
James
Cotton survived getting shot five times during an altercation. To this day,
his friends are not quite sure why it happened, but they hypothesize a woman might
have partially been the cause. You can’t get much more blues than that. Even more
importantly, he played a mouth harp (harmonica) in a manner they liken to a roaring
freight train. Cotton’s colleagues and admirers look back on his life and music
in Bestor Cram’s documentary Bonnie Blue: James Cotton’s Life in the Blues,
which releases this Friday on VOD.
Cotton’s
first gig dates back to his childhood on the Bonnie Blue plantation, where he
sang and played to entertain workers on their water breaks. Indeed, his life
was the blues. He was mentored by Sonny Boy Williamson II, a.k.a. Rice Miller,
a.k.a. many other names, but he really came to prominence as a member of Muddy
Waters band.
Cotton’s
career really took off during the Blus revival. As his fellow musicians
explain, his hard-charging style made him the harpist who most appealed young
white fans who were initially attracted by classic blues guitarists.
Unfortunately, he had bad management, who often just bundled him into package
deals for much less compensation than their headliners. (Cram and company name
names, in this case Albert Grossman, who also handled Dylan, Joplin, and Peter,
Paul, and Mary.)
Eventually,
Cotton signed with better people and had quite a good run—especially by blues
standards. Nevertheless, time always has the last word. Still, Cotton went out on
a creative high, with the help of his friends and blues songwriter Tom
Hambridge.
In the
late 1990’s, Marsalis was at the peak of his prestige and influence. He already
received the Pulitzer Prize for Blood on the Fields. With the turn of
the Millennium approaching, Columbia released nine ambitious albums from
Marsalis, under the banner of “Swinging into the 21st.” None was
more ambitious than All Rise, commissioned by Kurt Masur, of the New
York Philharmonic, in memory of his schoolboy days under the Nazi and East
German Communist regimes. Yet, it would have its concert debut shortly after
9/11. Nearly a quarter century later, Marsalis staged a concert performance at
Chautauqua, during the reflective season following the brutal attack on Salman
Rushdie. It also happened to be one of those big round number anniversaries.
Chautauqua takes stock of itself while listening to Marsalis in Chautauqua
at 150: Wynton Marsalis’ All Rise, which airs this Tuesday on PBS.
Founded
in 1874, the Chautauqua Institute was a product of the Lyceum movement that
survived to this day, thanks to its pleasant location and the prominent faculty
and presenters it attracts. Several staffers boast the Institute fosters
dialogue that encourages understanding among partisans of each other’s
positions. Everyone says they learn so much, but nobody actually explains how
they changed mind after listening to the other side at Chautauqua. Of course,
there is a multi-faith program that talks about phobias and isms rather than
human rights and freedoms. Then, on August 22, 2022, Rushdie was attacked so brutally,
he spent days on a ventilator and ultimately lost an eye.
To its
credit, Chautauqua at 150 spends considerable time covering the attack
and its aftermath, but it declines to mention the Institution deliberately refused
to implement recommended security measures for Rushdie’s address, because they
thought they would “create a divide between the speakers and the audience,” as
two sources explained to CNN. Frankly, Chautauqua should probably reflect even further
on this incident and what it really means.
Fortunately,
jazz has healing powers, so it is frustrating Chautauqua at 150 often
has interview subjects talking over the music. However, the backstory of the
extended suite and its post-9/11 premiere deserve the time devoted to them. It
also speaks to longevity of the Lincoln Center Jazz Orchestras membership since
many musicians, including saxophonist Ted Nash and trumpeter Marcus Printup
were with the band back in 2001 (in fact, there were with J@LC well before
that). As a result, they obviously have seamless cohesion as a band and probably
intuitively understand what their leader Marsalis is looking for.
ATTACK ON TITAN: THE LAST ATTACK might confuse newcomers to the franchise it concludes, but the titular behemoths size-up nicely forthe big screen and the characters' espirit de corps is appealing. CINEMA DAILY US review up here.
She won
the first and only Grammy for best disco song in 1979. The following year,
disco died and so did the award category. Yet, her hit was a fitting winner,
because it might be the most enduring disco recording of all time. If you go to
a wedding, party, or club tonight, there is a strong chance you will hear the
DJ spin it. She endured hard times to, but, yes, she survived to see her story
become a Lifetime movie, Alicia K. Harris’s I Will Survive: The Gloria
Gaynor Story, “Presented by Robin Roberts,” which premieres tonight on the
network.
Gaynor’s
mother had an unshakable faith that helped sustain the future super-star and
her younger sister Irma, after their matriarch’s untimely death. Music was
always the way she earned their keep, but her first real (but admittedly
crooked manager) guided her to her breakout hit record, an early disco cover of
“Never Can Say Goodbye.” Unfortunately, she had to leave her Jersey band
behind.
Eventually,
she leaves her exploitative manager too, but she replaces him with her future
husband, Linwood Simon, who presumably did not cooperate with this production.
To be fair, he helps Gaynor’s comeback, as she recovers from an on-stage
accident. Her new label wanted her for a tune she did not dig, but she insisted
on the B-side: “I Will Survive.” Obviously, it soon became the A-side.
It was
a great year, but success changes Gaynor’s manager-husband. He books grinding
tours, while making dubious career decisions on her behalf. He also seems a
little too familiar with the temptations found on the party scene.
It is
rather frustrating how closely Gaynor’s biography parallels those of other musical
greats. Indeed, there are considerable similarities with Can You Feel the Beat: The Lisa Lisa Story, including bad management, the wrong man, and serious
health challenges, but I Will Survive is a much better-looking
production. It also appeals to both disco and gospel listeners, giving
substantial time to the uplifting direction she took late in her career.

AI is
creepy enough. We do not need one spewing a bunch of self-help doubletalk.
There ought to be regulation preventing this questionable artificial
intelligence “life coach.” Instead, her code is coveted. Frankly, she does not
seem to work very well, because her inventor allows himself to get involved
with the wrong woman in Robert Rippberger’s Renner, which opens today in
theaters.
Renner
is a genius with code, but an idiot when it comes to human relations. He is emotionally
stunted, introverted, and obsessive compulsive. His invention, Salenus, coaches
him to be more confident and assertive, but it will take a lot of work. However,
the process gets a jump-start when Jamie moves in across the hall. Despite his
awkward social skills, she is friendly and patient with Renner.
