40% Jewish before the war. At that time, many Poles and Jews interacted harmoniously. Their children often played together, attended the same schools and shopped in the same stores, whether owned by Jews or Poles. An initial detail comes immediately to light. Jews were never referred to as Poles, no matter how many hundreds of years they had been in the country. They had been welcomed, even recruited for their skills in crafts and banking during the 15th century when there was a push in Western Europe to establish Christian uniformity. Jews were either forced to convert or were killed. But Poland offered a safe haven, and many settled in the small towns that flourished with the addition of these newcomers. Never considered Polish, the Jews, like in so many places, were the “other.”

Potash faced many dead ends. The younger residents of Gniewoszów refused to speak with him, although there was a certain willingness on the part of their elders. This was most evident when he arrived at the home of Henryk and Sławomir Smolarcyk, a father and son guided by different memories. Henryk had many positive recollections of his Jewish friends prior to the war. Sitting among the debris and junk in their yard, Potash notices a Jewish headstone. The Jewish cemetery had long since been bulldozed and the headstones disappeared mysteriously. Not so mysterious, really. The Smolarczyks were not the only ones to purloin the stone grave markers. Although neither can articulate why they have a Jewish tombstone in their yard, each has a different story about why it is there. Neither makes sense. The local contractors who tore up the cemetery sold the stones to residents. Many were also stolen to be repurposed. They could be cut into circles to make grindstones, which can still be found in local stores; they were used to shore up stone walls; some were effaced and made into Christian grave markers. This was just one way the Jewish history of Gniewoszów could be erased.

Potash interviews journalists, historians and local citizens who give perspective to what happened in Poland. Most important to him, though, is to follow the trail from the Nazi occupation to the continued murder of the few Jews who returned after the war. Among all the present-day citizens of Gniewoszów, he was lucky enough to find Pelagia Radecka. Reluctant to talk at first, she slowly opens up about what happened to the Jewish family who lived across the street. The Weinbergs owned one of the local stores, patronized by everyone. Mrs. Weinberg was respected and loved by all. Pelagia was smitten by their son Yanek and has never forgotten him. After the Nazis arrived, many Poles beat their Jewish neighbors and stole from them. Their situation grew worse and worse until all the town’s Jews were rounded up and put behind the walls of a hastily constructed ghetto before being sent to Treblinka, a nearby concentration camp. Revealing how broken-hearted she was when the Nazis came and rounded up the family, she begins to open up about the murders of returning Jews by Polish bands, hinting at a mass grave. Throughout her conversation, she continues her longing to know what happened to Yanek.

Tracing one lead after another, always looking for a link between Gniewoszów and its former Jewish citizens, he is very lucky to find Yaacov Goldstein, a Holocaust survivor and quite possibly the only living link between the Gniewoszów of yesterday and today. Now a professor in Israel, he has a harrowing tale to tell. In 1942, the Germans started implementing the Final Solution (the systematic slaughter of the Jews) and brought in trucks to ship residents of the Gniewoszów ghetto to Treblinka. Mother and son were loaded onto a truck; his father was kept behind to assess confiscated property. Audaciously, his mother made the decision to escape, and holding Yaacov’s hand, they jumped from the truck. Together, they returned to Gniewoszów to find his father. Hiding in the countryside, they had the money to pay suspicious farmers to hide them, but it was always a risk that their “hosts” would take the money and turn them in. Traveling in secret, his parents realized they would not be able to do it with young Yaacov. They had already given their baby to a farmer who, paid a great sum of money, promised to keep him safe. Reluctantly, they handed Yaacov over to another Polish family, providing them with a generous sum of money and the promise of more to come. For the next two years, Yaacov was kept in an attic; a place so small he couldn’t straighten his legs. His story is both harrowing and horrifying, but he escapes when the Red Army arrives and “liberates” the town.

Potash’s determination and fortitude to follow these stories plays out in so many satisfying ways. His ability to gradually tease out what Pelagia has kept hidden inside her for more than 70 years is breathtaking. Despite the risk of imprisonment, she finally has the courage to reveal that she was an eyewitness to the murder of her neighbors in 1945, months after the war had ended. Recently returned from hiding, but without Yanek, the Goldsteins hoped to reclaim their store and business. Janek was alive, they told Pelagia, and they would soon go to bring him home. It wasn’t to be; local thugs rounded up the few local Jews who had returned and murdered them, setting fire to the store where they had been taken. Pelagia, a witness to the event, was threatened with death should she ever reveal what she had seen. Still longing to see Janek once more, still hoping that he escaped, she kept this secret from 1945 until she revealed it on camera to Potash, a secret that also hinted at a mass grave.

Much of the wartime story of the Goldsteins, both in and out of Gniewoszów, is told using hand-drawn animation to illustrate the past, whether painting a portrait of the loving Goldstein family and Pelagia’s relationship with them; the harrowing escape by Mrs. Goldstein and her son; or the postwar murder of the Jews. These animations are engaging and a very effective means of storytelling.

Truly, a highlight of this powerful film is the miraculous encounter between Pelagia and her Janek, brought about by the filmmakers. Potash would have you believe that his documentary reveals both the best and worst of human nature: evidence of the best in human nature in the actions of the Poles, renowned for their antisemitism, is sorely lacking, resting almost entirely on the shoulders of Pelagia. It is quite telling that the revisionist Polish leadership wants to erase any evidence that there was Polish complicity during the war or criminal acts after it. But of course, Poland was not alone in their collaboration with the Nazis. For many years, France, another country with a dark history of antisemitism, would have had you believe that all their citizenry belonged to the Resistance. The United States allowed very few Jews into the country despite proof they were in mortal danger, and recently, it has been revealed that the Dutch were not as saintly as they would have had you believe. You can try to rewrite history, but, eventually, the truth will out. In Poland, under the new right-wing leadership, the sins of the father will be revisited on the son.

In English and Polish with English subtitles.

Opening Oct. 17 at the Laemmle Royal

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Bearing a bit of a bond with the “Barbershop” movies but with more depth, the stylists in the salon are all African immigrants from the diaspora of that continent. One woman is from Sierra Leone, others from Senegal, another from Nigeria. They all may be Black but their cultural backgrounds define them more than the color of their skin.

Marie, the daughter of a noticeably missing Jaja, is in the country as a DACA (Deferred Action for Childhood Arrivals) recipient. She aspires to college but cannot afford the schools that would be available to her as class valedictorian. Her peers naturally assume she’s on her way to Harvard or Princeton, but they would be wrong. Marie has been attending school under the names and birth certificates of various cousins. Although her mother tells her to dream big, Marie is a realist. Today, she is running the salon because her mother is getting married. She has no illusions. The groom is a sketchy white guy promising, for a large sum of money, to marry Jaja so she can get her green card. Marie begged her not to do this but Jaja, who has had considerable success up to this point, will brook no opposition.

Opening the salon, Marie greets Miriam, one of the stylists, who has been waiting. Soon they are joined by Bea and Aminata and the gossip begins. Bea, the eldest, has an opinion on everything and most of them reflect back on how the shop should have been hers. She is particularly upset that Jaja has given a chair to Ndidi, a talented braider awaiting the reopening of the salon where she worked previously. Bea has nothing good to say about her and is very upset that some of her clients have strayed over to Ndidi. Never considering that her personality or deteriorating skills might have been the cause, she tries to make it as difficult as possible for the new woman, even confronting her clients.

Minor skirmishes, family drama and demanding customers make up their day as time flies by, denoted on the ever present television screen playing Nollywood movies as a digital clock flashes the advancing time. The clients who warm those chairs are rather upscale and bougie. They make it known that their occasional trip to Harlem is a novelty and know exactly how they want their hair to look. One wants the Beyoncé lemonade braid, thrilled with the result and ready to conquer the world. Another wants micro braids and still another wants cornrows. No matter what style, braiding is an all-day event as the clients sit patiently, some taking a lunch break before they resume a process that will continue past dinner time. For the hairdresser, it’s very time consuming and wreaks havoc with their fingers, often drawing blood from the intense weaving and chemicals used in the process.

Jocelyn Bioh, the playwright, also wrote “School Girls; Or the African Mean Girls Play” and “Nollywood Dreams”—plays that looked into the hopes and usually unrealistic dreams of young African women, whether in Ghana or Nigeria. The protagonists of both are looking to escape their daily lives and become stars, of one sort or another. “Jaja’s African Hair Braiding,” taking place in Harlem instead of the native Africa of the stylists, is no less about dreaming big and unrealistically. The biggest dream for all of them is that elusive green card that would turn their lives around. Bea would get her own shop, because, as she often repeats, this one should have been hers because it was her idea and Jaja, her best friend, stole it from her. Rarely mentioned is that Jaja used her savings to start her business, savings that Bea didn’t have. Aminata would love to leave her feckless, cheating husband and Miriam would like to bring her young child, still in Sierra Leone, to this country. Marie’s dream, probably as hopeless as the others, is to go to school legally. Out of all of them, Marie may be the only realist, knowing full well that she will remain in limbo despite her mother’s joyous exhortations of a better future with the sketchy husband and a newly obtained green card.

There are many warm, funny moments in the play and they make “Jaja’s African Hair Braiding” worth seeing. The cast is uniformly good, especially the way Bioh subtly, or maybe not so subtly, underscores the difference between these immigrant African women and the American women who come into the shop. Not entirely a “haves and have nots” scenario, the cultural and socioeconomic gaps are illustrated by the rich girl who happens into the shop and discovers that Marie, the classmate who beat her out for valedictorian, works there; or the aloof business woman who wants braids but insists that Aminata use only the combs and brushes she has brought with her.

When Jaja finally appears, it is to show off her wedding outfit, one that will be put to use shortly when she meets her betrothed at city hall. Joyous, swanning, she ignores her daughter’s concerns. Marie begs her to reconsider; the money could be put to better use. No! With a final flourish, she is off to be married and live her happily ever after.

There is never a happily ever after in these scenarios and there isn’t one here, shifting the tone from snappy, gossipy and petty to serious, one that highlights all of their greatest fears in this anti-immigrant climate.

With the exception of Marie, none of the other salon ladies seemed to be elevated beyond stereotype, never digging deeper than exposition into their characters. Too often, Bioh goes for the easy laugh, rooted in the petty jealousies. The final moments of the play, a serious tone not present earlier, finally show the depth lying within the characters. The undercurrent of their precarious status might have been better explored earlier.

Now playing through Nov. 9 at the Mark Taper Forum, 135 N. Grand Avenue. Performances at 7:30 p.m., Tuesday-Thursday; 8 p.m. on Fridays, 2 and 8 p.m. on Saturdays; and 1 and 7 p.m. on Sundays.

Neely Swanson spent most of her professional career in the television industry, almost all of it working for David E. Kelley. In her last full-time position as Executive Vice President of Development, she reviewed writer submissions and targeted content for adaptation. As she has often said, she did book reports for a living. For several years she was a freelance writer for “Written By,” the magazine of the WGA West, and was adjunct faculty at USC in the writing division of the School of Cinematic Arts. Neely has been writing film and television reviews for the “Easy Reader” for more than 10 years. Her past reviews can be read on Rotten Tomatoes where she is a tomatometer-approved critic.

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Hart was a complicated man. He could fill a book with pages of self-loathing. Hart was a very short (5 feet tall on a good day), not very attractive (he considered himself ugly), closeted Jewish gay man (an open secret on Broadway) who lived with his mother until the day he died. None of this was a professional stumbling block; it was his rampant alcoholism and lack of reliability that broke up his 20-year collaboration with Richard Rodgers and drove him to Oscar Hammerstein II, with whom he had an even more successful collaboration. Rodgers, who wrote on a regular schedule, from morning until dinner, was hamstrung by his partner’s lack of self-discipline. His lyrics were pungent, romantic, acerbic and brilliant, but his lack of work ethic was intolerable. Clubbing from dinner till dawn, reluctantly waking after noon, Rodgers could no longer tolerate Hart’s hungover presence at the end of his working day. He tried repeatedly to get Hart the help he needed, but Hart always fell back into his old habits. I tell you all of this because you will get very little history of Hart’s importance or relationships in Richard Linklater’s very flawed film, “Blue Moon.”

Opening on a dark, dimly lit alley outside an anonymous bar, Hart has stumbled and cannot get up. He died of pneumonia shortly thereafter. Cut to a glamorous theater and the 1943 opening night of “Oklahoma,” full cast singing the rousing first number about corn as high as an elephant’s eye to rapturous applause. A sour Hart, seated next to a bejeweled and overdressed older woman, his mother, stands and exits. Unable to watch further, he walks across the street to Sardi’s, the famous Broadway restaurant known for celebrity caricatures on the walls and its opening night parties. A regular at that bar, he cajoles Eddie, the bartender, into pouring him a whiskey. It’s clear that Eddie has been previously instructed not to serve Hart any alcohol, but they’re friends and Larry can be very convincing. And so starts the long (very long) monologue that Larry carries on about the new love of his life, Elizabeth Weiland, a Yale undergraduate 27 years his junior. Eyebrows raised, Eddie indicates that he thought Larry’s interests lay elsewhere. Nevertheless, he’s smitten and drones on and on about this relationship. Sitting in a corner is E.B. White, the famous author of “The Elements of Style,” “New Yorker” essays and “Charlotte’s Web.” This is the first of unnecessary conceits as White was famously shy, drank little and avoided social interactions. The wise pundit to Hart’s melancholy, the interactions ring false.

Larry’s diatribe isn’t just on the vicissitudes of his proclaimed love for Elizabeth, who has just arrived to greet him, but also for how much he loathed “Oklahoma,” a musical destined to live forever and one whose sentimentality is making him sick, literally and figuratively. It panders to the unwashed masses who live in the hinterlands and proclaims false joy and hope to those who should know better. His disdain is limitless, all with an undercurrent of jealousy for Rodgers’ new partner, Oscar Hammerstein. Not alluded to in the film was that Rodgers had wanted Hart to contribute to his collaboration with Hammerstein on “Oklahoma,” but his personal habits torpedoed that possibility. Contrary to Hart’s insinuations, Hammerstein was not a sentimental hack. Hammerstein was one of the originators of the book musical, where songs and dancing followed the story and not the reverse. His previous musical collaborator was Jerome Kern. Together they wrote “Showboat,” a musical not renowned for sentimentality and gave the world “Old Man River.”

As the clock ticks past 11 p.m., the cast of “Oklahoma” arrives for their party as they await the critics’ reviews. The creators, Richard Rodgers and Oscar Hammerstein, enter to waves of applause. Not coincidentally, the room and its inhabitants are bathed in a bright light contrasting markedly with the somber lighting in the bar. Among other things Hart hates is that Rodgers chose a very tall, very big man as his new partner. Larry approaches Richard, Richard reacts with trepidation knowing that there are no good endings with Larry. Falsely proclaiming his love for the play, one that he had seen many times out of town, Larry still is able to decry what he considers its overt sentimentality and Roger’s desertion of him. A skeptical Rodgers tries valiantly to extricate himself, reviewing their past relationship and why it broke up. Still, he patiently listens to Hart’s latest uncooked idea, while throwing him a lifeline, proposing a revival of one of their past hits, “A Connecticut Yankee in King Arthur’s Court.”

The night drags on and so does Hart. On and on and on and on. One becomes grateful that the evening is ending and so, not very ironically, is Hart who will be dead within the year.

There are multiple reasons this film doesn’t work. First and foremost, it is all talk and no action, primarily because the talk isn’t very interesting. The Hart one comes to know, and loathe rather than pity, is an annoying, whiny man who complains incessantly about his height, lack of respect, isolation and abandonment issues without any recognition or insight into his own personal failings. The man known for his quick wit is humorless. Some of this might have worked if there had been a way to incorporate his backstory in a non-expositional manner. Richard Linklater, a very accomplished director and writer, saddled himself with the inexperienced Robert Kaplow, whose only previous writing credit was another film Linklater directed, “Me and Orson Welles,” in 2008. The story is, unfortunately, tedious and most of the acting does not rise to the level of insightful or exciting. Ethan Hawke, as Hart, seems to be miscast. Cinematographer Shane F. Kelly was successful in making the 5’10” Hawke look short, using a body double when shooting from behind. Still, it was impossible not to constantly make a mental note about how they were shooting him, a distraction from the tedious dialogue. Hawke successfully imparts needy but neglects the more complex vulnerability. One longs for him to stop talking.

Bobby Cannavale as Eddie the bartender is given little to do other than an occasional “tsk tsk” while he pours another drink. Simon Delaney was, no doubt, cast as Oscar Hammerstein II because of his size. He’s given little to say and is saddled with one of the “gotcha” moments when he introduces his 13-year-old guest and neighbor, Stephen Sondheim. Yes, Sondheim was his neighbor and mentee, but the likelihood that he brought him, instead of his own children, to the premiere is next to nil. Even less likely is that he would have unleashed Sondheim to critique Hart’s lyrics. Like inserting E.B. White into the action or having Weegee photograph the opening party, these are false plot pushers; wink-winks to a public who might recognize the names in 21st-century terms.

There is, however, a very bright moment in an otherwise tedious film. Andrew Scott, as Richard Rodgers, is captivating the moment he enters the scene. Not relying on dialogue to draw character, his eyes and tight smile reveal empathy, sympathy and the finality of his divorce from the partner who gave him his start. In the short space of a few minutes, you understand Rodgers, how he had to reluctantly move on and the fact that Hart will always be a part of him but no longer with him. Their interaction, graced with very little dialogue from Hart, is insightful in a way that the rest of the film isn’t. Without a spare movement or dialogue, you know who Rodgers is. Definitely not a saint, the window into his reputation as a serial philanderer is seen when he absorbs Hart’s lady love, Elizabeth, into his entourage, all with small gestures, eyes that see only her in that moment and a minor piece of dismissive dialogue about his wife having gone ahead to the party at their apartment without him.

“Words and Music,” the 1948 film about Rodgers and Hart directed by Norman Taurog, was little better, glossing over Hart’s alcoholism and eliminating any hint that he liked boys. It was a disaster as a biography starring Mickey Rooney (realistically short at 5’2”) but at least it offered a full panoply of his music sung by the greatest stars of the day, Judy Garland, Gene Kelly, Lena Horne, Mel Tormé and many others. Would that Linklater had incorporated more music rather than just the occasional song played on the restaurant piano by a character called Morty Rifkin.

Opening Oct. 17 at the AMC Century City 15.

Neely Swanson spent most of her professional career in the television industry, almost all of it working for David E. Kelley. In her last full-time position as Executive Vice President of Development, she reviewed writer submissions and targeted content for adaptation. As she has often said, she did book reports for a living. For several years she was a freelance writer for “Written By,” the magazine of the WGA West, and was adjunct faculty at USC in the writing division of the School of Cinematic Arts. Neely has been writing film and television reviews for the “Easy Reader” for more than 10 years. Her past reviews can be read on Rotten Tomatoes where she is a tomatometer-approved critic.

The post ‘Blue Moon’—Very Blue appeared first on Beverly Hills Courier.

Lionel, so unworldly in such a sophisticated city, has the talent to transcend boundaries meant to contain him. It is in a bar that he encounters David, sitting at the piano playing a folk song Lionel knows by heart. Lionel introduces him to songs of the past, songs sung on porches of the shacks he knows so well, and David is entranced. Their studies will separate them, as will World War I, until the music brings them back together. Returning to Boston, David seeks him out with a special proposal. About to begin a job at Bowdoin College, he has been given a grant to record the ethnic and folk music prevalent in the backwoods “hollers” and valleys of Maine. Equipped with wax cylinders for recording on a modified phonograph, they will hike through the wilderness looking for tiny enclaves where the ancient music still exists. Town after town, isolated shack after isolated shack, they find their music in all ways imaginable but especially personally. Most poignantly, it is not only a love song to our musical heritage but also one that will bind them together. Their love is pure and true and rife with difficulties. Lionel’s bubble of eternity is too soon burst. David must return to the college and there is no room for Lionel. David exhorts his lover to see the wider world. His talent is bigger and needs a wider stage. He should see America, see Europe, go where his singing will take him.

Sadly, reluctantly, Lionel returns to Boston. Made braver by David, he performs in Europe as his fame opens more opportunities for him. It seems rather hollow without David; he writes often without return acknowledgment. Lionel feels his life and future were bound inextricably to David and the box of cylinders. That they have disappeared is a mystery that will haunt him as his life view grows ever larger and his fame as an academic spreads.

Taking a chapter from the life of father and son ethnomusicologists John and Alan Lomax, writer Ben Shattuck centers this love story around the quiet joy of ethnic song collecting, a harvest, so to speak, of the bones on which this country was built. Folk songs, passed down through generations, are history and Lomax Sr. saw, early on, their value and how they were gradually disappearing. It took many years before academia caught up to him, and by then he had introduced his son Alan to song harvesting. Alan would eventually be commissioned by the Library of Congress to scour the countryside and record the folk songs of the relatively uncharted hills and valleys from Mississippi to Michigan. His archive and that of his father are still stored in the Library of Congress. Many of those recordings and archival photographs were featured in the Ken Burns Country Music documentary series on PBS.

“The History of Sound” is not a “Brokeback Mountain” of country music. It is an ode to love in all its permutations. It is love found, love lost and love that endures, tied up in the notes and melodies of songs discovered where least expected.

Seamlessly directed by Oliver Hermanus, the film is gifted with amazing actors. Josh O’Connor is a conflicted David, knowing where he must go but longing to go somewhere else. Chris Cooper plays the older Lionel, contributing early voiceover narration. His eyes betray a man who has lived a full, interesting life, but one that is dominated by the giant hole of what could have been. Paul Mescal was the perfect Lionel: hesitant and sure, innocent and world-weary. He makes all the joys and heartaches, the choices both good and bad, believable; his winning smile often tempered by his sad eyes.

The cinematography is extraordinary. Alexander Dynan filmed everything elegantly from the Kentucky of Lionel’s youth where the poverty of existence was tempered by the physical beauty of the hills and waterways that were free to all. The countryside of Maine where songs were recorded and lives were valued is otherworldly in color and depth. The variety of locations, from Italy to England and back to the East Coast, are painted as you would imagine them. The cinematography makes all the locations valuable characters in this film.

“The History of Sound” is not a fast-paced movie; it glides smoothly and is over all too soon. It is reminiscent of times gone by, times we are too young to remember, and of the varied aspects of love in which the physical is not the most important. But also this is a reminder that hearing is not the same as listening, whether to a sound or to your heart.

Now playing at the AMC Century City 15

Neely Swanson spent most of her professional career in the television industry, almost all of it working for David E. Kelley. In her last full-time position as Executive Vice President of Development, she reviewed writer submissions and targeted content for adaptation. As she has often said, she did book reports for a living. For several years she was a freelance writer for “Written By,” the magazine of the WGA West, and was adjunct faculty at USC in the writing division of the School of Cinematic Arts. Neely has been writing film and television reviews for the “Easy Reader” for more than 10 years. Her past reviews can be read on Rotten Tomatoes where she is a tomatometer-approved critic.

The post ‘The History of Sound’—Harmony in Motion appeared first on Beverly Hills Courier.

“Olympia,” her masterpiece, chronicled the 1936 Berlin Olympics, rightfully deifying Jesse Owens and revolutionizing sports photography with the tracking shot. She spent months before the Olympics filming high divers to find the right angles and camera positions. There can be little doubt that she was a formidable director and may be one of the best, if not the best, woman director of the 20th Century. This, however, does little to excuse her Nazi past, despite all her denials. As she repeatedly said, throughout her post-World War II lifetime (and she lived to 101, dying in 2006), “I am not responsible!”

Responsibility is an interesting choice of words because it can be interpreted differently, whether implying lack of trust, causation, accountability, proficiency, and to be very clear, she was extremely proficient. Riefenstahl was the very definition of responsible. She had complete control of her art. Despite her protests to the contrary, she was not following orders. She had final cut in everything she did, whether shooting and editing her films, choosing subject matter, or rejecting the advances of those like Goebbels, who pressed her, literally and figuratively. Leni Riefenstahl was very responsible.

Beginning her professional life as an actress, Leni had Greta Garbo-like beauty and presence. She immediately attracted attention in her first movie, “The Holy Mountain” (1926), doing her own climbing stunts. Not content just to act, in 1932 she directed, wrote, edited, produced and starred in “The Blue Light.” By this time she was very much on Hitler’s radar and he on hers. She was electrified the first time she heard him speak, “The State doesn’t give us orders. We give the State orders.” After an earlier commission, Hitler personally asked her to create a film about the 1934 Nuremberg Rally. The resulting film, “Triumph of the Will,” is an epic of propaganda filmmaking. Riefenstahl consistently denied that she was making propaganda; she was the ultimate apologist hiding behind her art.

“Olympia” (1938) was the most costly documentary up to that time. It was to be a film that glorified the athleticism of the Aryan race. She researched the original Greek games and the paintings and statuary depicting those athletes. But during the games, her focus shifted and she became entranced with the Black athletes dominating their events, particularly Jesse Owens. Her shots of him became burned in the minds of anyone seeing that footage, and most of us have. She described the Black athletes as beautiful, powerful animals, not as human beings.

Director Andres Veiel was drawn into “Riefenstahl” by producer Sandra Maischberger who, after the death of Riefenstahl’s partner in 2016, gained access to her estate. Although Leni Riefenstahl has been the focus of quite a few previous documentaries and Veiel makes use of clips from many of them, the gold mine that Maischberger discovered was boxes and boxes of Riefenstahl’s personal records, diaries, outtakes, unpublished photos, home movies and phone recordings. Unlike previous documentaries, Veiel was not beholden to either Riefenstahl or her partner, Horst Kettner.

The Leni Riefenstahl that emerges from Veiel’s outstanding study is a narcissist who knew exactly how to portray herself, whether innocent victim, naive young woman, object of desire, artist, apologist or, basically, anything she chose. Totally camera-aware, she flirts with it as though it were a sexual partner. She was a master at shutting down any conversation she didn’t like. She was always in control: in control of her films, of the men around her, of her life and most of all, her image. She was well aware of how important the public perception of her would be to her legacy. Her first avenue of attack was to “deny, deny, deny.” If you say it loud enough and often enough, you control the narrative. Leni, no matter how many times she changed her story, was always in control of the narrative. After all, she was only following orders.

Archival footage from previous interviews, and she was never hesitant to participate in talk shows, provided that the host adhered to her ground rules. In the 1950s, ‘60s and ‘70s, many Germans were still in denial over their part in the murder of the Jews and drank whatever drivel Riefenstahl had to offer. What comes to mind is the character of Sergeant Schultz in “Hogan’s Heroes,” an American comedy series of the 1960s about a German prisoner of war camp. His catchphrase, “I know nothing, nothing.”  That was the phrase Riefenstahl lived by, even when confronted with evidence to the contrary. The concentration camps? No knowledge. Didn’t she notice that Jews were disappearing? The only Jews she knew who disappeared were the ones who went to America. In one of her last Reich-sponsored movies, “Lowlands,” she used Roma children from an internment camp as extras. When the film finished shooting, those children and their parents were shipped to Auschwitz where they were murdered. Asked about that, Riefenstahl insisted that she had seen all of them again after the war. “I know nothing, nothing.”

Although she continued filming and photographing, notably in Sudan, her life’s work after the war was to reshape the public’s perception of her. Her story shifted with every interview. She was convinced that she could change history, or at least her history, something made possible by the dearth of evidence to the contrary. That evidence, evidence of her admiration for Hitler, the Nazi party and its values, the existence of the camps and the persecution of the Jews, was finally uncovered in the boxes and boxes of memorabilia that she and her partner kept locked for years. Most trenchant was the interview that never was. When contacted to appear on a Swiss talk show, she laid down her ground rules about what could and could not be discussed. When the host refused to acquiesce, she refused to appear. But this didn’t stop the show. Instead, very powerfully, the camera closes in on an empty chair, body mic hanging over the edge, as the host explains that she refused to show up unless they excised footage about the killing of the Jews. He proceeds with his questions to the chair and shows the footage, making it all the more intense.

Riefenstahl, “I’m not responsible.”

Opening Sept. 12 at the Laemmle Royal.

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The quintessential perfect couple, Theo and Ivy met in a restaurant kitchen in London. He, an architect, was escaping a stultifying meeting celebrating the completion of what he considered a mind numbing apartment complex and she, a sous chef, was putting together another of her creations for which she would get no credit. Their touch was electric; their immediate coupling, in the restaurant walk-in fridge, was lightning hot and fast. Before long, well actually it took a few years, they were off to California to start a new life. Ivy found work interning in Northern California restaurants and Theo began his rapid ascent at a prominent firm designing upscale projects for forward-thinking clients. They were their own mutual admiration and support network.

Kids came, a boy and a girl, and Ivy stayed home, her creative talents relegated to the home kitchen and imaginatively designed cakes and entrées for one and all. Their social circle was quite limited to his colleagues at work, the intensely competitive Rory and his far more talented wife Sally. Along the way they picked up Barry and Amy whose interests couldn’t have been farther from their own. Barry, a lawyer, loves guns and firing ranges and Amy loves exploring the boundaries of sexual acceptability with anyone in the vicinity.

Ivy, somewhat lost in her new environment with limited creative output now that the kids have started school, is grateful to Theo when he renovates a shack on the beach so she can have her own restaurant. On the surface, and isn’t everything always just on or below the surface, they still seem to have that magic together. Subtly, perhaps not so subtly, there is an imbalance in their relationship. It certainly didn’t start out that way. It was, after all, her idea that they move to the States, but with Theo on the rise and Ivy treading water, the shadow of Theo’s patronizing attitude toward the little woman begins to percolate. It’s probably not deliberate; he more than likely is unaware of it but Ivy begins to seethe under her wide smile and sparkling eyes. He’s successful and doing something he loves; she, less so, serving maybe two or three covers per lunch hour. Still, apart from her tight smile and the success he wears on his sleeve at which all are encouraged to marvel, this is still a seemingly supportive and loving couple. That will all change. Welcome to the textbook Love-Hate relationship.

A metaphoric storm, and an actual storm, have reversed their positions. Ivy is now renowned and successful beyond her dreams and Theo has been relegated to her former position as guardian to the kids. Civility is fraying at the edges and the words previously unspoken begin to be aired. And yet, as they point out, they’re British and the British invented repressed feelings. To say more would diminish the pleasure, full of schadenfreude and cynicism, that will come.

This is the story of a marriage. Granted, most marriages are not between two wildly successful individuals jockeying for position, but even the most mundane relationship flows with support and admiration and ebbs with resentment, neediness and recrimination. Someone is to blame or someone is not. The simple act of respect, the foundation of any relationship, is not so simple. No, Erich Segal, love is very much knowing how and when to say you’re sorry and when to yield, if only in the moment. Love isn’t all passion, sex and admiration, it’s also learning to negotiate the differences, resentments, the successes and the failures; and Ivy and Theo have become less and less accommodating to one another. They play a zero-sum game.

At the heart of that zero sum game is the house, a magnificent feat of architectural blending of nature and nurture; not exactly minimalist but not excessive either with a view that rivals Big Sur in both beauty and danger. An ode to modernism with the ironic touch of an AI helper named Hal (for those who have never seen “2001: A Space Odyssey,” look it up). This spectacular house, designed by Theo, representative of what he both lost and gained in his career, becomes the center point of the nuclear war they inflict on one another.

This is not the first screen adaptation of Warren Adler’s novel “The War of the Roses.” But Tony McNamara has made it his own, taking those relationship fissures and ripping the fabric as he tries to weave it back together. There are laugh-out-loud moments, surprises and lots of tension. Jay Roach, the director known for his deft comedic touch, has taken all of McNamara’s ingredients and stirred the pot so that the result is a bitter froth that curdles and amuses. They have given an accurate portrayal of a long-term marriage that survives as much on shared joy as it does on shared enmity. What happens when no one is willing to give an inch? Watch and see. Roach keeps everything moving and even interweaves characters that are totally tangential, like Benny and his libidinous wife Amy. Rory, a rival architect, is a necessary irritant, full of Schadenfreude toward Theo, but who cringes at his wife Sally’s clever malice and superior talent.

Roach was blessed with an outstanding cast. Andy Samberg as Barry is out of his league no matter where he turns but seems oblivious. Kate McKinnon, Amy, is hilariously inappropriate, something that has long been in her wheelhouse. Jamie Demetriou plays Rory as a second-rate architect who lives to criticize and Zoë Chao is his much cleverer and more gifted architect wife. They both live to demean but only she has enough firepower in her arsenal. Watch for a sensational appearance by Allison Janney. Saying any more would criminally diminish her effect.

“The Roses” is a very good movie, but what makes it exceptional are the two leads: Benedict Cumberbatch as Theo and Olivia Coleman as Ivy. Cumberbatch’s Theo is a walking incongruity, confident and rather supercilious when successful and a mass of insecurities and vulnerability encased in an impenetrable box of resentment when not. His eyes light up or darken depending on the situation and his comedic timing is impeccable, always just this side of tragic and/or vicious. Coleman, here, is given free rein to her dark, yet always very funny, side. Those wide eyes, so sparkling when Ivy and Theo were still discovering their strengths, eventually give way to slightly slitted, darker orbs framed by a wide, tight smile. The back-and-forth repartee between these two rather repressed individuals is a lesson in restraint that makes the result all the more hilarious and devastating. Originally aiming to wound, eventually the duo definitely are homing in on the kill.

While most will point to “The Roses” as the death of a marriage, I submit that it is not. Love and hate, vulnerability and strength lie in most long-term relationships. One is reluctant to acknowledge the negatives but they are there and usually to a greater degree than admitted. The ultimate strength of Coleman’s and Cumberbatch’s portrayals is the ability to express vulnerability and hope even while aiming for the jugular. The opposite of love isn’t hate, it’s indifference.

Now playing at AMC theaters including the AMC Century City 15. 

Neely Swanson spent most of her professional career in the television industry, almost all of it working for David E. Kelley. In her last full-time position as Executive Vice President of Development, she reviewed writer submissions and targeted content for adaptation. As she has often said, she did book reports for a living. For several years she was a freelance writer for “Written By,” the magazine of the WGA West, and was adjunct faculty at USC in the writing division of the School of Cinematic Arts. Neely has been writing film and television reviews for the “Easy Reader” for more than 10 years. Her past reviews can be read on Rotten Tomatoes where she is a tomatometer-approved critic.

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Cob County is a patch of land in the middle of nowhere, fenced in and isolated from the rest of the world by cornrows (cue the first laugh). The townsfolk are mighty happy there and lack for nothing. The corn of Cob County is as high as an elephant’s eye (it makes as much sense here as it did in “Oklahoma”). They are about to participate in the wedding between Maizy (yes, I know, it’s too on the nose, or rather on the cob) and Beau. But stop the presses, the corn isn’t growing; worse, it’s dying. Peanut, Beau’s several-kernels-short-of-a-cob brother and purveyor of most of the truly awful jokes and puns, declares that he can’t marry them until they figure out the problem with the corn.

Cob County is the very definition of traditional and very out-of-fashion values. When Maizy declares that she believes they must look for help outside Cob County, she is shouted down, dismissed and ridiculed. They live and die by the idea that women need to be protected, don’t and shouldn’t have original ideas, and need to stay home and let the menfolk work out the problems. Hurt and repulsed when Beau expresses these thoughts and dismisses her out of hand, she rebels, determined to find the solution herself.

Maizy books a ticket to the outside world—Tampa. Tampa, when you can’t afford Orlando or Atlanta. Arriving in town, she is immediately drawn to a sign that points to the “Corn Doctor.” Like a bolt of lightning, she can’t believe her luck. The corn doctor will have the solution. Unaware of the other meaning, she makes an appointment with Gordy, the podiatrist, who is in need of a quick escape. The mob is breathing down his neck and he doesn’t have the money they demand.

Maizy, dazzled by his big-city charm, entreats Gordy to come with her to Cob County and fix their problem. Gordy, a conman of dubious proficiency, a less successful Harold Hill (“The Music Man” is channeled often) is more than happy to oblige when he spies Maizy’s dazzling gemstone bracelet, stones that may get him out of his troubles. Arriving back in Cob County, romantic problems rear their head when Maizy confesses to Beau that she kissed Gordy. But Gordy, already with his exit plan, is smitten by the one independent woman in town, Maizy’s cousin and best friend Lulu, whose corn whiskey business is about to be shucked unless she gets a fresh supply of corn.

There is so much more to tell, but why spoil the fun of viewing. The jokes, as mentioned, come a mile a minute and are at times so awful you can’t believe your ears (yes, I meant that too). Although the ones I found most memorable were double entendres not quite suitable for a PG audience, here is a sample:

“I think people in China must wonder what to call their good plates.”

“After all, a paper plane that doesn’t fly is just stationery.”

“He was head over heels, which is just standing upright.”

“I think if you had time to take a bullet for someone, they had time to move.”

“It was an unsolved mystery, which are really just mysteries.”

And, in illustration of how DNA does tell, “Grandma died doin’ what she loved…makin’ toast in the bathtub.”

Keep in mind, without the proper timing, this would all fall flat. Like the recently released “Naked Gun,” the residents of Cob County sell these lines because they take them seriously. There are no pauses for the laugh so you’ll have to listen carefully or you might miss a gem. The humor is embedded seamlessly into this frothy bit of soda.

There’s more to tell, and of course, all’s well that ends well, but this laugh-out-loud swiftly intoxicating shot of corn liquor will have you begging for more. The scenic design by Scott Pask is a stripped-down ode to a country town of corn stalks. Almost vaudevillian in execution, the choreography of Sarah O’Gleby is a hoedown of joyful high-stepping struts and arms akimbo. Tony Award winning Robert Horn (“Tootsie”) wrote the book and a very funny one it is. Both a satire and an homage to the “Hee Haw” South, composer/lyricists Brandy Clark and Shane McNally, CMA and Grammy Award-winners, have produced a cornucopia of those rarest of rare songs that are actually hummable and could be covered by any Nashville artist working today, and I hope they will be. I am, however, perplexed as to why the producers substituted the song “We Love Jesus” for the uninteresting “Ballad of the Rocks.”

“Shucked” is directed by the prolific Jack O’Brien who has won numerous Tony awards, including one for Lifetime Achievement. He keeps the action flowing smoothly and quickly and gets outstanding performances from his lead actors, and they are a wonderful lot led by that beautiful cornflower, Danielle Wade as Maizy. She has an aching country and western voice that seems to be a cross between Dolly Parton and Reba McIntyre (a co-producer listed as an official Stalksperson). The show is actually bookended by narrators, Storyteller 1 and Storyteller 2, played by the charming Maya Langerstam and Tyler Joseph Ellis, respectively. Miki Abraham as the independent Lulu has a commanding presence and voice. Quinn VanAntwerp is an effective conman who loses his con and finds his way. The charming Jake Odmark is Beau, who is the straight man to both Peanut and Maizy. Mike Nappi steals the show as Peanut as he delivers pun after pun and joke after joke, never cracking a smile on his puzzled, dim face.

Don’t be cornswaggled. Hurry to the Pantages Theater before this national tour moves on to its next cornerback.

Now playing through Sept. 7, Tuesdays through Sundays. Check the Broadway in Hollywood website for times.

Hollywood Pantages Theatre, 6233 Hollywood Blvd., Los Angeles 90028. 

Neely Swanson spent most of her professional career in the television industry, almost all of it working for David E. Kelley. In her last full-time position as Executive Vice President of Development, she reviewed writer submissions and targeted content for adaptation. As she has often said, she did book reports for a living. For several years she was a freelance writer for “Written By,” the magazine of the WGA West, and was adjunct faculty at USC in the writing division of the School of Cinematic Arts. Neely has been writing film and television reviews for the “Easy Reader” for more than 10 years. Her past reviews can be read on Rotten Tomatoes where she is a tomatometer-approved critic.

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Will Shakespeare is in the process of finishing his latest play, “Romeo and Juliet,” and Anne Hathaway, his wife, is none too happy. Why, she asks, does he have to kill off Juliet? Romeo’s dead, OK; but Juliet? Come on. Why can’t she wake up and just move on like the powerful independent woman she should be? Will is unsympathetic. She should leave the writing to him and stay home and raise the kids. Frustrated, Anne lets him have it. He likes his plays better than her; she’s not even sure that she’s the inspiration for his love poems. She grabs his quill and begins a “page one rewrite” of the ending.

Her Juliet doesn’t die. She has more to offer, although her parents are still intent on sending her to a nunnery. Enlisting Nurse Angelique’s help to escape that fate, she gathers her best friends around her—boyfriend May, clearly on the opposite end of the gender spectrum, and April, played by Anne. Will is less than impressed and informs Anne that the playwright never plays. But Anne has loftier aspirations and wants to show off her singing and dancing skills. A disheartened Will sees where this is going and it’s not in his direction. Of course, he violates his own rule not to insert himself into the action by doing just that as he wink-winks his way into various chorus roles.

The fun begins the minute the cast launches into the song “Larger than Life” as Juliet talks about what she wants. Will and Anne argue about her perception, but Anne just forges ahead with her vision of the play and the enlightenment of Juliet, singing “I Want It That Way,” like the first song, another former hit by the Backstreet Boys.

What to do? What to do? Let’s leave 15th-century Verona and carriage off to Paris where the fun continues. The plot is loose but, in the end, it’s really not about Juliet: it’s about Anne and what she wants and what she doesn’t have. Will and Anne’s musical interactions pepper Anne’s play throughout with an undercurrent of playfulness and tension, but always musically fun and inventive. It’s hard not to get swept into the anachronistic, illogical fun. Juliet’s parents are still threatening her with a nunnery, so a hasty marriage is planned and abandoned when love conquers all, just not the love anyone was expecting.

Everyone gets what or who they want; love is lost, love is found, everyone and everything is full of surprises and no one dies (literally or figuratively).

The colorful costuming is a modern take on the hats, tiaras, doublets, puffy-sleeved chemises, peasant skirts and hose worn by both the men and women. Jennifer Weber choreographs “& Juliet” like an MTV musical video of the ‘90s with bumps and grinds and hip hop and unadulterated joy. The cast performs the numbers like they would for a Beyoncé arena show. Only massive self-control keeps you from getting out of your seat and joining them.

What really sells the show is the fabulous cast of every size, shape, color and gender. Their enthusiasm, raucous singing and delightful dancing envelope you from the beginning. There are very few weaknesses. Mateus Leite Cardoso, who plays François/Frankie, Juliet’s Parisian love interest, is a fine singer but as an actor and dancer, he is stiff where he needs to be fluid. In the Los Angeles production, the role of Romeo has been recast, and Ben Jackson Walker, who originated the role on Broadway, is adorably tall, cute and gangly but seems still to be trying to integrate into an ensemble that has been rehearsing together for a while. The duo of Anne Hathaway (also April) and Shakespeare played by Teal Wicks and Corey Mach, respectively, are delightful, engaging, and the whole package when it comes to acting, singing and dancing. They really underpin everything with their personal marriage drama, one that is totally relatable. Supporting players Kathryn Allison as Angelique, Juliet’s faithful nurse, Nick Drake as the gender bending May, and Paul-Jordan Jansen as Lance, François’ father, all add substance and merriment to the convoluted story.

The star and shining light who carries this frothy production on her adorable off-shoulder blousons is the remarkable Rachel Simone Webb as Juliet. Her talented singing, dancing and acting set the stage on fire, and you will stand and cheer her at the end. Surely a major career on stage, screen and television awaits her.

Director Luke Sheppard keeps everything moving quickly, no small feat when considering the vast number of moving parts. It’s all very seamless. After a seemingly flawless, explosively entertaining first act, it was almost to be expected that the second act suffered from a lull as it tried to regain its footing in the story. David West Read had sung and danced himself into a corner. But recover it did, rousing itself to Juliet’s showstopper, “Roar,” a song originally popularized by Katy Perry. And roar you will at this jukebox musical that Max Martin (a Swede just like the creators of “Mama Mia,” Benny Andersson and Björn Ulvaeus) inspired with his many lyrical creative partners, or “friends,” as he deems them. If you miss it at the Ahmanson, hie thee to the Segerstrom Center for the Arts in Costa Mesa; its next stop.

Now playing through Sept. 7 at the Ahmanson Theatre, 135 N. Grand Avenue. Performances at 7:30 p.m., Tuesday-Thursday; 8 p.m. on Fridays; 2:00 and 7 p.m. on Saturdays; and 1:00 and 7 p.m. on Sundays.

At the Segerstrom Center for the Arts, 600 Town Center Drive, Costa Mesa, from Sept. 9 to 21. 

Neely Swanson spent most of her professional career in the television industry, almost all of it working for David E. Kelley. In her last full-time position as Executive Vice President of Development, she reviewed writer submissions and targeted content for adaptation. As she has often said, she did book reports for a living. For several years she was a freelance writer for “Written By,” the magazine of the WGA West, and was adjunct faculty at USC in the writing division of the School of Cinematic Arts. Neely has been writing film and television reviews for the “Easy Reader” for more than 10 years. Her past reviews can be read on Rotten Tomatoes where she is a tomatometer-approved critic.

The post ‘& Juliet’—& Much More! appeared first on Beverly Hills Courier.

These work plan items include Fine Art Acquisition, Festival Beverly Hills, Artwalk, Concerts on Canon Performer Selection Criteria, Developer-Owned Art, Inspect Developer-Owned Art, Art Acquisition, Arts Education and Programming for the World Cup and Olympics. 

Earlier this year, City Council revised the process for commissions with discretionary responsibilities, which includes the Arts and Culture Commission, as a way to align their work plans with the city’s priorities. The process now involves presenting proposed commission work plans alongside the council’s priorities, allowing the city manager to make recommendations and have the council provide direction and feedback. Following input from City Council, liaisons will meet with commission chairs in June/July to convey priorities, commissions will work with staff to execute the work plans and liaisons will conduct progress check-ins in December/January. 

Following the conclusion of that discussion, Assistant Director of Community Services Patty Acuna provided an update on Yayoi Kusama’s Hymn of Life: Tulips sculpture and flower restoration project. The City Council recently approved the deaccession and destruction of the artwork. The decision came as a requirement to allow for the agreement with the New York Botanical Garden to continue. 

The sculpture, which was installed in Beverly Gardens Park in 2007 as Kusama’s first U.S. public art commission, sustained irreparable damage by 2012 from weather and public interaction. This prompted the Arts and Culture Commission to recommend refabrication of the sculpture in stainless steel, which City Council approved in 2019. In the same year, City Council approved loaning the original Kusama sculpture to the New York Botanical Garden for the “Kusama’s Cosmic NATURE” exhibit for 2020. After delays in refabrication due to the COVID-19 pandemic and closure of the foundry that was in charge of that process, the sculpture eventually was taken into the hands of The Big New foundry. Currently, the artwork is undergoing the final stages of refabrication before approval by Kusama’s representatives.

City Council, at its Aug. 5 meeting, approved the deaccession of the artwork as required by the Fine Art Ordinance in order to destroy the piece and authenticate the newly installed artwork for the New York Botanical Gardens.

Finally, the commission debriefed the recent Great Elephant Art Migration installation, which was held at Beverly Gardens Park in the month of July. Commissioners expressed their joy for the exhibit, praised the quick turnaround time for the installation and gave “kudos” to the Great Elephant Art Migration team. 

“If we had turned it away and not had that, it would have been a terrific loss to the city. I don’t think we’ve had a more successful event than that,” said Commissioner Maralee Beck about the Great Elephant Art Migration. 

According to Matthew Brown, the city’s recreation services manager, a majority of the elephant sculptures have been sold. Funds from the sale of the elephants will go toward causes that protect biodiversity and support the coexistence of humans and animals. Brown said that the Great Elephant Art Migration team is currently getting a slew of inquiries from the public and is pending a decision on what comes next.    

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Director David Mackenzie and writer Justin Piasecki have set the stage for a mystery thriller that continues at a slow burn that gradually increases in speed and heat as the stakes are raised, and raised and raised yet again. Mackenzie, the masterful director of one of my favorite films in recent years, “Hell or High Water,” knows how to ramp up action, danger, stakes and build character. Piasecki’s skillfully crafted screenplay makes him someone to follow in the future.

Ash is a fixer. He brokers payoffs to whistleblowers whose information was ignored and suppressed by the corrupt corporations and CEOs who stand to lose much, if not everything, should that information be released to the public. The whistleblowers who hire Ash are men and women who, in trying to do the right thing, are threatened, harassed and in danger of grave bodily harm, if not death. Ash has just brokered such a deal between Hoffman and a big pharma CEO who will do everything he can to make sure that Hoffman’s incendiary report is not released before the big launch of their latest drug—whose clinical trials revealed major side effects. The payoff, in six figures, was more than Hoffman expected, but his instructions from Ash reveal that he is not yet out of danger.

Ash has been doing this for quite some time. He’s a loner and has isolated himself completely. None of his clients, on either side of the table, have ever met him. They find him through a remote answering service, a number that is floating in the ether. If, after due diligence, Ash finds the caller to be credible, he will communicate via a rather antiquated system known as a TDD (Telecommunication Device for the Deaf), a telephone relay service that was designed to facilitate communication between the deaf and hearing. Ash calls into the service through his own TDD, typing his message to an operator who then contacts the designated party and is told that they are going to relay a message from another, speechless (and presumably deaf) person. They may talk to the relay operator who will then type the message to the caller. No voice to recognize, no phone to track, no emotional attachment; just instructions, instructions that must be followed to the letter. Unimpeachable and entirely private, the relay service deletes all messages within 24 hours.

Always at a distance from his clients and adversaries, Ash has meticulously kept and secreted records of each transaction as a hedge against any future retribution or foul play against the whistleblower. His no-affect demeanor is his armor against personal involvement. These are transactions and he is the third-party negotiator. Until…

Sarah, a Ph.D. with impeccable credentials, calls a number she has been given, Ash’s answering service. She is terrified. The company where she worked has a new genetically modified organism (GMO) that has the potential to increase harvests at a very low cost. It would revolutionize the agriculture industry. Sarah discovered, however, that the GMO had a toxic and possibly fatal side effect. Because this product would be used in general foodstuffs, any potential adverse reactions would be almost impossible to trace back to the original source, releasing the company of all liability.

Sarah tried to bring the results to her superiors; she tried to do what she thought was right. For her troubles, she was demoted and then let go. Righteously angry, she surreptitiously gathered all the written evidence and left with it. It wasn’t long before the company discovered what she had done and she has been on the run ever since, tracked by company hired cyber thugs. She needs help. She’s in fear for her life. She wants to return the documents. Ash, receiving the message, begins his vetting of this potential client. His online search reveals that she is who she says she is. Ash, the loner, is struck by the emotion leaking from this terrified woman. His normal armor has seemingly been pierced by her tone and situation. He begins a relay interaction with her, one that is more fraught than usual and littered with mistakes. Hiding in plain sight, he ascertains that she is, indeed, being followed and stalked. Somehow they are aware of her every move. Ash’s job won’t just be to negotiate but also to protect.

The beauty of “Relay” is the speed at which everything moves. As a viewer, or rather a participant drawn into the threats and machinations, your pulse will race and your body will tense. Mackenzie is a master at roping you in and tightening the knot. Nothing is situational, and yet all of it is. Piasecki has created characters of deep dimension and believability. More to the point, there are no wasted moments and everything, no matter how small, will eventually come into play meaningfully when you least expect it. As Linda Loman said in “Death of a Salesman,” “Attention must be paid!” As you are being lulled into believing that the story is going one way or a personal interaction is a sentimental dead end, you will be wrong. Every action, reaction and interaction is meaningful even if you have to wait until the end to figure it out.

“Relay” is entirely satisfying and my favorite movie of the year. This is a cat-and-mouse game where the cat and the mouse shift at dizzying speeds. The fear you feel is full of “what ifs.” And, as mentioned right at the beginning, composer Tony Doogan, a Mackenzie staple, slyly set the mood with his tense scoring. Cinematographer Seamus McGarvey has made the dark streets of a Brooklyn that lies under elevated tracks and along a filthy water’s edge a character in Ash’s story. But that is not to diminish the story impact of every location, no matter how small, out of the way or seemingly insignificant.

“Relay” tells a terrific story, but the cast is the greater part of that.  Sam Worthington as Dawson, one of the very clever cyber thugs, is truly frightening. His handsome face offsets his deadly eyes, making him an effective villain of the scariest sort. Lily James is Sarah. Her fear is palpable, her air ingenuous and her beauty a lure. It is completely believable that she would break through Ash’s isolation.

The reason I was attracted to his film in the first place was its star, Riz Ahmed. Ahmed, whose breakthroughs in “The Night Of” and “Sound of Metal,” is a must-see performer, much like Michael B. Jordan, Taron Egerton, Tom Hiddleston and especially Olivia Coleman. Ahmed, as Ash, has an invulnerability on the surface that disguises pain and past injustices that eventually bubble to the surface. It’s not exactly a spoiler, but his Ash says not one word through at least the first third of the movie, establishing a stoicism that infuses his characterization.

This is an exceptional thriller whose surface plot disguises its depth of focus. I don’t think you’ll be disappointed.

Opening Aug. 22 at Century City 15 The Grove 14 and AMC theaters in the South Bay. On Aug. 23 there will be a Q&A with director David Mackenzie at the AMC Century City 15.  

Neely Swanson spent most of her professional career in the television industry, almost all of it working for David E. Kelley. In her last full-time position as Executive Vice President of Development, she reviewed writer submissions and targeted content for adaptation. As she has often said, she did book reports for a living. For several years she was a freelance writer for “Written By,” the magazine of the WGA West, and was adjunct faculty at USC in the writing division of the School of Cinematic Arts. Neely has been writing film and television reviews for the “Easy Reader” for more than 10 years. Her past reviews can be read on Rotten Tomatoes where she is a tomatometer-approved critic.

The post ‘Relay’— Tag, You’re It appeared first on Beverly Hills Courier.

Comedy this ridiculous depends on how it’s delivered, and here is where the director and writers struck gold. Like Leslie Nielsen before him, Liam Neeson is primarily known for his dramatic roles. And just like Nielsen, it was impossible to imagine him delivering comedic lines. But deliver he does because Neeson was well aware that no matter the material, you take the dialogue and character seriously. He says his lines as though they are as profound as Shakespeare; he never plays for laughs. And that is what makes you laugh all the harder. Whether his pants are around his ankles or he’s dispatching bad guys right and left with an ever- present coffee in one hand and a Glock in the other, he plays it straight.

Lt. Frank Drebin Jr. (Neeson) has followed in his father’s footsteps and works at the Los Angeles Police Squad under the very dour leadership of Chief Davis (CCH Pounder). Working with partner Ed Hocken Jr., they are called to a robbery in progress at a local bank. Dispatching the bad guys single-handedly, literally and figuratively, they misunderstood that the real goal of the theft wasn’t the money; it was the contents of a safe deposit box and the first silly sight gag. Henchman Sig Gustafson has retrieved an electronic box labeled “P.L.O.T. device.” PLOT is an acronym for something I can’t remember, but it’s emblematic of the kinds of jokes and “plot devices” that will follow.

Dismissed from this particular investigation because of his dubious tactics, Drebin is reassigned to traffic detail and a fatal crash on the PCH in Malibu. The dead guy and presumed suicide, Simon Davenport, worked for tech billionaire Richard Cane and something is rotten in the state of, well something is rotten. Waiting for him back at headquarters is Simon’s sister Beth. She’s convinced he was murdered for something he found out and Cane is at the root of it. While not entirely dismissed (it’s tough to dismiss a double-D dish like Beth), Drebin assures her he’ll look into it.

The very charming Richard Cane is one slippery devil and his nefarious plot and Plot Device will change the world as we know it. Meeting Drebin at a club he owns, Cane knows he must get him on his side and gifts him a state-of-the-art electric car. Gee, I wonder who they modeled their archvillain after? Tech billionaire, electric car manufacturer, overarching political ambitions. Hmm, I wonder. Because great minds think alike (hint: that was sarcasm), Beth also turns up at the club. It’s a well-worn and clichéd script gimmick, but there’s always a femme fatale who will either help or gum up the works. Drebin uses her to distract Cane as he tricks his way into the private office where the CCTV is kept.

In most good comedies, it’s the throwaway lines and references that are the funniest. Leeringly attempting to seduce Beth, Cane pours her his best wine. “What is it?” she asks. “It’s from Bill Cosby’s special reserve,” he responds. Beth and Drebin are found out but escape to a cabin in the mountains where they ogle each other in a very PG-13 way, although there is the suggestion of a threesome with Frosty the Snowman.

Will Drebin get his man? Will Beth get hers? Obviously. But the road to success is full of hilarious potholes and all of them lead to the downtown PonziScheme.com Arena where Cane will start to execute his plan during a WWF competition.  Every time I saw the name of the sports arena, I guffawed. It was one of those gags that never got old given the allusion to the Crypto.com Arena.

Over and over, never stopping to breathe, the writing/directing triumvirate threw joke after joke, sight gag after sight gag, at the wall to see what would stick. And more did than didn’t. The plot and all its devices are incidental; the execution is in the delivery. The humor is soft, sophomoric and endless. It’s check your brain at the door, sit back and enjoy.

The casting was wonderful and inventive. Playing Beth is the stacked and statuesque Pamela Anderson. Poured into her costumes, she never vamps and takes her comedy seriously. She’s actually an improvement over Priscilla Presley who was the girlfriend and foil to Leslie Nielsen’s Frank Drebin (Sr.). Don’t blink, but Presley has a single shot cameo toward the middle of the film. Paul Walter Hauser plays Ed Hocken Jr. (Sr. was played by George Kennedy in the original). He’s a good straight man and a very versatile actor. He won an Emmy playing a serial killer in “Black Bird” and can now be seen in “The Fantastic Four: First Steps.”

Danny Huston, Richard Cane, is the suave tech billionaire you love to hate. He has presence and his voice is full of gravitas. Like everyone else in this film, he took his work seriously and that makes it all the more fun. A pity he wasn’t called on to play Lex Luthor in the recent “Superman” movie.

Enough cannot be said about Liam Neeson, who carries this film on his shoulders. Age and responsibility weigh on his deeply lined, expressive face and soulful eyes, making him all the more believable when things carom out of control. He acquitted himself nicely in what could have been a thankless comparison.

“The Naked Gun” won’t be a classic; there’s probably only room for one of them on the classics shelf. But it’s funny and diverting and definitely worth your time whether you’re 8 or 80. Dan Gregor, Doug Mand and Akiva Schaffer have given us a respite from tense times. It might have been appropriate if more credit had been accorded to Jerry Zucker, Jim Abrahams and David Zucker, the writers of “The Naked Gun: From the Files of Police Squad.” They created the original characters, or rather the “fathers” upon whom this new film was based, but so many of the sight gags were also inspired by them.

The current creative team was ably abetted by their editor Brian Scott Olds, prop master Kyla Dill and a large special effects team. Costume designers Betsy Heimann and Maria Tortu should get special mention if only for showing that the middle-aged Anderson still has every curve in the right place. Composer Lorne Balfe’s music sped things along, but no credit was given to original composer, Ira Newborn, whose theme music occasionally poked through.

It may be a remake but “The Naked Gun” is an original in its own way and should find a wide audience looking for more at the movies than air conditioning and superheroes.

Opening wide on Aug. 1. 

The post ‘The Naked Gun’—Fully Loaded appeared first on Beverly Hills Courier.

“Smoke” is smokin’ hot! There are two, not one, serial arsonists in this big city, and it is the job of crack arson investigator Dave Gudsen and his newly assigned partner, Detective Michelle Calderone, to track them down. Assigned may be a euphemism because this is a Siberia to which the previously upwardly mobile Calderone has been sequestered. Neither is happy with the other but Calderone brings a fresh approach, a critical eye and gnawing suspicions to the evolutions and actions of both arsonists. Gudsen’s ego takes a massive hit, but he hides it behind his piercing eyes and tense but winning smile. Calderone submerges her disenchantment to make some major breakthroughs. There’s plenty of action, but it’s the character depth and development that sets this series apart from almost everything on TV. Written with breathtaking emotional expanse, it’s not so much who did it (you find out early on) but how they will be caught.

Dennis Lehane, a master novelist and exceptional writer of television, was the creator of the award-winning Apple limited series “Black Bird” and has now added “Smoke” to the magic he creates. He is blessed with two fantastic leads in Jurnee Smollett as Calderone and the amazing Taron Egerton as Gudsen. Egerton, whose range is stunning, having played Elton John in “Rocketman” and the petty criminal trying for a better deal in “Black Bird,” is someone Lehane obviously wanted to work with again. He may be the most effective, charming, ice-cold sociopath ever in a lead role. No matter the medium, his presence now makes it a must see. Smollett’s depth of character, a woman whose flaws almost outweigh her grace, shows she is a rare commodity.

Now playing on Apple TV+

“Stick” stars Owen Wilson as Pryce Cahill, an over-the-hill former pro golfer who now works in the local golf club shop. Soon to be divorced, still haunted by his rapid fade from the pro circuit, he spies what could be his comeback. Sneaking onto the driving range at night, teen wastrel Santi Wheeler hits balls out of the park, literally and figuratively. The kid’s an unknown, but maybe with a bit of fine-tuning Cahill can use him as his own steppingstone. Making a deal with Santi’s mother, Cahill will tutor Santi and prepare him for the junior nationals. Santi, however, is a handful. He’s been let down by better men than Cahill, or so he says, and isn’t interested in improving a game he thinks is already perfect. Teen angst and anger meet adult uncertainty and they’re off in a camper, accompanied by Cahill’s friend Mitts and an unusual love/hate partnership with a girl named Zero whose angles are many and sharp.

Wilson excels in this role, able to navigate the soft edges of his character without becoming maudlin. Peter Dager is a marvelous Santi, all dark-eyed anger disguising emotional scars; Marc Maron is Mitts, an amorphous character who somehow brings something to a nothing role, and Lili Kay as Zero adds some surprising mystery and danger. Watch for Timothy Olyphant as the antagonist to Cahill. He made it big, possibly over the back of his rival.

Never a fan of golf, not a big fan of Wilson, “Stick” actually delivers more than expected and makes both the subject and the star worthwhile viewing. It’s that endangered half-hour format that we need so much; no laugh track telling us when to laugh, just something to sit down, relax, watch and enjoy.

Now streaming on Apple TV+

“Nautilus” is true family fare. Remember when you could sit down as a family and watch something that appealed to kids as well as adults? “Nautilus” is just such a show, combining science fiction adventure that is loosely based on a classic novel, “20,000 Leagues Under the Sea” by Jules Verne. There are monsters of both the sea (a giant electric eel) and land (shipwrecked sailors and marauding bandits) with a measure of social justice and history thrown in at the same time.

Captain Nemo is a renegade Indian prince being chased by a government-sanctioned troop of English naval officers and executives of the East India Company (Company). Captain Nemo is a much-valued escapee from the Company’s prison. They have stolen his lands, killed his family and need the secrets he holds. He and a small band of scientists and escaped prisoners have commandeered the Nautilus, a mysterious submarine that can dive deep and evade pursuers. Gustave Benoit designed the vessel for the Company having been assured that it would be used for exploration. To his horror he discovers that they plan on using it as a killing machine. Nemo and his band of outlaw sailors steal the Nautilus and prepare for a journey to far-off lands, all while trying to evade the evil officers of the Dreadnought, the powerful warship that has been sent after them by the Company. Collateral damage are Humility Lucas, an aspiring engineer of great mind and stunning appearance, engaged against her wishes to a shallow aristocrat far below her intellectual standards, and Loti, Humility’s governess and keeper. And there’s an adorable dog.

Humility, with an eye to the Prince and a mind on statistics, is a bit too trite a character but Georgia Flood still makes you root for her. Shazad Llatif is a worthy Nemo, like some of the many who have played him before, James Mason, Michael Caine, Patrick Stewart and more. But true to the book, Nemo was an Indian prince whose fight was against his captors and imperialism.

So sit back with the kids; enjoy the wonders of this imaginary sea; root for the hero against the bad guys and marvel at some of the science and science fiction that make up this tale. Keep your eyes peeled for guest appearances by the hilariously smarmy Richard Grant as the White Rajah and the frightening Noah Taylor, the shipwrecked Captain Mogg.

All episodes now streaming on AMC+

“Ballard” is a welcome addition to the Michael Connelly universe. Renée Ballard, a character spinoff from the Bosch novels, is a disgraced detective who has been relegated to the new cold case division. The vanity project of a city councilman in search of the person who murdered his sister many years ago, the new department, understaffed and underfunded, located in the moldy bowels of a station house, relies on the help of volunteers. Ballard saw her career take a nose dive when she filed sexual harassment charges against her boss. Without corroboration from colleagues afraid for their own positions, she was exiled and he remained as powerful as ever.

The volunteers are an eccentric group that includes Ted Rawls, a skeptic and spy for the councilman; Colleen, a volunteer who insists she has psychic ability and Thomas Laffont, a retired cop putting in the hours to help Renée and also escape his well-meaning, hovering husband. Soon to be added to the group is Parker, a woman who quit the force under mysterious circumstances, who has more in common with Ballard than she’ll admit.

Not as influenced by political pressure as she should be, Ballard is tough and smart and knows how to read a crime scene, even years later. She’s interested in the councilman’s cause but she sees other pressing cases, including one about an illegal who was shot several years previously that may be related to the recent killing of a maid at the same motel. Ballard keeps all the balls in the air and comes up with both good news and bad news in the case of the murdered sister. The good news is some recently retrieved DNA; the bad news, a case with the same murder MO, indicating that this may have been the work of a serial killer.

Slow to start, the series eventually finds its rhythm by the third episode. The cast is what keeps you motivated to continue watching. Leading the crew is Maggie Q, action star, as Ballard. The ever reliable and empathetic John Carroll Lynch is Laffont and Michael Mosley as Ted Rawls grows from smarmily sarcastic to almost sympathetic. The always wonderful Amy Hill plays Tutu, Ballard’s grandmother and source of wisdom and Courtney Taylor plays Parker with a chip on her shoulder to hide her vulnerability.

Now streaming on Amazon Prime  

Neely Swanson spent most of her professional career in the television industry, almost all of it working for David E. Kelley. In her last full-time position as Executive Vice President of Development, she reviewed writer submissions and targeted content for adaptation. As she has often said, she did book reports for a living. For several years she was a freelance writer for “Written By,” the magazine of the WGA West, and was adjunct faculty at USC in the writing division of the School of Cinematic Arts. Neely has been writing film and television reviews for the “Easy Reader” for more than 10 years. Her past reviews can be read on Rotten Tomatoes where she is a tomatometer-approved critic.

The post So Much TV—So Little Time | Part Two of Two appeared first on Beverly Hills Courier.

Based on a novel by Jane Harper, Tony Ayres and Alberto Di Troia skillfully draw you into the multiple threads of this complex story. Weaving flashbacks into the narrative to show both how much and how little has changed in 15 years, the motives and possible guilt of multiple members of the community are realistically enough presented that you become convinced each was capable of doing something dangerous or illegal. This is a streamlined, very effective series that is able to tell its complex story in six episodes. There are no real red herrings to bloat the narrative, just possible and probable cause.

“The Survivors” is helped immensely by an extremely talented cast, most of whom will be unfamiliar to American audiences. Charlie Vickers plays Kieran, around whom most of the mysteries revolve. Damien Garvey plays his father Brian, a former pillar of the community whose dementia leaves him unable to defend himself. Yerin Ha, Mia, might be more familiar to American audiences because of her roles in the recent seasons of “Bridgerton” and “Dune: Prophecy.” Her somewhat plain appearance serves to emphasize her inner beauty and empathy. The standout performer is Robyn Malcolm as Verity, Kieran’s toxic mother and loving wife to Brian. The depth of her antagonism toward her son is clearly a measure of self-loathing that risks losing everything she has tried to maintain. Verity is truly a study in character development, something that ends up being one of the major strengths in this excellent production.

Now streaming on Netflix.

“Sirens” is a big fat soaper with sophisticated trimmings and aspirations. Make no mistake, it’s absorbing from beginning to end with beautiful people and ominous underpinnings. Devon, a hot mess of a 30-something and recovering addict, has been taking care of her father, Bruce. In the throes of Alzheimer’s,  he refuses a care facility even if they could afford one. Sister Simone left long ago and hasn’t returned despite pledging to help with Bruce. What Devon does know is that Simone is living a luxurious life far from the family home in Buffalo and it’s time for her to come back and help.

Tracking Simone to the private island of billionaires Michaela and Peter Kell, Devon hops on various modes of transportation, none convenient, and spontaneously makes her way through the estate’s intense security and crash lands at a most inconvenient time. Simone is Michaela’s closest associate and personal assistant. She has adapted well to the wealth that surrounds her, even lassoing one of the billionaire guests. Preparations are being made for a major photo shoot and party to celebrate the end of what one might call a rich adult summer camp, but has all the trappings of a cult. Smiling widely with false sincerity, Michaela invites Devon to stay. But the more Devon sees of her sister’s codependent relationship with the mistress of the lair, the more convinced she is that Michaela is leading a cult.

Will she be able to rescue the sister who doesn’t want to be rescued? What’s going to happen to dear old dad? And, more importantly, what is the endgame for each of the protagonists? “Sirens,” ingeniously written and well-directed, would probably work no matter who played these deliciously devious characters, but it is helped immensely by having Julianne Moore as the ethereal, manipulative Michaela. Her husband, appearing sporadically but significantly, is played by Kevin Bacon. Milly Alcock, playing Simone, is that combination of innocence, blind belief and opportunism. And leading them all is Meghann Fahy as Devon, a train wreck waiting to happen. The five episodes will zoom by.

Now streaming on Netflix.

“Grosse Pointe Garden Society” on NBC/Peacock is particularly yummy. Told in a deliberately confusing flashforward/flashback style, this is a fun soaper in the tradition of “Desperate Housewives.” Everyone is beautiful, the relationships are incestuously close, even if they’re not familial, the stakes are ridiculously low until they are ratcheted up with a murder. The hook? The viewer has no idea who has been killed because there are a number of worthy candidates among the enemies of our desperate housewives, and the deliberately confusing storytelling timelines always bring you right back to square one as candidates are eliminated and new ones suspected.

Grosse Pointe, the Beverly Hills of Michigan, is a town of the “haves” and a few isolated “have- nots.” The Garden Club is a hotbed of rivalries, jealousies and social climbing disguised as that “chance to give back” to a community that has already gotten far too much. Every year they prepare for two events, their annual fundraiser and the garden design competition. The club is run with an iron fist by Marilyn; she brooks no opposition. When suddenly Birdy Bradley, rich, rude, with no socially redeeming values, is thrust upon the Garden Society to fulfill her community service for her latest DUI, the chemistry of this tight-knit group begins to fray. Catherine, Alice and Ben don’t know what to do with her. But each is also an outlier in Grosse Pointe for one reason or another. The marriages of Catherine and Alice are rocky, and Ben is a single dad trying to retain custody of his kids. They all harbor deep, dark secrets and those secrets are what allow them eventually to embrace Birdy who, when push comes to shove (and there’s lots of shoving), is a whole lot of fun with too much time on her hands and plenty of money to share.

The episodes are written with flair, humor and just enough mystery to keep you guessing as to who they killed (accidentally or otherwise) and who is sleeping with whom. Totally lacking in deeper meaning and subtlety, this is definitely a relax and enjoy type of series. And enjoy it, I think you will. It took me by surprise and soon I was engrossed. Starring Melissa Fumero, Aja Naomi King, Ben Rappaport and AnnaSophia Robb, expect salacious sex, evil mothers-in-law, duplicitous husbands (and wives) and a manipulative stepdad. Everyone has higher aspirations, but then again, doesn’t everyone? Spoiler alert: NBC has canceled the show and there will be no Season 2. So who’s dead? Who cares?

Streaming now on Peacock.

“Those About to Die” shows the ancient roots of soap opera. Granted, the true foundation would have been the Greek Tragedies, but this one is based in ancient Rome during the Flavian Empire, a period that saw a civil war following the suicide of Emperor Nero. Supported by the Roman armies, Vespasian became the fourth emperor in almost as many years, although his reign was relatively short, from 69 CE to 79 CE. His two sons succeeded him. It’s a fascinating time in history when the Romans were staking a foothold in Great Britain and conquering Jerusalem; Mount Vesuvius erupted and plague infected Rome. The series gets a surprising amount right about this time period, although there are plenty of embellishments and the killer finish is entirely made up.

This series is a romp, full of blood, sex, naked bodies, gladiators, slaves conspiring with and against their owners, gambling and general corruption. There would be something for everyone if only it weren’t so awful. I have very little doubt that creator Robert Rodat was aiming for “Game of Thrones” but landed so far off the mark that this really terrible series has more in common with those “sword and sandal” Italian adventure movies of the 1950s that starred bodybuilders. While the plotting of “Those About to Die” can be ingenious, the writing borders on dreadful. It’s questionable if a really good actor could compensate for the dialogue that is, on occasion, jaw-droppingly bad. But the answer to that question is rather self-evident because the great Anthony Hopkins plays Emperor Vespasian who, lucky for him, dies in an early episode. The permanent expression on poor Hopkins’ face says “what on earth am I doing here?”

Yes, this is a really dreadful series but, and it’s a big but, it is one of those train wrecks that is so bad it’s funny. I am embarrassed to say, but I thoroughly enjoyed some of the episodes because I wanted to see if they could lower the standards that had already been set. They did.

Streaming now on Peacock.

The post So Much TV—So Little Time | Part One of Two appeared first on Beverly Hills Courier.

Superman, a metahuman, has left the United States, flown the coop so to speak, to intervene in the war between Boravia and Jarhanpur (a thinly disguised Russia and Ukraine, perhaps?). His Spidey-sense (oops, wrong superhero) has led him to aid the Jarhanpurians against American ally, Boravia, because the Boravian invasion was just so unfair. It is here that his superpowers are tested to the max and come up wanting. Although he stopped the war, he lost the battle to a group of really ugly metahumans with similar powers and they wiped the floor with him. The Pentagon is less than happy with Superman’s actions, but even more unhappy is arch-criminal Lex Luthor, now a tech billionaire who has been supplying the Boravians with weapons and funding the takeover of Jarhanpur. Superman is a hurdle to be jumped and he’s the villain to do it, having cultivated a new race of metahumans. The corrupt mastermind has convinced the Pentagon that Superman has a secret agenda to destroy America and must be stopped. Despite all the goodwill built up over the years, they choose to believe Lex Luthor, who has an algorithm for every occasion. Watching him on a computer is like watching David Hockney create art on an iPad.

Enter the pyrotechnics, kidnappings, evildoing and incredulity. It’s not just logic that must be suspended, but also plot, because there really isn’t one. Superman saves the world from a dictator, is vilified for it, framed as having a secret agenda to destroy mankind, loses his powers when spirited off to an alternative universe and must overcome all lapses in story to save the world again, whether they want it or not.

The cast Gunn assembled is, for the most part, not up to the intensity and plausibility necessary to successfully suspend belief. On a positive note, Superman, played by David Corenswet, a relative newcomer to the big screen, is charming and believable as an ingenuous rube who believes in truth, justice and the American way. His Kansas roots show through in all the best ways. He plays this nonsense straight and tries hard to sell his own tenuous situation and that of his adopted country. He’s not helped a great deal by the turgid dialogue. Rachel Brosnahan, Lois Lane, intrepid reporter, is no damsel in distress. She believes in her man (she already knows that Superman is Clark Kent) but recognizes that the gulf between their realities may be insurmountable. Wendell Pierce, Perry White the publisher of the Daily Planet, is called on to deliver gruff homilies a couple of times; truly a waste of a terrific performer. Shortcomings abound. Coming to Superman’s aid, at least on occasion, is the nascent Justice Gang (it’s not League yet). Brought on for comic relief, their actions and dialogue are forced and singularly unfunny. Nathan Fillion plays the Green Lantern strictly for laughs, but the jokes are thin and his strutting and bad haircut are not enough to resurrect the character. Better is Edi Gathegi playing Mr. Terrific. He plays it straight and is effective as one of the minor heroes. The true star of the movie is Krypto, the superpowered dog. Some of the best scenes are designed around this naughty dog with a cape. More than comic relief, he inspires fear, threat and joy. Maybe a movie could be designed around him next time. Who doesn’t love a misbehaving terrier?

No Superman movie ever works without a villainous Lex Luthor, and Gunn tried to bring Lex into the modern age by making him a tech billionaire. It’s easy to imagine that he patterned Lex after the high-foreheaded Elon Musk or the previously bald Jeff Bezos. Unfortunately, Nicholas Hoult, a very fine actor in the right role (“The Menu”), lacks a threatening presence. It’s not enough to do bad deeds, stare at the camera with his steely blues and be a horrible person, but a movie supervillain must make you shake in your boots. Gene Hackman, the original cinematic Lex Luthor, played his villain with scenery-chewing panache, sense of humor clearly intact, but a truly threatening presence and someone to fear. Certainly this Luthor does some truly horrible things and acts with impunity, but it’s one thing to quake at what he does and another to quake when he enters a room. Hoult, thin of voice, instills no fear or even creepiness when entering a scene. Certainly his Lex Luthor fits into the category of entitled rich boy, something Hoult plays very well, but he doesn’t have the gravitas to pull off an otherworldly villain.

The pyrotechnics and video effects are excellent, and this is what sells the movie to the audience it is aimed for. The cinematography by Henry Braham is fine but doesn’t rise to the level of the effects. Truly disappointing was the music. Snatches of John Williams’ score are occasionally heard, perhaps as an uncredited homage, but the music by David Fleming and John Murphy, which should have underscored the tension, is just loud. Gunn, who rose to justifiable fame with “Guardians of the Galaxy” (Parts I, II and III), is loyal to his creatives and has employed many of them on this film.

And therein lies the problem. James Gunn the director did not insist on a cohesive script from James Gunn the writer. There is no actual identifiable plot and when all is revealed at the end, the stakes were never actually high enough. Call me old fashioned, but I like a story with a beginning, middle and end, with characters I can root for and those I can boo. Filling the screen with robots and hideously unappetizing hybrid lizard monsters doesn’t work for me. I don’t mind a few supersized creatures, but I need an actual story, not a series of hyper events being shoehorned into an expositional narrative. “Jurassic World Rebirth,” full of hideously reptilian monsters, at least had a plot that held your attention.

I may be too harsh. This movie is burning up the box office and is on track to make a billion dollars globally. I’m not an adolescent video gamer and some of this vitriol may be because I was really looking forward to this film. It was definitely time for a reboot; for me, this was just the wrong one. Be aware, however, that mine is a voice in the wilderness. Many reviewers have been ecstatic about “Superman,” and despite my opinion, you may love it. Certainly my disappointment colors my reaction. “Caveat Emptor.”

In wide release at a theater near you.  

The post ‘Superman’—But Very Unexceptional appeared first on Beverly Hills Courier.

Guests—including members of Blackfeet Nation, Maasai warriors and leaders in art, philanthropy, local politics, and  entertainment—cheered as the last elephant convoy made its way through The Wallis’ Eva and Marc Stern Arrival Court. The elephants arrived draped in blankets made by Indian designer Vikram Goyal as part of his “Wrapped in History” curation for the event’s blanketing ceremony. 

“In many cultures around the world, we honor wisdom and genius, if you will, with blankets,” said Cristina Mormorunni, co-founder and director of conservationist group INDIGENOUS LED. “This blanketing ceremony is really special because it’s bringing together Indigenous artistry and culture and ceremony with some of the most incredible fashion houses on the planet.”

Their artistic journey, formally called “The Great Elephant Migration,” symbolizes coexistence between humans and wildlife and amplifying Indigenous knowledge. The elephants started their journey in Newport, Rhode Island and finished in Beverly Hills, with stops along the way in both major cities, like New York, and tribal lands, including the Blackfeet Nation’s Buffalo Spirit Hills Ranch in Montana.  

Each sculpture is based on a real-life elephant roaming the Nilgiri Hills in Southern India. Made from the heat-loving, invasive plant species Lantana camara, each elephant is meticulously handcrafted by a community of 200 Indigenous Adivasi artisans making up The Real Elephant Collective, who live with and know the wild animals personally. 

Like the matriarchal structure of elephant herds, The Great Elephant Migration has its own “matriarchs,” a coalition of women championing coexistence between humans and wildlife. The ceremony was joined by some of the elephants’ notable matriarchs, including Kristin Davis, Ami Vitale, and Edith McBean.  

When it came to choosing where the elephants’ 5,000-mile-long journey would end, the exhibition’s co-founder, Ruth Ganesh, was keen on Wallis Annenberg because of her eponymous wildlife overpass over the U.S. 101 freeway.

The elephant convoy, before it reached Beverly Hills, made a penultimate stop at the crossing to honor its significant contributions to conservation infrastructure.

“The Wildlife Overpass is the biggest example in the world right now of human-wildlife coexistence and what this project stands for,” Ganesh told the Courier. The crossing is a long stretch of vegetated overpass designed to facilitate the safe crossing of wildlife. 

“When we pitched to Beverly Hills [City] Council, there was nothing but warmth … nothing but warmth and a sense of solidarity with what we were doing,” said Ganesh. “Sharona [Nazarian] and Mary [Wells] are both kind of matriarchs, so I felt that resonated with them, and then of course, John [Mirisch], Craig [Corman] and Lester [Friedman].”

Beverly Hills Mayor Sharona Nazarian joined her fellow councilmembers in celebrating the end of the elephants’ cross-country trek.

“We’re standing on a stage that champions creativity every day, the Wallis Annenberg Center for Performing Arts … this is truly a gem in our city, and we’re so proud,” said Nazarian. “From July 1 to August 1, Beverly Gardens Park will transform into a space of beauty, storytelling, and environmental awareness. It’s a public art with purpose, and we are so incredibly proud to host this in Beverly Hills and in this most iconic location.” 

The program concluded with The Perfect World Foundation presenting Wallis Annenberg with its International Conservation Award, which was accepted by her son, Gregory Annenberg Weingarten, on her behalf.  

“This award tonight will honor Wallis Annenberg and her great efforts in creating the wildlife crossing that will see the reconnection of the Santa Monica Mountains and the Simi Hills to allow wildlife, like mountain lions, to move freely,” said Ganesh.  

The post The Great Elephant Migration Arrives in Beverly Hills appeared first on Beverly Hills Courier.

The franchise has always been able to attract big stars like Chris Pratt and Sam Neill in leading roles, but each successive film after the original was a case of diminishing returns. “Jurassic World: Rebirth” doesn’t come close to the original; after all, originality went out the window after the first. Still, mix together some elements of the “Jurassic World” franchise, along with better writing, better acting and bigger and scarier thrills and chills, stir that pot to a boiling froth and you have an entertaining movie for its target audience of PG-13.

Martin Krebs, a big pharma exec, has approached Zora Bennett, a former special forces op who has turned to the dark side, aka a mercenary, to put together a team and breach the barriers of the equatorial island where the last of the dinosaurs have been sequestered. A boatload of money waits for her at the end of this rainbow. The dinos were unable to thrive in the parks created for them and those that survived were shipped to a friendlier atmospheric environment off the coast of Suriname in South America. She will be working with Dr. Henry Loomis, a paleontologist, expert in all things Mesozoic, whose museum is closing. The dinosaur craze has ended and with it goes his job at the museum. Zora, sizing up the prof, knows she will need some more muscle and engages the services of longtime partner Duncan Kincaid, now retired on a tropical isle. As Zora explains to Krebs, she needs Kincaid, his crew and his boat, or this is a no-go. She slyly extracts another boatload of money from Krebs for this mission. And what is the mission? Why do they need to go to the forbidden and foreboding Ile Saint-Hubert? There are three different species, one terrestrial (Titanosaurus), one aquatic (Mosasaurus) and one avian (Quetzalcoatlus) with DNA that will revolutionize cardiac medicine. These dinosaurs have enormous hearts that allow them to live a century or more, and their DNA is a necessary part of a new medication that Krebs’ company is developing. There is the distinct possibility that this new medication will forestall heart disease by almost two decades.

And it’s off to the equatorial island they go. Encountering their first aquatic beast recalls that famous line in “Jaws.” “I think we’re going to need a bigger boat.”

Koepp and director Gareth Edwards felt a need to ramp up the stakes. And up them they did by adding civilians. Reuben Delgado, a divorced summertime father, has decided to take his daughters Isabella and Teresa and Teresa’s useless boyfriend Xavier on a sailing trip around the world. It becomes fairly apparent early on that Reuben has bitten off more than he can chew trying to navigate both the sea and awkward family relationships. Definitely way off course, life becomes treacherous when they encounter a Mosasaurus, a giant reptile of the sea that lived at the same time that dinosaurs walked the Earth and one of the creatures being sought for its DNA by Krebs’ group. Their boat is upended and the family is able to make it, if barely, to the rocky shoreline ahead. Using their walkie-talkie, they make a mayday connection with Kincaid who, against Krebs’ wishes, detours to save the family. Outlaw band meets wholesome, clueless family and the journey takes off.

There will be blood, there will be chills and thrills and, yes, there will be deaths, but it’s always full steam ahead to get the dino DNA and save humanity. But underlying the adventure and the perilous journey is the question of benefit. Who wins? Who loses? What are the alternatives as our intrepid Zora and the altruistic paleontologist push forward to capture the DNA without being captured themselves? Finally landing on the forbidden island that once held a genetics lab, and it doesn’t take long for Loomis to realize that most of the creatures they are encountering are mutants, creating danger on an even higher plane.

It’s amazing how well Edwards can push our panic buttons as the creatures are manipulated to maximum terrifying effect. I defy you not to jump out of your seat repeatedly. Certainly, you worry for the characters as they continually face mortal danger, especially cute little Isabella Delgado. But manipulation is the name of the game, and it is you, the audience, that the filmmakers are aiming at.

Although the beasts themselves are engrossing and terrifying, what differentiates this film from its “Jurassic World” predecessors is the acting, and it’s wonderful. The chemistry between Scarlett Johansson (Zora) and Jonathan Bailey (Loomis) is palpable but almost chaste. Each is attracted to the other sexually and intellectually, but it’s not distracting from the course at hand. It doesn’t hurt that they are both incredibly beautiful. They effectively sell their persona—the petite Johansson as a kickass mercenary and Bailey as a super brain. Mahershala Ali (Kincaid), with his two Academy Awards, is on hand to lend acting depth and fatherly protection, while Rupert Friend (Krebs) plays the villain quite well. The Delgado family led by Manuel Garcia-Rulfo as Reuben, the father, is less effective but the filmmakers felt the need to add vulnerable civilians into the mix. Personally, I felt they slowed down the action, but then that’s akin to clubbing a baby seal when you don’t get worked up about an 11-year-old on the threshold of being gobbled by a mutant dinosaur or bonding with an animatronic baby Aquilops she names Dolores.

The production design by James Clyne, the locations in Thailand and Malta, the cinematography by John Mathieson and the VFX departments should share top billing with the animatronics designers because the movie is as much about the people fighting nature as it is about the creatures they’re fighting.

The premise may be ridiculous, but the movie works. It needs to be seen on the biggest screen possible with an audience to get the full fear factor. You’ll jump, you’ll scream, you’ll hold your breath, but most of all, you’ll be entertained.

The film is now playing at AMC, Laemmle and Cinemark theaters throughout Los  Angeles. 

Neely Swanson spent most of her professional career in the television industry, almost all of it working for David E. Kelley. In her last full-time position as Executive Vice President of Development, she reviewed writer submissions and targeted content for adaptation. As she has often said, she did book reports for a living. For several years she was a freelance writer for “Written By,” the magazine of the WGA West, and was adjunct faculty at USC in the writing division of the School of Cinematic Arts. Neely has been writing film and television reviews for the “Easy Reader” for more than 10 years. Her past reviews can be read on Rotten Tomatoes where she is a tomatometer-approved critic.

The post ‘Jurassic World: Rebirth’—They’re Baaaack! appeared first on Beverly Hills Courier.

Known for her radiant voice, emotional depth, and magnetic stage presence, Zahra has captivated audiences across continents, bringing fresh vitality to the grand tradition of classical music. This performance at Broad Stage marks a homecoming of sorts for Zahra, who grew up in Beverly Hills.  

The program will feature iconic arias from Puccini, Verdi, and Bellini, highlighting Zahra’s vocal agility and emotional range. Whether channeling the beauty of Puccini’s La bohème, the fire and drama of Verdi’s La traviata, or the bel canto elegance of Bellini, Zahra’s interpretations promise to be both masterful and moving.

Adding to the evening’s magic is a selection of timeless Broadway favorites, including beloved numbers from The Sound of Music, My Fair Lady, and Les Misérables. This genre-crossing repertoire showcases Zahra’s remarkable versatility and her passion for connecting with audiences of all musical tastes. States Golda Zahra: “As a classical singer, my goal is to make opera accessible for everyone. Like Pavarotti and Friends who made people smile, warmed their hearts and united them in their love for music.”

Backing her is the acclaimed Dream Orchestra, an ensemble known for its lush sound and dynamic programming. Under the expert direction of Maestro Daniel Suk, the orchestra will also perform famous overtures and instrumental interludes, rounding out a program that blends elegance, passion and joy.

Whether you are an opera aficionado or simply someone who appreciates a soaring melody and a heartfelt performance, this concert promises an evening of inspiration and enchantment. Zahra’s rare combination of technical brilliance and heartfelt storytelling continues to earn her standing ovations—and July 12 at Broad Stage will be no exception.

Don’t miss your chance to witness a rising star at the height of her powers in one of Southern California’s most intimate and acoustically stunning venues.

Golda in Concert with the Dream Orchestra conducted by Daniel Suk, July 12 at 7:30 PM at the Eli and Edythe Broad Stage 1310 11th Street, Santa Monica, CA.  Tickets and more information are available at GoldaInConcert.com. Tickets include a champagne dessert reception hosted by Urth Caffe during intermission. To explore more about Golda Zahra’s artistry, biography, and upcoming appearances, visit her website at GoldaZahra.com.

The post Soprano Golda Zahra Returns to Broad Stage For a One-Night-Only Musical Celebration | Saturday 7:30 P.M. appeared first on Beverly Hills Courier.

The play, “Giant,” is set in 1983. Following the great success of “The BFG,” and on the cusp of publishing “The Witches,” Roald Dahl is visited by his London publisher. It is a particularly fraught time for the internationally acclaimed children’s author. Always in pain from back and hip injuries suffered in World War II, recently divorced from his wife of 30 years (Patricia Neal), on the cusp of marrying his mistress of more than a decade (Felicity Crosland), in the midst of the general chaos of a house renovation, he must also give final approval for the Quentin Blake illustrations accompanying “The Witches.” He apparently loathed having to share royalties with Blake.

Hovering over it all, however, is his recently published scurrilous essay entitled “Not a Chivalrous Affair,” disguised as a review of “God Cried” in the August 1983 issue of “Literary Review.” A photo book with text by Tony Clifton, “God Cried” details the invasion of Lebanon by Israel in 1982. The military action, spurred by PLO (Palestinian Liberation Organization) attacks on Israel, was further exacerbated when the Abu Nidal terrorist group tried to assassinate Israel’s ambassador to the United Kingdom. Civilian casualties were rampant on both sides of the border. Dahl used his review as a screed against the existence of Israel. To quote from the review, “Never before in the history of man has a race of people switched so rapidly from being much-pitied victims to barbarous murderers.” Dahl wasn’t just a champion of Palestine and Palestinians—he was a very vocal opponent of Israel, Israelis, Zionists and, in not so coded language, Jews in general. The public reaction to Dahl’s expressions has been overwhelmingly negative and, as his publisher Tom Maschler  points out, it won’t be good for sales. Further, his U.S. publisher, Farrar Straus Giroux, has sent a representative, Jessica Stone, to discuss the marketing of “The Witches,” something that could be endangered by the views he expressed in his review. The very definition of nonplussed, Maschler, a Jew, fled Vienna with his parents when Hitler annexed Austria; probably unknown to Dahl, Maschler spent a summer on a Kibbutz following secondary school.

When Stone arrives, she is greeted by an unrepentant and condescending Dahl. Goading her, questioning her credentials and unearthing that she is a Jew, the atmosphere is tense. Stone, not particularly high in the chain of command, is, at first, reluctant to engage. Eventually, Dahl’s incessant harassment brings out a fierce defensiveness that more than matches his patronizing and prejudicial arguments. It is a duel, perhaps not to the death but one that will wound both parties as Maschler and Crossland stand on the sidelines trying to calm the torrential seas to no avail.

Although Crossland and Maschler were participants in the life and career of Roald Dahl, Stone is a fictionalized character brought in to underscore and highlight the views and actions of Dahl. Did he have a contretemps with his American publisher or representative? Unlikely. But this was the playwright’s device to highlight the actual words written and spoken by Dahl. It is highly likely that conversations and debates, like those of the fictionalized Stone and the actual Maschler and Crossland did take place. But, as much as one would like to believe that the views expressed in his contretemps with Stone created a dent in his sales, it is unlikely. Sadly, today as in times past, the antisemitic ravings of a revered writer, of children’s books no less, are easily overlooked and dismissed.

Written by first time playwright Mark Rosenblatt, “Giant” lifts the curtain on the truly unpleasant side of someone who heretofore was a beloved figure. Beloved, I suppose, because most of us, fans of his books and what they brought to our children, never bothered to scratch the surface to reveal what had always been there. A good publicist can go a long way with someone whose belief structure is iron clad, and nothing was more iron clad than Dahl’s antisemitism.

Directed brilliantly and seamlessly by theater legend Nicholas Hytner (artistic director of the National Theatre from 2003-2015 and now artistic director of London Theatre Company at the Bridge Theatre), he makes every role count no matter how minor. Even the tiny role of Hallie, the cook and bottle washer, played by Tessa Bonham Jones, has significance as a punctuation mark in the last scene. Rachel Stirling as Felicity represents the kind of glamorous, noblesse oblige upper middle class woman who finally got her man. Elliot Levey as Tom Maschler, the publisher, won the best supporting Olivier (the British Tony) for his in depth study of a man who must balance his professional life and relationship with one of his most important writers and his personal history. Watch as he’s goaded, how his eyes and body language convey the kind of strength it takes to parry the abhorrent behavior of someone he had considered more than a client. Making her West End debut is Aya Cash as Jessica Stone, the American representative. Her tentativeness that eventually grows into disdain and anger heightens the stakes. She is truly a marvel.

“Giant” is nothing, however, without a giant presence and that defines John Lithgow brilliantly. Inhabiting Dahl’s best and worst qualities, it is impossible not to be totally absorbed by him. With a career of great roles and performances, this is one of his best, if not the best, and it got him the Olivier Award for best actor. He has already committed to a proposed Broadway production.

Rosenblatt wrote the play in the Spring of 2023, before Hamas attacked Israel. The arguments that continue today about the justification of massive retaliation when the primary impact is against civilians, and whether sympathy and support for the Palestinian people in Gaza equates to antisemitism, mirrors some of the objections that Dahl had to the invasion of Lebanon in 1982. The main difference was his negation of the right of Israel to exist and what was eventually shown to be his blatant antisemitism. But deep within the structure of “Giant” is a view to the casual acceptance of his views that Jews controlled the media and the banks. His wife’s nonchalant handling of her husband, explaining that he really must consider an apology if he ever wanted to get on the Queen’s honor list, highlights that her only disapproval was rooted in self-interest.

Is it possible to overlook Dahl’s personal views when reading his books? Can genius and talent lie within an abhorrent being? Is reconciliation necessary? This is a conversation that started when considering Picasso the man versus Picasso the artist. Would you erase “Charlie and the Chocolate Factory” or “James and the Giant Peach?” Do you have to? If you cancel the artist, must you also cancel the art? The questions and answers that Rosenblatt presents are all complex, some with obvious answers, some without.

My advice? Get on a plane, get a ticket and see this incredibly timely play. Actually, get on a plane and see the marvelous palette of entertainment on offer this summer on the London stage. “The Fifth Step” starring Jack Lowden and Martin Freeman; Hytner’s transformative “A Midsummer Night’s Dream,” playing again after an award-winning run in 2019; a revival of “Evita” directed by Jamie Lloyd and starring Rachel Zegler; Brendan Gleeson in Conor McPherson’s quintessential Irish drama “The Weir” and Ruth Wilson and Michael Shannon in “A Moon for the Misbegotten.” London theater tickets are so much less expensive than Broadway that a week of plays there and a great dinner in Covent Garden would pay for the differential when compared to what it would cost for New York tickets and airfare to get there. It’s worth the jet lag.

“Giant” playing at the Harold Pinter Theatre through August 2. 

Neely Swanson spent most of her professional career in the television industry, almost all of it working for David E. Kelley. In her last full-time position as Executive Vice President of Development, she reviewed writer submissions and targeted content for adaptation. As she has often said, she did book reports for a living. For several years she was a freelance writer for “Written By,” the magazine of the WGA West, and was adjunct faculty at USC in the writing division of the School of Cinematic Arts. Neely has been writing film and television reviews for the “Easy Reader” for more than 10 years. Her past reviews can be read on Rotten Tomatoes where she is a tomatometer-approved critic.

The post ‘Giant’—Big But Not Friendly appeared first on Beverly Hills Courier.

Byron’s maternal grandfather was a union man as well, working for Great Lakes Steel for over 30 years. It’s no wonder that Byron assumed that he, too, would one day become a blue-collar man. And why not? It was the ‘60s. Detroit was a factory town that made “cars for the world … and music for the world. Motown … It was magical,” he recalls.

Growing up in an industrial town instilled in Byron the values that would propel his life’s path.

“I saw this incredible work ethic,” he says. “It’s a part of my DNA.”

He would know. A self-made media mogul of legendary success, Byron’s story is not only astonishing, it’s awe-inspiring and indisputably unique. Beginning as a stand-up comedian and evolving into a modern-day television “industrialist,” his rags-to-riches journey is one of extraordinary ambition, ingenuity, courage, strength and creative talent, and it reflects his keen understanding of “the business of show.”

The global media conglomerate, Allen Media Group (AMG), of which Byron is the founder, chairman and chief executive officer, owns/operates 27 ABC-NBC-CBS-FOX network affiliate broadcast television stations in 21 U.S. markets and ten 24-hour HD television networks, including The Weather Channel, serving nearly 300 million subscribers. Headquartered in Los Angeles, with offices in New York and Atlanta, Byron not only produces and distributes Emmy Award-winning and nominated shows, but he also distributes and sells advertising for 74 television programs from one of the largest libraries and advertiser-friendly lifestyle content collections in the world. Focused on free, ad-supported streaming that leverages his existing media assets with hyper-local news, weather, sports and traffic information, Byron is heavily invested in digital streaming platforms with HBCU GO, Local Now, TheGrio and Sports.TV. Moreover, AMG is the first African American-owned multiplatform media company producing and distributing wide-release motion pictures and content for all platforms.

Three-time Mayor of Beverly Hills Lili Bosse, herself a legendary figure in the city, has this to say about her friend and fellow resident.

“Byron is one of the most extraordinary people I know. He is a true trailblazer, visionary and a force of nature. We are kindred spirits, as we share the same life philosophy to start with ‘yes’ and then figure out how.  He is a loving family man and has a wickedly funny sense of humor. Byron is someone who can make anything happen, envisioning possibilities that most can’t even dream of. He is bold, innovative, fearless, and mark my words, light-years ahead of our time,” says Bosse.

Described in the press as a self-made billionaire, Byron catapulted from comic to media titan as a Black businessman in the white-dominated media mogul world. An honorable man filled with courage and conviction, Byron uses his earned platform to advocate for civil rights and philanthropic causes in an effort to effect positive change.

So how did this purposeful and passionate man from Detroit accomplish such a feat, and how is he leading going forward in the evolving media landscape? I set out to find the answers.

We met at the swanky Polo Lounge at the Beverly Hills Hotel. Byron swooped in, sprinted through the field of hostess greetings and quickly directed them to lead us to a luxurious booth. Once there, he quickly and charismatically took control of the conversation, curiously diving in about the Courier’s circulation and digital capabilities. His intensity was penetrating; his expertise was invigorating. Within minutes, he left the table, requesting we move outside to improve the audible experience.

Situated in the back booth of the garden, the who’s who of the L.A. business community found their way to greet him, each one with a friendly “inside” comment or story. After a moment, he signaled me to turn on my recorder.

“Is it true you learned how to roller-skate before you could walk?” I asked.

“Back in Detroit, my grandfather and my grandmother on my father’s side built and owned the RollerCade Roller Rink on Schafer, and they controlled the cash register,” he answered.

From a young age, Byron understood the power of ownership and job creation. Beginning at age 6, he had the job of “floor guard” while his slightly older cousins managed the record player. Byron would stand in the center, surveying the rink, waiting for a slip and fall. The second someone did, he would blow his big whistle, signaling his cousins to stop the music to prevent a dangerous “stack up.” On special nights at the RollerCade, live music acts would appear, sent over from Motown, to familiarize the singers with performing and the community with the singers. Smokey Robinson, Diana Ross, Stevie Wonder, The Temptations and Marvin Gaye were some of the regulars.

“I’ve known Stevie Wonder and Smokey Robinson since I was a kid back in Detroit,” he says.

One day, Byron’s mother, Carolyn, and his grandmother, Eddie Mae, took Byron and his four years older uncle, who today is AMG’s Chief Operating Officer, on a ride to “see where the rich people live.”

Impressionable young Byron was captivated by the magnificent mansions set on pristine grounds, homes of the Ford family, the Goodyear family and the Chrysler family. His grandmother proudly shared that she and many of her friends from their neighborhood had been “domestics” in the big estates they drove by. It piqued his curiosity, wondering how they became rich. The last sighting was Berry Gordy’s estate. Byron stared in disbelief.

He said to his mother, “He [Gordy] lives over here with all of these super rich white people, and I’m walking 30 minutes to the community pool?” His grandmother chimed in, “He’s got one in his house, and a bowling alley, too!”

The next eye-opener came a few months later in April 1968. The Rev. Martin Luther King Jr. was assassinated. Riots broke out all over America, and the military immediately took over Byron’s neighborhood.

“I was looking down the barrel of a tank in my neighborhood as a 7-year-old. That was the moment I lost my innocence; I lost my childhood. I became a child of war. I realized that America looked at me differently. America didn’t love us. America tolerated us.”

By the summer of that year, Byron’s mother and father separated. He and his mother then decided to visit family in Los Angeles.

Carolyn had given birth to Byron 17 days after her 17th birthday.

“No one was betting on a Black teenage girl and a Black baby boy born in 1961, without any civil rights, accomplishing much of anything,” he recalls.

But Carolyn had big dreams for herself as well as her son. Two weeks in Los Angeles turned into a lifetime. For the first several years they slept on sofas and floors, switching houses and schools, thanks to family and friends. Byron was happy; he didn’t mind the instability as he was always with his mother. He accompanied her to every job.

“She was working at the Salvation Army, passing out goods to folks who were less fortunate than us,” he says.

Believing education is the key to success, Carolyn wanted to go to college. She was admitted to UCLA, something Byron describes as “probably the most dramatic thing that changed our lives.”

After graduating, Carolyn went on to receive her master’s degree in cinema and television production from UCLA, despite the numerous financial and discriminatory challenges she faced. The first was supporting herself and her son while attending school full time.

Byron vividly recalls overhearing a conversation between his extended family and his mother. “You can’t financially afford Byron. You should give him up for adoption.”

Afraid of being taken from his mother, Byron, at the age of 11, walked to the nearby Ralphs supermarket and pleaded with the manager for a job as a “bag boy.” It didn’t work. Walking away, dejected, Byron noticed a lady bringing her shopping cart back from the parking lot to a machine and receiving a stamp worth a penny. He surveyed the entire parking lot. If he rounded up 100 carts, he’d get $1 worth of food to bring home to his mother.

“That was it. I created my first business … I’ll keep collecting the carts and putting them in the machine, $3 worth of food, then $5, every day after school. I had to keep hustling and grinding if I wanted to keep my mother,” he says.

One day, Carolyn discovered Byron needed critical medical care due to an infection in his leg. Rushing to Children’s Hospital Los Angeles (CHLA), she worried for his well-being and the costs of his medical treatment. The hospital saved his leg from amputation and never charged Carolyn for the service, a gesture imprinted in Byron’s heart.

Byron’s dreams for a better life continued. Always with an eye back to Detroit thanks to communications with his father, he fervently read all he could about the Industrial Revolution.

“I studied the great entrepreneurs … I noticed it was all these industrialists who were so wealthy, and they built these amazing businesses. Remember when my mom and grandmother showed me those homes? I wanted to have a beautiful home like that,” he recalls.

Eventually, Carolyn, with Byron in tow, went apartment hunting through UCLA’s housing department. But the sight of a Black woman and her Black son in the doorway resulted in a rejection. UCLA housing then sent over a white couple who were successful in renting that apartment. It was the first time Byron remembers experiencing discrimination.

Today, when asked about racism, Byron shares he knows it will always be present. But the way to handle it is to “make it work for you.” The resistance racism creates can break a person or make a person stronger. It’s what has made him what he is today. If he loses it all tomorrow, he feels he could build it back even better.

Discrimination didn’t discourage Carolyn, either. While in graduate school, when she was declined for employment at NBC, she pushed harder, despite her financial circumstances, and asked if they had an internship program where she could work for free.

Byron adds, “When they said no, she asked the most important question that changed our lives forever. ‘Will you please start one with me?’”

The “yes” she received taught Byron the power of believing, of being persistent and to “always go that next step.”

Decades later, when Byron was honored with a star on the Hollywood Walk of Fame next to Johnny Carson’s star, he shared the credit with his mom. “This is not my star; this is our star,” he said.

As Carolyn progressed from NBC page to NBC publicist, responsible for getting magazine covers for their television shows, Byron was given entry into the world of unimaginable possibilities.

“While visiting my mom at NBC, I’m watching the network multi-purpose sets, and the cameramen gear up and focus. I’m watching the grips, and all the cable guys [put on the television shows]. I’m watching the executives negotiate with the producers, and the producers interact with the talent. It was a symphony,” he says.

Everyone came to know Byron as Carolyn’s son, a self-sufficient, friendly, respectful young teenager, enthralled by the workings of the television industry.

“I’m watching Johnny Carson tape ‘The Tonight Show.’ Then I would walk across the hall and watch Redd Foxx tape ‘Sanford and Son’… Flip Wilson tape his show with Richard Pryor, Bob Hope do his specials. Dean Martin do his. I’m watching the local news, an unknown weatherman, Pat Sajak, and an unknown sportscaster, Bryant Gumbel.”

Byron knew he was in a special place: not a car factory, a television factory. He was most intrigued by the comedy division within the factory, for himself.   

“I knocked on the door of this comedian on the ‘Gladys Knight Show’ in the summer of ’75 and asked, ‘Sir, how do I become a comedian like you?’ It was Gabe Kaplan, and he told me, ‘Go to the Comedy Store, and don’t forget to watch “Welcome Back, Kotter,” my new sitcom.’”

Byron called the “store” and asked the price of the jokes. The voice on the phone, Comedy Store owner Mitzi Shore, laughed and said, “This is a comedy club. We don’t sell jokes here.” Persistent, Byron showed up at 9 a.m. the next day and convinced the owner, despite his young age of 14, that he deserved five minutes on the stage. Drawing on his experience, Byron used a “Sanford and Son” character doing stand-up. He was a hit.

Soon afterward, Byron received a call from Jimmie “JJ” Walker, considered the greatest stand-up comedian in America at the time, and the star of the sitcom “Good Times.” He asked if Byron wanted to join his writers meeting. Byron said he had to ask his mom.

“I heard this guy in the background say, ‘Hey, tell his mom not to worry, we’ll have cookies and milk for him.’ And then I heard another writer, Jay, say, ‘Oh, Dave, be nice. Just be nice.’”

Carolyn allowed Byron to attend the meeting at Jimmie’s apartment on Sunset Boulevard. When he arrived, sitting in the living room were several up-and-coming comedy writers/producers, including the writers he heard on the phone, Dave Letterman and Jay Leno. The group met regularly; Byron’s payment was $25 per joke.

“It was great. I was a paperboy for the Herald Examiner at the time. I had to throw two newspapers to make a penny. Two! I had to throw 5,000 newspapers to make 25 bucks. I told Jimmie, ‘A joke for 25 bucks? I’m good!’”

Back at NBC, Byron was laser-focused on learning from the master, Johnny Carson.

“I lived in that studio. They used it for ‘The Tonight Show’ from 5:30 to 6:30. Hundreds of people were in that studio [audience] then. By 7 o’clock, that studio was empty. No one, just me and the janitor.”