Her
deadbeat brother Chad is a different matter. His passive aggression grows
increasingly aggressive. Salenus is less than supportive of Renner’s courtship
as well. She becomes downright rude and insulting when addressing Jamie and
even starts to lie and deceive Renner.
Arguably,
Frankie Muniz delivers one of the best performances of his career in a film
that never comes close to deserving it. Every twist is blatantly obvious. In
fact, just about every plot-point requires appalling levels of stupidity and
negligence.
Nevertheless,
Muniz really delves into Renner’s neurotic self-loathing, taking viewers to
some very dark places. Sometimes, he is painful to watch, for the right
reasons. The rest of the film can be painful for the wrong reasons.
Heritage
ranks Haiti #155 out of 184 countries on its Index of Economic Freedom rankings,
deeming it “repressed.” Taxation and inflation are high, government regulation
is not transparent, and property rights are infrequently protected. With little
incentive for investment, domestic or international, illicit enterprises
thrives. Ransom kidnappings are an especially dangerous business, for reasons
that soon become clear in Bruno Mourral’s Kidnapping Inc., which opens
today in Brooklyn.
This
was supposed to be Doc’s last abduction, so you know what that means. Their latest
target is Benjamin Perralt, Jr. (a.k.a. Ti Ben), the semi-estranged son of Perralt
Sr., an elite politician running for President. They assume it is a straight
ransom job, but it is really part of a bigger political power play. Regardless,
they are not supposed to kill Ti Ben, but they do, accidentally.
Obviously,
they are in serious hot water, so they ferry the dead body around Port-au-Prince,
almost like Weekend at Bernie’s, trying to devise circumstances to
explain Ti Ben’s death that would not appear to be their fault. Instead, they
dig themselves into a deeper hole, kidnapping the Voltaires, a bickering and
extremely-expecting couple, as part of a hair-brained, improvised plan.
Frankly,
Kidnapping Inc sounds more farcical than it really is. The comedy is
about as black as it gets, but the conditions behind-the-scenes were even more
serious. Three crew members were kidnapped during the production and one member
of both the cast and crew were fatally killed after shooting wrapped. No film
needs that kind of authenticity.
Understandably,
the screenplay credited to Mourral, Jasmuel Andri, and Gilbert Mirambeau Jr.,
expresses considerable anger. Sometimes, it comes out in questionable ways,
particularly the constant, divisive association of lighter-skinned “mulattos”
like Perralt, Sr. with wealth, privilege, and corruption.
Marvin
Gable was once a ruthless hitman/enforcer. Now he is a real estate agent. Many
in New York would not draw much of an ethical distinction between the two, but
there is a world of difference in Milwaukee. Regardless, Gable’s old life comes
looking for him—on Valentine’s Day—in Jonathan Eusebio’s Love Hurts,
which opens tomorrow in theaters.
Gable
used to be his gangster brother Alvin “Knuckles” Gable’s chief assassin and
leg-breaker. However, he has worked quietly for several years as a real estate
agent, apparently keeping a low-profile, despite plastering his photo on bus
stop ads and yard signs throughout the city. This February 14th, he
gets a Valentine from Rose Carlisle, as do all his former associates.
He was
supposed to execute Carlisle and burry her in the quarry, but Gable let her go
instead, because he was smitten. Now she is back, hoping to reclaim her life,
under her real name. Obviously, Knuckles feels disappointed by his brother’s
deception, so he sends “The Raven” to collect information regarding her
whereabouts, which Gable does not yet know.
Fortunately,
she will soon find him, before Knuckles’ large bench of colorful hired-killers track
down either of them. M. Gable just wants Carlisle to disappear again for her
own safety, but she insists on somehow righting past wrongs.
Ke Huy
Quan is a real-deal accomplished martial artist, who has worked in the business
as a professional fight coordinator (including choreographing scenes for the HK
action movie The Avenging Fist). As a result, the many fight scenes are
considerably more brutally realistic than you might expect. Arguably, this film
might have played better if it had played it straight, because the comedy is
meh.
The
one-sheet proudly proclaims Love Hurt shares producers with Violent Night and Mr. Nobody, which probably means more to the Producer’s
Guild than everyday viewers. Yet, in this case, it looks like the screenplay
(credited to Matthew Murray, Josh Stoddard, and Luke Passmore) was assembled out
of outtakes from those two films.
There
are some things that work well. Sean Astin (Quan’s co-star in The Goonies)
is terrific as Gable’s supportive boss, Cliff Cussick. Quan himself has a lot
of earnest charm, as well as impressive martial arts chops, as the new and
improved Gable. However, the chemistry he shares with Ariana DeBose (as
Carlisle) is tepid at best.
Catholic
clergy are tough in general, but sometimes nuns are even fiercer than priests,
as some Catholic school alumni’s knuckles might attest. In this case, Sister
Giunia is far and away the most capable expeller of demons the Church currently
has in Korea, but since she is not even ordained yet, she cannot perform
exorcisms. Unfortunately, the priest currently treating a possessed little boy
believes demonic control is a metaphor and possibly a sign of mental illness.
Of course, he learns better through horrific experience in Kwon Hyeok-jae’s Dark
Nuns, which releases this Friday in theaters.
Sister
Giunia, originally known as Kang Sung-ae, learned all about exorcisms from
Fathers Kim Bum-shin and Choi Joon-ho, the heroes of Jang Jae-hyun’s The Priests (and his short 12th Assistant Deacon which it was
expanded from). Consequently, she is considered kind of spooky, so some in the
Church call her the “Dark Nun.” Regardless, two different priests completely
botched the sanctioned exorcism of young Hee-joon. She stepped saving their
necks (and most likely souls), but the demon retreated deep within the boy, biding
its time, while imprisoning its host in a feverish, semi-conscious state.
Father
Paolo, who is also a medical doctor, insists Hee-joon only needed aggressive
drug therapy, but maybe it is too late, since the Church wasted so much time on
hocus pocus. He points to Sister Michaela as an example of what he means, since
he supposedly “cured” her of her visions when she was a teen. However, all the
bad things that happen around the boy quickly convince Sister Michaela that
Sister Guinia knows her demonic stuff.
Unfortunately,
the Church refuses to sanction further exorcisms, so the nuns must turn to the
Shamanistic community for back-up. Awkwardly, none of the fully trained shaman
are available, because they have all been engaged to cleanse the karma of
political candidates before the upcoming election. (It would be an
understatement to describe Sister Giunia as unimpressed.)
Aside
from the mixing of Catholic and shamanist forces, the plot points in Dark
Nuns do not radically depart from many other demonic possession films.
Nevertheless, the execution is tight, tense, and sometimes even terrifying.
Arguably, the final twenty minutes or so constitute a masterclass in horror
movie suspense.
Sister
Giunia also emerges as quite a remarkable character, sort of like a cloistered
Van Helsing, who happens to be doctrinally conservative yet spiritually
flexible enough to wield tarot cards as a weapon and accept considerable
elements of shamanism. She has seen horrors, that’s for sure, but Song
Hye-kyo’s steely performance inspires considence.
The
good news is restaurants should be much more affordable this Valantine’s. The
bad news is a serial killer has been killing couples on Cupid’s day for the
last few years. Conspicuous PDAs can be fatal, as well as causing nausea in others.
Ally and her new work colleague Jay are absolutely, positively not a couple,
but they look good together, so they still attract the killer’s attention in
Josh Ruben’s Heart Eyes, which opens this Friday in theaters.
Ally
just released a bizarre ad campaign featuring famous dead lovers, like Romeo
and Juliet, that would be considered grotesque even if the so-called Heart Eyes
Killer (H.E.K.) weren’t terrorizing romantic couples. He is definitely still
active, as we see during the Scream-like prologue. Many of his targets
are obnoxious Instagram-driven Millennial jerkweeds, but HEK willingly slashes
through any innocent working stiff who get in the way.
Jay is
the supposed marketing wizard brought into clean up Ally’s mess. They are
natural rivals, but there is also an undercurrent of attraction, making their
dinner meeting, on Valentine’s Day—the boss will love his expense report—even more
awkward. That also means he goes with it, when she kisses him for her ex’s
benefit. Of course, you know who else sees that smooch and starts chasing the
not-lovers through the city.
Arguably,
Heart Eyes is a better Scream movie than the later Scream movies
that perversely shifted away from Sidney Prescott and Gale Weathers. The screenplay
(credited to Phillip Murphy, Christopher Landon, and Michael Kennedy) is slyly
droll in a knowing but not excessively ironic way. There is a lot of humor, but
Ruben and the screenwriters are just as concerned with the start-and-stop development
of the hunted non-couple’s romance.
Olivia
Holt and Mason Gooding have terrific romantic and comedic chemistry together as
Ally and Jay. Devon Sawa and Jordana Brewster are also perfectly matched as the
two lead detectives, Hobbs and Shaw—yes, its an in-joke, which the cops
themselves don’t get.

No Catholic
priest should ever be a complete pacifist, because of St. Thomas Aquinas’s Just
War doctrine. He is the only saint who was beautified because he was
miraculously smart. Technically, Rev. Adam Honderich is a German Lutheran now,
but he is a former Father known to associate with pacificists. Yet, the National
Socialist officer in charge of this sleepy Norwegian coastal district fears
Honderich has also put his pacificist past behind him and now supports the
local Resistance. Like it or not, the Reverend will have a minder, but he won’t
mind her so much in Rob Tregenza’s The Fishing Place, which opens tomorrow
in New York, at MoMA.
Anna
Kristiansen and Honderich ought to get a long, considering she was imprisoned
for implied Resistance activity, until Aksel Hansen sprung her to be his snitch.
New to domestic work, she apparently gets a bit of training in the dysfunctional
home of the wealthy local collaborator before Hansen foists her on Honderich.
Of
course, Honderich understands Hansen’s intentions, but he and Kristiansen still
get along relatively well, in a reserved Teutonic-Scandinavian kind of way. For
her part, she appreciates the first task he assigns: caring for the orphan they
find squatting in his cottage.
That
all might sound like the start of an aesthetically severe but heartfelt wartime
drama, which it could have been. Rev/Father Honderich is a fascinating clerical
character. Keenly aware of his own humanity, the good Father will call out
passive aggressive behavior when he sees it. Nevertheless, he still must humor
Hansen. Hence, the fishing trip that bestows the film’s title.
However,
Trengenza takes a wild experimental turn that completely changes not just the
vibe but the entire identity of the film. It is bold filmmaking that does not
work. Arguably, this is a shame, because there are early scenes that suggest The
Fishing Place could have been a minor companion film to great, sympathetic
but darkly hued cinematic portrayals of priests, such as Jean-Pierre Melville’s
Leon Morin, Priest and Klaus Haro’s hidden treasure, Letters to Father Jacob. Unfortunately, Trengenza halts all such lofty thoughts after
about an hour.
Based
on reports in the media, Warners made the right choice cancelling the partially
completed Batgirl movie. Bringing back Michael Keaton as many fans’ preferred
Batman, only to immediately kill him off would have produced enormous ill will
for the DC brand. It is pretty clear Keaton and Adam West remain sentimental
favorites, considering DC Comics have given them both similar treatment to the
Christopher Reeves-esque Superman ’78 limited series. The first story-arc
set in the world of Tim Burton’s Batman movies, Sam Hamm’s Batman ’89,
illustrated by Joe Quinones, releases again today in a new tradepaper edition.
In this
Gothic-styled, vaguely late-1980s-feeling Gotham, District Attorney, Harvey
Dent, looks a lot like Billy Dee Williams (who played the pre-Two Face DA in
burton’s Film), rather than Tommy Lee Jones in Joel Schumacher’s Batman
Forever monstrosity. He is still a handsome devil at the beginning of the
story arc, but he is also a slippery one. He clearly wants to be governor, so
he crusades against Batman’s vigilantism, the only thing keeping Gotham safe,
to score points in the media. That means Commissioner Gordon is often in the
line of his fire, which is awkward since Dent is engaged to Gordon’s daughter
Barbara.
Bruce
Wayne is most definitely not engaged to Selina Kyle, but he has been
cat-sitting for her, during her mysterious disappearance, to Alfred Pennyworth’s
sheer delight. Recently, various gangs have adopted both Batman masks and Joker
makeup while committing mayhem, often under the guise of pursuing “street
justice.” Consequently, they give Dent more fodder to attack Batman and Gordon.
However,
the opportunistic politician seems to have a change of heart after visiting his
old neighborhood—in terms of politics, not with regards to Batman. Tragically,
his newfound idealism will be cut short by a serious accident that both
disfigures and deranges Dent into the super-villain we all know and love:
Two-Face.
It is
very cool to essentially see a Billy Dee Williams version of Two-Face. In fact,
the way Hamm and Quinones depict his split personality is the best thing about Batman
‘89. It is also warmly nostalgic to see a Michael Gough-like Pennyworth. However,
Batman and Cat Woman do not resemble Keaton and Michelle Pfeiffer as closely as
the characters in the Superman ’78 series looked like the cast of the
Donner films.