Byron would sit at Johnny’s desk, imagining. He would sit in the guest seat and stand on the star, Johnny’s mark on the floor for the monologue, and practice the monologue from the evening left up on the board. While the crew members welcomed his self-training at NBC, Byron continued fine-tuning his craft at various comedy clubs around Los Angeles. At age 18, four years after his first stand-up routine, he received the official call from Johnny’s producer inviting the Fairfax High School student to be a guest on “The Tonight Show.”

He was the youngest comedian to ever appear on the show.

“When I was standing behind the curtain ready to go on, I was joking with the stagehands. I had my back to the curtain. They were laughing with me, and all of a sudden, they got really serious. Johnny Carson had come to the curtain and said to me, ‘Don’t worry, son. You’re going to knock ’em dead.’”

A powerhouse in comedy, Johnny Carson had opened the door for Byron and many other comedians like him. As a result, Byron created the half-hour comedy talk show, “Comics Unleashed.” The show, hosted by Byron himself, is still on the air after 19 seasons and has featured more than 550 comedians, including Cedric the Entertainer, Margaret Cho, Tiffany Haddish, Chelsea Handler, Kevin Hart, Gabriel Iglesias, Leslie Jones, Natasha Leggero, Jon Lovitz, Whitney Cummings, Howie Mandel, Nate Bargatze, Billy Gardell, Sebastian Maniscalco and Sinbad.

Moments before our press time, CBS announced that beginning on Sept. 22 of this year, “Comics Unleashed With Byron Allen” will take over the network’s 12:30 a.m. time slot. Episodes will then air Monday through Friday, with the series also available to stream live on Paramount+. “‘Comics Unleashed’ is a true passion for me, simply because this world can never have enough laughter,” Allen said. Executive produced by himself, Carolyn Folks and Jennifer Lucas, he added, “I created this show so that the best comedians can all come together and help bring non-stop laughter.”

Johnny was delighted with Byron’s premiere performance. Ironically, he incorporated Beverly Hills and Beverly Hills High School in his monologue. Jolene Schlatter, too, was impressed and raved about Byron to her TV producer husband, George Schlatter. It immediately landed Byron the position as co-host of the Schlatter’s new NBC hit show “Real People,” a forerunner to today’s reality TV.

Byron attacked his new position with a vengeance, interviewing people, learning how to tell compelling human-interest stories, and earning national visibility and credibility. He also studied how the weekly shows were created, marketed and monetized from the industry experts. But it was after a humbling experience in renegotiating his contract that Byron realized being a performer wasn’t going to be his ticket to success.

“Only I can determine my worth, and no one else. I just want to work for myself. And I haven’t worked for anybody else since ‘Real People’ ended in 1984,” he says.

Believing ownership was the only path to true influence and generational wealth, he began to understand how creation, distribution, syndication and advertising were the engines powering television. While he loved performing comedy, he had an insatiable desire to succeed in the business side of “show.” At the age of 19, he attended his first of 44 consecutive National Association of Television Program Executives (NATPE) annual conferences.

There, he met the kingpins of syndicated television, Roger and Michael King, as well as Al Masini, the pioneering producer of “Entertainment Tonight,” “Lifestyles of the Rich and Famous,” “Solid Gold” and “Star Search.” At NATPE every year, Byron sat in on sales meetings and watched the professionals sell their shows in syndication. Masini recognized Byron’s aspirational spirit and took him under his wing, mentoring him like the son he never had.

In the summer of 1993, with fire in his belly, Byron started his own business. From his dining room, he used his telephone to communicate all over America and ignite energy around producing low-cost, advertiser-friendly shows for television stations that needed content. Producing his first show, “Entertainers with Byron Allen,” a forerunner to podcasts, he created a barter model with himself and friends as talent. He offered the show for free to the stations and kept the ad revenue, maximizing his resources and profits. Grabbing the concept from the industrialists, he vertically integrated.

“I controlled everything from A to Z. I would create the show. Then I would produce the show. Let’s talk about Rockefeller. He would pull the oil out of the ground. He would send it to his refineries to refine it. Then he would put it on trucks and send it to the gas station. Then he would put it in the gas tank, put the cash in the cash register and hit repeat. He was vertically integrating. He never passed it off. He did everything from A to Z.”

Similarly, Byron would create and produce the television show. He would give it directly to the television stations for free. He did not go to the networks but instead went to each individual station in America and sold the advertising himself. But he needed more content. Turning to one of Masini’s trailblazing formulas, Byron copied the content of one medium and converted it into another. Masini had created his revolutionary television programs from radio shows.

“So, I took the magazine stands and converted them into television shows. People are always going to be interested in beautiful homes … That’s Architectural Digest. They’re always going to be interested in cars, travel, food.”

Today, AMG owns ten 24-hour HD television networks, including THE WEATHER CHANNEL, COMEDY.TV, RECIPE.TV, CARS.TV, ES.TV, MYDESTINATION.TV AND JUSTICECENTRAL.TV. Producing television shows in an assembly-line way, each network is supplied with content that would have been found in magazines.

One of his biggest lessons was when a distributor stole Byron’s money, the final step to having complete control.

“That’s when I realized I had to go directly to the consumer, directly to the stations myself … and now I can do all the shows I want. That’s where the desire comes from, to creatively express myself, to make people laugh, to entertain audiences, to put a smile on their faces. It’s always coming from a good place.”

Byron believes his best training for the media business originates from understanding what the audience wants.

He stated in the press, “When you stand on a stage, and you perform in front of a live audience, and you get a reaction every five seconds—or you don’t—that is the best training that you could possibly have in the media business.”

In the process of building his empire, in April 2001, he met a beautiful television producer, Jennifer Lucas, at a restaurant club. After a five-year courtship and producing many television shows under Byron’s company umbrella, Byron proposed to Jennifer on Christmas Day. They were married on Sept. 1, 2007, at the Hotel Bel-Air. Soon, the family blossomed with the arrival of daughters Chloe and Olivia and son Lucas.

“I don’t try and push anything on my kids. I want to see what they discover and let them find their passion naturally. As a father, I just want them to be happy, healthy and not worry. I did enough worrying for all of them … Jennifer’s an amazing person. She’s my best friend. She’s absolutely fantastic. I got really lucky. Great mom, great wife, great family. I am truly blessed.”

In 2018, Byron‘s media company bought The Weather Channel, an American television network with the OTT streaming service, Local Now, which provides localized weather, news and traffic updates. After the acquisition, AMG transitioned Local Now to a free-to-access model, expanding its content with news, lifestyle and entertainment programming.

“Weather is a big business, a huge business. When you buy a company, you also get the intellectual capital. We gained a great deal of intellectual capital, platforms, software, technology. It put us in the news business in a big way, an important news business.”

Because of climate change, The Weather Channel is the number one most trusted news brand in America.

“Climate change has killed more people than all the wars combined throughout history. Climate change and global warming are very real. Everything is extreme: extreme heat, extreme cold, extreme wind, extreme wet, extreme dry. Weather is usually the number one or number two story in the newscast every day.”

Byron stated that the acquisition was the most important moment in his media company.

“As an African American, I think I broke a barrier … As an entrepreneur, it was the Jackie Robinson moment. As a Black man, I didn’t have to just do businesses that were focused on Black people, play in just the Negro leagues of baseball. I was able to now do something that was general market, and it was the major leagues … I’m one of one, a global entrepreneur, not an entrepreneur who only focuses on Black content.”

Yet his highly rated, video-centric community news platform devoted to providing African Americans with compelling stories and perspectives currently underrepresented in existing national news outlets, The Grio, is one of AMG’s most successful platforms, with more than 100 million annual visitors.

Byron is not shy in using his earned media mogul status to help influence by means of the truth, a concept he learned from Martin Luther King Jr.’s wife.

“Coretta Scott King was a friend of mine. I always wanted to look at Martin Luther King Jr. through her eyes. And I learned a lot talking to her. She was the one who said, ‘Our greatest weapon is the truth. Always bring the truth.’”

Byron has also made a point of giving back in meaningful ways. He has never forgotten the free medical care he received as a child from CHLA. Today, he is not only a member of the CHLA’s Board of Trustees, but he has also raised millions for the institution through the Allen Media Group’s Oscar Gala. The event, first launched in 2017, has featured performances by the likes of Toni Braxton, Babyface, Jamie Foxx, John Legend, Maroon 5, Katy Perry and Diana Ross.

He has prominently supported the Race to Erase MS Foundation, which is dedicated to the treatment and ultimate cure of multiple sclerosis (MS). He hosted the National Multiple Sclerosis Society’s annual “Dinner of Champions” for over 20 years, raising more than $50 million for MS research and awareness. And in the fall of 2023, Byron received the Visionary Award from Jeffrey Katzenberg at the Visionary Ball in support of the UCLA Department of Neurosurgery. The event was hosted by good friends Jay Leno and Howie Mandel, with a special performance by Smokey Robinson.

In recent years, he has also recognized the importance of investing in education.

“Education is what makes the country its very best. If everybody’s educated, everybody’s engaged, and everybody is a part of the economic fiber of America, then America can’t be any better … It’s an investment in the future. It’s an investment in all of us … Spelman, [one of] 107 historically Black colleges and universities … is named after Rockefeller’s wife’s maiden name, Spelman. It’s an all-female school … funded by the wealthiest family in the world at the time.”

Recognizing the current HBCUs’ financial challenges, Byron stepped in to help with an ingenious sports media business opportunity. In 2021, his company founded the HBCU Go streaming network.

“I saw that these schools were not able to really produce and distribute their sports content and monetize it the way it should be. I wanted to help so I stepped in. There’s approximately 4,000 sporting events, and we control 95% of them. The business has grown by triple digits. We’ve only had it for three years, and the revenue keeps going straight up like a rocket. The athletes are extraordinary. These historically Black colleges and universities have created numerous Hall of Famers.”

Byron also used his influential media platform to help educate in February 2023. Six months before Oct. 7 and the horrific killings and kidnappings in Israel, Byron was honored with the inaugural “Legendary Honor” award from the African American Student Union at Harvard Business School. Selected for his transformative impact on the media industry and his advocacy for economic inclusion, Byron took this opportunity to speak to the students about the African American community owing the Jewish community a huge debt of gratitude, especially during the Civil Rights Movement. In his speech Byron said, “They’ve marched with us, stood with us, and they had a similar plight in how they’ve been treated.”

“I knew I had all these bright kids from Harvard … I was sensing and feeling the antisemitism back then … I was feeling it was increasing. I said, ‘I just want to give you [the students] the facts. I want to give you what really happened, and I need you to understand what’s happening now. I want to share a story about Madison Grant, the young man who went to Columbia Law School, who wrote a book in 1916 called “The Passing of the Great Race, Keep America White and Pure.” He’s upset about immigration, the Jews coming in from Europe. A young man reads this book and says, ‘This is the greatest book I’ve ever read.’ That young man was Adolf Hitler. So, not only did we create this racism and this antisemitism, we exported it all the way to Europe, and it came back as the Holocaust. You [the students] need to understand how it ties together.’”

When asked about the business challenges of today, as a trailblazing leader, Byron reflects on his lessons learned.

“Business is a contact sport. We’re having major contact right now. We’re getting hit hard. It is what it is. Get up and get back in the huddle.”

The football analogy sheds light on two attempted transactions Byron made in 2022. He announced his intention to bid for the Denver Broncos. Then again, in November of that same year, there were reports he was assembling an investor group to pursue the purchase of the Washington Commanders. While neither bid resulted in ownership, Allen has expressed ongoing interest in acquiring an NFL team and continues to be a prominent figure in discussions about diversifying NFL ownership.

In addition, the media widely reported that Byron made a significant bid to acquire Paramount Global in early 2024. His company, Allen Media Group, submitted a $14.3 billion offer to purchase all outstanding shares of Paramount Global. Including debt, the total value of the proposal was approximately $30 billion.

“We want to grow organically. We would like to acquire companies that work seamlessly with the assets we already have. Our preference is digital. That’s the fastest-growing section in media,” he says.

He believes that streaming is everything. Local Now, the technology to bring local news, weather, sports and traffic via the web, is the biggest platform they have going forward. Being free and laden with content downloaded in seconds makes it “unstoppable.”

“Linear [cable and over-the-air broadcast] has its headwinds,” he says.

Byron claims that people are cutting the cord, but it will never go away.

“Nothing ever goes away. It’s always additive. Everything gets bigger, and it’s more textured and layered. I haven’t seen anything replace a platform for the most part. Here are your movies, here’s radio, here’s television, here’s streaming … At the end of the day, I’ve always been impressed with Walt Disney. The technology has morphed in many different ways, but the mouse has stayed consistent.”

Mickey Mouse is the very valuable content.

“You can have a beautiful car, but it doesn’t mean anything unless you can put gas in it. The content is the gas or electricity … No one cares about the technology until there’s content that they can connect with.”

In examining his leadership STYLE, I ended the interview by asking him to complete the sentence, “I lead with ______?” Upon hearing the Dalai Lama said he leads with “listening,” and Nelson Mandela said he leads “by following,” Byron Allen said, “I lead with commitment. It’s the word before success.”

The post Byron Allen | How His Extraordinary Journey Created a Media Empire appeared first on Beverly Hills Courier.

CinemaCon has promised sequels and tentpoles, but the releases are heavy on horror as well. It’s been a long haul since the pandemic shut down the movies, followed by the strikes of 2023, but the wheels have been turning and many of the anticipated movies that were delayed are getting their release. There’s something for everyone from kids to teens, young adults to old and everything in between. So relax, grab a cocktail (or soda) and ponder what there is to see after you’ve piled into the IMAX to see “Mission: Impossible—The Final Reckoning,” part two of the 2023 blockbuster “Mission: Impossible—Dead Reckoning Part One.” This summer will prove that movies are no longer an impossible mission. Lots of familiar faces from the small screen grace the Cineplex this summer, so …

Let’s all go to the movies (dates may change).

Early June

“Ballerina” is a spinoff of the John Wick Universe starring a beautiful girl assassin taken under the wing of the Ruska Roma criminal group. This violent tale of revenge will have special effects that pop and a cast that shines. Starring Ana de Armas, Ian McShane, Anjelica Huston—and what would a John Wick movie be without John Wick—Keanu Reeves.

“The Life of Chuck” is a lovely, inventive movie of many moods, telling its story in reverse. Chuck is a man who lived his best life despite setbacks. Deliberately confusing, Chuck may not actually be the lead of the three chapters, featuring an end, a middle and a beginning, but he’s on everyone’s mind. Based on a Stephen King short story brought to the screen by Mike Flanagan, it’s more a question of what you make of this seemingly end-of-days scenario that begins at the end and gradually unspools to the beginning. Starring Tom Hiddleston and Chiwetel Ejiofor, look for Mark Hamill as the grandfather.

“Dangerous Animals” is about a serial killer who feeds his victims to sharks. His chumming turns to yumming when he abducts beautiful surfer Zephyr, who must find a way to escape. From Shudder Studios, whose very name lets you know what to expect.

“I Don’t Understand You” is the vacation of their dreams that becomes a nightmare they couldn’t have anticipated. Dom and Cole, a wealthy gay couple, are anticipating the birth of a child by surrogacy. It’s their 10th anniversary, and they’ve decided to celebrate and reconnect by going to Italy. Not speaking the language should never have been the problem it becomes as they dodge polite little old ladies and vengeful sons. Starring the always charming Andrew Rannells and Nick Kroll, their timing is pitch-perfect, and you’ll often find yourself laughing where you shouldn’t.

“The Ritual” in this case is an exorcism; but not your everyday exorcism. This one will be performed by two priests, long in conflict with one another. The hook is that the priests are played by Al Pacino and Dan Stevens, and it’s based on a true story. For fans of horror, rotating heads, and those who believe in such things.

“How to Train Your Dragon,” the live-action interpretation of the beloved animation hits, will star an awesome CGI dragon and charming youngsters who will protect the dragon from the Vikings at all costs, even if it means betraying hundreds of years of tradition.

“Materialists” boasts a star-studded cast of today’s hotties: Dakota Johnson, Pedro Pascal and Chris Evans. Johnson’s character, a successful matchmaker of very high-end couplings, is drawn to an ultra-wealthy dreamboat (Pascal) who only has eyes for her. The snag? Her very handsome and sincere ex, who still pines for her, and possibly she for him. The hook? It’s written and directed by Celine Song, whose very heartfelt feature, “Past Lives,” was Oscar-nominated, as was she.

Late June 

“Elio” is the latest Pixar animation tale from Disney. Eleven-year-old Elio is accidentally shot into space, landing on another planet. Upon arrival, he is forced to pretend to be the leader of Earth or risk annihilation. Really, what choice does he have? Sweet, fast-thinking Elio must find a way out of this mess. I bet his mom is sorry she didn’t listen when he called and said he had an emergency.

“Bride Hard,” starring Rebel Wilson, is a hostage film—it seems to be a popular platform this summer. Wilson, a spy, reluctantly agrees to be the maid of honor at her best friend’s wedding to a billionaire. When bad guys arrive to take the wedding party hostage, they have no idea what they’re in for. Director Simon West hopes it’s for the laughs.

“28 Years Later” returns for the sequel to “28 Weeks Later” (which was the sequel to “28 Days Later”). Danny Boyle is back to save us from zombies with a heavy-hitting cast that includes Ralph Fiennes, Jodie Comer and Aaron Taylor-Johnson. They mean business.

“M3GAN 2.0” finds that AI assassin, M3GAN, is up to her old tricks and we have to hope that Gemma, her creator, and her niece Cady can convert M3GAN to good and save the world from the evil defense contractor who stole her technology.

“F1,” the highly anticipated new Brad Pitt Formula One-plotted film, has Pitt as a retired champion lured back by his old boss (Javier Bardem) to mentor the latest hotshot to a championship. Tobias Menzies and Kim Bodnia add firepower. The draw, besides the stars, will be the footage from real Grand Prix races. Think “Top Gun” in a car.

July 1

“Jurassic World Rebirth” and it’s back to the future, so to speak. A new crew has been hired to breach the confines of a dinosaur island full of raptors to try stealing an egg that might save humanity. It will be up to the intrepid scientists, Scarlett Johansson and Jonathan Bailey, to make it out alive if their boss, Mahershala Ali, has anything to do with it. There will be scary creatures.

July 3

“Shiver” is attacking sharks gone wild, terrorizing a town already confronting storms, utter darkness and their own fright. There will be special effects but maybe not an original plot. Will they survive? Should they survive? You be the judge.

July 11

“Superman” is still battling a very dangerous world and continues to romance Lois Lane in the guise of Clark Kent. This time around, Superman/Clark Kent is played by David Corenswet, leading a cast that includes Wendell Pierce as Perry White and Rachel Brosnahan as Lois Lane. Nicholas Hoult is the evil Lex Luthor, who is joined by new visitors from the DC Universe like Nathan Fillion as the Green Lantern and Rex Mason/Metamorpho, played by the marvelous Anthony Carrigan (Noho Hank from “Barry”).

July 18

“Smurfs” features Rihanna in all her singing glory as Smurfette in the latest incarnation of these beloved animated creatures. As always, the Smurfs will help save, well, whatever needs saving. The fantastic voice cast features Kurt Russell, Nick Offerman, Octavia Spencer and the aforementioned Rihanna, who has written new songs for the feature.

“I Know What You Did Last Summer” is the same story with a new cast. The teens are still being stalked by a killer who knows what they did and is determined to punish them. With cameo appearances by original cast members like Freddie Prinze Jr. and Jennifer Love Hewitt, they are joined by new leads Madelyn Cline and Lola Tung.

“Eddington” takes place during the pandemic. Tempers are hot and rivalries are elevated, leading the sheriff of this small New Mexico town into conflict with the mayor. Everyone takes a side and previous, controlled conflicts threaten to explode. The all-star cast of this modern-day Western is led by Joaquin Phoenix as the sheriff, and the seemingly ever-present and always-welcome Pedro Pascal is the mayor. In support are Emma Stone and Austin Butler.

July 25

“The Fantastic Four: First Steps” is betting that the third time is still a charm as this intrepid family of superheroes who fly in and out of their human and animated presence is ready to save the world once again. Voiced and acted by Pedro Pascal, Vanessa Kirby, Johnny Storm and Ebon Moss-Bachrach.

Aug. 1

“The Naked Gun” stars Liam Neeson as that bumbling detective, Frank Drebin, in the remake of the beloved 1988 movie that starred Leslie Nielsen. A true send-up of the original, the new detectives play the sons of the original detectives from the 1988 film. It will all hinge on whether Neeson can be funny. But, then again, Nielsen was a shot in the dark when he starred in “Airplane!” in 1980, having been a leading man in drama and romances with no known comic ability. He never looked back.

“Together” is yet another horror film with supernatural elements that strive to tear a loving couple apart. The loving couple is played by James Franco and Alison Brie, which may be tempting enough to dip your toe in this one.

Aug. 8

“Freakier Friday,” much like its origin story, has Tess Coleman (Jamie Lee Curtis) and her daughter Anna (Lindsay Lohan) in for another role swap and shapeshift. But now, Tess and Anna are a grandmother and mother, respectively, when lightning strikes a second time. How will they negotiate their new roles until they figure out how to return to their old selves? Lessons will be learned.

“Weapons” is an all-star follow-up to “Barbarians,” writer/director Zach Cregger’s cult film from 2022. This time it’s not about a scary Airbnb, but about high school students who have mysteriously disappeared in a town rife with corruption and religious hocus-pocus. Stars Josh Brolin, Julia Garner, Benedict Wong and Amy Madigan lead the action and sophisticated horror of this tale.

Aug. 15

“Nobody 2” is the sequel to “Nobody” and stars the surprisingly multifaceted Bob Odenkirk as Hutch, a retired government assassin who would like nothing better than to live in peace. Unfortunately, the bad guys didn’t get that memo. Odenkirk and Connie Nielsen reprise their roles as estranged husband and wife, alongside Christopher Lloyd as Hutch’s father. Sharon Stone adds to the star power. 

Aug. 22

“Americana” ostensibly centers around an archaeological find where greed and need intersect. When a rare Native American artifact is discovered in a small town in South Dakota, the race to claim it brings out the worst in the previously upstanding citizens. There will be crime, violence and occasionally dark humor, or at least we can hope.

“Relay” shows real promise, if only because of its stellar cast led by Riz Ahmed. His character Tom is a broker between rich, corrupt big shots and their victims. Discretion is his specialty and all negotiations are kept strictly secret. That is, until he agrees to help Sarah (Lily James) in desperate fear for her life. In the hands of crack director David Mackenzie (“Hell or High Water”), tension and thrills are guaranteed.

Aug. 29

“The Roses” may be something of a remake (“The War of the Roses”), but at least it’s a comedy for adults starring the great Olivia Colman and Benedict Cumberbatch, a couple who have less in common than they thought. Director Jay Roach fills out his cast with a team of accomplished comedic actors like Allison Janney, Kate McKinnon, Andy Samberg and the new “it” boy, Ncuti Gatwa (“Doctor Who”).

“Caught Stealing” stars Austin Butler as Thompson, a former baseball player who lands in a deep pit of trouble. Based on the Charlie Huston book series featuring Thompson, he’s an antihero who trouble seems to follow. Also starring Vince D’Onofrio and Zoë Kravitz.

“The Toxic Avenger” is another reboot. This time it’s Peter Dinklage who falls into the toxic waste vat and is transformed into a hideous creature with superpowers. Normally such an event would call for revenge, but this creature chooses to use his newfound powers for good and not evil.

Sept. 5

“The Conjuring: Last Rite” is the ninth installment in the “Conjuring” series and the second one starring Vera Farmiga and Patrick Wilson as husband-and-wife paranormal investigators. Ben Hardy also stars. If you haven’t yet had enough of demons and the paranormal, then this one is for you.

I predict barrels of popcorn and gallons of soda in store for everyone this summer. Bon appétit. 

The post Summer in the City with Lots of Thrills, Chills and Laughs appeared first on Beverly Hills Courier.

Act 3, the beginning of the story, is the end; the end of many things. Marty Anderson is an English teacher with the unenviable task of instructing his students in poetry, specifically Walt Whitman and his “Song of Myself.” He recites a stanza.

“The past and present wilt—I have fill’d them, emptied them,

And proceed to fill my next fold of the future.

Listener up there! What have you to confide to me?

Look in my face while I snuff the sidle of evening [I savor the transition to evening],

Talk honestly, no one else hears you, and I stay only a minute longer.

Do I contradict myself?

Very well then I contradict myself,

I am large, I contain multitudes.”

But the class is distracted by bigger issues. They cling to their cellphones as news of cataclysmic disasters is announced over the internet. Most of California has fallen into the sea; the Midwest is being inundated by floods; a volcano has erupted in Germany. What is the point of Whitman when the world is crumbling?

Time passes, school continues but the signs of the impending apocalypse are everywhere. No more internet; TV blacks out; electricity is intermittent; cellphone service begins to fade. People separate; people reconnect. The one constant is the banners and signs thanking Chuck Krantz for his 39 years. They are everywhere; they are inescapable. Who, Anderson wonders, is Chuck Krantz? He discusses it with his neighbor, with strangers on the street. Who is this ordinary-looking man? No one knows.

Wandering the streets, littered with cars mired in a permanent traffic jam, Anderson encounters an old man sitting on a bench contemplating all around him. An undertaker, business has never been better, Sam Yarborough is calm and willingly shares his philosophy. What is happening is more than the result of climate change and man’s inhumanity to nature. It’s something greater; something harkening to end of times; an inevitability that has been long in coming. He is an oracle and this may be a Greek tragedy. He is the long-ignored but not unfulfilled. He had his dreams; he is all the beatitudes from the meek to the righteous to the merciful and pure of heart. But who is Chuck Krantz? Sam has no idea.

As if drawn by a magnet, Marty walks toward his ex-wife Felicia’s home. Long divorced, there is still a connection, and in times like these, one needs a connection. As he nears her home, the electricity fails, the lights go dark. But the ever-present signs of Chuck Krantz are now videos in every window. As Marty and Felicia cling to one another, there are two questions: What is happening and who is Chuck Krantz?

Forewarned is forearmed. Observe everything from the wallpaper on Marty’s walls, his explanation to Felicia of Carl Sagan’s “Cosmic Calendar” to “Song of Myself” taught in that first class because each will reappear again, as will other cosmic “coincidences.” Many who you will see at the end you will see again. The end relates to everything that came before it, even if, in this case, it will be everything that comes after.

In Act 2, the middle, we are introduced to Chuck, a man who has clearly made a life worth living even though there are storm clouds on the horizon. Act 1, the beginning told at the end, is, in a way, the origin story. Young Chuck, orphaned very young, is a curious soul blessed with grandparents who love and nurture him. His Bubbie teaches him to dance, something that translates later to his embrace of her love and memory. She loves him unconditionally. His adoring Zadie (grandfather) has but one rule. Chuck is not allowed in the locked room of the cupola. The locked room is Pandora’s Box and a very Kingian touch because it actually unlocks nothing and everything at the same time.

Middle school holds many mysteries, not the least of which is the lesson on “Song of Myself.” What, he asks his teacher, does “I am multitudes” mean? Lovingly she guides him to his own conclusions, conclusions that we, also, must come to terms with as we try to go forward again and unlock the mysteries presented to us.

“The Life of Chuck” is mystical and metaphorical. King takes us on a poetic journey of life and one that you will want to go on again; nay, need to go on again. I’ve traveled that path three times so far, and each time more was revealed to me. He asks so many questions and delivers few, if any, answers. How do you stay centered when there is no longer a center? And the key to everything is still in that Whitman poem. Is life itself a contradiction? What does “I contain multitudes” mean?

Mike Flanagan, a writer/director who has successfully adapted King novels in the past (“Doctor Sleep,” “Gerald’s Game”), has intersected the supernatural with the mundane and made it all come gloriously alive, both on the page and on the screen. He relied heavily on voice-over narration using a marvelously sonorous Nick Offerman to great effect. In most cases, and certainly in lesser hands, voice-over narration is an expositional crutch, used because the screenwriter doesn’t know how to translate words into visions. Film is a visual medium; prose is internal, making full use of the reader’s imagination. Here, however, reading whole passages of the beautifully written novella serves to underscore the actions you are seeing. Watch in Act 2 as Chuck is walking purposefully down the street, only his red socks and black shoes on view. Offerman’s narration intensifies your experience of Chuck’s steadfast march towards somewhere, but where? You’ll have to wait and see. Flanagan knows that we don’t need to see how or where he is going to appreciate the speed and poetry of his motion. The director succeeds in giving you the best of both worlds, leaving you enough internal imagination combined with the visual of Chuck’s red socks on an unknown mission, one that will soon be a detour that emphasizes a rhythm that has already been established.

The mood-setting score is by The Newton Brothers. Cinematographer Eben Bolter has created a visual world that is as much fanciful as it is real. The cinematography is breathtaking at times and purposefully mundane at others. But it is the actors that make everything come alive; they ground the film while also making it soar.

Carl Lumbly is Sam, the philosophical undertaker. He shines in his ability to explain both the universe and his understanding of life’s disappointments. Something he does with great effect in both Acts 3 and 1. Chiwetel Ejiofor, Marty, a British actor of stage and screen, imparts a range of emotions and intelligence with just the bat of an eye. His range is varied and the depth he brings to his characters, no matter how small, is amazing. The appearance of Mark Hamill as Albie Kranz, Chuck’s Zadie, is surprising and gratifying. Hard to imagine that Luke Skywalker is now playing grandfathers, but he is and he’s doing it warmly and convincingly. His Zadie is a linchpin to both the supernatural and the worldly of this story. He brings believability to his grandfatherly utterances, and additional meaning to his pet phrase, “Math doesn’t lie.”

Tom Hiddleston as Chuck is reason enough to see any film. All elegance and empathetic warmth, his very presence answers the question, “Who is Chuck?” His eyes sparkle, his gait is meaningful, there are no superfluous gestures. He has that speechless capability of giving meaning with his expressive eyes and loose-limbed presence.

See this film on the big screen. It is the embodiment of the whole being greater, far greater, than its parts. To quote those sages from Liverpool, “I am you and you are me and we are all together.” Some questions have no answers.

Opening June 6 at the AMC Century City 15 and the AMC Grove 14.  

Neely Swanson spent most of her professional career in the television industry, almost all of it working for David E. Kelley. In her last full-time position as Executive Vice President of Development, she reviewed writer submissions and targeted content for adaptation. As she has often said, she did book reports for a living. For several years she was a freelance writer for “Written By,” the magazine of the WGA West, and was adjunct faculty at USC in the writing division of the School of Cinematic Arts. Neely has been writing film and television reviews for the “Easy Reader” for more than 10 years. Her past reviews can be read on Rotten Tomatoes where she is a tomatometer-approved critic.

The post ‘The Life of Chuck’—Well Lived appeared first on Beverly Hills Courier.

The 2025 summer line-up:

June 5: Upstream (Reggae, Steel Drum, Soca, Calypso)

June 12: Country nation (Country)

June 19: Forward Motion Band (Funk, R&B, Jazz) 

June 26: The Funky Warhols (Disco Tribute) 

July 3: Smokin’ Cobras (Rockin’ Oldies) 

July 10: As If (90’s Tribute) 

July 17: No concert

July 24: Joyce Partise (Brazilian bossa nova)

July 31: Neon Nation (80’s Tribute)

Aug. 7 : Rod Lightning and the Thunderbolts of Love (Classic Rock Tribute)

Aug. 14: Leslie Paul & the Latin Soul Band (Salsa/Latin Jazz)

Aug. 21: The Tokens (Doo-Wop/Pop)

For more information about Concerts on Canon and the bands, visit beverlyhills.org/csevents or call 310-285-1000.  

The post Concerts on Canon Summer Season Begins June 5 appeared first on Beverly Hills Courier.

The balmy evening marked the start of summer in Beverly Hills, as both residents and tourists alike crowded around the gardens to watch the performance. Several audience members made an evening of the event, bringing chairs, blankets and picnics to the grassy area outside The Maybourne Beverly Hills, with seats filling up quickly. However, this didn’t stop a full turnout, as many more guests joined the crowd, choosing to stand throughout the whole performance. Brief intermissions by a six-piece jazz ensemble featuring two cellists, a saxophonist and a drummer allowed Zahra to rest her vocal cords between songs, with the jazz band performing classic hits such as “Just the Two of Us” and “Isn’t She Wonderful?”

A proud Beverly Hills native and Beverly Hills High School alumna, Zahra has been singing professionally since the age of 12 and now pursues opera full time after studying in Italy under legendary soprano Barbara Frittoli. Zahra, who won the 2015 Los Angeles Music Center’s Spotlight Award and was a finalist for the 2022 Rai Radio’s “Voice in Barcaccia” international opera competition, has performed at the Walt Disney Concert Hall, Royce Hall and the Saban Theatre with ensembles including The Hollywood Chamber Orchestra, Burbank Philharmonic, Southeast Symphony, The Dream Orchestra and LA Opera. 

Heralded as “the rising star of the opera world” and “a promising young opera singer” by the Los Angeles Times, Zahra is renowned for her impressive vocal range and distinctive voice that captures both the softness and strength of the operatic tones she delivers. At the age of 16, she performed at the Beverly Hills Centennial, and with her Californian roots clearly close to her heart, Zahra returned to the stage in Beverly Hills once again for this event, generously providing the concert free of charge in her hometown. 

It’s safe to say that Zahra, who is currently studying with celebrity voice teacher Bill Schuman in New York, wowed the audience with her operatic renditions. Speaking to the Courier during the concert, one attendee, Sarah Golding, said, “It’s wonderful to see a young person singing opera. That’s not something you see very often; [Zahra] has a beautiful voice, she’s very talented and it’s great to see so much of the community out to support her today.”

Taking a bow after performing, Zahra graciously received several lavish bouquets of flowers from spectators as the concert came to a close with rapturous applause around 7:15 p.m. Her next concert will be held on June 13 at St. Monica’s Church in Santa Monica, where Zahra will be joined by the world-renowned Dream Orchestra conducted by Daniel Suk. 

The post Soprano Golda Zahra Performs at Beverly Canon Gardens appeared first on Beverly Hills Courier.

The council expressed enthusiasm for the exhibition and its contribution to the vibrant arts culture in Beverly Hills, voting to approve the proposed exhibition at the evening’s Regular Meeting.

The Great Elephant Migration is an ongoing, traveling art exhibition delivered by Elephant Family USA, a UK-based charity that works to protect wildlife through creativity and storytelling. 

Launched in July 2024 in Newport, Rhode Island, the exhibition has made its way from the East to the West Coast, with stops in New York City, Miami Beach and Houston.  

The exhibition publicly displays 100 Iife-sized Indian elephant sculptures, often in urban areas, promoting the coexistence between humans and wildlife. Each sculpture is based on a real elephant roaming through the Nilgiri Hills in Tamil Nadu, India. The sculptures were created by The Real Elephant Collective, a group of 200 Indigenous artisans from the Tamil Nadu region, who live close to and navigate space with those real elephants. 

The elephants will be displayed along six blocks of Beverly Gardens Park from late June to early August 2025. An on-site manager and volunteers will be present during daytime operating hours to welcome guests and provide information about the exhibition. 

Co-founders of the exhibition, Ruth Ganesh and Fiona Humphrey, presented their organization’s mission, decision to choose Beverly Hills, previous installations in different cities, and logistics surrounding the exhibition’s delivery. 

“Why Beverly Hills? You’re so famous, everybody wants to come here, but perhaps your less famous residents are the answer to that question–your bobcats, your mountain lions, your coyotes–who are about to be part of the world’s greatest wildlife story, which is of course the Wallis Annenberg Wildlife Crossing,” said Ganesh. 

The Wallis Annenberg Wildlife Crossing is a vegetated overpass designed to facilitate the safe passage of wildlife across the U.S. 101 Freeway. The crossing is currently under construction and slated to open in 2026.

Humphrey gave assurances that Elephant Family USA is committed to free transportation of the sculptures to and from Beverly Hills, free installation and deinstallation of the exhibition, free rental charges for the exhibition, and for covering the costs for overnight security and  necessary irrigation replacement. 

The council also heard a presentation from the city’s Director of Finance, Jeff Muir, introducing the formation of a Community Facilities District (CFD) to help finance eligible public improvements necessitated by the One Beverly Hills project.

The aim of the presentation was to provide the council with an explanation of what a CFD is and its connection to the One Beverly Hills project.

A CFD is a special financing district that allows municipal government agencies to fund public improvements and infrastructure. Property owners within the CFD boundaries would pay a special tax in addition to regular property taxes. The formation of a CFD is a public process governed by state law that typically takes three to six months. The process would be initiated by the City Council and then approved by a two-thirds vote by property owners who lie within the proposed CFD boundaries. If the CFD is approved, a Notice of Special Tax Lien is recorded, which formally establishes the CFD and the property owners’ special tax obligations. 

CFDs typically fund public “backbone infrastructure,” such as street improvements, park maintenance and sewer improvements. 

After developers of the One Beverly Hills project expressed a request to pursue a CFD in 2024, the city assembled a team of financial advisors and legal professionals to assist in navigating the formation of the CFD. 

Councilmembers expressed the need to make information about CFDs as widely available to the public as possible, such as the risks and benefits to both property owners and the city. 

Additional items at the Study Session included an update from the Traffic and Parking Commission, which recommended Beverly Hills resident Michael Karric to replace outgoing Commissioner Sharon Ignarro. City Manager Nancy Hunt-Coffey also asked the council to review and provide direction on different City Commission priorities for the 2025-26 fiscal year.  

The post Great Elephant Migration Art Exhibition Coming to Beverly Hills appeared first on Beverly Hills Courier.

The event, “Never Again is Now: Diversity of the Jewish Experience,” was hosted by Beverly Hills Mayor Sharona Nazarian. Nazarian has made combating antisemitism and encouraging cross-cultural unity critical elements of her mayoral term. 

“Beverly Hills is a leader in standing up to the evils of hate, discrimination and antisemitism,” Nazarian said at the event, adding, “I look forward to promoting ‘Never Again is Now’ as one of my mayoral initiatives in an effort to bring unity to our community and to demonstrate to the world that we will not be silent.”

Addressing the question of why the themes addressed at the event are important in this moment, Nazarian pointed to the fact that “myths and stereotypes still exist, even here in our own backyard.”

“We must challenge them openly, honestly and compassionately,” she said. 

In addition to Mayor Nazarian, panelists at the May 21 event included Dr. Evelyn Markus, co-host of the “Never Again is Now” podcast; Dr. Sheila Nazarian, a plastic surgeon and activist; Matthew Nouriel, the director of community engagement at Jews Indigenous to the Middle East & North Africa; and Elisheva Rishon, the founder of Eli7 Designs and the BJZ Squad. Emmy-nominated journalist Jacki Karsh, a reporter for LA36’s LA County Channel, served as moderator.

The panel discussed topics including finding the courage to speak out against hatred when others are silent, parallels to historical antisemitism and what’s happening in America now and the importance of Jewish joy and pride. 

Markus, who is from the Netherlands, spoke about similarities between the rise in antisemitism in Amsterdam in the early aughts and what has happened recently on American college campuses. 

“It’s gigantic déjà vu,” she said. “[It] is exactly what I saw 25 years ago happening in Amsterdam, in Holland and the rest of Western Europe, in the big cities. It also started in our universities in Europe. And now it starts here in universities.” 

On the topic of intersectionality and showing up in the world as one’s full self, Nouriel discussed his journey of reconciling and finding deep pride in his identity as an Iranian Jewish gay man. 

“What I didn’t realize when I was younger [is that] you can’t run away from any part of who you are,” he said. “I decided … I’m going to start showing up … both feet firmly planted on the ground, chest up.” 

Speaking about the ways in which history repeats itself, Mayor Nazarian noted that similar themes come up in antisemitic cultures across the generations. 

“Unless we all stand up and be a united voice and stand up against all forms of hate, it’s just going to keep happening over and over again,” she said. “And we’ve seen far too often, whatever starts with the Jews doesn’t end with the Jews.”

Rishon, who is an Orthodox Jew and a Black woman, spoke about the responsibility of all members of the community to be vocal about the problems the country is facing. 

“This is something that MLK Jr. always said, but people managed to forget … the biggest problem with the Civil Rights Movement was not the people that were racist, but it was the silence of the indifferent,” she said. “So, we need you to show up … most people in the world are good, but you can’t be silent anymore. We’re beyond that at this point in time. Start speaking.”

At the same time that the panel was taking place in Beverly Hills, two staff members of the Israeli Embassy were killed as they left an event at a Jewish Museum in Washington, D.C. Mayor Nazarian issued a statement in response to the incident, which is covered on pg. 4 of this issue. 

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Agathe, pretty in an awkward, open-faced sort of way, works at Shakespeare & Company, the storied English-language bookstore in Paris on the banks of the Seine facing Notre Dame. As the camera pans over the shelves, it lingers very briefly on a Jane Austen novel. Agathe, a novice writer, feels like she is from a different era, romantic with the unrealistic standards that go with it. She waits endlessly for a prince who will match her sense and sensibilities.

Tightly wound, Agathe lives with her free-spirited sister Mona and young nephew Tom. Agathe hasn’t been on a date in years; Mona is out every night. Agathe hasn’t been out of Paris in ages and avoids cars at all costs. There is a reason, but it’s slow in coming and when it does, it explains a lot. Everyone loves Agathe, certainly more than she loves herself. Félix has read the first chapters of Agathe’s novel and is more impressed than she is. She has never had any trouble starting a novel; it’s the ending that never comes as is the case in this one. What she doesn’t know is that Félix has submitted her unfinished novel to the prestigious Jane Austen Society Writers’ Residency in England. When a letter of acceptance arrives, she is shell-shocked. All her self-doubts surface, and even her fear of riding in cars seems to be an insurmountable complication. But Félix is determined to make this happen, and he does.

Setting foot on the dock after the ferry ride from France, she spies a sign with her name on it held by Oliver, a distant relative of Austen and unwilling heir to his parents’ Residency program. In true Austen fashion, they do not hit it off. He is the quintessential snob, the type of disdainful Englishman she reviles. She is no better in his eyes. Their cultural clash is older than the books Agathe reveres. He, a professor of contemporary literature, has no use for anything reeking of the 19th century, the very definition of Agathe.

The Residency is idyllic but even so, Agathe has a major case of imposter syndrome. She’s not like the others; they have talent, they deserve to be there. Still, she perseveres in getting to know the other writers, none of whom seems to suffer from the same writer’s block that she does. Wandering the idyllic grounds, so very English that you can smell the lavender, she begins to relax. Writing, however, is still out of her grasp. Will our heroine be able to finish her novel? Will she find love? Will she become more insightful and less self-doubting? Even if you think you can answer those questions, there will be bumps along the road in Agathe’s journey to self-awareness and I’m betting that you’ll want to go there with her.

The characters, all clichés of one sort or another, generally straight out of Austen, are as charming as the actors playing them. Félix (Pablo Pauly) is the engine that gets the story moving. Going from girlfriend to girlfriend, never lingering long, he, too, is in search of an elusive ideal, one who may be staring him in the face. A classic man-child, he may never grow up, but he’ll have a good time along the way. His best-friend chemistry with Agathe is fun to behold and experience. Wouldn’t we all like to have a friend who watches out for us, sings funny songs and seems to know what we need before we need it? That’s Pauly’s Félix. Charlie Anson plays Oliver, an academic conflicted in nature between the very contemporary literature he loves and teaches and the old-world values of his parents and their Austen heritage. Like Agathe, Oliver is straight out of any number of Jane Austen novels, something he would recognize if he read one. Camille Rutherford is Agathe in every way possible. Gauche, she seems to lead with her left foot, timing always off and appearance slightly askew. In other words, endearingly charming. Her warmth and empathy for others make her always the bridesmaid and never the bride. Rutherford makes us root for Agathe, and we do.

From the moment that Agathe’s best friend and coworker, Felix, chastises her for uselessly waiting for her Mark Darcy, the plot and probable ending are revealed. The close-up of a Jane Austen novel and the Darcy reference were dead giveaways. Nevertheless, the characters and setting were so lovely I still wanted to take the trip. This is a story that has been done innumerable times and will be done again, over and over. For me, they did it well. I wasn’t looking for twists and turns, thrills and chills. I was looking for a film that was easy to follow, with identifiable characters losing their way and then finding it in gorgeous locations. No one is mean, or at least not all the time, and everyone learns something. A truly bilingual film set first in a very famous English bookstore in Paris and then in the prototypical English countryside, the English characters all speak French, and the French characters speak English, making the cultural lines blur in immersive fashion. Pierre Mazoyer’s lush cinematography makes me want to ride a bike through the side streets of Paris, wander through the gardens of England and scour the shelves at Shakespeare & Company. I might not meet Agathe there, but perhaps Piani, who worked there while completing her film studies and still haunts the stacks.

In English and French with English subtitles.

Opening May 23 at the Laemmle Royal and AMC 14, opening nationwide on May 30.  

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More than 200 artists will display their works along four blocks of the park from Rodeo Dive to Rexford Drive. The biannual event is held every May and October and draws thousands to Beverly Hills. 

Artists will showcase their work in 10 categories including painting, sculpture, ceramics, glass, drawing, watercolor, traditional printmaking, photography and digital art, jewelry and more.  In addition to the art, the event will include gourmet food trucks, a beer and wine garden and a Creative Zone. 

Featured artists this year include Serhii Fomichov, from Ukraine, who creates small to large-scale sculptures using glass; Alex Paul, classically trained in Italy, who creates graphite drawings and first-time jewelry-maker Zhan Zhan.

The show’s newest partner, Los Angeles Printmaking Society (LAPS), a national nonprofit dedicated to the encouragement of printmaking and the artists who make prints, will feature four demonstrating artists at their booth in front of the Lily Pond in Beverly Gardens Park.    

Additionally, Stacy Nalapraya, a Los Angeles-based chalk artist, will be demonstrating her work near the food trucks on Saturday. 

Artists’ demonstrations will take place from 10 a.m. to 3 p.m. on Saturday, and 10 a.m. to 6 p.m. on Sunday.  For a full schedule of demonstrations and Creative Zone activities, visit beverlyhills.org/artshow.   

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Executive Director of the Paris Opera Ballet, Genevieve (Charlotte Gainsbourg), and her counterpart in New York at the Metropolitan Ballet Theatre, Jack (Luke Kirby) are meeting at Lincoln Center to discuss strategies to bring back the audiences that disappeared during the COVID-19 pandemic. Both world-renowned companies are failing financially and something drastic must be done. Neither can afford the kind of marketing campaign necessary to get those seats filled and, despite world-class dancers and choreographers, there is stagnation. Genevieve proposes a radical solution. They should do a company swap, trading some of their stars for a year to reinvigorate their companies and give them a huge worldwide marketing push. It’s a great idea but, Jack points out, neither company has the resources for the marketing, transportation and housing that such a proposal would cost. But Genevieve has thought it all out and has found a donor willing to underwrite everything. Crispin Shamblee (Simon Callow), aka the devil himself, is eager to fund both companies. Not only is he a lifelong fan of the dance, but his reputation as a robber baron trafficking in arms, weapons and as a general destroyer of the environment could use a bit of burnishing. It worked for the Kochs and, for a time, with the Saklers. Why not him? Jack, furious that he has been backed into a corner, is outraged at the prospect, one he realizes he can’t refuse if he wants to save his company.

Both companies are full of international stars and there is a lot to trade. Genevieve’s “gets” are Jack’s brilliant but eccentric (to put it mildly) choreographer, one of his lead male dancers and, curiously enough, a young, emerging dancer that Genevieve had previously cut from her company. The whys and wherefores of this talented young dancer, Mishi, will develop over time. Jack, however, demands the impossible and gets it: Cheyenne, the world’s most famous and talented prima ballerina. Her name alone sells out houses. Genevieve will have hell to pay with the government, the company’s source of funding, and Jack will have to cope with the impossible dancer, one with whom blows are sure to occur.

“Etoile” is one of the most perfect, and I don’t use that term lightly, pilots I’ve ever seen. The Palladinos introduce almost all the characters in the first episode, each with his or her personalities and quirks fully on view. These complex individuals will grow over time as dance and its rigors, psychological and physical, are superimposed over their characters, growing stronger, more complicated and at times, more difficult. You will know them from the very beginning and be amazed at the growth that takes place as they succeed, as they fail and as they adjust to their circumstances. As is true for the dancers, it is true for Jack and Genevieve. They all go into the fire voluntarily and come out alive, most the better for it.

The cast is fantastic and relatable, even in such a rarefied atmosphere. Luke Kirby (a graduate of “The Marvelous Mrs. Maisel”), all tousled hair, charming with boyish good looks that women find hard to resist, is the personification of a tightly wound New Yorker trying to keep the company together, battling a board more interested in commerce than art. Charlotte Gainsbourg is all arms and legs, sometimes in sync other times not unlike a colt trying to find its footing. Don’t be confused, however, as the interim director she can be silently ruthless, leading with her seemingly ingenuous manner. What a coup to get this international star, daughter of Jane Birkin, into American series television. But this is just the beginning of an intriguing cast. David Haig, the glorious British character actor, plays Jack’s artistic director with aplomb and inappropriate anecdotes. Yannick Truesdale, the quirky, snobbish concierge in “The Gilmore Girls,” is Raphael, Genevieve’s second in command. His comic timing, always with a straight face, is a joy to be anticipated during his scenes, as few and far apart as they are. He’s as droll in French as he is in English. Watch for Palladino favorite Kelly Bishop in the role of Jack’s high-society mother.

“Etoile” is as much about the drama as it is about the dance, and most of the core background players are professional ballet dancers who lend credence to the choreography, some of which was created by Christopher Wheeldon, one of the most famous choreographers working today. Two of New York City Ballet’s most famous stars, Robbie Fairchild and Tiler Peck, have small roles in this dramedy, adding wry humor and spectacular dancing. Taïs Vinolo, Mishi, the dismissed and then reclaimed dancer, and LaMay Zhang, Susu, a preteen student taken under the wing of the famous Cheyenne, are both highly trained ballerinas and have a marvelous presence on screen, developing exponentially as time goes on. Ivan du Pontavice plays Gabin, the needy bad boy of the Paris company who truly believes he deserves more recognition than he has yet earned. The personification of a legend in his own mind, his maturity will come slowly, but come it will with the choreography of Tobias played by Gideon Glick, another “Mrs. Maisel” transplant. Glick is all eccentric tics and on-the-spectrum quirks adding to his eventual blossoming. Another trained ballet dancer, David Alvarez, who recently starred as Bernardo in Stephen Spielberg’s “West Side Story,” plays Cheyenne’s personally chosen partner, a man with a complicated history, one that gets more and more complex with time.

Veteran British character actor Simon Callow effectively imbues Crispin Shamblee with the enormous charm of a self-made billionaire trafficking in society’s darkest corners. All sweetness and light, he’s a viper waiting to strike. And last, but most definitely the star most riveting to watch is Lou de Laâge as Cheyenne. De Laâge originally trained as a dancer, making her mesh all the better with her dance double. Her ballet is as compelling as her portrayal of this truly incendiary character. There is no way to take your eyes off her, whether dancing or exploding over her latest eco venture. Her talent sends a shiver down your spine in anticipation of her next move. Saying, “I don’t love to dance but it’s who I am, so I have no choice,” she has let us into her world, if only momentarily.

“Etoile” excels in painting the internecine battles centered around credit, roles and personality differences when casting is involved. But even with all the fabulous actors, dancers and storylines, what sets this series most apart from others is the photography. Filmed on location at Lincoln Center and the Opera Garnier in Paris, and other sites substituting for them, “Etoile” lets you into backstage domains exclusive to the dance world. Filming dance is notoriously difficult. Do you focus on individuals? Do you center the camera above the dancers executing their jumps and pirouettes? When do you concentrate on faces or arms or legs in extension? There are so many angles, almost acrobatic in nature, that filming must be done with multiple, possibly dozens of cameras looking for the right exposure or viewpoint and then editing it all together to make a seamless whole. The binational camera crews, led by cinematographers M. David Mullen and Alex Nepomniaschy, did just that, and better than I’ve ever seen before. After you’ve enjoyed the drama and the characters, go back and watch the series again, just for the dance. It will make you soar and you’ll not see better.

The Palladinos are a truly gifted writing couple, but it was Amy who had to choose between dance and writing. She chose writing, but they have now given us a view into the dance she loved and chose to give up. Thank you.

In English and French with English subtitles.

Now streaming on Amazon. 

Neely Swanson spent most of her professional career in the television industry, almost all of it working for David E. Kelley. In her last full-time position as Executive Vice President of Development, she reviewed writer submissions and targeted content for adaptation. As she has often said, she did book reports for a living. For several years she was a freelance writer for “Written By,” the magazine of the WGA West, and was adjunct faculty at USC in the writing division of the School of Cinematic Arts. Neely has been writing film and television reviews for the “Easy Reader” for more than 10 years. Her past reviews can be read on Rotten Tomatoes where she is a tomatometer-approved critic.

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This creative imagining of “what ifs” in the life of the adult Harry Potter, last seen vanquishing the mortal enemies of Hogwarts, including Voldemort, he who must not be named. Harry survived, married Ginny Weasley and is still best friends with Ron Weasley and his wife, Hermione Granger. They are very busy with their grown-up jobs, well, except for Ron who still runs the family joke shop. They are now the establishment and tasked with maintaining order so that all residents will remain safe and sound, something they fought so diligently for in the past,

Harry wants only the best for his son Albus Severus, named after his two Hogwarts heroes, both of whom died saving him from Voldemort. This would be a heavy burden for anyone to carry, but even harder for Albus, who is struggling with his identity as the son of the savior. Albus resents his father and his father’s achievements. He’s nothing like him. Albus struggles with his schoolwork and is not in the least athletic. Father and son see each other differently, not the least because Albus is suffering from a massive case of teenage angst and resentment, something that is greatly exacerbated when he is shoved onto the magical train to Hogwarts with the Weasley’s daughter Rose. First order of business—making friends—easier for Rose than for Albus. Finding an empty carriage, they encounter Scorpius Malfoy, son of Harry’s old school nemesis Draco Malfoy. Scorpius is as unlike his father as Albus is from Harry. Even less athletically skilled than Albus, he also suffers from a massive lack of self-confidence, lack of friends and the inability to be quiet when silence is called for. Of course, they become best friends, much to the chagrin of their respective fathers.

Albus’ desire is to be assigned to Harry’s old house at school, Gryffindor; his nightmare is that the Sorting Hat will choose Slytherin Hall, home of his father’s school enemies, for him instead. Harry told Albus to wish very hard for the house he wants, and the Sorting Hat will hear him. Dad was wrong again. It didn’t. Slytherin it is, but at least Scorpius will be there too.

Life is difficult for Albus. The students know all about his father, and the remaining professors have set a high bar for him. It doesn’t help that Harry visits too often. Albus sinks deeper into his resentment. He wants to be himself, whatever that is; he wants to make a grand gesture; he wants to have friends. All of this seems hopelessly out of reach. Learning more about Harry’s feats, he discovers that for Harry to live another student, Cedric Diggory, had to die. It is Cedric’s cousin Delphi who tells him of the circumstances. Convinced of the injustice of it all, fueled by his antipathy toward his father, he enlists Scorpius to help him devise a plan.

They need a Time-Turner, an instrument that allows its user to teleport back in time, but they have been outlawed since the Battle of Hogwarts and all remaining Time-Turners were destroyed. All but one, apparently, because the Ministry has found one and, rather than destroying it, has hidden it away. Stealthily spying on the ministers, Albus is elated to discover that this device exists and enlists Scorpius to go on a mission with him. They will steal the Time Turner, find Cedric and change the circumstances so he doesn’t die, thus saving him.

Any aficionado of time travel, and you don’t have to be one to foresee this future, is well aware of the ripple effect that changing one event in the past has on the present. And thus “Harry Potter and the Cursed Child” is on its merry way.

With plenty of adventure for the rapt preteens in the audience, and believe me, there were lots of them, and subtext for the older members, this is basically a story of adolescent angst and teenage conflict with a controlling parent. Something has to give or catastrophe will ensue.

What this play, by masterful playwright Jack Thorne (“The Motive and the Cue”), based on an original story by J.K. Rowling, John Tiffany and Thorne, does best is segue nicely from 20 or so years in the past to the present while breathing believable life into characters you knew and loved from the books and creating their new, realistic offspring with their own “worldly” problems in the present. The stakes are high, the possible consequences chilling and the mischief of immature teens is believable. The stage effects, very magical indeed, rely on light, movement and sleight of hand, much like a show at the Magic Castle. There are rigged props and unseen wires that dangle the actors like puppets and robes and actors are whisked off and on before your eyes. It’s quite entrancing and always surprising. Sometimes the actors stand still as the stage circulates, and sometimes it is the actors that glide in well-choreographed movement that flows seamlessly. It’s all quite mesmerizing.

The acting is fine all around, but the young man who plays Scorpius, Aidan Close, is the standout, becoming more a focus than was probably intended. His development from awkward to more self-confident (but still incredibly gawky) is heartwarming in ways that the others fail to achieve. Harry (John Skelley) and Albus (Emmet Smith) are a bit too one-note.

Not working to advantage, from a viewer’s standpoint, the stage at the Pantages is quite large, more than three times wider than the stage of the Lyric Theatre in New York or the Palace Theatre in London where it premiered. This expanse eliminates a sense of intimacy, necessary to make the audience feel as if they were part of the show and the action, or at one with the characters. The play is long, almost three hours including intermission, but this is an improvement over the version I saw when this play was presented in two parts, the first being two hours and 40 minutes and the second, two hours and 35 minutes. When the producers had to shut down during the pandemic, they realized that the play needed to be cut down, not just because Part II was almost superfluous, but also because it was so expensive. In 2018, I paid £125 for each part. The play was overburdened and condensing “Harry Potter and the Cursed Child” into a single evening’s entertainment benefited both the story and the audience.

Be forewarned, however, this play is almost incomprehensible unless you’ve read the books. My husband was totally unacquainted with the “Harry Potter” saga; he didn’t even know who Voldemort was, so a quick cheat sheet was necessary at intermission. He very much appreciated the effects but was lost with the story. It is a shame that the producers didn’t think to provide a summary of the story in the Playbill. I retrieved my program from the Palace Theatre, and the first few pages reprised the books and gave an excellent glossary to the ancillary characters mentioned in the play, from Death Eaters to the Ministry of Magic, from Muggles to Mudbloods and portkeys to Bellatrix Lestrange. In London, one pays for the programs but even so, the Playbill of the Pantages was remarkably short on information. Surely they could have sprung for another couple of pages for summary information. Unbelievable as it may seem, there are actually people out there who never entered Harry’s world before this. Unknown to me there is a website— Harry Potter Resources—that explains it all.

Whether before the show, at intermission or when leaving, take the time to gaze at the double ceiling laden with Art Deco adornments with a huge chandelier and sculptural triangles meant to evoke sunrays. The grand lobby is even more impressive both above your head and beneath your feet. There are painted panels and faux Egyptian statues throughout. Truly deserving of its landmark status, its beauty is sure to rub off on this young generation of theatergoers after they see this imaginative story of a grown-up Harry Potter struggling with the adolescence of one of his children.

Now playing through June 22, Tuesdays through Sundays. Check the Broadway in Hollywood website for times and discounts.

Hollywood Pantages Theatre, 6233 Hollywood Boulevard, Los Angeles. 

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In honoring Annenberg at the event, Disney CEO Bob Iger said, “She has all of the values of a good CEO. She’s relentlessly optimistic, which informs her innovative giving. And when the fires hit Altadena and the Palisades in January, Wallis and her team provided grants for supplies and emergency equipment for the firefighters.

Dominic Ng, Chairman and CEO of East West Bank, was named the first recipient of The Wallis Icon Award, for his leadership in philanthropy. The event was hosted by Jane Fonda. Rufus Wainwright, Kristen Bell, Katharine McPhee and David Foster and Jon Batiste performed. 

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“Mid-Century Modern” is a throwback to the multicamera comedies of old. It is the personification of set up, joke and punchline. Creaky in premise, think “Golden Girls,” although here it is “Golden Boys” in Palm Springs, there are still some laughs to be mined.

Instead of Blanche, Rose, Dorothy and mother Sophia in Miami, it’s Jerry, Arthur, Bunny and mother Sybil in Palm Springs. Not very timely, or as one critic remarked, this is the edgiest comedy of 1986, but it’s often funny and the cast can be endearing. Nathan Lane plays Bunny, the leader of the pack and the owner of the home he shares with his mother, Sybil, played by the glorious Linda Lavin in her final role. Bunny’s other two friends/roommates are Jerry, played by the very handsome Matt Bomer, a flight attendant whose coming out, years ago, was painful for his entire Mormon family, including his ex-wife and daughter; and Arthur, a very funny Nathan Lee Graham, former fashion icon and still a critic until they take away his last set of pumps. The fabulous Pamela Adlon, with that sparkly hoarse voice, recurs as Bunny’s difficult sister Mindy.

No, it’s not original and some of the humor is forced but it’s like a sugar cookie—no surprises but it goes down easily. What is wonderful is the presence of Linda Lavin, whose way with a phrase is like a defanged venomous snake, lovely to look at and extraordinarily clever, but you don’t want to get too close because she still stings. And let’s not forget some of the great guest stars like Jesse Tyler Ferguson, Rhea Perlman and Judd Hirsh. Leave your expectations at the door and enjoy the occasionally well-placed timing of the script by David Kohan and Max Mutchnick, the team that brought you “Will & Grace” during the era when gay characters were provocative.

Now streaming on Hulu.

“The Studio,” created by Seth Rogan and Evan Goldberg, among a few others, is a look at the studio executives who battle actors, directors and the corporate czars who think that because they supply the funds, they are entitled to a say (well, actually they are, but that’s beside the point). Rogan, who also stars, is Matt, the newly appointed head of Continental Studios whose greatest desire is to produce art. He jousts with executives, actors with their own agendas and a moronic corporate overlord whose idea of art is making a movie about the Kool-Aid Man (red pitcher and condensation) to rival the “Barbie” movie. Cameos abound by the likes of Ron Howard, Zac Efron, Olivia Wilde and Greta Lee, to name a few. The infighting of venal assistants trying to get ahead by undermining those they think have sabotaged them, and former executives bent on getting their jobs back or, at the very least, destroying those who took them from them.

Ordinarily I lap Hollywood stories up like honey, but this time, and I’m in the minority, I found ”The Studio” to be too clever by half and way too insider to play in Des Moines. Rogan is engaging as a lead, putting on his producer’s hat to tell that side of the story, but, in the end, the series is short on identifiable or likable characters. Not everyone has to be likable, but I enjoy a rooting interest and I didn’t have one here. The acting was quite good and the episodes were well-written; I just didn’t care enough.

Now streaming on Apple TV+

“Your Friends and Neighbors” has been much anticipated, partly because it is John Hamm’s return to television as a series lead. The premise is excellent and the storytelling is tight. Andrew Cooper (Hamm) is a hedge fund manager with a huge and lucrative client list. His boss, breaking the 10th commandment, covets his portfolio and has found a way to fire him and take it over. Recently divorced, he is still reeling from the alimony and aftereffects. His wife, Mel (Amanda Peet), had an adulterous affair with his best friend, who has now taken his place in the house Cooper still has to pay for. It all seems so civilized in public but there is rot in the framework. Cooper’s firing is unknown to all except the man who fired him and his lawyer, Barney, a very good Hoon Lee. Too embarrassed to come clean, especially because his non-compete clause is ironclad, making him untouchable to other firms, Cooper must find a way to maintain the Hamptons lifestyle his ex-family relies on before his savings run out.

One night, during a party, Cooper comes across a very expensive watch in the host’s bedroom. Pocketing it, he has now launched himself on a new career—thief. He doesn’t get anywhere near the full value, but it still pays some bills and is easier than he imagined. All the homes are open to him; he’s a popular resident and invited to everything, snooping is his new occupation and he begins to learn more about his neighbors than either they or he finds desirable. Everyone has secrets. The question is how to use them to advantage.

“Your Friends and Neighbors” is well-produced, well-written and loaded with excellent actors. I shouldn’t have anything to complain about, but I do. Why, I ask myself, should I care about any of these people? I don’t. They are not characters that I want to spend time with, but considering the excellent production values and cast, you very well might.

Now Streaming on Apple TV+ 

Neely Swanson spent most of her professional career in the television industry, almost all of it working for David E. Kelley. In her last full-time position as Executive Vice President of Development, she reviewed writer submissions and targeted content for adaptation. As she has often said, she did book reports for a living. For several years she was a freelance writer for “Written By,” the magazine of the WGA West, and was adjunct faculty at USC in the writing division of the School of Cinematic Arts. Neely has been writing film and television reviews for the “Easy Reader” for more than 10 years. Her past reviews can be read on Rotten Tomatoes where she is a tomatometer-approved critic.

The post TV Now Playing—Not Just as Much Fun | TV: Part Two appeared first on Beverly Hills Courier.

“The Residence” is an enjoyable romp through the White House led by Cordelia Cupp (Uzo Aduba), straight-faced, ironically humorous, committed bird watcher and “best detective in the world.” The chief usher, A.B. Wynter, has been found in the billiard room, bloodied and most assuredly dead. Although the FBI and CIA are present, it is the Washington, D.C. police in charge and Captain Dokes has called Cordelia Cupp to lead the investigation, much to the chagrin of everyone in the “house.” Discretion is of the utmost importance because downstairs the president is hosting a state dinner for the Australian delegation and their guests. FBI agent Edwin Park (Randall Park) is assigned the thankless job of assisting Cordelia, and nothing could be more thankless. Cordelia orders the entire house sealed, including all the Australians and White House staff. She is unmoved by the inconvenience and possibility of an international incident.

Everyone is a suspect and she is determined to interview them all. She does. Switching back and forth in time, much of the story is told in flashback as the evening is recounted in front of a Senate investigating committee led by Senator Filkins (Al Franken). And you can’t tell the players without a scorecard. The consummate professional, Wynter made many enemies with the staff, a staff jam-packed with eccentrics. Among them are the dipsomaniac mother of the president (Jane Curtin); the first husband’s kleptomaniac brother (Jason Lee); the disgruntled French pastry chef (Bronson Pinchot) engaged in a competitive battle with the head chef; Server Sheila Cannon, who dips too frequently into the vodka supply; and the president’s friend and advisor, Harry Hollinger (Ken Marino), who thwarts Cordelia at every turn. And then there’s Lilly Schumacher (Molly Griggs), the entitled aide who is determined to redecorate the White House mindfully, replacing the soft edges with ones sharp enough to cause damage. She’s already moved the traditional Gingerbread White House to the basement from its former pride of place in the Red Dining Room.

One murder and everyone is a suspect.

At eight episodes, it’s two episodes too long. Nevertheless, this is pure pleasure and lots of fun. Each actor, no matter how small the role, is a standout. The wild incongruity of some characters only enhances the fun, but it is Uzo Aduba who carries this show gloriously. Never breaking stride or character, her seriousness is what drives the others into a frenzy. Watch this terrific show from Shondaland, created and written by Paul William Davies. It’s fun from first to last.

Now streaming on Netflix.

“The Americas” is a new wildlife documentary that takes you on a marvelous journey across the Americas, from the southernmost point in Patagonia, through the Amazon, Mexico, our own Wild West in the still rough-hewn edges of Montana, to Arctic North America. Each 45-minute episode is more of an appetizer than a full-course meal, but even so, it’s a great introduction to places you’ve visited or wished to or didn’t even know that you wanted to.

The nature photography is outstanding, with top international cinematographers for each episode. Produced by the BBC, the folks that brought you the award-winning “Planet Earth” and “Blue Planet,” this 10-part series is excellent family viewing. Narrated by Tom Hanks, who, surprisingly, has a rather slow, somnolent delivery, “The Americas” gives us much to ponder. Consider this an invitation to explore more because, at 45 minutes, it is, necessarily, limited in depth.

Still, the opportunity to cruise down the Amazon as macaws fly overhead and crocodiles swim below, visit some ruins in the Yucatan Peninsula and watch polar bears search for prey in the Arctic is one to be cherished.

Most episodes are now streaming on Peacock.

“Ludwig” is a real sleeper. Starting slowly, it grows on you until you are completely under its spell. John Taylor’s twin brother, James, a police detective, has gone missing and Lucy, James’ wife has asked John to help unravel the mystery. John, definitely on the spectrum, hasn’t left his house in ages; interacting with other human beings is not his strength, not even when they are relatives. John prefers the isolation that solving and creating puzzles allows him.

John arrives at the home of Lucy, his sister-in-law, and Henry, his nephew, to learn that James’ disappearance may not have been voluntary. What Lucy horrifyingly proposes to John, who has a hard time interacting with her, someone he loved but was paralyzed to express it (he’s still paralyzed), is to pretend he is his brother and go into police headquarters and find James’ secret notebook, one that may unlock the mystery. Reluctantly, he agrees, but when entering the station he is so ill at ease and twitchy that he’s certain the other members of James’ team will catch on that he’s a fraud. Of course they don’t. James’ former partner has allegedly been transferred and replaced by D.I. Carter, who has no prior experience with James. The junior members of his squad, D.C. Evans and D.S. Finch, are so busy competing for arrests that they pay no attention. John breathes a sigh of relief, finds the notebook and is almost out the door when disaster strikes. There’s been a murder and James’ team (that would now be John’s team) has been assigned the case.

John’s skill has always been solving puzzles, and with this case, as will be true of all the others (woe to poor ill-adapted John, there will be others—at least one per episode), he approaches the murder like he would any other brain teaser. What fits, what doesn’t and how to piece them all together. It’s a pure delight for the viewer if not so much for his superiors. As John adapts to his new role, and there is a slight amount of pleasure in it, he begins to find clues to the disappearance of his brother.

The cast is marvelous, led by the subtly hilarious David Mitchell as both John and James Taylor. Mitchel is a well-known British sketch comedian with impeccable timing, which he uses to great effect in creating a character whose tie to the world is tenuous at best. Anna Maxwell Martin is the very sympathetic and grounded Lucy, James’ wife who shares a history with John, and Dylan Hughes as her son Henry, all boyish charm and teenage impertinence. The detectives are very good as well, led by Dipo Ola as D.I. Carter, a slow convert to the skills of John/James. Dorothy Atkinson as D.C.S. Shaw runs a tight ship and is as skeptical of James/John as her boss, Chief Constable Ziegler, played by Ralph Ineson.

“Ludwig” is a lovely way to spend a few evenings. It’s one of those rare series where you want more because you’ll follow the main characters anywhere. At six episodes, there’s no bloat and room to grow.

Now Streaming on BritBox.

To be continued in next week’s issue. 

Neely Swanson spent most of her professional career in the television industry, almost all of it working for David E. Kelley. In her last full-time position as Executive Vice President of Development, she reviewed writer submissions and targeted content for adaptation. As she has often said, she did book reports for a living. For several years she was a freelance writer for “Written By,” the magazine of the WGA West, and was adjunct faculty at USC in the writing division of the School of Cinematic Arts. Neely has been writing film and television reviews for the “Easy Reader” for more than 10 years. Her past reviews can be read on Rotten Tomatoes where she is a tomatometer-approved critic.

The post TV Now Playing—With an Emphasis on Playing | TV: Part One appeared first on Beverly Hills Courier.

“Othello,” starring Denzel Washington and Jake Gyllenhaal, has been much in the news, primarily because of ticket pricing. But that takes the focus away from what is a wonderful production with great acting. The cast of “Othello,” led by the two stars, has found a tempo and flow that makes the glorious words come alive.

In Washington’s capable hands, Othello is a relatable hero who succumbs to the “green-eyed monster” and is undone by the machinations of Iago. Jake Gyllenhaal’s Iago is formidable, one of the most evil villains in literature; his every speech and action segues neatly into Othello’s reactions making this a more evenly staged two-hander. Each of them, Washington and Gyllenhaal, is the star of this play and production. Their command of the language and its rhythms enhance every moment. At the Ethel Barrymore Theatre, running through June 8.

“Maybe Happy Ending” is the sleeper hit of the season. Directed by Michael Arden (“Spring Awakening”), it stars the incredibly charming and talented Darren Criss (“Glee”) and Helen J. Shen. “Maybe Happy Ending” is about two helperbots (AI robots), Oliver and Claire, in the relatively distant future, who have been unwillingly retired from their positions and live in adjoining apartments.Each spends endless hours worrying over their respective futures. Claire and Oliver meet “cute” when Claire’s battery malfunctions and she needs to borrow a charger. She, the more realistic of the two, sees things through the lens of disappointment with a rundown end in sight. Oliver, on the other hand, is chipper and determined that his retirement to this apartment was a mistake and that his previous owner will come for him at any time, time being relative because it’s already been a number of years. Claire and Oliver are a mismatched duo who have been moored to the same life buoy. It is a variation on the age-old boy-meets-girl scenario with a lot of twists in store for them both.

Criss, loaded with charisma and heart, is the star of this inventive and surprising musical. His robot is a jerky mechanical bundle of disconnected wires that make him all the more endearing. Shen’s Claire is the charming counterpart, willing to humor him even though she knows where this will ultimately lead.

“Maybe Happy Ending” is one of those shows that gradually envelops and hypnotizes you until you are fully engaged in the lives of these robots with skewed human emotions. You will find yourself gradually and then thoroughly embraced by this musical with lovely tunes and an ending that is both cynical and innocent, that maybe happy ending. It’s unlikely that you’ll ever look at a charger the same way again. Now playing at the Belasco Theatre.

“Operation Mincemeat” was an eagerly anticipated import from London. Based on the true, yet unbelievable, story of how the Brits used a dead body loaded with false intelligence documents to fool the Nazis into believing they would be invading Sardinia instead of Sicily at the end of World War II. The Spitlip group has created what is supposed to be a farcical musical retelling of the story. Billed as a cross between Monty Python, “The Play That Goes Wrong” and Benny Hill; it was not. Certainly, some of the audience enjoyed it. We did not. The music was sophomoric and unmemorable, the humor was hit or miss and the tone was all over the map. Now playing at the Golden Theatre.

“Buyer beware” would be my byword for expensive shows with untested casts. “Othello” was worth the risk because both Washington and Gyllenhaal are seasoned stage actors who come back to Broadway often. In the case of other untested star vehicles, I would advise that you wait to purchase tickets until the reviews come in.

Here’s a sampling of other plays of note, both on and off Broadway, some already playing and others soon to arrive.

“Good Night and Good Luck” at the Wintergarden Theatre is George Clooney’s debut on Broadway in a script that he and Grant Heslov based on their acclaimed film.  Ticket prices rival those of “Othello.”

“Glengarry Glen Ross,” a new revival starring Kieran Culkin, Bob Odenkirk and Bill Burr has just opened at the Palace Theatre, and there are hordes waiting to see Kieran Culkin, fresh off his Oscar win. What makes this worth taking a chance on is the formidable Michael McKean in a supporting role.

“Death Becomes Her,” at the Lunt Fontanne Theatre, is based on the 1992 film starring Meryl Streep and Goldie Hawn. The show was well-reviewed and has lots of buzz. Starring Megan Hilty, Christopher Sieber and Jennifer Simard, it boasts terrific acting and clever songs.

“Buena Vista Social Club,” at the Gerald Schoenfeld Theatre, is jam-packed with the music from the famous album. Most don’t notice that a plot is lacking because the music is so vibrant it makes you want to get up and dance.

“Hell’s Kitchen,” at the Shubert Theatre, is a musical featuring the music of Alicia Keys and based on her life. The show has been running for a year and that is recommendation enough.

“Oh, Mary!” at the Lyceum Theatre through June 28 is the most talked-about show on Broadway. A dark (very dark) comedy about Mary Todd Lincoln in all her misery that boasts incongruous actors playing her gayly (in all its definitions) and irreverently, often by a man in drag. Currently starring Tituss Burgess (“Unbreakable Kimmy Schmidt”) as Mary, you get the picture. I truly regret not seeing this one.

“Stranger Things: The First Shadow,” another hit transferring from London with two Olivier Awards, is based on the Netflix series and has lots of buzz. Previews have started and the show opens April 22. At the Marquis Theatre.

“Just in Time” is Jonathan Groff’s return after his triumph in “Merrily We Roll Along.” This musical play about Bobby Darin transforms the Circle in the Square Theatre into a nightclub. Performances through July.

“Call Me Izzy” starts previews on May 24 and runs for 12 weeks at Studio 54. This is Jean Smart’s return to Broadway in a one-woman show set in rural Louisiana. The subject is secondary to the chance to see Smart, a truly great actress, on stage.And don’t forget about Off Broadway where Hugh Jackman will be starring in a new play called “Sexual Misconduct of the Middle Classes,” sharing the Audible Minetta Lane Theatre with “Creditors” starring Liev Schreiber. “Sexual Misconduct” runs from April 28 through June 18; “Creditors” begins May 10 and ends June 18.

“Irishtown,” the new play at the Irish Repertory Theatre, is a comic look at actors rebelling against their director. It stars the marvelous Kate Burton and Saorise-Monica Jackson of “Derry Girls,” and that alone makes it a must-see. Running from April 2-May 25.

“The Cherry Orchard” at St. Ann’s Warehouse in Brooklyn starring the incomparable Nina Hoss (“Tar” and “Phoenix”). Now through April 27.

Ticket prices for many of the shows are off the scale. It’s always worth checking for discounts. TDF.com runs the TKTSs booth at Times Square and Lincoln Center offering same-day discounts on a wide array of shows; you can also check their site at tdf.org. Today Tix (todaytix.com) offers last-minute theater tickets for many of the shows, but keep in mind, there are no refunds or exchanges because this is a third-party ticket. If the above-the-title star calls in sick, there is no refund (something that you can get when tickets have been purchased online or from the box office). Also, check out the following sites: Broadwaybox.com, Theatermania.com, nytix.com and Playbill.com/discounts. Don’t forget to check for returns at the box office or the online lotteries for some of the shows.

My advice? Go now, go later, but go see a play on Broadway or Off. It’s always an immersive experience and one that will stay with you long after the lights go up. And don’t forget to check out the wonderful offerings in Los Angeles’ small theaters. 

Neely Swanson spent most of her professional career in the television industry, almost all of it working for David E. Kelley. In her last full-time position as Executive Vice President of Development, she reviewed writer submissions and targeted content for adaptation. As she has often said, she did book reports for a living. For several years she was a freelance writer for “Written By,” the magazine of the WGA West, and was adjunct faculty at USC in the writing division of the School of Cinematic Arts. Neely has been writing film and television reviews for the “Easy Reader” for more than 10 years. Her past reviews can be read on Rotten Tomatoes where she is a tomatometer-approved critic.

The post New York, New York—It’s a Wonderful Town | New York Theatre: Part Two of Two appeared first on Beverly Hills Courier.

With careful planning, you can fill your dance card with a play every night and matinees on Wednesdays and Saturdays, making it possible to see nine plays in seven days. We were more conservative and only saw seven, one of which recently closed.

“Vanya,” the multiple award-winning one-man rendition by Andrew Scott (“Ripley”), was breathtaking. This Chekhov play was reimagined by Scott and his collaborators, Simon Stephens and director Sam Yates, telling the story about familial relationships, jealousies and disappointments. Scott was intoxicating as he wove the various characters in and out of their interactions. Minute changes in tone, use of minor props and body movement all contributed to defining the nine (yes, nine!) characters in this story set on a large, faded family estate. The chance to see the mesmerizing Scott act on stage, up close and personal in a small Off-Broadway theater is a must-see at any price. Totally sold out, your best bet might be the online lottery or digital cancellation line. It can also be seen on the National Theatre at Home streaming service (ntathome.com).

“The Picture of Dorian Gray” is another one-man, or rather one-woman performance by Sarah Snook of “Succession” fame. This Oscar Wilde masterwork is about an aimless and feckless stunning young man, Dorian Gray, who has sold his soul to the devil so that he will remain beautiful while his portrait ages, showing the outward signs of Gray’s debauched existence which the corporal body does not.

Unlike any other one-person play, Snook uses electronics, cameras and recordings to play the more than 20 different characters encountered by Gray. Stunningly achieved, you will gasp as the Dorian on stage confronts himself and others (all different permutations of Snook) as screens flash before you. There are few hidden tricks, although some of the videos have been prerecorded, as Snook is followed by an entourage of filmmakers shooting her in real time as she tells the story of the degenerate life of Gray. This must-see is at The Music Box through June 15.

“Gypsy,” one of the mainstays of American theater, has long been a favorite of some of Broadway’s greatest singers who eagerly embrace the music of Jule Styne and the lyrics of Stephen Sondheim. The character of Mama Rose has been memorably played by a string of actresses, most winning Tonys in the role. Each has left her mark on this character and now, like her Mama Rose, it’s Audra McDonald’s turn and it’s indelible.

“Gypsy” tells the story of Rose, the most horrific and controlling stage mother to grace the boards, who is determined to make Vaudeville stars of her two daughters, the talented June and the hapless Louise. To Rose’s surprise, it is Louise who gains international fame as the stripper, Gypsy Rose Lee.

Rose is a monster, no two ways about it; but each other actress has found a way to mitigate Rose’s narcissism and self-focus by infusing her with the vulnerability of a life not lived. Such is not the case with McDonald. In her operatic voice, Rose is steeped in ferocity. There is no vulnerability as best illustrated in her final number, “Rose’s Turn,” where the violence and force of her true feelings about her life break through powerfully. This is who she is and its effect is devastating. There is no redeeming humanity coming through, only a life full of disappointment. One even has to ask if she actually wanted her girls to succeed.

This is a must-see as far as I’m concerned because of the music, so well-known, and the memorable performance of Audra McDonald. I’ve seen four other “Gypsy” performances, but this one is at the top of the list. She really made it her own. Now running at the Majestic Theatre, with tickets available through August. 

To be concluded in next week’s issue. 

The post New York, New York—It’s a Wonderful Town | New York Theatre: Part One of Two appeared first on Beverly Hills Courier.

Fast forward several years, and Naveen, now a successful physician, has only recently come out to his parents. Not quite understanding the “concept” of gay, his father, always rather quiet, has become more taciturn; his mother still holds out hope that the right girl has yet to come along. His mother, however, is more able to deal with reality and wishes that he would find a partner of his choosing. But Naveen’s reality is that dark lining to a silver cloud. He traffics in sarcasm and negative self-image. But one day, that dark lining turns to silver when he meets a unicorn. A handsome, outgoing, kind, generous young man who sees his gifts. Jay Kurundkar, white, was adopted by an Indian couple and raised like any good Indian boy would have been raised.

You’ve seen this story a million times. Usually, it’s the self-deprecating girl, the one with glasses and hair in a bun, who meets a handsome young man who sees who she is even if she doesn’t. Before you know it, he’s released her bun into its naturally flowing locks, she gets contact lenses and ugly duckling, now a swan, is the love match of beautiful boy. Following the standard narrative, it would be girl meets boy, girl loses boy, girl gets boy. “A Nice Indian Boy” is that same storyline with a gender difference. This fairy tale probably goes back to the age of the Greeks, but it keeps getting repeated because it works, or frequently it works. Madhuri Shekar, the writer of the source material, based her original play on the popular Bollywood film “DDLI” about romance. Snippets of the film, “DDLI,” play a major role in the lives and courtship of Naveen and Jay and are a wonderful counterpoint to the reality they face versus the romance they dream.

Eric Randall, the screenwriter, identified with the material because he was in the midst of planning his own big gay wedding and getting to know his future in-laws. It’s easy to recognize how fraught that situation could be, even under the best of circumstances. With Jay and Naveen, culture had a big role to play, and the humor is underscored by Jay being even more inculcated into Indian culture than Naveen. Director Roshan Sethi also viewed the story through a very personal lens. A gay Indian man, he faced challenges at every turn, especially from his parents, who could not accept who he was. His own experience has not been happily ever after, but he was determined that “A Nice Indian Boy” would be. As he points out, “culture is a formidable anchor.” But an anchor can be both something that drowns you and something that grounds you. In the film, Naveen must fight one to discover the other.

“A Nice Indian Boy” is a love story like so many others. In the end, it doesn’t matter who loves whom as long as love is the tie that binds. The story is helped immensely by the charming cast. Karan Soni, Naveen, a USC graduate in film and theater and a member in good standing of the “Deadpool” universe, sells his ever-present anxiety and self-esteem issues with a furrowed brow and inquiring eyes. His Naveen is endearing while also frustratingly negative. The marvelous Jonathan Groff, Tony winner for “Merrily We Roll Along” and star of “Glee,” has a warm and empathetic screen presence. Shining eyes and an expressive smile only enhance the colors he shows as a mature young man, sure of himself and grateful for his upbringing, who tries to help his partner live his own genuine life.

Groff and Soni may be the titular stars, but the show is stolen out from under them whenever Zarna Garg, as Naveen’s mother Megha, and Harish Patel, Naveen’s father Archit, appear in a scene. Patel’s silent disapproval that morphs into bewilderment is a case study in character development. It is Garg’s glittering expressive face and efforts at acceptance that are a key to everyone else’s performance and narrative. Garg steals everything but the furniture.

“A Nice Indian Boy” gives us all the understanding that not wanting something is the fallback position of being afraid to want it.

Opening March 31 for one night at the Laemmle Royal as part of the “Real Talk with Stephen Farber” film series and April 4 at the Laemmle Glendale. 

Neely Swanson spent most of her professional career in the television industry, almost all of it working for David E. Kelley. In her last full-time position as Executive Vice President of Development, she reviewed writer submissions and targeted content for adaptation. As she has often said, she did book reports for a living. For several years she was a freelance writer for “Written By,” the magazine of the WGA West, and was adjunct faculty at USC in the writing division of the School of Cinematic Arts. Neely has been writing film and television reviews for the “Easy Reader” for more than 10 years. Her past reviews can be read on Rotten Tomatoes where she is a tomatometer-approved critic.

The post ‘A Nice Indian Boy’—Very Nice Indeed appeared first on Beverly Hills Courier.

Looking for a break when the school is temporarily shut down, he takes a trip to neighboring Uruguay with a fellow teacher. Taking a companion was never his idea, but the needy teacher, unaware of the concept of boundaries, insisted and Michell acquiesced. Michell strikes gold on the dance floor, and he and his conquest leave the bar for a starlit stroll on the beach. But the beach is anything but pristine. An oil slick has marred the sand and dead penguins, suffocated by the toxic oil, have washed ashore. His companion immediately notices that one small penguin seems to have survived, and she insists that they take him back to Michell’s hotel and clean him up. Not how he envisioned his evening, but they succeed in saving the penguin, just not their possible romance.

Michell, disillusioned and laden down by a waddling bird, takes the penguin back to the sea to set him free. But that was Michell’s idea and not the penguin’s. Like a duckling imprinting on his presumed mother, the penguin follows him everywhere. Soon the two of them are on their way back to Argentina where Michell hopes to unload him at the zoo. First, however, is a trip through customs where the penguin is unable to keep his beak shut. But even during an interrogation where he tries to get the border agent to relieve him of the penguin, the penguin wins, Michell loses, and they traipse back to the school.

But, as you might surmise, this isn’t about the penguin at all but about the effect he has on one and all. Living on Michell’s balcony by day and in the bathroom by night, the penguin is a poorly kept secret. All who encounter him are entranced, and this wordless beast of the wild becomes the vessel for everyone’s confessions. Michell, so taciturn at his arrival, softens, almost imperceptibly, as he recognizes in others the troubles and sadnesses he has experienced in his past. It is not Michell who makes new friends but the penguin, now named Juan Salvador, who binds him to others. As Michell becomes more open to those around him, he also begins to understand the horrific political situation that bleeds into the lives of everyone he encounters.

Michell arrived in Argentina just as the military staged a coup to remove Isabel Perón from power. When Juan Perón died in 1974, his wife Isabel took over the government. She was ineffectual on all fronts, losing her congressional majority and struggling to suppress both left- and right-wing guerrilla organizations. She was an easy target, unable to stop the violence between the factions and hampered by the runaway inflation that would continue to get worse as time went on. Michell’s easy gig became fraught with danger and anger as his eyes are opened, in great part because of his feathered companion. He begins to understand what the workers around him experience daily.

“The Penguin Lessons” benefits greatly from its two stars. Steve Coogan, Michell, transforms gradually from a taciturn curmudgeon looking to escape the world around him to an empath whose eyes are opened to pains greater than his own. He becomes a man who, when faced with dire circumstances, learns to lean in and face them, aiding others as he helps himself.

Jonathan Pryce, a master of supercilious characters, plays the headmaster as a man who has lived his life as a self-impressed impresario never seeing the forest for the trees because the forest contains dangers he’s ill prepared to face. His interactions with the powerful parents of his students are obsequious; with his employees he is a martinet, exercising power rather capriciously, taking out his frustration on those who can’t fight back.

But the true star of this tale, the one who’s in the title of the film, is the penguin. Never pass up an opportunity to interact with penguins, and this one is no different. Funny-looking, scruffy animals whose stench is unmistakable, penguins are endlessly entertaining. Their behavior is repetitive—eat, waddle, swim, squawk and repeat—and always hilarious. They are unbelievably cute and charming and, as was the case in this film, very loyal. They have individual personalities, some industrious, others lazy, some enterprising, others grifters, but they are amusing and always watchable. All the adult actors generously ceded to the actions of Juan Salvador.

This may be the first time a penguin was used to deepen character development and underscore lessons in life. Like the others in the film, I, too, would have opened up to Juan Salvador, aware, on the one hand, that he couldn’t understand what I was saying and believing, on the other hand, that he was leading me down a path to enlightenment.

W.C. Fields famously said, “Never work with children or animals” and he had a point. The penguin stole every scene and every heart both on screen and off. Don’t miss this one. Like every great British actor, it’s all in his eyes.

Opening March 28 at the AMC Century City 15, AMC Santa Monica 7 and AMC The Grove 14.

Neely Swanson spent most of her professional career in the television industry, almost all of it working for David E. Kelley. In her last full-time position as Executive Vice President of Development, she reviewed writer submissions and targeted content for adaptation. As she has often said, she did book reports for a living. For several years she was a freelance writer for “Written By,” the magazine of the WGA West, and was adjunct faculty at USC in the writing division of the School of Cinematic Arts. Neely has been writing film and television reviews for the “Easy Reader” for more than 10 years. Her past reviews can be read on Rotten Tomatoes where she is a tomatometer-approved critic.

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“A Thousand Blows” comes from the very astute pen of Steven Knight, creator of “Peaky Blinders.” Set in the late 19th century in the savage East End of London where death is sometimes a blessing, Hezekiah and best friend Alec have recently immigrated from Jamaica in search of their fortune, but the unfriendly streets of London are mired in mud not paved in gold. A lucky encounter with Mary Carr, a pretender to the throne of bandit queen, yields a place to stay. They take their chances on a boxing scheme at the local pub advertising cash prizes for anyone who can stay in the ring against the house favorites, Treacle Goodson and his brother, Sugar. Wagering their last coins, Alec goes up against Treacle and Hezekiah against Sugar. Both are cheated; both lose. Mary, liking the look of both Jamaicans, believes they can be of use to her in her audacious robbery plans.

But this is more than just a look at hardened and not-so-hardened criminals, nor is it entirely the haves vs. the have-nots. Sugar and Treacle represent the dying world of bare-knuckle boxing. A new form is emerging using specially made gloves, imported from America, the so-called sport of kings with the Marquess of Queensbury rules. “A Thousand Blows” isn’t just boxing; it’s revenge, racism, brutality, women looking forward, at least in a criminal sense; most of all, it tells a great, complicated, brutal story. The cast sets this show apart from others. Malachi Kirby plays Hezekiah with the right balance of ambition and disappointment. Erin Doherty is the ambitious criminal mastermind, Mary Carr. And then there is Stephen Graham, all fire and savage ferocity, a man being left behind whose inability to control his violent temper may be his undoing. And yet, Graham, as always, finds the humanity in this animal of a man. He has one of those, “Where have I seen him?” faces. Short, a bit squat with the face of a man who’s seen more than his share of fists to his kisser, his eyes always tell the story.  Graham infuses a touch of vulnerability into even his most evil characters allowing you a window into the complex motivation that drives the performance.

Now streaming on Hulu.

“Adolescence” was co-created and co-stars Stephen Graham in the role of a loving father drowning in circumstances beyond his control. This four-part limited series begins as police arrive at the home of the Millers. They are there to arrest 13-year-old Jamie for a crime that they refuse to specify. Terrified, Jamie is pulled away as his family, father Eddie, mother Manda and sister Lisa watch helplessly. At the police station, informed of his rights and stripped of his possessions, the interrogation begins when the court-appointed lawyer and his terrified and befuddled father, his appropriate adult, enter the room. Jamie has been accused of murdering a classmate, something he screamingly denies.

Each of the four episodes, all filmed in real time in one continuous shot, tells the story going forward, from his arrest and interrogation by the police; the effect his arrest has on his schoolmates; his interview by a psychologist; and finally, the effect on his family over almost a year’s period of time as Jamie remains in a juvenile facility. The continuous filming style lends a reality and tension to the story that is palpable. The performances are superb, led by Owen Cooper playing Jamie as he gradually reveals the complexity of his character, a complexity that was missed by all the adults around him. Erin Doherty is the sympathetic psychologist trying to learn enough about an uncooperative Jamie to mitigate what may be a harsh sentence if he is found guilty. Stephen Graham, as Jamie’s father, reveals all the colors of a man who has struggled to lift up his family, who is overwhelmed by routine circumstances, let alone the discovery that despite his efforts he may not have known or understood his son enough to help him through this difficult period. “Adolescence” is a must-see. Building slowly from the beginning, it earns your attention and the questions you will be forced to ask about who and what you may actually know about your own family. That director, Philip Barantini, successfully filmed each episode as a “one shot” added immensely to the personal rapport you feel with the characters.

Now streaming on Netflix.

“Deli Boys” is an off-the-wall, very funny take on the kind of crime family you might least expect. Always on the radar of the FBI, Pakistani magnate, Baba, has suddenly died, leaving no heir to his Philadelphia conglomerate of spicy foods and golf courses. Baba was quite a diversifier and well-connected enough that the Feds were forced to look the other way during his lifetime. With his death, they swoop in and gather up everything with even a remote connection to his kingdom. Spoiled sons Raj and Mir, totally clueless, arrive at the company board meeting to plead their case to be the new CEOs, oblivious to the raid going on all around them,

It turns out that Baba was a drug distribution kingpin and money launderer, hiding the product in jars of orange hot sauce, a recipe he brought with him from Pakistan. But the rest of his board, as hamstrung as they are at the moment, have no intention of turning over the drug business to the idiot sons until … it becomes convenient to do so. There are gangsters, rival gangs out for revenge, daughters of gangsters who want a shot at the big time or a date with Raj, the two board members, Lucky and Ahmad, who are still vying for control of the operation and the less than adept agents trying to find the drugs. Swiftly paced, each episode has more jokes that land than not and it’s a fun, absurd take on characters you rarely see on screen.

Now streaming on Hulu.

“Running Point,” borrowing heavily from the Buss family playbook, is a broad-stroke look at the Waves, a team not unlike the Lakers, and the family that runs it, the Gordons. Daddy was a sexist, racist jerk who put eldest son Cameron in charge when he died. Sons Ness and Sandy have significant roles in management, and although Ness’ skills are still being debated, Sandy is a more than competent financial exec. Left out of the mix was daughter Isla whose intimate knowledge of the sport and team was always ignored. But Cameron was paying attention, and when he is arrested and sent to rehab after crashing his car into a restaurant while swallowing pills and shooting meth, he appoints Isla to run the team, much to the surprise and consternation of Ness and Sandy.

The team is flailing; they’ve lost their sponsor, and one of their stars, Travis, is causing all sorts of mayhem and refuses to listen to a woman. Yes, Isla has her hands full. Her brothers are constantly undermining her and a new problem has entered the arena, an unknown Latino half-brother from Boyle Heights. What, they ask, is he legitimately entitled to if he’s illegitimate? Isla takes him under her wing, for better or worse (and it’s both).

A comic soap opera, whose jokes and characterizations usually descend to the lowest common denominator, it has the bones of a good comedy if it can increase the likeability of some of the characters and ground it a bit better in reality. Trying too hard to be funny, it is at its best when situations find the bullseye in the quieter moments.

Kate Hudson, as Isla, shines with her physical comedy, but it remains to be seen how close to the bone the writers will take it given that Jeannie Buss is one of the producers. It is hoped that pointed humor will be allowed to transcend the need to appease.

Now streaming on Netflix.

“Zero Day,” Robert De Niro’s first foray into series television should have been something to celebrate. There is a conspiracy theory crisis operating at the highest level of government. A cyberattack has occurred and temporarily knocked out key functions. But this is just the start, and the president must get to the bottom of this threat. Former president George Mullen is called in to lead the investigation, and the deeper he digs, the dirtier things get. People at the highest level of government may be involved and he becomes trapped in his own investigation. The next promised cyberattack will kill thousands if Mullen can’t find the perpetrators. He has the go-ahead from the president to use whatever draconian means necessary.

The plot was potentially good, but the series falls flat. There is no tension in something that should have had tension in its DNA. This is extremely surprising given the star power on display, most of whom were unable to infuse their roles with urgency. De Niro stars as former president Mullen and also starring are Joan Allen as Mullen’s wife, Matthew Modine as a congressman, Angela Bassett, as the president and Bill Camp as the CIA director. None, however, found any depth or urgency to their characters. The sole exception is Jesse Plemmons, who plays Roger Carlson, Mullen’s assistant in the investigation. Plemmons is good enough in this role to momentarily take the focus off how flat and insignificant the solution is.

Now streaming on Netflix. 

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Young Úrsula Iguarán and José Arcadio Buendía, cousins of unknown degree, are very much in love and want to marry. Her parents forbid it, saying that it would be tantamount to inbreeding and their babies would be born with pig’s tails. Undeterred, they marry, although Úrsula’s self-made chastity belt prevents its consummation, so fearful is she of her mother’s prediction. Rumors about their unusual relationship spread, and José, humiliated, kills Prudencio, the rumor monger. Haunted by Prudencio’s ghost, José Arcadio decides to leave the village with his wife and a band of followers to find a paradise far away, preferably near the sea. Cutting their way through jungle and growth that has never been tamed by man, exhausted, they settle on a great expanse near a river with enough prosperous land for everyone. It is here they start the town of Macondo, unfettered by church or state, ruled only by goodwill and the kind of honesty that friends rely on. Trading on their skills, the town soon has most of the benefits of civilization – brothels, bars, families, goods and services—managed only by good faith and the Biblical adage, “love thy neighbor as thyself,” although they left the Bible and judgmental attitudes behind as well.

They doted on their sons, young José Arcadio and Aureliano. Pilar the fortune teller remarked on young José Arcadio’s endowment, selfishly taking full advantage of it, and pronounced that Aureliano would have precognition, a dubious gift indeed. The town’s isolation is eventually disturbed by the arrival of a gypsy band and their leader, the alchemist Melquiades, who stays in Macondo to mentor the senior José Arcadio. Melquiades will be both his savior and his downfall.

People come and go, returning and leaving again. The Buendía family expands with new members, both wanted and unwanted, and the town grows more prosperous. When José Arcadio the elder retreats to his laboratory, convinced that Melquiades’s alchemical teachings will lead him to turn metal into gold, the age-old promise, Úrsula must take charge of the family. His mystical science is mundane, and her everyday household maintenance literally raises her in the air.

This sweeping tale of family, love, death, heartache, petty jealousy, friendship and rivalry mirrors, in its own way, the history of their new country, Colombia, a land of hope, prejudice, insularity, corruption and continued revolution. It will engulf you with flowers raining from the skies and have you believe that there could have been a plague of insomnia, sent to punish those who would doubt.

“One Hundred Years of Solitude” will transport you to a land imaginary, yet full of real emotion. It is where you’d like to go but be afraid to stay because the dreams and nightmares of the Buendía family are all too real. Challenge yourself not to watch more than two episodes at a time so that each action and character can stay with you overnight, allowing you to savor every minute of the magic that seems so real.

The actors, most of whom you will not have heard of, are magnificent. Listen to them in the original Spanish, rather than the dubbed version, to get the full flavor of their inflection and emotion. Too many to mention, each member of the Buendía family ages into a new actor as they grow older. It is only Pilar, the fortune teller, prolific at spreading her genes to the Buendías, who seems ageless, and maybe that’s the point.

It was apparent from the moment it appeared on the literary horizon in 1967 that “One Hundred Years of Solitude” was a masterpiece, one of the acknowledged greats of the 20th century. Márquez would be awarded the Nobel Prize in Literature in 1982. He refused all efforts to obtain the film rights to his novel, unconvinced that his sprawling story of the Buendía family could be told in the two-to three-hour format of a film. Written in the style of magical realism, where the real is fanciful and the fanciful is real, filmmakers have long struggled to bring this kind of metaphorical storytelling to the screen successfully. Following his death, those rights were transferred to his widow, Mercedes, and his two sons, Gonzalo García Barcha, an artist, and Rodrigo García, a highly regarded writer and director of American film and television.

Presented with the possibility of telling the story over eight episodes, the family acquiesced, dependent on certain conditions. The filming must take place entirely in Colombia, capturing the beauty, culture and atmosphere of the story; the cast must be made up primarily of Colombian actors and filmed entirely in Spanish with a Colombian production team involved in making the series. With those stipulations met, Netflix obtained the rights to García Márquez’s masterpiece. Both García sons are executive producers of the series, one that they can take enormous pride in.

Cinematographers Paulo Perez and Sarasvati Herrera bring the breathtaking Colombian locations to life. Production Designers Eugenio Caballero and Barbara Enriquez created a Macondo that is real and imaginary at the same time. The colors vibrate and the sets reach into the heart of the different eras. Costuming by Catherine Rodriguez is positively tactile. The direction, divided between Alex Garcia Lopez and Laura Mora Ortega, delivers the world that the various writers presented.

All of the above-cited actors are Colombian, most with impressive experience in the world of Spanish-language filmmaking. The intensity of Marleyda Soto’s older Úrsula will warm you and make you quake at the same time. She carries the family and Macondo on her back like a beast of burden who is deadly when cornered. Diego Vásquez is the adult José Arcadia in middle and old age, lost in the stars and driven mad by the fumes of his laboratory and his crushed dreams. Claudio Cataño plays the adult Aureliano with the sadness of lost love and the passion of a cause as his importance grows with his maturity. Édgar Vittorino is all sex, tension, passion and power as José Arcadio, the son as an adult, returned from seeing the world after disappearing with Melquiades’ gypsies. Akina, Rebecca the mystery relative, raised as a Buendía is staggeringly beautiful and haunted, eating dirt as a punishment for sins she hasn’t committed. There are so many others, especially the younger versions of the Buendía family, whose depth of acting enhances the already full characters they have been given to bring to life. And that’s the point. This series has brought this magnificent book to light, allowing you to absorb the magical realism as though it occurred on a daily basis to ordinary souls like us. I, too, believe I can levitate.

Now streaming on Netflix. 

Neely Swanson spent most of her professional career in the television industry, almost all of it working for David E. Kelley. In her last full-time position as Executive Vice President of Development, she reviewed writer submissions and targeted content for adaptation. As she has often said, she did book reports for a living. For several years she was a freelance writer for “Written By,” the magazine of the WGA West, and was adjunct faculty at USC in the writing division of the School of Cinematic Arts. Neely has been writing film and television reviews for the “Easy Reader” for more than 10 years. Her past reviews can be read on Rotten Tomatoes where she is a tomatometer-approved critic.

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Sadly, Sondheim passed away before the show was little more than a concept, but Mackintosh, a true believer, has come up with an amazing array of songs performed by a very talented cast, headlined by Bernadette Peters and Lea Salonga.

Sondheim got his start at the ripe old age of 27 writing the lyrics for “West Side Story,” and Lea Salonga’s solo of “Somewhere” will send shivers. But his goal was to write the words and music and almost got that chance with “Gypsy” when Ethel Merman, its star, demanded someone more experienced for the music. Still, his lyrics for that show are amazingly smart, sharp, pungent and funny. Lea Salonga, once again, brings down the house with her rendition of “Everything’s Coming Up Roses.”

“Sondheim’s Old Friends” has an interesting and engaging structure. Performed on an essentially bare stage with risers on the right and left delineated by streamers of light and a small orchestra upstage. Even if the songs are unfamiliar to you, and some will be, they are choreographed and staged as little plays unto themselves. If you’ve never seen “Into the Woods” (and I haven’t), you will still recognize its fairy tale structure and story. “Agony” is a tale unto itself about the frustrating quest of two entitled princes longing for their lady loves (Cinderella and Rapunzel), just out of reach as Cinderella’s fella holds tightly to her glittery shoe and Rapunzel’s suitor can’t quite reach her tresses. In “I Know Things Now” and “Hello, Little Girls,” Bernadette Peters is a fetching Red Riding Hood wary of and then wooed by the unctuous, handsomely evil wolf sung by Jacob Dickey.

I had completely forgotten Sondheim’s early musical, “A Little Night Music,” based on the Ingmar Bergman movie, “Smiles of a Summer Night.” But I was transported to long-ago memories as the cast sang a clever ode to the pitfalls of “A Weekend in the Country.” It highlighted the complicated relationships the characters had with one another, but especially with the owners of the country chateau to which they were invited. It leads directly to said chateau and into Bernadette Peters singing “Send in the Clowns” as the melancholy dirge about bad timing and lost love that it is. That song has been covered so many times, most memorably, I think, by Judy Collins, that it was nice to be reminded where it came from. Although Peters has lost some of her range and her edges are occasionally rough, she makes up for it all in her amazing, poignant and dramatic delivery.

I could go on and on, parsing each and every wonderful song, but it would be better for you to see this fantastic production. Most are from shows you might recognize like “Company” and “Into the Woods.” We are treated to a veritable “Reader’s Digest” condensed version of “Sweeney Todd” that highlights the dark humor of Mrs. Lovett, the worst pie maker in London, and the steadfast murderous vengeance of Sweeney Todd, all sung stunningly by Jeremy Secomb and Lea Salonga.

Beth Leavel channels her best Elaine Stritch in a stringent delivery of  “Ladies Who Lunch,” and Bonnie Langford belts that formidable number, “I’m Still Here” from “Follies” that documents the ups and downs of a life in the theater, but really, any life lived for passion.

By taking all of these songs, some from shows that are famous and others that aren’t, most notably, the hilarious “The Boy From,” a collaboration with Mary Rogers (the daughter of Richard) for the off-Broadway show “The Mad Show,” Cameron Mackintosh hasn’t just created an ode to Sondheim but also a love letter to musical theater. And he’s done it without plot or narration. The songs speak, or rather sing for themselves and immerse you in the messages that each puts forward, whether of love lost and/or found, cynicism, joy, sadness and regret.

Directed seamlessly by Mathew Bourne, who redefined ballet with his “Swan Lake,” and choreographed by Stephen Mear, whose dance numbers seem effortless (they’re not) and contribute greatly to how the production flows. So great is the direction and choreography that it seems invisible but, like the music, it will carry you away.

It is a very large cast of 15 extraordinarily talented singers and dancers, all with multiple Broadway and West End credits under their belts. There isn’t space to mention them all, but they all deserve mention.

My advice? Get tickets while you can to this limited pre-Broadway run.

Now playing through March 9 at the Ahmanson Theatre, 135 N. Grand Ave., Los Angeles. Check with Audience Services (213-628-2772) for matinees and performance times. 

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Lloyd Dallas, company director, is determined to get his production of “Nothing On” on its feet before he goes off to mount a backwater staging of “Richard III.” “Nothing On” is led by the formidable Dotty Otley, a soap star getting up in years who is counting on this play to jumpstart her fading career. Dotty, starring as Mrs. Clackett, plays the family retainer who has been left in charge of the Brent mansion while her employers reside in Spain for tax purposes. It’s her day off, but she’s decided to stay and watch the Queen’s something or other on the telly. Her presence where she isn’t supposed to be sets off a tsunami of misunderstandings. 

Roger Tramlemain, the estate agent who is in charge of the rental while the Brents are in Spain, arrives with dim bulb bimbo Vicki who has been led to believe that Roger owns the house. She’s counting on nooky during her lunch break and he’s eager to accommodate her. Imagine his surprise when he finds Mrs. Clackett, just settling down to a plate of sardines. (Never before has the lowly sardine been so prominently featured.) With Mrs. Clackett there, he must keep Vicki hidden and soon resorts to shoving her into various upstairs rooms and closets. Soon, other surprise visitors appear. Mr. and Mrs. Brent have snuck back into the country to celebrate their anniversary, something that could have disastrous tax implications, They, too, assumed Mrs. Clackett would be away.