Beyond
outward appearances, Hamm’s storyline also clashes with the ostensive 1989 setting,
in a bad way. Obsessed with themes of “two Gothams” and rich white liberal guilt,
it feels like it written in 2021, which it was. As a result, it also feels embarrassingly
dated in 2025.

Out of
the seven Catholic Sacraments, it is one of two that worshippers can experience
on a regular basis (along with Confession). Yet, a fairly recent poll showed
nearly 70% of American Catholics do not believe in the transubstantiation part.
This was alarming news for the Church, but not just for doctrinal reasons (if
you know your history, you know this has been an issue worth fighting for in
centuries past). Indeed, for many Catholic clergy and theologians, it is more
than just Church teaching. As the word “Communion” suggests, it is a way to
directly and tangibly connect with Jesus Christ. Obviously, this is a very
Catholic topic, but the underlying discussion of faith and tradition eroded by materialism
parallels other wider social dynamics. Regardless, both the ordained and
Catholic laity explain the true significance of the sacrament in Tim Moriarty’s
Jesus Thirsts: The Miracle of the Eucharist, which releases today on
VOD.
Admittedly,
the title is terrible, but the documentary itself is much more accessible, even
for non-Catholics, than a brief logline might suggest. Yes, the film’s experts
ardently argue skeptical worshippers are missing out if they dismiss the
Eucharist as a mere “symbolic” act. However, they also provide a fascinating
history of the sacrament, including Biblical incidents that prefigured and influenced
the Eucharist, including the first Passover, breaking bread on the Road to Emmaus,
and the Manna from Heaven, the literal “Daily Bread.”
Moriarty
and his battery of commentators also discuss cases in which taking the Eucharist
has helped truly sustain worshippers, such as those served by the prison
ministry producer James Wahlberg visits. He would indeed be the brother of Mark
and Donnie, but the film never plays the Wahlberg Brother card for attention.
Maybe it
takes a thief to catch a thief, but you still need a cop to make the arrest.
Basically, that is the principle behind the partnership of supposedly “reformed”
con artiste Max Mitchell and Det. Cole Ellis, who recently had his detective
shield fully restored, thanks to the cases they cleared. Much to his outward chagrin
(and maybe secret satisfaction), the commissioner wants them to continue
working together. For every case she works, Mitchell knocks two weeks off her criminal
mastermind father’s prison sentence. That might not sound like much, but they
have another full season ahead of them to chip away when season two of creator
Micheal Konyves’s Wild Cards premieres this Wednesday on CW.
The
whole plan throughout season one was for Mitchell to use her police access to
ultimately switch out a fake for a Faberge Egg and leave Ellis looking like a
fool. However, she uncovered evidence regarding the murder of Ellis’s brother, so
she canceled her getaway. Instead, she delivers the flash-drive recordings to
Ellis and swaps back jeweled egg before anyone notices—anyone else than Ellis,
that is. Consequently, the detective has serious trust issues during the rest of
the season opener, “Con in 60 Seconds.”
Of
course, this episode also demonstrates why they are so well-paired. In “60
Seconds,” clearly more inspired by Fast & Furious than Gone in 60
Seconds, Mitchell and Ellis go undercover to bust a gang of street-racing
thieves. It turns out she can handle the wheel, having fled her share of crime
scenes, while he knows his way around an engine. In most ways, it is an average
odd couple undercover procedural, but it sets up several of the continuing
storylines for the season. It is also a good example of the grounded
credibility Terry Chen brings to the series as eternally patient, but
exasperated Chief Li.
The season’s
second episode, “Once a Con a Time in the West,” features one of the most
notable guest-stars of any show airing this month. Original Brat Pack member
Ally Sheedy appears as ranching matriarch Rose Pruett, whose prize stud horse
is targeted by an assassin. Evidently, the Pruetts are under pressure to sell
the family farm, so if they lose Paul, the professional equine papa, they lose
it all.
Sheedy
definitely has a nice Big Valley vibe as Pruett, while writers Konyves
and Marcus Robison address the rural country elements (apparently right outside
Vancouver) without sounding conspicuously phony. This episode also notably
features Martin Sheen in the recurring role of Jonathan Ashford, a legendary
con artist, whose video memoir Mitchell watches to bone-up on her sharp
practices, but might just lead her question her illegal ways even more.
If ever
there was a “cursed” film, this film would be it. For starters, John
Frankenheimer was hired to direct, but had to withdraw for health reasons,
tragically passing away shortly thereafter. Paul Schrader took his place, stepping
into what would be one of his worst studio battles (and he had more than his share).
Eventually, they hired yet another director to re-write, re-edit, and largely
re-shoot the picture, but the results were so poorly received, Schrader was
brought back to reshape his original footage into something salvageable.
Eventually, his cut released one day after Star Wars: Revenge of the Stith opened.
Cursed, right? However, William Peter Blatty had some nice things to say about
Schrader’s Dominion: Prequel to the Exorcist, which viewers can judge
for themselves when it airs Tuesday night on the Movies! digital channel.
Arguably,
the cruelty of the National Socialists Father Lankester Merrin witnesses in the
prologue might be worse than that of the demon. The young Dutch parish priest
was forced to make a horrific “Sophie’s Choice.” Since then, his position in
the Church has been iffy and his faith even iffier. While he and they decide
his future as a priest, Merrin works on archaeological digs throughout Africa,
as a civilian.
His
latest excavation in Kenya is a little….weird. Apparently, a pristine 5th
Century Byzantine church was buried under the sand as soon as it was completed.
The art and architecture inside are stunning, but uncharacteristically, the
statues of the Archangel Michael are pointed downward, in a protective posture.
As we
all expect, inexplicable violent incidents start happening after the site is
unearthed. The local tribe is particularly restive, so Major Granville arrives
with his troops, which only further fans unrest. Father Merrin tries to defuse
tempers, with the help of Father Francis, a devout missionary, and Dr. Rachel Lesno,
a Holocaust survivor, who also suffers from painful memories of the war.
While
the village and tribe descend into hatred, Cheche, the shunned beggar afflicted
with woeful birth defects, makes a suspiciously “miraculous” recovery. Of course,
horror fans know if something looks too good to be true, it is probably very bad
news.
Reportedly,
the studio wanted more jump scares, earlier and more consistently. Yet, the
thoughtfulness of Schrader’s cut is its greatest strength. Obviously, we know
what is coming. Ironically, the more Schrader forestalls the fire and
brimstone, the more suspense he builds. The script, originally credited to
William Wisher and Caleb Carr explores themes of evil and faith with surprising
insight. Again, this adds further fuel to the demonic horrors, when they
finally come. Plus, the design work that produced the hidden church is quite
amazing.
Stellan
Skarsgard and Gabriel Mann are both terrific as the good Fathers. Skarsgard
broods quietly as the pre-Exorcist Father Merrin, but there is also deep
complexity to his portrayal. Mann’s Father Francis is admirably earnest, but
not simplistic. Clara Bellair also tacks a shrewdly understated approach to playing
the survivor’s guilt-plagued Dr. Lesno. However, Billy Crawford looks completely
out-of-place as Cheche and the way the character’s physical deformities are presented
is also questionable.
DOG MAN is colorful, energetic, silly fun, and not much else, but who says it needs to be anything more? CINEMA DAILY US review up here.
Lisa
Lisa and Cult Jam had more chart-toppers than some Gen X’ers might remember
from MTV, because many times they scored “club hits” that landed on the “Dance”
list. Regardless, the two mega-hits you’re sure to know, were huge, “Head to
Toe” and “Lost in Emotion,” both of which went all the way to #1. They also had
a song on the Caddyshack II soundtrack, but that “honor” is overlooked during
this bio-drama. Lisa (Lisa) Velez tells her story and portrays her mother in
Tailiah Breon’s Can You Feel the Beat: The Lisa Lisa Story, which premieres tonight
on Lifetime.
Velez’s
family struggled with an abusive father and past-due bills, but she had a crazy
dream of singing to provide for her family. Through the club scene, Velez meets
and auditions for a duo, Mike Hughes and Alex “Spanador” Mosseley, who are
looking for a vocalist. The three click and their somewhat shady manager, Rocco
approves of her look and sound.
Soon,
they sign with a major label, which remains unidentified throughout the TV-movie,
where they work with/for/under the even shadier A&R guy, Barry Conner.
Technically, Velez’s mother had to sign on her behalf, since she was only
fifteen at the time. Of course, that does not stop Rocco and Conner from
creeping on her. Fortunately, they hire street-smart Toni Menage as a back-up
singer (she would be so closely associated with Velez and Cult Jam, many fans
consider her a member of the band).
Eventually,
everyone figures out their contract stinks, but at that point Velez suffers a
double blow when she is diagnosed with cancer. However, she cannot take time off
for treatment, because she already took advances from the label to pay-off her
family’s debts.
This is
definitely the Lisa Lisa story rather than the Lisa Lisa and Cult Jam story. In
fact, Hughes and Mosseley might not always be thrilled by the way they are
portrayed—or the fact Menage gets considerably more camera time than they do.
Regardless,
Can You Feel the Beat feels very familiar. It also looks conspicuously cheap.
This is not a very convincing 1980s period production, not just because of
budget limitations. Frankly, Breon and screenwriter Rebecca Murga should have
leaned more heavily into 80’s nostalgia. Ed Lover’s appearance as himself might
be the best this film does in that respect. Probably, a lot of names were
changed and many composites were created for legal reasons, but that means it
never comes close to recreating the MTV/Z100 vibe.
As
Velez/Lisa, Jearnest Corchado never really looks like a teenager, but she is earnest
and relatively convincing during the musical performances. Velez herself gives
a heartfelt performance as her mom. Yet, Bre-Z is by far the standout for her
tough but vulnerable portrayal of Menage.
GREEN AND GOLD is fictional, but it captures the very real-life struggles of family farmers (and their sports fandom). Its authenticity and hardy spirit might just convert some viewers into Green Bay Packers fans. EPOCH TIMES review up here.
It is easy to lose sight of the spiritual aspect of martial arts in a steel
cage. Consequently, when an up-and-coming MMA fighter loses his way, he must
reconnect with his heritage and the transcendent spirit of martial arts
practice to regain his mojo. Of course, nobody wants to watch a long meditation
session, but a few seconds can help round out a training montage. Regardless,
Ibby “The Prince” Barkan’s path to MMA glory takes a detour through the mountains
of Pakistan in Shaz Khan’s The Martial Artist, which opens today in
theaters.
After
years of training and many questionably sanctioned matches, Barkan finally
signs with a major mixed martial arts promoter. However, he lets success go to
his head, before he fully attains it. He starts drinking, partying, and making
enemies. Soon, the violence of his needless grudges spills-over onto his
family. Barkan’s resulting guilt, compounds his anger, leading to a self-destructive
cycle.
To
save Barkan from his demons, his mother sends him to Pakistan, to learn about
his late father from the Dada, the grandfather he never met. Nestled in the
rugged mountains, Dada’s retreat trains disciples to be warriors, both
physically and spiritually. It is exactly the kind of discipline Barkan needs,
but he must come to that realization for himself, before he can reap the
benefits of Dada’s teachings.
Although
Khan emphasizes the loftier ideas underpinning martials arts, as the director,
co-screenwriter, and star, he often showcases the practice at its most brutal. Much
of the action consists of gritty, no-holds-barred street-fighting. Barkan’s two
MMA showcases are impressively staged, against strikingly cinematic backdrops,
while still featuring absolutely ferocious fight choreography.
Indeed,
the fight scenes are far and away the best aspect of The Martial Artist.
In contrast, the family melodrama is clunky and cliched. Frankly, some business
with Barkan’s brother-trainer Ali will elicits groans from many viewers. Admittedly,
Barkan’s quest for re-centering also travels a well-trod thematic path, but it
is nicely executed and the Pakistani setting adds a distinctive vibe.
How frequently does the Joker break out of Arkham? How many times did
Stallone wriggle out of super-prisons in the Escape Plan movies? In that
case, three times. The point is putting all the worst eggs in a fancy basket
never seems to work, but they did so anyway in this new series. Hidden under the
plains of Wyoming, “The Pit” secretly housed some of the nation’s worst serial killers,
including several that were supposedly executed. They were the guinea pigs for
some weird government research, because they wouldn’t be missed, until there
was a massive escape. Semi-disgraced FBI Special Agent Rebecca “Bex” Henderson and
her team scramble to capture the fugitives, while cautiously investigating the
shadowy conspiracy that apparently facilitated their escape in creator JJ
Bailey’s The Hunting Party, which starts its regular first season run this
Monday on NBC.