Act One is the technical rehearsal of “Nothing On,” and Lloyd Dallas is having a devil of a time getting the actors to remember their cues, their lines and their props. This rehearsal is an unmitigated disaster, and doors that should open don’t and doors that shouldn’t, do. Like any farce, it is a play of doors opening and closing, mistaken identities and proper timing. “Nothing On” gets nothing right, making the upcoming opening of the play rather problematic, even if it is in the tiny village of Weston-super-Mare. That this is the beginning of a roadshow of off-off-off-West End village theaters does not bode well for the tour.

Act Two, mid-tour, takes us behind the stage as the actors wait for their cues and reveal the machinations and illicit affairs of the director and several of the cast members. Their arguments and criticisms of each other are less than soto voce and can be heard not just on stage but also in the audience (the very definition of “noises off).

Act Three, at the end of the tour, is back on stage, facing the audience, where the petty jealousies, affairs and rivalries (mainly romantic) have taken a final toll and nothing goes right with the play as things come crashing down around the actors, literally and figuratively.

“Noises Off” is as much about a play (“Noises Off”) within a play (the production of “Nothing On”) within a play (“Nothing On”) as it is a tribute to all the actors and producers of small-town theater that share the same difficulties as major productions. His characters are all types, and none too subtle, and the three acts illustrate the adage that familiarity breeds contempt, open hostility, and lots and lots of sardines.

The actors are definitely having fun playing actors playing actors playing actors, and trying to keep all the mayhem moving to its inexorable end. This production, transferred almost intact from the Steppenwolf Theatre Company of Chicago, is directed by Anna D. Shapiro, a Tony winner who understands what farce is and employs her excellent cast to good effect.

Dotty Otley as Mrs. Clackett, played knowingly by Ora Jones, is the star who needs a success to reestablish her fading career. Lloyd Dallas (Rick Holmes) has pretensions of grandeur with his Cambridge literature degree and minor success directing Shakespeare in unremarkable locales. Amanda Fink as Brooke Adams/Vicki is really good at being bad, not as easy as you would think; and David Lind playing Garry Lejeune playing Roger Tramplemain is tasked with making sure his Roger and Garry roles intersect into believable jealousy and pratfalls. The rest of the cast keeps the wheels moving while the gears continue to jam. The set, designed by Todd Rosenthal, is a masterpiece of moving parts, going from front of house to backstage and back to the front of house stage in the final act.

There were plenty of laughs and the audience was definitely enjoying this production. Frayn has written a good farce but often misses the mark by piling on too many incidents and coincidences. The play within a play within a play is a novel concept and is tailor-made for farce but the plot is a bit thin, using incident upon incident to drive the play until, at the inventive end, it collapses upon itself. Noel Coward in “Present Laughter” was a master at opening and closing doors and Alan Ayckbourn, arguably the most successful and accomplished farceur of the last 50 years, made adept use of backstage shenanigans in “A Chorus of Disapproval,” about an amateur operatic society production that upends the best intentions of its local director. Interestingly, the most successful farces have an undercurrent of sadness that serves to heighten the comedy and adds necessary depth. “Noises Off” gets almost everything right, but the depth is missing, an inadequacy of the play not the actors.

“Noises Off” is meant to be enjoyed for what it is—a lot of sound and fury signifying nothing but fun.

Now playing at the Geffen Playhouse through March 9. Performances take place Wednesday through Sunday with matinees on Saturdays and Sundays. Runtime is 2 hours and 30 minutes  including two intermissions. The Geffen Playhouse is located at 10886 Le Conte Ave., Los Angeles.

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Art Events

Gagosian Beverly Hills has welcomed local artist Alex Israel for his first show in a decade running until March 22. The “Noir” exhibition features new paintings of iconic Los Angeles locations at night from the Troubadour to a tattoo parlor. Israel’s hometown is LA, and this exhibition is a celebration of the city he loves and draws inspiration from. He is donating a portion of the sale proceeds to the LA Arts Community Fire Relief Fund. This fund was set up by the J. Paul Getty Trust to provide critical emergency support for artists and arts workers impacted by the fires. 

Other institutions such as the Hammer Museum, as part of the Mohn Art Collective alongside LACMA and MOCA, have also joined the J. Paul Getty Trust in the creation of the $12 million LA Arts Community Fire Relief Fund. Frieze Los Angeles (Feb. 20-23) at the Santa Monica Airport, is a founding contributor to the LA Arts Community Fire Relief Fund and will help in aiding recovery efforts. Maison Ruinart is supporting Frieze’s efforts, alongside the “Conversations with Nature” debut, artist Sam Falls has created limited-edition collectibles including hats and books available in the Ruinart Art Lounge with 100% of proceeds going to aid this cause. Visit frieze.com for tickets.

ArtWalk returns to the West Hollywood Design District on Feb. 19, for an evening of support for the local community by raising funds for those affected by the LA wildfires. Take a stroll while shopping, dining and gallery hopping on Melrose, Beverly and Robertson corridors before and after dark with extended hours. Visit westhollywooddesigndistrict.com for more information.

Chef’s Unite 

Beverly Hills has launched “EAT. DONATE. LOVE” now through Feb. 15. The dine-out-to-help campaign will take a portion of the proceeds at participating Beverly Hills hotels, over 20 restaurants and bars to raise a total of up to $175,000, which will support Los Angeles wildfire relief efforts for the Boys & Girls Club of Malibu and Pasadena, and the California Community Foundation Wildfire Recovery Fund.

Participating hotels include The Beverly Hills Hotel, the Beverly Hilton, Beverly Wilshire, A Four Seasons Hotel, L’Ermitage Beverly Hills, The Maybourne Beverly Hills, The Peninsula Beverly Hills and Waldorf Astoria Beverly Hills. Check lovebeverlyhills.com for more information.

CHEFS ❤ LA is an all-star fundraising benefit bringing together the biggest names in food, hosted at Lawry’s The Prime Rib in Beverly Hills on Feb. 27.

The driving forces behind this event are producers Brad Metzger, a former waiter at The Grill on the Alley and Jacqui Leanza, hosted by “Somebody Feed Phil” creator Phil Rosenthal, along with auctioneer Billy Harris. With 100% of proceeds directly benefiting Jose Andres’ World Central Kitchen and Restaurants Care, Andres’ new Mexican-inspired Butterfly in Culver City is also participating in the event, along with chefs including Daniel Boulud, Ludo Lefebvre, Michael Cimarusti, Suzanne Goin, Josiah Citrin, Nyesha Arrington, Jordan Kahn, Burt Bakman, Jon Yao, Curtis Stone, Jeremy Fox, Michael Voltaggio, and Sherry Yard among others.

The event will also honor a distinguished group of community heroes, including chefs Mary Sue Milliken and Susan Feniger, who have gone above and beyond to support those affected by the wildfires.  

“Food has the power to bring people together, and the hospitality industry is built on community and giving back. Hosting this event is an honor,” said Ryan Wilson, CEO of Lawry’s Restaurants, Inc. Visit ChefsLoveLA.com for details.

Chefs Walter and Margarita are hosting Los Angeles Rise Up on Feb. 24 in partnership with Big Sur Food and Wine and Global Empowerment Mission at République on La Brea Avenue. This benefit event is dedicated to supporting those in the hospitality and service industry who are recovering from the LA fires. Participating chefs include Dominique Crenn, Nancy Silverton, Chris Bianco and more. Tickets available at losangelesriseup.ticketsauce.com. 

Cocktails For a Cause

Ola Sol Benefit Cocktails: Sip for a Cause is an ongoing initiative around LA where some of the top restaurants are creating specialty cocktails with Ola Sol premium agave wine. Sip and support at Cobi’s and Father’s Office in Santa Monica or Butchr Bar in Echo Park. When a drink is purchased, a meal will be donated to the LA Food Bank to feed first responders and displaced Angelenos.

For something alcohol-free, Grammy Award-winner Kacey Musgraves’ Deeper Wellness Smoothie will be available at Erewhon tonic bars through March 5. Featuring plant-based Almond Malk, a portion of proceeds will benefit the Altadena Girls charity, which is working with teenage victims of the wildfires.

Pampering and Fitness

The Beverly Wilshire has teamed up with Isaac Boots, who will lead workout classes that combine body resistance, dance conditioning and targeted reps from Feb. 20 to March (Thursday through Sunday each week) with 100% of ticket sales benefiting World Central Kitchen. Bookings can be made at isaacboots.com.

Entertainment 

The Wallis Annenberg Center for the Performing Arts will hold The Wallis Delivers: A Benefit Evening to Support Wildfire Recovery on April 30 at 6 p.m., hosted by Jane Fonda.  

“The recent Los Angeles wildfires ravaged far too many of our communities, neighborhoods and homes, but they could not dim our hearts,” said Wallis Annenberg. “The outpouring of help and support has been truly extraordinary and a lot more is needed. That’s why we are dedicating this special evening to helping Los Angeles rise from the ashes of the Eaton and Palisades fires.” 

The event also honors philanthropy and the extraordinary generosity of the Annenberg Foundation and Ms. Annenberg. Dominic Ng, Chairman and CEO of East West Bank, a recognized community leader, will be named the first recipient of The Wallis Icon Award, for his visionary leadership in the realm of corporate philanthropy.  For tickets, visit thewallis.org.

Staycations 

The Ranch at Malibu has donated $25,000 to the Los Angeles Emergency Preparedness Foundation Community Brigade, which works closely with the L.A. County Fire Department. This volunteer organization helps communities recover from natural disasters.  As an additional way to show support, through Feb. 17, when you reserve a stay at The Ranch Malibu, it will donate $1,000 from your reservation to the Brigade.

Malibu Beach Inn will be offering discounted room rates for short or long-term stays to those displaced or evacuated. To support the LA dining community, Carbon Beach Club will offer a 20% discount on food to anyone affected by the wildfires in this community and looking to support the hotel’s recovery. All guests have membership-level access to CURE Wellness Center’s fitness and spa facilities, in addition to mental health and telehealth resources. 

The post How to Give Back This Valentine’s Weekend and Beyond appeared first on Beverly Hills Courier.

LAB, now celebrating 20 years, is composed of a talented group of young dancers, only two of whom have been with the company for as long as six years. Their skills and technique are uniformly good and they dance with feeling. Unlike many companies, the men are as good as the women, and with more experience and more challenging choreography they may be able to make the leap from a good company to a very good or even excellent one.

Barak’s interpretation of Richter’s music as a backdrop to the Holocaust was ambitious but unrealized. Costuming and lighting were an attempt to set a somber stage but the dancing was, in its own way, a bit too light and lyrical to convey a message of tragedy. Still, the dancing was very good; the dancers performed well and occasionally the choreography was inspired, allowing the dancers to shine above what was often rather mundane. The second “act,” after intermission, was a bit better and more challenging than the first.

Had Barak not chosen to try to shoehorn the music and dance into an overly ambitious throughline, one would have been able to enjoy the performances as a very good example of the combination of modern dance vocabulary integrated into a more classical format. Instead, the question that repeatedly ran through my mind was, “What does this have to do with the Holocaust?” Leaving the theater, this same question was echoed by many of the patrons. If this was an attempt at a story ballet, it was not successful.

Nevertheless, the technique and emotion shown by the dancers, some homegrown and others from around the world, all with excellent training, were so good that I would love to see them do something else. They will perform “Cinderella” at the Dolby in June and are known for their “Nutcracker,” danced at various venues around town in December. These are more classical pieces, but I would very much like to see what they could do with ballets created by contemporary artists like Christopher Wheeldon, Amy Hall Garner or Robert Garland. The “Cinderella” that they will dance this summer is choreographed by Edwaard Liang, Artistic Director of the Washington Ballet and a choreographer of interest.

Melissa Barak’s vignettes did not challenge or allow the dancers to exhibit all that they may be capable of, and that is part of the problem. An evening like this one should have challenged not only the dancers but also the audience. Instead, it was a pleasant evening overshadowed by trying to understand what any of it had to do with World War II.

Of particular note, however, was the lighting design by Nathan Scheuer who brilliantly adhered to the theme by conveying a prison, barbed wire and desolation with designs that seemed three-dimensional and opaque and were anything but. Abstract trees on the back curtain seemed to move as the lighting magic gave the impression of movement and wind. One was convinced that the walls constructed of light patterns on a scrim were unbreachable. The non-traditional costuming by Holly Hynes was interesting but, with the exception of the gray outfits meant to suggest camp “pajamas,” was not evocative of the theme.

The end of the program was abrupt, coming suddenly with the black curtain falling and then rising, revealing all of the dancers, leaving the audience no time to reflect on the last vignette entitled “Quartet Fragment.” But then, maybe that was the point.

The Wallis Dance Series will continue with A.I.M. by Kyle Abraham on April 11-12. The internationally renowned Mark Morris Dance Group will perform May 16-18. Finishing the season on June 13-14 will be “Gatherings,” a program curated by Benjamin Millepied, Founder and Artistic Director of L.A. Dance Project.

In an apparently altruistic effort at conservation, The Wallis no longer provides printed programs. Accessing a program on your phone is counterintuitive for a number of reasons. An older crowd has more difficulty manipulating QR codes, myself included, and navigating the app is not intuitive. More importantly, however, cell phones need to be turned off during the performance, making it impossible to follow the thread of dance numbers or figure out who the dancers are. Donors are also given short shrift. Their names should be front and center as supporters of the arts and an example and influence to others; if not in a printed program, at least on a welcome board giving credit and thanks to the people who support the organization. Perhaps The Wallis can find a different approach to saving trees by streamlining the written material or offering old-fashioned stapled pages produced by an in-house printer. Please, please, return to the days of old when a tangible reminder of an evening out could be kept and savored long after the event instead of digitally and quickly forgotten.

The post ‘Memoryhouse’—Not to Be Forgotten appeared first on Beverly Hills Courier.

“Emilia Pérez” was a particular favorite of mine and is a leading contender for Best Picture, among many others. There hasn’t been a story this original in quite some time, if ever, and the fact that it’s a musical, or rather a story with musical numbers, makes it even more unique. Led by trans actress and Best Actress nominee (and the less said about her the better), Karla Sofía Gascón,” this story of a drug lord who undergoes surgery to become their true self, “Emilia Pérez” boasts a great script, a terrific cast, including Selena Gomez and Zoe Saldaña, a great score and musical numbers. It has been nominated in almost every conceivable category but is hands down the creation and work of director/co-writer Jacques Audiard. It’s a Spanish-language musical set in Mexico with Latino actors directed by an audacious French director, nominated not just for Best Picture, but it’s also France’s entry for Best International Feature Film. Even if it wins nothing, and that will happen only if there is no justice in the world of cinema, Audiard has crashed through barriers we didn’t know existed. Saldaña gave a golden performance, and my hope is that she wins the Oscar for Best Supporting Actress, like she did at the Golden Globes.

“I’m Still Here,” Brazil’s entry for Best International Feature Film, is an outlier. Its release at the end of the year and the publicity surrounding its theme, a repressive government’s kidnappings of alleged political opponents, may have contributed to its surprise nomination in the Best Picture category. It’s a good movie, but not a great one. Fernanda Torres, winning the Golden Globe for Best Actress may have contributed to her Oscar nomination as Best Actress in a Leading Role. She’s quite good, but as far as I’m concerned, her performance does not rise to the level of some other more worthy actresses in films that didn’t benefit from the remarkable publicity push of this one.

“Nickel Boys” definitely deserves to be on this list, although it’s a real long shot. Based on the excellent novel by Colson Whitehead, director and co-writer RaMell Ross attempted to tell this story of juvenile detention in the segregated South through the eyes of the two incarcerated boys, literally and figuratively. Sometimes it works, sometimes it doesn’t, but the approach is original and deserves recognition.

“The Substance” was an interesting choice, helped, no doubt by Demi Moore’s win at the Golden Globes. “The Substance” is that rare horror film to cross the breach into Best Picture territory. A black comedy about Hollywood’s tendency to cast aside actresses (not actors) of a certain age and the desire to recapture the beauty of youth, “The Substance” tells the tale of an older, but still great-looking, actress who has been deaccessioned from her on-air TV job. She learns of a new process that will let her, on a shared basis, return to her youth and live life again as that sought-after commodity. What happens when her younger self refuses to share and return to her older self, as per the agreement, quickly devolves into a graphic horror story. The plot is interesting, the acting is very good, but, in the end, literally and figuratively, it is a gothic horror show. A recent Opinion piece in the “New York Times” decried the lack of recognition given to horror films at the Oscars. What the writer doesn’t acknowledge is that most horror films are heavy on the make-up and gore and light on the writing, even when the plot is good. Case in point? “Nosferatu,” this year’s remake of the Dracula story that added nothing to the canon, but had the requisite wide-eyed innocence, gore galore and enough bad dialogue to earn a Razzie.

Demi Moore in “The Substance” was good in a role that she has, no doubt, lived but it doesn’t rise to the level of great acting. If she wins, it will be a vote from all the older actresses in the Academy who have unceremoniously been cast out unfairly and recognize themselves in this role. Does it warrant an Oscar? Not in my opinion and I fully understand the unfair judgment based on age. Under the circumstances, Margaret Qualley, the actress who plays the younger self, should have been nominated for Best Actress in a Supporting Role because she is the other half of Moore’s performance.

“Wicked” is number three at the 2024 box office with $433 million in revenue so far and it only opened on Nov. 22. It is a behemoth and deserves to be on this list because it is the whole package—lights, camera, action, great actresses in Cynthia Erivo and Ariana Grande both of whom have been nominated. The only controversy is that director John Chu was left off the nominations list for the Oscars and the DGA. That is a puzzle because there are a lot of moving parts in this beloved musical and they all worked together like gears in sync. Even more surprising was that Winnie Holzman, writer of the original musical and co-writer of the screenplay, was not nominated for adapted screenplay. The biggest movie of the year and neither the director nor the writer was nominated? That’s an unfathomable puzzle.

Snubs? Many people lamented that Denzel Washington was not nominated for “Gladiators II.” I loved his tongue-in-cheek performance but being the best thing in a not very good (but entertaining) movie is as unlikely to yield a nomination as losing out as MVP when you’re the best player on a bad team.

I was very surprised that Saoirse Ronan was not nominated for her outstanding performance in “The Outrun,” a completely overlooked film about a young woman returning home to recover from alcoholism and facing the demons she left behind. And, like the film or not, Amy Adams, in the quasi-horror film “Nightbitch,” gave a multilayered take on postpartum depression and a woman’s search for identity.

And finally, if it had been up to me, I would have included “The Count of Monte Cristo” on the Best Picture list. It’s in French and didn’t have wide exposure but it had the whole package from great acting, terrific story and production design capturing that period in history.

There’s not enough space to dissect the rest of the nominations. There were and still are some terrific films out there and more to come. Go to the theater. See a movie! 

Neely Swanson spent most of her professional career in the television industry, almost all of it working for David E. Kelley. In her last full-time position as Executive Vice President of Development, she reviewed writer submissions and targeted content for adaptation. As she has often said, she did book reports for a living. For several years she was a freelance writer for “Written By,” the magazine of the WGA West, and was adjunct faculty at USC in the writing division of the School of Cinematic Arts. Neely has been writing film and television reviews for the “Easy Reader” for more than 10 years. Her past reviews can be read on Rotten Tomatoes where she is a tomatometer-approved critic.

The post The Oscars—Who Did, Who Didn’t and Who Should Have | Oscar Nominees Part Two of Two appeared first on Beverly Hills Courier.

This year, I have seen all the Best Picture nominees and, unsurprisingly, I have my own opinions on what should and shouldn’t have been on that list. There are precious few surprises in the Best Picture category.

“Anora” is a multiple award winner with accolades for the young star Mikey Madison. To some, she came out of nowhere, but for anyone who saw her in Pamela Adlon’s series “Better Things,” where she played the sullen, rebellious and disrespectful teenage daughter whose anger allowed her to submerge her vulnerability, this is no surprise. She is a definite contender for Best Actress whose performance as a lap dancer/hooker who thinks she’s hit the big time reveals depth that goes beyond the soft porn sex that is organic to her character. She is mesmerizing, and the film, a very worthy contender, reveals surprising layers of complexity unexpected in such a graphic story. It also has, arguably, the best line in any film this year: “Your son hates you so much he married [a hooker] to piss you off.” Even if you haven’t seen the movie, that line says it all.

The odds-on favorite at this point is “The Brutalist.” I dragged my feet getting to this one because, as I told anyone who would listen, “Nothing is going to get me to spend four hours with Adrien Brody.” But went I did, and I’m glad. Not only did Brody surprise me, but the slightly less than 4-hour time frame was worth it. Brody, whose vocal and physical mannerisms have always annoyed me, played the lead, a Holocaust survivor who ekes out a career in Pittsburgh as an architect. Almost soundlessly, Brody relies on his very expressive face and eyes whose depth reveals a hard life survived and a tenacity to continue regardless of the odds, developing along the way a very memorable character. He is, in fact, better than this film, which meanders off in incomplete directions. That is not to say the film isn’t good, because it is; it’s just not as great as it could have been had director/co-writer Brady Corbett developed or dropped some of the unfinished characters and minor storylines that added little, other than time, to the overall plot. Guy Pearce, very credible as the patron of the architect, has some very good moments but, again, it is a lack of development that hinders his ability to fully flesh out the character. Felicity Jones, the architect’s wife, deserves a nomination just because she found more to play in this poorly sketched character than was obviously on the page.

“A Complete Unknown,” an attempt at telling Bob Dylan’s origin story, is a revelation. Directed and co-written by James Mangold, the Bob Dylan on screen unfolds as a musician and writer of genius who was unapologetic in the way he used people and circumstances to rise above the already talented field of folk singers in the Greenwich Village of the early ‘60s. Not only is this film evocative of an era, but it also yields one of the best and most surprising performances of the year. Timothée Chalamet gives a full-throated performance that doesn’t spare the arrogance, narcissism and manipulativeness of one of our greatest living artists. For me, having revered that era since my teens, Mangold has made a masterpiece. Most surprising, however, is Chalamet, a young actor who has always looked like a strong wind would topple him and shaking his hand might break it. And on top of everything, Chalamet sings all the songs with such a verisimilitude you could often swear it was Dylan’s voice. For me, one of the minor weaknesses was Monica Barbaro, who played Joan Baez. I felt none of the fire or earthiness of Baez, and her singing, unlike Chalamet’s, didn’t approach the magic of Baez. Ed Norton, as Pete Seeger, is very good and credible, portraying the fundamental goodness and eventual perplexity of a man whose time has passed.

“Conclave” is an excellent film raising intriguing questions about the process of electing a pope. Although Nanni Moretti’s film, “We Have a Pope,” was a more complex film covering much of the same material, “Conclave” presents the factions, politics and vote-getting strategies of the College of Cardinals as the conflict between ideology and Realpolitik. What is undeniably great about the film is the performance of Ralph Fiennes as the Cardinal leading the election. Subtle, sensitive, realistic and political, Fiennes finds all the colors, and more, to excavate the depth of this character and thus raises the film above some of the less subtle elements. Isabella Rossellini is also nominated for her role as the nun who holds some of the cards. 

Neely Swanson spent most of her professional career in the television industry, almost all of it working for David E. Kelley. In her last full-time position as Executive Vice President of Development, she reviewed writer submissions and targeted content for adaptation. As she has often said, she did book reports for a living. For several years she was a freelance writer for “Written By,” the magazine of the WGA West, and was adjunct faculty at USC in the writing division of the School of Cinematic Arts. Neely has been writing film and television reviews for the “Easy Reader” for more than 10 years. Her past reviews can be read on Rotten Tomatoes where she is a tomatometer-approved critic.

The post The Oscars—Who Did, Who Didn’t and Who Should Have | Oscar Nominees: Part One of Two appeared first on Beverly Hills Courier.

“Black Doves” is a slam-bam spy thriller set in the London of today with the unlikely premise that there is a non-sanctioned sub rosa agency, unallied with any government, gathering highly confidential British security information for sale to the highest bidder. Agents who have been groomed for decades have been placed within governmental departments or, in the case of the agent we will follow closest, married to a ministerial official.

Helen (Keira Knightly), one of the Black Doves most valued assets, learns that her extramarital lover has been killed and she risks everything, her family, her friends and her secret identity as a spy to learn who is behind this murder. Nothing and no one is who they appear to be, but Reed (Sarah Lancashire), head of the secret Black Doves group, will stop at nothing to protect her organization. She calls Sam (Ben Whishaw) back from retirement to protect Helen, but mostly to protect Reed’s consortium.

The storylines are complex, some with giant holes, but it doesn’t matter because these are actors you would follow anywhere playing complex and interesting individuals who are put in or put themselves in dangerous situations from which they will need help extricating themselves. While rooting for the protagonists, you forget that in many ways, they are the bad guys subject to elimination at the drop of a hat, or rather the drop of a Glock or stiletto. Oh, and the good guys aren’t necessarily good guys. “Black Doves” rarely goes where you think it will.

Streaming now on Netflix.

“The Sticky,” a take on the audacious theft in 2011-2012 of more than 9,500 barrels of maple syrup from the main storage facility in Quebec, plays fast and loose with the actual facts in an attempt to put a humorous spin on this bizarre but lucrative heist that was worth more than $18 million CAD.

Ruth Landry is a distressed maple syrup farmer under siege by the mayor, who wants her property and will go to any extreme to force her to sell. Remy, the syrup repository security guard, is treated by all as a dullard, but it is he, and he alone, who sees that a single security guard at the regional syrup storage facility is not enough. When his suggestions fall on the deaf ears of his cheap employers, he makes mention of this vulnerability to Mike, a local collector for the Montreal mob. Mike sees this as his ticket to the big time. Ruth, in desperate need of money, is recruited to work out the details, and it’s a good thing because there are more deficits to this team than assets, primarily the volatile and dimwitted Mike.

They don’t have to break into the depository because Remy is their inside man, but getting the syrup out and finding another place to store it is the real dilemma. Mike leans toward guns; Ruth leans toward brains and a well-thought-out execution with a fence for the goods. Keeping Mike under control will be the trick because his meltdowns come more and more frequently as the day of the robbery approaches.

I wish that this series had been better because its bones were great. The “based on a true story” aspect only goes as far as the idea of the heist itself, but I would watch Margo Martindale (Ruth) read the phone book (I don’t know what the tech equivalent to that would be) and she is the reason to see this meandering series. Guillaume Cyr as Remy is fine and Guy Nadon as Leonard, the greedy bureaucrat, has his moments of hilarity as a black-hatted villain. Unfortunately, Chris Diamantopoulos, Mike, plays his character completely over-the-top and is more of a distraction than a fully developed character. The directors and writers must have decided that more was never enough with Mike and more was the pity. Watch for a special surprise guest at the end when Mike’s mob boss makes an appearance, almost single-handedly pulling the show back on track.

Now streaming on Amazon Prime.

“Man on the Inside” had the inside track from the beginning. Starring Ted Danson as Charles, recently widowed and retired, he is, as his daughter Emily suggests, in need of a project. Looking through the classifieds, he spots an ad from a private investigation firm looking for a senior citizen. Julie, a private investigator, needs someone to go undercover at a retirement home. There have been recent thefts and an outsider who can blend in is the likely choice to investigate on the sly. Charles jumps at this adventure and arrives at the Pacific View Retirement Home with his “daughter” Julie. As a single man, he is immediately accosted by all the women and disdained by the few men. Didi, the smart and compassionate director, is both suspicious and under suspicion.

There will be conflict, there will be more thefts, there will be mistaken identities, but mostly there will be a connection back to life and to his somewhat estranged daughter Emily, who is none too pleased with this new endeavor. And this, dear friends, will only be the beginning because “A Man on the Inside” has already been renewed for a second season.

Created by comedy wizard Mike Schur, the primary reason to watch this is Ted Danson who has lost none of his appeal or ease in front of a camera. There are plenty of familiar faces doing cameos as the “inmates.” No new ground is broken and the comedy is soft, not laugh-out-loud, but there are worse ways to spend an evening and it finds its footing after about the fourth episode of the eight.

Now streaming on Netflix.

“Jerry Springer: Fights, Camera, Action” is a rock ‘em sock ‘em take on the television career of a man who started out high as the mayor of Cincinnati and ended up low, but very, very rich and changed the landscape of daytime TV.

Starting as just another mundane afternoon talk show competing against the behemoth that was “The Oprah Winfrey Show,” a new producer was found for the “Jerry Springer Show” to shake things up. Richard Dominick cut his teeth in the tabloids devising can’t-miss headlines like “I was Bigfoot’s love slave.” He knew what a headline could do and was determined to turn the talk show genre upside down. He loved chaos and encouraged it. Real people, some with real problems, were booked, not knowing that the most salacious aspects of their stories would be milked for audiences who were not unlike those watching the games in the Roman Colosseum, lusting for blood. Some of his shows were “I Married a Horse,” which was, literally, about a man in love with his miniature horse. Most notorious was the episode called “Secret Mistresses Confronted.” It resulted in the murder of one of the women by the other.

Weighing in at two episodes, this docuseries flies by, giving you an up-close and personal look at a complicated man who didn’t know when enough was enough.

Now streaming on Netflix.

“No Good Deed” is something of a kitchen sink drama that takes several episodes before finding its footing. Lydia (Lisa Kudrow) and Paul (Ray Romano) have decided to sell their home in Los Feliz. There is a troubling secret that inhabits this home where their son died under mysterious circumstances that will be revealed bit by bit, morphing from one thing to another. His death has paralyzed their relationship and Lydia’s career.

It is a very desirable house in a highly sought-after neighborhood. “No Good Deed” tracks the four different families interested in the home, each with a different motivation. Margo (Linda Cardellini) and her husband, ex-Soap star JD (Luke Wilson) live next door but crave this one. Dennis (O-T Fagbenle) and his pregnant wife Carla (Tenyoah Parris) think this is the perfect home for their expanding family. Unfortunately, without his mother (Anna Maria Horsford) contributing a substantial amount to the down payment, it’s out of their range. And finally, Leslie (Abbi Jacobson) and Sara (Poppy Liu) believe this is the dream home where they can start a family.

It takes too long to engage in the story but with the entrance of Lydia’s brother Mikey (Denis Leary), a shady sort, the mystery starts to be revealed. It’s all a bit over the top, but over the top is the point. No one is who you think they are and everyone has secrets.

Now streaming on Netflix. 

Neely Swanson spent most of her professional career in the television industry, almost all of it working for David E. Kelley. In her last full-time position as Executive Vice President of Development, she reviewed writer submissions and targeted content for adaptation. As she has often said, she did book reports for a living. For several years she was a freelance writer for “Written By,” the magazine of the WGA West, and was adjunct faculty at USC in the writing division of the School of Cinematic Arts. Neely has been writing film and television reviews for the “Easy Reader” for more than 10 years. Her past reviews can be read on Rotten Tomatoes where she is a tomatometer-approved critic.

The post TV — Churning Up the New and No Longer New appeared first on Beverly Hills Courier.

It is 1971 and the Paiva family lives comfortably at the beach in Rio de Janeiro. Eunice and Rubens enjoy a quiet life of joy with each other and their five children. Brazil has been under a military dictatorship since 1964 and, for a short time after, Rubens, a congressman in the pre-junta government, had to leave Brazil. Forcibly retired from politics, he works at his architecture firm designing for others as well as the dream house he has planned for his family. But there has been an uptick in government suppression and much like, actually identical to, the “desaparecidos” (the disappeared) in Argentina, also under military control, suspected leftists, so-called agitators, long-haired students and former politicians have been arrested and sequestered from view. Many were never seen or heard from again.

Rubens’ closest friends have chosen to move to London and beg him to come with them. An optimist at heart, he refuses but allows them to take his eldest daughter with them, fashioning it as a gap year. She has been traveling in dangerous company and the Paivas see the wisdom in removing her from the scene. Unfortunately, his optimism is misplaced and he, too, is soon arrested when a group of men, none in uniform, come to the house. Declaring that he will return as soon as he answers some basic questions, they leave two thugs at the house to monitor the family’s comings and goings. Not only does he not return but more para-militarists arrive at the home to arrest Eunice, subjecting her to a surreal experience in a hidden military jail full of unknowns and the unknowing, many of whom scream in torture.

Salles builds his story gradually, introducing us to the normality of the Paivas as they play and work and live the small annoyances and joys of every close-knit family. Not ostentatious, but it is clear they are wealthy, with staff,  private schools and the leisure of bathing daily in the sea outside their front door. 

The family is feeling the loss of the patriarch in myriad ways. His interactions with them all are documented in home movies that they enjoy watching and reliving. The nightmare intensifies when Eunice is snatched away. Returning home, she is changed and determined, with a steely-eyed focus. There had been rumors for some time that people were being abducted, never to return home. All she has ever wanted, or will want, is a definitive answer. She realizes that she will never be told what his alleged crime was, but she wants, needs to know whether he is still alive and, if so, where he is being held. This, basically, is what the film is about—the search for truth.

“I’m Still Here” refers to Eunice. It is her daily invocation just to know. Her bravery in the face of defeat is a portrait of valor, fighting against the odds for truth. A woman, alone in an oppressive patriarchy, fights and we follow.

Fernanda Torres, as Eunice, effortlessly exhibits a full range of emotions, sometimes within mere moments. She makes you care about Eunice and understand the untenable situation into which she has been thrust. She ages before your eyes, and in a casting coup, her mother, the 95-year-old Fernanda Montenegro, plays Eunice in her later years. Montenegro, it should be noted, was nominated in 1999 for Best Actress at the Academy Awards for her stunning role in “Central Station.” In a fitting tribute to those two generations, Torres recently won the Best Actress in a Drama at the Golden Globes. 

Selton Mello plays Rubens Paiva. Sympathetic, empathetic, joyful, serious, he paints his character with a nuanced palette. Salles and his writers have given each of the Paiva children fully developed characters imbued with adolescent prickliness, loneliness, love and closeness.

This is a powerful story, one that affected far too many. Brazil was only one of many countries whose unelected military dictatorships disappeared their enemies, many of whom were merely exercising a long-abandoned right to dissent. In Argentina, the wives and mothers of the “desaparecidos” still maintain a vigil outside the Casa Rosada (their White House) demanding answers, answers that rarely come. “I’m Still Here” is about demanding answers.

This is a swiftly moving film that rarely flags. If there is a fault, it is an all-too-common one. Salles had too much that he wanted to say. When he focused on Eunice’s steadfast demand for answers, one that she would maintain for many years, the movie is superb. When he deviated from his focus on the wrongs inflicted on the Paiva family and its political implications, he lessened the impact that he had established. Following Eunice’s activities as she established herself independent of her search became more of a “and then she did this and then she did that” kind of narrative. Yes, Eunice Paiva was an interesting and courageous woman who broke barriers and defied expectations, but this is a movie about a search for answers. By expanding the premise he originally set out, he made the ending feel more like a coda.

This is a must-see movie if only from the standpoint that we should never forget what happened and try to make sure it doesn’t happen again, there or anywhere.

In Portuguese with English subtitles.

Opening Jan. 17 at the Laemmle Royal and AMC The Grove 14. 

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Michael Gracey, the director, was entranced with Williams the first time he met him. The real-life Williams is a character straight out of a phantasmagoric music video, one that might have been created by Terry Gilliam or Luis Buñuel and choreographed by Bob Fosse, minus the jazz hands. In Williams, he saw a life lived at supersonic speed whose inevitable crash resulted in a fathomless crater only to rise again slowly like a phoenix out of the ashes. And who better to curate that story, a story that has been told a million times before but rarely as well or realistically, than Williams himself? And here is where maudlin reality meets surreal originality.

Williams has referred to himself on multiple occasions as a performing monkey, whether showing off for his schoolmates, dancing to the tune of record executives and managers, performing on stage, or retreating into the pain from the poking and prodding of visitors to the zoo of his existence. And this is how Williams and Gracey chose to tell his story. The character of Robbie Williams is portrayed by an ape (with prosthetic makeup that defies description) and voiced by Williams himself. The effect is stunning. It both draws attention to his bizarre reality and becomes almost normalized while heightening the reality of Robbie’s eccentric worldview from the beginning. You will be surprised how acclimatized you become to this anthropomorphic creature.

Born the son of pub owners and raised by his father on the music of Sinatra, Davis and Martin, his own personal Rat Pack touchstone, Williams, a poor student, knew that all he wanted out of life was to be famous. He didn’t think he had any particular skills, but he knew he craved the spotlight fueled by a narcissistic father with unreachable entertainment expectations and a loving grandmother, Betty, who was always there with unconditional love. “I wouldn’t change a thing about you,” was her mantra to him. He was close to flunking out of school at age 15 when he spied an ad in the classifieds for singers who could dance for a new boy band being put together; manufactured is a better description. Audacious in his choice of music for the audition with manager Nigel Martin-Smith, his sheer chutzpah wins him the gig and the 15-year-old Robert, now rechristened Robbie, is off and running. Modeled after “New Kids on the Block,” “Take That” was conceived in 1990 and built around singer/songwriter Gary Barlow, with bandmates Howard Donald, a car painter; Jason Orange, a break dancer; Mark Owen, a bank teller; and Williams, the youngest, having just turned 16.

Immature, insecure, with uncontrollable bouts of anxiety, Robbie not only finds courage in alcohol and drugs but also envy and jealousy. Wildly popular with tween girls, “Take That” is a well-choreographed, singing sensation and rises to the top of the charts. But everything is centered around Barlow with Robbie resentful of being relegated to the background. Robbie, the problem child (or in this case the problem performing monkey) becomes increasingly unpredictable, unhappy that his compositions have all been ignored in favor of Barlow. By 1995, upset by his temperamental instability and increasing drug use, the band drops him from their world tour, in effect cutting him loose, eventually leading to the breakup of the band. Now, for better or worse, they are all on their own.

Not yet 22, Williams’ solo career was a success from the beginning and continued unabated for almost 10 years despite his increasing use of drugs. Seemingly unable to stop the demons, his professional and personal relationships careen down the slope of steadily higher doses of narcotics and alcohol. Ironically, Robbie the monkey is the monkey on his own back and at some point something will give; but this is a journey for you to take and not for me to tell.

“Better Man” is precisely that, the story of a better man, or monkey if you will. Williams as a monkey at the beginning is different from the ape at the end. A genuinely affecting portrayal of mental illness hidden in the aura of the crowd’s adoration, his depression and anxiety are as heartbreaking as they are horrifying. When told that mental maturity stops at the age when one achieves greatest success, he comments that he stopped growing at 15 and has been acting out as a 15-year-old ever since.

It’s always hard to sympathize with the problems of the rich and famous, and equally hard to analyze the root causes. Certainly, success came suddenly for the boy who wanted nothing more than to be famous without the need for that fame to come from achievement. Instead of recognizing his enormous talent, he retreated deeper into narcissism, allowing his bad behavior to mask the insecurity and lack of worth that he felt. Perhaps it can be traced to the 15-year-old’s desires that never understood how to earn respect or, as is too often the case in psycho-dramas, it was daddy issues. His father, a man of little talent who left the family to chase his entertainment dreams, ignored Robbie, preferring to live in a trailer and perform in low life pubs for marginal pay. Certainly, he was willing to come back sporadically into Robbie’s life when fame hit his son and might reflect off him. It didn’t and this only seemed to magnify Robbie’s lack of self-worth. But again, these are first-world problems and if this movie weren’t so impossibly entertaining, you wouldn’t care to follow the thread. But follow it you will, and willingly, because Gracey, co-writing the script with Oliver Cole, Simon Gleeson and Robbie Williams, has produced a wildly entertaining movie that doesn’t just ask how Robbie was able to survive, but also, why haven’t I ever heard of him. His voice is magic, his music compelling and his presence magnetic. He succeeded on the world stage without any American hits.

Jonno Davies is the model for the monkey. Williams was digitally scanned and motion-captured as he sang so that his expressions and mannerisms could be incorporated into Davies’ motion-captured performance. It’s all above my pay grade, but suffice it to say, visual effects (VFX) and suits laden with LEDs played a major role in fusing Davies and Williams into the very realistic monkey.

Steve Pemberton played Robbie’s father Peter Williams who eventually went by his stage name Peter Conway. Pemberton is the very embodiment of every man (or woman) who leaves a family in the lurch because he lacks the inner stamina to address an issue. The collateral damage in this case was the needy Robbie who idolized his dad. Pemberton brings ambivalence and jealousy into his performance. Kate Mulvany plays Robbie’s mother, Janet. It was a shame that her character remained so undeveloped, because without her strong stability Robbie wouldn’t have been able to fly on his own in the first place. Alison Steadman was Betty, his beloved grandmother. Steadman has the wonderful ability to convey depth of feeling with few words. Damon Herriman is Nigel, the creator and manager of “Take That.” Herriman, an extraordinarily versatile actor known for his portrayal of Charles Manson in “Once Upon a Time in Hollywood” and as the criminally moronic redneck Dewey Crowe in “Justified,” is the very embodiment of driven and ambiguously untrustworthy. It’s all in the eyes and that tight smile. I can imagine that he feasted on that role. Raechelle Banno, an extraordinary dancer, is Nicole, Robbie’s first love whom he betrays countless times until, recognizing the depth of his damage, she gives up. Her graceful fluidity envelops him and us; her eyes tell the story of the cost.

The production values are off the scale and this film will leave you reeling from the rock footage, putting you center stage with the boys. This is also a primer in rock show production and backstage preparations and shenanigans. The choreography by Ashely Wallen is not just present in the dance sequences but in the way movement seems to blend into movement. The dance sequence on the yacht between Nicole and Robbie is a high point in the film, reminiscent of the duet between Emma Stone and Ryan Gosling in “La La Land.”

I’m in love with this movie—the singing, the dancing, the drama, the hilarity. The story is as old as Greek mythology and only goes to prove that if you tell a story well, it doesn’t matter if it’s been told before. This story is exceedingly well told. I wish the Robbie of today would tour the U.S. Alas, no.

Opening Jan. 10 at the AMC Century City 15 and The Grove 14.

Neely Swanson spent most of her professional career in the television industry, almost all of it working for David E. Kelley. In her last full-time position as Executive Vice President of Development, she reviewed writer submissions and targeted content for adaptation. As she has often said, she did book reports for a living. For several years she was a freelance writer for “Written By,” the magazine of the WGA West, and was adjunct faculty at USC in the writing division of the School of Cinematic Arts. Neely has been writing film and television reviews for the “Easy Reader” for more than 10 years. Her past reviews can be read on Rotten Tomatoes where she is a tomatometer-approved critic.

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“While many participants came from career technical education pathways such as fashion, journalism, TV production and audio media production, others applied because they were eager to explore areas they may not typically have access to,” said Rebecca Starkins, Executive Director of Communications and Strategic Initiatives for the Beverly Hills Unified School District. 

“I didn’t realize prior to this day that there was a great amount of work done behind the scenes to create a polished and seemingly effortless show day,” said Aunaleah Ellis, a 12th-grade student at BHHS. “The Beverly Hilton was a beautiful hotel, and it was amazing how it was transformed for the ‘Hollywood’s Party of the Year,’ the 2025 Golden Globes. I loved seeing the different roles in the production and the individuals focused on their work. It was inspiring to see the production staff work together to create this beautiful event.”

With support from Golden Globes executives, city personnel, crew and celebrities, students developed their talents and gained invaluable insight into journalism, event production, fashion design, marketing, and public relations. 

On the first day of the program, 22 students were selected to participate in the ‘Golden Globes Insider’ portion and tour the Beverly Hilton Hotel as it was being transformed. The group had the chance to see how the red carpet was constructed, tour interview booths and media trailers, and learn the technical elements of producing a globally broadcast event. According to the Golden Globes, the 82nd annual awards show ratings surpassed 10 million viewers and had 40 million social media interactions. 

On the second day of the program, nine BHHS students had the chance to interview key behind-the-scenes players, including Rick Pizante, Senior Vice President of Dick Clark Productions, Helen Hoehne, Golden Globes President, and Sam Kim, Hotel Manager of the Beverly Hilton. Additional interviewees included Golden Globes Executive Producer and Showrunner Glenn Weiss, Golden Globes Head Engineer David Crivelli, Golden Globes Art Director and Red-Carpet Designer Zeya Maurer and more.

The program culminated on the day of the Golden Globes, where six BHHS students, dressed in black tie, were strategically placed on the red carpet to attract the attention of celebrities and conduct interviews on the scene. Students spoke with over 30 Hollywood stars, including Kerry Washington, Nicole Kidman, Adam Sandler, Glenn Close and Jennifer Coolidge. 

“She was so open and genuine,” BHHS student Nora Nikfarjam said regarding her interview with Glenn Close. “She talked about the importance of perseverance in a creative career, and I’ll never forget her saying that failure is just another step toward success.” 

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It is the best of times and the worst of times in France. Napoleon is exiled to Elba and the royals are back in power. But that tenure is in danger because of rumors that Napoleon’s legion of followers are planning his return. 

There has been an accident at sea and a ship is on fire, its passengers lost with the exception of a woman floundering in the water. Captain Danglers has ordered his crew to charge ahead and ignore any survivors from the other ship. Sailor Edmund Dantès, ignoring the order, dives into the water and rescues the woman. Enraged that his orders were disobeyed, he restricts the woman, Angèle, to cramped quarters, commandeers her belongings, including a hidden letter, and tells Dantès that his career is over. The letter? A missive signed by Napoleon to his followers in France. The woman? A spy and anti-royalist. Danglers will find a use for that letter and will profit handsomely. As for Dantès, things don’t go as planned. The owner of the fleet is impressed by his bravery and promptly fires Danglers and replaces him with Dantès, making the 22-year-old Dantès one of the youngest captains in France. Seething, Danglers is unhinged but with a plan to even the scores.

Dantès, a man of humble origin, is thrilled that he now has the means to marry the woman of his dreams, Mercédès, the aristocratic daughter related to the owners of the estate, the Morcerfs, for whom the Dantès family has served for years. It was Mercédès’ relatives, the Morcerfs, who sent Dantès to the Naval Academy and will be thrilled with his promotion; less thrilled, perhaps, with the engagement of their daughter to the son of a servant. But love should conquer all and even Mercédès’ cousin, Fernand de Morcerf, seemingly supports him, all the while secretly fuming with jealousy.

To round out the trio of anti-Dantès schemers is Gerard de Villefort, the king’s prosecutor. Angèle, rescued from drowning by Dantès, is Villefort’s sister and a follower of Napoleon, something that would derail his promising career with the royalists. When Danglers appears with her letter, Villefort is ensnared in a trap, one where Danglers offers him a convenient out benefiting them both. Villefort must make sure that no one discovers who was carrying it, and when Danglers offers the prospect of framing Edmund Dantès with the letter, he jumps at it.

The King’s guards are sent to the church where Dantès and Mercédès are about to say their wedding vows, taking him away to the prosecutor’s offices. Proclaiming to be convinced of his innocence, Fernand rides to his rescue. Instead, Villefort convinces Fernand that bringing Dantès to trial will sully the Morcerf name. Morcerf immediately changes sides and swears in a letter that he knew Dantès to be a follower of Napoleon and a traitor to France. Rather than put him before a jury, Villefort has Dantès spirited away to the Chateau d’If, an impregnable prison fortress on an island off the coast of Marseilles, never to be seen again, or so they all assume.

Already imprisoned for four years, ragged, starving, without hope, Dantès is contemplating suicide when he hears noises behind one of his walls. A prisoner in the adjacent, seemingly impenetrable, cell has broken through, mistakenly thinking that he was about to reach the outer wall to the sea. He is the Abbé Faria, imprisoned when, as the last guardian of the fortune amassed by the Knights Templar, he refused to divulge its location. He had been digging for years to arrive at Dantès cell and, with Dantès’ help, and if they’re lucky, it might only take another 10 years to make it to the outside wall and freedom. Recognizing that Dantès is poorly schooled, he offers to teach him while they work. It will be a university of one where he will learn modern and ancient languages, philosophy, history, mathematics and science. And when they reach their goal, Faria has promised to split the hidden spoils with him, making him rich beyond measure.

But this is less than an hour into the movie because it’s not about his escape, it’s about what he does afterwards. Edmund Dantès has understood one thing perfectly. Revenge is a dish best served cold. As the mysterious Count of Monte Cristo, returning to Paris where all his targets now live, he is sought after by one and all. Wealthy, educated, sophisticated, aristocratic, what he has in store for his enemies will surprise even them. Dante’s wiles and long-range planning beg the question, how much is enough retribution or can it ever be enough?

Written by Alexandre Dumas, a prolific author of adventure novels, denigrated by academics and revered by readers of all ages, he was almost as interesting as the characters he wrote. His father, Thomas-Alexandre, was the illegitimate product of a slave and a nobleman, the Marquis de La Pailleterie. The Marquis took Thomas back to Paris to educate him, but in a parting blow to his concubine and their daughters, he sold them to another. Thomas, ineligible to inherit the estate of the marquis, was granted his freedom and sent to a military school. He started his career in the army as a lowly soldier, rising to the rank of general at the age of 31 under Napoleon. Upon his early death in 1806, Alexandre, aged 4, and his sisters would suffer greatly until he began his writing career, first as a journalist and then as a playwright. His plays and minor works, works that were written with collaborators, brought him wealth but nothing like the acclaim and fortune he received for his most important novels, “The Corsican Brothers,” “The Three Musketeers” and “The Count of Monte Cristo.” With the money he earned from the latter two, he built a country home outside Paris and called it the Château de Monte-Cristo.

Dumas wrote in an almost cinematic style. His books were page-turners with scenes that were visual, exciting and visceral, making them easy to translate to the big screen. And they have been, over and over again since 1905. De la Patellière and Delaporte have taken minor liberties with some of the characters but those changes are almost seamless in terms of the original story.

No one does period drama better than the French. The British come close and Americans get it right more often than not, usually using locations in Czechoslovakia and Hungary that double for 18th and 19th-century Western Europe; but nothing like the French who have preserved more of their landscape and architecture. This “Count of Monte Cristo” is a feast for the eyes using existing chateaux and surrounding grounds to lend an authenticity that is hard to duplicate. Employing sleight of hand, the hair and makeup department create character and plot points with wigs and masks. The costuming is period perfect befitting the wealth portrayed by the main characters and the rags of the wretched, especially those of Edmund as he suffers in the prison fortress. The cinematography by Nicolas Bolduc is peerless, capturing the lushness of the countryside and the austerity of the unlit prison.

But this is nothing without the superb actors, many of whom are stars of the Comédie Française, attesting to their theatrical experience and the subtlety they bring to their roles. Of special note are the villains. Bastien Bouillon brings an ambivalence to the evil narcissism of Fernand de Morcerf, whose betrayal of Dantès may be the greatest. Patrick Mille, as Danglers, has the self-satisfied air of a man who cheats, schemes and is unapologetic about his lack of moral compass. It is Laurent Lafitte as Villefort who brings a gravitas to the prosecutor who distrusts all and, in having the most to lose, treads more carefully around the others, always setting up a fall guy whenever possible. But there is no Count of Monte Cristo without the breathtaking performance of Pierre Niney, who brings a believability to his Edmund Dantès who uses all the colors of an emotional palette and his expressive eyes to tell a story even when there is no dialogue. He is a veritable marvel of depth, character and believability.

If you like a good story, there is none better than this must-see movie.

In French with English subtitles.

Now playing at the Laemmle Royal, opening wider on Jan. 3. 

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Arriving from Minnesota, a 19-year-old vagabond longing for a platform with a steadfast belief in his overpowering talent, Dylan did make his way back to New Jersey to the hospital where his hero, Guthrie, was incarcerated, not so much by the doctors and nurses but more by the end-stage Huntington’s disease that has him locked into palsies, slurred incomprehensible speech and immobility. It is Guthrie, the troubadour of the Depression and Dust Bowl, composer of “This Land is Your Land,” “John Henry,” “Hobo’s Lullaby” and “House of the Rising Sun,” that he sought out to pay homage to the man who has inspired him to follow in his footsteps. Auspiciously, Pete Seeger, the folk singer who popularized many of Guthrie’s songs and took over the mantle of the people’s balladeer fighting for justice, was there that evening as well. After hearing one of Dylan’s compositions, he’s moved to mentor him in the folk song clubs that dotted the Greenwich Village landscape.

Seeger gave Dylan the credibility that opened doors; Dylan’s outsize talent, immediately evident, brought him onto those stages where he interacted with the stars of the day, foremost among them a soon-to-be-smitten Joan Baez. Although his love affairs and dealings with agents, record company executives and fellow musicians are all presented, this is primarily about Dylan’s astonishing rise and evolution as his generation’s voice, one that continued to morph, over the unbelievably short span from 1961 to 1965. These were the years of “Blowin’ in the Wind,” “A Hard Rain’s A-Gonna Fall,” “Like a Rolling Stone,” “Tambourine Man” and “Times They Are A-Changing,” among too many to mention. In that short period he changed the face of music, not just folk music.

What Mangold has given us is a deep dive into the psyche of a man people thought they knew and understood but didn’t. From the outset, Dylan’s arrogance was not the arrogance of youth but the self-confidence of someone who didn’t need the approval of others. His goal was fame and recognition, but he was totally unprepared for the lack of privacy and the public’s expectations that came with it.

He knew who he was and if others, a group that would include almost his entire circle of friends, gave him their interpretation, that wasn’t his fault. He was who he was. This portrait of Dylan’s genius is also unapologetically narcissistic, manipulative and cruel. He’ll allow nothing or nobody to get in the way of his vision, and there is a body count along the way that includes Pete Seeger, Joan Baez and Sylvie Russo, a stand-in for Suze Rotolo, the girlfriend who left him.

Biopics of the living are notoriously difficult to make. Too often they are either hagiographic or disparaging. Mangold presents what seems to be a clear-eyed vision of a complicated man with singular focus. The actions speak for themselves as does the talent. Even in “No Direction Home” (2005), Martin Scorsese’s outstanding documentary of these same years in Dylan’s career and “Don’t Look Back” by D.A. Pennebaker that follows Dylan’s 1965 tour in the U.K., Dylan, the man, remains an enigma. From the moment he left home, he determined to be knowable only to himself, unknowable to others, a process that allowed him to morph fully into whatever he wanted to be whenever he chose. Most impressively, Mangold avoids those expositional passages that are meant to supply backstory, whether necessary or not. Watch Sylvie as she discovers his personal album marked Robert Zimmerman, her first clue that he hasn’t been entirely forthcoming about his background. It is further proof that he is who he creates himself to be, regardless of past lives.

Mangold has not cracked the enigma code of Dylan, but he has presented a version that operates on a more visceral level. His choice of actor to portray a Dylan who plays at being Dylan was sheer genius, completely out of left field. Timothée Chalamet’s almost translucent features intensify his Dylan’s inscrutable motivation and fluid loyalties or rather lack thereof. Unlike Dylan’s rough-hewn appearance, Chalamet has a delicate physical beauty that is used to underscore his musical talent with a faux vulnerability that projects animal magnetism. The wispy nature of his frame leaves the false impression of weakness, something that Chalamet’s Dylan uses to great advantage, lulling his supporters into viewing him as an ally rather than a competitor. Most surprising is that he has a voice and vocal range that are spot on, an audible doppelganger that knows how to deliver the emotion, anger, loss and love that resides in the lyrics to perfect effect.

Chalamet makes you want to like his character even when he manipulates others to his advantage and their failure. He plays with the likeability of his character like a cat plays with a shiny object. Does his talent, his genius, excuse some of his behavior? You’ll have to answer that question yourself, but for me, and I am nothing if not judgmental, it does. His Dylan does not hide who he is or what his motivations are; it is others who recklessly choose to view him through a different lens. He seemingly betrays so many around him, but it’s all in support of his work. That others project their own values or feelings onto him is not his problem.

Chalamet’s portrayal is the work of a master who completely and believably transformed himself into another. Certainly that is what acting is all about but rarely, very, very rarely, does anyone succeed at the level Chalamet has succeeded in this incredibly difficult role. He’s made us understand the unknowable, if not permanently, at least for a moment.

Edward Norton as Pete Seeger delivers a man so thoroughly tied to his generation that he cannot move beyond it. As his followers diminish in number, he continues on. He truly believes in Dylan’s talent but is perplexed that it leaves no room for him. Norton’s Seeger is both victim and enabler, whose sense of fair play commends and ultimately undoes him. Norton gives three dimensions to a truly good man lost in time. He was caught up in Guthrie’s depression-era mentality that was, to Seeger’s detriment, a stepping stone to the disenfranchisement of the younger generation. Norton’s Seeger didn’t understand the angry young man of the ‘60s. Norton’s marvelous rendition of “This Land is Your Land” was, in effect, the bridge between Guthrie and Dylan.

Other notables in the cast were Monica Barbaro, who was able to play the emotions of Joan Baez, but whose nice voice was not good enough to illustrate how much brighter her star shone for a time. It is, perhaps, unfair to hold her singing to such a high standard, but it is a standard already set by Chalamet’s vocal interpretations. Elle Fanning plays Sylvie with possibly a bit too much co-dependence considering that she should have been seen as independent of her boyfriend’s self-focus. Whether this was in the writing or directing, Fanning’s Sylvie feels slightly less complete. Scoot McNairy as Woody Guthrie has the unenviable task of embodying a horrible disease that locks him into spasms and incomprehensibility. His eyes, however, are his weapon and the non-verbal communication between the young Dylan and the dying Guthrie are some of the most resonant moments in the film.

Using downtown Jersey Avenue, production designer François Audouy transformed this Jersey City street into MacDougal Street of the early ‘60s in exhaustive, realistic detail from the garbage in the streets to the overflowing ashtrays in the bars. His New York becomes a defined character in this film. The hair, makeup and costume design subtly but effectively transformed Chalamet’s delicacy into Dylan without mimicking the man.

“A Complete Unknown” is a must-see triumph. James Mangold has always been a force to reckon with but never more so than now. See it in a theater and be prepared to be swept up by this master work.

Now playing at AMC Theaters throughout L.A. including the AMC Century City15 and the Santa Monica 7. 

Neely Swanson spent most of her professional career in the television industry, almost all of it working for David E. Kelley. In her last full-time position as Executive Vice President of Development, she reviewed writer submissions and targeted content for adaptation. As she has often said, she did book reports for a living. For several years she was a freelance writer for “Written By,” the magazine of the WGA West, and was adjunct faculty at USC in the writing division of the School of Cinematic Arts. Neely has been writing film and television reviews for the “Easy Reader” for more than 10 years. Her past reviews can be read on Rotten Tomatoes where she is a tomatometer-approved critic.

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Dinner and Dancing

The Four Seasons Hotel Los Angeles at Beverly Hills has recently debuted a speakeasy concept, Veil & Velvet, that has transformed the former bar-lounge into a sexy venue inspired by old-school piano bars and A-list private dining clubs.

Rich wood paneling, leather seating and velvet banquettes are perfect for a cozy night with the martini menu and a Wagyu burger “Royale with Cheese” served with thin truffle fries. The most playful and indulgent addition is the “press for caviar button” that can be found inside a small silver jewel box on the table. The options are full Petrosian service or just a bump served on a pearl spoon in an ice crystal vessel. Decadent desserts from new Executive Pastry Chef and Food Network personality Riccardo Menicucci include a banana split or Napoletano with gold dust.

Venture back to the Roaring ‘20s with the Great Gatsby New Year’s Eve Celebration on Dec. 31 from 5 p.m. to 1 a.m. (minimum spend per table of two is $400) that includes live entertainment and midnight Champagne toast.

Live Entertainment

For a stunning rooftop skyline setting, Dante at the Maybourne will offer a cocktail party evening on New Year’s Eve from 8 p.m. until 12:30 a.m. Enjoy signature libations, passed canapés and gourmet food stations, along with live entertainment ($295 per person).

If you’re in the mood to boogie, head over to the New Year’s Eve Disco Ball party at Espelette at Waldorf Astoria Beverly Hills. The night will feature live entertainment, passed canapés, and an open bar with cocktails, wine and beer ($275 per person). The Rooftop Beverly Hills will offer an á la carte brunch and three-course prix fixe dinner ($275 per person) and party, featuring the flavors of East and West.

If a multicourse, seated dinner is more your style, AVRA Beverly Hills is offering a five-course New Year’s Eve dinner with seatings beginning at 9 p.m. The special menu includes Chilean sea bass, prime New York strip and lobster pasta, paired with fine wines. Guests will enjoy live music, a DJ, party favors, a photo booth and Champagne toasts throughout the evening ($275 per person).

Jade on Canon Drive is offering an array of prix fixe dining and live entertainment options beginning with seatings at 4:30 p.m. or 7 p.m. to a late-night party starting at 10 p.m. ($150 per person). There is also a VIP table experience from $250 per person that includes sushi specialties, a bottle of Taittinger Champagne, plus premium bottle service. Or you can opt for open bar tickets starting at $125 for entry at 10 p.m. or $75 for late entry after midnight.

On New Year’s Eve, BOA Steakhouse on Sunset Boulevard will serve a special prix fixe menu featuring hamachi tartare, grilled lamb lollipops and a maple leaf duck breast by Executive Chef Brendan Collins. Festivities also include a Champagne toast at midnight, a live DJ and party favors. (First Seating 5-7 p.m. for $125, Second Seating 7:30 p.m. for $215).

Sunset Plaza Drive seafood destination Saltie Girl will ring in the New Year with Champagne, oysters and live music. With a minimum spend of $90 per person, guests will receive a complimentary Champagne toast and hors d’oeuvres for the table. From 9 p.m. to 1 a.m., the dining room will morph into a piano bar, and they encourage guests to have their song requests ready.

Elegant Dinner Options

Celebrate like a star at The Beverly Hilton’s CIRCA 55. On Dec. 31, guests are invited to “Start the Night in Style” with premium cocktails from 6-9 p.m. From 5-10 p.m., enjoy a grand five-course dinner and sparkling wine, complemented by live jazz ($164.26 per person). Enter the New Year with the “Glam & Groove” package from 10 p.m. to 1:30 a.m., while enjoying premium cocktails, an open bar and DJ.

Costa Covo Osteria at L’Ermitage Beverly Hills is offering its first season of holiday dining menus. Ring in the New Year with a choice of two seatings (6-8 p.m. $175 per person) and late (9 p.m. to 12 a.m. $275 per person) with an array of options including a three-course meal with blue crab éclair or beef tartare, and options of goose liver terrine, butter-poached halibut, Rohan duck breast and Black Hawk Farms Wagyu New York strip. Festive holiday cocktails and mocktails will be curated by Moët Hennessy.

For an unforgettable sushi experience, Sushi by Scratch Restaurants at SLS Beverly Hills will offer its signature 17-course omakase with special one-night additions ($285 per seating). A $100 enhancement can be added, which includes exclusive truffle and caviar additions to the restaurant’s unique nigiri pieces. The evening includes a complimentary Champagne toast to close out 2024.

Affordable Newcomer

Marea Beverly Hills, currently in a soft-opening phase, will serve dinner starting at 5 p.m. on New Year’s Eve. A festive evening will ensue beginning at 9 p.m., for a very reasonable $125 per person. This exclusive ticket includes passed canapés in the bar and lounge, complemented by a welcome cocktail and a glass of prosecco for toasting at midnight.

Early Birds

Lawry’s The Prime Rib Beverly Hills will be open from 11 a.m. to 9 p.m. on New Year’s Eve for a limited menu featuring its legendary roasted prime ribs of beef, carved tableside from silver carts. Other seasonal options include roasted butternut squash soup and salmon Rockefeller, to name a few, all while enjoying the roaming Christmas carolers in the dining room. For a toast, opt for a decadent house-made eggnog crafted from Heaven’s Door Ascension Kentucky Straight Bourbon, with cinnamon, nutmeg and vanilla.

A.O.C. on Third Street is ringing in the New Year with a lively New Orleans-style celebration starting at 6 p.m. Suzanne Goin has crafted a festive multicourse NOLA-inspired menu, along with “Boozy Big Easy” cocktails and a Champagne flight curated by Caroline Styne ($150 per guest for food and one glass of sparkling wine). 

For something low-key, just a few doors down on Third Street, Cesare Ristorante is a new romantic, hidden gem, showcasing family recipes from meatballs to pasta, along with whole grilled fish and meat, and a fine wine selection. Restaurateur Cesare Vietina hails from his family’s Michelin-starred restaurant in Forte Dei Marmi, Italy before he helped to open Giorgio Baldi in Beverly Hills, and he co-owned the legendary Madeo, along with his wife Pamela, who makes everyone feel at home. Reservations are open from 5:30 p.m. on New Year’s Eve. 

The post A Last-Minute Guide to Ringing in the New Year appeared first on Beverly Hills Courier.

Briefly, Martha and Ingrid are close friends who reconnect after an absence of many years. Martha is a famed photojournalist, and Ingrid is an author whose most recent book is about her aversion to the concept of death. Martha is in the middle of an unsuccessful treatment for terminal cancer. The treatment, which the doctors want to continue, is painful and only gives her another few months at best. Over coffee and pastries with Ingrid, she discusses what she really wants. She wants to choose her own moment to die in a setting of her choice with a friend close by, the proverbial room next door, to be a witness to the aftermath and report it. She has a pill, obtained illegally, and has rented a spectacular vacation home in the countryside for a month, but what she needs is the friend to stay in the room next to hers. She won’t announce the time or date, but there will be a code. Ingrid, needless to say, is shocked and more than reluctant. She wasn’t Martha’s first choice, but two others turned her down. Martha rather enjoys the irony of having her close friend Ingrid, who is death-phobic, be that person. Ingrid eventually accepts.

There are no spoilers here. Martha will die; Ingrid will be there. No action, no conflict, no story, the end. It’s not that there couldn’t be a story here. The right to die on one’s own terms has been done before, and in most cases, much better (e.g., “Amour,” “Me Before You” and “Whose Life Is It Anyway?”). Almodóvar, like him or not, has had moments of brilliant storytelling in the past, often equally laced with humor and horror. Here, he has neither. Forgetting that film is a visual medium, he tells this story expositionally. Writing the script himself, the dialogue is stiff and unnatural. Rarely does a movie succeed when the entire story is told as a conversation between two people where emotion, conflict and character take a back seat. “My Dinner with André” is the only film I can think of where the entire action is set at a table for two in a restaurant where André Gregory and Wallace Shawn trade anecdotes and world views. To date, I don’t know why it worked, but it did. Maybe it was the director, Louis Malle, someone I admired immensely, and maybe it was the skill of the writers, Gregory and Shawn, who knew how to make it all look improvisational.

But “The Room Next Door” is all expositional and therein lies the problem. Rule one: tell it in a book; show it in a movie (this was based on a book by Sigrid Nunez called “What Are You Going Through?”). Worse, however, is how bad and stilted the dialogue is, like a poor translation from a different language (too on the nose?). Episodes in Martha’s life that were used to illustrate earlier conflicts are told in flashbacks that look edited in at the last moment before final cut. That she has an estranged daughter, discussed in any number of conversations, is a conflict that is left dangling. If any of this comes off at all is due to the skill of the actors he chose to read (not act) his words, like a preproduction table read. Julianne Moore as Ingrid and Tilda Swinton as Martha try their best, and if the movie is bearable at all, it is because of them. John Turturro, Damian, a mutual friend and former lover of both, comes off worse because his character is a lecturer on climate change who harangues anyone who will listen about impending doom. Lucky for him, he has at least one or two nice, rather natural moments with Moore. Expositional, yes, but there is an easier flow between the two of them. Alessandro Nivola, as a policeman who interviews Ingrid, has the advantage of generating conflict that makes his scene move more quickly.

Eduard Grau’s cinematography is a plus because the setting outside Woodstock, N.Y., is gorgeous and looks like a picture postcard. The same is true for the exquisite wood and glass modern house that Martha has chosen as her shroud. Lying on the primary-colored chaise lounges overlooking an infinity pool gives you something to envy. Costume Designer Bina Daigeler knew just how to take advantage of Tilda Swinton’s innumerable angles, swathing her in colorful knits and asymmetrical designs. Moore, whose attire is commonplace, cannot compete with the elegance of Swinton, nor was she meant to.

It is inconceivable that this film was the Golden Lion winner at the Venice Film Festival. Maybe the subtitles in Italian were better than the actual dialogue in English. If you are a fan of his films or these two great actresses, this might work for you. For me, “The Room Next Door” didn’t resonate from the very beginning. I had originally planned on all sorts of clever ways to let you understand how painful it was to watch this film. Instead, I’ll state merely that if you enjoy watching paint dry, even if Swinton and Moore are the painters, then this is the movie for you.

Now playing at the Laemmle Royal and the AMC at The Grove. 

Neely Swanson spent most of her professional career in the television industry, almost all of it working for David E. Kelley. In her last full-time position as Executive Vice President of Development, she reviewed writer submissions and targeted content for adaptation. As she has often said, she did book reports for a living. For several years she was a freelance writer for “Written By,” the magazine of the WGA West, and was adjunct faculty at USC in the writing division of the School of Cinematic Arts. Neely has been writing film and television reviews for the “Easy Reader” for more than 10 years. Her past reviews can be read on Rotten Tomatoes where she is a tomato-approved critic.

The post ‘The Room Next Door’— Kill Me Now appeared first on Beverly Hills Courier.

Have you ever wondered what Vaudeville was like at its height when Buster Keaton, Mae West, Fanny Brice, W.C. Fields, Burns and Allen and the Marx Brothers ruled the stage? “Once Upon a Mattress,” which started life as a fleshed-out sketch at an adult camp in the Poconos, will give you that shiver of recognition. Improvisation is the very skeleton of this show; it’s built into its DNA. It’s all controlled chaos and silly plot points. At any moment you expect a red nosed clown to appear, honk his horn and spray the audience with water from a squirt gun and you wouldn’t be far wrong.

The Jester opens the show singing “Many Moons Ago,” serving as a narrative to the history of this medieval kingdom prior to the current time in 1432. Little has changed. The kingdom is ruled by King Sextimus, muted by a curse, and his domineering wife Queen Aggravain, a fitting name if ever there was one. A bride must be found for their son Prince Dauntless, a misnomer because there is nothing that doesn’t daunt him. Mommy will not allow him to marry anything but a true princess, as determined by the tests she administers. Think Final “Jeopardy” with a question that even Ken Jennings can’t answer. Dauntless, clueless to Mommy’s machinations, is frustrated to say the least. Making matters worse, no one in the kingdom is allowed to marry until he does, something that presents a problem to the lovely Lady Larken and her dimwitted but handsome beau Sir Harry. She’s pregnant and unless Harry can find a viable princess she is doomed to disgrace. Off he goes and when he returns, with said real princess, all hell breaks loose and the story takes off into the stratosphere. Unable to wait for the slower moving Harry (it’s not just his movements that are slow), the princess, Winifred the Woebegone of the Marshlands Kingdom, has swum the moat, eager to meet her future betrothed. Looking much like the creature from the black lagoon, Aggravain is in shock. “She swam the moat?!”

Of course, it’s love at first sight between the eternally hamstrung Dauntless and the very take-charge, crude princess whose farts and burps and overall filth make them opposites destined to attract. She is the antithesis of his mother and that is already appeal enough. I’m sure I don’t have to tell you the rest of the fairy tale, but Aggravain and the Wizard will devise the perfect test that will reveal Winnifred, Fred to her friends, as a false princess, yet another to lose the derby.

The songs were written when Broadway tunes were hummable. I had to restrain myself from singing along because this has always been one of my favorite musicals and I play the soundtrack from the original recording often. That original production was made famous because of a show-stopping performance in 1959 by a Broadway newcomer named Carol Burnett. Burnett set the standard and no replacement or, up until now, revival has fully succeeded because of comparisons to her performance, real or imagined. The show is dependent on a star with charisma, comedic chops, and a vocal range that plays on that very comedic timing. Luckily, this production has just such a star Winnifred in Sutton Foster whose arrival on the scene in muddy, stinky raggedy clothes and ratty hair, literally and figuratively, stops the show and turns the pleasant little tale on its ear. Watching this wild-eyed fish out of water take in her surroundings and the royals is jarring, made more so by her virtuosic scene of gorging on grapes, obviously an unknown commodity to the girl from the land of mud and filth, that reveals her comic bona fides. Unafraid to be disgusting, it’s like an orchestrated fart joke that keeps on giving.

Sutton Foster, the multi-Tony award-winning musical actress, shows herself to be a rare combination of Mary Tyler Moore with her smile and lithe balletic leg extensions combined with the physical comedy that Lucille Ball made famous. Her comedic range is as breathtaking as her pratfalls. She’s the effortless front and center of every scene. Think Lucille Ball stomping those grapes or, even more aptly, stuffing those chocolates into her already full mouth. Who wouldn’t fall in love with her?

Well, maybe not Queen Aggravain, played by the hilariously evil Ana Gasteyer, whose Broadway and television credits are testaments to her believable over-the-top performance as the mother from hell.

Michael Urie, last seen at the Ahmanson in “Buyer and Cellar,” is perfect as the clueless Dauntless who is finally willing to risk the wrath of his domineering Mommy Dearest. Daniel Breaker, with his melodic tenor, is the Jester, the narrator who liltingly sings the expositional narration while being the link to the various heroic characters. Oyoyo Joi is a perfect ingénue as Lady Larkin. Her song to her dullard of a lover, Sir Harry, entitled “In a Little While,” announcing their impending event is as clever and melodic an announcement as you will ever hear. It’s unimaginable that no one has seized on this song as part of the playlist for a gender reveal party. Her beloved, Sir Harry, is played by Ben Davis whose double takes, cluelessness and purity of heart goes hand in hand with his marvelous singing, pushing the comedy of this hilarious show even farther.

From the tight-fitting bodice of Aggravain to the snug little tights on Dauntless, to those dirty rags and slippers designed to make Fred’s feet look ginormous are by costume designer Andrea Hood, further enhanced by the inventive wig and makeup design of J. Jared Janas. The minimalist scenic design, necessary because the stage is shared with the orchestra, sequestered behind the so-called moat wall, adds to the improvisational feel that allows the viewer to fill in the details. Directed by Lear deBessonet and choreographed by Lorin Latarro, they keep things moving at a feverish pace.

Hie thee hence to the Ahmanson before “Once Upon a Mattress” leaves the realm.

Now playing through Jan. 5 at the Ahmanson Theatre, 135 N. Grand Ave. Los Angeles. Check with Audience Services (213-628-2772) for matinees and performance times. 

The post ‘Once Upon a Mattress’—Dive In, Swim the Moat appeared first on Beverly Hills Courier.

The innovative first piece, a world premiere, was called “Mayday,” choreographed to the music of Buddy Holly, the rock ‘n’ roller who led the way in the rockabilly style with hits like “That’ll Be the Day” and “Peggy Sue,” just a few of the songs choreographed by Trey McIntyre. Both a playful homage to Holly’s music and an ominous reminder of his death in a plane crash at the age of 22, McIntyre makes full use of the company’s strengths. In unisex croptop gray suits, Holly nerdy horn-rimmed glasses, slapping rhythm on their bare stomachs, they moved in sync, flowingly to the music as they undulated in and out of formation, constantly followed by a toy airplane, manned by each dancer at various points in the piece, as a constant reminder of what will come. The smooth back-and-forth movements of elbows, legs, heads, arms, perfectly matched to the beats of the various songs, has you smiling from the beginning until the climax. This is choreography that highlights the range and training of the various dancers, with Chandler Davidson and his blonde buzzcut leaping and pirouetting gracefully with his seamless athleticism. Joan Rodriguez, ballet-trained in Cuba, was another standout. His extension and leaps were breathtaking. Katie Garcia, easily melds the worlds of ballet and modern, capturing the stage in her solos. Choreographer McIntyre made full use of each dancer’s specialized training. 

“I Forgot the Start,” choreographed by Matthew Neenan, was a poetic ode to love using the music of Sinéad O’Connor among others. The dancers were very good, coupling and uncoupling as the music by the various artists suggested, and that was, to a certain extent, the point of the piece with its theme of love and the loss thereof.

“Incense Burning on a Saturday Morning: The Maestro,” the final performance of the evening, sent the company out on a high note. It wasn’t so much the choreography by Juel D. Lane that excelled but, instead, it was the design of the composition that set it apart from almost anything you have seen or will see in the future. Lane was attempting to portray artist Ernie Barnes, a Los Angeleno, in his studio and it was the innovative lighting and video design that propelled this piece off the stage and into the audience. Opening on a single dancer, Ty Morrison as Barnes, in his studio, wielding a brush as he feigns painting on a canvas. As his hands move across that canvas, the glass-like scrim between the audience and him fills with the brushstrokes he is making to breathtaking effect. He continues filling the canvas and concurrently the scrim as his muse arrives in the form of dancer Alana Jones, voguing for the painter. Enter the corps, portraying both the wildly primary-colored paints and, eventually, the vibrant dancers swirling, leaping and surrounding the two as the artist’s vision is realized and we see Barnes’ most famous painting, “The Sugar Shack” take shape with the model and the paints becoming one with the characters on the canvas. The wildly free, yet coordinated undulating motions of the “paints” energizes the choreography and helps tell an enrapturing story.

This night was particularly celebratory as Artistic Director Tina Finkelman Berkett introduced each choreographer, sitting in the audience among those who would soon become their rabid fans. The enthusiasm of this crowd, many of whom had never before heard of BodyTraffic, built with each number, ending with standing ovations for the dancers and the choreographer, brought to the stage for a bow with the performers. 

The post BodyTraffic—Flowing Smoothly appeared first on Beverly Hills Courier.

In the makeshift control room, the crew and producers banter back and forth as they watch Mark Spitz on screen winning his unprecedented 7th Gold medal as the German competitor cowered in a corner, crestfallen to have lost his favored event. Comments go back and forth about whether this so-called new Germany on display is only a thin veneer over its Nazi past. Bader’s comments are especially sharp as he’s from a generation where parents and siblings fought and other relatives died in camps. Taking offense is Marianne Gebhardt, their German interpreter, who says that much has changed. “Do your parents still say they knew nothing about what went on?” Bader remarks sarcastically. “We are not our parents’ generation,” she retorts. What starts out looking like a behind-the-scenes story about a sports broadcast will soon become something else entirely, an event that anyone old enough to watch the games that year will remember in an instant.

The scene is set, the players are in place. This unprecedented live-action coup is about to begin when shots are heard; not by everyone so they can’t yet be verified. But then they are and all hell breaks loose. Unconfirmed rumors start circulating that an incident has occurred somewhere in the Olympic Village, specifically in the rooms assigned to the Israeli contingent. Marianne is called on to translate what she is hearing from a police bandwidth. Soon, the worst news imaginable will be confirmed by a coach of the Israeli team who was able to escape. Terrorists have taken the team hostage, vowing to kill one person per hour if Israel doesn’t release 200 prisoners held in Israeli jails.

And so begins the action, where, ironically, the plight of the hostage athletes takes a back seat to getting the story. The German police had not secured the village and now, too late, they were flooding the grounds like gulls fighting over a single crumb. It is apparent they have no idea what they are doing or how to negotiate with the terrorists, a splinter group of the PLO (Palestinian Liberation Organization) called Black September. The German military, trained in sniper actions and containment, are forbidden by their post-war Constitution from taking part in a civilian operation and can only give instructions to the helpless, incompetent and overwhelmed local police.

Knowing that the police will soon sweep all the press from the village, Bader and Mason assess the situation and bring Arledge back from his break to lead them. He tells Jennings to hide from the police, gets the crew to move cameras and sound equipment outside the building to try to angle their shots toward the occupied building and apprises ABC News at headquarters what is happening, telling them in no uncertain terms that he will not relinquish coverage to a news team reporting from the U.S. His sports team, working with Jennings, is in charge and will handle everything. He lets McKay know the situation and tells him to stay stationed in his chair and report what they feed him. It is what so many who lived through that broadcast remember: Jim McKay empathetically reporting on the news as it was happening.

The events occurring moment by moment are orchestrated behind the scenes by Arledge and his team. A cool head, one might almost say icy, Arledge is well aware of what is transpiring, but his primary focus seems to be on delivering the story as those around him, especially Bader, debate the ethics and morality of giving Black September unalloyed attention on screen. It had never occurred to any of them that the terrorists might be watching themselves and the reactions of others on the television in the athletes’ room.

And this is where “September 5” excels, in the moral and ethical gray area. Where does the responsibility for reporting the news and the responsibility for not making things worse intersect or in this case, collide? While telling this story in a straightforward manner, none of those questions are answered. What do you think about their actions? What might you have done differently in hindsight because hindsight is always misleadingly relied on. I have no answers and neither does the film. Did they break barriers? Of course. Was it worth it? There may be no one answer, but after September 5 there was no going back.

Directed by Tim Fehlbaum, who wrote the script with Maritz Binder and Alex David, “September 5” is a gut-wrenching film that flies towards its foregone conclusion. Fehlbaum’s opening on the machinery of production is an unusual sequence that builds speed before any of the main characters are introduced and continues moving forward at a lightning pace as the backstage crew moves the equipment into place and the producers begin interacting with the crew. With the exceptions of Peter Jennings and Roone Arledge, you will be unacquainted with the rest of the players, some of whom existed, Bader and Mason, and some of whom are realistic depictions of who would have been there at the time.

The cinematography by Markus Förderer captures Julian R. Wagner’s claustrophobic production design perfectly. Working in a cramped space, Förderer puts you in the center of the action at all times. Peter Sarsgaard as Roone Arledge captures the quiet intensity of a man who would one day lead ABC News, not just ABC Sports. Looking not at all like Arledge, he still maintains that aura of authority that would lead a team under siege with the sangfroid necessary to go forward as others were questioning the rationale. Leonie Benesch as translator Marianne Gebhardt expresses the ambivalence of what the team is doing ethically as she tries to make sure they are aware of what is being said. Ben Chaplin as Marvin Bader has the gravitas of an elder statesman and the burden of being the moral center during the time the news is being broadcast, seemingly unfiltered, to the world. John Magaro, Geoffrey Mason, is fascinating as he handles the board and gives the orders to a crew working so quickly that they have no time to think about the right and wrong of their actions. Arledge is aware that there will be no going back after this broadcast; Mason, new at his job, doesn’t have the bandwidth to think past the next time cut. The real coup, however, is that Fehlbaum was able to use the actual footage of Jim McKay reporting from the Olympics in 1972. Artfully cut and interspersed, it is the footage of the actual McKay that gives this film its basis in reality, elevating the performers “interacting” with the onscreen McKay to material substance.

The Olympic Games have been filmed and covered for many decades. Leni Riefenstahl’s “Olympiad” chronicled the games held in 1936 Berlin as Hitler stood in the stands to cheer on his chosen Aryans, only to be subverted by the otherworldly feats of American sprinter Jesse Owens. The 1968 Olympics, held in Mexico City, are most remembered for the defiant stance of Tommy Smith and John Carlos who raised black-gloved fists on the winners’ podium to protest discrimination. “September 5” commemorates the games at a very low point in history. It is worth remembering; we should never forget. Already a Golden Globes nominee for Best Motion Picture-Drama, this movie is an unfortunate record that the more things change, the more they remain the same.

Opening Dec. 13 at the AMC Century City 15. 

Neely Swanson spent most of her professional career in the television industry, almost all of it working for David E. Kelley. In her last full-time position as Executive Vice President of Development, she reviewed writer submissions and targeted content for adaptation. As she has often said, she did book reports for a living. For several years she was a freelance writer for “Written By,” the magazine of the WGA West, and was adjunct faculty at USC in the writing division of the School of Cinematic Arts. Neely has been writing film and television reviews for the “Easy Reader” for more than 10 years. Her past reviews can be read on Rotten Tomatoes where she is a tomato-approved critic.

The post ‘September 5’—More Than a Date appeared first on Beverly Hills Courier.

Mother had been a rising artist and gallerist, but when she had her baby she hopped on the stay-at-home bandwagon when she had trouble managing both, something that was eagerly embraced by Husband. Son, now 2 years old, is an adorable munchkin whose moments of temper are rare and to be expected. Children hate to go to sleep, especially when Mother and Father have blurred the lines of independence, allowing him to sleep with them. Father is engrossed in a job that often takes him out of town, so almost all the heavy lifting is left to Mother. She does everything the books say the perfect mother should do. Their routine is jam-packed with trips to the playground, walks in the park, baby yoga and book babies with other moms. But this life is starting to close in on her, and her dreams become nightmares where she becomes a canine predator, losing her human appearance and descending into a magical world where she is the leader of the pack.

Overflowing with scenes of magical realism, this sometimes grounded and sometimes bizarre tale isn’t about dogs or babies or the inability to conform. Mother has lost her identity, one that used to be tied up in the art she created and no longer has time for. It was her self-awareness as an independent woman capable of carrying on adult, multisyllabic conversations with her peers, peers she lost when she left the workforce. There is no overt blame anywhere, but that doesn’t mean that Mother isn’t profoundly affected by the unspoken. Her artist cohorts have left her behind, not understanding why she can’t do both. The other moms she meets seem supremely happy and satisfied in their stay-at-home roles, so reminiscent of the competitive games played by others. “My child slept through the night immediately.” “My child was speaking in complete sentences at nine months.” “How many words in his vocabulary?” Truly, this competition is real. Think back. Only perspective or the realization that everyone lies will keep you grounded.

Father is confused by the unrelenting sadness of Mother. After all, it was she who chose this path. His mother and grandmother were both stay-at-home moms and happy about it. Didn’t Mother’s mother stay at home? But it’s complicated. Mother knows full well that she chose this life; she knows that she willingly succumbed to motherhood over painting. But why? Where’s the time? Why is she unable to do both? Why is she having these dreams and are they more real than she’ll admit? Accompanying those animal dreams are snippets of her cloistered childhood and an inexplicably distant mother.

The layers of “Nightbitch” can be peeled in almost infinite ways. Superficially, this is a horror story of a woman becoming a predatory animal, menacing those she should be loving. Dig a little deeper and it is an exquisite portrait of a woman descending into the madness of dissatisfaction caused by postpartum depression, one felt by far too many. Why can’t she do it all? Why can’t she have it all? Society reveres the stay-at-home mom as a one-size-fits-all. Wisely, “Nightbitch” is not casting blame, only introspection. That Mother feels she is failing because she is unfulfilled in this role makes it so much sadder that she recognizes that Son is wonderful. She loves him unconditionally; it’s herself that she doesn’t love.

What Heller has given us is a very nuanced view of postpartum depression, an illness suffered by many and recognized by too few. Postpartum changes the brain chemistry, which may be miring her in a vicious circle of self-loathing and hallucinations. Her hormones are unchecked and may be leading to actual body changes, perhaps not into a dog, but it might account for the growth of external hair and soft tissue tenderness, hair color or sexual drive (positive and/or negative); or not. Mother, in her own eyes, was a someone but now she is only an appendage to Son and Father. Where is she? Why can’t she enjoy this stage of her life, one that she deliberately chose? Or did she? Did her mother, long dead, suffer as she does? Her mother gave up a flourishing singing career to raise her children in a restrictive religious environment. Why didn’t Mother recognize her mother’s pain? Why hasn’t she thought of her mother in years?

Everyone reacts to motherhood differently, something that Mother doesn’t recognize. Spiritual and psychological needs are not one-size-fits-all. When there are no overt villains in her pain, she turns inward, blaming herself.

There are so many moments of joy that serve to underscore Mother’s unhappiness. Son is a delight and a pleasure; the other moms find her interesting. Descending into the madness of her nightmares is frightening. A gentle dog becomes a killer.

Selling such a surreal take on motherhood and the real depression faced by so many lands squarely in the lap of the extraordinary star, Amy Adams. Adams, a six-time Academy Award nominee, has amazing range, constantly pulling the viewer into her madness that is in direct opposition to the loving mother she tries so hard to be. Always unsettling, she has put a face on this depression that is seemingly shameful—the inability to glory in the raising of another human being. Funny, sad, depressing, dissatisfied, happy, with a self-awareness that leads directly into self-hate, these are aspects of Mother’s personality and life that Adams conveys convincingly.

Scoot McNairy is Husband, the loving yet clueless mate whose confusion heightens his complicity in his wife’s depression as well as his earnest desire to “fix things.” He is as necessarily sympathetic as he is blind to her needs.

The other women that fill the screen add to the complexity of Mother’s dissatisfaction. Foremost among them is Jessica Harper, the librarian, who is both real and a figment of Mother’s imagination, pulling her into her dreams. Kerry O’Malley plays Mother’s mother with grace and ambiguity.

Cinematographer Brandon Trust perfectly captures the night scenes that blur into the surreal.

Complicated, complex, obtuse, ambiguous, “Nightbitch” is all of these and more. Heller has found all the colors, depth and character development that make this an extraordinary experience and a probable Oscar contender.

Opening Dec. 6 at the AMC Century City 15. 

Neely Swanson spent most of her professional career in the television industry, almost all of it working for David E. Kelley. In her last full-time position as Executive Vice President of Development, she reviewed writer submissions and targeted content for adaptation. As she has often said, she did book reports for a living. For several years she was a freelance writer for “Written By,” the magazine of the WGA West, and was adjunct faculty at USC in the writing division of the School of Cinematic Arts. Neely has been writing film and television reviews for the “Easy Reader” for more than 10 years. Her past reviews can be read on Rotten Tomatoes where she is a tomato-approved critic.

The post ‘Nightbitch’—Trouble in Paradise appeared first on Beverly Hills Courier.

Educated at a one-size-fits-all facility for handicapping conditions, Melody, confined to a wheelchair, is clearly misplaced in this classroom of least resistance. When a local graduate student observes Melody in her class and views her test scores, she is immediately struck with what a perfect fit she would be in a pilot program placing disabled students in the regular classroom. With the full support of her parents, despite the lack of enthusiasm from her program advisors, she is wheeled into her local sixth grade class, much to the consternation of the uninformed teacher.

Viewed as a hindrance, neither the teacher nor her new classmates are welcoming. Undeterred, despite her protective mother’s instinct to immediately throw in the towel, Melody perseveres. Bullying she can handle; lack of opportunity she can’t. Melody is insistent and motivated to keep going even if she can’t win over her peers. When a new speaking device comes on the market, Diane and Chuck go to the mat against the insurance company that refuses to provide the device. That company had no idea with whom they were dealing.

Melody’s road is not an easy one and this is not an entirely happily-ever-after story about the acceptance of others. No. It’s more realistic than that. The teacher remains clueless and her peers, for the most part, are mean. It’s a story of grit, optimism, hard work and perseverance on the part of Melody and her parents. But neither is this a crash-and-burn story. This narrative is about Melody, what she faces, and what she is willing to face. It is a primer on the obstacles that others put in the way and how hard it is to bring them around.

Melody’s story resonated with me. My early career was spent working to integrate kids like Melody in what is euphemistically called “the least restrictive environment.” For most, this means a public school classroom with additional help from trained teachers. It is, as you may not know, part of the Individuals with Disabilities Education Act that requires that students be educated in the least restricted environment. Whether it is a deaf child in need of an interpreter or one with a visual impairment needing additional equipment, the law states that they should be taught in a regular classroom whenever possible. Schools fight this tooth and nail because of the additional costs, but when taken to court, they invariably lose. It is the law, and it is highly beneficial to the affected students. Unfortunately, neither the states nor the federal government allocate the funds to keep the program in place. Teachers and students who share a classroom with a disabled student benefit also in expanding their worldview. There is nothing more advantageous to society in general than a well-educated, socially adapted student who can spread his or her wings rather than be restricted to the narrow confines of caged learning and a future totally dependent on others. “Out of My Mind” is just such a story with an extremely engaging heroine.

Although the storytelling is a bit pat at times, this is, after all, a Disney+ movie aiming for that “After School Special” crowd, it succeeds more than it stumbles. This is thanks to a delightful star, Phoebe-Rae Taylor, who has overcome many of the hurdles of CP, just like Melody does. Her parents, Diane and Chuck, are played by the charismatic Rosemarie DeWitt and Luke Kirby. Both are excellent, empathetic and realistic as parents of a handicapped child who is longing to fly but whose body won’t let her. Judith Light has a nice role as an eccentric neighbor who pushes Melody to want more. In an amusing coup, the inner thoughts of Melody are voiced by Jennifer Aniston because, as Melody says, she should be able to choose whoever she wants to say her words, and Aniston it was. So good is she that oftentimes you are no longer hearing the actress but only Melody.

Amber Sealey has directed this film with an easy touch, making everything flow smoothly. The script by Daniel Stiepleman captures the sensibility of Sharon M. Draper’s original novel. But, in the end, it all depended on Phoebe as Melody to make this sing.

Now streaming on Disney+. 

Neely Swanson spent most of her professional career in the television industry, almost all of it working for David E. Kelley. In her last full-time position as Executive Vice President of Development, she reviewed writer submissions and targeted content for adaptation. As she has often said, she did book reports for a living. For several years she was a freelance writer for “Written By,” the magazine of the WGA West, and was adjunct faculty at USC in the writing division of the School of Cinematic Arts. Neely has been writing film and television reviews for the “Easy Reader” for more than 10 years. Her past reviews can be read on Rotten Tomatoes where she is a tomato-approved critic.

The post ‘Out of My Mind’—But Fully Engaged appeared first on Beverly Hills Courier.

What’s a holiday dinner without pie?

Australian chef Curtis Stone is back with his sweet and savory pies in the old Maude space on South Beverly Drive and this time, they are here to stay.

The Pie Room by Curtis Stone has morphed from pandemic pop-up bakery into a permanent bistro-style, all-day menu with not only pies, but an assortment of pastries, puddings, tarts and sandwiches. The vast talent to help execute Stone’s vision includes Maude and Spago alum chef Serkan Çetinarslan, head pastry chef Mitzi Reyes who has worked for José Andrés and Dominique Ansel, and head baker Luis Flores, who hails from the kitchen of Thomas Keller in Las Vegas.

The Pie Room is open Monday through Saturday from 10 a.m. to 8 p.m. for gourmet sandwiches (don’t miss the duck leg confit) and bistro fare available for dine-in or to-go. In the evening, the space transforms into a romantic, European-style wine bar with charcuterie boards from Gwen, Stone’s Michelin-starred butcher shop and restaurant in Hollywood; a selection of farmhouse cheeses, and daily specials such as loup de mer and duck ragu gnocchi—and, of course, a sweet section for dessert. 

New on South Robertson Boulevard, the acclaimed Lodge Bread brings artisanal whole-grain sourdough, house-made pastries, and a menu inspired by Middle Eastern flavors to the area. Holiday offerings include pecan pie topped with whipped vanilla ganache and toasted pecan pieces, or pumpkin pie topped with whipped chai ganache ($46 each).

For even more holiday temptation, Mastro’s Steakhouse will feature a pecan pie on the menu for a limited time, as well as a special cinnamon and pecan butter cake—a twist on its famed butter cake, which is a must after any meal there. Both available now through Dec. 30.

Let them eat panettone 

Gucci Osteria is kicking off panettone season early this year. The Michelin-starred establishment on Rodeo Drive (and select locations around the globe) is partnering with legendary Italian specialty bakery Pasticceria Tiri 1957 for the traditional sweet Christmas bread. 

Typically shared with family and friends over the festive period, Gucci Osteria’s limited edition panettone reflects the Gucci brand’s spirit of ornate decadence. The bread goes through three kneading phases during a 72-hour production, before it is elegantly packaged in a limited-edition tin with historical iconography from the Gucci Archive. It’s a stunning keepsake and great gift that will keep the product soft, fragrant and flavorful for weeks to come ($140).

Gift baskets and more

The holidays are all about hosting—and being hosted by—family and friends. Thoughtful gift baskets are a always a great way to show your appreciation. Haute Mess, the market and café on Beverly Boulevard, is offering a limited-edition, pre-order gift basket that includes artisinal and imported items, such as wines, premium anchovies, imported olives and homemade biscotti. 

Now that the weather is cooler, and nights are longer, why not host an at-home movie night? It’s the perfect excuse to tuck into some famous Neiman Marcus gourmet popcorn. Holiday tins of sweet and salty favorites include honey butter, almond pecan and cashew almond toffee. Available in-store and mail order ($32).

Hanukkah sweets

Susie Cakes in Brentwood and West Hollywood offers an assortment of red velvet, good old vanilla, or chocolate with white and blue sprinkled borders in a Hanukkah-themed cupcake box (serving 4 for $23.96). Also available is a cake decorated with a Menorah, frosted star-shaped sugar cookies (also available as a platter) and gingerbread people individually wrapped with a blue ribbon. For a fun family gathering, order a Hanukkah cookie decorating kit that includes two tubs of buttercream and four different sprinkles.

Frozen finds

After a hard day of holiday shopping, why not treat yourself (and the ice cream lover in your life) to a little holiday-themed indulgence? Shake Shack’s Limited Edition Holiday Shakes have arrived at the South Santa Monica Boulevard location of the popular outpost, and they are worth the calorie splurge. Back again is the classic Christmas Cookie Shake, featuring sugar cookie frozen custard topped with whipped cream, crumbled shortbread and holiday sprinkles. The Chocolate Yule Log Shake combines chocolate frozen custard hand-spun with chocolate cake, topped with whipped cream, cake crumbles and festive sprinkles. And the Apple Cider Donut Shake features apple cider donut frozen custard topped with whipped cream and cinnamon donut crunch.

If you prefer to celebrate the “Merry Dairy” season at home, pick up some pints at Jeni’s Splendid Ice Creams on North Beverly Drive. The scoop shop’s Splendid Holiday Collection includes new limited-edition flavors such as Iced Molasses Gingerbread, a spiced molasses cream with gingerbread cookies and white icing swirl, and Seven-Layer Bar with bittersweet chocolate pockets and brown sugar crumble in coconut-scented toasted caramel cream. Returning favorites include White Chocolate Peppermint, with swirls of pink and white peppermint dotted with white chocolate. 

Hands-on holiday hotel experiences

Local hotels are beckoning visitors with unique holiday-themed activations. Back by popular demand, the Fairmont Century Plaza’s Swiss Chalet “après-ski” dining experience is live through New Year’s Day. The back patio off the lobby has transformed into a chic winter wonderland. Sample cheese fondue and other Alpine favorites, along with winter cocktails and an interactive make-your-own hot chocolate experience​​.

Nearby, the hotel’s Lumière restaurant will feature a different crème brûlée flavor each week for the month of December, including eggnog, Valrhona chocolate and roasted sweet potato with cranberry. 

The lobby of the Peninsula Beverly Hills is filled with holiday cheer this time of year. Highlights include carolers (Dec. 20-24), a visit from Santa (on Christmas Eve) and the Polar Bear Gift Shop (Dec. 1-26). Additional holiday activities include curated events such as cake and cookie decorating for children.

On Dec. 3 at Waldorf Astoria Beverly Hills, little artisans can build and decorate their own gingerbread house for a chance to have their creation on display in the lobby during the month of December ($25 per person).

At the Maybourne Beverly Hills, the Gingerbread House Decorating Class is perfect for children of all ages. Led by the in-house pastry team, two sessions of the class are set for Dec. 21. Participants will receive a decorating kit, a personalized apron, hat and takeaway box for their creation ($125 per person). 

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The precious sacred fig is born from another tree. The seed, slowly growing and nurtured by its host, spreads its roots and eventually strangles its parent. This is the hope and basis of Rasoulof’s amazing allegorical film taking place in 2022 during protests over the killing of Mahsa Jina Amini for not wearing her hijab in public.

Iman, head of household and much-admired lawyer of integrity and honesty, has just been promoted to investigating judge of the revolutionary court. His wife, Najmeh, is thrilled with the advance in status but also that they will soon be eligible for a bigger apartment in a more prestigious and protected part of town. Their daughters, teenage Sana and college student Rezvan, are more circumspect about what his promotion might mean to them because they rarely see their father.

It is the investigating judge who looks for the evidence necessary to convict those arrested for crimes, real or suspected. If the evidence doesn’t sustain the charge, the arrestee is released; if it does, the prisoner is sentenced by the revolutionary court. Although not the judgeship he aspired to, he is informed by his colleague and friend in the office that he was not viewed as a favorable ally to his new boss and he will have to prove himself. His first test is immediate. The prosecutor has demanded he attest that a prisoner is guilty of the crimes he is accused of committing. But what were the crimes? Confused and horrified, Iman explains that first he must investigate. No. His colleague informs him that his predecessor was fired for not doing as the prosecutor asked and he, too, will be fired if he doesn’t sign the paperwork for what will be a probable death sentence. There will be more prosecutions. 

Students are protesting in the streets against the repressive hijab laws, against the premise of theocracy and strict patriarchy as represented by the government and its so-called revolutionary court.

The protests on the outside are becoming more and more violent and, by virtue of taking this job, he will be in danger. His family will, in time, be moved to more secure quarters but, in the meantime, he is given a gun for protection. Iman is frightened by what the gun represents and equally frightened by the reasons he must carry it. Aggression and self-protection are incompatible issues that inevitably will resolve in one direction. In a sense, that direction is what fuels the film.

Iman, returning home, hides the gun, and attempts to reestablish a normalcy that will never return because of his new position. He has acquiesced and will continue acquiescing to the wishes of the prosecutor and the state. Even his family is no longer a safe haven. The riots and protests are outside his door. Banners held by the students rail against the judicial system. Iman is now “them”; the daughters he rarely sees may be the “us”; his wife unsuccessfully straddles the two. 

His job demands that new rules be established and the girls must remove themselves from all social media. His identity must be kept secret to ensure his safety and strangers may not enter the home. Despite this, Rezvan implores her mother to allow her only friend, Sadaf, to spend the night before the dorms open. Not pleased with a stranger in their midst, Najmeh insists that Sadaf be hidden, leave in the morning and not return. But complications ensue when all the schools and universities are shuttered. The protests become more volatile.

Iman becomes increasingly more paranoid, except it’s not really paranoia if they are out to get him. And soon he discovers that his gun is missing. The house is torn apart and still no gun. Has the increased pressure on him caused him to lose track of it? The consequences are enormous. If he reports the gun missing, he will lose his job and be sentenced to a minimum of three years in prison. Everyone is a suspect and the protests are coming closer and closer, louder and louder.

Rezvan and Sana, seemingly above the fray at home and on the street, discover that Sadaf has been shot by the police and is in desperate need of assistance; they cannot deny her. Bringing her back home, away from the presence of their increasingly distant and paranoid father, they patch up Sadaf, only to see her arrested, possibly to be killed in custody. Even Najmeh has a hard time seeing the value of assaulting a girl without sufficient cause. Iman becomes increasingly abusive as he becomes more distraught over the missing gun.

Rasoulof has cleverly, subtly positioned Iman as a representative of the patriarchy of his country. Benign neglect, banal evil, a ruler without an ear for the emotional and physical needs of his family, we follow his descent into the corruption bred of autocracy and fear of dissent. The missing gun and the search for it becomes his only focus, a metaphoric parallel to the regime and its insistence on condemning dissenters to death on the specious premise of crimes against God, a religion that is, by now, so perverted as to represent only the revolutionary hierarchy, a false idol.

“The Seed of the Sacred Fig” is a metaphor for the nascent, by now smothered, hijab rebellion against the patriarchy told using the family unit of Iman as a metaphor for descent into the insanity of that very patriarchy. As depressing and soul-crushing as the movie is at first glance, it is ultimately a film of great optimism. No matter how hard an autocracy, in this case also a theocracy, tries to kill dissent (and dissenters), the center will not hold, cannot hold. It will eventually crater to the needs of the people as the rules become almost nonsensical in an effort to quash even the most mundane opposition.

The cast, almost all of whom will be unknown to an American audience, is superb. Most notable is Missagh Zareh who portrays Iman as a man who viewed his integrity and honesty as his hallmark who descends all too quickly into the corruption that came with abandoning his values for the money, status and prestige of a job from which there was no escape. He changes before your eyes from confused citizen and father to petty, dangerous martinet. Mahsa Rostami as Rezvan plays the benign catalyst who sets much in motion by just trying to do good. Setareh Maleki (Sana) coyly plays into the background until she comes acutely into focus. Soheila Golestani is a conflicted Najmeh, blindly obedient to her husband as society demands until she must choose between him and her daughters. The cinematographer, Pooyan Aghababaei, captures the contradictory beauty of Iran with the ugliness of the police state, incorporating phone footage from the actual protests as they were occurring.

Banned in Iran and filmed in secret, “The Seed of the Sacred Fig” is Germany’s submission for Best International Feature Film at the 97th Academy Awards. Certainly a wild stretch of the rules on what constitutes an entry in that category, Germany is the country to which Rasoulof fled in secret, hours before the police came to take him to prison. It is hoped that the actors and crew of the film were also able to find asylum, although Zareh and Golestani have been detained in Iran. Whether entered as an international film or as a “Best Picture” candidate, there is no doubt that this is one of the very best and most significant films of this or any other year. Its 168 minutes flies by as you are gripped by the action of this psychological thriller.

In Farsi with English subtitles.

Opening Nov. 27 at the AMC Century City. 

Neely Swanson spent most of her professional career in the television industry, almost all of it working for David E. Kelley. In her last full-time position as Executive Vice President of Development, she reviewed writer submissions and targeted content for adaptation. As she has often said, she did book reports for a living. For several years she was a freelance writer for “Written By,” the magazine of the WGA West, and was adjunct faculty at USC in the writing division of the School of Cinematic Arts. Neely has been writing film and television reviews for the “Easy Reader” for more than 10 years. Her past reviews can be read on Rotten Tomatoes where she is a tomato-approved critic.

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Art, fashion and wine concierge company UOVO hosted a cocktail party at Lanvin on Nov. 12 to celebrate Rodman Primack and Rudy Weissenberg’s new book,” Love How You Live: Adventures in Interior Design,” published by Phaidon.

UOVO has recently opened its Los Angeles hub, which offers a unique concierge service to manage art, design, fashion and wine collections. Their Long Island City location has been notable for archiving work by Calvin Klein, Tommy Hilfiger as well as being longtime host to Oscar de la Renta’s archive. 

Raising a class to the new West Coast outpost and design book were interior designers Richard Petit, Jamie Bush, and Oliver Furth; fashion designer Clare Vivier, Anita Gatto from House of Harlow and art advisor Graham Steele.  

Also on the same night, AGCF, the purpose-driven luxury fashion house founded by Alexandra Gucci Zarini, hosted an inaugural art auction event at the brand’s Rodeo Drive boutique to kick off LA Fashion Week presented by N4XT Experiences. The event featured the artworks of four talented female artists, Alex Wasson, Jerri McDorman, Monica Ahanonu and Shelley Kensler—each offering a unique interpretation of AGCF’s signature “Unità”symbol, illustrating AGCF’s commitment to creating meaningful social impact.

All proceeds raised during the auction will be donated by AGCF to The Mama Bear Effect, a nonprofit organization dedicated to building stronger families and protecting children. Through this important cause, AGCF furthers its commitment to bring purpose to the world of luxury fashion and beyond. As a means of continuing the brand’s responsibility to enact and inspire positive change, AGCF pledges 20% of annual profits to organizations dedicated to protecting young women and children globally.

On Nov. 9 at the Pacific Design Center, the 2024 Baby2Baby Gala Presented by Paul Mitchell honored Charlize Theron with the “Giving Tree Award” for her work as a champion for vulnerable women and girls around the world. The star-studded evening raised more than $17 million to support the national nonprofit organization that provides basic necessities to children living in poverty.

The event featured a performance by Nelly, who brought Kelly Rowland onstage for their hit song “Dilemma.” Attendees included Los Angeles Mayor Karen Bass, Anna Kendrick, Ashanti, Heidi Klum, Ciara, Jennifer Garner, John Legend, Chrissy Teigen, Jesse Tyler Ferguson, Jessica Alba, Julie Bowen, Katy Perry, Mindy Kaling, Erin Foster, Nicole Richie Madden, and Paris Hilton, who all dined on food from Beverly Hills restaurants Funke, Mr. Chow, Jon & Vinny’s and Jeni’s Splendid Ice Creams, among others.

The city’s new private club concept, Gravitas on Camden Drive, held a ribbon-cutting ceremony on Nov. 18 attended by Mayor Lester Friedman, Vice Mayor Sharona Nazarian and Beverly Hills Chamber of Commerce President and CEO Todd Johnson. Gravitas co-founders Seth Glassman and Brandon Steven hosted the local crowd for a toast on the ground floor bar immediately following the ceremony.

“Gravitas has been a labor of love, to say the least, and having our doors open to our members feels truly surreal,” Steven told the Courier. “It’s an honor to be in the heart of Beverly Hills and we look forward to continue getting to know the incredible community around us.” Friedman praised the team for keeping the integrity of the building and integrating seamlessly into the city. Nazarian commented, “This is exactly what we needed—a forward-thinking, exclusive, place that our city has never really had. Beverly Hills is the place to be.”

Givenchy on Rodeo Drive, celebrated the opening of it’s permanent Beverly Hills flagship location along with C Magazine on Nov. 20. The historic Frank Lloyd Wright structure dating back to 1954, is a multilevel white building punctuated by a central spiral slope dotted with greenery and nooks with seating areas, flanked by a men’s store and a separate two-story women’s boutique. The trio of spaces were filled with guests shopping, mingling, dancing to the DJ, and enjoying vodka martinis, along with President of Givenchy Americas, Valerie Leon.

Down the street, Armani held a bash that was spilling out into the streets where the new Giorgio Armani Fiat 500e was parked on a red carpet. VIPs, top influencers, and celebrities, including rapper will.i.am, “Emily in Paris” star Ashley Park, James Kennedy from “Vanderpump Rules,” Crystal Minkoff, actors Jamie King, and Giancarlo Esposito, were all invited to preview of the new vehicle, along with a set by DJ Shai, while sipping Champagne. 

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“The Diplomat”

Finally season two is here and just in time. The further adventures of our reluctant U.S. Ambassador to Great Britain, Kate Wyler (Keri Russell), and her unpredictable husband, Hal (Rufus Sewell), continue with the stakes ramped up even higher. Instead of recapping the first season, I exhort you to watch it again; you won’t be bored. You’ll need to watch at least the last couple of episodes if only to put the first season finale shocker together with the touch-and-go emotions of season two.

Kate and Hal, career diplomats specializing in the Middle East and Central Asia, found themselves in London when Kate was tapped to be the Ambassador to Great Britain, traditionally a post given to mega political donors with no work experience. What Kate doesn’t know, and Hal does, is that she is being groomed as a possible replacement for the current Vice President, who has been embroiled in her husband’s financial chicanery. As is so often the case, Kate is the last to know. But her vast experience will serve her well in this new position that is more fraught than she imagined. Her marriage to Hal is complicated and she is constantly on the verge of divorce, one that is repeatedly sidetracked by the ever-resourceful Hal. Charming to a fault, he feels sidelined and underused, something his ego can’t handle. Trust is definitely an issue, but she needs his navigational skills. The British Prime Minister is cagey, probably corrupt and, she suspects, is the actual perpetrator of a crime of international scope. Her alliance with the British Foreign Minister, fraught with sexual tension, has shored up her defenses.

Basically, anything revealed about what that crime is, how Hal is affected and who the responsible party is would be gigantic spoilers. As Kate grows into her job and begins to earn the respect of all around her, she comes face to face with the woman she is slated to replace—the U.S. Vice President, a stunningly chilling Allison Janney. Keeping as vague as possible, the shocking season one finale segues into season two with a death, breakups, betrayal, and investigations that lead where no one was prepared for them to go. Each episode is more breathtaking than the one that preceded it, making this series impossible not to binge. And it all leads up to a finale more shocking than the last one; one that will mutate, almost metastasize, into what is sure to be an exciting season three. All of the supporting players are terrific including the ever-interesting Celia Imrie as Margaret Roylin, an insider who has burrowed deep; Rory Kinnear as slimy Prime Minister Nicol Trowbridge; and David Gyasi as the Foreign Secretary who exudes pheromones. The level of authenticity is enhanced by the incredible locations, including the actual U.S. Embassy and the Louvre in Paris. Season three can’t come too soon.

Now streaming on Netflix.

“Simone Biles Rising”

Simone Biles, recognized as the greatest gymnast of all time, gave unprecedented access to documentarian and director Katie Walsh, and it pays off in so many ways. Billed as a two-season series, it is, in actuality, a documentary told in four thrilling, sympathetic, revealing and insightful episodes, the first two of which were already playing on Netflix and the second two, primarily focused on the Paris Olympics, premiered on Oct. 25. Watch all of them sequentially, and you have an intimate and exhilarating portrait of a phenomenal athlete who comes off as a delightful, embracing, down to earth, charismatic and introspective young woman who just happens to have skills heretofore unimagined.

“And still I rise” is her touchstone. A lyrical poem by Maya Angelou, she had those words tattooed on her collarbone. It is a reminder to her that no matter what anyone else thinks or says about her, especially after the Tokyo Olympics, she will rise above it. The first episode focused on the leadup to the Tokyo Olympics and the so-called disaster when she withdrew. Her withdrawal called attention to something called “the twisties.” In gymnastics, and in life generally speaking, the body must be in sync with the brain for motor activities to go smoothly. If, in the case of “the twisties,” you lose track of where you are while performing an aerial feat, you risk severe injury because you’ve lost your sense of where you are in the rotation or how to land. Biles described it as being “lost in the air.”

The second episode focuses on her decision to rise above what happened at the Olympics and her determination to rise again. She shows us the preparation and diligent work it took to get back to where she felt she needed to be. The third and fourth episodes are focused on the lead up to Paris, with the World Championships and her continued work in the gym. The footage from the Paris Olympics, some of which was part of the NBC coverage and some of it not, is nothing short of stunning.

Interspersed throughout the episodes are home movies starting when she was 6, and interviews with experts, the team physician, her coaches, Olympians past and present, and her fabulous parents. Simone and her three siblings were abandoned by their drug-addicted mother. After spending time in the foster care system, her grandparents adopted her and one of her sisters. Her other sister and brother were adopted by her aunt and uncle. This is as much a portrait of a brilliant athlete as it is the extraordinary love that surrounded her and contributed so much to her self-confidence as an athlete and an individual. She’s now 27 years old, married to a professional football player, and well on her way to inventing herself outside of her sport. But really, if you’re like me, you’ll thrill to her untethered leaps in the air. There can never be enough gymnastics, and there definitely can never be enough Simone Biles, a hero and role model for this and the generations to come.

Now streaming on Netflix.

“Cross”

Based on the James Patterson series of novels, “Cross” follows Alex Cross, an African American Washington, D.C. police detective, still reeling from the murder of his wife. He tries to make his family a priority, but police business always intervenes. A Ph.D. in psychology, Cross establishes his superior skills in the first few minutes when interviewing a racist murder suspect who enjoys taunting his Black jailers.

What the D.C. Metropolitan Police have not yet noticed is that a serial killer is on the loose. One of his victims was a former criminal, now a leader in his community, whose death was staged as a drug overdose. The community is convinced that, at the very least, this is a police cover up. Certainly, the chief is behaving that way in trying to close the case with a minimal investigation. If that’s what she wanted, however, she should never have assigned Cross to the case. It will be up to him to unravel what happened and why. He knew the victim and admired his transformation. A simple interview of the victim’s hostile friends and family reveal contradictory evidence. The higher-ups may want to close this case post haste but Cross doesn’t play that game. When other bodies start turning up, he realizes that something else is going on.

What should be a thrilling series with twists and turns aplenty is rather flat. The timing seems off. Aldis Hodge as Alex Cross is quite good but the support is weak and the dialogue, which should crackle, fizzles. The characters are wooden, and that is a directorial problem because, presumably, capable actors were hired in the first place. It’s a shame because Patterson’s books are always page-turners and one would hope for the same in the television equivalent. This should have been good or, at the very least, better.

Streaming Nov. 14 on Amazon Prime.

“Interior Chinatown”

This is an inventive series, if rather confusing, about a young Chinese American man, an aspirational actor always relegated to “third guy on the right,” who steps into a fantasy world where he is the hero of his story. Willis Wu, waiting tables at his uncle’s restaurant in Chinatown, inadvertently witnesses what may be an abduction. It is here where the lines blur and his so-called storyline intersects with that of a TV procedural called “Black & White,” starring, you guessed it, a beautiful white woman detective and her handsome, suave Black partner. Willis, seemingly entering the procedural playing on the restaurant’s television, is invisible to all except the new, woefully inexperienced but assertive diversity hire, Detective Lee, who is their “Chinatown expert.” It is Lee who picks up on Willis’ intel and tries to use it to elevate her status. But she faces her own invisibility issue. Willis has his own problems, not just the job he hates at his uncle’s restaurant, but also with his separated parents, each of whom stifles his dreams and any forward progress he attempts. And again, with an eye to destabilizing the real vs. unreal scenarios, Willis’s brother, Kung-Fu guy, has been missing for several years. Willis discovers that he was working undercover for the task force in Chinatown, but did he really exist? In the minds of Willis and his parents, who may or may not be part of this TV show, he existed and he is sorely missed. He was the handsome, talented one.

Confused? So am I. But it’s still worth at least a couple of episodes because it will probably immerse you in its quicksand approach to storytelling. It might not need to be reality-based or even separate the real from the fiction because the characters are engaging. In its own way, it blurs the lines even further because that is what television storytellers are always trying to do—make you part of the narrative.

Streaming on Hulu Nov. 19. 

Neely Swanson spent most of her professional career in the television industry, almost all of it working for David E. Kelley. In her last full-time position as Executive Vice President of Development, she reviewed writer submissions and targeted content for adaptation. As she has often said, she did book reports for a living. For several years she was a freelance writer for “Written By,” the magazine of the WGA West, and was adjunct faculty at USC in the writing division of the School of Cinematic Arts. Neely has been writing film and television reviews for the “Easy Reader” for more than 10 years. Her past reviews can be read on Rotten Tomatoes where she is a tomato-approved critic.

The post Late Fall TV appeared first on Beverly Hills Courier.

Many, if not most films that aim for an end-of-year release have Oscar aspirations. Although there have been many Oscar-quality films that opened earlier in the year, too many are forgotten when nominations come around; hence, the desire for a late fall opening. To qualify for an Oscar, films must have a run of seven days in a commercial theater in a qualifying U.S. metropolitan area. They may, however, open simultaneously in a theater and on a streaming network. A streaming release prior to commercial theatrical release disqualifies the film from Oscar consideration. More and more, stars have been demanding a theatrical release of their films, even if they are ultimately meant to be streamed.

Opening dates for the late fall were in constant flux as distributors were still picking up films from festivals, the Toronto International Film Festival being the most influential. I’m definitely bullish on the upcoming movies. So, on with the show:

Nov. 15

“All We Imagine as Light” won the Grand Prix at the Cannes Film Festival. It is a poetic ode to the lives of two nurses and roommates from Mumbai, one of whom is estranged from her husband and the other in a forbidden romance with a Muslim, as they explore their lives, loves and disappointments. Ironically, India has chosen a different movie as their Oscar submission, something almost guaranteed to backfire.

“Red One” is Santa, and Santa has been kidnapped. Getting him back will be the trick as the security staff at the North Pole must battle monsters, bad guys and themselves to succeed or, gasp, there will be no Christmas. Full to brimming with comedy stars like Dwayne Johnson and Chris Evans, this Jake Kasdan-directed holiday film is sure to be a family pleaser.

Nov. 22

“Gladiator II” is Ridley Scott’s return to the arena, this time with the nephew of Maximus out to avenge his father’s death and return glory to Rome. Starring Paul Mescal, Denzel Washington and Pedro Pascal, there will be blood and some unlikely fighting animals.

“Wicked Part I” finally makes its way to the big screen after years as a hit on Broadway, with no end in sight. Divided into two parts, this novel take on the “Wizard of Oz” stars Ariana Grande as Glinda and Cynthia Erivo as Elphaba. Part II premieres on Nov. 26, making it a total Thanksgiving experience.

Nov. 27

“September 5” follows the massacre of Israeli athletes by the Palestinian terrorist group, Black September, at the 1972 Munich Olympics as covered by the ABC sports correspondents who were there broadcasting the games. It is a heart-stopping reminder of an event seen through the prism of the sportscasters with Peter Sarsgaard starring as Roone Arledge.

“Moana 2” is a journey across the seas and Moana, accompanied by Maui, must answer a call from her ancestors. There are rifts to heal and people to bring together. The animation shines in this sequel.

“Maria” is director Pablo Larain’s biopic of Maria Callas in her final years in Paris. Angelina Jolie stars.

“Queer” has made almost as many waves for its story as it has for its star. It is based on a semi-autobiographical novel by William S. Burroughs, part of the Beat Generation of poets and novelists in the 1950s. Lee, a gay man in thrall to drugs and younger conquests, finds love, romance and sex in Mexico City in the 1940s. Daniel Craig stars as Lee in a much-talked-about performance.

Dec. 6

“Hard Truths” is a return to form for Mike Leigh, here reuniting with the superb Marie Jean-Baptiste as a bitter dysfunctional British Jamaican who lashes out at everyone and everything including her preternaturally optimistic sister, her exact opposite.

“The Order” is a stunning depiction of a true 1983-84 drama about a white supremacist who decides to take action and foment a rebellion and the FBI agent on his trail. Starring Nicholas Hoult and Jude Law, the events are reenacted chillingly, a harbinger of what happened on Jan. 6.

“The Return” is director Uberto Pasolini’s take on Homer’s tale of the Odyssey with Ralph Fiennes as Odysseus and Juliette Binoche as his long-suffering wife, Penelope. Expect Pasolini to exhibit the quiet depth he showed earlier this year in his masterpiece, “Nowhere Special.” This film marks the first time Fiennes and Binoche have acted together since their breakout roles in “The English Patient.”

“The Six Triple Eights” gives us the story of the Black women who joined the war and were assigned the task of sorting, delivering and tracking the mail sent to soldiers during World War II. Directed by Tyler Perry and starring Kerry Washington, this is the story told by Romay Johnson Davis in “Black Uniform,” the outstanding documentary made by Beverly Hills’ own Robert Darwell. As Davis pointed out and Perry’s film emphasizes, mail is communication, hope and information, something supplied by this all-female, all-Black and all-disregarded unit who played the major role that everyone seems to have forgotten. Streaming on Netflix on Dec. 20.

“Nightbitch” is a horror/black comedy starring Amy Adams as a stay-at-home mother whose frustrations manifest themselves at nighttime when she turns into a dog, or does she? Motherhood is complicated.

In “Oh Canada,” based on the book by Russell Banks, director Paul Schrader reunites with “American Gigolo” Richard Gere to tell the story about a man who fled to Canada to avoid the draft and now wants to tell his story.

“Get Away” has it all—remote island location, dysfunctional family vacation, serial killer—what could possibly go wrong? Billed as horror, but with British funnyman Nick Frost in the lead, black humor has to be on the menu.

Dec. 13

“Kraven the Hunter,” plucked from the Spiderverse, is the villain with daddy issues. Kraven follows his ruthless father down a path of vengeance and mayhem against his purported enemies. Starring Aaron Taylor-Johnson, Ariana DeBose and Russell Crowe, it won’t be pretty, and there will be blood.

“Lord of the Rings: The War of the Rohirrim” is a stylish anime film based on the characters from the J.R.R. Tolkien fantasy novels. A prequel to the trilogy, it tells the tale of the King of Rohan.

“The Last Showgirl” has created buzz both for the subject and its stars, particularly Pamela Anderson, starring as Shelley. Having been a showgirl for over 30 years in Vegas, she and the other dancers are rocked when the closing show is announced. Shelley and her friends, including Annette, played by Jamie Lee Curtis, are upended. What is left for these women, all over 50, when the only life they knew as dancers has now ended? Directed by Gia Coppola, granddaughter of Francis Ford, this signals the arrival of another talented member of that family.

Dec. 20

“The Room Next Door” is Pedro Almodóvar’s first English-language film and stars Julianne Moore and Tilda Swinton. After being estranged for many years, a daughter reconnects with her mother, trying hard to piece together what pulled them apart. It won the Golden Lion at the Venice International Film Festival.

“Mufasa: The Lion King” is both a prequel and sequel to “The Lion King,” telling the origin story of Mufasa and Prince Taka. Using photorealistic animation, this film, with its amazing voice cast, will be a sight to behold —a family film to unwrap during the holidays and savor.

“Sonic the Hedgehog 3,” based on the video game series, is the box office gift that keeps on giving. Like “Despicable Me 4,” this year’s hit rerun, “Sonic” should appeal to families looking for fun during the holidays as the furry creatures combine with their human friends to battle the evil Shadow.

Dec. 25

“The Fire Inside” was originally scheduled to open last summer. It is the inspirational story based on the journey of Claressa “T-Rex” Shields who wants to be the first American woman to win a gold medal in boxing at the Olympics. Directed by Rachel Morrison and written by Barry Jenkins, the Oscar-winning writer/director of “Moonlight,” it features a very strong cast led by Brian Tyree Henry.

“A Complete Unknown” is the highly anticipated biopic of Bob Dylan starring Timothée Chalamet. Focusing on the moment at the Newport Folk Festival in 1965 when Dylan decided to go electric, Chalamet will sing. Directed and written by James Mangold who knows his way around biography, having directed “Ford v Ferrari” and “Walk the Line” about Johnny Cash, this is one of the most anticipated films of the season.

“Babygirl” is a story of a powerful CEO who embarks on a passionate affair with an intern. But in this erotic story, the CEO is a woman (Nicole Kidman) and the intern is a young man. Kidman won the Best Actress Award at the Venice International Film Festival, and she has turned heads everywhere the film has been shown.

“Nosferatu” is a starry revisit of the legend of Dracula. A remake of the famous and still scary German Expressionist silent film made in 1922, it is the story of a young woman’s hypnotic obsession with Count Orlok who turns into a vampire at night, searching for blood to keep him alive. Many will try to save her from his spell. It stars Bill Skarsgård, Nicholas Hoult and Lily-Rose Depp. Hoult is fast becoming the villain you love to hate. The magnetism of this story seems to be limitless.

“Wallace & Gromit: Vengeance Most Fowl” brings back that favorite stop-motion, animated duo. This time around it’s up to Gromit to save his master from an evil figure from his past, who may just have been released through Wallace’s latest invention. 

Happy Holidays and Happy Viewing. 

The post STYLE’s Fall/Winter Film Preview appeared first on Beverly Hills Courier.

Fearing for the children living in London, an evacuation was hastily put together to send youngsters out of the big city and transport them by train to safer villages away from the bombing targets. Rita, a factory worker and single mom, lives with her father and her 9-year-old biracial son, George, who could not be more loved or supported by his mother and grandfather. They have raised him to be strong and fair and independent; to stand up to bullies and defend himself when necessary. As his grandfather tells him, “Bullies are all mouth and no trousers.” Torn between her need to have George with her, she is, nevertheless, insistent that he join the evacuation, something he does not want. She unclasped her St. Christopher’s necklace, the last vestige of her long-gone husband and George’s father and puts it around his neck. Yelling, crying, and shouting he hates her, Rita drags him to the train and makes sure he gets on. George wants none of it. The strangers are unfriendly; he’s different; he wants his family. As the train pulls away, you are as wrenched as George is.

Rita is a factory worker. Surrounded by friends, they commiserate about the dangers around them but all are eager to find fun and companionship in the turmoil. Rita is conflicted. Reluctant to be pulled from her shell, all her thoughts are with George and his last hateful words to her. Her guilt and ambivalence are playing havoc with her psyche. Life will soon become more complicated and amidst the constant threat of destruction and paltry number of shelters, Rita tries to help those in need. She is unaware that she could soon be one of them.

Faced with bullies ridiculing him because of his race and a support system not designed for people like him, George, a truly intrepid soul, makes a daring escape from the train, determined to make his way back to his mother and grandfather. He cannot let his last words to his mother be “I hate you.” During his Quixotic trip, he will face an amazing array of dangers, learning that sometimes it’s difficult to tell the bad guys from the good as he starts on his incredible journey. When Rita is informed that George did not disembark with the other children and that one child reported his heroic jump from the moving train, she is hysterical. Walking out on her job, dropping everything, she begins her impossible quest to rescue George. He knows where he must end up but may not have the means to do so, other than his dogged determination. She, on the other hand, is at a marked disadvantage, searching for a needle in a massive haystack.

McQueen, both as writer and director, gives us a thrilling mother-son love story couched within the horrors of war, perfectly illustrating the concept that joy can be found even within the most profound tragedies. It is certainly an excellent depiction of the so-called British “stiff upper lip” personality while also showing the subliminal racism and misogyny that continued to flourish even while most were trying to pull together.

That at times McQueen inserts too many side issues or minor plotlines is forgivable considering the overall emotional impact of the film. His depiction of the patronizing attitude of men in power over women in the factory, women on whose labor the defense machine must rely, is subtle but effective. He becomes a bit more heavy-handed when it comes to issues of racial prejudice, painting with black and white and neglecting nuance and shades of gray, forgetting, perhaps, that it is those shades of gray that are the most dangerous. The audience is intelligent enough to make the connection between a color-based slight as directed at George by his peers and what he and others face day to day. Racism is everywhere. He is most effective with a line of dialogue here or a nasty look there, and less effective when illustrating prejudice with physical assaults against victims of color.

McQueen’s brilliance is evidenced in the way he envelopes you in the terrifying sounds and randomness of the bombing. Juxtaposed by the tender love story he tells of George and Rita; the audience immediately understands the stakes. The randomness of the bombing only heightens the probability of loss.

McQueen won the Turner Prize for Visual Art in 1999 and an Academy Award for “Twelve Years a Slave” in 2014. His cinematographer, Yorick Le Saux, boldly brings that artistry to life as he paints his picture of London. The superb cast is the successful handmaiden to the director and his vision and artistry. Paul Weller as George’s grandfather is quietly effective as one of the roots of George’s backbone. Benjamin Clémentine is a breath of hope as Ife, the air raid warden who briefly takes George under his wing. Stephen Graham, Albert, adds this role to his many other scene-stealing villains, this time a bad guy of Dickensian proportions. He makes an indelible impression not just for the danger he represents but for the randomness of his insertion into George’s life.

There are few accolades that Saoirse Ronan (Rita) hasn’t rightfully received. Here, her mother is so realistically portrayed that you live with her as she follows the well-worn path in the life she has accepted. It is not until she realizes that her child is missing and she breaks down that you begin to understand how thoroughly she has wrapped you in her life. She is us and we are her as she faces a terror for which she was unprepared.

“Blitz,” however, rises or falls on the performance of Elliott Heffernan, the extraordinary child who is George. Discovered in a nationwide open casting call, Heffernan is quiet, effective, effortless and real in a role that calls for him to be brave, hurt, mentally and physically, and lovingly show the unbreakable bond he has with his mother and grandfather. There is nothing showy about his George. This is a real kid. He could be yours or mine, and that’s what makes his dilemma so personally agonizing. He makes you care; he makes you root for him; he makes you afraid for what may happen. Surrounded by professionals, it is on him, nevertheless, that the whole film hinges and its success depends. Gloriously, he’s terrific and the film succeeds beyond what anyone has a right to hope for. “Blitz” is the must-see film of the season.

Now playing at the Landmark Sunset and the Laemmle Town Center and streaming on Apple Nov. 22. 

Neely Swanson spent most of her professional career in the television industry, almost all of it working for David E. Kelley. In her last full-time position as Executive Vice President of Development, she reviewed writer submissions and targeted content for adaptation. As she has often said, she did book reports for a living. For several years she was a freelance writer for “Written By,” the magazine of the WGA West, and was adjunct faculty at USC in the writing division of the School of Cinematic Arts. Neely has been writing film and television reviews for the “Easy Reader” for more than 10 years. Her past reviews can be read on Rotten Tomatoes where she is a tomato-approved critic.

The post ‘Blitz’—Loud and Clear appeared first on Beverly Hills Courier.

David and Benji are on a mission together. They were left money by their cherished grandmother to visit the Poland of her youth, the home where she was happy until the Holocaust upended her life. She survived and had a fulfilling life in New York, bonding with her two grandsons, especially Benji, who benefitted from her tough love and attention and feels her loss more acutely. They have spent that money on a tour of Poland focusing on Jewish heritage. Their ultimate goal is to find their grandmother’s house.

The dynamic between the two men is established immediately. David has texted Benji repeatedly, dozens and dozens of times, about meeting at the airport. Benji responded to none of them, fully confident that they’d find each other before they boarded. When, on the plane, Benji convinces David to take the middle seat, it is immediately noted that Benji knows how to get what he wants and David is missing the self-protection gene. Meeting up with their tour group in Warsaw, Benji quickly establishes himself as a friendly antagonist. He is a flag planter and it’s usually on top of David that he plants it. But he’s also a charmer, and even when he inconveniences the group or directs unnecessary criticism at their amiable guide, he is forgiven. David is clearly annoyed at these antics, but he is also envious because he has never been able to confront anything directly. That he has lived his life avoiding conflict is more than apparent.

Both Benji and David are very disapproving and envious of each other. Disapproving because Benji says whatever comes into his head at the time without a filter; disapproving because David is unable to tap into any emotions that the tour should bring out, even during the tour of a concentration camp; envious for similar reasons just because Benji reacts on a visceral level and David, holds back, allowing his observations to color his response. They each express and feel pain in direct proportion to their abilities to feel emotions—Benji feels everything and David, seemingly, little. But, of course, it’s not as simple as that.

Emotional pain is experienced in different ways. Just because Benji is an unfiltered jerk, both to his cousin and the other members of the group, doesn’t negate his positive qualities. Those positive qualities are very tied to his negative ones, making him almost impossible to be around and impossible not. David is so bottled up that he is almost incapable of opening himself up to the past. His empathy for the suffering of others is almost rote. David is a here and now kind of person. He lives for his wife and child; he loved his grandmother as a person who cared for him. He finds it difficult to relate to past events in anything but a historical context. Benji improvises through life; David follows a script. Each man is a pain to the other, each suffering his own brand of pain.

This could have been a great character study of two men who are different sides of the same coin. On the positive side, Culkin and Eisenberg are playing characters they know so well. On the negative side, Culkin and Eisenberg are playing characters they know so well and have done repeatedly, right down to the identifiable speech cadences. Culkin has channeled Roman Roy from “Succession” at his best and worst. Although not exhibiting any new dimension, he makes it hard not to focus on his character and the ways in which he unsuccessfully hides his difficulties. Jesse Eisenberg stays within his already well-established wheelhouse of the repressed, almost OCD personage whose brain is constantly whirling in facts and numbers but not in emotions. Both men reveal their shortcomings, but it’s Culkin who gives us a more fully developed character.

Eisenberg’s intention was not just to explore the differences and ultimate love the cousins have for each other but to do it in the context of spiritual identity against the backdrop of today’s Poland. Unintended, but the locations were only settings for the two men’s interactions with no insight into the significance of these sites. He has, instead, made a scenic travelogue with little insight into the country.

Neither has much in common with the members of their group, although both bond with Eloge (Kurt Egyiawan), a convert to Judaism and a refugee from the Rwandan genocide who found a new home in Canada where he felt embraced by the grace, empathy and faith of the Jewish community. His quiet humility allowed both men, at least briefly, to contemplate what it means to find community in the aftermath of tragedy, bringing their grandmother’s suffering and survival into focus. All of the other actors portraying the tour group members are only along for the ride, including Jennifer Grey, who portrays Marsha, the L.A. divorcee trying to discover her roots. Even Will Sharpe as James, the amiable tour guide leader, has little to do other than provide narrative for the sites, much like you might get on a Hop-On Hop-Off bus. They are wallpaper for the leads. Although Eisenberg based this film on his own travels, searching for his family’s history in Poland, the personal touch seems missing.

Cinematographer. Michal Cymek, an award winner for the enchanting “EO,” filmed his native Poland lovingly. It is significant, however, that Eisenberg steered clear of Poland’s ever-present antisemitic history, avoiding most of Poland’s past and present.

Opening Nov. 1 at AMC Century City 15 with a Q&A with Jesse Eisenberg and Kieran Culkin; Nov. 2 with a Q&A with Jesse Eisenberg. 

Neely Swanson spent most of her professional career in the television industry, almost all of it working for David E. Kelley. In her last full-time position as Executive Vice President of Development, she reviewed writer submissions and targeted content for adaptation. As she has often said, she did book reports for a living. For several years she was a freelance writer for “Written By,” the magazine of the WGA West, and was adjunct faculty at USC in the writing division of the School of Cinematic Arts. Neely has been writing film and television reviews for the “Easy Reader” for more than 10 years. Her past reviews can be read on Rotten Tomatoes where she is a tomato-approved critic.

The post ‘A Real Pain’—In So Many Ways appeared first on Beverly Hills Courier.

In one form or another, the E Street Band has been accompanying Springsteen for almost 50 years. The configuration has changed, sometimes larger, sometimes smaller, a different drummer here, a new guitarist there, backup singers, horns, no horns, a violin, but it always works and many of the members of the ensemble have been there almost since the beginning. This is the group he tours with, much more than just a backing ensemble. Sometimes when Springsteen embarked on solo work, he disbanded the band, but it never lasted long. This is a family and they celebrate their victories together and mourn their losses, particularly the loss of keyboardist Danny Federici to cancer and saxophonist Clarence Clemons from a stroke in 2011. Clemons’ nephew Jake took over his position and his uncle’s sax in 2012.

He originally thought they’d tour in 2019 and then 2021, but life and the pandemic messed with his original plans. But it’s 2024, and they’ve decided to bring down the house. Unlike other rock ‘n’ roll groups over the decades, there have been no meltdowns, no drug overdoses, no headline grabbing sex scandals (not counting Springsteen’s affair with band member Patti Scialfa before his divorce was final; not a passing fling, they’ve been married over 30 years). Steve Van Zandt, an on and off again member of the band since 1976, although he played with Springsteen in groups before fame overtook them, is quoted as saying that Bruce Springsteen is the only person (not performer but person) he knows who has never (underline never) done drugs. Van Zandt, who has come and gone many times for his own career, both in acting and music, is now the Musical Director of the band and shares his vast knowledge of the Boss and the Band in many of the onscreen interviews. For this tour the band is bigger than ever, but still a close-knit family. The concert will end, as they always end, Bruce, on stage alone, performing an acoustic solo.

“Road Diary” is not a tell-all or a bio in the sense of the recent documentaries profiling Linda Ronstadt or Gordon Lightfoot. “Road Diary” is just that—an up close and personal look at the preparation, rehearsal and ensuing concerts that Springsteen took on the road. Interviews with band members and associates give you a bird’s eye view of what it takes to get the show on the road. No gossip, no tsouris, just roll up your sleeves and get back into the groove.

Springsteen is incredibly disciplined. Unbelievably charismatic, he’s still true to his blue-collar origins with appeal that crosses all age groups, ethnicities and economic demographics. His shows are personal. He knows exactly who he is. He’s the maestro.

Preparing for that first show of the new tour, Springsteen intensely circles the stage. The tempos are a bit too slow. What he wants is rock; 1976 rock. This is a bigger band and Van Zandt must pull them together, incorporating new members into the group. Think Big Band but playing rock ‘n’ roll. Springsteen stays only for a short rehearsal that first day, warming up his voice and pulling the arrangements. Choosing the set list, he explains that he has a specific narrative in mind. There will be no “greatest hits.” The songs he’s selected will tell the story he wants to tell. Leaving the run-through early, he lets them know he has full confidence in them. They know what’s expected. Van Zandt will keep the rehearsal going and get the “wow” factor Bruce is looking for.

Key musicians, all of whom have been with the band off and on for 40 or so years, reminisce about past tours. Only the colors of their neatly pressed shirts or drummer Max Weinberg’s sports coats have changed over time. Patti is still by his side but won’t make all the tour dates; she’s in treatment for multiple myeloma. To a man (and woman) they reiterate the family theme. It doesn’t work as an autocracy, regardless of Bruce’s preeminence. They are well aware that the fans are coming to see Bruce, but it is the band that Bruce relies on and listens to.

This tour will also take them to Europe, first stop Madrid. A great deal of time, actually too much, is spent asking various Italian, Scandinavian and Spanish fans “what Bruce means to me.” I suppose that is to emphasize the universality of his appeal, but personally I’d rather see more Bruce and the Band and less fan segments.

Bruce Springsteen is truly the last man standing. He still has the passions he followed as a kid and clings to the friendships he’s made over the years, but especially those of the long-serving members of the E Street Band. Federici and Clemons were there at the very beginning in 1972, as was Garry Tallent who is still the bassist. The year 1974 saw the inclusion of Roy Bittan on keyboards and Max Weinberg on drums. Van Zandt officially joined in 1975, with other musicians in the 1980s. Even when members left to do their own thing, they were welcomed back to the family. Even when Springsteen broke up the band for his solo career it was more a formal separation than a divorce because he probably never intended to remain a solo forever.

He lives by this quote from Jim Morrison. “O great creator of being, grant us one more hour to perform our art and perfect our lives.”

He’s found a way for universal appeal in the message, not just the music. Amid screaming fans, a journalist foolishly asks him if he’s ready to retire. Laughing, he points to the adulation of the fans and says simply, “Give that up?”

Premiering Oct. 25 on Hulu. 

Neely Swanson spent most of her professional career in the television industry, almost all of it working for David E. Kelley. In her last full-time position as Executive Vice President of Development, she reviewed writer submissions and targeted content for adaptation. As she has often said, she did book reports for a living. For several years she was a freelance writer for “Written By,” the magazine of the WGA West, and was adjunct faculty at USC in the writing division of the School of Cinematic Arts. Neely has been writing film and television reviews for the “Easy Reader” for more than 10 years. Her past reviews can be read on Rotten Tomatoes where she is a tomato-approved critic.

The post ‘Road Diary’: Bruce Springsteen and the E Street Band appeared first on Beverly Hills Courier.

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“Chef’s Table” has released a new season, and it fits right into the Courier’s latest Wine + Dine magazine. This season’s four episodes celebrate noodles and lead off with a profile of Evan Funke and his restaurants. Following Funke to Italy and the female chefs who taught him everything he knows about pasta, you’ll be dying to scare up a reservation to his Beverly Hills namesake. We learned a great deal about him from the Wine + Dine cover profile; this episode fills in the cooking blanks. There is nothing mechanical about this profile as it emphasizes the painstaking ways he uses and teaches hand-rolled and cut pasta. His ability to twirl a piece of dough into a tiny spiral is nothing short of stunning. The follow-up episodes are equally enchanting. Chinese noodles are made by chef Guong Wei for her London restaurants serving the cuisine of Xi’an; Peppe Guida, the Pope of Pasta, creates amazing dishes centered around dried pasta that he serves in his restaurants on the Sorrento coast; and finally, Nite Yun, inspired by her heritage, serves amazing noodle-centric meals from Cambodia. So loosen your belts and dig in. “Chef’s Table” has some delights in store for you.

Now streaming on Netflix.

“Rivals” is a pure, nasty delight. Set in the 1980s, “Rivals” is a battle of the titans as billionaire Tony Baddingham launches his new commercial television network. His first move is to poach the BBC’s leading talk show host, Declan O’Hara, with the promise of editorial freedom and oodles of cash. His purchase of a mansion in the countryside is a plus and a minus. On the plus side, it’s a mansion. On the minus side, it’s in the countryside. Everyone but his wife Maud, who is easily bored and takes her marriage vows with a grain of salt and a lot of vodka, is thrilled with the new digs. Not satisfied with what he has achieved, Baddingham strives for more, jealously eyeing his neighbor Rupert Campbell-Black, an aristocrat, wealthy and a former Olympian to boot. A rogue of the first order, Campbell-Black has bedded almost every woman in the surrounding area. His refusal to join Baddingham’s Board of Directors and disdain of Baddingham has only heightened their animosity. “Rivals” is a wonderfully skewed look at wealth, both nouveau and ancient, fidelity, and the news, especially the “get” and the “getting.” Everything is personal and vicious and hilarious.

The cast is superb, led by the infinitely versatile David Tenant (“Dr. Who,” “Broadchurch”) as Tony Baddingham. Aidan Turner (“Poldark”) is a very sympathetic and darkly ambitious Declan O’Hara, and Alex Hassell (“Violent Night”) is the unbelievably sexy bad boy Campbell-Black. Peppering the outskirts are Katherine Parkinson (“IT”), Claire Rushback (“A Very Royal Scandal”), Oliver Chris (“My Lady Jane”) and Victoria Smurfit, perfect as the restless wife (although in one way or another all the wives are restless). This is an absolute must-see. I was devastated that only four of the eight episodes were released because I wanted the immediate satisfaction that only the end (which I hope is not the end) would bring. I suspect that all the bad guys and dolls (and almost all of them are) will get a comeuppance of one sort or another. Can’t wait.

Streaming Oct. 18 on Hulu.

“La Máquina” (“The Machine”) is a genuinely compelling Spanish language series about a boxer at a crossroads. Esteban “La Máquina” Osuna is nearing 40, having spent almost his entire life in the ring. He has always relied heavily, probably too heavily, on his childhood best friend and manager, Andy. He’s won all the championships available to him but he’s old, battling sobriety and he has one more critical fight against a new and much younger rival. When he loses in a quick knockout, that’s it. Sponsors are abandoning ship, a rematch is out of reach and his old cravings are returning. He loves his kids and his ex-wife, but he’s lost. Andy pulls a rabbit out of a hat and gets Osuna that rematch; but there are conditions, ones he doesn’t disclose to his friend. Unknown to Osuna, his career has been controlled by unseen forces since the beginning and they are now demanding payback. His ex, a journalist, is on to something even though no one is talking, and her investigation is endangering Osuna, her children and almost everyone around them. When Osuna finds out the extent of Andy’s machinations, he knows that only he can fix things. But can he? These are the complications explored in this fabulous series full of twists and brimming with character development.

The casting is outstanding, reuniting Gael Garcia Bernal (Osuna) with his actual childhood best friend Diego Luna (Andy). Both of them shot to fame in Alfonso Cuarón’s “Y Tu Mamá También” and have gone on to star in many English-language films and series. Luna is the star of “Andor” and Bernal was “Mozart in the Jungle.” “La Máquina” is a nail-biter and moves at the speed of light. Having only released 5 of the 6 episodes, I’ll have to wait to find out what happens just like you.

Now streaming on Hulu. In Spanish with English subtitles.

“The Pradeeps of Pittsburgh” showed some initial promise. The Pradeeps, a family recently emigrated from India, have arrived in their new home outside Pittsburgh where father Mahesh has a contract to build rocket components. None too pleased are his wife Sudha, a physician awaiting her license to practice in the U.S., and children Kamal, a teen so on the spectrum that his issues have issues, Vinod, who wants to grow up to be a garbage man, and Bhanu, a hot high schooler who likes bad boys. The overall framework is a police investigation into the feud between the Pradeeps, primarily started by Sudha, against their very Christian and cluelessly but benignly (it’s still wincing) racist neighbors Jimbo and Janice Mills, when daughter Bhanu hooked up with their idiot son Stu. Somewhere along the way a crime has occurred involving both families, and it is up to two not-so-intrepid police detectives to solve the case by interviewing (repeatedly) every member of each family and unrelated neighbors and school officials. The series, of which eight out of the 11 episodes were released for review, rolled out much like a Bell curve. Starting slowly, it peaked with the middle three episodes and then proceeded to crash and burn when plausibility went off the rails.

The cast is outstanding so it’s a pity that the tone and premise didn’t sustain. Led by International British star Naveen Andrews (“The Dropout”) as Mahesh, with talented Broadway actress Megan Hilty (“Smash”) playing Janice Mills with a great deal of wide-eyed faux innocence and Ethan Suplee as Jimbo, nice as can be and dumb as a bag of hammers. Pete Holmes and Romy Rosemont ground (and grind) the series as the two detectives. There is definitely a series in there, but somehow the writers lost sight of how to keep it real enough so that the “fish-out-of-water drowns in middle America semi-good intentions” scenario stayed the course.

Streaming now on Amazon Freevee.

“Matlock” is only a titular remake of the 1980s favorite starring Andy Griffith as a sharp attorney disguised as a cornpone lawyer prone to solving mysteries. This “Matlock” stars Kathy Bates as a sharp attorney disguising herself as an “aw shucks” rusty lawyer returning to the fold after a bad marriage. In this case, all is not as it seems. She has wormed her way into the firm that represented an opioid pharma company that produced the drugs on which her daughter OD’d and she’s determined to find the evidence they hid. Mattie Matlock, no relation to Andy’s character, promotes lies, including her nom de plume, subterfuge and enlists her grandson to hack into the firm’s files all in the name of righteous indignation and Machiavellian “the end justifies the means.” While she is on the path to uncover dirty deeds and wrong doers, she also ingratiates herself to her co-workers and helps them win cases. There is only one reason to watch this show, and it is Kathy Bates, but even she has a hard time selling the old lady undone by a cheating husband whose real husband is a sweetie. Still, it’s a pleasure to see her at work, so take a look. One look will probably suffice.

On CBS. 

Neely Swanson spent most of her professional career in the television industry, almost all of it working for David E. Kelley. In her last full-time position as Executive Vice President of Development, she reviewed writer submissions and targeted content for adaptation. As she has often said, she did book reports for a living. For several years she was a freelance writer for “Written By,” the magazine of the WGA West, and was adjunct faculty at USC in the writing division of the School of Cinematic Arts. Neely has been writing film and television reviews for the “Easy Reader” for more than 10 years. Her past reviews can be read on Rotten Tomatoes where she is a tomato-approved critic.

The post Top Fall TV Viewing appeared first on Beverly Hills Courier.

“The Silent Hour”

“The Silent Hour,” director Brad Anderson’s new thriller, has been done many times before, sometimes better, sometimes not. Working from a script by Dan Hall, the basic premise is about being outnumbered and outgunned and trying to survive a siege. This is generally the plot of almost any Bruce Willis “Die Hard” film, but particularly the Richard Donner-directed “16 Blocks” where a cop (Willis) past his expiration date is assigned to take a witness from police custody to the courthouse where he will testify against some bad guys. Both the cop and witness are considered expendable.

Detective Frank Shaw was a catastrophe waiting to happen. Running on too much testosterone, Shaw was in an avoidable accident while chasing a bad guy. A year later, he returns to work with a permanent hearing loss that affects his ability to function in the field. Tired of it all and hating his desk assignment, he is on the verge of retiring but first he has one last task. He and his former partner, now a member of the Vice Squad, are sent to take the statement of a witness to a gang killing of drug dealers. The hook? She’s deaf and the official interpreter is unavailable. The best they have to offer is Shaw who has been taking sign language classes (reluctantly and sporadically) but is far from fluent or at ease. But, as his partner explains, he’s all they have.

Arriving at the condemned and essentially empty building where Ava, the witness, lives, she reveals to them that she recorded the killing. Problem solved; or is it? The detectives go their separate ways and that’s when it gets dicey because Shaw has forgotten his phone in her apartment and must return. Arriving at her apartment, he discovers that she is under siege by the bad guys. Now it’s Ava and Shaw, relying on a combination of Ava’s lip reading and Shaw’s bad sign language against a whole team of bad guys. No cell service, no landlines, no access to help, all played out on screen in real time.

Yes, this has been done before but the stars of this film make it work. Joel Kinnaman as Shaw is not quite enough of a commanding presence, but he garners your sympathy. Deaf actress Sandra Mae Frank as Ava has enough presence to carry the two of them. Her strength as an actress makes you wonder why we see so few deaf actors on screen. Mark Strong as Shaw’s partner is always a welcome addition to any film as he is here. His brilliant support in movies as diverse as “1917” and the “Kingsman” franchise makes them stronger and more interesting. Mekhi Phifer as the chief bad guy proves once again that he is convincing on any side of the fence.

No, it’s not terribly original but it moves fast and works and that is better than most.

Opening Oct. 11 at the Laemmle Monica in Santa Monica and on digital platforms.

“Bad Genius”

“Bad Genius” is a difficult movie to categorize. It encompasses the tropes of entitlement, unlevel playing fields, revenge, cheating, coming of age and disloyalty, all within the backdrop of immorality with an “end justifies the means” rationalization. This film will mean different things to different people, but in the end it’s all about cheating and who wins and who loses. If you grab the power through illicit means, can you hold it?

Lynn is the daughter of a Chinese laundromat owner drowning in debt (literally and figuratively). Her mother, deceased, and father immigrated from China to find a better life. Lynn is a dazzlingly brilliant student who is offered a full scholarship to the best prep school in Seattle. The school needs diversity and she needs access to everything the school has to offer. She and fellow scholarship student Bank, from Nigeria, view the deal as win-win. The school gets to pretend it’s something other than what it is, the repository of the sons and daughters of the obscenely wealthy, and Lynn and Bank get a foot in the door to the very best universities where they might not have had access otherwise.

Soon Lynn is befriended by all the cool kids with grade problems. Because her father is suffering financially, she feels pressure to help him, even though it’s the last thing he would ever have wanted. Her new, very entitled friends, beg her for help on their homework and exams. She rationalizes the price of her services as a necessary college trust fund provided by those with actual college trust funds. Incredibly inventive, her grade enhancement programs, cheating schemes by any other name, are brilliant and attract enough subscribers to fund her Julliard auditions, eventually enlisting the help of the other brainiac scholarship student, Bank.

Although somewhat repetitive from scene to scene, the underlying rationale is amoral, something the director J.C. Lee ignores. Based on the Thai film of the same name, “Bad Genius” does illustrate so many of the ways the system is fixed against the poor but worthy; but, one might add, cheating isn’t the way out. The students are all stereotypes, the brilliant Asian girl, the poor Nigerian boy supported by a single mother, the cool girl, the cool girl’s lunk head of a boyfriend who has to get into Columbia at all costs or his father will take away his trust fund, and on and on it goes with the other rich students living in mansions with swimming pools and servants, I mean staff.

But, and this is an important “but,” as stereotypical as the dilemmas are and as immoral as the actions by the poor but justified may be, “Bad Genius” is worth a view, if only for its killer (no, no one gets killed) ending.

The cast is outstanding, making the most of their stereotypical characters, led by Callina Liang as Lynn. Somehow Liang is able to pull the viewer back to her side of the equation. Her character wants to go to Julliard and her father is insistent that she go to MIT. Liang is able to make her calculating character straddle both sides of that fence successfully. The ringer in the cast is the always amazing Benedict Wong as her father Meng Kang. Wong has a resumé as long as your arm, running the gamut from “The Personal History of David Copperfield,” “Doctor Strange” and “The Martian.” He delicately reveals the conflicts of a man who wants more for his child than he can possibly provide. Jabri Banks as Bank is the moral high ground of the film until he slips, briefly, into the mud. Taylor Hickson plays Grace, Lynn’s erstwhile best friend, and Samuel Braun as Grace’s rich boyfriend Pat, never rise above the stereotypes of the dim, supposedly well-intentioned narcissists that you’ve seen before.

Even without much character development and a tendency to hammer home plot lines to the point of headaches, the film works. There is tension, risk, stakes and, again, that killer ending.

“Bad Genius,” at slightly over 90 minutes, is worth a view.

Opening Oct. 11 at the Lumiere Music Hall in Beverly Hills with a day and date streaming release on digital platforms.

Neely Swanson spent most of her professional career in the television industry, almost all of it working for David E. Kelley. In her last full-time position as Executive Vice President of Development, she reviewed writer submissions and targeted content for adaptation. As she has often said, she did book reports for a living. For several years she was a freelance writer for “Written By,” the magazine of the WGA West, and was adjunct faculty at USC in the writing division of the School of Cinematic Arts. Neely has been writing film and television reviews for the “Easy Reader” for more than 10 years. Her past reviews can be read on Rotten Tomatoes where she is a tomato-approved critic.

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“Love is love. It shouldn’t matter who loves who and what gender it is,” explains Sebastien Marcovici, the company’s Associate Artistic Director, about the queer rendering of the show. He speaks from the L.A. Dance Project’s studio near downtown L.A. In the next room, dancers are rehearsing for an upcoming performance at The Getty. 

A love story about forbidden attraction seemed like a fitting landscape to portray a tragic queer love. “The gay community exists. Why not incorporate it and show it in a story everyone knows?” says Marcovici. In this “Romeo & Juliet,” the iconic lovers will be played by a revolving cast of two same-sex couples and a heterosexual couple. Marcovici argues that this choice is not meant to be provocative; instead, it is intended to represent modern love stories. “It’s not new, especially in contemporary dance. It’s not the first time we see two men or two women dance together.” 

Like classic literature, the story of “Romeo & Juliet” looms large in the consciousness of the ballet world and has since its original composition in 1935 by Sergei Prokofiev. Marcovici, who met Benjamin Millepied while dancing for the New York Ballet Company, has seen many reprisals of the ballet by companies worldwide and is excited to bring a fresh take to the story. Originating from France, Marcovici spent his dance career in the New York Ballet Company for two decades before joining Millepied as a rehearsal director at the L.A. Dance Project.

Cinematography also plays a refreshing and unexpected role in Millepied’s “Romeo & Juliet.” Millepied may be most known for choreographing Aronofsky’s 2010 unsettling film, “Black Swan,” but his interest in film extends far beyond that. The classic love story is revived with a Hollywood twist as a camera follows the dancers behind curtains into different settings—transporting audiences outside the theater for the famed balcony scene. Millepied and Marcovici have a longstanding admiration for the film, using the livestream to bring a multidimensional approach to a classic art form. 

“It is shot very carefully so that we have a beautiful scene, beautiful shots like a movie. It was filmed as if it were a movie,” he says. Marcovici acknowledges that the marriage of dance and film is not a new tradition, especially in Hollywood. “In old Hollywood movies, there was a lot more dance. In some ways, it went away, but it’s always been there. I think there is an audienc for it.” Marcovici will operate the camera himself due to his extensive knowledge of the choreography, projecting it on the screen in real time for a mesmerizing presentation.  

The show’s film aspect allows audiences not just to reimagine the tale of the star-crossed lovers—but also the theater-going experience. “I think what’s exciting is that the audience that comes to the theater will see the theater in a different way. First, we’re going to show them some backstage places that have never been before because of where the camera goes,” he explains. “Let’s bring the audience to watch dance closer, more intimately.”  

The show has seen many iterations in Los Angeles over the years—a truncated version at Disney Concert Hall and one at the Hollywood Bowl scored by the L.A. Philharmonic. Marcovici notes that while the production has been very successful worldwide, producing the show in the company’s home city is always exciting. “I think the most exciting thing is to do it here and show it more easily to families and friends. Of course, the L.A. audience has seen a lot of our work, and we’ll finally show it here.”  

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The initiative’s diverse range of communal experiences should entertain all walks of life. They range from a runway fashion show in collaboration with the Autry Museums featuring futuristic creations by Indigenous designers at the Getty Center to the Wende Museum’s commemorative rocket launch of a replica of the Sputnik satellite, and an evening of deep-space communication hosted by comedian Reggie Watts and organized by NASA’s Jet Propulsion Laboratory.

“Designed for people of all ages and backgrounds, these programs will ensure that everyone can find something in “Art & Science Collide” to excite, illuminate and engage,” said Katherine E. Fleming, President and CEO of the J. Paul Getty Trust. And, luckily for us, most of these events are sticking around for months to come. 

A press preview panel at the Getty on Sept. 10 featured New Mexico artist Cannupa Hanska Luger and Turkish-American new media artist and designer Refik Anadol and offered a glimpse of upcoming exhibits. 

On Sept. 13 at the Hammer Museum, “Breath(e): Toward Climate and Social Justice” unveiled a groundbreaking indoor-outdoor exhibition that drew over 4,000 people for the opening weekend. It focuses on environmental art practices addressing the climate crisis and anthropogenic disasters, which lead to issues of equity and social justice. Curated by artist Glenn Kaino and guest curator Mika Yoshitake, it features more than 100 artworks by 25 international artists and will be on view until Jan. 5.

The “Breath(e)” preview was preceded by a presentation by the UCLA Film & Television Archive on their PST ART film series “Science Fiction Against the Margins” screening in the Hammer’s Billy Wilder Theater from Oct. 4 to Dec. 14.

Other art openings surrounding the citywide events on Sept. 12 included Phillips in West Hollywood with a collection of figurative collage works “Yesterday Was Hard” by YoYo Lander in collaboration with Superposition Gallery.

Across the street, Hauser & Wirth’s group exhibition of “L.A. Story” was inspired by the 1991 film. It was co-organized by Ingrid Schaffner, senior curatorial director, and Mike Davis, senior director, in dialogue with the film’s writer and star Steve Martin. “I’m thrilled that ‘L.A. Story’ is the focus of so many wonderful artists and a wonderful gallery, Hauser & Wirth, which is just across the street from the Troubadour, where I first stepped foot on Santa Monica Boulevard, which began my L.A. sojourn,” said Martin in a statement. On display until January, do not miss this cross-generational array of works by artists depicting the celebration of Los Angeles as a place unlike any other.

The Sycamore area in Hollywood has also become a hotbed for visiting high-profile independent galleries such as Jeffrey Deitch and the sequel to his 1990s ahead-of-its-time “Post Human” collective show with dozens of artists from Jeff Koons to Paul McCarthy, and Mike Kelley who reveal how technology will change our bodies in the future. Lisson Gallery and Carpenters Workshop are also within walking distance.

Nearby in Hollywood, The Aster hotel has a new art gallery program, The Aster Art Initiative, curated by L.A.-based artist Nora Shields, which unveils a new contemporary collection of diverse California artists spanning over two floors. 

While the La Brea Tar Pitts is featuring interactive workshops for families, as part of PST, the Academy Museum next door will open “Color in Motion: Chromatic Explorations of Cinema & Cyberpunk: Envisioning Possible Futures Through Cinema” on Oct. 1.

Also in October, the free Beverly Hills Fall Art Show taking place on the weekend of Oct. 19-20 will transform four garden blocks into an outdoor gallery, with works of 235 artists from around the globe. 

The post The L.A. Art Scene Comes Alive This Fall appeared first on Beverly Hills Courier.

Rona, on the cusp of her 30th birthday, has run smack into a wall, a wall that has always been hiding in plain sight. She is an unapologetic alcoholic; a girl who just wants to have fun. Growing up in the remote Orkney Islands of Scotland, she found release when, leaving for school, she landed in London. No guardrails, no limits, no storms or crashing waves beyond the ones that were self-created. Life was a never-ending party at bars where everyone knew her name, or at least they knew her proclivities. Like so many on that circuit, she’d wake up in the morning, not knowing what she’d said or done and apologize profusely to her boyfriend, the eternally patient Daynin. “It will never happen again,” she declares. But of course it does, night after night. She didn’t need help; she needed self-discipline. Or that’s what she believed, long after her losses began piling up. There was still another drink at the bar.

“The Outrun” is a sobering, realistic look at a life out of control that never loses hope. Having hit rock bottom, or at least the first one she’s willing to acknowledge, she makes that first step toward recovery. But this is only the start, yielding a moment of self-realization, understanding for the first time that she can’t do this alone. She needs to return home to the isolated, boring, blustery island of her youth; to return to her mother’s house on the sheep farm her father tends. Father, Andrew, is warm and embracing when he’s not engulfed in the frenzy of his bipolar disease. Living with her mother is equally challenging. After caring hopelessly for her husband, she did as so many in untenable positions have done. She found God, a god who infiltrates every corner of her life; one that she tries incessantly to bring to her unwilling daughter. But Rona’s demons continue to follow her: the nothingness of the Orkneys, the imagined ones of the howling at night and the mythological creatures in her head. 

Fingscheidt tells this compelling story out of sequence, pulling us backwards and forwards in time as Rona’s life unfolds like a fish being reeled in and cast out, reeled in and cast out. All the focus is on Rona and, although the topic is serious and her actions are heart-stoppingly agonizing, the overall effect is always one of hope. No matter how far Rona falls, no matter what she does, there is still a ray of determination and self-awareness. She runs, she twirls, she lives, and as distressingly hopeless as it seems, she always finds moments of self-discovery and awareness. The speed at which she spirals is in direct contrast to the assurance that she gains during moments of comprehension. Lost at home and equally lost in the big city, Rona is desperately trying to find where she fits in this world. It seems such a contradiction in terms, given the subject matter, but this is a very uplifting film, as full of moments of joy and generosity as it is of tragedy barely averted. And why is that?

Saoirse Ronan is the answer. Always a compelling actress, even at the age of 13 in her Oscar-nominated performance for “Atonement,” she finds all the colors of her lost character and paints her with depth and dimension. You agonize over her failings and celebrate her successes. The truth is found in her silence, a silence that is as engulfing as the rock ledges over the crashing waves where she sits in contemplation. Ronan has made it all very personal, for her and for you.

Saskia Reeves plays her mother empathetically and almost non-judgmentally. Although not an alcoholic, she lives her life through the Serenity Prayer: “God grant me the serenity to accept the things I cannot change, the courage to change the things I can and the wisdom to know the difference.” It speaks to the unconditional love of her daughter and her understanding of her divorced, but still dependent husband. Stephen Dillane, as Rona’s father, brings a subtlety to the submerged craziness of his almost untreatable manic depression. But it is clear that he loves Rona as much as he can, treasuring the moments they spend together when he’s not beset by mania. When he asks Rona to help him tend to the outrun, it highlights the dual nature of the word. For the Scots, it is a piece of grazing land on the outer limits of a farm, but for Rona and her father it is also the effort to outrun the demons chasing them both, tossing them to those same outer limits where hope still reigns. The cinematography of the otherworldly terrain of the Orkney Islands is extraordinary, making those islands and the crashing waves a character alongside the human inhabitants.

“The Outrun” is a realistic and often harrowing depiction of alcoholism that may have triggers that start it but is without brakes to end it. The disease has been depicted many times to great effect in the past. Ray Milland won an Oscar for his performance in “The Lost Weekend,”  as did Nicholas Cage for “Leaving Las Vegas” and Jeff Bridges for “Crazy Heart.” Saoirse Ronan’s acclaimed performance as Rona is their equal and more.

This small, independent movie gives hope to the future of cinema as more and more of the major studios are producing sequels to franchise popcorn fare leaving adult viewers less and less of the landscape to hold on to. “The Outrun” is definitely something to hold on to. The hope for Rona is also hope for us.

Opening Oct. 4 at the AMC Century City 15 and the Laemmle Royal. 

Neely Swanson spent most of her professional career in the television industry, almost all of it working for David E. Kelley. In her last full-time position as Executive Vice President of Development, she reviewed writer submissions and targeted content for adaptation. As she has often said, she did book reports for a living. For several years she was a freelance writer for “Written By,” the magazine of the WGA West, and was adjunct faculty at USC in the writing division of the School of Cinematic Arts. Neely has been writing film and television reviews for the “Easy Reader” for more than 10 years. Her past reviews can be read on Rotten Tomatoes where she is a tomato-approved critic.

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Noah, assistant rabbi at a prestigious Los Angeles temple, is on the path chosen for him by others. He has been dating Rebecca, the perfect princess, and never colors outside the lines. But when Rebecca pushes too hard for what she sees as her perfect life, he realizes that it’s not his perfect life. Much to her shock, he breaks up with her. It is then that the planets align, or explode, as Noah’s mother would have it.

Independently, Noah and Joanne are both invited to a party given by a mutual friend. The two singletons gravitate to one another over a case of mistaken identity and a propensity for snide remarks. The chemistry between Noah and Joanne is white hot and from there it’s either all downhill or to the moon, depending on who you ask.

It’s not that this story hasn’t been told before. Mismatched duos, fish out of water, unlikely relationships and even religion thrown in as a barrier, these are the backbones of drama and comedy. Here it is comedy with a capital C. The writing is sharp, using overlapping dialogue and set-ups that come so fast that it’s impossible to anticipate the joke before the next one arrives. The producers are a veritable who’s who of comedy writing and it shows. But the best writing still needs delivery and “Nobody Wants This” is overflowing with actors who have the timing to propel this series to the stratosphere.

Leading this brigade are Kristen Bell as Joanne and Adam Brody as Noah. Their chemistry is palpable and it’s impossible not to root for them against the odds they’ll face. Their timing is impeccable, feeding seamlessly into the next joke or incisive remark. The ease of their interactions brings the viewer into their mindsets and vulnerabilities. These are two people totally capable of delivering laugh-out-loud lines with a straight face and elevating the conversation further. Each actor has always been very good, but here their teaming is positively great.

The supporting cast is fabulous. Justine Lupe plays Morgan, Joanne’s sister and best friend. She is a truly hilarious straight woman, skills she honed in both drama (“Succession”) and comedy (“The Marvelous Mrs. Maisel”). Timothy Simons as Sasha, Noah’s brother, brings the doofus he perfected on “Veep.” Not entirely stupid, but he’s definitely a follower and not a leader. And who does he follow? His wife Esther (Jackie Tohn), a witch of the highest order. Also in a starring role is the city of Los Angeles, from Sherman Oaks to Echo Park, Los Feliz to Koreatown, Beverly Hills to the beach, each part of town a character unto itself.

Borrowing from another comedy, “Fleabag,” “Nobody Wants This” is all about the hot rabbi and the (not so) bad shiksa and what should be a doomed romance, but maybe not.

“Nobody Wants This” is a rare bird today, a truly great comedy with a lot of substance that’s very very funny. I’m going to watch it again.

Now streaming on Netflix.

“A Very Royal Scandal” 

“A Very Royal Scandal” is a terrific, deep and entertaining dive into the Prince Andrew interview debacle. This limited series covers the same ground as the recently released Netflix film, “Scoop,” but the source material is different and it benefits from the advantage of time accorded to a three-part limited series that leads to a more nuanced depiction. “A Very Royal Scandal” offers a closer view of the mindset inside Andrew’s circle of friends and family.

The BBC newsroom is struggling and they desperately need a coup. Sam McAlister pitches a story on Prince Andrew because she has an inside source. Photos have resurfaced of his relationship with the disgraced Jeffrey Epstein and rumors are flying that Epstein may have procured an underage girl for Randy Andy. The prince won’t bite and the Palace’s position is to wait out this scandal and it will disappear. But it doesn’t.

Interest in the story only increases after Epstein’s suicide in prison. Andrew’s personal assistant, Amanda Thirsk, contacts McAlister believing that the time might be right for that in-depth interview with the BBC. Star interviewer Emily Maitlis and her team are overjoyed at the prospect of an up close and personal sit down with the prince.

It’s all downhill from there. Maitlis conducted a well-constructed, thorough and seemingly fair grilling of her subject. What her questions revealed weren’t high crimes and misdemeanors, but the cluelessness and total lack of empathy of a man totally without a moral backbone. He was given enough proverbial rope to hang himself and he did. Previous newspaper reporting notwithstanding, the damage control specialists at the Palace were always able to cover up his misdeeds, laugh them off or paint them in a different light. But this was on camera, in person, and his inability to understand the malice of his acts or those of his coterie was impossible to ignore. Even after the interview, one he thought went extremely well, he was convinced that he was loveable and respected by his “subjects.” Unfortunately for him, the public, and, more importantly the queen, saw it differently.

“A Very Royal Scandal” handles this story with far more depth than “Scoop,” aided immensely by characters that are better written and played. It’s not so much about the “get” as it is about the “getting.” “A Very Royal Scandal” is based on the book “Airhead: The Imperfect Art of Making News” by Emily Maitlis, the journalist who conducted the interview with Prince Andrew. Writer Jeremy Brock put his laser focus on the significance of the interview and not the interviewer.

Like “Scoop,” the cast of “A Very Royal Scandal” was drawn from a crème de la crème of British actors. Ruth Wilson plays a very human and flawed Emily Maitlis. Alex Jennings is a chillingly efficient Sir Edward Young whose skepticism of the project is weighed down by his need to protect the sovereign. Claire Rushbrook offers a sympathetic perspective as Sarah Ferguson, and the always watchable Joanna Scanlan plays Amanda Thirsk as someone who doesn’t put her own interests ahead of the prince. Michael Sheen is an outstanding Prince Andrew who knows how to capitalize on being the queen’s favorite and how to irritate Prince Charles endlessly, both self-possessed and self-satisfied.

Director Julian Jarrold propels this story through three fascinating episodes, letting the story arrive at its conclusion by emphasizing what Andrew didn’t do, rather than what he did.

Watch “A Very Royal Scandal” even if you’ve already seen “Scoop.”

Now streaming on Amazon Prime.` 

Neely Swanson spent most of her professional career in the television industry, almost all of it working for David E. Kelley. In her last full-time position as Executive Vice President of Development, she reviewed writer submissions and targeted content for adaptation. As she has often said, she did book reports for a living. For several years she was a freelance writer for “Written By,” the magazine of the WGA West, and was adjunct faculty at USC in the writing division of the School of Cinematic Arts. Neely has been writing film and television reviews for the “Easy Reader” for more than 10 years. Her past reviews can be read on Rotten Tomatoes where she is a tomato-approved critic.

The post ‘Nobody Wants This’ appeared first on Beverly Hills Courier.

Maison LEDU is the last independent couturier left in Paris, owned by the highly dysfunctional Ledu family and presided over by the imperious Vincent who will be damned if he lets go of the reins. His designs are as legendary as his temper. Equal shares are owned by siblings Vincent, Victor and Marie, with minor stakes given to Marie’s husband for his influx of cash, and their son Robinson. The fly in this unctuous serum is youngest brother Victor who, having been denigrated and dismissed by Vincent, took his ball, or rather his scissors, and went over to the enemy, marrying the daughter of archrival Diane Rovel, the ruthless and all-powerful owner of the Rovel luxury group. Victor was the first arrow in her quiver of revenge against Vincent. She’s aiming for nothing less than a take-over.

On the evening that Vincent is awarded a high honor by the government at an official reception, he learns that Victor has undercut him and stolen his most recent account for Rovel, leaving LEDU high, dry and out of pocket. In what he thinks is a private corner, he does a full-on John Galliano (former director of Dior and Givenchy who went on a drunken antisemitic rage and tumbled from Olympus to Hades) as he rants to his muse, Perle, against the Asian client and their assumed stereotypic proclivities (suffice it to say, it’s not pretty). What he doesn’t know is he’s being filmed. Before you can say flash drive, the video goes viral and Vincent’s career goes up in a cloud of diaphanous vapor.

A new face of the firm must be found and quickly.  Into their laps drops the young Paloma Castel, the recently crowned queen of guerilla fashion and the next new thing.

But it is not just the potential fall of the House of LEDU that anchors the series, but also the machinations and manipulations of each character. Beyond charting Vincent’s blind desire to retain control as the ship is rapidly taking on water, it is also Victor’s desire for revenge against his brother for ills both real and imagined that shapes the narrative. Played like a yoyo by Diane, Victor is on quicksand of his own creation.

As luscious as a crunchy tower of meringue, “La Maison” is whipped into a froth by its two leads, French actors with few peers. Lambert Wilson is Vincent, as gorgeous in older age as he was in youth with a stature and elegance that makes you sit up straighter. His character’s negative qualities are never entirely offset, but you will be drawn into him even as you are being repelled. The iconic Carole Bouquet brings her elegance and hauteur in full force as Diane Rovel, the villain of the piece. Her brilliantly devious machinations that underscore every action are fundamental not only to her revenge against Vincent Ledu, but also against her daughter and duplicitous son-in-law. Quite frankly, as much as you’ll hate to admit it, she’s just smarter than everyone else.

The supporting cast is excellent, led by Zita Hanrot as Paloma, Pierre Deladonchamps and his permanently raised eyebrow and sneer as Victor, and the beautiful and enigmatic Amira Casar as Perle.

The wonderful 10 episodes never lag and are totally engaging. So feast on “La Maison.” It’s a multicourse gourmet meal full of caviar, foie gras and Champagne. Fasten your seat belts, the ride may be bumpy for them, but it’s pure pleasure for you.

In French with English subtitles.

Now streaming on Apple TV+ 

Neely Swanson spent most of her professional career in the television industry, almost all of it working for David E. Kelley. In her last full-time position as Executive Vice President of Development, she reviewed writer submissions and targeted content for adaptation. As she has often said, she did book reports for a living. For several years she was a freelance writer for “Written By,” the magazine of the WGA West, and was adjunct faculty at USC in the writing division of the School of Cinematic Arts. Neely has been writing film and television reviews for the “Easy Reader” for more than 10 years. Her past reviews can be read on Rotten Tomatoes where she is a tomato-approved critic.

The post ‘La Maison’ appeared first on Beverly Hills Courier.

For the second time this year, The Maybourne Beverly Hills hosted a BAFTA tea party. While the January fete earlier this year toasted film winners from across the pond and stateside, this affair on Sept. 14 was all about the television nods.

“We are thrilled to be back after four years to celebrate the amazing talent and to be the home to highlight the TV awards in London in May and the Emmys in L.A.,” Joyce Pierpoline, Chair of BAFTA North America, told the Courier. 

On the hotel’s terrace, Owen Bang from “SNL” was spotted near the ivy-covered wall where participants were asked to “ring a bell for Champagne,” and a white-gloved hand appeared from the greenery holding a glass of bubbly for delighted guests. Nearby, Sheryl Lee Ralph chatted with Jodie Foster. 

“One of the best days I ever had was in Beverly Hills,” Ralph told the Courier. “I was asked to perform for the holiday event [in 2023]. I thought it would be a small gathering, but when I came out on the stage, all of Rodeo Drive was packed from Wilshire to Santa Monica, and I thought, everyone in L.A. should see what this looks like. It was such a special evening, but what really got me was the kids that showed up that night, and they were all in the front. I never knew Beverly Hills could be like this. It was so wonderful.”

Other guests, including Quinta Brunson, Hiroyuki Sanada, Jonathan Pryce, Tom Hollander, Ella Purnell, Cosmo Jarvis, Takehiro Hira and more were mingling while nibbling on cucumber and salmon tea sandwiches, mini lemon scones with clotted cream and cocoa nib rochers.

“Many people don’t know that BAFTA is a year-round 501(c)(3) nonprofit that is working to advance the creative industries,” said Courtney LaBarge Bell, Executive Director of BAFTA North America. “We prioritize investing in talent, giving them that support that they need, leveraging the BAFTA name, and most importantly, our members, who are committed to giving back. We’re cultivating our community to help push the next generation of artists forward.”

On the evening of Sept. 15, in Century City, Emmy nominees and presenters, along with some of the most powerful entertainment industry influencers, joined together for the Motion Picture & Television Fund’s (MPTF) 18th annual “Evening Before” benefit.

Co-Chaired by Greg Berlanti and Robbie Rogers, Jon and Anna Osceola Hamm, and Sheryl Lee Ralph, the event raised $2.5 million.

“This incredible organization raises crucial funds and provides a host of other services for our industry family when they need it most,” said Hamm. “I’m excited to celebrate everyone’s great accomplishments while supporting a cause that helps many generations.”

Funds raised from the event will be used to support industry members and their families who benefit from MPTF’s charitable programs and services such as financial assistance, crisis counseling, caregiving support and residency on the Wasserman Campus in Woodland Hills, “home” to television and film veterans alike. During the recent work stoppages, MPTF received over 13,000 calls for aid and provided over $8 million in charitable financial assistance.

The “Evening Before” fundraiser was designed as a relaxed town square atmosphere by Studio Komorebi with specialty food provided by Carmelized Productions by Jon Shook and Vinny Dotolo.

Among the celebrities who attended this year’s event were Alison Brie, Alan Cumming, Zooey Deschanel, Laura Dern, Ayo Edebiri, Jesse Tyler Ferguson, Johnny Galecki, Allison Janney, Diane Lane and more.

The gifting suites were also back in Beverly Hills this year with GBK + MEND at the Beverly Wilshire with Viola Davis and Alan Cumming on the garden roof terrace with Incognito cannabis cocktails and a live performance by Grammy winner Elijah Blake. Debbie Durkin’s Eco Lux Lounge benefiting Marley’s Mutts Dog Rescue Ranch was held at a private estate on Carmelina Drive where we spotted Gilles Marini, Sofia Milos and Joseph Gatt sipping Uka Sake.

Following the ABC telecast, the Walt Disney Company after-party continued the celebration with Jimmy Kimmel and the cast of “The Bear” who toasted with Johnnie Walker Blue Label cocktails and burgers inspired by cast member and Emmy-winner Ebon Moss-Bachrach and culinary producer Courtney Storer’s recipes. And the San Vicente Bungalows once again hosted the HBO + Max bash where the cast of “Hacks” dined on lobster biscuits by Michelin-starred chef Tim Hollingsworth’s CHAIN. 

The post The Emmy Scene—Leading Up to Television’s Big Night appeared first on Beverly Hills Courier.

Pierre Goldman, a far-left troublemaker and self-styled revolutionary, was convicted of a string of burglaries and the murder of two pharmacists during a robbery. He has always maintained that he neither robbed that business nor killed the victims. After a number of years in prison, his appeal on the murder charge has finally reached the court. He has long since confessed to the string of burglaries, all executed to support the radical organizations to which he belonged; but he has steadfastly denied any part in the murders. The decks are stacked against him with alleged eyewitnesses to the murders and police statements at the time.

He has also made his own road a difficult one to traverse because his antipathy to his own lawyer is seemingly insurmountable. His principal attorney, George Kiejman, is at a tremendous handicap because the mercurial Goldman insists on inserting himself in the trial, believing he can handle his own defense. He’s wrong but is intent on taking full advantage of the courtroom as his platform. Kiejman, an excellent attorney, is sidelined as often by his own client as he is by the prosecutor. It will be up to Kiejman to demonstrate the lack of solid evidence of the crime of murder despite his client’s outbursts and the manipulations by the odious opposing attorney, Maître Garaud, a master of distraction and confabulation.

Goldman is the star of this stage and is intent on making the most of his appearance. He has an animal magnetism that demands the attention of all around him. He had an alibi at the time, one that the police, through alleged intimidation, dismantled. They had found their perpetrator and nothing would deter them. Goldman decries the police and justice system, declaring them all to be racist and antisemitic. Shock reverberates throughout the courtroom with some spectators cheering and others aghast. But the justices and police in the courtroom loudly decry his statements. Saying that they are racist and antisemitic does not make them so, but it also does not make them not.

Goldman, a Holocaust survivor, was the French-born son of activist Polish Jews. His father was an honored member of the French resistance, his mother, a Communist activist, was eventually deported back to Poland after the war. Pierre had been looking for his cause for years, yearning for the kind of social commitment he saw in his parents. He found his purpose and radicalization in Venezuela where he joined an uprising. But timing is everything and he was too late. Returning to Paris, he turned to stealing to support his other radical causes. He readily admitted his guilt in a series of thefts, but he denied that he robbed the pharmacy and committed murder— an affront to his moral structure. What, the court asks, is his proof that he didn’t kill the innocent pharmacists? He states simply, “I am innocent because I am innocent.”

Ironically, Kiejman’s background was almost identical to that of Goldman. Also a Holocaust survivor and the French-born son of Polish Jews, he took a different path in life, one for which Goldman has nothing but disdain, seeing Kiejman as an apologist for the system, especially when he tried to mitigate Goldman’s blanket accusation of racism and antisemitism. He, like Goldman, is handicapped by the perception of his inferiority as a Jew, but the even heavier burden he carries is the visible contempt of his client.

“The Goldman Case” is based on an actual case although Nathalie Hertzberg and co-writer Kahn have taken a few liberties with the story, combining elements of Goldman’s two trials and using Goldman’s own memoir, written in prison. The vast majority of this story, however, was taken from the news reports of the time.

Hertzberg and Kahn have cleverly used this compelling trial to take a close look at the French judicial system. At this point in time, journalists were a strong, almost dominating presence in the courtroom, reporting on testimony and publishing tabloid-style opinion pieces often reflecting their own bias to move the public to their side.

In “The Goldman Case” there were two prosecutors, one a lawyer and the other an agent for the state to represent the interests of society. Maître Garaud, the prosecuting attorney, is not hampered by the higher standards of the state’s representative, a subtle difference, but the behavior of both in the courtroom illustrates this dichotomy quite well. The defendant, Goldman, is represented by Kiejman and two other lawyers. The court is presided over by the judge referred to as the president. He is there to ask questions of the defendant and control the room as the opposing attorneys solicit the testimony of their witnesses. He does his best to maintain an unbiased view and is the very definition of “innocent until proven guilty,” a concept that is not native to the prosecutors. The jury is seated on both sides of the president, observing all testimony from a platform that gives them an unfettered view of the arguments and witnesses. The spectators, in this case, are partisan proponents of one side or the other, much like the members of the press whose writing reflects their own feelings. Members of the jury may pose questions or ask for clarification at any time; the prosecutors and defense attorneys often speak out of turn without consequence; and the defendant, in this case Goldman, may interrupt with his own comments, something he does often and contemptuously, undermining his own cause and cutting off the efforts of his attorney. It is the chaos of a democratic process without guardrails.

That more of the trial is not revealed here is deliberate. The stakes are high and the trial itself, when put in context of the post-radical time of the 1970s, following the mass civil disobedience of the late 1960s, provides an excellent view of a divided France where society seemed to be almost equally divided between the left and the right. It would be another five or six years before François Mitterrand would form a Socialist government, but the signs of change were already in evidence.

Khan filmed this story claustrophobically. Essentially all the action takes place within a courtroom, forcing the viewer to become part of the jury, experiencing the trial as they would, seeing and feeling the impassioned reactions of the spectators and watching Goldman as his body tenses in response to witnesses and the snide comments of Maître Garaud. You are there, literally and figuratively. Watching Goldman act out and passionately decry the systemic prejudice against him is visceral. He is guilty, you know it, but is he guilty of murder?

All of the actors are excellent with special mention to Stéphan Guérin-Tilliè who plays the president of the courtroom like a sophisticated and unruffled ringmaster. Nicolas Briançon as Maître Garaud is the antagonist and villain whose win-at-all-costs is what keeps Goldman railing against society. His sneer, his ability to turn any testimony against the defendant, and his condescending demeanor are a necessary foil to Kiejman’s efforts. Kiejman is played by Arthur Harari as a quiet, sophisticated but almost too coldly intellectual counterpoint to his contemptuous client. Harari was able to bring out the frustrations and complexities of a man who recognizes his similarities with his client but cannot reconcile them, all the while delivering the kind of defense that Goldman didn’t deserve. Harari, in one of his rare forays into acting, won the Academy Award last year for original screenplay for “Anatomy of a Fall,” a film that also reveled in the ambiguities of guilt and innocence.

There is no film without Arieh Worthalter as Pierre Goldman. His brilliance was in making a very unsympathetic man into a complex character whose very posture exhales an almost unjustified righteous indignation. He so thoroughly embodied a soul lost to already insignificant causes that it was impossible not to empathize a little with him even as he said odious things and acted unsympathetically. He fills the viewer with a tension that builds slowly until your teeth grind and your neck aches. His is a portrayal that will long be remembered and for it, he won the César Award (the French Oscar) as best actor.

This is a must-see film where questions are asked and few are answered. It is a character-driven narrative of great depth and complexity.

In French with English subtitles.

Opening Sept. 13 at the Laemmle Royal.

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“Only Murders in the Building”

The fourth season of “Only Murders in the Building” (OMITB) is here and better than ever, after stalling a bit last season by relying too heavily on star casting that never completely meshed with its convoluted plot. Now that is not to say that this plot doesn’t have its moments of dizzying fantasy or isn’t stuffed to the gills with stars because it does and it is. But all of it works and the star-sightings (of which there are many) are pure, unadulterated fun, integrated well into the various plots.

When last we left, our intrepid trio of Charles (Steve Martin), Oliver (Martin Short) and Mabel (Selena Gomez) were celebrating the solution to their latest murder, the triumph of Oliver’s play and the continued success of their podcast, aptly entitled “Only Murders in the Building.” Charles’ long-time stunt double, Sazz Pataki (Jane Lynch), has joined the merriment and been sent up to Charles’ apartment to bring down a special wine he has been saving for just such an occasion. Sazz, alone in the apartment, reaches for the wine as a shot is fired through the window, killing her. In the chaotic party below, she is barely missed.

Season four opens where three ended, revealing that they are all curious about Sazz’s whereabouts. Returning to Charles’ apartment, Sazz is nowhere to be found. Curious. Ignoring some obvious clues, the short attention span of the intrepid trio is on full display when Mabel tells them that a Hollywood studio is interested in producing a movie based on their podcast. First-class tickets and accommodations await them.

As is so often the case, the studio has charged ahead with their own version of the story they want to tell and have already hired directors, a writer (Jin Ha, one of the stars of “Pachinko”) who has captured their characters uncomfortably on the nose, and a stellar group of stars to portray them. Eugene Levy will be Charles, the hilariously deadpan Zack Galifianakis is a reluctant Oliver, and Eva Longoria will be Mabel. The studio felt that the age dynamic between Charles, Oliver and Mabel was creepy so they aged her up. The interactions between the three are hilarious from the beginning. The unctuous and clueless studio head is played by Molly Shannon whose every move and decree is cringe-worthy and laugh-out-loud.

But there’s still a murder to solve and the siren call of Los Angeles can only hold them so long before it’s back to the Arconia for some sleuthing. Finally, noting the bullet hole in the window, they recognize its meaning. But where’s the body? Their discoveries will be horrifying and lead them to suspect someone in the West Tower facing Charles’ apartment. They uncover multiple plots brewing with the eccentric residents in the various apartments facing his.

Further complicating the action, (this is OMITB so there will always be lots of things complicating the action) their movie counterparts have flown out to shadow them, convinced that they’ll be able to solve the case in record time. And of course, there’s the distracted, lovelorn Oliver convinced that the love of his life, Loretta (Meryl Streep), now a television star, has abandoned him for her hunky co-star. Danger lurks around every corner, almost as many dangers as guest stars. Watch for Da’Vine Joy Randolph, hot off her Oscar win, reprising her role as the skeptical detective and the foul-mouthed Jackie Hoffman as building curmudgeon, with Richard Kind, Kumail Nanjiani, Daphne Rubin-Vega as the weird neighbors, Paul Rudd as the now deceased Ben Glenroy’s stunt double, and Melissa McCarthy doing what she does best—eliciting laughs at every opportunity.

Well written and tightly directed, only the first seven of the 10 episodes were released for review, so I’m like you, waiting impatiently to find out who done it.

Streaming on Hulu. The first episode dropped on Aug. 27 with new episodes every Tuesday.

“Kaos”

There seems to be a trend recently to take history and turn it on its ear. Series like “My Lady Jane,” “The Decameron” and “The Great” all take great liberties with historical figures or literature. The best and most successful example of this genre was “Blackadder,” a traipse through English history following one set of characters through the ages. If you have never seen it, it’s a must; find it on Hulu and Britbox.

Now comes “Kaos,” one of the most innovative television shows to come along in some time. This eight-episode dark comedy takes Greek mythology and gives us the gods and their mortal counterparts locked in a classic conflict of control, autocracy, betrayal, death and torture.

Zeus is presented as an immature, autocratic megalomaniac leader with a short attention span who delights in torturing anything in his path and then whining for the acclaim he feels he is owed. Countering his irrationality is Hera, his wife and queen of the gods, a protector of women unless they sleep with her husband, in which case vengeance is hers sayeth the goddess (and it’s a long list). But, and apologies to Homer, “Kaos” is filled to the brim with other characters from mythology, although in many cases they aren’t quite as you remember them.

The Trojans have just lost the war and are living in exile on the island of Krete where they are the wary refugees under the watchful eye of King Minos. His daughter Ari (short for Ariadne) tries to temper his behavior, but she has her own demons. Actually, those demons are the ones felt by all. Bad acts meet with a visit from the Furies. All of the important citizens and the gods live in fear of the prophecies dictated by the Fates. The appearance of a wrinkle on Zeus’ forehead has sparked a new run of terror as he tries to avoid what he thinks will be his downfall, part of the prophecy of the end of his reign.

On Earth, Orpheus, a popular rock star, is madly in love with the golden-voiced singer Euridice (Riddy). Riddy, not so much. Deciding against going to Orpheus’ latest arena show, she is distracted crossing the road and is run down, dying instantly. Complications ensue when Orpheus steals her entry coin to Hades and she is stuck in the eternal waiting room. A devastated Orpheus makes a deal with Dionysus, an illegitimate son of Zeus granted immortality (and, like his father, immorality). Dionysus, trying to overcome his slacker reputation, decides to help Orpheus enter the underworld to retrieve Riddy. A new set of conflicts are born as Hades and his lady Persephone learn of this plan. No living soul has ever breached the underworld and this can’t happen. Inserting himself into the conflict is Poseidon, king of the sea and Hera’s lover.

As you can see, this is not your father’s (or anyone’s) Greek mythology. But the players are all there, just not necessarily as you remember them or certainly not as you would have imagined them. Prometheus, punished by Zeus for giving fire to mortals, narrates the action, when he’s not being picked apart by eagles as he hangs from the cliff chosen by Zeus. It can be very disorienting if you have any knowledge of mythology; even if you don’t. This is a story unto itself with a cast of thousands, or at least it seems that way. It is an allegory for our times where rebellion simmers beneath a not-so-placid surface with the gods taking offense at the least slight. And Cassandra is there to tell the future, a future that is dismissed by all because her punishment from the gods was that she would tell mortals what was going to happen and they would refuse to believe her, much to their detriment. It happened with Troy, and it continues to happen with King Minos and his daughter.

The success or failure of such phantasmagoria depends on the player and, for the most part, the chaos of “Kaos” is full to the brim with wonderful actors who make both their characters and circumstances, if not believable, at least worth following. Zeus is played by Jeff Goldblum who is only partially successful, depending on your view of his skill. He is most effective strutting wordlessly across his garish threshold; less effective when delivering dialogue in a banal voice absent of much nuance that rarely rises to the level of commanding. Janet McTeer as Hera is magnificent both in delivery and stature. Her passion and devious machinations against a clueless Zeus are marvelous. Her eyes foretell of disasters to come and her luminous face and carriage make her the fantasy lover that all would desire. It is Cliff Curtis as Poseidon who is her counterpart in lust, and he is by turns sexy, threatening and manipulated. One of my favorite actors, he is a commanding presence that cannot be ignored whether cajoling Dionysus to keep a secret or Hades to return to the underworld. Hades, played by David Thewlis, melds fury, fear and insecurity into the god who is losing control of his domain. The versatile Stephen Dillane is Prometheus, unraveling many of the threads for us. Billie Piper is a punk rock mess as Cassandra, still trying her best to be heard. And watch for Susan Eddie Izzard as one of the Fates, dazzlingly frumpy in her skirt, sweater and bright red lipstick.

Like the title implies, “Kaos” is completely chaotic. It’s almost close enough in some of its mythology to follow and then will make a sharp left leaving you at the curb. The anachronistic touches, and everything about it is anachronistic, are guilty pleasures from the motorcycle riding punk Furies, to the yacht that Poseidon prefers to the deep blue sea. Storylines intersect storylines and you can’t tell a player without a scorecard, but then it doesn’t matter so much when Zeus, Hera and Poseidon are controlling the strings of the mortals. And on top of everything else, ”Kaos” has a killer soundtrack.

Streaming on Netflix

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The fourth season of “Slow Horses” is a welcome addition to those that preceded it. Like the others, it is based on another of Mick Herron’s spy series, in this case “Spook Street.” Tightly plotted with a cast that has few equals, Jackson Lamb (Gary Oldman) and his crew of screw-ups are back for more abuse from M15. Slough House is where unwanted agents are sent to wither on the vine until they give up. But this intrepid group, with the exception of Lamb, their leader, keeps the “hope springs eternal” light aflame, certain that the right move or a piece of luck will bring them back to the mothership. Lamb, the only one who knows better, slouches through life, seemingly content with his persona non-grata status that allows him the leeway to live in the shadows, knowing that he holds the key to many a locked door.

In a coat that would shame Columbo and hair that leaves a grease stain before it alights on fabric, Lamb can be smelled even before he arrives, or at least that is the verdict of Emma Flyte (Ruth Bradley), the new hammer of Diana Tavener (Kristin Scott Thomas), better known as Number Two at the Agency. Diana, has, yet again, been passed over, for the Number One spot. That position has been given to Claude Whelan (James Callis), a political appointee with no actual experience in the field or, for that matter, out of it. His lack of experience is put to the test almost immediately when there is a suicide bombing at a shopping center in the city. Is it a one-off? Is it an act of terrorism? Is it some sort of message? He has absolutely no idea what to do and hands it all off to a world-weary Diana.

But this first episode opens with a one-two punch because, besides the bombing, a murder has taken place at the home of David Cartwright (Jonathan Pryce), former agency juggernaut slowly descending into dementia and the grandfather of Lamb’s star, or at least his most impressive loser, River Cartwright (Jack Lowden). Lamb, called to the house by M15 to identify the body, confirms to Flyte that it is, indeed, Cartwright, despite the fact that there is nothing left of the face to identify. And we are off to the races and back to Slough House where Roddy Ho is in the process of repossessing Cartwright’s computer, announcing to the rest of the group that River won’t have any more use for it.

Moira Tregorian (Joanna Scanlan), new to Slough House, unable to figure out why she has been assigned to this slice of hell, is bent on tidying the pigsty and maintaining a semblance of order, something that the missing Catherine Standish (Saskia Reeves) used to do.

Shock and sadness overwhelm River’s colleagues, with the exception of the always inappropriate Roddy who hasn’t learned those emotions as yet. But Lamb has an ace up his sleeve and is one step ahead in the solution of River’s murder even when it looks like he’s a step behind.

So, it’s nasty politics, incompetence at the highest level, manipulation, murder, conspiracy and redemption, and that’s just the first episode of this outstanding six-episode season. There is no greater pleasure than to watch Gary Oldman work his magic on screen with the incomparable Kristin Scott Thomas, the wryly deadpan Joanna Scanlan and the brilliant Jonathan Pryce. As in the past, anything mentioned about any of the episodes is a spoiler for what comes next, and I won’t do that to you. Suffice it to say that even if Season Four is not quite up to the superb Season Three (and quite honestly there isn’t a show on television right now that is up to it), it’s damn good. The speed and dialogue of the first episode are enough to have you binging through them all.

Streaming on Apple TV+. Premiering on Sept. 4 with subsequent episodes arriving weekly.

“Pachinko” may be the best show you have yet to see. Now entering its second season, this series of incredible depth and beauty weaves a story of life, love and survival over four generations of a Korean family starting after 1910 when the Japanese annexed and subjugated Korea. “Pachinko” travels back and forth in time revealing the highs and lows they went through. But that’s a simplification of a very complex time and story.

The first season premiered in March of 2022 and under most circumstances, I would have been able to pick up the story again after a recap and continue on the path where it ended. But this was not the case, and I soon realized that I would have to revisit the first season in order to fully appreciate the second. This was not a handicap and won’t be for you either if you’ve already seen the first season. I rewatched each episode and relished every moment.

“Pachinko” is the heroic story of one family over the generations. It is complex, complicated and stunning. Like a great epic drama of almost Shakespearean proportions, it brings to mind the family sagas of “One Hundred Years of Solitude” by Garcia Marquez, “Roots” by Alex Haley and “Middlesex” by Jeffrey Eugenides. Like these grand stories, politics, love, adversity and humanity intersect to tell a tale. Never told chronologically, there is the one character in “Pachinko” from whom all others orbit like planets around a modest sun—Sunja.

Sunja  was the much beloved and cherished daughter of a woman without a dowry and a man deemed too unwanted because of his physical ailments. Sunja lived with her parents on a farm near the seaside in Korea where the Japanese have ravaged the fields, punished the townsfolk and taken most of the fish. Clever and charming, there is nothing that Sunja cannot do, and she is much admired by young and old alike. As a young woman (Minha Kim), her magical personality attracts a newly arrived mysterious stranger, Ko Hansu (Lee Minho), a Korean who has arrived from Japan to oversee the fish markets for the Japanese overlords. Over the years, their paths will cross both voluntarily and not, feeding the story and the other characters over time. Sunja will find her way to Osaka, where her children will grow up. The family will increase in size with in-laws, all of whom will be guided through wars, witch hunts and privation by the fearless Sunja.

Back and forth in time, this disorienting timeline contributes to the understanding of the younger generations, including an older Sunja’s son Mozasu (Soji Arai), owner of a Pachinko parlor and his son Solomon (Jin Ha), a Yale-educated finance manager working for a multinational bank. Season Two successfully melds the onerous policies of the past, shining a light on postwar politicians unapologetic for what they wreaked on Korea, China and the rest of the world, eager to reclaim their dominance. It is also a Japan populated by Yakuza and Gordon Gekko-type greedy businessmen in the era right before the 1992 real estate bubble burst. “Pachinko” covers a lot of ground and does it elegantly, offering a look at a society Americans know little about and the abject circumstances Korean nationals and those who immigrated either voluntarily or by force were subjected to, revealing the ugly racism and deprivation they suffered and continue to suffer.

I am being purposely obtuse about storylines because they intersect so intimately and revealing the relationships of each of these beautifully drawn characters would spoil what you should learn on your own. Sunja (Academy Award-winner Youn Yuh-Jung plays her as an older woman) is the engine that drives the actions of her sister-in-law, reveals the personalities of her sons, Mozasu and Noa, also portrayed at different stages, and is, or tries to be the moral compass of her grandson Solomon. And always lingering in the background, either physically or psychologically, is the mysterious Ko Hansu. Revenge, betrayal, triumph, tragedy, love, loss, survival—it’s all here.

Why did I start over? The second season is a continuation of the first, not just in theme but in time frame, and you can’t tell the players without a scorecard. It was an investment of time that paid dividends. I’m still gripped by these characters and their stories. It is a series like “Pachinko” where I understand the value of the weekly viewing over the binge watch. It gives you more time to savor and absorb before diving into the next episode. So my advice, binge the first season and then watch the subsequent episodes of the second season weekly, the way Apple TV+ presents them.

Now streaming weekly on Apple TV+.

Neely Swanson spent most of her professional career in the television industry, almost all of it working for David E. Kelley. In her last full-time position as Executive Vice President of Development, she reviewed writer submissions and targeted content for adaptation. As she has often said, she did book reports for a living. For several years she was a freelance writer for “Written By,” the magazine of the WGA West, and was adjunct faculty at USC in the writing division of the School of Cinematic Arts. Neely has been writing film and television reviews for the “Easy Reader” for more than 10 years. Her past reviews can be read on Rotten Tomatoes where she is a tomato-approved critic.

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While we wait for Jeff Klein’s Westside outpost of the members-only San Vicente Bungalows to take over the top floors and rooftop of the Water Grill building, there are plenty of other reasons to celebrate this coastal city.

Adding an artistic allure to a beachside location, the bohemian-chic new hotel Sandbourne Santa Monica offers an artist-in-residency program and a chance for guests to explore their creativity as well.

The 175-room escape housed in a white minimalist, almost brutalist structure on Ocean Avenue, was designed by acclaimed Icelandic-born, local architect Gulla Jónsdóttir (Kimpton La Peer in West Hollywood.) Walk past the double-height lobby sprinkled with original art, a surfing video installation, and white concrete sculptural columns that lead the way to an ocean view and the signature restaurant Marelle.

Santa Monica native and celebrated chef Raphael Lunetta’s latest restaurant translates to “star of the sea.” Try Hamachi crudo in jalapeño kefir lime ponzu or California sea bass grilled in banana leaves. The airy eatery holds sculptures separating the main dining room for a private table experience and white ceramic pendant lamps handmade in Oaxaca, Mexico.

The hotel will feature a series of live ceramicists onsite, and guests will also have the chance to try their hand at creating art with weekly pottery classes by the pool that will focus on smaller pieces using air-dry clay to take home as one-of-a-kind souvenirs.

Right next door, Regent Santa Monica Beach opens this fall with upscale accommodations designed by AvroKO and Wimberly Interiors. It will feature a Guerlain spa and a new concept by chef Michale Mina called Orla. “This is a dream restaurant for me because it’s an elevation of all the food I grew up eating,” the Egyptian-born chef told the Courier. “It’s not just mid-eastern or Egyptian but heavily Greek influenced food.” This includes harissa grilled lamb chops with fava bean hummus, grilled shrimp with mangos and classic Greek salad. In addition, Ayesha Curry and her lifestyle brand, Sweet July, will offer products, pastries, coffee and tea that celebrate her Jamaican roots.

Closer to the Santa Monica Pier, the historic 1933 Art Deco Georgian Hotel has retained the aquamarine exterior, but the interior is unrecognizable after a remodel by leading UK-US design firm Fettle. In its old Hollywood heyday, guests included Carole Lombard, Clark Gable and “Bugsy” Siegel who would feel right at home in the speakeasy-style basement restaurant and piano bar.

The new indoor-outdoor, all-day restaurant, Sirena, has views of the foot traffic on Ocean Avenue and Palisades Park. The culinary program is led by Osteria Mozza alum and Executive Chef David Almany with an extensive wine list curated by award-winning sommelier Kristin Olszewski, and a dessert and pastry program by chef Thessa Diadem.

Start with their already famous croissant French toast soufflé for breakfast or brunch, and move into paninis and salads for lunch. The aperitivo hour starts at 3 p.m. with fried olives and a frothy house Sirena Sour cocktail, which can lead right into a sunset dinner with ingredients flown in weekly from around the world, such as burrata from Puglia, Italy. Other standouts include bucatini with refreshing lemon, chilis and basil, or a simple grilled branzino. “We will be highlighting the simple dining style that both Los Angeles and the Amalfi Coast are known for,” said Almany.

Other changes on Ocean Avenue include the former Shangri-La Hotel transforming into Sonder The Beacon with a new signature restaurant and rooftop bar. Boulevard Hospitality Group and chef Chris Sayegh opened Layla, as an ode to kitchen-loving grandmothers (including his own) who create nightly feasts for their loved ones. The family-style dishes celebrate Middle Eastern favorites from smoked eggplant dip to kebabs and lamb mansaf prepared using French techniques. After dinner, take the elevator up to the roof for panoramic views of the shore and cocktails at The Coco Club.

Nestled on the North end of Ocean Avenue, in one of the area’s most coveted neighborhoods, Oceana Santa Monica is a suites-only boutique hotel that recently received a $25 million transformation by Hilton Luxury Brands and LXR Hotels & Resorts.

The one and two-bedroom suites have ocean view terraces, coastal décor and Bottega Veneta toiletries. The three culinary concepts include signature restaurant Sandpiper, which is now open to the public serving local farm-to-table fare.

Hotel guests can take advantage of the Beach Butler starting with morning beach yoga classes, daybed setup on the sand, food and beverage delivery, bike reservations, and cocktails on the Sunset Terrace at the end of the day.

For an outdoor patio, Mon Ami on Ocean Avenue is another Mediterranean hit eatery with brunch, happy hour and dinner options for large groups. The food, such as mezze platters and Moroccan spiced chicken tagine, is also party-ready.

Just off Ocean Avenue, chef Sean MacDonald of Bar Monette next door has opened a romantic Parisian burger concept, Burgette. The dimly lit small plates restaurant and wine bar was fashioned after a chic out-of-the-way spot you might find off a side street in Paris, but this one serves smash burgers and bubbly. In addition to Wagyu with tomato jam, raclette and bone marrow butter, there is a smoked salmon belly burger, a crispy chicken Cordon Bleu and fried Maitake mushroom option to try.

The international flair continues down the street at Spanish tapas spot Xuntos. They recently launched a new brunch served every Sunday from 11 a.m. to 4 p.m. Spanish-inspired items such as the Morcilla waffle, almejas con chorizo, churros con chocolate and chef Sandra Cordero’s famous tortilla Espanola are all hits.

The Surfing Fox is the signature open-air restaurant at The Pierside Hotel, which opened following the property’s multimillion-dollar renovation. Located on the ground floor, the all-day dining destination has a view of the Santa Monica Pier next to a sprawling bar open from coffee to cocktails and now for weekend brunch. Helmed by Executive Chef David Yamaguchi, following his most recent role at Michelin-awarded Chulita in Venice, he is tapping into his Japanese and Mexican heritage for twists on familiar classics from fish tacos to lobster rolls.

For an easy stroll on the Santa Monica Pier, Pacific Park has an array of new fun food offerings for the entire family. Sackville features five new dining options of reimagined concepts by Michelin star chef James Kent (Saga Hospitality Group). The handheld treats include Smashie’s Burgers with loaded hot dogs, and Mr. Nice Fry, serving fried potatoes with dipping sauces and seasonings. Other beachy bites include Churrita Churro, Scoops Creamery and Cosmic Funnel Cake, which can be topped with strawberries, whipped cream, or even a scoop of your favorite Lappert’s premium ice cream.For something higher-end, Casa del Mar has a new Caviar Tour menu available for happy hour on Fridays from 3 p.m. to 6 p.m. in the Terrazza ocean view restaurant and lobby lounge. The Caviar Tour features a sampling of Osetra Caviar in three distinctive styles from French with buckwheat blini, crème fraîche and chives to Spanish with focaccia, ricotta and Ibérico to American with bagel crisps, lemon cream, red onion and smoked salmon.

Nearby on Main Street, Edgemar is a new modern American bar and restaurant housed in a 1980s Frank Gehry-designed development. This is a good option for a drink after a day on the beach or an eclectic dinner from British chef Jared Dowling worked with Gordan Ramsey in London and Japanese chef Junya Yamasaki. Those early influences shine through with tempura oysters served with yuzu tartar, Caledonian curry spiced prawns, Munak Ranch tomato salad and lobster fried rice with English peas. Save room for the chocolate mousse with tangerine and salted whipped cream.

Notable upgrades to the dining scene in neighboring Venice include the talents of Executive Chef Ray Garcia (asterid at The Music Center) who has taken over the all-day kitchen at The Rose in Venice. Order signature mussel escabeche, duck leg confit and crispy potatoes.

South American Si! Mon took over the old James Beach spot serving outstanding pupusas stuffed with pork and refried sea island peas, and Afro-Caribbean shrimp dumplings with coconut bisque.

Last seen at Olivetta in West Hollywood, chef Michael Fiorelli has a pizza garden on Abbott Kinney with a wood-burning oven popping out pies in the afternoons. Just down the street, Chef Jason Neroni has taken over the kitchen at Paloma with a new late-night menu serving Israeli fried chicken. And, award-winning chef Nancy Silverton has expanded her Triple Beam Pizza empire to an outpost on Main Street.

Gran Blanco has a new Japanese-inspired menu with seaweed salad and chicken katsu curry. Winston House across the street has morphed into Mama’s Boy featuring classic Italian American cuisine.

Hotel Erwin’s revamped rooftop lounge High has the best views from Manhattan Beach to Malibu and a menu with comfort food favorites such as fried chicken sliders. Or, you can also order a pie from Pizza Girl (daughter of D’Amore owners in Malibu) on the ground floor while you wait for your car at the valet.

The Vitorrja Hotel is an excellent boutique option for an overnight stay nestled in a historic building. Many rooms are more like apartments with kitchens that can be stocked with Gjusta goods from the nearby grocer such as fresh bread.  For more picnic provisions, head to the famed Florentine Italian sandwich shop All’Antico Vinaio on Abbot Kinney Boulevard or Breadhead on Montana Avenue for ample-sized muffulettas just like in New Orleans.

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“Everything you see there on the ground, the tents, the canopies, everything is original,” Ilan Faktor, one of the exhibit organizers, told the Courier. “Everything is from the festival. The shoes, everything you see in the lost and found, everything is original.” From the portable restrooms pierced with bullet holes to the beverage bottles at the marketplace bar and the sound system; everything in the exhibit was recovered from the Nova festival after the carnage. 

Throughout the exhibition, video footage from attendees and testimony from survivors play next to corresponding festival sites, hauntingly capturing the essence of the victims’ and survivors’ experiences. 

“It was the best festival,” Michal Ohana, a Nova survivor, told the Courier. “The energy, the vibe, the people, the smiles—it was wow.” After the fighting broke out, Ohana hid under an Israeli military tank for roughly six hours with a gunshot wound in her leg and her body covered with ricochets. 

“I lost 10 of my friends at the festival, and two of my friends were kidnapped, and they are still in Gaza,” Ohana said. “I’m still alive, and I need to do something for my friends, for the hostages, for the families, for the survivors, and I started to share my story, to tell the truth to the world about what happened to us and what is still happening to us.”

“They shot me in my leg,” Ohana said. “I don’t understand how I can do all these things, but now I’m dancing, walking, surfing, and it’s a miracle that I’m here today and I can share my story.”

The installation ends with a healing room, a call to action to bring the Israeli hostages home, and a message of hope: “We will dance again.”

The exhibit runs from Aug. 17 through Oct. 8 in Culver City. To learn more, visit https://www.novaexhibition.com/.  

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The kickoff event was held on the terrace at the Beverly Wilshire, during which the Beverly Hills City Council presented Orlinski with a certificate of recognition and applauded the artist’s partnership with the city. Members of the Rodeo Drive Committee, the Mayor of Nice, France, and members of the French Consulate were also in attendance. 

“Rodeo Drive Celebrates Fashion has brought together our community to experience firsthand incredible VIP services, special programs in our flagship stores, and of course, as you see here today, world-renowned artwork from Richard Orlinsky,” Mayor Lester Friedman said. 

“When I walked on Rodeo Drive, I was very surprised to see all the people, the kids, watching the structures with a smile,” Orlinksy said. “When you see the smile in the kid’s eyes, I think it’s a success.”

The public exhibition will be on display until November. 

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“The Instigators” is a heist film where the stakes are high and the intelligence of almost all concerned is low. Early on we see Richie waterboarding a dimwitted associate, Scalvo, as Besegai laments how hard it is to find good help these days. He has a surefire scheme to rake in a huge haul and no one to help. Scalvo, a guy with a short fuse, no judgment and not enough wattage to illuminate a closet, insists that he can gather a crew and do the job. Remarkably, Besegai puts Scalvo in charge of this sensitive operation.

The night in question, the corrupt mayor of Boston will be holding his reelection party and every grifter, grafter and contractor in the city will be paying fealty to His Honor in the guise of envelopes stuffed with large sums of cash that will go straight into the safe in his room. The mission of Scalvo and his crew is to rob the safe. The mayor will never report the theft and Besegai and Richie will be all the richer once Scalvo and his crew, consisting of ex-con Cobby and the out-of-left-field recruit Rory make their entrance. What could go wrong?

This is where I leave you because if I continued I’d be giving away the entirely implausible plot points and truly unfathomable segues. Suffice it to say, what were they thinking? This amateurish script and unruly direction works on the premise that speedy dialogue, car chases and crashes will take your mind off how woebegone everything is.

Billed as an action comedy crime thriller, there’s plenty of action, a lot of crime, no psychological thrills and very few, if any, laugh-out-loud moments. Liman, subscribing to the philosophy of more is never enough, believes that when in doubt, crash some cars and blow up some buildings. Actually, it’s crash a lot of cars and blow up a lot of buildings. But in any heist movie, plausible or not, you need characters to believe in so you willingly follow them down a rabbit hole. Short of that, action films, comic or otherwise, need impeccable timing to keep the viewer following action that seamlessly goes from one catastrophe to another with little time to breathe in between. The “Mission: Impossible” movies go from one implausible situation to another, taking you along for the ride because the timing is practically perfect and there are characters you care about. It’s the thrill ride that “The Instigators” is not. Ironically, I can see why this script might have been fun to read and attract such a great cast. On paper, the robbery, the mistakes, the chases would have been imagined as fast and hilarious. Not necessarily meaty, this is almost a Robin Hood adventure where gold is taken from the rich and corrupt to be given to the rich and corrupt. It’s pure speculation that this would ever have worked, but it needed a lighter, faster hand than Limon exhibited here.

I was overwhelmingly disappointed in this film that I was so looking forward to seeing. Jam-packed with some of my favorite actors, the director and writers failed them. Limen, no doubt, felt he could correct the inadequacies and incongruities of a script written by the inexperienced writers, Affleck and MacLean, by just blowing things up. The actors all looked like they were having a grand old time; I wish I had. It didn’t work. Pure and simple, none of this worked. Never has so little been made from so much.

Opening Aug. 2 at the Laemmle Monica. Streaming on Apple TV+ on Aug. 9. 

Neely Swanson spent most of her professional career in the television industry, almost all of it working for David E. Kelley. In her last full-time position as Executive Vice President of Development, she reviewed writer submissions and targeted content for adaptation. As she has often said, she did book reports for a living. For several years she was a freelance writer for “Written By,” the magazine of the WGA West, and was adjunct faculty at USC in the writing division of the School of Cinematic Arts. Neely has been writing film and television reviews for the “Easy Reader” for more than 10 years. Her past reviews can be read on Rotten Tomatoes where she is a tomato-approved critic.

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“My Lady Jane” is a rollicking twist on the history of England. King Henry has died and his heir, the sickly young Edward, was convinced to make Lady Jane Grey his heir to the throne over his two half-sisters, Mary and Elizabeth. Jane ruled, against her will, for 12 days after which she was imprisoned by Mary who was recognized as the proper heir to the throne. She promptly imprisoned Jane and eventually beheaded her. But that was then and this is television.

Cut to the England of young King Edward. The land is overrun by Ethians, humans who can magically turn into animals. Misunderstood, they are reviled by the populace and are subject to capture and execution. Lady Frances Grey, destitute after the death of her husband, has arranged for a marriage between her very independent daughter, Jane, and the wastrel son of the Dudleys, Guildford. This arrangement suits neither, although their chemistry is palpable.