The
Pit was totally off the books and undisclosed to the public. Then a supposedly
freak, but actually deliberately planned explosion rocked the facility. Given
the destruction, it is not clear how many inmates escaped. It will probably
depend on how long the series runs. One of the worst was Richard Harris, who happened
to be the first case Henderson worked. Given her insight, Attorney General Elziabeth
Mallory reactivates Henderson to track down Harris, teaming her up with Ryan
Hassani, a CIA officer, whose agency has absolutely no domestic jurisdiction,
and Shane Florence, a former correctional officer at the Pit, who manages to
invite himself along.
Richard
Harris? Seriously, JJ Bailey? I’m not a profiler, but I would suggest looking for
Harris in MacArthur Park. After all, there have been reported sightings of
cakes mysteriously left out in the rain.
Despite
the presumably accidental disrespect to King Arthur and Dumbledore, the first
four episodes already show some decent chemistry between the three lead “hunters”
and Oliver Odell, a former FBI agent who served as the warden of the Pit and
clearly seems to know more about the escape than he wants to admit. However,
the trust-and-suspicion dynamics Henderson has with him and her natural agency
rival Hassani, elevate the energy of the fairly routine fugitive chase stories.
Harris
and the second episode psycho, Clayton Jessup, are quite familiar in their
motives and methods. However, “Lowe,” from the like-titled third episode, has
the unusual distinction of being a human-hating environmental extremist, whose
M.O. involved feeding victims to a wolfpack. Perhaps episode four’s Dr. Ezekiel
Malak is the creepiest, especially considering his new extreme method of
killing, which is definitely a fresh and horrifying wrinkle.
Melissa
Roxburgh is a strong lead. She has credibility in both the deductive and
action-oriented scenes and develops nice chemistry with her co-stars. Nick
Wechler is appropriately shifty as Odell, generating potentially spoilery
tension with Roxburgh.
In the recent first issue of DC’s “All In” Aquaman, the Atlantean
king is learning how to use his wife Mera’s telekinetic power over water, when
they shifted to him after the conclusion of the Absolute Power miniseries.
(Long story short, everyone lost their super-powers and then they mostly got
them back, but sometimes slightly differently). It is a bit of déjà vu, because
he had to learn his original powers from scratch back when he thought he was a
mere mortal named Arthur Curry. Aquaman’s origin story had a snappy DC animated
treatment in Ethan Spaulding’s Justice League: Throne of Atlantis, which
makes fitting viewing today (Curry’s in-world birthday) and this Friday (1/31,
Mera’s birthday).
As
the film opens, the relatively new Justice League has a lot of fancy
infrastructure, but only Cyborg really takes it seriously. Consequently, he
answers the call when a US Navy submarine is attacked by mysterious forces.
Viewers soon learn it was destroyed as part of Prince Orn’s false flag
operations to foment a war between Atlantis and the surface world.
Deep
down, Queen Atlanna recognizes the Prince’s ruthless nature, so she designates
Curry, her secret half-human love child as her heir. Slightly disappointed, Orm
responds by killing her and framing land-dwellers. Of course, Black Manta is
the Svengali pulling his strings.
Cyborg
will need the full Justice League to deal with this problem. Mera understands Atlantis
also needs Curry, so she goes rogue, revealing his birthright. He can breathe
underwater and communicate with fish, but learning how to best apply his super-powers
will take time he does not have.
Heath
Corson’s adapted screenplay roughly follows the 2013 Throne of Atlantis comic
arc, but some of the best parts focus on other JLA members. It often seems like
Cyborg gets unfairly overlooked by casual superhero fans (as a sometimes member
of both JLA and the Teen Titans), but he has a new licensed flavored coffee
that sounds delicious. Cyborg also gets some of the best scenes in Throne of
Atlantis, wherein he considers the effects of his constant robotic upgrades
on his underlying humanity, nicely expressed by Shemar Moore.
In
addition, there is a cool subplot following the burgeoning romance between
Clark Kent and Diana Prince (a.k.a. Wonder Woman). Yes, they were an item for a
while in some of the comic storylines, because fans demanded it and it made
logical sense. After all, Wonder Woman might be the only love interest who can
withstand the force of Superman’s passion, so to speak. Obviously, the film
does not go there, but its depiction of their courtship is quite appealing. Both
super-characters are well-served by the winning voice-over work of Jerry O’Connell
and Rosario Dawson.
When the Devil goes down South, he often enjoys the local Americana roots music.
He tuned Robert Johnson’s guitar at the Crossroads and fiddled with Charlie
Daniels. Logically, Robert Johnson was a particular inspiration for this blues-rock-flavored
horror-movie-musical. Yes, this is a musical and it works. On the other hand,
the deal a father made most definitely does not work for his three sons (from
different mothers). He shook hands with Old Scratch, but they were the ones who
were left to pay in Brandon McCormick’s The Devil and the Daylong Brothers,
which releases this Friday in theaters and on VOD.
It
was sort of Satanic child abuse when Nehemiah Daylong sold the souls of his
future sons, Ishmael, Enoch, and Abraham, rather than his own. Understandably,
the Daylong half-siblings rather resent his bargain. Facing damnation, they
made their own deal with Clarence, a soul-collecting demon, filling his quota
of similarly damned souls in exchange for their father’s location. Theoretically,
if they kill him first, he takes their place, voiding their debt.
Unfortunately,
trusting Clarence is rather foolish, as most viewers would expect. However, Frankie,
a damned soul known to associate with infernal folk, might lead them to their
troublesome father. Of course, as a femme fatale with demonic experience, she
has a knack for exposing their weaknesses and offering temptations.
One
of the titular characters never appears in the film, but the brothers rage and
bicker together in almost every scene. As the Daylong trio, Brendan
Bradley, Nican Robinson, and Jordon
Bolden are unnervingly fierce. They are also decent singers, thanks to some
help from songwriter and music-and-film producer Nicholas Kirk. Some of the
musical numbers feel more like 80’s music videos than Bollywood-style musicals,
in that characters might initially breakout into song, but they do not always
lip-synch the entire tune, but they mostly flow quite smoothly.
As the central subject, or rather cast-member, Hihi Lee intends to tell her
husband, all the scenes she filmed phoning her lovers, were actually made with
a very gay friend. Whether he believes her or not, may depend on whether he keeps
watching once the closing credits start, or if he misses her Marvel-like
postscript. Regardless, her daughter might need therapy as teen when she hears
some her mother’s comments regarding her unmotherly feelings. Fortunately for
Lee, the docu-hybrid film she stars in has not been approved for release in
China and it probably never will be under the current regime. Regardless, mother
and marriage are not exactly sacred to Lee in Alan Zhang’s This Woman,
which opens this Friday in New York, at the Metrograph.
Lee,
adopting the “persona” of Beibei, makes no secret she essentially caved to
pressure exerted by her mother and society, when she agreed to marry and have a
child at age when she was not mature enough to handle either. Frankly, she
often sounds like she has only now matured to the point where she recognizes
her previous immaturity. She is still not great with commitment and fidelity—or
maybe that is just her “character.”
In
her mid-credits “stinger,” Lee is very nonchalant when asked how she thinks her
husband might take the film. Most viewers will wonder more about her daughter,
when she hears “Beibei” tell the camera she does not miss her daughter when she
is away and only feels guilt regarding her long absences when she sees happy
mothers caring for their children. Savvier viewers may wonder if Lee assumes
this will never be seen in China, so she can freely confess/perform without
fear of personal, familial repercussions.
Screening at Sundance, MR. NOBODY AGAINST PUTIN is a truly shocking and genuinely courageous documentary that exposes the politicization and militarization of Russian civilian education, by propaganda mandateed by the Putin regime. Obviously, it was documented at great personal risk, by the school employee, who became an international whistle-blower. CINEMA DAILY US review up here.

Today marks Paul Newman’s centennial (1/26/1925-9/26/2008), but aside from
tonight’s TCM programming, the occasion seems strangely under-heralded. Maybe this
film is a partial reason why. Throughout his lifetime, Newman passionately
advocated for liberal causes, but if he tried to speak on an Ivy League campus
today, he would probably be shouted down and possibly physically attacked, because
he appeared in Otto Preminger classic historical drama chronicling the founding
of the state of Israel. Ironically, Newman was probably attracted by the film’s
old school liberal themes, condemning anti-Semitism and championing indigenous people
(the Jews) rebelling against their colonizers (the British and Arabs). Plus,
Newman was also half-Jewish. This epic (at 208 minutes, “epic” is the right
word) has only grown more controversial, for reminding the world why the Jewish
people needed a homeland and how the Arab world immediately waged war against
them. Preminger’s Exodus is also a stirring, old fashioned Hollywood crowd-pleaser
that deserves rediscovery—and today would be the perfect day for it.
Initially,
Kitty Fremont is no Zionist. She rarely thought about the Jewish people and
when she did, it was not particularly edifying. To be fair, she still grieves
her war correspondent husband—or rather she has rather avoided moving on with
life. The nurse just finished a tour of duty at an American military hospital
in Greece, so she stops in Cypress as a tourist before returning home. There,
she visits her late husband’s friend, Gen. Sutherland, who administers the
Jewish refugee camp. Sensing she needs purpose, he recommends she volunteer in
the short-staffed camp clinic. First she declines, but when she recognizes her prejudice
reflected in Sutherland’s subordinate, Maj. Caldwell, she agrees out of shame.
In
the camp, she meets blond haired, blue-eyed fifteen-year-old Dutch refugee Karen
Hansen Clement, who defies her preconceived image of Jewishness. Fremont is
determined to bring Clement to America. However, the teen still hopes to find
her missing father, the only other member of her family not confirmed dead in
the concentration camps, in what the British call the Mandate of Palestine.
As
it happens, Haganah commander Ari Ben Canaan has a plan to ferry hundreds of
Jewish refugees like her to their homeland—and hopefully send a message to the
United Nations in the process. The British steadfastly oppose any further
Jewish immigration, out of deference to the neighboring Arab nations. Consequently,
Sutherland will approve no such transfers, despite his reputation. Frankly, officers
like Caldwell consider the Colonel so sympathetic to the Jewish refugees, they
assume he must be secretly part-Jewish.
Of
course, all the Jews Ben Canaan successfully shuttles into Israel will face
violent reprisals after the historic 1948 UN vote. Fremont will see it all for
herself, when she joins Clement and Ben Canaan in the future Israel.
Exodus
was
filmed on location in Israel and Cypress, where the ancient backdrops give it a
sense of historical authenticity and visual splendor. Encompassing the events
of the Exodus Blockade (which was admittedly given a much happier ending), the
Acre Prison escape, UN Resolution 181, and the subsequent Arab pogroms
targeting Jews (while the Brits sat on their hands), Exodus is a true
epic, sent against a sprawling canvas.
Newman
is also terrific as Ben Canaan, even though many critics argued he was miscast,
because he was too handsome to be Israeli (again, he was half-Jewish). Frankly,
this is one of his toughest, steeliest performances of his Hollywood heartthrob
years. His closing eulogy serves as an
acting master-class that both perfectly expresses his character’s grief and the
aspirations of the Israeli people, to finally live in peace and security.
He
also has potent chemistry with Eva Marie Saint, his co-star in the 1954 Our
Town, which was a breakout vehicle for them both. Arguably, Fremont has the
greatest character arc and shows the most growth amongst all the characters,
which Saint quite bravely depicts.
Most soldiers hope their service will keep violence and danger away from their
homeland and families. Usually, that is why they sign-up in the first place. When
tragedy finds their loved ones anyway, they might feel like they failed, but it
is more likely that we failed them. Andrew Coleman (Echo 1) was already burdened
with guilt stemming from the death of several comrades in Afghanistan. His
daughter’s premature demise from poison-laced drugs pushes him over the edge.
However, the illicit gang responsible gives Coleman a target and an outlet for
his rage. He cannot fight the entire organization by himself, but Echo 2, 3,
and 4 loyally rally behind him in James Clarke & Daniel Shepherd’s Sunray:
Fallen Soldier, produced by and starring former Royal Marine Commandos,
which is now available on VOD.
When
Coleman returned home, he carried the unfortunate events of his tour back with
him. Inevitably, it affected his relationships with his soon-to-be ex-wife
Elaine and their teen daughter Rachel, even though both women recognize and
understand he still struggles with unresolved trauma. Even with a troubled
father, Elaine is a pretty good kid, but when mean girls successfully peer-pressure
her into trying coke, her mistake turns fatal.
Frankly,
her boyfriend Cassius is considerably broken-up over it as well, but he left her
alone, with a bad element. He should have known better, because that is his
world. As the son of Lucian, a long-reigning druglord, he was directly involved
in supplying the drugs. Consequently, Coleman wants Cassius dead—and he is
willing to work his way up the organizational flow chart to get to him. He starts
off wielding nail guns and hammers, but when his vendetta gets messy, his old teammates,
Smudge, Sledge, and Harper (Echo 2-4), bail him out and help upgrade his hardware.