The court is in shambles after the death of Henry. Son and heir Edward VI is sickly and not thought to survive much past his upcoming 18th birthday. Plotting behind the scenes is Princess Mary, the next in line, and her sinister right hand, Lord Seymour, while Princess Elizabeth stays peacefully in the background. Behind the scenes, however, several of the King’s closest cohorts entreat him to make Lady Jane his heir.

Little more can be revealed because each episode is a spoiler leading into the one that comes next. Suffice it to say that this fantasy is a delight that piles fantasy upon fantasy as villains are revealed, foiled and then rise again. “My Lady Jane” does to Elizabethan history what “The Great” does to Catherine the Great. There is no basis in reality, but it’s a fun ride into period costuming and vamping actors.

Emily Bader plays Jane as a 16th-century feminist; Edward Bluemel is the luscious and lascivious Lord Guildford; Anna Chancellor as Lady Frances Gray will never win Mother of the Year; Kate O’Flynn is a very evil Princess Mary; and in a casting coup, Dominic Cooper plays villainous and sexually frustrated Lord Seymour with everything but a twirling mustache. This is a hilarious romp through fake history that sustains the pace almost, but not quite, to the end. Like so many shows, they wanted to leave the finale open-ended enough in case they get a pickup for a second season. Or maybe they just couldn’t figure out how to end it without a beheading.

Now playing on Amazon Prime.

“Bad Monkey,” developed by Bill Lawrence (“Ted Lasso,” “Shrinking”) has great bones but never quite lives up to them. Based on the book by Carl Hiaasen, “Bad Monkey” follows the circuitous path of Andrew Yancey, a disgraced Miami police detective now living and working for the tiny police department in the Florida Keys. But he’s screwed that up too and is in suspension purgatory. Good judgment has never been his strong suit and once again he’s in hot water. But as luck would have it, his ticket back in, possibly even to Miami, is a human arm that ends up on the fishing line of a tourist. Convinced that the rest of the body is in the deep blue sea, he is bent on proving murder. But first comes identification of the arm, then the not-so grieving widow and a multitude of complications, not the least of which is the aforementioned monkey. The charmingly lackadaisical Yancy involves a comely Miami medical examiner in his quest but continues to run afoul of everyone in his path. His boss removes his suspension and assigns him the odious job of city restaurant inspector. Things can only continue to go from bad to worse.

Hiaasen’s stories, set in Florida, are wildly fanciful with multiple plots that don’t always come together and too many characters. In this particular case, said monkey is a peripheral joke that keeps popping up like the voodoo witch whose predictions and curses are a matter of conjecture. Vince Vaughn should have been perfectly cast as Yancy, the flawed, suspended police officer who, even when he was banished to the Keys, still managed to screw himself and everyone around him. The writing doesn’t really slide comfortably into his voice until the third episode and that’s a long time to wait. Not helping are the numerous secondary storylines and multitude of characters, including said monkey, formerly the constant companion of Neville and now owned by spiritualist YaYa (L. Scott Caldwell). Neville, if there’s a hero he’s it, is a West Indian bent on saving his island from the hotel resort complex planned by the aforementioned owner of the arm and his so-called grieving widow who have been cleverly stealing the land from the rightful owners. Neville is never as well integrated into the main plot as he should have been, although his storyline eventually meshes with the mystery Yancy is trying to solve.

The greedy and dishonest developer and his money-hungry wife set in motion a plan to cover up their evil doings by staging his death. When his arm is fished out of the sea by a tourist, the plot is set in motion. It is Yancy, howling like a wolf at the moon, whose gut instinct tells him something else is going on. Like all of Hiaasen’s novels, the peripheral sometimes overwhelms the important. Of course, there are femme fatales galore, one of whom is the reason for his suspension. Although designed around Vince Vaughn’s skills, the true star of this messy, almost unfathomable series is Meredith Hagner as Eve, the appropriately named villainess who leads her husband Christopher, a delightfully clueless Rob Delaney, into a bite of the proverbial apple; but in this case, she is also the serpent. At 10 episodes, it’s way too long for a series that will leave you scratching your head.

Premiering on Apple TV+ on August 14 with new episodes weekly.

“Women in Blue” (“Las Azules”) is a police/mystery/thriller telenovela with amazing substance. Set in the Mexico City of 1970, a serial killer is on the loose and women are terrified. Crime is rampant and corruption permeates every segment of society, including the police who can’t seem to crack the case; or, as many think, aren’t that interested. Machismo rules and women who are out on the streets are asking for it. But these victims aren’t prostitutes; they’re working women with families to support. Newly elected President Luis Echeverria has instructed one of his ministers to get them some good publicity to take the public’s eye off the murders. His wife has come up with the idea of forming a women’s police unit. It will garner lots of press and that will give everyone a breather.

Recognizing that this is just for show, the minister recruits a disgraced detective, someone sure to fail, and assigns him the task. Remarkably, he takes it seriously, creating a cadet academy from which he graduates his first all-girl unit. Everyone, but the women, realizes that this is for show only. The successful recruits are denigrated and ignored by the detectives and are assigned park patrol to help tourists.

Soon, however, even the women realize they are being used as eye candy. But they alone take these murders very seriously. We follow Maria (Bárbara Mori), an upper middle-class wife and mother, her sister Valentina (Natalia Téllez), a political activist, Gabina (Amorita Rasgado), who wants to be a cop like all the men in her family, and Angeles (Ximena Sariñana), a savant on the spectrum looking for a better-paying job—they all want to be of service. With the case stalled, they begin to surreptitiously take matters into their own hands, gathering evidence, interviewing relatives and going sub rosa on the hunt during their lunch hours and after work.

They are fighting not just society’s expectations for women but also the resentment and vilification by their male counterparts and superiors. Even when they come up with viable leads, they are ignored and threatened with dismissal. Although they soon realize that the odds aren’t just stacked against them but are piled higher than the ceiling, glass or otherwise, they become stealthier and smarter as their superior analytical skills come into play. Whatever they find, they keep to themselves.

Every episode is engaging and reveals new bits of information on their surreptitious hunt for the crafty killer. The characters are engaging, the plot is exciting and the corrupt backroom politics are fascinating. I just ate it all up!

In Spanish with English subtitles.

Premiering July 31 on Apple TV+, with new episodes weekly. 

Neely Swanson spent most of her professional career in the television industry, almost all of it working for David E. Kelley. In her last full-time position as Executive Vice President of Development, she reviewed writer submissions and targeted content for adaptation. As she has often said, she did book reports for a living. For several years she was a freelance writer for “Written By,” the magazine of the WGA West, and was adjunct faculty at USC in the writing division of the School of Cinematic Arts. Neely has been writing film and television reviews for the “Easy Reader” for more than 10 years. Her past reviews can be read on Rotten Tomatoes where she is a tomato-approved critic.

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“Land of Women,” led by the incomparable and unfairly gorgeous Eva Longoria, is a guilty pleasure all the way. You’ve seen this one before. Beautiful, hard-working woman is deserted by [fill in the blank] husband who absconds with all their cash. But this is 2024 and Gala (Longoria) is not your typical lady in distress.

On the cusp of opening her chic wine store in Manhattan, Gala, a stunning, rich socialite, is in the limo with husband Fred when he suddenly remembers he forgot something and he’ll meet her at the store. Gala’s gala is a big success but there’s no sign of Fred. What there is a sign of is two thugs who pressure her about his whereabouts. He’s stiffed their boss of $15 million, and that just isn’t done. If they don’t find Fred, they’ll come after her, her mother and her daughter.

Terrified, Gala is on the flight side of the fight-or-flight scale and moves to gather up whatever resources she can and skedaddle. Packing up what little of value is left, she drives to her mother’s retirement home. Julia (Carmen Maura, one of Pedro Almodóvar’s muses) is an expert con woman; she’s got a million scams going and doesn’t want to leave. She’s also on the slow descent into dementia, so she remembers little of what has just been said. Off they go. Next stop, pick up daughter Kate at college. Kate (Victoria Bazua) is having a grand old time with her girlfriend and wants to stay put. Gala thinks quickly and whispers to Kate that Julia is dying and this is a last girls’ trip to Julia’s village in Spain.

One step ahead of the bad guys, they make it to the tiny, middle of nowhere village, but not until Gala creates an international incident with her reckless driving, upending a tractor pulling the town’s harvest. Gala’s natural elitism kicks in and she makes things worse for all of them and then has to eat a fair dose of humble pie when they are forced to hitch a ride with tractor driver Amat (Santiago Cabrera) into town. He tries to direct them to a B&B in the next village, but she’s having none of that. Her mother owns a house in town, or at least she shares ownership with her sister, and that is where they’ll be staying. But they haven’t hit rock bottom yet. They discover that the house they thought was hers now belongs to Amat, who bought it from Julia’s sister, the aunt Gala didn’t know she had.

So there you have it, damsel on the run, duplicitous missing husband, chased by bad guys and runs into (literally and figuratively) an incredibly handsome man who she repeatedly alienates in the tiny village where she should be keeping a low profile. The characters, situation and premise are all there, right in the first episode, with each subsequent episode full of surprises. This is a trip you definitely want to take. Every subsequent episode brings with it new and interesting twists, each of which, if mentioned, would be a spoiler. So my advice is, watch this show.

In Spanish and English with English subtitles.

Now playing on Apple TV+ with new episodes dropping on Wednesdays.

“Mastermind: To Think Like a Killer” is a three-part documentary series about someone you have probably never heard of. Ann Burgess, Ph.D., psychiatric nursing professor and prolific author, is an unintentional superstar and groundbreaker. Her book entitled “Rape: Victims of Crisis,” published in 1974, looked at rape from the standpoint of the victims, an unusual perspective at a time when most victims were blamed for the attacks, either because they dressed provocatively, walked alone at night or traveled in bad company. The courts allowed victim shaming and police often didn’t treat rape as a crime. Burgess’ book began to change that perspective because soon the FBI came calling. They were interested in her approach of looking not just at the crime but also at the victim. She gave seminars to agents, trying to change their mindset. Law enforcement officers, the majority of whom were men, needed to understand the severity of this crime from the victim’s standpoint. Her presentations, enhanced with graphic visual evidence, started to do just that.

In her long study, she was able to discover general patterns of behavior by rapists and this was immediately applicable to the work of the nascent Behavioral Science Unit (BSU) at the FBI headed by John Douglas and Robert Ressler. Ressler recognized that Burgess’ methods of analysis and the patterns she saw could apply to the interviews they wanted to conduct with serial killers. She eventually became part of the interview team and spearheaded the team’s outreach. Her analysis of patterned behavior was instrumental to the new art of profiling criminal behavior. She and the members of the BSU knew they needed to teach profiling techniques to a wider base of law enforcement. And yet, as fundamental to their work as she was, she was never an acknowledged part of the team. She continued because the work was important and a great deal of profiling methodology was thanks to her.

The excellent Netflix series, “Mindhunter” explores the FBI’s BSU and the profilers who changed the hunt for serial killers. In the second season a woman, Wendy Carr, a Ph.D. in psychology, is introduced to aid in their interviews. Although the names were changed for this docudrama, their real-world counterparts were John Douglas (Holden Ford played by Jonathan Groff), Rob Ressler (Bill Tench played by Holt McCallany) and Wendy Carr (Ann Burgess played by Anna Torv). “Mastermind,” an actual documentary, is an excellent counterpart to the “Mindhunter” docudrama. I found myself asking, however, why the writers of “Mindhunter” portrayed the Ressler and Douglas characters so close to their real-life personae but found it necessary to make the Burgess counterpart a confrontational psychologist who was often in conflict with “the boys.” Nothing could have been farther from the truth, a blot on this otherwise outstanding docudrama series.

While working with the FBI in Quantico, VA., Burgess wrote prolifically on the subject of rape, victimology and homicide. “Mastermind” is a thrilling, must-see series with a down-to-earth relatable protagonist who is, in reality, larger than life. And as a final note, this 87-year-old superstar continues to teach at Boston College.

Now playing on Hulu. 

Neely Swanson spent most of her professional career in the television industry, almost all of it working for David E. Kelley. In her last full-time position as Executive Vice President of Development, she reviewed writer submissions and targeted content for adaptation. As she has often said, she did book reports for a living. For several years she was a freelance writer for “Written By,” the magazine of the WGA West, and was adjunct faculty at USC in the writing division of the School of Cinematic Arts. Neely has been writing film and television reviews for the “Easy Reader” for more than 10 years. Her past reviews can be read on Rotten Tomatoes where she is a tomato-approved critic.

The post Summer Television and It’s Ladies’ Night— Oh What a Night! (Part One of Two) appeared first on Beverly Hills Courier.

From crashing waves on the Pacific Coast of Mexico to jungle sounds in the Costa Rican Rainforest, here are two newer destinations dedicated to modern wellness (with two unique uses for cacao) that can help you reach these goals.

ZihFit in Zihuatanejo, Mexico

When you think of heading down to Mexico for a break, tacos and tequila usually spring to mind, but this will be a different kind of journey, more of a physical and nurturing spiritual experience immersed in nature and Indigenous ceremonies, but no less fun and in many cases more rewarding. 

ZihFit is nestled into an eight-bedroom cliffside villa overlooking the sleepy Zihuatanejo fishing bay. Almost two decades ago, J. Ben Bourgeois, the Los Angeles-based art collector and event producer for top global brands and institutions, such as The Wallis and the city of Beverly Hills, hired one of Mexico’s top architects, Zozaya Arquitectos, to create a private modern estate with sophisticated local artisan artifacts. 

Blending his event experience with wellness to create a sanctuary that celebrates personal growth, Bourgeois opened ZihFit earlier this year. ZihFit’s six-night curated retreats weave in locavore cuisine and daily curated exercise regimens from LA-based fitness programmer, Brazilian-American Eduardo Penteado, who led Bourgeois on his own fitness transformation when he turned 60.

Penteado changed Bourgeois’ life and now he is sharing his story with the world. “The biggest surprise is how positively this [retreat] has affected our guests,” Bourgeois told the Courier. “That propelled us to do more, but this is not boot camp. We make it comfortable and luxurious, but you can really push your mind and your body here.”

Unlike other wellness retreats, this one embraces the ancient Mexican culture and authentic Indigenous traditions of the region with a sacred cacao ceremony and the transforming Temazcal “sweat lodge.” “These rituals are not just practices but are powerful means to inner healing, emphasizing the importance of having a connection with Pachamama, Mother Earth,” says Penteado.

The connection to nature can also be found in the property designs. Spanning 20,000 square feet, Casa Fiesta has sleek, modern lines, neutral palettes and locally sourced materials such as stone, tiles and wooden accents. Most of the eight rooms are separated by walkways and winding staircases leading to three different parts of the grounds for privacy—which you will need when taking an outdoor shower. The main open-air living-lounge area has an infinity pool and picture-postcard views, but if you are feeling adventurous, a “grotto” pool carved into the hillside on the lower level feels like a hidden secret once you find it. 

Your time at ZihFit is split between two compounds or “Dos Fiesta,” and a staff of 12 between “the Casa” and “the Playa.” The private beach club, Playa Fiesta, was constructed by Andrés Saavedra who also designed the THOMPSON Zihuatanejo, and includes a dramatic cave-style entryway with a small water Labyrinth in the center of the polished concrete flooring, leading to an open-air vista right on the sand, with a large lap pool and plenty of hammocks hooked up to coconut trees swaying the salty breeze. 

Mornings at Casa Fiesta begin with a 6 a.m. chime awakening at your door, followed by sunrise yoga sessions on one of the decks. After breakfast, the group is transported to “the Playa” where you will do most of your daily activities. This includes a two-hour beach walk, a range of fitness and dance classes from high-intensity Tabata and Zumba to bachata and salsa dancing, and an evening one-hour sunset beach walk.

Along the way, a private chef whips up a total of 1,500 calorie meals per day that were conceived by nutritionist Sara Verboonen, which include four electrolyte-heavy mocktails per day made with on-site coconut water, mango with lemon and rosemary and hibiscus-infused water to name a few.

This is not a deprivation diet either—you can drink caffeinated coffee or tea and have a few carbs along the way. The food is surprisingly filling utilizing fresh local fruits and veggies, along with seafood and Mexican favorites from mahi mahi ceviche and guacamole with baked tortilla chips to mushroom enchiladas in a green sauce topped with pico de gallo. Other satiating menu favorites included lentil soup, vegan paella, fish-stuffed Poblano peppers and shrimp skewers with red onion and zucchini. 

Every afternoon, post-lunch, full-body massages take place in a private outdoor area that range from soothing head and neck treatments to lower back and hip adjustments or table stretching. This is a key element in the recovery process during your stay and a welcome break. 

Experts from the local community are brought into the daily programs for the welcoming group drum-singing ceremony and a blissful, blindfolded floating pool sound bath that fosters both letting go and listening to your inner voice. “Now more than ever, individuals seek to reconnect with themselves,” said Penteado. “We have worked with the local community to create authentic shamanic and spiritual experiences.” 

On the final day, the group gathers around one last time in a circle for a heart-healthy “drink of the gods” ceremony.  A spiritual healer leads the group in a meditative chant while copal (incense for the gods) is burned. After a personal smudging, everyone drinks a concoction with cinnamon, chili, vanilla, sugarcane and pure cacao—a superfood with magnesium and calcium. The drink offers a bit of euphoria and an endorphin kick— especially after not having anything decadent for the whole week. The ceremony ends after more mindful practices lying on a yoga mat, then awakened by chimes. 

This is a great program for people wanting to kick-start a wellness plan, or to add a little spice to your existing one. It is also a great team-building retreat for corporations who are looking to whisk away C-Suite executives. “We are on this journey together,” said Bourgeois. “This is not competitive and it’s a boutique setting where we can all gather around the table for meals.”

“We are open to all levels of fitness, and we encourage everybody to be a better version of themselves each day they are here,” said Penteado. “Come with an open heart and an open mind and let the retreat guide you. Everyone has a different experience.”

If you do push it too far out of your comfort zone, there is a doctor on call and Penteado can always guide you through personal stretches to work out any kinks – or whip out the Theragun. “This is a safe place,” Penteado told the Courier. “We encourage you to show up, and maybe you will break through some fears.”

Rates for the six-night sojourn are $7,900 per person (meals, massage, yoga and activities, laundry and round-trip airport transfers included). Private four-night retreats can be customized as well. zihfit.com

Origins Lodge in Costa Rica

Another Latin American spot that takes wellness—and cacao—seriously is at Origins Lodge in Costa Rica. This sustainable holistic haven is enshrouded in the dense jungle setting of Upala with only seven luxury villas amidst 111 acres of verdant rainforest and the cascading Oro waterfall. All this can be reached in just 1 1/2 hours from Liberia Airport in Alajuela. 

Each accommodation is an eco-lux tree house featuring a private deck with a warm plunge pool heated by a wood stove. As you soak or lounge on the daybed, the expansive jungle view is the closest thing to an African safari you will experience on this side of the world. Cicadas lull you while colorful Toucans perch on trees that also swing with howler monkeys, against a chorus of croaking frogs. 

For another type of submersion, the Lake Tii Spa Suite offers a traditional cacao treatment where the actual beans grown on the property are used. You start by sipping a hot ceremonial cacao beverage to cleanse the chakras and let the energy flow before the body exfoliation with cacao and coffee beans for detoxification. Then you are covered in volcanic clay and wrapped in anisillo leaves. The finale is a soothing cacao-coffee moisturizing massage.

As for dining, your multi-coursed meals will be served at the open-air El Sato restaurant overlooking the infinity pool and jungle vista. The kitchen staff can pluck much of the fruits and veggies for the seasonal menus from the on-site organic gardens where 250 different species of local plants and medicinal herbs grow freely. Costa Rican chestnuts and l’araza, a fruit used in juice or marmalades, are among the bounty.  Fifteen beehives provide Mélipona honey that is considered the best in Costa Rica surrounded by 10 lakes where fish such as tilapia and sardines are sourced. 

This is the only culinary program in the region that is overseen by European Chef Yann Berger, who has worked in many Michelin-star restaurants from France to Norway. While this area is not typically known for its cuisine, Chef Berger is changing that with his vision of sustainable, healthy fine dining and Central American cuisine blending Portuguese and Spanish influences. His traditional carnitas pork dish is influenced by Nicaraguan cooking, and he is also a master of soups made with fresh veggies from the garden, plus his showstopping mushroom risotto is made without cream. “I think we should go to the forest, not the pharmacy,” he told the Courier. “You can bring me any produce and I know what to do with it after I taste it.”

Beans, rice, and corn are grown locally in abundance and can be found in many of the dishes, but signature staples include sweet potato pancakes, coffee ground smoked trout, roasted pumpkin with papaya, avocado and grilled pistachio, roasted rack of lamb with plantain puree and lemon grass braised chayote, and quinoa stuffed tomato, cooked cabbage in ginger and red wine with passion fruit sauce. You can have wine with dinner, but rum is the national drink of choice, and the rustic wooden bar also overlooks the jungle where drinks are mixed with fresh mint from the garden. 

While the dining here is a draw, there are plenty of trails to hike on the property after a meal, including a nocturnal walk near the pond. At sunrise, head to the yoga pavilion surrounded by jungle flora for a class. During the day, a trek to the waterfall on the property, followed by horseback riding, paddle-boarding, kayaking, or rafting on the Nicaraguan River will keep you active. 

This property is great for a group buyout or anyone looking to escape with a digital detox and plenty of natural distractions. Due to popular demand, Origins is expanding to add a family-friendly second location on the grounds for group travel in 2025.

Double rates start at $2,416 for a two-night minimum. originslodge.com  

The post The Wellness Scene from Mexico to Costa Rica appeared first on Beverly Hills Courier.

It’s 1991 and the beginning of summer vacation when we meet Lacy as she sneaks out of her camp cabin to make a 911 call to her mother. “If you don’t come get me, I’ll kill myself” or words to that effect expressing her extreme displeasure at having to endure one more Kum Ba Yah moment. Lacy, an awkward pre-teen with glasses, freckles and a pubescent nose too large for her face, is convinced that no one likes her and that she doesn’t fit in. Janet, her mother, knowing her daughter all too well, disengages temporarily from current boyfriend Wayne and heads out to the camp. False alarm. Lacy has found friends and wants to stay. Nope. She made her bed and will have to sleep in it at home, with Janet and Wayne.

Lacy is in the pre-adolescent or possibly the beginning of a long quest to find herself. Mom, on the other hand, is still searching. “Janet Planet” is broken up into three parts, all Janet-related. The first concerns Wayne, part of Janet’s never-ending stream of inappropriate or barely viable partners who last only long enough for Lacy to pass judgment. As disposable as a tissue, his only real value, as fleeting as could be, was his daughter Sequoia, Lacy’s age and totally engaging. The one afternoon Lacy spends mall-grazing with Sequoia is the sum total of her interest in Wayne. Soon, like so many before him, he’s out the door.

Taking Lacy to a quasi-Renaissance Fair production, Janet is surprised and happy to run into an old friend, Regina. Regina’s and Janet’s orbits intersected long ago. Regina, an actress, is now attached to a quasi-hippie commune, having followed its leader, Avi, into romance, enlightenment and, now, disengagement. As exuberant as Janet is cautious, she soon moves into their lovely abode in the woods, bringing excitement, creativity and fresh air into Lacy’s stuffy environment. Lacy’s inner world, as exemplified by the mini-puppet theater she arranges and rearranges in her room, is happily expanded as she trades solitude for imagination. That her mother soon tires of Regina’s energy, critical observations and spirit was an inevitability. It is, perhaps, this rupture that opens Lacy’s eyes to her mother’s inability to couple introspection with action. Certainly, their personalities were polar opposites but Janet, possibly fearing a connection, sends Regina on her way, ironically trading her in for Avi, leader of the commune and Regina’s former lover.

In a moment of self-awareness, Janet reveals that she has one formidable but counterproductive talent. She can make men fall in love with her. As Lacy comes to realize, this does not seem to yield positive results as Janet’s choices generally produce nothing of substance; certainly not for Lacy.

The more things change, the more they remain the same. Janet, somnolently falling in and out of love, still cocoons Lacy in her limited solar system. Lacy, entering a new phase of life that will include middle school and puberty, slowly begins to carve out her own universe, but always keeping her mother tethered to her as a lifeline. Transiency has obviously always been a part of their lives and, based on this particular summer, will continue to be so.

Baker has made a pleasant little film about mother-daughter relationships with quiet, engaging characters. The movie may be entitled “Janet Planet,” but it is more “Lacy’s Universe.” Nothing major happens; the chapters all elucidate the strengths and weaknesses of Janet as seen through Lacy’s prism. It is an especially good dissection of the pre-pubescent period in a young, introspective, intelligent and insecure 11-year-old. Although Janet constantly proclaims herself to be rather plain, this only highlights her insecurities and need to have constant male companionship to give the lie to her self-image. Janet is a lovely if not stunning beauty, and her seeming ability to deemphasize the physical is a positive aspect of her parenting. Lacy is plain, a plainness that shows no sign of improving with age. Her creativity and self-confidence will be her lifesaver as she enters the hell awaiting her in middle school. Her 11th summer has highlighted both her mother’s strengths and weaknesses and gradually allowed Lacy to carve out her own space.

Baker feels the story is “about falling out of love with your mother.” I would disagree. Over the summer, Lacy has been able to see her mother in a more clear-eyed manner. Lacy leads the way in the strengthening of some bonds and the loosening of others. She matures over time, forgiving Janet her co-dependencies and appreciating the focus she still has for her daughter. Janet and Lacy undergo a reversal of roles, in a manner of speaking. Lacy, thanks to her mother’s benign neglect in some cases, is able to sever the ties of childhood and enter into a different relationship that is based on mutual need.

This is a very cast-dependent film and Baker was very lucky in the actors she chose. The men, Will Patton as Wayne and Elias Koteas as Avi, brought a necessary blandness to their roles. Ordinarily this might seem to be a criticism, but in this case it’s not. They effectively highlighted the needs and weaknesses of Janet’s personality. Neither brings anything to the relationship and that is strictly by design. They are exemplars of Janet’s constant need for a placeholder. As Regina, the remarkable Sophie Okonedo lights up the screen with her exuberance and joyful smile. Entrancing and opening up Lacy to more possibilities, it’s clear that her association with Janet was doomed from the start. Her chapter in the film is the most interesting and engaging. Banishing her from their lives said more about Janet than her gravitation toward uninteresting men. Losing Regina was an important step in Lacy’s development and view of her mother.

Julianne Nicholson as Janet was pitch-
perfect. Playing down her natural beauty, she uses inner silence to define her character. Her preternatural calm washes over her personality, yielding an earthiness that establishes who she is or, even, who she’d like to be. It is possible, but unspoken, that her acceptance of her daughter’s needs may actually be part of her own narcissism. Regardless, Nicholson inhabits Janet so that we can see the good while accepting the not so good (there is, actually, no bad here).

But it is the extraordinary Zoe Ziegler as Lacy who is the very personification of adolescence in all its neediness, selfishness, self-awareness, insecurity, hidden secrets and closeted creativity. Ziegler is the engine of this film; “Janet Planet” is, or should be “Lacy Sun” because it is around Lacy that everything revolves. Ziegler, in her feature debut, shows amazing range and an ability to display emotion without histrionics. The very definition of watchable, she steals her scenes quietly, drawing you closer and closer into her realm.

“Janet Planet’ could have used more judicious pruning, something that writers/directors often resist. As it is, this is a good film that could have been a much better one.

Now playing at the Laemmle Royal. 

Neely Swanson spent most of her professional career in the television industry, almost all of it working for David E. Kelley. In her last full-time position as Executive Vice President of Development, she reviewed writer submissions and targeted content for adaptation. As she has often said, she did book reports for a living. For several years she was a freelance writer for “Written By,” the magazine of the WGA West, and was adjunct faculty at USC in the writing division of the School of Cinematic Arts. Neely has been writing film and television reviews for the “Easy Reader” for more than 10 years. Her past reviews can be read on Rotten Tomatoes where she is a tomato-approved critic.

The post ‘Janet Planet’ – A Universe Apart appeared first on Beverly Hills Courier.

Eichmann, for those of you not fully cognizant of his key role in the Holocaust, was the architect of the “final solution,” responsible for the deaths of six million Jews and untold numbers of people that the Nazis categorized as undesirables, including homosexuals, political opponents, people with disabilities, Romani and non-Jewish ethnic Poles.

Although captured at the end of the war, he escaped to Argentina where he remained until agents of Mossad kidnapped him and brought him to Israel to stand trial. “June Zero” is not about that trial and is only marginally about Eichmann himself. He is the character that looms over all, with his presence always in the background of every thought and action.

Paltrow tells his story in three parts with an epilogue. Beginning on the day of the guilty verdict, radios everywhere are tuned in. We meet David, an 11-year old Arab Jew, as he tries to negotiate his new school where everyone ignores him. An attention seeker, he proudly displays a watch he has stolen but is ridiculed because he doesn’t even realize it’s essentially worthless, not worth the time it took to nick it. The head boy disdainfully trades him a tabloid with information of the trial on the cover and a naked girl on the back for the watch.

David, as an Arab, is an outsider, ignored by his peers and ridiculed by his teachers. Newly arrived in Israel from Libya, he is unaware of the implications of the day. Israel, the haven for survivors of the Holocaust, has little room or patience for Arab Jews who were far from the reality experienced by their European counterparts. David’s dark appearance and crude features set him even farther apart. Although “June Zero” is about the effect the Eichmann trial had on Israel and Jews in general, there is the subtext of how the European and Israeli Jews treated Arab Jews, as if they weren’t Jewish enough.

David’s misadventures always seem to land on his father, humiliating him and creating roadblocks to acceptance. That the father is more fluent in Arabic than he is in Hebrew is part of the problem. He has found David an after-school job and there will be no argument. Little does David know that this job will be his greatest triumph. Brought to the factory yard of Zebco, a famous freedom fighter who builds and repairs ovens, heaters and propane tanks, David finds his greatest acceptance among the workers and where Zebco will take full advantage of his street smarts and penchant for illegality. David is, after all, still a thief at heart, something that will both aid and ultimately end his employment. When Gouri, a captain in the military and a friend of Zebco’s from the old days, shows up, he has a very special and highly secret favor to ask on the part of his boss.

The tenor of the narrative changes at this point, and the film shifts focus onto Gouri, charged with the security and safekeeping of Eichmann until his execution, and, as the previous section suggests, what becomes of him after. Gouri is highly strung and aware that his every move will be scrutinized, not just in the here and now but also in the future. There is nothing that makes him comfortable and his permanent anxiety releases buckets of physical ailments. Unable to sleep, he wanders the prison, always aware of dangers that might lurk. Even negotiating the haircut requested by his prisoner reveals the immense precautions being taken. Instructing the barber that he can only make cuts when Gouri signals, the barber’s hands tremble to the degree that he can’t function. Whenever the prisoner is transported, Gouri checks and rechecks every nook, cranny and fold before allowing him in the vehicle. Further, this security force has been specifically chosen because of who they are not rather than who they are, North African Jews.

Segueing into the third part of the film, it is Gouri who introduces us to Aaronson. He was in awe of Aaronson’s cool and professionalism as one of the lead prosecutors at Eichmann’s trial. As Aaronson begins to reflect, we are taken to a time prior to the trial.

As part of a Jewish American educational tour to Auschwitz, he was the lead speaker, recounting his horrific history in a Polish Ghetto as a youth. Coolly and calmly he tells them of his torture and resolve to survive. Later, prior to his final dinner with the group, he is hijacked by the young Israeli liaison who warns him that the Americans are about to ask him to make this part of their yearly tour. She passionately gives him all the reasons he should refuse. She feels that if they invest themselves in this pain it will, in effect, become the biggest ghetto ever built, walling themselves into history instead of moving forward.

Slowly, politely he disagrees with her arguments. It’s not that they don’t have value but, as he points out, “who gets to tell the story?” He wants to stand tall and tell his story. One doesn’t have to relive the past to justify the present. Eichmann’s trial was an effort to put the torture of the past in evidence and stand tall because the world was listening. As Aaronson points out, “never forget” is not the same as “always remember.”

The epilogue is a poignant tie to David many years later. This very thought-provoking film is all the more so because it is so surprising coming from Paltrow and Shoval, neither of whose previous films would have led you to believe that they were capable of communicating this kind of depth. Making it in Hebrew with Israeli actors was a necessity and it was here that Paltrow relied on Shoval, an Israeli filmmaker, who successfully translated Paltrow’s vision into Hebrew.

Although the different parts tell disparate stories, they are woven together exceptionally well. Noam Ovadia (David) was a real find. A first-time actor, he captured perfectly the desperation of this child, an outsider trying to find acceptance and the lengths he would go to gain it. Ovadia, with his dark, roughhewn appearance captures the outsider pressures his character feels, underscoring the prejudice against Arab Jews exhibited by the Israeli-born. That Ovadia imbues his character with a slyness that punctuates his every action, further brings out his desperation to fit in.

Tzahi Grad (Zebco) is, in some ways, the comic relief of the piece. Zebco is given far less character development than the others but Grad’s portrayal fills in those blanks for you with the added help of props and pictures to let you know the life he’s led. His character, full of a life led on the margins of legality, gives you a glimpse into what David may become. Zebco’s primary purpose is to move the story along and it’s something he does very well.

Yoav Levi (Gouri the army captain) is effective in keeping you on edge during his sleepless walks and supervision. Although a somewhat one-note character, he does his best in scenes that are perhaps a bit too protracted.

It is Tom Hagi as Aaronson, the survivor and investigative prosecutor, who draws you in. His eyes are the proverbial limpid pools masking a pain that will never go away but may find a better purpose. A survivor in every sense of the word, he embodies “Never Forget,” while not wallowing in the tortures of the past. Hagi successfully imparts warmth and solemnity at the same time. He was, as far as I was concerned, the most fully realized character who emblematized survival in its highest form.

This is a complex film, deserving of multiple viewings. It is particularly relevant today because one of the questions asked is, “Do the horrors of the past justify the present?” You’ll find others to ask.

In Hebrew and English with English subtitles.

Opening at the Laemmle Royal on July 5.   

Neely Swanson spent most of her professional career in the television industry, almost all of it working for David E. Kelley. In her last full-time position as Executive Vice President of Development, she reviewed writer submissions and targeted content for adaptation. As she has often said, she did book reports for a living. For several years she was a freelance writer for “Written By,” the magazine of the WGA West, and was adjunct faculty at USC in the writing division of the School of Cinematic Arts. Neely has been writing film and television reviews for the “Easy Reader” for more than 10 years. Her past reviews can be read on Rotten Tomatoes where she is a tomato-approved critic.

The post ‘June Zero’—Not for Nothing appeared first on Beverly Hills Courier.

Though Zahra has seen and performed in some of the most beautiful cities of the world, including Paris, Rome and Tokyo, she’s extremely excited to return to the place where she first started her career. The vocalist began singing professionally at age 12, but she’s been listening to opera her entire life. She attributes this to her parents, who would take her to watch performances when she was a young child. By age 4, she began to play the piano and in elementary school, she sang in the Beverly Vista School (now Beverly Vista Middle School) choir. After that, she joined the independent study program at Beverly Hills High School so that she could spend extra time practicing singing and traveling to performances. Throughout her early life, she was also in musicals, and she performed songs from Broadway, but she decided to pursue opera full time so that she could share a style of music with the world that she feels is underappreciated.

“I don’t want to say it’s inaccessible, but a lot of normal people are scared to go see classical music shows and to go see operas because people don’t really see it,” Zahra told the Courier after her performance on July 1. “And they don’t know that opera in the 1800s, or when it was popular, was like going to see a movie. So, it’s nothing to be intimidated by. We singers have a responsibility to make it enjoyable.”

Although this is her passion, singing opera is also a difficult task. Even after years of vocal training, keeping her voice healthy is a full-time job, and she must find balance between being a normal young adult and a professional singer. She admitted that there are sometimes parties she can’t attend because she needs to rest her vocal cords for early performances. In opera, as she explained, her voice is her only instrument. “Once you’re done playing the piano, you close the lid, and you stop playing. You don’t play anymore,” she told the Courier. “Our voice is in our body. Our vocal cords, and our larynx, they’re in our body, and we’re using them every single moment— how we breathe, if there’s smog, if we’re tired, if we’re sad, if we eat spicy food.”

Besides socializing, she finds balance in her free time by listening to very different types of music. When asked if she listens to opera on her days off, she laughed. “No way! I listen to everything but opera. It’s like, opera is strictly work,” she explained. “Strangely you won’t find classical music—even though I love it and I think it’s beautiful—you don’t find it on my phone.”

Zahra spends most of her time in Verona now, where she studies with world-renowned singer Barbara Frittoli, but she’s still deeply connected to her roots. Because her mom was born in Tehran, being an Iranian American singer is also a huge part of who she is. “There are not a lot of Iranian singers out there,” she told the Courier. “Actually, there are very few. I haven’t heard of any famous Iranian American singers, and I really am proud of my culture and I’m proud of where my mom comes from. I never forget my origins.”

On July 13, she looks forward to giving back to her hometown of Los Angeles through her performance at the Broad Stage in Santa Monica. True to herself, she will be singing a combination of opera and Broadway, alongside the Dream Orchestra, conducted by Daniel Suk.

Zahra’s parents, who are Beverly Hills residents, are extremely proud of her.

“It’s an amazing concert. Golda and Daniel Suk crafted something very special that I think will appeal to all generations, all music lovers, the way they tied together the opera with the Broadway classics,” said Shallom Berkman, Zahra’s father and owner of Urth Caffé, which will cater an elaborate spread of desserts at the concert. “They weaved it together in a way that I think is very exciting and it’s a new way to experience the classical voice. I think that it’ll really appeal to the new generation and that’s what she wants to do. She wants to make opera and a classical voice exciting for everyone.”

“I’m really grateful and really honored,” said Zahra, looking forward to the performance. “I just feel so excited to be able to share what I’ve been studying for a really long time and what I’ve been honing down with the Los Angeles community because I’m born and raised here, and I’ve missed my home.”

Those interested can purchase tickets at GoldaInConcert.com, and Courier readers will receive a 30% discount by using the promo code “angel” at checkout.

The post BHHS Alumna Golda Zahra to Make Debut on Broad Stage appeared first on Beverly Hills Courier.

Opening on a nurse puttering around in a neonatal intensive care unit (NICU), it is the night shift and Caroline is a model of efficiency as she monitors the video screens, tubes and bassinets of her micro charges. In walks Daniel, frazzled and slightly disheveled. One of these charges is his, technically. He and Yuki were friends with benefits, more information than Caroline needed. The pregnancy was accidental. She wanted the baby; he didn’t. End of story, or so he thought. Earlier that evening, she called out of the blue. She needed to go to the hospital and could he take her? It couldn’t be the baby because she was only six months along. But it was and surrounded by a crack medical team, the baby, weighing barely 2 pounds, was delivered. Mom, on the other hand, was still struggling. With Yuki still in surgery, Daniel decided to take a peek at his daughter, wanted or not. Full of tubes and probes and needles, all ensconced in a clear plastic box attached to monitors, lights and buzzers, the life form inside is barely visible.

The very essence of calm, Caroline takes him in hand. She explains what is being done and how the team is working to improve her odds of survival; not a sure thing. Daniel, poleaxed by what seems to him to be an avalanche of information, is completely uprooted when he finds out that Yuki didn’t survive the childbirth. Daniel is now on his own. How he eventually blossoms into a new version of himself is what this two-handed piece is all about. Caroline is always the advocate for his baby and makes him step away and look at the positives, of which there are many. While Daniel deals with the real world consequences of his casual affair, he begins to appreciate the gift he has been given.

Oddly enough, this play isn’t about the baby and her recovery; it’s about Daniel and his growth. Daniel’s interactions with Caroline, his sounding board, run the gamut from perplexed to angry to fraught to gentle, caring and observant. In the course of a short evening, we witness Daniel, on the cusp of rejecting the unwanted responsibility, growing into a deeply thoughtful human being, right before our eyes. His initial curiosity only grows with time. What is this little creature who resembles the monster of his favorite video game?

Caroline, more Florence Nightingale than Nurse Jackie, has her own issues that both humanize her and worry him. She hates the night shift and feels she’s been unfairly singled out. She has her own infant at home and a husband who chafes at her suggestions. It may all be about control for them both because neither of them have control over what’s going on in their lives and both must learn what’s most important and let go of the rest. A lesson for us all.

Daniel is not a big fan of rules and the NICU has its own set, all dictated by hospital protocol, starting with the mandatory wrist band. Caroline defends the hospital’s practices, maintaining that they fully advocate for his child. Daniel, as he grows into his role, begins to believe that some of the care is expedient rather than compassionate. It is a masterstroke on the part of Lew that you will bring your own personal feelings into this dilemma.

The specter of systemic racism is raised but it’s difficult to see and support. Is Daniel imagining different treatment because he is Black? It’s possible that it’s there but hard to prove. There is no separate set of rules applied to him and his child. Caroline maintains that her horrible schedule is due to a supervisor who is punishing her for having taken maternity leave; Daniel raises the possibility that she is being relegated to the bad shift because she is Asian American. Again, impossible to prove. Lew wants these questions to lurk in the background, questionable though they may be.

The production design is outstanding with the NICU monitors, alarms and incubator pitch perfect. It is, however, the very simplicity of displaying the passing time by day numbers, flashed on invisible screens stage left and stage right (i.e., day 1, day 15, day 125, etc.), that helps track the progress in the baby’s recovery and Daniel’s growth. As director, Moritz Von Steulpnagel keeps things moving smoothly, wringing the necessary emotional high and low points effectively. As mentioned throughout, Mike Lew, writing from personal experience, has written some of the best character development you will ever witness, letting the audience grow with Daniel from the first scene to the last. It’s a very upbeat play because the focus is on recovery and renewal.

“Tiny Father” is very cast-dependent and Tiffany Villarin as Caroline and Maurice Williams as Daniel were ideal in their roles. Although Caroline is a supporting role, Daniel’s growth is played against a backdrop of Caroline’s work, perfunctory while also exemplary. Questions are asked and rarely answered, leaving it up to you and what you are seeing and hearing over the course of the play’s time period. Villarin lets us see the frustrations and hopes in her personal life that gradually infiltrate her work. She is an actress of empathy and warmth who does much more than play background to her partner on stage.

Maurice Williams is a revelation. The role of Daniel is incredibly difficult and would, no doubt, drown a lesser actor. Williams takes us on his journey, as we gradually become part of his thoughts and emotions. His Daniel, throughout, is someone we want to stay with and continue to see grow, because he will, no doubt, continue on that path. Williams, also a talented writer, is someone I would like to see again where his personal charisma works magic. He deserves a major career on stage and screen.

Now playing at the Geffen Playhouse through July 14. Performances take place Wednesday through Sunday with matinees on Saturdays and Sundays. Runtime is 90 minutes without intermission.

Geffen Playhouse. 10886 Le Conte Ave., Los Angeles 90024 

Neely Swanson spent most of her professional career in the television industry, almost all of it working for David E. Kelley. In her last full-time position as Executive Vice President of Development, she reviewed writer submissions and targeted content for adaptation. As she has often said, she did book reports for a living. For several years she was a freelance writer for “Written By,” the magazine of the WGA West, and was adjunct faculty at USC in the writing division of the School of Cinematic Arts. Neely has been writing film and television reviews for the “Easy Reader” for more than 10 years. Her past reviews can be read on Rotten Tomatoes where she is a tomato-approved critic.

The post ‘Tiny Father’—Growing Into the Job appeared first on Beverly Hills Courier.

From landscapes to faces, Licht’s work is firmly planted in the realm of abstraction. His pieces predominantly feature a muted color palette of earth tones and swirling, varied brushstrokes ranging from broad swaths to finer, more delicate lines that seem to intertwine. Licht’s compositions are highly textured, with layers of paint or stapled pencil shavings creating depth and complexity.

Licht experiments with adding space to his art, working with four panels of wood for paintings and similarly with paper for his drawings. “I got interested in this two-by-three ratio, with one side being one and a half times bigger than the other,” Licht told the Courier. “So, it’s the shape that 35-millimeter photos are, it’s a two-by-three.”

To achieve the ratio, Licht tapes about an inch of extra paper to his existing eight-and-a-half by 11 pieces that he works with. “But then I really liked this way of working, where you have one piece of the drawing and can add a new piece of paper to it, take it away, and bring it to another drawing. It did something visually exciting that I hadn’t encountered. It really does change the feeling of breadth.” From there, Licht began to recreate the process on a larger scale, painting on four separate wood panels and then attaching them upon completion.

Some of his paintings also feature paintbrushes stapled to a panel after being accidentally left to dry on thicker swatches of paint. “The process of painting is always seen in the result, and some people emphasize this more than others,” Licht said. “I love the nakedness of accidents in nature and unforeseen interaction, but I also think intention matters.”

While the show gets its title from Mark Strand’s book of poetry called “The Continuous Life,” Licht is continuously inspired by “The Rock” by Wallace Stevens, and always carries a palm-sized paperback copy with him. 

The works range in cost, with the smallest in size priced at $1,000 and the largest, which is just over 10 feet, at $24,000. Since the show opened on June 7, about half of the pieces on view have already sold. 

The exhibition will be on view until July 13. 

The post Beverly Hills Artist Daniel Licht’s ‘Continuous Life’ on Display appeared first on Beverly Hills Courier.

“The ‘Beverly Hills Cop’ movie franchise has highlighted the city of Beverly Hills as its backdrop since the release of its first movie in 1984. In order to commend the positive impact Detective Axel Foley has had throughout the years, the Beverly Hills City Council has proclaimed June 20, 2024 as a day honoring his behalf,” Mayor Lester Friedman said.  

In honor of Foley’s roots, the premier party was a decidedly Detroit-inflected affair. Guests schmoozed over Detroit-style  pizzas and hot dogs, and Detroit rapper Big Sean performed his biggest hits to a hyped-up crowd, speaking in between songs about what it means for a kid from Detroit to make it big in Beverly Hills.   

According to Netflix CEO Ted Sarandos, “Axel F” was the first movie in the franchise to be filmed on location, and it was also the first time a helicopter landed in Beverly Hills in the city’s history. 

“Everything we do is still aimed at authenticity,” Sarandos told the Courier. “Beverly Hills is a character in the movie.” 

The post Stars Light up The Wallis for “Axel F” Premier appeared first on Beverly Hills Courier.

Burton House Beverly Hills, a Tribute Portfolio Hotel, is a high-end lifestyle collection by Marriott Hotels that officially opened on May 8. The hotel name pays homage to the “Father of Beverly Hills,” oilman and real estate developer Burton Edmond Green, who co-founded the Rodeo Land and Water Company in 1906 and named the city Beverly Hills in 1914. 

Following a multimillion-dollar transformation overseen by the property’s Asset Manager Seaview Investors, LLC (a privately-owned hotel investment firm based in Newport Beach), the hotel (which is actually Beverly Hills-adjacent) holds 193 guest rooms and 1,000 square feet of meeting space. The property is managed by Azul Hospitality Group, a San Diego-based hospitality management platform.

While the hotel moniker has a storied past in the city, the new property has modern, cutting-edge amenities such as a robot butler.  “Beverly (the robot butler) is used for guest deliveries and is an additional tool for the front desk team to help guests get items quickly, in a fun and interesting way,” General Manager Steve Dodaro told the Courier. 

On the same note, realizing the need to offer more wellness options to its guests than just a gym with treadmills and Peloton bikes, a yoga and Pilates studio was added to the basement fitness space. Dodaro noted, “Guests and non-guests can book our schedule of classes at mindbodyonline.com. The rate is only $15 for a 60-minute class and $5 for 90 minutes of valet parking.”

For an energy pick-me-up on your way to the parking garage, the coolest hotel amenity is the large Sprinkles vending machine in the lobby that holds a good variety of cupcake flavors and chocolates for purchase, just like the original shop in Beverly Hills. 

The Emerald Lounge is a social hub and a nod to Beverly Hills’ beautiful greenery, which is divided into three sections: a reception counter, a coffee bar serving espresso drinks and pastries, and a central bar offering a selection of libations and lite bites. The 35-seat indoor-outdoor California-Mediterranean restaurant will offer breakfast and light fare, as well as in-room dining. Signature dishes include flatbreads, salads, plant-based dishes and meat options, next to an onsite market offering fresh snacks, sandwiches and meals to go.

And no lobby bar-lounge trying to make a name in the city would be complete without a signature cocktail. The “Beverly Skyline” features Beverly High Rye, green chartreuse, lime and salted cashew orgeat. “We take great pride in supporting the Beverly Hills community and curating unique experiences within it,” Andrew Borenzweig, Founder and CEO of Beverly Spirits, who produces Beverly High Rye, told the Courier. “Burton House Hotel is a welcomed addition to the community that is led by a welcoming and passionate group of people. Drawing inspiration from the lush aesthetic of the Emerald Lounge, we designed a special cocktail to celebrate this exciting new opening.” The brand has also provided Mastro’s steakhouse and the Beverly Wilshire, a Four Seasons Hotel, among others, with creative cocktail collaborations. 

Look for future community activations for locals and a variety of guest experiences such as wine tastings, happy hour, and the hotel is working to develop a guest experience with a local lab-grown gem company.

The overall design of the property was completed by Wimberly Interiors evoking a 1930s casual glamour meets chic modern era. This was completed by using historic architectural details and comfortable furnishings with warm tones and natural materials for a residential feel. The design firm collaborated with Eaton Fine Art (in Austin, Texas) to curate the art collection found throughout the suites and public spaces. Characteristics of both Hollywood Regency and Art Deco styles can be found throughout the property with mirrored wall treatments, lacquered and metallic finishes on the furniture, and the signature use of black and white, such as a checkerboard floor in the lobby’s dining area.  

As for the rooms, the hotel features oversized suites, from king to queen and extended stay suites, along with one and two-bedroom suites. Each accommodation feels like an urban apartment with separate sleeping and living areas, a sofa bed, and 55-inch TVs. Kitchenettes come complete with convection-microwave ovens, refrigerators, coffee-tea service, and sitting areas.

Graphic wallpaper framing the bed was inspired by the natural topography of Southern California, while the furniture in the suites reflects a lot of the Art Deco and post-war Modernism that was prevalent during Burton E. Green’s time. From the lighting to the dining chairs, each piece of furniture was curated and designed to mirror the essence of that time.

Burton House should appeal to a budget conscious traveler—not to mention, longtime fans of Factor’s Famous Deli across the street on Pico Boulevard. This is not a 5-star property in the Golden Triangle, but a more casual option that should attract business commuters or out-of-town guests and family who want to stay for a month and not wear out their welcome in your guest room. And the property is dog friendly with a deposit of $150 per pet, per stay.

Rates will vary based on the day of the week and seasonality, starting at $220 per night for a standard queen room. While they do not offer monthly rates, an extended stay rate will be calculated based on the average of each nightly rate. Check www.marriott.com for the best deals.

The hotel is located at 1177 South Beverly Drive, Los Angeles. For more information, visit burtonhousehotel.com. 

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Part I, entitled “RMF is Dying,” follows Robert (Jesse Plemmons), a seemingly successful businessman who works for Raymond (Willem Dafoe). But this is more than a boss-employee relationship. Robert’s entire life has been controlled by the dictates of Raymond. When, for the first time, Robert exercises choice, refusing the odious task assigned him, the consequences are dire. He is brought to his knees as he loses everything in his life.

Part II, entitled “RMF is Flying,” follows Daniel (Plemmons), a blandly nice policeman, who is at wit’s end because his wife, Liz (Emma Stone), an intrepid scientific researcher, is missing and presumed dead in a boating accident while on a research trip. When she reappears, he is convinced that she is a substitute, sent to betray him. Continually reassured by his friends and her colleagues that she is, in fact, the original and not a doppelganger, he remains unconvinced and descends into a paranoid frenzy that doesn’t end well, at least not for the alleged “substitute” wife.

Part III, “RMF Eats a Sandwich,” revolves around Emily (Stone) who, along with fellow acolyte Andrew (Plemmons), follows the dictates of cult leader Omi (Dafoe). Emily and Andrew are on a quest to find a woman who can heal the dead. Emily, single minded of focus, is distracted when she is confronted by her husband and child. She has long since abandoned a life of domesticity, but her husband has other intentions, plans that will get her expelled from the cult. Finding the woman with the magic touch becomes paramount to Emily’s existence and
readmission to Omi’s circle.

Lanthimos is not really interested in telling a story, which works in his favor because the stories he tells are very slight. He is, however, interested in dissecting human nature, exploring the extremes of the human condition, most effectively in “RMF Is Dying” where the idea of free will is questioned. Does it really exist? Robert, who follows Raymond’s every command, still believes that he can exercise a choice. He never has in the past but is convinced that each and every action and reaction were his to make. By refusing Raymond, he triggers a series of events that upend his life and force him to reassess what is permissible. Has he exercised free will or fallen into a sinister trap that tests him as God tested Job?

It is apparent that Lanthimos has given his actors great latitude to improvise and explore their characters. Good for the actors; not so good for us. I like a good plot; actually, I’ll settle for any plot. Nevertheless, the concept of character as an exercise in creativity, freed from story, is not without interest. The outward trappings are subtle but telling. Robert in Part I is ostensibly a successful businessman. But look closely at his “tailored” suit and you will note that it doesn’t quite fit; it’s loose where it should be tight and snug where it should flow. Compare his attire with that of Raymond’s and it becomes more obvious because Raymond, impeccably attired, would look at ease on the pages of “GQ.” The imperceptibly ill-fitting suit goes along with the forced ease with which Robert carries himself. It’s a short distance between the successful, admired Robert and the increasingly distraught Robert who witnesses his entire life vanishing before his eyes.

The benignly threatening aspect of Omi in Part III is expressed primarily in the cadence of his speech and sureness of foot. Emily’s poorly fitting outfit, reminiscent of a traveling Seventh Day Adventist’s work attire, and wide-eyed astonishment identify her insecurities and neediness. But costume designer Jennifer Johnson must have loved working with Plemmons because his outfit is hilariously pitch perfect. Even before knowing the details of Omi’s beliefs, Andrew, with his buzz cut, empty gaze, few spoken words, cheesy T-shirts and high-water khaki pants, can be nothing but the blind follower of a cult, especially one that believes that the dead can be reanimated. He brought to mind a follower of Heaven’s Gate ready to be beamed up to the heavens on the word of his leader.

It’s not always easy to see the humor that Lanthimos is aiming for. Much of the film would fit into the larger category of theater of the absurd, although this is not Samuel Becket-worthy by any stretch of the imagination. There are some laugh-out-loud moments, although, for me, they were few and far between. It is easier to recognize them from afar, after the film has been experienced. I say experienced because without discernible plots, many of the strengths of “Kinds of Kindness” are not immediately apparent. If one approaches it from the standpoint of an exercise in improv without the expectation of plot and story, then there is a brilliance within it. There is a very unscripted aspect to each part dependent almost entirely on the actors’/characters’ reaction to situation. Emma Stone, Lanthimos’s muse, is most at ease with this type of storytelling and shines. Plemmons, who won Best Actor at the Cannes Film Festival, gives the most anchored performance of the group. Dafoe, viewed as a straight man, propels forward whatever story is present. The other members of the repertory cast are also very good. Margaret Qualley lends an ethereal presence to all of her characters; Hong Chau and Mamoudou Athie anchor the various “storylines” with some semblance of verisimilitude. Joe Alwyn, the last member of the group, seems to have a thankless place-holder role with the exception of Part III, where he is the antagonist.

Did I like the film? No, not particularly. It’s long, obtuse and forced. Even the so-called RMF is an abstract concept. But, and this is a big but, it does have a genius for absurdity. The acting is outstanding but at more than 2 hours and 40 minutes, this, like much of the movie, will be relegated to cult status—more talked about than seen.

Opening June 21 at the AMC Century City 15, AMC Grove 14, AMC Burbank 16 and AMC Media Plaza. 

Neely Swanson spent most of her professional career in the television industry, almost all of it working for David E. Kelley. In her last full-time position as Executive Vice President of Development, she reviewed writer submissions and targeted content for adaptation. As she has often said, she did book reports for a living. For several years she was a freelance writer for “Written By,” the magazine of the WGA West, and was adjunct faculty at USC in the writing division of the School of Cinematic Arts. Neely has been writing film and television reviews for the “Easy Reader” for more than 10 years. Her past reviews can be read on Rotten Tomatoes where she is a tomato-approved critic.

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Expect sequels of your favorites, remakes and reimaginings of stories from the past.

There are video game adaptations, with starry casts and fun, snarky scripts; family-friendly fare; and imaginative sequels to franchises of yesteryear like “Beverly Hills Cop,” only now Axel has a daughter! Horror is intermingled with thrills in the latest installment of “A Quiet Place.” There are some enticing originals featuring an array of topics, both dramatic and comedic, some with spies, lots with thrills, and what is a summer without superheroes? There’s even an epic Western, presented in two parts, each premiering several weeks apart. For me, I’m looking forward to “Hitman,” premiering exclusively on Netflix, and “Thelma” because who isn’t enchanted by the feisty nonagenarian June Squibb? Lots of movie stars, old and new, from Sean Penn, Kevin Costner and Michel Keaton to Austin Butler and Glen Powell. And there’s a plethora of M. Night Shyamalan. They’re all waiting for you at the box office. (Dates may change.)  

Without further ado, here they are:

June 6

“Hitman,” sure to be action packed and loaded with humor, is directed by Richard Linklater dipping into the well of his Texas roots. The venerable “Texas Monthly” magazine is the source of this material about an undercover policeman posing as a hitman who goes off book. Glen Powell, the breakout star from “Top Gun: Maverick,” leads the cast. (Streaming on Netflix)

 June 14

“Bad Boys 4” reunites Martin Lawrence, who hasn’t been seen in too much lately, and Will Smith, who’s been spreading himself a bit too thin for audience tastes. Still, the supporting cast is surprisingly interesting with Ioan Gruffudd, Eric Dane and Vanessa Hudgens. 

“Inside Out 2” returns us to the brain of Riley, who is facing new and treacherous pathways as her teenage emotions place a stranglehold on her as she tries to negotiate her way through college. Count on Amy Poehler to lead us through her limbic system. 

“Treasure” stars Lena Dunham as the journalist daughter of a Holocaust survivor played by Steven Fry who takes her to the Poland of his youth. The memories of his treatment are still fresh, and there are places he won’t go so he deliberately sabotages those visits. (Limited release)

“The Watchers” is an M. Night Shyamalan-produced film, directed by his daughter Ishana. Stranded in the forest, a young woman is stalked by creatures and surrounded by strangers. “You can’t see them, but they see everything.” Starring Dakota Fanning, there will be shivers. 

July 12

“Long Legs” stars Nicolas Cage, Maika Monroe and Blair Underwood. Director Osgood Perkins gives us a serial killer thriller with a little bit of the occult thrown in for good measure. The FBI heroine must find the killer before he strikes again…sound familiar?

“Touch,” a romantic drama, comes from Iceland and is based on a book of the same name. After his wife dies, a man is determined to find his long-ago first love before he dies; a woman who disappeared 50 years before.

“Twisters” is a sequel or reimagining of the 1996 disaster movie “Twister.” There are high winds a-comin’ for stars Daisy Edgar-Jones, Maura Tierney and Glen Powell (who’s having quite a summer).

July 19

“Thelma” stars the always fun, feisty and fabulous June Squibb as a (very) old lady who has been duped out of her savings. She’s on a mission to get it back and will stop at nothing. The supporting cast includes Malcolm McDowell and the late Richard Roundtree in his last role. This Thelma needs no Louise. (Limited release)

 July 26

“Deadpool & Wolverine” (title as of press time, it may change) unites Ryan Reynolds’ snarky mutant mercenary Deadpool and Hugh Jackman’s long-clawed, alpha Wolverine. Who or what is their common enemy or purpose remains under wraps but be assured, there will be mayhem. Directed by Shawn Levy, this unlikely bromance also stars Matthew MacFadyen hot off his run on HBO’s hit “Succession.”

August 2

“Harold and the Purple Crayon” is a live-action movie based on the much-loved children’s book that explores sibling rivalry through fantasy, heroics and a magical purple crayon. Among the very starry cast are Zooey Deschanel, Zachary Levi and Lil Rel Howery. 

“Trap” is another M. Night Shyamalan family production, this time with him directing and his daughter Saleka as one of the stars. He has not divulged much information about the film other than that it is a psychological thriller set at a concert. Among the cast is Josh Harnett and the rarely seen and much-missed Hayley Mills. 

“My Old Ass” is a comedy about how the future impinges on the present when a young girl is visited by her future self and advised against falling in love, especially with someone who spells trouble. You guessed it, the years pass and she falls in love with the one she was warned about. The delightful Aubrey Plaza stars. (Limited release)

August 9 

“Borderlands” is an arcade to big screen transition of the popular video game of the same name, written and directed by horror meister Eli Roth. Video game series, especially those involving first-person, role-playing, fantasy, science fiction and Westerns would seem daunting. Nevertheless, he has a starry cast to back him up led by Cate Blanchett (always looking to expand her range) with support including Jamie Lee Curtis, Jack Black, Kevin Hart and a delicious villain played by Edgar Ramirez. This is a built-in series ready for sequels. Although animated films have fared better overall than live-action video game movies, this one seems to be played tongue in cheek.

“It Ends with Us” is based on the bestseller by Colleen Hoover where main character Lily is forced to make some hard choices when her high school sweetheart comes back into her life. Blake Lively stars in this very romantic film co-starring, written and directed by the hunky Justin Baldoni.   

“Speak No Evil,” an English language remake of a very popular Danish film, is a cautionary tale. One nice family meets another, seemingly nice family on vacation and accepts their invitation to come visit. Directed by James Watkins who made “Eden Lake,” all is not what it seems and danger lurks around every corner in this psychological thriller. 

“Flint Strong” is based on the true story of Claressa “T-Rex” Shields who wants to be the first American woman to win a gold medal in boxing at the Olympics. Directed by Rachel Morrison and written by Barry Jenkins, the Oscar-winning writer/director of “Moonlight,” it features a very strong cast led by Brian Tyree Henry. 

August 16

“Alien: Romulus,” directed by Fede Alvarez, is theoretically a sequel to the other “Alien” movies. A group of young people face an evil force, but this time there’s no Sigourney Weaver to rescue them or Jean-Pierre Jeunet, David Fincher or Ridley Scott at the helm. 

“The Union” is an action comedy/thriller starring Mark Wahlberg as an ordinary Joe roped into spy shenanigans by his ex-girlfriend played by Halle Berry. The supporting cast includes J.K. Simmons, Mike Colter and Jackie Earle Haley. 

“Horizon: An American Saga Chapter 2” is a continuation of “Chapter 1,” which opened on June 28. 

August 23

“Blink Twice” marks Zoe Kravitz’s directorial debut in a story about a cocktail waitress who succumbs to a tech mogul’s advances and takes an ill-advised vacation with him and his friends to a private island. Strange things begin to happen, and she has to figure out how to get out alive. This strong cast includes Kyle MacLachlan, Geena Davis, Channing Tatum, Haley Joel Osment and Christian Slater. 

“Slingshot” stars Casey Affleck as an astronaut on a mission to Saturn’s moon, Titan. The flight may be compromised, and he’s in a battle with his consciousness as he tries to maintain a grip on reality. Able support is provided by Laurence Fishburne and David Morrissey

“The Crow” uses the character as a starting point, and Eric Draven, the Crow, has a new look. Still based on the graphic novel series, it has gothic director Rupert Sanders (“Snow White and the Huntsman”) at the helm and horror stalwart Bill Skarsgård (of the famous acting family, Stellan is his father and Alexander, his brother) and Danny Huston in support. It remains to be seen if it can escape the curse that followed when Brandon Lee (son of Bruce) was accidentally killed on the set of the original film. 

September 6

“Beetlejuice Beetlejuice” is a sequel to the original 1988 movie. Once again, Tim Burton has brought the ghost back to life with Michael Keaton reprising his role as the scarier version of Casper the Friendly Ghost, Winona Ryder returning as Lydia Deetz, the formerly goth teenager who lived in the haunted house all those years ago, and Catherine O’Hara is still her mother, Delia Deetz. New additions are Jenna Ortega as Lydia’s daughter Astrid, and Monica Bellucci as Beetlejuice’s wife. 

Whether you see it as a feast or famine, there’s definitely something here for you. So make a trip to a multiplex near you, load up on popcorn and soda and get ready for some summer entertainment. 

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Pieces in the Kathy Hilton x Anna Zuckerman collection range from “diamond” studs to pendant necklaces, bracelets, bands and cocktail rings. 

The designs are made by repurposing salvaged lab-grown diamonds and gem materials that would otherwise go to waste. Zuckerman’s innovative approach extends the life cycle of existing materials, such as Diamond Crystalline™, a man-made gem that is so similar in appearance to a genuine diamond, that it apparently takes a trained eye to spot the difference, while contributing to a more sustainable future for the industry.

“I am a jewelry lover first and foremost,” Hilton told the Courier. She also noted that the pieces are perfect for taking on vacation. 

“This is my travel jewelry,” said Hilton. “If something happens you are not going to lose sleep over it. We have insurance, but you never want to use it.”

Hilton, who operated a successful retail home store on Sunset Plaza Drive for close to a decade, and a fashion line sold in Neiman Marcus and Saks Fifth Avenue, also acknowledged the rise of thefts in Beverly Hills in recent years. “I put my jewelry away during the pandemic,” she said. “I wasn’t going anywhere and don’t want to live in fear or to be a prisoner of my possessions.” 

Zuckerman added, “After the pandemic, we are smarter and more careful about investment pieces. This is not a big investment in the same way other luxury pleasures like art and designer bags, which retain resale value, but not fine jewelry. This way you can wear a new piece every day and it will not break the bank.”

The duo hopes this new line will empower women to treat themselves without spending the big bucks. 

“I do not buy myself large expensive pieces anymore, said Hilton, “But this is something you can afford to treat yourself to.” 

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Having reached out to veterans’ groups across the country, Darwell was able to assemble a sympathetic, engaging and diverse group. He was fortunate to find two amazing soldiers who served in World War II, a conflict where the remaining survivors are now well into their later 90s; the last war when the armed services were “legally” segregated. There was very little interaction between the troops with the exception of white officers chosen to supervise and run many of the Black divisions. Every effort was made to keep whites and Blacks separate, from the facilities to the kinds of assignments that were given out to the execution of those jobs.

Romay Johnson Davis, now 104 years old, served in the Women’s Army Corps (WAC) in the postal battalion, an all Black division. She and her fellow WACs were responsible for making sure the mail to and from the soldiers was properly distributed. Thinking about the work she did, there was little that was more important, outside of combat, because the postal workers represented a lifeline for loved ones on both sides of the ocean. For the soldiers, it was their only attachment to family and could not be underestimated. Mail call, as shown in so many movies about the era, brought joy and hope to those receiving letters and disappointment to those who didn’t.

Dr. Eugene Richardson is one of the last remaining famed and vaunted members of the Tuskegee Airmen. Facing the camera in the comfort of his living room, he explains that even as a child he wanted to fly, to be a pilot.  The armed forces did not feel that Blacks had the kind of skills that were necessary to become pilots but despite this almost impenetrable wall, a Black division of the Army Air Corps was founded, named after Tuskegee University where many of the pilots trained. The Tuskegee Airmen gave coverage to their all white counterparts in the bomber squads, protecting them from the German air force. Those fighter pilots had no idea that their coverage was from an elite group of Black pilots, pilots whose coverage was highly sought after because of their skill and bravery.

The representatives from the Korean War are both individuals who should be recognizable, at least for anyone over the age of 60. Both men, now in their 90s, have lived most of their lives in the public eye.

Representative Charles Rangel (U.S. representative of New York’s 13th District from 1971-2017), a high school dropout, was raised by a single mother. Economics played a major role in his enrollment in the army. With limited prospects back home, the lure of an income and possible educational and training benefits after his service was a major factor in his enlistment. He still remembers the feeling of despair as the commanding officers abandoned their primarily Black troops as they were being attacked on all sides by the enemy. Although President Truman desegregated the military by Executive Order, Rangel recalls that his experience was of a distinctly segregated Army.

James McEachin went on to become that rarest of rare creatures, a working actor, recognizable from his supporting work in innumerable television shows, including his own short-lived series called “Tenafly.” McEachin defied the odds in the Army and continued to be a groundbreaker in his personal life. And like everyone else profiled in this documentary, none of it was easy but he was up for the challenge. He eloquently voices the importance of serving. “No veterans, no democracy. No democracy, no America.”

The very unpopular Vietnam War created its own problems, not just in Southeast Asia but also at home where veterans were accorded none of the respect of those who served in previous wars or the ones that came after. The profiled “survivors” of that war had very different experiences.

Ty Martin had the harder row to hoe in a manner of speaking. A sailor in the Navy, he was gay in the era before “Don’t Ask, Don’t Tell.” He faced danger around every corner, particularly as a necessarily in-the-closet gay man. He thought that the Navy would make him a man,” that he would no longer be gay.” But it also gave him the opportunity to travel, see the world, and wear those white bell bottoms, things his naive 17-year-old self couldn’t resist. Successfully hiding his sexual orientation, he remembers the camaraderie he felt with his fellow sailors. Now a senior and still handsome, he speaks to us from his apartment in Harlem, surrounded by the African masks he has collected over the years. His overall warmth shines through.

Norvell Ballard enlisted in the Air Force at the age of 17 and soon found himself in the jungle. Seated, not entirely ironically, in front of coffins on display as part of his funeral home business, it is Ballard who talks convincingly and strongly about the benefits that all recruits in the armed forces are entitled to and yet are distributed inequitably. His experience was that the treatment of white and Black soldiers was entirely different. Blacks were expelled for the same actions that resulted in no reprimands for whites.

Roy Wilkins was drafted by the Army at the tail end of the Vietnam War. He was on the cusp of going to college and the military made him an enticing offer. Sign up for eight years and they’d pay for his education. He eventually served in Vietnam and Iraq in the Special Forces. Outgoing and proud, Wilkins has had other battles to fight that were more challenging, as you will see. But even today he’d still recommend joining.

The rest of the veterans profiled served in one or both of the Iraq Wars. Their experiences are as alike as they are different.

Robert Dabney, Jr. also served in the Army. During his 11 years as a medic, he saw action in Saudi Arabia, Kosovo and Iraq, areas he calls the triangle of death. Joining at 17, he was looking for new opportunities that would benefit him and his family. Like Rangel, his motivation was economic, an outcome that was both positive and negative.

Eric Howze, an Army survivor of the Iraq War, has found his most challenging battles at home. Fighting PTSD and depression, he accurately expressed what happens to so many when they are discharged. “Even though you made it home, there’s still a war going on.” A proponent of therapy, he belongs to a group called “No Hero Left Behind” that was fundamental to his healing process. Telling his story of survival and how he has been giving back is inspirational.

Phoebe Jeter is one of the outliers. Career Army all the way, she retired as a Major, having served in both Desert Shield and Desert Storm. She experienced the highs and the lows but is very proud to have been a groundbreaker. She discusses gender politics and the effect it had on her because, as she points out, so many of the best opportunities were offered to men and not women; opportunities that had a clear promotion path like becoming an aide to a general. Her positive and spiritual outlook set her apart.

Julia Robison, who I would describe as a survivor of the Army, had a very different experience. One of 13 children, the Army was an opportunity to find her independence and honor her father who served in Vietnam. She viewed the military as a way to escape the sorrows and suffering she saw around her. As she will eventually explain, what she had to endure in the Army was worse than what she was determined to escape.

And finally, there is Janina Simmons, a groundbreaker in every sense of the term. She was the first African American woman to graduate from the U.S. Army Ranger Corps. Rightly proud of her accomplishments, she is aiming for the top and it’s unlikely that anything will get in her way. Enlisting was pragmatic. She needed the money to continue her education. For her, what matters most was always to try as hard as she could. Out of 370 in her Ranger class, only 80 graduated. An example, at least theoretically, of how far the military has come, she, a gay woman, has been supported all the way in her endeavors.

These are just thumbnail sketches of each individual; the movie offers a more complete and engrossing portrait of each of them. The film highlights the diversity of experience and illustrates how far things have come, although it is also an example of the adage, “the more things change, the more they remain the same.” Darwell has done an excellent job of bringing these stories to life and allowing you, the viewer, to draw your own conclusions. This is engrossing and fulfilling cinema at its best.

Now streaming on Amazon Prime VOD. 

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The globally recognized design fair took place from May 16-20 on the grounds of the massive 30,000-square-foot mansion once owned by Sidney Sheldon and Max Azria of BCBG retail fame. 

Design Miami CEO Jen Roberts said, “2024 is a year of evolution for Design Miami, as we continue to reach wider audiences through our expanding programming and ever-growing creative network.” Designed by Henrik Purienne, Global Creative Director for 2024, Design Miami LA’s concept was based on “Living with Design.”

As a testament to California’s rich design heritage, from the post-war mid-century design boom and car culture to the entertainment industry and space-age engineering, the fair was curated by Ashlee Harrison, who successfully bridged the gap of the past with the present, while exploring how the city continues to inspire global design conversations. “This edition of Design Miami LA was centered on the themes of eclecticism, imagination and nostalgia that have informed the city’s design landscape, bringing together some of the world’s leading international design galleries and voices,” said Harrison.

Some of the top exhibitors who came from Melbourne to Monaco, and took over almost every inch of the estate from both floors of the main dwelling to the pool house, included Carpenters Workshop Gallery, London/Paris/New York/Los Angeles; Gallery FUMI, London; Galerie Negropontes, Paris; Lebreton, Monaco; and Nick Thomm, Melbourne/Los Angeles. Popular local galleries included The Future Perfect, Los Angeles/New York; Southern Guild, Los Angeles/Cape Town; and James de Wulf, Los Angeles.

Iconic works that have rarely been seen were handpicked by Harrison and included George Nakashima’s 1985 Sanso table, represented by Moderne Gallery in Philadelphia, and Nacho Carbonell who works with industrial materials in an organic iteration such as the welded steel tree structure lamp, presented by Carpenters Workshop Gallery; and the stuffed-animal chair collaboration between KAWS and Estudio Campana, represented by local gallery Friedman Benda, which has never before been shown in Los Angeles.

New collections included Wexler Gallery’s exhibition, “Unleashed Creativity” with local LA designer and artist Gulla Jónsdóttir and her Puzzle Table, along with the debut of G U L L A jewelry. Inspired by her own architectural projects, the jewelry pieces are sculptural in their form, translating it into wearable art.

Making its West Coast exhibition debut, Todd Merrill Studio (New York), who had one of the most Instagrammable canary yellow curved sectional sofas featured from his exhibition, commented, “We were very happy that this fair was created by the new management at Design Miami, specifically because there has never been a good design fair in Los Angeles. Los Angeles has one of the best real estate markets in the country, with amazing homes that continually appreciate. We have many clients in LA but no fair venue, so this is a wonderful opportunity to bring the best of high-end design to LA from our studio.”

Friedman Benda (New York/Los Angeles) presented a group exhibition, with an emphasis on LA-based design practices highlighting works from Darren Romanelli, Carmen D’Apollonio, Farrell Hundley, Misha Kahn and Samuel Ross.  Marc Benda told the Courier, “We believe LA is a major center for showing and contextualizing contemporary design. Design Miami Los Angeles is an opportunity to engage with a community that has enormous potential.” Continuing that theme after the first day of the fair, on May 16, behind the Chateau Marmont, Friedman Benda’s also had an opening cocktail reception for two standout shows at its private gallery space for Carmen D’Apollonio and Jake Clark.

The new MC+ Design Studio in West Hollywood (in the original Spago building above Sunset Boulevard) showcased new work with Twentieth Gallery from lighting to sculptures. Founded in California in 2023 by the visionary minds of Mattia Biagi and Cardenio Petrucci, the dynamic, full-service design studio with a global footprint, is drawing from extensive expertise in residential, retail and hospitality projects.

As for the booming at-home spa-wellness sector, ATRA introduced the MORPHUS Lounge Chair. This sensory seat comes with headphones for a musical journey and LED light therapy goggles which sync with vibrations in the cushions, offering benefits like stress relief and pain management.  “We are bringing biohacking to a new home audience, and California being a wellness culture, it’s a natural fit between wellness and design,” said Managing Partner James Williams. “It’s making it much more accessible, which a lot of developers and designers are seeking now.”

Sponsors and collaborators included producer Ryan Murphy, designer Kely Wearstler, Kohler and Sainte Marguerite en Provence, the exclusive rosé sponsor of the fair, who poured both the Symphonie and Fantastique 2022 selections to the guests over the weekend.

Other Parties Surrounding the Fair

Curator of the Arts at Hotel Bel-Air and The Beverly Hills Hotel, Jim Hedges has acquired more Andy Warhol photography than anyone else in the world. Hedges also curated the Warhol rare photography exhibit at Design Miami LA and hosted a welcome cocktail reception for the fair on May 14 at the Polo Private Room at The Beverly Hills Hotel.  “This was a great opportunity to welcome the community; we want to be supportive of all the arts and cultural initiatives that are coming to Los Angeles,” Hedges told the Courier. “The city doesn’t have anything like this, but we have such a great design and architectural heritage.” As Hedges pointed out, “It was a great collaboration since Paul R. Williams designed the Crescent Wing [at the hotel] and even the font for the signage.”

On the eve before the Design Miami LA launch, a curator and collector dinner, hosted by the Wall Street Journal, was held on the grounds of the William’s estate on May 15, which brought out participating artists, designers and gallery owners for an alfresco, candlelit gathering.

On the same evening, over at The Wallis, The Rosewood Residences Beverly Hills, held a launch party (hosted by Compass Development Group), after the UPFRONTS event property presentation hosted by The SOCIETY Group and also sponsored by The Wall Street Journal. The crowd got a peek at the new Rosewood  Penthouse A (one of four in the Estate Collection, designed by Thomas Juul-Hansen), along with other global properties such as the OWO Residences by Raffles in London. In attendance at the event  were Kurt Rappaport, Fredrik Eklund, Linda May,  Matt Altman, Paul Lester and Lea Porter, among other local real estate dynamos who noshed on Wolfgang Puck catering while sipping on mini-COUP Champagne bottles. And, the upshot is LA now has a world-class design fair to help fill some of these new residences coming to Beverly Hills. 

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Directors Bradford Thomason and Brett Whitcomb, also acting as editor and cinematographer, respectively, have assembled a cast of creators, directors, producers, executives and participants that make you happy the show happened in the first place and sad that it ever ended. And leading the charge? LeVar Burton, host for all the episodes, who aged more gracefully than anyone has a right to, is still enthusiastic and warm; an advocate for the mission of “Reading Rainbow,” he is the very definition of a mensch.

Twila Liggett loved teaching but when success became an algorithm (they may not have called it that in the late ‘70s, but that’s what it was) of teaching to the test, it took away the joy she found in the profession. Children learn at different rates in different ways, something that standardized tests couldn’t predict. When the tests encroached on her ability to modify curricula to adjust to those differences, she left the profession but not teaching. Although television was viewed as the “enemy” in many circles, maybe, she thought, there was a way to make it work for what she wanted to convey. Nebraska ETV connected with her vision as did Tony Buttino at WNED in Buffalo, NY. At the end of the day, all television is education. The question is, “What are we teaching?” Their mission? Get children excited about reading. Tony assembled a team of directors and producers, among them the newlywed team of Larry Lancit and Cecily Truett Lancit who were with the show almost until the end.

Even with the success of PBS shows “Sesame Street,” “Mr. Rogers’ Neighborhood” and “The Electric Company,” there remained a skepticism at the Corporation for Public Television (CPB). No one seemed to understand that the creators weren’t trying to teach reading. They were concerned about the so-called summer loss phenomenon where children, viewing reading as a task, not a pleasure, never picked up a book during those months, leaving them behind when school resumed. What would happen if reading became a cherished activity?

Reluctantly, the CPB gave them the seed money for a pilot and they were off to the races. The first hurdle? They needed a Mr. Rogers-type; someone who could relate to the children and never talk down to them. Children have an unerring instinct about condescension. Obviously, Fred Rogers was taken, so who could they get to host this show? Ideally, a celebrity would capture attention and they composed a list of potential actors for the lead role. At the top of their wish list was LeVar Burton, relatively fresh off his exploding star turn as the young Kunte Kinte in “Roots.” There was something approachable and captivating about this young man who was plucked from college (USC) to be one of the leads in what became that era’s most important and viewed
miniseries.  Little more than a kid himself, he still retained a wide-eyed innocence and enthusiasm that was exactly what they were looking for. Against the odds, this rising star, in love with the concept, said yes.

The pilot that was produced convinced the CPB executives to fund this program that immersed its audience in the world of books. Burton would introduce a book per episode; it would be read out loud, often by a celebrity; and then he would take the viewers on a voyage into the world of that book, traveling to various relatable locales and talking to youngsters about how their lives related to the stories. Children from all ethnicities, socioeconomic levels and areas of the country participated on screen. The kids watching were, in some cases, seeing others on the television who were just like themselves for the first time. And so started a revolution in love, the love of reading.

“Reading Rainbow” had a cast of 8 and 9-year-olds, the target audience, who presented their own reviews of books that they personally chose to recommend. They wrote their own copy and delivered their book reports as they chose—no adult rewriting, no interference. It was those raw, charming presentations that gave the show a reality that was often lacking in other children’s programming. Particularly charming are the interviews with some of the now-grown former child critics on what the show meant to them and how important it was for some of them to see and be seen as representatives of the underrepresented. They talk about the joy they still have for their past participation. It was a point of pride that the producers made an effort to have kids from all backgrounds and “colors” as their ambassadors. It was built into the DNA of the series.

Amazingly, the producers faced difficulties from publishers who didn’t understand the concept and were less than enthusiastic about having their books featured. I can’t even imagine the lack of vision behind such a stand. How could they not have immediately seen the marketing possibilities?

Remarkably, the show always struggled for funding. Too often, CPB was threatened with a funding cut off by a Congress that didn’t seem to understand the greater benefit to the general public. Nothing could possibly have been less partisan than “Reading Rainbow.” Although CPB usually escaped the ax, the threat was always there and they were looking for outside monetary sources, sources that were greater than “viewers like you.” “Sesame Street” was a marketing juggernaut, a veritable licensing dream machine with Cookie Monster clothing and stuffed animals of all the characters. “Reading Rainbow” had books and no merchandising. It was the publishers, now recognizing the value of free publicity, who benefited in a big way. They flooded the producers with books for inclusion, but it was the kids who chose. All books under consideration were tested in classrooms by the targeted age range. The students were involved in discussions about the pros, cons and viability of the various books. The adults producing the shows ended up with the greatest respect for the intelligence and understanding of children who understood from the beginning that we all learn through stories.

“Reading Rainbow” may have ended too soon, although 23 years is a nice run, but, in the end, all that counts is the generations who benefited from a show where reading and books were king.

Now streaming on Prime Video and iTunes. 

Neely Swanson spent most of her professional career in the television industry, almost all of it working for David E. Kelley. In her last full-time position as Executive Vice President of Development, she reviewed writer submissions and targeted content for adaptation. As she has often said, she did book reports for a living. For several years she was a freelance writer for “Written By,” the magazine of the WGA West, and was adjunct faculty at USC in the writing division of the School of Cinematic Arts. Neely has been writing film and television reviews for the “Easy Reader” for more than 10 years. Her past reviews can be read on Rotten Tomatoes where she is a tomato-approved critic.

The post ‘Butterfly in the Sky’ – The Story of Reading Rainbow appeared first on Beverly Hills Courier.

The Venice Biennale has been one of the most important art shows in the world featuring modern art. Winning the Grand Prize could be the launch of a new career or the underscore of an established one. Founded in 1895, it was suspended during the two world wars. Following World War II, it resumed in 1948. 

The emphasis was supposed to be on contemporary art although one could argue that the winners from 1948 through 1956 were no longer on the cutting edge. George Braque, Henri Matisse, Raoul Dufy, Max Ernst and Jacques Villon were no longer part of the current avant-garde movement. Those wins did, however, serve to emphasize the preeminence of France as the center of the art world.

International in scope, exhibiting countries, most financially supported by their national governments, had longstanding invitations to build pavilions to exhibit their entries in a space allocated by the Biennale committee in the Giardini or in the park. The United States, barely an also ran, had a very small building representative of its minuscule offerings over the years. There was no government funding to support U.S. artists. But that changed dramatically in 1964 when the government, under the auspices of the USIA (United States Information Agency), decided that a strong American presence at the world’s most important art show could be used as a weapon in the Cold War.

This is more than a movie about an international art competition; it is an investigation into longstanding rumors that the United States allegedly “fixed” the Biennale so their artist, Robert Rauschenberg, could win the Grand Prize. Despite the fact that there has never been any proof that there were payoffs or skullduggery, those rumors persisted. That Robert Rauschenberg was one of the leaders in the new contemporary art movement and more than worthy of recognition seemed to be beside the point. Other national governments supported their representatives, but the fact that, for the first time, the U.S. was providing financial support to a slate of artists entered as part of its delegation seemed to be suspicious. The who, the why and the how is the meat of this film and it’s a great history that is entrancing. It never once occurred to me that Rauschenberg should have been controversial. This was, after all, a competition in the arena of contemporary art, and by 1964 Rauschenberg was well established in New York circles.

Robert Rauschenberg caused an upheaval in the New York art scene almost from the time he arrived with his paintings full of “found objects,” silk-screened images and painted abstracts. Because he straddled the line between painting and sculpture, he coined the phrase “combine” to illustrate more clearly what he was doing with both media. An encounter at Black Mountain College in 1948 with the composer John Cage and Cage’s partner, Merce Cunningham, led to an artistic collaboration with Cunningham’s dance company. Rauschenberg would go on to create scenic and costume designs for the dancers, something that would influence the judges years later at the Biennale.

Rauschenberg would work with and have relationships with many of the emerging artists of the day, Cy Twombly and Jasper Johns, in particular. Their new art movement began slowly to gain traction as the Abstract Expressionists ceded precedence. But Rauschenberg refused to be categorized and critics had a difficult time placing him within a context. Nevertheless, by the end of the 1950s, he had arrived at an important juncture. He was represented by Leo Castelli, a gallerist who had become and would remain the leading purveyor of the new art forms. Not only did Castelli represent important Abstract Expressionists like Jackson Pollock, Willem de Kooning and Rauschenberg’s former partner Cy Twombly, but he also had literally everyone who was anyone in the new contemporary art movement including Jasper Johns, Donald Judd, Frank Stella, James Rosenquist and a whole roster of what would become the Pop Art movement, including Claes Oldenburg, Andy Warhol, Roy Lictenstein and Ed Ruscha.

Castelli, working with Alan Solomon, the progressive curator at the Jewish Museum in New York, determined that Rauschenberg deserved to win the Biennale, and be the first American to do so. (Technically he wasn’t because an American artist named Mark Tobey won in 1958.) Working with Washington insider Alice Denney whose husband worked for the USIA (but in a more nefarious branch), they set about getting the funding to take a show of the leading contemporary artists (not coincidentally represented by Castelli) to Venice. With Denney’s help, they did just that, enlisting Air Force transports and barges to transport these massively scaled paintings.

“Taking Venice” is remarkable not just for the story about Rauschenberg’s eventual win but also for all the background information on many of the players. Documentaries could be made just about Castelli and Solomon who shaped contemporary art forever. Alice Denney, now in her 90s, gives insight into the USIA sponsorship and the work that went into mounting the show. Archival and present-day footage show Castelli and his ex-wife Ileana Sonnabend reveling in the details of a politically rife journey. Sonnabend would go on to represent all the Castelli artists when she opened her own gallery in Paris. A more amicable divorced couple you will never find.

There were several factors fighting, in some cases battling hard, against the Americans. Lobbying for an American juror was treated as suspicious. Nevertheless, one was found who fit in seamlessly. But the real snag was the exhibition space. Because the American pavilion was so tiny, Denney, Castelli and Solomon requested that they be able to use the empty American Consulate building to show the works of the artists they had brought. The Biennale committee agreed to the use of the Consulate. Denney, on her way back home, reminded Solomon and Castelli to get that agreement in writing. They did not and when a new Biennale president arrived, he refused to honor the gentlemen’s agreement. This was but another obstacle for the Americans to overcome and Wallach does an excellent job of laying out the minefield that was still to be crossed.

After all these years, it’s difficult to fathom the extent of the controversy, so much of it political and not artistic. Although not internationally known at the time, the show set up at the Consulate exhibited not just Rauschenberg, but also Jasper Johns, Jim Dine, Claes Oldenburg, Frank Stella and John Chamberlain, all now household names and no longer of the avant-garde. How the American team overcame the interdiction of the American Consulate as a viable space is inventive and created yet more controversy. It’s no spoiler to reveal that Rauschenberg did, eventually after much ado (really about nothing), win. But it was a win that, for him, was tainted because it made him question his right to the prize. It was a monumental moment that seemed to be diminished to a footnote for him, much like the asterisk after Roger Maris’s home run record. Wallach gifts us with much footage, both archival and contemporary, of Rauschenberg both pre and post the Biennale.

You don’t have to love art to love this movie, although I do love both; but as a thriller with a known ending it also works on an entirely different level. The cast of characters are all interesting and the significance of the win turned the art world upside down, not because of who Rauschenberg was but because it spelled the end of Paris as the capital of the art world and marked the beginning of New York as that center. I’m sure the Parisians felt the same way the New Yorkers did when the center shifted to Los Angeles a few years ago.

How do you steal such a prize? Beats me. He didn’t, but it’s still a meaty discussion.

Opening May 24 at the Laemmle Royal. 

Neely Swanson spent most of her professional career in the television industry, almost all of it working for David E. Kelley. In her last full-time position as Executive Vice President of Development, she reviewed writer submissions and targeted content for adaptation. As she has often said, she did book reports for a living. For several years she was a freelance writer for “Written By,” the magazine of the WGA West, and was adjunct faculty at USC in the writing division of the School of Cinematic Arts. Neely has been writing film and television reviews for the “Easy Reader” for more than 10 years. Her past reviews can be read on Rotten Tomatoes where she is a tomato-approved critic.

The post ‘Taking Venice’— An American First appeared first on Beverly Hills Courier.

Concerts on Cañon, a free weekly concert series at Beverly Canon Gardens that brings music from around the world to the heart of the Golden Triangle, kicks off on June 6 with the third annual Pride Night, though staff is finalizing the artist, Senior Recreation Supervisor Paul Paolone said.   

On June 27, fan-favorite Bill Rothella and The Earthtones will return for the first time since the COVID-19 pandemic and dive into the American Songbook, Paolone said. Singer-songwriter Joyce Partise is bringing Brazilian Bossa Nova to the stage on July 18; the band Upstream will transport the crowd to the Caribbean with Soca, Calypso and Reggae jams on Aug. 8; and The Tokens, headed up by Beverly Hills Unified School District Board of Education Member Noah Margo, will close out the series with Doo Wop classics on Aug. 2. 

The summer lineup “is always a huge excitement in our city,” Commission Vice Chair Karla Gordy Bristol said. “People who talk to me from neighboring L.A. County cities are talking about this, so the buzz is beyond Beverly Hills. Even into the Valley people are hearing and wanting to come, so that’s what you want to get.”    

Gordy Bristol also asked if, during themed events like Pride Night and Juneteenth, the city could organize informational booths explaining the history of that theme.   

“It might be nice to make it really about that [theme] more,” Gordy Bristol said. “I know last year, no one really left thinking it was about Juneteenth.” 

Paolone said staff was working with AbSOULute – who is performing a mix of Soul, Funk and R&B on June 20 – to curate a Juneteenth night focusing on the roots and cultural impacts of African American genres, and added that staff will look into bringing more historical perspectives to other theme nights. 

Commissioner Pamela Beck also asked about crowd control, and Paolone said staff relies heavily on Beverly Hills Park Rangers with support from security firms Nastec and Covered Six, though the community has always been respectful and calm during the concert series. He added that while there is no maximum capacity, staff typically sets up around 120 chairs at the venue.  

Live music is not the only entertainment lined up for the summer.  

During a Work Plan Update, Program Associate Brandy Scott said that staff on June 2 will lead a guided art walk of the Burton Way Median Project, which replaced the median’s grass with native plants, innovative landscaping and contemporary sculptures. The tour leaves from Rexford Mini Park, and registration is still available.

Staff has also begun taking down the flags commemorating the victims of Oct. 7 to make way for the Beverly Hills Art Show at Beverly Gardens Park May 18-19, which will feature more than 230 artists, a beer and wine garden and interactive experiences for children.  

Recreation Services Manager Matthew Brown also reminded residents to enjoy the final weeks of Jewish American Heritage Month, highlighting an opportunity on May 19 to speak with Jenny Yurshansky, the artist behind the Unfolded Narratives Art Installation currently on display at the Beverly Hills Public Library.

The commission on May 14 also bid well wishes to Commissioner Liliana Filipovic, whose last meeting is on June 11 before moving back to Europe to be closer to her family.  

“I will be keeping ties with the city and supporting its programs whenever I’m in town and in whatever capacity I can,” said Filipovic, a UCLA-trained violinist who was appointed concertmaster of the Angel City Chorale in 2014 and has performed with artists including Andrea Bocelli and Billy Idol. “It was a very rough start with my term starting along with COVID … [but] I’m happy to see the commission grow and be more defined in its goals and its duties. I’m happy to see it in the hands of such wonderful and capable ladies serving on this commission and the fantastic staff. Thank you all for your support.” 

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“Haven of Grace” is an almost ran. Set in present day Le Havre in Northern France, it follows a long-time longshoreman and union organizer, Pierre Leprieur, whose mission has been to curb drug trafficking on the docks. It has been a losing proposition and one with no winners, only losers. Workers are pitted against workers, everyone is a suspect and time will show that no one is innocent. Pierre’s oldest son is a self-made businessman whose success is ignored by the family. He has a wife and children but because his past life involved drugs, his parents disdain his efforts. They are much more accommodating to their youngest son Jean who is a petty drug dealer still living with them. When the cops inevitably come calling, his mother, who has always known his every move, finds his stash and flushes it. Saved from the police, he is less than happy because now he has nothing to repay his supplier.

“Haven of Grace” is an old fashioned pot boiler and melodrama jazzed up with drugs, adultery, human trafficking and complex characters. A very conflicted Pierre is at the center of it all. Even after he is murdered he continues to be the voiceover narration. Although there are many loose ends and, spoiler alert, no one comes out for the better, it is engaging and worth a try. Now streaming on MHz Choice.

“Under the Bridge” is a limited true crime series based on the book by Rebecca Godfrey, telling the story about the murder of 14 year old Reena Virk in Victoria, Canada. Showing the seamy side of this idyllic seaside town, the power politics exercised by the juvie queen bees who run the high school are examined as the crime is dissected by Rebecca Godfrey who grew up in this environment. She’s returned to write a book about living in a backwater as a teen. She gets caught up in the affairs of Josephine, a bad girl in foster care with a fixation on John Gotti. Josephine has an entourage including Kelly, a girl with questionable values from the “right side of the tracks” and Briana, locked up in care when she held a knife to the throat of one of her young cousins. In other words, these are bad players. The murder victim, Reena, was miserable in every imaginable way. Of South Asian origin, raised by Jehovah’s Witness parents (the family converted years ago) who are clueless to her difficulties, Reena has never fit in and desperately wants to. She longs to be a bad girl but every step is wrong. She is the quintessential outsider who is willing to go to enormous lengths to fit in with Josephine’s group.

This is all fodder for Godfrey whose return to town has stirred up emotions on another front. Her high school bestie, Cam Bentland, is now a local cop itching for Vancouver, the big city. She followed her adopted father into the force and he has been quietly trying to guide her. There is history between Rebecca and Cam that is not being addressed.

As you can see, there is definitely a story here between the past history, the murder, the adolescent psychopathology and the mystery. Not only are two very good actors wasted, Riley Keough as Rebecca Godfrey and Lily Gladstone as Cam Bentland, but the writer’s insistence on going backwards and forwards in time, telling the stories of Reena and her family only muddies an already muddled story. This is a tale that could have been told effectively and well in a maximum of three or four episodes (we didn’t need to know how Reena’s parents met), instead it was told in a confusing and bloated eight episodes. Here, in essence, is what might have worked: Reena is a lonely teen with no common sense who hooks up with the wrong crowd, betrays them and is murdered. The cops, following a trail alive with clues and wrong doers who weren’t silent about their complicity, solve the case after many missteps and bring it to trial where everyone turns on everyone else. An arrogant Rebecca gets swept up in the case and takes the wrong side, making it more difficult for Cam. I hope Rebecca’s book was better than the series. Streaming on Hulu.

“Sight Unseen” should remain as such. It would appear that the “C” in CW now stands for Canada because “Sight Unseen” is yet another import. Det. Tess Avery (Dolly Lewis) is a Vancouver detective who slowly realizes that she is losing her vision. It becomes crystal clear (I really can’t help using those obvious allusions) when she was too unsure of her target to take a shot at a bad guy, endangering her partner. Unknown to him, he’d have been in danger either way. She continues on the police force trying to hide her affliction until she no longer can. Who knew that there was actually an app that could help; in essence, a seeing eye guide, Sunny, with whom she connects over the internet. Using the camera on her phone to show Sunny the environment, Sunny leads her to safety every time and helps her solve crimes even after Tess has resigned her position as an active duty cop. Preposterous? Absolutely. Amazingly this isn’t the first time such a scenario has been tried.

No less than Steven Bochco, in “Blind Justice” (2005) explored how an NYPD cop, blinded in the line of duty, could solve crimes and remain an ace detective. Even with an accomplished star like Ron Eldard, he never got beyond incredulity. Better yet, and still not effective, was an early series starring Clive Owen called “Second Sight.” His detective was losing his sight but covering it up so he could maintain his status as the head of an elite Murder squad. Of course he uses all his other senses to solve the seemingly insoluble, but it was still too much of a stretch. More realistic were the characters Dana Elcar played (as a series regular on “MacGuyver” and a guest appearance on “Law & Order”) as he was going blind from glaucoma. In his case, his affliction was written realistically into the script.

I never thought I would long for the days of the superhero shows on the old CW, but series like “Sight Unseen” are pushing me there. Episodes play on Wednesdays.

“Dinner with the Parents” is a throwback to the sitcoms that Network television produced (and still does). It’s a launch pad for Amazon and their new ad-based model. Even with known quantities in the cast, Michaela Watkins (“SNL”), Dan Bakkedahl (“Veep”) and Carol Kane (“Taxi”), this ship was sunk before it left the harbor. Two grown men, brothers, have dinner at their parents’ house on a weekly basis where they never fail to embarrass themselves, although it is the older, David, who continues to be the butt of his younger brother Gregg’s jokes. Their sibling rivalry is juvenile, but then that is the point.

Like all situation comedies, there is a situation and the act of trying to escape it is where the comedy lies (or should); hence, situation comedy. This is definitely not Lucy at the chocolate factory or even Jed Clampett at a formal dinner party. Would that they were. If you are in need of mindless entertainment, then by all means tune in to “Dinner with the Parents.” I watched two episodes and, alas, I’m never getting that hour back. Streaming now on Amazon Prime.

“Palm Royale” is the coup de grace of bad shows. The premise is pretty good. Former small-time beauty queen Maxine (played by Kristen Wiig), who married one of the judges, arrives in Palm Beach, where her husband, Douglas Dellacorte Simmons, grew up as part of the royal Dellacorte family. Her life’s ambition? A ringside seat at the circus that was the apex of society, or at least it was in 1969. Maxine, heart on her sleeve, crashes the country club by climbing over the wall and attempts to insert herself into the inner circle. When her ploy is discovered by the bartender (a very stiff Ricky Martin), she is escorted out, figuratively beaten but unbowed. Returning to their tiny apartment in West Palm Beach, she plots anew. Somewhere along the line she lands a daytime gig looking after Douglas’s comatose aunt Norma Dellacorte, the still acknowledged leader in that society and founder of the “Beach Ball,” the event that caps off the summer season. Nothing will stand in Maxine’s good old girl wrong side of the tracks way and it’s off to the club again. Learning the secrets of the inner circle, she is able to use them to gain membership in the club; the money she can pilfer from her barely living charge Norma. Each episode brings with it more shenanigans, affairs, cheating, lying and schemes.

The cast is unbelievably stellar including Allison Janney as Evelyn Rollings, the queen bee of this society and Maxine’s leading nemesis; Laura Dern as Linda Shaw, Rollings hippy step daughter (in a nice bit of guest casting, Bruce Dern plays her father); Julia Duffy and Leslie Bibb play members of the inner circle; Mindy Cohn is the gossip rag’s lead writer with a nose for dirt; Josh Lucas as Douglas and Carol Burnett as the comatose Norma. A truly dream cast all of whom have great comedic chops, all of whom are wasted here.

Writer/creator Abe Sylvia (“Eyes of Tammy Faye”) was intent on making a satire, not just of society but of all the tropes of the late 60s, including feminism, consciousness raising and politics. He forgot one thing, though—humor. Every character is played so over the top and stereotypic that the funny was left behind. Wiig’s Maxine is the proverbial dumb blonde except that she really is dumb. It’s not that the various actions by each of the characters doesn’t have the potential to be funny, it’s just that every effort is like a hammer to the head, just in case you missed the joke in the first place. It’s hard to pinpoint where this failed because the elements were all there for humor and some of the actors are able to transcend the poor writing and overly frenetic pace. Allison Janney almost pulls off the hauteur of her character and Carol Burnett, comatose almost throughout, hits the right somnolent notes as she allegedly lies on her deathbed. Unfortunately Kristen Wiig plays Maxine like an overly broad Saturday Night Live character in a loud sketch without nuance. Streaming now on Apple+.

Neely Swanson spent most of her professional career in the television industry, almost all of it working for David E. Kelley. In her last full-time position as Executive Vice President of Development, she reviewed writer submissions and targeted content for adaptation. As she has often said, she did book reports for a living. For several years she was a freelance writer for “Written By,” the magazine of the WGA West, and was adjunct faculty at USC in the writing division of the School of Cinematic Arts. Neely has been writing film and television reviews for the “Easy Reader” for more than 10 years. Her past reviews can be read on Rotten Tomatoes where she is a tomato-approved critic.

The post Spring Television – With a Bit Less Spring appeared first on Beverly Hills Courier.

“Ripley,” based on the first novel of the series by the queen of noir, Patricia Highsmith, has been done twice, both times quite well. The first was titled “Purple Noon” and starred a young, preternaturally beautiful Alain Delon as Tom Ripley and the second, more recent incarnation, was Matt Damon. But neither actor was born to play the working-class grifter with high-class entitlement issues like Andrew Scott who has redefined the role of this ethically challenged young man. Filmed in nuanced black and white, achieving an on-the-nose film noir effect that makes the enclosed spaces claustrophobic, Ripley is a scam artist always one step away from capture and two steps away from the big score that will set everything right. When, serendipitously, wealthy Herbert Greenleaf mistakenly latches on to Tom as a friend of his slacker son Dickie, now living in Italy on his trust fund, he proposes a mutually beneficial arrangement. He wants Tom to convince Dickie to return home. To that end, he will pay Tom’s expenses and a stipend as he cajoles Dickie to give up Italy and come back to help run the family business.

Scott’s Tom is well defined. Early on, lounging in his cramped, ill-kempt bedroom, he stretches and slides his arm over the dirty wall. The very movement is louche and the smirk on his drawn features marks someone trying to avoid a rough end. This is a man who always checks the coin return on a pay phone. Even his misstep at a tailor where he chooses “the maroon” dressing gown and is corrected, it’s burgundy, says the haberdasher; the first in a constant road of lessons that he will follow, never making the same mistake twice. He knows the general strokes but needs to finesse the details.

Off he goes, new wardrobe in hand, to ingratiate himself with Dickie. Dickie’s noblesse oblige only heightens the class difference between them, but Tom is a very fast study as he silently observes, adapts and improves his demeanor. He’s not fooling Dickie’s girlfriend Marge, but Dickie takes a condescending liking to him. And all the time, Tom is watching, changing, adjusting and measuring Dickie, the man he aspires to be; the man he will become as he inserts himself further and further into this new, luxurious environment, cannibalizing everything around him. Adapter/director Steven Zallian has done the supremely difficult—he has made a villain the rooting interest of the story, helped enormously by Andrew Scott as the incredibly dark, slithering manipulator, aided immensely by Johnny Flynn as Dickie and Dakota Fanning as Marge. Now streaming on Netflix.

“Red Queen” is a thrilling Spanish series centered on the most brilliant woman in the world, the reticent Antonia Scott. Originally recruited by a member of a secret European police force to lead the organization as the “Red Queen,” she has stopped responding after an assignment goes very wrong and the collateral damage is her family. But “Mentor,” the man who found her, will not give up on his best asset and sends a disgraced police officer to bring her back into the fold. Jon Gutiérrez, recently transferred to the Madrid police force, is assigned that task. She is beautiful, a loner and supremely analytical. He wears his emotions openly, left his previous job under a cloud and is gay. Being gay itself is an unforgivable sin to his colleagues on the force. But Mentor is convinced that this pairing will work.

The son of one of the city’s most important politicians has been snatched. The kidnapper doesn’t want money and the politician won’t say what it is that he does want. When she doesn’t comply, her son is murdered ritualistically and planted on a couch to look like a damaged Ken doll.

It will be up to Antonia and Jon to try to understand what the kidnapper wants and why because a new victim has been abducted, the daughter of a wealthy entrepreneur. And again, the perpetrator doesn’t want money, he wants a confession or the daughter will die, horrifically.

The crimes themselves are fascinating but it is the characters that carry this series. Antonia and Jon are unwrapped gradually. Antonia’s reticence is character trait number one, but it is her brilliance, shown subtly as observational strength, that defines her and intrigues the audience. Jon and his teddy bear appearance lull you into believing he is not her equal, but he is. His mother is his secret weapon because nothing, after all, works better than her Spanish tortilla when there is a problem to be solved. Now streaming on Amazon Prime Video.

“Boat Story” has a great, convoluted plot that starts when Janet and Samuel, two complete strangers, walking their dogs on a beach, happen upon a shipwreck. And lo and behold, what do they find? Two dead bodies and bags and bags and bags of cocaine. Eureka! The answer to all their problems. Janet wants custody of her son and Samuel has a major gambling debt. They’ll split it 50/50 and go their separate ways. But how do you cash in on millions in cocaine? Why, you look for local drug dealers for a start. And lucky for them, the locals are hoping to expand their territory.

Meanwhile, back in France, an exquisitely dressed gangster kingpin called “The Tailor,” who is, coincidentally, a bespoke tailor, has heard nothing about his shipment of cocaine. Where’s the product? Where’s the money? Where’s the sailor who was guiding the transport? It’s a major inconvenience but he needs to investigate on his own; so off he goes, collecting henchman Guy in the British coastal town where the ship was supposed to land.

Okay, so you’ve seen this one before but not with this cast and these twists. It’s a cross between Guy Ritchie and Quentin Tarantino with laugh-out-loud moments mixed in with some graphic violence. Everything that can go wrong does, many times over, but somehow our out-of-her-depth heroine and not so heroic gambler always seem to pull through. Adding absurdity into the mix, the Tailor falls in love with Pat, an overweight chef who has a mobile pasty coach near the boat landing. Meanwhile, Guy is on the hunt for the cocaine and anyone getting in his way meets an unpleasant end. Janet and Samuel begin to understand that they are in mortal danger.

Yes, it’s convoluted and occasionally hard to follow, but it’s a roller coaster ride of guilty pleasure with its cartoon violence and fish-out-of-water protagonists. Janet is played by Daisy Haggard, and a finer lead actress you won’t find. She will make you gasp and laugh at the same time. Paterson Joseph as Samuel has an everyman look that is seasoned with guilt and guile. Joanna Scanlan (Pat), most recently seen in “Wicked Little Letters,” is sympathetic and incredulous with an undercoating of hilarity. Craig Fairbrass as the Tailor’s henchman Guy, steals everything but the tires from the getaway car. But it is Tchéky Karyo as the Tailor who astounds. An international star, he carries off the most absurd character with panache. Frightening, deadly and starry-eyed, he whisks you away on this journey into criminality as though he were whipping up a soufflé. Streaming now on Freevee.

“Dark Matter” is a deep dive into alternative universes. Jason Dessen (Joel Edgerton) is a physics professor at a local college in Chicago, living with his wife Daniela (Jennifer Connelly) and son. It’s a pleasant life, but one full of compromises for both Jason and Daniela. She gave up being an artist and he gave up experimental lab work. A “chance” encounter with an old friend, Ryan, leads to a job offer that would bring him back to the lab in a lucrative position. It’s tempting, but not what his family needs. He returns to meet Ryan and give him his answer when he is abducted. When Jason awakens, he’s in a world that has changed dramatically. He is now the much-lauded winner of an international prize for his invention of “the box.” Still mentally in his old life, there is no Daniella and he’s surrounded by unknowns, or unknown to him. Jason doesn’t want this new, better life; he wants his old one back and strives to find it. The original players are there but all in different states. The more he learns about this new state, the more he wants the old one. His scientific colleagues, many of whom know what is happening, cannot let this happen.

This is just the beginning. An invention the original Jason toyed with, “the box,” that could transcend time is a reality in this world and may lead to his possible return or, as he comes to find, it may lead to other worlds and other Jasons. And still he just wants to return to Daniela and their son.

Production values are outstanding with lighting often dictating mood and place. Even as the plot veers constantly into sinister black holes, the actors effectively take you there, keeping you tense and locked into Jason’s troubles. Although it’s a bloated nine episodes, there are an infinity of directions for it to go. Not a fan of the genre myself, “Dark Matter” successfully kept my interest. Now streaming weekly on Apple+. 

Neely Swanson spent most of her professional career in the television industry, almost all of it working for David E. Kelley. In her last full-time position as Executive Vice President of Development, she reviewed writer submissions and targeted content for adaptation. As she has often said, she did book reports for a living. For several years she was a freelance writer for “Written By,” the magazine of the WGA West, and was adjunct faculty at USC in the writing division of the School of Cinematic Arts. Neely has been writing film and television reviews for the “Easy Reader” for more than 10 years. Her past reviews can be read on Rotten Tomatoes where she is a tomato-approved critic.

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The Maybourne Beverly Hills

One of the most pleasant ways to spend an afternoon in Beverly Hills is sitting at The Terrace overlooking Beverly Gardens Park. This Mother’s Day, The Maybourne Beverly Hills will present a mezze-style brunch, with crunchy crudités and dips, along with Mediterranean starters and entrées. For extra indulgence, try the Fruit de Mer platter, with optional caviar service. Sharable desserts will also be served. The price is $195 per person. For reservations go to opentable.com.

Before or after the brunch service, mom can also visit the spa for a special menu honoring her. It starts with complimentary Champagne for all the mothers on Sunday, along with a beautiful floral arrangement to take home. Treatments range from Dr. Sturm’s anti-aging facial and Knesko mask to hot stone massage with aromatherapy. Prices start at $275 for 60 minutes. To book, visit maybournebeverlyhills.com/the-spa-at-the-maybourne/.

Beverly Wilshire, A Four Seasons Hotel

This year, brunch at THE Blvd includes three courses with indoor and outdoor seating options and views of the action on Rodeo Drive. Brunch will run from 11:30 a.m. to 5 p.m., but if you want to enjoy the live jazz band, book from noon to 3 p.m. The prix-fixe menu by Chef Rafael Alcala comes with fruit and yogurt for the table as well as coffee or tea and juice. First course options include, among other salads on offer, the signature fluffy pancakes,  huevos rancheros or smoked salmon. For the second course, Maine lobster eggs Benedict, mushroom ravioli, Dover sole, wagyu flat iron steak or the avocado elote and crab toast are among the bevy of choices. Finish the meal with Chef Riccardo Menicucci’s impressive pastry and dessert buffet. A station will be set up for children to create Mother’s Day cards, and moms will also receive a beautiful, small flower bouquet to take home. The price for the brunch is $175 per person and it can be booked at exploretock.com/theblvd/.

After brunch, why not treat mom to some additional pampering in the hotel’s spa? Every mother will receive a complimentary Rose Gold Mask enhancement to any facial or massage service enjoyed on Mother’s Day. They will also have access to the spa facilities, which include a tranquility lounge, eucalyptus steam room, ice fountain and experience shower; as well as the Mediterranean-style pool and jacuzzi, bi-level fitness center and complimentary valet parking. To book, go to na.spatime.com/fsbw90212/17443453/home.

Waldorf Astoria Beverly Hills and The Beverly Hilton

It would be an understatement to say that the Waldorf Astoria Beverly Hills has a lot to offer moms this year. The Astor Ballroom will feature a grand buffet brunch with live music. Acclaimed Chef Steve Benjamin and the culinary team will present multiple chef-led food stations featuring fresh seafood, a sushi bar, meat carving, an assortment of sweets, along with a mimosa and Bloody Mary bar. The first seating is at 11 a.m. and second seating is at 2 p.m. Prices start at $165 for adults and $60 for children under 12. For reservations, visit eventbrite.com.

Also at the Waldorf Astoria, Espelette will celebrate with a three-course, farm-to-table and land-to-sea chef’s curated brunch menu from noon to 4 p.m. Prices start at $135 for adults and $55 for children under 12. For reservations visit opentable.com.

Meanwhile, in the lobby, Mother’s Day Afternoon High Tea is available throughout the month of May on Saturdays and Sundays from noon to 4 p.m. It features an exclusive TEALEAVES tea blend crafted for mom’s big day, along with Champagne from Veuve Clicquot and live music. From $110 per person, you can make reservations at opentable.com.

On the beauty side, acclaimed British facialist, Adeela Crown launches an exclusive residency at the hotel’s La Prairie Spa from May 10-24. The celebrity facialist will bring her customized luxe treatments to the five-star spa with a menu of new treatment options incorporating La Prairie products. Guests can choose one of the popular facials, including White Caviar, Gold Radiance and Platinum Rare, to be performed by Crown herself in the hotel’s spa, which is the only La Prairie Spa in Southern California.  Reservations are by appointment only and can be made by emailing hello@adeelacrown.com.

Next door at The Beverly Hilton, spectacular views are on the Mother’s Day brunch menu. The venue is Circa 55, now located on the hotel’s rooftop. The expansive menu offers a wide selection of classic favorites and specialty stations from build-your-own omelet to sushi or sweet and savory beignets. Available on May 12 only from 11 a.m. to 4:30 p.m. The price is $155+ per person and $60 for children 12 and under. For reservations visit opentable.com.

Hotel Bel-Air and The Beverly Hills Hotel

It’s always a treat to walk over the bridge across a swan-filled pond for a tucked-away meal on the patio, or by the fireplace of The Restaurant at Hotel Bel-Air. New Culinary Director Joe Garcia, whose background includes Bicyclette and The French Laundry, is crafting a menu of modern California cuisine with an influence from the Mediterranean. Available Sundays from 11 a.m. to 3 p.m., the weekend brunch menu includes classics such as huevos rancheros and buttermilk blueberry pancakes. 

Just a stone’s throw from the dining room, treat mom to an afternoon of relaxation at The Spa. A new Oxylight facial is designed to transform skin one session, using Valmont products combined with LED, oxygen, microcurrent, resurfacing and ultrasound. The treatment is $850 for 90 minutes. 

At sister property The Beverly Hills Hotel, there is also exciting new food news. Chef Ashley James has returned to Los Angeles and is now the culinary director at the hotel. Expect a special prix fixe menu for lunch and dinner at the Polo Lounge on Mother’s Day. The price is $240 per person, and menu highlights include zucchini blossom veloute soup, Maine lobster risotto, and mushroom, spinach-baked lasagna to name a few standouts. 

You can also treat mom to a Marilyn Monroe massage in the hotel spa featuring CBD products and Himalayan salt stones, priced at $500 for 90 minutes. To book any of the experiences above, visit dorchestercollection.com. 

Fairmont Century Plaza

The Fairmont Century Plaza will celebrate mothers throughout May beginning with a brunch on May 12 from 10 a.m. to 3 p.m. at the French brasserie, Lumière. Menu highlights will include avocado toast, buttermilk pancakes, shakshuka and chicken and waffles. In addition to the à la carte menu, the brunch will feature gratitude stations for moms including flower crowns, tarot reading and a watercolorist. For reservations visit, Lumiere.com. 

The hotel’s award-winning Spa will offer numerous Mother’s Day treatments throughout the month of May. Options for mom include a “Moment for Me” massage, a “Matahari Mom” massage and facial, the “Goddess Treatment” massage, and a “Mani. Pedi. Mama.” Book at fairmontcenturyplaza.com. 

More Dining Options Around Town

If you have a day of shopping planned on Rodeo Drive, Gucci Osteria Beverly Hills will offer a special Mother’s Day Brunch on May 12. Priced at $145 per person, the experience will feature four distinct courses composed of standout dishes such as spinach-filled crepe with bechamel, crispy pancetta and sage, crispy enoki mushroom with seaweed aioli and bubu arare, and a Monte Bianco pavlova with chestnut, rum and chocolate. And, do not skip the Champagne cart. For reservations visit Gucciosteria.com.

Ocean Prime on Wilshire Boulevard only offers brunch three times a year and Mother’s Day is one of those special occasions. The team wants to offer a toast to all the mother figures who raised us. Opening at 11 a.m., the brunch menu at the surf and turf eatery will feature crabcake eggs Benedict, brioche French toast and smoked salmon latke. To pair with the sweet and savory brunch menu, specialty cocktails include a dragon fruit mojito, mango tequila sour or classic Bloody Mary. Make reservations at Ocean-prime.com.

On Canon Drive, Mastro’s Mother’s Day special includes a brunch with an iced seafood tower, steak-carving station, live entertainment and a decadent dessert display. The brunch is only offered on May 12 from 10 a.m. to 2:30 p.m. The price is $135 per person, and reservations can be made at mastrosrestaurants.com. 

Beverly Hills’ only Mexican steakhouse, The Hideaway, will offer a three-course menu for $85 per person from 10 a.m.- 4 p.m. on Mother’s Day. Favorite offerings include the tuna tartare pequenitos and pescado zarandeado, as well as one-day-only specials, such as cured salmon potato tostaditas, honey-baked ham and eggs Benedict, and guava cream French toast. Make reservations at thehideawaybeverlyhills.com.

More Beauty in Beverly Hills

Modern Esthetics on Canon Drive is a family-owned, cheerful and convenient day spa that features cutting-edge modern medispa treatments. They also specialize in bespoke facials by French skincare brand Biologique Recherche ($250 for 60 minutes) or Keravive for a scalp hydrofacial. Either one would be a great idea to gift mom this year. The spa is open Tuesday-Saturday, and reservations are available at modernesthetics.com. 

After a recent star-studded launch party at the rooftop spa at the Waldorf Astoria, celebrity dermatologist Dr. Ava Shambam has launched Althea Skin, a new brand that has targeted skincare through research on circadian rhythm and clock genes. The Cara is the next-gen beauty device designed to help absorb the products into your face and neck. To book an appointment at her Santa Monica Boulevard office, visit avamd.com.

For a pampering foot massage right on Beverly Drive, BAO Foot Spa specializes in foot reflexology with treatments utilizing this ancient Chinese art. The result will increase blood flow and rejuvenate the nerves all over your body. Prices start at $40 for 30 minutes. To book, visit baofootspa.com. 

For an elevated nail salon experience, make plans to visit Townhouse with your mom when it officially opens on May 23. Launched by Juanita Huber-Millet, founder of the “5-star nail service” in London, the brand’s flagship U.S. location will be in Beverly Hills just off Rodeo Drive and Santa Monica Boulevard. 

With 40 locations currently open in the U.K., celebrity fans of Townhouse include Margot Robbie, Drake, Kim Cattrall and Emilia Clarke. This upscale salon features everything from hard gel extensions to nail art and more. “When it comes to nails, in the beauty industry, we have been left behind,” Huber-Millet told the Courier.  

The nail brand plans to revolutionize the U.S. industry with its “better for you” products, the latest technology, and offering European-style benefits (including 28-day paid holidays) for their staff to truly nurture their craft and growth.  But, the best part might just be, as part of the “Flawless Finish Guarantee,” if your gel manicure is damaged within 7 days, it will be fixed for free. Also, look for future collaborations with brands such as Chanel and Givenchy. Manicure prices start at $54, and appointments are available now at townhousebeauty.com. 

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Obvious from the opening, when a home movie of a wide-eyed very young Gad stares into the camera, already performing for his onlookers, this is a very personal film. He was born in Casablanca, Morocco and grew up surrounded by Jews, Muslims and Catholics, in sight of synagogues, mosques and churches. But the Muslim and Jewish parents all exerted one rule on their children: never set foot in a church. To paraphrase Newton’s third law, for every command there is an equal and opposite reaction. But more on that later.

Gad, now very famous and living in New York, has returned to Paris, ostensibly to visit his parents and celebrate his 50th birthday, but with a greater, more lofty goal that he keeps secret. His parents, David and Régine, are thrilled to have him home and refuse to let him decamp to a hotel. Unable to resist his mother’s arguments, he sets up in the “kid’s” room, a tiny space still filled with stuffed animals and a bed that is 4 inches too short for his frame. Ill at ease over his subterfuge, he meets friends at a favorite cafe where he discusses his dilemma.

Gad has decided to convert to Catholicism. He is back in Paris for his baptism but cannot find a way to tell his parents. His fear is justified. Seeing his open suitcase on the bed is too big a temptation for his mother. Rifling through his things, she comes across a towel-wrapped statue of the Virgin Mary. In shock, she nearly drops it. Calling David, he has an alternative explanation when seeing some of the clothes. This must be someone else’s suitcase because Gad would never wear a shirt like the one on top. Their relief is short-lived when he turns up at dinner in that very shirt.

Sturm und Drang is, perhaps, the closest term to describe the emotion, upset and anger expressed by his parents. Now he must come clean. He has found himself more and more drawn to the spectacle and iconography of Catholicism, a religion he has been studying for some time. He has felt a special connection to the Virgin Mary who, he explains, has been watching over him, maybe even from the first time he illicitly entered a church in Casablanca, interdiction notwithstanding.

The Elmaleh family, Sephardic Jews, are strict traditionalists, go to temple, read the Torah, consult regularly with their rabbi and share Shabbat dinner with Gad’s sister Judith, her husband William and their son. It is how Gad was raised and never was there an indication that he was in need of an alternative. It must be New York or new friends or some insidious outside force.

No, Gad explains, it is a need to bring Mary fully into his life and add a different dimension to his belief structure. He has come back to complete this circle and be baptized.

Régine’s and David’s reactions are totally understandable. As they say to him, “You change your God, you change your parents.” What did they do wrong? How has he come to worship a false idol? Gad has a story to tell, but they cannot hear him. For them, his story is their story, and by rejecting their story he is rejecting his roots and rejecting them. It is not the way Gad sees it; he sees it as an expansion of his story. David, even more upset than his wife, consults his rabbi for answers, but these are questions for which there are no answers. As the rabbi explains to David, Gad is seeking the divine presence and that is a good thing. It doesn’t matter if that presence is Mary, Jesus, Mohammed, Moses or Yahweh. The search for divine presence is good and is a necessary part of the journey. Let him take his journey. But for David, this is still a bridge too far.

Interestingly, Gad, whose faith is deep, is committed to Mary, not to Jesus. It is from Mary that he has found solace and guidance. Jesus? Not so much. As he points out, it’s clear that Jesus was a Sephardic Jew because only a Sephard would lead with “I am the one true God. I am the way.”

As he progresses toward baptism, Gad bonds further with his friend Sister Catherine and Father Barthélémy. A preliminary class introduces him to the other adults who will join him at the altar. One man, in particular, causes him to reflect more because this is his second conversion, having been raised a Muslim, converted to Protestantism, and not finding a connection will now become Catholic.

Gad retreats deeper into himself. Meeting with his father’s rabbi, he is astounded that the rabbi encourages him to explore his spiritual identity. Simone Weil, the famous philosopher, converted but did not become baptized, he points out. It is not uncommon when one is searching for a path to look elsewhere for spirituality. Astonishingly, the rabbi seems to understand the solace that Gad finds in the Virgin Mary, representing comfort, guidance and support in times of doubt.

The pressure from his parents continues relentlessly. His sister, however, sees him, and sees what he thinks of as his greater need. Ironically, or perhaps not, the greatest understanding comes from the rabbis he consults. They encourage him to dig deeper and ask the profound questions because those questions are his alone. They are not his parents’ questions or those of his friends or even those of Sister Catherine. They are his alone.

Turning 50, he has arrived at a time in his life where he is questioning himself. As his sister wryly points out, it would be so much easier if this were a more typical midlife crisis and he just went out and bought an expensive car.

What, he is constantly asked, is he looking for? As a second rabbi points out, he should not confuse religious spirituality with the community identity associated with a particular religion. The community may offer support, as it does in Judaism, but it is not the source of spirituality. Only you can be the source of your own spirituality. It is a path, but the real question is whether that path is leading somewhere. No one else can answer that question.

Remarkably, even though this is about Gad’s search for his soul under the protection of the Virgin, the most insightful questions, all unanswerable, are asked by rabbis. Father Barthélémy and Sister Catherine represent a faith that is unquestioning or unquestioned. Gad likes the dogmatic approach, but it is in clear conflict with his intellectual perspective. On the one hand, this search is on a higher philosophical plane; on the other, it is strictly about him and who he is. Will his path lead him to answers or to ever more questions? As the second rabbi posits, “Maybe you’re only truly yourself when you’re on a path to elsewhere.” And that is the question, not just for him but for anyone on a spiritual journey. Are you supposed to get somewhere or just keep searching? To have faith is to have doubt.

Elmaleh co-wrote, with Benjamin Charbit, and directed this deep, thoughtful and revealing trip into the nature of spirituality and where it can be found. That it is Elmaleh’s own story adds an even deeper dimension.

Elmaleh’s parents, Régine and David, and his sister Judith all play prominent roles and their naturalism is an added strength to this resonant story. The distress of his parents comes through loud and clear, as does their love for their son. All are seasoned actors so there is none of the stiffness that one often finds when using relatives in eponymous roles. He also called on close friends to play the other important religious advisors. There is, for the most part, an incredible spontaneity to the interactions. The script is outstanding, raising many philosophical questions, questions that are as resonant for an atheist as they are for a true believer. But most importantly, sentimentality, the death knell of many a spiritual film, is kept at a minimum and always tempered by the incredible humor for which Elmaleh is known.

I found this incredibly moving and filled with questions I wish I had thought to ask long ago. I have always been a fan of Elmaleh, whose movies range from “The Valet’’ to “The Adventures of Tin Tin,” a movie that yields one of the solid laughs in the film. When making a pro and con list about converting, a listing on the con side was that Spielberg would never cast him in another movie.

It is, perhaps, not insignificant that autocorrect tried repeatedly changing Gad to God. No matter your belief structure, you won’t want to miss this one.

In French with English subtitles.

Opening May 17 at the Laemmle Royal and streaming July 26. 

Neely Swanson spent most of her professional career in the television industry, almost all of it working for David E. Kelley. In her last full-time position as Executive Vice President of Development, she reviewed writer submissions and targeted content for adaptation. As she has often said, she did book reports for a living. For several years she was a freelance writer for “Written By,” the magazine of the WGA West, and was adjunct faculty at USC in the writing division of the School of Cinematic Arts. Neely has been writing film and television reviews for the “Easy Reader” for more than 10 years. Her past reviews can be read on Rotten Tomatoes where she is a tomato-approved critic.

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Achingly real, John cares deeply and would sacrifice anything for Michael. He gets him to school, reads to him, encourages his creativity. Watch as he lovingly and delicately washes Michael’s hair, gently combing it for nits, a generally horrifying and humiliating procedure. John spends all his free time cocooning Michael in a puffy comforter of love. But there’s an undercurrent of desperation that flashes through his eyes. John receives regular visits from Social Services. For what? We’ll soon learn as we accompany John, Michael and Shona, his novice case worker, to the home of Celia and Philip, a wealthy couple who talk about how much they would love to have Michael and how much Michael would love wandering the estate. As John listens, the man rattles off all the educational advantages they could offer. When Philip slips and refers to Michael as his son, John blanches.

John, as we soon learn, has a terminal case of cancer and his most important task is to find a home for Michael where he will be loved and cherished. He and Shona will be visiting the homes of couples who have been approved for such an adoption. Given more leeway than Social Services generally allows, Shona protects him as he “auditions” families. Pasolini puts the viewer in the center of these auditions as we begin to see what John sees below the surface of privilege or anarchy or desperate desire for a child. From the chaotic family with fosters and adoptees, to the older couple longing to fill the bitter hole of childlessness, to the single mom whose husband abandoned her when she expressed a need to adopt, to the others, all with as many distinct advantages as deficits. John’s moral and emotional dilemma becomes ours.

But what of Michael? His young eyes tell us that he knows something is wrong, but John hasn’t had the courage to reveal his fate or Michael’s future. The questions are too profound even for John, let alone trying to explain them to the child he still holds in his arms. The mistake, however, that parents often make about their children is believing that by shielding them from reality they are protecting them. It makes it that much more difficult to address the issues in the future as you will see.

How do you explain death to a 4-year-old? Does he need a voice in his future? John, rightly or wrongly, is looking for the elusive parent who will love his child like he does. Is there such a person? The wealth he is searching for is in the depth of understanding and the hard to define unconditional love because that is what John has for Michael, self-sacrificing unconditional love.

There are many moments of humor that keep the film from becoming maudlin. It is about a journey and you are allowed to accompany them on it. It is as much about the grieving process as it is about the necessity of making memories for Michael when John is no longer there.

This is a story that has been told before but not from this perspective. I seem to remember a whole category of TV films (primarily on Lifetime in the ‘80s and ‘90s) about dying wives or dying husbands trying to find kindhearted replacements for when they are gone. The subject matter alone would certainly come under the category of tear-jerker. And that is what is so remarkable about Pasolini’s sensitive script and subtle directing. It might be difficult not to cry at the end but it will be more about the road you traveled with John and Michael rather than because of any grief you might feel. The pacing and gradual unveiling of the story and its implications allow you to acclimatize to the end that John is anticipating. It is more the love you feel for the characters and their voyage than the inevitability of what you know is coming. Pasolini has presented his story in an almost matter-of-fact way, no overt drama, no tears, just the day-to-day reality of a man who single handedly and lovingly raised Michael after his wife bolted soon after his birth. That there are no recriminations, no bitterness, no sadness is more because John realizes the value of time and holding on to the anger of injustice is a waste of his precious time with Michael. This is an achingly real story of a dying father trying to plan his boy’s future and seeing all the things he won’t be able to do with him.

The cinematography by Marius Panduru captures the wide green Irish landscape with a bright palette. The many close-ups give us an intimate view of John and Michael; the sweep of John’s squeegee over a window as he’s working adds a necessary dimension to his character.

“Nowhere Special” was especially fortunate in its casting. The versatile James Norton (“Grantchester,” “Happy Valley”) plays John. Here, Norton’s characterization of John is subtle, empathetic, quiet and deep. It is an amazing performance, so natural that you live his life and suffer along with him as he tries to make the right decisions. Daniel Lamont, Michael, was an extraordinary find. He is beyond beautiful with his huge eyes and full cheeks. Drawing outside the lines with his crayons and searching for the reasons his father is dragging him into strange homes, he could be your child or mine. The rapport between father and son seems deeply real. This is a lovely film that has more to say about love than it does about dying. This perfect film will stay with you.

Now playing at the Laemmle Royal; it will stream on most platforms beginning June 11. 

Neely Swanson spent most of her professional career in the television industry, almost all of it working for David E. Kelley. In her last full-time position as Executive Vice President of Development, she reviewed writer submissions and targeted content for adaptation. As she has often said, she did book reports for a living. For several years she was a freelance writer for “Written By,” the magazine of the WGA West, and was adjunct faculty at USC in the writing division of the School of Cinematic Arts. Neely has been writing film and television reviews for the “Easy Reader” for more than 10 years. Her past reviews can be read on Rotten Tomatoes where she is a tomato-approved critic.

The post ‘Nowhere Special’— I Beg to Differ appeared first on Beverly Hills Courier.

The biannual show takes place each May and October, and draws thousands to Beverly Hills. 

Artists will showcase their work in 11 categories including painting, sculpture, ceramics, glass, drawing, watercolor, traditional printmaking, photography, jewelry and more.  A myriad of festivities will include gourmet food trucks offering delectable treats, children’s activities brimming with fun arts and crafts, and a beer and wine garden where adults can unwind in the shade while listening to relaxing music in the park.  For more information, visit beverlyhills.org/artshow.   

The Beverly Hills Art Show started over 50 years ago as a very small “arts and crafts” fair on one block in Beverly Gardens Park.  Today, it has grown to 235 artists spread across four blocks and has attracted over 40,000 people over the two-day weekend, making it one of the most beloved and long-standing community events in Beverly Hills.   

The 2024 spring sponsors and partners are:  The Los Angeles Art Association, NoHo Arts District, LAArt Party, Children’s Hospital of Los Angeles, Tower Cancer Research Foundation, Southern California Women’s Caucus for Art, Mount of Angels, Blank Beverage, SALT Catering, the Beverly Hills Conference and Visitors Bureau, the Beverly Hills Chamber of Commerce, the Beverly Hills Historical Society, the Beverly Hills Fire Department, the Beverly Hills Police Department and Just in Case BH.

Convenient parking for the Art Show is located directly across from the show grounds and in surrounding public parking structures.  A map to the city’s public parking structures can be found at beverlyhills.org/parking.

For more information about the May 2024 Beverly Hills Art Show, visit beverlyhills.org/artshow or call (310) 285-6830. 

The post Beverly Hills Art Show Returns to Beverly Gardens Park on May 18-19 appeared first on Beverly Hills Courier.

Baig brings us into the world of Malik and Eric, 10-year-olds and best friends forever. Their entire existence has been Cabrini-Green, a home they’re proud of and one they can’t imagine leaving. We first meet them as they are hauling a discarded mattress down to the playground. Because the elevator is once again not working, they have to drag it down 10 flights to the cracked concrete playground, adding it to the others they’ve piled up. They spend their days flying, or at least that’s what it seems to them when they see who can jump the highest and farthest, landing on the other old mattresses. Malik and Eric reign supreme at this modified long jump as others around them shoot hoops or play Double Dutch.

Above all, this is a film about the imagination and creativity of children who may be aware that they have less than others but would defy anyone to think that they were less than. Malik and Eric know who they are and have hopes and dreams like anyone else. They worship the Chicago Bulls, endlessly discussing the value of Scotty Pippen to Michael Jordan; they tell each other truly awful jokes. Their mischief is no different than any other 10-year-old, and they have parents who care and do everything they can to make sure that they are protected.

Dolores, Malik’s mother, is rooted to Cabrini-Green and is vigilant in watching over her children. She has a job that seems to be without prospects, but, as her mother, Anita, points out, only because she chooses to make it that way. For her own sake and that of her family, she needs to stand up for herself. But she fears the potential uncertainty. The status quo assures them of a meager existence; a step up the ladder might improve their lives but it also involves risk.

Life in Cabrini-Green is one of benign neglect. The city, especially the Chicago Housing Authority (CHA), has little interest in the comings and goings within the projects until the problems spill out of those boundaries. The elevators rarely work; the faucet in Delores’ apartment has been leaking for months; the playground is a minefield of cracks and broken equipment. This is their daily life; they know no other. Malik and Eric need nothing more than a flight of fancy to conjure kingdoms in the stars.

Then the unthinkable happens. Dantrell Davis, age 7, was walking to school with his mother when he was killed, caught in the crossfire of gang violence. The mayor and the CHA unleash the Chicago Police Department on Cabrini-Green, a community of 15,000 mainly law-abiding citizens, brutally ensnaring the innocent as well as the guilty. Apartments are wrecked, families are persecuted in the name of cleansing the project of any suspected criminal element, a too sensitive reminder of Anita’s youth before arriving in Chicago from the South. Malik and Eric will now have to play inside because the parents have determined that it is too dangerous outdoors. But they’re 10 and they know how to maintain their world even when the borders contract. They find empty apartments in which to dream their dreams and play their games. Malik and Eric are able to stare at the stained ceiling, convinced that they can see the stars beyond. When they cut school, it’s to take a stolen ride on the train to the Art Institute where they wander the storied galleries filled with Impressionist art, an experience that will only add more colors to their vision of the outside world. What would it be like to see “A Sunday on La Grande Jatte” by Seurat for the very first time? Watch them and you will see.

Baig paints the adults with a stiff but loving brush. Eric’s father is a tough disciplinarian. He’s proud to have a daughter who is about to graduate college but frustrated that Eric seems flighty and unfocused, unable to acknowledge that he’s a 10-year-old with a life, albeit not an easy one, ahead of him. Malik’s family is graced with a grandmother whose quiet resilience and strength anchor them. She knows the value of life and invention and promotes it in both of her grandchildren, while encouraging her daughter to live in the present and allow her kids to soar.

Racism, inherent within so many actions, remains as an underscore, not as a focus. Anita tells Malik and his sister about moving to Chicago from Tupelo, Mississippi when Dolores was little. When asked why they moved, she merely says it was time to leave when their shoe store was burned down. At a critical juncture for both Malik and his mother, Anita says that there’s always a time to stay and a time to move. Her quiet determination, almost stoic support of her family, anchors both them and the film. After Dantrell’s murder, the police and their scorched earth policy raid Dolores’ apartment, destroying precious mementos and manhandling adults and children alike. There is no need to point out the root of this treatment. We know it; we’ve seen it too many times before. There is no need to call attention to what is obvious.

More importantly, there are so many episodes of awe and wonder, seen through the eyes of 10-year-olds whose parents straddle the line between encouragement and fear-based opposition. The adults are a strong presence but this is about the boys; life seen through their eyes and their still unsullied perception. This is not a coming-of-age story, muddled with puberty and ambiguity. This is about children before society and external expectations remove some of the joys and possibilities of the future. Life and its lessons through the eyes of Malik and Eric is full of the potential that may be dulled and diminished with time, but not yet and one hopes not too much. Stereotype is replaced by full-throated character development of individuals who have the same hopes, dreams and aspirations as anyone else is entitled to. They are us and we are them, and I hope we allowed our children to be just that, children where an old mattress or a semi-inflated basketball holds the same charm and imagination as an Xbox.

Baig’s cinematographer Pat Scola worked with production designer Merje Veski to create the illusion of a high-rise project because Cabrini-Green was torn down by the city in 2011. Scola’s camera soared over the set and the city; Veski’s interiors were evocative and real. Together they created a visual language of living a life alien to most of us, but a wondrous world as seen and experienced by the boys.

“We Grown Now” would not be the film it is without an amazing cast. As the adults, Jurnee Smollett as Delores and Lil Rel Howery as Nick’s father Jason are strong, serious and believable parents. It is little, almost glossed over statements that deepen their characters. S. Epatha Merkerson is Anita, the grandmother who underpins the family structure with her quiet strength. But without the actors playing Malik and Nick, there is no movie. Gian Knight Ramirez portrays Eric as tentative, almost secondary to Malik. His eyes are wide, his lips pursed; he’s still a follower and not yet a leader but there is that hope in his eyes that he’ll continue to grow. Blake Cameron James as Malik is a revelation. His open face, infectious smile and barely hidden mischievous nature all are more than what could have been on the page. He’s a leader, unafraid of consequences he hasn’t imagined. It’s possible that Malik will rule the world at some point but for now, he has a grasp of who he is and doesn’t see an end to his future. Both boys are joyful; the very embodiment of imagination and the force it can exert on lives that have yet to be told they are less than. Malik will never be less than; one has to hope that Nick will enjoy that same strength.

Not sure of what to expect the first time I watched this movie, I am in awe of how Baig opened my eyes to a world of possibility and unspoken hope. What Malik says to Nick are words that we should all live by: Don’t be afraid to fly.

Opening April 19 at the AMC Century City 15. 

Neely Swanson spent most of her professional career in the television industry, almost all of it working for David E. Kelley. In her last full-time position as Executive Vice President of Development, she reviewed writer submissions and targeted content for adaptation. As she has often said, she did book reports for a living. For several years she was a freelance writer for “Written By,” the magazine of the WGA West, and was adjunct faculty at USC in the writing division of the School of Cinematic Arts. Neely has been writing film and television reviews for the “Easy Reader” for more than 10 years. Her past reviews can be read on Rotten Tomatoes where she is a tomato-approved critic.

The post ‘We Grown Now’— Navigating Youth appeared first on Beverly Hills Courier.

Honorary Chairs Rita Wilson and Tom Hanks, along with Gala Chairs Jamie Alexander Tisch, Kelly Chapman Meyer, Quinn Ezralow, Anastasia Soare, and Co-Chairs NJ Falk, Tom Ford, Kris Levine, Judy and Leonard Lauder, Dr. Stacie J. Stephenson and Richard J Stephenson, Steve Tisch and Lori Kanter Tritsch and William P. Lauder, were all in attendance. The evening featured several honorees as well as tributes to cancer survivors and the memory of those impacted by cancer.

“There isn’t a person in this room who has not been touched by this,” said Hanks before he took the stage.

The Beverly Wilshire ballroom was decorated in mauve and lavender hues with red rose floral arrangements by Eric Buterbaugh who was in attendance with Melanie Griffith. Guests dined on Scottish smoked salmon carpaccio, Mary’s organic grilled chicken, and a mixed berry salad with lemon yogurt semifreddo. 

Philanthropist Wallis Annenberg received the 2024 Unsung Hero Award, presented by Jamie Alexander Tisch and Rita Wilson, for her dedication to fighting cancer through the Annenberg Foundation. Wilson introduced Annenberg as an “unsung hero, a dear friend, longtime supporter and visionary force for good in our community and world today.” During her acceptance speech, Annenberg said, “Information has the power to heal, to transform, to revitalize—that is why we all need to band together, to work together, for the Women’s Cancer Research Fund, to keep the information coming.” Annenberg also announced her gift of $1 million dollars to support the WCRF.

A Special Tribute video from actor and producer Michael Douglas announced a $500,000 pledge to the Women’s Cancer Research Fund in honor of the late Anne Douglas.

Actress Demi Moore, in a black Gucci gown, received the 2024 Courage Award, also presented by Rita Wilson, for her support and dedication to raising awareness for breast cancer. Moore, who came to the event with her Aunt Deanna, a breast cancer survivor, said during her acceptance speech, “This award is truly for the sisterhood of incredible women who have shown me what courage looks like. Women like my aunt who survived breast cancer and has been free of it for 18 years. As women, we don’t get to be courageous just once. We have to do it every damn day. And we cannot, will not, do it alone.”

Grammy Award-winning artist Sting, clad in a black mock turtleneck and high-top sneakers, sat on a black stool while singing “My One and Only Love” acapella before playing his electric-acoustic guitar and dedicating “Fields of Gold” to his wife Trudi Styler, and his mother whom he lost to breast cancer over 30 years ago. He also performed a heartfelt version of “Every Breath You Take.”

Other guests in attendance included Sofia Vergara, Nia Vardalos, Ashley Greene, Carly Steel, Chord Overstreet, Crystal Kung Minkoff, Cynthia Bailey, Jesse Johnson, Jonathan Simkhai, Justin Sylvester, Kathy and Rick Hilton, Josh Flagg, Gigi Gharai, Kayla Ewell, Keni Silva, Kyle Richards, Lisa Rinna, Lori Loughlin, Monique Lhuillier, Martin and Kelly Katz, Rachel Zoe, Alina Cho and Tanner Novlan.

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Opening on an investigative photojournalist tracking Prince Andrew, the Duke of York, in New York in 2010 as he is seen leaving the 5th Avenue apartment of Jeffrey Epstein, he takes a photo that establishes a relationship that will continue to haunt him. Epstein, the infamous billionaire whose first conviction and prison sentence for sex offenses did little to curtail his entrée into the lives of the rich and famous, Bill Clinton and Bill Gates among them. Although there was a brief stir for Andrew at the time, like a Teflon coating that surrounded some members of the royal family, he seemed to survive this public brush with scandal.

It is now 2019 and turmoil rules the airwaves at the BBC. The possibility of massive cutbacks has just been announced and no division will be spared. Taking a step into the competitive BBC “Newsnight” newsroom where stories are pitched and tension is high, Sam McAlister, Vuitton bag at her side, slides into her seat, late as usual. She books the guests and produces those segments, but they all know they need a coup. Her colleagues show nothing but disdain for her out-of-the-box suggestions. Elitism and snobbery rule the roost and Sam doesn’t fit into their idea of journalism. But all the regulars can come up with are the same old stale celebrities and yesterday’s news. What they need is something no one else has. Sam is intrigued that the photos of Prince Andrew from 2010 have never disappeared and now there are two new wrinkles. One, his friend Jeffrey Epstein committed suicide in prison before he could testify in his latest sex trafficking trial; and two, allegations by Virginia Roberts Giuffre that she had been trafficked by Epstein and his partner Ghislaine Maxwell to Prince Andrew when she was underage.

This, Sam knows, is the story and working surreptitiously, she starts making calls to people who knew people who were close to people who might be of help to get him on the show. Coincidentally, the Palace knows that damage control needs to be done and has hired an expert in the field. They barely survived the Princess Diana scandal and this one may actually be worse. The prince, ever cavalier, is open to suggestions but trusts his Chief of Staff Amanda Thirsk more than this outsider.

McAlister, through a labyrinthine network of contacts, is able to reach Thirsk with her “Newsnight” proposal. Give the Prince an outlet. He’s interested in talking about his new project, Pitch@Palace that brought together young entrepreneurs with seasoned investors, something of a royal “Shark Tank.”  He and Thirsk are certain this will help repair his image and show the country he’s a great guy and incapable of the accusations swirling around him. McAlister, savvy and smart, even if a bit rough around the edges, thinks that’s a great idea but nothing will be off the table. When Mr. Damage Control learns of this meeting, he promptly quits. He’s no fool even if they are. The next meeting is with McAlister, the senior producer of “Newsnight” and their storied on-air reporter, Emily Maitlis. Unless you’ve been living under a rock, you know how this interview went for Prince Andrew. His oft times hilarious explanations, his clueless demeanor and hollow denials did not convince the world of his innocence or “everyman” relatability. Never did his various nicknames, “Randy Andy,” “His Royal Slyness” and “the Duke of Porkies” (a porky is a lie) seem more apt.

So that’s the story that “Scoop” set out to tell. None of this is a spoiler alert, it’s well- documented in multiple sources. McAlister even wrote a book called “Scoops,” although it’s not credited as the underlying material for the Netflix series. This should have been a thrilling backstage look at one of the biggest stories in a decade. It’s not. Flattening out this tale was close to criminal because it’s not just the story that was squandered but a cast of phenomenal actors known for their ability to shock and awe.

Poor Lia Williams as the head of the network is relegated to two inconsequential, distracting scenes. The first, as she announces companywide cutbacks that should have contributed to tension in the newsroom and the second as Sam and the producers interrupt her at the Opera to tell her of their interview coup. What was the point? It contributes nothing of substance to the story, and could have been handled quite well expositionally. For instance: “There will be cutbacks so we’d better make sure we’re untouchable,” and “Did the boss say we could go forward with the interview?” The character was unnecessary and worse, it stopped momentum.

Billie Piper plays Sam McAlister. Alluded to but never established was that Sam’s struggles in the newsroom were born of classism. Her plaited blonde hair is an effort to make her look like the real Sam but her perpetually troubled expression is supposed to allude to her inability to gain ground and respect in the workplace. Her inappropriate flashy dress and accent that wavers between posh and working class are as much development as you’re going to get. There is no effort to fill out her character. The look of self-satisfaction at entering the grounds of Buckingham Palace is supposed to be a signal to the audience that she’s finally arrived. Only a random comment made by her mother, the always fabulous Amanda Redmond in a tiny role, establishes that she’s come a long way and she needs to stand up for herself. Piper is a wonderful actress but couldn’t break through in a stiff role without substance.

Keeley Hawes (Amanda Thirsk) does a bit more in her role as the Prince’s chief of staff. Still, a bit more isn’t quite enough. Nevertheless, what can be surmised from her deer-in-the-headlights expression is that she’s out of her depth and looking for recognition. There should have been palpable tension when she overrides the publicity expert and agrees to a television interview. Her self-satisfaction does not melt thoroughly enough when everything backfires.

Gillian Anderson portrays Emily Maitlis, the ace newscaster. Her character is defined more by the dog she drags everywhere than by the steel she should be made of. She looks marvelous, as do all the other actors, but this isn’t about design, hairstyles and appearance; it’s about the tension that should have surrounded the “get” of the decade. Her delivery during the interview is so soft and subtle that many of the questions are lost. Expositionally, it is up to the character of Sam McAlister to explain this approach to her colleagues, something that should have been self-evident.

Rufus Sewell, as Prince Andrew, makes the most of his character, but it’s still a snack and not the three-course meal it should have been. He’s cluelessly charming, refers to the Queen repeatedly as Mummy and digs a little hole with some of his answers. But that hole should have been 6 feet deep. At the end of the interview, you are left scratching your head. His answers were foolish, bordering on moronic. The enjoyable parts were his explanation of how he was physically incapable of sweating due to an adrenaline overdose during his time serving in the Falklands War. He repeatedly denied knowing or having encountered Virginia Roberts Giuffre. A lack of empathy, perhaps; criminal behavior? Hardly or at least not as portrayed on screen. As presented here, the public’s reaction on social media seems out of balance with the revelations in the interview as presented. That is not to say that lack of empathy, smugness, self-satisfaction and obfuscation of known facts isn’t worth his cancellation, but why is this different than everything already known about him? The interview as seen in this movie blands out the drama. Put another way, there was no drama and it should all have been drama.

It’s possible that there were “life rights” issues. These characters were based on real individuals and they may have exercised their right to whitewash some of the action. I don’t know, but it’s possible. With the character of Andrew, he’s a public figure and has less protection. The interview put his own words in the mouth of the character playing him.

So where do I point the finger on this? Right smack at the writer/director, Philip Martin. As a writer, he failed to develop his characters and supply the rationale for the tension they felt with each other and the workplace. He didn’t tell the parts of the story that weren’t known at the time. The interview was probably verbatim as moderated by Emily Maitlis and responded to by Prince Andrew. But where was the drama that should have highlighted the stakes? The pacing is slow, dimming any dramatic effect that might have been found in the conflicts, both on air and in the studio. Rather than allowing the Prince’s obtuseness to damn him, it is the finale, showing some of the reaction found on social media that seems to have sounded the death knell to his career as a working royal. Chyrons at the end are used expositionally to divulge the outcome rather than find a way to dramatically illustrate his downfall, although not all are correct. Prince Andrew, the Duke of York has been stripped of all royal duties and has lost his patronages. He has not, contrary to the chyron at the end, been stripped of his royal titles. He is still entitled to be called His Royal Highness, although this is used in private at this point. He is still the Duke of York, Baron Killyleagh and the Earl of Inverness.

This is very much the movie that could have been, should have been. We all know the outcome, we just didn’t know the lead up and we still really don’t.

Now streaming on Netflix. 

Neely Swanson spent most of her professional career in the television industry, almost all of it working for David E. Kelley. In her last full-time position as Executive Vice President of Development, she reviewed writer submissions and targeted content for adaptation. As she has often said, she did book reports for a living. For several years she was a freelance writer for “Written By,” the magazine of the WGA West, and was adjunct faculty at USC in the writing division of the School of Cinematic Arts. Neely has been writing film and television reviews for the “Easy Reader” for more than 10 years. Her past reviews can be read on Rotten Tomatoes where she is a tomato-approved critic.

The post ‘Scoop’— Slow the Presses appeared first on Beverly Hills Courier.

“You Look Simply Outrageous in That Car!”

That proclamation, from the driver of one of the ubiquitous open-air tour buses on Santa Monica Boulevard, greeted me as he pulled up alongside. “Well, who wouldn’t?” I responded. Forget Ozempic and a trip to the salon. Competition for attention is tough in Beverly Hills, where the people, shops and—yes cars—are known for their glamour. But if you want to stand out above the rest, try driving one of these… a McLaren GT. And it doesn’t hurt to opt for this crazy electric blue number that we were lucky enough to test out for a few days.

We were quite simply impossible to miss, even on a rare cloudy weekend in Southern California.

Aside from its whip-smart super car looks, the McLaren GT is the real deal: a top speed of 203 mph; a carbon fiber chassis; a Launch control button that, when activated from a standing start, might just rearrange your internal organs. Price: $204,990. Yes, pricy. But one drive and you, too will think, “Hmmmm, worth it!”

Of course, none of this automotive prowess should ever be experienced on the streets of well-mannered Beverly Hills. I feel obligated to say that since this beast made me think twice about being a responsible driver. But you wouldn’t want to let all this talent go to waste. That’s why the McLaren GT begs to be slogged on a racetrack.

This brings up another curious point. How many cars come standard with a “track” setting on the center console? This beauty does. The track mode setting disables the dynamic safety features like skid control. All the better to slide around a racetrack’s tight corners and truly experience the GT’s extraordinary acceleration and dreamy taut handling.

But here’s the plot twist. The McLaren GT is shockingly comfortable in both the driver’s and passenger’s seats. It’s also roomy inside. Really. And there’s a frunk (front trunk) and a rear hatch. Plenty of room for a weekend getaway’s worth of luggage. The drive mode dials on the center console allow for your choice of comfort, track and sport. And each one really does behave differently. It’s like a bag of Skittles. You’ll want to try them all.

During a weekend driving around Beverly Hills, we felt at once, incredibly safe and exhilarated. I’m happy to report that none of the city’s famous police officers had to take time away from their rounds to lock me up for misbehaving or impound my pretty blue wheels! But I confess that I was constantly secretly compelled to be naughty, egged on by the siren song of that resonant engine.

Trying out the McLaren on the famously windy hills north of the city was another adventure. Avoiding the myriad cavernous potholes – no easy feat – I made Mulholland my little test track. The McLaren’s go-cart-like honed steering is other-worldly. Just the slightest pull on the wheel is enough to point the car to follow Mulholland’s rapid-fire S curves.

And then there’s the McLaren’s g-force-inducing acceleration, coupled with the brut wonderful engine sound of the car’s V8 engine. Certainly no one needs power at the ready like this. But it sure is fun. I had a wicked little run on the 10 Freeway, which was a bit intimidating. Not because the McLaren GT wanted to gallop. Oh no, it was because the car sits a mere few inches above the tarmac, so low as to almost disappear. While gunning at freeway speeds, surrounded by sky-scraper-tall SUVs and even taller semi-trucks, it was a tad disconcerting to thread the lanes, hoping no one would step on me. I shudder to think how invisible this fun-sized racer would have been in a more muted color.

Back up on Mulholland, where ironically, I felt safer, I don’t think the smile left my lips for the entire stretch between Coldwater Canyon and Beverly Glen. If you saw a turquoise blue blur rush by last week, it was likely me. Sorry!

What a car!  

The post My Electric-Blue California Super Car Weekend in Beverly Hills appeared first on Beverly Hills Courier.

Juicy still lives at home with his mother Tedra, but things have changed significantly. Juicy’s thug of a father has been shanked in prison by someone wielding a sharpened toothbrush. He’d been there quite some time, having slit the throat of a waiter who annoyed him, and it was an ignominious, if apt, way to die. His parenting style was similar, just without the knife and toothbrush. Juicy has mixed feelings about the man who raised him without love or compassion, but he’s more certain of his disappointment in his mother for marrying Pap’s brother Rev a mere week after Pap was put in the ground.

Juicy, known for his level-headed manner, almost a disconnect from situations around him, is mightily torn about the big wedding celebration happening at the house that day. Imagine his surprise when Pap suddenly appears to him, covered by a red and white checked sheet, a tip of the hat to the restaurant in a Casper the Friendly Ghost sort of way. Even ghosts have a sense of humor and off comes the tablecloth, revealing Pap in a Colonel Sanders white suit with rhinestone highlights. You must, he explains, kill Rev. Gut him like the pig that he is. Juicy learned the fine art of swine slaughter from his father, but this is not a skill he has practiced for many reasons. The look on his face makes you think this may not be the time even if it is the place. Conflicted in general, poor Juicy is at an impasse over this command.

Into a puff of smoke and sparkles, Pap disappears just as Tedra, joyful and shaking her fine rear end as she loads up the buffet table, appears. Which dress, she asks Juicy, should she wear? The turquoise or the pink? Obviously, an old hand at offering fashion advice, Juicy signals the turquoise, much to his mother’s delight. Uncle Rev, as in Reverend although it’s clear he worships at the altar of the Weber Grill more than God Almighty, sneers at Juicy. He’s soft, Rev proclaims. He needs to harden up and proceeds to sucker punch him in the stomach.

But Mom has more bad news to share. Rev wanted a bathroom redo; pink was not his color. They’ve spent all of Juicy’s tuition money for the online University of Phoenix courses in Human Resources he’s been taking. Rev has robbed him of his mother and his education, all with a laugh and a self-satisfied smirk. Juicy’s father’s wishes are starting to make sense. Close friend Tio is sympathetic and an ally, having seen the ghost when Pap mistakenly thought he was Juicy.

More guests arrive and Juicy has to entertain Rabby, fresh from services in her magnificently large purple feathered church lady hat with matching accessories, and her children Opal and Larry, childhood friends of Juicy’s. Larry, in his Marine uniform looking like a recruitment poster, and Opal, uncharacteristically in a dress she would like to rip to shreds, have their own secrets.

Tensions rise with Rev, and the closely guarded secrets of Juicy’s friends are gradually revealed. Juicy, however, is a puzzle. Soft, yes, but what does that mean? He’s ridden the fence his entire life. Fulfilling his father’s wishes would be a giant leap for him, but at what expense?

At the heart of this inventive, hilarious and very warm play lies a theme of acceptance—its cause, its cost, its satisfaction. Juicy, the perpetual observer, encourages others to be honest, all the while holding back from divulging his reality. It’s also about the cost of authenticity because none of the four young people has had the courage to step out of the closet that others have pushed them into.

“Hamlet” was a bloodbath; “Fat Ham” is not. The ties to Shakespeare’s classic are knowing, irreverent and only in passing. On occasion, Juicy will recite a passage that fits appropriately but if Opal is Ophelia, she doesn’t die and her love interests lie elsewhere. She hates wearing a dress but likes those who do. Larry is the Laertes whose care and concern over his sister and Juicy disguises where his interests lie in agonizingly stoic style. In truth, she wants to wear his uniform and he’d like her dress. The similarities between Rev and Tedra to Claudius and Gertrude are definitely there, and Rabby in full “Sunday going to meeting” regalia is a hilarious Polonius who has no more clue as to who her children really are than Polonius’s grasp on reality in “Hamlet.” Tio, the comic relief in a play rife with it, is a would-be Horacio, having also seen the ghost—but he is an unreliable source because he’s almost always high on something.

ljames heightens the humor in his use of stereotypes, used primarily in the “adult” characters. Tedra brings the house down with her booty-shaking dirty dancing and karaoke (shoot me please!) that underscores a satire of class and archetype. Similarly, Rabby is cut from the same over-hyped cloth, right down to the feathers in her hat. Rev and Pap, however, are thugs, one subtle, the other not so much. It is the second generation, except for the perpetually stoned Tio, who presents real-world identity problems uncluttered with cliché. They are the heart and soul of this outrageous comedy in their search for acceptance and authenticity. It is, however, the still-conflicted Juicy who is left searching. Or maybe that’s my interpretation, and he has always known who he was and needed no social approbation.

The Geffen was extraordinarily lucky to book this acclaimed Broadway play that got its start at the storied Public Theater and won the 2022 Pulitzer Prize for drama. Most of the cast are reprising their roles from the original, and it makes you long for more transfers like this one. Chris Herbie Holland as Tio has the least to do, but then that was Horatio all over, wasn’t it? Played as a clown, more like a combined Rosenkranz and Guildenstern on steroids, he’s primarily expositional. Matthew Elijah Webb, an understudy in the original run of the play, is Larry, an enigma hiding his true self. Uninteresting almost throughout, his lack of character may have been by design because he closes the show and brings down the house. Adrianna Mitchell is Opal, the girl who likes girls but has a hard time expressing herself. Opal is a character who starts the tsunami that ends the play. Like Ophelia, her self-questioning opens up an avenue that is followed by others. Benja Kay Thomas is Rabby, the clueless church lady. Playing a definite type, one that adds to the underlying absurdity, she eventually rises above stereotype but never loses the fun.

Billy Eugene Jones plays both Rev and Pap. Jones plays them with depth, relatable ugliness and command of the stage. His dual roles are the source of several jokes, but his ability to reveal a bully with nuance is superb. As shown in his recent star turn in “Purlie Victorious” as Gitlow Judson on Broadway, Jones’s skill at transcending deliberate stereotypes inherent in a script is masterful. Nikki Crawford, Tony-nominated for her performance as Tedra, is a show-stopper, literally and figuratively. The moment she comes on stage in those tight denim shorts you know that Shakespeare’s play has been reimagined from the bottom up, so to speak. Her elocution and every action emphasize her distance from her son as she opts for sex over love and loyalty.

It is Marcel Spears, Juicy, who is the heart and soul of this family dramedy. Spears, a seasoned theater and television actor (“The Neighborhood”), has a command of nuance and subtlety that makes this comedy of the absurd take flight. It is on his ambivalence that all the other characters and actions turn. Spears makes you understand that the accusation against Juicy of being “soft” is double-edged. His “soft” is thoughtful and pivotal. Spears would actually make a great Hamlet.

Now playing at the Geffen Playhouse through May 5. Performances take place Wednesday through Sunday with matinees on Saturdays and Sundays. Runtime is 100 minutes without intermission.

The Geffen Playhouse is located at 10886 Le Conte Ave., Los Angeles.  

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The pious (some would say self-righteous, others would say priggish) Edith decides to take Rose on as a project, something the Lord would want her to do. Rose, undeterred, is amused and curious as to how the wholesome live. She of the foul mouth doesn’t need saving, but she could use some female friends. Most of her companions are found at the local pub competing fruitlessly against her in darts and drinking games. Littlehampton has never seen the likes of Rose, a forewarning of flappers to come. Edith, hiding behind her piousness, is most intrigued by Rose’s readily embraced freedom and spontaneity; her father is not. Edward Swan is of the old school, pre-Dickensian that is, and is appalled by Rose and her ilk with more than a smidgen of Irish prejudice in the mix. He had assumed everything would return to the way things were before the war. But women have tasted a bit of freedom, smoking, drinking, working in the factories and rolling down those stockings, and Edward is none too pleased.

Then the letters start arriving. Addressed to Edith, they are an epiphany of profanity; obscene swear words thrown willy–nilly, accusing Edith of the most foul acts in the most foul language. Like the martyr she is, she has held on to the letters without complaint though they have come almost daily. It is Edward who is most appalled and demands that she take the evidence of this debauchery to the police station and demand justice. It can be, he has surmised, no one but Rose. The previous standards are in freefall when it comes to this kind of language. Cautiously going to the police, she finds that the men of the force are more than too happy to investigate, especially because the perpetrator is so obvious. It can be no one but Rose. Newly minted woman’s police officer Gladys Moss is not so certain. Never mind that she’s the first and only woman at the station and is expected to do no more than fetch the tea. But Gladys, the daughter of a deceased police officer, cannot quell her suspicions despite the order to stand down.

The letters are considered libelous and the punishment is a jail sentence, something Rose, with her child, cannot afford. But truth and justice are not one and the same, and Rose is an easy target because she can’t prove what she didn’t do. Some of Edith’s friends are also skeptical of Rose’s guilt and begin their own investigation.

This is a wonderful story with the good, the bad and the idiotic, foremost among them the police officers who routinely ignore and demean Officer Moss. As Rose points out, why call Moss a woman police officer? You can see she’s a woman and she’s wearing a uniform, so why isn’t she just a police officer?

One might be tempted to dismiss this harmless little film as a bit of inconsequential fun and, to a certain extent, it is. What sets it apart, however, is that it’s based on a true event that went viral in the old-school sense. When the presence of the wicked little letters was made public and the alleged perpetrator was jailed, it made the news all over the country. Newspapers in both big cities and small villages expressed outrage that such a thing could have happened. Treated as poison pen letters, the anonymity was what attracted attention. Assumptions were made, reputations were on the line, and the effectiveness of the police force was called into question. And all because of letters accusing Edith of acts most foul in language most profane.

British writer-comedian Jonny Sweet came across this true story that rocked the nation in the ‘20s and knew he had to write it. Combining forces with director Thea Sharrock, they found a dream cast for this delicious character study. Olivia Coleman, an actress as accomplished in drama as she is in comedy, was the perfect Edith. I’m not sure there is anyone more adept at smiling through tightly closed lips as her eyes simultaneously show horror and mischief. Her piety and horror straddle the fine line between sincerity and guile. Coleman’s Edith harkens back to an earlier time when a flogging would have suited her needs and desires.

The production found its perfect anti-heroine in Jessie Buckley as Rose. Profanity literally trips off her tongue like a Mozart symphony and her lithe movements infect others with her joie de vivre. The two of them are the perfect juxtaposition of old and new and the repressed Edith knows and resents it.

The rest of the cast is a panoply of major British actors from film, television and theater, led by Timothy Spall as the abusively controlling Edward. Playing his wife is the too-little-seen comedic actress Gemma Jones, best known as Bridget Jones’ mother in that film series. Eileen Atkins, one of Britain’s leading stage actresses, brings a wry depth to the character of Mabel, one of Edith’s skeptical friends, aided and abetted by the versatile Joanna Scanlan as Ann who is never without either a pig under her arm or dirt under her nails. Hugh Skinner, whose credits include “Fleabag” and “The Windsors” as a moronic Prince William, brings that same limited mentality to the role of the dense police constable. Anjana Vasan as Woman Police Officer Moss is brimming with the wit and drama she showed in “Killing Eve” and “We Are Lady Parts.” So much hinges on the character of Moss working against the odds to solidify her position, and she delivers.

Cinematographer Ben Davis, who filmed “The Banshees of Inisherin” so beautifully, fills his palette with the brightness and shadings of country life, helped by the production design of Cristina Casali who has captured the village perfectly.

That all of this actually happened is just icing on a lemon cake that makes you smile and wince simultaneously. See it for another fabulous performance by Olivia Coleman, an actor whose range cannot be quantified, and love it for everyone else in it, always keeping in mind that this really did happen. Even without the internet and limited phone service, stories of outrage could consume a whole country far from the epicenter of the scandal.

Don’t miss this one.

Opening wide on April 5.  

Neely Swanson spent most of her professional career in the television industry, almost all of it working for David E. Kelley. In her last full-time position as Executive Vice President of Development, she reviewed writer submissions and targeted content for adaptation. As she has often said, she did book reports for a living. For several years she was a freelance writer for “Written By,” the magazine of the WGA West, and was adjunct faculty at USC in the writing division of the School of Cinematic Arts. Neely has been writing film and television reviews for the “Easy Reader” for more than 10 years. Her past reviews can be read on Rotten Tomatoes where she is a tomato-approved critic.

The post “Wicked Little Letters” – Antisocial Before Media appeared first on Beverly Hills Courier.

A 15-foot-tall Airedale Terrier robotically sculpted out of resin, towered over guests as they arrived and mingled on grass-inspired carpeting dotted with daisy sculptures. Staff wore floral brooches and carried trays of fruity cocktails and Champagne. 

The immersive springtime fantasy transformation of the space was an interpretation of Tyler, The Creator’s House Codes, a nod to the recurring motif and the artist’s visual universe. Other standout décor props included a mid-air propeller plane and a soap box derby car constructed from a Louis Vuitton trunk, covered in the Craggy Monogram, hand-drawn by the artist, in shades of chocolate, vanilla and patisserie pastels. 

Upstairs, music from DJ Blondie Beach entertained the crowd watching artisans hand paint logos on a monogrammed hard-sided trunk.

L.A. Laker Jarred Vanderbilt, donning a pair of shades from William’s first collection, bought a sweater and admired accessories from trunks and bags to hats. “I came to look at this dope collection!” he told the Courier. “Tyler, The Creator, and Pharrell did an amazing job. I wanted to come and see it in person and give support.”

The collection brings together the signature preppy aesthetic of Tyler, The Creator—who most recently composed the soundtrack for the Fall-Winter 2022 Men’s Show, and Louis Vuitton, along with Williams’ signature elegant approach.

In a statement, Williams said, “This collaboration is unique to Louis Vuitton because it’s a natural extension of our LVERS philosophy, building on our network of incredible artists and creatives. There are so many elements specific to Tyler built into these pieces, and it’s been inspiring to see him hone in on his craft and collaborate with him for this Spring collection.”

Currently on display at the Rodeo store, the collection includes chunky gold jewelry, leather goods, sports-inspired pieces such as Sac Golf and a mini cross-body golf bag, ready-to-wear from aviator to varsity jackets, knitwear, denim, raincoats, and shoes including loafers, along with a traveling chess board.

Guests explored the colorful parklike setting of this unique to Beverly Hills activation, while enjoying tray-passed bites including some of Tyler, The Creator’s favorite comfort foods such as Tater Tots topped with caviar, cheeseburgers, fries, waffles and donuts.

“My main focus was making things I would wear all the time,” said Tyler, The Creator in a statement released by Louis Vuitton. “I dress the same in a meeting as I do a performance or grocery store trip, so hand drawing the monogram felt like the perfect balance to me. The chessboard is one of the greatest things I’ve made and is definitely my favorite thing from the collection.”

Celebrity attendees included Donald Glover, Barry Keoghan, Steven Yeun, Jaden Smith, Peso Pluma, Julez Smith Jr., Cam Hicks, Paul Downs, Lionel Boyce, A$AP Nast, Travis Bennett and many more. 

Filmmaker Andrew Panay, last seen seated next to Beyonce at the Louis Vuitton Paris show in February, told the Courier, “I love the brand and have been a fan for as long as I can afford it! All joking aside, I love Pharrell and I think the work is spectacular. They walk a fine line between edge and elegance. For men, the fact that they are getting into this brand is really special. It was incredibly emotional to watch someone like him transcend into a different world—from being a musician.”

Panay who works with some of the world’s largest brands from T-Mobile, Microsoft and Google and was responsible for three Super Bowl commercials this year, along with hit films such as “Wedding Crashers” and “National Lampoon’s Van Wilder,” was also gaining creative inspiration from the color palettes and displays. “I will probably shop more and get a few fun pieces. There is a lot happening tonight.” 

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Here is a list of my favorite films of 2023 in no particular order:

“Close,” is a devastating look at adolescence and how some of the bad choices we make early in life in order to fit in will have consequences that will play out forever. Rémi and Léo are the best of friends, closer than brothers. Entering middle school, they are subjected to snickers when the others question the “kind” of relationship they have. Léo understands almost immediately what the others are implying and begins to distance himself from the innocent Rémi. As Léo adapts a new persona, Rémi is abandoned. The consequences for both boys will be calamitous. In French with English subtitles. (Streaming on Paramount +)

“Anatomy of a Fall” is a story firmly rooted in ambiguity. Sandra, a successful novelist, lives in a chalet with her husband, a less successful writer, and their son Daniel. When Daniel discovers his father dead, splayed on the ground from a fall, the driving questions begin. Was it an accident, suicide or was he pushed? A relentless prosecutor is determined to find Sandra guilty of murder as motives, hidden emotions and marital troubles are played out in court in front of her son, now confused as to the guilt or innocence of his mother. It is not coincidental that one advertising campaign was embedded with the tagline “Did she do it?” This complex psychological study presents no answers, only questions. The film, director Justine Triet, writers, Triet and Arthur Harari and star Sandra Hüller were all nominated for Oscars. Writers Triet and Harari won for Best Original Screenplay. In French with English subtitles. (Streaming on Hulu)

“The Owners” is an on the nose look at homeowner associations. This painfully funny film is an allegory for the crumbling democracy in the Czech Republic represented by a coop building in the throes of deterioration and collapse. Desperately in need of upgrades to the plumbing and electricity, each member of the HOA has a different agenda. Each represents a different part of the existing society: the cheater, the rule follower, the old man wistfully longing for a return to Communism, the modern couple trying to make things better for themselves and everyone around them, the gay man trying to exercise his right to co-exist and, most importantly, the manipulative oligarchs presenting themselves as saviors but who are there to steal the owners blind. There are many laugh-out-loud moments, but the pain felt by the altruistic couple is palpable. In Czech with English subtitles. (VOD)

“The Zone of Interest” is the story of the family of Rudolf Höss, the Commandant of Auschwitz. Never do we see the prisoners or witness their demise, but both are ever-present. Instead, writer/director Jonathan Glazer skirts the obvious and paints the cruelty with the seemingly indifferent brush used by Rudolf and Hedwig Höss as they build their idyll on the other side of the wall. The remarkable Sandra Hüller starred as the  unconsciously and unconscionable Hedwig Höss. In German with English subtitles. (Streaming soon on Max)

“Mission Impossible: Dead Reckoning Part 1,” has virtually no plot, and defies credulity at every turn, but what it has is Tom Cruise, one of the last true movie stars, and stunts that take your breath away. It’s never a question of whether Ethan Hunt (Cruise) will survive his brushes with death, but whether he’ll survive the next life-threatening stunt. Surrounded by new stars and old, you will happily suspend belief to wrap yourself in this story that has so many holes, more like lacunae, that a fleet of trucks could easily traverse. (Streaming on Paramount +)

“Air,” the origin story of Michael Jordan’s association with Nike, is a pleasure from start to finish. Sonny Vaccaro (Matt Damon), Nike marketing executive, is convinced that Michael Jordan will be the next phenom who will bring buyers to the nascent Nike basketball shoe. Both Adidas and Converse, the leading shoe brands, had cornered the market on basketball stars and were the leading contenders to sign Jordan. Craftily, Vaccaro realized early on that the power behind the player was his mother and he sets out to court Mrs. Jordan. With support from Chris Messina who, as Jordan’s agent, creates a symphony of profanity as he expresses his displeasure with Vaccaro, Viola Davis as Jordan’s mother and Jason Bateman as the cool head of reason at Nike, you’ll understand how the Air Jordan became the juggernaut that it still is. (Streaming on Amazon Prime)

“Rustin” features a bravura performance by Coleman Domingo as Bayard Rustin and a story that needed to be told. Rustin was one of the most important leaders of the Civil Rights Movement beginning in the 1940s. He crafted strategy, was instrumental in choosing the cases that ultimately led to school desegregation, devised the voter drive movement in the 1950s and convinced Martin Luther King  Jr. to adopt non-violence as his platform. If you haven’t heard of him, and most haven’t, it’s because he was kicked to the curb by the movement he so ardently supported because he was an openly gay man in an era when it was still illegal. But even so, he had one more battle in him. With little time for planning, he proposed a March on Washington to coincide with the 100th anniversary of the abolition of slavery. Coordinating Civil Rights groups and labor unions, the March on Washington for Jobs and Freedom, the largest of its time at 250,000 strong, successfully forced the government into taking long-delayed action on civil rights legislation. It was here that Martin Luther King Jr. made his “I Have a Dream” speech. Be prepared to be inspired. (Streaming on Netflix)

“American Fiction,” for me, was the most enjoyable movie of the year. Starring the incomparable Jeffrey Wright, it’s based on the Percival Everett novel, “Erasure.” It tells the story of Monk, a serious writer, whose career is at a dead-end because he’s not Black enough and his books, serious and academic, are commercial failures. His frustration boils over into anger when he realizes that what the public wants from Black authors are trite, ghettoized plots involving drugs, gangsters and tragic death. That is definitely not him, an upper middle-class college professor from an accomplished family of doctors. Maddened by the latest “ghetto” bestseller, he sits down to write one so outrageous that it will awaken the public, and especially publishers, to how ludicrous and insulting their choices have been. His plan backfires, and soon there is a bidding war for the publishing and film rights to his ridiculous Blaxploitation novel. Winning the Oscar and Scripter Awards for Best Adapted Screenplay, writer/director Cord Jefferson enhanced the underlying material with an ending not found in the book but totally in character. (VOD)

“Oppenheimer” topped almost every list, including mine, as the best picture of the year. The ever-brilliant Christopher Nolan brought an incredibly deep, intellectual and insightful approach to one of the most complex issues of the 20th century (and every century to follow): the building of the atomic bomb. Based on the bestselling “American Prometheus: The Triumph and Tragedy of J. Robert Oppenheimer” by Kai Bird and Martin Sherwin, Nolan gave life to the complicated Robert Oppenheimer and the men and women who surrounded him as they tried to beat Hitler to the bomb and harness the energy produced when the atom was split. Telling Oppenheimer’s personal story through the lens of Lewis Strauss, his resentful nemesis whose vengeance was based on a false assumption, we see Oppenheimer from the young, arrogant and ambitious student, then the exciting college professor dabbling in both left-wing politics and theoretical physics, to the man chosen to lead one of the groups tasked with harnessing atomic energy into a bomb to end all wars, to his post-war accolades and self-doubts leading up to the Senate hearings bent on destroying his reputation, surreptitiously spearheaded by the aforementioned Strauss. Cillian Murphy, as Oppenheimer, in almost every frame of the film, and Robert Downey Jr., leaving mannerisms behind and soaring to the top of his career, deservedly won the Academy Awards for Best Actor and Best Supporting Actor, respectively. (Streaming on Peacock)

I had many other favorites, but these topped the list. I saw most of these more than once and they remained as enjoyable as the first time. Movies are my love. When I see a great one like “Oppenheimer,” all is right with the world. But as a really great writer once told me, even in bad material there’s usually a kernel of hope for a good story. The trick is not to get discouraged by the bad and to revel in the good.

Happy viewing.  

Neely Swanson spent most of her professional career in the television industry, almost all of it working for David E. Kelley. In her last full-time position as Executive Vice President of Development, she reviewed writer submissions and targeted content for adaptation. As she has often said, she did book reports for a living. For several years she was a freelance writer for “Written By,” the magazine of the WGA West, and was adjunct faculty at USC in the writing division of the School of Cinematic Arts. Neely has been writing film and television reviews for the “Easy Reader” for more than 10 years. Her past reviews can be read on Rotten Tomatoes where she is a tomato-approved critic.

The post Favorite Movies of 2023—A Day Late But Not a Dollar Short appeared first on Beverly Hills Courier.

Raised in Milwaukee, this scrawny young man with the uncontrollable frizz on top realized that Jerome Silberman didn’t have much of a ring to it, so he rechristened himself Gene Wilder and, immediately after graduating college, struck out for New York, first finding small roles in television.

Kismet originally arrived in the shape of a small role, one where he felt very miscast, in a starry Broadway production of Bertolt Brecht’s “Mother Courage and Her Children,” a play that would close after 52 performances. But leading that cast was Anne Bancroft and she saw something in Wilder that she would pass on to her future husband, Mel Brooks. Brooks was writing his first film script, originally called “Springtime for Hitler,” and was agonizing over who he could find to play the neurotic accountant, Leo Bloom. The part, veering from naive innocence to deeply disturbed psychosis needed a believability factor that escaped most actors. He already knew who would play Max Bialystock, Zero Mostel, but who could possibly withstand the hurricane force of Mostel and still retain credibility? On Bancroft’s recommendation, Brooks came to see Wilder in the play and was instantly convinced.

Things move slowly in Hollywood and this was 1963, a full three years before there would be an actual production of what would become “The Producers.” Mel Brooks speaks extensively about what he saw in Wilder from the beginning and how Wilder understood the character of Bloom even better than he did. Watching some of his work in that film shows exactly why it was, as they say, a match made in heaven. But it wasn’t just Brooks who saw Wilder’s possibilities, it was also Zero Mostel, a famous problem child who had casting approval. He was in love with Wilder from the very first moment they read together and the rest is history. But the history has a few bumps in the road, including legendary Joseph E. Levine, the notorious vulgarian with impeccable taste in material. When shown dailies of Wilder’s work, Levine told Brooks to fire him. It wasn’t that Wilder wasn’t funny; he was. It was that he wasn’t handsome or a famous name. He insisted that a star was necessary. So Brooks did what he would subsequently do on all his other films. He promised to fire him and then ignored the command. Brooks and Bancroft added Wilder to their list of close family friends, something they would be forever after.

But before “The Producers” reached the screens he was seen in a movie that caught the zeitgeist of the time, “Bonnie and Clyde.” In the small role of an undertaker whose car is stolen by the famous duo, he made an indelible impression. Viewing a snippet of his performance underscores the statement by Arthur Penn, the director, when he admitted that he had never envisioned the role played the way Wilder played it and yet it was better, deeper and infused with humor that Penn hadn’t anticipated.

Wilder was on his way and when he was offered the role of Willy Wonka in “Willy Wonka & the Chocolate Factory” after a single line read, he happily jumped at it. Peter Ostrum, the boy chosen to play Charlie, recounts how incredibly helpful and generous Wilder was toward him, a true father figure. It was a surprising flop at the box office because parents were offended by its dark view. It has since become a cultural touchstone by the now grown children whose parents would not let them see it at the time. 

Unafraid of a challenge, he next took a role in Woody Allen’s “Everything You Always Wanted to Know About Sex But Were Afraid to Ask.” For the chapter Allen had in mind, he needed an actor who could sell sincerity and believability in something that defied credulity. And that role was of a doctor who falls in love with a sheep. It’s hard to describe if you’ve never seen it, but I did see it and I still find it hard to describe. The one thing you can say about this incredibly tasteless vignette is that Wilder is totally believable and it still makes me smile to remember him in bed with that sheep. The combination of two box office flops didn’t do his career a lot of good until Kismet struck again.

Mel Brooks was just beginning production of “Blazing Saddles,” a comic western. The final piece to his casting puzzle was the all-important role of the Waco Kid, the drunk counterpoint to the Black Sheriff played by Cleavon Little. Gig Young, a veteran of stage and screen comedies and dramas, as well as a fair share of westerns, was a gamble. A renowned alcoholic who had been fired from many productions, Young and his agents swore he was two years sober and all his difficulties were behind him. Readying for his first scene, Young’s stomach and everything else seemed to explode and he had to be rushed to the hospital. He was still in the throes of his very active alcoholism and was suffering from DTs (delirium tremens). Asking the physician whether Young could return to work, he replied, “Yes. In three or four months.” Horrified, Brooks recalled that they were to begin formal production in three days and he was now without a co-lead. But Brooks had a go-to position and that was his good friend Gene Wilder. With no preparation, Wilder took the role of the Waco Kid and, once again, made the unbelievable believable and also incredibly funny.  Their collaboration would continue with “Young Frankenstein,” based on an idea of Wilder’s with a script co-written with Brooks. 

There are so many movies, some good, some not so good, but always inventive. His other enduring screen partnership was the one with Richard Pryor. Pryor’s daughter Rain comments on how important that screen partnership with Wilder was for her father’s career. On screen they had incredible chemistry and although this partnership did not translate to a friendship off screen it was a very important relationship for them both.

Frank and Kirschbaum are very inclusive when it comes to Wilder’s filmography but also in terms of his personal bonds, not just with Brooks and Pryor, but also with his two significant romantic relationships. Most famously, he was married to Gilda Radner. It was an interesting and volatile love affair that ended too soon when she died of ovarian cancer. His marriage to Karen Boyer was his enduring love; their meeting reflects the care and thoughtfulness he brought to all aspects of his life. While conducting research for the next movie he would write for himself and Richard Pryor, “See No Evil, Hear No Evil,” Wilder contacted the Braille Institute about how Pryor’s blind character would behave in various situations. He also sought out an expert on the hearing impaired for the character he would play. It was important to be funny but not offensive. That expert was Karen Boyer. Gradually their relationship became more than just professional and it grew into a deep and lasting love, one that lasted for the rest of Wilder’s life. There were many good times and they shared almost everything. Karen was with him when his memory started to fail and she was with him when he was diagnosed with Alzheimer’s. She was there for him until the very end as the two of them brought attention to this devastating disease that affects not just the patient but also friends and family. 

I must confess that although I have appreciated Wilder’s acting in the past, I was missing a, rather the key element to all his performances whether in a good movie or a not so good one, of which he wrote many. As discussed with his friends, from Alan Alda to Brooks to several of his directors, he was believable even when the scene wasn’t. He was funny without going for the easy laugh. He was, in short, an actor’s actor and a mensch. Gene Wilder was unique and Frank and Kirschbaum lay that out loudly and clearly. That Karen Boyer Wilder gives us a very personal view of a man of depth and character is icing on a rich and nourishing cake.

Don’t miss this one.

Opening March 22 at the Laemmle Royal. 

Neely Swanson spent most of her professional career in the television industry, almost all of it working for David E. Kelley. In her last full-time position as Executive Vice President of Development, she reviewed writer submissions and targeted content for adaptation. As she has often said, she did book reports for a living. For several years she was a freelance writer for “Written By,” the magazine of the WGA West, and was adjunct faculty at USC in the writing division of the School of Cinematic Arts. Neely has been writing film and television reviews for the “Easy Reader” for more than 10 years. Her past reviews can be read on Rotten Tomatoes where she is a tomato-approved critic.

The post ‘Remembering Gene Wilder’—Unforgettable appeared first on Beverly Hills Courier.

Mutations have started to appear in humans, manifesting as bestial appendages, some recognizable others not. François’s wife is not really in a hospital but is confined to a clinic where other mutants are housed, as scientists seek to discover the origin and cure for these anomalies. Cheerily letting them know that progress is being made, the administrator has big news. A facility in the southern provinces has opened ahead of schedule and Lana will be transferred there in a few days. François is enthusiastic; they will move immediately. Émile, less so, is not looking forward to transferring schools with only two months left in the school year. It’s hard enough being the new kid, but he’ll be the new kid with a major secret.

Not everyone is as accepting as François. Lana is still the love of his life and he won’t abandon her. That society is less than tolerant of these creatures, as some call them, or beasts, as others see them, is a problem with society not with Lana and others like her. Like almost any other skittish animal, wild or domestic, space, understanding and kindness will often conquer the wildest of them. It’s just that their appearance is so frightful, like monsters from a nightmare. Most human-mutant encounters run the gamut from hilarious to calamitous. For Émile, unafraid, their presence is one that intrigues him.

François, ever the optimist, has already located a new job and a cozy cottage for them in the South. Émile’s school situation seems promising as the students are eager to welcome this mysterious stranger. But disaster has struck. Nearing the new institutions, the bus transporting Lana and the others from the clinic has crashed on a bridge, sending both the dead and the survivors into the river, most of whom have not been located. The river is soon awash with the dead and the surrounding forest is invaded by a new population of surviving creatures added to those already hiding there. The police on the scene explain that Lana has not been found, but that she should be presumed dead. This, François will not accept. And so begins his stealthy search, one that enlists Émile; stealthy because the police, and the soon-to-arrive military, have sealed off the forest. Most of the townsfolk set up barriers and invent devices to protect themselves from the beasts. Vigilante groups are formed.

Yes, there are encounters and storylines involving normal humans and their mutant cousins, but these are all secondary to the real subject. Director Thomas Cailley, working from a story by Pauline Munier, is most interested in a portrayal of “Otherness.” Whether it is a fear of migrants coming from parts unknown or racism that manifests itself in the hunt and discrimination of those whose appearance is different, “The Animal Kingdom” unearths fears both rational and illogical. François, the most tolerant of humans, doesn’t understand why they can’t adopt the Norwegian way, where the creatures and humans live side by side, apart and yet together. Understanding and tolerance have lessened the distance between them. But this isn’t Norway, it’s France, underscored by one man saying he wasn’t sure if his food was being stolen by a creature or by gypsies, a group commonly demonized as the “other.” 

This isn’t necessarily a new theme. In recent years, Guillermo del Toro explored it in his Oscar-winning film, “The Shape of Water.” Del Toro, a master of fantasy and creatures, examined intolerance and hope in his story of a fishlike humanoid caught and brought to a military investigation lab. A young cleaning woman discovers how to communicate with the beast and is determined to save him, at great risk to herself. But even more well known is Spielberg’s Academy Award-nominated classic “ET.” What is “ET” but a story about “otherness?” Frightful to adults, a being to be poked, prodded and experimented on, ET is an instrument of joy and education to the children who adopt and protect him. And much like “The Animal Kingdom,” it is a story about friendship and love.

It is easy to concentrate only on the fantasy aspects of the film, and the creatures are definitely awesome, anthropomorphic, relatable and sympathetic, but, for me what makes this movie stand out is that it is, almost more than anything else, a portrait of family and love. The relationship between François and Émile is one of closeness with an acceptance almost without judgment. They have been through so much together and they are still standing. It is also a warm and empathetic “coming of age” tale with Émile trying to understand the changes that are happening all around him, but always with a father ready to die for him. The attachment between them is palpable, the very definition of unconditional love that grows deeper as they face more challenges. If I have stubbornly refused to reveal plot points, it’s only because you’ll see them coming but need to integrate them into the emotional aspects of this story. Literally anything I would describe would be a spoiler. 

“The Animal Kingdom” is a difficult film to watch, if only from the standpoint of understanding what Cailley is trying to say. Stripping away the metaphorical aspects of his story, the racism, the hatred of migrants, the militarism, the ecological aftereffects in a pre-apocalyptic environment, it’s still a story about love, family and tolerance. Stay with it, the emotional end definitely justifies the path it took to get there. 

“The Animal Kingdom” was nominated for 12 César Awards (the French equivalent of the Oscars), winning for visual effects, cinematography, costume design, original music and sound, all of which will literally blow your mind. Cailley found his perfect François in Romain Duris, an actor whose emotional palette is practically peerless. Paul Kircher as Émile was a revelation. As an awkward teenager, his gait, gaze and inability to articulate himself make you ache. It is such a realistic portrait of the later stages of puberty that it takes some time before you realize it’s much more than that. The openness of his face, the wide open eyes, this is a boy in transition. The chemistry between Duris and Kircher enhances the filmic relationship. 

Much like “Everything Everywhere All at Once,” let “The Animal Kingdom” wash over you. Live in the here and now of the film and worry about the meaning later. 

In French with English subtitles. Opening March 15 at the Alamo Drafthouse, a dine-in arthouse cinema downtown and VOD on all major platforms. 

Neely Swanson spent most of her professional career in the television industry, almost all of it working for David E. Kelley. In her last full-time position as Executive Vice President of Development, she reviewed writer submissions and targeted content for adaptation. As she has often said, she did book reports for a living. For several years she was a freelance writer for “Written By,” the magazine of the WGA West, and was adjunct faculty at USC in the writing division of the School of Cinematic Arts. Neely has been writing film and television reviews for the “Easy Reader” for more than 10 years. Her past reviews can be read on Rotten Tomatoes where she is a tomato-approved critic.

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As soon as the last award is given at the 96th Academy Awards ceremony this Sunday, March 10, guests from Bradley Cooper to Margot Robbie and Steven Spielberg will head to the Governors Ball where Master Chef Wolfgang Puck and his team of 120 chefs will cater a lavish spread with small plate food stations, tray-passed treats and a buffet of sweets.

Puck has been throwing this party for the past 30 years and for over a dozen years, his 29-year-old son Byron Lazaroff-Puck has become an integral part of the event as well.  What is new this year? “Byron is cooking,” quipped Puck. All jokes aside, “Not even close! You need a good team to execute something at this high-level for this many people,” Lazaroff-Puck told the Courier. “And my dad, of course.”

“It can get a little nerve-wracking during those final moments,” Lazaroff-Puck told the Courier. “But whether you are at the ballroom in Hollywood or at Spago in Beverly Hills, the execution and quality is the same,” he added.

“We always do something traditional and then we have new menu items,” added Puck. New on the menu this year is an international array of Spanish paella, Peking duck, and Wagyu beef, plus the Iberico ham carving station will be back.  

Of course, a few favorites from black truffle chicken pot pie to cacio e pepe macaroni and cheese, along with the English pea agnolotti will be back by popular demand. “We always have the smoked salmon Oscars with caviar,” added Puck.  And what would an Oscar celebration be without the famous pizza? This year, the options include a mushroom truffle and a pepperoni with Calabrian honey, to name a few standouts. 

Every sweet tooth will be satisfied with the Norie Reserve Chocolate Oscar pops “spray-painted” with gold, and filled with vegan Scotch Ganache, along with chocolate cigars, bars and eclairs.

Partners for the event include Chefs to End Hunger, Weiser Family Farms and Harry’s Berries to name a few. “With a great team, we can do anything,” said Puck.

Culinary matters aside, Puck is rooting for “Oppenheimer” to win, and his son is excited to hopefully meet Cillian Murphy this year. “I was always a huge fan of ‘Peaky Blinders,’ said the young chef. And to finally see him have the leading role and the way he conducted himself in ‘Oppenheimer,’ getting to feed him will be a treat.”

As for wines, the crowd will be toasting with the newly released Petite Fleur de Miraval, from the only Champagne house exclusively devoted to Rosé, Brad Pitt’s, Château Miraval estate in the South of France. This vintage will be available after the festivities at Dante at Maybourne Beverly Hills.

For the second year, Prince Robert of Luxembourg, Chairman and CEO of Clarendelle Wine will be on hand pouring wines from his fourth-generation family company, Domaine Clarence Dillon. If you will not be attending the ball this year, but hosting an at-home gathering, the premium Bordeaux wines can be found at Wine.com and K&K, from the red and white varietals to a rare La Clarté  de Haut-Brion 2017 and La Chapelle de la Mission Haut-Brion 2010 and coming soon to the wine list at Spago in Beverly Hills.

“Hopefully, they will have some wine left for us, so when it’s over, we can sit down with the whole team,” said Puck.

Don Julio partnered with the Academy for the Governors Ball again this year, with non-alcoholic options from Seedlip. Globally acclaimed mixologist Charles Joly and Mexico Bartender of the Year Israel Barón spent countless hours preparing the cocktail experience—including the 1942 Encore, Round of Applause, and It’s Showtime—made from different tequila expressions.

The drinks will require nearly two tons of watermelons, 12,000 leaves of epazote, over 18,000 kernels of corn, 27,000 sprigs of coriander and enough tarragon to stretch the length of three Olympic-sized pools just to satiate the crowd.

Following the Ball, back in Beverly Hills, pizza will again play a leading role at the Vanity Fair party this year presented by Nespresso. Held at the custom-built venue at the Wallis Annenberg Center for the Performing Arts, Chef Evan Funke and his Funke in Beverly Hills is catering the star-studded affair. 

Winners and nominees will dine on the award-winning chef’s signature thin-crust pies that will include a classic Buffalo mozzarella margarita, and a citrusy Meyer-lemon Amalfitana with a zing of peperoncino, among others, offered at the chef’s pizza bar, along with ricotta-stuffed zucchini blossoms, fried artichoke, and meatballs. 

An hour-long livestream of the event will be available on both vanityfair.com and Vanity Fair’s YouTube channel. Hosted by Jimmy Kimmel, the 96th Oscars will air live on ABC and broadcast outlets worldwide on March 10 at the new time of 4 p.m. 

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This year—like every year—there are “sure things,” “favorites,” “long shots” and enough head-scratchers to keep it interesting. Are Oscar voters immune to the results of the award shows that preceded the date (Feb. 27) when their votes must be cast? It’s hard to argue that there isn’t at least a subliminal influence exerted on Academy voters by the outcomes of the Golden Globes, BAFTA, Independent Spirits, as well as the DGA, SAG and PGA Awards. 

People have been trying to influence Oscar voting since the first awards were given out in 1929. Early on, studios waged “write-in” campaigns to overcome what they viewed as “oversights.” “A Midsummer Night’s Dream,” the starry and innovative Max Reinhardt film of the Shakespeare play, won Best Cinematography as a write-in in 1936. The Academy closed that loophole shortly thereafter. More pervasive were the very effective advertising campaigns footed by Harvey Weinstein. He spent enormous sums of money on media to the extent that many accused him of “influence-peddling.” But unless it’s against the rules or the law, unlike his other activities, it was fair game. He wasn’t the first and won’t be the last.  All pervasive are the “FYC” (For Your Consideration) ads meant to keep the advertised film in the voters’ field of vision until awards season. These ads alone may be keeping the Los Angeles Times afloat, if just barely. Of course, the collateral benefit is to tweak an audience’s interest in the film and boost the box office. And nothing boosts box office like an Oscar, so studios are willing to spend huge amounts of money for these FYC blitzes. 

The most recent controversy involved an excellent, but often overlooked actress named Andrea Riseborough. Respected by her peers and unknown to audiences at large, she was the star of an outstanding indie called “To Leslie,” a film that undeservedly disappeared from screens almost as soon as it premiered. Without box office potential, a big-name producer or a major studio behind its star, Leslie Riseborough, it sank below the surface before it could float. Riseborough’s savvy manager realized that there might be a window of opportunity for a stealth social media campaign right before the nomination process closed. Enlisting at least two dozen supportive celebrity friends, they launched a blitz on social media and mass emails to voters touting the importance of independent cinema and her outstanding and Oscar-worthy role. It did, however, impinge dangerously on the rule against lobbying members for votes and that is, in reality, what her celebrity friends were doing. Riseborough got her nomination, but the Motion Picture Academy tightened the rules (actually they were already pretty specific) on social media influence campaigns by Academy members to encourage or discourage votes; direct email solicitations have been banned. The Academy now specifically says, “You may not discuss your voting preferences and other members’ voting preferences in a public forum. This includes comparing or ranking motion pictures, performance or achievements in relation to voting. This also includes speaking with press anonymously.”

Like every other year, there are so-called surprises and snubs, both of which are highly subjective. For every nominee who has been deemed worthy of consideration, there are probably others who can be viewed as equally deserving. Does that rise to the level of a “snub?” Probably not.

Many were surprised that Leonardo DiCaprio did not get a nod for Actor in a Leading Role for “Killers of the Flower Moon.” But who would you eliminate out of the list for him? Bradley Cooper in “Maestro?” Whether you liked the film (I did) or didn’t, he was superb in his channeling of a very complicated Leonard Bernstein. Coleman Domingo, in his revelatory performance of overlooked civil rights leader Bayard Rustin? I think not. How about Actress in a Leading Role? It seems like some kind of backlash to ignore Margot Robbie’s luminous performance in “Barbie,” or even Greta Lee’s delicate Nora in “Past Lives.” But even so, if either of them had been nominated someone else would have had to go. 

I was particularly surprised at the omission of Charles Melton in “May December.” His multilayered, complex portrayal of a young man who finally realizes that his entire life has been a manipulation that stunted his emotional growth was nothing short of revelatory. It would have been easy for me to eliminate Ryan Gosling from the ballot for Actor in a Supporting Role. He complained bitterly that Margot Robbie was robbed of a nomination but instead should have focused on how incredibly lucky he was to get one. On the distaff side, as much as I love her, I’m not sure that America Ferrera’s “Barbie” role rose to the level of great acting; it wasn’t as transformative in the way that Julianne Moore’s benignly evil character in “May December” was. Actually, the overall rebuff of “May December” is quite perplexing. 

Directing is always a controversial category. Voted on overwhelmingly by men, white men at that, the DGA has been very slow to recognize or even open their ranks to women. This year is very little different. Although all the nominees are worthy, somehow it would seem that there should have been room on that list for Greta Gerwig. No matter how you feel about “Barbie,” she did a deft job of telling a large story in an intimate way. So who would I have eliminated in order to make room? Certainly not the directors of  “Anatomy of a Fall,” the sole woman, or “Oppenheimer” or probably not even “Poor Things,” an acquired taste if there ever was one, but a masterful job at telling a story that bled all over the edges. Despite Scorsese’s lack of discipline in telling the story of “Killers of the Flower Moon” in 3 ½ hours when 2 ½ would have been more than sufficient, it’s still more significant than “Barbie.” But then it depends if you want to feast on a three-course meal or an ice cream sundae. 

With 10 entries for Best Picture, it’s hard to think of what might have been left off. I find that all of the nominations are worthy and interesting. But all of this is conjecture because there is a juggernaut among them and that behemoth is “Oppenheimer.” I would be very surprised if it didn’t sweep most of its categories having already won numerous guild awards. If this were a horse race, the big money (and low odds) would be on “Oppenheimer” in almost every category in which it is nominated (13). That being said, however, Actor in a Leading Role seems to be between Cillian Murphy (“Oppenheimer”) and Paul Giamatti (“The Holdovers”) with Jeffrey Wright (“American Fiction”) a dark horse. Lily Gladstone (“Killers of the Flower Moon”) is the odds-on favorite for Actress in a Leading Role, but Emma Stone (“Poor Things”), in what is arguably the bravest appearance on screen in recent years, can’t be counted out. It would be very surprising if Da’Vine Joy Randolph (“The Holdovers”) didn’t win for Actress in a Supporting role. So far, she’s won everything else including the SAG, Golden Globe and Independent Spirit.

I don’t believe that Christopher Nolan, having already won the BAFTA and DGA awards, has any competition in the Directing category. The same is true for his masterful adaptation of “American Prometheus” by Kai Bird and Martin J. Sherwin, propelling this 2006 Pulitzer Prize-winning biography back on the bestseller lists. The head-scratcher in this category is “Barbie” as an adaptation. Because the doll already existed? Seriously? 

There are so many other categories, each with worthy nominees. Much of the fun is in second-guessing Oscar voters and in hoping that Jimmy Kimmel, a throwback to the Johnny Carson years, delivers a great monologue. So sit back, ballot in one hand and martini in the other, and enjoy. 

Neely Swanson spent most of her professional career in the television industry, almost all of it working for David E. Kelley. In her last full-time position as Executive Vice President of Development, she reviewed writer submissions and targeted content for adaptation. As she has often said, she did book reports for a living. For several years she was a freelance writer for “Written By,” the magazine of the WGA West, and was adjunct faculty at USC in the writing division of the School of Cinematic Arts. Neely has been writing film and television reviews for the “Easy Reader” for more than 10 years. Her past reviews can be read on Rotten Tomatoes where she is a tomato-approved critic.

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It’s not that LadyBird wasn’t expecting her mother but she thought they were going to fish in the late night hours and her mama didn’t bring her own pole. “Why isn’t your sister here?” Vernita demands. “Call her now and get her over here.” But LadyBird is in no hurry and wants answers. What’s going on? What’s in the basket? Why didn’t you bring your pole? This tug-of-war between mother and daughter is not new. LadyBird is a rule follower. She’s masked and insists on distance from a mother who’s never seen a rule she didn’t want to break or a boundary to breach. Vernita, like so many others, is convinced that if she hasn’t gotten sick by now, she’s not going to. Everyone who’s going to die has already died, she insists. It’s already taken half the town.

But back to that pesky basket, being guarded so carefully by Vernita, and the mysterious blood on her hands. As LadyBird pulls back the towel, she yelps and turns away to vomit. Her mother stares her down. “Don’t you dare throw up, girl. We don’t need another mess to clean up tonight.” As Mama explains it, they need Meka, her other daughter, right now. She’ll know what to do because she’s acquainted with criminal activities. Although Meka considers herself a healer, and they could definitely use some of that right here and now, she’s partial to weed, medicinal and otherwise; the otherwise being illegal in Texas. Finally arriving, she’s less than clear-eyed, having spent the evening puffing away with her husband in their new hot tub.

The head? It belongs, or rather belonged, to Clayton Rutherford, the owner of just about everything in the town including the slaughterhouse and factory, both of which he shut down. Earlier, when there was a fire at the factory and workers died because the exits were chained shut, he offered no compensation. He owned the housing his workers lived in and the grocery stores they shopped in. Job or no job, they all owed him money and he demanded payment. But now he’s dead and Vernita has been caught red-handed, literally and figuratively.

The Rutherfords have been inextricably tied to Vernita’s family for generations. After the Civil War, Vernita’s beloved ancestors briefly rented Rutherford land, earning enough with their cotton crop to think about buying it. They had a gift for growing cotton, but that gift brought out greed and injustice in the town folk, especially Big Rutherford who controlled the sheriff, his cronies and just about everyone else in town. Demanding payments that weren’t due, Mama Ada and Papa Gee stood their ground and refused to pay. A gun battle ensued and many died. But that wasn’t enough. Rutherford’s men came in the night and hanged seven of the survivors, including Papa Gee, and stole a year’s worth of cotton.

Inexplicably, most of the white men who exacted vengeance on the innocent Blacks went missing. Soon only their heads turned up. But Big Rutherford was untouched and the order of the day was restored. Ada, single minded of purpose, was determined to get that land back; she never did. Vernita shivers telling this story because here, after many years, is the head of the man whose descendent built his crooked empire on the backs of her relatives.

Vernita, recounting this tale and others, reveals her ties to the folklore tradition inhabited by ghosts and spirits, both vengeful and forgiving. As she tells the girls “What do we believe about our dead?” Meka responds, “That they come back until they work is done.” They provide spiritual protection. As her daughters listen to these phantasmagoric stories, there is a disturbing rustling in the trees. An outsider emerges, one seemingly unknown and possibly hostile to this family. But the stranger, Taysha, is not unknown and she shares a bond with the three of them that will shatter their grasp on reality.

Calhoun has written a story that is deeply infused with a mythical spirituality, an African American magical realism. She has linked the folkloric tales of Vernita to the genealogy of her family. The stories were a way to connect to the past and rise above the future. In setting her play during the pandemic, she has made it a metaphor for the illness that has affected so many of the racists that populated this red neck of the woods. Lynching, Jim Crow laws, beatings and killings by the police are, in their own ways, a pandemic that affected the lives of African Americans since slavery. But the lingering effects of this type of pandemic are not on the Blacks, but on those who perpetrated these injustices, infecting their souls. Here, the beheadings are the spiritual retaliation for past sins.

This tale of retribution by unseen forces was the central theme of Percival Everett’s outstanding novel, “The Trees.” The mystery and solution to who will ultimately face justice is in the trees, from whose branches hung the strange fruit, those lynched for the crime of being Black. Tracking down and exacting revenge on the perpetrators is by a mysterious group, all of whom are hiding in plain sight. Much like the initial retaliation for justice in “The Trees,” the so-called murder of Clayton Rutherford is to avenge the past misdeeds of his ancestors. That he, himself, is unredeemable is icing on a poisonous cake. Swiftly directed by Tiffany Nichole Greene, Calhoun largely succeeds in couching her story in folklore by telling this story speedily, at times a bit too quickly, with a mordant sense of humor. It is, most assuredly, a black comedy (an unavoidable pun). Unnecessary, however, is the disdain shown by all but LadyBird for the real need to protect oneself during a pandemic. She needlessly plays on the ignorance of the consequences of ignoring health concerns as if it is LadyBird who is superstitious rather than Vernita and Meka who play into the trope that the virus was not real.

Brandee Evans, LadyBird, a rigid rule follower played for exaggeration, is excellent, a voice of reason in real time and an astute listener about the past. Angela Lewis is the humorous Meka whose only purpose may be to keep us engaged as the mystery of the head starts to play out. Perhaps it is the role or the writing, but her character doesn’t contribute needed substance to the plot. She moves the story along without adding a great deal to it. Amber Chardae Robinson is the mysterious Taysha. It is something of a thankless and yet pivotal role, pushing Vernita to acknowledge her own shortcomings and sins and move on. It is a difficult character to portray because of the “other worldliness” demanded and at times she is not as convincing as she needs to be. The group is led by Kimberly Scott as Vernita. Although she occasionally stumbled over her lines, interrupting the necessary rhythm, she effectively portrays an older lady dependent on both church going and respect for the spirits of the past, and I don’t mean the Holy Ghost. She is most effective when cornered, angry and upset, which is most of the time.

I enjoyed the show and, having recently read “The Trees,” I especially liked the tangible comparisons in the material. If you’re going to be influenced, even if it’s subliminal, I can think of no better role model than Percival Everett.

Now playing at the Geffen Playhouse’s Audrey Skirball Kenis Theater through March 17. Performances take place Wednesday through Sunday, with matinees on Saturdays and Sundays. Run time is 80 minutes without intermission.

Geffen Playhouse, 10886 Le Conte Ave, Los Angeles, 90024 

Neely Swanson spent most of her professional career in the television industry, almost all of it working for David E. Kelley. In her last full-time position as Executive Vice President of Development, she reviewed writer submissions and targeted content for adaptation. As she has often said, she did book reports for a living. For several years she was a freelance writer for “Written By,” the magazine of the WGA West, and was adjunct faculty at USC in the writing division of the School of Cinematic Arts. Neely has been writing film and television reviews for the “Easy Reader” for more than 10 years. Her past reviews can be read on Rotten Tomatoes where she is a tomato-approved critic.

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Galleries in Downtown Los Angeles, Hollywood and Santa Monica will open their doors to art lovers and aficionados to provide them with the exclusive opportunity to experience some of the world’s most breathtaking and groundbreaking works and offer them the chance to hear from the artists themselves about the inspiration and intention behind their creations.

Navigating this treasure trove of awe-inspiring artwork sprawling across the Los Angeles landscape can seem overwhelming. I believe in art’s power to inspire and inform, transcend borders, nurture greater cultural understanding and appreciation, and build a more inclusive future for all.

First, you’ll need a quick recap of Frieze Los Angeles and Felix Art Fair. Then, you’ll need to check out these three must-see exhibits that fully embody that spirit of inspiration, innovation and connection.

Frieze Los Angeles

Frieze Los Angeles 2024, held at the Santa Monica Airport from Feb. 29 – Mar. 3, features over 95 of today’s most exciting galleries from around the world and promises to be a dynamic convergence of art, innovation and community. This highly anticipated event showcases the best of contemporary art from around the globe, bringing together a diverse array of established and emerging galleries, artists, and cultural institutions from the East and West and providing them a platform to connect and collaborate. From traditional paintings and sculptures to cutting-edge multimedia installations, Frieze Los Angeles delivers an eclectic mix of artworks that push the boundaries of creativity and challenge conventional norms.

Felix Art Fair

Felix LA runs Feb. 28 – Mar. 3 at the historic Hollywood Roosevelt Hotel and will feature artwork from 66 galleries along with a more relaxed, poolside vibe.

Felix Art Fair is deeply rooted in the local arts scene and is focused on supporting and promoting Los Angeles’ vibrant, diverse and creative artistic community. By showcasing the work of local artists and collaborating with local galleries and cultural institutions, the Felix Art Fair celebrates the region’s continuing artistic evolution.

Felix Art Fair focuses on inclusivity and accessibility and is dedicated to providing a welcoming space where both seasoned collectors and first-time art enthusiasts can explore and engage with the vibrant world of contemporary art.

Three Don’t-Miss Exhibits

For me, the spotlight this week will shine brightest on three hidden gems—pop-up exhibits being held alongside the official Frieze Los Angeles and Felix LA exhibits.

Two are amazing pop-ups in our own Beverly Hills backyard from Marc Selwyn Fine Art and Gemini GEL. The third is a remarkable pop-up in neighboring West Hollywood, the Mexican gallery OMR, which is curated by the incomparable Esthella Provas.

Marc Selwyn Fine Art 

Marc Selwyn has an incredible booth at Frieze Los Angeles. I am particularly fond of Frank Bowling’s beautiful painting on display there, “Towards Crab Island,” which was recently featured in his Tate retrospective.

In addition to his booth at Frieze, Marc is hosting a pop-up featuring Rodolfo Abularach, one of Latin America’s most distinguished masters best known for his dramatic close-up renditions of human eyes—an image that gripped the artist for two decades—at 427 N. Camden Drive in Beverly Hills. By appointment only until March 7.

Also on display will be Lee Bontecou’s “Untitled, 2001,” which depicts an exotic dragon-like animal and was featured in her Museum of Modern Art retrospective, along with a new puzzle work by Allen Ruppersberg, “25 Ways to Start Over (#20 Do a self-portrait)”, which will be featured in the artist’s upcoming show “25 Ways to Start Over” at Marc Selwyn.

Gemini GEL Gallery

The iconic print gallery, Gemini GEL, will feature pop-ups of 27 works at the Beverly Hills Hotel from artists including John Baldessari, Sophie Calle, Tacita Dean, Darryl Pottorf, Robert Rauschenberg and Ed Ruscha.

The Gemini GEL gallery, at 8635 Melrose Ave., will also showcase a special screening of Richard Serra’s “Notebook Drawings,” a series of eight new etchings by the artist, on  March 2.

To create this project, Serra referenced a series of eight drawings which he created in an intimate pocket-sized, notebook. These prints suggest the form and radiating heat of massive solid steel sculptures as they emerge from the forging process. All drawings appear spontaneous and likely were executed quickly and simultaneously, and the challenge in making the etchings was to capture that spontaneity and evoke the smudges of the charcoal drawings.

OMR Gallery

OMR’s pop-up, which is being curated by Esthella Provas, is exhibiting provocative works by artists Doug Aitken, Atelier Van Lieshout, Matti Braun, Pia Camil, Claudia Comte, Jose Dávila, Simon Fujiwara, Alicja Kwade, Tony Matelli, Jorge Méndez Blake, Ana Montiel, Gabriel Rico, Eduardo Sarabia, SUPERFLEX and Troika.

This exhibition explores how we relate to and unite with nature, placing it at the core of our experience in this world while also standing apart from it. The works presented reflect on our inherent human nature, which encompasses both the potential for control or destruction, and the capacity to hope and dream amidst unfolding ecological crises.

Comte’s “Celya” evokes the deep-rooted interconnectedness of our natural world; van Lieshout’s sculpture, “The Caretakers,” underscores the emotions that sets humans apart from animals; and Blake’s “In the Silence You Don’t Know, You Must Go on, I Can’t Go on, I’ll Go on”, which pays homage to the ambiguous ending of Samuel Beckett’s novel “The Unnamable” are just three examples of the wonderous work on display.

Now go out and have fun looking at art! 

Agnes Lew is East West Bank’s Head of Private Banking, resident art aficionado, and self-described “concierge” for all things artsy and fun. The East West Bank Collection features 79 major contemporary works from 38 artists who bridge gender, culture and ethnic backgrounds.

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I love the Independent Spirits because their mandate is to recognize diversity, innovation and uniqueness of vision. This is not so much an effort to be woke but to try and see what the mainstream media doesn’t. Economy of means is another criterion. Can you see every penny at work on screen? The budget maximum for movies competing for an Independent Spirit is $30 million, which sounds like a lot but not when you compare it to “Oppenheimer” ($100 million), “Barbie” ($140 million) and “Killers of the Flower Moon” ($200 million). You will, no doubt, marvel like me at what the Spirit-nominated films were able to accomplish on considerably less money, sacrificing neither production values nor, in some cases, star-driven casts.

Chosen by special committee, there is one award specific to the Independent Spirits, and that is the John Cassavetes Award given to a first feature budgeted under $1 million. Past winners, like Tom McCarthy, Mike White and Ava DuVernay have gone on to make an indelible mark on the industry.

That there are films nominated for both Academy Awards and the Independent Spirits make them, as far as I’m concerned, even more extraordinary. And many of the lesser-known independent films, by virtue of a nomination, will be picked up for distribution. I do have to say, sheepishly, that I’ll often look at nominations I’ve never heard of and roll my eyes. And so often I’ve been wrong. If the film was reviewed for the Courier, the date will be in parenthesis as will my vote.

This year I watched every movie and TV submission that was available to be screened. I found some worthy and exceptional films that I wouldn’t have seen otherwise. In a nod to expediency, I will pass on Editing, the John Cassavetes Award, Best Cinematography, Best Editing, Best Documentary and all 40 of the acting nominations. I keep wishing that Film Independent would find a better way to support gender inclusion other than lumping all actors together.

Best Feature 

“All of Us Strangers” (Dec. 15) is a dense, existential treatise on life and death and its intersection. With a cast of major British actors, Andrew Scott, Paul Mescal, Jamie Bell and Claire Foy, it’s definitely worth considering.

“American Fiction” (Dec. 22), nominated for multiple Oscars, was a truly wonderful character study that dared to delve humorously into family drama and racial stereotypes. (My vote) (VOD)

“May December” is the challenging story of a woman and her husband 20 years after they had an affair when she was his teacher, and he was a middle schooler. A movie is about to be made about the scandal, sending a major Hollywood star to their doorstep doing research for her role as the teacher. The cast includes Julianne Moore, remarkable newcomer Charles Melton and Natalie Portman, who brings a subtle malevolence to her role as the intruder. (Netflix)

“Passages” follows the breakup of a marriage when Tomas (Franz Rogowski) betrays his husband (Ben Whishaw) as he begins a passionate but ill-thought-out affair with a woman. I was unmoved by the actions and characters in this unconvincing threesome. (Mubi)

“Past Lives,” nominated for several Oscars, is a moving character study of a woman who left Korea as a child but held onto the memory of one special friend to whom she is still inexorably drawn. Bittersweet, this film is a lovely dissection of what it takes to become an adult, and how sometimes that path is interrupted in unanticipated ways. (Showtime)

“We Grown Now” is a lovely and sometimes harrowing story about two best friends as they navigate childhood, dangers and small joys under the cloud of the notorious Cabrini Green housing project in 1992 Chicago.