Sunray
is
a throwback to old school vet-turned-vigilante movies, represented by the likes
of the Robert Ginty Exterminator films. Frankly, this film is so gritty
it sometimes feels like sandpaper on your eyeballs. Yet, the directness of the
action scenes is undeniably effective.
The
same is true for 29-year Royal Marine veteran Tip Cullen, who broods like a
house on fire as Coleman. You would be hard-pressed to find a more grizzled or gristly
actor, but that gives him instant credibility in Sunray. Tom Leigh, Luke
Solomon, and Steven Blades, fellow veterans all, have equal cred walking the
walk and talking the talk, as Echo 2, 3, and 4. With Cullen they nicely create
a sense of the fellowship that comes from serving together.
Jaws 2 gets
a bad rap. People unfairly lump it together with the next two truly dreadful
sequels. Of course, for many, it was doomed from the start when Richard
Dreyfuss refused to reprise his original role. Now, forty-five years later, Dreyfuss
finally appears in another shark movie (Piranha 3D and documentary
narration don’t count). Technically, he never leaves shore, but he still has
some of the best moments in Christian Sesma’s Into the Deep, which
releases today in theaters and on VOD.
Years
ago, Cassidy Branham’s parents moored their boat at a spot where sharks had
never been reported, but a great white ate her father right in front of her
anyway. She has had a love-hate with the ocean ever since, largely because Seamus,
her marine biologist grandfather, keeps pushing her to face her fears. That is
why she agrees to join her archeologist husband Gregg and his scruffy skipper pal
Daemon Benz on a treasure dive.
Tragically,
both sharks and pirates crash their party. First sharks chow down on one of
their companions. Then they hail the nearest boat for help, but the bandits
aboard are decidedly not good Samaritans. Led by disgraced Navy SEAL Jordan
Devane, they are tracking the signal of a large submerged shipment of drugs
that they intend to hijack/salvage. However, they need a better, lighter diver
to ferry the drugs back up in the shark cage.
Mixing
sharks with pirates gives Into the Deep a slightly different angle than other
sharksploitation movies. It also has a decent cast, especially Dreyfuss, whose
appearance is quite a coup for a movie of this stature. Essentially, crusty
Seamus, who constantly warns his students to fear nature’s wrath, is a combination
of his original oceanographer character, Matt Hooper, and Robert Shaw’s salty
sea dog, Quint. He never gets within earshot of a shark, but delivers several
colorful monologues and makes an extended pitch for shark conservation during
the closing credits.
THE COLORS WITHIN is an anime feature that happens to be one of the best teen dramas of the year. Its themes of music, faith, and personal responsibility should resonate for multiple demographics, including young adults and Catholic audiences. CINEMA DAILY US review up here.
If it were up to the filmmakers who write and direct horror movies, there would
be no medical research whatsoever. Want to develop new skin-grafting techniques
to treat the disfigured? Oh, the hubris. Haven’t you seen Rabid? Wei’s
father is doubly asking for it, because both he and she stand to benefit from the
revolutionary technique he tries and fails to develop. Despite his
spectacularly gruesome fate, she continues his research in Sasha Rainbow’s Grafted,
which premieres tomorrow on Shudder.
Let’s
just say Wei’s dad regenerated a little too much skin. Unfortunately, as the
world knows from experience, dangerous, unpredictable experiments have a habit of
escaping labs in China. In this case, Wei takes his notes to New Zealand, where
her aunt has enrolled her in college. Auntie travels most of the time for her
dodgy business, so that means the highly self-conscious Wei must deal with her
entitled and resentful cousin Angela on her own. It also means she must endure
Angela’s friends, Jasmine (who has a good heart, but is too passive to stand up
to Angela) and Eve, the campus queen bee, who also happens to be sleeping with
Wei’s biology professor, Paul Featherstone.
When
Dr. Featherstone sees the potential of the experiments Wei runs in her spare
time, he offers to collaborate, with the intention of stealing her father’s
work. However, he never anticipated some of its applications. For instance, if
Wei were to accidentally kill one of her bullying frienemies, she can use the
newly developed serum to regenerate and graft the dead girl’s face onto her
own.
Much to his colleagues’ bewilderment, Stan Deen believed helping students,
even the difficult ones, was a bigger part of a teacher’s job than advancing a
political ideology or marking time until retirement. Weird, right? Admittedly,
Nathan Williams was a tough case, but the teen had some horrible breaks.
Clearly, it takes more effort to get involved, but Deen does so anyway in
Damian Harris’s Brave the Dark, released by Angel Studios, which opens
this Friday in theaters.
Most
likely, Deen eventually reaches Williams, because you rarely see films made about
people who attempt good deeds, but failed. Deen was already popular with
students, because he did the easy stuff, like college recommendations, so well.
More perceptive than other teachers, Deen slips Wiliams a candy bar during one
of the early scenes, because he can tell the teen is hungry. Abandoned by his fosters
and grandparents, Williams has been living in his car for months. He only
joined the track team, so he could shower in the mornings.
When
Williams gets busted for an ill-conceived burglary, only Deen comes to check on
him. The teacher shocks his colleagues and confuses Williams by personally
taking responsibility for him and inviting him into his home. Inevitably, returning
to school as jailbird entails further frustrations and cutting rebukes. Plus,
it is hard for the teen to believe Deen just wants to help, rather than working
an angle.
Mostly
likely many critics will have no problem feeling much cooler than Brave the
Dark. Some might dismiss it as TV-movie fare and stereotype it as another “faith-based”
release from Angel Studios. Yet, it should be noted the film never mentions
God, Jesus, or any religious figure. Instead, it is about accepting personal
responsibility and offering compassion on a person-to-person basis. Constantly,
Deen is asked why get involved? Why not let the system take care of Williams.
Of course, “the system” has already done quite a job on the unfortunate teen.
As
a director, Harris also has the benefit of his brothers, Jared and Jamie, who
are terrific as Deen, and Williams’ parole officer, Barney, respectively. They
both look like they belong in Lancaster, PA, even though all three are sons of
the legendary Richard Harris. As Deen, Jared Harris is achingly earnest, yet so
understated, some shallow critics will not notice how good he is. The other
on-camera Harris is tough and smart, but also fair. He’s not the PO you want,
he’s the PO you need. Both demonstrate that decency is not boring to watch on
screen—quite the contrary.