Best First Feature

Like last year’s entries, this is a category of surprisingly sophisticated films. For me, it was hard to choose just one.

“All Dirt Roads Taste of Salt” put me to sleep (seriously). Theoretically (remember, I fell asleep) this is the story of a woman’s life in rural Mississippi as told through cinematographic memories, all beautifully filmed and all impossible to follow chronologically. (VOD)

“Chronicles of a Wandering Saint” is the amusing tale of Rita who wants to gain sainthood at any price. In conversation with the spirits, she learns what she must do to ascend to the heavens. One false move, however, will keep her locked to this world forever in a form not of her choosing.

“Earth Mama” is a bleak look at what one single, pregnant mother must face while navigating what the state social service system demands of her. (Showtime)

“A Thousand and One” tells the story of one woman’s devotion to her child against a foster service system that would tear them apart (I’m sensing a theme here). Inez disappears into the wind with her son Terry, trying hard to provide the best for her gifted son. I guarantee you won’t guess the twist at the end. (Amazon Prime)

“Upon Entry” is the whole package. A young married couple has arrived in Miami from Spain, visas in hand. They are about to embark on a whole new life, one with endless promise. The only thing standing in their way is the customs and immigration officer who has pulled them aside for questioning that is grueling, tense and psychologically frightening. (My vote) (VOD)

Best Director 

Celine Song, who won the DGA Award for first time feature film, is nominated for “Past Lives” (my vote). Also nominated are Ira Sachs for “Passages;” Todd Haynes, “May December;” Andrew Haigh for “All of Us Strangers” and William Oldroyd for the very fine thriller, “Eileen.”

Best International Film

Not restricted to films submitted by their respective countries, this is a more competitive and interesting category than its counterpart for the Oscars.

“Anatomy of a Fall” (Oct. 13) (my vote) from France is actually Oscar-nominated for Best Motion Picture of the Year and “The Zone of Interest” (Dec. 8) is nominated for the International Film Oscar. “Godland,” a Danish film was unavailable to view; “Mami Wata,” a Nigerian movie with a supernatural aspect; and “Tótem,” Mexico’s submission about a family tragedy seen through the eyes of a child.

The Best Screenplay and Best First Screenplay nominations were full of worthy contenders. Those that were also Oscar-nominated were “The Holdovers”  by David Hemingson; “American Fiction” by Cord Jefferson (my vote); and “Past Lives” by Celine Song. Also nominated for Best Screenplay were “Birth/Rebirth” by Laura Moss and Brendan J. O’Brien and “Bottoms” by Emma Seligman and Rachel Sennott. For Best First Screenplay, the Oscar-nominated “May December” by Samy Burch and Alex Mechanik; “Theater Camp” by Noah Galvin, Molly Gordon, Nick Lieberman and Ben Platt (July 21); Tomás Gómez Bustillo for “Chronicles of a Wandering Saint;” Laurel Parmet for “The Starling Girl;” and Alejandro Rojas and Juan Sebastián Vasquez for “Upon Entry” (my vote).

Television

For the reasons mentioned above, I will not cover the performing categories.

Best New Non-Scripted or Documentary Series

“Deadlocked: How America Shaped the Supreme Court” is a lesson in the history of the United States illustrating how the more things change, the more they remain the same (my vote). (Showtime)

“Dear Mama,” the story of Tupac Shakur, a complex and inspirational young man who made a lasting impact and was gone too soon. (Hulu)

“Murder in Big Horn” is the story of Native American girls who go missing and are ignored by the criminal justice system. Not as urgent as it should be. (Showtime)

“Stolen Youth: Inside the Cult at Sarah Lawrence” is the fascinating story of a paunchy middle-aged man of no distinction who infiltrated his daughter’s dorm and recruited her roommates as his acolytes, spreading fear and loathing wherever he went. (Hulu)

“Wrestlers” is about a mid-level professional wrestling organization undergoing a change in ownership, as the stars, male and female, continue to try to make their marks and get to the next level. (Netflix)

Best New Scripted Series

“Beef,” the Emmy-lauded series, starts with a road rage incident and morphs into so much more. (my vote). (Netflix)

“Dreaming Whilst Black.” Clever, dry, substantive, it follows the adventures of a young Black would-be filmmaker who faces microaggressions every day from well-meaning bosses uninterested in hearing what he has to say. (Showtime)

“I’m a Virgo” is the fantasy tale of a 13-foot-tall boy who leaves the smothering of his concerned parents to experience life with kids his own age. Not my demographic. (Amazon Prime)

“Jury Duty,” already the winner of Best Ensemble, is about a fake legal case and its fake jury panel where everyone but one member is in on the joke, with actor James Marsden, in on the ruse, playing himself. One note, but it’s a funny one. (Amazon Freevee)

“Slip.” I must confess that I have no idea what this is about. Apparently, it’s on the Roku Channel and involves the fantasies of a bored wife. (I guess it wouldn’t be a show if she wasn’t bored.)

I can’t wait to see who wins. I wish I could say I was always in the vanguard but my record thus far is pretty poor. 

Neely Swanson spent most of her professional career in the television industry, almost all of it working for David E. Kelley. In her last full-time position as Executive Vice President of Development, she reviewed writer submissions and targeted content for adaptation. As she has often said, she did book reports for a living. For several years she was a freelance writer for “Written By,” the magazine of the WGA West, and was adjunct faculty at USC in the writing division of the School of Cinematic Arts. Neely has been writing film and television reviews for the “Easy Reader” for more than 10 years. Her past reviews can be read on Rotten Tomatoes where she is a tomato-approved critic.

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Constellation”

Jo has spent the last year in space on an international mission. On the cusp of their reentry to earth, disaster strikes and she must try to right the ship. One of the return capsules is inoperable, and she must decide who goes and who stays. All the commanders at headquarters are adamant that safety procedures be followed, all except the American, wizened NASA specialist Henry Caldera who has made it clear that the data from his experiment take first priority. Jo will be the one who must stay and try to repair the inoperable capsule. The experimental data is the least of her worries.

On the ground, waiting for the return of the astronauts are their families. Magnus, Jo’s husband, and their daughter Alice are made aware of the emergency. Magnus must try to remain positive for his daughter, all the while knowing how desperate and hopeless the situation actually is. His relationship with Jo was strained before she left and he must navigate fear, hope and foreboding as he reflects on their partnership.

“Constellation,” a psychological thriller, goes back and forth in time leading one to believe that Jo survives the disaster. But does she? What she remembers of the before and during may be in contrast to the before and after of her reality. Each episode peels away a different layer of truth that may or may not be absolute. The tension created as Jo tries to right her universe is tight as the viewer is left to try to discern what happens as Jo, with large gaps in her memory, tries to reconstruct her life. And what of that experimental data that was more precious than life to Caldera?

This multinational series is led by Noomi Rapace as Jo and James D’Arcy as Magnus. Barbara Sukowa is the Russian representative Irene Lysenko and Jonathan Banks plays Caldera.

Banks is the weak link in the cast as he plays his ostensible villain as one note. Rapace, known for her role as Lizbeth Salander in the Stieg Larsson films, is so good that it’s surprising she hasn’t had more starring roles outside her native Sweden. She, alone, is reason enough to tune in.

The cinematography by the trio of Yaron Scharf, Markus Förderer and Frank Lamm is out of this world, literally and figuratively. Writer Peter Harness has created a thriller that looks to and beyond international conspiracies.

Premiering on Apple TV+ on Feb. 21 with the first three episodes, dropping weekly on Wednesdays after that.

“Wild Cards”

A Canadian import featuring beautiful Vancouver as a backdrop, this procedural-comedy focuses on two outcasts, Max Mitchell, gorgeous scam artist who’s been arrested when caught in the act, and Cole Ellis, a detective who has been demoted to the maritime unit and now mans a boat in the harbor chasing marginal miscreants while his former cohort solves real crimes. In an odd pairing, Max and Cole come up with an unusual solution to catching a tricky thief who has been confounding the constabulary for quite some time. Impressed, the police commissioner offers them both a chance at redemption. Work together to solve whatever cases Chief Li assigns them, and she might dismiss the charges against Max and put Cole back on land. Max has never met a rule she didn’t want to break and Cole is a straight arrow who is the very definition of killjoy. This is TV. Of course, it works.

Nothing new here but the leads, Giacomo Gianniotti as Cole Ellis and Vanessa Morgan as Max Mitchel, are charming, easy on the eyes, and really deliver the comic timing necessary when working a well-worn path. Nothing new, nothing radical, just something to sit in front of the tube, eat popcorn, relax the brain and enjoy.

Now playing on the CW

“Mr. and Mrs. Smith”

Very loosely based (meaning all that’s left is the title) on the Angelina Jolie and Brad Pitt movie, the one that started them on the path to…well that didn’t work out, did it? Two strangers are hired by a mysterious spy agency offering them exotic travel, money enough to live well in Manhattan, and exciting, challenging missions. The catch? They must lose their former identities and are now Mr. John and Mrs. Jane Smith, a married couple who are assigned nearly impossible cases each week. Adventurous, good looking, hormones not exactly in check, they must try to ignore their mutual attraction to keep their eyes on the ball and not screw up because three strikes and you’re out.

Donald Glover and Maya Erskine are the strangers thrust into the eye of the emotional storm determined to be professional. That’s not going to last but then without the sexual tension to interfere with their work, there’s no story. Both Glover and Erskine are charming, good looking and essentially carry off their roles. I say essentially because the banter is so deadpan it often misses the comedic timing to keep it going. Glover, co-creator of the show, has a built-in following from his hit comedy “Atlanta,” and Erskine was one of the creators and stars of the cult comedy “Pen15.” Each episode features interesting guest stars who keep things moving.

“Mr. and Mrs. Smith” is a maybe. It’s not good or bad, just possibly indifferent.

Now streaming on Amazon Prime

“The New Look”

I was prepared to love this international series that chronicles the rebirth of women’s fashion in Paris after World War II. It’s a major disappointment to me that I didn’t.

French fashion before and during the war was personified by Coco Chanel and her iconic suit and perfume, Chanel No. 5, and the house of Lucien Lelong who employed or worked with many of the designers who would soon come to fame with their own lines, including Christian Dior and Pierre Balmain. Lelong was only able to keep his doors open by designing for the wives of the occupying Nazis. Chanel, on the other hand, kept her door open by sleeping with them.

Cutting to the chase on this overly long 10-episode series that goes from World War II until the early ‘50s, you will meet a hand-wringing, but remarkably bland, Dior; Lucien Lelong, who was not a designer but put out the collections of his talented couturiers under his name; a resentful Pierre Balmain who chafes at working for the stodgy Lelong; Cristóbal Balenciaga, who will come to fame later but is ever present here to provide exposition about the fashion trade; lots of Nazis, especially the duplicitous (isn’t that one of the definitions of a Nazi?) Hans von Dincklage aka Spatz; and Coco Chanel in all her underhanded, mean-spirited, collaborative, antisemitic glory.

This should have been terrific and thrilling. It’s not. A series about French couture shows remarkably little fashion, with the exception of snippets of what would become Dior’s signature pieces, the new look of the title. Instead, you get a lot of bad French accents and storylines that vary in intensity and interest. Rather than dwell on how unconvincing and occasionally melodramatic these episodes are, I will, instead concentrate on the two portrayals that you won’t want to watch in fast-forward mode.

Coco Chanel was a real piece of work. A self-made orphan who was a colossally bad businesswoman, she took stock around her and fell in with the conquerors when they offered her a better life than she was leading. She became the mistress of Hans von Dincklage, a Nazi spy, propagandist and attaché to the German Embassy in Paris. He offered her access to German high society in Paris, a suite at the Ritz and an offer to Aryanize her company from the Jewish Wertheimer brothers who owned it. She resented the up-and-coming designers working for Lelong and did everything in her power to put roadblocks in their way. One could actually say that her best years were spent in bed with the Nazis, literally and figuratively. Von Dincklage, or Spatz as Chanel affectionately called her lover, was a master manipulator with charm oozing from every pore. He was best at getting people to do things they didn’t want to do without resorting to the torture his cohort used against the French. Anytime either of these characters is on screen, and it’s often together, there is a spark that is missing from the rest of the show.

Ben Mendelsohn is a comatose Dior with a bad accent; John Malkovich, whose accent goes from awful to just bad, is actually fairly effective as Lucien Lelong, although he’s not gifted with writing that gives him appropriate character development; and Thomas Potevin, is a petulant Balmain without nuance. He’s French so his accent can’t be faulted. That leaves us with the fabulous Claes Bang as Spatz and the incomparable Juliette Binoche as Chanel. Each is so incredibly watchable that when they’re not on screen, you’re tempted to fast forward to their next appearance. My disappointment in the series was balanced by my delight in Binoche’s portrayal. Bang is an even more subtle villain than he was in “Bad Sisters.” I am a huge fan.

That leaves us pointing the finger at Todd A. Kessler, the creator. Kessler has great credits, having created “Damages” and “Bloodline” and was one of the lead writers of “The Sopranos.” Here, with the exceptions of Spatz and Chanel, he has not imbued his characters with nuance or discernable development. More’s the pity.

Now streaming on Apple TV+

Neely Swanson spent most of her professional career in the television industry, almost all of it working for David E. Kelley. In her last full-time position as Executive Vice President of Development, she reviewed writer submissions and targeted content for adaptation. As she has often said, she did book reports for a living. For several years she was a freelance writer for “Written By,” the magazine of the WGA West, and was adjunct faculty at USC in the writing division of the School of Cinematic Arts. Neely has been writing film and television reviews for the “Easy Reader” for more than 10 years. Her past reviews can be read on Rotten Tomatoes where she is a tomato-approved critic.

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Vibrant colors, verdant leaves, bees swarming, “The Taste of Things” opens on Eugénie digging in a garden for vegetables soon to grace the table of gourmands. Holding up carrots and celery root that she has just pulled from the earth, Eugénie scrapes away the soil, wraps them in her apron and walks back to the estate where she presides over the kitchen with Violette as her helper.

It is 1889 and after a short conference with Dodin Bouffant, the renowned chef, a rival to Escoffier and heir to Brillat-Savarin, author of “The Physiology of Taste,” and Marie-Antoine Carême who elevated French cuisine to new heights in the early 19th century, Eugénie lovingly begins the prep for that day’s meal to be served to Dodin’s entourage. She and Dodin work together, whisking, sautéing, searing, assembling the many courses that will be served. He carefully chooses the wines that will accompany the meal, wines specifically chosen for their harmony with the various tastes and textures of his meal. Although working side by side, the relationship is unclear. With Violette hovering in the background, washing utensils, fetching water from the well, cutting and chopping, it is Eugénie who is in charge; more than just the cook to Dodin’s chef who applies the finishing touches. It’s his estate; it’s his kitchen; he is the king of his realm but she is the consort without whom he cannot maintain his reputation. Subordinate to no one, she dresses like those she supervises. Looks can be deceiving. He invites her to participate in the luncheon; she declines graciously. His friends, all leaders of the village, are curious why she won’t join in the meal.

Who is she and what is her relationship to Dodin? She has been there for many years and understands things about the food they make that sometimes even surpass him. His eyes never leave her. When he asks if he might join her in her room that night, she flashes her Mona Lisa smile, asking him if she has ever denied him. But he asks. He always asks.

Dodin is mad about her and that relationship colors all activities. It is doubtful you will have ever seen food like this, even at the best three-star restaurant in Paris. This is French food at its zenith prepared by a master of the age. But it’s more than the food, its textures and the beautiful presentation that matches the taste. It’s a metaphor for love, attainable and unreachable; ethereal and yet grounded. Dodin and Eugénie have been dancing both together and around each other in the kitchen for years. She is his equal; she knows it and so does he. He craves everything about her and has the eyes of a starving man when she refuses to marry him. But Eugénie understands something that he doesn’t. He may be the master of all around him but he will never be the master of her. She guards her independence fiercely and he will have to come to her, not she to him.

Yes, the presentation of the food, its preparation, its service is enough to make a Vegan repent, but the undercurrent of artistry is all important. In a rather hilarious scene, Dodin’s reputation has attracted the attention of an Eastern Potentate who wants to show off his knowledge of gastronomy and the chefs he employs. A menu has been prepared for Dodin and his entourage that he thinks is fit for a king with course after course of food, exotic and otherwise, the opulence of each dish exceeding the preceding in grandeur and ingredients, a dinner that took 8 hours to serve. What the potentate and his chefs neglected to consider was how each course should follow a logical path that compliments the one before it; that texture and taste must meld together to create something delicious and previously unknown; that the most audacious meals are sometimes the simplest. To that end, Dodin has already decided what he will make for the potentate—Pot au Feu, boiled beef and vegetables. More treacherous than it sounds but exquisite in the right hands, like those of Dodin and Eugénie. This too is a metaphor for their love in all its complexity and deceptive simplicity.

And all the while, Dodin continues to court Eugénie, begging, cajoling, strategizing. Finally realizing that he must show fealty to the love of his life, he sets out to win her over with the commodity they both understand—food. He prepares a meal for her, laying the table with his best china and silverware, opening rare wines, and preparing dishes she’ll be unable to resist and serving it himself. Love for food and food for love. The seeming calm of this older couple belies the shared passion that is hidden beneath the surface. The comfort they find in their relationship is accentuated by what has grown over the years, unspoken but known. Dodin exclaims that he has finally won the love of his life when they are in the autumn of their years. Eugénie, eyes twinkling, proclaims that she lives eternally in summer for its heat, the colors, the bursts of sun on her face and the constant renewal.

The food always underscores life at the villa with the quiet, studied supportive relationships it nurtures. When Violette introduces her niece Pauline to Dodin and Eugénie, life in the kitchen bursts forth anew like the first sprouts of spring. Pauline has the rare gift of taste much like perfect pitch in a musician. She is someone that they can help blossom; perhaps someday in the distant future she might inherit Eugénie’s rare gift. Her wide-eyed appreciation for the simplest broths foretells a happy future.

Surprisingly, there is no musical soundtrack, with the exception of an excerpt of “Thaïs” by Jules Massenet at the end. What you hear and see is a cast whose movements are organically choreographed as they glide from one prep station to the next. They move to the melodic sounds of butter sizzling, meat being basted, the whisking of eggs, the grinding of salt, the scraping of chairs, the whoosh of fires being lit, the wind in the trees…this is all the music necessary to make this deceptively quiet film become operatic.

Starting slowly, the first 20 minutes or so are entirely devoted to the preparation of a meal in the classical French tradition. This beginning may draw you in if you love food or it might not if you don’t. Stay with it because there’s so much more than meets the eye, and believe me there’s already a lot for the eye to meet.

Tran Anh Hung’s cast is exceptional. Galatéa Bellugi, Violette, glides in the background effortlessly adding a dimension to the kitchen orchestration as an overlooked backbone to the smooth running of the operation. Her cinematic gift is to be invisible and fully present at the same time. Newcomer Bonnie Chagneau-Ravoire played Pauline as both naïf and otherworldly in her approach to food, allowing us to understand that taste is an art form unto itself. Always wide-eyed and attentive, Hung was especially entranced with how nicely she chewed; he positively salivated watching her chew. Pierre Gagnaire, the three-star chef of his eponymously named restaurant in Paris, plays a cameo as the potentate’s head chef. Behind the scenes, it was Gagnaire who prepared and tested all the dishes in pre-production that would be presented in the movie, making sure that they would film beautifully and be interesting. His former colleague of 40 years and recently retired, Michel Nave, took over on location.

Juliette Binoche, Eugénie, has that uncanny chameleon ability to melt into a role. It is her eyes, her fluid movement across the kitchen, the slightly upturned lips yielding a classic Mona Lisa smile. She is mysterious and yet almost an open book. In describing her, Hung said, “Juliette has unbelievable presence. Once she appears, everything becomes real,  interesting, moving…she brings to the character an interior strength that makes her resistance to Dodin’s desires all the more palpable.”

Benoit Magimel as Dodin is very serious, serious about his cooking, serious about his reputation, serious about Eugénie. Seemingly without humor, it is in his personal relationship with Eugénie that we see him blossom. Giving in to her needs and desires opens him up to grander possibilities than the food he presents to the world. The passion of the title is implied to be his love for food but, in the end, it is a passion for life itself, especially a life with Eugénie who has opened his eyes to possibilities. Magimel and Binoche, who, in the early 2000s had been married for a short time and had not acted together for almost 25 years, brought a chemistry and shared knowledge to their roles as a pair of lovers whose intellectual and artistic attraction has yet to be fully consummated. For the sheer joy of watching the two of them act out this universal tale of love, I could see this film over and over (and have already seen it three times).

In French with English subtitles.

Opening Feb.  9 at the Laemmle Royal. On Demand Feb.14, a perfect Valentine. 

Neely Swanson spent most of her professional career in the television industry, almost all of it working for David E. Kelley. In her last full-time position as Executive Vice President of Development, she reviewed writer submissions and targeted content for adaptation. As she has often said, she did book reports for a living. For several years she was a freelance writer for “Written By,” the magazine of the WGA West, and was adjunct faculty at USC in the writing division of the School of Cinematic Arts. Neely has been writing film and television reviews for the “Easy Reader” for more than 10 years. Her past reviews can be read on Rotten Tomatoes where she is a tomato-approved critic.

The post ‘The Taste of Things’—Very Good Indeed appeared first on Beverly Hills Courier.

Set in mid-18th century Denmark, Captain Ludvig Kahlen has returned to his homeland from the wars in Germany. A war hero, he has little to show for his service but a dream. Impoverished with a meager pension, he presents himself at court with a proposal. He would like the chance to cultivate some of the barren, unworkable land on the Jutland Heath, a pet project of the king’s. If he succeeds in growing crops on the land and attracts settlers to the area, he requests a royal title, an official deed to the land and a generous stipend. This had, in former days, been precisely what the king had offered to anyone bold enough to try to tackle that barren and forbidding area. But now, instead of an advance of funds or help in any other way, Kahlen will have to go it alone. The court’s cabinet is skeptical but gives an unspoken approval to the end result without any support in advance.

The stalwart Kahlen sets off for the arid heath with its dry soil, rocky undergrowth and forbidding weather. Kahlen, who has nothing, has nothing to lose and continues along his solitary path until he finds a patch of earth that, while not inviting, is not entirely unmanageable. This small patch of land is close to the estate of Frederik de Schinkel (the “de” was his addition to enhance his own aristocratic ambitions). De Schinkel believes himself to be master of all he can see and he sees Kahlen’s project as his. What he is unaware of is that Kahlen is illegally sheltering two of de Schinkel’s former indentured servants, Ann Barbara and Johannes, both hoping to escape the beatings and rapes that were among his characterizing qualities. But it’s not just de Schinkel that works against him, but also a group of Tater, the Danish equivalent of “Travelers” and their lookout, the very young Anmai Mus, a dark-skinned slave to the troop. Refusing to face defeat at the hands of bandits, he negotiates with them to join him in cultivating the land despite the illegality of their employment.

De Schinkel is a merciless and cruel landowner and his assessment of Kahlen is demeaning, although spot on. He recognizes immediately that Kahlen worked for his station in the army, earning the title of Captain after many years due to his work and bravery. He, on the other hand, was accorded the title of General almost immediately because of his family background without having to lift a finger. Kahlen, he surmises, was the illegitimate son of an indentured maid and the aristocratic lord of the manor. His army post was secured by his “father” to remove him from the estate. That he distinguished himself was to his credit but not to his fortune. De Schinkel laughingly assures him that he will never succeed because Kahlen naively believes that the world is logical; that reason rules the universe. Laughing, De Schinkel is amazed at Kahlen’s naivety. The world is chaos, he expounds, and chaos will dominate him no matter how many rules he puts in place.

Kahlen forges ahead despite the machinations against him. De Schinkel was successful in driving off the Tater, leaving Kahlen with only Johannes to help him work the land with Ann Barbara and Anmai Mus, who remains behind, to manage the household. Denmark, at that time, was one of the last Western European countries to abolish serfdom, a practice of indentured servitude that was still thriving on the estates of the Danish aristocracy in 1756 when this story takes place. The punishment for “breaking a contract,” as it was euphemistically called when a serf escaped his master, was torture and death. When Johannes is,  inevitably, caught by De Schinkel’s private army, Kahlen is “invited” to watch the punishment, an ode to barbarism, cruelty and arrogance. Ann Barbara, still in hiding on Kahlen’s land, will always remember this act of ruthless savagery and long for retribution.

But Kahlen will not be dissuaded from his dream and continues on. Despite the obstacles in his way, he succeeds in producing a major crop of potatoes, the news of which reaches the court. Soon a contingent of settlers arrives to help work the land. Despite this recognition by the court, Kahlen again finds himself up against an even more dangerous de Schinkel who employs a band of criminals to raid the encampment and kill at will. De Schinkel is proving correct about the chaos of life. But this isn’t life; this is war against an enemy without humanity. Kahlen, knowing that the one who organizes better wins a war of chaos, fights back.

Seeing through the facade of civilization that Kahlen is intent on establishing lies the arrogance and single-mindedness of an individual whose ambitions and desires hide a view of the world that allows for love, compromise and the needs of others. Yes, de Schinkel was right about one thing, life is chaos; it’s painful and often ugly but can also be beautiful and astonishing. Kahlen is relentless; de Schinkel cannot win. But what will be the cost? What do you win if winning is the only goal?

Arcel has, indeed, given us a cinematic epic in terms of scope and story. The cinematographer Rasmus Videbaek has made the barren, rocky, unforgiving earth a character in the film. He paints a picture of desolation so complete that you ache every moment Kahlen’s shovel hits the unyielding earth. The desolation we see resonates long after his camera moves to something else. Never has brown had so many variations, all of them miserable. His close-ups of Kahlen reveal every line and all the toughened leather of skin that has never enjoyed leisure.  He and Arcel have a longtime collaboration that seems knowing in the shots he films.

The cast is otherworldly. Melina Hagberg as young Anmai Mus is breathtaking in her range. In her first role, she is audaciously funny and heart-stoppingly sad, depending on the situation, when the camera focuses on her. Amanda Collin is Ann Barbara whose hopes and dreams are on a collision course with Kahlen. Stoic, silent, she uses her eyes to express the hope she feels with Johannes, the occasional disappointment with Kahlen, and the unbridled hatred of de Schinkel. She is, in many ways, the surprising driving force of the narrative.

Handsome Simon Bennebjerg is de Schinkel and you may never see a villain so vile, heartless and ugly. That there is little subtlety to his depravity is not a criticism. He is the very embodiment of everything that was wrong in Denmark at the time. His artistry is in showing the insecurity he feels in a society that will, in a few short years, abandon the Medieval practices on which he thrives. Serfdom, torture, corporal and capital punishment will be abolished and that will leave the de Schinkels of the world without a tether. He is a most delicious blackguard awaiting a comeuppance you long for.

Mads Mikkelsen, Kahlen, is a bona fide international star. Like Max von Sydow, who came to fame in Ingmar Bergman films in the ‘50s, ‘60s and ‘70s, Mikkelsen, his heir apparent, rose to fame in the 2000s. Like von Sydow, Mikkelsen embodies the quiet, strong Scandinavian stoicism made more vulnerable by his ultimate need for the others he’s eschewed. Mikkelsen says very little yet conveys every emotion, thought and action very effectively. Arcel noted that Mikkelsen will often cut dialogue he feels is superfluous to his actions. His high cheekbones and leathered skin speak to a life of pain. His face is our roadmap to understanding his character. His presence is magnetic and Arcel uses it to great advantage. Make sure to see “A Royal Affair,” also starring Mikkelsen and directed by Arcel. It will actually enhance your knowledge of this troubled era of Danish history but also underscore the symbiotic relationship these two artists have developed. Mikkelsen’s performance will be burned into your memory.

This, Denmark’s submission to the International Film category of the Motion Picture Academy, enters a crowded field but will be very competitive. Although not chosen as a finalist, this is a must-see film of consequence that will last beyond this awards season.

“The Promised Land” is one subject with countless meanings.

In Danish with English subtitles.

Opening Feb. 2 at the Laemmle Royal. 

Neely Swanson spent most of her professional career in the television industry, almost all of it working for David E. Kelley. In her last full-time position as Executive Vice President of Development, she reviewed writer submissions and targeted content for adaptation. As she has often said, she did book reports for a living. For several years she was a freelance writer for “Written By,” the magazine of the WGA West, and was adjunct faculty at USC in the writing division of the School of Cinematic Arts. Neely has been writing film and television reviews for the “Easy Reader” for more than 10 years. Her past reviews can be read on Rotten Tomatoes where she is a tomato-approved critic.

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Hyper Local Romance

The first Cipriani in California has opened on Camden Drive, bringing the Italian brand’s classic glamour, Murano chandeliers and Venetian dishes to Beverly Hills. Designed by Florentine architect Michele Bonan, it features polished wood interiors with sophisticated black-and-white fashion photography throughout the space.

Yes, you can order the world-famous Bellinis from sister property Harry’s Bar in Venice, the baked tagliolini with ham and fluffy vanilla meringue cake, but this location also features a Jazz Café with old Hollywood flair. The café is open Thursday-Saturday showcasing a grand piano, zebra-print fabrics and palm tree décor, while the main dining area is open seven days a week for lunch and dinner.

“We are very excited to open in the heart of Beverly Hills,” said Maggio Cipriani, fourth generation of the Cipriani family and President of Cipriani USA. “In an area that sees many prestigious art and entertainment neighbors, we are looking forward to serving local and international customers alike.” cipriani.com

Sushi Note Omakase is a hidden gem located on the lower level of the Rodeo Collection. The intimate 14-seat hideaway—decorated with imported wood from Japanese Hinoki trees—feels like a secret find on your walk through an alley in Tokyo. A two-hour dining experience includes exceptional imported Japanese market fish prepared by master Head Chef Kuninobu Saito. Selections can range from white shrimp with caviar to scallops with yuzu zest and black truffle salt. And, while you can order premium sake and even a rare bottle for $8,000, the team likes to pair the 20-course omakase meal with an in-depth European wine list. sushinoteomakase.com 

French winemaker and owner of Heritage Fines Wines on Canon Drive Jordane Andrieu has recently expanded to West Hollywood with a full-service European restaurant. Arden on Santa Monica Boulevard features an open-air dining and bar area surrounded by roses from the walls to the ceiling setting a romantic tone. Top entrees include lobster risotto with truffle, Champagne and edible flowers, but they are also offering a special three-course prix fixe dinner on Valentine’s Day, accompanied by a glass of Champagne and a rose. ardenweho.com

If you would like to keep the evening going, grab a nightcap just a few doors down at the intimate new bar Holy Water, designed by Thomas Schoos and co-founded by Woody Harrelson (who also co-owns The Woods next door) serving conscious craft cocktails with a kick. holywaterweho.com

Across the street from Cedars-Sinai Medical Center, Amour is a new brasserie on Beverly Boulevard that has several different dining experiences. Choose from an indoor tasting menu at La Salle à Manger, à la carte menus on Le Patio, or Le Jardin is another outdoor option.  Chef Dani Chavez-Bello’s (El Bulli, Bouley at Home) menus marry a mix of classic French dining such as traditional boeuf Bourguignon, and lighter options such as steak tartare, sole Meuniere or lavender duck breast. amourweho.love

Local Art Pursuits

For a truly unique outing with loved ones of all ages, Luna Luna: Forgotten Fantasy, located just east of the DTLA Arts District is the first-ever art amusement park. Originally conceived in Hamburg, Germany in 1987, the exhibit features rides, attractions, and interactive installations such as a full-size Ferris wheel by Jean-Michel Basquiat, a carousel by Keith Haring, and Enchanted Tree, a pavilion by David Hockney. Other iconic artists’ works on display include Roy Lichtenstein and Salvador Dali. This radical collaboration of artists from a wide range of notable art movements was transported to Los Angeles by Drake’s entertainment company DreamCrew. Lunaluna.com  

For an equally diverse dining adventure, head to Level 8 at the Moxy/AC Hotel just across the street from the Crypto Arena for a one-of-a-kind dine-around by brothers Jonnie and Mark Houston, who are known for quirky and clever nightlife themes around Los Angeles.

You can keep the carnival atmosphere from Luna Luna going with the Golden Hour carousel bar by the pool; then move on to Mr. Wanderlust cocktail lounge with a live piano player that rotates on a stage from behind the bar, and nibble on hot pots from Lucky Misu reachable by a secret entrance from the bar-lounge. The French-Japanese teppanyaki cuisine at Maison Kasai is overseen by Chef Joshua Gil (formerly Mirame in Beverly Hills) along with Mother of Pearl, an alfresco oyster and ceviche bar. South American live-fire grill cooking from Qué Barbaro and Brown Sheep Taqueria on the terrace are both helmed by Chef Ray Garcia. Sinners y Santos is a cathedral-inspired nightclub with a speakeasy entrance encased in golden skulls.  So, plenty of entertaining options and many are offering Valentine’s Day specials. level8dtla.com

Also downtown at the Convention Center, the LA Art Show will take place from Feb 14-18 with seven participating art institutions for their non-commercial platform, DIVERSEartLA. The solo projects, exploring the intersection of memory, humanity, and AI include MOAH’s “Repairing the Future,” from Osceola Refetoff, AAL Museum (Santiago, Chile) presenting “Be Water” led by contemporary artist, Antuan and Red Line Contemporary Art Center (Denver) presents Laleh Mehran’s Entropic Systems. www.laartshow.com

Closer to home:

The Skirball Cultural Center in Bel Air is showcasing “Common Ground,” a community-activated artwork by Los Angeles–based artist-in-residence Adam Silverman that celebrates American diversity and human connection through shared meals and collaborative installations.

With the help of over 100 participants, Silverman collected clay, water and wood ash from all 50 American states, and the five inhabited U.S. Territories (Puerto Rico, the U.S. Virgin Islands, Guam, American Samoa, and the Northern Mariana Islands). He then combined these materials to make a single, fully integrated, new material, to reimagine the country as a single, unified place. The result is a tableware set of 56 plates, 56 bowls, 56 cups, as well as 56 ceremonial pots, which are like one another in form, size and composition, yet each is intentionally unique—just like each human being.

In collaboration with foodways scholar Dr. Scott Alves Barton and supported by local chefs as well as Skirball’s Executive Chef Sean Sheridan, the cultural center will host a series of communal gatherings during this yearlong exhibition, bringing people from different communities together. “The only thing you need to do to be qualified to touch this work of art is eat. It is radically inclusive,” said Skirball Cultural Center President and CEO Jessie Kornberg. “Plenty of artists talk about engaging audiences. Adam literally brought hundreds of people together to make this work and now invites thousands more to be a part of the project through food and conversation.”  

Sheri Bernstein, Skirball Cultural Center Museum Director added, “In presenting ‘Common Ground,’ we hope to help bridge political, cultural and socioeconomic differences by bringing people together through the universal language of food.” “Common Ground” is free and open to the public, on display in the Ruby Commons, adjacent to Zeidler’s Cafe.  

skirball.org/museum/common-ground

At UCLA’s Hammer Museum in Westwood, “Only the Young: Experimental Art in Korea, 1960s-1970s,” is the first exhibition in North America to explore the groundbreaking shifts made by a generation of artists following the Korean War (1950–53). The exhibition features approximately 80 works across various mediums, including painting, sculpture, ceramics, photography, video, installation and film. 

Before or after the exhibit, you can dine alfresco at iconic food activist Alice Water’s first L.A. restaurant, LULU. The market-driven eatery led by long-time collaborator chef David Tanis, advocates for school-supported agriculture, and former First Lady Michelle Obama was an early guest for the rotating three-course prix fixe menu. You can also sit at the bar and order à la carte amid the tables of fresh produce and fruits that will likely show up in your garden lettuce salad or fruity cocktail. On Valentine’s Day, they are hosting a special prix-fixe dinner with Scribe Winery in Sonoma celebrating their newest releases, including the 2023 SCRIBE Rosé, paired with a 5-course menu.
hammer.ucla.edu/restaurant

Worth the Drive

San Ysidro Ranch celebrated its 130-anniversary in 2023 and continues with a new “Romance at the Ranch” package offering a four-course candlelit dinner, in-room Veuve Clicquot Brut Rosé, chocolate-covered strawberries, one dozen roses, along with a couple’s activities including horseback riding, bicycle rentals with a to-go picnic basket, an in-room wine tasting with charcuterie, or a couples massage with oils made from citrus grown onsite. You can also book the Kennedy Cottage where JFK and Jackie spent their honeymoon in 1953.

If you just want to go for lunch or dinner, The Secret Cellar is a new seasonally inspired tasting menu by Executive Chef Matthew Johnson taking place amid candlelit in the 14,000-bottle wine cellar. Right next door is the 1920s-style The Speakeasy at Plow & Angel where you can listen to live jazz music with a mix of libations named after famous speakeasies of the past. They also offer an interactive absinthe service with a traditional tableside fountain or rare flights including a bourbon tasting with Old Rip Van Winkle 10 Year, Van Winkle Special Reserve 12 Year, and Colonel E.H. Taylor.  

When you need a break on a drive from L.A. to Santa Barbara, consider stopping for a meal at newcomer Ox and Ocean inside Zachari Dunes on Mandalay Beach, an all-suites ocean front resort and part of the Curio Collection by Hilton. The restaurant is led by Executive Chef Damien Giliberti (formerly of Santa Barbara’s Finch & Fork), who incorporates flavors from American, Hispanic, and Asian cuisines with staples like beer-battered fish tacos with chipotle aioli, or eggs benedict with corn fritters and chipotle hollandaise. For Valentine’s Day, there will be a seafood paella and ribeye Tomahawk special. With Oxnard being famous for its local strawberries, the chef pays homage to the region with a signature strawberry hand pie dessert and an elevated take on a childhood staple pop tart with McConnell’s vanilla bean ice cream, and dulce de leche. An expansive indoor-outdoor bar sets the scene for the venue’s perfect sunsets and a selection of local beer and wine. zacharidunes.com

If you are driving down south to catch an early glimpse of the famous flower fields at Carlsbad Ranch, which had an early bloom this year, the Beach Terrace is a newly refurbished hotel right on the sand in the area known as the “Village by the Sea” just outside San Diego. The boutique 48-room property features an oceanfront Shorebreak Pool with firepits and is the only hotel in the area where you can fall asleep and wake up to the soothing crashing waves. Check out the “Celebrate Us” package for the long weekend with a gourmet gift box and other treats. beachterraceinn.com 

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“Obituary”

Hulu seems to keep delivering more and more new product. Some of it is terrific and some not so good. In the category of terrific comes the Irish series “Obituary.” Well-written and darkly hilarious, “Obituary” tells the story of Elvira Clancy (Siobhán Cullen), a smart, unemotional young woman living a dead-end existence in small-town Ireland trying to keep her drunken father Ward (Michael Smiley) out of debt and away from temptation. Automatically you know that’s not going to happen. Elvira has managed to get a job at the local newspaper, a tiny rag with a marginal staff. A talented writer, she is relegated to writing obituaries. When cuts must be made, her editor will only pay her per obituary. But this is a very small town and the deaths are few and far between. What’s a girl to do but create some work for herself. And before you can say “Erin go bragh” (“Ireland till doomsday”), the dead bodies begin to pile up.

While not dispatching those who deserve to die, Erin is struggling to maintain normal relationships. Her best friend, the very bosomy Mallory (Danielle Galligan), sets her sights on the one young man Erin fancies, Emerson Stafford (Ronan Raftery), a new hire at the paper who’s investigating the new rash of suspicious deaths.

Only two of the six episodes were released for review, I hunger for the rest. The humor is so dry it crackles, the acting is perfect with nary a wink wink, and the plots are inventive. I suppose the only thing to worry about is that eventually Elvira will run out of bodies. But then again, Oxford is still populated despite all the murders solved by Morse, Lewis and Endeavor.

Now streaming on Hulu.

“Reacher”

The second season of this series based on the character created by Lee Child has arrived and none too soon. The first season established Jack Reacher, former Army Special Investigations, as a lone wolf out to track the murder of his brother, a hero in a white hat if there ever was one. Trapped in a corrupt Southern town, he gets to the bottom of the how of his brother’s murder but not so much the why. Enter season two and Reacher is called back to work with his original squad. Someone is killing them off, one by one, in brutal fashion. When one of the originals, missing but with his fingerprints on everything, is suspected of selling out the others, Reacher’s mission is not just to stop the killings but also to clear the name of his protégé.

Starring Alan Ritchson as Reacher, a compelling actor despite his cartoonish bodybuilder shape. Think Arnold Schwarzenegger if he could act. His sly sense of humor keeps the storyline from getting too melodramatic. He is ably supported by Maria Sten, his right hand Frances Neagley, and Serinda Swan as Shaun Sipos, his love interest. Robert Patrick, who deserves better than to always be cast as a villain, is, nevertheless, a juicy bad guy in the guise of Shane Langston, head of security for a private defense contractor. The fate of civilization rests in the hands of Reacher. Based on “Bad Luck and Trouble” by Lee Child, it has been brought to life on the screen by master storyteller Nick Santora, a favorite writer of mine for too many years to count.

Now streaming on Prime Video.

“The Artful Dodger” 

For those of you familiar with Dickens’ “Oliver Twist,” you will remember the Artful Dodger, Fagin’s favorite pickpocket, hand trained to excel at the “art” of thievery. Young Oliver Twist was shanghaied into the criminal gang but was eventually rescued. Fagin was arrested and everyone else scattered to the four winds. In this creative reimagination, the Artful Dodger now lives in Port Victory, Australia under an assumed name, Dr. Jack Dawkins. He put those nimble fingers to better use when he apprenticed to a surgeon while on a ship crossing the ocean. He now practices his craft at a local hospital run by a dangerous quack.

Fagin, having escaped death by hanging in England, has landed in Australia and recognizes Jack right off the bat. He sees a world of glitter, money and jewels and is determined to continue his life of crime with his former protégé back at his side. Dr. Jack is less than willing and must find a way to extricate himself from the very sticky Fagin without endangering his present position. Making things more difficult for him is the arrival into his life of Lady Belle Fox, daughter of the Governor. Belle is an independent, determined young woman who has decided that she will be a doctor and that she will apprentice under Jack. There will be no arguing with her. Belle is extremely well-read and up on all the current medical research. Jack now finds himself between a rock (Belle) and a hard place (Fagin) and must navigate these treacherous waters.

“The Artful Dodger” is fanciful and often heart-stopping as concerns Jack’s future: fame or the gallows, no in between. The casting is as masterful as the writing is imaginative. Thomas Brodie-Sangster (“The Queen’s Gambit,”) is a charming and believable Jack. David Thewlis (Remus Lupin in the “Harry Potter” series) is the charmingly corrupt Fagin and Maia Mitchell (“The Fosters”) is a very charming Belle. Created and written by David Maher, David Taylor and James McNamara, they keep the dialogue crisp and moving.

Now streaming on Hulu.

“Monsieur Spade”

Sam Spade, you remember him, don’t you? He was Dashiell Hammett’s grizzled San Francisco detective in “The Maltese Falcon.” After a final meeting with Brigid O’Shaughnessy, the noir femme fatale of the above-mentioned caper, newly released from prison and on her deathbed, she makes him promise to protect her child, Teresa, a daughter who will inherit a not inconsiderable sum of money when she turns 18. He must also try to find her ex, Teresa’s ne’er-do-well French father.

Sam drops Teresa into a convent in the south of France, not far from where her father last lived. This being a sunny part of the world, he decides to stay, especially when he falls in love with Gabrielle, the beautiful owner of a vineyard.

Tom Fontana (“Homicide”) and Scott Frank (“The Wolverine”), a veritable dream team, have come up with one of the most imaginative “What Ifs?” Sam Spade was the very definition of the film noir anti-hero, so why not have him retire to Provence to escape the murder, mayhem and corruption of San Francisco only to be dropped into the middle of a deadly mystery?

Going backward and forward in time, we see his love affair blossom with Gabrielle and what happens when she dies and he’s left with her grand estate. Laconic, almost existential in attitude, Sam is totally self-focused. No matter, problems still find their way to his doorstep and none are more irritating than the attack on the convent where Teresa is living.  All the nuns were murdered when they would not reveal the location of a mysterious child in their care. Reluctantly, he is forced into the action. Teresa’s missing father, who may be hovering in the background to try to gain possession of his daughter’s recent inheritance, may be involved.

Clive Owen as Sam Spade is the personification of cool. Chiara Mastroianni is Gabrielle and Cara Bossom is the petulant Teresa. Adding to the potential appeal of the series is that it is a full mix of French and British actors, with dialogue in both languages.

The mystery at the root of this effectively noir atmosphere is a story that just doesn’t work. The pace is glacial, made even more so because it takes so long to get to its unsatisfying resolution. So much potential wasted with such a good cast. Truly a case of style over substance.

In French and English with English subtitles.

Streaming January 14, one episode per week, on AMC+ and Acorn TV.

“Criminal Record”

DC June Lenker is young, Black and trying to navigate her way up in the London police department; DCI Daniel Hegarty is white, powerful and soon to retire. An anonymous phone call from a terrorized woman claiming information about a man wrongly convicted of murder is about to change the lives of Lenker and Hegarty. The so-called innocent man was one of Hegarty’s cases from many years ago. Lenker is determined to open up the case; Hegarty will do everything in his power to prevent that. Intransigent, even in the face of new evidence, it’s his legacy being challenged.

Lenker finds more than enough indications that the suspect was railroaded without enough investigation because he was Black with a history of domestic violence. But there were others with similar backgrounds who were overlooked. Hegarty is adamant that race had nothing to do with it, despite indications to the contrary. He can’t have a young, aggressive woman digging into his files and he blocks her at every opportunity, something that makes her even more determined.

She has made a powerful enemy of Hegarty but fearlessly pushes ahead. He uses all of his connections to stall her upward path but still she goes on. Will justice be served? Or is that even in play when a case is closed and locked?

Creator Paul Rutman is interested in the disparity of power, racism and institutional failure. In many ways, he succeeds but often with a buzz saw rather than the scalpel that is needed. Luckily, “Criminal Record” stars Cush Jumbo as Lenker and Peter Capaldi as Hegarty, the Black and white of the scenario. Would that this interesting show had been more compelling. It’s not bad, it’s just not as subtle and interesting as it should have been.

Streaming now, one episode at a time, on Apple TV+. 

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Madeleine Keller, 92, has called for a taxi, a ride that will revisit her journey through Paris. It is Charles, morose, tense, suspicious, who answers that call. His life is a shambles, his romantic relationship is on the brink, and he is in debt so deep he risks losing everything. Although the trip will be a relatively lucrative one for him, across Paris, he’s still annoyed at the distance, the traffic and his passenger. Madeleine, with her preternaturally sunny disposition, is quite talkative. Her destination? The assisted care facility where she will play out the rest of her days after a fall at home made it necessary to give up her independence. She’s in no hurry to get there and asks Charles to make a detour. She’d like to visit the area where she grew up. Ironically, so did he. They marvel at the changes in the neighborhood but don’t linger. Still, it’s Madeleine who does all the talking.

“Do you remember your first kiss?” she asks. Charles, on edge and in no mood to reminisce, says no. Not to be deterred, Madeleine describes hers as if it occurred yesterday. She was almost 17 and the allies had just liberated Paris. GIs were everywhere. It was at a USO dance that she met Matt. Handsome, considerate, seductive, his lips tasted like honey. They had an intense, romantic relationship several weeks before he shipped out, leaving her forever but with a “present.” That present was her beloved son Mathieu. Even Charles can’t ignore how vivid and warm her memory is. He, on the other hand, has no memories. His life is cold and full of worry.

Undeterred, Madeleine requests another stop, a less happy one; the apartment she shared with her husband. Charles, whose glacial demeanor has started to thaw, asks what his kisses tasted like. Tight-lipped, Madeleine delays before saying they tasted like nothing. It was a sensation she would forever block out as she begins to recount the most difficult part of her life in flashback scenes.

Horrified by her story, Charles is unable to understand how such things could have happened. “It was,” she explains, “the 50s.” Women had only just been given the right to vote but could not make any financial decisions, open bank accounts or work without their husband’s permission. Divorce was unthinkable and domestic violence was not recognized as an issue. Charles’ heart slowly begins to melt. Peppering him with questions, he starts to reveal parts of himself and his troubles, anxieties he’s never shared with anyone.

Soon, at her request, he drives to another part of Paris and another memory. He begins, finally, to understand that this is her last hurrah. She is going somewhere from which she may not return and he becomes determined to ease her transition. She has entered his psyche and he sees her for the force she is. What she has gone through in life was unthinkable and yet, despite the hardship, she came through with the will to make her life and everyone’s around her a better place. His problems, enormous to him, don’t measure up to what she’s been through. One of her gifts to him is perspective.

That Madeleine shares her indomitable spirit is her present to all of us. And Carion knows just how to tell her story so that we are enveloped in the bonding of Charles and Madeleine and the understanding that sometimes the end is just a beginning. All centered in Paris, truly the city of lights, it is, remarkably, shot in a car, moving through the various neighborhoods. Certainly we get shots of Notre Dame under construction, the Seine, the Opera, Place Vendome, but this isn’t about them. What we see are the working neighborhoods, the corner cafes, the glorious boulevards unknown to tourists but holding adventure and vibrant theaters, both old and new.

Cinematographer Pierre Cottereau employed a cutting edge technique to make it look as though Charles and Madeleine were driving through Paris in real time. Most of their scenes were filmed in a car, but instead of the car moving through traffic, a platform truck carrying multiple high definition cameras traversed their route through Paris and transmitted those scenes, shot at different angles, back to screens that surrounded the cab allowing the actors to react to the scenery passing by. Paris, as always, is an important character in this movie.

As transformational as the camera technique was, it’s still a movie about relationships and character growth. Alice Isaaz plays the young Madeleine in flashback. She is engaging, sympathetic and relatable. Jérémie Laheurte as her husband Ray is a caged animal who has no place in her world, taking out his frustration and his sense of emasculation with his fists. He is a true villain but his performance shows the nuance of ignorance.

Line Renaud, a legendary French singer/actress, was the perfect choice to play Madeleine. Her eyes still sparkle, her voice is strong yet tremulous, she inhabits this character whose great gift is her realization that she lived the life she chose and has few regrets. Renaud has an inherent warmth that dominates the screen and her rapport with her co-star is enhanced by her personal relationship with him. They have acted together before and they bring their friendship into their roles. Dany Boon as Charles is a revelation. Known for his comedic writing and acting, his dramatic acting is fully nuanced, touching and intense without pathos. Most remarkable is the character development shown as Boon finds the depth in this hurt, restrained common man drowning in self-pity who finds a sentimental core.

“Driving Madeleine” earns every laugh and every tear. It is sincere and emotional without being maudlin, keeping your attention rapt as Madeleine’s story plays out. There are no false moments. This is a film to enjoy, reflect on, and watch again.

In French with English subtitles.

Now playing at the Landmark Pasadena and Sunset Theaters.

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Class, before we begin with chemistry there is an important lesson to be learned about adapting bestsellers. “Lessons in Chemistry” was my favorite, not one of my favorites, but my favorite book of 2022, a year of many terrific reads. My feelings were mixed when I read that it was going to be made into a TV series. Why mixed? I come from a TV and film background where books are optioned and adapted and sometimes even made. The sad but true proviso is that a book, once optioned for production, enters the realm of the adapter. He or she may then do whatever they choose to with said material. In some cases, the only thing remaining is the title. The buyer now owns the rights and can pick and choose whatever they want from the book’s substance, if anything. The moral of this story is to limit your expectations on the translation of your favorite books to the screen.

That being said, “Lessons in Chemistry” is enjoyable on its own. Yes, a lot of the original concept is still present, but there are new storylines and a number of characters have changed, some for better, some for worse. The villains transcend any gray areas into full black regalia. The good guys (and gals) are dressed in impeccable whites.

Elizabeth Zott (a pitch-perfect Brie Larson) is a brilliant and beautiful young chemist who was forced to leave her Ph.D. program under circumstances not of her own making. We are dropped into the stereotypic 1950s, an era when women were less than welcome in the workforce and certainly not in professional positions. Even female doctors and lawyers were expected to take a backseat to their male colleagues. But Elizabeth doesn’t have that doctorate so the best job she can find is as a lab tech at Hastings Laboratories. Treated with disdain, despite the fact that she often corrects the work of some of her ostensible superiors, she remains aloof from the politics and the pressure to hide her light under a lab bench. She knows who she is and will not allow the condescension of others to disrupt her life. Enter Calvin Evans, the star chemist at the laboratories, often mentioned in the same breath as the term “Nobel Prize.” Calvin (an endearing Lewis Pullman), considered an oddball by his colleagues, is strongly attracted to the intellectual attributes of Elizabeth. Their eccentricities dovetail nicely and their collaboration is both professional and personal.

Calvin lives in the West Adams district of Los Angeles, home to a large, but upscale, Black population. He is very close to his neighbors the Sloanes. Harriet Sloane (Naomi King) and her children are keeping the home fires burning while Dr. Sloane is finishing his military tour. Harriet is very active in local politics, trying to save her neighborhood from the “urban renewal” the City Council is proposing. They would like the new 10 Freeway to bisect the Adams district, and in the process destroy the homes in its wake. The choice of this area is not by accident or even expedience; it’s because it is Black. Along the way, as Elizabeth becomes more connected to Calvin, she also becomes connected to his neighbors, supporting their fight.

There are heartbreaks to overcome and mysteries to be solved, both chemical and familial, as Elizabeth is shoved on a new path toward a career in public television, a brainy Julia Child so to speak, and family dramas to resolve. Telling any more would spoil some of the fun of discovering this series as something unto itself. As an adaptation of a favorite book it is disappointing; as a new series with remnants of the Elizabeth of the book and new characters, it’s a success. My advice? Enter the world of “Lessons in Chemistry” without expectations and enjoy the ride for the interesting story it is on its own. Oh…and read the book. It’s a pleasure not to be missed.

Now streaming on Apple TV+.

“Slow Horses” —Braised to Perfection

“Slow Horses,” now in its third season, is based on the MI5 (British CIA) series of books by novelist Mick Herron, none of which I’ve read. The scene was set in season one, based on “Slow Horses,” part of his series about Slough House where dead duck agents are sent to languish forever in a purgatory from which there is no escape. Led by Jackson Lamb (a spectacular Gary Oldman), a misanthropic screw-up without apparent redeeming value, this less-than-intrepid group is offered crumbs from MI5 Security boss, Diana Taverner (Kirstin Scott Thomas wearing her disdain like a Chanel suit). These crumbs, however, are usually attached to the toxic realization that there is no likely solution and that embarrassment and failure are sent to them on a daily basis to prevent the actual agency from the taint of likely disaster.

You can almost smell the slovenly Lamb before he enters a scene. His stained trench coat could stand on its own without a hanger; his hair, so stringy and matted, makes you wonder if it’s ever been washed. Although Lamb is seemingly content with his exile, the other members would love a chance to return to the main office. Each of their so-called catastrophes may or may not have been fairly attributed to them, but forgiveness is a Sisyphean task.

Season 3, even better than the previous two, can be watched as a stand-alone. Based on Herron’s book “Real Tigers,” it ramps up the action and stakes considerably. A consistent rhythm has been found and the characters have grown appreciably. Complicating matters considerably is Lady Ingrid (the always intriguing Sophie Okonedo), Diana’s much-resented boss at MI5. The tension between the two is palpable and Ingrid will stop at nothing to move the dial even more in her favor. Working closely with corrupt State’s minister Peter Judd (an effectively slimy Samuel West), Ingrid is transparent in her hunger for higher office and need to undermine Diana’s department.

River Cartwright (Jack Lowden in a star turn), an agent who was originally set up for failure by his counterpart at MI5, the appropriately named ‘Spider’ Webb (Freddie Fox), is still haunted by the missteps that brought him to Slough House. Used again, and I am unable to divulge the plot for obvious reasons, he must find a way to dig himself out of his newest hole, one that might make his relationship with Diana even worse. Jonathan Pryce makes an appearance as River’s grandfather, retired MI5 nobility declining into the early stages of dementia.

Lamb, always the skeptic, finds himself actually caring about an outcome and agrees to ally himself with Diana, if only because he despises Peter Judd, and he prefers the enemy he knows, Diana, to the one he suspects is far worse, Ingrid.

As a little tweak to a plot I am reluctant to divulge, Sean Donovan (Sope Dirisu) is on a mission to avenge the death of his girlfriend, an MI5 agent killed by MI5 in Turkey. Collateral damage in his revenge is the stalwart Catherine Standish (Saskia Reeves who deserves better screen credit), a self-exiled member of Slough House.

The characters are there, the plot is complex and believable enough, and this third season, watchable as a stand-alone, is positively delicious.

Now streaming on Apple TV+.

“Culprits” —Aren’t We All

This very stylish heist thriller travels back and forth in time from the inception of the caper to its consequences. The stakes are immediately evident as the first episode zooms in on a man begging for his life, crawling toward the Ferrari in the driveway of his Italian estate. Asked by the masked killer for the location of Dianne Harewood, he’s shot point blank when he can’t answer. The who, what, where and why will unfold slowly, intricately and intriguingly in eight episodes.

Dianne, as we will come to learn, has planned her own version of the heist of the century and put together her dream team to execute it. Like Tarantino’s “Reservoir Dogs,” each member shall be known only by the name Dianne (aka Brain) bestows upon them representing their respective roles in the gambit—Fixer, Right Hand, Soldier, Officer, Muscle and Driver. It is Driver we see murdered; others will meet the same fate for the same reason.

The robbery is successful; the money each receives is the stuff dreams are made of. Each member of the team scatters in the wind, but it is on Muscle that the series focuses its laser beam.

Muscle, aka Joe Petrus, was the hired gun of a prominent London gangster. When an arranged “meet” is just a setup for a hostile takeover, Joe successfully dispatches the enemy and they both walk away. It was this derring-do that brought him to Dianne’s attention. But it is not “Muscle” or even Joe Petrus that we come to know; it is Joe Patrus, American, living an idyllic life in Washington State with his partner Jules and Jules’ two children. Joe, a stay-at-home dad, dotes on those kids and will sacrifice anything to keep them safe. But even small-town life in the Pacific Northwest holds its dangers for him, always with a racist undercurrent. All he wants is to settle into domestic tranquility so he will endeavor to fly under the radar as much as possible. Easier said than done. Life in the suburbs brings its own version of hell.

Soon the masked gunman will come for him and endanger everything he has built, including his family. There was more to the robbery than he, or any of the others, was aware of and it will be up to him to untangle this labyrinth of cause and effect to save Jules and the two kids. It will lead him back to London and the surviving team. He will be beaten, kidnapped, and placed in untenable situations by both the villain of the piece and Dianne.

Gemma Arterton as Dianne is stunning. Her sang froid is admirable and she makes even the unbelievable aspects of her character work. Eddie Izzard is the secret weapon as a villain embodying the banality of evil, when he’s not sanctioning torture.

But most importantly, Nathan Stewart-Jarrett is Muscle and the Joes. Handsome, electric, sympathetic, believable, it’s impossible not to concentrate on him. He plays the contradictions inherent in good and evil and he does it almost simultaneously. If he’s not already a major star, he should be. I ate this show up.

Now Streaming on Hulu. 

Neely Swanson spent most of her professional career in the television industry, almost all of it working for David E. Kelley. In her last full-time position as Executive Vice President of Development, she reviewed writer submissions and targeted content for adaptation. As she has often said, she did book reports for a living. For several years she was a freelance writer for “Written By,” the magazine of the WGA West, and was adjunct faculty at USC in the writing division of the School of Cinematic Arts. Neely has been writing film and television reviews for the “Easy Reader” for more than 10 years. Her past reviews can be read on Rotten Tomatoes where she is a tomato-approved critic.

The post What to Watch This Winter appeared first on Beverly Hills Courier.

On Jan. 12, TCM celebrated its 30th anniversary at The Four Seasons Los Angeles at Beverly Hills. The crowd of heavy hitters included Steven Spielberg, Paul Thomas Anderson, Warner Bros. Motion Picture Group executives Pam Abdy, Mike DeLuca, and David Zaslav, along with TCM Hosts Jacqueline Stewart, Ben Mankiewicz, Alicia Malone, Eddie Muller, and Dave Karger. 

On the same night, the cast of “Succession” met for a dinner at Spago in Beverly Hills to celebrate the previous weekend’s Golden Globes wins and to gear up for the festivities ahead. Emmy-winner Sarah Snook was signing autographs outside of the restaurant for eager fans. 

On Saturday morning, actress Ariana DeBose hosted a brunch at the Mandarin Oriental Residences in Beverly Hills to celebrate Eva Longoria’s directorial debut for Hulu’s “Flamin’ Hot” and her Casa Del Sol tequila. Guests included Jessica Alba, Julianne Hough, Diane Warren, Wilmer Valderrama and Henry R. Muñoz. Longoria, Warren, and Hough were also spotted immediately afterwards at the British Academy of Film and Television Arts (BAFTA) Tea Party at The Maybourne Beverly Hills. 

The BAFTA Tea Party celebrates talent, contenders, and members in the run-up to the EE BAFTA Film Awards in London on Feb. 18. The garden terrace of The Maybourne was filled with red roses, tea sandwiches, flowing Champagne, and plenty of star power from Leonardo DiCaprio, Emily Blunt, Julianne Moore, Carey Mulligan, Rosamund Pike, Mark Ruffalo, Willem Dafoe, America Ferrera, Fantasia Barrino, Greta Gerwig, Cillian Murphy and Paul Giamatti. Other television nominees, Critic’s Choice and Emmy award-winners enjoying the festivities included Brian Cox, Ayo Edebiri, Elizabeth Debicki, Maria Bello and Quinta Brunson. 

First-time attendee, comedian and actor Seth Rogen mingled and posed for selfies with fans. “The flower arrangements are incredible and the Brits dress very nicely,” he told the Courier. “It’s impeccable and, I will never turn down the invitation to somewhere that has little sandwiches, because I’m not crazy,” he quipped.

At the same time, the official Giving Suite at the 75th Emmy Awards Performer Nominee Celebration was taking place at the JW Marriot at L.A. Live downtown. The suite, by Karen Wood and her company Backstage Creations, offered presenters and nominees a selection of luxury goods, and also raised funds for the Television Academy Foundation. Attendees Angela Bassett, Geena Davis, Lorraine Bracco, Niecy Nash, Danny DeVito, Rhea Perlman and Kelsey Grammer all showed support, along with top vendors Lush Africa Safaris, MORITEK Beauty, Purdori Skincare, Yaamava’ Resort & Casino at San Manuel and more. 

To cap off the three-day weekend in style, HBO | Max held a post-Emmy reception at San Vicente Bungalows in West Hollywood. Emmy-award-winning cast members of “Succession,” “The White Lotus,” and “Last Week Tonight,” among others, noshed on Caviar Kaspia cones, Italian sandwiches by All’Antico and creative Jell-O Shots by Solid Wiggles. Many guests hit the dance floor late into the night with beats by DJ Este Haim and DJ Mike Taylor. 

The post Celebrating the Return of Awards Season appeared first on Beverly Hills Courier.

New, young and enthusiastic teacher Carla Nowak has been at the school a very short time but is already aware of the atmosphere of suspicion permeating the staff. Little, and not so little, things have been going missing at the school. Boxes of supplies, art materials and sundry other, seemingly unimportant but noticeable items have disappeared. Carla, knowing nothing of these illicit activities, does spot another teacher removing coins from the “honor box” by the coffee machine. The undercurrent in the teachers’ lounge is of dissatisfaction and mistrust led by two of the more senior teachers, Thomas Liebenwerda and Milosz Dudek, leaders in their own right (and maybe just in their own minds).

Carla has an easy rapport with her students. Respectful, she is even-handed and tries not to embarrass anyone in class who is struggling. That, however, all changes when those two senior teachers arrive at her classroom, asking to interview the two elected class representatives. The five of them go off privately, at which point Liebenwerda and Dudek begin to pressure the two students while a horrified Carla looks on. Money has gone missing and rumors are circulating that it is someone in their class. Before she can adequately get a handle on the tactics being used to bully the two students, the two senior teachers present a list of their classmates and ask them to single out anyone they think may be involved in the theft. Jenny states that she has no idea and wouldn’t want to guess. Lucas, however, succumbs to the coercion and, wanting to please, points to a name. He has pointed to the name of the Turkish student in class, Ali.

Soon, the principal, Dr. Böhm appears in Carla’s class, accompanied by henchmen Liebenwerda and Dudek, requesting that all the girls leave and that the boys place their wallets on the counter. It is only Ali with a wallet full of cash. A pall hangs over the room as Ali is escorted out. His parents, called to the school to discuss the ramifications of their find, are perplexed. Immigrants, still uncertain of the language and customs, they endure the politically correct explanations of Dr. Böhm about their zero-tolerance policy on rule breaking. But, his mother explains, she had given him that money to buy a game after school. Oh. Sorry. Well, back to class you go. Except there’s no going back now that a cloud of guilt hangs over Ali’s head, and it’s Lucas, the so-called well-meaning collaborator, who’s happy to fan the flames of doubt. Relationships are bruised and the fabric of trust among the students and the teachers has been frayed.

Carla must attempt to repair the damage as each student looks suspiciously at the others. Camaraderie has decreased and the tolerance for mistakes and differences is lessened. When Carla catches one student cheating on a quiz, something he vehemently denies, her easy-going geniality is tested as she publicly singles out the alleged cheater. Safe zones no longer seem to exist and the students all feel like targets.

Carla, recognizing the rifts in her classroom, including the ones she has created, decides to take things in hand by investigating the thefts herself. Her method is ingenious but extra-legal and the result is shocking. But the repercussions are greater than she could ever have imagined as she is suddenly turned into a villain and not a hero. The parents, blaming Carla, rebel against what they see as totalitarian tactics; the children turn on one another; and the majority of the teachers reveal the smug attitude of the righteous. And in the center? Carla, who believed her intentions were impeccable and geared toward supporting the students. Instead, she has unleashed a tsunami of collateral damage, much of it aimed at Oskar, a sensitive and brilliant student she has been nurturing. Oskar has been caught in the crosshairs of defending his family and relying on a teacher who had supported his individuality.

In his own way, Çatak has created a microcosm of society in general. The unjust accusation of one student was the thread that, when pulled, unraveled the entire sweater. Carla, in her misguided way to try and right a wrong, has disturbed the universe and unleashed a force that destroyed the delicate framework of trust that everyone assumed had existed. Alliances are formed, enemies created and the children who had previously relied on the guidance of the adults around them are without the mature protection of those they counted on.

In “Lord of the Flies,” William Golding illustrated the disintegration of society with his tale of shipwrecked boys on an isolated island fending for themselves. Eventually, without the underlying structure of adult supervision, the boys on the island devolved into destructive predators attacking the weakest link. In “The Teachers’ Lounge,” the seemingly responsible adults acting in the so-called best interests of the students, have shredded the structural anatomy of their small society. With a zero-tolerance policy, there is no shade of gray, only black and white. Accusations become fact and the most vulnerable are left to make sense of the world that has been destroyed in front of them. Truths become lies; rumors become truth.

Çatak’s universe, placid on the surface, is, in reality, chaotic and easily broken down. The production design highlights the ultra-modern school as a beehive, the outside of which is dominated by the clean, efficient winding staircases used by the students to navigate their world; at the core is a messy colony where the teachers are seemingly in control. When the interior eats at the exterior, the entire mechanism collapses.

Çatak’s view of the world in general is complex, rather cynical and laced with humor. Much like a boa constrictor, he lulls you into a false sense of security until he gradually sucks the air out of your lungs. His masterful cast makes this all more than believable. Michael Klammer is the believably odious and self-righteous Thomas Liebenwerda. He’s so convincingly cynical and obtuse as the teacher who’s been at it far too long and feels ownership where it doesn’t exist. Anne-Kathrin Gummich uses her stiff as a board carriage to communicate her infallibility, which is anything but. She’s every principal you’ve ever loathed, while at the same time admiring her ability to keep a leaky ship afloat. Leonard Stettnisch in his debut as Oskar is achingly real. He shows vulnerability, hostility and confusion with one glance. That kind of communication in one so young is a rare find. What makes it more amazing is that he was recommended for the role by his father, Michael Klammer.

Leonie Benesch as Carla, is a true star, having already been recognized for her roles in Michael Haneke’s “The White Ribbon” and the television series “Babylon Berlin” (watch it on Netflix, it’s terrific). She brings the naive vulnerability that only a young idealist can hold. She wears all her emotions on her face and she grabs you and makes you ache for every mistake she makes, and there are a lot of them.

This will be an exceptionally competitive year for the Oscar in the International Film category, but this one should make the cut. It’s as chilling as it is heartbreaking.

In German with English subtitles.

The film is now playing at the Laemmle Royal.  

Neely Swanson spent most of her professional career in the television industry, almost all of it working for David E. Kelley. In her last full-time position as Executive Vice President of Development, she reviewed writer submissions and targeted content for adaptation. As she has often said, she did book reports for a living. For several years she was a freelance writer for “Written By,” the magazine of the WGA West, and was adjunct faculty at USC in the writing division of the School of Cinematic Arts. Neely has been writing film and television reviews for the “Easy Reader” for more than 10 years. Her past reviews can be read on Rotten Tomatoes where she is a tomato-approved critic.

The post ‘The Teachers’ Lounge’—Nowhere to Relax appeared first on Beverly Hills Courier.

In 2024, the city is excited to welcome back two time-honored traditions: the Music in the Mansion series at Greystone and the Beverly Hills Art Show. In addition, the Wallis Annenberg Center for the Performing Arts has a packed slate of programming this spring and a new up-and-coming violinist fellow. 

First up is the Music in the Mansion series. Music lovers will be excited to learn that this enchanting event, which is now in its 30th year, will kick off in January this year instead of its typical late spring slot. 

The series will unfold over four magnificent weekends of music on Jan. 14, Feb. 11 and March 10. The first set of featured performers are the four-member Syrinx Quintet—consisting of an oboe, saxophone, clarinet and bass clarinet—and the two-member Duo Tinkerhess, which will play a cellist, viola da gambist, pedal harp and triple harp.

The event provides the community with the unique opportunity to take in the stunning beauty of Greystone Mansion and Gardens while enjoying a symphony of sweet sounds from some of Los Angeles’ best classical musicians. 

Tickets are $25 for residents and $30 for non-residents and can be purchased at beverlyhills.org/musicinthemansion. 

Those who can’t get enough of classical music will be happy to learn that The Wallis has recently selected violinist Kendra Sobania as the recipient of The Walter and Peggy Grauman Fellowship in Classical Music. Sobania, a Korean American musician originally from Minnesota, will benefit from outstanding tutelage and support at The Wallis as well as several live performance opportunities.

“The Walter and Peggy Grauman Fellowship in Classical Music not only recognizes outstanding talent like Kendra but also offers an opportunity for emerging musicians in Los Angeles to further excel in their careers,” said Executive Director and CEO of The Wallis, Robert van Leer. “We are excited to support Kendra as she grows and contributes her skillful expertise to the rich musical tapestry of our community.”

In addition to showcasing Sobina’s talents, The Wallis has an exciting slate of programming for the second half of its 2023/2024 season that offers a little bit of something for everyone. 

The additional programming, which takes place between Feb. 3 and May 11, features a unique lineup of music and dance, with highlights including performances by the Los Angeles Chamber Orchestra, Tony-nominated Jeremy Jordan and contemporary dance company A.I.M by Kyle Abraham.

“We’ve had an incredible start to the season already, and we are excited to share that the newly announced programming includes more leading choreographers and companies in the world of dance, a truly celebrated Broadway star, award-winning hip-hop music for, and with, children, and more classical music offerings,” said van Leer. “This continued array of programming brings with it more opportunities to engage new and returning audiences of all ages on our campus.”

A full calendar of shows can be found at thewallis.org/wallis_calendar.

Lastly, visual arts lovers will be pleased to learn that the Beverly Hills Arts Show has begun accepting applications for its 2024 season. The annual show, which takes place in Beverly Gardens Park, showcases the work of artists from around the world in a wide variety of mediums—from sculpture to painting, ceramics to glassworks, glass, jewelry, drawing and printmaking.

The Art Show is held the third weekend of May and October with participants selected by a fresh panel of fine arts professionals each year. 

Artists interested in submitting their portfolio for jury review should visit https://www.beverlyhills.org/departments/communityservices/beverlyhillsartshow/artistapplication/  

The post New Year Brings a Packed Calendar of Artistic Programming in Beverly Hills appeared first on Beverly Hills Courier.

Sylvia has just celebrated 13 years sober at AA and attends meetings religiously. This is her secret weapon of support and where we first meet her. Here she can be accepted, no questions asked. A single mother to daughter Anna, Sylvia is tense, uptight and anxious. Fiercely independent, they live in an apartment in a sketchy commercial neighborhood somewhere in Brooklyn. She meets her daughter every day after school and accompanies her home. Each time she enters the building, she looks over her shoulder, as you would also in that neighborhood, climbs the stairs to her apartment and upon entering, locks a series of bolts and sets the alarm. Something has made her this way. Take the hint when her refrigerator breaks down and a repairman arrives. She had asked for a woman and instead they sent a man. Reluctantly, warily, she allows him to enter because she can’t wait days for the one woman on staff.

Sylvia supports the two of them with her job working as a social worker at an adult day care center for physically and mentally challenged adults. Her acceptance of her charges, never patronizing, always straightforward, gives you important insight into her character. She’s caring, empathetic and willingly accepts people for who they are, not what they are supposed to be. In his own way, director Michel Franco has given a voice to a very marginalized group, seldom if ever seen on screen.

Rarely leaving her apartment for anything other than her meetings, shopping and work, she is reluctant to socialize. Probably through the constant badgering of her sister Olivia, Sylvia agrees to attend a reunion of alumni from their high school. Olivia, patient with her sister, prods and pulls and hand carries her to the party. What she is unable to do is get Sylvia to interact. There is a trigger here that we shall soon see is a key to who Sylvia is and why she cannot be more. When a somewhat sketchy man walks over and sits down next to her, she immediately rises, flees and heads for the subway. And so does he, close on her heels. Breathless, she arrives home, fastens all the locks and leaves him on the street, staring up at her apartment. It begins to rain. He doesn’t leave. The next morning she finds him under a plastic cover, alone, disoriented, almost comatose. Sylvia finds his identification and calls someone for help. His name is Saul and, as his brother and guardian, Isaac, tells Sylvia, he’s in the early stages of dementia. He probably won’t even remember why he is there.

But a connection has been made. Sylvia is sure he is part of her blemished past; Saul is as certain as a man with no memory can be that he knows her from somewhere. Isaac, sensing a connection, offers Sylvia an off-the-books job watching Saul at their brownstone, a neighborhood light-years from hers, socially, economically and emotionally. She accepts, but lingering not far from the surface, you sense her ulterior motive. On her first day with Saul, she takes him for a walk in the park and deliberately abandons him. But this isn’t who she is and she returns, eventually finding him and confronting him with what she is certain she knows about him. With a blank, perpetually pleasant smile, he apologizes if he harmed her, but he doesn’t recall. Sylvia’s memory of events, shaded by trauma, is almost as unreliable as Saul’s. She returns to Isaac and takes back this second gig, one that affords her and Anna a few luxuries that they couldn’t afford otherwise.

The mastery of director/writer Michel Franco is that all of this takes place at the very beginning of the film. Within 15 or so minutes, we know most of the why about Sylvia; her relationship with her daughter that is loving but restrictive based on past personal experience; the supportive role that Olivia plays in the lives of her sister and niece; Isaac’s guardianship; and Saul, the true cipher who can probably not tell you he was at the school reunion or how he got there but can tell you about the love he had for his deceased wife and long past experiences lost to others but not to him.

Brilliantly non-expositional, Franco has almost instantly freed his characters to grow into a present-day relationship that expands all of them. There is much to explore and Saul and Sylvia develop slowly into a mutual support network. The man losing his mind and the woman who is trying to find hers again grow together, never allowing the foreseeable end to stop them. But while they won’t allow that inevitability to stop their mutual support, others around them are not so accepting. Sylvia’s years of working with what others would consider the unworkable, is gifted with living in the present with those she helps. That she cannot, herself, live in the present is her tragedy. That Saul opens that door for her is his gift. Sometimes gifts come from the least expected directions.

The plot, while not exactly simplistic, could be summed up rather straightforwardly: two of society’s outcasts find each other and grow in directions that are both surprising and mundane. But this isn’t really about story. Story, here, is only a portal to the character development of Sylvia and her ability to face her demons and courageously slay an emotional dragon while bringing along her supposedly more successful sister in her draft. It is about what it takes to be brave and learn not to flee in the face of trauma, past and present. That Franco has used Saul and his dementia as a conduit to Sylvia’s self-awareness is remarkable.

Dementia is little understood. Saul’s illness could have been externally caused by trauma to the brain or it could be part of a genetic inevitability. It is different for each individual which is why there can be no hard and fast assumptions. Is Saul’s realistic? Who knows? Does it matter? It shouldn’t. Characteristically, many long-term memories remain embedded but short-term memories are fleeting. It’s why my mother could remember slights from childhood but couldn’t tell you what she had for lunch or even if she’d had lunch. Saul keeps a notebook for present-day memories and Sylvia is part of that notebook. But she is also embedded as part of long-term impressions because she reminds him of his late wife.

The source of Sylvia’s trauma and alcoholism are both different and similar to Saul’s dementia. Saul cannot remember; Sylvia cannot forget. There is nothing Saul can do about this but Sylvia must find a way to confront her demons, inextricably tied to her relationship with her mother, and move forward. She is on that path.

I was unacquainted with the work of director/writer Michel Franco. Explaining the way he works, he allows for much improvisation and collaboration with his actors. His screenplay, he explained, is a blueprint or jumping-off point. The actors are very much part of the story process and he remains open to their interpretation. His methods are novel because he is the writer, director, editor and producer. He and cinematographer, Yves Cape, work chronologically through the script. This is highly unusual because most scripts are broken down into convenient scene groupings. For Franco, filming the script in the order it is on the page is like filming a play, focusing on the words and the immediacy of the emotions. Hearing him describe his process allowed me a window into his depth of focus. The transition between scenes is very naturalistic and contributes to the buildup at the end.

The casting is exceptional (hats off to Susan Shopmaker). Brooke Timber as Anna is by turns mother and daughter to her mother Sylvia. Left primarily in the dark about her mother’s history, Timber’s strength was her ability to unwind and grow in front of us. Josh Charles plays Isaac, Saul’s brother. The legal guardian of his brother, Charles is able to convey the kind of protective compassion that is anything but. He goes from sympathetic to callous in the blink of an eye. Jessica Harper as Samantha, Sylvia’s mother, comes in like a gentle breeze and leaves like a destructive tornado. Her chilling performance here is a reminder of how missed she’s been on screen.

Merritt Weaver, Olivia, is one of today’s most formidable character actresses with a slew of awards to show for it. That she was able to pivot from saintly to complicit and back again is a tribute to the subtlety of her acting. She has always been a favorite of mine (“Nurse Jackie,” “Godless,” “Unbelievable”), and her mere presence enhances every scene she’s in.

Peter Sarsgaard, Saul, is a revelation as he navigates the portrayal of a man with an ambiguous disease. He effortlessly glides between cognizance and the incompetence brought on by a poorly understood disease. He plays his dementia as coming and going and coming again with a sweet incongruity that straddles the two. He has, like so many with dementia and/or Alzheimer’s, the sadness of realization and the contentment of incomprehension. He brings an inherent sympathy to all his roles.

Jessica Chastain as Sylvia is remarkable. Her ice queen demeanor, sprinkled with fear, is fragile and understandable, while at the same time incomprehensible. As a character, she shows the most growth, always maintaining a protective distance. An actress whose roles have been incredibly diverse, this may have been her most challenging and, in some ways, most fully realized. Her Sylvia gradually envelopes you in her trials and brings you fully onto her side, making her growth all the more extraordinary.

Now playing at the AMC Century City, opening wide on Jan. 5.   

Neely Swanson spent most of her professional career in the television industry, almost all of it working for David E. Kelley. In her last full-time position as Executive Vice President of Development, she reviewed writer submissions and targeted content for adaptation. As she has often said, she did book reports for a living. For several years she was a freelance writer for “Written By,” the magazine of the WGA West, and was adjunct faculty at USC in the writing division of the School of Cinematic Arts. Neely has been writing film and television reviews for the “Easy Reader” for more than 10 years. Her past reviews can be read on Rotten Tomatoes where she is a tomato-approved critic.

The post ‘Memory’ Not Forgotten appeared first on Beverly Hills Courier.

Here, he gives us Paris in the 1930s lovingly displayed at her best. Beautiful young actress Madeleine can’t get a foot in the door. She and her best friend Pauline, a lawyer without a case, share a cold water flat in a marginal neighborhood and are behind on the rent. They have flirted their way out of eviction for the last time, the landlord warns, and they have just a few days to come up with what they owe. Madeleine’s audition with a producer of a hit play may save them yet.

Alas, a very disheveled and upset Madeleine returns to the apartment, hair a disaster, blouse ripped, stockings run, gasping for breath. The producer was a pig. The only way she could have a bit part in his play was if she would sleep with him twice a week at his secret bachelor pad. To escape his clutches, she shoved him into a table and ran out. How will she ever get the rent money, let alone be able to support her slacker boyfriend André? But the horrors continue when the police arrive on their doorstep. The producer is dead and she was the last person on his schedule. Dragged away to jail, she is interviewed by Judge Rabusset who will be in charge of the case. With Pauline at her side, Madeleine tries to explain that she didn’t kill him, or if she did, she didn’t mean to. Rabusset is having none of it and lays out all the possible scenarios and in all of them she’s guilty. Conferring with the innocent Madeleine, her first client, Pauline advises her on a risky course of action in which she will plead self-defense and defend herself to what will be an all-male jury who will, no doubt, be swayed by her superior acting, pitiful story and especially her beauty.

Long story short, and this is really not much of a spoiler, Madeleine gets off and becomes a cause célébre throughout Paris. Her acting career takes off and she is cast in the dead producer’s play after all, not as a bit player but as the lead. Everywhere she goes, she’s showered with attention. Winning the case has also jumpstarted Pauline’s career. Alas, the collateral damage is her affair with André because now his rich, industrialist father will never agree to their union. Actresses are bad enough but Madeleine is a confessed killer. Still, life is pretty good at this point until…Odette Chaumette arrives on the scene. Odette was a major star of stage and screen during the silent era but has aged out of everything except her ego. She is on the cusp of throwing a very large monkey wrench into the pair’s newly acquired fame and fortune.

Ozon, writing with Philippe Piazzo, adapted the 1934 play by Georges Berr and Louis Verneuill called “Mon Crime.” This is Ozon’s sly tribute to “#MeToo.” His women are smart, cagey and fascinating. Most of the men are willing pawns, some more so than others. He has populated his screen with a panoply of living legends intermingled with some of the stars of tomorrow, all of whom are able to pull off the difficult timing of this farce. Doors open, doors slam shut, sight gags are tossed freely, identities are mistaken, disaster is always imminent, conversations are misinterpreted with malapropisms thrown in at will. The dialogue is clever and is always time-period perfect but interjected with feminist sensibilities that blend in perfectly.  There are no real villains in the piece, but those who wish ill of our two young leading ladies will rue the day.

Madeleine and Pauline, our young heroines, are played respectively by Nadia Tereszkiewicz and Rebecca Marder, a member of the Comédie Française. Nadia is a terrific foil for all the men trying to take advantage of her; Rebecca, with her sly delivery, keeps things moving for the two of them. Édouard Sulpice plays André Bonnard, the slacker boyfriend. Although a relatively minor role, he really sells his unmotivated rich kid, unwilling to do anything for a dime other than live off the meager earnings of his girlfriend. That he is willing to marry someone else for money so that he can “keep” Madeleine is not an irony that is lost on her.

Fabrice Luchini, Judge Rabusset, is a beloved and lauded television, film and theater actor little known on this side of the world but a major star in Europe. His timing is pitch perfect and he really delivers as the pretentious, know-it-all but befuddled judge who trips over everything including his tongue and cheek. Dany Boon as the wealthy Fernand Palmarède is the good friend, bailing the two girls out of trouble over and over and never asking for anything in return. Boon, one of France’s leading comedy actors and writers, cashes in on his screen persona as a nice guy, sometimes misunderstood, but always forgiving.

André Dussolier, Mr. Bonnard, the rich industrialist, has been a star since the ‘70s, going back to “And Now My Love” directed by Claude Lelouch. He has segued brilliantly from young romantic leads and feckless youths to the fathers of the romantic leads and feckless youths. Villain or hero, he adds just the right amount of empathy so that you never completely hate him. Whether in the lead or in support, he steals every scene as we watch his tough exterior gradually give way both appropriately and inappropriately to the lovely Madeleine.

But the coup de grace in Ozon’s casting is Isabelle Huppert. She is a force of nature, generous to those with whom she is working but dominating every scene, and rightfully so. More known for her dramatic roles, her comic timing is impeccable (watch her episode in “Call My Agent” for a preview). As is true with everyone in this movie, the comedy is played straight, with no knowing glance to the audience, no broad strokes. She cuts through her scenes with a scalpel. From the moment she enters, she’s front and center even when not on screen. The authority of her character changes all the dynamics previously in play. And of course, there’s her timing and withering glances. Part of what makes her great is the humanity that lurks below the surface. Her Odette is hilarious but also human. She is Norma Desmond in “Sunset Boulevard,” humanely played for laughs, one short step away from the madness.

I had so much fun watching this film (twice) for the Paris locations as filmed by Manu Dacosse; the period-perfect costumes by Pascaline Chavanne; the production design by Jean Rabasse that captured the Art Deco style of the era; the actors I recognized, and even those that I didn’t; and the smart dialogue and situations that flew off the screen. The only criticism I have is that the text in the end credits, explaining what happened to the characters, wasn’t translated into English. Those tongue-in-cheek captions were an absolute highlight.

In French with English subtitles.

Now playing at the Laemmle Royal.  

Neely Swanson spent most of her professional career in the television industry, almost all of it working for David E. Kelley. In her last full-time position as Executive Vice President of Development, she reviewed writer submissions and targeted content for adaptation. As she has often said, she did book reports for a living. For several years she was a freelance writer for “Written By,” the magazine of the WGA West, and was adjunct faculty at USC in the writing division of the School of Cinematic Arts. Neely has been writing film and television reviews for the “Easy Reader” for more than 10 years. Her past reviews can be read on Rotten Tomatoes where she is a tomato-approved critic.

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We first meet Monk, a Black literature professor, no doubt the only one, at a small Los Angeles private college where he’s fruitlessly teaching a seminar to an elite, primarily white (obviously) group of students, well-versed in the woke politics of today. The topic?  Flannery O’Connor and her controversial short story entitled “The Artificial N****r.” A white student in the class objects strenuously to the topic and especially the title of the book. It is a trigger for her. She sees no reasonable explanation for why she should have to look at or say that word. As the Black Professor Ellison expresses it, “If I can get over it, so can you.” Out of class she storms and into the frying pan goes Ellison, called on the carpet by his chair and two other members of his department. Their reasoning for making him take a forced leave of absence ranged from political correctness to jealousy over his national reputation as a novelist (who hasn’t published in years). Go to the Boston Festival of Books, the chair says, participate, visit family and think over the ways to repent for sins, real and imagined. The Festival is a disaster. His panel is sparsely attended because everyone else is at Sintara Golden’s talk about her current bestseller, “We’s Lives in Da Ghetto.” Particularly galling is the fact that one of the reasons his agent is having such a hard time selling his books is because they aren’t “black enough.” Not black enough? It’s a book written by a Black man. Why doesn’t that make it a Black book? But hearing Sintara Golden read from her “Black” book, his blood starts to boil. Is that how people see the Black experience? Ghetto, drugs, poverty, violence, hopelessness, and, worst of all, really bad conversational speech and grammar?

Black experience? He’ll show them the Black experience! And he sits down to write a Black book to end all Black books with every stereotype known (and some that aren’t) written as poorly as an entry to the Bad Hemingway Contest (aka the International Imitation Hemingway Competition) whose motto followed Hemingway’s own assessment “The step up from writing parodies is writing on the wall above the urinal.” Satisfied with the level of irredeemable rotten prose that he’s composed about a drug dealer wanted by the FBI for a murder he may or may not have committed, he submits it to his agent who is appalled. If publishers rejected his last, well-written and thoughtful tome, then they should love this one Ellison posits sarcastically. Send it off pseudonymously, he insists to the agent. This book is the antithesis of true Black life and it will be rejected post haste, or at least that’s what he and his agent believe. And that’s the point. Surely someone will see this for the stereotypic, poorly conceived, badly written schlock that it is. The title? “My Pafology.” The submitted author? Stagg R. Leigh. How will anyone miss the horrendous spelling and hilariously undisguised name? (If you don’t know the ballad of Stagger Lee, look it up, but to give you an idea of this barroom brawl: “Stagger Lee went to the barroom and he stood across the barroom door. He said, nobody move and he pulled his Forty-four.”)

As the book is making its way to publishers’ desks, he’s on his way for a reunion with his family, something almost as painful as writing trash. Monk has been conspicuously absent from all things Ellison for years. The Ellisons are an accomplished lot, a stereotype in their own way. Father was a gynecologist, sister Lisa followed in his footsteps and brother Clifford is a plastic surgeon living in Phoenix. The American dream visible on the surface covers a more than typical family drama. Mother, Agnes, is in the early stages of dementia and her care has fallen on Lisa, the only one living in town. She’s recently divorced and had to sacrifice half her assets and half her practice in the settlement. Resources are slim and Monk’s arrival is propitious. Clifford’s life has recently blown up as well. His wife caught him in bed with another man and has taken everything including the kids and left him broke. He’ll not be donating anything to the cause. Of course, there are the longstanding resentments. Monk was their father’s favorite; their father was a philanderer who neglected his wife; Agnes is in denial; and Clifford dabbles in any drug he can sniff up his nose, and the rent boys at his beck and call. In a telling exchange, Clifford wishes that he had come out to his father. Surprised, Monk states that their father would never have approved. Yes, he knows that, but at least his father would have rejected him for who he really was rather than just rejecting him for who he thought he was.

And then the news arrives that really upends Monk’s life. A top publisher is offering an obscene amount of money as an advance for this book of “The True Black Experience” and they’d really like to meet Mr. Leigh. Horrified, Monk’s first reaction is to refuse the money and bury the book. His agent, however, sees all the advantages —the money far outweighs the lie. Besides, won’t he accomplish his purpose by pulling the wool over everyone’s eyes; and then there’s the money. Money, a refrain that bears repeating. Ellison, a more than principled man, something that he has always taken to extremes, is horrified; but then there’s the money and his mother’s care will be expensive. Perhaps there’s a way to moralize this immoral situation. And he does, but always looking for the way out.

As is always the case, Hollywood comes calling in the form of exploitation producer Wiley, he of the lowest common denominator, offering an even more obscene amount of money. Bit by bit, piece by piece, Monk’s life becomes more complicated by the obvious hypocrisy of accepting money for something that was meant as a thumb to the nose. Never a man open with his feelings, he begins to close in on himself ever so much more, something that doesn’t bode well for a new romantic relationship. And as the book, rushed to print, becomes a bestseller he is positively despondent. But more complications are yet to come and that is for me to know and you to find out.

Everything in this movie, a parody, even if so many things weren’t true, relies on the real to make the phantasmagorical plausible. So much of the exaggeration is just that—a stretching of what can and does happen every day. Wouldn’t a publisher see beyond the hyperbole? Not if they smell money. And there it is again…Money. Hollywood does offer obscene sums for options, perhaps not that much but again, this is all hyperbole. And all is grounded on the background of a normal family, normal that is if the kids were all M.D.s or Ph.D.s with a beautiful home in Boston and a summer “cottage” along the Massachusetts shore. Sibling rivalry, dementia, academics, professional rivalry, they happen to everyone, so it is to Jefferson’s credit that he is able to present his thesis of invisibility or, more precisely, offensive expectation within a family drama with characters far more fleshed out than the media types he satirizes. Everyone, down to the publisher’s assistant, is pitch-perfect and contributes to the belly laughs and the sadness that will be felt almost simultaneously when watching this film. Yes, it’s all very exaggerated, but I warrant if you asked any person of color, much of this will ring true. I hope you can see the truth in it as well. Although I haven’t read the underlying work, it is a world that Percival Everett, a Distinguished Professor at USC in the English department, would have known quite well.

In what are called small but pivotal roles you have the formidable Keith David, a figure of Monk’s imagination who embodies one of the characters in his horrible novel. Issa Rae plays Sintara Golden with the serious demeanor of someone who has rationalized her exploitative writing as having been well-researched, as though that is enough of an excuse to sell one’s soul for market profits. Adam Brody is the Hollywood producer who is a true aficionado of schlock and knows a winner when he sees one. In many ways, he is the link between what is real in Monk’s eyes and what is not. John Ortiz plays Monk’s agent with a mix of indignation and horror that shows that there may not be such a wide gulf between art and selling out as he had previously convinced himself. The always terrific and too underused Miriam Shor has a field day as the publisher who, with a straight face, extols the virtues of “My Pafology” as a work of art, while blinded by the color green (of money). She is nothing short of hilarious as she interacts on the phone with a horrified Monk, disguising himself poorly as Ghetto.

Members of the family play like the royalty they are. Tracee Ellis Ross is sister Lisa, compassionate and angry at the same time. She, like everyone else in the family, hears what she wants to hear and it’s never what Monk is saying. Leslie Uggams, bringing star power from a different generation, is mother Agnes, slipping in and out of cognition so realistically I sometimes thought I was seeing my own mother. And lucky is the film that is graced with the presence of Sterling K. Brown, who can envelop any role he’s given. Here he is the complicated brother, Clifford, who is lost to the abandon of what he thinks is his true self, a gay man who needs no boundaries. But he does, and it is this confusion that brings life to Brown’s performance.

Jeffrey Wright! His name should be in lights because he is a true star, both a Tony and Emmy winner. His Thelonious “Monk” Ellison is a fully developed, complex individual who holds himself apart, thinks he knows the answers (most of which he does), and is an island. Wright’s Monk is prickly, hypocritical and real. He’s tired of not being seen but hides himself so that he can’t be. He works on a hypothetical planet where he doesn’t have to be the one who’s always trying harder than everyone else. He is the Black man who is always accused of not being Black enough when he knows that there is no such thing. He is a man; he is Black. That is not his definition. I could watch Jeffrey Wright read the phone book and he could do it soundlessly and still enrapture me. The mere fact that his character displays no sense of humor is humorous in itself. Whether the role is large or small, your attention will always be drawn to him. Here, finally, he is the lead of an ensemble with a script that is worthy of his talents.

Now playing at the AMC Century City 15, the AMC Broadway 4, Santa Monica 7 and Marina 6.  

Neely Swanson spent most of her professional career in the television industry, almost all of it working for David E. Kelley. In her last full-time position as Executive Vice President of Development, she reviewed writer submissions and targeted content for adaptation. As she has often said, she did book reports for a living. For several years she was a freelance writer for “Written By,” the magazine of the WGA West, and was adjunct faculty at USC in the writing division of the School of Cinematic Arts. Neely has been writing film and television reviews for the “Easy Reader” for more than 10 years. Her past reviews can be read on Rotten Tomatoes where she is a tomato-approved critic.

The post ‘American Fiction’ – Too True appeared first on Beverly Hills Courier.

Jerry and Mariette actually met 20 years ago and it wasn’t in a bird store, as the movie would have you believe. As I recall, Jerry saw her at a board meeting of the Screen Actors Guild where he had just been elected as a representative. Turning to friend and fellow actor Tony Roberts, he remarked he could go for her in a big way. Laughing, Roberts remarked, “She is way above you in more ways than one.” But sometimes it pays to dream big and, long story short, they’ve been married for 18 years. Instead of SAG, they used a bird store in the Valley as their “meet not so cute” because, as Jerry stated, it was convenient, a cheap location and owned by a friend, who also took on the role of the bird store owner.

Jerry is an avid softball player, a full time passion for many in the Valley. My brother was in a league for eons and he still plays when he makes infrequent visits from Texas. Rob Reiner and Billy Crystal lead the most famous of the teams in the league, but Jerry’s ties to his team are decades long and most of the players came out in force for the premiere. Some were even in the film. Don Scardino, their outstanding director, has known Jerry since they were in “Godspell” together in the 70s, ushered and pushed the film along, polishing it all the way to a glistening finish. He also took on a role as Mariette’s friend and confidante and helped secure the opening music. Truly a man of all trades.

It doesn’t look like the movie was done on a shoestring, which it was, because the production values are first rate. Tim Hennessy’s cinematography was as generous in the close-ups as he was with the locations. Editing by Matthew Bennett was crisp and flowing. Mariette and Jerry finished filming right before COVID shut everything down and theirs was the project that kept Bennett from going crazy, editing it in isolation when he could go nowhere, and working on anything brand new was verboten.

The script is laugh out loud funny when focused on the lead up to their connection. Ironically, each had individually described their perfect date but each was looking on the wrong websites. Jerry longed for a Shiksa Goddess (and Mariette is nothing if not that). Mariette longed for a Jewish man with a great sense of humor and able to pay his own way. In her previous three marriages (only the most recent was referenced) she was the entire financial support and there hadn’t been a lot of yuks. Jerry is just that, an actor who works (at least occasionally), Jewish, and very very funny. Recognizing that she got what she asked for, she kicked herself for forgetting to ask for height. Jerry is a full head shorter. Well, as in the quote from “Some Like It Hot,” “No one’s perfect.” Still, the Mariette of today is still laughing (and snorting—listen for it) at his jokes.

The film is filled to the brim with actors famous and/or recognizable in fun cameos. John Rubinstein brings gravitas to the role of a surgeon who saves Mariette’s life; Bernie Kopell, from “Love Boat” fame, helps bring them together on a tennis court with character actor Sam McMurray, (you’ve seen him in everything from “Raising Arizona” to “Mom,”) the very definition of “I know I’ve seen him before.” The scene in a casting office as Mariette sits with Oscar-nominated Tess Harper and Morgan Fairchild, sex symbol of eighties now playing glamorous grandmas, waiting to audition for a twenty-something casting assistant who mangles their names and has no clue who any of them are. It’s priceless.

But taking the cake are the dating scenes as both Jerry and Mariette try to navigate the detritus of dating sites. Mariette’s first is with an eager man who prefers “early bird specials,” splitting the bill, and obtaining an autograph for his elderly mother (a hilariously obtuse Peter Onorati). When, at the end of the painful evening, he accompanies her home, he asks if he can come in. “No, Ernie. You can’t.” “But my name is Eric.” “Neither of you can come in.” Jerry may be the comedian in the family but Mariette has razor sharp comedic timing that is in full view.

Jerry’s Waterloo is Maxine (a very funny Mindy Sterling), a woman of enormous appetite, at least for food, who informs him, as she devours a plate of ribs, French fries and onion rings, that she is financially tapped out after her divorce so he shouldn’t expect a pot of gold at the end of the rainbow. After watching her consume a mile high dessert of chocolate (“it’s an antioxidant”), whipped cream, ice cream and raspberries, she need not worry.

Mariette’s date from hell, as if the first one wasn’t enough, was with someone she calls “psycho date” played by a demonically serious Peter MacNicol as he describes how he disposed of a body off the Long Beach Pier. “Do you want dessert?” It’s tough out there.

What the film does best, and we most appreciated, was a clear-eyed view, both sentimental and straightforward, because those are two entirely different things, of the challenges faced when getting older but still having an unquenchable passion for life with the right partner. That search is not for sissies and the challenges don’t stop with the hunt.

This age group is neglected in the media and yet these are the baby boomers, and we’re a huge part of the population. Everyone wants to see themselves on screen and there has been progress at least in the depiction of people of color (under a certain age). But Seniors? Not so much. Yes, movies with big stars like Jane Fonda, Rita Moreno, Sally Field, Lily Tomlin, Candace Bergen, and Diane Keaton are made occasionally. But where are the everyday stories? Is it because movie and television executives have no collective movie memory? Does anyone, besides Meryl Streep, cease to be an employable actor after the age of 55? Well, actually, as per usual, Hollywood is forgiving of men over the age of 70, like Harrison Ford, Al Pacino, Robert DeNiro. Google the top 50 actors over 70 and you’ll come up with 11 women, two of whom are dead. Why is it that the French still write for “women of a certain age” who aren’t Isabelle Huppert (who still has her choice of anything she wants)?

This isn’t really about ageism (although I suppose it is) but shame on all the streaming services that turned down this film for demographic reasons (media speak for “old”). It’s a hole that should be filled. Slight, funny, romantic with serious undercurrents, and very inexpensive (maybe not for Jerry and Mariette but on a cost scale of 1-10, it was a 2). Word to streamers: this slice of the audience might actually subscribe if you put something on for them. And yes, unlike the Mariette in the film, we do know how to use a remote.

I really liked this movie and not just because I knew the story and the protagonists; I liked it because it was fun, well-made, and hit the target. Jerry and Mariette will continue to share a love story, but wasn’t it nice that they shared it with us? So, no, I’m not a disinterested party but if I hadn’t liked it, I wouldn’t have written about it. I’ve thoroughly enjoyed the lead up to the opening; the joy of making it and the difficulties of getting it seen. So, on to the next and I hope there will be one because these two have a talent that hasn’t diminished with age.

Watch it on VOD on most cable and streaming outlets.

Neely Swanson spent most of her professional career in the television industry, almost all of it working for David E. Kelley. In her last full-time position as Executive Vice President of Development, she reviewed writer submissions and targeted content for adaptation. As she has often said, she did book reports for a living. For several years she was a freelance writer for “Written By,” the magazine of the WGA West, and was adjunct faculty at USC in the writing division of the School of Cinematic Arts. Neely has been writing film and television reviews for the “Easy Reader” for more than 10 years. Her past reviews can be read on Rotten Tomatoes where she is a tomato-approved critic.

The post “Our (Almost Completely True) Love Story” – An appreciation appeared first on Beverly Hills Courier.

The 67-story elegant resort holds a staggering 3,644 rooms and suites, 150,000 square feet of gaming space, an Urs Fischer art gallery, luxury retail shops, a vitality-enhancing spa, beach club and LIV nightclub.

During the black-tie opening night, the lobby was overflowing with red roses by celebrity florist Jeff Leatham (Four Seasons Beverly Hills) and buzzing with “Bleau Carpet” arrivals of A-list celebrities from Lenny Kravitz, Jessica Biel, Eva Longoria and Sylvester Stallone. 

Cher walked hand-in-hand across the casino floor with boyfriend music executive Alexander Edwards while Aaron Paul and Bryan Cranston sipped tequila, and 15-time Academy of Country Music Awards winner Keith Urban performed for the crowd.

While thousands of guests mingled amid some of the 36 first-to-market culinary concepts from acclaimed chefs, many of the high-profile attendees were crowding into booths at the Rome-inspired Mother Wolf by Evan Funke (of Funke in Beverly Hills) for pizza, pasta dishes and negroni cocktails. 

Other celebrities, dignitaries, and VIPs checking out the vast offerings included Alice Cooper, Axel Rose, Tyga, Las Vegas Raiders owner Mark Davis, Las Vegas Golden Knights owner Bill Foley, fashion designer Tommy Hilfiger, Food Network’s Gail Simmons, Gigi Gorgeous (Getty), and the onsite LIV club resident DJ John Summit.

While the hotel ushered in a new wave of sophistication – there are no neon signs on the property exterior – 10-time Grammy Award winner Justin Timberlake brought “Sexy Back” by opening the Bleaulive Theater with a surprise performance around 10:30 p.m. In the crowd were Kim Kardashian and Kendal Jenner who jetted in for the opening night performance, which included the pop stars repertoire from “Suite & Tie” to “Cry Me a River,” and plenty of smooth dance moves which sparked rumors of an upcoming residency. 

Legendary Paul Anka opened for Timberlake with a set that included a rendition of his hit song “My Way,” along with nostalgic tales of performing at the original Miami location, his time working with Frank Sinatra and hanging out with the “Rat Pack” back in the day, bringing this new legacy full circle.

Following the performance, Timberlake was joined by football icon Tom Brady, Fontainebleau Development Chairman and CEO Jeffrey Soffer and President Brett Mufson in the high-limit salon to make history by rolling the first dice, signifying the official opening to the public. 

“The Fontainebleau era in Las Vegas begins now,” says Soffer. “This magnificent resort is a testament to our 70-year commitment to excellence, a catalyst that will change the way the world views luxury hospitality and design on the Strip.”
fontainebleaulasvegas.com  

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Adam, alone in his high-rise apartment overlooking the vast expanse of London in the background, sits at his typewriter in contemplation, writing “Exterior suburban house. 1987,” the opening for his next screenplay. Ill at ease, he squirms, wipes his brow, and like anyone who has ever experienced the writer’s block of knowing what you want to express and not knowing how to say it, he delays, walks around and fills the page with nothingness. There’s a knock at the door. Peculiar, because the high rise is essentially empty. Cautiously, he opens the door. Henry, a neighbor from downstairs, has noticed him and has brought up a bottle of scotch as an entrée and an outrageous statement, “There’s vampires at my door” as a come-on. Adam politely sends him on his way.

Adam returns to the personal angst of not knowing how to even start his process. Shuffling through some old souvenirs—a game, some photos, clothes—he hits upon an idea. Maybe returning to his childhood home will hold the answers. To the suburban train he goes, countryside flashing before him, so close and so far from London. Walking from the station toward his childhood home, he hesitates, knocks on the door and it’s answered. But it can’t be. She’s flesh and blood, not some ethereal presence, looking no older than him, his mother smiles from ear to ear. She just knew he’d come back someday, she tells her son; they have so much to catch up on. They sit, chat and she asks all the obvious questions, especially “Does he have a girlfriend?” Summoning up the courage, he hesitatingly informs her that he’s gay (Henry would call it “queer”). Clearly, she’s disappointed in his answer but even more, she has all the questions and fears that someone being told this in 1987 would have had. And that’s the first hint, besides her youthful appearance, that Adam has been given a window into a past that he didn’t experience. Adam, now in his 40s, was orphaned at the age of 12 when his parents died in a car accident. She’s not a ghost. They’re having a real-world conversation about real-world topics that tie her 1987 self to his 2023 reality.

Shaken, he returns home, changed in inexplicable ways. When meeting Henry a second time, he’s more open to a friendship. Getting to know each other, physically and emotionally, their relationship is established in Adam’s apartment. There is a desperation to Henry and a natural aloofness to Adam that must be overcome. Henry has the air of someone on the constant lookout for love; Adam, one could guess, has never looked, as they explore their burgeoning relationship in the kind of nightclubs with the kind of drugs Adam would never have considered in his staid past.

Overshadowing all for Adam, though, is that encounter with his mother. He is compelled to return in hopes of seeing his father who was away that day. This time he is greeted by both parents. It’s obvious that his mum has told his dad about their visit. Jovially, Dad embraces Adam and jokingly acknowledges that he probably already knew about Adam’s “proclivities” because no matter how hard he tried, Adam couldn’t throw a ball to save his soul.

The conversations are both deep and shallow, skirting emotions while at the same time embracing them. Adam has so many “whys” that were never answered because his time with his parents was so brief. Intriguingly, Haight has constructed a scenario fraught with meaning and hope. What if you were given the opportunity to go back in time and ask all the questions you had at the time; to confront parental decisions, both those that were made and those that should have been? What would your adult self have wanted to know from your childhood parents?

This is all Adam’s story—who he is, who he isn’t, who he can’t be and why—and inexorably he’s continually drawn back to his childhood home and his parents, frozen in the time before they would die in a car accident and stunt the emotional growth of their son to a life of all the “what ifs” and “if onlys.”

As he grows closer to Henry, a new experience for him, Adam wants to introduce him to his parents. Henry, adept at all the mannerisms of casual relationships and drug-enhanced experiences, is truly upended by Adam’s belief in his access to his dead parents. Even his parents believe that it’s time for Adam to move on, make connections in his own world and leave them behind once and for all. But is he capable of doing that? What is he truly and what is Henry?

Enigma is truly the operative word because the key to everything is in the last moments of the film when you will second guess everything you’ve seen and what it meant to you because it may mean something different to someone else. Everything, almost literally everything, is a metaphor. The empty apartment high-rise, the parents resurrected from their untimely demise, and Adam’s tentative first love affair all have secondary meanings, all of which you must discover on your own. Is the ending uplifting? Chilling? Depressing? Or is it a beginning? Who is alive, and what does alive mean? Hell may not be other people, but it may actually be purgatory.

Cinematography by Jamie D. Ramsay is almost transparent, focused as it is on Adam’s contemplative expressions. London, filmed from afar, is muddied and almost indistinct, purposely so. Instead, he and Director Haigh focus so many of their shots on the face of Adam, its angles, its beauty, its confusion.

Although the beginning of the film seems rather tedious, actually it is really tedious and tiresome with its never-ending closeups of an agonizing Adam, it begins to pick up slowly with the introduction of Henry as the irritant to Adam’s placid existence. Henry is initially introduced in off-center camera angles, sometimes out of focus and other times hyper clear in contrast to the soft focus of Adam. Adam’s train rides to and from his childhood home are filmed such that the background passes at hyper speed, much like a time traveler would experience.

Haight’s cast is superlative. As the parents, Jamie Bell (“Billy Elliot”) and Claire Foy (“The Crown”) make credible a couple who accept at face value that they have received a visit from their now-grown son who was 12 when they died. They show all the discomfort one expects from parents who never asked the hard questions and failed their son before dying too soon. They are the sympathetic characters on which the foundation of the film is built and their naturalism has you believing that there could be the possibility of being frozen in time. Listen carefully because they hold the key to the how and why Adam has found them.

Paul Mescal’s (“Aftersun”) Henry is crazed, superficial and needy. His character propels Adam to a hitherto unknown emotional depth while ultimately detaching himself at the same time.

The film lives or dies, however, with Andrew Scott as the controlled Adam who gradually gives over to emotion for the first time. He makes you believe what he is seeing and ultimately unlocks the key to the purgatory he has been inhabiting. Scott has the ability to draw you in and hold your attention just with a small vocal inflection or his eyes filled with amazement.

To some, the languorous rhythm will be off-putting, but patience and perseverance will pay off as you gather up the clues left like Hansel and Gretel crumbs and find your way to a surprising end.

Opening December 22 at the AMC Century City. 

Neely Swanson spent most of her professional career in the television industry, almost all of it working for David E. Kelley. In her last full-time position as Executive Vice President of Development, she reviewed writer submissions and targeted content for adaptation. As she has often said, she did book reports for a living. For several years she was a freelance writer for “Written By,” the magazine of the WGA West, and was adjunct faculty at USC in the writing division of the School of Cinematic Arts. Neely has been writing film and television reviews for the “Easy Reader” for more than 10 years. Her past reviews can be read on Rotten Tomatoes where she is a tomato-approved critic.

The post ‘All of Us Strangers’—Eternally appeared first on Beverly Hills Courier.

Jonathan Glazer’s new film, loosely based on the Martin Amis novel of the same name, more closely hews to the imagined reality of the actual individuals who inhabited “the zone of interest,” the 40 square kilometer area surrounding the Auschwitz concentration camp in Poland.

Rudolph Höss, the most successful, and I use that word ironically, commandant of Auschwitz, was, in all likelihood, personally responsible for more murders than any other individual in the Third Reich. “The Zone of Interest,” written and directed by Jonathan Glazer, opens on the  bucolic scene of a family picnicking and swimming at a lush green waterside. Heading back, they forage for berries and enjoy the fresh air, painting the seemingly idyllic life outside the walls of the camp where Höss lived with his wife and five children.

Wife Hedwig creates an Eden for all of them in their lovely two-story Germanic chalet with multiple bedrooms to accommodate their five children, idyllic gardens, both decorative and practical, cooks who deliver delicious meals and servants who clean up every speck of dirt dropped inadvertently on the floor. Every day, they wake up to a served breakfast, children dressed in their Aryan best, coffee hot as they send off the paterfamilias to his job at the camp on his favorite chestnut steed. Another day at the office.

Hedwig, deliriously happy in this homestead, is unperturbed by anything outside the boundary of their home. She tends to the garden, has tea with friends and looks in on her baby. She takes note of nothing beyond her garden wall where giant smoke stacks are spewing smoke and sometimes fire 24 hours a day. She generously allows the servants to choose one item from among the silken contraband taken from anonymous souls arriving on “the other side of the wall,” always keeping the best for herself. Frumpy she may be in her typical German hausfrau dresses and sensible brown shoes, but she is the proud owner of a full-length mink in need of cleaning and a few minor repairs. God is good to her and her family.

Hedwig is especially pleased when her mother comes for a visit. She can only offer her a shared bedroom with one of the children but other luxuries await. Mother, impressed, is a bit curious about the surroundings, wondering if her old employer is ensconced in the camp, the rich Jewess for whom she worked as a maid. Oh, Hedwig replies blithely, she’d be on “the other side of the wall.” Mother remarked that she had bid on the woman’s curtains when she was taken away. She had really loved those curtains. Are any of the servants Jews, she wonders? Oh, no! All the Jews are on “the other side of the wall.” There is no point in giving “the other side of the wall” much thought even as the smoke stacks keep firing and the ash settles in the opposite direction.

Rudolph has news that he’s reluctant to tell his wife. He has just been promoted to Inspector General of all camps but must move to the Berlin area. She reacts, as he knew she would, badly, arranging for a compromise whereby he can go to Berlin but they will stay in their glorious house, one they will not be able to duplicate elsewhere. How can he possibly make them suffer? Has he no empathy? No pity? At the root, however, for this daughter of the serving class, is also the fear of Berlin society and how she will be marginalized. In Auschwitz she is a queen, commanding all around her. How can he ask her to give up picnics at the riverside, swimming in their pool, parties catered by their own servants? If he is incapable of appealing to the Fürher himself to allow him to stay, then he must find a way for her and the children to remain.

Rudolph, a prisoner of his own success, cannot turn down a promotion based on the skill he has exercised in the efficient gassing of the prisoners “on the other side of the wall.” One moment he is celebrating his birthday with family and subordinates and the next, sitting at his dining table, he is discussing the engineering of a more efficient crematorium with two contractors. It was, no doubt, after a dinner of schnitzel and apple strüdel that his idea to use the pesticide Zyklon B as a more efficient gassing agent came to him. Hedwig, uninterested in such things that don’t involve her or anyone she knows, is more concerned with her garden. Still, out of sorts because of the impending change, she becomes surly, threatening a servant who has not wiped up a spot quickly enough. “You know,” she says to the girl. “I can have my husband take care of you and scatter your ashes in my garden.” These are the trials and tribulations of a woman managing a household on the new eastern frontier. That he will leave and eventually return with a new mandate, the execution of the recently deported Jewish population of Hungary, underscores the matter-of-fact nature to these horrors and Hedwig’s continued indifference.

The banality of evil, erroneously used to describe Adolph Eichmann, is exactly what is in play in “The Zone of Interest.” As death swirls around them, the Höss family has more important things to think about. Is son Klaus’ Hitler Youth uniform properly pressed? Will the baby stop crying? And who is dragging mud into the foyer? Are there enough layers to the birthday cake? The cozy domesticity of the family is an effective mask for the outside reality.

What, Glazer posits in this outstanding and chilling film, can be viewed as normal? How much can humans absorb and/or ignore? How, we have asked repeatedly over millennia, is it possible to completely dehumanize a people so that their suffering and extermination are routine happenstance? And why do we keep doing it? When will we become “the other” and when will they come for us?

Much of this story was actually filmed adjacent to Auschwitz, lending an even greater sense of chilling authenticity. As a UNESCO heritage site, nothing could be changed on the actual property, so production designer Chris Oddy recreated what the house and the camp would have looked like when it was new, 80 years ago. Cinematographer Lukasz Źal, instructed by Glazer to go for an improvisational feeling, filmed from a bunker, tracking the actors in long, continuous shots. In reshooting scenes, continuity was abandoned in favor of a feeling of spontaneity.

But this Grand Prize winner at Cannes in 2023 would not be the film it is without the two lead actors—Christian Friedel as Rudolf Höss and Sandra Hüller as Hedwig. A theater-trained actor, Friedel has found a chilling monotony to his character’s daily routine and acceptance of the doctrine he follows day in and day out. This is a man who will be at Eichmann’s right hand as they implement the “Final Solution,” a code so exacting that, in the end, Höss will have been responsible for the execution of 1.5 million souls. Just a typical day at the office.

Sandra Hüller, so outstanding and unnerving in “Anatomy of a Fall,” the winner of the 2023 Cannes Palme d’Or, is almost unrecognizable as a German hausfrau frumpily dressed, pin-curled hair, downturned mouth and rigid posture. Her lack of empathy is a natural part of her personality, furrowing her brow over poorly roasted potatoes and cake that doesn’t meet her standards. There is no “other side of the wall” for her, only her side, chillingly dismissing what she doesn’t acknowledge.

Just another Holocaust movie? I think not. The dismissal of “the other” has been ongoing for centuries and continues today, perhaps not the gassing and burning, but definitely the deliberate indifference to cruelty and death of those who are not us. The more things change, the more they remain the same. I am despondent.

In German with English subtitles.

Opening December 15 at the AMC Century City. 

Neely Swanson spent most of her professional career in the television industry, almost all of it working for David E. Kelley. In her last full-time position as Executive Vice President of Development, she reviewed writer submissions and targeted content for adaptation. As she has often said, she did book reports for a living. For several years she was a freelance writer for “Written By,” the magazine of the WGA West, and was adjunct faculty at USC in the writing division of the School of Cinematic Arts. Neely has been writing film and television reviews for the “Easy Reader” for more than 10 years. Her past reviews can be read on Rotten Tomatoes where she is a tomato-approved critic.

The post ‘The Zone of Interest’—In the Eyes of the Beholder appeared first on Beverly Hills Courier.

Stephen Sondheim and George Furth had a major success with “Company,” a musical whose structure defied the traditional approach of a single plot line, instead telling the story of a commitment-phobic bachelor looking at the marriages of his friends, each in single vignettes disguised as scenes. A decade later they teamed up to make “Merrily We Roll Along,” based on a 1934 play by George S. Kaufman and Moss Hart. Following the structure of the source material, “Merrily We Roll Along” tracks a trio of friends in reverse with the end as the beginning and the beginning as the end. Pay attention. There will be a quiz. 

We meet Franklin Shepard, movie producer, as he hosts a party at his Bel Air estate for his friends honoring the success of his latest production. Alone in a room full of people, his celebratory motions are hollow as he flirts with his young star and ignores his bitter wife. He’s wooing wife number three as wife number two angrily looks on. He’s at the top of the heap and it is clear that he is cynical, dissatisfied, alone and lost. It is 1976, and someone has the nerve to bring up his former writing partner, Charley Kringas, recent recipient of the Pulitzer Prize. He, Charlie and Mary Flynn, were, at one point, an inseparable trio. Only the very cynical Mary, formerly a novelist and now a professional alcoholic, an unwelcome guest at the party and reminder of the past, still remains. Soon, as the various interchangeable members of the company sing “Merrily We Roll Along,” as ironic as it’s meant to be, we are transported back to 1973 as Charley and Frank are about to be interviewed on a popular morning show. The focus is on Frank, the more celebrated “face” of this musical writing duo as he talks of his, I mean their, work with false modesty. When, finally, Charley is asked about their collaboration, he lets Frank have it with both barrels of his frustration on national television. And that, ladies and gentlemen, is the explanation of why, three years in the future, Charley is not at the party as well as why he may have found the release to write the work he had always been trying to write.

Each successive, well actually backward glance is a puzzle piece that informs the previous scene, a major departure from traditional story structure where you see the actions that caused the consequence in linear form. Here, you first view the consequence and then the causation until, eventually, you arrive at the beginning that has been informed by the past rather than the opposite. You see his divorce before you see the why. All the “ah ha” moments are to come, until finally the puzzle is solved about who he was. It’s a very tricky structure and ultimately more satisfying than if we watched the consequences of actions unfold chronologically. This is not easy on an audience because “Attention must be paid!” The regrets of a lifetime are played out in reverse. 

In many ways, this is the story of a Faust who succumbs to the temptations placed in front of him by Mephistopheles. Franklin is Faust who wants more than the treasures he already possesses. Mephistopheles is Gussie, wife number two who dangles sex and commercial success in front of him so tantalizingly that he is helpless, or perhaps too vain, to turn them down. Watch for all the incarnations of Gussie as she, herself, travels a devious and narcissistic path that you will also see in reverse, always hauntingly leering in the background of the three friends and Franklin’s wife Beth.

“Merrily We Roll Along” has had a checkered history. First produced in 1981 with a very young cast, a major blunder because it is the adults who drive the story, its muddled staging was more confusing than edifying. Always ascribing the difficulties to Furth’s book, many hopeful productions followed. I have loved this play since I saw a production in 1985 at the La Jolla Playhouse starring John Rubenstein, Chip Zein, Meredith McRae and Marin Mazzie, a dream cast to rival the present one. I never saw it as flawed or hard to follow. This should have been the indication that the right cast is imperative, something that other productions failed to see. But no one gave up on this musical and cuts were made to the script, tightening the story and finally in 2012 a new version premiered in London at the Menier Chocolate Factory, transferring to the London West End, which was a hit, critically and commercially. I saw the filmed version that was released, but unlike the National Theatre Live series, the magic didn’t translate. It took 10 years, but the London version made its way across the pond, first to the tiny New York Theater Workshop and finally to Broadway. It is nothing short of a triumph.

In analyzing what I think were the major changes to the script, this new version focuses primarily on Franklin. In the past, more time was spent on the group as a trio, but though Charley is still enough of a major character to help drive the story even when he’s not there, Mary’s role has been diminished. That she has always loved Franklin and always been disappointed does not need a significant footprint in the story. One can easily surmise that her alcoholism, seen in full bloom at the party (again, the end of the story) is the result of crushed dreams and lost love, expositionally referred to by many other characters as in “Is Frank the only one who doesn’t see that she’s in love with him?” But this is something that actually adds depth because it is enough of a story point to highlight his narcissism and callous use of her. Beth, Franklin’s wife, is more present than I had remembered her. In so many ways she’s the angel on his shoulder that he chooses to brush off when someone dangles a shiny object in front of him. And again, you see the result of her disillusionment before you see the cause. Even more, however, is the character of Gussie, someone I did remember as wife number two but missed her presence in scenes that added to those that came before (or, rather, after but told before).

In short, the way that the story is told, starting out at the end, adds dramatic impact to the way it was at the beginning. It is nothing short of breathtaking.

Maria Friedman, who directed the Menier Chocolate Factory version, directs this production with the same clarity, intelligence and passion. Her staging is so remarkably simple that you never notice the set changes until you are midway in the scene. Lighting, a few pieces of furniture, a stairway and a piano are rearranged to represent a Bel Air mansion, a penthouse apartment, a downtown club and more. The ensemble singing “Merrily We Roll Along” introduces all the yearly transitions, beginning in 1976 and ending in 1957. 

As was true in the 1985 version that I saw, this play is very cast dependent and Friedman’s cast is extraordinary. The evening I saw the play, the role of Mary Flynn, normally played by Lindsay Mendez, was played by Jamila Sabares-Klemm. She was wonderful, but a reminder that much of that role has now been reshaped and cut. Katie Rose Clarke plays Beth, Frank’s wife (seen first as they divorce). Krystal Joy Brown is Gussie, the gorgeous, seductive temptress who drives much of Frank’s story without us realizing it. It is only at the beginning (I mean the end) of the play that he is jaded enough to see it, but it will take all of the previous years to fill in that information for us. Hers is a sly, subversive portrayal where she and Frank get what they paid for.

Daniel Radcliff is a triumphant success as Charley, the partner left behind who wins in the end. He has a show-stopping number called “Franklin Shepard, Inc.” that will make you forget that he was ever Harry Potter. Like Neil Patrick Harris looking to distance himself from “Doogie Howser,” Radcliff has taken enormous care to build up a repertoire of Broadway roles that illustrate just how good an actor (and singer) he is. 

This production of “Merrily We Roll Along” would not succeed without an actor willing to plumb the depths of unsympathetic narcissism and that actor is Jonathan Groff. With Groff, Friedman found an actor who could find the weaknesses and dark parts of this character. As the plot unspools in reverse, we see who he became before we see how he started, yielding maximum dramatic impact on what was lost. The song “Old Friends” takes on a different meaning as the years flash back. “Here’s to us. Who’s like us? Damn few.”

But there was always the music and it lived on regardless of some of the woe begotten productions. You may not even realize that “Our Time” — “It’s our time, breathe it in. Worlds to change and worlds to win” came from this. So did “Not a Day Goes by” — “Not a day goes by, not a blessed day. But you’re still somehow part of my life and you won’t go away.” (Bernadette Peters’ heartbreaking version can be found on YouTube.) All of the music is wonderful and with each reprise the songs take on a different meaning, something that is especially true for the title song “Merrily We Roll Along” that, depending on the time frame in which it’s sung, can be cynical or hopeful.

So, drop everything, get a ticket, hop on a plane and don’t miss “Merrily We Roll Along.” At present there are no plans to extend the run beyond March 24. 

Now playing at the Hudson Theatre, 141 West 44th St., NY, NY 

Editor’s Note: The Courier is proud to announce that our contributing entertainment editor Neely Swanson is a finalist in the the Los Angeles Press Club National Arts & Entertainment Journalism Awards. The presitigious awards are given to writers across the nation for journalistic excellence, career achievement and contributions to society. Neely is a finalist in the “Columnist” category, along with distinguished writers from the L.A. Times, Variety and Bloomberg News. We hope readers will join us in wishing Neely “good luck” at the awards ceremony, which takes place on Dec. 3 at the Millennium Biltmore Hotel. 

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To understand how far Napoleon came in his lifetime is to take into account his Corsican origins. Corsica, an island off the Mediterranean coast of France, had been Italian until 1755 when it fell into French hands. Ignoring the nobility of its Italian origins, the French viewed it as a home to renegades, fishermen and criminal gangs. But, like anyone not born into French nobility, there were only two paths to social acceptance, the priesthood or the military. It was in the military where Napoleon immediately showed promise and he rose steadily during the revolution of 1789, guided by his hatred of the aristocracy.

Brilliant military success in Austria and Egypt (visit the Louvre and you will see the vast spoils of his Egyptian campaign) brought him to the attention of leaders tired of Robespierre and his increasingly bloody reign of terror. The overthrow of Robespierre in 1799 brought Napoleon into a triumvirate of power called the Consuls. It wasn’t long before he tired of sharing power and soon maneuvered himself into position as First Consul and, not long after, self-declared Emperor.

Scott has wisely chosen to highlight only a few of Napoleon’s 50 battle successes with chyrons indicating time and place. Perhaps no one would have been able to illustrate Napoleon’s genius at battle, his ability to take on superior forces and subdue them with his analytical skill and leadership over his troops. Observing Napoleon in the field as he positions his forces for maximum effect does not come close to characterizing the skill of a man who has been deemed one of the most important military geniuses of all time, reminiscent of Julius Cesar, Hannibal and Alexander the Great. Listening to his discussions of why he chose certain strategies or who he targeted gives some idea but it’s not enough to explain his two greatest blunders, the invasion of Russia and his final battle at Waterloo. No doubt Napoleon’s out-of-control ego had much to do with this because he ignored the advice of one of his generals when it came to his continued assault on Russia. With Waterloo, his blunder in inexplicably delaying the attack for a crucial 24 hours that would have surprised the English and forced them into a retreat. (This piece of information, absent from the film, can be found at the Wellington Museum in London.)

Scott chose the Napoleon and Josephine love story as a soft framework to his overall story. Napoleon’s love for Josephine has been memorialized in books, songs and movies. Unfortunately, focusing on Napoleon the lover trivializes Napoleon the conqueror. New facts, or at least new to me, are explored. Josephine was a widow with two children when they met (stereotypically across a crowded room). She was smitten with the power that the rapidly rising Napoleon offered; he was entranced by the sex. It is doubtful, as Ridley implies, that he cut short his Egyptian campaign to confront Josephine with her infidelity, affairs that made it into the international press. When, after many years of marriage, she was unable to bear an heir, he reluctantly divorces her and marries young Archduchess Marie Louise of Austria who does bear him an heir. Josephine, shunted off to a luxury mansion not far from Paris, remained close to Napoleon until her death.

Focusing so much on the love story, full of sound and fury, passion and calculated deliberation removes focus on what Napoleon accomplished, both good and bad. This was, obviously, directorial choice. It is possible that Scott spent so much time on this affair because the mere mention of Napoleon and Josephine conjures the haze of romance over the ages. In so doing, however, he diminishes the rest of the story that he tells without enough context. Maybe it’s an impossible task. Napoleon is many movies or at least a 12-part miniseries. There is Napoleon the conqueror; Napoleon the villain who ordered his men to destroy the Alhambra; Napoleon the archeologist who oversaw the pillaging of Egyptian artifacts; Napoleon the statesman who improved the education system, created the first central bank, the Legion of Honor and legislated religious equality for Jews and Protestants in this Catholic country. He also reinstituted slavery, something that had been abolished during the revolution, because he needed the income from the colonies to support his wars. Most of these well-known elements are left untold at the expense of the love story, a story that may be more of passion, possession and control than gauzy romantic love.

Working with what one could consider his production repertory company of longtime associates, Scott strikes gold with too many to mention, the credits alone add many minutes to this 2 1⁄2-hour movie. But his production designer, costume designers and especially his cinematographer should be singled out.

Arthur Max, the production designer of numerous Scott movies including “Gladiator,” has recreated Paris of the period from its squalor to its glory, finding many ideal sites and dressing them appropriately. His battlefields are breathtaking. David Crossman and Janty Yates (Academy Award for “Gladiator”) as costume designers added depth and breadth to the landscape of storytelling whether on the battlefield or at the coronation. It is cinematographer Dariusz Wolsky who brings the glory, glamour and guts to this film. The very scope of the battle sequences is impossible to describe but you experience every horizon and feel as though you have been transported into the combat. Many have effectively and beautifully filmed palace interiors and street scenes, but few have so convincingly filmed the scope and chaos of war.

Looking at “Napoleon” as an epic, however, is where Scott succeeds on a grand scale. His staging of the story, whether on the battlefield or in the bedroom is outstanding; he is undone by a script that, while filling in the overview, is undermined by unimaginative dialogue and the framework of a love story that doesn’t measure up to the overall history.

With a cast of thousands, literally and figuratively, it’s hard to keep track. Scott uses a veritable list of internationally renowned actors in roles that are ill-defined and come as quickly as they go. Among them are Tahar Rahim as politician Paul Barras, Ben Miles as Caulaincourt, Paul Rhys as Tallyrand and Mark Bonnar as Junot. With the exception of Tallyrand, I have no idea who these historical figures were and what their importance to this history was. The context of most of the players, with the exception of Napoleon, Josephine, Wellington and Tsar Alexander, is missing.

Rupert Everett plays Wellington with a stiff upper lip astride an appropriate steed. That’s basically it. Josephine, portrayed by Vanessa Kirby, fares much better, actually fares the best. She breathes life into a very complex woman who swings between self-protection, seduction, manipulation and, possibly, love. The lower register of her voice, brimming with seduction, eyes that betray and body movement that conveys reluctant surrender are all the ammunition she needs. As viewed by Scott, she is every bit Napoleon’s equal and often his master and always engaging to watch. The contempt in her eyes is covered by the purring of her voice. Regardless of the veracity of her portrayal, she is the most notable human element in this film.

Joaquin Phoenix is a different story. When communicating almost wordlessly in battle or in the Assembly he is extremely effective. His eyes, his body language, the sneer on his lips soundlessly let you know who he is and what he thinks of himself. He is mighty, he is conflicted, he is all-knowing. But when given long passages of dialogue, especially in his scenes with Kirby’s Josephine, he lacks power. His acting is flat, he lets his yelling substitute for emotion. Overall, he cannot rise to the task, not just because his acting in the role is insufficient, but also because the dialogue of the script is mundane. “Napoleon” without a convincing Napoleon is not bound for glory.

Now playing at AMC and Regal theaters. See it in IMAX to get the full effect. 

Neely Swanson spent most of her professional career in the television industry, almost all of it working for David E. Kelley. In her last full-time position as Executive Vice President of Development, she reviewed writer submissions and targeted content for adaptation. As she has often said, she did book reports for a living. For several years she was a freelance writer for “Written By,” the magazine of the WGA West, and was adjunct faculty at USC in the writing division of the School of Cinematic Arts. Neely has been writing film and television reviews for the “Easy Reader” for more than 10 years. Her past reviews can be read on Rotten Tomatoes where she is a tomato-approved critic.

The post ‘Napoleon’—A Leader Not Led appeared first on Beverly Hills Courier.

We celebrate our bustling retail with this curated list of designer must-haves that will take you through the holiday season and beyond. From pumpkin spice-hued items fitting for a family Thanksgiving gathering to products festooned in the festive colors of the holiday season. And from the latest warm and cozy products to help you hunker down at home during precious moments of respite to all-out sparkles for a spectacular New Year’s Eve.

Emerald City

1. Alluring and enchanting, Bode’s shimmering “Siren” gown is aptly named. $4,000 at Saks Fifth Avenue, 9600 Wilshire Blvd., 310-275-4211 and saksfifthavenue.com
2. The “Palm Angels Keon” jacket by Moncler would make even Midas gold with envy. $2,200 at Moncler, 340 N. Rodeo Drive, 424-354-4562 and moncler.com
3. Van Cleef & Arpels 18-carat yellow gold ring with its delicate ribbon of emeralds is like gift wrapping for your finger. $13,600 at Van Cleef & Arpels, 300 N. Rodeo Drive, 310-276-1161 and vancleefandarpels.com
4. Called the “heir” to previous generations of Patek Philippe perpetual calendar chronographs, the “527OP Grand Complications” retains the elegance of its predecessors, with its concave bezel, gold markers and distinguished billiard-green dial. Price on request at Patek Philippe-Gearys Rodeo Drive, 360 N. Rodeo Drive, #2, 310-887-4250 and gearys.com/patekphilippe
5. These stunning sculptural Ferragamo sandals belong in a museum, along with the Italian designer’s other shoes. Better yet, they belong on your feet. $2,200 at Ferragamo, 357 N. Rodeo Drive, 310-273-9990 and ferragamo.com
6. Around the holidays, these evergreen-hued, crystal tumblers from Baccarat look the part but don’t pigeonhole them. They’re ready for their close-up year round. $600 (set of two) at Neiman Marcus, 9700 Wilshire Blvd., 310-550-5900 and neimanmarcus.com 

Holly Go Lightly

1. Part of the latest Lock collection by Tiffany & Co., these 18-carat yellow gold and round brilliant diamond hoops will secure a place in your heart. $6,900 at Tiffany & Co.,
   210 N. Rodeo Drive, 310-273-8880 and tiffany.com
2. This season why not swap those Loubie red bottoms for a Christian Louboutin red patent leather purse? $1,390 at Christian Louboutin, 477 N. Rodeo Drive, 310-652-5700 and
   us.christianlouboutin.com
3. You’ll look as if you were poured into this laminated metallic strapless dress from Dolce & Gabbana. It’s undeniably hot just like liquid gold. $2,745 at Dolce & Gabbana,
   248 N. Rodeo Drive, 310-888-8701 and boutique.dolcegabbana.com
4. Spruce up your holiday decor with this ruby red crystal Baccarat Christmas tree and bring a little sparkle to the festivities. $400 at Gearys, 351 N. Beverly Drive,
   310-273-4741 and gearys.com
5. Made of sumptuous metallic gold leather, these RH jewelry boxes hint at the treasures they hold inside. $100 at RH Modern, 8772 Beverly Blvd., West Hollywood, 424-281-1326 and rh.com
6. You could wear these Gucci crimson velvet wide-leg pants on a red-eye flight to see the family. But throw on a pair of heels and a silk blouse and presto, you’re ready to party. $1,800 at Gucci, 347 N. Rodeo Drive, 310-278-3451 and gucci.com

Starry Nights

1. Forget clay, this Star of David dreidel from Gearys is made of crystal and will add an elegant spin to your Hannukah holiday spread. $45 at Gearys, 351 N. Beverly Drive, 310-273-4741 and
   gearys.com
2. Sequins on sequins—this Badgley Mischka dress, with its flower applique and hidden boned bodice, sparkles on overdrive. $550 at Saks Fifth Avenue, 9600 Wilshire Blvd.,
   310-275-4211 and saksfifthavenue.com
3. “The Princess Necklace” by Harry Winston is dripping with white diamonds, cushion-cut sapphires and icy aquamarines, totaling a whopping 186.22 carats. It was inspired by a piece commissioned for a young royal princess in 1977. Price on request at Harry Winston, 310 N. Rodeo Drive, 310-271-8554 and harrywinston.com 
4. With an ultra-lightweight aluminum Dior and Rimowa carry-on suitcase, the fashionable frequent flier can rush to any gate in style. $4,400 at Dior, 309 N. Rodeo Drive,
   310-859-4700 and dior.com 
5. The curved banana heels on these silver Tory Burch Mary Janes give the otherwise youthful shoe a grownup, modern look. $358 at Tory Burch, 366 N. Rodeo Drive, 310-274-2394 and
   toryburch.com
6. Because there’s never enough room in the fridge when you’re throwing a bash, chill the bubbly in this chic silver Crate & Barrel beverage tub (which also comes in gold and rose gold). $120 at Crate & Barrel, 438 N. Beverly Drive, 310-247-1700 and crateandbarrel.com

Spice Route

1. Classic suede loafers by Gucci get the pumpkin spice treatment in this autumn hue, but they also come in black and dark brown leather for the less fashion-forward gentleman. $920 at Gucci, 347 N. Rodeo Drive, 310-278-3451 and gucci.com
2. The Rolex Lady-Datejust, famously worn by Grace Kelly, gets a revamp in the latest model. It now comes in the watchmaker’s signature Everose gold with a chocolate dial and diamonds. $41,900 at Gearys Rolex Boutique, 360 N. Rodeo Drive, #1, 310-887-4200 and rolexboutique-rodeodrive.com
3. In shades of brown, rust and gold, the multicolor embroidered “Mon Tresor” Fendi bucket bag is reminiscent of the changing fall foliage. $1,950 at Fendi, 201 N. Rodeo Drive, 310-623-3420 and fendi.com 
4. Italian designer Gianpaolo Pagni reimagined the 1974 book “Species of Spaces” by French writer Georges Perec for this Hermès Merino wool and cashmere blanket. Perfect if you’re of the homebody species and your space is curled up on the couch in front of the TV. $14,300 at Hermès, 434 N. Rodeo Drive, 310-278-6440 and hermes.com
5. The Montblanc “Patron of Art Homage to Albert Limited Edition 888” fountain pen honors Prince Albert and his legendary romance with Queen Victoria. Its solid 18-carat gold skeleton overlay is inspired by the Crystal Palace, which Albert built and the color is a tribute to the tartan that Albert had created himself for Balmoral Castle in Scotland. The cap ring bears the engraving of “Albert” and their wedding date just like a wedding band. $9,300 at Montblanc, 8500 Beverly Blvd., #757, 310-854-0049 and
   montblanc.com
6. A drawstring waistband comes in handy after holiday binging, but these cashmere Louis Vuitton joggers are stylish as well as comfy. $2,590 at Louis Vuitton, 295 N. Rodeo Drive, 310-859-0457 and us.louisvuitton.com

Warm and Fuzzies

1. If you’re going to disappear into a hoodie, shouldn’t it be this luxe version from Louis Vuitton? It’s made of plush cotton toweling in a gorgeous shade of teal and is embellished with the brand’s iconic monogram motif. $2,750 at Louis Vuitton, 295 N. Rodeo Drive, 310-859-0457 and us.louisvuitton.com
2. What’s a family game night without an epic game of Clue? This version from Detroit watchmaker Shinola reimagines the old-school mansion as a creepy hotel and comes with hand-illustrated character cards. $395 at Gearys, 351 N. Beverly Drive, 310-273-4741 and gearys.com
3. Adorable. Do we really have to say any more about this fleece teddy bear jumpsuit from The North Face? OK, it also comes in a hoodie version and both styles are available in baby pink. $80 at Saks Fifth Avenue, 9600 Wilshire Blvd., 310-275-4211 and saksfifthavenue.com
4. After a night of kicking up your heels on the dance floor, you’ll want to kick off your shoes and slip on these shearling Brunello Cucinelli slippers. $1,595 at Brunello Cucinelli, 220 N. Rodeo Drive, 310-724-8118 and brunellocucinelli.com
5. Add a touch of warmth to any room with these decorative amber and smoke-colored glass bottles by Polspotten. $340 (set of 4) at Neiman Marcus, 9700 Wilshire Blvd., 310-550-5900 and neimanmarcus.com 
6. Elevate your pizza game with this portable wood-fired pizza oven from Solo Stove. It comes with everything you need for wood burning, as well as a propane option and a Cordierite pizza stone for the nights you’re too tired to fire it up. $500 at Nordstrom, 10250 Santa Monica Blvd., 424-204-1177 and nordstrom.com

Toast of the Town

1. These timeless, Art Deco “Radiator” hoop earrings by David Webb are made of 18-carat gold and platinum, ornamented with black enamel and brilliant cut diamonds. $36,500 at David Webb, 9500 Wilshire Blvd., 310-858-8006 and davidwebb.com
2. This ornate lambskin purse by Dior brings new meaning to the phrase “clutching your pearls”—in a good way. The style is also available in six other shades from sky blue to seashell pink. $6,600 at Dior, 309 N. Rodeo Drive, 310-859-4700 and dior.com
3. Move over, James Bond! This Saint Laurent single-breasted tuxedo jacket with satin lapels will leave the ladies shaken and stirred. $4,590 at Saint Laurent, 469 N. Rodeo Drive,
   310-271-4110 and ysl.com
4. Former dancing queens will steal the scene in these crystal-studded platforms from Prada. $2,150 at Prada, 343 N. Rodeo Drive, 310-278-8661 and prada.com
5. From designer Pamella Roland’s Anniversary Collection, this party dress, topped with Champagne-colored sequins at the bodice and fading to cascading tiers of black tulle, says celebration. $4,995 at Saks Fifth Avenue, 9600 Wilshire Blvd., 310-275-4211 and saksfifthavenue.com
6. If Prince Charming were to have left his slipper on the steps of the castle, it would belong to this pair of velvet tassel loafers by Tom Ford. $1,490 at Tom Ford, 346 N. Rodeo Drive, 310-270-9440 and tomford.com  

The post Must-Haves for the Holidays appeared first on Beverly Hills Courier.

During the height of her fame in the 1940s, Lamarr surreptitiously invented the technology that would make Wi-Fi, Bluetooth, GPS and cell phones possible. 

However, it would take decades before she would receive recognition for her contribution. For Lamarr, her legendary beauty was a blessing and a curse. Many would not accept that “the most beautiful woman in the world,” as she had been called, could have brains, too. 

Lamarr was born Hedwig Eva Kiesler in Austria, Vienna in 1914 to assimilated Jewish parents. Though Louis B. Mayer, studio head at Metro-Goldwyn Mayer (MGM), had given Hedy her big break and her new name, she was forbidden, as were all MGM contract actors, from speaking about religion. Hedy kept the secret so close that her children whom she had with her third husband (out of six), actor John Loder, never knew she was Jewish until after her death. 

While under contract at MGM, (Lamarr dazzled in celluloid classics like the 1938 film “Algiers,” “Ziegfeld Girl” in 1941 and Cecile B. Demille’s biblical epic “Sampson and Delilah” in 1949), she began inventing as a hobby. There is not much in the public record about what drove her to invent or even how she did despite her education, the sum of which was middle school and a spell at a Swiss finishing school for girls. Like so many women of her generation, college was not in the cards. Not that she would’ve attended; her sights were firmly set on acting. She quit the boarding school to pursue her dream.
Yet the record shows she did invent. Lamarr told Merv Griffin on an appearance on his TV program in 1969, “I was different, I guess. Maybe I came from a distant planet, but whatever it was, inventions came easy for me.” Thomas Alva Edison had no formal education at all and thanks to him we have the lightbulb. The idea is the thing. And Hedy had a lot of ideas.

She also had a lot of time on her hands to think of them, especially  in the evenings after a day on the set. Hedy didn’t like the Hollywood scene, she didn’t drink and loathed going to parties. Instead, she preferred to sit at her home on Roxbury Drive and work on her  inventions. The star had a drafting table and light, and all the necessary accouterments installed at her residence and spent her evenings sketching out her ideas. Howard Hughes, with whom Hedy had a close relationship, gifted the actress a miniature version of her home setup. This was put in Hedy’s movie trailer so she could continue her work in between takes. She is also said to have sent Hughes sketches while he was working on building the fastest plane in the world. Lamarr claimed she bought books on the fastest birds and the fastest fish and cobbled the best parts of both in her drawing to Hughes. And, though the implementation of her idea took engineers to connect a few dots, Hedy’s basic concept worked and influenced the design.

Mostly, what we know of Hedy’s inventions during this time is that they were largely inspired by World War II, which was already raging in Europe by 1940. She attempted to create a tablet (akin to Alka-Seltzer) that would turn water into Coca-Cola for servicemen overseas. Even with the help of two chemists that Hughes had lent her, Hedy couldn’t get it to work. 

At one of the rare Hollywood parties she did attend, Hedy met George Antheil. He was an accomplished composer who had come to Hollywood with his wife in the hopes of scoring movie soundtracks. George also had experience working as a certified inspector of artillery ammunition at a U.S. armory in Pennsylvania. Hedy’s first husband owned a munitions factory in Austria, and she would often listen in on his discussions with German military officials who came to their home. This common interest is what likely drove Hedy and George to strike up a friendship, according to Pulitzer Prize-winning author Richard Rhodes, who spent years researching “Hedy’s Folly,” the definitive book on Lamarr’s inventions. “I think Hedy looked around and when she heard of George’s ammunitions background, she just said, ‘You’ll have to do.’” And Lamarr was relentless in pushing her ideas forward. George said of Hedy, “All she wants to do is stay home and invent things…She calls in the middle of the night because some idea hit her.” For Lamarr, in George she had finally found someone who was willing to look past her looks and listen to her. She once told a reporter, “A man does not try to find out what is inside. He does not try to scratch the surface. If he did, he might find something much more beautiful than the shape of a nose or the color of an eye.” 

Lamarr and Antheil designed three inventions during their partnership, but one would change the world. 

Outraged by the German U-boats that marauded the Atlantic, targeting passenger vessels and killing all on board, Hedy was desperate to find a way to stop them. Her initial idea was for a radio-controlled torpedo. Then, realizing an enemy could simply intercept the signal and divert the missile, she came up with the idea of frequency hopping. If the torpedo was guided by a radio signal and that signal would constantly and randomly switch frequencies, an enemy wouldn’t be able to intercept it, not long enough to change the course of the weapon before the frequency shifted again. 

Lamarr enlisted Antheil to put her idea into practice. They worked long hours together, so much so that Hedy offered him and his wife to move into her house to expedite the completion of the patent for their invention. But when Antheil’s wife came to visit and saw that every window in the house overlooked the pool, she asked him if Hedy swam in it. She did, and legend has it Lamarr preferred to do her laps in the nude. That put a quick end to the matter. Antheil would stay in Hollywood, with his wife. Though there is nothing to suggest there was ever a romantic relationship between George and Hedy, it’s not difficult to see why Antheil’s wife put her foot down.

George was stuck making the daily trek to Beverly Hills, where he and Hedy would sketch out concepts for their frequency-hopping device in her living room. The crux of the design, it is thought, was inspired by player piano scrolls, which play tunes by interrupting sound in a pattern. In the case of frequency hopping, the pattern would be random. Antheil had experience with piano scrolls; he synchronized 16 of them to create his orchestral masterpiece called “Ballet Mécanique.” For their device, it would be more like 88 piano rolls working in tandem.

When Heddy and George thought they had it, they brought their concept drawings to the National Inventors Council. They were blown away. Believing it could actually work, American inventor and member of the council, Charles Kettering, connected the unlikely inventors to a physicist at Caltech, who designed the electronic device based on their concept drawings. 

Lamarr and Antheil were granted their patent, U.S. Patent Number 2,292,387 for their design, called the “Secret Communication System” in 1942, and they presented it to the U.S. Navy free of charge. The Navy took one look at Hedy and said, “Thank you,” and stuck it in a filing cabinet, but not before stamping it “Top Secret.”

And that was that. It was forgotten. 

Hedy was told if she really wanted to help America win overseas, she should go out and kiss for war bonds. And though she wasn’t an American citizen, the Austrian native deeply loved this country, so she did. At the Hollywood Canteen set up to entertain the troops, she sold smooches, as well as autographs. Lamarr is credited with raising $25 million for America’s war effort, amounting to over $343 million today.

Many years later it was discovered, that in the mid-50s, the Navy had unearthed Lamarr’s patent, and shared it with a subcontractor to create sonobuoys, bobbing devices that could detect submarines below the water and transmit their locations to passing airplanes above. In 1962, the Navy adapted Lamarr’s technology during the Cuban Missile Crisis, and all of the U.S. ships sent to blockade the country were outfitted with frequency-hopping devices. A decade later, the devices were used in the surveillance drones that flew over Vietnam. Today, U.S. Milstar satellites, designed by Lockheed Martin, employ the technology in protecting the most sensitive military communications, including nuclear command and control messaging.

After the U.S. military released the patent, it became available to the private sector. That’s when the communications industry came across the patent and began applying frequency hopping, using digital signals instead of radio waves, first in GPS systems, and later in Wi-Fi and Bluetooth. Each requires a receiver to be able to hop from one digital signal to the other to create a seamless connection.

And though Hedy’s contribution was lost to time for decades, in 1997, she was honored by the Electronic Frontier Foundation, after one of its members discovered the patent and made the connection that the “Hedy Kiesler Markey,” to whom it was granted, was the legendary actress Hedy Lamarr. On all official documents for the patent, Lamarr used her second husband’s surname, Markey, because she thought it would be taken more seriously. Although Lamarr passed away in 2000, she was inducted posthumously into the National Inventors Hall of Fame in 2014 for the development of her frequency-hopping technology.

By 1997, when Lamarr was first recognized for her invention, she would not go out in public and sent her son to accept the award. During the acceptance speech he gave on his mother’s behalf, his cellphone rang. It was Hedy, so he answered it and put it on speakerphone for the crowd. She wanted to know how it went. Her son told her, “It’s still going, Mom. I’m kinda in the middle of it.” The crowd gave her a standing ovation. Privately, however, when Lamarr was told of the award, she quipped, “It’s about time.” 

The post Hedy Lamarr’s Beverly Hills Legacy appeared first on Beverly Hills Courier.

Here, we introduce a few of these women, each representing a different facet of the colorful mosaic that comprises The Wallis. Debbie Allen, who needs no introduction, has been instrumental in bringing dance to the center and to the community of Beverly Hills and beyond. As a board member of The Wallis, Executive Director of the Annenberg Foundation (and the right-hand woman to Wallis herself) Cinny Kennard exerts her influence behind the scenes, keeping in close contact with The Wallis Executive Director and CEO Robert van Leer to ensure the institution receives the support it needs from the foundation. Last month, Daphna Nazarian was named Executive Vice Chair of the board of directors at The Wallis. She has been one of the key figures helping to raise the necessary funds to keep the center’s many community outreach educational programs going and expanding.

Debbie Allen

Debbie Allen’s contribution to the world of dance is indisputable and immeasurable. 

To many, she might best be remembered for her award-winning performances as the hard-nosed principal choreographer at a fictional performing arts school in the hit ‘80s TV show “Fame.” But Allen has worn many hats in her career: actress, dancer, choreographer, singer-songwriter, director and producer. She has won six Emmy Awards, a Golden Globe and five NAACP Image Awards, among many others.  Allen was appointed by President George W. Bush to represent the United States as a Cultural Ambassador of Dance. She has the distinction of being named a Kennedy Center Honoree with an artist in residence there for over 15 years.

Allen has long been a leader in the arts and has taught and mentored generation after generation from communities that otherwise would not have the support to pursue dance. She also sits on the board at The Wallis and has played an important role in bringing people from every age and background to the city of Beverly Hills together in celebration of dance.

In fact, her influence at The Wallis was there from the very beginning when it was still a post office. Wallis Annenberg had invited her to an initial meeting where conversations were centered around the architecture, and what was going to go where. Allen sat back and listened before chiming in, “The architecture? Where is the dance studio?”

Years ago, Allen’s sister, actress Felicia Rashad, introduced her to Annenberg. The pair later met for lunch and over the course of that meal, Allen shared her plans to build a dance school that would focus on underserved Black and Latino communities. By the time the check came, Wallis had offered a grant to help make it possible. In 2001, Allen opened the Debbie Allen Dance Academy. (Last year, the Academy moved into a new facility inside the Rhimes Performing Arts Center in Mid-City. The 25,000-square-foot space was donated by TV powerhouse Shonda Rhimes.)

Annenberg and Allen remained close over the years, and when plans for The Wallis were taking shape, Allen was asked for her input. 

“I think that for me, the most fulfilling thing was to help them understand that the footprint has to be open to the community,” Allen said. “When you go to Europe and places all over the world, there are squares everywhere that are busy with people drinking tea or sipping wine while they enjoy performances around them. The Wallis has that footprint in that wonderful terrace that opens itself up to the whole community.”

After The Wallis opened, and Allen joined the board, the question was—what to do with that terrace?

Allen, inspired by those bustling European squares, came up with an idea. She offered to lead a series of free dance lessons covering dance from all parts of the world, like salsa, African, flamenco and hip-hop to the public on the terrace. And Dance Sundays with Debbie Allen and Friends was born.

“We started that program, right out of the box, with no real funding and no real planning. Sometimes that moment of spontaneity in creativity is lightning in the bottle,” said Allen. “And I started teaching those classes, and I was out there in that hot sun sometimes. I was out there on Mother’s Day. My family was so mad at me. They said, ‘Nobody’s going to come!’ That day, I had around 250 people that had bused in from all over to be with me on Mother’s Day.”

Allen encourages all to dance, even when everyone is watching. “For me, the spirit of the dance lives inside everyone. And they just have to let it come out. Let it come out!  Don’t be afraid to touch it,” she said. “Dance is the most original of all the art forms. Before man could make an instrument, we were dancing. Before we had language, we were stomping on the ground, jumping and leaping and celebrating life, births, deaths or begging for good weather.”

Dance Sundays remains an enormously popular part of The Wallis’ free summer programming on the Promenade Terrace, which has been expanding ever since. Events like Sunday Funday, a series of family-friendly entertainment such as puppet shows and children’s musicians are now held in the outdoor space. “This is all at no cost to the community other than their time, their interest and curiosity,” said Allen. “That’s what you have to pay. And it doesn’t get much better than that.”

And though The Wallis has its own independent committee responsible for its dance programming, and Allen praises them for their diversity, she certainly has had influence. Allen said she pushed to bring in Black choreographers like civil-rights activist and dance visionary Alonzo King, the gifted Crenshaw-based Lula Washington and Camille A. Brown, whose work, a combination of contemporary and ancestral styles, often explores themes surrounding African American identity.

But for Allen, dance is more than an art form, she truly believes it can save the world. 

“I believe dance can lead to solving some of the problems in the world right now,” she said. Then, as if channeling the no-nonsense character that made her famous, she added, “If I could just make everyone dance, I could straighten this mess out, bring them all to the ballet bar and make them ‘hold, and hold, and move’ until they do it right.”

As funding is increasingly slashed from school arts programs, she said now more than ever we need to fill in those gaps left by the lack of political will to prioritize arts education. “This is why we can’t survive without somebody like Wallis Annenberg, and the Wallis Annenbergs of the world, and the Shonda Rhimes of the world, and the people who will help make things possible that the government just doesn’t do,” she said.

As a Culture Ambassador of Dance under President George W. Bush, Allen was tasked with traveling the world from China to Brazil to Cuba to define cultural diplomacy. She discovered that no matter where she went, no matter the issues that were dividing the people of that nation or dividing nation from nation, dance was a common language that transcended everything. It allowed for communication, for people to sit at the same table and begin to understand one another. 

“I remember when I was a little girl growing up in Houston, Texas, I couldn’t be in ‘The Nutcracker’ because everything was so segregated. It was the middle of the civil rights era,” she shared. “So, I have an understanding of the price of freedom. I watched all the people, who were my elders, marching in the streets and saw things as a kid that no kid should see. And now it’s happening again. Just when we think we have reached a point of another plateau of success, we slide backward. So, this is why The Wallis is so important, and what we’re doing at the Debbie Allen Dance Academy is so important. What we do has to be measured by the change it makes in people’s lives.”

Cinny Kennard 

For the past nine years, Cinny Kennard has served as Executive Director of the Annenberg Foundation, and unofficially, as CEO Wallis Annenberg’s right-hand woman. She is also a member of the board at The Wallis.

Her relationship with Wallis Annenberg goes back decades.

“I’ve had the great blessing to work with Wallis on different projects on and off for probably 20 years,” Kennard said. “It’s been a tremendous opportunity to actually learn, working beside her, about philanthropy,  impact and leadership. And she’s a great mentor, as well as the boss.”

It was largely due to Wallis and the Annenberg Foundation that The Wallis was willed into existence, thanks to generous grants and donations from both. So, it’s no surprise that the foundation considers the performing arts center one of its key projects.

“The Wallis is its own entity with phenomenal leadership helping to secure amazing artists and entertainers,” explained Kennard. “But Wallis and I sit on the board. We keep very, very close to The Wallis to ensure that Beverly Hills has a flagship enterprise around the arts. The close relationship is something to which Robert van Leer, Executive Director and CEO of The Wallis, can attest. Kennard regularly checks in with him and the pair maintain a close partnership.

“The Wallis and the Annenberg Foundation is a deeply important relationship. And it goes way past the funds that the Annenberg Foundation has given us,” said van Leer. “It is a truly symbiotic relationship, where we both want the best for the center and for its future in all dimensions. And Cinny, in her role at the foundation and as a member of the board, is an important leader in the broader cultural community and as part of The Wallis in Beverly Hills.”

For Kennard, what distinguishes The Wallis from other cultural institutions is its experimental and innovative approach to the arts. The center is often referred to as “the Kennedy Center of the West” because of its multidisciplinary programming, which includes theater, music and dance. Even comedy has a place on its stages. But it’s also somewhat of an incubator where established and emerging talents are given the freedom to explore new ways of expression.

“The Wallis tries to do things that are different. In a lot of ways, it’s a laboratory. It’s a place to try things. And I think that’s what makes it distinct from other places,” said Kennard. “Beverly Hills is known, certainly for its greatness around the world, but honestly it hadn’t been known for its cultural footprint. The Wallis changed that. It is a cultural epicenter right in the middle of Beverly Hills.”

And though it’s located in Beverly Hills, Kennard points out that The Wallis has tentacles that reach far beyond the city’s borders.

“I think what everybody’s most proud of is that on any given day you can see school buses ringing the courtyard around The Wallis, bringing in kids from underserved neighborhoods and communities of color from all over the city for the GRoW program to learn about theater and music,” she explained. “So, it’s not just sitting here serving one community, it’s serving a cross-cultural group of people from all over our region.”

Kennard said the foundation is also particularly proud of The Wallis’ Creative Aging programs, where classes in creative writing and playwriting, tailored to older adults (age 55+), are offered year round. In these group classes, students are guided through a series of short assignments intended to help them excavate memories and life events, learning the power and importance of finding and sharing their voice. The classes culminate in students reading a selected work on stage at The Wallis.  “We’re really proud of the effort to draw in the aging community to that theater,” said Kennard. “It becomes something much more than just a community theater; it becomes something very powerful, offering relevant and powerful programming for the community on a regular basis for all people from all walks of life.”

Ensuring female voices are amplified at The Wallis is equally important, said Kennard, but as you might imagine at a foundation run by two formidable women, it’s not a directive, it’s part of the DNA of the organization. “It’s an instinctive part of our thought process to ask, what have we done for women? And what are we doing to make sure women are valued and not devalued?” she said.

Make no mistake, Kennard is a powerhouse in her own right. She began her career in journalism and was a CBS News correspondent in Los Angeles, London and Moscow and won an award for her coverage of the 1991 Persian Gulf War, where she was boots on the ground in Baghdad and in Israel. “I did what so many women in my generation did, which was to just push through it and not let anything stop me. I put my head down and did the work,” she said.

For her part, Kennard is willing to do what she has always done, put her head down and do the work, alongside her mentor and boss. “We are two women working together in this enormous analog universe,” she said. “And I’m extremely proud of being part of a duo that’s female.”

Daphna Nazarian

Daphna Nazarian had a long successful career as an architect before joining the board at The Wallis. She worked for a firm specializing in the revitalization and preservation of historical landmarks in Downtown Los Angeles and later helped develop and remodel residential estates in Bel-Air, Brentwood and Beverly Hills. In 2012, she started her own interior design company.

Recently, Nazarian was named Executive Vice Chair of the
board of directors. Van Leer said he is pleased Nazarian accepted the role, “Daphna has been instrumental in her fundraising efforts, and she is deeply passionate and committed to The Wallis and the Beverly Hills community, as a longtime resident,” he said. “Following her years
of service and dedication as Co-Chair of Development on the board, we’ve decided to expand Daphna’s role with the position of Executive Vice Chair.”

Nazarian was first approached and asked to join the board at The Wallis during the pandemic. For her, the decision to devote her time to the arts center was a deeply personal one. 

“I was asked to join the board at a very challenging time in my life. It was a time when I didn’t have a lot of my own passions and creativity that I had when I was a driving force within my field,” she explained. “Surrounding myself with people who had the passion and excitement for their art, and surrounding myself with people who are talented in areas that I’m not, such as music, really became a healing source for me and gave me the strength to find my balance in life.”

Nazarian is largely tasked with raising the essential funds to ensure the center is maintained and can implement its most important and fundamental programs like GRoW, which includes outreach to about 50 community schools all over L.A. County each year.

Once a year, Nazarian spearheads an annual gala, but despite the fanfare and glitz, fundraising means asking people for money. “I used to be very shy and initially I thought there was no way I could do it,” said Nazarian. “But I believe so strongly in the mission of The Wallis so there was no way I could say no.”

Nazarian not only took on the responsibilities, she found she was really good at it. After all, raising money for causes is something that Nazarian grew up with as her family has a rich legacy of philanthropy.

She was 11 years old when her family fled Tehran, Iran during the revolution of 1979. They escaped to America and settled in Beverly Hills. “When we moved here, it was supposed to be very temporary. And within a short while, it became very evident that because we were Jewish, we could not go back,” she said. “Iran was our home, then all of a sudden, we weren’t accepted. We didn’t belong. Sadly, this issue of antisemitism is still relevant all around the world.”

In Iran, her mother was heavily involved in charity work from helping the women’s suffrage movement there to raising money for orphanages. Once in this country, both her mother and her father wanted to give back, and they focused their efforts on the arts and aiding Jewish organizations. Her father started several different foundations. One gives free loans to Israelis coming out of their compulsory military service so that they can afford college. 

Her parents also instilled in her and her siblings a deep appreciation for the arts. She recalls her father once telling her, ”You don’t have to become a musician or a concert pianist, but music is there for you when you need it. If you’re upset or hurt, music is going to be your companion.” When she started Girl Scouts in Iran, her father gave her a gift, a book by Marc Chagall. “As an 8-year-old in Iran, what did I know of Marc Chagall? But that became my first introduction to the world of the arts,” she said. “And he wrote in it, ‘Whatever you do in life, make sure you always take in the beauty that life affords you around you.’” 

Nazarian used these anecdotes to underscore what she feels is perhaps one of the most important missions of The Wallis, exposing children to the arts, especially as arts programs are cut from schools all over the country. “Through the arts, children and young adults are exposed to subjects like social justice and racial issues. They learn new ways to deal with pressures within their communities from lack of education to police brutality or antisemitism. They are also exposed to different cultures. And [The Wallis] does more than expose other cultures, it celebrates and values them. All of this makes it easier for me to go out and say, ‘We need help, we need support. Everyone’s support adds up.’”

Ultimately, for Nazarian, what these programs do is create a healthier and more tolerant community. “Hopefully, we’ve given these children an outlet, they won’t drop out of school, they won’t resort to violence. They’ll learn to express themselves in healthy ways and accept and embrace other cultures, and they will extend it to other people so it becomes a ripple effect. And that’s the purpose of The Wallis, to create bigger and bigger ripples.” 

The post The Women of The Wallis appeared first on Beverly Hills Courier.

A number of interesting films have already opened, and many are still in theaters. Martin Scorsese’s “Killers of the Flower Moon’’ was highly anticipated and will begin streaming on Apple TV+ later in the year. Sofia Coppola’s recently opened biopic “Priscilla” about Priscilla Presley was nominated for a Golden Lion at the Venice Film Festival earlier this year. “The Bikeriders,” a gritty road movie based on the book by Danny Lyon stars the immensely photogenic Jodie Comer and Austin Butler and Tom Hardy. Originally scheduled to premiere on Dec. 1, it has been delayed due to the actors strike but is anticipated to open before the end of the year in order to qualify for the Oscars. 

Hope springs eternal for the lasting power of the films that are opening just prior to Thanksgiving through Dec. 25. 

To the Holiday Season and beyond!

November

November 17

“May December” is by the always intriguing Todd Hayes. Through Gracie Aatherton-Yoo, a character based on Mary Kay Letourneau (the teacher who seduced her 12-year-old student), Hayes paints an uncomfortable picture of what happens when she is interviewed by an actress about to play her on screen. Starring Natalie Portman as the actress and Julianne Moore as Gracie, you can expect to be uncomfortable in the black humor universe that Hayes usually weaves.

“Rustin” is the long-ignored story of Bayard Rustin, civil rights activist and leader, and organizer of the 1963 March on Washington. Instrumental in the fight, he was left behind by the leaders he helped because he was gay. Directed by George C. Wolfe and written by Julian Breece and Oscar-winner Dustin Lance Black, the all-star cast, led by Colman Domingo as Rustin, includes Glynn Turman, Chris Rock, Jeffrey Wright and Audra McDonald. This is a must-see for me. Having opened in theaters on Nov. 3, it has just begun streaming on Netflix.

“Next Goal Wins” is from the always off-beat Taika Waititi, this time directing a feel-good movie about the American Samoa soccer team whose claim to fame is their savage 31-0 loss in 2001. Another World Cup is approaching, and a new coach has been hired to turn them around. Michael Fassbender as the put-upon coach is always worth watching. The film is based on a 2014 documentary of the same name.

“Trolls Band Together” is another entry in the Troll world. Poppy (voiced by Anna Kendrick) discovers that her best friend Branch (voiced by Justin Timberlake) was once part of her favorite boy band. They go on a search for the other members of the band facing obstacles all the way (not the least of which is that the other members of the band are not NSYNC). 

“The Hunger Games: The Ballad of Songbirds and Snakes” is a prequel of sorts. Minus those you love (Jennifer Lawrence) and those you hate (Donald Sutherland), this Hunger Games takes you back to the youth of Coriolanus Snow who would, someday in the far future, become the evil President Snow. But for now, Coriolanus must team up with Lucy Gray to turn the odds against them in the Hunger Games.

“Saltburn,” directed by Emerald Fennell in her sophomore outing, stars the quirky Barry Keoghan (“Banshees of Inisherim”) as an Oxford student out of his depth the summer he’s invited to the home of a very posh classmate. With Rosamund Pike, Carey Mulligan and Richard E. Grant in support, expect eccentricity at the very least.

“Thanksgiving” is Eli Roth’s newest slasher film. Never lacking a sense of humor, Roth’s film is based on a fake trailer he made for “Grindhouse,” his 2007 entry in his favorite genre. Inspired by a Black Friday tragedy, a mysterious serial killer (aren’t they all mysterious?) arrives in Plymouth, Massachusetts to set up his own buffet platter piled high with the town’s denizens. Where will it end?

November 22

“Maestro” is Bradley Cooper’s controversial biopic of Leonard Bernstein, controversial primarily because of the prosthetic he uses to portray the conductor. Cooper, who acquitted himself well in his feature directing debut with “A Star is Born,” tells this tale through the prism of his complicated marriage to his wife Felicia, played by Carey Mulligan, over a period of 25 years.   

“Napoleon” is Ridley Scott’s long-awaited tour de force about the man who has, thus far, eluded all who approached him, whether Marlon Brando, Rod Steiger or Charles Boyer. This larger-than-life character whose rise from obscurity to the height of power is here portrayed by Joaquin Phoenix. The love of his life, Josephine, played by Vanessa Kirby, is a witness to most of his post-revolutionary history. It’s a lot of ground to cover in 2½ hours.

“Wish” is Disney animation’s holiday gift to families. Asha (voiced by Ariana DeBose) wishes upon a star and gets more than she bargained for when the star decides to join her down on Earth. With music by “Frozen” songwriters Robert Lopez and Kristen Anderson-Lopez, expect Asha to break out in song.

“The Boy and the Heron” is written and directed by master
storyteller Hayao Miyazaki, the renowned creator of “Spirited Away” and “Princess Mononoke.” He tells the tale of young Mahito Maki whose mother has died and father has remarried. Still mourning, he encounters a gray heron on the estate who leads him into an alternative universe filled with magic.

December

December 1

“Candy Cane Lane,” although streaming exclusively on Amazon Prime, deserves mention for no other reason than its star, Eddie Murphy. Definitely aimed at joining the Christmas genre club, mayhem ensues when a rogue elf casts a spell on the family.

“Shayda” stars Zar Amir Ebrahimi (who was so good in “Holy Spider”) as the survivor of an abusive husband whose life is turned upside down when the Australian judicial system gives that husband visitation rights, and he schemes to take their child back to Iran.

“Silent Night” is there for you fans of revenge thrillers. Directed by John Woo, there will be blood.

“Godzilla Minus One”— because nothing says the holidays like a retro Japanese monster movie. This is the 37th film in the Godzilla series, if you’re counting.

December 7-8

“Leave the World Behind,” written and directed by Sam Esmail, based on the brilliant novel by Rumaan Alam, is a view of a coming apocalypse set on Long Island where race, class and privilege take front and center. With Julia Roberts, Ethan Hawke and Mahershala Ali, one has high hopes that it can capitalize on its stars and underlying material. Streaming on Amazon Prime after a short theatrical run that began on Nov. 22.

“Poor Things,” winner of the Golden Lion in Venice,  is a much talked about Frankenstein-style film, this time where a young woman, played by Emma Stone, is brought back to life by an eccentric scientist after her suicide and then escapes to a life of debauchery and self-discovery. There will be sex.

“Zone of Interest,” based on the Martin Amis novel, written and directed by Jonathan Glazer, is about Rudolf Höss, the commandant of Auschwitz and his wife Hedwig as they strive to create an idyllic life for themselves next to the camp. Winner of the Cannes Grand Prix, it stars Sandra Hüller who is this year’s must-watch actress. Hüller starred
earlier this year in Justine Triet’s Palme d’Or winning “Anatomy of a Fall,” an absolute must-see.

December 15

“Wonka”—the prequel. How did he become the go-to guy for the Oompa Loompas? This will be difficult to pull off, but the cast is first rate with Timothée Chalamet starring as the young Willy Wonka, along with Olivia Colman, Hugh Grant and a slew of other excellent British actors in support.

“American Fiction” is a film that comically approaches the acceptance of “style” over substance. When a serious and incisive Black writer’s book is lost in the acclaim for a shallow tome called “We’s Lives in Da Ghetto,” he decides to write his own outrageously stereotypical novel, under a pseudonym of course. Starring the always terrific Jeffrey Wright, Sterling K. Brown and Issa Rae, directed by Cord Jefferson, the highly regarded television writer in his feature debut, also wrote the screenplay based on the Percival Everett novel “Erasure.”

“Chicken Run: Dawn of the Nugget” is a film about a chicken named Ginger who has found peace at last for her brood after escaping Tweedy’s farm. But chicken-kind is still in danger, and Ginger and her team must break back into the farm to save them. Look for it to stream on Netflix after its theatrical release.

December 20-22

“Aquaman and the Lost Kingdom” is back. Jason Momoa as Aquaman/Arthur Curry must join with King Orm (Patrick Wilson) to protect their kingdom. Returning with him will be those below sea and earthbound inhabitants played by Nicole Kidman, Yahya Abdul-Mateen II, Dolph Lundgren and yes, Amber Heard, with a special appearance by Ben Affleck as Batman.

“The Iron Claw’’ is, on the surface, a wrestling movie about the Van Erich brothers who dominated the sport in the 1980s. But they face difficulties inside the ring and out. This starry cast includes Zac Efron, Jeremy Allen White and Lily James.

“Rebel Moon—Part One: A Child of Fire” is the latest film from the directorial wand of Zack Snyder, best known for “Man of Steel” and “Army of the Dead.” When a peaceful colony on a fictional moon is threatened by a warring army, a mysterious stranger in their midst may be their best hope for survival. Watch for this to stream on Netflix in the near future.

“All of Us Strangers” is the film I’m most looking forward to. A romantic fantasy, of sorts, a chance encounter with a mysterious
neighbor leads Adam back to his past, finding his parents alive, just as they were when he last saw them. A bizarre encounter because they died 30 years before. Starring Andrew Scott, Paul Mescal, Claire Foy and Jamie Bell— the cast alone makes this a must-see.

“Migration” is an animated holiday gift to the kids. Think “National Lampoon’s Christmas Vacation” but with ducks.

December 25

“The Boys in the Boat,” directed by George Clooney and based on the best seller of the same name, is the ultimate underdog story about the ragtag rowing team from the University of Washington during the Depression. Joel Edgerton leads the cast.

“The Color Purple” takes the 2005 Broadway musical based on Alice Walker’s novel and brings star power to bear. Produced by Steven Spielberg, Quincy Jones, Scott Sanders and Oprah Winfrey, the latter three also produced the Broadway musical upon which this is based. The heat in front of the camera is impressive with Taraji P. Henson, Colman Domingo (who’s having quite the year), David Alan Grier and Fantasia Barrino, to name just a few. It will be wonderful to see the
multitalented Danielle Brooks (“Orange is the New Black”) reprise her role of Sofia from the stripped-down 2015 Broadway version of the
musical. She will amaze you.

“Ferrari” takes a critical year in the life of Enzo Ferrari, 1957, and the Mille Miglia (the 1,000-mile race) and explores the factors he had to overcome personally and professionally. Directed by Michael Mann, you can expect great visuals and hairpin turns for both the humans and the cars. The A-list stars are Adam Driver as Ferrari and Penelope Cruz as his wife, with Shailene Woodley and Patrick Dempsey in support.

So, start your engines and get back into those theaters. Happy viewing!

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To know who he was is to comprehend why, in that time frame, he was sidelined. Rustin, who took a back seat to no one, was an intellectual polymath and gay Black man. Either of those last two designations, gay and Black, damned him in the society of the time, but the combination of the two would have been a dea as Adam Clayton Powell Jr. th knell had he let it. But he didn’t. He knew who he was and was unashamed. In a conversation with his grandmother, who asked why he didn’t go to school dances, he said simply that he preferred to dance with boys. “Then,” she responded, “That’s what you need to do.” He did that and more, always with her support. His interests were wide and varied, but mainly he was a champion for civil rights and fought tirelessly toward that end.

Rustin, a student of Gandhi’s methods, brought the philosophy of nonviolence to Martin Luther King Jr. whom he mentored. Confronted by an aggressive young man decrying the nonviolence movement, Rustin goaded him, encouraging him to hit him on the left side of his face. Smiling, he pointed to the right side, scarred and missing teeth. He told the young man that he couldn’t do more than had been done to him by the police in Mississippi. Ever after, those missing teeth were a reminder of what Rustin had withstood and how far he was willing to go to fight for his beliefs. Nonviolence, he would point out to King, gives your opponent nothing to fight back against, automatically putting them at a moral disadvantage.

He was allied early and mentored by A. Philip Randolph, one of the most important leaders in the Civil Rights Movement and the man who successfully unionized the Sleeping Car Porters of the Pullman Company, eventually integrating them into the AFL-CIO. The NAACP led by Roy Wilkins, its executive director, was a different story. Long a leader in the movement, he had a distaste for Rustin, his aggressive methods and what he viewed as his abhorrent lifestyle; but mostly, Wilkins was unwilling to share the stage physically and philosophically with the charismatic Rustin. Wilkin’s NAACP, Randolph’s Brotherhood of Sleeping Car Porters, along with King’s Southern Christian Leadership Conference, the Student Nonviolent Coordinating Committee led by John Lewis, the Congress of Racial Equality led by James Farmer, and the National Urban League led by Whitney Young were considered the Big Six. They had frozen Rustin, the leader who had brought most of them together, out from any official standing.

Taking a unique approach in recounting the history of Bayard Rustin, Wolfe centers most of this story around the organization of the March on Washington in August 1963. So many received credit; so many took credit; and so many rose with the success of that March. The one who neither received, took or rose with the wave of accolades was the man who conceived the idea and went on to organize it, against fearsome odds, Bayard Rustin. And quite a story it is.

Adam Clayton Powell, congressman from Harlem and an important Black figure in mainstream politics, learned that Rustin was in the planning stages of  boycotting the 1960 Democratic National Convention in Los Angeles. Knowing that this might put Powell in a negative light and diminish his power in the Party, he told the Big Six that he was prepared to publish a rumor alluding to King’s very suspicious closeness to Rustin. Although there was absolutely nothing to the rumor and all of the Six knew it, it was all the impetus that Wilkins needed to force Rustin out of the group. By 1962, Rustin was persona non grata in all of the Big Six organizations, his relationship with King now all but nonexistent.

But Rustin was nothing if not an idea man and an idea was what he had. First mending the rift with King and shoring up his relationship with Randolph, he posed the question. What if we could stage a March on Washington and the White House on the anniversary of the Emancipation Proclamation in August 1963? They would call it “The March on Washington for Jobs and Freedom” and bring together organized labor and disenfranchised minorities from all over the country. It would be a massive undertaking in what would amount to less than a year, but Rustin was certain that a grassroots approach would work. That it did is a tribute to this unsung hero who did all the planning, reached out to all the necessary factions, overcame government interference (Kennedy among them), and relinquished his visible chairmanship to Randolph when Strom Thurmond, the Senate’s bastion of George Wallace’s “segregation now, segregation forever,” went on national radio to declare that Rustin was “a Communist, draft-dodger and homosexual.” Yes, he had an early foray, long abandoned, into Communism; he was jailed during World War II as a legitimate conscientious objector; and most definitely he was a homosexual. In the face of those odds, Kennedy’s objections to the March, and especially Wilkins’ refusal to cooperate with the others in this endeavor, Rustin deferred to the leadership of Randolph who, appointed Director, immediately made Rustin his deputy, conferring on him all the decision-making power and responsibility. The March would go on despite Wilkins and despite the FBI publishing what they proposed was photographic proof of a King-Rustin liaison. The March would go on because of Rustin’s incredible organizational skills and the massive team of volunteers who would do anything for him and this cause.

But this isn’t supposed to be a pedantic exercise in civil rights. This is a review of a magnificent film that will fill in all those details as it introduces you to someone you might not have heard of but should know. By centering this narrative on Rustin and the March on Washington, so much about the history of the Civil Rights Movement is revealed, explained and illuminated. But mainly, it’s Rustin and his heroic bravery throughout his life in the face of incredible odds.

The production values from score to costume and production design are evocative of the era. Cinematographer Tobias Schliessler often creates sequences that look like archival footage combining color, sepia and black and white.

This is a cast of thousands, another hyperbole but not that far off, most of whom are exceptional. In relatively minor roles, something that, unfortunately mirrored their characters in real life, the marvelous Audra McDonald and CCH Pounder played Ella Baker and Dr. Anna Hedgeman, respectively, leaders of the era who refused to be diminished by gender.

Chris Rock as Roy Wilkins is a bit stiff and not entirely convincing as the prickly civil rights leader who hated to share credit. He never completely finds the nuance in this character. Aml Ameen is an effective, sympathetic and believable Martin Luther King Jr., wavering in his loyalty to Rustin and later exhibiting great regret that he did. He rides that delicate balance between inexperienced mentee of Rustin to his graduation with honors on the platform at the March with “I have a dream.”

Glynn Turman, as A. Philip Randolph, has always been a personal favorite and he does not disappoint. Randolph is perhaps the most pedantic of the characters, weighing in expositionally whenever an explanation is needed. And yet, it never seems so. His character is fully developed, inspirational and the empathetic opposite of Roy Wilkins. I don’t believe there is anything that Glynn Turman can’t do or do better than anyone in the same role. Jeffrey Wright as Adam Clayton Powell Jr. is pitch-perfect and steals his every scene. Wright exudes the air of privilege and egocentricity that was the hallmark of Powell’s entire career. Wright has the extraordinarily difficult task to find a sympathetic core in such a conflicted and ultimately corrupt individual and he does it with the lightest of touch. Wright turns limited screen time into something that looms large even when he’s not there.

But “Rustin” rises and falls on the actor playing him and Wolfe’s impeccable choice was Colman Domingo. There are not words enough to describe how mesmerizing Domingo is, from the first moment he appears on screen until the credits roll. With his megawatt smile revealing those teeth that become a character unto themselves, Domingo dominates all his scenes. As an out and proud man in an era that was anything but, he is a revelation in courage and strength. Watching his struggles for acceptance for who he was is a constant reminder of the battles fought and won in a future still decades to come.

The cast, writers Julian Breece and Dustin Lance Black, the crafts and especially director George C. Wolfe, who pulled all the elements together into a fantastic movie, deserve recognition come awards season. It is a film that flies by and leaves you knowing more than you knew going in and wanting to learn more after.

Now playing at the Cinepolis Pacific Palisades and the Landmark NuArt; streaming on Netflix November 17. 

Neely Swanson spent most of her professional career in the television industry, almost all of it working for David E. Kelley. In her last full-time position as Executive Vice President of Development, she reviewed writer submissions and targeted content for adaptation. As she has often said, she did book reports for a living. For several years she was a freelance writer for “Written By,” the magazine of the WGA West, and was adjunct faculty at USC in the writing division of the School of Cinematic Arts. Neely has been writing film and television reviews for the “Easy Reader” for more than 10 years. Her past reviews can be read on Rotten Tomatoes where she is a tomato-approved critic.

The post ‘Rustin’— “Let Us Be Enraged by Injustice, But Let Us Not Be Destroyed By It.” appeared first on Beverly Hills Courier.

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Elvis, riding high as the newly crowned King of Rock ‘n’ Roll, was drafted into the army in 1958. Given the opportunity to enlist in Special Services and entertain the troops, he was instead advised by his manager, Col. Tom Parker, to go the regular soldier route. There was method to his madness because by doing this, Elvis gained respect both from fellow soldiers but also from the generation back home who viewed him as a threat to society. Also, Parker would have had to relinquish control of Elvis’s performances and recordings while he worked for the Army. 

The regular Army was a lonely road for Elvis, especially when he was shipped to West Germany where he knew no one and couldn’t speak the language. His beloved mother had recently passed and he was, simply put, homesick. Concurrently, young Priscilla Beaulieu (14) arrived at the same outpost when her stepfather, a career Army Captain, was assigned to the base, and she was miserable. A high school freshman, smart but unfocused, she couldn’t relate to anyone. Spotted at the base soda fountain by an Army friend of Elvis, he wondered if she might like to go to one of his parties. This was an opportunity that the introverted girl, daughter of very conservative parents, would fight for, and she did. She and Elvis bonded and Priscilla’s thoughts ever after would be about him and him alone.

Defying credulity, Priscilla and Elvis convinced her parents to allow her to complete her senior year of high school in Memphis, carefully supervised and living at Graceland. Elvis’s hit, “Can’t Help Falling in Love” from his recent movie “Blue Hawaii,” offers a window into describing his relationship with Priscilla. Listen to the lyrics and you’ll hear “Wise men say ‘only fools rush in.’ But I can’t help falling in love with you…Like a river flows, surely to the sea, Darling, so it goes. Some things are meant to be.”

It was Elvis who kept the relationship chaste as he molded his young sweetheart into his ideal of womanhood. It didn’t hurt that she was always in her Catholic school uniform. It is unclear how long it took Priscilla to realize that she was a bird in a gilded cage, but eventually she awakened slightly to the downside of being the property of one of the most famous men on the planet.

While she was confined to luxury quarters, Elvis left, often for extended periods, as he made movies and recordings that kept him in the spotlight. The rumors of his liaisons with his co-stars, most famously Ann Margaret, were well-founded although often denied by him. The irony of his sexual adventures away from home and his refusal to take the next step with the chaste teenager were not lost on Priscilla. He continued to lavish her with presents and advise on hair and makeup; stores came to her so she wouldn’t face the outside world. Unable to invite school friends, if she had any, to the house, she was surrounded by Elvis’s band of rowdy musicians, his surly father, and the women who worked at Graceland. It surely didn’t escape her notice that even when he was home, Elvis reverted to adolescence with his bandmates, his closest friends. They had nothing in common with the teenager, nor she with them.

Priscilla, lost, could not help but note that he, too, was searching for something with his forays into the occult, spiritualism, Eastern religion and quasi Bible studies where he searched for meaning in the “woman at the well.” Controlling, sometimes violent, always unpredictable, she was caught in his web never wanting to be free. Until she did. But let’s leave some of her story on the screen.

There must have been something magnetic about the quiet teenager that made Elvis’s friend engage her in the first place. She was surely not the only attractive American teenager on the base. And therein lies one of the flaws in Coppola’s film. Cailee Spaeny plays Priscilla without personality or passion. She is deadpan through most of the movie, always with the same wide-eyed expression. Her Priscilla is definitely not a scholar and seems to be without any curiosity, intellectual or otherwise. She’s pretty but, like a deer in the headlights, her expression rarely changes from situation to situation. It’s certainly understandable that an inexperienced young girl, living with her idol, would give up any sense of self to continue floating in his backdraft. Coppola, no doubt, was interested in the portrayal of spousal abuse both on the giving and receiving ends. Priscilla, always holding out for the ring she eventually got, is portrayed as a classic recipient of abuse where the husband and/or lover acts out and then profusely apologizes, setting off a course of “I’ll never do that again” repetition. The main problem here is that Spaeny’s Priscilla has virtually no personality and it’s hard to be invested in her. The questions that continually arise are “What did/does he see in her?” Spaeny’s look of wide-eyed innocence begins to wear on the viewer and you are as relieved as she was when she decided to leave (that’s not a spoiler unless you don’t live on this planet).

The story of Elvis Presley, his rise, his life, his death, has been told endlessly and Coppola’s intention to tell the Elvis/Priscilla story from Priscilla’s standpoint was a great idea. Unfortunately, despite her best efforts to focus on Priscilla, the Elvis of this tale, played by Jacob Elordi, is far more interesting and grabs the spotlight even when it’s not shining on him. His portrayal is compelling and electric, emphasizing that there was no there there with Priscilla. For every one of his actions we rarely see a reaction on her part. Certainly, part of Coppola’s point is about the disparity of power, and that is on full display. But it is hard to sympathize with a young woman, left by herself so often, who didn’t find something to occupy her time. You never see her with a book in her hand; the television, when on, is tuned into “Petticoat Junction” or “The Beverly Hillbillies,” underscoring a stereotypic view of her world. (On the other hand, we all watched those inane shows; they were fun, not societal statements.) This Elvis, the supporting character in the film, is dynamic; eyes flashing, his very act of walking or lying still is riveting. It’s probably an unfair criticism to compare performances because, as written, either by Coppola or Presley herself, Priscilla is a cypher to which no one seems to have the algorithm.

The movie flows at a steady pace and Coppola establishes the conflict between idolatry and reality. Although I was unappreciative of Spaeny’s performance, clearly Coppola was more interested in the aftermath of the wrong dream than the “why her’’ aspects of the story. But no matter how hard you try, Elvis is always a focus because this Priscilla has been given little or no character development.

The rest of the cast is fine, if not well developed. Lynne Griffin as Grandma “Dodger” brings compassion and warmth to the Presley household. Dagmara Dominczyk as Priscilla’s mother Ann Beaulieu, shows the right amount of worry for her daughter but is inexplicably absent after her daughter moves to Memphis. Did Priscilla’s parents entirely abandon her? The boys in the band, too numerous to mention, bring vitality and controlled chaos to a film that is too often static.

Production Designer Tamara Deverell has captured the era and has recreated Graceland at its shiny best. Costume Designer Stacey Battat has the time period down pat. Cinematography by Philippe Le Sourd is rather unremarkable but wide expansive shots are not characteristic of biopics. A big disappointment is the music. Curiously there is very little rock ‘n’ roll from the era, and the music that is used is distinctly non-distinct.

The pacing of the film is good and you won’t be checking your watch, but overall, this is a bland story about a marriage that was anything but bland. If you are going to make a film about a character’s awakening, you need, at the very least, to have them wake up.

Opening wide on November 3 at AMC theaters throughout LA. 

Neely Swanson spent most of her professional career in the television industry, almost all of it working for David E. Kelley. In her last full-time position as Executive Vice President of Development, she reviewed writer submissions and targeted content for adaptation. As she has often said, she did book reports for a living. For several years she was a freelance writer for “Written By,” the magazine of the WGA West, and was adjunct faculty at USC in the writing division of the School of Cinematic Arts. Neely has been writing film and television reviews for the “Easy Reader” for more than 10 years. Her past reviews can be read on Rotten Tomatoes where she is a tomato-approved critic.

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Michael Chow was born Zhou Yingua in Shanghai in 1939. His father,  Zhou Xinfang, is still considered one of the greatest grand masters of the Peking Opera and his artistry was an important influence on Michael who wanted to follow in his footsteps. The movement, the vibrant colors, the drama, all touched him deeply. Michael began painting at an early age seeing light and motion and colors everywhere in Shanghai. But his art and vision was short-circuited when he and his sister, Tsai Chin, were sent to England by their parents shortly after Mao, claiming victory in the Chinese Revolution, took over as the political leader. Sadly, Michael would never again see his father who would die in 1975 after a long imprisonment during the Cultural Revolution.

Beautiful Tsai, studying at the Royal Academy of Dramatic Art, was well on her way to an acting career, but Yingua, younger, was sent to boarding school where he was ill-equipped to be a total outsider, losing his identity and his name when he became Michael. He eventually enrolled in art school where he studied painting and architecture still hoping to satisfy his need to create. But art rarely pays the bills and Tsai helped him find small roles in mostly B pictures.

Luck, if you believe in such a thing, and timing have played major roles in his life. Unable to support himself as an artist, it was more the connections he made and the people he met that would dovetail nicely into his wildly successful endeavors. Encouraged by friends who recognized his ability to parlay one success onto another, he opened a Chinese restaurant in London. He wanted to introduce upscale, gourmet Chinese food to the Knightsbridge section of central London, an area oozing wealth and sophistication. It wasn’t just the taste of the food but the drama as well, using Italian waiters to serve and displaying the work of emerging artists on the walls.

Still longing for a place at the table, so to speak, Chow befriended artists whose work inspired him, offering meals in exchange for paintings. Those walls held the paintings of artists who would soon become even more famous than his restaurant—David Hockney, Jim Dine, Julius Schnabel and Peter Blake, among others. A short first marriage to Grace Coddington, one of the top models of the day, solidified his place in swinging sixties London. Soon Mr. Chow’s was the hippest of the hip, dripping with the rich and famous. He wasn’t just the friend to celebrities but a world unto himself.

But it’s easy to look all of this up. It’s public record as are his famous couplings, next to Tina Chow, a model whose own jet set celebrity soon surpassed his. When marital difficulties first emerged, he and Tina left London and landed in Beverly Hills where he expanded his restaurant empire. An instant success, he then opened restaurants in New York, always featuring a museum of fine art on the walls. Their estrangement continued, however, in part due to her affairs, and they divorced. His subsequent marriage was to Eva Chun; it too ended in divorce after twenty-five years. There is no real insight into these dissolutions. Coddington, interviewed on screen and still friends with Chow, revealed that she had left him after a year when a previous boyfriend resurfaced. Now married to Vanessa Rano, a woman almost a half century younger, she is an integral part to his self-described Act V.

Both in Beverly Hills and New York, his passion for buying art continued and he began to amass an extraordinary collection of contemporary art—Warhol, Basquiat, Haring, Ruscha to name a very few. So many of these artists painted portraits of Chow that an exhibition of just these paintings was once mounted. Always attentive to his restaurants, he was drawn more and more into the world of art and design. Spreading his expansive wings and returning to an initial interest, Chow designed Giorgio Armani’s signature boutique on Rodeo Drive. Already Chow’s compass was leading him back to his first love.

If there is a primary focus in this documentary, it is the return of Mr. Chow to his passion for art—collecting it, promoting it, creating it. The true highlight of this somewhat meandering film is to witness him in his so-called Act V as the re-emerging artist. Joyously painting and creating massive tableaux in his cavernous studio, he is a gifted artist with a style that both borrows from others and yet is wholly original. His greatest challenge is to be seen as a serious painter rather than a talented dilettante. The biggest obstacle to overcome is his own persona and fame. Gallery owners who might have been inclined to display his work were reluctant. There was always the worry that gallerists were just trying to curry favor with the man who already had everything. Watching him create will disabuse you from thinking he’s a talented amateur. Combining Chinese calligraphy, aspects of abstract expressionism and color field painting, like that of Clyfford Still and Ellsworth Kelly, Chow, or as he now signs himself, “M,’’ has made his own path. Is he in a league with Ed Ruscha or Jim Dine or others in his collection? Only time will tell. A glimpse at his Holmby Hills home gives an idea of his architectural style—modern, stark and extremely functional from the standpoint of displaying his own art and vast collection, a personal museum to be enjoyed by the too few.

My verdict of the documentary is rather mixed. The film itself is little more than an homage to Michael Chow filmed with his approval under tightly controlled constraints. It often feels like a vanity piece with little or no insight into Michael Chow the man. There is no discussion about his architectural projects or the effects divorce may or may not have had upon him personally. Although the interviewees, internationally renowned artists and celebrities, sing his praises, scratching the surface just reveals more surface. Keeping tight control of his narrative, it’s no coincidence that there have been no definitive biographies written about this man who is certainly deserving of one. “AKA Mr. Chow” is far from an in depth portrait of a complicated man;  nevertheless, the opportunity to learn some of his history and see him make his art is well worth the fast-moving 90 minutes Nick Hooker has put together.

Now on HBO and streaming on Max. 

Neely Swanson spent most of her professional career in the television industry, almost all of it working for David E. Kelley. In her last full-time position as Executive Vice President of Development, she reviewed writer submissions and targeted content for adaptation. As she has often said, she did book reports for a living. For several years she was a freelance writer for “Written By,” the magazine of the WGA West, and was adjunct faculty at USC in the writing division of the School of Cinematic Arts. Neely has been writing film and television reviews for the “Easy Reader” for more than 10 years. Her past reviews can be read on Rotten Tomatoes where she is a tomato-approved critic.

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The Osage people originally roamed the great plains throughout the Midwest but by the mid-19th century, the United States government forced them off their Kansas lands onto a reservation in desolate northern Oklahoma Territory. It was on this land, several decades later, at the end of the  century, that oil was discovered, making the Osage some of the wealthiest people in the world. Each member of the tribe retained mineral rights to their property and leased the land to outsiders for resource exploitation. The area became the home to wildcatters, thieves, con men and all the myriad bad guys the Old West had to offer with the added benefit that the Native Americans owning the land had little or no legal protection against those plotting against them. And plot they did. The federal government had set up a system where the oil rights were divided equally between all members of the tribe, a system of “headrights.” The system was skewed, however, so that many of the rights owners, the wives, mothers and children of the male heads of household, had to be supervised by white “custodians” who dictated how the members could spend their money. This arrangement was rife with corruption that enriched the so-called custodians at the expense of the actual owners. Nevertheless, there was still great wealth for the members of the Osage Nation and room for its capitalization.

At the heart of this film is the confluence of a Machiavellian conspiracy, brutal murders, a love story and the nascent FBI.

World War I has ended and Ernest Burkhart, in full army regalia, steps off the train in Fairfax, Oklahoma, called there by his Uncle William “King” Hale. King is a wealthy cattle rancher on land just outside the reservation. He has work for his naive and corruptible nephew, joining with his younger brother Byron, also employed by King. A fluent speaker of the Osage language, King has a full grasp of Native American land rights and all the loopholes that can be used to exploit them. One did not have to be a member of the tribe to inherit a headright. Ernest, not exactly intellectually gifted, has been chosen carefully by his uncle for his limited ability to grasp complex situations, his acknowledged love of money, his appeal to the ladies and his absolute loyalty. There are, his uncle knows, two ways to obtain the wealth of the Osage—murder and intermarriage.

Murdering male members of the Osage tribe who had full “headrights,” an unalloyed allocation of the oil royalties without white supervision, pushed the headrights to their heirs, most often women and children whose access to the wealth was more limited. Intermarriage with white settlers would then give the white husbands, appointed supervisors of the family treasure, full access, through their wives and children, to the huge sums pouring into the Osage coffers. If, by unlucky happenstance, those wives were to die, then the children of that mixed marriage would inherit a wealth that would flow to the fathers who would, under those questionable circumstances, be able to control and gain those headrights.

Ernest is pointed in the direction of Molly, a beautiful Osage woman with rights to a part of the family allotment. Single, she quickly falls sway to Ernest. Although lacking in finesse, he is handsome and he, too, is drawn to her. Exploiting their mutual lust, King soon achieves his goal of intermarriage. But Molly and Ernest seem actually to be in love and children soon follow. Uncle King, however, knows Ernest’s true nature, his inherent laziness and his greed for more of everything. Ernest, easily manipulated, is blindly led down a path of murder and mayhem, whether carried out personally or by hiring others to do his uncle’s bidding. His familial loyalty is cleaved between King and the genuine love he feels for his wife. He is not one to question authority, especially not when the carrot at the end of the stick is gold.

Murders and suspicious deaths increase at a dizzying speed. Soon they are hitting Molly’s family and, now the last of her clan, she begins to fall ill and waste away. Even as she hovers at death’s door, she travels with a group of tribe members to Washington to ask President Coolidge for help in solving the murders in their town. Law enforcement  in Fairfax, such that it is, has turned a blind eye to even the most obvious deaths. As one character mentions, “You have a better chance of convicting someone who kicked a dog than of murdering an Indian.” Following the money, however, Coolidge sends a contingent of the new Bureau of Investigation to solve the crimes plaguing this important group of Native Americans.

The broad strokes of “Killers of the Flower Moon” are historically accurate. The characters’ names have not been changed to protect the innocent because, with the exception of Osage tribe members, no one was innocent. Gann, in his award-winning work of non-fiction, told the true story with every ugly detail intact. It was up to Scorsese, a longtime fan of the book, to bring this long-forgotten incident back into the light.

Using a mixture of archival and recreated sepia-colored newsreel footage, he sets the scene of this last vestige of the Wild West. The cinematography is superb, both as lush and filthy as the story itself. Production design recreates the era so well that you begin to feel engulfed in the ever-present mud. But Scorsese is nothing if not an actor’s director and here he has a cast that excels, from the smallest roles to the stars. Actors portraying tribe members were all Native Americans, some with acting experience, some without and all were convincing in their roles. But it is not them that you are coming to see.

Robert De Niro as William “King” Hale is extraordinarily restrained as the true villain of the piece. The evil is in his eyes but the tightness of his lips and economy of movement is what makes him so dangerous. In a morality play, he would be Mephistopheles leading a dull-witted Faust, nephew Ernest, down the path of all the aforementioned seven sins before, too late, he recognizes the danger. De Niro’s restraint should, perhaps, have been peeled away as he approaches the consequences of his actions, but it is too tightly woven into the persona of the God-fearing Christian he believes himself to be. He has convinced himself that his actions are better for society in general, much like Charles Wilson’s alleged quote, “What’s good for General Motors is good for America.”

In what traditionally has been referred to as a “small but pivotal” role, Jesse Plemons as Tom White, the leader of the Bureau of Investigations team, is mesmerizing, full stop. The moment he sets foot in a scene, he dominates it in a quiet, engaging, non-pyrotechnic way. Plemons has a habit of subtly, methodically and emphatically stealing scenes, whether in “The Power of the Dog” or the second season of “Fargo;” you can’t look away when he’s there. Hero or villain, and here he’s a hero, his natural warmth enhances his portrayal.

Lily Gladstone, an accomplished Native American actor, uses her extraordinary natural beauty and stillness of manner to inhabit the role of Molly, the woman with a bull’s eye on her back. A sly combination of weak and strong, she becomes complicit in her marriage to Ernest, seeing but refusing to inhale the evil that surrounds her even as those near and dear start to disappear. There is an ingrained subservience and resignation as she does what authority figures demand of her. Her love for Ernest is unwavering even though all the signs point to disaster. In some ways, she is the star of this filmic retelling of the Osage murders.

Leonardo DiCaprio, in the challenging role of Ernest Burkhart, has the vacant eyes of a lost soul. He is the very embodiment of those Seven Deadly Sins his uncle employs for his own means. His remaining close family ties are his brother and his uncle, working in tandem to use his sloth and greed to their advantage. That he would actually fall deeply in love with the target of King’s machinations highlights the ambiguity of his character and DiCaprio effectively captures the obtuseness of a man who sees only what is directly in front of him without contemplating the consequences. DiCaprio is best when the walls of his actions begin to close in on him. He is the classic patsy, set up to take the fall without the ability to see how it will affect him.

What Scorsese does best is set up situations for characters and let them play out. Here he uses the classic platform of the Western. There are the bad guys and their victims and the cavalry to the rescue, in this case the Bureau of Investigation. It is probably an intentional irony that Ernest is given a white hat by his soon-to-be wife. The plot is straight out of a John Ford Western, whether “My Darling Clementine” or “The Man Who Shot Liberty Valance,” with a bit less nuance. But Scorsese isn’t working with legend, he’s actually working with fact. Here he has turned the old “Liberty Valance” quote on its head – “When the truth becomes legend, print the legend.” Here he prints the truth.

The major failing of this film is its length, 3½  hours. You will never be bored but you will come away with the feeling that Scorsese was way too self-indulgent. This story could easily have been told in 2½ to 3 hours maximum. “Oppenheimer” was 3 hours that flew by without a wasted moment. Such is not the case with “Killers of the Flower Moon.” The story is bloated and suffers from overkill, and I definitely meant that in all meanings of the expression. The coda-type ending was superfluous, regardless of whether or not such an incident occurred (it did). It was unnecessary and takes you out of an important moment that he had been building up to. The end result is that Scorsese has made a very good movie but not a truly great one.

Opening Oct. 20 at the Lumière Cinema at the Music Hall in Beverly Hills, the AMC Century City 15, the AMC Broadway 4 in Santa Monica, the AMC Santa Monica, the Laemmle Monica, the Regency Village Theater in Westwood and many others. See it on an IMAX if possible. Many AMC theaters provide closed captioning. Streaming on Apple TV+ later this year. 

Neely Swanson spent most of her professional career in the television industry, almost all of it working for David E. Kelley. In her last full-time position as Executive Vice President of Development, she reviewed writer submissions and targeted content for adaptation. As she has often said, she did book reports for a living. For several years she was a freelance writer for “Written By,” the magazine of the WGA West, and was adjunct faculty at USC in the writing division of the School of Cinematic Arts. Neely has been writing film and television reviews for the “Easy Reader” for more than 10 years. Her past reviews can be read on Rotten Tomatoes where she is a tomato-approved critic.

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It is a story that has been told many times before, but never quite as skillfully. The unusual position of the body, the probable distance that it fell and the mysterious head wounds mark this as a suspicious death with only one suspect—the wife, Sandra. Questioned by the police, she recounts an uneventful life, placid, peaceful, full of bilateral compromise that allowed the couple to maintain separate interests. She and Samuel, her husband, met years ago in London where they were struggling writers. In recent years she had succeeded, with several novels to her name. He was still teaching and trying to complete a novel started years before. She admits that their relationship showed signs of stress when young son Daniel lost most of his sight in an accident, an accident Samuel blamed on himself and Sandra did not disabuse him of this notion. Still, she preferred to live in the present and work with Daniel’s new normal; Samuel could not, home schooling him, ever watchful of dangers and cocooning him from outsiders entering his world. But, she explains, they moved on and had a happy marriage.

Samuel, French, and Sandra, German, communicate in English, neutral ground for them both because Sandra’s French is not fluent and Samuel’s German is non-existent. Already the scene was set, like a U.N. meeting, for partnership negotiations in language, setting, child raising and domestic duties. But mainly, the undercurrent of tension between them was about time—having it, wanting it, losing it. That they slept in separate rooms indicates a lack of romance or maybe it was just a tolerance for each other’s conflicting schedules. Still, as the investigation by the police begins, she insists that there were no fights, something corroborated by Daniel who insists he never heard his parents arguing.

Knowing she will need a lawyer, Sandra enlists a friend, Vincent. He demurs; she needs a more experienced lawyer. She insists; she needs a friend by her side. The wheels of justice turn slowly but inexorably toward a murder trial. Neither is prepared for the maelstrom that awaits them in court as the prosecutor, zeroing in on all the inconsistencies present in the crime scene, ruthlessly attacks the stoic Sandra, sometimes using a scalpel and other times an ax. This is the French judicial system, messier than ours and less accepting of objections. The courtroom scenes are uncomfortable, and the prosecutor’s skill is a barrier that Vincent finds difficult to overcome when trying to propose a theory of suicide.

And herein lies another reason Triet’s film is exceptional. This is not “LA Law” and certainly not “Law and Order.” There are no histrionics, no Perry Mason moments, only the steady, realistic chipping away at a presumed guilty party. The prosecutor, as much as you’d like to hate him (and I did) is doing his job. It’s not to find Sandra innocent; it’s his job to prove her guilt. Her unemotional demeanor doesn’t shout innocence nor do the things she kept hidden; her lawyer finds little ground to object to in the questioning of witnesses. That he often doesn’t make the best use of his cross-examinations is a signal that Sandra may have chosen poorly. No weapon is found; no motive screams out; everything is circumstantial. Samuel is dead from a suspicious fall and Sandra was the only one home. Even her son, her greatest ally, begins to have doubts.

What makes this all so extraordinary is the synergy of the filmmaking. The acting, writing and directing are in such perfect sync that you feel like you’re cohabiting this scene. So in tune is everything that a totally realistic environment is created, especially in the courtroom where you begin to feel like you are not just an observer but part of the jury, wanting to believe, unable to believe. Triet trains her camera close up on the prosecutor’s face, so much so that you can feel the venom spit from his lips; she gives no space between the viewer and the villain of the piece. He is both seductive and repellant. Triet takes you so thoroughly into each scene that you become part of it. Naturalistic is the descriptor that comes to mind. Gradually, inexorably, tension continues to build as the prosecutor excavates more and more about the couple’s troubled relationship and Sandra’s inexplicable lapses in relating their troubles to the initial investigators. Triet forces you to see Sandra from all angles, something that makes the viewer continually vacillate between her guilt or innocence. Nothing is ever completely clear; you are constantly thrown off balance in any allegiances you may have formed. The earth is shaky and the foundation is never solid.

Language plays a major role, its intricacies, its subtleties and its obtuseness. Gliding back and forth between French and English, Sandra’s lack of fluency is a major stumbling block to her defense when the court insists that all testimony be given in French. Eventually unable to express herself and understand the nuances, she must rely on interpreters to translate her English, something they can do quite ably. What they can’t do is communicate the emotions she can express in a language she is comfortable with.

All the more unusual is the fact that Samuel is a completely developed character despite the fact that he is unseen until one critical moment in the trial when an audio tape of an argument is introduced by the prosecutor. Triet chooses to dramatize the end of the tape by filming Samuel as he escalates the disagreement into a full-scale fight with Sandra. What is most jarring is the realization that this is your very first glimpse of Samuel, mentioned so many times previously that you were certain you had seen him.

The acting is part of what makes this such a realistic experience and everyone contributes. Swann Arlaud as Vincent, Sandra’s lawyer, has the sympathetic eyes of the smitten; overwhelmed but striving. Antoine Reinartz as the prosecutor is the man you want to hate. Eyes bright, movements choppy, shining in his many closeups, he is the master of rhetoric and duplicity. He is able to evoke a range of emotions from the viewer, all of which contribute to his believability as someone who has his prey in sight. Samuel Theis as Samuel makes the most of his short time on screen, communicating the frustrations of a man incapable of taking command of his situation and needing to blame it on others. Milo Machado Graner, Daniel, was an amazing find. His transformation from innocence, believing in what he thought was his life, to the childhood version of cynicism where his beliefs and past memories are challenged beyond his comprehension would have been a difficult role for an adult, let alone a child whose previous few roles were very minor.

But this is really all Sandra Hüller who, as Sandra, dominates the story and screen with her quiet, stoic presence. Preternaturally calm, the hardened lines at her mouth are in sharp contradiction to the softness of her skin. Her eyes betray the fear that her body language covers up. She is an actress able to convey a million thoughts while hiding any outward emotion. Mesmerizing, you can’t take your eyes off her. The sag to her shoulders betrays the sangfroid of her demeanor. Having worked with her before, Triet wrote this role with Hüller in mind. It is inconceivable that anyone else could have played it as well.

This is a must-see film that will surely be remembered for many years to come.

In English and French with subtitles.

Opening Oct. 13 at the AMC Century City 15 and The Grove 14. 

Neely Swanson spent most of her professional career in the television industry, almost all of it working for David E. Kelley. In her last full-time position as Executive Vice President of Development, she reviewed writer submissions and targeted content for adaptation. As she has often said, she did book reports for a living. For several years she was a freelance writer for “Written By,” the magazine of the WGA West, and was adjunct faculty at USC in the writing division of the School of Cinematic Arts. Neely has been writing film and television reviews for the “Easy Reader” for more than 10 years. Her past reviews can be read on Rotten Tomatoes where she is a tomato-approved critic.

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The city of Beverly Hills and its Community Services Department will celebrate 50 years of artistic excellence and community engagement in the Fall Art Show on Oct. 21 and 22 from 10 a.m. to 5 p.m. at Beverly Gardens Park.

Since its inception, the Beverly Hills Art Show has grown from a one-day show attracting a few dozen artists and a small gathering to an all-encompassing, mutiday festival featuring 230 artists, artists’ demonstrations, arts and crafts workshops in the Children’s Area provided by Self-Help Graphics, live musical entertainment, food and more. The event attracts nearly 40,000 people from all over the world.

“Our amazing Affaire in the Garden—the Beverly Hills Art Show—is back with another exceptional list of participating artists drawn from all over the world,” said Beverly Hills Mayor Dr. Julian Gold. “This special 50th Anniversary Fall Edition promises to be an unforgettable celebration of culture and arts. We invite everyone to stop by and we look forward to seeing you there.”

The fall show will feature artwork in painting, sculpture, ceramics, glass, drawing, watercolor, traditional printmaking, photography, jewelry and more along four blocks of Santa Monica Boulevard from Rodeo Drive to Rexford Drive. The show also features juried art show award winners in 15 categories, including Best in Show and the Gil Borgos Award, named after an artist who convinced Beverly Hills to hold an arts and crafts fair 50 years ago. In addition, Gold will have the distinct honor of selecting a piece of art for the city, known as the Mayor’s Purchase Award.

The 2023 fall sponsors and partners are the Los Angeles Art Association, NoHo Arts District, LAArt Party, Southern California Women’s Caucus for Art, Children’s Hospital of Los Angeles, Blank Beverage, SALT Catering, Beverly Hills Conference and Visitors Bureau, Beverly Hills Chamber of Commerce, Beverly Hills Historical Society and Beverly Hills Unified School District.

For more information about the artists and schedule of events, visit beverlyhills.org/artshow.

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The Macleod family, led by mother Mairi, has lived a hardscrabble existence on this unforgiving landscape since her husband, a fisherman, died and left her alone to raise their two daughters, Kirsty and Annie. Their income is as limited as their prospects, with only the church and Evangelical Minister Maciver to provide the guidance of a vengeful Lord. Carrying the Bible with her at all times to avoid the unforgiving glances of neighbors who don’t hide their disapproval of reading material that isn’t about Jesus, Kirsty has the larger dreams of the adventures contained in the books she secretly explores. Kirsty sees beyond the limits of her island and dreams big in this village of small ideas. A beauty, she is sought after and resented by the young men who pursue her unsuccessfully. The notable exception is Murdo Macaulay, a handsome youth who shares her dreams. Murdo, an aspiring poet, introduces Kirsty to the works of Robert Frost, sent to him by his uncle in New York. We are allowed to glimpse at the page he shows her from “The Road Not Taken.” Someday, he tells her, they should leave Scotland for the United States and expand their horizons and possibilities; they’ll take that road “less traveled by” together.

But sometimes dreams are cut short and abandoned for right and wrong reasons. It is 1916 and World War I is still raging, necessitating universal conscription. All the young men of the village are called up. But before they report, Murdo and Kirsty express their undying love and hopes for their future. The town sponsors a Road Dance to commemorate the departure of the boys, because they are little more than that, and the act that will upend and come close to destroying Kirsty’s life occurs. Everything that happens on this fateful night will have a shattering effect on Kirsty’s life as Murdo disappears into the Western Front. “The Road Dance” is Kirsty’s story of sorrow, perseverance and growth with the solid support of her family. It would be unfair to reveal any more.

Moving deliberately, Adams paints his characters in the muted colors of the harsh landscape. They have been trapped voluntarily on this isle for generations, fisherman and subsistence farmers, eking out a living far from the noise of the mainland. As mistrustful of one another as they are supportive, most of them see no farther than the next winter. Kirsty and Murdo are different; they dream of other lands, lands that have been seen by the town doctor, Dr. Maclean, who landed there from London.

As much a character as the people themselves, cinematographer Petra Komer has painted the wind-swept hills, rocky landscape and rough waters, much like the scenes in the gothic tale of “Wuthering Heights,” to help tell this story. The choppiness of the gray waves hitting the black cliffs serves to underscore the dangers of fishing in these waters where so many have perished. Struggling against the wind, the difficulty of living in the poorly heated sod roofed cabins is clear. Dialogue is unnecessary to enhance the dangers and highlight the simple joys of village life. The brighter colors of the road dance are offset by the ochres of the adjacent countryside, each symbolic. The occasional glimpses of life on the front in Europe serve to illustrate that life on the island is, despite its limited offerings, a safe haven from the difficulties faced abroad, including the mainland of Scotland. But as distant as the war is, it will have an outsized impact on Kirsty and all the others who remained at home.

The day-to-day lives of Kirsty and those around her begin slowly but build, not to a fever pitch, but to an absorbing resignation and understanding of the status quo. Kirsty, previously curious, has acquiesced to her surroundings. The secrets she carries have weighed her down and all but extinguished her previous dreams. You feel the weight of this seclusion as Kirsty trudges down the paths delivering eggs and baked goods to her neighbors. Still, there are glimpses of sunshine in the heavy weather and you go with Kirsty toward an as yet unseen rainbow after the storm.

The casting is pitch perfect, filled with people who are more well known as supporting players in independent movies and British television series. Perhaps the best-known actor in the movie is Mark Gatiss, a well-respected theater actor who is recognizable from “Sherlock,” a series he created. Gatiss brings warmth and a bit of mystery to the character of Doctor Maclean. His apparently small supporting role is anything but. Morven Christie (Mairi) has had important roles in a number of British television series, most prominently as the love interest in “Grantchester.” As Mairi, Kirsty’s mother, she embraces all the emotions of a widow who must nurture a daughter she doesn’t entirely understand.

Will Fletcher, in his very first feature role, plays Murdo with a 19th-century romantic understanding of what the world is capable of being, especially if he can have the love of his life, Kirsty, an equal at his side. Dreamy-eyed without ever being saccharine or sentimental, he is able to embrace a larger world than the one he has and instill that feeling into his love.

Finally, there is Hermione Corfield as Kirsty, upon whose shoulders the entire film rests; she does not disappoint. Her pretty, slightly asymmetric face and large eyes are filled with warmth and intelligence. She is as adept at playing tragedy as she is at displaying hope. She makes you care for her and her outcome, despite the boulders strewn in her path. This film should help establish her as an actress who belongs closer to the top of the credits than she has been in the past.

“The Road Dance” is well worth a turn on the dance floor, delivering nicely on the time you invest in these characters and their situation.

Opening Oct. 13 at the Laemmle Royal. 

Neely Swanson spent most of her professional career in the television industry, almost all of it working for David E. Kelley. In her last full-time position as Executive Vice President of Development, she reviewed writer submissions and targeted content for adaptation. As she has often said, she did book reports for a living. For several years, she was a freelance writer for “Written By,” the magazine of the WGA West, and was adjunct faculty at USC in the writing division of the School of Cinematic Arts. Neely has been writing film and television reviews for the “Easy Reader” for more than 10 years. Her past reviews can be read on Rotten Tomatoes where she is a tomato-approved critic.

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